Greek Art in Motion Studies in Honour of Sir John Boardman On the Occasion of His 90Th Birthday

Greek Art in Motion Studies in honour of Sir John Boardman on the occasion of his 90th birthday

edited by Rui Morais, Delfim Leão, Diana Rodríguez Pérez

with Daniela Ferreira

Archaeopress Archaeology

ISBN 978 1 78969 023 1 ISBN 978 1 78969 024 8 (e-Pdf)

Cover: Head of Alexander in profile. Tourmaline intaglio, 25 x 25 mm, Ashmolean (1892.1499) G.J. Chester Bequest. Photo: C. Wagner.

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Preface ��1 John Boardman and Greek Sculpture ��3 Olga Palagia Sanctuaries and the Hellenistic Polis: An Architectural Approach ��14 Milena Melfi ‘Even the fragments, however, merit scrutiny’: Ancient Terracottas in the Field and the Museum ��23 Lucilla Burn The Good, the Bad, and the Misleading: A Network of Names on (Mainly) Athenian Vases. ��31 Thomas Mannack

Studying Gems: Collectors and Scholars ��37 Claudia Wagner

Buildings and History ��46 P. J. Rhodes

John Boardman at 90: ‘New’ Archaeology or ‘Old’? Confessions of a Crypto-Archaeologist ��55 Paul Cartledge

Some Recent Developments in the Study of Greeks Overseas ��59 Gocha R. Tsetskhladze Sculpture

Godlike Images: Priestesses in Greek Sculpture ��69 Iphigeneia Leventi

The Nude Constantinople: Masterpieces of Greek Sculpture at Byzantium according to the Greek Anthology �� 78 Carlos A. Martins de Jesus

Ornaments or Amulets: A Peculiar Jewel on Dedicatory Statues ��85 Olympia Bobou

Architecture

Greek Emporios in Chios: The Archaeological Data from the Excavations of the Last Decades ��93 Kokona Roungou and Eleni Vouligea

Temples with a Double Cella: New Thoughts on a Little-Known Type of Temple �� 106 Ugo Fusco

i © Archaeopress and the authors, 2019. Terracotas and Metal

Images of Dionysos, Images for Dionysos: The God’s Terracottas at Cycladic Sanctuaries �� 115 Erica Angliker

An Unusual Sympotic Scene on a Silver Cup from Ancient Thrace: Questions of Iconography and Manufacture �� 127 Amalia Avramidou

Forgeries in a Museum: A New Approach to Ancient Greek Pottery ��136 Claudina Romero Mayorga

Beyond Trade: The presence of Archaic and Classical Greek Bronze Vessels in the Northern Black Sea Area �� 139 Chiara Tarditi

Greek Pottery

Makron’s Eleusinian Mysteries: Vase-Painting, Myth, and Dress in Late Archaic Greece �� 153 Anthony Mangieri

Timagoras: An Athenian Potter to be Rediscovered ��164 Christine Walter

Revisiting a Plate in the Ashmolean Museum: A New Interpretation ��174 Marianne Bergeron

The Greek Pottery of the Tagus Estuary ��185 Ana Margarida Arruda and Elisa de Sousa

Vases on Vases: An Overview of Approaches ��194 Konstantina Tsonaka

Intriguing Objects of Desire: Collecting Greek Vases, a Short History Unfolded ��204 Daniela Freitas Ferreira

Youth in an Enclosed Context: New Notes on the Attic Pottery from the Iberian Tútugi Necropolis (Granada, Galera) �� 212 Carmen Rueda and Ricardo Olmos

An Overview of Brazilian Studies on Greek Pottery: Tradition and Future Perspectives �� 226 Carolina Kesser Barcellos Dias and Camila Diogo de Souza

Coins

Sculptures and Coins: A Contextual Case Study from Side ��239 Alice Landskron

The Romanitas of Mark Antony’s Eastern Coins ��249 João Paulo Simões Valério

War and Numismatics in Greek Sicily: Two Sides of the Same Coin ��259 José Miguel Puebla Morón

ii © Archaeopress and the authors, 2019. Iconography of Poseidon in Greek Coinage ��264 María Rodríguez López

The Silver Akragatine Tetradrachms with Quadriga: A New Catalogue ��276 Viviana Lo Monaco

