Jaimée P. Uhlenbrock
THE TERRACOTTA
PROTOivtAI FROM
GELA:
/\ A Discussion of Local Style in]nL Archaic Sicily
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L'ERMA» di BRETSCHNEIDER STUDIASTUD IA ARCHAEOLOGICAARCHAEOLOGJCA 50 STUDIA ARCHAEOLOGICAARCHAEOLOGICA 50
1 -- DEDe MARINIS, Marinis, S. - La tipologia del banchetto nell'artenell'arte etrusca etrusca arcaica, arcaica, 1961. 1961. 2 -- BARONI,Baroni, F. - OsservazioniOsservazioni sulSul «Trono<
THE TERRACOTTATERRACOTTA PROTOMAIPROTOMAI FROM GELA:GELA: A DiscussionDiscussion ofof LocalLocal StyleStyle inin Archaic Archaic Sicily Sicily
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© CopyrightCopyright 1988 1988 <
Impaginazione di LucianoLuciano LucaLuca
Centro Fotocomposizione di CalagretiCalagreti -- CittàCittà didi Castello Castello
Tutti i dirittidiritti riservati.riservati. ÈE vietata la riproduzione di testi e illustrazioniillustrazioni senzasenza ilil permessopermesso scrittoscritto dell'Editore. dell'Editore.
ISBN 88-7062-650-488-7062-650-4 To DorothyDorothy BurrBurr ThompsonThompson « ... thethe fact is that therethere isis nono bodybody ofof existingexisting works large or small, which mightmight establishestablish thethe characteristics ofof a school of archaic art in Sici-Sici- lyly >>.». T. J. Dunbabin,Dunbabin, TheThe Western Greeks, Ox- ford 1948, p. 287.287.
TABLE OF CONTENTSCONTENTS
TextTEXT ILLUSTRATIONSillustrations p. 10
PlatesPLATES ...... p p. n11 ForewardFOREWARD (Paola Pelagatti) Pelagatti) ...... p. p. 15 PrefacePREFACE ...... p. p. 17 IntroductionINTRODUCTION ...... p. p. 19
THEThe PROTOMAIprotomai FROMfrom GELA:Gela: The contextscontexts ...... p. p. 29 The classificationclassification ...... p. p. 29 Geloan productionproduction technique:technique: 1. Clay ...... p. p. 30 2. Patrices and and models models ...... p. p. 32 3. Casting ...... p. p. 34 The formalformal elements:elements: 1. Morphology ...... p. p. 34 2. Headdress ...... p. p. 36 3. Hair ...... p. p. 36 4. Ears ...... p. p. 37 5. Ornament ...... p. p. 37 6. Polychrome ...... p. p. 37
Chronological considerations considerations ...... p. p. 38
THEThe RELATIVErelative SEQUENCE: sequence: 1. The FullFull Face Face Type Type ...... p. p. 41 2. The MaeanderMaeander Polos Polos Type Type ...... p. p. 44 3. The ScallopScallop Hair Hair Type Type ...... p. p. 45 4. The RollRoll Hair Hair Type Type ...... p. p. 46
9 Catalogue:CATALOGUE: I. The Early Phase ...... p. 49 II. The Developed Phase ...... p. 67 III. The Late Phase ...... p. 88 IV. The Foreign Group ...... p. 96 CONCLUSIONSConclusions ...... p. 109 APPENDIXAppendix I: TheI: The Mask Mask Protome Protome in inSicily Sicily ...... p. 117 APPENDIXAppendix 11 II:: The The Origins Origins and and Religious Religious Significance of of the Voti-Voti- ve ProProtome tome ...... p. 139 CONCORDANCE...... Concordance p. 157 BIBLIOGRAPHYBibliography ...... p. 161 INDEX...... Index p. 165
TEXTText ILLUSTRATIONSillustrations Fig. 1. Cuff protome ...... p. 35 Fig. 2. Sheath protome ...... p. 35 Fig. 3-26. The Geloan typology typology ...... Facing Facing p. 35-36 Fig. 27a-d. MorphologyMorphology of of the the Geloan Geloan ear ear ...... Facing Facing p. 48 Fig. 28. TheThe proportionalproportional schemescheme ofof thethe Maeander Maeander Polos Polos Type...... Type Facing p. 111-112 Fig. 29. TheThe proportionalproportional schemescheme ofof the the Small Small Face Face Type Type ...... Facing Facing p.p. 111-112111-112 Fig. 30. MapMap ofof thethe distributiondistribution ofof protomai protomai inin Sicily Sicily ...... Facing Facing p.p. 113-115113-115
10 MEMOPLATES
la. SyracuseSyracuse 21303.21303. Cat.Cat. No.No. 1.1. TheThe Full Full Face Face Type. Type, Front. Front. b. Syracuse 21303. Cat. No. 1.1. TheThe FullFull FaceFace Type. Type. Profile. Profile. c. Ivory head fromfrom Delphi.Delphi. Front.Front. PhotoPhoto courtesycourtesy ÉcoleÉcole FrançaiseFrançaise d'Athenes. d'Athenes. d. British Museum B89.B89, Face fragment fromfrom Ephesos.Ephesos. Profile. Profile. Photo Photo courtesy courtesy British British Museum.
2a. SyracuseSyracuse 21301.21301. Cat.Cat. No.No. 19.19. TheThe Maeander Maeander Polos Polos Type.Type. Front.Front, b. SyracuseSyracuse 21301.21301. Cat.Cat. No.No. 19.19. The The Maeander Maeander Polos Polos Type. Type. Profile. Profile.
3a. AcropolisAcropolis MuseumMuseum KoreKore 673.673. FrontFront viewview of of face. face. Photo Photo courtesy courtesy Deutsches Deutsches archaeologisches Institut, Athen,Athen, Nr.Nr, Ak.Ak. 1437. 1437. b. Pseudo-cnidianPseudo-cnidian caryatidcaryatid fromfrom Delphi.Delphi. FrontFront viewview ofof face. face. Photo Photo courtesy courtesy Deut- Deut- sches archaeologisches Institut, Athen, Neg.Neg. Nr.Nr. DelphiDelphi 241. 241.
4a. GelaGela 25109. 25109. Cat.Cat. No.No. 30.30. The The Scallop Scallop HairFlair Type. Type. Front. Front, b. AcropolisAcropolis MuseumMuseum KoreKore 696.696. FrontFront viewview of of face. face. Photo Photo courtesy courtesy Deutsches Deutsches archaeologisches Institut, Athen,Athen, Neg.Neg. Nr.Nr. Ak Ak 1668. 1668.
