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Pagan Statuettes in Late Antique Corinth 91 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.
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