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Anakreon, Perikles, Xanthippos Brunilde S

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Anakreon, Perikles, Xanthippos 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 1998 An Issue of Methodology: Anakreon, Perikles, Xanthippos 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. 1998. An Issue of Methodology: Anakreon, Perikles, Xanthippos. American Journal of Archaeology 102:717-738. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/7 For more information, please contact [email protected]. An Issue of Methodology: Anakreon, Perikles, Xanthippos BRUNILDE SISMONDO RIDGWAY Abstract of its Roman commissioner rather than reproducing Standard assumptions about the portrait of Anakreon a true fifth-century original.* known through works of the Roman period are here reviewed in light of all available evidence. Pausanias's A recent article by Emmanuel Voutiras' convinc- mention of a statue of the Ionic poet on the Athenian ingly argues against one of the most generally ac- Akropolis has led to extensive conjectures about Ana- cepted tenets of Greek portraiture: it reverses the kreon's to Perikles' and the relationship family message traditional sequence of Sokrates' portraits, claiming such a monument was meant to convey. The possibility the of B over A and under- is raised that the known portrait was created later than precedence Type Type ca. 440, and, more specifically, that the full-body rep- mining both its chronology and its standard attri- resentation now in Copenhagen served the requirements bution to Lysippos.2 In so doing, the author also re- * I would like to thank Mette Moltesen of the Ny Carls- Poulsen 1931 E Poulsen, "Iconographic Studies in berg Glyptotek and Despoina Tsiafakis of theJ. Paul Getty the Ny Carlsberg Glyptothek I. Ana- Museum for their courtesy in providing me with photo- creon," in From the Collectionof the Ny graphs of the pieces in their collections. I am indebted Carlsberg Glyptotek 1 (Copenhagen to Dr. Moltesen and Pia Guldager Bilde of Aarhus Uni- 1931) 1-15. versity for discussing the Copenhagen pieces with me, Price 1990 S.D. Price, "Anacreontic Vases Recon- both in the Ny Carlsberg Glyptotek and by letter. I am very sidered," GRBS 31 (1990) 133-75. grateful to Richard Hamilton, who has kindly read and Ridgway 1984 B.S. Ridgway, Roman Copiesof GreekSculp- commented on the philological part of a draft of this article ture: The Problem of the Originals (Ann and has provided much helpful bibliography. One anon- Arbor 1984). ymous AJA reviewer has saved me from an embarrassing Rosenmeyer PA. Rosenmeyer, ThePoetics oflmitation. mistake. All dates are B.C. unless otherwise specified. My 1992 Anacreon and the Anacreontic Tradition article had been fully written and submitted when Fred (Cambridge 1992). Kleiner alerted me to the announcement of a new book Schefold 1997 K. Schefold, Die Bildnisseder antiken Dich- by Krumeich (1997), which I was later able to read. Kru- ter, Redner und Denker2 (revised and meich makes many of the same points I made. I have enlarged; Basel 1997). now added reference to the relevant passages, pleased to Tiirr 1971 K.M. Tilrr, Eine Musengruppe hadrian- see that another scholar has reached some of the same ischer Zeit. Die sogennanten Thespiaden conclusions. (Berlin 1971). The following abbreviations are used throughout: Zanker 1995 P. Zanker, The Mask of Socrates. The Im- Bowra 1961 C.M. Bowra, GreekLyric Poetry2(Oxford age of theIntellectual in Antiquity(Sather 1961). Classical Lectures 59; Berkeley 1995). Campbell 1988 D.A. Campbell, GreekLyric II (Loeb Clas- 'E. Voutiras, "Sokrates in der Akademie: Die friiheste sical Library, Cambridge, Mass. 1988). bezeugte Philosophenstatue," AM 109 (1994) 133-61. Ac- D6rig 1977 J. D6rig, Onatas of Aegina (Monumenta cording to him, Type A is a manneristic derivation from graeca et romana 1, Leiden 1977). Type B, which in turn copies a statue made, on the author- Fuchs 1995 W. Fuchs, "In Search of Herodotus' Po- ity of Philodemos of Gadara (papyrus 1021) and his sources, seidon at the Isthmos," Thetis 2 (1995) by an otherwise unknown sculptor Butes. The anecdotal 73-78. attribution