From prehistoric Mexico to modern Istanbul, Mary Beard looks beyond the familiar canon of Western imagery to explore the history of art, religion, and humanity. Conceived as a gorgeously illustrated accompaniment to “How Do We Look” and “The Eye of Faith,” the famed Civilisations shows on PBS, renowned classicist Mary Beard has created this elegant volume on how we have looked at art. Focusing in Part I on the Olmec heads of early Mesoamerica, the colossal statues of the pharaoh Amenhotep III, and the nudes of classical Greece, Beard explores the power, hierarchy, and gender politics of the art of the ancient world, and explains how it came to define the so-called civilized world. In Part II, Beard chronicles some of the most breathtaking religious imagery ever made?whether at Angkor Wat, Ravenna, Venice, or in the art of Jewish and Islamic calligraphers? to show how all religions, ancient and modern, have faced irreconcilable problems in trying to picture the divine. With this classic volume, Beard redefines the Western-and male-centric legacies of Ernst Gombrich and Kenneth Clark

A sweeping, revisionist history of the Roman Empire from one of our foremost classicists. Ancient Rome was an imposing city even by modern standards, a sprawling imperial metropolis of more than a million inhabitants, a “mixture of luxury and filth, liberty and exploitation, civic pride and murderous civil war” that served as the seat of power for an empire that spanned from Spain to Syria. Yet how did all this emerge from what was once an insignificant village in central Italy? In S.P.Q.R., world-renowned classicist Mary Beard narrates the unprecedented rise of a civilization that even two thousand years later still shapes many of our most fundamental assumptions about power, citizenship, responsibility, political violence, empire, luxury, and beauty. From the foundational myth of Romulus and Remus to 212 cenearly a thousand years laterwhen the emperor Caracalla gave Roman citizenship to every free inhabitant of the empire, S.P.Q.R. (the abbreviation of “The Senate and People of Rome”) examines not just how we think of ancient Rome but challenges the comfortable historical perspectives that have existed for centuries by exploring how the Romans thought of themselves: how they challenged the idea of imperial rule, how they responded to terrorism and revolution, and how they invented a new idea of citizenship and nation. Opening the book in 63 bce with the famous clash between the populist aristocrat Catiline and Cicero, the renowned politician and orator, Beard animates this “terrorist conspiracy,” which was aimed at the very heart of the Republic, demonstrating how this singular event would presage the struggle between democracy and autocracy that would come to define much of Rome’s subsequent history. Illustrating how a classical democracy yielded to a self-confident and self-critical empire, S.P.Q.R. reintroduces us, though in a wholly different way, to famous and familiar charactersHannibal, Julius Caesar, Cleopatra, Augustus, and Nero, among otherswhile expanding the historical aperture to include those overlooked in traditional histories: the women, the slaves and ex-slaves, conspirators, and those on the losing side of Rome’s glorious conquests. Like the best detectives, Beard sifts fact from fiction, myth and propaganda from historical record, refusing either simple admiration or blanket condemnation. Far from being frozen in marble, Roman history, she shows, is constantly being revised and rewritten as our knowledge expands. Indeed, our perceptions of ancient Rome have changed dramatically over the last fifty years, and S.P.Q.R., with its nuanced attention to class inequality, democratic struggles, and the lives of entire groups of people omitted from the historical narrative for centuries, promises to shape our view of Roman history for decades to come.

Byron and Hitler were equally entranced by Rome’s most famous monument, the Colosseum. Mid-Victorians admired the hundreds of varieties of flowers in its crannies and occasionally shuddered at its reputation for contagion, danger, and sexual temptation. Today it is the highlight of a tour of Italy for more than three million visitors a year, a concert arena for the likes of Paul McCartney, and a national symbol of opposition to the death penalty. Its ancient history is chock full of romantic but erroneous myths. There is no evidence that any gladiator ever said “Hail Caesar, those about to die . . .” and we know of not one single Christian martyr who met his finish here.
Yet the reality is much stranger than the legend as the authors, two prominent classical historians, explain in this absorbing account. We learn the details of how the arena was built and at what cost; we are introduced to the emperors who sometimes fought in gladiatorial games staged at the Colosseum; and we take measure of the audience who reveled in, or opposed, these games. The authors also trace the strange afterlife of the monument-as fortress, shrine of martyrs, church, and glue factory. Why are we so fascinated with this arena of death?