5a. GelaGela 15782. 15782. Cat.Cat. No.No. 36.36. TheThe Roll Roll Hair Hair Type. Type. Front. Front, b. GelaGela 21502.21502. Cat.Cat. No.No. 36a.36a. TheThe Roll Roll Hair Hair Type. Type. Profile. Profile.
6a. GelaGela 17819.17819. Cat.Cat. No.No. 3.3. TheThe OrsiOrsi Type Type I. I. Front. Front, b. ThasosThasos 31003100 r.-re. Front. Front.
7a. SyracuseSyracuse unnumbered.unnumbered. Cat.Cat. No.No. 4.4. TheThe OrsiOrsi TypeType II.II. Front. Front, b. SyracuseSyracuse 20359a20359a'. Cat.Cat. No.No. 6.6. TheThe Fillet Fillet Polos Polos I IType. Type. Front. Front.
8a. SyracuseSyracuse 21308.21308. Cat.Cat. No.No. 5.5. The The Granmichele Granmichele Type; Type/Front. Front. b. Syracuse 21308. Cat. No.No, 5.5. TheThe GranmicheleGranmichele Type. Type. Profile. Profile. c. Gela 18094.18094. Cat. No.No. 7.7. TheThe AngularAngular Type. Type. Front. Front.
9. SyracuseSyracuse 15077. 15077. Cat. Cat. No. No. 8. 8. The The Fillet Fillet Polos Polos IIII Type. Type. Front. Front. lOa.10a. GelaGela 8161.8161. Cat.Cat. No.No. 9. 9. The The Solito Solito Type. Type. Front. Front. b. Gela 28834. Cat. No.No. 9a.9a. TheThe SolitoSolito Related Related Series, Series, fragment. fragment. c. Syracuse unnumbered. Cat. No. 9b.9b. TheThe SolitoSolito RelatedRelated Series.Series. Front.Front.
11. GelaGela 8497. 8497. Cat. Cat. No. No. 12. 12. The The Acropolis Acropolis Type.Type. Front.Front.
11 12a. LouvreLouvre B563. B563. Cat.Cat. No.No. 10.10. TheThe Thick Thick Lipped Lipped Type. Type. Front. Front. Photo Photo courtesy courtesy Musée Musée du Louvre.Louvre. b. LouvreLouvre B563.B563. Cat.Cat. No.No. 10.10. The The Thick Thick Lipped Lipped Type. Type. Profile. Profile. Photo Photo courtesy courtesy Musée dudu Louvre.Louvre.
13a. SyracuseSyracuse 21382.21382. Cat.Cat. No.No. lOa.10a. TheThe Thick Thick Lipped Lipped Type. Type. Front. Front, b. GelaGela 29092.29092. Cat.Cat. No.No. 11.11. TheThe Long Long Ear Ear Type. Type. Front. Front.
14. Vollmoeller 4510.4510. Cat. No. 13,13. TheThe ZurichZürich Type.Type. Front. Front. Photo Photo Ernst Ernst Winizki, Winizki, courtesy HeidiHeidi Volimoeller.Vollmoeller.
15. VollmoellerVoilmoeller 4510.4510. Cat. No. 13.13. The ZurichZürich Type.Type. Profile.Profile. PhotoPhoto ErnstErnst Winizki, Winizki, courtesy HeidiHeidi Voilmoeller.Vollmoeller.
16a. GelaGela 23287.23287. Cat.Cat. No.No. 14.14. The The Pinched Pinched Face Face Type. Type. Front. Front, b. SyracuseSyracuse 21331.21331. Cat.Cat. No.No. 14a.14a. Pinched Pinched Face Face Related Related Series. Series. Front. Front.
17a. GelaGela 21355.21355. Cat.Cat. No.No. 14b.14b. PinchedPinched Face Face Related Related Series.Series. Front.Front, b. GelaGela 7303. 7303. Cat.Cat. No. No. 14c. 14c. Pinched Pinched Face Face Related Related Series. Series. Front. Front.
18a. SyracuseSyracuse 20359c.20359c. Cat.Cat. No.No. 15.15. TheThe Bitalemi Bitalemi Type.Type. Front.Front, b. GelaGela 30498.30498. Cat.Cat. No.No. 16.16. The The Narrow Narrow Face Face Type. Type. Front. Front.
19. GelaGela 7324. 7324. Cat. Cat. No. No. 17. 17. The The Round Round Face Face Type. Type. Front. Front.
20a. SyracuseSyracuse unnumbered.unnumbered. Cat.Cat. No.No. 18.18. The The Thymiaterion Thymiaterion Type. Type. Front. Front. Photo Photo after after Orsi, Gela, P1.Pl. L:c. b. KoreKore ThymiaterionThymiaterion fromfrom Gela.Gela. FrontFront view view of of face. face.
21a. SyracuseSyracuse unnumbered.unnumbered. Cat.Cat. No.No. 18a. 18a. Thymiaterion Thymiaterion Related Related Series. Series. Front. Front. b. Syracuse unnumbered.unnumbered. Cat. No. l8b.18b. Thymiaterion Thymiaterion Related Related Series. Series. Front. Front. c. Gela 12845.12845. Cat. No.No. 18c.18c. ThymiaterionThymiaterion RelatedRelated Series. Series. Front. Front. d. Syracuse unnumbered. Cat.Cat. No.No. 18d.18d. ThymiaterionThymiaterion RelatedRelated Series. Series. Front. Front.
22. GelaGela 7317. 7317. Cat. Cat. No. No. 19a. 19a. Maeander Maeander Polos Polos Related Related Series. Series. Front. Front.
23a. SyracuseSyracuse unnumbered.unnumbered. Cat.Cat. No.No. 19b. 19b. Maeander Maeander Polos Polos Related Related Series. Series. Front. Front, b. GelaGela 25733. 25733. Cat.Cat. No. No. 19c. 19c. Maeander Maeander Polos Polos Related Related Series. Series. Front. Front.
24a. SyracuseSyracuse 21312.21312. Cat.Cat. No.No. 20a.20a. Small Small Face Face Related Related Series. Series. Front. Front, b. SyracuseSyracuse 21312.21312. Cat.Cat. No. No. 20a. 20a. Small Small Face Face Related Related Series. Series. Profile. Profile.
25a. MarseillesMarseilles MuseumMuseum kouros head.head. Front.Front. PhotoPhoto afterafter Langlotz,Langlotz, FrühgriechischeFriihgriechische Bildhauerschulen, p1.pl. 72d. b. SyracuseSyracuse unnumbered.unnumbered. Cat.Cat. No.No. 20b. 20b. Small Small Face Face Related Related Series. Series. Front. Front.
