• Yoshihiro Nishiaki, Farhad Guliyev, and Seiji Kadowaki

    Research on the earliest Neolithic in the South Caucasus is still in its early stages. Establishing a solid chronological framework will help determine the timing of the emergence and subsequent development of regional Neolithic societies. This article reports on 46 radiocarbon dates obtained from the two recently excavated Early Pottery Neolithic sites of Göytepe and Hacı Elamxanlı Tepe, the oldest farming villages known to date in West Azerbaijan.

  • Sheramy D. Bundrick

    Since the late 1970s, scholars have explored Athenian eye cups within the presumed context of the symposion, privileging a hypothetical Athenian viewer and themes of masking and play. Such emphases, however, neglect chronology and distribution, which reveal the complexity of the pottery trade during the late sixth and the fifth centuries B.C.E.

  • Maggie L. Popkin

    Lintel relief from the Tomb of the Haterii, Rome
    Lintel relief from the Tomb of the Haterii, Rome

    Roman influence at the Sanctuary of the Great Gods at Samothrace is well documented in the literary and archaeological records. This article asks whether some reflection of Romans’ demonstrable involvement at Samothrace appears in Rome itself. I argue that the tradition of a genealogical link between Rome and Samothrace existed as early as the second century B.C.E.

  • Matthias Bruno, Donato Attanasio, and Walter Prochaska

    Seventeen marble samples drawn from the Scylla, Polyphemos, and Pasquino Groups, the Theft of the Palladium statue group, and the Ganymede statue discovered at Sperlonga in 1957 were investigated scientifically and proved to be all Docimium marble from the quarries of İscehisar near Afyon.

  • W.V. Harris

    This article proposes a series of fundamental questions concerning the economic aspects of the production of works of art in the Roman world, focusing chiefly on “high-end” production. The first and last of the five questions addressed serve as a chronological framework: (1) When did war booty and extortion cease to be important sources of the supply of works of art and give way to “normal” markets? (2) In what sense did clients provide artists with patronage?