HESPERIA JJ (2OO8) PAGAN STATUETTES Pages 89-161 IN LATE ANTIQUE CORINTH

Sculpture from the Panayia Domus

abstract

Excavations in 1999 at the Panayia Domus at Corinth uncovered nine statu ettes representing Artemis (twice), Asklepios (twice), Roma, Dionysos, Hera a kles, Europa/Sosandra, and Pan, the contents of probable domestic shrine in a small, plain room. The statuettes range in date from the late 1st to the or a.d. are mid-3rd early 4th century Four late products of Attic sarcophagus a workshops. The figure of Roma is unique domestic example of this divin ity and may refer to a local monument and to the status of the owner. Other are statuettes typical of domestic assemblages in Late Roman Greece.

INTRODUCTION

An extraordinary group of statuettes strewn over the floor of a Late Ro man at was domus Corinth discovered in 1999 during excavations by the American School of Classical Studies (Figs. 1, 2).1 Most of the nine statuettes are even on well preserved, with paint and gilding remaining

1.1 wish first to assisted me in thank Guy Sanders, Ioulia Tzonou-Herbst research. Jane Heinrichs ably drew director of the American School of more recent visits and two my unstintingly reconstructions of the highly Classical Studies excavations at Cor answered numerous statuettes follow-up ques fragmented of Artemis. for me the to tions. Architect Herbst inth, offering opportunity James prepared Several institutions have supported this and as the excellent in this this I study unique fascinating plans article. research, and gratefully acknowl It is a to work with I have had semblage. pleasure insightful discussions edge them. A University of Manitoba the Corinth Excavations who with Al staff, many people, especially Susan Research Grant made possible my have assisted me at turn. Former Amelia initial of every cock, Nancy Bookidis, Brown, reconnaissance the pieces. The assistant director and Niels Hanne Solow a registrar Nancy Rory Egan, Jane Francis, Foundation supported lengthy Bookidis introduced me to Corinth Steven stad, Craig Hardiman, Hijmans, period of study in 2003. Funding from and its I am indebted to her Troels Carol Law the Research statuary. Myrup Kristensen, Canada Chairs Program meticulous for measurements Sarah recording ton, Lepinski, Alex Nagel, (through the Research Chair in Roman and details in the descriptions and Ana Panic, Guy Sanders, Theodosia Archaeology) has provided invaluable conditions of the statuettes. Former aid Stefanidou-Tiveriou, Mary Sturgeon, throughout. conservator Stella Bouzaki cleaned the and Orestes Zervos. The anonymous This article is dedicated to my encrustation of centuries off these stat referees valuable from Hesperia provided grandmother Margaret Stirling, uettes with advice. so astonishing care, preserving Students Jane Heinrichs, Jody whom I have learned much about the curator paint and gilding. Current Gordon, and Megan MacKay aided in collections and heirlooms.

? The American School of Classical Studies at Athens 1. of statuettes found in the Corinth. Photo Corinth Excavations Figure Assemblage Panayia Domus, courtesy PAGAN STATUETTES IN LATE ANTIQUE CORINTH 91

Figure 2. Plan of Corinth showing contents a several. Apparently the of domestic shrine, they depict Artemis the of the location Panayia Domus (4, 7), (3, 9), Roma (6), (8), Herakles (5), a southeast of the Roman forum. Asklepios Dionysos heavily woman to be identified as and a head of Pan J. Herbst draped probably Europa (1), (2). The well-preserved, stratified finds from the Panayia Domus provide a to use remarkable opportunity investigate the of sculpture in the Late Antique home and the manufacture of sculpture in Greece in the later Roman period. It is important to examine these statuettes in many scales of context, room were from the inwhich they found to regional and empire-wide pat terns. In the following pages, I first evaluate the archaeological setting, considering the phasing, decor, and other features of the well-appointed are Panayia Domus. There several elements to investigate for the statuettes more specifically: their stratigraphie circumstances, the evidence that their 92 LEA M. STIRLING

to context provides for their final placement prior destruction, and pos sibilities for display and usage of the statuary within the Panayia Domus. The statuettes were found tumbled on the floor of a small but central room room within this domus; aspects of this particular location suggest that the housed a domestic shrine at the time of their destruction. reasons I next investigate possible for choosing these particular di a vinities for display in household setting and identify unusual choices. Examination of other domestic collections in Late Roman Greece and, an a to extent, elsewhere in the empire, provides broader context for the choices made at the Panayia Domus. The Panayia assemblage accords with other Late Antique assemblages of the region in its interest in Asklepios and in recognizable cult statues, though it differs from Athenian group was ings in that Cybele is not represented. Artemis widely popular in Late across Antique houses the empire; the figure of Roma, however, is unusual or in domestic statuary of any period region. After considering the context of the statuettes within the domus, I turn to their civic context, relating their iconography to the cults, coins, a artwork, and architecture of Corinth as city.Most of the divinities from on the Panayia assemblage appear the coinage of Corinth, often in the same poses. Though they represent major deities in the Greek pantheon, most they do not especially resonate with the cults visible in the built on environment of Corinth, in the forum and Acrocorinth. Although a there is no evidence for cult of Roma in Corinth, the Panayia Roma a on (6) resembles figure the pediment of Temple E in the forum. In the on 4th century A.D., ideal sculpture may have remained display in certain to types of buildings, and it is clear that portraits continued be dedicated. an on There are hints, however, of increasingly polarized outlook religious

practices concerning statuary. Several of the statuettes display stylistic characteristics matching the late products of Attic sculptural workshops, including the Varvakeion Athena and certain sarcophagi. However, closer evaluation of the cri 2. In references to anatomy, "left" teria used to date this oeuvre shows that there is to left and conventionally very and "right" refer the proper little datable evidence to work with. The usual for statue. of independently dating right of each In discussions these terms refer to the the cessation of the sarcophagus workshops in the later 3rd century is composition, on are to viewer's left and right. When found, principally based historical arguments that difficult substanti the statues were covered with a we can statuettes hard, ate archaeologically.Thus, date the later of the Panayia encrustation, subsequently to the mid-3rd at the and to gritty century earliest, quite removed conservator Stella Bouza assemblage possibly by the 4th The destruction fill over the a terminus a century. statuary provides kis. She preserved square patch of statuettes. this accretion on most of the ante quern of the 360s for all the original statuettes. A final technical feature to evaluate is the evidence for paint and gild 3. In on several of the statuettes. The vivid red on the the following catalogue, ing surviving pigment are for the statuettes statuettes served as adhesive for which of the weights provided paint, showing parts figures are The that essentially complete. were accented in color. Five of the statuettes retain traces of in the Roma were gilding and the seated Asklepios and borders of the on a A com hair, eyes, drapery. weighed bathroom scale. mercial scale accurate to three decimal Before turning to these broader issues of archaeological setting, icono in the points (max. 30 kg) was used toweigh graphie and civic context, domestic collecting late antiquity, and the four smaller statuettes statuettes (Herakles, latest Attic sculptural production, I present the individual found Dionysos, the standing see Details in Europa, in the Domus (for below, 26, 27).2 issues of Panayia findspots, Figs. Asklepios). In considering as well as color versions of some of the in the can it is to know color, figures catalogue, trade and mobility, useful of more mobile be seen on pages 151-154.3 the weights pieces. PAGAN STATUETTES IN LATE ANTIQUE CORINTH 93

CATALOGUE OF STATUARY

1 Draped, veiled woman Fig. 3 known as Type Europa, Sosandra, and, originally, Aspasia S-1999-004. Room A9, just north of large pit, west of east pis? wall, face down (body). Early-13th-century dumped fill over northwest quadrant of domus (head). H. 0.345, H. of figure 0.314, H. of plinth 0.035-0.044, W. of plinth 0.083, L. of plinth 0.121, H. of head 0.046, H. of face 0.030 m;Wt. 4.06 kg. Three joining fragments. Statuette is essentially complete, missing the left hand and some The conservator has left a of accretion chips. squared patch by the right knee. Bibliography: Sanders 2005, p. 424. Fine/medium-grained white marble. woman wears a over a out A veiled heavy mantle chiton and holds her left arm. She looks slightly to the left. Her face is oval, with large, heavy-lidded eyes and closed lips.The hair is parted in the center and pulled back, framing the face in three broad waves rendered by shallowly incised lines. A high bun shows at the back of the under the mantle. The woman stands with her on her head, weight left foot. The right leg is relaxed, with the foot turned out. The right arm is bent in to the breast, with the hand up near the shoulder, under the cloak. The left arm and down. The mantle over her then reaches forward long passes right shoulder, is thrown back in thick folds over the left shoulder. The tension of the cloth against her shoulders and her covered right hand forms a V-shaped fold. On the lower body, two long folds running downward from the left shoulder are one from the the other especially prominent, running vertically shoulder, forming a the knee. The mantle covers the left arm crisp diagonal against protruding right to the then falls from the arm in a row of vertical the wrist, folds. Framing face, the mantle falls the ears and chin to loosely below just above the collarbone. It is cut away from the neck. At the back of the statuette, the overthrown ends of the mantle are rendered a over clearly, and thick, raised V-fold falls the upper back. Under the mantle is a floor-length chiton with narrow, shallow folds depicted with chisel lines. woman wears toes straight, sharp The thick-soled sandals, and her just protrude past the hem of the chiton. There is no drilling between the toes. The is corners. base roughly rectangular, with rounded The top surface is smooth, perhaps lightly polished. All four sides show faint vertical point marks. 4. For a broad discussion of the The front of the base is more vertical and somewhat better smoothed than the see other sides. type and its date, Ridgway 1970, pp. 65-67. Guerrini (1974) lists known Reconstruction: The left hand is outstretched as if the figure were presenting an replicas. object. 5. 1900. or a.d. Amelung 1st early 2nd century 6. E.g., Richter 1954, pp. 25-26, no. 30, 29 (LIMCIV, 1988, p. 76, statuette a pi. This depicts highly recognizable statue type known inmore no. s.v. I la, pi. 32, Europe [M. Rob than 30 examples from Roman times. While the facial features and dress ertson]); Robertson 1957 (LIMC IV, imitate art of the Severe and a date around B.c. no. s.v. clearly style, 470-460 has 1988, p. 89, 218, pi. 47, Europe been for the I [M. Robertson]); Guerrini 1974. proposed creation of the original, the identity ofthat original 7. most Orlan has much more elusive.4 The identification of Argued forcefully by proven original this figure dini (1950) andTomovic (1989-1990); as now finds Aspasia5 little adherence, and scholars have since proposed see LIMC II, 1984, pp. 23-24, s.v. was to a Europa,6 who carried off Crete by Zeus in the form of bull, and the Aphrodite 148 (F.Zayadine). Ancient of Calamis.7 As discussed below, the statuette testimonia are Paus. 1.23.2; Lucian, Aphrodite/Sosandra Panayia one Other is of four statuettes of this found at Corinth. Imagines 5. suggestions include type Demeter or Kore (LIMC II, 1984, The reserved drilling and light polishing of this piece accord with s.v. 1st to a p. 24, Aphrodite [A. Delivorrias]). techniques of the century A.D., and compare closely statuette of 94 LEA M. STIRLING

Figure 3. Statuette of Europa (1), four views. Photos courtesy Corinth Excavations PAGAN STATUETTES IN LATE ANTIQUE CORINTH 95

at com Aphrodite from the sanctuary of Apollo Maleatas Epidauros.8The plete absence of tiny drill indents to accentuate any of the facial features is an also notable. A statuette of a youth at altar in the National Archaeologi calMuseum inAthens has similarly sweet features and soft hair rendered a on exclusively with chisel.9 Soft, rather indistinct facial features appear a head of Serapis from Isthmia.10 Abrasion notwithstanding, the Europa not seem to same as head does have the high polish the Serapis, which is dated to the mid-2nd century, in part through comparison to the theater frieze at Corinth.

A distinctive characteristic of the Panayia Europa is the incised verti cal lines that depict the crinkles of the chiton below the thick himation. This feature need not exclude a date in the 1st century, as we see from a statuette of Pan found in Sparta and dated to the 1st century A.D.11 The are locks of Pan's beard separated with deep channels, and thinner strands are wears a of hair rendered with incised lines. The Pan heavy mantle and are muffles his right hand inside it. Some of the deeper folds of the mantle arm. shown with straight channels like those falling from the Europas left over Other folds the chest of the Sparta Pan appear crisper than those of a m the Europa, but this difference may be function of scale (at 0.90 tall, the Pan is about three times larger). As with the Europa, the facial features over are and tufts of hair the face rendered exclusively with the chisel. Both over statuettes display light rasping the surface. The style of the Europa is admittedly unlike that of the neoclassical reliefs of the 1st century, but one must consider scale and again intent.

2 Head of Pan Fig. 4

S-1999-014. Room A9, in destruction debris over floor of room. Max. H. of W. at 0.060 m. p.H. 0.144, head 0.112, temples Chip off tip of nose. Some chips and abrasions, discolored gray surface, on blackening left side of face and head. A rectangular patch of accretion left in over the left ear. place Bibliography: Sanders 2005, p. 424. white marble. Fine-grained This piece comprises the head and neck of amale figure with pointed ears. to a to The head is turned sharply proper right, causing left neck muscle pro trude. The face is broad and square-jawed with high cheekbones. The large eyes have heavy upper lids and thinner lower ones. The tear ducts are drilled. A thick runs nose horizontal ridge above the eyes. The has wide nostrils. The Pan smiles faintly with parted lips. Thick tousled curls run in three broad bands around his head. The curls over the crown of the head are flatter than the ones around the a face. Above the forehead is prominent pair of tall knobs. A pair of downswept over the center of the forehead. The ears are and and are locks parts long pointy worked only with a chisel.

8. from Corinth a 11. National Athens, National Archaeological gnon provides parallel Athens, Archaeolog within a Museum EAM 1811: Karanastassis for crisp eyes sfumato face and icalMuseum 252: Kaltsas 2002, p. 263, no. chiseled waves from no. 550. Another of 1986, p. 221, AI4, pl. 50:1,2; blurrily emanating example scratchy, no. a max. a.d. Katakis 2002, pp. 51-53, 51, central chiseled part (S-1370, linear chisel usage in the 1st century can seen on an statuette pis. 60, 61. p.H. 0.055 m). be Aphrodite no. at 9. Inv. 3631: Kaltsas 2002, p. 316, 10. Isthmia VI, pp. 10-14, 4, Epidauros: Katakis 2002, pp. 60-61, no. a no. 658. A small head wearing chi pl. 4:c, d. 58, pl. 73:a-d. 96 LEA M. STIRLING

4. Head of Pan front At the back of the neck is a surface with marks on it. This Figure (2): rough point rough and side. Photos Corinth runs right courtesy up into the lower of the hair. The widens after the base of the patch part piece Excavations then into a shallow cut to neck, tapers wedge. The slopes down from back front and from to left. The bottom surface of the cut is scored with the proper right point. Reconstruction: An indentation around row running the edge of the first of curls evokes a added in another medium. The of stone at fillet, perhaps wedge the back and the was rough surface below the neck indicate that the head meant to be inserted into a or are more common separate body perhaps bust. Detachable heads on than but exist.12 No other portraiture mythological statuary, parallels body parts potentially belonging to this figure have been found in the domus. Roman, possibly 2nd century.

its ears With pointed and the protrusions atop the head, this figure clearly represents Pan. The youthful and beardless face of the Panayia Pan more differs from the conventional renderings of this popular divinity, who as is usually shown bearded and more bestial in his facial features. Even so, some or Roman renderings of Pan did have "fairly human satyric faces."13 at a A head of Pan in the Villa Borghese Rome provides parallel for the stubby horns and the combing of the hair between them.14 The broad nostrils an to ened and wide eyes lend element of bestiality the visage of the Panayia piece. The modeled face, carefully outlined, wide eyes, and chiseled tufts of on a hair the Corinth Pan find comparison in small-scale head of a bearded

12. A head at a a of Serapis found Cor detachable head found in bath at lenistic head in the Piraeus Museum, inth was meant to see (S-2387) evidently Uthina (Oudna, Tunisia), Landes inv. 3855: LIMC VIII, 1997, p. 926, be set into a it is and Ben Hassen no. s.v. draped body, though 2001, pp. 132-133, 39, pl. 615, Pan (J. Boardman). that the statue was acrolithic: no. 2. 14. possible Rome, Villa Borghese 693: Milleker a 13. LIMC s.v. no. 1985, pp. 128,130. For VIII, 1997, p. 925, Marquardt 1995, pp. 159-160, 35, a.d. statue of with Pan a 3rd-century Priapus (J. Boardman); for instance, Hel pl. 18:3. PAGAN STATUETTES IN LATE CORINTH ANTIQUE 97

satyr in the Thessaloniki Museum.15 This head has drilling in the tear ducts to and between the lips, similar the Corinth head. It is dated to the early 2nd century through comparison of the locks of hair with portraits. While or an absence of drilling limited drilling is often considered indicator of a to out date prior the rule of Hadrian, Mary Sturgeon has pointed the use lesser of the drill in Corinthian sculpture overall.16 Some heads from the theater reliefs show flat, rather impressionistic chiseling of hair akin to that of the Pan and fiat eyes with minimal drilling for accentuation.17 These are to A.D. dated the 120s by the dedicatory inscription of the theater.18 a On the Panayia head of Pan, thin engraved line separates the face and on hair; this is not found the figures of the frieze. an a A portrait head of athlete from Isthmia, with light engraved line separating the face and hair, and wide eyes with eyelids set off by shallow a on grooves, provides further comparison.19 The chiseled, tufty hair the more a athlete is somewhat defined than that of the Pan. Sturgeon proposes on Hadrianic date for the Isthmian victor based its hair. The thick eyelids of the Panayia Pan resemble those of three portraits with Hadrianic hairstyles near monument found the of Philopappos in Athens.20

3 Asklepios enthroned Figs. 5-7, 36 3a Asklepios enthroned Figs. 5, 6, 36 S-1999-008. Room west of trench for east A9, robbing wall, southwest of Roma head a short distance in of (6) away, facing east, layer fresco and mudbrick, embedded in tile layer. of H. 0.423, H. figure 0.348, H. of base 0.075, L. of base 0.245, W. of base 0.224, H. of head and beard 0.060 m;Wt. 23 kg. The statuette is reconstructed from numerous but is com fragments largely plete. Asklepios is missing the tip of the nose, left elbow, and right hand. Also are from the left the head missing chips leg, and upper portions of the snake, and on parts of the latticework the throne. 15. Thessaloniki, on a Archaeological Asklepios sits high-backed throne with a large snake at the right side. Museum 6759: Stefanidou Despinis, He gazes forward and slightly to the right. His face is narrow, with prominent Tiveriou, and Vbutiras 2003, pp. 52-53, cheekbones and and a crease in his brow (see below, 36, no. a sec eyebrows, upper Fig. detail). 191, figs. 519-522. There is His and are outlined with incision. The irises are red. eyes upper eyelids painted ond, less well preserved satyr head The lower of the left eye remain as delicate strokes in red The with similar traits: Thessaloniki, Ar eyelashes paint. long, are a slender eyebrows indicated with shallow incised line and red There chaeological Museum 10430: Despinis, paint. is between the and at the tear ducts. hair is in the Stefanidou-Tiveriou, and Vbutiras drilling lips Asklepios's parted no. then combed the sides of the face in masses. He wears 2003, pp. 53-54, 192, figs. 523-526. center, along thickly curling a mustache a This piece is dated to the middle of the and thick curling beard. Some curls in the hair and beard have small 2nd century. drill dots in the center. A wide, undecorated fillet circles the head. The hair and 16. 1989, 115; Corinth beard are red. Traces of remain in the hair Sturgeon p. painted gilding and mustache. see IX.3, pp. 136-137; also is with Ridgway Asklepios bare-chested, polished surfaces and smooth transitions. n. 79. 1981, p. 442, He reaches forward and down with his muscular arm. arm right His left upper 17. head Gll-1: Corinth E.g., IX.2, extends to the side and forward. A mantle forward over 10. horizontally faintly hangs pp. 25-26, pi. left cross over Asklepios's shoulder, then passes behind him to his lap and legs. 18. Corinth IX.3, pp. 5,46-47. The end is tucked under his left then falls beside him in folds. The 19. Isthmia IV, p. 131, no. 56A, thigh, zigzag 61. mantle in thick horizontal folds across his Its have a band of red pi. gathers lap. edges 20. on which traces of leaf remain. He sits with left Athens, National Archaeological many gold right leg forward, leg on a Museum 3085, 3086, 3087: Rhomio back, both feet placed flat stool. Asklepios wears ankle-high latticed sandals no. Kaltsas that the first three toes. A thin band runs the center. poulou 1997, p. 69, 67; expose up The lacing of the no. 744. left 2002, p. 352, foot is rendered in red. Drill dots separate the toes. 98 LEA M. STIRLING

^*mm**^m??

