Vol 15 (2001): Imperial art as Christian art - Christian art as Imperial art (TOC and abstracts) | Acta ad archaeologiam et artium historiam pertinentia

Expression and meaning in art and architecture from Constantine to Justinian.

Published: 2020-02-25

Architettura come codice di trasmissione dell'immagine dell'imperatore, dai Severi all'età costantiniana

Federico Guidobaldi

13-26
Urban Space and Ritual: Constantinople in Late Antiquity

Franz Alto Bauer

27-61
Christian Emperors and Legacy of Imperial Art

Hans-Rudolf Meier

63-75
The Oratory of the Forty Martyrs: From Imperial Ante-Vestibule to Christian Room of Worship

Kirsti Gulowsen

77-91
The Ruler Image of the Fourth Century: Innovation or Tradition

Niels Hannestad

93-107
Constantine, the Lateran, and Early Church Building Policy

Olof Brandt

109-114
The Church Basilica

Dale Kinney

115-135
Imperial Connotations in Roman Church Interiors. The Significance and Effect of the Lateran Fastigium

Sible De Blaauw

137-146
Imperiale - cristiano - pagano - privato. Dal contesto al significato

Beate Brenk

149-162
The Emperor and the Icon

Thomas F. Mathews

163-177
The Anatomy of Late Roman Art. Interaction between Public and Private, Meaning and Image, Patron and Workshop

Laszlo Berczelli

179-191
Eastern or Western - that is the Question. Some Notes on the New Evidence concerning the Eastern Origin of the Halberstadt Diptych

Gudrun Bühl

193-203
Cristo e l'imperatore romano: i valori simbolici del nimbo

Agneta Ahlqvist

207-227
Adventus travels North. A Note in the Iconography of some Scandinavian Gold Bracteates

Gunilla Åkerström-Hougen

229-244
Ducks, Dolphins, and Portrait Medallions: Framing the Achilles Mosaic at Pedrosa de la Vega (Palencia)

Bente Killerich

245-267
A Terracotta Plaque in the Dumbarton Oaks Collection. Judgement scene or Congiarium?

Siri Sande

269-282
The Iconography of the Sarcophagus in S. Ambrogio. Hope for Salvation through the Word of Christ

Olaf Steen

283-294
Un décor de voûte controversé: L’ornementation “sassanide” d’une mosaïque de la Rotonde de Saint-Georges à Thessalonique

Hjalmar Torp

295-317
Le champ de la mosaïque décorant la voûte en berceau du passage sud, passage qui correspond à l’entrée primitive de l’église, présente une grande croix latine pattée insérée dans un décor qui, à côté d’un semis d’étoiles, comporte divers motifs communémen

Per Jonas Nordhagen

319-336