HESPERIA 76 (2OO7) THE MONDRAGONE Pages ioj-141 RELIEF REVISITED

Eleusinian Cult Iconography

in Campania

ABSTRACT

a This study of Classical Attic votive relief found atMondragone in north ern Campania reaffirms the traditional interpretation of the deities depicted on it as members of the Eleusinian cult circle. on Drawing contemporary Eleusinian vase painting, the author argues that the relief depicts episodes on from the Homeric Hymn toDemeter. The figure of Dionysos, leaning the throne of , indicates that this Attic relief was dedicated in a local or domestic sanctuary in Campania by Eleusinian initiates who may also have a participated in the Dionysiac-Orphic Mysteries. Thus, the relief is crucial piece of evidence for the diffusion of the Eleusinian cult abroad.

an was A votive relief depicting array of deities (Fig. 1) found in 1916 a during the plowing of field northwest of the village of Mondragone in area was northern Campania, in the where the Roman colony Sinuessa now situated.1 The relief, inNaples at theMuseo Archeologico Nazionale, is made of Pentelic marble and has traditionally been dated to the third quarter of the 4th century b.c.2

for and to 1. On the findspot of the relief Papaggeli ( Museum) photo tions, especiaUy Olga Novoselt in ceva and Sinuessa, founded 296/5 b.c., graphs and helpful discussions; and and Elena Ananich (State Hermi seeMingazzini [1927] 1986, p. 3; Nikolaos Kaltsas, Eleni Kourinou, tageMuseum). I finaUywish to thank 1-17. Bonanome 1995, pp. The heads Eleni Morati, and especially Evangelos Stefanie KenneU for improving my are as as of all of the figures mutilated: Vivliodetis and Elisavet Stasinopoulou English text, weU the editor and 211-214. at the National Muse reviewers of Bonanome 1995, pp. Archaeological the anonymous Hesperia am to um comments. I grateful Kevin Clinton and in Athens. For advice and informa for their helpful a am to Olga Palagia, who read first version tion I also grateful Yiannis Lolos 2. Dimensions of the reUef accord of this text in Greek and made valuable (University of Thessaly), Christina ing to the initial publication byMin to suggestions, and Mark Landon and Mitsopoulou (University of Thessaly), gazzini [1927] 1986, p. 3 (repeated by who n. especially John Camp, exhaustively Maria Elena Gorrini (Universit? degli Bonanome 1995, p. 9, 1): H. 0.70, discussed of well Anna m. in problems cylindrical Studi, Pavia) and Quartarone L. 1.33, D. 0.17 Dimensions head and with me. Museo For no. typology chronology (Catania, Civico). providing Baumer 1997, p. 147, R52: H. 0.71, I would also like to thank Valeria Sam thanks to the Deutsches L. 0.19 m. measurements: photographs, go 1.40, D. My for to the Mon in H. L. 0.13-0.17 m. paolo permission study Arch?ologisches Institut Athens 0.71, 1.40, D. in as a tenon on dragone relief the Museo Archeo (Michael Krumme) and in Rome, There is the underside of logico Nazionale inNaples; Kalliope well as to various museums and institu the reUef.

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1. Votive re?ef from Mondra Figure A of scholars have associated the relief with Museo majority Mondragone gone. Naples, Archeologico the Eleusinian cult circle, although its iconography is peculiar and the Nazionale (no inv. no.). Photo C. Kop on permann, courtesy Deutsches Arch?olo identification of most of the gods portrayed it is still controversial.3 In gisches Institut, Rome (neg. D-DAI-Rom her 1995 on the relief, Daniela Bonanome that it shows monograph argued 1966.1835) Eleusinian deities along with deities from the circle of Asklepios, and that was on it originally dedicated in the Athenian Asklepieion the south slope of the Acropolis. Her interpretation, including the suggestion that the relief was removed in Roman times, before the sack of Athens by the Herulians in a.d. 267, and transported to the region of Sinuessa in Campa a nia, where cult of Asklepios flourished in connection with healing springs were recent that well known in antiquity, has been accepted in several studies.4

In this article, I reexamine the puzzling iconography of the Mondra a gone relief, with view to better understanding the original context of its scenes on dedication. My study, which associates the relief with episodes

in no. no. n. 3. The relief is often mentioned R66; Bianchi 1976, p. 22, 25, pi. 30; Vikela 1994, p. 183, 71; Bona nome articles and monographs, including fig. 25; Palagia 1980, pp. 28-29, 66, 1995; Baumer 1997, p. 147, Borrelli 1920 to Min no. no. 37 (unavailable me); Al, fig. 48; Eschbach 1986, pp. 78, R52, pi. 36:1; Filges 1997, pp. nn. Schwarz no. with LIMC gazzini [1927] 1986; Buschor 1928; 80, 288, 302, pi. 21:4; 42, 64-65, 254, 58, fig.; no. s.v. Rizzo 1932, pp. 101-103, pi. CLIII; 1987, pp. 66,199-200, no. R8; LIMC VIII, 1997, p. 965, 152, Picard Nilsson no. s.v. Baumer 1931, pp. 25-34, pi. II; IV, 1988, p. 878, 412, pi. 594, phone (G. G?ntner); 2001, no. [1935] 1952, pp. 556-557; Bielefeld (L. Beschi); p. 44, 4, p. 46, pp. 89-90. 1951-1952; Herrmann 1959, pp. 106 s.v. Eubouleus (G. Schwarz); LIMCV, 4. Bonanome 1995, pp. 199-210; no. s.v. 111,114-115; Mylonas 1965, pp. 105 1990, p. 612, 2b, Iakchos (E. Si followed by Vikela 1997, pp. 192-194, no. n. n. ComeUa 107, 10, fig. 15; Metzger 1965, mon); Clinton 1992, pp. 41, 20, 64, 86; 2002, pp. 153-154, 215, no. no. no. Bottini pp. 30, 36, 48, 14;Ker?nyi [1967] 137, 5; LIMC VI, 1992, p. 991, Mondragone 1, fig. 157; no. s.v. no. with 1991, pp. 152-153, fig. 43; Peschlow 23, Hekate (H. Sarian); G?nt 2005, pp. 148-151, 18, fig. Bindokat 1972, pp. 126-127,156, ner 1994, pp. 57-58,153, no. D23, (A. Papini). THE MONDRAGONE RELIEF REVISITED 109

narrated in theHomeric Hymn toDemeter, upholds the traditional interpre on tation of the scene the relief as comprising only Eleusinian deities. One exception is the figure of Dionysos, who, despite his frequent appearance vase a in Eleusinian painting, belongs here to completely different cult on tradition. The way in which Dionysos is depicted the Mondragone a was relief provides clue about the circumstances inwhich the relief pro was an duced and dedicated. I argue that it made in Attic workshop and a a subsequently dedicated in Campanian sanctuary by devotee of both the Eleusinian and the Dionysiac-Orphic Mysteries, thus providing important to evidence for the diffusion of the Eleusinian cult the periphery of the Greek world in the 4th century B.c.

A REVIEW OF THE SCHOLARSHIP

was Paolino Mingazzini in 1927 the first to identify the relief from Mon as an to dragone Attic offering the Eleusinian deities. He suggested that a it had been dedicated in sanctuary at Athens and transported to Italy as war booty after the sack of Athens by Sulla in 86 B.c., when the relief came a into the possession of native who used it to adorn his villa.5 The was as war suggestion that the relief transported to Italy booty has been a widely accepted.6 Moreover, Mingazzini's idea that it adorned Roman area was villa in the of Sinuessa endorsed by Bonanome, who associated a a near it with specific Roman villa adjacent to bath complex excavated the findspot of the relief.7 on can The only divinities the Mondragone relief who be securely are on identified Triptolemos, seated in his winged wagon the far left, and, a standing next to him, the Eleusinian Kore, who holds pair of torches in her right hand. The goddess standing beside Kore has been variously identified as Demeter, Thea (i.e., , consort of Hades in Eleusinian cult a and queen of the underworld), , personification of Eleusis, or He on seems an kate.8 In front of her, the goddess seated what to be Eleusinian

son nn. 5.Mingazzini [1927] 1986, p. 8. [1935] 1952, p. 557; Ker?nyi [1967] pp. 102-103, 32-34. This iden 6. Buschor 49 Peschlow-Bindokat See, e.g., 1928, pp. 1991, p. 153; tification has been chaUenged by other 50; Picard 1931, p. 34; Bianchi 1976, 1972, p. 127; Schwarz 1987, p. 200; scholars who see Theos and Thea as no. no. an cult p. 22, 25. Ker?nyi ([1967] 1991, LIMC IV, 1988, p. 878, 412, independent pair: Peschlow s.v. p. 152) suggests, however, that the reUef pi. 594, Demeter (L. Beschi); p. 44, Bindokat 1972, pp. 124-127; Schwarz may have been carried off from Eleusis no. 4, s.v. Eubouleus (G. Schwarz); 1987, p. 200; Simon 1997, p. 106, a Roman of the Eleusin n. 58. as more by worshipper G?ntner 1994, p. 58; Baumer 1997, Rhea (suggested likely ian no. R52. Theos and Thea iden was gods. p. 147, than , who worshipped 7. Bonanome as re at on 1995, pp. 10-17,207 tified Hades and Persephone, Daphni the from See also Frederiksen in context: to 209, figs. 3,4. spectively, Eleusinian cult Athens Eleusis: Paus. 1.37.7): Picard 1984, pp. 39-40, for Roman viUas in Nilsson [1935] 1952, pp. 555-558; 1931, p. 27. Personification of Eleusis: the area of Sinuessa. LIMC s.v. Hades no. Mondragone- IV, 1988, p. 390, Metzger 1965, p. 36, 14; Bianchi 8.Demeter: Mingazzini [1927] (R. Lindner et al., who in contrast 1976, p. 22, no. 25; CUnton 1992, art not no. 1986, p. 5; Bielefeld 1951-1952, p. 1; identify Hades in with Theos, p. 137, 5, with reservations. Hekate: G?ntner 1994, p. 58; Bonanome 1995, but with his agrarian aspect, the Eleu LIMC VI, 1992, p. 991, no. 23, s.v. pp. 53-72, figs. 27,28; Vikela 1997, sinian god Plouton); CUnton 1992, Hekate (H. Sarian). p. 193. Thea: Buschor 1928, p. 49; Nils pp. 112,114-115; Agora XXXI, IIO IPHIGENEIA LEVENTI

kiste, the sacred round basket, probably represents Demeter, but Thea, , and Ge have also been proposed.9 A majority of scholars regard on as the enthroned god the right Theos (the Eleusinian Hades), although a has been also considered possibility.10 The god standing between the two or seated deities could be either Eubouleus,11 while the figure sporting Thracian attire with fawnskin (nebris) and boots, standing behind as or the enthroned god, has been identified Dionysos12 Iakchos.13 a In 1931 Charles Picard offered somewhat different interpretation of theMondragone relief, arguing that it portrays episodes from the Homeric to to Hymn Demeter. According the Hymn, the goddesses standing in the as background should be Kore and Rhea, the latter listens to Demeter teaching the mysteries toTriptolemos (Horn.Hymn Dem. 459-484). Picard as as identified the enthroned figure Zeus and the god in front of him to on Hermes, who, according the Hymn, accompanied Persephone her return to the upper world (Horn.Hymn Dem. 377-385).14 was was George Mylonas the first to propose, in 1965, that Demeter once as depicted twice in theMondragone relief, the goddess standing next as a to Kore and again the goddess seated in the foreground, in combina so as tion of two narratives.15 He did not, however, go far to identify the on enthroned god, and remarked that the deities depicted the right half of the relief may not have belonged to the Eleusinian cult circle.