Figure 5. Statuette of Asklepios to enthroned (3a): front and side. The back of the cushioned throne rises shoulder height. Each leg is deco right Photos courtesy Corinth Excavations rated with a double crowned a all outlined with A palmette by volute, red paint. horizontal slat runs between the front back on and legs either side of the throne. A with seat rectangular pillar beveled moldings top and bottom supports the of the chair. A snake rises in four the large loops against proper right side of the chair. The surface of the snake is finished with the rasp, then painted red. The rests his feet on a footrest with god broad, rectangular low, spreading feet, possibly animal claws. a The molding of the statuette's base consists of rounded channel at the center flanked two narrower channels with a a at by triangular profile. There is fascia the and bottom. The on top molding appears the front and sides and iswell smoothed, some traces though rasp remain. The features of the back of the throne are mod eled in low relief, but the back of the base is not modeled at all. The back of the statuette is fully smoothed.

c 3b, Left forearm and hand Fig. 7 S-1999-022 (forearm, 3b), joined to S-2000-003 (hand, 3c). Room A9 (fore and the trench north of the court arm) robbing octagonal fountain (hand; found with the left upper arm of the largerArtemis [7h]). Max. L. 0.092, W. 0.018 (wrist)-0.027 m (below elbow). PAGAN STATUETTES IN LATE ANTIQUE CORINTH 99

Figure 6. Statuette of Asklepios enthroned (3a): left side and back. Photos courtesy Corinth Excavations

7. from enthroned Figure Fragments Asklepios: left forearm (3b) and hand (3c). Scale 1:1. Photos courtesy Corinth Excavations IOO LEA M. STIRLING

Arm is broken below elbow. Thumb, index finger, surface of third finger are on surface toward missing. Burning elbow. The wrist bends slightly inward and the fingers curve around a central drilled are arm hole. The rectangular, blunt fingernails outlined with the chisel. The left is slightly thicker than the right arm.

3a-c: Fine-grained white marble. Bibliography: Sanders 2005, p. 424. Reconstruction: reaches to the side and forward with his Asklepios left arm, holding his staff.The staff must have been added in another medium. The right hand probably reached down to feed the snake. Second half of the 2nd century.

to Statuary of Asklepios enthroned is usually linked the renowned gold statue at and ivory cult in the sanctuary Epidauros, made byThrasymedes of Paros and later described by Pausanias (2.27.2). A coin issued by Epi dauros in the second half of the 4th century B.c. is thought to represent a as the statue, and few sculpted versions survive well, all with variations in pose and drapery.21 Like the coin from Epidauros, the Panayia statuette a out shows Asklepios holding staff in his left arm, and reaching with his a are right hand toward coiled snake, though there small differences in the drapery and positioning of the feet. Nevertheless, the Panayia statuette must have evoked the famous Epidauros statue. on The careful detailing of features the throne of the Panayia statuette was a may suggest that the artist thinking of particular Classical prototype. a The design of the throne and its palmette decoration closely echo throne b.c. type popular in art of the 5th and 4th centuries The decorated legs a a a of 4th-century throne from chamber tomb in Eretria provide good parallel for the design of the legs of the throne of the Panayia Askle on to pios.22 The carved elaboration the Eretria throne is similar the de on signs painted in red the statuette. A Hellenistic relief from Epidauros a are to shows Asklepios in throne whose profile and back quite similar the Corinth statuette.23 on arm The gleaming, hard polish the and drapery of this statuette to on sets it in the Roman period, and brings mind the high polish statuary a of Antinous and Polydeukion.24 High polish is often considered feature of Antonine times and later, though several scholars have noted that the introduction and popularity of high polish varied by region.25 This finish on some Severan and as well as works also appears 3rd-century portraits, of the 4th century.26 on on Similarly, incised eyebrows appear figures sarcophagi in the later so 2nd century, although the incision is slight in the Panayia Asklepios that

21. The coin isLIMC II, 1984, Museum 1425a: Kaltsas 2002, p. 178, further examples); Sturgeon 1989, no. s.v. no. 354. At a Hellenistic 114-115. p. 874, 84, pl. 641, Asklepios D?los, Cybele pp. (B. Holtzmann); other enthroned stat sits on a similar throne: Marcad? 1969, 26. A highly polished male portrait ues statuettes no. and (found in Pergamon, p. 113, A 4144, pl. LUI. in theThessaloniki Archaeological of to Italy, and North Africa): LIMC II, 24. For examples these portraits Museum, inv. 2462, is dated the nos. at see Isthmia Stefanidou 1984, pp. 871-872, 44-51, pis. 636, Isthmia, IV, pp. 132-135, mid-3rd century: Despinis, s.v. no. 62-65 Isthmia and Voutiras 205 637, Asklepios (B. Holtzmann). 57, pis. (Antinous); Tiveriou, 2003, pp. nos. 1-3 no. 946. For 22. Richter 1966, p. 27, fig. 116; for VI, pp. 5-10, 1,2, pis. 207, 300, fig. 4th-century in see 23-28. see Gazda the type general, pp. (Polydeukion). works, 1981, p. 160; Stirling 25. Karanastassis 409 108. 23. Athens, National Archaeological 1987, p. (with 2005, p. PAGAN STATUETTES IN LATE ANTIQUE CORINTH IOI

to itmay fall quite early in this development. The drill is used create depth on in the drapery folds between Asklepios's knees and in the drapery his some as left side. In places, such the folds falling outside the left knee, and as below the left arm, this rendering is quite plastic. In others, such the three deepest folds between the knees, the roll of drapery around the waist, and the Vs over the left shoulder, the drill creates a blockier, more linear effect. a A statuette of Serapis found in Gortyn provides good comparison. The are to folds between the knees particularly similar those of the Asklepios, as is the attention to detail in the footwear.27 This piece is considered Anto on nine, possibly Late Antonine, the basis of drilling and simplified style. more This coexistence of plastically rendered drapery with abstract passages finds general parallels in the later 2nd century.28 Shallow channels separate the locks of hair, whose clusters take on a rounded shape.29 Small drill indents and fine incision lines provide the detail in the hair. In the nodular beard and reserved drilling for accentuation, some a the Panayia Asklepios shares inminiature features of life-size head to of Asklepios from Gortyn, dated the Antonine era.30 Similar tufts and on on a nodules appear the bearded figure sarcophagus of the Calydonian boar hunt dated around the middle of the 2nd century.31 a The molded base of the statuette aligns with general trend, begin ning around the time of Hadrian, for creating ideal statuary in a single a a a block with molded plinth (as opposed to setting statuette into sepa on rately carved base).32 In Attica, this taste is demonstrated the series were of decorated table supports (trapezophora), which manufactured to from about the 140s about the 260s.33 None of the Attic trapezophora a provides close comparison for the molded base of the Panayia Asklepios. are more to The bases of the trapezophora rectilinear, with incision lines are more mark transitions within the profile. Most also carelessly made than the base of the Asklepios. However, the squared support under the more throne of the Asklepios, with its rectangular moldings and inci sion lines marking points of transition, better matches the aesthetic of even a the bases of the trapezophora and finds fairly close parallels in one trapezophoron of Herakles from Thessaloniki and of Ganymede from Athens.34

4 Smaller Artemis Figs. 8-12 Adaptation of the Artemis Rospigliosi type 4a Plinth and base with two feet, boar, and tree Fig. 8 S-1999-009. Room in debris A9, destruction covering floor of room, under the Roma (6).

con 27. Romeo and Portale 1998, accentuation in the hair than do pp. 150-174. See below for discussion no. 8:c. in Rome: Mille of dates for Attic pp. 112-115, 18, pi. temporary sculptures the later output. 28. For a torso of a 34. in the instance, youth ker 1985, p. 132. Herakles Thessaloniki 30. Romeo from Gortyn: Ghedini 1989, pp. 76-81, and Portale 1998, Archaeological Museum, inv. 846 no. no. 16. 4, fig. 7.Milleker (1985, p. 132) pp. 165-169, 41, pi. (second quarter of the 3rd century): of 31. National suggests that Greek sculptors the Athens, Archaeological Stefanidou-Tiveriou 1993b, p. 274, Antonine 1186: no. 60. in period used the running drill Museum Kaltsas 2002, p. 350, 115, pi. Ganymede found to to create a no. 740. He dates it to "open spaces" rather than by comparison Athens, 3rd Ephoreia, inv.M654 (mid other Attic pattern of light and dark. sarcophagi. 3rd century): Stefanidou-Tiveriou 29. in 32. Muthmann 120-128. no. 64. Antonine works Greece 1951, pp. 1993b, p. 277, 121, pi. generally display less use of the drill for 33. Stefanidou-Tiveriou 1993b, I02 LEA M. STIRLING

8. Smaller Max. H. of statue on Figure Artemis, plinth resting base 0.153, H. of base 0.056, L. of base 0.18, with two feet, boar, and tree (4a): W. of base 0.134, H. of plinth 0.032, L. of plinth 0.142, W. of plinth 0.080, L. of front and side. Scale 1:3. right foot 0.036 m. right Photos courtesy Corinth Excavations foot broken at ankle. toes remain Right Only of left foot. Tree trunk behind foot broken at of is right height knee. Boar missing muzzle, front knees, section of rear at and front of base. A right leg. Blackening top squared patch of accretion is on tree preserved the trunk. As the two a a tree on preserved, sculpture comprises feet, boar, and trunk their own set into a one plinth, separately carved base. On side of the base (viewer's left), a booted right foot is placed flat, pointing out to the viewer's left. The toes of the left foot are in a preserved, angled three-quarter view toward the viewer's The heel was raised and on a thin stone. tree right. partially supported wedge of A trunk behind the right leg is preserved to what would have been knee height on the and there is no of attachment to tree figure, sign the leg. The is painted red, front and and the front is A sits next to back, polished. boar the left foot, with one hoof placed against the toes of the left foot (the boar's right front hoof is not shown in the reconstruction boar is drawing, Fig. 12, below). The recognizable by the bristles along his spine and the shaggy fur (three rows) around his neck. Vis ible rasp marks add to the effect of coarse fur. The boar turns its head toward the central ears not figure, with its flattened back. The eye is drilled. The stomach is undercut and the slender are cut from the boar is forelegs away body. The painted red, front and back. The top of the plinth is painted red. The base into which the is set is oval in with a more plinth roughly shape, curved contour at the front. The are edges rounded, and the whole surface is left to a rusticated look. Red remains at rough produce coloring the front and back.

4b Billow of drapery and left arm Fig. 9 S-1999-017B. Room west of trench for east S-1999-017A, A9, robbing pis? wall.

Max. W. 0.172, L. of forearm 0.059, H. of central billow 0.065 m. Arm is broken below and above wrist. A central billow of armpit drapery is as are two side flares. About 10 largely preserved, joining fragments. Frequent chips at Some on surfaces. on edges. burning Squared patches of encrustation remain the flare at viewer's left.

This and the fragment preserves billowing drapery upper portion of the left arm. The arm reaches out to the side. A central billow of in a drapery passes flaring arc behind the now-missing figure. Four parallel curving ridges on the front of this arc indicate shallow folds of drapery. This area is polished. At the figure s left the PAGAN STATUETTES IN LATE ANTIQUE CORINTH 103

Figure 9. Smaller Artemis, billow of and left arm front and mande under the arm near the then flared in front drapery (4b): passed upper shoulder, upward back. Scale 1:3. Photos courtesy Corinth of the arm and out to the left in four deeply drilled folds. At the right the drapery Excavations was cinched in, then flared off the side in three deeply drilled folds. Rasping is visible on some folds. There is high polish on arm and side flares, and lighter polish on the arc is at central of drapery. The surface finished smoothly the back. There are traces of red on of adhesive and gilding the borders the flares.

4c Right arm Fig. 10 Room west of for east wall. S-1999-018. A9, robbing trench pis? L. 0.095, H. 0.042, W. at wrist 0.014 m. Two joining fragments, comprising full right arm and hand from just below where cut arm in shoulder, the edge is flat for attaching the separately. Breaks the surface dark are all results of the corrosion marble, cracks, and staining and of an iron dowel. from little of first swelling Missing chips upper arm, finger, tips two at ends of A of fingers. Burning fingers. squared patch encrustation has been left on the forearm.

The arm reaches out with the elbow bent at about 110?. The hand extends straight out, with the forefinger and middle finger pointing out straight. The fourth finger circles around to touch the tip of the thumb. A slight ridge running around the arm at the of the break shows the of a right upper position edge sleeve. The edge of the upper arm is cut flat and smoothed with a rasp for joining with a dowel. A 6 mm across remains in square dowel hole measuring this surface. The surface is a or remain on polished, though series of light rasp chisel marks the Figure 10. Smaller Artemis, right back of the upper arm. arm (4c). Scale 2:3. Photo courtesy Corinth Excavations 4d Fragment of drapery from skirt Fig. 11 S-1999-17D. RoomA9. Max. max. max. 0.018 m. p.H. 0.020, p.W. 0.032, p.D. The flare of is broken on one side. There is a broken strut. Small drapery root discolorations. This fragment shows the hem of a flare of drapery. The piece is finished at the and therefore a of front, back, bottom, and represents small flare drapery with two folds coming off the figure's left side (rather than drapery making up part of the torso or over the front is smooth. A narrow figure's running legs). The very black band runs the and must indicate where once decorated it. along hem paint The folds are and The back of the iswell some crisp angular. piece smoothed, with marks Traces of red show at the hem on the back. On the Figure 11. Smaller Artemis, fragment rasp showing. pigment outermost of the flare of is a small broken strut The of drapery from skirt (4d). Scale 2:3. edge drapery (5x6 mm). Photo Corinth Excavations bottom of the flare is with a thin drill the center. courtesy concave, groove forming I04 LEA M. STIRLING

12. Reconstruction Figure drawing of the smaller Artemis statuette (4). Drawing J. Heinrichs

4a-d: on Fine-grained white marble. Micaceous vein shows the bottom of the base of 4a. Bibliography: Sanders 2005, p. 424. Reconstruction Artemis runs to the viewer's (Fig. 12): left, drapery swirling. Her foot is on the at to right planted firmly ground, angled about 45? the viewer and further forward than the left foot. The toes of the left foot touch the ground; the heel is on a of stone as raised, partially supported wedge (not illustrated), the is to goddess about take another stride. arc A broad of drapery billows behind and above Artemis's head. The light on the front arc must polish surface of the central suggests that the head have been carved and attached to the statuette. On the separately figure's left side, the end of the runs under the arm and flares and out to the left in drapery upper up deep, folds. On the it flutters out in a crisp right side, scallop-shaped flare. The reaches out to the side with her arm. arm so goddess left Positioning this that it reaches out and a reconstruction that allows for a slightly downward, fairly even curve in the back arc of the of the on the drapery, cinching drapery other side PAGAN STATUETTES IN LATE ANTIQUE CORINTH 105

would beside Artemiss torso. It was attached to a appear upper probably high strap under her breasts. A in the of the flare above the cinch running dip edge drapery at left must the ing the viewer's accommodate placement of the outstretched right arm (4c). Given that the surfaces of the drapery that would lie behind the right arm are this arm was as a attachment from the finished, clearly planned separate beginning. The small flare of drapery (4d) must belong to the fluttering hem of the skirt at the figure's left side.When this piece is angled to hide the coarse bottom the strut and to the viewer's It attach to the left surface, angles up right. may arm, or a bow a bow was a The tree trunk strut possibly (unless separate attachment). at the Artemiss right leg did not continue behind the billowing drapery. or 2nd 3rd century.

With the fluttering drapery, striding legs, animal companion, and the movement to the left, this statuette reflects the "Rospigliosi" type and its museum adaptations.35 A relief of Artemis in the atMontemartini (ACEA) a in Rome provides good comparison for the feet and drapery of the smaller Corinth Artemis.36 An unusual aspect of the smaller Corinth Artemis is the arm. arms nearly straight angle of the right Possibly this figure held both a out in straighter positioning, displaying her attributes rather than using in a similar to a a.d. statuette of Diana found them, pose late-4th-century in the Gallic villa of Saint-Georges-de-Montagne.37 Several other examples at of the Artemis Rospigliosi appear Corinth, in varying scales.38 on arm The glassy polish the and drapery of this statuette accords with as practices of the 2nd and 3rd century, discussed above (3). The light rasp on some ing visible finished surfaces also accords with Roman practices. removes some The absence of the head and body of the most useful dating criteria. Although the folds of the flaring drapery appear crisper than those of the Roma (dated to the mid-3rd century at the earliest, see below), this a on apparent difference may be function of scale. The flares of drapery the smaller Artemis have rounded profiles and thin diagonal scoring lines texture to adding individual folds. Similar diagonal microfolds and angular on some bending appear Attic sarcophagi stylistically dated to the first as quarter of the 3rd century, such the Meleager sarcophagus at Eleusis one an (see Fig. 32, below), and inThessaloniki showing Amazonomachy (see below for discussion of later chronology for Attic workshops).39 statue were As discussed above, parts of this carved separately and at pieced together. Piecing appears inworks Corinth in many periods.40

35. LIMC no. Diana from the of no. s.v. Ka II, 1984, p. 646, 274, sanctuary Jupiter 325, pi. 472, Artemis [L. s.v. = pi. 468, Artemis (L. Kahil) LIMC Doliochenus on the Aventine: LIMC hil]); S-1628; and S-2408. A small no. s.v. Artemis/ no. II, 1984, p. 808, 35, II, 1984, p. 838, 338, pl. 621, scale version of the Artemis of Ver Diana Simon and G. s.v. was (E. Bauchhenss). Artemis/Diana (E. Simon and sailles type excavated in the Odeon: 36. Inv. in the Mu 2422, formerly G. Bauchhenss). S-1313. Sturgeon (2003, p. 363) ob seo Braccio Nuovo: Be 38. An over-life-size serves the run Conservatori, example, long popularity of the schi was a at 1959, p. 288, fig. 93; LIMC11,1984, S-23 92, built into Byzantine ning Artemis Corinth. no. s.v. Artemis/ wall over the central p. 819, 142, pi. 608, shops: Corinth 1.3, 39. Eleusis Museum 5243: Koch Diana (E. Simon and G. Bauchhenss). p. 70, pl. 27:1; LIMC 11,1984, p. 646, 1975, pp. 76,142-143, no. 170, 37. LIMC no. no. s.v. Artemis II, 1984, p. 850, 376, 277, pl. 469, (L. Kahil). pi. 136:a-c; Thessaloniki, Archaeologi s.v. Artemis/Diana Simon Three statuettes to one cal Museum 283: pi. 625, (E. ranging up Despinis, Stefanidou and G. were Bauchhenss); Stirling 2005, third life-size found in different Tiveriou, and Voutiras 1997, pp. 166 30-31. Another of this of the no. 336-340. pp. example parts forum: S-1594 (Ridgway 169, 134, figs. outstretched can be seen on a pose 1981, p. 446: LIMC II, 1984, p. 649, 40. Sturgeon 2003, pp. 358-359. io6 LEA M. STIRLING