26a. GelaGela 21501.21501. Cat.Cat. No.No. 20. 20. The The Small Small Face Face Type. Type. Front. Front. b. Syracuse unnumbered. Cat.Cat. No.No. 20c.20c. SmallSmall FaceFace Related Related Series. Series. Front. Front. c. Gela 28381. Cat. No.No. 20d.20d. SmallSmall FaceFace RelatedRelated Series.Series. Front.Front. d. Gela unnumbered. Cat.Cat. No.No. 20e.20e. SmallSmall FaceFace RelatedRelated Series. Series. Front. Front. e. Gela 21367. Cat. No.No. 20f.20f. SmallSmall FaceFace Related Related Series. Series. Front. Front.
12 27a. SyracuseSyracuse 21383.21383. Cat.Cat. No.No. 21.21. TheThe Apple Apple CheekCheek Type.Type. Front.Front, b. SyracuseSyracuse 21383.21383. Cat.Cat. No.No. 21.21. The The Apple. Apple. Cheek Cheek Type. Type. Profile. Profile.
28a. GelaGela 8204.8204. Cat.Cat. No. No. 21a. 21a. Apple Apple Cheek Cheek Related Related Series. Series. Front.Front, b. GelaGela 7302. 7302. Cat. Cat. No. No. 21b. 21b. Apple Apple Cheek Cheek Related Related Series. Series. Front. Front.
29. Gela 21323. Cat. No.No. 21c.21c. AppleApple CheekCheek RelatedRelated Series.Series. Front.Front.
30. Gela 7386. Cat. No.No. 21d.21d. AppleApple CheekCheek RelatedRelated Series.Series. Front.Front.
31a. SyracuseSyracuse 21365.21365. Cat.Cat. No.No. 21e.21e. AppleApple Cheek Cheek Related Related Series. Series. Front. Front. b. Gela 11068.11068. Cat. No.No. 21f.21f. AppleApple CheekCheek RelatedRelated Series.Series. Front.Front. c. Syracuse 21364. Cat. No. 21g.21g. AppleApple CheekCheek RelatedRelated Series.Series. Front.Front.
32. GelaGela 7318. 7318. Cat. Cat. No. No. 22. 22. The The Broad Broad Bust Bust Type. Type. Front. Front.
33a. GelaGela 31376.31376. Cat.Cat. No.No. 23.23. TheThe Wide Wide Face Face Type. Type. Front. Front. b. KoreKore head head from from the the Samian Samian Heraion. Heraion. Front. Front. Photo Photo courtesy courtesy DeutschesDeutsches archaeolo-archaeolo- gisches Institut, Berlin,Berlin, Neg.Neg. Nr.Nr. 6591/2.6591/2.
34a. GelaGela 7389. 7389. Cat.Cat. No. No. 23a. 23a. Wide Wide Face Face Related Related Series. Series. Front. Front. b. Gela 8135. Cat. No.No. 23b.23b. WideWide FaceFace RelatedRelated Series. Series. Front. Front. c. Syracuse 21379. Cat. No. 23c.23c. WideWide FaceFace RelatedRelated Series. Series. Front. Front.
35a. SyracuseSyracuse 21316.21316. Cat.Cat. No.No. 24.24. The The Scallop Scallop Veil Veil Type. Type. Front. Front. b. Syracuse 21332. Cat. No. 24a.24a. TheThe ScallopScallop VeilVeil Type. Type. Profile. Profile. c. Syracuse 21384. Cat. No. 24b.24b. ScallopScallop VeilVeil RelatedRelated Series.Series. Front.Front. d. Gela 25731. Cat.Cat. No.No. 24c.24c. ScallopScallop VeilVeil RelatedRelated Series. Series. Front. Front.
36a. SyracuseSyracuse 21332.21332. Cat.Cat. No.No. 25.25. TheThe SolaSola Type.Type. Front.Front. b. Syracuse 21332. Cat. No. 25.25. TheThe SolaSola Type. Type. Profile. Profile. c. Syracuse 20437. Cat. No. 26c.26c. BlankBlank EyeEye RelatedRelated Series.Series. Front.Front. d. Syracuse 20437. Cat. No.No. 26c.26c. BlankBlank EyeEye Related Related Series. Series. Profile. Profile.
37a. GelaGela 1328. 1328. Cat.Cat. No. No. 26. 26. Blank Blank Eye Eye Type. Type. Front. Front, b. GelaGela 15852. 15852. Cat.Cat. No.No. 52. 52. Milesian Milesian Type.Type. Front. Front.
38a. GelaGela 7306. 7306. Cat. Cat. No. No. 26a. 26a. Blank Blank Eye Eye Related Related Series. Series. Front.Front. b. Gela 8498. Cat. No.No. 26d.26d. BlankBlank EyeEye RelatedRelated Series.Series. Front.Front. c. Gela 15879.15879. Cat. No.No. 26b.26b. BlankBlank EyeEye RelatedRelated Series.Series. Front.Front. d. Gela 313216. Cat.Cat. No.No. 26e.26e. BlankBlank EyeEye RelatedRelated Series. Series. Front. Front.
39. GelaGela 8496. 8496. Cat, Cat. No. No. 26f. 26f. Blank Blank Eye Eye Related Related Series. Series. Front. Front.
40a. GelaGela 23251.23251. Cat.Cat. No.No. 27,27. TheThe Wide Wide Wave Wave Type. Type. Front. Front. b. Gela 21317. Cat. No. 28.28. TheThe PuffPuff HairHair Type. Type. Front. Front. c. Gela unnumbered. Cat.Cat. No.No. 28a.28a. PuffPuff Hair Hair Related Related Series. Series. Front. Front. d. Gela unnumbered. Cat.Cat. No.No. 28a.28a. PuffPuff Hair Hair Related Related Series. Series. Profile. Profile.
41. GelaGela 31282. 3.1282. Cat. Cat. No. No. 29. 29. The The Wide Wide Eye Eye Type. Type. Front.Front.
13 42. Base!Basel unnumbered. unnumbered. Cat. Cat. No. No. 31. 31. The The Basel Basel Type. Type. Front. Front.
43a. AshmoleanAshmolean G14. G14. Cat. Cat. No. No. 32. 32. The The Oxford Oxford Type Type I. I. Front. Front. Photo Photo courtesy courtesy Ashmo- Ashmo- lean Museum.Museum. b. AshmoleanAshmolean G14. G14. Cat. Cat. No. No. 32. 32. TheThe Oxford Oxford Type Type I. I. Profile. Profile. PhotoPhoto courtesycourtesy Ashmo-Ashmo- lean Museum.Museum.
