Culture and society at Lullingstone Roman Villa

Culture and society at Lullingstone Roman Villa / Caroline K. Mackenzie.

Richly illustrated and clearly written, Culture and Society at Lullingstone Roman Villaarticulates a thoughtful and original approach to this remarkable site. It presents extensive scholarly research in an accessible manner and is recommended reading for academics and enthusiasts alike.

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Bibliographic Details
Main Author: Mackenzie, Caroline K. (Author)
Format: eBook
Language:English
Published: Oxford : Archaeopress Publishing Ltd, [2019]
Series:Archaeopress archaeology.
Subjects:
Excavations (Archaeology) > England > Kent.
Classical antiquities
Excavations (Archaeology)
Manners and customs
Lullingstone Roman Villa Site (England)
Lullingstone Roman Villa Site (England) > Pictorial works.
Kent (England) > Antiquities, Roman.
Kent (England) > Social life and customs.
England > Kent
England > Lullingstone Roman Villa Site
Pictorial works
Online Access:Click for online access
Table of Contents:
  • Cover
  • Copyright Information
  • List of Figures
  • Figure 1.1. Chi Rho wall-painting, Lullingstone. c. AD 380. © 2019 The Trustees of the British Museum.
  • Figure 1.2. 'Orantes' wall-painting, Lullingstone. c. AD 380. © 2019 The Trustees of the British Museum.
  • Figure 2.1. North Kent in the Roman period. From Wilson 2009: 26. © Historic England Archive.
  • Figure 2.2. Lullingstone Villa in its landscape in the later fourth century AD (illustration by Peter Urmston). © Historic England Archive.
  • Figure 2.3. Dig at Otford, Church Field. 30.7.18. Photograph: by author.
  • Figure 2.4. Illustration of Villa c. AD 90-100 (illustration by Peter Urmston). © Historic England Archive.
  • Figure 2.5. Baths: view looking north-west, steps in background. Meates 1979: 203, Plate XIXa. © Kent Archaeological Society.
  • Figure 2.6. Baths: close-up view of steps looking west. Meates 1979: 203, Plate XIXb. © Kent Archaeological Society.
  • Figure 2.7. The baths as they may have appeared in the late third century AD (illustration by Peter Dunn/Richard Lea). © Historic England Archive.
  • Figure 2.8. Deep Room: niche in south wall showing painting of water-nymphs. Meates 1979: 186, plate Vd. © Kent Archaeological Society.
  • Figure 2.9. Reconstruction of 'Deep Room' shown at underground level, c. AD 380 (illustration by Peter Dunn/Richard Lea). © Historic England Archive.
  • Figure 2.10. Modern view of Darent Valley, taken in field behind Lullingstone Villa. Photograph: by author.
  • Figure 2.11. Modern view of Darent Valley, taken from modern road approaching the Villa. Photograph: by author.
  • Figure 2.12. Reconstruction drawing of Lullingstone Villa in the fourth century AD (illustration by Alan Sorrell). © Historic England Archive.
  • Figure 2.13. Lullingstone Villa with temple-mausoleum behind, in the late third century AD (illustration by Peter Urmston). © Historic England Archive.
  • Figure 2.14. Granary: view looking north-east. Meates 1979: 207, Plate XXIIIa. © Kent Archaeological Society.
  • Figure 2.15. Granary: central boxes. Meates 1979: 208, Plate XXIVa. © Kent Archaeological Society.
  • Figure 2.16. Middle Littleton Tithe Barn, a thirteenth century barn in Evesham, Worcestershire. © National Trust Images/Robert Morris.
  • Figure 2.17. Remains of Great Witcombe Roman Villa, Gloucestershire. © Historic England Archive.
  • Figure 2.18. Reconstruction drawing of Great Witcombe Roman Villa in the fourth century AD (illustration by Ivan Lapper). © Historic England Archive.
  • Figure 2.19. An illustration showing an aerial view of Chedworth Roman Villa as it was in its peak. © National Trust Images.
