Instructors of Greek art, architecture and archaeology are always in search of a companion book that best synchronises with their approach to the introductory survey. B.’s volume joins two competitors with very similar titles, J.G. Pedley's Greek Art and Archaeology, first published in 1993 and now in its 5th edition, and R. Neer's Greek Art and Archaeology: a New History, c. 2500–c. 150 bce , published in 2012. There are marked and engaging strengths to all three. Several qualities in B.’s approach make this text an attractive alternative rather than simply a permutation. We have used it twice in an introductory survey; in writing this review, we (Wescoat as professor and Cheng as teaching associate) also solicited the reaction of student users. Distinguishing features of B.’s text include the following.

First, B. substantially shifts the chronological focus of her survey to concentrate on the historical periods from Geometric expansion through Roman reception into the second century c.e. Aegean prehistory and the Early Iron Age are condensed into a single first chapter that sets up the subsequent six chronological chapters. The Geometric and ‘Orientalizing’ periods are also combined, followed by chapters on the Archaic Mediterranean, the Classical fifth century, the late Classical period to the death of Alexander, Alexander's legacy in the Hellenistic world, and a short final chapter, ‘Roman Conquest and the Conquest of Rome’. The chapters are well organised, with material grouped in logical constellations of themes suggested by the particular period. Writing takes the lead in the Geometric chapter and is prominent with inscriptions in the Archaic. The Archaic chapter leads with sacred architecture from Magna Graecia to Ionia. Athenian architecture and architectural sculpture is treated separately in the context of the political passage from tyranny to democracy. A closing discussion of the origin of the Classical moves in the following chapter to a discussion of Classical style across regions and a critique of naturalism as a Classical invention before returning to the Acropolis and Agora of Athens. The Late Classical chapter begins in Athens, but rapidly moves to the wider Greek world; the section on Alexander and Macedonian art centres on the image of Alexander and the royal tumulus at Vergina. The Hellenistic chapter begins with creating a royal image and addresses certain themes in Hellenistic art before turning to centres of production, for example Alexandria, Pergamum and points east. Ending with the coming of Rome (with particular emphasis on Delos) provides the transition to the final chapter on the place of Greek art within the world of Rome

Second, B. gives greater weight to the Late Classical and Hellenistic periods. These chapters are presented on a par with the attention given to the Archaic and High Classical periods. The emphasis redresses in practice what we have long abandoned in theory, i.e. that these are periods of inferior artistic production in a time of political devolution. Moreover, it celebrates centres outside Athens. The treatment of the Hellenistic period is especially welcome in its breadth.

Third, architecture is handled comprehensively. B. places strong emphasis on the built environment in the Bronze Age. She brings in the sanctuary at Kalapodi, where recent excavations have proven the continuity of cult from the Bronze to the Iron ages. There are good plans and elevations, and wonderful aerial views of Delos, Delphi, Olympia, Olynthus and Didyma. Again, the Hellenistic period is well treated, with remarkable buildings such as the Rotunda of Arsinoe and the Propylon of Ptolemy II in the Sanctuary of the Great Gods on Samothrace receiving a full spread.

Fourth, B. provides full multiple views of many key monuments, so that the reader has a good sense of the whole object or architectural configuration (e.g. the Temple of Apollo at Didyma and the Great Altar at Pergamum). Large-scale images of the François vase, as well as enlarged details of works by the Nettos Painter, Exekias and the Amasis Painter allow the reader to appreciate the technical virtuosity of black figure. Illustrating both sides of pots (e.g. the Aristonothos krater) signals the importance of the whole object, while multiple views of a sculpture (e.g. Doryphoros or Apoxyomenos) emphasise the body in space.

Fifth, B. takes the study of Greek art well into the Roman period. Her choices are not merely exemplars of Hellenistic continuities found in Italy, but rather monuments that connect with Greek ideas but traditionally find a place in a Roman survey (e.g. the Capitoline Brutus, Ara Pacis or Cancelleria relief). The enduring desire to depict Greek myths is highlighted in wall painting and sarcophagi. B. also includes major monuments constructed in Greece in the Roman period (e.g. the Arch of Hadrian). Her point that Greek ideas have a long legacy is well taken, although most surveys will likely not have the time to go there.

Wescoat, who had wished for more architecture in a survey book, was happy with the new emphases, while Cheng, whose interests favour painting, would have preferred greater breadth in Classical and South Italian vase painting. Although B. warns the reader that certain icons will be missing, neither Wescoat nor Cheng were prepared for certain lacunae, such as the Derveni krater, a vessel of spectacular craftsmanship and deep contextual interest, or the Aphrodite of Milos, a landmark in the historiography of Greek art. The absence of Laocoön in a book with a chapter dedicated to the endurance of Greek art in the Roman period was also striking, again not only for its intriguing if contested place in Greek/Roman art but also for the fundamental role it has played in the history of western aesthetics.

Since the book is designed to be an undergraduate textbook, we took our students’ response to it into account. They uniformly liked the breakout boxes explaining technologies (common to all three texts), but more particular to B. they liked the introductory set-up of each chapter. The timeline and contents at the beginning of each chapter was also valued. They did not feel overwhelmed by the number of monuments.

The design of the book does have an impact on its communicative ability. The two different page layouts – a single text column filling slightly over half the right side of the page, with images generally above, or single half-width text column with images to the side – result in large blank areas that disrupt the narrative and isolate the images. Maps (unnumbered) are frequently repeated, but their kelly green colour competes with the images of the monuments, the vertical orientation makes for awkwardly clipped geography and the small typeface reduces their legibility. Larger and more comprehensive maps at predictable locations work more effectively. A second edition can catch minor errors (e.g. kore from Didyma captioned as from Ephesus), and include some replacement images (e.g. the newly cleaned and reinstalled Nike of Samothrace, or the revised reconstruction of the Tegea interior).

It is a tall order to give equal weight to art and archaeology in an investigation of the ancient Greek world. Each generates a different set of expectations that while not mutually exclusive, do not always favour the same emphases. This book is very much a chronological history of Greek art and architecture, but with the production positioned within well-framed and important contextual themes. It is filled with remarkable monuments and objects set against the historical, topographic, technical and social landscape of ancient Greece in ways that animate the narrative and remind us of the extraordinary wealth of material from which we may draw to tell the history of Greek art.