44a. SyracuseSyracuse unnumbered.unnumbered. Cat.Cat. No.No. 33.33. TheThe OxfordOxford TypeType II.II. Front. Front, b. SyracuseSyracuse unnumbered.unnumbered. Cat.Cat. No.No. 33.33. TheThe Oxford Oxford Type Type II. II. Profile. Profile.
45a. GelaGela 21493.21493. Cat.Cat. No.No. 34.34. TheThe Gela Gela Type. Type. Front. Front, b. GelaGela 21493. 21493. Cat.Cat. No.No. 34. 34. The The Gela Gela Type. Type. Profile. Profile.
46a. GelaGela 8132. 8132. Cat. Cat. No. No. 34a. 34a. Gela Gela Related Related Series. Series. Front. Front. b. Syracuse unnumbered.unnumbered. Cat.Cat. No.No. 35. The Zig-Zag Type. Profile.Profile. c. Gela 21502. Cat. No. 36a.36a. TheThe RollRoll HairHair Type. Type. Front. Front. d. Gela 21502. Cat. No. 36a.36a. TheThe RollRoll HairHair Type. Type. Profile. Profile.
47. GelaGela 7369. 7369. Cat. Cat. No. No. 37. 37. The The Colossal Colossal Type. Type. Front. Front.
48a. GelaGela 31119. 31119. Cat. Cat. No. No. 38. 38. Bust Bust protome protome fragment. fragment. b. Syracuse unnumbered.unnumbered. Cat. No. 2.2. TheThe BucraniumBucranium EarringEarring Type. Type. Profile. Profile. c. Gela unnumbered. Cat.Cat. No.No. 44.44. Neck/lowerNeck/lower veilveil fragmentfragment withwith necklace. necklace. Front. Front.
49a. GelaGela unnumbered. unnumbered. Cat.Cat. No. No. 39. 39. Polos/hair Polos/hair fragment. fragment. b. Gela unnumbered. Cat.Cat. No.No. 40.40. Polos/upperPolos/upper face face fragment. fragment. c. Gela unnumbered. Cat.Cat. No.No. 41.41. Hair/eyeHair/eye fragment. fragment. d. Gela unnumbered. Cat.Cat. No.No. 43.43. Veil/earringVeil/earring fragment. fragment.
50a. GelaGela 14062.14062. Cat.Cat. No. No. 42. 42. Stephane/hair/eye Stephane/hair/eye fragment. fragment, b. GelaGela 161.161. Cat. Cat. No. No. 45. 45. The The Megara Megara Hyblaia Hyblaia Type. Type. Front. Front.
51a. SyracuseSyracuse unnumbered.unnumbered. Cat.Cat. No.No. 47.47. TheThe Selinuntine Selinuntine Type.Type. Front. Front. b. Gela unnumbered. Cat. No.No. 48.48. TheThe HimeranHimeran Type.Type. Front.Front. c. Syracuse unnumbered.unnumbered. Cat. No. 49.49. TheThe TarentineTarentine Type. Type. Front. Front.
52a. SyracuseSyracuse unnumbered.unnumbered. Cat.Cat. No.No. 46.46. TheThe EastEast SicilianSicilian Type.Type. Front:Front; b. GelaGela 26683. 26683. Cat.Cat. No.No. 46a. 46a. East East Sicilian Sicilian Related Related Series. Series. Front.Front.
53a. SyracuseSyracuse unnumbered.unnumbered. Cat.Cat. No.No. 46b. 46b. East East Sicilian Sicilian Related Related Series. Series. Front. Front, b. GelaGela 29576. 29576. Cat.Cat. No.No. 46c. 46c. East East Sicilian Sicilian Related Related Series. Series. Front.Front.
54. Gela 7379. Cat. No. 50.50. TheThe PatrixPatrix Type.Type. Front.Front.
55. Gela 28839. Cat. No.No. 50a.50a. PatrixPatrix RelatedRelated Series.Series. Front.Front.
56a. GelaGela 7380.7380. Cat.Cat. No.No. 51. 51. The The Long Long Nose Nose Type. Type. Front. Front. b. Syracuse 21365. Cat. No. 53.53. TheThe KiazomenianKlazomenian Series.Series. Front.Front. c. Syracuse unnumbered. Cat. No.No. 53a.53a. KlazomenianKlazomenian RelatedRelated Series.Series. Front.Front.
14 PREMESSA
Sono lieta didi premetterepremettere alal bel bel volume volume << « TheThe TerracottaTerracotta ProtomaiProtomai from Gela: AA DiscussionDiscussion of of Local Local Style Style in in Archaic Archaic Sicily Sicily >> » alcune conside- razioni ee ricordiricordi personali.personali. Dopo iiil librolibro didi L.E. QuarlesQuarles vanvan Ufford Ufford (Les (Les terres terres cuites cuites siciliennes) siciliennes) uscito nelnel 1941 e dopo alcunialcuni articoliarticoli di P.P. OrlandiniOrlandini deglidegli annianni '50'50 susu terrecotte gelesi, si era verificataverificata una pausapausa deglidegli studistudi sulla sulla coroplastica ceroplástica siceliota. Sicché quando JaimeeJaimee UhlenbrockUhlenbrock vennevenne aa Siracusa, Siracusa, nell'estate nell'estate del 1972, con l'intento didi avviareavviare unun lavorolavoro sullesulle protomi pro tomi femminili, femminili, mimi sembròsembrô un'ottima idea, e nonnon solosolo perchéperché sisi riprendevariprendeva ilil discorsodiscorso susu un un campo cos!così importante nella produzione artisticaartistica delladella GrecitàGrecità occidenta-occidenta- le, mama ancheanche perchéperché lala categoria categoria didi materiali materiali prescelta, prescelta, le le enigmatiche enigmatiche protomi, per l'evidentel'evidente richiamorichiamo religioso,religioso, piüpiù didi altrealtre sembrava sembrava richiedere richiedere attenzione ee approfondimento.approfondimento. La curiosità scientifica della giovane studentessa americana —- cheche tratra l'altro restituIrestituì in quella occasione lala testa alla bella Kore fittile 2128621286 didi Gela Bitalemi, ritrovandolaritrovandola tratra i materiali scavati alla fine dell' '800'800 - - ee le sue qualitaqualità umaneumane conquistaronoconquistarono ben prestopresto lala simpatiasimpatia deldel personale personale della Soprintendenza sicchésicché JaimeeJaimee UhlenbrockUhlenbrock potépoté lavorarelavorare alacremente alacremente nel vecchiovecchio edificio didi Piazza Duomo, un luogo,luogo, comecome pochipochi inin Italia,Italia, adatto per la ricercaricerca per merito,merito, comecome èè benben noto,noto, primaprima didi P.P. Orsi,Orsi, poi poi di di L. BernabôBernabò Brea.Brea. In anni piüpiù recenti,recenti, mentrementre