The So-Called Aldobrandini Wedding. Research from the Years 1990 to 2016.

Amsterdam: FM Art Publications 2019,188 p. Hardback.

Price: € 140,00.

ISBN 978 90 90319186.

"The So-Called Aldobrandini Wedding: Research from the Years 1990 to 2016 will undoubtedly remain an unvaluable resource for anyone interested in the history of Roman wall painting and its modern reception in the years to come".

Hérica Valladares, Journal of Roman Archaeology, 2022, 9.

The So-Called Peleus and Thetis Sarcophagus in the Villa Albani.

Iconological Studies in Roman Art I. J.C. Gieben Publisher, Amsterdam 1994. ISBN 90 5063 246 7; hardback

In this iconological study the author demonstrates the invalidity of the current interpretation of the relief on the so-called Peleus and Thetis sarcophagus in the Villa Albani in Rome, an interpretation which goes back to Winckelman. By applying a modern art-historical method, he arrives at a fundamentally new interpretation. It becomes clear that the splendid sarcophagus in the Villa Albani is higly characteristic of 'academic' art of the Hadrianic era. The unique nature of the representation on the Albani sarcophagus, which consists mainly of allegorical figures, makes it an excellent point of entry for the interpretation of mythological scenes applied in a funerary context.

The Wall Paintings from the Oecus of the Villa of Publius Fannius Synistor in Boscoreale.

Iconological Studies in Roman Art II. J.C. Gieben Publisher, Amsterdam 1994. ISBN 90 5063 256 4; hardback

The cycle of of frescoes from the oecus or banqueting hall in the Villa of Publius Fannius Synistor in Boscoreale is generally interpreted as a portrait of a Hellenistic dynasty. The iconological study presented in this volume offers historical and art-historical arguments against this supposition. On the basis of a meticulous iconographic analysis, the author arrives at an entirely new interpretation. He demonstrates that the individual panels of which the fresco cycle is composed are not unica, as was hitherto assumed, but that they belong to an iconographical tradition which has left traces elsewhere in ancient art. On the basis of this new interpretation, the author comes to the conclusion that the fresco cycle from the Villa of Fannius was intended as an eloquent testimony to the cultural aspirations of a well-to-do Roman from the middle of the first century B.C.

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The Aldobrandini Wedding.

Iconological Studies in Roman Art III. J.C. Gieben Publisher, Amsterdam 1994. ISBN 90 5063 266 1; hardback

One of the most intriguing works of art which have come down to us from antiquity is the Roman fresco known as 'The Aldobrandini Wedding'. The author's critical review of previous interpretations reveals that none of them will stand up to scrutiny. By applying a modern art-historical method he arrives at a fundamentally new interpretation which accounts for the many iconographical details which are a distinctive feature of 'The Aldobrandini Wedding'. The painting turns out to be an idiosyncratic variant of a mythological theme that frequently crops up elsewhere in Roman art.

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