no. n. 9. Demeter: Buschor 1928, p. 49; 25; Simon 1998, p. 386, 74. no. 5; Bonanome 1995, pp. 160-190, Picard 1931, p. 26; Nilsson [1935] 11.Hermes: Picard 1931, pp. 27-28; figs. 79, 80; Baumer 1997, p. 147, 1952, p. 557;Mylonas 1965, p. 106; Mylonas 1965, p. 106 (Hermes or no. R52; Vikela 1997, pp. 193-194. no. no. Metzger 1965, p. 36, 14; Ker?nyi ApoUo); Metzger 1965, p. 36, 14; 13. Nilsson [1935] 1952, p. 557 [1967] 1991, p. 153; Bianchi 1976, Bianchi 1976, p. 22, no. 25; CUnton (Iakchos-Dionysos); Ker?nyi [1967] or p. 22, no. 25; Peschlow-Bindokat 1972, 1992, p. 137, no. 5 (Hermes Eubou 1991, p. 153; LIMCW, 1988, p. 878, Baumer no. R52 no. s.v. p. 127; Schwarz 1987, p. 200; LIMC leus); 1997, p. 147, 412, pi. 594, Demeter (L. Be no. s.v. or Eubouleus: Min also IV, 1988, p. 878, 412, pi. 594, (Hermes ApoUo). schi, who suggests Eumolpos); no. Demeter (L. Beschi); p. 44, 4, s.v. gazzini [1927] 1986, pp. 7-8; Nilsson p. 44, no. 4, s.v. Eubouleus (G. Schwarz, or Eubouleus (G. Schwarz); CUnton 1992, [1935] 1952, p. 557; Ker?nyi [1967] who suggests Iakchos Dionysos); no. p. 137, 5; G?ntner 1994, p. 58; Bau 1991, p. 153; Bianchi 1976, p. 22, G?ntner 1994, p. 58 (Dionysos mer no. no. 1997, p. 147, R52.Thea (seated 25; Schwarz 1987, p. 200; LIMC Iakchos); Filges 1997, pp. 64-65 on no. s.v. the kiste):Mingazzini [1927] 1986, IV, 1988, p. 878, 412, pi. 594, (Iakchos-Dionysos). Simon (LIMCV, no. pp. 5-7. Hestia: Bielefeld 1951-1952, Demeter (L. Beschi, who also suggests 1990, p. 612, 2b, s.v. Iakchos) n. no. s.v. pp. 10-19; Simon 1998, p. 386, 74; Iakchos); p. 44, 4, Eubouleus accepts the Iakchos identification, no. 58. on ComeUa 2002, p. 215, Mondragone (G. Schwarz); G?ntner 1994, p. basing her argument the Torre on an Herr Eubouleus with Theos and in the Palazzo 1. Ge (seated ): appears Nova sarcophagus mann 1959, pp. Ill, 114-115; Filges Thea on a monumental votive reUef Borghese in Rome (LIMCV, 1990, n. no. s.v. 1997, p. 42, 149. dedicated by the priest Lakrateides p. 612, 2a, Iakchos), which dis in the late 2nd Eleusis traits of 10.Theos: Mingazzini [1927] 1986, century b.c., plays cultic and iconographie Roman p. 7; Buschor 1928, p. 49; Nilsson Museum 5079: LIMC TV, 1988, p. 876, the Imperial period. Simon no. s.v. Demeter to traces a next [1935] 1952, p. 557; Ker?nyi [1967] 386, (L. Beschi); refers of sculpted torch no. s.v. Eubouleus to on 1991, p. 153; Peschlow-Bindokat 1972, pp. 43-44, 2, pi. 21, this god the Mondragone relief, not p. 127; Schwarz 1987, p. 200; LIMC (G. Schwarz); CUnton 1992, pp. 51-53, which my autopsy did confirm. no. s.v. 135 no. Iakchos's and IV, 1988, p. 878, 412, pi. 594, (Eubouleus: Sculpture), 3, symbolism iconography: no. s.v. Demeter (L. Beschi); p. 44, 4, pp. 162-163, figs. 5-7. Graf 1974, pp. 60-61; Clinton 1992, Eubouleus (G. Schwarz); CUnton 1992, 12.Mingazzini [1927] 1986, p. 8; pp. 64-71. p. 137, no. 5; G?ntner 1994, p. 58; Buschor 1928, p. 49; Picard 1931, 14. Picard 1931, pp. 26-28. no. no. n. see Baumer 1997, p. 147, R52. Zeus: pp. 27-28; Metzger 1965, p. 36, 14; 15. Mylonas 1965, p. 105, 1; no. Schwarz n. Picard 1931, p. 27;Metzger 1965, Bianchi 1976, p. 22, 25; also Filges 1997, pp. 41-42, 149, p. 36, no. 14; Bianchi 1976, p. 22, 1987, p. 200; CUnton 1992, p. 137, with reservations. THE MONDRAGONE RELIEF REVISITED III

Another interpretation of the seated goddess on the relief was offered as a by Erwin Bielefeld, who identified the seat cylindrical altar that he as a arbitrarily labeled hestia. Consequently, he argued that the goddess was a Hestia, the goddess of the altar parexcellence, portrayed after famous statue.16 The main objection to this identification is that Hestia has no apparent place in Eleusinian cult and iconography. Although Bielefeld s recognized this difficulty, he did not try to explain Hestia presence among on the Eleusinian deities the Mondragone relief. The main problems in interpreting the Mondragone relief involve both cult and iconography. First, disagreement persists among scholars concerning the role of the pair Theos and Thea in Eleusinian cult.17 Sec on ond, there is the difficulty posed by the presence of two goddesses the are relief who both depicted following well-known Demeter types from the Classical Attic repertory. on In her monograph theMondragone relief, Bonanome sidestepped a new the problems that had vexed earlier scholars and adopted point of departure. She argued that the seat of the goddess in the middle of the a composition is wellhead that symbolizes the primary importance of water on to medical treatment and cult.18 The goddess seated the wellhead could none therefore be other than , Asklepios's consort.19 Asklepios himself is the enthroned god dominating the right half of the scene, while one sons on of his stands before him. The last male figure this side, accord ing to Bonanome, isDionysos. On the basis of the well-documented cult relationship between the Eleusinian deities and Asklepios and his circle in Athens, Bonanome hypothesized that theMondragone relief had originally been dedicated in the Athenian Asklepieion. My main objections to accepting the idea that deities from the circle are on are of Asklepios present the Mondragone relief iconographie. De spite all the aforementioned difficulties of identification, I believe that the composition contains only deities from the Eleusinian cult. I should make at use term it clear this point that the of the "Eleusinian" throughout this paper refers to the mystery cult practiced at the sanctuary at Eleusis aswell as to its documented diffusion in other parts of the Greek world.20

to 16. Bielefeld 1951-1952, pp. 5-25; , who was, according the 78, lines 37-40; Clinton 2005, pp. 37 he associates on the evi no. attests to cen the seated figure archaeological and epigraphical 40, 28, pis. 9-11) the a most tral role Mondragone relief with Hestia by dence, the important female deity of the Eleusinian pair Theos in in in on the in Skopas, originally Athens, later the sanctuary. The goddess and Thea 5th-century cult in the on an a at theHorti Serviliani in Rome (Plin. Oropos relief sits omphalos, sanctuary Eleusis, which makes their HN36.25). The iconographie type of altar, known to be a seat for identification with Hades and Perse the on Leventi 69. see seated goddess the Mondragone Hygieia: 2003, p. Herr phone highly plausible: Clinton to at n. n. relief recurs, according Bielefeld, mann's suggestion that Ge is seated 1992, p. 56, 149, p. 114, 4. least once as on a on an on Hestia fragmentary omphalos the Mondragone 18. Bonanome 1995, pp. 90-93. relief from the at 19. to Amphiaraos sanctuary relief, though adopted by Filges (see One impediment this view is Col n. is on that there is no Oropos (Oropos, Archaeological 9), implausible iconographie attested relationship For Ge lection 72): Bielefeld 1951-1952, p. 3, grounds. emerging from the between Epione and Triptolemos, no. no. in Classical see on 8; LIMC 11,1984, p. 884, 259, ground iconography, whom the seated figure the relief s.v. to Asklepios (B. Holtzmann); Leventi LIMCW, 1988, pp. 172-177, pi. 98, appears address. no. 31. On s.v. B. n. 2003, p. 146, R46, pi. that Ge (M. Moore). 20. See Burkert 1987, p. 37, 40; ac nn. relief, however, the goddess who 17. See 8 and 10, above. The Hinz 1998, p. 236. companies Amphiaraos should be 5th-century First Fruits Decree (IG P 112 IPHIGENEIA LEVENTI

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DATE AND PROVENANCE OF THE RELIEF

can an The votive relief from Mondragone be attributed to Attic work B.c. on shop of the third quarter of the 4th century the basis of parallels are with other 4th-century Attic votive reliefs that comparable in style, workmanship, iconography, and architectural frame. A similar architec tural frame appears on votive reliefs dedicated to the (Athens to on NM 4465) and Asklepios and Hygieia (Athens NM 1335), and a votive relief with the Delian triad (Athens NM 3917), all from the on period 350-325 B.c.21 The Kore type the Mondragone relief is the one standard used for the Eleusinian Kore in 4th-century Attic iconog rests on raphy.22 The right hand of Triptolemos, which his lap and per once a or to a haps held scepter sheaves of wheat, is comparable that of on a seated Asklepios holding his staff votive relief (Athens NM 1333) of ca. 330-320 b.c.23 on com The pose of the enthroned god the Mondragone relief is on parable to that of Asklepios another votive relief (Athens NM 1344) ca. b.c. of 330-320 (Fig. 2).24 The goddess standing in the background same as on a is of the type the Demeter votive relief in Paris dating to ca. on 330 (Fig. 3).25 Similarities in the way the figures of the gods the

s.v. 21. Kaltsas 2002, pp. 212-214, pi. 639, Asklepios (B. Holtzmann); nos. no. 46. 216-217, 434, 438, 447, with figs. Leventi 2003, p. 153, R70, pi. Athens NM 1335: Leventi 2003, 24. LIMC II, 1984, p. 873, no. 70, no. 36. For Athens s.v. p. 149, R56, pi. pi. 640, Asklepios (B. Holtzmann); NM see also no. 36. 4465, Edwards 1987, Leventi 2003, p. 149, R57, pi. pp. 467-474, no. 20. 25. Louvre 752: LIMC IV, no. s.v. 22. Baumer 1997, p. 41, Beilage 3 1988, p. 865, 234, pi. 578, (Kore type Kyparissi-Knidos); Filges Demeter (L. Beschi); Bonanome 1995, nos. 1997, pp. 35-43, 52-59 (Perse pp. 41, 43, fig. 23; Baumer 1997, no. phone type Kos-Sofia). pp. 148-149, R54, fig. 36:3; Hami 23. LIMC no. aux no. II, 1984, p. 873, 66, 2001, p. 215, 223, with fig. THE MONDRAGONE RELIEF REVISITED II3

Figure 3. Votive relief with Demeter and Kore. Paris, Mus?e du Louvre Ma 752. Photo Mus?e du Louvre, Dist RMN, ? Les fr?res Chuzeville

4. Figure Votive relief with Deme

ter, Kore, andTriptolemos. Eleusis Museum 5061. Photo H. Wagner, courtesy Deutsches Arch?ologisches Institut, Athens (neg. D-DAI-ATH-1976/16)

can Mondragone relief relate to the background be observed in other Attic votive reliefs dating from the decade 340-330, such as a relief an with the Delian triad in , Asklepios relief in the Vatican a Museum, and relief in Eleusis (Fig. 4).26 In style, the Mondragone relief is closer to the latter two reliefs, as well as to yet another votive ca. to relief of 340-330, dedicated Asklepios in Athens.27 It is therefore

26. Brauron Museum 1152: s.v. pl. 640, Asklepios (B. Holtzmann); incorrect inventory number). no. LIMC II, 1984, p. 708, 1127, Leventi 2003, pp. 146-147, no. R47, 27. Athens NM 1377: LIMC II, s.v. Kahil and 32. Eleusis Museum 5061: LIMC no. s.v. pl. 536, (L. pl. 1984, p. 881, 201, pl. 650, N. Baumer no. Icard); 1997, p. 136, IV, 1988, p. 875, 379, pl. 589, Asklepios (B. Holtzmann); Leventi no. 32:3. Vatican Museum s.v. Demeter Baumer no. R33, pl. (L. Beschi); 2003, p. 143, R37, pl. 27. no. no. an 739: LIMC II, 1984, p. 873, 72, 1997, p. 139, R40, pl. 33:6 (with 114 IPHIGENEIA LEVENTI

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5. Votive relief with Eleusinian more Figure possible to date theMondragone relief precisely, to the decade 340 deities dedicated by Lysimachides. 330 b.c. Athens NM 1519. Photo E.-M. Czak?, An feature of the on the relief idiosyncratic composition Mondragone courtesy Deutsches Arch?ologisches Institut, on Athens D-DAI-ATH-NM is the absence of any adorants, which is contrary to standard practice (neg. 5020) con 4th-century Attic votive reliefs from several different cult circles. A temporary Attic votive relief dedicated by Neoptolemos of , which a cave is in the form of and portrays several deities, does, however, provide a a good parallel.28 Other parallels include possibly late-4th-century votive two a relief in Eleusis, preserved in nonjoining fragments,29 and votive relief are inAthens dedicated by Lysimachides (Fig. 5).30 There several possible reasons were on some why deities not shown together with mortals Attic votive reliefs. For example, the intention might have been to portray only or the gods worshipped in neighboring sanctuaries, to depict specific scenes. an mythological It is also possible that the dedicant wanted to give as case overall impression of the sacred place, in the of reliefs dedicated to to or the Nymphs, rather than reproduce the cult action in which he she as was usual on reliefs participated, representing worshippers.31 Despite the peculiarities of its composition, then, the Mondragone was relief was, by all indications (including the Pentelic marble of which it an made), produced in Athenian workshop.

