DOCSLIB.ORG

The Reception and Remediation of Material Traditions in Roman Sculpture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Reception and Remediation of Material Traditions in Roman Sculpture Legacies of Matter: The Reception and Remediation of Material Traditions in Roman Sculpture Emily Margaret Cook Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Emily Margaret Cook All rights reserved ABSTRACT Legacies of Matter: The Reception and Remediation of Material Traditions in Roman Sculpture Emily Margaret Cook Roman sculpture of the late republic and empire is characterized by wide-ranging practices of formal imitation and replication of earlier figurative traditions, particularly those of the Hellenized Eastern Mediterranean. Works that exhibit this retrospective character may be replicas of famous statues, adaptations of familiar compositions, or inventive creations based on established styles and features. The links of subject and style that these works created in the Roman context engendered systems of mutual reference and evaluation that helped articulate the socio-political, ideological, religious, and other aims of the representations. As sculptural types or even loosely related images were produced in a rich variety of materials, their proliferation enmeshed bronze, marble, colored stones, terracotta, and plaster into formal, technical, visual, and historical relationships. This dissertation investigates the materials of Roman sculpture as both agents and products of a transformative reception of earlier local and foreign traditions. The inquiry focuses on the nexus of Roman formal replication and material manipulation, investigating diverse choices of material and technique against the common background of a type’s subject, style, composition, and deployment in the Roman world. The project’s focus is circumscribed around sculptural types whose large-scale replicas are extant in more than one material; the survey in Chapter 2 is intentionally broad and includes replicas of famous Greek works, Idealplastik, and works related to Egyptian archetypes, as well as the large-scale, positive plaster casts from Baia. In this way, it sets out on a broad investigation of the nature of the reception of media practices in Roman sculpture, studying technical processes as much as formal connections and treating the reproductive interest in Greek, Egyptian, and even recently invented forms as complementary parts of a single retrospective approach to sculpture. This project proposes a methodology for investigating historically contextualized materialities that marries the approaches of historical reception, reception aesthetics, and remediation. The case studies apply this methodology in a four-part examination of Roman contexts of material reception, including production, display, and recontextualization. These chapters articulate the impact of techniques of formal reproduction on material selection and manipulation, assess the relevance of the medium of the formal archetype, demonstrate the plurality of contextualized material relationships that constitute materiality, clarify the nature of material mimesis as a selective and partial illusion, account for changing tastes in material decorum, and highlight ongoing engagement with the materiality of physically present antiques. The project illustrates that the Roman material context within which the selection, manipulation, and evaluation of sculptural materials must be situated is predicated upon both simple and sophisticated engagements with historical material traditions, both local and exotic. It shows that investigating the ways in which material traditions were available for reception in the Roman world – by the dissemination of plaster casts or by the importation of antiques, whose surfaces might be altered by age or later intervention – can reveal scholarly misconceptions and can realign modern interpretations with ancient practices. Engaging with the multiple, co-existing relationships that define a work’s materiality, this dissertation suggests that this plurality of references could be valued in much the same way that the recombination of distinct period styles could articulate new meanings in a Roman context. In the process of tracing these numerous material relationships, this dissertation’s analyses point to further avenues of research, indicating the relevance of Egyptian and North African material traditions for Roman uses of colored stones, calling attention to sophisticated engagements with issues of representation, and demonstrating that lack of coherence (in material references and in display) could be exploited as a means of enriching artworks that were conservative in their form and subject matter. TABLE OF CONTENTS LIST OF TABLES ........................................................................................................................ iv LIST OF ILLUSTRATIONS ...........................................................................................................v ABBREVIATIONS .................................................................................................................... xiii ACKNOWLEDGEMENTS ....................................................................................................... xiv DEDICATION ........................................................................................................................... xvi CHAPTER ONE. INTRODUCTION: MATERIALS, SCULPTURES, AND LEGACIES ......... 