Gems and Glass

Why was Actaeon Punished? Reading and Seeing the Evolution of a Myth ��287 José Malheiro Magalhães

Greek Myth on Magical Gems: Survivals and Revivals ��299 Paolo Vitellozzi

From Routine to Reconstruction ��311 Susan Walker

Greek History and Archaeology

The Database of the Iberia Graeca Centre ��325 Xavier Aquilué, Paloma Cabrera and Pol Carreras

The Greeks Overseas: A Bioarchaeological Approach ��335 Tasos Zisis and Christina Papageorgopoulou

The Messenian Island of Prote and its Relation to Navigation in Greece and the Mediterranean �� 343 Stamatis A. Fritzilas

Naukratis - Yet Again ��355 Astrid Möller

The Tomb of the Roaring Lions at Veii: Its Relation to Greek Geometric and Early Orientalizing Art �� 358 Gabriele Koiner

Perserschutt in Eretria? Pottery from a Pit in the Agora ��366 Tamara Saggini

Greeks Overseas

A Bridge to Overseas: Insight into the geomorphology, harbourworks and harbour layouts of the Archaic and Classical Greek harbours ��377 Chiara Maria Mauro

Gandharan Odalisque: Mounted Nereids on Gandharan Stone Palettes ��386 SeungJung Kim

The Attic Pottery from the Persephoneion of Locri Epizefiri between Ritual Practices and Worship �� 396 Elvia Giudice and Giada Giudice

Was Knossos a Home for Phoenician Traders? ��408 Judith Muñoz Sogas

iii © Archaeopress and the authors, 2019. Greek Divine Cures Overseas: Italian Realisations of the Greek Paradigm ��417 Lidia Ożarowska

Reception and Collecting

Wine and Blood? Dionysus, Other Gods and Heroes in a Catholic Chapel of Britiande (Lamego, Portugal) ��431 Nuno Resende

Pavlovsk Imperial Villa and its Collections: From the First Stage of Antiquities Collecting and Archaeology in Russia ��441 Anastasia Bukina and Anna Petrakova

Art and Myth

Greek Myths Abroad: A Comparative, Iconographic Study of Their Funerary Uses in Ancient Italy ��455 Valeria Riedemann Lorca

Orphica Non Grata? Underworld Palace Scenes on Apulian Red-Figure Pottery Revisited ��465 Karolina Sekita

Geryon in Tatarli ��475 Malcolm Davies

New Identifications of Heroes and Heroines on the West Pediment of the Parthenon: The Case of P, Q, and R ��480 Ioannis Mitsios

A New Sicilian Curse Corpus: A Blueprint for a Geographical and Chronological Analysis of Defixiones from Sicily ��489 Thea Sommerschield

Once Again: A Sacrificing Goddess. Demeter - What´s up with her Attribute? ��502 Maria Christidis and Heinrike Dourdoumas

Iphigeneia Leventi

The first almost certain depiction of a priestess in action can be found on the east frieze of the Parthenon. There is general consensus among scholars concerning the identification of the mature female figure in the middle of slab V as the priestess of Athena Polias, shown with her back turned to the man in priestly garment who is dealing with the peplos. Even though the iconographic type of this priestess is a generic one with no evident relation to the sculptural representations of the female deity she serves, also lacking identifying attributes like the temple key or the xoanon of the goddess, her identity is established by the context in which she appears, and especially her interaction with the two female attendants, who are recognised as arrephoroi or kanephoroi.1 A similar scene can be seen on the early Classical clay Locrian pinakes, where a priestess is depicted with one or more attendants, or with a host of devotees in a ritual performance.2

