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

Archaeopress Publishing Ltd

Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG

www.archaeopress.com

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.

All rights reserved. No part of this book may be reproduced, or transmitted, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners.

Printed in England by Oxuniprint, Oxford This book is available direct from Archaeopress or from our website www.archaeopress.com

Contents

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

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 Arrudaand 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 Diasand 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

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

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

iv

Godlike Images: Priestesses in Greek Sculpture

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.¹A 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.³She 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.⁴In 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

century BC.⁵

Figure 1. Hegeso from Priene. Berlin, Antikensammlung inv. no. Sk
1928. Photo: author.

The slightly over-life-size (1.73 m.) Priene statue, the epigraphic formula of its inscription, as well as its position next to another honorific statue (now lost) representing a priestess of the same goddesses at the entrance of their sanctuary, provide sufficient evidence for its identification as a statue of Hegeso Hipposthenous, a priestess of Demeter and Kore. The attributes of Hegeso pose a problem. The kalathos on her head suggested by H. Schrader is highly improbable, as it is not documented in the iconography of priestesses. Furthermore, it would have turned the statue into a cistophoros, a type reserved for Caryatids in Greek sculpture.⁶The other suggestions that have been put forward

propose that the priestess either carried a hydria on her

head supporting it with her raised right hand, or that she

held a torch in the same hand.⁷The first suggestion would

have underlined her mission as the servant of the goddess,

^1ꢀThe identification with arrephoroi by Deubner 1932: 12, pl. 1.1 remained influential. See recently, Meyer 2017: 235-240, fig. 130. Palagia 2008: 33, identified the two maidens as kanephoroi . Cf. Mantis 1990: 79-80, pl. 33a, and 78-80, pl. 33b, on the identification of the

priestess.

^2ꢀKaufmann-Samaras and Szabados 2004: 436-437, nos. 153a-b, with drawings. Marroni and Torelli 2016: 54-58, figs. 34-37, recognizing the

scene as a kind of peplophoria.

3ꢀ

Schrader: in Wiegand and Schrader 1904: 149-151, figs. 118-120; 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. 145. Cf. http://arachne.uni-koeln.de/item/objekt/34627 (K. Hallof).

^4ꢀSee Connelly 2007: 137-138 with n. 91.

6ꢀ

Schrader: in Wiegand and Schrader 1904: 151. On Caryatids,
Stephanidou-Tiveriou 2007: especially 500-502, figs. 5-7, 10; Palagia 2016: figs.1-3, 10-11.

^5ꢀRidgway 1997: 332-333, pl. 79a-c.

^7ꢀA torch was suggested by Kron 1996: 148.

69

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.⁹The 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.¹⁰Alternatively, 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

coast of Attica at the deme of Rhamnous. This life-size female 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 Archaeological Museum of Athens inv. no. 232, where it remains today. When it was found in 1891, the hand of the now missing inserted right forearm held a small phiale.¹²

Figure 2. Aristonoe from Rhamnous. Athens, National Archaeological Museum inv. no. 232. Photo: author.

in view of the hydriaphoroi terracotta statuettes representing female votaries that were widely diffused in the Greek world, serving as votive offerings in several of Demeter and Kore’s sanctuaries.⁸The second would have emphasized instead her godlike image in view of her comparison to the Eleusinian deities she served. Another example of such godlike attributes is offered by depictions of female devotees of Demeter on grave reliefs from Smyrna dating to the later Hellenistic period. The devotees on these grave reliefs are portrayed standing next to a large torch, and occasionally hold shafts

^9ꢀKlöckner 2013: especially 317, figs. 1-15. ^10ꢀSchrader: in Wiegand and Schrader 1904: fig. 118; Connelly 2007: fig. 5.12; Dillon 2010: 78. ^11ꢀLike the priestess of the Argive Hera bearing a temple key and scepter on an Attic red-figure hydria by the Agrigento Painter in Boston, Museum of Fine Arts inv. no. 08.417: Connelly 2007: 71-72 with n. 24, 82, fig. 3.3; Ridgway 1990: 211-212, suggested a scepter for Hegeso. ^12ꢀStais 1891: 53-55, fig. on p. 46, pls. 3-5; Mantis 1990: 103, 109, pl. 46β; Connelly 2007: 145-146, 234, fig. 5.14; Dillon 2010: 76-77, 106-108, fig. 1 (left-right as on the cover), 46-47; Cf. Keesling 2012: 498 n. 107,
^8ꢀSee Mantis 1990: 98-99 with n. 425, pl. 44b. Cf. the discussion in Connelly 2007: 137-138. Recently also, Queyrel 2016: 166-167.

70

Iphigeneia Leventi – Godlike Images: Priestesses in Greek Sculpture

Figure 4. Attic Grave Relief of Hieron from Rhamnous. Athens,

Figure 5. Attic grave relief of Hieron from Rhamnous. Athens,

National Archeological Museum inv. no. 833. Detail. Head of Lysippe.
Photo: D-DAI-ATH-NM 4666, Eva Maria Czakó.
National Archaeological Museum inv. no. 833. Detail. Head of
Lysippe. Photo: D-DAI-ATH-NM 4665, Eva Maria Czakó.

According to the votive inscription, the statue of Aristonoe was dedicated by her son Hierokles Hieropoiou to both Themis and Nemesis, who were venerated together in the

city sanctuary of Rhamnous. Aristonoe dons a chiton and a

diagonal mantle that is transparent in the abdomen area, enveloping both her arms down to the elbows. A priestly strophion is visible only in the front of her head, above the forehead (Fig. 3). The mature age of Aristonoe is revealed by the fact that the dedication was made by her son and is corroborated by the ‘Venus rings’ visible on her neck and the subtle wrinkles on her face. since the right flank is thrust to the side, while the upper body tilts to the left. And last but not least, her mantle is full of the characteristic late Hellenistic crease marks.¹⁴All these point to a date in the second half of the 2nd and /or the early

part of the 1st century BC. Of interest to us is the fact that

the statuary type of Aristonoe is also used for the goddess identified as Themis on a fourth-century votive relief found in Rhamnous and recomposed from two fragments: one in the British Museum, the other in the Rhamnous Archaeological