DOCSLIB.ORG

A Story of Five Amazons Brunilde S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Story of Five Amazons Brunilde S Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1974 A Story of Five Amazons Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1974. A Story of Five Amazons. American Journal of Archaeology 78:1-17. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/79 For more information, please contact [email protected]. A Story of Five Amazons* BRUNILDE SISMONDO RIDGWAY PLATES 1-4 THEANCIENT SOURCE dam a sua quisqueiudicassent. Haec est Polycliti, In a well-knownpassage of his book on bronze proximaab ea Phidiae, tertia Cresilae,quarta Cy- sculpturePliny tells us the story of a competition donis, quinta Phradmonis." among five artists for the statue of an Amazon This texthas been variously interpreted, emended, (Pliny NH 34.53): "Venereautem et in certamen and supplementedby trying to identifyeach statue laudatissimi,quamquam diversis aetatibusgeniti, mentionedby Pliny among the typesextant in our quoniamfecerunt Amazonas, quae cum in templo museums. It may thereforebe useful to review Dianae Ephesiaedicarentur, placuit eligi probatis- brieflythe basicpoints made by the passage,before simam ipsorum artificum, qui praesenteserant examining the sculpturalcandidates. iudicio,cum apparuitearn esse quam omnes secun- i) The Competition.The mention of a contest * The following works will be quoted in abbreviated form: von Bothmer D. von Bothmer, Amazons in Greek Arias, Policleto P. Arias, Policleto (Florence 1964) Art (Oxford 1957) Arias and Hirmer P. Arias and M. Hirmer, A Thousand In referring to illustrations of comparative monuments, Years of Greek Vase Painting (New only standard picture books have been used, with no attempt York 1962) to provide the best possible photograph or the most important Becatti G. Becatti, Problemi Fidiaci (Florence publication of the monument. Thus Bieber, Lippold and S. & S. 1951) are the most commonly given sources. In order to avoid ex- Becatti, Ninfe G. Becatti, Ninfe e Divinita Marine, cessive footnoting, documentation and references have often Ricerche Mitologiche iconografiche e been condensed, so that when several statues or several authors stilistiche, Studi Miscellanei no. 17 are mentioned, only one footnote at the end of the paragraph (Rome 1971) will provide the bibliographicalsupport. Bieber M. Bieber, The Sculpture of the Hel- The Amazon types have been referred to as follows: lenistic Age (2nd rev. ed., New York D-P Amazon = Villa Doria Pamphili Amazon; Capitoline 1961) Amazon type = also known as Sosikles' Amazon because the Furtwiingler A. Furtwlingler, Meisterwerke dec copy in the Capitoline Museum is signed by Sosikles; Ephesos (or, F., Meisterwerke) griechischen Plastik (Berlin 1893) (Ephesos pier) Amazon = the newly established "fifth" type Helbig4 various authors, writing entries for W. known through the high relief figure decorating one of the Helbig, Fiihrer durch die offentlichen piers of the Roman theater at Ephesos; Mattei Amazon type = Sammlungen klassischer Altertiimer in after the replica in the Vatican; Lansdowne Amazon type Rom, 4th edition; vol. I (nos. I-Ii6o) - variously called the "Sciarra"type after the copy in Copen- 1963; vol. 2 (nos. 161-2116) 1966; hagen, or the Berlin Type after the copy in Berlin; the Lans- vol. 3 (nos. 2117-2994) 1969. downe replica is in the Metropolitan Museum in New York, Johnson, Lysippos F. Johnson, Lysippos (Durham 1927) and it is published and illustrated fully in G. M. A. Richter, Lippold G. Lippold, Die griechische Plastik, Catalogue of Greek Sculpture in the Metropolitan Museum of in W. Otto, Handbuch der Archdologie Art (Cambridge, Mass. 1954) no. 37, pls. 34-36. 3:1 (Munich 1950) (Handbuch der The bibliography on the problem of the Ephesian Amazons Altertumswissenschaft Abt. 6) is extensive, and it has proved impossible to acknowledge the Lullies and Hirmer R. Lullies and M. Hirmer, Greek opinion of all the scholars who have written on the subject. Sculpture (New York I96o) Summaries of previous attributions as well as lists of replicas Michaelis A. Michaelis, "Die sogennanten ephesi- can be found in Michaelis, Becatti (ch. 13, pp. 185-199) and schen Amazonenstatues,"IJd I (1886) von Bothmer. 