The most renowned surviving statue of a Greek priestess is that of Hegeso (formerly known as Nikeso) from Priene, a marble headless statue on display in the Antikensammlung in Berlin inv. no. Sk 1928 (Fig. 1), dating to the first half of the 3rd century BC. Hegeso has been identified as a priestess of Demeter and Kore on the basis of the accompanying votive inscription.3 She is dressed in chiton and a voluminous mantle, her right arm and left hand lost. The main features of this priestess statue are the crinkly texture of her mantle and the long hair falling on her back and shoulders in front. Both features are highly unusual for the iconography of a female portrait statue, but accord well with the iconography of the goddess Demeter whom Hegeso served. The texture of her mantle is thought to represent the special fabric of a highly elaborate garment that evokes the famous Coae vestes.4 In fact, however, the unusual rippling treatment of the entire mantle was employed on purpose in order to reflect the realistically creased drapery of the seated Demeter from Knidos in the British Museum inv. no. 1051, a marble original of the fourth Figure 1. Hegeso from Priene. Berlin, Antikensammlung inv. no. Sk century BC.5 1928. Photo: author. The slightly over-life-size (1.73 m.) Priene statue, the epigraphic formula of its inscription, as well as its position sanctuary, provide sufficient evidence for its identification next to another honorific statue (now lost) representing as a statue of Hegeso Hipposthenous, a priestess of Demeter a priestess of the same goddesses at the entrance of their and Kore. The attributes of Hegeso pose a problem. The kalathos on her head suggested by H. Schrader is highly 1 The identification with arrephoroi by Deubner 1932: 12, pl. 1.1 improbable, as it is not documented in the iconography of remained influential. See recently, Meyer 2017: 235-240, fig. 130. priestesses. Furthermore, it would have turned the statue Palagia 2008: 33, identified the two maidens as kanephoroi . Cf. Mantis into a cistophoros, a type reserved for Caryatids in Greek 1990: 79-80, pl. 33a, and 78-80, pl. 33b, on the identification of the sculpture.6 The other suggestions that have been put forward priestess. propose that the priestess either carried a hydria on her 2 Kaufmann-Samaras and Szabados 2004: 436-437, nos. 153a-b, with drawings. Marroni and Torelli 2016: 54-58, figs. 34-37, recognizing the head supporting it with her raised right hand, or that she 7 scene as a kind of peplophoria. held a torch in the same hand. The first suggestion would 3 Schrader: in Wiegand and Schrader 1904: 149-151, figs. 118-120; have underlined her mission as the servant of the goddess, Mantis 1990: 98-99, fig. 44b; Connelly 2007: 137-139, fig. 5.12; Dillon 2010: 77-78, n. 318, and 124-126, fig. 2 (cast) and 65 (back view). On the new reading of the priestess’ name as Hegeso, Queyrel 2016: 166, fig. 6 Schrader: in Wiegand and Schrader 1904: 151. On Caryatids, 145. Cf. http://arachne.uni-koeln.de/item/objekt/34627 (K. Hallof). Stephanidou-Tiveriou 2007: especially 500-502, figs. 5-7, 10; Palagia 4 See Connelly 2007: 137-138 with n. 91. 2016: figs.1-3, 10-11. 5 Ridgway 1997: 332-333, pl. 79a-c. 7 A torch was suggested by Kron 1996: 148.

69 © Archaeopress and the authors, 2019. Greek Art in Motion. Studies in honour of Sir John Boardman on the occasion of his 90th birthday

Figure 3. Aristonoe from Rhamnous. Athens, National Archaeological Museum inv. no. 232. Detail: Head. Photo: author.

of grain and poppies.9 The torch as an attribute of Hegeso, priestess of Demeter and Kore, is a more plausible suggestion, since a large circular hole for its insertion once existed on the right side of the upper part of her base, only evident today as a break on its surface.10 Alternatively, she may have held a long scepter as priestesses can appropriate divine attributes.11