28. Museum I 7154: Shear no. Baumer Agora pp. 58-59,154, D24; 1997, 31. Reliefs of the Nymphs without 1973; Edwards 1987, pp. 419-437, p. 138, no. R37, pl. 33:3 (left);Vikela adorants are found from the 4th cen no. Clinton n. nn. 14; 1992, p. 21, 38; 1997, pp. 231-232, 260,265-266. tury down through Hellenistic times, n. Vikela 1997, pp. 174-175, 21, 30. Athens NM 1519 (second half e.g., Athens NM 2012 (ca. 330-320 b.c.): pp. 204-205, pl. 20:3. of the 4th century b.c.): LIMC IV, Edwards 1987, pp. 519-528, no. 29; 29. Eleusis Museum 5068 no. s.v. De no. (Fig. 17, 1988, p. 876, 385, pl. 389, Kaltsas 2002, p. 218, 452, with fig. Kern Pesch meter below): 1892, p. 128, fig. 2; (L. Beschi); Clinton 1992, p. 51, Athens NM 1879 (LateHellenistic): low-Bindokat n. no. 1972, pp. 127,152, 118, p. 164, fig. 8; Cornelia 2002, Edwards 1987, pp. 725-735, 76; no. no. no. R45; LIMC IV, 1988, p. 878, pp. 128-129,210, Eleusis 18, Vikela 1997, p. 210, n. 166, p. 217, s.v. Demeter Clinton a 411, (L. Beschi); fig. 130; Kaltsas 2002, pp. 230-231, pl. 28:3. There is also strong tradition n. no. 1992, p. 125, 25; G?ntner 1994, 484, with fig. of Attic votive reliefs to various other THE MONDRAGONE RELIEF REVISITED "S

ICONOGRAPHY OF THE RELIEF

If we return now to the iconography of theMondragone relief, it becomes s as obvious that Bonanome identification of certain of its figures Askle cannot pios32 and other gods of his circle be supported. The enthroned god's more bare-chested type is appropriate to Hades (the Eleusinian Theos), as we see on the votive reliefs of Lysimachides (Fig. 5) and Lakrateides,33 occurs although it also with the seated Asklepios.34 This phenomenon can to be attributed the iconographie assimilation of deities belonging to kindred cult circles, but in an Eleusinian context such as that of theMon a dragone relief, Asklepios should be represented by type distinct from that so of Hades that the worshipper could tell the two gods apart. It is also unlikely that the standing youth in front of the enthroned god represents a son on sons of Asklepios.35 In contrast to the god theMondragone relief, on wear a or a of Asklepios Classical votive reliefs usually only chlamys mantle, not a chitoniskos as well.36 More relevant to the identification of the three divinities that Bonano me to assigned the circle of Asklepios is the observation that Asklepios, a son not as a on Epione, and of Asklepios do appear triad votive reliefs. Moreover, it is not Epione, Asklepios's consort, but his daughter Hygieia a who may appear in such group (e.g., Fig. 2), since she is the most impor tant female deity in the cult and iconography of the healing god's circle.37 on On the other known 4th-century votive relief which Eleusinian divini ties appear together with Asklepios (Fig. 6), it isAsklepios alone who is as a son portrayed the essential representative of his circle.38 Epione and are of Asklepios lesser deities in the cult, and it is difficult to believe that they would be represented with the principal divinities of another cult circle on (Demeter, Kore, and Triptolemos) the Mondragone relief.

in 35. son: Bonanome s.v. deities without adorants, especiaUy Asklepios's Asklepios (B.Holtzmann); LIMC no. s.v. the late 5th century b.c., e.g., Eleusis 1995, pp. 97-119,157-158, figs. 49,50. III, 1986, p. 808, 1, Epione Museum 5085: ComeUa 2002, pp. 39, 36. E.g., Athens NM 1344 (Fig. 2): (F.Croissant); Leventi 2003, p. 142, no. a see n. above. See also no. 26. 209, Eleusis 7, fig. 24; votive relief 24, Asklepios's R36, pl. sons on LIMC dedicated by Bakchios to theDelian the foUowing reliefs: II, 38. Athens NM 1332: LIMC II, no. s.v. triad,Athens NM 1389: ComeUa 2002, 1984, p. 881, no. 204, pi. 650 (Athens 1984, p. 886, 313, pl. 660, no. pp. 57,199, Atene 108, fig. 45; and NM 1426 [Fig. 7, below]) and p. 883, Asklepios (B.Holtzmann); LIMC IV, a no. no. s.v. votive relief with Dionysos and actors, 248, pi. 654 (Athens NM 1402), 1988, p. 881, 444, Demeter s.v. on Athens NM 1500: ComeUa 2002, pp. Asklepios (B. Holtzmann); and (L. Beschi) (340-330 b.c.). This relief no. 69. the reUef Vatican Museum 739: see was excavated in the Athenian Askle 75,218-219, Pireo 10, fig. n. above. An is the reUef of 32. Bonanome 1995, pp. 121-159, 26, exception pieion. Another possible depiction NM on Demeter and Kore with figs. 60, 61. Athens 3528, which Asklepios's together son wears a under his on the 33. The iconography of Hades: chitoniskos Asklepios may be so-called Este s.v. no. now LIMC IV, 1988, pp. 367-394, chlamys: LIMCII, 1984, p. 874, 75, relief of the late 5th century b.c., s.v. Hades (R. Lindner et al.); Clinton pi. 641, Asklepios (B. Holtzmann); in Vienna, Kunsthistorisches Museum n. 1992, pp. 105-107. Lakrateides reUef: Bonanome 1995, p. 116, 48, fig. 56. 11095: Peschlow-Bindokat 1972, see n. 37. Leventi 47-54. On no. 11, above. Lysimachides relief: 2003, pp. pp. 141-142, p. 151, R15; LIMC see n. 30, above. Athens NM 1344 (Fig. 2), see n. 24, IV, 1988, p. 867, no. 272, pl. 580, 34. above. From the mid-4th on s.v. Demeter Asklepios appears bare-chested, century (L. Beschi); Clinton 1992, on more ac n. e.g., the reliefs Athens NM 1335 ward Epione often appears p. 91, 147; G?ntner 1994, p. 154, see nn. her numerous no. Baumer and 1344 (Fig. 2): 21 and 24, companied by children, D26, pl. 31:1; 1997, in as on NM no. 38:1. above. See also the discussion Bona the reliefAthens 1352: pp. 152-153, R62, pl. nome no. (n. 32, above). LIMC 11,1984, p. 873, 65, pi. 639, Il6 IPHIGENEIA LEVENTI

^^^^^^^H^HHH|^E?^^^^B^H|^^^^^^Hn8^^^^^^^9fifl Figure6. Votive relief with Kore, ^^^^^^H|^HHH|^HH^^^^H^H^^^H^BH^H^B9^^^^^RB Demeter,and Asklepios. Athens ^^^^^^^^HHH&lllpflpB NM 1332. Photo courtesyDeutsches ^^^^B^MWgljliP^y^Arch?ologisches Institut,Athens (neg. HHh^^^^S^^K^^^^^^^^^^^^^^HHHHHI D-DAI-ATH-NM642)

Despite these considerations, Bonanome identified the seated female on as on figure the Mondragone relief Epione seated a wellhead on the an basis of the parallel offered by Asklepios relief from the god's sanctuary at seat on Epidauros (Fig. 7).39The squared-off shape of the the Epidauros as as relief, however, well the cloth covering it, suggest that it may in fact be a altar. Bonanome's that the scene on the Mon rocky Thus, suggestion dragone relief mingles deities from the circle of Asklepios with Eleusinian seems deities implausible. Nonetheless, while theMondragone relief should logically contain only Eleusinian deities, its composition remains unique and resists comparison with other Eleusinian votive reliefs. to The key solving the interpretative problems of the Mondragone to relief is identify the goddess who sits in the middle of the composition, a thereby constituting focal point, and the goddess who stands behind her in are the background. Since both Classical types of Demeter, correctly on identifying the object which the central goddess is seated is vital. As we as a or have seen, Bonanome identified this seat puteal wellhead. Earlier, Jean Svoronos had suggested that Demeter's seat is, as a rule, the Kalli at choron well the Eleusis sanctuary.40 Svoronos's interpretation failed to gain acceptance, and the prevailing scholarly view is that theMondragone as relief depicts the Eleusinian kiste, Demeter's seat par excellence, do many vase other Eleusinian reliefs and paintings.41

39. Bonanome See Horn. Dem. of this as De 1995, pp. 73-96, . Hymn 98-99; quence identifying figure Vikela Callim. Clem. whom he had esp. pp. 90-93, fig. 45; 1997, Hymn 6.15; Al. Protr. meter, already recognized n. 85. For the as p. 193, Asklepios relief, 2.204. Svoronos's identification of all the goddess standing behind her. Athens NM 1426 see seats as (330-320 b.c.), cylindrical of Demeter well 41. Beschi (LIMC IV, 1988, pp. 844 n. above. heads was s.v. 36, rightly criticized by Bielefeld 892, Demeter) recognizes the kiste 40. Svoronos 247-254. as seat in 1901, pp. (1951-1952, pp. 13-14), who acknowl Demeter's the majority of His identification was based on texts that the seat cases. On kiste see edged of the Mondragone the generally, Kern that mention Demeter or on was to a sitting by goddess very similar wellhead, 1892, pp. 136-137; Bonanome 1995, the Kallichoron/Parthenion well in the but then shied away from the conse pp. 73-76. THE RELIEF MONDRAGONE REVISITED 117

Figure 7. Votive relief with Asklepios The iconography of the Classical period, however, shows Demeter and his family. Athens NM 1426. sitting on a of in addition to kistai, such as tall baskets, Photo G. Hellner, courtesy Deutsches variety objects and even theMirthless as Kevin Clinton has for Arch?ologisches Institut, Athens (neg. thrones, Rock, suggested D-DAI-ATH-NM 6257) vase one east paintings.42 In exceptional case, that of the pediment of the , Demeter and Kore are seated on bridal chests.43 seat on Demeter's theMondragone relief may be another special case, since comparison with other depictions shows that it is unlikely to be a or a either kiste tall basket. The relief Athens NM 1332 (Fig. 6) shows on an a Demeter seated unadorned kiste, while fragmentary votive relief even cases in the Eleusis Museum (Fig. 8) depicts its cover;44 in both the on kiste is much lower than the seat the Mondragone relief. But when on a Demeter is seated tall basket inAttic vase painting, that basket is ren on a dered quite differently. For example, red-figure formerly in the on a Sanford-Graham collection and fragmentary red-figure votive pinax

42. The seats of Demeter: Vase no. LIMC Metzger Painting), 3, p. 180, fig. 33; 1979, p. 71, with fig.; IV, 1988, see nn. a no. s.v. 1965, pp. 33-48. Tall baskets: 45 and (2) in Bern, Riggisberg, p. 868, 281, with fig., Demeter and below. Throne: 46, votive relief, Abegg-Stiftung 3.127.73 (ca. 330 b.c.): (L. Beschi). See also the relief Eleusis no. n. kiste Athens, Agora Museum S 1251: LIMC LIMC IV, 1988, p. 878, 408, pl. 593, Museum 5068: 29, above. The no. s.v. s.v. a on IV, 1988, p. 878, 413, pl. 594, Demeter (L. Beschi, who identifies with offerings carried by maiden as on an om some cen Demeter (L. Beschi); Clinton 1992, the goddess Rhea seated Asklepios reliefs of the 4th 135 no. b.c. p. (Eubouleus: Sculpture), 1, phalos); Clinton 1992, pp. 83-84,133 tury is similar, e.g., Athens NM no. no. p. 164, fig. 9; LIMC VII, 1994, p. 417, (Ploutos: Vase Painting), 7, p. 174, 1345: LIMC II, 1984, p. 887, 344, no. s.v. Ploutos cf. s.v. 14, (K. Clinton); figs. 22,23; LIMC VII, 1994, p. 417, pl. 663, Asklepios (B. Holtzmann); n. no. s.v. no. 88, below. The Mirthless Rock: Clin 11, Ploutos (K. Clinton). LIMCV, 1990, p. 564, 147, s.v. ton as a seat E east 1992, pp. 15-27, and for 43. and F in the Parthenon Hygieia (F. Croissant); Leventi 2003, no. Demeter, e.g., (1) the Kerch hydria pediment: LIMC IV, 1988, pp. 882 p. 139, R25, pl. 22; Athens NM no. s.v. no. Athens NM 17297 (ca. 350 b.c.): 883, 463, pl. 598, Demeter 1331: LIMC II, 1984, p. 889, 386, n. no. s.v. Metzger 1965, p. 33, 1, p. 41, 38, (L. Beschi); Palagia 1993, p. 20, figs. 37, pl. 666, Asklepios (B. Holtzmann); pl. XLX:2; LIMC IV, 1988, p. 877, 38. LIMC III, 1986, p. 808, no. 16, s.v. no. s.v. 44. 1332: see n. 398, pl. 592, Demeter (L. Beschi; Athens NM 38, Epione (F. Croissant); Leventi 2003, no. altar?);Clinton 1992, p. 136 (Iakchos: above. Eleusis Museum 5067: Kanta p. 44, 41, pl. 29. Il8 IPHIGENEIA LEVENTI