Pompeii is the most famous archaeological site in the world, visited by more than two million people each year. Yet it is also one of the most puzzling, with an intriguing and sometimes violent history.
Destroyed by Vesuvius in 79 CE, the ruins of Pompeii offer the best evidence we have of life in the Roman Empire. But the eruptions are only part of the story. In The Fires of Vesuvius, acclaimed historian Mary Beard makes sense of the remains. She explores what kind of town it was-more like Calcutta or the Costa del Sol?-and what it can tell us about “ordinary” life there. From sex to politics, food to religion, slavery to literacy, Beard offers us the big picture even as she takes us close enough to the past to smell the bad breath and see the intestinal tapeworms of the inhabitants of the lost city. She resurrects the Temple of Isis as a testament to ancient multiculturalism. At the Suburban Baths we go from communal bathing to hygiene to erotica.
Recently, Pompeii has been a focus of pleasure and loss: from Pink Floyd’s memorable rock concert to Primo Levi’s elegy on the victims. But Pompeii still does not give up its secrets quite as easily as it may seem. This book shows us how much more and less there is to Pompeii than a city frozen in time as it went about its business on 24 August 79.

Jane Ellen Harrison (1850-1928) is the most famous female Classicist in history, the author of books that revolutionized our understanding of Greek culture and religion. A star in the British academic world, she became the quintessential Cambridge woman-as Virginia Woolf suggested when, in A Room of One’s Own, she claims to have glimpsed Harrison’s ghost in the college gardens.
This lively and innovative portrayal of a fascinating woman raises the question of who wins (and how) in the competition for academic fame. Mary Beard captures Harrison’s ability to create her own image. And she contrasts her story with that of Eugenie Sellers Strong, a younger contemporary and onetime intimate, the author of major work on Roman art, and once a glittering figure at the British School in Rome-but who lost the race for renown. The setting for the story of Harrison’s career is Classical scholarship in this period-its internal arguments and allegiances and especially the influence of the anthropological strain most strikingly exemplified by Sir James Frazer. Questioning the common criteria for identifying intellectual “influence” and “movements,” Beard exposes the mythology that is embedded in the history of Classics. At the same time she provides a vivid picture of a sparkling intellectual scene. The Invention of Jane Harrison offers shrewd history and undiluted fun.

Oscar Wilde compared it to a white goddess, Evelyn Waugh to Stilton cheese. In observers from Lord Byron to Sigmund Freud to Virginia Woolf it met with astonishment, rapture, poetry, even tears-and, always, recognition. Twenty-five hundred years after it first rose above Athens, the Parthenon remains one of the wonders of the world, its beginnings and strange turns of fortune over millennia a perpetual source of curiosity, controversy, and intrigue.
At once an entrancing cultural history and a congenial guide for tourists, armchair travelers, and amateur archaeologists alike, this book conducts listeners through the storied past and towering presence of the most famous building in the world. The classicist and historian Mary Beard takes us back to the fifth century BC to consider the Parthenon in its original guise-as the flagship temple of imperial Athens, housing an enormous gold and ivory statue of the city’s patron goddess attended by an enigmatic assembly of sculptures. Just as fascinating is the monument’s far longer life as cathedral church of Our Lady of Athens, as “the finest mosque in the world,” and, finally, as an inspirational ruin and icon.

It followed every major military victory in ancient Rome: the successful general drove through the streets to the temple of Jupiter on the Capitoline Hill; behind him streamed his raucous soldiers; in front were his prisoners, as well as the booty he’d captured, from enemy ships and precious statues to plants and animals from the conquered territory. Occasionally there was so much on display that the show lasted two or three days.
A radical reexamination of this most extraordinary of ancient ceremonies, this book explores the magnificence of the Roman triumph, but also its darker side. What did it mean when the axle broke under Julius Caesar’s chariot? And what are the implications of the Roman triumph, as a celebration of imperialism and military might, for questions about military power and “victory” in our own day? The triumph, Mary Beard contends, prompted the Romans to question as well as celebrate military glory.
Her work is a testament to the profound importance of the triumph in Roman culture-and for monarchs, dynasts, and generals ever since. But how can we recreate the ceremony as it was celebrated in Rome? How can we piece together its elusive traces in art and literature? Beard addresses these questions, opening a window on the intriguing process of sifting through and making sense of what constitutes “history.”

New York Times Bestseller
One of the Guardian‘s “100 Best Books of the 21st Century” — “A modern feminist classic.”

At long last, Mary Beard addresses in one brave book the misogynists and trolls who mercilessly attack and demean women the world over, including, very often, Mary herself. In Women & Power, she traces the origins of this misogyny to its ancient roots, examining the pitfalls of gender and the ways that history has mistreated strong women since time immemorial. As far back as Homer’s Odyssey, Beard shows, women have been prohibited from leadership roles in civic life, public speech being defined as inherently male. From Medusa to Philomela (whose tongue was cut out), from Hillary Clinton to Elizabeth Warren (who was told to sit down), Beard draws illuminating parallels between our cultural assumptions about women’s relationship to power—and how powerful women provide a necessary example for all women who must resist being vacuumed into a male template. With personal reflections on her own online experiences with sexism, Beard asks: If women aren’t perceived to be within the structure of power, isn’t it power itself we need to redefine? And how many more centuries should we be expected to wait?