  • Figure 3.1. Detail: Bellerophon on Pegasus, spearing the Chimaera. c. AD 330-60. © Historic England Archive.
  • Figure 3.2. Detail: Summer. c. AD 330-60. © Historic England Archive.
  • Figure 3.3. Brading Roman Villa mosaic: Spring. © Oglander Roman Trust.
  • Figure 3.4. Brading Roman Villa mosaic: Summer. © Oglander Roman Trust.
  • Figure 3.5. Brading Roman Villa mosaic: Winter. © Oglander Roman Trust.
  • Figure 3.6. Detail of Pegasus and the Chimaera, Hinton St Mary. Early fourth century AD. © 2019 The Trustees of the British Museum.
  • Figure 3.7. Tombstone of Julia Velva depicting apsidal dining room, AD 200-300. (YORYM: 1998.25). © York Museums Trust (Yorkshire Museum).
  • Figure 3.8. Reconstruction of Lullingstone's apsidal dining room with stibadium. c. AD 330-60 (illustration by Peter Dunn). © Historic England Archive.
  • Figure 3.10. View across central audience chamber to apse with step (looking north-west). Meates 1979: 201, Plate XVIIc. © Kent Archaeological Society.
  • Figure 3.9. View across central audience chamber to apse with step (looking south). Meates 1979: 201, Plate XVIIb. © Kent Archaeological Society.
  • Figure 3.11. Reconstruction of Lullingstone's audience chamber and apse. c. AD 330-60 (illustration by Peter Dunn). © Historic England Archive.
  • Figure 3.12. Europa mosaic. c. AD 330-60. © Historic England Archive.
  • Figure 3.13. Detail: Cupid. c. AD 330-60. © Historic England Archive.
  • Figure 3.14. Europa mosaic. Keynsham. Fourth century AD. © www.bathnewseum.com
  • Figure 3.15. Otford wall-painting and inscription. Early second century AD. © 2019 The Trustees of the British Museum.
  • Figure 3.16. Scenes from Virgil's Aeneid. Low Ham mosaic, fourth century AD. © Somerset Archaeological and Natural History Society and South West Heritage Trust, 2019.
  • Figure 4.1. View of Lullingstone Roman Villa from south-east. (3D Reconstruction with Modo Software.) © Rob Sherratt.
  • Figure 4.2. View of Lullingstone Roman Villa from north-east. (3D Reconstruction with Modo Software.) © Rob Sherratt.
  • Figure 4.3. View of Lullingstone Roman Villa from south-west. (3D Reconstruction with Modo Software.) © Rob Sherratt.
  • Figure 4.4. The floorplan of the whole villa. © Rod Shelton.
  • Figure 4.5. The front of the villa including the veranda (from the east). © Rod Shelton.
  • Figure 4.6. The audience chamber. © Rod Shelton.
  • Figure 4.7. The audience chamber, with the apsidal dining room beyond. © Rod Shelton.
  • Figure 4.8. The bath complex at the south of the villa, including the well. © Rod Shelton.
  • Figure 4.9. The house-church at the north of the villa. © Rod Shelton.
  • Figure 4.10. The Deep Room seen beneath the floorboards of the room above it. © Rod Shelton.
  • Preface and Acknowledgements
  • Chapter One
  • Introduction
  • Chapter Two
  • The villa within its landscape setting and the role of topography in the owner's self-representation
  • Landscape setting
  • Ancillary buildings
  • Circular shrine and temple-mausoleum
  • Granary
  • Comparable villas
  • A further case study: Chedworth
  • Chapter Three
  • The choice and use of mosaics in the fourth century villa: how the patron presented his cultural identity and status through pavements
  • Grand designs
  • The central room
  • The seasons
  • Bellerophon
  • The apse
  • Europa and the bull
  • The inscription
  • An incongruous combination?
  • Classical literature in other Romano-British villas
  • Chapter Four
  • Additional reconstructions of the villa
  • The villa within its landscape setting
  • The villa's interior space and decoration
  • Summary of reconstructions
  • Chapter Five
  • Conclusion
  • Bibliography
  • Online sources.

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