J.J. UhlenbrockUhlenbrock continuavacontinuava aa studiare studiare mate- mate- riali di tuttatutta lala SiciliaSicilia ee ancheanche didi santuarisantuari e e depositi depositi sacri sacri delle delle ph'i più lontanelontane sponde del Mediterraneo - lele eè statastata infattiinfatti affidataaffidata lala pubblicazione pubblicazione delledelle statuette messe in luceluce daglidagli scaviscavi americaniamericani nelnel santuariosantuario didi Demetra Demetra e e Persefone a Cirene -- ilil tematema delledelle protomi èè statostato ripresoripreso perper altrealtre areearee deldel mondo greco da duedue valentivalenti studiosi,studiosi, F.E. Croissant Croissant (Les (Les protomés protomés féminines féminines archaïques,archaIques, ParisParis 1983) e M.M. BarraBarra BagnascoBagnasco (Protomi(Protomi inin terracottaterracotta dada Locri Epizefiri, TorinoTorino 1986). Ma, come ha simpaticamentesimpaticamente ricordatoricordato inin una lungalunga notanota ilil Croissant,Croissant, perper lala SiciliaSicilia sisi attendevanoattendevano ii risultatirisultati delledelle ricerche di J. Uhlenbrock,Uhlenbrock, che contribuiscono ad allargare le nostre cono-cono-
1515 scenze sui rapporti esistentiesistenti tra l'artigianatol'artigianato didi GelaGela ee quello quello degli degli altri altri centri siceliotisicelioti ee magno-greci. magno-greci. Come per altre classi di materiali coroplastici —- ee sisi vedanovedano inin proposi- proposi- to i recentirecenti lavorilavori didi F.F. GiudiceGiudice sullasulla stipe stipe camarinese camarinese di di Persefone Persefone (1976) (1976) e didi M.M. SguaitamattiSguaitamatti su terrecotte gelesigelesi (1983)(1983) -, -, siSi pone ancheanche perper lele protomi ilit problema deltadella circolazionecircolazione di prodottiprodotti finitifiniti ee didi matrici matrici tra tra le le vanevarie colonie,colonie, cheche sisi presentapresenta assaiassai complesso complesso ee per per ora ora difficilmente difficilmente definibile. Solo la pubblicazionepubblicazione quantoquanto phi più possibile possibile estesa estesa del del materiale materiale inedito proveniente dai vari sitisiti potràpotrà inin futurofuturo permetterepermettere didi delineare delineare le le linee di diffusionediffusione deidei prodottiprodotti ee lele reciproche reciproche interferenze. interferenze. InIn questo questo senso ilit volume che qui sisi presentapresenta offreoffre un'importanteun'importante documentazione documentazione e e non si pubpuò quindiquindi cheche apprezzareapprezzare itil fatto cheche l'Ermal'Erma didi Bretschneider Bretschneider abbia ora accoltoaccolto questoquesto lavorolavoro nell'importantenell'importante collanacollana deglidegli Studia Ar-Ar- chaeologìca.chaeologica. Non è miomio compitocompito anticipareanticipare le le linee linee delta della ri ricerca cerca che che sono sono agilmente agilmente indicate dall'Autrice nelnet capitolo introduttivo, ma p0550posso sottolineare l'inte-l'inte- resse dei risultatirisultati conseguiticonseguiti nell'individuazionenell'individuazione dei diversidiversi tipitipi localilocali ee anche delle loro relazioni ee dipendenze,dipendenze, nonchénonché segnalare, segnalare, come come particolar- particolar- mente utili, lele duedue appendiciappendici che che contengono contengono rispettivamente rispettivamente un un catalogo catalogo topografico dei contesti e depositidepositi oggioggi notinoti inin SiciliaSicilia ee alcune alcune riflessioni riflessioni sul significatosignificato religiosoreligioso didi questaquesta singolaresingolare classe classe di di oggetti. oggetti. Colgo l'occasione perper segnalare anche, deltadella stessa Autrice, tolo studio, in corsocorso didi pubblicazionepubblicazione su Xenia, 18 che prendeprende inin esarneesame lele protomi protomi fittili ritrovate in unun altroaltro sitosito delta della Sicilia Sicilia greca, greca, Naxos,Naxos, e e contribuisce contribuisce ad ad approfondire ilit discorso su questoquesto particolareparticolare tipotipo di di ex-voto. ex-voto. IiIl librolibro èè dedicatodedicato aa DorothyDorothy BurrBurr Thompson,Thompson, unauna delledelle figurefigure phipiù eminenti dell'archeologia americana deldel dopoguerra,dopoguerra, perper anni anni protagoni- protagoni- sta, a fiancofianco deldel maritomarito HomerHomer Thompson,Thompson, didi quello quello straordinario straordinario campo campo di scavi e di studistudi cheche èè statastata perper phi più di di una una generazione generazione l'Agorà l'Agorà di di Atene. Atene. A DorothyDorothy BurrBurr ThompsonThompson sisi devonodevono alcunialcuni studi studi fondamentali fondamentali sulla sulla coroplastica greca ellenistica, ma anche un patrimoniopatrimonio didi cultura cultura e e metodo metodo nella ricerca, trasmesso ad un foltofolto gruppogruppo didi allievi,allievi, tratra cui cui l'Autrice, l'Autrice, mama anche altri operantioperanti in Sicilia,Sicilia, comecome M.M. BellBell atal quale siSi deve itil primo volume degli scavi di Morgantina, recentemente uscito, riguardante appun-appun- to ilit materiale coroplasticocoroplastico didi quelquel centro.centro. A J. Uhlenbrock, cheche oggioggi insegnainsegna alat Department ofof ArtArt HistoryHistory deltadella State University ofof New York, per questaquesta opera,opera, fruttofrutto didi unun lungo, lungo, appassionato impegno, auguriamoauguriamo ogniogni successo.successo.