14-74. I am greatly indebted to Carol W. Carpenter for her draw- Poulsen V. Poulsen, Die Amazone des Kresi- ing of the five Amazons as they may have stood in Ephesos las, Opus Nobile I (Bremen 1957) (pl. 4, fig. 14). Her sketch is meant purely as a visual Richter, Archaeology G. M. A. Richter, "Pliny's Five Ama- aid to the reading of my text and makes no definitive claim zons," Archaeology 12 (1959) II1- as to the correct spacing of the statues and the rendering of "I5 individual details. Although in the drawing the Amazons have Severe Ridgway, Style B. S. Ridgway, The Severe Style in been conventionally rendered as if on a single base, nothing Greek Sculpture (Princeton 1970) prevents a more scattered arrangement of the statues in the S. & S. G. M. A. Richter, Sculpture and Sculp- proximity of the temple, perhaps within the perimeter of the tors of the Greeks (4th ed., New altar. Such a setting would probably avoid the monotony of Haven 1970) two figures, each leaning on a pier with the same elbow, but SQ J. Overbeck, Die antiken Schriftquel- it would not prevent a sequential alignment (from left to len zur Geschichteder bildende Kiinste right along a pi-shaped outline?) which may have prompted bei den Griechen (Leipzig I868) the order of winners in Pliny's anecdote. 2 BRUNILDE SISMONDO RIDGWAY [AJA 78 among ancient masters is not limited to this epi- bus geniti) but also for reinforcement (qui prae- sode. Pliny himself (NH 36.17) tells us that Alka- sentes erant iudicio). If, however, as we shall argue menes and Agorakritos competed for a statue of infra, Phradmon is a fourth century sculptor, the Aphrodite, which was apparently voted upon by possibility of contemporaneity collapses and with the citizens of Athens; another, but much later it the entire anecdote of the contest. source (the twelfth century Byzantine writer 2) The Artists. Aside from problems of chronol- = Tzetzes in his Chiliades 8.353 SQ 772) speaks ogy, the name of the fourth master mentioned by of a contest between Pheidias and Alkamenes, Pliny has given rise to skepticism, and the ancient where the former was pronounced victorious by his text has often been emended so as to avoid Kydon own compatriots. But all these episodes have a entirely and to eliminate the mention of a fifth strong anecdotal flavor and are open to doubt. In statue, shifting quarta to Phradmonis.' The grounds the case of the Ephesian Amazons in particular, for this emendation have usually been that Kydon Furtwangler, as early as 1893, had suggested that is otherwise unknown as a sculptor, that Pliny mis- the order of winners in Pliny simply corresponded took Kresilas' ethnic (from Kydonia in Crete) for to the alignment of the statues on their single base, the name of another person, and that the four types which had with time acquired an implication of of Amazons extant in our museums could be at- competition and prize; while D. von Bothmer has tributed to a fifth century monument. In recent more recently assumed that "Pliny's account ... years, however, G. M. A. Richter has defended the may well be an embroidered anecdote prompted original lectio of the text on the basis of a new by the presence of four statues of the same subject Amazonian type which was excavated in Ephesos in the same sanctuary by different artists."'A safer in 1898 but did not receive official publication until reference to a competition is given by the inscrip- sixty years later.5 Richter pointed out also that tion on the pedestal of Paionios' Nike at Olympia,2 Kydon, not attested as an ethnic, is well attested which mentions that the sculptor "won the com- as a proper name, and that therefore Pliny's in- mission to make the akroteria for the temple." One formation should be accepted in toto. This position may note however that akroteria are part of an is probably correct, regardless of the value of the architectural monument, and as such would re- whole passage. quire models and a public commission; nothing 3) The Statues. On the logical assumption that assures us that a single statue would be subject to the famous bronze originals would have been re- the same rules, or, specifically, that the city of produced in Roman copies, scholars have frequent- Ephesos officially commissioned the statue of an ly been tempted to "illustrate" Pliny's text with Amazon, though Pliny's passage has sometimes the sculptural types represented in modern col- been thus interpreted.3Furtwiingler (p. 289), who lections. Though lively disagreement still continues had discounted this possibility, thought in terms on the attributionsof the single types to the various of a wealthy private citizen, but in that case it is masters, the types themselves have been generally difficult to see why all five Amazons should be set established and accepted; they are usually known if one "won" and became the of the up only object as: the Lansdowne type (pl. I, fig. I), the Capi- dedication. Although evidence is insufficient either toline type (pl. i, fig. 2), the Mattei type (pl. i, to accept or to reject the idea of an ancient com- fig. 3) and the Villa Doria Pamphili Amazon petition, we may still stress the fact that Pliny (pl.
