Hellenistic Antioch remains poorly known. Yet the later city’s visual repertoire, whether through emblemata, entire tessellated surfaces, or sculpture in the round is a recursive celebration of a shared Hellenistic past.

The opulence of Antioch and Daphne’s houses is well known; how new theoretical and methodological approaches help us evaluate this complicated archaeological record is the focus of this chapter.

Since the 1930s, archaeologists have excavated over 300 mosaics at Antioch and its environs. This essay explores the developments and historiography on Antioch’s mosaics as well as new methodological approaches.

This concluding chapter showcases the ways that rivers and their stories bound stories and places across the ages, despite very tangible changes to the environmental and urban contexts of Europe post 1000. These stories helped people on the other end of the year 1000 shift to negotiate, as had Ausonius and Fortunatus, between change and continuity, past and present. It starts with a discussion of a thirteenth century artwork, the Metz ceiling, connecting it to Late Antique and early medieval ideas of hybrid animals, hybrid identities, and other kinds of barrier crossing in and around water. It concludes with an exploration of the encyclopedic Liber Floridus (c. 1100) as hybrid/composite text. How did its author use the stories of the past? How did artists and authors in the Central Middle Ages assess and assemble the inherited ideas about rivers and their relation to human identity? Just as rivers are continually reshaped yet (mostly) endure, their stories and uses shift over time, yet persist. There is always a riverscape that is shaping contemporary cultures that are also looking back to the past to find meaning in nature.

This chapter is devoted entirely to the Roman church of Santa Prassede, the principal surviving architectural project of Pope Paschal I (817–824). Its function as a major urban repository for the relics of the city’s Early Christian saints and martyrs, more than 2000 of which were brought here from the extramural catacombs, determines both the architectural model (Saint Peter’s) and many aspects of the decoration in mosaic, mural painting and sculpture. Special attention is devoted to the San Zeno chapel, the burial site of Paschal’s mother, Theodora, whose mosaic programme, including her portrait, is completely preserved and reflects that function. Consideration is given to Richard Krautheimer’s suggestion that this church constitutes evidence for a ‘Carolingian renascence’ of architectural forms associated with the first Christian emperor, Constantine.

This chapter provides a broader context for the achievement represented by Santa Prassede through an examination of what is known about Paschal’s numerous other building projects and patronage of material culture. Some of these survive (mosaics in the churches of Santa Maria in Domnica and Santa Cecilia in Trastevere, enamel and gilded silver reliquaries in the Sancta Sanctorum) and some are recorded in contemporary and subsequent antiquarian descriptions (funerary chapel in Saint Peter’s, restructuring of the presbytery at Santa Maria Maggiore). All can be related to papal concerns regarding relics, liturgy and the pope’s personal salvation.

This chapter analyzes a very different sense in which “demythologization” is sometimes used: referring not to the wholesale abandonment of mythological narratives but to their fragmentation and deformation as individual characters are ripped out of their narrative context in order to function as stand-alone symbols. Prior scholarship has consistently conflated the two phenomena. For critical leverage here I analyze the development of particular genres of sarcophagi, such as those showing frisky sea creatures, while also stepping outside the funerary domain to consider questions of narrative and allegory raised by sculpture in the round and ensembles of domestic wall paintings.

This chapter turns from religious and political explanations to those that frame demythologization in terms of other social and cultural shifts. Some have proposed that it reflects a rising populism, a widespread decline in education levels, or a diminution in the value Romans assigned to mythological culture. Others have seen in the rise of mythless genres a growing desire for imagery that more clearly projected social status. All are examined.

Detailed examination of two building projects associated with Pope John VII (705–7); his funerary chapel in Old Saint Peter’s and the redecoration of the church of Santa Maria Antiqua. Prime attention is given to the cultural background of the decorations and the media employed.