1 1.1 Roman Materiality ............................................................................................................................ 6 1.2 Roman Replicative Sculpture ........................................................................................................ 26 1.3 Legacies of Matter ......................................................................................................................... 33 CHAPTER TWO. MATERIALS, MEDIA, AND THE MATERIAL CONTEXT: A FOUNDATION FOR STUDYING ROMAN MATERIALITY ....................................................... 40 2.1 Replica series extant in multiple materials ................................................................................... 47 2.1.a Survey of the replica series by types of material represented .............................................. 51 2.1.b Patterns and open questions ................................................................................................ 83 2.2 Toward a methodology for materials ............................................................................................. 84 2.2.a Part 1: Mediascapes of historical reception ........................................................................ 88 2.2.b Part 2: Remediation as reception aesthetics ...................................................................... 101 CHAPTER THREE. INTER-MEDIARY: SCULPTURAL MODELS AND FORMAL REPLICATION ..................................................................................................................................... 108 3.1 Models and molds: terminology and production ......................................................................... 115 3.2 The Baia plaster casts as second generation models ................................................................... 120 3.2.a The facture of the Baia second generation models ............................................................ 124 3.2.b The Baia plasters: materiality and ontology ..................................................................... 142 3.3 Sculpture or model? The Palatine terracottas ............................................................................ 155 3.3.a The facture of the Palatine terracottas ............................................................................. 164 3.3.b The Palatine terracottas: sculpture and model ................................................................. 173 3.4 Formal Replication and the materiality of sculptural models ..................................................... 178 CHAPTER FOUR. MATERIAL RESEMBLANCE RELATIONS AND REMEDIATION ................................................................................................................................... 183 i 4.1 Resemblance relations: material mimesis, allusion, and substitution ......................................... 188 4.2 Roman replicas of Greek athletes in the Egyptian stone lapis basanites .................................... 195 4.2.a The athletes ....................................................................................................................... 198 4.2.b Color and polychromy ...................................................................................................... 203 4.2.c Sculpting technique ........................................................................................................... 222 4.2.d Silver and iron ................................................................................................................... 229 4.2.e Struts ................................................................................................................................. 238 4.2.f The stone’s Egyptian provenance ...................................................................................... 240 4.3 Material plurality: the remediation of traditions ........................................................................ 248 4.4 Selective imitation as transformative reception: a comparison with form .................................. 262 CHAPTER FIVE. AGENTS OF CHANGE: CONSERVATISM, INNOVATION, AND EVOLVING
Load more

Recommended publications
  • Dissertation
    Dissertation Titel der Dissertation „Josef Strzygowski - Zur Entwicklung seines Denkens“ Verfasser Mag.phil. Heinz Schödl angestrebter akademischer Grad Doktor der Philosophie (Dr.phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 092 315 Dissertationsgebiet lt. Studienblatt: 315 Kunstgeschichte Betreuer: Dekan o. Univ.-Prof. Dr. Michael Viktor Schwarz Inhaltsverzeichnis 0. Vorwort 04 I. Einleitung 29 I.I Der Ruf nach Wien 29 I.II Die Wiener Lehrkanzeln für Kunstgeschichte 29 I.III Die Berufung Strzygowskis 31 I.IV Die Antrittsrede 33 I.V Ansichten und Bekenntnisse 40 I.VI Forschungsfrage 42 II. Strzygowskis Methode: Hermeneutik? 45 II.I Die frühen Jahre bis zur Wiener Antrittsvorlesung 45 „Composition“ oder: Die Griechen als Lehrer / Heilung durch Anschauung: Vom pädagogischen Eros / Von der Anschauung zur Methode / Geschichte vs. Wissenschaft / Überblick II.II München leuchtet und weist den Weg 63 Heinrich von Brunn: Innovator der Archäologie / Lehrer und Schüler Heinrich von Brunn als Lehrer / Monumente des troischen Zyklus als praktische Methodologie archäologischer Interpretation / Überblick / Beide Schüler eines Lehrers: Langbehn und Strzygowski II.III Theorie und Praxis: Zur Anschauung in den frühen Arbeiten 98 Die Dissertation / Cimabue / Michelangelo, Leonardo II.IV Ausblick: Zur weiteren Entwicklung von Strzygowskis Methode 112 Zur völkischen Erkenntnis / Erste Erfolge / urbi et orbi – Eine globale Wissenschaft Goldene Zwanziger? Ein Ausblick auf die Monographien / Die Krisis wird besichtigt: Zur Lage der Geisteswissenschaften
