Rom und die Provinzen 411
cluding the results of the Surveys conducted during the years until (p. –), as well as the illustration of the edifice. Mostofthe chapters have been written by Katja Piesker, apartfrom the third and fourth by Joachim Ganzert, the seventh and tenth by other contributors. The first chapter (p. –)after ashort terminology section proceeds on discussing in brief the preliminary campaigns and test trenches conducted between and .There is an interesting part (p. –)where scaenae frontes from various Romantheatres (Aspen- dos, Termessos, Aizanoi, Perge, Side, Hierapolis, Nysa, Aphrodisias, Stratonikeia)are presented and dis- cussed as counterparts assistingthe researchteam re- construct the Patara facade. The second chapter (p. –)evolves around the historical and topographical presentation of the city of Patara through ancient sources, coinsand inscriptions. The second part of this chapter refers to the previous scientific researchinthe city and the monument that was firstly launched in the nineteenth century with CharlesCockerell, varioustravellers, and the Society of Dilettanti – the latter conducted expeditions during the years until publishing their results in vo- lumes (e. g. Society of Dilettanti [ed.], Antiquities of Ionia III [London ]). The author also discusses more recentresearchand publications of the twentieth century.This chapter is supplemented with watercolor paintings, engravingsand rare photographs that were of great help regarding the monument’sidentification and reconstruction. In the third chapter Ganzert (p. –)discusses the historical geography and topography of the city of Patara, so that the reader can fully understand the spe- cific conditions and topographical particularities of the region that influenced the city plan and its urban land- Katja Piesker and Joachim Ganzert, Patara II .Das scape as earlyasthe Hellenistic perioduntil the early Theater von Patara. Ergebnisse der Untersuchun- and the middle ByzantinePeriod. Within this frame- gen bis . With contributionsbyHelmut work, the construction of some of the major public Engelmann and Urs Peschlow.Beiträge zur Architek- monuments, like the bouleuterion and the theatre, is tur- und Kulturgeschichte, Leibniz Universität Han- discussed as aresult of theexisting geomorphological nover, Abteilung Bau- [und] Stadtbaugeschichte,Fa- conditions. kultät für Architekturund Landschaft, volume . In the fourth chapter (p. –)Ganzertintro- Publisher Ege Yayınları,Istanbul . pages with duces the reader to the main part of the discussion, figures, tables, plans. that is the theatre buildingitself, starting with athor- ough description of thekoilon.This chapter is subdi- Thisvolume gathers the archaeological research con- vided into seven parts: the first (p. –)includes the ducted at the ancient theatre of Patara – modern Kele- preliminary descriptionofthe koilon,its orientation mis or Gelemis – in the region of Lycia in Southern and its construction in regard to its connection with Turkey between the years and and comes the stage building, the analemmata, the epitheatron, to fill asignificant void in the archaeological literature or the retaining walls. The second part (p. –)ex- regarding this building in specific and Lycian monu- amines thefirst construction phase includingthe con- ments in general. All previous publicationsare based struction of the eastern andwestern analemmata, the more or less on chapters in editedvolumes(e. g. diazomaand the kerkides, the enclosing wall. It is sup- D. De Bernardi Ferrero, Teatri classici in Asia Minore plemented by the third part (p. –)that presents II. Città di Pisidia, Licia eCaria[Rome ] –), the first repair phase that includedthe analemmata journal articles, conference papers, and others. and the buttressed corner towers, that is the points The book comprises an Introduction(I), fourteen where the koilon meets the retainingwalls. The fourth chapters (II–XV), aSummary (XVI), an Appendix in- part (p. –)examines the upper part of the koilon 412 Besprechungen following the sectors excavated (e. g. K /,K/,etc.) other powerful member of the Patarasociety, Quintus that include extrarows of seats and asmall Roman tem- Vilius Titianus,and his daughter Vilia Procula, also ple (naos). The following three parts (–,p.