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Publication Biodiversity in the Ancient Roman World, the Villa of Livia(2022) Corrado, CrispinPublication The Zebra Stripe Design : an Investigation of Roman Wall Painting in the Periphery(L'Erma di Bretschneider, 2002) Corrado, CrispinPublication Merry and Jovial: Reconsidering the Effigies Immortalis and the Commemoration of Roman Boys(BAR Publishing, 2013) Corrado, CrispinThis book undertakes to answer questions relating to the creation of deity assimilation statues for young boys, a common mode of commemoration for the Romans. In addition, it demonstrates that many statues traditionally understood to represent youthful divinities actually possess portraits, even and especially if the faces appear joyful. It also proposes that these deity assimilation statues were commissioned primarily as posthumous commemorations. As such, the sculptural examples should be recognized as belonging to and constituting an important class of funerary sculpture; a class which has been, to this point, overlooked. It is also suggested that despite the fact that they were posthumous commemorations, deity assimilation statues of young boys were not necessarily placed in a sepulchral context, rather, it is maintained that images of children assimilated to divinities primarily served a sentimental purpose, and that, in that capacity, they may have been intended for and regularly kept in a domestic context, close to the surviving family.Publication Aedicula Tombs and Statues in Rome: Reconsidering the Monument of Eurysaces(Archaeological Institute of America, 2023) Prieto, Alberto; Goldman, Max L.; Corrado, CrispinThis article revisits the well-known monument of Eurysaces in the context of the Roman funerary landscape. By focusing on its structure and original context, our research demonstrates that the monument, far from being a unicum, instead conformed to contemporary commemorative practices and was in many ways typical. Analysis of comparable monuments and funerary areas, as well as characterization of the concrete used, indicates that the monument of Eurysaces was originally an aedicula tomb with a superstructure, now missing. This reconstruction allows for a more convincing and traditional positioning of the relief images known as “Eurysaces and his wife” at the crowning level of this structure. While our research focuses on the monument of Eurysaces, an important and unexpected result has been the likely identification of several full-length portrait reliefs whose distinctive features suggest that they belong to a previously unrecognized corpus in Rome: aedicular statues. This designation explains the characteristics differentiating them from freestanding statues and helps fill the lacuna of evidence for Rome’s once robust group of funerary structures and ornamentation. The identification of these aedicular statues, in turn, reiterates the fact that aedicula tombs were once popular in the city’s funerary landscape, as they were across the Roman empire.