Let us now proceed to the late Hellenistic period to observe the statue of another known priestess, that of the Athenian Aristonoe (Fig. 2) who served the mighty goddess Nemesis, worshipped in the provincial sanctuary in the northeastern Figure 2. Aristonoe from Rhamnous. Athens, National coast of Attica at the deme of Rhamnous. This life-size female Archaeological Museum inv. no. 232. Photo: author. statue was found almost intact together with its inscribed base during the excavations of the smaller Archaic temple of Nemesis at Rhamnous, and was transferred to the National in view of the hydriaphoroi terracotta statuettes representing Archaeological Museum of Athens inv. no. 232, where it female votaries that were widely diffused in the Greek world, remains today. When it was found in 1891, the hand of the 12 serving as votive offerings in several of Demeter and Kore’s now missing inserted right forearm held a small phiale. sanctuaries.8 The second would have emphasized instead her godlike image in view of her comparison to the Eleusinian 9 Klöckner 2013: especially 317, figs. 1-15. deities she served. Another example of such godlike attributes 10 Schrader: in Wiegand and Schrader 1904: fig. 118; Connelly 2007: is offered by depictions of female devotees of Demeter on fig. 5.12; Dillon 2010: 78. 11 Like the priestess of the Argive Hera bearing a temple key and grave reliefs from Smyrna dating to the later Hellenistic scepter on an Attic red-figure hydria by the Agrigento Painter in period. The devotees on these grave reliefs are portrayed Boston, Museum of Fine Arts inv. no. 08.417: Connelly 2007: 71-72 standing next to a large torch, and occasionally hold shafts with n. 24, 82, fig. 3.3; Ridgway 1990: 211-212, suggested a scepter for Hegeso. 12 Stais 1891: 53-55, fig. on p. 46, pls. 3-5; Mantis 1990: 103, 109, pl. 8 See Mantis 1990: 98-99 with n. 425, pl. 44b. Cf. the discussion in 46β; Connelly 2007: 145-146, 234, fig. 5.14; Dillon 2010: 76-77, 106-108, Connelly 2007: 137-138. Recently also, Queyrel 2016: 166-167. fig. 1 (left-right as on the cover), 46-47; Cf. Keesling 2012: 498 n. 107,

Figure 4. Attic Grave Relief of Hieron from Rhamnous. Athens, Figure 5. Attic grave relief of Hieron from Rhamnous. Athens, National Archaeological Museum inv. no. 833. Detail. Head of National Archeological Museum inv. no. 833. Detail. Head of Lysippe. Lysippe. Photo: D-DAI-ATH-NM 4665, Eva Maria Czakó. Photo: D-DAI-ATH-NM 4666, Eva Maria Czakó.

According to the votive inscription, the statue of Aristonoe since the right flank is thrust to the side, while the upper was dedicated by her son Hierokles Hieropoiou to both body tilts to the left. And last but not least, her mantle is full Themis and Nemesis, who were venerated together in the of the characteristic late Hellenistic crease marks.14 All these city sanctuary of Rhamnous. Aristonoe dons a chiton and a point to a date in the second half of the 2nd and /or the early diagonal mantle that is transparent in the abdomen area, part of the 1st century BC. Of interest to us is the fact that enveloping both her arms down to the elbows. A priestly the statuary type of Aristonoe is also used for the goddess strophion is visible only in the front of her head, above the identified as Themis on a fourth-century votive relief found forehead (Fig. 3). The mature age of Aristonoe is revealed in Rhamnous and recomposed from two fragments: one in the by the fact that the dedication was made by her son and is British Museum, the other in the Rhamnous Archaeological corroborated by the ‘Venus rings’ visible on her neck and the Collection.15 subtle wrinkles on her face. The diagonal mantle of Aristonoe also occurs on Lysippe, wife The letter-forms of the dedicatory inscription (IG II2 3462) of Hieron son of Hierokles. She is portrayed with her husband downdates the statue to the mid-2nd century BC, whereas on a late-fourth-century grave relief from Rhamnous on its traditional chronology was considered to be somewhere display in the National Archaeological Museum of Athens inv. in the 3rd century BC.13 However, the structure of Aristonoe’s no. 833.16 The stance of Lysippe is similar to that of Aristonoe, body is not cylindrical. Her sides lack depth, as her drapery her mantle tightly enveloping the body and revealing lacks volume, all of them being characteristics of the late it as it stretches over the abdomen. Lysippe’s left arm is Hellenistic period, together with the soft modeling around raised holding up the edge of her mantle in a version of the the corners of her mouth. Her contrapposto is not consistent, anakalypsis motif performed towards Hieron, to whom her elegant head is also turned, her right hand outstretched in the handshake gesture. It is, however, interesting to note, that on her priestly strophion. she bears a priestly strophion around her delicately arranged 13 Jacob-Felsch 1969: 90 with n. 281, 158, no. Ι 60 and Schmidt 1995: hair, an attribute not noticed so far (Figs. 4-5). Two small drill 257, no. Ι.1.61, date the base in the late 2nd century according to its form. Tracy 1990: 163-165, especially 165 (ca. 155); Palagia 2003: 546 with n. 42, fig. 13; Dillon 2010: 198 no. 281. Cf. Weber 1960, 128-129, figs. 10-11 (late Hellenistic period). Petrakos 1999 I: 288, fig. 201, and 14 See Öztepe 2007: 251, 256-257, 251. II, 108-109, no. 133 (3th century). Pilz 2013: 162, suggested that the 15 London, British Museum inv. no. 1953.5-30.1+ Rhamnous earlier 3rd -century statue was reused with a new base in the mid- storerooms 530: Palagia and Lewis 1989: pl. 49. 2nd century. 16 Petrakos 1999 I: 397-398, figs. 293-294.