5 Resting Herakles "Farnese"with Telephos and deer Fig. 13 S-1999-002. fill over northwest of Ro Early-13th-century dumped quadrant man domus removal of wall over (torso); mid-19th-century northwest quadrant of domus (support); room A9 inmudbrick debris along south edge of pit (shoulders); stone pit (base). PH. 0.308, W. at shoulders 0.103, L. of plinth 0.220, W. of plinth 0.15, H. of plinth 0.035-0.07 m; Wt. 5.76 kg. Seven Herakles is joining fragments. missing head, neck, right elbow, right left arm from the both lower is hand, elbow, legs. Telephos missing head, arms, upper body, though outline of chest remains. Upper body ismissing from the deer. Front portion of lion skin, drapery, and club have chipped away. Part of the front of the is Numerous and abrasions. Some surfaces plinth missing. chips blackened. Cracks at back of base. Bibliography: Sanders 2005, p. 424; Stirling 2005, p. 17; 2006, pp. 95-97, 4.6:a. fig. white marble. Fine-grained The statuette shows a Herakles to his left on heavily muscled, weary leaning his club and lion skin, with Telephos and the deer at his feet. The club is tucked under his left and rests on a His left arm armpit rocky outcrop. hangs down verti cally beside the club. Herakles holds his right arm behind his back, with the hand on his right buttock, palm out. The outline of the hand is visible on the buttock even though the hand is broken off. On the left pectoral is a squared pointing boss (7x7 mm) with a drilled center. Herakles leans to the left, throwing out his muscular right hip and resting his weight on his right leg.The right leg is placed farther back with the foot splayed out a little.The relaxed left leg is placed forward. x Above the left knee is another squared pointing boss (0.011 0.011 m).The drilled center on this boss is than that of the other boss. channels on the deeper Deep base outline the Herakles' and the deer. There is on feet, Telephos, heavy rasping the back and inner surfaces. covers and frames it at the with folds visible Drapery the top of the club sides, at over the club are out at the back the top and back. The folds of drapery roughed but not deeply cut. A deep drill channel outlines the club. The lion skin overlies the with the lion's head out to the side. drapery, facing next to his left are a naked and a In front of Herakles' club, foot, Telephos out toward the most of it is broken off. deer. The child's head faces viewer, though on Telephos leans back on the deer, his left leg extended the ground with the knee bent toward the right side, and his right leg flexed, in the "temple boy" pose. The deer rests on her in to the with her front hooves belly, profile viewer, facing away from Herakles and Telephos. a a convex The base has curving back and shallowly front. It slopes down to on the side and back. The from back front, with rough chiseling edges, surfaces, than the but it is also more back of the base appears rougher front, damaged by fire. There are numerous indications that the statuette was unfinished. Most notable are two bosses. The had the musculature of the chest the pointing sculptor shaped and shoulders using a chisel, the marks of which are clearly visible, and he had over begun roughly rasping parts of the legs. Rasp marks appear the entire body of Telephos and the deer. The top of the base is unevenly worked, with strokes a Near and the a narrower chisel has from broad chisel remaining. Telephos deer, more or less leveled the surface with parallel strokes. The most finished part of the base is a smoothed and rasped section between and behind Herakles' feet. A broad chisel furrow outlining the right foot shows thatwork was continuing in this PAGAN STATUETTES IN LATE CORINTH ANTIQUE IO7

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13. Statuette of Hera direction. The front face of the base is out with Figure resting roughed approximately horizontal kles with and deer (5): front strokes of a broad while marks remain on the sides Telephos chisel, point extremely irregular and back. Scale 1:3. Photos courtesy and back. covers statuette Heavy rasping the back of the and may have been the Corinth Excavations intended final surface here. at was Reconstruction: The broad break the neck suggests that Herakles on bearded, and the low line of the break his chest implies that he was looking downward. or Later 2nd 3rd century.

statue a This is version of the highly recognizable resting Herakles statue was ("Farnese") type. This type is attributed to Lysippos, and originally developed in the last quarter of the 4th century b.c.41 The most a famous exemplar is colossal statue found in the central hall of the Baths of now Caracalla in Rome and housed in the Archaeological Museum in 41. LIMC IV, 1988, 762-763, pp. The statuette the main characteristics s.v. Naples.42 Panayia displays diagnostic Herakles (O. Palagia). in the 42. Museo and pose of the the left shoulder Naples, Archeologico pond?ration legs, leaning heavily on Nazionale 6001:Moreno 1982; LIMC the club, the right hand placed at the small of the back, the apparent no. s.v. torso a IV, 1988, p. 764, 702, pi. 493, downward gaze, and the heavy musculature. The of second statuette Herakles For the (O. Palagia). Baths of of the Herakles Farnese survives at Corinth.43 The Herakles Farnese was Caracalla: Marvin 355-357. 1983, pp. in all media the Roman A second colossal statue stood as a enormously popular throughout period. The Herakles in the Domus differs from the to Panayia eponymous Hera pendant the Herakles Farnese. kles Farnese in in that the statuette does not to hold 43. S-157, from a nonstratified con Naples Panayia appear text: no. the the Corinth IX, p. 57, 79. apples of Hesperides behind his back. The size of the break for io8 LEA M. STIRLING

was Herakles' right hand implies that it open. The addition of Telephos and statuette a scene the deer transforms this into of Herakles' discovery of his son a a cameo being suckled by deer rather than of his weariness after his was final labor.44Moreover, while the grove of the Hesperides located in the west, the discovery of Telephos occurred inArcadia, and the child was later reunited with his mother inMysia.The myths of Pergamon connected Telephos's descendants to the founders of Rome (Plut. Rom. 2). Thus, for Greek viewers, this interpretation of the Herakles Farnese type could serve as a reminder of the Hellenic antecedents of the ruling power and the viril ity of the great Greek hero.45 Groups of the resting Herakles and Telephos appear in varying sizes inGreek art of the Roman period, for example, the at frieze of the Sebasteion Aphrodisias, trapezophora inThessaloniki and a a Belgrade, statuette in the Belgrade National Museum, and Severan coin from the city of Germe in Asia Minor.46 There is not, however, a strict regional division in the iconography of the weary Herakles.47 The apparently unfinished state of the statuette complicates the ques use to con tion of date. The of the drill outline the spots where the figures tact the base accords with practices of the 2nd and 3rd centuries inGreece, as seen on on some Attic sarcophagi and of the other Panayia statuettes.48 on a The emphatic drilled outlines the Panayia piece accord best with date in the later 2nd or 3rd century.

6 Roma Figs. 14,15,37 S-1999-007. Room A9, inmudbrick layer under fallen plaster. Lying on back, head to northwest.

Max. H. of H. of to base of crest H. p.H. 0.592, figure 0.542, head 0.095, of face 0.055, H. of plinth 0.050, L. of plinth 0.255, W. of plinth 0.213 m; Wt. 30 kg. is of numerous Figure essentially complete, composed joining pieces. Missing are the tips of the fingers on the right hand, and the right ear flap of the helmet. Numerous small cracks to fire. in from exposure Blackening and discoloration places from fire. on left wrist to iron. Large orange patch may reflect exposure Bibliography: Sanders 2005, pp. 424-425, fig. 16:4. micaceous veins. Fine-grained white marble with is on a and to Roma seated backless stool. She gazes upward somewhat her left. She wears a helmet with three a shallow and folded crests, visor, earflaps up. Roma has a heavy face and squared jaw,with almond-shaped eyes (Fig. 37, detail). Seen frontally, the face is asymmetrical, with the left eye more deeply cut than the right. Incised lines define each eye and upper eyelid. Red adhesive and flecks of

s.v. 44. An important thematic inspira 46. Aphrodisias: LIMC VII, 1994, Telephos (H. Heres and M. Strauss). tion for of Herakles with no. s.v. in at depictions p. 864, 29, pl. 597, Telephos Statuette Belgrade (found Vimi and the deer was a Heres and M. no. Telephos painting (H. Strauss). Trapezo niacum): Srejovic 1993, p. 257, 91; a in Thessaloniki: no. 32:2. by Lysippos's contemporary Apelles, phoron Thessaloniki, Tomovic 1993, p. 101, 120, pl. to masterpiece assumed be reflected Archaeological Museum 846: LIMC Coin fromGerme: LIMC VII, 1994, a from at no. s.v. no. s.v. in painting the basilica IV, 1988, p. 762, 677, pl. 491, p. 865, 31, pl. 597, Telephos Archeo Heres and M. Herculaneum: Naples, Museo Herakles (O. Palagia); LIMC VII, (H. Strauss). no. s.v. in logicoNazionale 9008: LIMC 11,1984, 1994, p. 864, 28a, Telephos 47. A Herakles Farnese Argos no. s.v. Heres and M. holds for instance: Moreno p. 608, 1, pl. 437, Arkadia (H. Strauss). Trapezo apples, in National 34. (E. Simon). phoron Belgrade: Belgrade, 1982, pp. 419,493, fig. 45. Removal of the apples also Museum 2069: LIMC IV, 1988, p. 762, 48. Stefanidou-Tiveriou 1993b, no. s.v. diminishes the three-dimensionality 671, pl. 490, Herakles (O. Pala p. 155. no. of the sculpture. gia); LIMC VII, 1994, p. 864, 28b, PAGAN STATUETTES IN LATE ANTIQUE CORINTH IOQ

gold define the iris.Deep drill dots (2.5-3.0 mm) mark the tear ducts. A shallowly as a incised line marks the bottom of the eyebrow, which is rendered long shallow curve in A of the nose is low relief. delicate line red is painted above eyebrow. The long and straight with squared edges along the sides. Drill dots render the nostrils and the below the nose. A narrow drilled channel the and depression separates lips, are locks of are from the sides the teeth faintly indicated. Wavy hair drawn away of the face, then fall on either shoulder in loose, wavy locks separated by light drill on channels. A "Venus-ring" is incised the neck. Roma raises her left arm to head height, with her fingers curled loosely around a oriented A strut with an incised row of Vs as vertically cavity. squared decoration connects the wrist to on the The arm left drapery left shoulder. right extends forward and downward, with the palm sloping downward and the fingers remain from a strut once attached the thumb held straight. Breaks minute that and index finger. A small, drilled hole in the center of the palm must have held an attribute. A strut decorated with Vs connects the hand to the squared right corner of the seat. covers the left shoulder and is under the with Roma's peplos belted breasts, the overfall falling into her lap.The right breast is bare and has a thick roll of drapery looping under it.A mantle thickly gathered over the left shoulder passes around the back to the lap, crossing it from right to left, then loops back to fall a A over crosses in swathe between the knees. strap passes the right shoulder and to a scabbard and her left Breaks the chest, attaching sword lying against thigh. that the was undercut where it from the to the scabbard. show strap passed body The peplos covers the left thigh and the right leg to mid-calf, while the left knee, rather swollen, is bare. Roma's left foot is pulled beneath the seat,while the right leg is planted vertically in front of the seat,with the toe protruding over the edge of the base. She wears shin-high boots whose trim is decorated with diagonal hatching and red coloration. Red adhesive outlines the edges of the mantle, the sleeve and neck of the and the trim on the boots. Where the surfaces are peplos, preserved, polished, with high polish on areas of exposed flesh. Drilling outlines some of the pieces the of the statue touching base (one foot of the seat, the support for the seat, the drapery falling between the knees). Roma sits on a cushioned backless seat with four like lion's legs shaped feet. The cushion and upper legs are indistinctly rendered. A thick squared strut underneath the stool. Its rusticated surface is decorated with a appears scallop pattern in red on the goddess's left side (Fig. 15, left). The base for the statuette is A of a narrow rectangular. molding consisting broad curved groove flanked by fasciae on the front and sides but the back is appears vertical and rather rough. The surface of the base is with smoothed faintly uneven, partially chisel marks remaining on it.The back of the figure is lesswell worked than the front, but red on adhesive appears at the back the borders of the mantle and on the hair on the shoulder. A drilled line demarcates Roma's boots and the feet of the stool along the base and separates the drapery of the torso from the drapery falling behind the left shoulder. Reconstruction: The drilled hole in the right hand shows that the hand once held an attribute. The sloped position of the hand is suitable for a patera (whereas a a globe is usually held in horizontal palm). The hollowed-out space inside the left hand also probably held a spear or staff. The statue base is smooth, with no notch or abrasion to show where a butt spear might have rested. Mid-3rd century or later (see discussion of chronology below).

The iconography of Roma draws largely from two sources: the war like Amazon, with short hunting attire and boots, and the stately Athena no LEA M. STIRLING

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Parthenos in her robes.49 Figure 14. Statuette of Roma (6): long By and large, Athena-like renderings of front and Scale 1:4. Roma in right side. predominated the coinage of the Greek East, though occasional Photos courtesy Corinth Excavations of or examples the "semiamazon," "draped Amazon Roma," group are known.50 With the short chiton, bare breast, and high boots, however, the Corinth to Roma belongs Amazonian iconography. The presence of the himation covering part of the shoulder, right knee, and lap identifies the statuette with the or semiamazon, draped Amazon Roma, group.51 Many aspects of the Panayia figure find good parallels in statues, re and coins of liefs, Neronian andTrajanic times. Similar composition and

49. Vermeule Mellor statue in Hadrian's of Venus the 1959; 1981; Temple standing Amazon type essentially LIMC and dedicated in a.d. VIII, 1997, pp. 1048-1049, Rome, 136-137, disappears from coinage after the s.v. Roma Gounari evoked the Parthenos and was time of (E. Balestrazzi); widely Hadrian. See also Fayer 1975, 2003. east as seen influential, and west, pp. 280-281. 50. Mellor coin Ver 175. Fayer 1975, pp. 280-281; through representations. 51.Loretil985,p. 1981, p. 963. The seated, robed cult meule (1959, pp. 35-36) argues that PAGAN STATUETTES IN LATE ANTIQUE CORINTH III

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15. Statuette of Roma (6): are on on Figure drapery found sesterces of Nero and later coinage of Hadrian and left side and back. Scale 1:4. Photos a Marcus Aurelius, heavily restored Trajanic relief from the Villa Torlonia courtesy Corinth Excavations Albani, and a statue in the Museo Pio Clementino.52 The latter statue is as identified Virtus by Cornelius Vermeule, who cites theparazonium (short sword) cradled in her arm as a distinctive feature of Virtus.53 Neither hand

relief of the dated to 52. Vermeule 1959, pp. 32-33, type Virtus have many Amazonian charac Haterii, Trajanic in common. shows an Amazonian III (coins). Relief from Rome, the Villa teristics The parazonium, times, figure in seated on armor and a Torlonia Albani 9: LIMC VIII, 1997, especially when held the crook of the carrying spear no. s.v. is charac and inside an arch p. 1053, 66, pi. 701, Roma arm, considered particularly parazonium (Kleiner was no (E. Balestrazzi). Statue in the Vatican, teristic of Virtus (LIMC VIII, 1997, 1992, p. 197, fig. 165). There Museo Pio Clementino: LIMC VIII, p. 281, s.v. Virtus [T Ganschow]), cult statue of Roma in Rome at the no. s.v. Roma it does in occasional this is best 1997, p. 1054, 72, pi. 702, though appear time; thus, depiction a at (E. Balestrazzi). labeled coins of Roma: LIMC VIII, identified with temple of Virtus see no. s.v. Roma the Porta dedicated 53. Vermeule 1959, pp. 96-97; 1997, p. 1054, 82, pl. 703, Capena, initially b.c. also LIMC VIII, 1997, pp. 279-281, (E. Balestrazzi) and p. 1056, no. 102, in 205 s.v. s.v. Virtus (T. Ganschow). Roma and pl. 706, Virtus (E. Balestrazzi). The 112 LEA M. STIRLING

of the Panayia Roma is posed appropriately for holding the parazonium (and certainly not in the crook of the arm), so the identification as Roma remains valid.

Ersilia Maria Loreti argues that the image of the semidraped Amazon was awestern creation that introduced Roman weapons and helmet to the armaments a Greek Amazon type, replacing Greek and Phrygian cap.54 were on a Amazon Romas sometimes shown seated pile of weaponry, but it was a.d. a or was only in the early 1st century that chair throne introduced a on for seated Roma in semiamazon garb. A temple pediment depicted the so-called Ara Pietatis of Claudian date shows a seated Roma in this as configuration; this temple is usually identified the Temple of Mars Ul a tor in the Forum of Augustus.55 The transformation of Romas seat from to a a to pile of weapons chair may have stemmed from desire emphasize peaceable aspects of Roman rule. The semiamazon Roma appears princi pally in the west. In the eastern Mediterranean, the only sculpted examples of the seated to semiamazon Roma appear in cities with unusual ties Rome: Aphro disias and Corinth.56 In the Zoilos frieze of the mid-lst century a.d. at to was Aphrodisias, Roma is depicted according this type.57 This city at to stress to pains its connection to Rome and Aphrodite's descendants in the form of the Augustan dynasty. Thus, sculptors at Aphrodisias may have chosen an seen on monuments of the consciously image prominent

capital. a At Corinth, seated semiamazon figure appeared prominently in the was pediment of Temple E in the forum (Fig. 16). This temple rebuilt in over a usu the Flavian period smaller temple of post-Augustan date. It is ally equated with the "Temple of Octavia" reported by Pausanias in the mid-2nd century, and Charles Williams has proposed that it housed the more a imperial cult broadly.58 The pediment displayed life-size marble statue of a woman in Amazonian dress and a himation seated on a rock armor. surrounded by The configuration of drapery resembles that of the a Panayia statuette, though with parazonium cradled in the crook of her right arm, this figure may be Virtus. The four other figures in the pedi a an ment include possible river god, Aphrodite, unidentified youth, and to or the Omphalos Apollo. These pedimental sculptures date the late 1st 2nd century and have not been closely investigated.59 s The choice of this iconography at Corinth must reflect the city west ern as a connections colony and the seat of Roman government for the was a province of Achaia.The pedimental sculpture from Temple E highly at a visible public monument, initially erected time when this iconography

54. Loreti 1985. 58.Williams 1987, p. 29. Loreti 55. E.g., 1985, p. 178; 59. Corinth 1.2, pp. 210-230. Wil Kleiner 1992, pp. 141-145, fig. 120. liams 1987, p. 31 (pre-Hadrianic); A of a seated Amazon 56. fragment Walbank 2003, p. 347 (LateHadrianic on the Actium monument or has un figure may Antonine). Mary Sturgeon to a Roma: Zachos belong 2003, dertaken the study of this pedimental pp. 83-84. group. 57. Loreti 1985, pp. 176-177. PAGAN STATUETTES IN LATE ANTIQUE CORINTH 113

woman Figure 16. Seated in Amazon dress (S-827) from pediment of Photo Temple E, Corinth. courtesy Corinth Excavations

was of Roma also being used in the capital (see above). The pose and cloth of the statue are to ing pedimental similar those of the Panayia statuette, armor a though the sword and pile of lend more warlike aspect to the as does larger sculpture, the parazonium. Stylistically, the Panayia statuette does not accord with any of the proposed dates for the pedimental statues of and it must Temple E, postdate them (see discussion of chronology below). Statues of Roma are attested elsewhere in Greece, for instance, at Olympia, D?los (Athena-like), and Thessaloniki (Amazonian).60 A round to and Roma was built on temple Augustus the Athenian Acropolis, but no there is epigraphic evidence to indicate the appearance of a cult statue or even was one. 60. Olympia: Mellor 1975, p. 106. whether there D?los statue:LIMC VIII, 1997, p. 1053, no. 59, s.v. Roma Balestraz 7 pi. 701, (E. Larger Artemis Figs. 17-19, 38 zi). Thessaloniki, Archaeological Adaptation of the Artemis Rospigliosi type Museum 1526: Despinis, Stefanidou 7a Head of Artemis 17, 38 Tiveriou, and Voudras 2003, pp. 73-75, Figs- no. S-1999-010. Room west of for east 212, pis. 588-591; Gounari 2003, A9, robbing trench pis? wall. no. p. 238, AII27, pi. 7:a; Grammenos Max. p.H. 0.121, H. of head 0.80, H. of face, chin to hairline 0.064, max. W. 51. of face W. of at max. 2003, pp. 259-261, fig. 0.088, face temples 0.050, D. of head 0.117 m. 114 LEA M. STIRLING PAGAN STATUETTES IN LATE ANTIQUE CORINTH 115

to Figure 17 (opposite). Head (7a) of Diagonal break toward bottom of neck slopes down from proper left the four views. larger Artemis, right. Photos Corinth Excavations courtesy This female head is turned to proper left and is slightly tilted. It has an oval face with a long straight nose and parted bow-shaped lips with drill dots at the corners. The teeth are indicated. The upper slightly slender, almond-shaped eyes are outlined with incision. Deeper incision lines demarcate the upper eyelids and at mm extend well past the eye. Pronounced drill dots appear the tear ducts (2-2.5 with smaller ones at the and below the nose. The irises are indicated deep), nostrils, with red adhesive; gold leaf remains on the left side. The eyebrows are incised as long lines filled with red.The hair is parted at center, and its flat chiseled waves are drawn into a two-lobed chignon in back and topknot at front. A line of drill ing outlines the topknot against the rest of the hair. The back of the chignon is only roughly finished. Hair trailed under the chignon onto the neck. Red adhesive survives over all the hair, with traces of gold leaf.An unpainted flat band encircling the head may indicate that theArtemis originally had a ribbon in another medium. Earlobes show under the hair but are not drilled. The modeled crease of a Venus ring on the neck is interrupted by the break.