    [Show full text]
  • ANALES De Arqueología Cordobesa
    21/22 ANALES de Arqueología Cordobesa 2010 - 2011 21/22 de Arqueología Cordobesa de ANALES Gerencia Municipal de Urbanismo Área de Arqueología 2010 Grupo de investiGación sísifo 2011 Área de arqueoloGía. facultad de filosofía y letras. universidad de córdoba ANALES DE ARQUEOLOGÍA CORDOBESA núm. 21-22 (2010-2011) GRUpO de iNvEStiGACióN SÍSifO ÁREA de Arqueología. FacultAD de filosofÍA y LEtras. UNiversidad de Córdoba M.ª Teresa Amaré Tafalla In memoriam comité de redacción ANALES Director: DE ARQUEOLOGÍA Desiderio VAQUERIZO GIL Catedrático de Arqueología. Universidad de Córdoba CORDOBESA núm. 21-22 (2010-2011) Secretarios: José Antonio GARRIGUET Mata Universidad de Córdoba Alberto LEón MUñOZ Universidad de Córdoba Revista de periodicidad Vocales: anual, publicada por el Lorenzo ABAD CASAL Universidad de Alicante Grupo de Investigación Sí- Carmen ARAnEGUI GASCó Universidad de Valencia sifo (HUM-236, Plan An- Manuel BEnDALA GALÁn Universidad Autónoma de Madrid daluz de Investigación), Juan M. CAMPOS CARRASCO Universidad de Huelva de la Universidad de Cór- José L. JIMÉnEZ SALVADOR Universidad de Valencia doba, en el marco de su Pilar LEón-CASTRO ALOnSO Universidad de Sevilla convenio de colaboración Jesús LIZ GUIRAL Universidad de Salamanca con la Gerencia Municipal José María LUZón nOGUÉ de Urbanismo del Ayunta- Universidad Complutense de Madrid miento de la ciudad. Carlos MÁRQUEZ MOREnO Universidad de Córdoba Manuel A. MARTÍn BUEnO Universidad de Zaragoza Juan Fco. MURILLO REDOnDO Gerencia Municipal de Urbanismo. Ayto. de Córdoba Mercedes
    [Show full text]
  • The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
    THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans.
    [Show full text]
  • Stuart Lochhead Sculpture
    Stuart Lochhead Sculpture Stuart Lochhead Limited www.stuartlochhead.art 020 3950 2377 [email protected] Auguste Jean-Marie Carbonneaux Paris, 1769-1843 Hercules, after the Antique bronze 73 cm high Signed and dated Carbonneaux 1819 on the right side of the base Related literature ■ E. Lebon, « Répertoire », in Le fondeur et le sculpteur, Paris, Ophrys (« Les Essais de l'INHA »), 2012 [also available online] Stuart Lochhead Limited www.stuartlochhead.art 020 3950 2377 [email protected] Auguste Jean-Marie Carbonneaux is one of the pioneers of the technique of sand-casting for monumental sculpture. Not a lot is known about his life but a recent publication by E. Lebon (see lit.) has shed some light on his career. Born into a family of metal workers, Carbonneaux is known to be active as a founder from 1814. In 1819 at the request of the celebrated sculptor François-Joseph Bosio (1768-1845) he received the prestigious commission to execute the equestrian statue of Louis XIV for the Place des Victoires, Paris, which was unveiled in 1822. Carbonneaux cast the statue and the two men worked together at least one more time since he also executed in bronze Bosio’s large group of Hercules fighting Achelous transformed into a snake, a statue commissioned by the French royal household in 1822, exhibited at the Salon of 1824 and now in the Musée du Louvre, Paris. Clearly recognised as being an excellent founder, Carbonneaux was also selected by the Polish-French count Leon Potocki in 1821 to cast the equestrian portrait of the polish statesman and general Josef Poniatowski by Berthel Thorvaldsen1.
    [Show full text]
  • Naming the Extrasolar Planets
    Naming the extrasolar planets W. Lyra Max Planck Institute for Astronomy, K¨onigstuhl 17, 69177, Heidelberg, Germany [email protected] Abstract and OGLE-TR-182 b, which does not help educators convey the message that these planets are quite similar to Jupiter. Extrasolar planets are not named and are referred to only In stark contrast, the sentence“planet Apollo is a gas giant by their assigned scientific designation. The reason given like Jupiter” is heavily - yet invisibly - coated with Coper- by the IAU to not name the planets is that it is consid- nicanism. ered impractical as planets are expected to be common. I One reason given by the IAU for not considering naming advance some reasons as to why this logic is flawed, and sug- the extrasolar planets is that it is a task deemed impractical. gest names for the 403 extrasolar planet candidates known One source is quoted as having said “if planets are found to as of Oct 2009. The names follow a scheme of association occur very frequently in the Universe, a system of individual with the constellation that the host star pertains to, and names for planets might well rapidly be found equally im- therefore are mostly drawn from Roman-Greek mythology. practicable as it is for stars, as planet discoveries progress.” Other mythologies may also be used given that a suitable 1. This leads to a second argument. It is indeed impractical association is established. to name all stars. But some stars are named nonetheless. In fact, all other classes of astronomical bodies are named.