71 © Archaeopress and the authors, 2019. Greek Art in Motion. Studies in honour of Sir John Boardman on the occasion of his 90th birthday

holes at the front, on the strophion and the hair, are either for accompanying inscription or her iconographic type. This a metal attachment or evidence of ancient repair. is particularly true in a grave relief in the Piraeus Museum inv. no. 3627, where Kybele’s priestess Chairestrate is shown Although in the case of the grave stele depicting Hieron calmly seated as a young attendant approaches her from the and Lysippe the funerary epigram identifies Hieron as the right carrying the tympanon.24 And this brings us to the next deceased without elucidating on Lysippe’s identity, she also group of monuments from outside Attica, dating to the late seems to have been a priestess in the sanctuary of Nemesis 4th or early 3rd century BC., where such signifiers do not and Themis. The diagonal mantle is an exceptional garment appear. primarily worn by youthful goddesses in sculpture.17 It is absent from female votaries on classical Greek reliefs, though The first of these is an unusual but well-known atticising extraordinarily enough it can be seen worn over an Oriental votive relief in the Lamia Archaeological Museum inv. no. AE chiton by the female servant carrying the basket of offerings 1041 (Fig. 6). It was found in Achinos, a liminal area between on her head at the end of the procession of adorants.18 It Malis and Achaia Phthiotis in Central Greece, and was possibly is indeed rare on Attic tombstones of the 4th century BC, dedicated in a local sanctuary of Artemis. The scene depicted only appearing on a handful of monuments (mostly marble on it is particularly elucidated by the garments shown in low lekythoi) where it is donned by young or heroised female relief hanging in the background, thought to be the wall of figures.19 Finally, it is worth noting that the diagonal mantle the temple of Artemis. The goddess is represented standing, is worn by both the aforementioned Rhamnousian women holding a large torch in her right hand. Her hair is gathered in who were married and rather matronly, although the latter a small bun at her back, the head crowned with a stephane. Her quality is not expressed in their sculptural representations, left arm is supported by a low pillar, the hand having possibly which suggests that the resemblance to the divine dress held her bow or an arrow. The upper part of her quiver is may have been a priority for their depiction. Furthermore, a visible over her right shoulder. She is dressed in a high-girded similar case is that of the Roman statues from the Artemis Attic peplos with a back-mantle. Particularly notable are the Ortheia sanctuary at Messene, epigraphically confirmed figures depicted behind the sacrificial altar with the servant as priestesses, also donning the diagonal mantle that is and the bull. First comes a youthful striding female figure in occasionally worn by this goddess.20 a high-girded Attic peplos, holding out an infant, possibly a girl. A maiden is depicted in lower relief behind her, also clad On Attic grave reliefs of the 4th century a priestess is usually in the Attic peplos, carrying on her head a tray with various designated by the large temple key she carries or supports offerings and holding a small oinochoe in her lowered right on her shoulder, and she is represented seated or standing, hand. The last figure on the left is a taller woman of more either alone, or accompanied by members of her family. The mature age clad in chiton and mantle. She raises her right relevant funerary inscription is rarely informative of her hand before her breast in an adoration gesture, while grasping identity or career, in most cases providing nothing more than a small incense box in her outstretched left hand. The young the personal name of the priestess that is clearly considered woman holding the child is usually identified either as the to be enough in addition to the crucial attribute she carries, mother or the nurse.25 I do not agree with the interpretation thus allowing for her identification.21 In a few special cases that this figure is the mother presenting her baby girl to the some priestesses carry a tympanon and are therefore identified goddess on the occasion of the successful birth or in order as priestesses of the goddess Kybele.22 They are all dressed in to ensure further divine protection for the infant. A mother chiton and mantle, the only elements differentiating them is never clad in an Attic peplos on votive or grave reliefs.26 from other mortal women in Greek tombstones being their On the other hand, when a nurse carrying the baby appears attributes, as well as often a hairband.23 Indeed, the temple on Greek votive reliefs depicting families of adorants, she is key or the tympanon may be indispensable iconographic set at the end of the array of mortals, dressed in chiton and traits whenever a priestess is not identified as such by the mantle.27

