Böcker av Martin Henig

Julian Munby has gained a reputation over half a century in many branches of archaeological and historical knowledge, from his meticulous publication of the medieval timber structure of 126 High Street and his later elucidation of Tackley's Inn from J. Buckler's nineteenth century records when he was an undergraduate, to more recent work on the Historic Towns Atlas for Oxford. He has taken in the publication of the medieval castle at Portchester, the roofs of Chichester and many other cathedrals, the landscape history of Levens Park, Westmorland, the Round Table at Windsor Castle and the Field of the Cloth of Gold. He is an enthusiast for the history of Antiquity, topographical art, and for reading historical sources in the original. His lively and warm character and sense of fun has made him many friends who also in some sense feel they are his pupils, and this collection of papers has been assembled as a tribute. The first part comprises a preface by the editors, his daughter and son share accounts of being brought up in a household where it was normal for parents to be archaeologists, Jane Woodcock remembers ten years when Julian spent his day in an office arranging exams and cooking gourmet meals, and Deirdre Forde and others reveal his pioneering work teaching building archaeology. The second part consists of papers by friends who share his enthusiasm and in each case write on a facet of his interests, from his brother's paper on the superbly engineered tunnel at Box, a reminder that railways and railway architecture has always been one of Julian's loves, to Oxford topography in a number of papers and the later decor of Windsor Castle.

This volume is part of a two volume set: ISBN 9781407387475 (Volume I); ISBN 9781407387482 (Volume II); ISBN 9780904531916 (Volume set).

This volume is part of a two volume set: ISBN 9781407387475 (Volume I); ISBN 9781407387482 (Volume II); ISBN 9780904531916 (Volume set).

'The primary purpose of an engraved gem or ring-bezel, cut in intaglio, was to make an impression upon some fictile material…, which would be understood by the owner of the device, and by his associates, as a personal signature.' So began Martin Henig's original BAR Number 8 from 1978, in the British Series of British Archaeological Reports, a catalogue and study of over 1000 Roman engraved gemstones from the British Isles. Nearly 30 years later comes the third edition of this study, the new Preface to which concludes: 'Over the years I have thought more about gems in relation to other arts and have integrated glyptics into my book on The Art of Roman Britain (1995). Several papers I have written recently have attempted to use gems, like sculpture, painting and bronzes to elucidate general artistic problems. This should be obvious but how many art-historians seem to have the inclination to take gems seriously? At least interest in provincial glyptics seems greater today and that gives me grounds for hope. Important studies are being conducted across the Empire ranging from Belgium … and Portugal …, to Turkey … and Israel. It is for each new generation to reassess the evidence, in the case of our subject with the aid of new techniques, of computing on the one hand and scientific analysis of materials and cutting techniques on the other. In addition the fresh eye of youth is always invaluable. Someone else can often see what should have been obvious to one all the time. (Wolfson College, Oxford. Feast of St Frideswide, 2005)'

With the help of over 100 illustrations, many of them little known, Martin Henig shows that the art produced in Britannia rivals that of other provinces and deserves comparison with the art of metropolitan Rome.

Using a wide range of archaeological evidence, Dr Henig shows that the Roman element in religion was of much greater significance in Britain and that the natural Roman veneration for the gods gave way to meaningful expression.