7b Base with two feet and tree trunk Fig. 18 S-1999-013 (base with stump, right foot); S-1999-021 (left lower leg and foot). Room A9, west of robbing trench for east pis? wall (leg); in destruction debris over floor of room (base). Max. p.H. (base to top of left shin) 0.239, H. of base 0.083 (back),H. of base 0.067 (front),W. of base 0.27, D. of base 0.182, L. of right foot 0.092, p.L. of left W. at calf at ankle m. leg 0.16, 0.042, W. 0.022 Numerous joining pieces make up the base. The left leg is broken at the knee. The right foot is broken at the ankle and the tree trunk behind it is broken at mid-shin height. A section of the front of the base under the figures left foot is as are the left toes. and are at missing, Burning accretion apparent the front of base. Numerous at chips missing joins. This base has two feet and a tree trunk on it.The feet are placed at 90? to one another, the right foot further forward and placed flat, the left leg further with the heel raised on a is to back, tapering wedge. The heel undercut. Next the a right heel is tree trunk, which is painted red.The figure wears closed, shin-high boots with a roll at the Surfaces are well with at top. smoothed, polish remaining the front and outside of the leg. Light rasp shows under the polish. A sample of on original accretion has been preserved just below the knee the left. The base has a back rounded and relatively straight front. The top surface down from back to front and is with marks slopes smoothed, light rasp showing. Red lines in a large scallop pattern decorate the top surface of the base and lines continue over the corner to the front accretion surface, where and burning obscure the All sides of the base are in a treatment. appearance. left rough rusticated There is over red paint the back surface.

7c Left knee Fig. 18 S-1999-003. Early-19th-century general fill over northwest quadrant of the domus.

P.H. max. W. at W. m. 0.065, thigh 0.54, below knee 0.039 Broken just above and below the knee. Surfaces very abraded. This a are piece shows slim, flexed knee. Surfaces well smoothed. Abrasion once on has removed any polish it. Squared chips at either break could be tool marks from deliberate destruction. This piece fits well against the piece of left lower leg and foot (7b), although the abraded surface of the knee prevents an exact fit or a mend. li? LEA M. STIRLING

7c 5?*

7g 7h PAGAN STATUETTES IN LATE ANTIQUE CORINTH IVJ

e arm Figure 18 (opposite). Fragments 7d, Right and hand Fig. 18 from the Artemis base larger (7): S-99-19A (7d), S-99-19B (7e). Room A9, west of robbing trench for east with two feet and tree trunk (7b); wall. pis? arm (7d); left knee (7c); L. of forearm from inner crease W. of arm at wrist right right Max. p.L. 0.132, 0.093, hand left lower arm? left (7e); (7g); 0.022, thickness of arm at elbow 0.031-0.35, L. of strut 0.107, thickness of strut arm left hand flares upper (7h); (7f); 0.14 x 0.19; L. of hand 0.039, W. of hand 0.037 m. of (7i, Scales 1:3 (7b-7d, Arm is of three with breaks at the elbow and wrist. drapery 7j). composed fragments, 7g, 7h); 1:1 (7e, 7f, 7i, 7j). Photos courtesy on forearm. A small area of the encrustation has been Corinth Excavations Large chip sample original left at the elbow. The hand is burned and has small cracks all over the surface. The palm is darkened, and much of the little finger is eroded. Burning at the break of the hand has left the marble crumbling. arm from the and has a bend at the elbow. A The lower stretches away body strut curving extends from the lower part of the wrist, then breaks off. The hand a a hollow forms loose fist, with the fingers curled around rounded space (Diam. 6 mm), and the thumb tucked over the fingers. The fingernails are squared and remains on surfaces not eroded marks show blunt. High polish by burning. Rasp under the at the back. polish, especially

7f Left hand Fig. 18 S-1999-020. Room A9, west of robbing trench for east pis? wall. P.L. 0.038, W. 0.33 m. Broken off at wrist. Patches of on surface. blackening an on The fingers curl loosely around empty space with the thumb resting the forefinger. The space inside this hand (0.010 m at itswidest point) is larger than that of the right hand. The middle finger sits higher than the others. The are blunt. The surface is fingernails polished.

7g Left lower arm? Fig. 18 S-2000-001. Fill on of white floor south of east-west trench. top robbing Max. W. 0.027-0.041 m. p.L. 0.083, Piece of limb broken at both ends. Extensively weathered and chipped at both ends. Occasional brown accretions. This is like a cone. near fragment shaped truncated A flatter section the wider end of the the inner in piece designates elbow. Cuttings for dowels appear each mm end. At the wider end, the dowel hole is 6 wide and 22 mm deep. At thewrist, the hole is 5 mm wide and 21 mm deep. On the wider end, the surface has been cut with the surface The narrow too deliberately flat, roughly picked. end is chipped to a flattened The is over. recognize plane. surface well smoothed all Comment: This left forearm probably belongs with the larger Artemis, as it is the and the contains no approximately right scale, Panayia assemblage other statuette to which it could belong.

7h Left upper arm Fig. 18 S-2000-004. Robbing trench north of room A8 (octagonal fountain court); found with hand (3c) of seated Asklepios. Max. D. m. p.L. 0.051, 0.039-0.043, W. 0.035 a Small section of limb, broken at both ends. Brown accretions on break, some on surface. a This is small, tapering fragment of limb, approximately egg-shaped in cross-section. A triangular break ending just before the lower break remains from to arm. something attached the back of the The surfaces are highly polished, with some marks under the at the rasp showing polish front. ii8 LEA M. STIRLING

Comment: This fragment is grouped with the larger Artemis because the marble and scale are and it has marks under the compatible rasp showing polish can as be seen on the right arm (7d) and the left leg (7b). The triangular break at the back must relate to drapery behind the figure.

7i Flare of drapery, larger fragment Fig. 18 S-1999-017B. Room A9, west of robbing trench for east pis? wall. P.L. 0.043 m. 0.056, p.W. Two on surfaces. joining pieces. Burning flare is at one This of drapery gathered end, with three preserved folds radiat ing out from it.A strip of adhesive and gilding runs along the finished edge on the inner curve. This side is with marks smoothed, light rasp showing. Deeper rasp marks show on the concave two folds are side, where shallowly rendered.

7j Flare of drapery, smaller fragment Fig. 18 S-1999-017C. Room A9, west of robbing trench for east pis? wall. P.L. 0.029 m. 0.034, p.W. One finished edge is preserved. This small fragment of drapery has a finished edge with diagonal creases showing in it. Red adhesive and gilding show on the edge of the drapery. Light on rasp shows the back, which is smooth. 7i and have a surface treatment with the Comment: Fragments 7j consistent Artemis in that or larger rasp marks show through surface smoothing polishing. On convex the folds are not as or thin as those on the the polished, side, crisp drapery on are flare of the smaller Artemis (4), while the concave, rasped side the folds more deeply rendered than the smooth, puffy back of the drapery flare.

7a-j: Fine-grained white marble. A small piece of mica shows in the break on 7h. Bibliography: Sanders 2005, p. 424. Reconstruction (Fig. 19):Artemis runs toward the viewers leftwhile looking on back to the viewer's right. The right foot is planted firmly the ground, angled at about 45? to the viewer and further forward than the other foot. The left foot faces forward, also flexed, with the heel raised off the ground and supported on a small stone strut. She holds her bow and arrow out and down at the sides. The strut the arm would add a circular ac curving supporting outstretched right (7d) cent to the composition. A similar strut probably appeared on the left forearm if fragment 7g indeed belongs to this statuette. The right hand (7e) holds a narrow, round object in a fist. The left hand (7f) a a On the basis of the sizes of forms looser fist with larger cavity. different cavity inside the fists, I propose that the figure held a bow in the left hand and an arrow on in the right. Though reversed in the direction of movement, the Atalanta the some Meleager sarcophagus at Eleusis (see below, Fig. 32) gives impression of the the Artemis from the Domus.61 This statuette overall appearance of larger Panayia is reasonably well finished at the back and was evidently intended for viewing in the round: there is gilding on the back of the hair, the backs of the preserved leg and hands are finished and polished, and the backs of the base and tree have red adhesive. Mid-3rd century or later (see discussion of chronology below). 61. Eleusis Museum 5243: Koch was a This of the Artemis type, similar no. 136: figure rendering Rospigliosi 1975, pp. 76,142-143, 170, pl. to the smaller Artemis (4) in the Panayia assemblage. The position of the a-c. See also the discussion of chronol on arm below. curving strut the right suggests that the larger Corinth Artemis ogy PAGAN STATUETTES IN LATE ANTIQUE CORINTH II9

19. Reconstruction Figure drawing of the largerArtemis statuette (7). Drawing J. Heinrichs

may likewise have held both arms outstretched to the sides with bow and arrow. are Both hands held in fists with holes through them for attributes; it too a A.D. thus, probably resembled late-4th-century statuette of Diana in found the Gallic villa of Saint-Georges-de-Montagne. A Diana from the sanctuary of Jupiter Doliochenus on the Aventine has a similar con

figuration.62

8 Dionysos and panther Figs. 20-22; 39, left 8a Dionysos and panther Figs. 20, 21; 39, left S-1999-11 A. Room A9, lying face down. Broken but articulated. H. 0.345, H. of figure 0.315, H. of head 0.056, H. of face 0.041, H. of plinth 0.025-0.033, L. of plinth 0.187, W. of plinth 0.104 m; Wt. 4.08 kg (including hand fragment). Numerous statuette are joining fragments. Missing from the main (8a) the small slice of left arm from the most 62. LIMC II, 1984, p. 838, no. 338, following: elbow, right below shoulder, of s.v. Artemis/Diana Simon the left numerous at Muzzle of is also a pl. 621, (E. hand, chips joins. panther missing, large and G. out of the rear Several small Bauchhenss). chip quarters. pieces missing from base. Blackened I20 LEA M. STIRLING

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in of the are 20. Statuette of and places. Squared patches original archaeological accretion left in place Figure Dionysos on of the front and back. Scale 1:3. top head, chest, and right knee. panther (8a): Photos Corinth Excavations stands out wine from a kantharos to a at courtesy Dionysos languidly pouring panther his and his left forearm on a tree trunk. He looks to right resting the right. He has a face with the left more heart-shaped, asymmetrical puffy eyes, eye higher and deeply cut than the right (Fig. 21). Ridged arches mark his eyebrows and continue nose. down the bridge of his A very faint incision marks the eyebrow. Tiny drill dots tear corners runs across signal the ducts, nostrils, and of the mouth. A ribbon his forehead at the below waves of hair it. hairline, running horizontally above Above this he wears a wreath with four tall clusters above his face. Rendered with the hair is into a chisel, Dionysos's long pulled back chignon, from which wavy strands on on emerge, falling his back and shoulders. There is red coloration the hair. A channel from a running drill separates his hair from his neck. rests his left arm on a tree trunk at Dionysos loosely hip height. The break below the right shoulder shows that Dionysos held this arm down (8b). His chest is soft and with little muscular definition. A fawn skin smooth, (nebris) running over the and the middle section of right shoulder covering his chest is entirely rendered in red or adhesive for He rests on his left with (either paint paint). leg, the relaxed drawn further back. Breaks from struts on right leg squared appear the mid- and upper right thigh. The right heel is raised off the ground, supported on a solid of stone. wears a wedge Dionysos open-toed boots with rolled top decorated with lines. rendered lion's muzzles below these. diagonal Sketchily hang Drapery PAGAN STATUETTES IN LATE ANTIQUE CORINTH

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21. Statuette of Figure Dionysos and panther (8a): detail of face. Photo courtesy Corinth Excavations >w

covers the of the tree with a cluster of a top trunk, grapes midway up and trailer of below it. The and are ivy hanging drapery, trunk, ivy painted red, including the back. A drill channel runs tree deep between the god and the trunk, front and back. Dionysos's skin is lightly polished front and back, though light rasp marks beneath the appear polish. On the at the viewer's the rests plinth left, panther its haunches and left fore on the and raises its a stone. paw ground right forepaw, supported by solid block of The looks with an mouth. The rear of the is panther upward open panther flush with the back of the base and is little defined. The of the statuette has vertical sides plinth straight showing pronounced horizontal marks. The to rasp top surface slopes down from the back the front and is smoothed with chisel strokes. The is convex plinth roughly rectangular, with sides and front. The back of the base has coarse horizontal claw marks on it (Fig. 20, right). Above the plinth, the back of the statuette is finished fairly smoothly, though with marks of both chisel and rasp remaining.

8b Right hand with kantharos Fig. 22 S-1999-11B. Room A9, lying face down. Broken but articulated. Max. L. 0.095, L. of forearm 0.040, W. at wrist 0.016, H. of kantharos 0.045 m.

Four Arm is broken below the elbow. Some joining fragments. chips missing at breaks. inner rim of Thumb, kantharos missing. This hand holds a two-handled kantharos right angled downward, with the two one middle fingers through handle and the index and little fingers outstretched the surface of the The kantharos has a bulbous along cup. squat, body, tall neck, and struts on flaring rim, long handles. Squared breaks for appear the inside of the kantharos and the wrist.

b: 8a, Fine-grained white marble. Sanders 424. Figure 22. Hand with kantharos Bibliography: 2005, p. Reconstruction: Two broken struts on the wrist and the kantharos must have (8b). Scale 2:3. Photo courtesy Corinth Excavations attached to the two broken struts on the A at right thigh. rough break the bottom 122 LEA M. STIRLING

of the rim of the kantharos attached to a stream of wine into probably flowing the mouth of the panther. The triangular break at the top of the tree trunk could retain the outline of a cluster of grapes held inDionysos's left hand. Mid-3rd at the earliest discussion of century (see chronology below).

The a or basic schema of nude nearly nude Dionysos leaning languidly on a tree trunk reaching elbow height, sometimes with attributes such as a or was panther, kantharos, thyrsos, immensely popular in Roman times and appears inmany different configurations. Some types for these statues on or of Dionysos have been proposed, based pond?ration, pose, degree of curvature, and have even been attributed to the influence of different most Late Classical masters.63 Indeed, aspects of the Panayia Dionysos numerous have comparanda: the Praxitelean thrust of the hip, the tree trunk covered with ivy, and the panther drinking from the kantharos.64 as The particular combination of features, such Dionysos gazing away over his free leg and the positioning of his subsidiary figure next to the not free leg, does accord with any of these proposed original types, how ever. to Instead, the artist used typical aspects of Dionysos's iconography create a figure that is clearly Classically inspired without being linkable to one a to are particular prototype.65 On similar scale the Panayia Dionysos scenes a several trapezophora showing of Dionysos pouring out wine to or on a tree panther leaning trunk covered with grapes and ivy.66 Several at fragmentary trapezophora found Corinth show Dionysos.67 a common The nebris is less iconographie choice. A statuette of Dio a over nysos wearing nebris (both sculpted and painted) the opposite shoul was a statue der found in the theater.68 Another example is inRethymnon.69 use The of paint alone without any sculpted indicators for rendering the on nebris the Panayia statuette suggests that this attribute may have been more widespread than previously realized.

9 Asklepios and Telesphoros with snake Figs- 23-25; 39, right 9a Asklepios and Telesphoros Figs- 23,24; 39, right S-1999-012A. Room west of the east north of beside A9, pis? wall, large pit, the Dionysos (8a), west of the seated Asklepios (3a), lying face down. H. 0.207, H. of figure 0.189, H. of plinth 0.012, L. of plinth 0.103, W. of plinth 0.051, H. of head, including beard 0.034, H. of Telesphoros 0.071 m; Wt. 0.84 kg (including forearm fragment). Six joining fragments. Right elbow, parts of snake and staff, ribbons from crown are surfaces Two of missing. Some blackened (right hand, snake). squares accretion are left in on the lower back. place

63. See, e.g., Pochmarski 1974. For 66. Stefanidou-Tiveriou 1993b, 68. Inv. S-673: Corinth IX.3, see nos. no. further bibliography, LIMC III, pp. 232-236, 1,3, 6,10-14, pis. 1, pp. 153-154, 44, pl. 51:c. nos. 3-6. 69. 43: 1986, pp. 435-436,511, 119-124, Rethymnon Museum Poch s.v. Gas 67. Inv. pis. 305-308, Dionysos (C. S-762, S-1600, S-2470, marski 1974, pp. 101-103, pl. 24:c. Like S-1469. These are included the statue parri). S-71-32, Panayia Dionysos, this has 64. LIMC next to tree See, e.g., 111, 1986, in Stefanidou-Tiveriou's (1993b) study the weight leg the trunk, nos. s.v. of as no. not a conventional Poch p. 436, 119-124, pis. 305-308, trapezophora, respectively, 69, arrangement. no. marski as a Roman Dionysos (C. Gasparri). pp. 256-257, pl. 34; 39, p. 244, proposes Umbildung statues no. no. a with the 65. For configured similarly pl. 16; 11, pp. 235-236, pl. 5; 40, nebris-wearing type weight to see for see 157. See also next to the the Panayia example, Bartman p. 244; S-1469, p. leg strut, perhaps normally see n. a next to tree 2002; also 64, above. Ajootian 2000. with panther the trunk. PAGAN IN STATUETTES LATE ANTIQUE CORINTH 123

Figure 23. Statuette of Asklepios and Scale Telesphoros (9a), four views. 1:2. Photos courtesy Corinth Excavations 124 LEA M. STIRLING

Figure 24. Statuette of Asklepios and Telesphoros (9a): detail of face of Photo Corinth Asklepios. courtesy Excavations

a Asklepios stands with snake and staff at his right and Telesphoros at his left. His head and torso the an a upper angle toward right. He has oval face with furrow in the brow The pronounced (Fig. 24). shallow, slanting eyes have prominent eyelids outlined above and below by thin incision lines. Tiny drill dots appear in the tear and corners of the mouth. that ducts, nostrils, Arching ridges continue into the of the nose form the bridge eyebrows. Fine incised lines underscore the ridges. Parted in the middle, Asklepios's thick hair frames his face with clusters of at scalloped curls the front and wavier hair at the back. Over the hair is a thick fillet with incised diagonal lines.Two wide ribbons fall from it onto either shoulder. a a The figure has thick mustache and short beard that leaves the neck bare. The hair and beard have red with traces of pigment preserved gilding. The tufts of hair, beard, and mustache are all rendered with thin incision lines. Tucked under a Asklepios's right shoulder is slender, knotted staff, whose rests on base the ground by his right foot. The staff is cut fully away from the body and from the lower arm. chest is bare. Asklepios's upper An ankle-length mantle under his arm and over the left shoulder from back to passes right front, covering the arm with linear vertical folds that become completely V-shaped below the level of the elbow. The mantle crosses the chest below in a the pectorals thick, twisted roll. This roll over the left elbow to the back. passes Shallow V-shaped folds appear over run the belly and linear folds with little modeling in long diagonals from the left to on hip the right ankle. Red coloration remains the border of the mantle and there is a small trace of near the a gilding Telesphoros. There is small broken strut on Asklepios's right thigh. Asklepios stands with his weight on his left leg, the right leg relaxed, with the heel slightly raised. PAGAN STATUETTES IN LATE ANTIQUE CORINTH 125

stands on a low at tucked un Telesphoros frontally platform Asklepios's left, der the overfall of from left arm. He has a drapery Asklepios's wide, pear-shaped face with closed and a broad nose. wears a eyes Telesphoros hooded, ankle-length mantle that covers his in two Vs over his front. hands and falls sharp The base is rounded at the front and fairly straight at the back. It has plain vertical sides and is thicker at Asklepios's left side. The front is better finished than or The front surfaces of the the sides back, where heavy rasp marks appear. statuette are highly polished. At the back of the statuette, the folds of the mantle are less but on this is crisp polished. Overall, the workmanship piece strikingly linear and angular.

