AJA open access: book review www.ajaonline.org

Scolpire il marmo: Importazioni, artisti itineranti, scuole artistiche nel Mediterraneo antico. Atti del convegno di studio tenuto a Pisa Scuola normale Superiore, 9–11 novembre 2009

Edited by Gianfranco Adornato. Pp. 366, figs. 272. Edizioni Universitarie di Lettere Economia Diritto, Milan 2010. €74. ISBN 978-88-7916-465-8 (paper).

This volume presents most of the papers delivered fifth centuries B.C.E., providing very useful statistical at a conference on marble sculpture imports, itinerant information (21–30). artists, and artistic schools in the Mediterranean that Studies presenting new interpretations or new took place at the Scuola Normale Superiore di Pisa excavation material invite closer attention. Lippolis in November 2009. One of highest priorities was to and Vallarino offer many insights on the sculptor integrate marble sculpture of the Archaic and Classical Alkamenes and the chronology of his oeuvre based periods found in Magna Graecia—here referring to on a reinterpretation of the Hephaisteion inscription both South Italy and Sicily (on the long and troubled (IG 13 472) (268–69). Recently resumed investigations history of the term “Magna Graecia,” see the introduc- at the Heraion at Capo Licinio at Kroton shed more tion in G. Ceserani, Italy’s Lost Greece [Oxford 2012]), light on the configuration of the classical Doric temple. which is often neglected or given a Meisterwerke ap- Belli Pasqua stresses the close similarities of the newly proach in modern scholarship—into the mainstream reconstructed central floral acroterion from the site narrative of Greek art by reflecting on the formation of with Parian and Athenian examples, while Rocco sug- artistic schools, modes of transmission and reception of gests that itinerant Cycladic workshops played a far styles, and sharing of technical expertise in the ancient more important role than previously acknowledged Mediterranean (7). Of the 16 essays, 14 are written in the transmission of certain features of temple archi- in Italian by Italian scholars and two in English by tecture (elongated plans, hawksbeak moldings, and non-Italians, a clear reflection of the predominance of double corner contraction, among others). The author Italians in the field. High-quality black-and-white il- points out that the wide popularity of Parian marble lustrations and bibliography follow each contribution. for temple roofs in the early fifth century in the West

merica The essays vary in scope and method: they exam- led to the abandonment of the local, longstanding ine individual works (e.g., the kouros from Rhegion tradition of experimentation with the Doric order in [Greco]), groups (e.g., Kleobis and Biton in Delphi favor of mainland prototypes. Both scholars attribute [Aurigny]), types of sculpture (e.g., the classical fu- these developments to the antagonism of South Italian nerary stelae from southeast Sicily [Chisellini]), entire poleis to outperform one another in expensive build- regions (e.g., Poseidonia [Buccino], Attica [Palagia], ing projects that demanded the technical expertise Lycia [Poggio]), or lesser-known collections (e.g., of island, especially Parian, craftsmen. It was indeed