    [Show full text]
  • 7Th Grade Lesson Plan: It's Greek to Me: Greek Mythology
    7th grade Lesson Plan: It’s Greek to me: Greek Mythology Overview This series of lessons was designed to meet the needs of gifted children for extension beyond the standard curriculum with the greatest ease of use for the edu- cator. The lessons may be given to the students for individual self-guided work, or they may be taught in a classroom or a home-school setting. This particular lesson plan is primarily effective in a classroom setting. Assessment strategies and rubrics are included. The lessons were developed by Lisa Van Gemert, M.Ed.T., the Mensa Foundation’s Gifted Children Specialist. Introduction Greek mythology is not only interesting, but it is also the foundation of allusion and character genesis in literature. In this lesson plan, students will gain an understanding of Greek mythology and the Olympian gods and goddesses. Learning Objectives Materials After completing the lessons in this unit, students l D’Aulaires’ Book of Greek Myths by Ingri and will be able to: Edgar Parin D’Aulaire l Understand the Greek view of creation. l The Gods and Goddesses of Olympus by Aliki l Understand the terms Chaos, Gaia, Uranus, Cro- l The Mighty 12: Superheroes of Greek Myths by nus, Zeus, Rhea, Hyperboreans, Ethiopia, Mediter- Charles Smith ranean, and Elysian Fields. l Greek Myths and Legends by Cheryl Evans l Describe the Greek view of the world’s geogra- l Mythology by Edith Hamilton (which served as a phy. source for this lesson plan) l Identify the names and key features of the l A paper plate for each student Olympian gods/goddesses.
    [Show full text]
  • Aspects of the Demeter/Persephone Myth in Modern Fiction
    Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed.
    [Show full text]
  • The Medici Aphrodite Angel D
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 A Hellenistic masterpiece: the Medici Aphrodite Angel D. Arvello Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Arvello, Angel D., "A Hellenistic masterpiece: the Medici Aphrodite" (2005). LSU Master's Theses. 2015. https://digitalcommons.lsu.edu/gradschool_theses/2015 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A HELLENISTIC MASTERPIECE: THE MEDICI APRHODITE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Angel D. Arvello B. A., Southeastern Louisiana University, 1996 May 2005 In Memory of Marcel “Butch” Romagosa, Jr. (10 December 1948 - 31 August 1998) ii ACKNOWLEDGMENTS I wish to acknowledge the support of my parents, Paul and Daisy Arvello, the love and support of my husband, Kevin Hunter, and the guidance and inspiration of Professor Patricia Lawrence in addition to access to numerous photographs of hers and her coin collection. I would also like to thank Doug Smith both for his extensive website which was invaluable in writing chapter four and for his permission to reproduce the coin in his private collection.
    [Show full text]
  • A Story of Five Amazons Brunilde S
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1974 A Story of Five Amazons Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1974. A Story of Five Amazons. American Journal of Archaeology 78:1-17. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/79 For more information, please contact [email protected]. A Story of Five Amazons* BRUNILDE SISMONDO RIDGWAY PLATES 1-4 THEANCIENT SOURCE dam a sua quisqueiudicassent. Haec est Polycliti, In a well-knownpassage of his book on bronze proximaab ea Phidiae, tertia Cresilae,quarta Cy- sculpturePliny tells us the story of a competition donis, quinta Phradmonis." among five artists for the statue of an Amazon This texthas been variously interpreted, emended, (Pliny NH 34.53): "Venereautem et in certamen and supplementedby trying to identifyeach statue laudatissimi,quamquam diversis aetatibusgeniti, mentionedby Pliny among the typesextant in our quoniamfecerunt Amazonas, quae cum in templo museums. It may thereforebe useful to review Dianae Ephesiaedicarentur, placuit eligi probatis- brieflythe basicpoints made by the passage,before simam ipsorum artificum, qui praesenteserant examining the sculpturalcandidates. iudicio,cum apparuitearn esse quam omnes secun- i) The Competition.The mention of a contest * The following works will be quoted in abbreviated form: von Bothmer D.