? 8. of a votive relief Figure Fragment Demeter and Kore. Eleusis showing Museum 5067. Photo courtesy Eleusis Museum

in Eleusis, both of ca. 340-330 b.c., the basket is articulated as a series of on parallel horizontal rings; the pelike, they flare toward the top.45The tall on on basket which Demeter is seated the votive relief of Lysimachides on an (Fig. 5) and the basket the so-called Regina Vasorum, Attic relief scene hydria from Cumae whose central depicts Demeter's reunion with are Kore (Fig. 9), rendered with similar rings.46 now on a We turn to the suggestion that Demeter is seated wellhead on the Mondragone relief. Marble wellheads with decorative moldings are around their rims and bases usually dated to the Hellenistic period. on One parallel to the cylindrical seat theMondragone relief is offered by a limestone wellhead in the South Stoa at Corinth attached to a well in room XIV (Fig. 10). The South Stoa has been dated to the last quarter of

no. 45. Pelike (now lost): Metzger 1965, 6, p. 203, fig. 71. no. 46. p. 34, 2, pl. XIV:1; LIMC IV, 1988, Lysimachides relief, Athens no. s.v. NM see n. p. 878, 409, Demeter (L. Beschi, 1519: 30, above. Regina as a who identifies the basket kiste); Vasorum, St. Petersburg, State Hermi Clinton 1992, p. 133 (Ploutos: Vase tage Museum B-1659 (ca. 330 b.c.): no. LIMC no. Painting), 4, p. 176, fig. 25. Pinax, IV, 1988, p. 878, 405, Museum 1627: s.v. Eleusis Metzger 1965, pi. 593, Demeter (L. Beschi, who no. as a p. 36, 15, pl. XVL1; LIMC IV, identifies the basket kiste); Clinton no. s.v. 1988, p. 876, 391, pl. 590, De 1992, pp. 78-81,134 (Eubouleus: Vase no. meter (L. Beschi; kiste);Clinton 1992, Painting), 5, p. 79, fig. 9, pp. 169 p. 134 (Eubouleus: Vase Painting), 171, figs. 17-19. THE MONDRAGONE RELIEF REVISITED 119

* "NV

Figure 9. Two views of a relief hydria (Regina Vasorum) showing Eleusin ian deities. St. Petersburg, State Hermitage Museum B-1659. Photos courtesy the State Hermitage Museum, St. Petersburg I20 IPHIGENEIA LEVENTI

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^???^^^^?M^^M?South Stoa, room XIV. Corinth 1.4, ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^HHI^^^^^^^HHbpi.14:3. Courtesy American School of

are the 4th century b.c., although it is not certain that all the wells in it contemporary with the building.47 On the other hand, terracotta wellheads are to of nearly cylindrical shape known from the 7th century the Hellenistic terracotta period.48 One wellhead from the Athenian Agora dating from the second half of the 4th century is in fact comparable, though not identical, a to the Mondragone relief's putative wellhead. The Agora example has a straight profile that flares toward the base, which carries heavier molding seat than the mouth.49 A similar base profile is suggested by the of Demeter on to extant the Mondragone relief. Given its similarities wellheads and its shape, which differs from that oikistai and tall baskets, the cylindrical on on object which the goddess is seated theMondragone relief should in all likelihood be identified as a wellhead. a Another possibility, however, is that cylindrical puteal may be identi a on cal to cylindrical altar, Bielefeld's interpretation of the goddess's seat are theMondragone relief. Monumental marble altars of cylindrical shape use already known from the Late Archaic period,50 and the secondary of as cylindrical altars wellheads is attested in the Hellenistic period.51 But

fill in the well as Petrakos 86. 47. The earliest 48. As far I know, the develop 1999, p. 138, figs. 85, con ment not 49. topped by this cylindrical puteal of the puteal types has been A 1418: Lang 1949, p. 127, a of Demetrios Poliorketes see no. 5. Cf. Bielefeld 1951 tained coin studied recently; Lang 1949 and 15, pl. 7, fig. with 13-14. For Hellenistic (306-283 b.c.) along early-3rd Camp 1980, esp. pp. 180-181. Exam 1952, pp. plain b.c. terracotta wellheads without decorative century pottery: Corinth 1.4, ples of drum-shaped well moldings n. at see pp. 62-65, esp. p. 64, 30. On wells heads dated to the 7th century b.c.: the mouth, D?los VIII, p. 347, stone from the no. 3 LX:D. with cylindrical pute?is Brann 1961, p. 379, S32, pl. 88, fig. pis. LXLB, E, see 50. South Stoa generally, Corinth 1.4, (AgoraMuseum A 2753); and pp. 373 Thompson 1937, pp. 151-152, 14. The no. pp. 59-65, figs. 39,40, pl. 374, H78, pl. 89 (fragment Agora fig. 87;Tuchelt 1992, p. 52, figs. 84, 85; to terracotta dating of the South Stoa the last Museum A 2473). Another Voudras 1994, p. 45; Aktseli 1996, nn. quarter of the 4th century b.c.: Corinth wellhead was excavated at the fortress p. 68, 97-98. from XVIII. 1, pp. 3-4. Hellenistic cylindrical of Rhamnous; the well's fill dates be 51. For Hellenistic pute?is from Pernice tween 1st that resemble pute?is Pompeii: 1932, the late 4th and the centuries: cylindrical altars, see D?los pp. 12-22, pis. 8:5, 8:6, 9:1-3,13:5-6. Petrakos 1993, pp. 29-30, fig. 9; VIII, pp. 346-351, pis. LXI, THE MONDRAGONE RELIEF REVISITED 121

on the problem with interpreting the seat of the goddess theMondragone as a one relief cylindrical altar is ultimately of iconography. Cylindrical on altars do not appear Attic votive reliefs before the Hellenistic period, are or on and then they richly decorated have offset moldings their tops on a and bases, as, for instance, votive relief from the sanctuary of Amynos in Athens and on a relief in Paris.52

A further objection to the interpretation of the cylindrical object in as an a on theMondragone relief altar is that the depiction of deity seated an an to or altar normally indicates epiphany, with the deity appearing his not case her worshippers.53 This is clearly the with theMondragone relief, a scene which carries devoid of mortals and portrays the seated goddess on a interacting with Triptolemos purely mythical level. Given the Eleusinian cult context, the most plausible suggestion for on the identity of the seated goddess the Mondragone relief is that she is on a Demeter seated well. The logical conclusion is that it is the Kallichoron or Parthenion well in the sanctuary at Eleusis, which is mentioned in the to was an Homeric Hymn Demeter and important feature of the sanctuary throughout antiquity because of its close association with the myth of Demeter and Kore.54 In the Hymn, Demeter is desperately searching for Kore, who has been abducted by Hades. She arrives in Eleusis and sits s down to rest by the Parthenion well, where she meets Keleos daughters, escort to who her his palace (Horn.Hymn Dem. 98-184; cf. Paus. 1.38.6). After Demeter's identity has been revealed, she orders the Eleusinians to a build her temple above the Kallichoron well, below the city walls (Horn. Hymn Dem. 268-272). This well is therefore closely connected with the establishment of Demeter's cult in Eleusis. can on It be argued, moreover, that the figure of Demeter seated the amounts to a Kallichoron/Parthenion well conventionalizing transfor was cur mation of mythical narrative into pictorial depiction. This trend vase rent in Eleusinian painting of the second half of the 4th century b.c., as on a an seen, for example, Kerch hydria from Crete (Fig. 11), aryballoid a from Apollonia inThrace,55 and fragmentary pyxis lid in Boston

LXII; D?los XVIII, pp. 94-96, pis. 37, p. 45, n. 77; Golda 1997, p. 36. (1965, p. 47) recognizes Demeter on or near on 38, figs. 124-127, where it is stated 53. Leventi 2003, pp. 69-70. This seated the well the Sofia some were also be true of on and on two a (p. 96) that pute?is made may Epione the Epi lekythos other examples, see n. from cylindrical altars. Also comparable dauros relief,Athens NM 1426 (Fig. 7): hydria (Athens NM 17297: 42, to seat on see nn. a in form the the Mondragone 36, above, and 77, below. above) and votive relief in Athens are relief certain bases for 4th-century 54. Richardson 1974, pp. 326-327; (AgoraMuseum S 1646: LIMC IV, of in no. s.v. grave reliefs, e.g., that Euboulos Clinton 1992, pp. 27-28, 34-35. 1988, p. 879, 414, pl. 594, De Brauron (BrauronMuseum BE 2676): 55. Hydria NM 1443:Metzger meter [L. Beschi]; Clinton 1992, p. 135 no. no. Pologiorgi 2002, figs. 4, 6, and esp. 1965, p. 39, 30, pl. XLX:1; LIMC [Eubouleus: Sculpture], 2, p. 165, 200-201. no. pp. IV, 1988, p. 877, 396, pl. 591, fig. 10; LIMC VU, 1994, pp. 417-418, 52. Athens NM 3540 (ca. 310 s.v.Demeter (L. Beschi); Clinton 1992, no. 15, s.v. Ploutos [K. Clinton]; see n. 290 b.c.): Hausmann 1948, p. 171, p. 138 (Eumolpos: Vase Painting), 88, below), both of which Clinton no. 64 (A 16), fig. 8; Leventi 2003, no. 3, p. 196, fig. 56. Lekythos in Sofia, (1992, p. 27, n. 62) righdy rejects. no. 49. in p. 154, R74, pl. Relief Paris, Archaeological Museum 7721:Metzger Metzger (1965, p. 48) concedes that no. on Louvre Ma 756 (ca. 310 b.c.): LIMC 1965, p. 41, 39, pl. XXIII:l-2; Demeter might be seated the Kal no. s.v. LIMC no. s.v. on IV, 1988, p. 850, 27, pl. 564, IV, 1988, p. 869, 288, lichoron well the Mondragone relief, Demeter (L. Beschi); Voutiras 1994; Demeter (L. Beschi); Clinton 1992, but finally decides that her seat is a Hamiaux no. with 134 as it occurs more 2001, p. 216, 224, p. (Eubouleus: Vase Painting), kiste, commonly. In see Voutiras no. 26-28. fig. general, 1994, 3, p. 177, figs. Metzger 122 PHIGENEIA LEVENTI

'/?/K1IMNU1U

Figure 11. Kerch hydria showing Eleusinian deities. Athens NM 1443. Photo courtesy National Archaeological Museum, Athens

vase (Fig. 12).56 These paintings show Demeter seated on the well, which is two represented by superimposed rings that indicate the form of the actual Kallichoron/Parthenion well by the entrance to the Eleusis sanctuary on a (Fig. 13).57 Demeter may also be seated cylindrical wellhead repre the on two senting Kallichoron/Parthenion well similar gold bands from to or b.c. Thessaly, dated the late 4th 3rd century (Fig. 14, left); in con s seat on trast, Kore the bands is clearly the low, broad kiste furnished with horizontal rings (Fig. 14, right).58

56. MFA 03.877a-c: FR II behind Demeter. The Boston lid sinian in see Boston, pyxis plemochoe general, Agora n. LIMC was attributed to the Painter 23. (1909), p. 53, 2, p. 54, fig. 24; Marsyas XXXI, pp. 95-103, pis. 22, no. s.v. Schefold no. 57. IV, 1988, p. 877, 401, pl. 592, by (1934, p. 4, 5, esp. Travlos 1988, p. 94, figs. 154 Demeter no. On a (L. Beschi); pp. 45-46, 15, pp. 125,159). another fragment, 156. For the correct identification of s.v. Eubouleus The iden seated female is (G. Schwarz). figure depicted with the Kallichoron/Parthenion well, see tification as Demeter seated on the the Eleusinian cult vessel called the Richardson 1974, pp. 327-328, recon Kallichoron/Parthenion well was first plemochoe (Clinton 1992, pp. 74-75) sidering Mylonas 1961, pp. 44-47. suggested byMetzger (1965, p. 40, in front of her seat. This vessel is 58. Athens NM, Stathatos Collec no. but Clinton similar to that shown on the tion 342: 34), rejected by (1992, Regina Amandry 1953, pp. 86-87, n. who the scene as Vasorum n. nos. p. 27, 62), regards (see 46, above, and Fig. 9, 230-231, pl. XXXIV (although he non-Eleusinian. the and the Niinnion Nevertheless, pyxis bottom) pinax identified both seats as the Eleusinian lid with the seated Demeter NM no. fragment (Athens 11036:Metzger 1965, kiste); LIMC IV, 1988, p. 875, 382, another in no. LIMC s.v. joins published LIMC, pp. 38-39, 26; IV, 1988, pl. 589, Demeter (L. Beschi). De which shows a no. s.v. nude male figure hold pp. 876-877, 392, pl. 591, De meter's seat identified as a well: M?bius the staff or meter Clinton cf. ing mystic simple myrtle [L. Beschi]; 1992, 1955, p. 39; Metzger 1965, p. 48, stalks as Beschi Vase Paint n. 6. It is (perhaps Herakles, pp. 73-75,136 [Iakchos: noteworthy that Kore is A female no. and seated on correctly recognized). figure ing], 1, frontispiece, p. 204, comfortably the kiste, whereas with a torch and The vessel on on (Hekate?), Hermes, fig. 73). the Boston frag Demeter appears to lean the rim of ment shows a convex possibly Persephone emerging from the shoulder and the wellhead (or altar?). in an ?nodos are domed or ground represented upper part lid. On the Eleu THE MONDRAGONE RELIEF REVISITED 123

