It was ruled for all that time by a succession of able kings, but broke down twice, before eventually succumbing to dynastic rivalries, and simultaneous external invasions and internal grasps for independence. The first king, Seleukos I, established a pattern of rule which was unusually friendly towards his subjects, and his policies promoted the steady growth of wealth and population in many areas which had been depopulated when he took them over. In particular the dynasty was active in founding cities from Asia Minor to Central Asia. Its work set the social and economic scene of the Middle East for many centuries to come. Yet these kings had to be warriors too as they defended their realm from jealous neighbors. John D Grainger's trilogy charts the rise and fall of this superpower of the ancient world.In the first volume, John D Grainger relates the remarkable twists of fortune and daring that saw Seleukos, an officer in an elite guard unit, emerge from the wars of the diadochi (Alexander's successors) in control of the largest and richest part of the empire of the late Alexander the Great. After his conquests and eventual murder, we then see how his successors continued his policies, including the repeated wars with the Ptolemaic rules of Egypt over control of Syria. The volume ends with the deep internal crisis and the wars of the brothers, which left only a single member of the dynasty alive in 223 BC.

    He has left his greatest mark on Rome where Papal patronage provided him with enormous architectural commissions.TABLE OF CONTENTSBerniniList of PlatesList of Text FiguresForewordIntroduction1. The Prodigy2. Bernini in Command3. Disaster and Triumph4. Two Churches and St. Peter’s5. Le Cavalier en France6. The Late WorksBibliographical NoteNotes to the TextIndex

    Drawing on 40 years of experience of presenting art to the public, Marilyn Stokstad offers this comprehensive look at art in all of its diversity, from paintings and architecture to tapestries, jewellery and electronic art.

    Zeyl's masterful translation of Timaeus is presented along with his 75 page introductory essay, which discusses points of contemporary interest in the Timaeus, deals at length with long-standing and current issues of interpretation, and provides a consecutive commentary on the work as a whole. Includes an analytic table of contents and a select bibliography.

    The sheer number and proximity of works of painting, sculpture, and architecture in Florence can be so overwhelming that Florentine hospitals treat hundreds of visitors each year for symptoms brought on by trying to see them all, an illness famously identified with the French author Stendhal.While most guidebooks offer only brief descriptions of a large number of works, with little discussion of the historical background, Judith Testa gives a fresh perspective on the rich and brilliant art of the Florentine Renaissance in An Art Lover’s Guide to Florence. Concentrating on a number of the greatest works, by such masters as Botticelli and Michelangelo, Testa explains each piece in terms of what it meant to the people who produced it and for whom they made it, deftly treating the complex interplay of politics, sex, and religion that were involved in the creation of those works. With Testa as a guide, armchair travelers and tourists alike will delight in the fascinating world of Florentine art and history.

    But what did it mean to those who constructed it in the twelfth and thirteenth centuries? And why, during this period, did Europeans begin to build churches in a new style, at such immense height and with such glorious play of light, in the soaring manner we now call Gothic?Universe of Stone shows that the Gothic cathedrals encode a far-reaching shift in the way medieval thinkers perceived their relationship with their world. For the first time, they began to believe in an orderly, rational world that could be investigated and understood. This change marked the beginning of Western science and also the start of a long and, indeed, unfinished struggle to reconcile faith and reason.By embedding the cathedral in the culture of the twelfth century—its schools of philosophy and science, its trades and technologies, its politics and religious debates—Philip Ball makes sense of the visual and emotional power of Chartres. Beautifully illustrated and written, filled with astonishing insight, Universe of Stone argues that Chartres is a sublime expression of the originality and vitality of a true "first renaissance," one that occurred long before the birth of Leonardo da Vinci, Michelangelo, or Francis Bacon.

    Her face has become one of the most recognizable images in the world. She was an independent woman and thinker centuries before her time. But who was Egypt's Queen Nefertiti?After years of intense research, Dr. Joann Fletcher has answered the questions countless researchers before her could not. While studying Egyptian royal wigs, she read a brief mention of an unidentified and mummified body, discovered long ago and believed to belong to an Egyptian of little importance. This body happened to have a wig, which Dr. Fletcher knew was a clear sign of power. After examining the hairpiece and the woman to which it belonged, to the astonishment of her colleagues she identified this body as the missing remains of Queen Nefertiti.The search for Nefertiti had ended. She had been found. But the questions were just beginning.Nefertiti first rose to prominence in Egyptology in 1912, when a three-thousand-year-old bust of the queen was unearthed and quickly became a recognizable artifact around the world. But pieces of Nefertiti's life remained missing. The world had seen what she looked like, but few knew about her place in history.Virtually nothing is recorded about Nefertiti's early years. What is known about her life starts with her rise to power, her breaking through the sex barrier to rule as a virtual co-Pharaoh alongside her husband, Akhenaten. Upon his death she took full control of his kingdom. The Egyptian people loved her and celebrated her beauty in art, but the priests did not feel the same way. They believed Nefertiti's power over her husband was so great that she would instill her monotheistic beliefs upon him, rendering their own power obsolete. Egyptologists concur that it was these priests who, upon Nefertiti's death, had her name erased from public record and any likeness of her defaced. This ultimately led to her being left out of history for three thousand years.In The Search for Nefertiti Dr. Fletcher, an esteemed Egyptologist, traces not only her thirteen-year search for this woman, whose beauty was as great as her power, but also brings to the forefront the way Egypt's royal dead have been treated over time by people as varied as Agatha Christie and Adolf Hitler. She also explores how modern technology and forensics are quickly changing the field of archaeology and, in turn, what we know about history.