9b Right forearm with snake head and staff Fig. 25 S-1999-12B.RoomA9. Max. L. of arm and hand L. of hand 0.026 m. p.L. 0.070, 0.047, is snake's Four joining fragments. Arm broken below elbow. Break below head, breaks at and bottom of the section of staff. Blackened surface on top preserved hand and staff. The hand holds an egg between the thumb and extended index and it right are curled into the A strut on middle fingers. The remaining fingers palm. tiny their knuckles must have attached to the staff. The snake's nose reaches up to the 25. forearm with snake are as with slits back from Figure Right egg. The eyes rendered tiny chiseled circles extending head and staff Scale 1:1. Photo arm are well the (9b). them. The outside of the and the back of the snake polished; op courtesy Corinth Excavations are with thin chisel lines. A slim posite surfaces reasonably modeled but hatched strut runs from the neck of the snake to a section of the staff.

b: white marble. 9a, Fine-grained Bibliography: Sanders 2005, p. 424. with his arm to offer an Reconstruction: Asklepios reaches down right egg to strut from the snake twisted around his staff. A broken emerging Asklepios's must have to the right thigh attached staff. is a known as the Comment: Asklepios's pose version of the type Asklepios Giustini. This is a and for the of attested in widespread popular pose god healing, several other at Corinth.70 When and are shown examples Asklepios Telesphoros together, it is frequently the Giustini pose that is chosen for Asklepios. Marble of with are found in various in the representations Asklepios Telesphoros places 2nd and 3rd centuries.71 The feeds an to the snake entwined Panayia Asklepios egg around his staff.This version of theAsklepios Giustini emerged in the second half of the a.d. in the eastern 2nd century and is found particularly Mediterranean.72 or 3rd 4th century.73

are The most arresting stylistic features of this Panayia statuette the on schematic, linear cutting of the folds the figures' cloaks and the sharp as as to facial features, though these may relate to scale much chronology.74

73. As noted above the 70. E.g., S-828, S-1389, S-2486, (p. 92), con fill over S-74-4 (all found in redeposited destruction the statuary pro texts). vides a terminus ante quern of the 360s. s.v. a 71. LIMC VII, 1994, p. 876, 74. For instance, similarly sized statuette found in the Telesphoros (H. R?hfel). of Telesphoros 72. Sirano 1994, p. 218. On coins, Corinth theater also has sketchy, linear the egg appeared in the iconography of folds: Corinth IX.3, pp. 158-159, the of Antoni no. Asklepios during reign 49, pi. 52:g. nus Pius: Grimm 1989, p. 170. 126 LEA M. STIRLING

an The statuette resembles relief figures carved at the top of Athenian hon orific stele of the kosmetes Aurelius Dositheos, dated epigraphically to A.D. taut 212/13.75 The drapery lines between the right knee and left hip are to cut fairly perfunctory and appear into the figure. Although Aurelius a use Dositheos has straight hair, there is similar of tiny straight incised lines to create on texture. Another example of this technique the stele appears on one the fronds of the palm branch held by of the flanking figures. The on more overall appearance of the figures the stele is somewhat naturalisti cally modeled, but they do not have the high polish and careful finish of the Panayia Asklepios. more Despite her rounded, perfunctory contours, the Nike in the hand of the Varvakeion Athena displays similar linear drapery (see Fig. 29, below). on The Nike is headless, but the sphinx the helmet of the Athena (Fig. 29, some upper right) shares general facial details with the Asklepios, including on finely incised lines for locks of hair. The Gorgoneion the shield has in cised eyebrows. Comparison of the face of the sphinx and the body of the Nike with those of Athena conveys the contrast that scale can create in figures are on a that obviously contemporary. Figures Pelops sarcophagus in the National Archaeological Museum inAthens have shallow, linear cuttings for on con the folds their drapery.76 Citing the stiff drapery and awkward body struction, Theodosia Stefanidou-Tiveriou considers this one of the very latest a Attic pieces, with date around 250-260. Sharp facial features and crude, on on linear carvings for folds appear seated figures carved in relief two tauro one to to bolic reliefs, dated epigraphically 387, the other dating the reign of not Julian.77 These reliefs do have the gleaming polish of the Asklepios. The high polish, flat surfaces, and angular cutting, along with the to overall thinness of the statuette, bring mind ivory carvings of the Roman and Late Roman These a time period. comparanda, too, span long frame, one on seems and the angular drapery that finds frequently ivory plaques to or relate to scale, exigencies of the medium, and perhaps speed quality. a a Folds in V-shape under the chin of genius of Autumn dated to the 2nd or on 3rd century resemble those the Telesphoros.78 Slashing diagonal seem to on a a folds that cut into the figure appear plaque showing seated to Achilles, dated the 4th century.79 Carved bone plaques from Roman and centu Late Roman Egypt (spanning approximately the 3rd through 6th are more ries) provide comparanda for slashing folds that decorative than organic.80 Dating of these items is notoriously difficult and subjective. By on are and large, the facial features these pieces much vaguer and sketchier than the sharp features of the Asklepios.

75. Athens, National Archaeological 2001, pp. 339-340, pis. 27,28; Kaltsas no. Museum 1465: Kaltsas 2002, p. 335, 2002, pp. 368-369, 784. no. no. 709. 78. Randall 1985, pp. 68-69, 68. 76. NM 1176: Stefanidou-Tiveriou 79. Randall 1985, pp. 72-73, no. 87. statuette 80. 1993a, p. 133. An Asklepios See, e.g., Marangou 1976, from has linear Epidauros drapery pp. 90, 98-99,105,121-123,134-135, in Katakis nos. folds and is very thin profile: 16, 65,102,104,194,201,290, no. to 2002, pp. 15-16, 12, dating it the pis. 7:d, 21:b, 32:a, 33:a, 58:a, 59:a, are last third of the 3rd century. 63 :d.Most of these female figures whose is intended to be more 77. Athens, National Archaeological drapery than mantle. Museum 1746,1747: Kokkorou-Alevra fluttery that of Asklepios's PAGAN STATUETTES IN LATE CORINTH ANTIQUE 127

Wall, in situ Wall, robbed Restored

v^4jy*_?,s-H

26. Plan of the Figure Panayia ARCHAEOLOGICAL CONTEXT Domus.J. Herbst

Findspot and Condition

was a The Panayia Domus large, well-appointed dwelling located just at two southeast of the Roman forum (Figs. 2, 26). It had least peristyles an a or (Al, A10) and outdoor space with long decorative pool "Euripus" (in space A16; later robbing trenches and construction impede detailed of this The shows considerable with 81. For the mosaics, see Sweetman knowledge area). building affluence, mosaic floors in some rooms and marble in an and Sanders 2005. They conclude geometric (A2, A3) paving rooms (p. 365), "At best it could be said that other (A8).81 Two had fountains (A2, A8). Fragments of nonfigural the mosaics would fit in well with the are rooms. painted decoration preserved in several Frescoes of two Nikes, of the 3rd a.d." repertoire century the north door, in room A12, located north of 82. The Nike is illustrated in Sand perhaps flanking appeared A10. The west wall of room A5 a maenad. The walls ers peristyle depicted 2005, p. 423, fig. 16.3. The frescoes from are as of the domus were robbed in later times, the the villa under study part of extensively leaving painted a decoration in tumbled Bryn Mawr doctoral thesis by Sarah fragments.82 Lepinski. Preliminary analysis of ceramics sealed under the Euripus and other 83. Although the latest coin (inv. was contemporary plumbing of the domus indicates that the building sealed under the domus a 99-200) (in or constructed sometime in the Tetrarchic possibly Constantinian period.83 well) to Valerian I (a.d. 253 belongs Itwas in a sometime after a.d. 360 coins 260), the ceramics date to Tetrarchic destroyed conflagration (dated by in the destruction Burned debris the entire This or even Constantinian times (Sanders levels). overlay building. an 2005, pp. 420-426). fire may have resulted from unrecorded earthquake; the second half of 128 LEA M. STIRLING

-1-'-'.- * -'-*-1-*-, . Trench \tJ -Robbing \.;;;1 *? -, *?* Unexcavated ; *",".. ^^^????kim?^^ . o - /f \^i^\s#*****"*r.r"

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27. Room Figure A9, sculptural the 4th century seems to have been active.84 of the seismically Robbing as discovered. The base walls of the domus occurred in the 5th and 6th centuries and later. A rob assemblage of the smaller Artemis was found ber trench the east wall of the room where the statuettes despoiling pis? under the Roma. J. Herbst were found (room A9, adjacent to fountain court A8 and frescoed room A5) disturbed the floor and the statuary lying atop it. It must have been this disturbance that removed pieces of the Europa (1), Herakles (5), and were larger Artemis (7c) that found in 13th-century dumped debris and a not in 19th-century wall. The domus has been fully excavated. A Byzan tine bath sits over part of the structure and other parts run under modern construction. were over an The nine fragmented statuettes found strewn earthen room were com floor in A9 (Fig. 27).85 Most of the statuettes essentially a plete, if broken. They lay within layer of fallen wall plaster, fresco, and burned roof tiles.86 The painted stucco had bands of red and white, parts

84. Sanders 2004, pp. 170-172. In 126,128,145-146,158,165,169,171, a Corinth there is widespread pattern 183,197-199 (pottery basket 95). to 86. of damage and reconstruction build These fragments and the burned on not a cut ings in the later 4th century: Robinson debris lay the floor, in pit 2001, p. 125. into it. 85. Corinth notebook 918, pp. 123 PAGAN STATUETTES IN LATE ANTIQUE CORINTH 129

a on a a of floral frieze white ground, and fragmented red garland. This room as a at probably served domestic shrine the time of the buildings destruction (see below). Before further evaluation of the use of this room and its statuary, we must consider aspects of the condition of the statuettes themselves at the on time of discovery.87 First, the red adhesive and gilding preserved several a care of the statuettes indicate high level of right up to the time of their cases are deposition under burned layers. Second, in several there joins between burned and unburned fragments (Dionysos [8] and the standing statues were Asklepios [9]). From this it is evident that the already broken were statuette by the time they burned. The fact that the of Dionysos lay shattered but still articulated suggests that the fire occurred more or less same event immediately after the breakage of the statuary. Perhaps the or caused the statuettes to fall from shelving niches higher in the wall and as the fire to begin in the building. An earthquake, suggested above, is a certainly consistent with such scenario. are Third, most of the statuettes essentially complete: both statuettes of Asklepios (3,9), the Roma (6), and the Dionysos (8). Joining fragments recovered from later contexts completed two further statuettes, the Her trace akles (5) and the Europa (1). No of body parts suitable for the head of Pan (2) has appeared in any context, strengthening the likelihood that this head was used in a bust or herm at the time of the destruction of the domus. The two statuettes of Artemis (4, 7) stand apart from the rest of to are the assemblage with respect completeness. Only the extremities pre one served: bases, arms, legs, head. There is evidence of ancient piecework on both of these (see catalogue entries). Because of these ancient joins, the more two statuettes may have broken readily and their pieces may have a or scattered further in the impact of fall, allowing the torsos to fall roll into the path of the future robber pit.88 even Finally, though several of the statuettes have cuttings to add attri no were butes, separately formed attributes found, despite careful sieving.89 Thus, there is no bow or arrow for the two statuettes of Artemis (4, 7), no no spear for the Roma (6), staff for the seated Asklepios (3). The statuettes were a discovered in location where destruction evidently overtook them one to swiftly. In these circumstances, could expect metal attachments be some were were preserved in fashion. Possibly the attributes wooden and or destroyed in the fire, perhaps they had already been removed. The broken condition of the statuary as discovered could lead to specu lation about intentional breakage, perhaps by Christian fanatics.90 There is no evidence, however, for deliberate mutilation (for instance, on the faces or statues to genitalia). The appear have broken not long before the entire as an a building burned down; discussed above, earthquake is plausible explanation for the sequence of damage to the building overall.

87. For a view of the statuettes torsos were carved from stone, not wood. before conservation, see Sweetman and 89. Two oblong iron nail heads (7 x Sanders 2005, p. 369, fig. 8. 14 mm; 9 x 16 mm) with squared shafts 88. were The fact that marble fragments uncovered. were see of skirt drapery found for both 90. On Christian destruction, statuettes (4d, 7i, 7j) indicates that the Sauer 2003. i30 LEA M. STIRLING

The Domestic Context: A Possible Shrine?

In interpreting the use of the statuettes at the time of the villas destruction, we should consider both their condition and their findspot, although these seem to on factors point in different directions. The statuettes lay the floor a near of fairly central, if restricted space, located many of the important rooms. a peristyles and reception The earthen floor implies low status for room the and its activities, while the polychrome if rather undistinguished a rooms fresco suggests somewhat higher prestige for the activities. The statuettes themselves constitute valuable luxury goods that would normally be displayed in showy spaces accessible to visitors, spaces decorated with as other expensive items such mosaics, paintings, architectural decoration, and the like.91 Such spaces did exist elsewhere in the Panayia Domus, yet the owner to domus's final chose place the statuary in this less-than-glamorous room instead. Taken together, the centrality of the room, the faintly sacral air of its painted decoration (in the form of the garland), and the presence of the exquisite miniature statuary itself all combine to suggest that this room housed a domestic shrine.92 No architectural elements for a shrine or were mobile cult objects found in the debris of this room, however.93 The very small scale of all the statuettes, with the exception of the as a head of Pan, supports the interpretation of the group the contents of 91. Neudecker 1988; Ellis 1991; was no means use Gazda Wallace-Hadrill household shrine, though this by the exclusive for small 1991; 1994; Scott 1997; 2005. scale statuary. Statuettes in shrines, especially lararia (shrines to the lares Stirling 92. There are other and other household were more fashioned in bronze, as in possible expla gods), typically nations for the accumulation of the the case of a cluster of statuettes found on the floor of a house in together statuettes room. in this small Perhaps fallen from a niche in the wall.94 A cluster taste or owner Clermont-Ferrand, evidently the religion of the had statuettes from a in and the statuettes were re of bronze 4th-century pit Athens may have been the changed a one moved from the room contents of shrine.95 Thus, might expect to find bronzes alongside sight. Perhaps was a transitional location as the statu the marble statuettes at the Panayia Domus. Marble statuettes did appear ettes were on their to dis in household as in the case of an extensive way being shrines, sculptural arrangement or even carded hidden for protection. as a shrine to Isis in a Late house in Rome.96 interpreted private Antique 93. By contrast, statuettes, lamps, not a a The Panayia assemblage does include lar, divinity that would firmly rattles, and a miniature column were a found in a cultic room on East Theater identify lararium group. were Street (Williams 2005). Painted decor Domestic shrines often placed in highly visible locations. For in there included a lar. For discussion of stance, in Ostia, shrines in and "accentu appeared courtyards, porticoes, of see indicators worship, Bakker 1994, ated rooms."97 In the later at this site a.d. 250), shrines in buildings (post p. 15; Stirling 2005, pp. 22-25. accentuated rooms were in the center of awall. placed axially By contrast, 94. Provost and Mennessier-Jouan room A9 seems less accessible and the standard of the other decor does net 1994, pp. 193-197. The house dates to the 3rd or 4th and not match the caliber of the statuary itself. century was in a fire. see a.d. destroyed On lararia, At the time of the building's destruction sometime after the 360s, and Kaufmann-Heinemann the statuettes were in a small room that have served Sennequier Panayia gathered may 1998. as a domestic shrine. the in their date, scale all Nonetheless, variety (though 95. Daux 1968, pp. 741-748. are was a small), and degree of completion suggests that this grouping late 96. Ensoli and La Rocca 2000, statuette was 518-524. phenomenon. The Herakles (5) visibly unfinished (puntelli for pp. was 97. Bakker 1994, pp. 37-39,179 pointing remain) and yet found with other highly finished pieces. 181. For see at an other examples, Hales In the context of Roman social competition, it is probable that 2003, pp. 113-114,131. earlier time these statuettes were in other rooms high-quality displayed 98. On decor and status, see Gazda with a level of affluence more in with the of fine marble keeping display 1991;Wallace-Hadrill 1994; Stirling rooms or statuary (for instance, A2, A3, A5, A7, A12).98 It is particularly 2005. PAGAN STATUETTES IN LATE ANTIQUE CORINTH 131

same room as tempting to envisage the Roma (6) in the (A12) the painted Nikes, another image drawn from imperial iconography. Perhaps the patron a or of the house, seated in similarly magisterial fashion, received clients peers here. The combination of Roma and Nike would clearly advertise adherence to imperial ideology and imply the owner's participation in it or through military civilian office. The good condition of the surfaces of were the statuettes indicates that they always displayed indoors.

SOCIAL AND ICONOGRAPHIC CONTEXT

Most of the statuettes in this grouping depict typical subjects and configu rations found frequently in the domestic statuary of Roman Greece and, indeed, other provinces. The Dionysos (8) and Pan (2) could have reminded viewers of the pleasures of banqueting and freedom from care, and the two figures of Artemis (4,7) probably brought to mind the aristocratic pleasures are of hunting. Statues of Herakles often associated with the gymnasium was a and the ideals of the active life. Asklepios ubiquitous divinity in do are rare mestic statuary, though seated versions generally in sculpture in the as as on round. The gilding in the hair and beard well the high polish the chest of the Corinth statuette (3) undoubtedly called to mind the famous chryselephantine statue at Epidauros. contrast to to a In the other figures, it is unique find marble statuette a me. of Roma in domestic context; this is the only example known to As a discussed above, the Panayia Roma (6) finds strong visual parallel in the public statuary of the city, namely, the pedimental decoration of Temple E in the forum (Fig. 16)." Apparently, the patron of the Panayia Domus, in to a one choosing have personal statuette of the goddess Roma, wanted not an that would only provide allegorical symbol of the city of Rome and over a its rule Greece, but would also evoke major monument in the forum of Corinth.

Isolated examples of similar state divinities are known in domestic 99. S-827. See Corinth 22 contexts. statuette was IX, pp. A marble of the Tyche of Constantinople found no. 23, 11, where the figure is called a at above Late Antique villa Ptolema'is in Libya, but in unstratified fill.100 or Robinson 482 Enyo Nike; 1974, p. one a Statuettes of the Capitoline triad appear twice in houses, in peristyle (Roma); Loreti 1985, p. 179 (Roma). lararium in the Casa Amorini Dorati in the other from a 100. Brinkerhoff 1962, p. 188. degli Pompeii, home outside Rome.101 101. Seiler 1992, p. 137, figs. 296, wealthy 3rd-century 298; Sennequier and Kaufmann A few paintings found in domestic contexts may represent Roma. A Heinemann 1998, pp. 66, 74, 9. awoman a a fig. fresco of wearing purple Amazonian tunic and holding globe 102. Aurigemma 1962, pp. 107-108, on as the walls of the Casa delFAttore Tr?gico at Sabratha is interpreted 109;Mielsch 1981, p. 243 (Severan pi. Roma. The decor of this house in the Severan date); LIMC VIII, 1997, p. 1051, probably belongs period.102 no. s.v. At the of a enthroned female known as the 32, pi. 698, Roma (E. Bale Rome, painting regal, figure was a near strazzi). Dea Barberini found in Constantinian palace the Lateran.103 103. Santa Maria Scrinari a a one a 1991, This figure holds Victory with globe in hand and staff (possibly pp. 142-145, fig. 116; LIMC VIII, a spear) in the other. She has attributes of both Roma (helmet, shield no. s.v. 1997, p. 1058, 136, pi. 709, propped against the throne, and Venus (erotes, Roma (E. Balestrazzi); Ensoli and La winged Victory) slipping on the left shoulder). Other in this room showed Rocca2000,p.428,no.3. drapery paintings imperial one a lar.104Painted decoration in a niche of a 104. Santa Maria Scrinari 1991, figures, holding nymphaion 143-145. on an pp. the Caelian hill includes over-life-size Roma, evidently receiving gifts 132 LEA M. STIRLING

two one an from flanking individuals, of them probably emperor.105 This or painting is dated in the 4th 5th century and its configuration probably statue reflects the cult in the early-4th-century Maxentian temple of Venus not and Roma. It is clear what kind of building housed the nymphaion. One suggestion for this structure is that it was a cult chamber inside a a house.106 If so, it could provide grander parallel for the domestic shrine of scarce we the Panayia Domus. From these examples, see clearly that Roma an is unusual choice for the decor of Roman houses, but those examples are that do exist mainly from late antiquity. Given the small scale and relative portability of the Panayia statuettes, to it is also relevant compare other luxury goods decorated with images of Roma. The Esquiline treasure includes gilded silver statuettes of Roma and the city Tyches of Constantinople, Antioch, and Alexandria, dated to on the second half of the 4th century.107 Attachments these figures show were as on a or a that they used furniture fittings, perhaps chair litter for consul. A gold belt buckle found in the Seine River shows Roma enthroned, receiving the fruits of the earth. Fran?ois Baratte dates the buckle to the were late 4th or early 5th century and notes that decorated belts part of the insignia of certain offices, with gold examples reserved for very high posi a at tions.108 A bronze relief found in grave in Budapest shows Roma the center receiving gifts from four other cities, all labeled.109 This piece dates to the second half of the 4th century and was a decoration for a wooden chest. Some diptychs of the early 5th century include personifications of as Roma and Constantinople part of the setting for the depiction of the out to announce consul himself110 Consuls gave diptychs and celebrate the commencement of their office. The presence of the Roma at the Panayia Domus may indicate that the patron of the Panayia statuette had also held or high office, at the very least had aspirations to join the governing classes. Corinth was the seat of the proconsul of Achaia, and other important gov ernment officials must have resided there as well.111