12. of a Figure Fragments red-figure pyxis lid showing Eleusinian deities. Boston, Museum of Fine Arts 03.877a-c. Photo ? 2007, Museum of Fine Arts, Boston

Figure 13. The Kallichoron/Parthe nion well in the sanctuary at Eleusis. Giraud 1991, pl. 9:a. Courtesy Archaeologi cal Society at Athens

the Kallichoron/Parthenion well on the relief 59. Giraud 1991, pp. 19-47, and, Though Mondragone with to the is not rendered in the same as in vase special reference plain way the paintings mentioned above, wellhead that have some cylindrical may it nonetheless recalls to degree the extant well at Eleusis, which had existed in Peisistratid times, p. 47, a was as was plain cylindrical shape that visible from outside, it partly in figs. 4, 8-10,17,18,21,22,26; Micheli a corporated into round construction of the sanctuary's fortification wall 2002, pp. 72-73. Cf. the well on the n. in the 5th B.c.59The identification of the seated on Sofia lekythos (see 55, above), which early century goddess on one the relief as Demeter seated on the Kallichoron/Parthenion is cylindrical side and has steps Mondragone to the on the other. well would corresponding rings complement the narrative in theHomeric Hymn, which Clinton 124 IPHIGENEIA LEVENTI

'" '* :p&>

14. Gold band connected with the festival of the a Figure showing primarily panhellenic , Demeter and Kore. ritual celebration that is to be earlier in date than the Great (left) (right) likely Myster Athens NM, Stathatos Collection ies.60 In this context, Demeter's association with the well may denote the 342. Photos courtesy National Archaeo role of water in the festival of the But how does fertility Thesmophoria.61 logical Museum, Athens Demeter seated on the well fit inwith the other Eleusinian deities on the

relief, and how can her identification help to determine the identity of the other disputed figures? wears an The goddess standing between Kore and the seated Demeter as as a tresses over Argive peplos and himation, well polos, and has long her on to shoulders. The figure of Demeter the relief in Paris (Fig. 3) dating ca. 330 B.c. is identical. This type also occurs in contemporary variations on a fragmentary red-figure by theMarsyas Painter found in Eleusis on a a (Fig. 15) and fragment of votive relief from Eleusis (Fig. 16), where the pose of the figure is reversed.62 On the Louvre relief, Demeter holds a a same phiale and scepter; the attributes may originally have been held on arms are a by the goddess the Mondragone relief, whose in compa on on rable position.63 Both the Louvre relief and the red-figure skyphos,

as 60. Clinton 1992, pp. 29-37; cf. Ariunip[o?J Opeap?o[u], suggested Peschlow-Bindokat 1972, p. 153, n. 1. no. Binder 1998, pp. 137-139. On the later first by Svoronos 1901, p. 254, R48, fig. 41; LIMC IV, 1988, association of the Homeric with It is not certain whether this cult of no. s.v. Demeter Hymn p. 875, 380, (L. Beschi). the festival Demeter had connection with the Athens NM 11037: exclusively Eleusinian/Attic any Skyphos fragment see no. of the Great Mysteries, Clinton Attic deme of Phrearrhioi. For the cult ARV21475, 8;Metzger 1965, no. 1994, p. 164. of the Eleusinian deities in Phrearrhioi, p. 240, 13; LIMC IV, 1988, p. 877, see no. s.v. Demeter 61. Clinton 1992, pp. 34-35. The Vanderpool 1970;Whitehead 1986, 397, pi. 592, (L. Beschi); no. 138 Vase cult of Demeter Phrearrhoos attested p. 386, 94. For the deme and the Clinton 1992, p. (Eumolpos: an on one name was derived no. 6. by inscription of the Roman likelihood that its Painting), seats in the from the numerous see 63. Bonanome Imperial-period Theater region's wells, (1995, p. 53, fig. 28) at 145-146. that the was of Dionysos Athens (IG 1125155) Traill 1986, pp. suggests figure gesticulat 62. For the Louvre is another indication of this important relief Ma 752, ing conversationally. the with wells: see n. above. Eleusis Museum 5062: relationship of goddess 25, THE MONDRAGONE RELIEF REVISITED 125

15. Figure Fragmentary red-figure skyphos (Marsyas Painter) showing Demeter. Triptolemos, Kore, and Athens NM 11037. Photo courtesy National Archaeological Museum, Athens

16. a Figure Fragment of votive relief Demeter and showing Triptolemos. Eleusis Museum 5062. Photo courtesy Deutsches Arch?ologisches Institut, Athens (neg. D-DAI-ATH-Eleusis 76) 126 IPHIGENEIALEVENTI

a Demeter is accompanied by Kore, who is depicted in type similar to a com that of theMondragone relief. Lorenz Baumer has suggested that mon source two of inspiration lay behind the relief compositions.64 This Demeter type, also known from statuettes, may derive from a statue of as the goddess, others have argued.65 The goddess standing next to Kore on a the Mondragone relief is, therefore, clearly second representation of Demeter. worn worn The polos by the standing goddess is not by Kore when she b.c. a appears together with Demeter in 4th-century scenes, but remains on characteristic of Demeter, as, for example, the Regina Vasorum (Fig. 9). On that vase, both Demeter and Kore appear twice, the latter once with once as Demeter and Persephone/Thea, although Hades/Theos is omit same on ted. By the token, the presence of Hades/Theos theMondragone reasons relief does not necessitate the presence of his queen,66 for that will become clear below. on The standing goddess theMondragone relief cannot be Persephone/ as next Thea queen of the underworld since (1) she is standing to Kore, who is the identical goddess in the upper world, according to Eleusin ian theology, and (2) she is not close to Hades/Theos, who is enthroned in the right half of the composition. The matronly type of the standing as goddess, moreover, precludes her identification Persephone/Thea, who a are same shares youthful type with Kore (as they manifestations of the goddess).67 Earlier suggestions that the standing goddess could be Rhea or a personification of Eleusis lack force: Rhea, despite her appearance to use a in the Hymn, has nothing do with Eleusinian cult,68 while the of well-known Demeter type to represent Eleusis would only have confused the ancient spectator.69 Even Hekate, for all her well-known connections

n. 64. Baumer (1997, p. 41) proposes associates his putative seated Hestia 1972, p. 127, 270; Richardson 1974, an earUer reUef as the source of on a statu Clinton contra inspi the Mondragone relief with p. 295; 1992, p. 82; n. ration. Of potential significance for ary type of this goddess (see 16, Simon 1997, pp. 105-106. is at the original conception that least above), citing the similar statuary type 69.Tiverios (1997, pp. 169-170) on a Eleu three examples showing this Demeter of Demeter seated kiste, following posits that the personification of sis in type?the Mondragone reUef, the Eleu Kern 1892, pp. 135-138; Eschbach may appear frequently Eleusin the in ian His identification of sis reUef, and skyphos Athens? 1986, pp. 71-80, esp. pp. 77-80, pis. 20, iconography. on at also depict Triptolemos in his winged 21. Baumer (1997, pp. 63-64), the the figures either end of the array on wagon. other hand, proposes that the seated of Eleusinian deities the Regina on n. 65. Bielefeld 1951-1952, pp. 1-2, Demeter the Mondragone relief Vasorum (see 46, above; Fig. 9, top) was a or as 5; Baumer 1997, pp. 60-62, 65, esp. derived from statuary relief personifications of Athens/Attica nos. and seems G17/B, K3, K10, K12, K14, original. Eleusis, however, especially the of pis. 22:2-5,40:1-4,44:4-6,45:5,46:1, 66. Peschlow-Bindokat (1972, implausible: presence Triptole mos who stand for Eleu Beilage 5 (Demeter Kos-Kyrene type). pp. 126-127) identifies the standing and , on as sis in Bonanome (1995, pp. 70-72) accepts goddess the Mondragone relief and Athens, respectively, this on the Thea because Theos is makes the of that the standing Demeter mainly present. composition, presence on Praxiteles' a in the above redundant. Mondragone relief draws 67. On Kerch pelike the State personifications with Kore and 8 on cult group Triptolemos, Hermitage Museum, Paw (St. 1792) See Clinton 1994, pp. 168-170, the which may have been initiaUy erected (see n. 71, below), where both are de Athenization of Eleusinian cult in the or wears same late 4th centuries on in the precinct the shrine picted, Thea the character 5th and b.c., and at was or as loss of as of Triptolemos Eleusis before it istic fillet diadem Kore: Clinton Eleusis's subsequent identity to in a in art moved the Horti ServiUani Rome 1992, p. 81. separate place Attic and oratory. is (Plin.HN 36.23); Filges 1997, pp. 41 68. Rheas lack of association with A personification of Eleusis identi an once in 43. Bielefeld (1951-1952, pp. 6-9) Eleusinian cult: Peschlow-Bindokat fied by inscription early THE MONDRAGONE RELIEF REVISITED 127

a with the Eleusinian cult circle, is not plausible candidate for the matronly figure of this relief.70 on The proposed double appearance of Demeter the votive relief can on vase from Mondragone be argued the strength of parallels inAttic even can on painting, without labels. Demeter depicted twice be surmised a on Kerch hydria in Bern; the so-called Regina Vasorum in St. Petersburg, as on the first seated goddess the left (Fig. 9, top) and again in the central scene on a (Fig. 9, bottom); and red-figure pelike by the Eleusinian Painter, ca. also in St. Petersburg, all of 330 b.c. Clinton has also suggested that a on there is double depiction the earlier Niinnion pinax in Athens, of ca. 370 b.c.71 a same an The depiction of deity twice in the composition is indis or an pensable device when narration is implied successive stages of event or are in myth cult represented. On this principle, Clinton accepted that Demeter and Kore appear twice on scenes of the Eleusinian cult circle,72 whereas Simon rejected these identifications. Simons identifications, how are scenes as ever, for the most part not persuasive, especially for such on those the Niinnion pinax, the Regina Vasorum (Fig. 9), and the pelike so a in St. Petersburg;73 the presence of great variety of mythical and cult characters as she proposes for these scenes would make it difficult for as a ancient viewers to recognize the main Eleusinian gods stable cult group. on a Because Eleusinian iconography is based mythological narrative a inwhich the main deities appear and reappear in connection with specific return vase central event?the of Kore from the underworld?4th-century painters depicting Eleusinian arrays of gods employed various iconographie a conventions to represent different moments in single composition, such as foreground and background groups, deities appearing twice, and single or figures groups of figures alluding to incidents in the narrative. Proceeding

