1st Edition

Visions of the Future in Roman Frontier Kingdoms 100 BCE–100 CE

By Richard Teverson Copyright 2025
    300 Pages 106 B/W Illustrations
    by Routledge

    This is the first book-length exploration of the ways art from the edges of the Roman Empire represented the future, examining visual representations of time and the role of artwork in Roman imperial systems.

    This book focuses on four kingdoms from across the empire: Cottius’s Alpine kingdom in the north, King Juba II’s Mauretania in the south-west, Herodian Judea in the east, and Kommagene to the north-east. Art from the imperial frontier is rarely considered through the lens of the aesthetics of time, and Roman provincial art and the monuments of allied rulers are typically interpreted as evidence of the interaction between Roman and local identities. In this interdisciplinary study, which explores statues, wall paintings, coins, monuments, and inscriptions, readers learn that these artworks served as something more: they were created to represent the futures that allied rulers and their people foresaw. The pressure of Roman imperialism drove patrons and artists on the empire’s borders to imbue their creations with increasingly sophisticated ideas about the future, as they wrestled with consequential decisions made under periods of intense political pressure.

    Comprehensively illustrated and providing an important new approach to Roman material culture at the edge of empire, Visions of the Future in Roman Frontier Kingdoms 100 BCE–100 CE is suitable for students and scholars working on Rome and its frontiers, as well as Roman material culture more broadly, and those studying the aesthetics of time in art and art history.

    1. Imagining Peace with Rome  2. Children and Dynasty: Envisioning the Next Generation  3. Forces Beyond Roman Control: Cosmology and the Natural World  4. Memory and History: Recording the Future


    Richard Teverson is Assistant Professor of Ancient Art at Fordham University. He received his PhD from Yale University and his BA from Corpus Christi College, Oxford. His work has been supported by the ACLS, the Getty, the ANS, and the British School at Rome.