Load more

Recommended publications
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
    [Show full text]
  • Art 258: Ancient and Medieval Art Spring 2016 Sched#20203
    Art 258: Ancient and Medieval Art Spring 2016 Sched#20203 Dr. Woods: Office: Art 559; e-mail: [email protected] Office Hours: Monday and Friday 8:00-8:50 am Course Time and Location: MWF 10:00 – 10:50 HH221 Course Overview Art 258 is an introduction to western art from the earliest cave paintings through the age of Gothic Cathedrals. Sculpture, painting, architecture and crafts will be analyzed from an interdisciplinary perspective, for what they reveal about the religion, mythology, history, politics and social context of the periods in which they were created. Student Learning Outcomes Students will learn to recognize and identify all monuments on the syllabus, and to contextualize and interpret art as the product of specific historical, political, social and economic circumstances. Students will understand the general characteristics of each historical or stylistic period, and the differences and similarities between cultures and periods. The paper assignment will develop students’ skills in visual analysis, critical thinking and written communication. This is an Explorations course in the Humanities and Fine Arts. Completing this course will help you to do the following in greater depth: 1) analyze written, visual, or performed texts in the humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments; 2) describe various aesthetic and other value systems and the ways they are communicated across time and cultures; 3) identify issues in the humanities that have personal and global relevance; 4) demonstrate the ability to approach complex problems and ask complex questions drawing upon knowledge of the humanities. Course Materials Text: F.
    [Show full text]
  • Creating the Past: Roman Villa Sculptures
    ��������������������������������� Creating the Past: Roman Villa Sculptures Hadrian’s pool reflects his wide travels, from Egypt to Greece and Rome. Roman architects recreated old scenes, but they blended various elements and styles to create new worlds with complex links to ideal worlds. Romans didn’t want to live in the past, but they wanted to live with it. Why “creating” rather than “recreating” the past? Most Roman sculpture was based on Greek originals 100 years or more in the past, but these Roman copies, in their use & setting, created a view of the past as the Romans saw it. In towns, such as Pompeii, houses were small, with little room for large gardens (the normal place for statues), so sculpture was under life-size and highlighted. The wall frescoes at Pompeii or Boscoreale (as in the reconstructed room at the Met) show us what the buildings and the associated sculptures looked like. Villas, on the other hand, were more expansive, generally sited by the water and had statues, life-size or larger, scattered around the gardens. Pliny’s villas, as he describes them in his letters, show multiple buildings, seemingly haphazardly distributed, connected by porticoes. Three specific villas give an idea of the types the Villa of the Papyri near Herculaneum (1st c. AD), Tiberius’ villa at Sperlonga from early 1st century (described also in CHSSJ April 1988 lecture by Henry Bender), and Hadrian’s villa at Tivoli (2nd cent AD). The Villa of Papyri, small and self-contained, is still underground, its main finds having been reached by tunneling; the not very scientific excavation left much dispute about find-spots and the villa had seen upheaval from the earthquake of 69 as well as the Vesuvius eruption of 79.
    [Show full text]
  • A Hermes in Ephesian Silver Work Pateea from Bernay In
    A HERMES IN EPHESIAN SILVER WORK ON A S PATEEA FROM BERNAY IN FRANCE HERMES WITH THE INFANT DIONYSOS; BRONZE STATUETTE IN THE LOUVRE C. WALDSTEIN REPRINTED FKOM THE JOURNAL OF HELLENIC STUDIES 1882 A HERMES IN EPHESIAN SILVER WORK ON A PATERA FROM BERNAY IN FRANCE. UPON examining the rich coUection of silver vessels and statuettes discovered at Bernay in the Departement de I'Eure now in the Cabinet des M^dailles of the Bibliotheque Nationale at Paris, I came upon a silver patera (PI. XXIL) with an emblema in the centre, upon which, in most delicate repoussi work, is the figure of a youthful Hermes, nude, with a chlamys hanging over his left shoulder and do^wn by the side of bis arm, a cadueeus in his left band and a purse in bis right, in an attitude indicative of a slow walk, and with the bead turned upwards. The valuable discovery of this large collection of ancient silver' was made on the 21st of March, 1830. A Norman peasant named Prosper Taurin, while ploughing his field situated in the hamlet Le Villeret, Commune de Berthouville, Arrondisse- ment de Bemay, Departement de I'Eure, came upon an obstacle which, instead of simply avoiding as bis predecessors bad done, he resolved to examine. Borrowing a pick from a labourer he removed what appeared to hira to be a large pebble, but what in reality was a Roman tile. When this was removed he came upon over a hundred objects in silver which were deposited on some pieces of marl at a depth of six inches, weighing con­ siderably over 50 lbs.