PAOLAPaola PELAGATTIPelagatti ir116 PREFACE
This studystudy ofof thethe terracottaterracotta protomaiprotomai from from Gela Gela ultimately ultimately developed developed out of aa seminarseminar reportreport onon thethe East East Greek Greek protomai protomai from from Delos Delos prepared prepared by me for Prof.Prof. JamesJames McCredieMcCredie atat thethe InstituteInstitute of of Fine Fine Arts, Arts, New New York York University; thisthis later became thethe basis for my Master of Arts thesis, The Archaic, Votive,Votive, Terracotta Protomai ofof RhodianRhodian StyleStyle from Delos,Delos, present- ed to NewNew YorkYork UniversityUniversity inin April 1966. Prof. Günter KopckeKopeke encour-encour- aged me to continuecontinue andand expandexpand thisthis subjectsubject forfor a a doctoral doctoral dissertation, dissertation, which was completedcompleted and presentedpresented to thethe InstituteInstitute ofof FineFine Arts,Arts, NewNew York University inin February 1978, under the title, The ProtomaiProtomai fromfrom Gela: History, Chronology,Chronology, Style. This present studystudy isis aa completecomplete revisionrevision of that dissertation.dissertation. II amam gratefulgrateful forfor thethe opportunityopportunity toto correct correct the the many many errors and omissions,omissions, bothboth typographicaltypographical and otherwise,otherwise, thatthat areare toto be be found inin thatthat work.work. The materialmaterial forfor thisthis studystudy waswas largelylargely researchedresearched duringduring fivefive sum-sum- mers and oneone sabbaticalsabbatical yearyear spentspent abroad.abroad. DuringDuring thisthis timetime II waswas al- al- lowed accessaccess toto collectionscollections inin Italy,Italy, Greece,Greece, Turkey,Turkey, Switzerland,Switzerland, France France and England.England. InIn SicilySicily II waswas ableable toto makemake use use of of all all the the resources resources availa- availa- ble at thethe NationalNational MuseumMuseum atat SyracuseSyracuse andand forfor thisthis II oweowe a a special special debt debt of gratitude to thethe staffstaff therethere andand especiallyespecially toto Dr.Dr. PaolaPaola Pelagatti, Pelagatti, thenthen Superintendent of Antiquities for EasternEastern Sicily,Sicily, andand toto thethe presentpresent Super- Super- intendent, Dr. GiuseppeGiuseppe Voza. It waswas Dr.Dr. PelagattiPelagatti whowho urgedurged meme toto publish thisthis study.study. II wouldwould alsoalso likelike toto thankthank Prof. Prof. Ernesto Ernesto De De Miro, Miro, then then Superintendent ofof AntiquitiesAntiquities forfor AgrigentoAgrigento andand Caltanisetta,Caltanisetta, forfor his his kind kind permission to examine the protomai from GelaGela andand thethe GeloanGeloan hinterlandhinterland now housedhoused inin thethe Regional Regional ArchaeologicalArchaeological MuseumMuseum atat Gela,Gela, andand the the protomai from Agrigento andand its environsenvirons nownow storedstored inin the the Regional Regional Archaeological Museum at Agrigento.Agrigento. Prof.Prof. GiovanniGiovanni RizzaRizza granted granted me me access to the materialmaterial fromfrom thethe SanSan FrancescoFrancesco depositdeposit nownow storedstored inin the the Castello Ursino at Catania,Catania, andand toto thethe protomaiprotomai from from Lentini. Lentini. In In addition, addition, many others facilitated mymy work inin thethe fieldfield duringduring the the summers summers of of 1972-1976, and the academic yearyear 1986-87. They were, Dr. FaustoFausto Gne-Gne-
17 sotto, Dr. Domenico Pancucci, SuperintendencySuperintendency forfor AgrigentoAgrigento andand Caltani-Caltani- setta; Dr. ElenaElena Fiorentini,Fiorentini, RegionalRegional ArchaeologicalArchaeological Museum,Museum, Gela;Gela; Dr.Dr. Enrico Procelli, University of Catania, Institute ofof Archaeology;Archaeology; Dr.Dr. Giu-Giu- seppe Navarra, Licata; Prof. Ernst Berger, Antikenmuseum andand Mr. Her- bert Kahn, MünzenMünzen andand MedallienMedallien AG,AG, Basel;Basel; MadameMadame SimoneSimone Mollard-Mollard- Besques, Louvre Museum, Paris; Dr.Dr. MichaelMichael Vickers,Vickers, AshmoleanAshmolean Mus-Mus- eum, Oxford; Prof.Prof. CorneliusCornelius Vermeule,Vermeule, MuseumMuseum ofof FineFine Arts,Arts, Boston;Boston; Prof. Dietrich von Bothmer, the MetropolitanMetropolitan MuseumMuseum ofof Art,Art, NewNew YorkYork City. In addition,addition, II wouldwould likelike toto thankthank thosethose whowho offered offered manymany hourshours ofof advice, guidence, and criticism:criticism: Prof.Prof. GünterGünter KopckeKopeke andand Prof.Prof. Evelyn Evelyn Harrison, InstituteInstitute ofof FineFine Arts,Arts, NewNew York York University; University; Prof.Prof. Brunhilde Brunhilde S. S. Ridgeway, Bryn Mawr College; Prof. MalcolmMalcolm Bell,Bell, UniversityUniversity ofof Virgin-Virgin- ia, Prof.Prof. JohnJohn Pedley,Pedley, UniversityUniversity ofof Michigan;Michigan; Prof.Prof. FrancisFrancis Croissant,Croissant, University of Nancy; Prof. John Boardman, OxfordOxford University;University; Prof.Prof. Tru-Tra- de Dothan, HebrewHebrew University;University; Prof.Prof. Marcella Marcella Barra Barra Bagnasco, Bagnasco, University University of Torino; Prof.Prof. ClemensClemens Krause,Krause, UniversityUniversity ofof Fribourg;Fribourg; Dr.Dr. Umberto Umberto Spigo, Soprintendency ofof CulturalCultural Properties for Messina; Elsbeth Wieder- kehr, Zurich;Zürich; Dr.Dr. AnnaAnna MariaMaria Manenti,Manenti, InstituteInstitute of of Archaeology, Archaeology, Universi-Universi- ty ofof Catania;Catania; MartineMartine DeWailley,DeWailley, Rome;Rome; andand especiallyespecially toto Prof.Prof. PieroPiero Orlandini, Università degli Studi, Milan. OneOne personperson inin particular particular was was always ready to listen, lend support, andand provideprovide criticism,criticism, eveneven whenwhen of of a a non scholarly nature. I considerconsider myself privileged toto have had the encour- agement through the years of Dorothy Burr Thompson, Institute forfor Advan-Advan- ced Studies, Princeton.Princeton. Finally, I would likelike toto acknowledgeacknowledge thethe supportsupport offered offered by by Nanneke, Nanneke, Venanzio, Paolo,Paolo, andand thethe NumoNumo family,family, withoutwithout whichwhich thisthis research research would have beenbeen muchmuch moremore tedious.tedious. Library facilities were provided byby thethe BibliotecaBiblioteca Orsi,Orsi, Syracuse;Syracuse; thethe American Academy in Rome;Rome; thethe AmericanAmerican SchoolSchool of of Classical Classical Studies, Studies, Athens; the StateState UniversityUniversity ofof NewNew York,York, NewNew Paltz; Paltz; Vassar Vassar College, College, Poughkeepsie, andand the InstituteInstitute ofof FineFine Arts,Arts, NewNew York York University. University. This This research was sponsoredsponsored in partpart byby the the Samuel. Samuel Kress-Kress Foundation,Foundation, thethe National Endowment forfor thethe Humanities,Humanities, thethe State State ofof New New York York Research Research Foundation, the CollegeCollege at NewNew PaltzPaltz ResearchResearch Foundation,Foundation, thethe UnitedUnited University Professions, and my parents.