Domestic Statuary in Late Antique Greece

to or Although the Panayia statuettes range in date from the 1st the 3rd 4th as a a centuries, they were assembled collection in house that remained in use through most of the 4th century and suffered destruction sometime after a.d. 360.112 A growing number of Late Antique assemblages of domestic are statuary are known from Greece. There several from Athens, dating to one the 4th century and later, and from Messene. In the following pages,

105. B?hl 1995, pp. 243-253; Ensoli 110. B?hl 1995, pp. 197-224. There the 2nd and 3rd centuries from houses nos. is of a.d. on and La Rocca 2000, pp. 430-432, also the Halberstadt diptych Kos (Albertocchi 1997; Sirano 9-11. 417: B?hl 1995, pp. 151-164, figs. 79, 2004), Ephesos (Aurenhammer 2003; 106. Ensoli and La Rocca 2000, 80. Rathmayr 2005), Dion (Pandermalis p. 432. 111. Corinth XVLI1.3, p. 458. 1991), and Eleutherna (Themelis 2003, see in 107. Shelton 1981, p. 54; also 112. The antique pieces the 4th pp. 73-75; Stampolidis 2004, pp. 58 collection decorated no. B?hl 1995, pp. 107-142. century probably 62,184, 82). Asklepios, Artemis, 84. to 108. Baratte 1979, p. other houses prior the Panayia Herakles, Aphrodite, and Dionysos recur 109. B?hl 1995, pp. 234-242, Domus. To imagine their earlier setting, in these collections. 114. we look to of fig. may statuary assemblages PAGAN STATUETTES IN LATE ANTIQUE CORINTH 133

to I emphasize comparanda within Greece for close examination, in order view ways inwhich the Corinth assemblage does and does not participate in a regional koine of taste, but I also evaluate the Panayia finds within international trends.113 are In Corinth itself, there two other potential examples of Late An was a tique domestic statuary. A smaller cluster of statuettes found in poorly a or constructed building, possibly house shop, just north of the Panayia Domus.114 A miniature marble version of the Aphrodite of Capua reflects on the cult statue of the armed Aphrodite Acrocorinth. Despite the fame on of this cult statue and its frequent appearance Corinthian coins, this statue statuette (discovered in 1947) is still the only sculpted version of this type found at Corinth. In the same room were two terracotta figurines: a man. an infant Dionysos and bearded, half-draped, mature Like the more an extensive and valuable Panayia assemblage, this collection reveals interest in versions of cult statues, Dionysos, and possibly Asklepios. This was same as building destroyed around the time the Panayia Domus. Still more nebulous as domestic statuary is another statuette of the Europa type over next to found (partially) in the destruction level theMosaic House the South Basilica.115 The latest coin in this fill dates to the reign of Theodosius. Thus, the statuette may have been part of the decoration of this house in its were two at Late Antique phase; if so, there 4th-century patrons Corinth statue. who chose to display this highly distinctive are or Certain houses inAthens roughly partially contemporary with the usage of the Panayia assemblage.116 In the 1880s when the National were crews Gardens and their internal structures being built, work revealed some were villas and other buildings, several of which reexposed and further explored by archaeologists in salvage excavations during the extension of the Athens Metro in the 1990s. One villa in the northeast corner of the was garden had private baths and decorated with wall painting, mosaic, was or and statuary.117 The building first constructed in the late 3rd early 4th century, then considerably renovated in the 5th or 6th century. An ap room a sidal contained Hygieia and two enthroned statuettes of Cybele.118 were There also reused votive reliefs of Cybele and Asklepios in the build was ing. Further statuary found in the baths of this villa. A statuette of was the Aphrodite of Aphrodisias, dating to the later 4th century A.D.,

in Late is the dates to the 5th and is thus 113. For statuary Antique (the intervening piece missing), century across see marble and villa. See villas the empire, Stirling scale match. later than the Panayia Melia 2005, pp. 165-227. 116. Other finds of statuary from des 1955;Agora XXIV, pp. 42-44; in are Karivieri Baumer 114. Broneer 1947, pp. 243-246, Late Antique houses Athens less 1994; 2001. for the because 117. The is pis. 64:28, 65:29, 30; Sanders 2005, helpful present study following description 424. For the statuette some of the was used as build on p. Aphrodite statuary based Spathari and Chatzioti 1989; see rather than in Karivieri (S-2548), also Sturgeon 2003, ing materials displayed 1994; Parlama and Stampoli the For a house near pp. 351-352. house. the Zap dis 2000. Although Parlama and Stam 115. see Parlama and as a Fragment S-1897, showing peion, Stampolidis polidis identify this building bath, was the upper torso, found above the 2000, pp. 135-137; Stirling 2005, the statuary assemblage accords better Remains of Late a a Erotes Mosaic. Another fragment of pp. 208-209. Antique with house than bath: Stirling 2005, statue were at the 208. this type, composed of joining houses excavated Acropolis p. metro station: pieces S-1904 and S-2446, shows the Parlama and Stampolidis 118.A photograph of the statuaryhas statue. 88-91. in the thus lower half of the Though they 2000, pp. 34-37, Building Chi appeared only popular press not on the south of the do physically joinwith S-1897 slope Acropolis far:Kiosse 1984, cited by Karivieri 1994. 134 LEA M. STIRLING

were a imported from Asia Minor.119 There also statuette of Asklepios and one a of priestess of Isis.120 on Two houses the north slope of the Areopagus had sculptural collec were tions.121These houses built around the mid-4th century and occupied were until the early 6th century, atwhich time both buildings renovated and was nearly all the statuary from them thrown down wells. The sculptures, were or all heirloom pieces, mostly life-size close to it. The majority of was were the statuary found in the wells of House C. There five portraits, one including of the emperor Antoninus Pius. There were also aHerakles, a head of Helios, and two reused Late Classical reliefs, one of Artemis, the other of Hermes and the infant Dionysos. A statue of Athena became a threshold block in the renovations of the early 6th century. In House B, a statuette of Hermes, a headless statuette of a seated man, and a head of were a Nemesis found cast down well. Several scholars have proposed that these houses belonged to philosophers, but the contents of the statuary are ones collections essentially in keeping with other contemporary in the eastern Mediterranean.122 a A collection of small-scale, reused statuary appeared in less lavish a house in Plaka, northeast of the Acropolis.123 It included wreathed female a a a an head, Harpocrates, bust of Isis, and steatite statuette of enthroned were goddess. There also three reused Classical reliefs: two of Cybele, and one of a horseman next to a horse. An interest inmystery cults is clear from a a this collection. Numerous terracotta statuettes, including bust of phi was losopher, were also found. The house probably destroyed inAlaric's sack in 396. With its unassuming contents and variety of media, this collection is reminiscent of the materials found with the statuette of the Aphrodite of Capua at Corinth. was a The famous Varvakeion Athena (Fig. 29, below) found in house a at the northern edge of the city, just inside the city wall, along with stat a uette of Asklepios and small female head.124 The Athena lay face down beneath a brick arch, which the excavators suggest may have been a deliber or ate protection for it, but which alternatively could have been the niche was naiskos where it displayed. No datable material ismentioned in the early to reports, but the house is usually considered be "Late Antique."125 Like one an the Panayia collection, this possesses both elaborate and detailed a an statuette modeled after cult statue and Asklepios. an Moving outside of Athens, urban domus atMessene demonstrates a rather different pattern of Late Antique decor, with much larger statues

of see the torso was 119. Fredrich 1897, pp. 361-362; philosophers, Agora XXIV, bibliography. Only statuette. Bergmann 1999, p. 53; Katakis 2007, pp. 37-48; Camp 1989; Karivieri 1994; preserved from the Asklepios 1-3. Athanassiadi 1999. For The statuette is described as bare pp. 389-397, figs. arguments 120. National this see Fowden with below and over Asklepios: Athens, against attribution, chested, drapery 1794: the shoulder and a staff under the left Archaeological Museum Katakis 1990; Sodini 1997, p. 464; Stirling 8-11. thus to the 2007, pp. 398-401, figs. Priestess 2005, pp. 204-206 (with comparison arm, broadly corresponding to Giustini seen in the Corinth of Isis, inv. 1793: Rhomiopoulou 1997, contemporary assemblages). type no. p. 117, 123; Katakis 2007, pp. 397 123. Alexandri 1970; also discussed standing Asklepios. 125. Schuchardt 398, figs. 4-7. by Karivieri 1994, p. 137. E.g., 1963, p. 32; 121. Agora XXIV, pp. 37-47; Camp 124. Lange (1880) is the most Agora XXIV, p. 88;Neudecker 1988, detailed of the Athena. 209. 1989; Karivieri 1994, p. 137. publication p. 117; Stirling 2005, p. in favor 122. For specific arguments Schuchhardt (1963) lists additional PAGAN STATUETTES IN LATE ANTIQUE CORINTH 135

a or and contemporary portrait.126 Built in the late 2nd early 3rd century, was sometime the and subsequently renovated, this house destroyed after 360s, a similar destruction date to that of the Panayia Domus. Statues of a Artemis, Hermes, and an emperor were found in the debris of large, room an long dining with opus sectile floor, and they evidently had been statues are all about three displayed in niches along the north wall. The an quarters life-size. The Artemis Laphria is earlier piece (possibly An are a in tonine), but the other two products of local workshop operating were statues. the early 4th century. Both recarved from earlier A beardless a must an a man wearing tunic represent emperor because he holds globe. Using stylistic and historical arguments, Georgios Deligiannakis proposes that the statue represents Constantine and falls sometime within the lat a rare a ter portion of his reign. This statue constitutes very example of at a contemporary imperial portrait (and full length that) in Late Antique domestic context.127 amore The head of Hermes has classical profile than does the emperor, but otherwise is carved in the same distinctive style, with nodular hair, deeply drilled pupils, and incised irises. Thus, itmust be contemporary. The a Messene house is very apt comparison for the Panayia Domus because an to some to early-4th-century patron clearly went effort procure fresh as as an statuary well antique to display prominently in the house. The lat at est material in the Panayia assemblage dates to the mid-3rd century the were earliest, and may well belong to the early 4th century. Other pieces or antiques heirlooms. The Panayia collection ismuch smaller in scale, and was by the time of its destruction displayed much less prominently than was the Messene collection. as cen Comparing the Panayia assemblage it existed by the later 4th we tury with other collections ofthat approximate date, observe the steady recurrence were of Asklepios and Hygieia. Indeed, these divinities popular were throughout the Greek East in late antiquity, and less prominent in a taste western collections.128 The Athenian collections display for reused votive reliefs and statuary of Cybele, but these do not appear in the Panayia a collection. Assemblages of the 4th century inGreece exhibit penchant for or enthroned divinities pieces otherwise evoking cult statues: the Asklepios (3) and Roma (6) in Corinth, the Aphrodite of Aphrodisias inAthens, the we enthroned Cybeles, and possibly the Varvakeion Athena (though do not know the date ofthat house).129 The hunting Artemis, seen inGreece also at a on was Messene and in relief panel atHouse C the Areopagus, popular in was Late Antique collections throughout the empire. Dionysos another uni versally popular figure in Late Antique homes. The third widely popular

account ture than tetrarchs: a 126. This of the building later the Stirling 97-113. A villa atMediana, suburb and its is drawn from Deli 220-221. The vast of statuary 2005, pp. majority of the city of Naissus inMoesia, has 2005. in Late villas common giannakis private portraits Antique several elements in with the 127. in Late An were likewise heirlooms. statu Imperial portraits Panayia assemblage, including domestic are more 128. Generalizations about collec ettes tique assemblages of Asklepios, Europa, Dionysos, of as tions in typically earlier emperors, such of statuary Late Antique villas and Herakles: Petrovic 1994; Vasic at in across are the Antoninus Pius House C the the empire drawn from Stir 2003-2004. A recent 165-227. On the 129. in en Agora (AgoraXXIV, p. 41). ling 2005, pp. chang Elsewhere the empire, of Late domestic as role of art in the Late statues survey Antique ing Antique throned figures and evident cult found no see Eisner not as semblages imperial portrai home, 1998, pp. 44-51, do figure prominently. 136 LEA M. STIRLING

not at divinity, Aphrodite, does appear the Panayia Domus. Many Late Antique collections throughout the empire included portraiture, although taste was this less evident in the Greek East. If the Panayia pieces indeed to a belonged domestic shrine, however, the absence of portraiture is less surprising. In many ways, then, the Panayia assemblage fits well with Late or Antique collections in Greece the Greek East.

The Corinthian Context

we seen As have in the catalogue discussions above, many of the Panayia statuettes reflect popular sculptural configurations of divinities: the Artemis Rospigliosi, the Herakles Farnese, the Asklepios Giustini, and the languid are Dionysos. More unusual choices the enthroned Asklepios, the Roma, the some beardless Pan, and the Europa. Examining of these statuettes within us their particular cultural context allows to suggest meanings they may have carried for their owners. We thus turn to the Corinthian numismatic, cultural, religious, and artistic environment of the Panayia statuettes. Most of the divinities found in the Panayia Domus also appear in same the numismatic imagery of Roman Corinth, often depicted in the configurations. Several coins of Corinth show Artemis running to the as a viewer's left, skirts aflutter, carrying attributes described bow and torch.130 Herakles appears twice in the Farnese pose. A mintmark of on a the weary Herakles posthumous tetradrachm of Alexander (330 as 280 b.c.) is important the oldest representation of this statue type in any medium.131 The statue on a coin of Caracalla.132 appears again Dionysos a wears a a appears with panther, but chiton and stands in rather different on a pose.133 The head of Roma appears only few Corinthian coins, all wears a crown a from the reign of Galba. She turreted like Tyche, but is clearly labeled Roma.134 Corinthian coinage does not include images of a Asklepios enthroned, though there is coin showing Asklepios Giustini not accompanied by Hygieia.135 The figure of Europa (1) does appear in or the coinage of Corinth any other city. The divinities in the Panayia assemblage do not especially reflect the most visible cults known from the Roman forum of Corinth (such as or en Apollo, Fortuna, Mercury, and Venus) elsewhere in the city and its as on two statu virons (such Aphrodite Acrocorinth, Demeter).136 The us a ettes of Asklepios (3,9), however, remind that sanctuary of Asklepios had existed at Corinth since Hellenistic times, and Pausanias reports seeing

130. Imhoof-Blumer and Gard 133. Imhoof-Blumer and Gard ner no. ner no. E: 1964, p. 18, 12, fig. DLXVI, 1964, pp. 19-20, 16, pi. LXVII. LXXXVII.

131. Hellenistic AR tetradrachm: 134. Corinth VI, p. 24, nos. 68-70. LIMC IV, 1988, p. 763, no. 687, 135. Imhoof-Blumer and Gardner s.v. Herakles no. F:CXVII. pi. 492, (O. Palagia). 1964, p. 25, 30, pi. 132. Imhoof-Blumer and Gardner 136. See Bookidis 2005 for a sur 1964, p. 23, no. 23, pi. F:CIII; LIMC vey of the cults of Corinth in the 1st no. s.v. IV, 1988, p. 763, 695, pi. 492, century. Herakles (O. Palagia). IN LATE PAGAN STATUETTES ANTIQUE CORINTH 137

marble statues of Asklepios and Hygieia there, though he does not describe them.137 A small temple at the north end of the forum may have housed or Artemis Bacchus, either of which accords with finds in the Panayia Domus. There is no evidence for a cult of Roma at Corinth, but Roma or as Virtus adorned the pediment of Temple E in the forum, discussed above (Fig. 16).138 There may have been two further depictions of Roma in the monumental decoration of Corinth. A broken Hadrianic statue a near base found built into Byzantine wall the Lechaion Road may have statue as seven supported another of Roma, depicted seated among the a a hills of Rome.139 More speculatively, sculpted fragment showing bare a over a female shoulder with loop of drapery it may have belonged to colossal statue of Roma.140 over As discussed in the catalogue entry, there is unresolved debate the identity of the heavily draped female figure (1) in the Panayia assemblage, or and scholars have favored Europa Aphrodite Sosandra for it.The Pan one ayia sculpture is of four statuettes of this type found in Corinth. Two were one over statuettes found in medieval layers in the forum area, the over Julian Basilica, the other in 4th-century fills the Mosaic House built next to the South Basilica.141 Another came from the theater.142 The four an Corinthian statuettes form unparalleled concentration of this statue one on type in city. Can this concentration shed light the vexed question is of her identity? Europa often equated with Hellotis (Ath. Epit. 15.22; s.v. a was Etym. Magn., Hellotia), goddess who worshipped at Corinth.143 Perhaps, then, these Corinthian figures represent Europa-Hellotis. A vo statuette at a tive Epidauros and life-size statue in the baths at Argos add to a concentration.144 Peloponnesian owner The mid-4th-century of the Panayia Domus at Corinth thus an curated and probably worshipped exquisite collection of small-scale statues. owner seen on gilded marble What other statuary might the have a regular basis? Baths, other buildings, and colonnaded streets of the high are to Roman period likely have still displayed their original collections of aswas case as statuary, the in other cities such Rome and Constantinople.145 seems to A display of sculpture have been planned if not fully executed in renovations of the Peirene fountain that probably took place in the second half of the 4th century, that is, around the time of the destruction of the Domus.146 Panayia owner Although the last of the Panayia Domus, like many others in eastern not the Mediterranean, does appear to have displayed portraiture

137. Corinth Paus. 2.4.5. 140. no. XIV; S-158: Corinth IX, p. 67, p. 93, 92, p. 154. The specific find 138. No evidence from Corinth is no. is not 116; Ridgway 1981, p. 443. spot known. Argos: Kritsas 1979, cited in either of two extensive studies 141. S-1051; S-1904/2446; S-1897: pp. 222-226, pi. 156:a,b. on cults of Roma in the eastern Medi Ridgway 1981, p. 442. 145.Marvin 1983, pp. 379-380 terranean: Mellor 1975; Fayer 1976. 142. S-3575: Corinth IX.3, pp. 151 (Rome); Guberti Bassett 1996; Eisner states no. Fayer (1976, p. 181) specifically 152, 42, pi. 51:a. 1998, pp. 189-190 (Constantinople). that the of a statue of Roma is 143. s.v. presence KIPauly V, pp. 326-327, See also Kraeling 1962, pp. 161-163 not evidence for a cult. On I enough Hellotis (F.Graf). thank Guy Sanders (Ptolemais); Lepelley 1994, p. 10 see Corinth, Williams 1987, pp. 30-31. for these references. (Cherchel); Dillon 1997 (Aphrodisias). 139. Robinson 1974. 144. Epidauros: Katakis 2002, 146. Robinson 2001, pp. 102-148. i38 LEA M. STIRLING

in or was his her house, contemporary portraiture certainly visible in two the city. About dozen Late Antique portraits survive from Corinth, a most greater number than in other cities.147 These portraits mostly postdate the destruction of the Panayia Domus in the 360s or later, but attest nonetheless Corinthians' continuing engagement with public statu or attest ary. Findspots inscriptions that 4th-century statues decorated the theater and stood in the city center.148 Certain portraits display sty man listic influence from Constantinople.149 One head shows the same as the well-known "subtle style" portrait in the Thessaloniki Museum, and Catherine de Grazia Vanderpool suggests that this late-4th-century individual, who was commemorated in both Achaia and Macedonia, may a have been prominent Roman general.150 Rather abstractly rendered statues were of magistrates wearing the chlamys made starting in the later 4th century.151 The imported portraits and styles mentioned above indicate continu ing artistic contact with other centers by the elite of 4th-century Corinth. not seem Nonetheless, Corinth does to have imported two other distinctive later 4th-century genres of statuary associated with Asia Minor. In the are no surviving record there late mythological statuettes of Asian origins no and fragments of Tischplatten, tables with figurai borders.152 a In speech to the emperor Julian, the orator Libanius (Oratio 14) as a on depicts Corinth city harshly divided religious lines, with pagan cult waning in influence and under attack by Christian partisans. In the owner polarized environment that Libanius describes, the of the Panayia a Domus may have felt uneasy about openly displaying domestic shrine. con A chilly climate toward pagan worship may account for the apparent tradictions in the decor of the shrine. Elsewhere at Corinth, some statues, as a were crosses an un such large Artemis Rospigliosi, inscribed with at a cross. a known date.153 Scholars dispute the meaning of adding Is it de a facement? Or form of baptism? A destruction of powers?154 Whatever exact an arena the intention, this kind of action clearly suggests of religious polarization. a Another hint of changing sculptural environment around the time of a the domus's destruction is table leg (trapezophoron) of the Good Shep now herd, in the Byzantine Museum inAthens (Fig. 28).155 This sculpture a a depicts stocky, childlike shepherd holding sheep behind his shoulders. The facial features, with the broad oval face, ridged arched eyebrows, and