I would like to suggest that the figure in question is a young 17 Leventi 2003: 59-61. See also the xoanon of a goddess, either Athena priestess of Artemis. This youthful female figure is dressed in Nike or Athena Polias on a fragmentary relief from the Akropolis, the same garment as Artemis, the Attic peplos, and has her Akropolis Museum inv. no. 2605+4734+2447: Brøns 2017: 370 with n. hair similarly arranged in a small bun over the nape of her 60, fig. 119. 18 E.g. on the votive relief to Asklepios and Hygieia, Athens, National neck. Moreover, she is attended by the maiden, who bears Archaeological Museum inv. no. 1333: Leventi 2003: 153, no. R 70, pl. the tray of offerings on her head and the libation jug. The 46 (320-310 BC). latter may thus be interpreted as the maidservant of the 19 E.g. the impressive female figure in the middle of the relief scene priestess, reminding us of the young girls attending Athena on the lekythos in New York, Metropolitan Museum of Art inv. no. Polias’ priestess on the Parthenon east frieze. The young 49.11: Clairmont 1993: 192-193, no. 7.330. 20 Connelly 2007: 155-157, figs. 5.22-23. priestess of Artemis is of the appropriate age for serving the 21 Freyer-Schauenburg 1989: figs. 1-3; Kosmopoulou 2001: 292-299, maiden goddess and also bears the special attire of unmarried 312-316, nos. P1- P10, figs. 3-4; Connelly 2007: 223-240, figs. 8.4-8.10 ; Connelly 2008. See also the fragmentary 4th century document relief in Berlin, Staatliche Museen, Antikensammlungen SK 881, with 24 Clairmont 1993: 495-496, no. 1.934; Kosmopoulou 2001: 313-315, Athena’s Nike crowning a priestess, who holds a temple key: Connelly fig.4. 2008: 189, fig.3. Cf. Connelly 2007: 95-98 with n. 65, fig. 4.7, pl. 13. She 25 Dakoronia and Gounaropoulou 1992: pls. 57-60; Cole 2004: 213: a also discusses another, late 5th -century document relief in Athens, mother. Morizot 2004: 162-163, fig, 1; Mehl 2009: 198-199, fig. 2; Neils Akropolis Museum inv. no. 2758+2427 (Connely 2007: 96-97 with n. 2009: 141, fig. 3; Dasin 2014: 67-68, fig. 15: a nurse. 69, fig. 4.8), which provides our earliest evidence for a key-bearing 26 On the Attic peplos as the exclusive garment of unmarried women priestess in Attic sculpture. and maidens, see Margariti 2017: vii and 161-165. It is not normally 22 Kosmopoulou 2001: 296. worn by nurses: Schulze 1998: 25-42, pls. 5-11. 23 Rahn 1986: 200, pl. 11a ; Kosmopoulou 2001: 297 with n. 174. 27 Examples in Schulze 1998: 41-42, 131-132, nos. AW 1, 4-5, pl. 11.