vase on a victor at moments on 5th-century Attic painting, 70. Hekate and Eleusis: Clinton different 4th Panathenaic Vala skyphos byMakron, London, British 1992, pp. 116-120. He prefers, how century : Museum E 140, ca. 480 b.c.: ARV2 ever, to associate Hekate with the vanis 1990, pp. 345-348; Clinton 1992, no. and thinks that n. 106. 459, 3; Paralipomena 377; Beazley Thesmophoria festival, p. 82, was not 72. Clinton 78-82. Addenda2 243; Schwarz 1987, p. 39, she prominent in 4th-century 1992, pp. 73-75, no. 73. For the vase and the V58, ?g. 12, pl. VI; LIMC III, 1986, Eleusinian iconography. paintings no. s.v. Eleusis in Niinnion see n. above. Simon p. 720, 1, pl. 549, 71. Kerch hydria Bern, Abegg pinax, 71, see n. the car (D. Gonticas); LIMC IV, 1988, p. 873, Stiftung 3.127.73: 42, above. (1966, p. 82) identifies goddess no. s.v. see n. the in 344, pl. 580, Demeter (L. Beschi); Regina Vasorum: 46, above. Red rying torches several depictions in sometimes as Kore and sometimes as Clinton 1992, pp. 124,138 (Eumolpos: figure pelike St. Petersburg, State no. Hekate. Vase Painting), 1, pp. 193-194, Hermitage Museum, Paw 8 (St. 1792): She also recognizes the female Clinton n. 50. no. in a mantle in different figs. 51-54; 1994, p. 166, ARV21476, 1; Paralipomena 496; figure wrapped scenes on two the St. The only known 4th-century example Beazley Addenda2 381;Metzger 1965, the sides of Peters as a woman no. n. once as of Eleusis inscribed, seated p. 40, 35, pl. XXIV; LIMC IV, 1988, burg pelike (see 71, above) a a on no. s.v. once as holding torch and with diadem pp. 877-878, 404, Demeter Aphrodite and EUeithyia: Simon her a re head, associated with figure (L. Beschi); Clinton 1992, pp. 81-82, 1966, pp. 76, 82-83; 1997, pp. 105-106. Eleusinian Ploutos but la 134 no. she identifies the sembling (Eubouleus: Vase Painting), 1, FinaUy, torch-bearing as Eniautos on an as beled (the Year), is pp. 172-173, figs. 20,21. Niinnion males commonly interpreted Iakchos see n. on and in various scenes as Apulian by the Painter of pinax: 56, above; Demeter Eubouleus Eu MNB 1148 in see Louvre Malibu, J. Paul represented twice, Clinton 1992, molpos and Keryx: Simon 1966, pp. 89 86 For a narrative contra Getty Museum AE 680: Clinton pp. 78-84. parallel, 90; 1997, pp. 103-105; Tiverios n. 4:a. a n. 31. 1992, p. 50, 108, p. 161, fig. compare the double depiction of 1997, p. 169, 128 IPHIGENEIA LEVENTI

from the myth, Eleusinian theology favored double appearances of deities as same such Kore (the daughter of Demeter) and Persephone/Thea (the as or goddess queen of the underworld), Plouton (the agrarian aspect same as of the underworld god) and Hades/Theos (the god ruler of the underworld). An illuminating parallel for the appearance of these pairs in iconography is the Late Hellenistic monumental votive relief of the priest Lakrateides, which has inscriptions identifying all of the figures.74 a Not only does Eleusinian theology prescribe the depiction of deity same twice in the composition, but other exceptional Attic votive reliefs more once. also depict specific individuals than For example, Archinos on appears three times the relief he dedicated to Amphiaraos at Oropos; a this mid-4th-century relief depicts succession of episodes involving cure his by Amphiaraos and his worship of the hero.75 Another possible to example is the late-5th-century relief dedicated by Xenokrateia Kephis on once sos, which the god Kephissos may be depicted twice, among the once as gods in the background and the divine kourotrophos who receives son on Xenokrateia's Xeniades.76 In these reliefs the composition develops two levels, foreground and background, enabling the multiple presentation an occurs on of individual?precisely what in the depiction of Demeter the Mondragone relief. not to Although the double appearance of Demeter does correspond can Eleusinian theology in the way that Kore/Persephones would, it be on explained the basis of related parallels, especially the Niinnion pinax, in terms of the depiction of different narrative moments. Demeter is seated on the Kallichoron/Parthenion well addressing Triptolemos, and also ap pears standing beside Kore after she has returned from the underworld. Both female divinities standing in the background, then, signify the return of Kore to Demeter, which marks the founding of the Great Mysteries at Eleusis. In the foreground, the seated Demeter's gesture toward Triptol emos can as be better understood showing him the triumphant reunion of mother and daughter and the institution of the mysteries. Demeter on a seated on the Mirthless Rock slightly later red-figure hydria in Bern makes a similar gesture to indicate her reunion with Kore after the latter's are on return; also comparable Demeter's gesture the votive relief with

no. was 74. On the relief (IG IP 4701) see Kaltsas 2002, p. 133, 257, with ?chelos, who worshipped in the n. no same 11, above; Clinton 2005, pp. 265 fig.; explicit description. Scholars sanctuary of the deme Echelidai. no. to 266, 239, pl. 120, fig. 239:1-3. have hesitated accept the idea that ?chelos is paired with the case is is once in Iasile on another double Another the 4th-century Lysi Kephissos depicted twice, the contemporary center machides relief (IG IP 4683), which of the composition between sided relief from the sanctuary, Athens shows Kore with Demeter and Thea Xenokrateia and her son Xeniades, and NM 1783: LIMC III, 1986, p. 674, once as as no. s.v. ?chelos Kossatz with Theos, the latter identified by in the male figure behind him, 1, pl. 533, (A. see n. 339 scriptions: Fig. 5 and 30, above, first proposed byWalter 1937, pp. 102 Deissmann); Edwards 1987, pp. no. no. and Clinton 2005, pp. 89-90, 83, 103,106-107, fig. 1. Edwards (1987, 369, 4; Kaltsas 2002, p. 134, 33. reviews no. with This is not the case pl. pp. 310-338) all proposed 258, fig. on on 75. Athens NM 3369: Ridgway identifications; pp. 320-321, he the Xenokrateia relief, where the one two in are iden 1997, pp. 195-196, pl. 49; Cornelia identifies the figure with foot lifted, male figures question no. the as their more 2002, pp. 132-133,216, Oropos 5, receiving boy Xeniades, Kephis tical; superimposition may sos the over be fig. 134. and the frontal figure between significant. in as 76. Athens NM 2756 (IG IP 4548): gods the second plane the hero THE MONDRAGONE RELIEF REVISITED 129

Eleusinian deities from the Athenian Asklepieion (Fig. 6) and Epione's on scene on gesture the relief from Epidauros (Fig. 7).77 The the Mon seems to dragone relief illustrate the point in the mythological narrative at which Demeter reveals her sacred rites to Triptolemos, who represents the group of Eleusinian kings mentioned in the Hymn (Horn.Hymn Dem. 473-479).78 once on Kore, in contrast, is depicted only theMondragone relief: she has returned from the underworld and holds the two torches that denote as her ?nodos. She does not appear here Persephone/Thea, consort of Hades, no for she is longer in the underworld. Hades/Theos appears enthroned, a a attended by young god. These divinities turn toward each other in rest close compositional pattern, separate from the of the Eleusinian dei seem one are ties. They to be conversing with another and clearly part of a third group in the relief?a group that is located in the underworld and one more on includes god the far right. The god in chitoniskos and chlamys standing before Hades/Theos and reasons talking with him should be, for of iconography and of Eleusinian cult context, either Hermes or Eubouleus. It was Eubouleus who escorted Kore back to the upper world, lighting her way with his torches, accord vase ing to the mythology of the Eleusinian cult. In Eleusinian painting, was a Eubouleus appears next toTheos and Thea. Eubouleus thus dark god, on whose presence may have symbolized departure.79 The god the Mon wears aman dragone relief, however, lacks torches and his chitoniskos with tle, which would be unusual for Eubouleus in 4th-century iconography.80 on are The garments of the standing god, the other hand, appropriate as seen toHermes,81 who is first of allHermes Psychopompos, in the return on a of Kore well-known red-figure bell krater by the Persephone Painter ca. a in New York, 440 b.c.82 Hermes Psychopompos, god of transitions, reason a access has good to be in group with Hades/Theos, since he has to the underworld. On the Mondragone relief, Hermes might have held a to metal kerykeion in his left hand,83 which would suffice identify him in

77. For the Bern see n. is as the no. s.v. hydria, 42, Triptolemos usuaUy depicted 637, pl. 251, Hermes (G. Sie see n. above; for the Asklepios reUefs, sole messenger of the mysteries. Cf. ben); Bonanome 1995, p. 112, 44, nn. 36 and 38. On the reliefAthens Clinton 1992, p. 81. fig. 55. seems to 71 now NM 1332, Demeter introduce 79. CUnton 1992, pp. 56-61, 83. The left hand, missing, whose 73. a Asklepios, cult had recently could have had hole for the metal come under state control (see Aleshire 80. Eubouleus sometimes wears a insertion. Hermes on the New York to the wor mantle or before the mid-5th bell krater a see n. 1989, pp. 14-15, 94-95), chlamys provides parallel: 82, when his was not over shippers (IG IP 4359; public physi century B.c., type yet above. The kerykeion of Hermes on the in a cians?), whereas relief Athens standardized Eleusinian iconogra lapping metal scepter held by Hades/ not a NM 1426 Epione may be presenting phy: Clinton 1992, pp. 71-72,135 Theos is problem (so Bonanome to on nos. her family the adorants the right (Eubouleus: Vase Painting), 12-13, 1995, p. 119). Cf. the attributes of who pray for offspring. Bonanome pp. 184-186, figs. 37-41. Dionysos and Demeter in the middle on n. (1995, p. 73), the other hand, sug 81. Clinton (1992, p. 137, 5) of the relief frieze on the Regina that her on identifies the on the Mondra n. gested putative Epione figure Vasorum (see 46, above; Fig. 9): as theMondragone reUef addressed both gone reUef Hermes, suggesting Clinton 1992, p. 79, fig. 9.The god's and the Eleusinian divini Eubouleus was Triptolemos only tentatively. left forearm carved separately in ties the background. 82.MMA 28.57.23: ARV21012, and attached: Bonanome 1995, p. 97, 78. Rather than a fuU chorus of no. Ad 1; Paralipomena 440; Beazley figs. 49,50. Eleusinian as in the kings Hymn, denda2 314; LIMCV, 1990, p. 339, 130 IPHIGENEIALEVENTI

context. this It should be noted that Hermes Psychopompos, in particular, as may appear without winged boots and petasos, here.84 a more Even though Hermes Psychopompos is likely identification on than Eubouleus for the god standing opposite Hades theMondragone relief, these two gods are in fact interchangeable in Eleusinian cult context. On the New York bell krater showing the return of Kore, for example, Hermes appears in the traditional role of Eubouleus,85 but this depiction to dates the 5th century, when Eleusinian iconography had not yet been as on standardized. Consequently, Hermes Psychopompos depicted the to an Mondragone relief belongs earlier cultic and iconographie tradition was that quite likely not associated exclusively with the sanctuary of Eleu sis.86Hermes is connected with the journey to the underworld generally as in Attic funerary iconography, and such may be associated with the return of Kore.

If my proposal that the Mondragone relief depicts Hermes Psycho pompos in the underworld is valid, then his presence in front of Hades as clearly reflects his role narrated in theHymn (Horn.Hymn Dem. 334-385, 407-409), when he descends to the underworld and takes Kore back to her on mother Zeus's orders. Specifically, the conversation between Hermes on to statement and Hades/Theos this relief corresponds the in the Hymn was (334-339) that Hermes sent by Zeus to Hades in order to propitiate scene on him and bring Kore back to Earth. In this interpretation, the the on scenes on right half of the relief corresponds another level to the the left that show the reunion of Demeter and Kore and the establishment of the mysteries at Eleusis. an Hermes is also important divinity in the panhellenic festival of the on Thesmophoria, which Clinton believes is based the cult myth of the to Homeric Hymn?1 A similar link this festival and its aetiological myth as on articulated in the Hymn has also been noted for the seated Demeter the left side of the Mondragone relief, who addresses Triptolemos from the Kallichoron/Parthenion well.