    [Show full text]
  • The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
    THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans.
    [Show full text]
  • The Ideal of Lucretia in Augustan Latin Poetry
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-05-07 The Ideal of Lucretia in Augustan Latin Poetry Waters, Alison Waters, A. (2013). The Ideal of Lucretia in Augustan Latin Poetry (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28172 http://hdl.handle.net/11023/705 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Ideal of Lucretia in Augustan Latin Poetry by Alison Ferguson Waters A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF GREEK AND ROMAN STUDIES CALGARY, ALBERTA MAY 2013 © Alison Ferguson Waters 2013 ii Abstract This study concerns the figure of Lucretia as she is presented by the Roman historian Livy in the first book of Ab Urbe Condita, where she is intended as an example of virtue, particularly in terms of her attention to woolworking. To find evidence for this ideal and how it was regarded at the time, in this study a survey is made of woolworking references in the contemporary Augustan poets Vergil, Tibullus, Propertius and Ovid. Other extant versions of the Lucretia legend do not mention woolworking; Livy appears to have added Lucretia’s devotion to wool, a tradition in keeping with Augustan propaganda.
    [Show full text]
  • MYTHOLOGY MAY 2018 Detail of Copy After Arpino's Perseus and Andromeda
    HOMESCHOOL THIRD THURSDAYS MYTHOLOGY MAY 2018 Detail of Copy after Arpino's Perseus and Andromeda Workshop of Giuseppe Cesari (Italian), 1602-03. Oil on canvas. Bequest of John Ringling, 1936. Creature Creation Today, we challenge you to create your own mythological creature out of Crayola’s Model Magic! Open your packet of Model Magic and begin creating. If you need inspiration, take a look at the back of this sheet. MYTHOLOGICAL Try to incorporate basic features of animals – eyes, mouths, legs, etc.- while also combining part of CREATURES different creatures. Some works of art that we are featuring for Once you’ve finished sculpting, today’s Homeschool Third Thursday include come up with a unique name for creatures like the sea monster. Many of these your creature. Does your creature mythological creatures consist of various human have any special powers or and animal parts combined into a single creature- abilities? for example, a centaur has the body of a horse and the torso of a man. Other times the creatures come entirely from the imagination, like the sea monster shown above. Some of these creatures also have supernatural powers, some good and some evil. Mythological Creatures: Continued Greco-Roman mythology features many types of mythological creatures. Here are some ideas to get your project started! Sphinxes are wise, riddle- loving creatures with bodies of lions and heads of women. Greek hero Perseus rides a flying horse named Pegasus. Sphinx Centaurs are Greco- Pegasus Roman mythological creatures with torsos of men and legs of horses. Satyrs are creatures with the torsos of men and the legs of goats.
    [Show full text]
  • The Medici Aphrodite Angel D
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 A Hellenistic masterpiece: the Medici Aphrodite Angel D. Arvello Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Arvello, Angel D., "A Hellenistic masterpiece: the Medici Aphrodite" (2005). LSU Master's Theses. 2015. https://digitalcommons.lsu.edu/gradschool_theses/2015 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A HELLENISTIC MASTERPIECE: THE MEDICI APRHODITE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Angel D. Arvello B. A., Southeastern Louisiana University, 1996 May 2005 In Memory of Marcel “Butch” Romagosa, Jr. (10 December 1948 - 31 August 1998) ii ACKNOWLEDGMENTS I wish to acknowledge the support of my parents, Paul and Daisy Arvello, the love and support of my husband, Kevin Hunter, and the guidance and inspiration of Professor Patricia Lawrence in addition to access to numerous photographs of hers and her coin collection. I would also like to thank Doug Smith both for his extensive website which was invaluable in writing chapter four and for his permission to reproduce the coin in his private collection.
    [Show full text]
  • On April 20Th, Dr. Anja Slaw
    “How fast does a city recover from destruction? A new view of the creation of the Severe Style” On April 20th, Dr. Anja Slawisch, a research fellow at University of Cambridge, presented her careful reconsideration of the transition from Archaic period to Classical period in art, especially in sculpture. I will first give some historical background and conventional understanding of this transition, and then elaborate on her argument. Conventionally, the sack of Athens during the Persian War in 480 BCE spurred the artistic development from austere Archaic style (see statues of Kleobis and Biton below1) to the Severe Style (see Harmodius and Aristogeiton, the tyrannicides2), and hence marks the transition from Archaic period into Classical period in art. The most important feature that sets severe style apart from the Archaic is a more naturalistic depiction of the human anatomy. For statues of the tyrannicides, the human bodies were made as an organic system - their pelves shift according to their stances, as opposed to the awkward posture of Kleobis and Biton. In this widely-accepted narrative, the destruction of Athens, heavily influencing the psyche of Athenians, stimulated these stark changes and inventions in artistic style. As a consequence, 480 BCE became a reference point for archaeologists in dating these statues according to their features. Statues of Kleobis and Biton Harmodius and Aristogeiton 1 Statues of Kleobis and Biton (identified by inscriptions on the base) dedicated to Delphi by the city of Argos, signed by ​ [Poly?]medes of Argos. Marble, ca. 580 BC. H. 1.97 m (6 ft. 5 ½ in.), after restoration.
