Archaeopress Paperback English
Spectacle and Display: A Modern History of Britain’s Roman Mosaic Pavements
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Spectacle and Display: A Modern History of Britain’s Roman Mosaic Pavements is the first narrative to explore responses and attitudes to mosaics, not just at the point of discovery but during their subsequent history. It is a field which has received scant attention in the literature and provides a compelling insight into the agency of these spectacular remains. Analysis shows how mosaics have influenced and have been instrumental in the commodification of the past, the development of conservation practice and promoting the rise of the archaeologist. ‘The most spectacular remains of Roman Britain’ is a familiar description applied to the discovery of mosaics floors. They are exceptional symbols of Roman life in the province of Britannia and each new discovery is eagerly reported in the press. Yet one estimate suggested that 75% of all known mosaics from Britain have been lost, and they are commonly displayed out of context, wall mounted as artwork in museums and exhibitions and far from their role as floors. This is a contested narrative in which spectacle and survival, conservation and fine art, ownership and curation provide the discourse and texts of contemporary attitudes.
Spectacle and Display: A Modern History of Britain’s Roman Mosaic Pavements is the first narrative to explore responses and attitudes to mosaics, not just at the point of discovery but during their subsequent history. It is a field which has received scant attention in the literature and provides a compelling insight into the agency of these spectacular remains. Analysis shows how mosaics have influenced and have been instrumental in the commodification of the past, the development of conservation practice and promoting the rise of the archaeologist. ‘The most spectacular remains of Roman Britain’ is a familiar description applied to the discovery of mosaics floors. They are exceptional symbols of Roman life in the province of Britannia and each new discovery is eagerly reported in the press. Yet one estimate suggested that 75% of all known mosaics from Britain have been lost, and they are commonly displayed out of context, wall mounted as artwork in museums and exhibitions and far from their role as floors. This is a contested narrative in which spectacle and survival, conservation and fine art, ownership and curation provide the discourse and texts of contemporary attitudes.