In a quiet corner of the British School at Rome’s photographic archives, the story of Thomas Ashby’s remarkable voyage to Australia in 1914 lay hidden for nearly a century. At that time, he was the BSR’s Director, and, after he died in 1931, a series of his unlabelled photographs was passed on to the School. Establishing the context for each of its 61 images has extended our understanding of Ashby, his time in Australia- and his work well beyond Rome and the Mediterranean. The series brings into view the global history of the BSR and its earliest efforts to develop international academic networks.

Falerii Novi, in the heart of the ager Faliscus, offers an unrivalled opportunity to investigate the peri-urban landscape of a Roman town. The paper presents some of the results of a research project that has been looking at the entire peri-urban landscape of Falerii Novi through a multidisciplinary approach, including extensive geophysical surveys, pedestrian surveys, and targeted excavation. The paper focuses on the area to the south of the city, where a series of geomorphological and archaeological features have been newly detected. The results have revealed that despite the artificial and natural boundaries of the city (i.e., the city wall and the steep ravine of the Rio Purgatorio), the community's efforts in managing, exploiting, and occupying the peri-urban area were substantial. The paper presents the newly recorded evidence of the significant effort put into water management as one of the key factors in shaping the landscape, demonstrating how the geological composition of the territory conditioned the engineering solutions adopted. Finally, the discussion focuses on the discovery of an agricultural area, likely a mixed cultivation system relating to the production of a surplus by the inhabitants of a large suburban villa.

This article offers a fresh interpretation of the ancient Roman relief at Palazzo Sacchetti, identifying it as a depiction of the senatorial delegation meeting Septimius Severus at Interamna in AD 193. Through iconographic analysis, it argues that the relief embodies the Senate’s expectations for Severus’ rule, grounding his image in the principle of Iustitia and portraying him as a model of moderation and fairness. Ultimately, it reveals how the relief uses a ‘historical’ depiction of a real event as a lens to examine the negotiation of power dynamics between the emperor and the Senate at the outset of Septimius Severus’ reign.