RomeRome 19871987
18 INTRODUCTION
The terracottaterracotta maskmask protomeprotome enteredentered thethe repertoirerepertoire ofof thethe Greek Greek coroplasts of the EastEast spontaneouslyspontaneously sometimesometime towardtoward thethe middle middle of of the the sixth century B. C. ByBy thethe closingclosing yearsyears ofof thatthat samesame centurycentury itit had had become a standardstandard votivevotive inin sanctuariessanctuaries throughoutthroughout thethe GreekGreek world, world, from the shoresshores ofof thethe BlackBlack SeaSea toto thethe coastscoasts ofof SicilySicily . ShortlyShortly thereaf- thereaf- ter, thethe popularitypopularity of this typetype came to anan endend and,and, exceptexcept forfor aa ratherrather limited production at a fewfew sitessites 2, the maskmask protomeprotome disappeareddisappeared fromfrom Greek contexts as suddenlysuddenly andand asas mysteriouslymysteriously asas itit had had arrived. arrived. The term, mask protome 3,, forfor thethe purposespurposes ofof thisthis study,study, refersrefers toto aa mould-made, terracotta type that representsrepresents thethe frontfront halfhalf of of a a female female head head and neckneck modelledmodelled inin thethe form form of of a asemi-circular semi-circular sheath, sheath, straight-sided, straight-sided, rounded at thethe top,top, andand truncatedtruncated justjust belowbelow thethe neck neck (P1. (PI. 36b)36b) 4'. . TheThe type isis exclusiveexclusive to thethe terracottaterracotta idiom,idiom, and,and, duringduring the the sixth sixth century, century, with rare exceptions,exceptions, restricted to female representationsrepresentations 5. TheThe mostmost char-char- acteristic examples portrayportray a womanwoman withwith anan egyptianizing egyptianizing veil,veil, large large disk earrings,earrings, andand aa stephane. Stephane. Morphologically Morphologically and and iconographically iconographically the the
1 Cf. Croissant,CROISSANT, Protomés, p.p. 13 ff., for aa distributiondistribution ofof protomaiprotomai aroundaround thethe Aegean basin; BarraBARRA BAGNASCO,Bagnasco, Protomi, p. 144,144, for southern Italy;Italy; infra,infra, AppendixAppendix I I for Sicily; Picard,PICARD, Karthago, XIII (1965-1966),(1955-1966), p. 26 ff., for Punic sites; Stern,STERN, Pales- tine Exploration Quarterly, 1976,1976, p. 115 ff., for Israel; infra, Appendix II,II, n.n. 17 for protomai fromfrom elsewhere.elsewhere. 2 2 Cf. Croissant,CROISSANT, op.Op. cit., p1.pl. 135:223,135:223, dated, p. 342, to thethe middlemiddle of.theof.the fifth fifth century. 3 Liddel/Scott,LIDDEL/SCOTT, Greek EnglishEnglish Lexicon,Lexicon, s.v. s.v. -rcpoTop.f| ipo-rou «<< the the foremost foremost or upperupper part ofof anything;anything; aa bust bust or or half half figure figure >>. ». TheThe wordword protomeprotome is is prevalent prevalent in in English English language scholarship; more common otherwise are thethe termsterms 'mask''mask' oror 'bust', 'bust', even even though the protome is properly none of these.these. Cf. Zuntz,ZUNTZ, Persephone, p.p. 143; Crois-CROIS- SANT,sant, op. cit., p. 2.2. 4 Gela 15852, Orlandini,ORLANDINI, «<
19 type is unique; itit bearsbears littlelittle relationshiprelationship toto anyany other other sculptural sculptural form form in in any material in thethe ArchaicArchaic PeriodPeriod 6 . The protome found aa particularlyparticularly welcomewelcome receptionreception atat thethe ateliersateliers ofof the Greek coroplastscoroplasts of Sicily.Sicily. It waswas thethe mainmain votivevotive atat most most of of the the sixth sixth century Hellenic sanctuary depositsdeposits7 ',, appearingappearing atat some some sites sites literally literally by by the thousands 8. It was apparentapparent toto thisthis authorauthor that that a a stylistic stylistic examination examination of these SicilianSicilian protomaiprotomai mightmight resultresult inin some some clarification clarification ofof the the hazy hazy picture of thethe historyhistory ofof sculpturalsculptural stylestyle inin thethe latelate Archaic Archaic Period Period inin Sicily. The accessibilityaccessibility ofof the protomaiprotomai fromfrom allall thethe ArchaicArchaic sitessites therethere facilitated a comparativecomparative study withwith thethe resultresult that that certain certain types, types, fabric, fabric, and techniques couldcould bebe attributedattributed toto specific specific manufacturingmanufacturing centers.centers. Al-Al- though inin somesome casescases itit waswas obviousobvious thatthat types types were were shared shared by by the the ateliers ateliers of different cities, a number ofof productionproduction centerscenters alsoalso developeddeveloped aa coro-coro- plastic repertoire thatthat remainedremained markedly markedly local, local, Gela, Gela, Selinus, Selinus, Agrigento, Agrigento, Francavilla di Sicilia,Sicilia, Naxos, perhaps Himera,Himera, andand an an as as yet yet undetermined undetermined East SicilianSicilian center,center, possiblypossibly Catania.Catania. NoNo doubt,doubt, future future excavations excavations will will uncover stillstill otherother importantimportant centers. centers. Among the protomai from thesethese centers,centers, thosethose fromfrom GelaGela appearedappeared toto warrant particularparticular attentionattention forfor severalseveral reasons.reasons. ManyMany ofof these these protomaiprotomai are closeclose toto life-sizelife-size andand are are excellently excellently preserved, preserved, characteristics characteristics thatthat encourage stylistic analyses; this is notnot oftenoften thethe casecase withwith protomai pro tomai from from other sites. InIn thethe developmentdevelopment ofof thethe typologytypology forfor thethe protomai protomai thethe coroplast was remarkably resistantresistant toto influencesinfluences fromfrom elsewhereelsewhere inin Sicily. Sicily. With veryvery fewfew exceptionsexceptions thisthis typologytypology is limitedlimited toto GelaGela and and Geloan Geloan dominated sites to thethe extentextent thatthat somesome largelarge andand handsome handsome protomai protomai formerly attributedattributed toto Selinus can now bebe recognizedrecognized as GeloanGeloan .9 .