Figure 6. Votive relief to Artemis. Lamia Museum inv. no. AE 1041. Photo: Lamia Museum, © Ministry of Culture and Sports –Archaeological Receipts Fund. females. An ordinary maiden is never depicted leading a group communication with Artemis on the relief scene points to the of adults, but instead shows her modesty by occupying a less female figure’s identification as the youthful priestess of the prominent position within the group.28 Thus, three of the four goddess. female figures portrayed on the relief, namely the youthful goddess Artemis, the young woman presenting the child to Another possibly Thessalian votive relief can be seen in the goddess, the one we have interpreted as a priestess, as Hamburg, Museum für Kunst und Gewerbe inv. no. 1991.136 well as the young attendant bearing the offerings wear the (Fig. 7).33 Artemis is here seated on a rock on the left and Attic peplos, their hair bound securely in a bun at the nape of depicted as a huntress, clad in chiton, mantle and a finer the neck. The choice of this attire and youthful coiffure by the garment (possibly a nebris?) hanging diagonally from her sculptor of the relief was purposeful, in order to declare the right shoulder. Facing her stands an imposing woman of association between these three figures.29 On the other hand, heavy proportions dressed in chiton and diagonal mantle, the mature woman on the left end of the relief is wrapped possibly an incense-box held in her left hand, while her now in her mantle and veiled. This figure has been interpreted as missing right hand could have held out a phiale or a libation the grandmother or as the priestess of Artemis.30 However, jug. Two children are depicted before her, a standing girl and the veiled head and the adoration gesture occur on married a toddler crawling on the ground. An older girl stands behind female adorants,31 hence she is probably the dedicator of the her. At the far back, half-hidden by the right anta of the relief relief and mother of the child. On the other hand, the young is a rather elderly female attendant clad in the Attic peplos. woman carrying the child is shown boldly approaching the She carries a liknon full of bloodless offerings.34 The woman in goddess in a manner not befitting female votaries on Greek the center is matronly, almost as tall as the seated Artemis, votive reliefs who always proceed with restraint, performing her drapery echoing the attire of the goddess, while she is an adoration gesture towards the gods.32 Her intimacy of accompanied by her cult attendant. She also stands directly facing Artemis, performing no adoration gesture, but carrying cult objects. Her head was inclined, yet uncovered. The 28 E.g. the votive relief above n. 18. name of the dedicant inscribed on the architrave is Ἀρσίππα 29 For a possible depiction of the priestess of Artemis, Iphigeneia, in Εὐδοξεία, Arsippa daughter of Eudoxus, which indicates that a similar type, holding a temple key on the Apulian kotyle in London, British Museum inv. no. F 127, see Mantis 1990: 65 with n. 258, pl. 27b; Connelly 2007: 14, fig. 1.1. 30 Chrysostomou 2001: 243 n. 45: a priestess accompanied by her 36, pl. 35. servant. Dillon 2002: 232, fig. 7.4, thinks that the veiled figure is the 33 Hoffmann 1994: figs. 1-2; Vikela 2015: 212, no. Ar 38, pl. 35. mother accompanied by two female servants. 34 In Italian vase-painting, elderly cult agents wear occasionally the 31 See Athens, National Archaeological Museum inv. no. 3540: Leventi Attic peplos carrying temple keys: Connelly 2007: 98-103, figs. 4.9-15. 2003: 154, no. R 74, pl. 49. For a similar liknon, see a votive relief to the Apollonian triad in Delphi 32 E.g. Brauron Museum inv. no. 32+32a+1153: Vikela 2015: 212, no. Ar Museum inv. no. 8874+1101+3815: Vikela 2015: 219, no. Tr 10, pl. 57.

73 © Archaeopress and the authors, 2019. Greek Art in Motion. Studies in honour of Sir John Boardman on the occasion of his 90th birthday