147. 151. Brown One statue no. s.v. See de Grazia Vanderpool 2005. found 277, Artemis (L. Kahil). 2003, p. 379. in the theater (Corinth IX.3, pp. 163 154. Delivorrias 1991; Hjort 1993; no. must 148. Corinth IX.3, pp. 143-144, 165, 54, pi. 55:t, f) date before Hannestad 1999; Rothaus 2000, no. 33; 163-166, nos. 54,55. the theater's destruction in the late 4th pp. 105-125. On destruction of statu 149. the other come from more see 2003. See de Grazia Vanderpool century; examples ary generally, Sauer contexts. 2003, pp. 379-382. On the creation and unstratified 155. Athens, Byzantine Museum a court For statu diffusion of Constantinopolitan 152. late mythological BXM 2 (formerly BM 556, T92): Ste see see Gazda Hannestad fanidou-Tiveriou style, Kiilerich 1993; Bergmann ettes, 1981; 1994; 1987-1990, p. 249, 1999. Bergmann 1999; Stirling 2005. For n. 7; 1993b, pp. 21,25; Sklavou Mav 150. S-1977-13. See de Grazia decorated tables, see Dresken-Weiland roeidi 1999, p. 25, no. 12; Ensoli and Vanderpool 2003, pp. 379-380. On 1991. La Rocca 2000, p. 343, no. 634. see the subtle style, L'Orange 1973. 153. S-2392: LIMC11,1984, p. 646, PAGAN STATUETTES IN LATE ANTIQUE CORINTH 139

Figure 28. Trapezophoron of the Good Shepherd from Corinth. Athens, Byzantine Museum BXM 2. Photo Wagner, courtesy Deutsches Arch?ol ogisches Institut, Athens (neg. AV 882)

drilled details, including the iris, resemble the aesthetic of Theodosian court art and late mythological statuettes from Asia Minor.156 The face, are arms, and legs lightly polished. The round molded base differs from the seen on some squared style other trapezophora of the Good Shepherd and, some despite its cruder treatment, has general similarity to those of late mythological statuettes.157 However, the coarser marble (with medium-sized treatment s crystals), the chiseled of the shepherd hair and the sheep's fur, and the lack of undercutting and decorative drilling all distance this piece from court art and the other statuary (both portraits and ideal sculpture) associated with it.The facial features of the Corinth trapezophoron sug a or gest date in the last quarter of the 4th century, perhaps the early 5th century. No specific findspot for this piece within Corinth is recorded; it seems a or appropriate for liturgical, funerary, domestic setting. Perhaps came to local aristocrats favor Christian statuary like this piece, which is so a far unique find at the site.

156. For the on see instance, figures (Stirling 2005, pp. 35, 101); also theTheodosian obelisk (Kiilerich Gazda 1981. a 157. For the 1993, pp. 318-325, figs. 12-24), instance, Diana and statuette of Christ in Rome Venus of (Stirling Saint-Georges-de-Montagne: statuettes 2005, p. 100), and other Stirling 2005, pp. 31-34, figs. 4-7. 140 LEA M. STIRLING

CHRONOLOGICAL ISSUES AND COMPARANDA

out The Roma, larger Artemis, and Dionysos (6, 7, 8) stand within the a common Panayia assemblage for number of features: the heavy incision around the eyes, the drilled details in the face, the inorganic and somewhat use to disproportionate body, the doughy drapery, and the of the drill outline features. Broadly speaking, these features find their best parallels are in Attic sarcophagi, trapezophora, and statuettes that conventionally a dated around the mid-3rd century158 The Panayia trio forms cluster with as several classicizing statuettes such the Varvakeion Athena (Fig. 29); this as constellation finds parallels (not always close) among certain sarcophagi, a votive statuettes from Epidauros, and, to lesser extent, trapezophora. The in chronology of the later products of Attic workshops is largely grounded stylistic groupings and historical assumptions about the devastating impact of the Herulian invasion of a.d. 267. on There are, in fact, very few independently datable pieces which or to hang this stylistic sequence cluster: three sarcophagi with Gallienic indicators and two controversial statuettes with Constantinian inscrip tenuous some it tions from Epidauros. On this evidence, though of is, the can to at Panayia pieces be dated the mid-3rd century the earliest, and may well belong in the early 4th century with the Epidauros pieces. The a to Panayia statuettes provide platform from which evaluate the features of later Attic sculpture and to reconsider the question of the longevity of the Attic workshops. The Panayia statuettes thus land squarely into important stylistic debates. Leaving aside temporarily the particular questions of chronology, I first identify important stylistic comparanda among statuettes, sarcophagi, and trapezophora. After establishing clusters of works with shared features, on Iwill focus issues of chronology and longevity for the Attic sarcophagus workshops.

The Panayia Cluster

a statu The closest comparanda for the Panayia pieces is small cluster of 158. Restrictions of space allow ettes linked toAttic The Varvakeion a to be stylistically sarcophagus workshops.159 only selection of comparanda Athena statuettes of Artemis and Niobe found at Inatos on Crete (Fig. 29), illustrated here, but the bibliographic a citations include references to (Fig. 30), and head of Athena Parthenos from the Acropolis (Fig. 31) pub to as lished illustrations. all share characteristics with the Panayia statuettes. I refer these the 159. Koch Stefanidou cluster. 1978; Panayia Tiveriou 1993a. The Varvakeion Athena is a piece for the Panayia key comparative 160. Karanastassis (1987, pp. 408 Roma Both statuettes have facial features and a no. (6).160 classicizing squared 410, BI12, pi. 35:1) compares the treatment the faces is similar. On there is close on the Athena to chin. The technical of both, drapery Varvakeion as well as on of the first attention to painted detail in the eyes, hair, and clothes, gilding examples sarcophagi of the 3rd century and consid in the hair. The flattened, rather locks of hair along the sides of quarter globular ers it less drilled and stiff than the faces and over the shoulders are similar. the heavily falling Although drapery on later Nick drapery sarcophagi. is rendered with and detail overall on the Athena, greater crispness deep (2002, p. 240, no. A15, pi. 19:1,2) a are on uses drill channels with squared profile evident both. The Athena dates it to 220-230. For additional see Schuchhardt 1963. extensive struts to hold together subsidiary figures. photographs, PAGAN STATUETTES IN LATE ANTIQUE CORINTH 141

Si1?ff%ifi???ii?i^fflf?: V

29. Figure Varvakeion Athena, with details of face and Nike. Athens, National Museum 129. Archaeological Photos E.-M. Czak?, courtesy Deutsches Arch?ologisches Institut, Athens (negs. NM 5146, 5154, 5160) 142 LEA M. STIRLING

30. Statuettes from Inatos: Figure Artemis (left) and Niobe (right). Herakleion Archaeological Museum 266, 265. Photos L. M. Stirling

as Statuettes of Artemis and Niobe found together surface finds at Ina on tos Crete (Fig. 30) have conspicuous similarities to the Panayia pieces.161 a The Niobe clasps dying daughter who collapses against her knees. The Artemis from Inatos is shown drawing her bow, aiming low. The eyes, raised eyebrow, and softly pursed lips of the Niobe (Fig. 30, to waves right) provide strong parallels the Roma (6). The blurred, chiseled on of hair on this statuette resemble those the Corinth Roma and the larger Artemis (7). The Roma and Niobe share anatomical similarities, with squared, fleshy faces, broad necks, and flaccid anatomy. The ribbonlike folds on of cloth on the Roma's navel resemble those the torso of the daughter traces in their abstract flatness. Like the Corinth pieces, the Niobe retains of painted decoration. The facial treatment of the Inatos Artemis (Fig. 30, left), including to painted details, is closely akin that of the Panayia Roma. The chiseled waves on of hair resemble those the Roma and the Panayia Artemis. The 161. Marinatos 1934-1935. The upper and head of the Inatos Artemis are too small for the lower body Artemis isLIMC an II, 1984, p. 727, body, giving her awkward, disproportionate appearance. The indistinct no. 1359, 558, s.v. Artemis (L. Kahil). on statuettes pi. musculature, and thick wrists the Inatos also statuettes are long fingers, These variously dated resemble those of the Corinth Red adhesive remains in the to pieces. eyes from the mid-3rd the early 4th as as on tree and hair, well the plinth and trunk. century. PAGAN STATUETTES IN LATE ANTIQUE CORINTH H3

Figure 31. Head of Athena Parthe nos from the Acropolis. Athens, 647. Photo L. M. Acropolis Museum Stirling

Since the Inatos statuettes work so well as a narrative and are pair a modeled after elements of famous statuary group, they must have been same purchased at the time and place. Notwithstanding the more graceful we seen are appearance and pose of the Niobe, have that there important commonalities in their facial details, surface finish, painted decoration, and an exam other technical details. The Inatos statuettes provide instructive same ple of the differences possible inworks from the origin. The Corinth Roma, Artemis, and Dionysos (6, 7, 8) likewise give different overall im pressions but share many stylistic and technical features. a With details painted in red and incised eyebrows with faint ridge a on above them, small head of Athena Parthenos found the Acropolis (Fig. 31) shows similarities to the larger Panayia Artemis (7).162The heavy lids, deep eyebrow crease, and square jaw link it to both the Artemis and are as the Roma (6). The loops of hair at the temples not flatly rendered as the hair of the Panayia Roma, Artemis, and Dionysos. were A further assortment of plainer statuettes, most of which found some at the sanctuary of Epidauros, share generally similar technical and a stylistic features with the Panayia cluster.163 In particular, statuette of a.d. Asklepios dedicated there in 308/9 exhibits the disproportionate ap pearance, drilled outlines, and incised eyebrows of the later Attic pieces

162. Museum no. 23 Athens, Acropolis 19, pi. (Asklepios); pp. 31-32, 647: Karanastassis no. 1987, p. 411, 29, pi. 35 (Hygieia); pp. 80-81, no. BI14. the no. Comparing polished skin, pi. 92, 76 (dancing Dionysos and drilled texture of the and no. hair, heavily satyr); pp. 89-90, 87, pi. 102 (en incised on this head to throned eyebrows woman); pp. 90-91, pi. 103, features on the statuettes from no. woman Inatos, 88 (seated with billowing she dates it to ca. a.d. 250-260. drapery). 163. Katakis 2002, pp. 38-39, 144 LEA M. STIRLING

(see below, Fig. 35, left).With its large head and hands, this statuette offers a broad comparison for the Roma (6) and Dionysos (8), although the hair are more on and other features heavily drilled the Asklepios (see further statuette a discussion below). A of lunging Athena is also of interest be an on cause it appears to reflect Athena the Parthenon pediments.164 If so, a a it presents parallel for the Panayia Roma, which is possibly inspired by pedimental figure from Temple E in the forum (Fig. 16). It also joins with the Varvakeion Athena (Fig. 29) and the head from the Acropolis (Fig. 31) an in showing interest specifically in the artwork of the Parthenon. Thus, the Panayia Roma, Artemis, and Dionysos share facial fea use tures, proportions, aspects of drapery, and the striking of color with the Varvakeion Athena, the Parthenos head from the Acropolis, and the Inatos Niobe and Artemis (the Panayia cluster). The treatment of the no hair in flatly chiseled undulations with virtually drilling between locks is distinctive and appears on all these statuettes. Most of the statuettes in or the Panayia cluster directly follow cult statues other very recognizable was a taste works. We have seen above that there particularly Late Antique in Greece for such subjects in domestic statuary. None of the statuettes in can the Panayia cluster be independently dated, and the Panayia statuettes, are ones found under a destruction level with coins of the 360s, the only a statuettes in with stratigraphie context. Scholars have usually dated the or the Panayia cluster to the early mid-3rd century through comparison with sarcophagi, themselves mostly dated through stylistic comparanda, an as there are very few with independent date.165

Sarcophagi and Trapezophora

on sar Several of the common features of the Panayia trio appear Attic to the cophagi and trapezophora conventionally assigned 3rd century. are use Especially noteworthy the of thin, incised lines for eyebrows an use the echoed by incised line marking the upper eyelid, and the of to outline features or masses.166 drill separate adjacent Inorganic forms, heads are disproportionate body parts, and overly large hands, feet, and also cited as features of the later products of Attic workshops.167 out as Several sarcophagi stand good comparisons for the Panayia a Roma and Artemis (6,7). We begin with Meleager sarcophagus in Eleusis drilled details at (Fig. 32).168 The sarcophagus features drilled outlines, the tear ducts, nostrils, mouth, and naso-labial line, and incised eyebrows. the The face of Atalanta (Fig. 32, right) strongly resembles that of both remote Roma and the larger Artemis in its squared jaw and expression. tear The chiseled furrows of hair, deeply drilled ducts, and incised Venus are have ring especially striking in their similarity. The stiffly posed figures

164. Katakis 2002, pp. 70-73, Kokkorou-Alevra 2001. methodology for dating. no. 87 to the mid 166. Marinatos 167. Stefanidou-Tiveriou 69, pis. 86, (dating 1934-1935, p. 8; 1993a, 306. 3rd century). Koch 1975, p. 76; 1978, p. 125; Despi pp. 133,135; 1993b, p. see Koch and and Voutiras 168. Eleusis Museum 5243: Koch 165. For sarcophagi, nis, Stefanidou-Tiveriou, no. Sichtermann 1982, p. 456; Rogge 1995, 1997, p. 178. These technical features 1975, pp. 76,142-143, 170, a are not used in thus com 136:a-c. pp. 16-17. For useful survey of the portraits; pi. more see with is not a Attic workshops generally, parison portraits helpful PAGAN STATUETTES IN LATE ANTIQUE CORINTH 145

32. Figure Meleager sarcophagus heads and hands like the at Eleusis: general view; detail of proportionately large big chunky Panayia pieces. The boots of the Eleusis the and the are Atalanta. Eleusis Museum 5243. hunting figures, Roma, Artemis Photos a a Kovacsovics, courtesy Deutsches all topped with rounded band that constricts the leg little.169 Guntram Arch?ologisches Institut, Athens (negs. to Koch dates the Eleusis sarcophagus the first quarter of the 3rd century 1983/362,1990/1170) on use the basis of the of drilling, the incised eyebrows, and the composi over tion that extends the edges of the frame.170 to On the Pelops sarcophagus in Athens dated around 250-260 by Stefanidou-Tiveriou, the tufty, chiseled hair brings to mind the non-drilled treatment on of hair the Panayia figures, though the linear, almost incised on drapery folds differ from the rounded, if doughy, treatment the Panayia pieces.171 The proportions, stiff movement, chiseled hair and flat drapery on an Amazon sarcophagus inThessaloniki compare well to aspects of the Roma and Artemis (6, 7).172 now A sarcophagus found inTyre and housed in the National Museum to a.d. on of Beirut is dated 250-260 the basis of the hairstyles of the on one reclining portrait figures the lid (Fig. 33).173 This is of the very few a independently datable Attic sarcophagi. In tableau of Achilles among on on one the maidens Skyros of the short sides, the figures have the same as square jaws and puffy features the Corinth Roma (6). A reclining woman at Achilles' feet has blurry chiseled locks of hair pulled away from the part, like the Roma and Dionysos (8). Overall, there is somewhat more drillwork on in the hair the Beirut figures. In these figures, exaggerated incised lines a narrow mark the lower edge of the eyebrows, with raised band above the on same channel. Helmets this sarcophagus have visors with the profile as that of the Roma.

169. The Roma further riou 133. The incised Panayia 1993a, p. folds, 173. Note that the sarcophagus and resembles the Eleusis in the match those of the were excava figures however, standing lid found together during that decorates the diagonal hatching Asklepios (9) fairlywell. tion of the cemetery: Ch?hab 1984, trim of the boots. 172. Thessaloniki, Archaeological pp. 72-75, pis. 18-21; Rogge 1995, 170. Koch Museum 1245: Stefanidou-Tiveriou no. 1975, pp. 76,142-143. pp. 18, 49,126-127, 6, pis. 52:2, 171. National 58:2. She dates it to Athens, Archaeologi 1993a, p. 133, pi. 54:2. cal Museum 1176: Stefanidou-Tive the mid-3rd century. 146 LEA M. STIRLING

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Figure 33. Achilles sarcophagus from National Museum of Beirut Tyre. 2054. Photo ? Directorate General of

Antiquities, Lebanon

Moreover, the Beirut Achilles sarcophagus and others linked to it also offer parallels for Roma's backless, armless stool. Although chairs are with lion's legs commonplace in ancient art, the lumpy cushion and a or arms on are absence of back the Panayia example difficult to match inGraeco-Roman iconography. Attic sarcophagi provide the best parallels seat a for this backless with lion-paw legs. On the short end of Hippoly tos sarcophagus found in Apollonia (Libya) and dated to the mid-3rd on a century, Theseus sits backless chair supported by rather shapeless seat on a lion's legs.174A fairly similar appears under Theseus Hippolytos to a.d. to sarcophagus found inAries and dated 250-260 by comparison the Beirut one and others.175 This seat has lion's heads at the top, unlike that of the Roma. Male seated on backless chairs with lion's 174. figures legs Apollonia, Archaeological on one Museum inv. also appear another sarcophagus from Tyre, in the Louvre, and (no no.): Rogge 1995, one p. 149, no. 49, 103:1. in the Capitoline Museum.176 The Capitoline sarcophagus is dated pi. to on 175. Aries, Mus?e de l'Arles An the mid-3rd century by the portrait busts the lid. It is significant tique FAN92.00.541: Rogge 1995, that for the Roma's is to comparanda seat, which otherwise difficult no. p. 150, 50, pi. 103:2; Gaggadis match inGraeco-Roman should come from that iconography, sarcophagi Robin 2005, pp. 72-90, no. 14. are on other are to 176. stylistically grouped grounds. All dated the mid-3rd Rogge 1995, pp. 143-144, to no. 42, 52:1, 55:4 134, century, mainly through comparison the portrait-bearing Beirut and pis. (Tyre); p. no. 21, 43:3 (Louvre); pp. 136-138, Capitoline examples. pi. no. 24, 49:1 Related to as of Attic are pi. (Capitoline). sarcophagi products workshops trapezophora, 177. Stefanidou-Tiveriou (1993b) decorated table whose small scale and relief make them a number of legs, higher ap places classicizing trapezo for the statuettes. for these in propriate comparanda Panayia Dating pieces phora the mid-3rd century: pp. 165, as none no. has been established wholly by stylistic means, is associated with 169, 261, 80; pp. 167,185, 277, or no. 121; p. 260, no. 77; p. 277, no. 120. inscriptions portraits, and excavation findspots, where recorded, tend several of these later to be late fills. Some exhibit Interestingly, trapezophora asymmetry, large-headed pro were found in Thessaloniki. For and rather to that of the pieces portions, rubbery anatomy, comparable a Panayia general discussion of mid-3rd-century statuettes.177 A Artemis found atM?rida in and see hunting Spain (Fig. 34) examples, Stefanidou-Tiveriou to a assigned the period 250-260 provides parallel for the rather linear 1993b, pp. 169-170. PAGAN STATUETTES IN LATE CORINTH ANTIQUE 147

on a com modeling the folds of the standing Asklepios (9) and thematic parison for the larger Artemis (7) from Corinth.178 Although many of the trapezophora have molded bases, I have not on found close comparanda for the base moldings the Roma (6) and the seated Asklepios (3) in this assemblage. The Panayia Dionysos (8), with its more noticeable facial dissymmetry and inorganic anatomical rendering, with a a fits trapezophoron of Dionysos with satyr from Megara, dated to stylistically the third quarter of the 3rd century.179