6 For a bronze protome similarsimilar toto laterlater SicilianSicilian examplesexamples inin morphologymorphology butbut not not in in iconography, cf.cf. Sieveking,SIEVEKING, Festschrift Loeb, p. 91 ff., pl. XII, figs.figs. pp. 92-93;92-93; for another, less related example, also in bronze,bronze, cf.cf. Wace,WACE, BSA 15 (1908), p.P. 148,148, fig. 13:17. 7 Cfr. infra, Appendix I forfor thethe distributiondistribution ofof protomai protomai in in Sicily. Sicily. 8 Over three thousand havehave beenbeen recoveredrecovered fromfrom Selinus.Selinus. II oweowe this this information information to Elsbeth Wiederkehr, who isis preparingpreparing thisthis materialmaterial forfor a a study study for for the the University University of of Zürich.Zurich. It appearedappeared toto thisthis writerwriter thatthat from from a acursory cursory view view of of the the ensemble ensemble from from the the Piazza San Francesco at Catania, cf. Rizza,RIzzA, Boll. d'Arte XLV (1960), p. 247 ff., more than two thousandthousand protomaiprotomai werewere found.found. OverOver a a thousand thousand have have been been excavated excavated from from the various Geloan contexts, cf., infra, p. 117 ff. An interesting exceptionexception toto thesethese large large numbers is the situationsituation atat Himera,Himera, wherewhere only only a afew few examples examples have have been been recovered recovered from several different contexts, cf. Allegro,ALLEGRO, Quaderno Imerese I (1972),(1972), p. 27 ff. 9 MollardMOLLARD Besques,BESOUES, Cat. raisonnèraisonne I, B 563, said to come from Selinus, and Mün- zen und MedallienMedaillen Sonderliste E (1962),(1962), no. 81.
20 In addition,addition, thethe corpuscorpus ofof GeloanGeloan protomaiprotomai asas a awhole, whole, comprising comprising some fifty-three separate types, exhibits aa stylisticstylistic coherencecoherence andand highhigh degree of refinement that isis outstanding,outstanding, ifif not not unprecedented, unprecedented, among among the the sixth century terracottas from Sicily.Sicily. This coherencecoherence results fromfrom aa consis-consis- tent attitude onon thethe partpart ofof the the coroplast coroplast toward toward the the construction construction of of forms forms and towardtoward thethe elaborationelaboration ofof surfaces. surfaces. ItIt is is supported supported by by refinements refinements in in production technique that areare particularlyparticularly evidentevident whenwhen oneone isis handlinghandling these well-fired, well-cast protomai withwith wallswalls thatthat are are frequently frequently egg-shell egg-shell thin, with carefullycarefully wipedwiped andand trimmedtrimmed surfaces,surfaces, andand with with strikingly strikingly fresh fresh casts. Finally, and most importantly, thethe GeloanGeloan typology typology isis completelycompletely repre-repre- sented in two stratigraphicalstratigraphical contextscontexts at GelaGela thatthat provideprovide excellentexcellent chron-chron- ological datadata forfor both anan upperupper andand lowerlower terminusterminus forfor itsits develop- develop- ment 10°.. AsAs aa result,result, wewe can can say say with with confidence confidence that that the the earliest earliest types types cannot pre-date ca. 540, andand thethe latestlatest post-datepost-date ca.ca. 490.490. Presently,Presently, nono other sitesite inin SicilySicily providesprovides stratigraphicalstratigraphical evidenceevidence forfor locallocal production. production. Thus aa studystudy ofof thesethese protomaiprotomai presentspresents thethe researcher researcher withwith the the felicitous felicitous coincidence of wealth of material, first-ratefirst-rate quality, excellentexcellent state ofof pre-pre- servation, andand fixedfixed chronologicalchronological points.points. The protomai fromfrom GelaGela willwill serve,serve, therefore,therefore, asas thethe basis basis for for a astudy study of coroplastic style and taste in thethe latelate ArchaicArchaic PeriodPeriod inin Sicily.Sicily. ThisThis isis aa topic that has notnot yetyet beenbeen fullyfully examinedexamined andand oneone thatthat isis notnot yet yet fully fully understood. The point ofof viewview isis heldheld byby this this writer writer that that a acharacteristic characteristic aesthetic expression cancan be observedobserved withinwithin thethe local,local, coroplasticcoroplastic tradi-tradi- tion. This is a pointpoint of viewview contrary toto thethe opinionsopinions of of Arias Arias ", Hig- Hig- gins 12, Dunbabin 13, and Holloway 14. . It has longlong beenbeen recognizedrecognized thatthat ancientancient Sicily Sicily heldheld anan important important place place in thethe studystudy ofof mould-mademould-made terracottasterracottas I515. In aa fourfour volume,volume, comprehen-comprehen-
10 10 ForFor aa discussion of the stratigraphical evidence cf. below p. 38 ff.ff. 11 Problemi di Scultura Greca, p. 259, <<« Ma Ma sarebbe sarebbe errato errato credere,credere, anche qui, cheche sia possibile ricostruirericostruire unauna omogenea omogenea scuola scuola di di coroplasti coroplasti gelesi gelesi >>. ». 12 BMC I, p. 297. 13 p. 13 In The Western Greeks, p. 265, Dunbabin speaksspeaks ofof aa uniformuniform style style throughoutthroughout Sicily and SouthSouth Italy.Italy. 14 14 HOLLOWAY,Holloway, Influences and Styles, p. 6, does not recognize the validityvalidity ofof terra-terra- cotta sculpture asas anan indicatorindicator of of style. style. 15 15 ForFor the bibliography before 1900: The earliestearliest studystudy waswas conductedconducted byby A. A. Torremuzza,TORnEMUZZA, Opuscoli didi autori siciliani 1-VIII,I-VIII, 1764, followed a centurycentury laterlater byby CAVALLARI,Cavallari, «Le <
21