The identification of Hermes on theMondragone relief has addition a al significance for group of similar Attic votive reliefs possibly from the on a City Eleusinion (late 4th century b.c.), which male figure of the same as as on type may be identified Hermes, Filges has proposed.88 The figure the reliefs from the Eleusinion inAthens appears next to a seated Demeter

on the relief column ter on 84. Cf. Hermes and Kore the mid-4th-century drum from the Artemision at Ephesos lekythos, Sofia Archaeological Museum (ca. 340 b.c.), which may show the de 7721: see n. 55, above. at parture of Alkestis from Hades, Lon 87. The cult of Hermes the Thes Ar. See don, British Museum 1206: LIMCV, mophoria: Thesm. 297-301. no. s.v. Her 1990, p. 335, 591, pi. 247, Clinton 1992, pp. 31,33. mes 88. are in (G. Siebert). Two reUefs the Agora 85. Clinton 1992, pp. 71-73; for Museum, S 1251 (see n. 42, above) and the New York see n. above. S 1646 n. see uso krater, 82, (see 55, above); Agora n. nos. 38. 86. CUnton (1992, p. 71, 41) XXXI, pp. 218-219, 7-8, pi. in was on associates the presence of Hermes A third reUef found the Acrop scene of the return of Kore with 2661: the oUs, AcropoUs Museum Pingia Homeric to Demeter n. the Hymn and the toglou 2001, p. 212, 6, fig. 3; Filges Thesmophoria. Cf. Hermes and Eu 1996, pi. 14:1-3; Filges 1997, p. 63. bouleus framing the reunion of Deme THE MONDRAGONE RELIEF REVISITED 131

no and standing Kore, and holds Eleusinian Ploutos in his arms, but has other attributes.89 on On the Mondragone relief, the composition is closed the right by on the standing Dionysos, who faces left and rests his right hand the back wears of Hades' throne. Dionysos his characteristic Thracian costume?chi on toniskos, nebris, and boots?and his long hair falls his shoulders. He a may also have carried painted thyrsos in his left hand, which hangs down a vase as by his side. Dionysos is familiar figure in Eleusinian painting, he was himself initiated into the mysteries, and may therefore appear here as a representative of the initiates.90 In this way he is similar to Iakchos, who, a although different deity of the Eleusinian circle, normally represents the procession of the initiates to Eleusis. These two deities have many icono are can even graphie similarities, but they clearly distinct individuals who same as on coexist in the scene, the Regina Vasorum (Fig. 9).91 are That Dionysos and Iakchos interchangeable in art has made it dif to on ficult for scholars identify the god the Mondragone relief correctly. Nevertheless, the distinction can be made here on the basis of the nebris, a vase which is defining attribute of Dionysos in Eleusinian painting and on is attested other 4th-century votive reliefs with Eleusinian deities, as, on a a for example, the left fragment of relief from Eleusis (Fig. 17), relief in Chalkis, and another inW?rzburg.92

see n. 89. Pingiatoglou's identification teristics of Erichthonios, born from Ge Regina Vasorum: 46, above, and, as to (2001, pp. 212-222) of this figure and given his stepmother Athena, in especially for Iakchos and Dionysos on a on Triptolemos, worshipped in the City an Eleusinian context mid-4th this vase, Clinton 1992, pp. 68, 78 is not b.c. from Eleusinion, supported by his century Kerch hydria Rhodes, 79,169, figs. 9,17. Clinton 56 Museum iconography. (1992, pp. Istanbul, Archaeological 92. Distinctive iconography based on 57; LIMC VII, 1994, pp. 417-418, 2676: LIMC IV, 1988, p. 877, no. 403, the nebris: Clinton 1992, p. 67. nos. s.v. 14-15, Ploutos) identifies him s.v. Demeter (L. Beschi); p. 174, no. 28, E. Simon (LIMCV, 1990, pp. 612 as clad in a chitonis s.v. s.v. not Eubouleus, only pi. 98, Ge (M. B. Moore); CUnton 613, Iakchos) does distinguish and that he was between and Iakchos when kos, suggests closely 1992, p. 133 (Ploutos: Vase Painting), Dionysos related to Ploutos in Eleusinian cult. no. such as or 3, p. 178, fig. 29; Metzger 1995, they lack attributes thyrsos Pingiatoglou (2001, p. 211) observes p. 9, fig. 2; Pingiatoglou 2001, p. 217, torches. The nebris-wearing god of wears a n. on n. that the figure also chlamys. 23. Likewise, the votive reliefs Eleusis Museum 5068 (see 29, above) other On the hand, Triptolemos has from the City Eleusinion, Hermes has been identified as Iakchos: Vikela a in standard depiction Eleusinian carries the infant Ploutos assimilated 1997, p. 232. Chalkis Museum 337: even in the 5th to no. s.v. imagery: century b.c., the infant Dionysos. LIMC IV, 1988, p. 375, 45, standing without his winged wagon 90. Clinton 1992, pp. 81-84,123 Hades (R. Lindner et al.); LIMC V, an no. s.v. (Pingiatoglou 2001, pp. 218-219), he 125; he argues for independent cult 1990, p. 612, 3, Iakchos (E. Si receives always the sheaf of grain from of Dionysos outside the sanctuary of mon); Clinton 1992, p. 137 (Iakchos: Demeter and the scene is that at no. 4 clearly Demeter and Kore Eleusis and dis Sculpture), (Dionysos); Bona of his For the cusses as an ini nome departure. suggestion Dionysos's portrayal 1995, pp. 179-182, fig. 91. Re that the Eleusinian Athens tiate in scenes. The lief in von great relief, Eleusinian literary W?rzburg, Martin Wagner NM Ploutos 126, portrays standing record is late, however: the pseudo Museum H 4010: LIMCV, 1990, and the stalks of to De no. s.v. handing grain Platonic Axiochos (371e). For what may pp. 612-613, 4, pl. 419, Iakchos rather than see now most associa meter, Triptolemos, be Dionysos's profound (E. Simon). Other examples of Dio Clinton and Palagia 2003. Although tion with the Eleusinian cult, see Metz nysos with the nebris: Bonanome 1995, is no there documentary evidence for ger 1995, p. 22. pp. 172-186, figs. 87-92. Filges (1997, Hermes the infant Ploutos 91. Iakchos's assimilation to traces carrying Diony p. 65) the figure of Dionysos/ this sos was stressed Graf 51 Iakchos on (Pingiatoglou 2001, p. 216), pair by (1974, pp. the Mondragone relief and reflects an to ing interesting phenomenon 58, 60-61, with reference the Mon the relief Eleusis Museum 5068 back in Attic common to Differences between to a in a iconography dragone relief). Praxitelean group temple of various sacred children. in this the of near Ploutos, iconographie types Dionysos and the Eleusinian deities the Pom assumes the charac case, iconographie Iakchos: Clinton 1992, pp. 65-68. peion in Athens (Paus. 1.2.4). 132 IPHIGENEIA LEVENTI

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^^^^^^^^^^^^^^^^^^^^^^^^^H Figureofa ^^^^^^^^^^^^^^^^^^^^^^^^^H reliefshowing Demeter, ^^^^^^^^^^^^^^^^^^^^^^^^^H Dionysos.Eleusis Museum ^^^^^^^^^^^^^^^^^^^^^^^HHIIIPI^H Photo E.Gehnen, courtesy Deutsches ^^^^^^^^^^^^^^^^^^^^^^^^HHHHH| Arch?ologisches Institut,Athens (neg.

on as Support for the identification of the god the relief Dionysos also comes from the iconographie context. Iakchos leads processions of initiates, no are but here mortals depicted. Iakchos, moreover, is not known to have a on close relationship with Hades, while the god the Mondragone relief on a leans Hades' throne in the underworld. On the basis of parallel offered a by contemporary Apulian volute krater by the Darius Painter (Fig. 18), on the god depicted is very likely Dionysos. The figure the krater?the same as on type the god the relief?is followed by his thiasos and shakes hands with Hades, who is seated in a naiskos. On the other side of this are as a naiskos, in which Hades and Persephone depicted couple, stands as on the relief.93 Hermes, Mondragone vase This scene, unique in painting, has been convincingly interpreted as the recognition of Dionysos by the gods of the underworld following to eschatological Dionysiac-Orphic doctrines, according which Dionysos intercedes with deities of the underworld on behalf of his devotees to obtain

93. Toledo Museum of Art 1994.19 no. s.v. n. VII, 1994, p. 315, 70, pl. 265, Avagianou (2002a, pp. 93-95, 106, 330 Trendall and Cambito Pentheus Bazant and G. (ca. b.c.): (J. Berger figs. 12, 13) suggests that Hermes no. Moret and McNiven glou 1992, p. 508, 41al; Doer); Johnston 1996, Chthonios is portrayed. 1993, pp. 293-318, figs. l:a-d, 2; LIMC pl. 1; Schmidt 2000, pp. 92-99, pl. 15. THE MONDRAGONE RELIEF REVISITED 133

18. volute krater Figure Apulian treatment benevolent for them.94 This association is also supported by the (Darius Painter) Dio showing so-called lamellae found in of initiates from the Hades with Dionysiac-Orphic graves nysos, Persephone, and late 5th b.c. to the 1st century a.D. in South and mainland Greece, Hermes. Detail, side A. Toledo, Italy as as on Museum of Art 1994.19. Gift of well Mytilene and in Crete?but, notably, not inAttica.95 The close between the scene on the half of the Edward Drummond Libbey, Flor correspondence right relief and the vase discussed conflicts to a certain ence Scott Libbey, and the Egypt Mondragone Apulian just with the Attic-Eleusinian on its left half. The Exploration Society, by exchange. degree repertory prevailing Photo Toledo Museum of Art courtesy view in modern scholarship is that the cult of Eleusis inAttica contained no trace non of Dionysiac-Orphic beliefs in the Classical period.96 The Athenian element in the Attic votive relief found atMondragone?the

94. Moret Graf LIMC no. 1993, pp. 316-318; VII, 1994, p. 84, 21, pl. 59, comparing Dionysos in the underworld and McNiven and in s.v. on 1993, p. 256; Johnston general, p. 102, the Toledo krater with Dionysos Schmidt X. on 1996, pp. 27-36; 2000, (M. Garezou); LIMC IV, 1988, meeting Hades and Persephone 98-99. here first s.v. Hades Lindner pp. 93-94, Dionysos pp. 384-387, (R. the Lokrian pinakes: Bottini 2005, offers a to who is et Schmidt 32-33. parallel Orpheus, al.); 1991, esp. pp. pp. 172-173, with figs. (M. Cardosa). often next to Hades on other 95. and McNiven See depicted Johnston 1996, Tzifopoulos 2002, esp. pp. 152-153, a n. late-4th-century Apulian vases, e.g., pp. 30-33; Tzifopoulos 2002; Cole 12; Cole 2003, esp. pp. 200-205, volute krater in on Munich, Antikenslg. 2003, pp. 200-213. Also in connection table 8.1, the diffusion of the so 3297 320 LIMC with the krater and its (ca. b.c.): IV, 1988, Apulian interpre called Dionysiac-Orphic lamellae. On no. s.v. Hades Gavrilaki and term p. 385, 132, pl. 220, tation, Tzifopoulos 1998, the "Orphic" for these lamellae, Lindner et an (R. al.); in pp. 353-355; Schmidt 2000, pp. 93-94. cf. Edmonds 2004, pp. 29-110. Perrone 14 Bari, Coll. (340-330 b.c.): Cf. Mertens-Horn 2005, pp. 52-54, 96. Graf 1974, pp. 65-67, 75-78. 134 IPHIGENEIA LEVENTI

singular relationship between Dionysos and Hades/Theos?can thus be assume attributed to the personal choice of the dedicant.97 We may therefore or was a that he she probably non-Athenian initiated into the Dionysiac as as a Orphic Mysteries, well devotee of Eleusis. It should be stressed that although the descent of Dionysos to the in was to underworld the parodos of ' Frogs well known Athe nian audiences from the late 5th century on, and so may have influenced the Athenian artist who made this votive relief representing Dionysos on a on leaning Hades' throne, familiarity with topoi based the poetic an Dionysiac-Orphic tradition inAthens is insufficient to forge Athenian link between the two separate mystery cults, the and the Dionysiac-Orphic Mysteries.98 can now We review the iconographie elements of the Mondragone to votive relief that contribute the complexity of its composition and reflect the special character of the dedication. Triptolemos is portrayed with his on hands resting his lap, and it is not clear which characteristic attribute or a he held?a scepter sheaf of grain. Although his legendary mission of spreading the knowledge of wheat cultivation is implied by the winged on wagon which he sits, the relief does not depict the corresponding de parture scene.99 In this respect, theMondragone relief more clearly reflects to the Homeric Hymn Demeter, in which the mysteries established by the are goddess commemorated at the very end of the poetic narrative.100 The festive, ritual reunion of Demeter and Kore in the background is the very reason as on for Demeter's teachings to Triptolemos she sits the Kallicho ron/Parthenion well.

A third level of the composition is created by the three gods set apart on not on the right, deities who do interact with the gods the left half of the relief. That this group is in the underworld is indicated by the presence of the enthroned Hades/Theos. Hades/Theos receives both Dionysos and

97. The votive reUef Chalkis Muse plays down all cultic associations in um n. 337 (see 92, above) shows Plou Aristophanes' text, emphasizing that not ton, Hades (so Bonanome 1995, the poet used traditional myth and a to p. 179), standing with ritual express his political ideas. next to 99. mission Dionysos. See LIMC IV, 1988, The iconography of the no. s.v. p. 375, 45, Hades (R. Lindner of Triptolemos (the departure scene) et is in al.; Hades-Plouton?); Clinton 1992, especially popular 5th-century no. 4 vase the p. 137 (Iakchos: Sculpture), Attic painting, e.g., skyphos (Plouton). For Hades distinct from by Makron, London, British Museum Plouton in art, Clinton 1992, pp. 62 E 140 (ca. 480 b.c.): see n. 69, above; 63,105-113; LIMC VII, 1994, a phiale by the Aberdeen Painter in pp. 416-420, s.v. Ploutos (K. CUnton). Paris, Louvre G 452 (ca. 450 b.c.): 98. no. Dionysiac-Orphic cult ARV2 991, 33; Schwarz 1987, p. 46, b.c. no. known in 4th-century Attica: Graf V94, fig. 22, pl. XIL2; LIMC VIII, no. s.v. 1974, pp. 68-78, who, however, rebuts 1997, p. 962, 101, pl. 645, Per Simon 1966, pp. 78-86, concerning the sephone (G. G?ntner). Cf. the frag two association of the mystic circles mentary 4th-century skyphos by the in at Dio the Lesser Mysteries Agrai. Marsyas Painter, Athens NM 11037 to in see n. nysos's journey the underworld (Fig. 15): 62, above. and Aristophanes' Frogs the Eleusinian 100. Clinton 1992, p. 36; Binder connection: Graf 1974, pp. 40-50. In 1998, p. 138. contrast, Edmonds (2004, pp. 111-158) THE MONDRAGONE RELIEF REVISITED 135

to return to Hermes, who persuades him let Persephone the upper world to be united with her mother, according to the panhellenic tradition of the comes a Homeric Hymn.101 Dionysos from completely different cult tradi tion, and is there to intercede with Hades for the salvation of his initiates' on souls, as the so-called Dionysiac-Orphic lamellae.