Figure 7. Votive relief to Artemis. Hamburg, Museum für Kunst und Gewerbe inv. no. 1991.136. Photo: Museum. she may have indeed been the unmarried priestess of Artemis peplos with a low overfold and kolpos, and a mantle.36 The shown here in advanced age as she brings the children of goddess holds a torch in her left hand and is accompanied Artemis’ devotees to the kourotrophos goddess. Or was she a by her deer. On the left her priestess Laodike is portrayed in married woman referred to only by her patronymic according the same pose, wearing a similar Attic peplos and carrying a to a traditional formulation? 35 small oinochoe in her lowered right hand, whereas her left arm is raised, the hand once supporting a missing tray or even a The third votive relief from Gonnoi in Thessaly in the kanoun or liknon she carried on her head, thus bearing the cult Volos Archaeological Museum inv. no. Ε 274 (L 389) (Fig. 8) paraphernalia of an attendant. is dedicated to Artemis Euonymos by her priestess Laodike, according to the inscription that is visible below the relief The late-fourth-century grave relief of Phila from Pella in panel. It shows Artemis standing to the left, dressed in chiton, ancient Macedonia bears an inscription with her name: Φίλα Μενάνδ[ρου]. It is nowadays kept in the Pella Museum inv. no. 1977/1139 (Fig. 9). Phila is portrayed in a frontal pose, fully enveloped in her mantle which also covers her head and 35 Cf., e.g., the name formula of Philip’s II mother and queen of hands. She is accompanied by a maidservant clad in a high- Amyntas III of Macedonia, Eurydike, referred in her dedications to Eukleia in Vergina only with her patronymic: Εὐρυδίκα Σίρρα. girded Attic peplos, who carries a tray with fruits and popana Saatsoglou Paliadeli 2000: 397 with n. 68, expressed the view that on her head and holds a libation jug in her left hand. This Eurydike could actually have been a priestess of Eukleia. A marble cult attendant is almost identical to the one depicted on the statue found in the sanctuary of Eukleia remains unpublished and Achinos votive relief. In view of the attire of Phila, which is is of uncertain identification. It was recognised as a portrait of highly unusual in the repertory of Greek grave reliefs, and the Eurydice, possibly as a priestess, shown in an Argive peplos over a attributes of her maidservant, the excavator has suggested chiton and veiled. Dillon 2010: 78-81, with nn. 328-329, figs. 33, 60. Cf. 37 contra Palagia 2010: 39-40, who suggests that the Argive peplos was that the relief depicts a priestess. Indeed, this funerary reserved for deities and considers it a statue of the goddess Eukleia. Also, recently Kyriakou and Tourtas 2015: 364-371, figs. 13.10, 13.12, suggest that the face of the statue of Eukleia was later reworked as the 36 Helly 1973: 186, no. 167, fig. 25; Heinz 1998: 257-258, no. 159, fig. 32. queen mother Eurydike. It was deposited ritually after its destruction 37 Chrysostomou 2001: 241-242, fig. 1. Cf. contra, Kalaitzi 2016: 39-40, in a pit along with two heads of statues representing deities. with n. 91, who states that the veiled head and both hands covered

Figure 8. Votive relief to Artemis.Volos Museum inv. no. E 274 (L 389). Figure 9. Grave relief of Phila. Pella Museum inv. no. Photo: author. 1977/1139. Photo: © Ministry of Culture and Sports / Ephorate of Antiquities of Pella.

relief supports the idea that the maidservant carrying the The sartorial evidence, as well as the female attendant, are of tray or the liknon of offerings defines a priestess as such, prime importance for the identification of Greek priestesses and can therefore provide evidence for the identification of on reliefs, especially when specific attributes are lacking. priestesses with their cult attendants in the aforementioned Furthermore, I would also like to compare this servant with votive reliefs. Most importantly, however, further evidence is Syeris, diakonos of the lifetime priestess of Athena Polias, provided by an Apulian crater in the Naples Museum where Lysimache, known by her statue base inscription (IG II2 3464) the mythical priestess of Artemis Iphigeneia holding the and from Pausanias 1.27.4, whose image, not accidentally, was temple key stands before the altar with the suppliant Orestes, set up on the Athenian Akropolis together with the statue of accompanied by her maidservant who is carrying the tray of the priestess she attended (IG II2 3453), around the mid-4th offerings and the oinochoe, just like on the Pella and Achinos century B.C.39 reliefs.38 We have investigated the different means of identifying a priestess in Greek sculpture, taking into account the by the himation are not characteristic of a priestess. Νevertheless, a iconographic context in which priestesses appear in some fleeing Pythia accompanied by her attendant on an Apulian crater in relief monuments. We focused on special cases where Berlin, Staatliche Museen, Antikensammlung inv. no. F 3256: Mantis priestesses are portrayed in statues and reliefs drawing on (1990: 57, no. Π 4, pl. 22) has her head and left hand totally covered by her mantle. the iconography of the female deity that they served. This 38 Apulian volute crater by the Painter of Iliou Persis, ca. 370-360 study thus aimed to develop certain iconographic tools to aid BC, Naples, Museo Archeologico Nazionale inv. no. H 3223: Mantis 1990: 53, no. I 12, pl. 19b. Cf. also Iphigeneia accompanied by her cult attendant on a lost Campanian amphora: Mantis 1990: 54 no. I 17, pl. 20a. 39 Keesling 2012: especially 496-497, with figs. 1,2,4, 8-9 (statue bases).

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