A remarkable study in social and cultural change that explains how and why the late antique world (circa 150–750CE) came to differ from "classical civilization." The first century CE was one of momentous events: the end of the Roman Empire, the rise of Christianity across Western Europe, and the disappearance of Persia from the Near East. An era in which the most deep-rooted ancient institutions disappeared, creating divergent legacies that are still present today. Renowned historian Peter Brown examines these changes and the reactions to them to show that the late antiquity was an outstanding period of new beginnings with far-reaching impacts. The result is a lucid answer to a crucial question in world history: how the exceptionally homogenous Mediterranean world of the first century CE became divided into the three mutually estranged societies of the Middle Ages: Catholic Western Europe, Byzantium, and the Islamic world. Brown’s remarkable study in social and cultural transformation explains how and why the late antique world came to differ from the "classical civilization" of the Greeks and Romans. Featuring a new preface and updated with color illustrations throughout, The World of Late Antiquity demonstrates that we still have much to learn from this enduring and intriguing period of history.

It has long been an accepted assumption that the abstracted mode of visual representation that emerged in late antiquity reflected a collective shift from the outer-directed and ’material’ world-view of classical antiquity to an inner-directed, ’spiritual’ mentality informed by Christianity: the purpose of this volume is to offer a more nuanced and diverse image of the nature and meanings of abstraction and symbolism in late antique and early medieval art, beyond normative intepretation models, and from a number of different methodological and interpretative perspectives. In ten chapters, ten authors specialised in various fields of late-antique and Byzantine art explore the historiographical background of the ’spiritual’ interpretation paradigm, neuroscientific and theological dimensions of Christian visual aesthetics, meanings and motive factors behind apparently wholly abstract and aniconic compositions, symbolic motifs and schemes for visualising cosmic order and the cosmic state of Christ, and the re-use of symbolic Greco-Roman themes in Christian contexts. The result is a multi-focal image of late antique abstraction and symbolism that illuminates the heterogeneity and complexity of the phenomena and of their study.

Late Antique artefacts, and the images they carry, attest to a highly connected visual culture from ca. 300 to 800 C.E. On the one hand, the same decorative motifs and iconographies are found across various genres of visual and material culture, irrespective of social and economic differences among their users – for instance in mosaics, architectural decoration, and luxury arts (silver plate, textiles, ivories), as well as in everyday objects such as tableware, lamps, and pilgrim vessels. On the other hand, they are also spread in geographically distant regions, mingled with local elements, far beyond the traditional borders of the classical world. At the same time, foreign motifs, especially of Germanic and Sasanian origin, are attested in Roman territories. This volume aims at investigating the reasons behind this seemingly globalised visual culture spread across the Late Antique world, both within the borders of the (former) Roman and (later) Byzantine Empire and beyond, bringing together diverse approaches characteristic of different national and disciplinary traditions. The presentation of a wide range of relevant case studies chosen from different geographical and cultural contexts exemplifies the vast scale of the phenomenon and demonstrates the benefit of addressing such a complex historical question with a combination of different theoretical approaches.

Late Antique and Medieval Art of the Mediterranean World is a much-needed teaching anthology that rethinks and broadens the scope of the stale and limiting classifications used for Early Christian-Byzantine visual arts. A comprehensive anthology offering a new approach to the visual arts classified as Early Christian-Byzantine Comprised of essays from experts in the field that integrate the newer, historiographical research into 'the canon' of established scholarship Exposes the historical, geographical and cultural continuities and interactions in the visual arts of the late antique and medieval Mediterranean world Covers an extensive range of topics, including the effect that converging cultures in late antiquity had on art, the cultural identities that can be observed by looking at difference of tradition in visual art, and the variance of illuminations in holy books

In 11 in-depth essays and over 500 encyclopedia entries, a cast of experts provides fresh perspectives on an era marked by the rise of two world religions, unprecedented upheavals, and the creation of art of enduring glory. 79 illustrations, 16 in color.

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