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Roman sculpture was in many ways remarkably homogenous across the empire, but there was also significant local adaptation. The similarities between sculpture in the Roman provinces of Britannia, Germania Inferior and Germania Superior have been observed, but no comprehensive survey of the similarities and differences, and the reasons for those, has yet been conducted. Indeed, scholarship has inadvertently become rather parochial, but recent studies suggest there is much to be gained by looking across provincial boundaries. This thesis aims to do that analysis and consider different geographies of art. Three case studies (rider relief tombstones, Mother Goddess dedications, and imperial portraits) elucidate the variation in use and appearance of certain types of sculpture in military, religious and socio-political contexts. Explanation of the observations noted in the case studies are advanced and explained, and modalities of movements of form and technique assessed. The conclusions show that sculpture in Britain and Germany looks similar but not the same because local circumstances both required and allowed consistency and variance to different degrees over time. Specific interactions or movements of people, access to raw materials, technical tradition of makers, and demand from consumers all affected the appearance of sculpture to different extents. The interplay of transmission of standard or universal form and local adaptation is the main theme of this work.

The construction of a free-standing stone wall was a significant occasion in Londinium's history, remarkable for the quantity of masonry used and for the continuing additions to the defences over at least three identifiable phases. Since the local geology in the London Basin does not offer suitable building stone, Londinium's walls offer an exceptional example by which to examine the logistics of construction and the transportation of materials in the context of Romano-British building projects. We examine the sources of the materials used, their transport and the scale of labour and investment involved in the construction of the Landward Wall using an energetics-based methodology. Finally, we provide new insights into Londinium's Landward Wall and the socio-economic and practical implications of its construction. Supplementary material is available online (https://doi.org/10.1017/S0068113X21000088) and comprises technical data related to the architectural energetics.

A fragment of Roman monumental bronze sculpture was discovered near Lincoln in 2015 and reported to the Portable Antiquities Scheme. This note offers identification of the piece as an over-life-size finger, describes comparable examples and similar pieces from the local area, and makes suggestions as to the original form of the sculpture from which it may have derived. The statue's metallurgical characteristics and making, the possible context of display and the circumstances of deposition are also considered.

A cache of Roman copper-alloy fragments was discovered, apparently carefully layered in a pit, in a field in Gloucestershire by metal-detectorists in 2017. The assemblage comprises over 5 kg of metal pieces, predominantly box fittings, but also smaller items of personal use such as a fourth-century belt buckle, a three-strand bracelet, a spoon and a coin (a nummus of Crispus). Most remarkable are the sculptural fragments, including several pieces of life-size statuary and the complete statuette of a dog with fine incised decoration, and part of an incised bronze inscription panel. This article considers the original form of the statuary and the use and deposition of the cache. It is proposed that these fragments represent the remains of the accoutrements of a temple or shrine in the local area, perhaps dedicated to Diana Venatrix, and that they were removed and deposited together in the late fourth century. Supplementary material is available online (https://doi.org/10.1017/S0068113X20000501) and comprises additional figures.

Excavated between 1984 and 1992, the site of a large Roman villa complex at Stanwick, Northamptonshire, produced a significant quantity of sculpted and architectural worked stone. This paper assesses the various aspects of that material, including the petrological sources, and offers a new interpretation. Many items were discovered as post-packing or were otherwise reused within the fabric of the enlarged fourth-century villa, but originally derived from what were probably two earlier monumental structures dated on stylistic grounds to the early third century. The sculpture was initially examined in 1994–95 by Martin Henig and the late Thomas Blagg, whose work, especially on the large number of architectural pieces, has been subsumed into this paper and to whom we owe a debt of gratitude. Supplementary material is available online (https://doi.org/10.1017/S0068113X21000052) and comprises additional figures and tables.