    [Show full text]
  • Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C. Seth G. Bernard University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Ancient History, Greek and Roman through Late Antiquity Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Bernard, Seth G., "Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C." (2012). Publicly Accessible Penn Dissertations. 492. https://repository.upenn.edu/edissertations/492 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/492 For more information, please contact [email protected]. Men at Work: Public Construction, Labor, and Society at Middle Republican Rome, 390-168 B.C. Abstract MEN AT WORK: PUBLIC CONSTRUCTION, LABOR, AND SOCIETY AT MID-REPUBLICAN ROME, 390-168 B.C. Seth G. Bernard C. Brian Rose, Supervisor of Dissertation This dissertation investigates how Rome organized and paid for the considerable amount of labor that went into the physical transformation of the Middle Republican city. In particular, it considers the role played by the cost of public construction in the socioeconomic history of the period, here defined as 390 to 168 B.C. During the Middle Republic period, Rome expanded its dominion first over Italy and then over the Mediterranean. As it developed into the political and economic capital of its world, the city itself went through transformative change, recognizable in a great deal of new public infrastructure.
    [Show full text]
  • Marsyas in the Garden?
    http://www.diva-portal.org This is the published version of a paper published in Opuscula: Annual of the Swedish Institutes at Athens and Rome. Citation for the original published paper (version of record): Habetzeder, J. (2010) Marsyas in the garden?: Small-scale sculptures referring to the Marsyas in the forum Opuscula: Annual of the Swedish Institutes at Athens and Rome, 3: 163-178 https://doi.org/10.30549/opathrom-03-07 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-274654 MARSYAS IN THE GARDEN? • JULIA HABETZEDER • 163 JULIA HABETZEDER Marsyas in the garden? Small-scale sculptures referring to the Marsyas in the forum Abstract antiquities bought in Rome in the eighteenth century by While studying a small-scale sculpture in the collections of the the Swedish king Gustav III. This collection belongs today Nationalmuseum in Stockholm, I noticed that it belongs to a pre- to the Nationalmuseum in Stockholm. It is currently being viously unrecognized sculpture type. The type depicts a paunchy, thoroughly published and a number of articles on the col- bearded satyr who stands with one arm raised. To my knowledge, four lection have previously appeared in Opuscula Romana and replicas exist. By means of stylistic comparison, they can be dated to 3 the late second to early third centuries AD. Due to their scale and ren- Opuscula. dering they are likely to have been freestanding decorative elements in A second reason why the sculpture type has not previ- Roman villas or gardens.
    [Show full text]
  • Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) P.105
    SHAPIRO, H. A., Amazons, Thracians, and Scythians , Greek, Roman and Byzantine Studies, 24:2 (1983:Summer) p.105 Amazons, Thracians, and Scythians H A. Shapiro HE AMAZONS offer a remarkable example of the lacunose and T fragmented state of ancient evidence for many Greek myths. For while we hear virtually nothing about them in extant litera­ ture before the mid-fifth century, they are depicted in art starting in the late eighth! and are extremely popular, especially in Attica, from the first half of the sixth. Thus all we know about the Greeks' con­ ception of the Amazons in the archaic period comes from visual rep­ resentations, not from written sources, and it would be hazardous to assume that various 'facts' and details supplied by later writers were familiar to the sixth-century Greek. The problem of locating the Amazons is a good case in point. Most scholars assume that Herakles' battle with the Amazons, so popular on Attic vases, took place at the Amazon city Themiskyra in Asia Minor, on the river Thermodon near the Black Sea, where most ancient writers place it.2 But the earliest of these is Apollodoros (2.5.9), and, as I shall argue, alternate traditions locating the Ama­ zons elsewhere may have been known to the archaic vase-painter and viewer. An encounter with Amazons figures among the exploits of three important Greek heroes, and each story entered the Attic vase­ painters' repertoire at a different time in the course of the sixth century. First came Herakles' battle to obtain the girdle of Hippolyte (although the prize itself is never shown), his ninth labor.
    [Show full text]