(London, 1967), and the reference work of S. B. Platner and T. Ashby, Topographical Dictionary of
Ancient Rome (Oxford, 1929) and the photographic archive of E. Nash, Pictorial Dictionary of Ancient
Rome (2 vols., 2nd. edn., London and New York, 1968) remain fundamental.
The best short introduction in English to Roman art is that of J. M. C. Toynbee, Art of the Romans
(London and New York, 1965); the most balanced longer account that of D. E. Strong, Roman Art
(Harmondsworth, 1976, reissued in integrated format 1980), but the latter was published posthumously
and shows signs of being unfinished. Neither deals with architecture. M. Henig (ed.), Handbook of
Roman Art (Oxford, 1983), is a well illustrated up-to-date account for the general reader with essays of
uneven quality from several hands. The most lavishly illustrated single-volume treatment of Roman art,
with copious colour and black-and-white photographs, is B. Andreae's The Art of Rome (New York,
1977; London, 1978), and there are also excellent illustrations in R. Bianchi Bandinelli's Rome, The
Centre of Power and Rome, The Late Empire (London and New York, 1970 and 1971). Sir Mortimer
Wheeler's Roman Art and Architecture (London and New York, 1964) has a lively if slightly
idiosyncratic text and deals mainly with architecture, thematically by building type; the chapters on
painting, sculpture, and the minor arts are very sketchy. Somewhat idiosyncratic, too, is the arrangement
of material adopted by R. Brilliant, Roman Art (London, 1974). More balanced, well-illustrated
accounts include G. M. A. Hanfmann, Roman Art (London and New York, 1964) and H. Kahler, Rome
and Her Empire (London and New York, 1963), but both are now slightly out of date. O. Brendel,
Prolegomena to the Study of Roman Art (New Haven and London, 1979), is especially useful on the
different attitudes to Roman art from the eighteenth century onwards.
On the Republican background see the early chapters of the books quoted in the last paragraph. There
are no full-length studies, except on the architecture, for which see A. Bocthius, Etruscan and Early
Roman Architecture (Harmondsworth, 1978); this is a revised version of the first part of A. Boethius and
J. B. Ward-Perkins, Etruscan and Roman Architecture (Harmondsworth, 1970), now reissued as two
separate books. The Etruscan background is best studied in O.J. Brendel, Etruscan Art (Harmondsworth,
1978), and G. M. A. Richtcr's Ancient Italy (Ann Arbor, 1955) studies inter alia the impact of
Hellenistic art on the peninsula, a theme explored in depth in P. Zanker (ed.), Hellenismus in
Mittelitalien (Groningen, 1976), a conference proceedings with contributions in several languages.
On Roman imperial architecture, J. B. Ward-Perkins's Roman Imperial Architecture (Harmondsworth,
1981) is magisterial and will long remain the standard work; this is the revised version of the second part
of the 1970 book mentioned above. J. B. Ward-Perkins's Roman Architecture (New York, 1977) is a
briefer, but no less lucid, account from the same hand. F. Sear, Roman Architecture (London, 1982),
largely rehearses the same ground as Ward-Perkins with few fresh insights. Briefer essays include F. E.
Brown, Roman Architecture (New York, 1961), and G. Picard, Living Architecture: Roman (London
and New York, 1966); more specialized are W. L. MacDonald, The Architecture of the Roman Empire I
(New Haven and London, 2nd edn., 1982), a detailed study of five buildings in Roman from Nero to
Hadrian (especially good on vaulting), and the collection of essays on various topics by A. Boethius,
The Golden House of Nero (Ann Arbor, i960). Mac-Donald's essay on The Pantheon (Harmondsworth,
1976) provides not only a lucid analysis of that singular building but also an account of its many
imitators down to the present century. On baroque there is M. Lyttelton, Baroque Architecture in