    These were the soldiers that defied the might of Persia at Marathon, Thermopylae and Plataea and, more often, fought each other in the countless battles of the Greek city-states. For around two centuries they were the dominant soldiers of the Classical world, in great demand as mercenaries throughout the Mediterranean and Middle East. Yet, despite the battle descriptions of Herodotus, Thucydides, Xenophon etc, and copious evidence of Greek art and archaeology, there are still many aspects of hoplite warfare that are little understood or the subject of fierce academic debate.Christopher Matthew's groundbreaking reassessment combines rigorous analysis of the literary and archaeological evidence with the new disciplines of reconstructive archaeology, re-enactment and ballistic science. He focuses meticulously on the details of the equipment, tactics and capabilities of the individual hoplites. In so doing he challenges some long-established assumptions. For example, despite a couple of centuries of study of the hoplites portrayed in Greek vase paintings, Matthew manages to glean from them some startlingly fresh insights into how hoplites wielded their spears. These findings are supported by practical testing with his own replica hoplite panoply and the experiences of a group of dedicated re-enactors. He also tackles such questions as the protective properties of hoplite shields and armour and the much-vexed debate on the exact nature of the 'othismos' , the climax of phalanx-on-phalanx clashes.This is an innovative and refreshing reassessment of one of the most important kinds of troops in ancient warfare, sure to make a genuine contribution to the state of knowledge.

    Stone ranges far and wide over Roman as well as Greek history to present an engaging and rewarding introduction to classical antiquity and its relevance to society today. The New York Times called this national best-seller an "intellectual thriller."

    In his own time, Kilmt (1862-1918) was a highly successful painter, draftsman, muralist, and graphic artist; in the intervening years, iconic works such as The Kiss have been elevated to nothing less than cult status. Klimt's unfading popularity attests to the appeal of not only his aesthetic sensibilities but also that of the recurrent universal themes in his work: love, feminine beauty, aging, and death. He once wrote, "I am a painter who paints day after day from morning to night...Who ever wants to know something about me...ought to look carefully at my pictures." With this overview of Klimt's work, readers will delight in taking up that challenge.About the Series: Each book in TASCHEN's Basic Art series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

    Svetlana Alpers's study of 17th-century Dutch painting is a splendid example of this excitement and of the centrality of art history among current disciples. Professor Alpers puts forward a vividly argued thesis. There is, she says, a truly fundamental dichotomy between the art of the Italian Renaissance and that of the Dutch masters. . . . Italian art is the primary expression of a 'textual culture,' this is to say of a culture which seeks emblematic, allegorical or philosophical meanings in a serious painting. Alberti, Vasari and the many other theoreticians of the Italian Renaissance teach us to 'read' a painting, and to read it in depth so as to elicit and construe its several levels of signification. The world of Dutch art, by the contrast, arises from and enacts a truly 'visual culture.' It serves and energises a system of values in which meaning is not 'read' but 'seen,' in which new knowledge is visually recorded."—George Steiner, Sunday Times"There is no doubt that thanks to Alpers's highly original book the study of the Dutch masters of the seventeenth century will be thoroughly reformed and rejuvenated. . . . She herself has the verve, the knowledge, and the sensitivity to make us see familiar sights in a new light."—E. H. Gombrich, New York Review of Books

    In a relaxed and humorous tone, these splendid artists bring to life the myths that have inspired great European literature and art through the ages, creating a book readers of all ages will cherish."For any child fortunate enough to have this generous book...the kings and heroes of ancient legend will remain forever matter-of-fact; the pictures interpret the text literally and are full of detail and witty observation."--The Horn  Book"The drawings, particularly the full-page ones in this oversized volume, are excellent  and excitingly evocative."--The New  York Times"Parents, uncles, and aunts who have been searching for a big picture book that has good reading-aloud value for the younger ones and fine read-it-yourself value on up, have it in this volume...a children's classic."--Christian Science Monitor

    Setting Realism in its social and historical context, this title discusses the crucial paradox posed by Realist works of art - notably in the revolutionary paintings of Courbet, the works of Manet, Degas and Monet, of the Pre-Raphaelites and other English, American, German and Italian Realists.

    He wrote vast volumes about animals. He described them, classified them, told us where and how they live and how they develop in the womb or in the egg. He founded a science. It can even be said that he founded science itself.In The Lagoon, acclaimed biologist Armand Marie Leroi recovers Aristotle’s science. He revisits Aristotle’s writings and the places where he worked. He goes to the eastern Aegean island of Lesbos to see the creatures that Aristotle saw, where he saw them. He explores Aristotle’s observations, his deep ideas, his inspired guesses—and the things he got wildly wrong. He shows how Aristotle’s science is deeply intertwined with his philosophical system and reveals that he was not only the first biologist, but also one of the greatest.The Lagoon is both a travelogue and a study of the origins of science. And it shows how a philosopher who lived almost two millennia ago still has so much to teach us today.

    Captured in lavish detail and sumptuous color, here are scores of objects dating back to the reigns and tombs of such fabled kings and queens as Akhenaten, Nefertiti, and, of course, Tutankhamun, the richest trove of all. From superbly sculpted life-sized statues to elegantly inlaid furniture to funerary urns and myriad implements that guarantee safe passage to the Afterlife, they offer vivid insights into the skillful workmanship and astonishing sophistication of Egyptian culture in the golden age of the pharaohs. Intricate golden jewelry glitters with precious gems, while bas-relief panels depict great events and religious ceremonies. Each photograph is accompanied by a precise description of materials, subject, and significance.