    [Show full text]
  • MUSES -- Mythologically United Subjects in an Exceptional
    MUSES -- Mythologically United Subjects in an Exceptional Set Written and Edited by Ethan Ashbrook, Iain Carpenter, Tim Cho, Alex Fregeau, Bryan Lu, Mitch McCullar, Bradley McLain, and Govind Prabhakar 1. One group of deities with this name were called the daughters of Chronos and helped guide ​ Helios through the sky. In the Fabulae, Hyginus identifies Pherusa, Euporie, and Orthosie as the ​ ​ third generation of deities with this name. Those deities with this name represent substance, (+) abundance, and prosperity. Homer claimed that a group of deities with this name controlled the amount of darkness that Mount Olympus received. Aratus identified Dike (DEE-kay), Eunomia, ​ ​ and Eirene as members of a group with this name. Along with Peitho and the Charites, a group of deities with this name crowned (*) Pandora with a garland of flowers. The most popular listing of this ​ group of deities include Thallo, Carpo, and Auxo. These beings are identified as the guards of the gates of Olympus. For 10 points, give the name for the groups of goddesses that represent various periods of time, including the hours of the day as well as time periods such as summer, spring, and autumn. ANSWER: Horae [accept Horai; prompt on Seasons or Hours; respond to answers of "Muses" by saying ​ ​ ​ ​ ​ ​ ​ ​ "You chose… poorly"] According to the Theogony, Zeus married this goddess, who then gave birth to the second triad of Horae, ​ ​ who were concerned with law and justice. For 10 points each; [10] Name this Titaness, the mother of Dike and Natura. This Titaness gave Deucalion and Pyrrha the instructions to throw rocks over their shoulder to repopulate the earth after the Deluge.
    [Show full text]
  • Antioch Mosaics and Their Mythological and Artistic Relations with Spanish Mosaics
    JMR 5, 2012 43-57 Antioch Mosaics and their Mythological and Artistic Relations with Spanish Mosaics José Maria BLÁZQUEZ* – Javier CABRERO** The twenty-two myths represented in Antioch mosaics repeat themselves in those in Hispania. Six of the most fa- mous are selected: Judgment of Paris, Dionysus and Ariadne, Pegasus and the Nymphs, Aphrodite and Adonis, Meleager and Atalanta and Iphigenia in Aulis. Key words: Antioch myths, Hispania, Judgment of Paris, Dionysus and Ariadne, Pegasus and the Nymphs, Aphrodite and Adonis, Meleager and Atalanta, Iphigenia in Aulis During the Roman Empire, Hispania maintained good cultural and economic relationships with Syria, a Roman province that enjoyed high prosperity. Some data should be enough. An inscription from Málaga, lost today and therefore from an uncertain date, seems to mention two businessmen, collegia, from Syria, both from Asia, who might form an single college, probably dedicated to sea commerce. Through Cornelius Silvanus, a curator, they dedicated a gravestone to patron Tiberius Iulianus (D’Ors 1953: 395). They possibly exported salted fish to Syria, because Málaca had very big salting factories (Strabo III.4.2), which have been discovered. In Córdoba, possibly during the time of Emperor Elagabalus, there was a Syrian colony that offered a gravestone to several Syrian gods: Allath, Elagabab, Phren, Cypris, Athena, Nazaria, Yaris, Tyche of Antioch, Zeus, Kasios, Aphrodite Sozausa, Adonis, Iupiter Dolichenus. They were possible traders who did business in the capital of Bética (García y Bellido 1967: 96-105). Libanius the rhetorical (Declamatio, 32.28) praises the rubbles from Cádiz, which he often bought, as being good and cheap.
    [Show full text]
  • Narcissus the Hunter in the Mosaics of Antioch
    Narcissus the Hunter in the Mosaics of Antioch Elizabeth M. Molacek Among the hundreds of mosaic pavements discovered at as the capital of the Hellenistic Seleucid kingdom in 300 BCE Antioch-on-the-Orontes, a total of five represent Narcissus, and remained a thriving city until the Romans took power in the beautiful youth doomed to fall in love with his own 64 BCE. Antioch became the capital of the Roman province reflection. The predominance of this subject is not entirely of Syria; however, it was captured by the Arabs in 637 CE, surprising since it is one of the most popular subjects in bringing an end to almost a thousand years of occupation.2 Roman visual culture. In his catalogue of the mosaics of While its political history is simple to trace from the Hellenis- ancient Antioch, Doro Levi suggests that Narcissus’ frequent tic founding to the Arab sacking, Antioch’s cultural identity appearance should be attributed to his watery reflection due is less transparent. The city was part of the Roman Empire to the fact that Antioch was a “town so proud of its wealth for over five hundred years, but the inhabitants of Antioch of waters, springs, and baths.”1 The youth’s association with did not immediately consider themselves Roman, identifying water may account for his repeated appearance, but the instead with their Hellenistic heritage. As was standard in the present assessment recognizes a Narcissus that is unique to Greek East, the spoken language remained Greek even after Antioch. In art of the Latin West from the first century BCE Rome established control, and many traditions and social onwards, Narcissus has a highly standardized iconography norms were deeply rooted in the Hellenistic culture.3 Antioch that emphasizes his youthful appearance, the act of seeing was a hybrid of both eastern and western influences due to his reflection, and his fate for eternity.
    [Show full text]