–) responsible for sponsoringthe monument’ssculptural refer to the repair phases and to the inscriptions un- assemblage. At this part, asmall referenceismade re- earthedduring the koilon excavations. garding thesculpture adorning the scaenae frons; it in- The fifth chapter(p. –)isall about the stage cluded imperial and private portraits – like benefac- building. It is divided into five parts, each examining tors, state officers, or actors – along with statues of aspecific part of the scene building from the architec- gods and personifications (p. –). However, the tonic point of view. The first part describes the main existence of such sculptureisonly testified by thein- buildingconsisting of two storeys(p. –), the sec- scribed statue bases, since no figures seem to have sur- ond examines the exterior facades (p. –), the vived – at least it is not made clear. third deals with the logeion (p.–), the fourth The discussion on the inscriptionsiscontinued in presents the scaenae frons (p. –). Eachpartends the eleventh chapter (p. –)dealing with the with areconstruction of the corresponding theatre main building inscriptions in relation to their contri- component, based on the preserved condition of the bution on clarifying the building’sconstruction history monument. and chronology.The gathered material is extremely The sixth chapter (p. –)deals with the thea- valuable since inscriptionsprovide all necessary details tre temple (naos)and its architectural members found on thebuilding itself and on its use as aplace of poli- either in situ or ex situ. These wereused by the exca- tical gathering. Furthermore, inscriptions provide in- vators in order to proceed to areconstruction of the formationonthe plays conducted thereaswell as theatre temple. This chapter reaches the temple from other kinds of use, like cultural or ritual ones. aclearly architectonic view,presenting the excavated The twelfth chapter(p. –)isdevoted to re- material, while the archaeological and historical discus- marks and observationsregarding the building techni- sion is reserved for the thirteenth chapter. ques, either already known, particular, or pioneering In the seventh chapter Urs Peschlow (p. –) ones. It also attempts to discern the different building discussesasignificant function of the specific theatre – workshops and architectonic schools that were en- its transformation into an arena, hosting spectacles gaged to the theatre’sconstruction, in comparison such as gladiatorial games and beast-hunts.Itissubdi- with other monumental edifices of the Asia Minor vided in five parts, the specially interesting third of provinces, like temples, fora, nymphaea, and arches. which (p. –)comments the existence of various Accounting for the above mentioned chapter, num- ludi scaenici and the conduction of the arenaspecta- ber thirteen (p. –)isone of the most important cles. It also describes relevant parts of the edifice, such sections of the volume. It discusses all parts of the Pa- as theprotectivewall that circulated the orchestra and tara edifice in comparisonwith other Asia Minor thea- was constructed of spolia, thetribunes intended for tres and odeia providing us with avery instructive the VIP spectators, the excavated architectural mem- overview of the theatre architecture in the Asia Minor bers that contributed to the reconstructionand dating provincesand the description of the buildingparts, of the monument. The chapter ends with abrief over- such as the analemmata, the logeion, the hyposcae- view of the arena phase, and aCatalogue of the un- nion, the scaenae frontes and the outerfacades. It also earthed material and reused blocks. provides us with information on the buildingmaterial The discussion is continued in the following eighth used and the decoration of the architectural members, chapter by Peschlow with the contributionofGanzert the edifice’sfunctionand chronology. An important (p. –)and concentratesonthe protectivewall part of this chapter is the discussion of the theatre that circulates the lower koilon. Two phases are recog- temple at the summacavea (p. –)incompari- nized and described; the first including the construc- son at first with the famousprototype, the Venus tem- tion of the tribunes, the second that of the platform. ple at the theatre of Pompey in Rome, and secondly The ninth chapter (p. –)briefly deals with with other examples in the Western provinces, as well the monument as awhole. as in the Greek and Asia Minor provinces. Equally im- In the tenth chapter Helmut Engelmann (p. –) portant is the fact that it discusses the Patara theatre studies the epigraphic material found during the exca- as an essential component of the urban net, placing it vations. It begins with thehonorary inscription re- within the city landscape and discussingits impor- cording that in the mid second century A. D. the city tance for the social, religious and political life of the authorities honoured the theatre’sgreat benefactor and local population. prominent member of the local Elite, Tiberius Clau- This discussion continues in the following chapter dius Flavianus Eudemus(p. no. )and his