ELEUSINIAN CULT IN CAMPANIA

was As discussed above, the votive relief from Mondragone manufactured an b.c. in Attic workshop in the decade 340-330 The types of the gods as as as a on portrayed, well the composition whole, draw the Eleusinian iconographical tradition and its conventions, exemplified principally by vase vases painting. On Attic red-figure depicting the Eleusinian circle, we find a similar combination of scenes before and after the return of a Kore from the underworld and the double appearance of goddess in on the narrative.102 Nevertheless, the specific choice of gods depicted the are Mondragone relief and the ways inwhich they portrayed create certain uncon iconographie oddities and lead to interpretative ambiguity. These can a ventional elements be attributed to the influence of literary source, seems to which have contained the aetiological myth of the panhellenic to festival of the Thesmophoria and references the Eleusinian Mysteries,103 as as to well the influence of concepts associated with the eschatology of the Dionysiac-Orphic Mysteries. can a The relief's unique iconographie scheme be connected to circle of individuals who had been initiated into both the Eleusinian Mysteries and the Dionysiac-Orphic Mysteries outside Attica. The connection af new fords insights into the diffusion of the cult of Eleusis to the periphery B.c. of the Greek world in the 4th century In this context, it is important to was was confirm that Campania the place where the relief originally are dedicated. There significant obstacles to the idea that theMondragone was at an relief first dedicated Attic shrine and subsequently transported or to Italy in the Late Hellenistic Roman Imperial period. To the best of never nor my knowledge, the Romans pillaged the sanctuary at Eleusis,104 a does the City Eleusinion in Athens seem plausible site for the original dedication, since the iconography of the few votive reliefs known to have come from there is simple and uniform.105 The search should therefore turn to Italy, to the region of Cam pania, where the Mondragone relief came to light.106 A great number of

On this see also to a 101. Panhellenic elements in the relationship Metzger decorate Campanian villa. were to 22. Hymn probably intended appeal 1995, p. 105. Reliefs from the City Eleusin to or com ion: nos. 1 worshippers of Demeter 103. The impact of theHomeric Agora XXXI, pp. 217-220, of initiates on Attic art: Simon 99. munities Eleusinian outside Hymn 1997, p. 13, pis. 36-39, representing mainly 104. Roman for Eleusis: Attica: Clinton 1986; Foley 1994, respect Demeter, Kore, and Triptolemos, and pp. 175-177. Clinton 1997. In the late 4th century possibly Hermes and Hekate. to the Goths Eleusis 106. 102.1 follow Clinton with regard A.D., destroyed by Clinton (1992, pp. 64,137) the connection of Eleusin n. this in the or 4th-century fire (Picard 1931, pp. 28-29, 6); proposed Argolid ian vase seems an occasion for Cumae in as votive reliefs with Eleusinian unlikely salvaging Campania the original contra a votive relief to painting; Simon 1997, p. 103. and transporting Italy location of the Mondragone relief. 136 IPHIGENEIA LEVENTI

vases scenes imported Attic depicting Eleusinian have been found in the some ancient cemeteries of Campania and Etruria, leading scholars to hypothesize the existence of societies of Eleusinian cult initiates among the indigenous Hellenized communities of these regions.107 Remarkable on similarities do in fact exist between the composition the Mondragone on vases. relief and those appearing imported Attic The Regina Vasorum, an in a at a Attic relief hydria found grave Cumae (Fig. 9), offers par ticularly close parallel.108 Finally, theMondragone relief's combination of Eleusinian deities with Dionysos is echoed in the parallel appearance of on vases Triptolemos's mission with Dionysiac themes Attic exported to Etruria and Campania.109 vo How, then, did theMondragone relief end up in Campania? Attic tive reliefs found outside Attica fall into three categories: (1) ancient loot from mainland Greece used to adorn Roman villas and gardens on Italian soil;110 (2) those collected from Greece in more recent times and now in a private and public collections throughout Europe; and (3) small number to exported in the Classical period the periphery of the Greek world. It is to this last group that the Mondragone relief surely belongs, along with an a scene Attic votive relief showing of Eleusinian initiates excavated at Pantikapaion (Kerch), dated to the early 4th century b.c., and another Eleusinian relief of the late 5th century b.c. found at Catania, which is a most likely of Attic origin but carries Doric dedicatory inscription.111 The export of Classical reliefs from Attica to the ends of the Greek world is an unusual phenomenon that may have been limited to the Eleusinian cult on a as circle. It is conceivable that relief such that found atMondragone was the iconography is exceptional because it designed to conform to the devotional requirements of the local buyer?implying that these reliefs were as exported special orders.

n. 107. Metzger 1965, p. 30, who 1992, p. 80, 98. Zervoudaki (1968, in South Italy:De La Geni?re 1987, to no. also refers the Mondragone reUef; p. 36, 77, p. 63) suggests that the pp. 58-61; Isler-Ker?nyi 2005. or a 110. De La Geniere 1988, pp. 164-167. The hydria could be either Attic Cam Kunzt 1994; Baumer 2001, at entrance 89-90. sacred architecture the of panian imitation. Cf. the contemporary pp. now the sanctuary of Demeter Malophoros Attic relief hydria, Naples, Museo 111. Kerch reUef, in St. Peters at near Contrada Gaggera SeUnous is Archeologico Nazionale 146717, from burg, State Hermitage Museum to entrance to of at Peschlow-Bindokat strikingly similar the the the cemetery ancient Neapolis 160: 1972, p. 151, at no. Saverkina sanctuary Eleusis: specificaUy, the Castel Capuano: Zervoudaki 1968, R12, fig. 39; 1986, b.c. no. no. with LIMC late-5th-century monumental pro p. 36, 76, pl. 18:2; LIMC IV, 1988, pp. 154-155, 69, figs.; sanc no. s.v. no. s.v. pylon of the Demeter Malophoros p. 877, 395, Demeter (L. Beschi); IV, 1988, p. 867, 270, pi. 579, tuary shows affinities with the sUghtly Zevi 1994, p. 155. Demeter (L. Beschi); Baumer 1997, at the 109. For this combination no. 37:3. Catania earUer propylon sanctuary of already pp. 151-152, R59, pi. ca. Museo Civico del Cas Eleusis (Giraud 1991, pp. 62-85, 475-450 b.c., perhaps reflecting the relief, Catania, no inv. no. fig. 36):M?es 1998, esp. pp. 52-53, with local aristocracy's eschatological beliefs, teUo Ursino, (found 1930): figs. 7,20; Hinz 1998, p. 148, fig. 136. see De La Geniere 1988, esp. pp. 164 Libertini 1937, pp. 721-726, fig. 6; 108. n. Peschlow-Bindokat The Regina Vasorum (see 46, 167; Simon 1997, p. 97. The juxtaposi 1972, p. 150, as an tion of and no. Neumann 57 above) Attic product: Gabrici Dionysos Triptolemos's R5, fig. 35; 1979, pp. scenes on Attic stamnoi to LIMC 1913, pp. 695-702, pis. C-CII; Courby exported 58, pi. 32a; IV, 1988, p. 865, no. s.v. 1922, pp. 200-201 (both stressing the Italy:De La Geniere 1988, with figs. 229, pi. 577, Demeter (L. Beschi); commercial relations between Athens 1-4 (Louvre 10798: ARV2 208, no. 59) Baumer 1997, pp. 136-137, no. R34, and in the ComeUa Campania Classical period, and 7-8 (Louvre G 187:ARV21028). pi. 32:4; 2002, pp. 93,206, ca. 340 cult no. Catania 88. especiaUy from b.c.); CUnton Evidence for Dionysiac mystery 1, fig. THE MONDRAGONE RELIEF REVISITED 137

can was It thus be argued that the Mondragone relief exported from a Attica in the Late Classical period to be dedicated in sanctuary in the or region of Mondragone, possibly at nearby Cumae its colony Neapolis. In both of these cities of Campania, literary and archaeological evidence from the Archaic period to Roman times suggests the existence of thriving were cults of Demeter. These not only cults of the panhellenic Demeter were Thesmophoros, but also influenced by the specific cult of Eleusis in Attica.112

An obvious objection, however, is that in sanctuaries of Demeter and in Kore South Italy and Sicily, other kinds of dedications (plain pottery are re and clay figurines) normally in evidence, but not marble votive liefs.113An alternative possibility, therefore, is that the Mondragone relief was an dedicated by Italian circle of Eleusinian initiates, very likely also a a initiates of the Dionysiac-Orphic Mysteries, at domestic shrine, type seems of cult activity that to have been particularly characteristic of this region in Classical times.114 A corresponding phenomenon is the fact that vases come Attic decorated with Eleusinian themes found in South Italy from graves rather than sanctuaries. was or Regardless of whether its cultic context civic domestic, the Mondragone relief, dedicated in Campania in the 4th century b.c., is our crucial for understanding of the expansion of the cult of Eleusis to the a seems periphery of the Greek world, phenomenon that to have intensi fied from that time onward.115

Hinz see 112. A sanctuary in the region of pact of Attic cult;Giangiulio 1986, 114. 1998, pp. 237; also n. 108-109 an Mondragone has tentatively been p. 144, 109; Giampaola 1994, p. 63, pp. for example from as on 137-141. The Roman Cf. Bonanome proposed the place of dedication: figs, pp. great Syracuse. 1995, p. 210, no. 14. on the of n. who was Metzger 1965, p. 36, An Italian temple acropolis Cumae, 57, suggests that the relief to an was in known as the of in a at sanctuary unknown deity commonly Temple reerected domestic shrine the use to centuries has been reidentified as a tem Roman villa at from the 7th the 3rd Jupiter, excavated Mondragone. b.c. at a on of as a non site caUed PaneteUe the ple Demeter Thesmophoros founded The Dionysiac Mysteries coast near in t?lete Mondragone: Frederiksen theArchaic period: Pagano 1987; institutionalized practiced by n. or 1984, p. 39, 44; Bonanome 1995, De La Geni?re 1988, p. 164. Diffusion local family groups: Cole 1980, of Eleusinian cult from into p. 209. Literary evidence of the Roman Neapolis p. 236; 2003, p. 206. the interior of and period for the cult of Demeter Thes Campania: Breglia 115. Clinton 1994, pp. 169-170. at The in mophoros and Eleusinian Demeter Doria 1986, p. 159. HeUenized Italian Eleusinian cult Rome from sanctuaries of Demeter and in the Cumae and Neapolis: Hinz 1998, Kore Late Hellenistic period onward pp. 181-182. Both Miranda (1985, Campania: Bonanome 1995, pp. 209 is briefly discussed in Clinton 2003, pp. 392-393) and Giangiulio (1986) 210 (Cales;Teano); Hinz 1998, pp. 59-60. Copies of the great Eleu stress 181-182. the analogy with the mysteries of pp. sinian relief, Athens NM 126, have at in Demeter Eleusis, which increases the 113. Characteristic dedications been found mainly in Roman Italy: sanctuaries: UkeUhood of Attic cult influence in the South Italian Hinz 1998, Schneider 1973, pp. 110-118, figs. 13, 48-49. See for region. Terracotta figurines from the pp. Doepner 2002, typi 14, pis. 32-40; Ridgway 1981, p. 138, on the cal dedications in the sanctuaries of n. sanctuary of Demeter acropolis 19;Micheli 2002, pp. 92-109, of ancient AnieUo a on 170-173 she Neapolis (S. Capo Magna Graecia; pp. figs. 9-13,15,16; Bottini 2005, to cen between ex no. napoU) from the 5th the 3rd distinguishes typical and pp. 152-155, 19,with fig. (E. La b.c.: on tury BorrieUo and De Simone ceptional dedications depending the Rocca). on im intention of 1985, esp. p. 161, the possible the individual dedicant. 138 IPHIGENEIA LEVENTI

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Iphigeneia Leventi

University of Thesssaly

department of history, archaeology, and social anthropology

argonauton and philellenon

38221 VOLOS GREECE

[email protected]