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	J. Higginbotham and J. G. Pedley, "Excavation Methods   and History of Excavation," J. Higginbotham, J. G. Pedley and J. Sevink, "Topography, Geology and Stratigraphy" J. Higginbotham, "The Piscina, in J. G. Pedley and M. Torelli, The Sanctuary of Santa Venera at Paestum I, (Rome 1993)
	James Higginbotham. Piscinae. Artificial Fishponds in Roman Italy, (Chapel Hill 1997).

 

In the Round:

Ancient Art from All Sides       

“In the round” traditionally refers to free-standing sculpture that are not connected to anything except their bases. The form was widely admired in the ancient world for its natural look and ability to move the viewer to take in all sides.  Pliny the Elder, writing in the first century C.E., singled out for special note the statue of Venus at Knidos created by the Greek sculptor Praxiteles, praising both the statue and its setting:

“The shrine in which [Venus] stands is entirely open so as to allow the image of the

goddess to be viewed from every side, and it is believed to have been made in this way

with the blessing of the goddess herself. The statue is equally admirable from all sides.”           

                                                                                                  (Historia Naturalis36.4.21)

 With the Museum’s Rotunda providing a fitting stage,

In the Roundhighlights sculpture and other artifacts that suggest the ingenious ways artists represent depth and movement, while at the same time enticing the viewer to explore multiple vantage points. By flipping a coin, rotating a vase, or walking around a sculpture, the composition changes and new perspectives emerge. Drawing on examples from the ancient Mediterranean, In the Roundexplores these early innovations in art.

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