nstitute of A I nstitute rchaeological the Archaeological Museum in Florence [Iozzo]). the influx of itinerant Cycladic craftsmen and marbles Marble sculpture at Cyrene receives a sweeping, in Early Archaic Athens that, according to Palagia, primarily archaeometric, survey by Lazzarini and contributed significantly to the emergence of monu- Luni that contains tables with petrographic data of mental sculpture in the region. Renewed excavations the marbles used (197–202). Dimartino compiles the at the classical Doric temple at the Sanctuary of Punta opyright © 2013 A opyright American Journal of Archaeology JanuaryAmerican 2013 (117.1) 10.3764/ajaonline1171.Karoglou DOI: C epigraphic evidence on artists and their mobility Stilo in Kaulonia conducted by Parra have provided across the Mediterranean world from the seventh to architectonical members, mostly tiles and fragments 2 American Journal of Archaeology January 2013 (117.1) K. Karoglou, Book Review Copyright © 2013 Archaeological Institute of America dynamic” (313–14) frameofreference. of eachpolisinorder tocreate amore “articulate and for studiesoftheentire marblesculpture production establish clear, distinctive stylistictraitsandcallsinstead linus). Adornato criticizes his predecessors for failing to no consensusonwhichtheseschools are (exceptforSe- 1996]). Interestingly, andsomehow predictably, there is The Western Greeks (G.PuglieseCarratelli,ed.[Milan by RolleyinGreek Sculpture (Paris1994),andagainin Sculpture ofSicilyandMagnaGraecia[Louvain 1975]), monograph onthesubject(LateArchaic andEarlyGreek This hasalready beenargued byHollowayinhis focusing hisdiscussionon Akragas andMetapontum. He supportstheexistenceofdistinctsculpturalschools, the perceived provinciality ofwesternmarblesculpture. ence andvolumeeditor, addresses directly theissueof of localmanufacture. Adornato, organizer oftheconfer Italy, especiallyaftertheendofsixth century, were ally developed inthe West, andmostworks found in the topicwere marginalized. Magna Graeciawasdeemedinferior, andstudieson sources intheWest. As aresult, marblesculpture in destruction andthealmosttotalabsenceofliterary of archaeological contexts thathavesurvivedmodern challenging stone.Instrumental were alsothedearth ability ofnativeartisanstocarvetheharder andmore the volumeunderreview]) andpresumed technicalin- e dell’ossigeno,” di alcunielementi in tracce e degliisotopidelcarbonio marmi dellesculture diSelinunte attraversoleanalisi S. Calderone, analysis ofthemarblesusedinSicily, seeR. Alaimo and were lackofgood-quality indigenousmarble(foran tors from theGreek mainland.Hismainarguments Magna Graeciaiseitherimportedorcreated bysculp- the long-standingthesisthatmarblesculpture foundin italien (Munich 1963), the German scholar solidified In hisDieKunstderWestgriechen imSizilienundUnter­ tion thattheyattempttochallenge. considerably from thetraditionalmodelsofinterpreta- from themotherland.Inthissense,theydonotdeviate or dissimilarityofwesternworkswithGreek sculpture analysis that relies heavily on the degree of similarity Most contributorsfollowthefamiliarpathofstylistic connoisseurship, is that ofregional schools ofsculpture. overarching narrative, established by time-honored originality ofstyleasopposedtoprovincialism. The riphery insculpture production, usuallyexpressed as Classical periods;and(2)theissueofcentervs.pe- surviving marbleworksfrom the Archaic andEarly inter­ its buildingphases. better understandingoftheroofing ofthetempleand of acroteria made from Parian marble, thatallow for a Current beliefholdsthatsculpture workshopsgradu- Among these,Langlotz’sworkfigures prominently. The entire volumeisbuiltontwokey, closely related, themes:(1)thequestionofauthorship “Determinazione dellaprovenienza dei SicArch 17 [1984] 53–62 [not cited in - well asstudentsofclassicalartandarchaeology. ested in recently excavated orlittle-knownmaterialas a mainlyacademicaudience:sculpture specialistsinter previous knowledge on the subject, this book addresses for more comparative,interregional studies. Assuming of Greek sculpture andarchitecture andpaves theway significantly indisplayingtheMediterraneancontext a surveyofcurrent research inthefield,itcontributes rial oftenpresented inhard-to-find publicationsand and artisticmotifs.Bothausefulcollectionofmate- workshops inthedisseminationoftechnicalknowledge highlighting theimportanceofitinerantartistsand any wayunderminethevalueofthispublicationin aforementioned weaknesses oromissionscannotin workshops ontheisland. fostered thedevelopment ofhighlyskillfulsculpture marble necessitatedbymajorcommissionsoflocalelites 15th century C.E., when massive importation of Carrara cal parallels. As a case study, he uses Sicily during the production ofGreek marblesculpture withlaterhistori- approach thatcombinesthe analysisofthemethods of connoisseurship,Marconi proposes analternative debate amongsupporters(oldandnew)critics mostly Germanic, prejudice. Not participating in the oscillating betweenItaliannationalprideandforeign, sculpture inSouthItaly and Sicily, whichhasbeen Marconi reviews thehistoryofscholarshiponmarble volume (“Orgoglio epregiudizio: PrideandPrejudice”), unwarranted (20). notion ofanindividualstyleineverypolisGreece is N.J. 1977]64).Similarly, Dimartinocautionsthatthe ward inTheArchaic StyleinGreek Sculpture [Princeton, had argued for an international style from ca.550 on- could potentially provide some answers. (B.S. Ridgway of formsevidentalready bythelatesixth-centurykorai, international style in Greek sculpture, a koine language as sooftenhappensinthisvolume,adiscussionofthe separate Ionian, Attic, Samian,andotherstylistictraits, the mainlandbutalsoamongthemselves. an individualstyle,distinctivenotonlyinrelation to spite theirsimilarpoliticalstructures, failedtodevelop hard thennottowonderwhythewesterncity-states,de- of styleisconnectedwiththeexistencepolis.It as awholeisconsidered multicentric,andoriginality and Peloponnesianstyles. At thesametime,Greek art acterized ashighlyeclectic,anamalgamofIonic, Attic, kiki.karoglou@metmuseumorg new york, the metropolitan museumof department of greek There are onlyafewtypographicalerrors, andany In theconcludingandveryaptlytitledessayof I believethatinsteadofrelentlessly tryingtoidentify The sculpture ofMagnaGraeciaisfrequently char 10028 new york and roman art art K yria k i K aroglou - -