The Roman Stamp: Frame and Facade in Some Forms of Neo-Classicism by Robert M. Adams investigates how modern writers, artists, and thinkers have repeatedly turned to Rome as both a model of authority and a stage set for self-fashioning. Adams traces how figures from Mantegna and Scaliger to Swift, Piranesi, and Johnson appropriated Roman ideals—law, order, grandeur, severity—not merely as passive inheritances but as active instruments for rebirth, critique, or parody. With clarity and wit, he shows that neo-classicism was never just a glaze of marble columns or Latin tags but a creative struggle with the Roman stamp: a masculine, disciplined style imposed on the accidents of nature and personal history.Moving across art history, literary polemic, and intellectual genealogy, Adams situates neo-classicism as both a vital energy and a contested masquerade. Whether in the martial self-discipline of Mantegna’s art, the biting authority of Scaliger’s scholarship, or the ironic inversions of Swift and Johnson, Rome offered a repertoire of forms through which moderns dramatized self-creation. By charting these variations—rebirth, war, seduction, diffusion—The Roman Stamp reframes “neo-classicism” not as a tired formula but as a set of crisis encounters with Rome’s enduring authority. The book will appeal to readers interested in classical reception, Renaissance and Enlightenment culture, and the uneasy legacy of antiquity in modern imagination.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.

The Roman Stamp: Frame and Facade in Some Forms of Neo-Classicism by Robert M. Adams investigates how modern writers, artists, and thinkers have repeatedly turned to Rome as both a model of authority and a stage set for self-fashioning. Adams traces how figures from Mantegna and Scaliger to Swift, Piranesi, and Johnson appropriated Roman ideals—law, order, grandeur, severity—not merely as passive inheritances but as active instruments for rebirth, critique, or parody. With clarity and wit, he shows that neo-classicism was never just a glaze of marble columns or Latin tags but a creative struggle with the Roman stamp: a masculine, disciplined style imposed on the accidents of nature and personal history.Moving across art history, literary polemic, and intellectual genealogy, Adams situates neo-classicism as both a vital energy and a contested masquerade. Whether in the martial self-discipline of Mantegna’s art, the biting authority of Scaliger’s scholarship, or the ironic inversions of Swift and Johnson, Rome offered a repertoire of forms through which moderns dramatized self-creation. By charting these variations—rebirth, war, seduction, diffusion—The Roman Stamp reframes “neo-classicism” not as a tired formula but as a set of crisis encounters with Rome’s enduring authority. The book will appeal to readers interested in classical reception, Renaissance and Enlightenment culture, and the uneasy legacy of antiquity in modern imagination.This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.