wife (p. –), this time concentratingonthe social Claudia Anassa (p. no. )for sponsoring large parts function of the Pataratheatre and its importance to of the edifice,with the erection of their portraits there. the city on grounds of the social, cultural and religious Amongthem the theatre temple – as deductedbyits events held there. It discusses the connection between building inscription (p. no. ). The stage building theatre and cult (p. f.) as detected through the on the other hand (p. no. )was financed by an- sculptural decoration (statues and reliefs) depicted at Rom und die Provinzen 413 stage facades, using as examples well known ones,like of statues – on the decoration of atheatre in use for that in Nysa on the Maeander, or its use for thecon- such along period of time. Instead, cues on such em- duction of the Imperial cult and other ritualproces- bellishmentsare spread in various chapters, without sions. This gives the opportunity to present issues giving the reader the opportunity to comprehend the such as the euergetism, that gives the benefactor the monument’ssculptural display program as awhole. impetus to promotehimself in the local society and to This part would need amore organized discussion and attract the emperor’sinterest; this way sponsorsgain presentation of the sculptural material, for instance, a various privileges,such as the erection of their honor- list of the depicted figures, their hypothetical place- ary portrait statues. Within this framework, the Patara ment at the monument, their connection to the local theatre is also presented not as an isolated monument, pantheon or local authorities,the reasons for not hav- but as apart of the city’smonumental landscape. ing been found. In the end, the fifteenthchapter (p. –)closes Apart from that, the thorough and insightful text the discussion on the Patara theatre presenting thefi- fully illuminates the specific monumentthat was initi- nal results and adiscussiononissues of Romanisation ally built in the Hellenistic period, was transformed and Hellenisation, and on other topics that attracted duringthe Roman age and remained in use until it the focus of the monument’sresearch. declined in the early Byzantine era. It contributes to Each chapterisexhaustingly supplementedwith ci- the study of theatrical architecture at the eastern Med- tations in the form of footnotes, providing the reader iterranean basin.Infact, it would not be an exaggera- not only with thenecessary but also with every extra tion if one commented that this volume standsout as bibliographic information and relevant literature re- amodel publication for theatre structures both in the garding the subject. All bibliography is provided in eastern provinces and in general. the form of abbreviations placedatthe frontofthe volume and presented in avery academically organized Salonica Georgia Aristodemou manner. It is followed by avaluable Glossary on thea- trical architecturalterms. The Bibliography is up-to- date and will be aremarkably usefulreference point for research either by students or by expert scholars and field archaeologists as well as architects specializ- ing on the theatresofthe eastern provinces of the Ro- man Empire. It is impressive how richly illustrated the book is, making the text and the monuments’ research easy to follow and comprehend. Adetailed collection of fig- ures is to be found throughout the text, while tables and plans are available at the end. ASummary (p. ) that providesall necessary information in brief and a very useful Index (p. )are found at the back. As awhole,the book is well integrated within cur- rent scholarship on ancient theatre architecture. The discussion is involved with issues presented by specia- lists and consists of well-developed and organized col- lective work, that is based both on architectural data (architectural remains) and archaeological evidence (in- scriptions and historical sources). This volumepre- sents facts and, at the sametime, it poses questions and proceedsoncomparisons, contributing to research not only by focusing on acertain monument, but also placing it within the framework of the Graeco-Roman theatres in the Asian provinces. One observation would refer to the absence of a specific and autonomouschapter devoted to thedis- cussion of the theatre’ssculptural decoration (either in the form of round or relief sculpture). It is well known how significantsculptural assemblages placed on scae- nae frontes were and how the monument’sdisplay programmes were used to project specific messages from and towards the audience and the local popula- tion. One would expectsuch adiscussion – especially since the excavated inscriptions provide such evidence