Seeking a Chronology

a The foregoing discussions have identified corpus of statuettes, sarcophagi, common and trapezophora that exhibit features in the rendering of hair, a faces, drapery, and other details. Among them is cluster of elaborately painted and gilded statuettes, several of which imitate famous statue types. one While may convincingly link these statuettes with each other and with or certain sarcophagi trapezophora, establishing their absolute date ismore are sources difficult. Stratigraphy, portraits, and inscriptions the best of evidence for independent dates, but only the merest handful of artworks are or in this group associated with portraits inscriptions. a con Few of the works discussed here have well-dated stratigraphie text. The late-4th-century destruction of the Panayia Domus provides a ante only very broad terminus quern for the Panayia statuettes; statuary use over could remain in generations. Portraits on the lid of the Beirut a sarcophagus indicate Gallienic date for the sarcophagus. As noted above, the lid of the Attic of Achilles in the Museum 34. of Arte sarcophagus Capitoline Figure Trapezophoron likewise has of the mid-3rd One Attic in mis. M?rida, Museo Nacional de portraits century.180 sarcophagus a on Arte Romano MNAR CE00649. Thessaloniki has long inscription its base molding dating to the sole Photo Museo Nacional de Arte courtesy reign of Gallienus (260-268).181 Stylistically, the rather stiff bodies and Romano on chunky proportions of the figures this sarcophagus fit well with the more group described above, but there is drillwork evident. The Asklepios at dedicated Epidauros in 308/9 (Fig. 35, left) compares broadly with the statuettes an Panayia and raises the possibility of early-4th-century date. us more Let consider it closely. The Asklepios was part of a group of some 30 statuettes discovered in in a 1886 Roman bath north of the Temple of Apollo.182 Also impor tant a statuette a a.d. is of lunging Athena dedicated in 304/5 (Fig. 35, not right).183 The Athena does especially resemble the Panayia pieces use except perhaps in its minimal of drilling. The question that arises

178. Museo Nacional de with 181. M?rida, cophagi, giving examples inscrip Thessaloniki, Archaeological tions or Arte Romano MNAR CE00649: Ste portraits. She lists Achilles and Museum 1247: Castritius 1970; with fanidou-Tiveriou 1993b, pp. 170-171, Hippolytos sarcophagi datable Stefanidou-Tiveriou 1993a, p. 133, no. 163. on the lids n. 61:1. 293, portraits (p. 18, 32), pl. 179. National she cautions that lids sar Athens, Archaeologi though and 182. Stais 1886; Katakis 2002, not cal Museum 3494: Stefanidou-Tiveriou cophagi may be contemporary. A pp. 23-25 (no. 21), 200-205 (dating). no. in a sea 1993b, pp. 173,247, 45, pi. 19; sarcophagus Damascus showing See also Matz 1966. no. battle a on Kaltsas 2002, p. 364, 778. has portrait the lid and is 183. Katakis 2002, pp. 73-75, 180. Rogge (1995, pp. 16-18) dis variously dated in the second quarter of no. 70. cusses of for sar the 3rd 2000. questions chronology century: Kintrup 148 LEA M. STIRLING

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35. Statuettes from for the of the two Figure Epidau immediately dating Constantinian dedications at Epi ros: and dauros iswhether donors Marcus Iunius and Plutarchos offered new stat Asklepios (left) lunging Athena National uettes at the or on (right). Athens, sanctuary reused older artworks. The inscriptions both Archaeological Museum 264,274. are written over the of the which that that pieces moldings base, implies Photos E.-M. Czak?, courtesy Deutsches were an Athens they afterthought. Arch?ologisches Institut, (negs. NM 5413, 4721) Though dedicated only four years apart, the two statuettes do not resemble one or especially another in style technique.184 The drapery of more the Athena is plastic and her body more fluid and natural. The lighter, almost sfumato rendering of the folds on the Athena contrasts with the more tubular the harder, folds of Asklepios. Similarly, drill chan nels demarcating locks of hair and nodes of the beard dominate his facial features. Nevertheless, contemporary pieces do sometimes create different as we seen impressions, have with the Niobid pair from Inatos and the Artemis and Roma. With its Panayia large head and hands, the Asklepios from has similarities to or 184. their Epidauros general the Panayia Roma Dionysos, Emphasizing disparate individual features are more on appearance and alterna although heavily drilled the Asklepios. The citing specific tive not comparanda, Stefanidou-Tiveriou Athena does especially resemble the Panayia pieces. (1993a, pp. 134-135) instead Katakis has defended the and Athena from proposes Stylianos Asklepios Epi a date around 150 for the Athena and as dauros works of the 4th the classicism of Constan one around 260 for the early century, citing Asklepios. tine's rule as a context early general stylistic for these artworks.185 He argues 185. Katakis 2002, pp. 201-204. PAGAN STATUETTES IN LATE ANTIQUE CORINTH 149

that the absence of drilling is the only difference between them, and is are no not a major dissimilarity. Because there dated works of this period in southern Greece, Katakis looks to the building program of Galerius in more Thessaloniki and broadly to monuments in Rome and Asia Minor on a or for comparanda. Many of his comparisons draw general aesthetic or formal commonality rather than specific stylistic technical traits. The me monuments of Galerius do not seem to to provide strong similarities more with the Epidauros material (or, importantly for the present study, for the Panayia statuettes). It is difficult to find further comparative mate rial of the early 4th century to triangulate against the Epidauros statuettes as stylistic confirmation for their date; thus the Constantinian date of the manu dedication remains the strongest evidence for possible Constantinian facture, though it cannot be proven. a Some scholars object to Constantinian date for the Epidauros statu ettes, using the historical argument that sculptural production in Attica could not have continued past the Herulian invasion of 267. Stefanidou Tiveriou has argued strenuously from stylistic and historical grounds that an the Herulian invasion indeed dealt a fatal blow to artistic industry that was was already faltering.186 The output of the Attic workshops already de clining by the mid-3rd century. She suggests that economic hard times after or the invasion meant that fewer people could afford sarcophagi statuettes, as seem and notes that the latest examples of Attic grave stelai well to date to the middle third of the 3rd century. Problems of piracy would have made transport difficult. She further points out that the sarcophagus industry at same Dokimeion, another exporter of luxury goods, shows the decline and was some cessation around 260. Dokimeion able to retain activity through manufacturing goods for local use, and workshops of Asia Minor returned to importance in the 4th century. This, argues Stefanidou-Tiveriou, was not case the for Attica, where the Herulian invasion not only irreparably damaged the sculpture industry, but also impoverished the classes of people who formed its local clientele. Other indicators, however, suggest that the Herulian invasions did not a on have such decisive and lasting impact the economic history of 186. Stefanidou-Tiveriou 1993a, Athens.187 Ceramic production, for instance, recovered and some 135-136. rapidly esp. pp. were con buildings quickly restored.188 Verse inscriptions recording the 187. Castren 1999, pp. 211-214. struction of the wall constitute further indication of 188. Castren 1994, p. 1, citing post-Herulian vigor on the of the as further bibliography; Castren 1999, part educated, ruling classes.189 Moreover, studies in the 211-212. two pp. last decades have shown, production of statuary of mythological figures 189. Castren 1994, p. 2. even elsewhere in the Roman empire continued in the 4th and early 5th 190. Gazda Hannestad 1981; 1994; as a centuries.190 A complete cessation of Attic artistic production result Bergmann 1999; Stirling 2005. In of the Herulian invasion is not substantiated. Greece, Deligiannakis (2005) proposes a a How then do we date the the cluster of related date of the early 4th century for Panayia trio, closely statuette of Hermes atMessene. and the constellation of more most large statuettes, broadly linked pieces? The 191. Stefanidou-Tiveriou 1993b, a.d. conservative reading would put them around 250-260 (that is, just pp. 174-176. One feature that dis before the Herulian invasion), privileging the sarcophagi with Gallienic this is restrained drill tinguishes group as the firmest the as work so that of portraits comparanda, disregarding Epidauros pieces surfaces hair and drap and the historical that the Herulian invasion ery are not broken up with decorative reused, following argument statuettes more drill channels. Bodies also remain ended Attic output. The would thus belong in the classiciz somewhat more stream as proportionate. ing of late Attic work, identified by Stefanidou-Tiveriou.191 i5o LEA M. STIRLING

as Given the scarcity of independently datable pieces, however, well as on the Constantinian inscriptions the Epidauros pieces and the positive evidence for post-Herulian recovery in other industries, it is reasonable to posit continued activity by Attic workshops. The cluster of statuettes most closely linked to the Panayia trio (the Varvakeion Athena, the Inatos pair, and the Acropolis head; Figs. 29-31) show distinctive characteristics that as on do not appear together consistently other Attic works. These include or the chiseled hair, the strip of paint slight ridge above the eyebrow, and more a the rich polychromy generally. Thus, they form distinctive group within Attic works. on Moreover, this subgroup of statuettes also stands out for its focus statues: copying specific famous existing statues, including cult the Athena more Parthenos, the Niobid group, and (somewhat speculatively) the pedi we ment of Temple E at Corinth (Fig. 16). As have seen, collectors of do a mestic statuary in Greece in the 4th century a.d. show distinctive predi lection for versions of cult statues, more so than do collectors during the to taste high empire; itwould be reasonable for sculptors to cater this among matter statuettes the wealthy.192 More generally, the style and subject of the as suits the "classicism" of the reign of Constantine, Katakis argued for the two Epidauros pair. These factors provide further circumstantial support for a date later than the mid-3rd century. Current analysis of ceramic was or evidence indicates that the Panayia Domus built in the Tetrarchic a new even Constantinian period. The construction of and lavish home a moment to new to certainly creates fitting purchase statuary complement a the antiques in the assemblage. At Messene, also in the P?loponn?se, new roughly contemporary patron clearly commissioned sculptural works for the dining room of his home.193 For all these reasons, then, the Roma, larger Artemis, and Dionysos from the Panayia Domus date to the mid-3rd century at the earliest, and more rest probably belong in the early 4th century. They and the of the Panayia cluster clearly belong with the "late output" of the Attic workshops, but it is not currently well established when that late output ceased.

PAINT AND GILDING ON THE PANAYIA ASSEMBLAGE

statuettes as a One of the most striking features of the Panayia group is their surviving polychromy (see Figs. 1,36-39). Vivid red pigment remains as an on six of the nine statuettes. This presumably served adhesive (bole) over or over which paint gilding would be laid. Flakes of gilding appear the adhesive on five of the statuettes. Other colors of paint atop this red adhesive are not visible to the naked eye.While this aspect of the statuary merits in on some be here. 192. of enthroned divin depth study its own, preliminary observations may made Statuary on statu ities and direct versions of easily recog I summarizing the remains of red adhesive these begin by nizable cult statues do not feature as ettes. The two of Artemis and the Roma figures (4, 7), Asklepios (3, 9), and 3rd prominently in the 2nd- reveal traces of adhesive and while the has red (6) gilding, Dionysos (8) century collections mentioned earlier on of n. adhesive alone. Red appears the hair, irises, and eyebrows. Stripes (see 112, above). to 193. 2005. red appear at the borders of garments. On the fragments belonging Deligiannakis PAGAN STATUETTES IN LATE ANTIQUE CORINTH 151

Figure 36. Statuette of Asklepios enthroned (3a). Photos courtesy Corinth Excavations

the on larger Artemis, the colored stripes the clothing (7i, 7j) are lighter, more of a color. In the color comes from traces yellow places yellow of gilding remaining atop the pigment, but the underlying material is lighter than that in the hair (7a) of the Artemis (Fig. 38). The trim on wears a the Roma's boots is red (Fig. 37). The Dionysos red nebris (Fig. 39, left). Thin red lines decorate the front of the throne of the seated Asklepios (3) with palmettes (Fig. 36). The bases both are a for Artemis figures red; there is pattern of scallops on the top surface of the base for the larger Artemis (7). Similar scallops on appear the throne support for the Roma. The tree trunks with the Dionysos (Fig. 39, left) and the Artemis statuettes are red, as is the boar with the smaller Artemis (4) and the snake with the seated Asklepios (3). There is no on or on paint Dionysos's panther the snake with the standing 152 LEA M. STIRLING

Figure 37. Statuette of Roma (6). Photos courtesy Corinth Excavations

Asklepios. With the exception of the vestiges of gilding (see below) and the trim on yellowish the drapery of the larger Artemis (7i, 7j), red is the to no or only color visible the naked eye. There is green blue paint and no evidence for shading. Traces of survive on five of statues. It on gilding the appears the drapery edges for both figures of Artemis (4, 7), and on the hair and irises of the larger Artemis (Fig. 38). On the seated Asklepios (3), the hair, beard, and trim have 194. For scientific of the drapery gilding (Fig. 36). The standing Asklepios (9) retains analysis on a in adhesive for gilding statue of gold his beard and the edge of his mantle (Fig. 39, The irises of right). see Hygieia from Antioch, Artal the Roma (6) have flecks of gold (Fig. 37). Thus, the prime locations for Isbrand, Becker, and 2002. are and In Wypyski gilding hair, beards, eyes, drapery these locations, then, The adhesive a edging. comprised roughly the red served as adhesive for the and a pigment evidently gilding imparted equal mixture of lead product and a warmer tone to the burned bone. gold.194 PAGAN STATUETTES IN LATE ANTIQUE CORINTH 153

Figure 38. Head of the larger Artemis (7a). Photos courtesy Corinth Excavations 154 LEA M. STIRLING

39. Statuettes of on Figure Dionysos No red adhesive has survived the other Panayia statuettes: Europa and panther (8a, left); and Asklepios Pan statuettes same (1), (2), and Herakles (5). Since all the shared the and Photos depo Telesphoros (9a, right). sition seems were not history, it these three originally painted. courtesy Corinth Excavations statuettes us an The Panayia forcefully remind of the polychromy of cient was even statuary, which widespread if the pigment itself is not always well preserved (or well served by conservation practices).195 New methods for traces detecting of paint, including ultraviolet fluorescence, have vastly to increased the ability reconstruct and study color.196 At Corinth, both T. L. Shear andMary Sturgeon have documented and discussed the intense polychromy of the sculpture and marble of the facade of the Corinth the ater.197 other traces of color survive on at Many statuary the site.198 amore The gilding is infrequent and expensive phenomenon. Associ with even ated both gods and emperors, it emphasizes the importance and

195. Reutersw?rd Brinkmann the statuettes constitutes 198. For red at 1960; Panayia part instance, stripes the and W?nsche 2004. of doctoral research. of on statuette ongoing edging the drapery the 196. Brinkmann and W?nsche 197. Shear Corinth of the 1928; IX.3, armed Aphrodite: S-2548 (see 2004. Examination of on 20-22. See also n. polychromy pp. Nagel 2006. 114, above). PAGAN STATUETTES IN LATE ANTIQUE CORINTH 155

a holiness of piece.199 Along with highly polished skin surfaces, itwould case create the effect of chryselephantine statuary, most strikingly in the of two the seated figures from the Panayia Domus. Delicate, gilded statuary evidently appealed to Late Roman patrons. Traces of gold survive in the hair of the Varvakeion Athena, which has yellow and red coloring elsewhere an a (Fig. 29).200 A statuette of Cybele found with Asklepios in domestic shrine at Aphrodisias had highly polished surfaces and "gold paint."201 statuette or Facial features place this in the late 4th 5th century. Gilding as underscored divinity and imperial power in other media well. Ivory dip to A.D. tychs of Asklepios and Hygieia dating about 400 (now in Liverpool) show the divinities in green mantles against gilded backgrounds.202 Other on diptychs of the period also had varied color them. on The surviving adhesive and gilding the Panayia statuettes raise fur ther questions. It would be interesting to know the composition of the same on adhesive itself and whether it is the all the statuettes despite their different dates. Scientific analysis could detect traces of other colors of paint atop the adhesive, traces that are not visible to the naked eye.

CONCLUSIONS

The excellent preservation and stratigraphie context of the nine Panayia one statuettes make them of the most important assemblages of domestic statuary from Roman and Late Roman Greece. Both factors make it pos sible to consider context with more refinement than usual. The statuettes over at two range least centuries in date. The Europa (1) belongs in the late 1st century and the head of Pan (2) in the early 2nd century. The enthroned to Asklepios (3) dates the later 2nd century, while the smaller Artemis (4) or dates to the later 2nd 3rd century and the unfinished resting Herakles to or (5) could belong the later 2nd 3rd century. The latest pieces in the group?the Roma (6), the larger Artemis (7), the Dionysos (8), and the standing Asklepios (9)?belong in the mid-3rd century at the earliest. were All the statuettes in good condition (with preserved pigment and gilding, if not attributes) at the time of the demise of the domus sometime or during after the late 360s. At the time of the fire they were located in a room as a small, central with painted decor (A9), which probably served domestic shrine. Such exquisite statuettes may not always have been housed a room in small with rather plain painting; in earlier times they may have rooms adorned the villa's larger with mosaic floors and frescoed walls. It

199. On see Corinth no. 2. Red nos statu gilding techniques, IX.3, pp. 66-68, head from the Acropolis, the and adhesive remains over the entire surface ettes most in to Artal-Isbrand, Becker, Wypyski closely linked style the Abbe 2006. Two heads of the For an Artemis from 2002; Serapis garment. Panayia Roma, Artemis, and Dionysos. with at see gilding have been found Cor Cyrene with gilded hair, Beschi 201. Erim 1990, p. 27. For traces of S-2387: Milleker 257. on statuettes inth, S-1457, 1985, 1959, p. polychromy mythological a pp. 125,128 (discussion of gilding). 200. Schuchhardt (1963) provides of the later 4th century, see Stirling an see Sturgeon proposes that over-life-size detailed description; also Reuters 2005, pp. 108-109. ward 201. As we have seen male figure (possiblyAugustus) from 1960, p. 202. Connor 1998, pp. 15-16. See the Corinth theater had yellow paint above, extensive red pigment also ap also Janes 1998. over its on resembling gold hip-mantle: pears the Inatos pair and the Parthe 156 LEA M. STIRLING

same room is particularly tempting to imagine the Roma displayed in the as the Nike (A12). were The divinities Artemis, Asklepios, Dionysos, and Herakles widely popular in domestic assemblages of Roman Greece in the High and Late more a Empire. Much unusual is the statuette of Roma. I have not found direct parallel for this divinity represented inmarble in any domestic collec tion anywhere in the empire at any time. This statuette may simultaneously to have referred the pedimental sculpture of Temple E in the forum and or on owner. indicated high service status the part of the The Panayia array a of statuettes is like others of Late Antique Greece in exhibiting taste for seated divinities. Portraits have not been recovered at the Panayia Domus, seem rare and in Greek domestic collections generally. Although the divinities in the collection at the Panayia Domus do not most especially mirror the cults known from the forum of Corinth, appear in the city's coinage, often in the same configurations. By the later 4th century A.D., the time of the destruction of the domus, Libanius depicts as not Corinth polarized between polytheism and Christianity. It is clear or what other religious statuary other ideal sculpture may have remained on public display, though inscriptions make it clear that dedications of portraiture continued through this time. The Panayia Roma, larger Artemis, Dionysos, and the standing Askle to statuettes pios compare well stylistically the latest sarcophagi and of Attic workshops. Important comparanda include sarcophagi in Beirut, con Aries, Thessaloniki, Athens, and Eleusis (although the last of these is ventionally dated earlier in the 3rd century than the others). Few of these are as works associated with independently datable features such portraits or con inscriptions. Although the output of the Attic workshops is usually sidered to have ended after the Herulian invasion of 267, there is positive evidence for recovery in other industries and two statuettes in Epidauros a.d. carry dedicatory inscriptions dated to 304/5 and 308/9. Thus, the end date for the Attic workshops is not firmly established, and manufacture may well have continued into at least the early 4th century. The Panayia Roma and the larger Artemis in particular, with their gild a ing and careful attention to detail, join group of high-quality statuettes that imitate very specific prototypes (the Panayia cluster). These include the Varvakeion Athena, the Niobe and Artemis from Inatos on Crete, and a head of Athena Parthenos from the Acropolis (Figs. 29-31). Although as statuettes are close dating is not possible, just discussed, these in keeping as seen with the 4th-century taste for statues reminiscent of cult statues, era. in domestic assemblages of that The well-preserved Panayia collection, with itsmany layers of context, on in sheds light issues of chronology, iconography, and social history Roman and Late Roman Greece. Taken with the rest of the decor in the

domus, they enable us to envision the colorful, complex world of the Late to tastes a in a Antique home and evaluate the of particular patron specific and context. domestic, urban, regional PAGAN STATUETTES IN LATE CORINTH ANTIQUE 157

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Lea M. Stirling

University of Manitoba

department of classics

220 dysart road

winnipeg, manitoba r3t 2m8 CANADA

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