of a portrait of Sokrates to Lysippos probably H1lscher 1975 T. H1olscher, "Die Aufstellung des Peri- stemmed from the later desire to associate it with a fa- kles-Bildnisses und ihre Bedeutung," mous master (146 n. 59). The image was set up as a private WiirzJbbn.s. 1 (1975) 187-218. dedication to the Muses by Plato and his followers on the Johansen 1992 E Johansen, Catalogue. Greek Portraits. grounds of the Academy shortly after its founding in 387. Ny Carlsberg Glyptotek (Copenhagen 2 For the traditional position, see POG 1965, 109-19; 1992). Schefold 1997, 126-29 figs. 52a-b (Type A) and 174-77 figs. Krumeich 1997 R. Krumeich, Bildnisse griechischerHerr- 82-83 (Type B) with commentary and bibliography on scher und Staatsmdnner im 5. Jahrhun- 494-95 and 503-504, respectively. I had accepted the stan- dert v. Chr. (Munich 1997). dard interpretation in Greek Sculpture in the Art Museum, Neudecker 1988 R. Neudecker, Die Skulpturenausstattung Princeton University (Princeton 1994) 64-67, no. 19 (q.v. for romischerVillen in Italien (Mainz 1988). additional references), but cf. my more skeptical position POG 1965 G.M.A. Richter, ThePortraits of the Greeks in Fourth Century Styles in Greek Sculpture (Madison 1997) 1 (London 1965). 186-87 n. 33. 717 American Journal of Archaeology 102 (1998) 717-38 718 BRUNILDE SISMONDO RIDGWAY [AJA 102 minds us that even the most widely established with Perikles via the Parthenon, and on the assump- theories should be subject to periodic revision, in tion that Perikles himself commissioned the dedi- the light of new acquisitions or greater understand- cations. Other sculptors (Kolotes, Pythagoras) have ing of ancient practices, especially with regard to also been proposed for the Anakreon, on uncertain the role of the so-called Roman copies in the difficult grounds." field of classical portraiture. Although my comments On the basis of Pausaniasand Pliny,identifications and queries may not lead to a similarly plausible con- of extant Roman "copies"have also been attempted. clusion, I wish to raise here the issues connected with Perikles' portrait is attested through two inscribed another ancient image that has puzzled me for some herm busts and two heads that seem to copy the same time: that of the poet Anakreon. helmeted prototype; nothing ensures, however,that During his visit to the Athenian Akropolis, Pau- they reproduce Kresilas'sstatue, since Pliny does not sanias (1.25.1) saw a portrait of Xanthippos, father describe it and Plutarch (Per.3.2) comments that al- of Perikles, near one of Anakreon, in the most all artists portrayed the strategos in military (nk•,ciov) general area of the Parthenon. Perikles too, the pe- headgear, thus implying that many other images of riegete stated, had his image on the citadel, but else- him existed. Anakreon'sidentification also is based where (F'rTpoO(t);in fact he cited it again later on on an inscribed herm. A full-statue replica now in (1.28.2), close to the Propylaia, next to the Athena Copenhagen, which shows him standing and wear- Lemnia by Pheidias. Pausanias's wording has been ing only a chlaina, and seven additional heads de- noted, and the location of Perikles' statue, not to- pict the same type; two more herms carry the poet's gether with his father but near a dedication by Athe- name but are headless. It has been assumed that the nian klerouchs, has been considered indicative of original was the Akropolis statue seen by Pausanias, the statesman's desire to avoid dynastic implications although the periegete states only that Anakreon and symbolic of his expansionistic policy. Other in- appeared to be singing while drunk. Portraits of the ferences seem less convincing. The proximity of the poet mentioned by other ancient sources (one pre- Anakreon and the Xanthippos has been taken to sug- sumably on Teos, his birthplace: Theoc. Anth. Lyr. gest that the two men were friends, and one scholar Graec.9.599) are described as wearing different items has even visualized the sculptures as a group-the of clothing,and Tean coins attest to at least one seated Athenian listening to the poet singing. Because Pliny image. Finally,Xanthippos presents a more difficult (HN 34.74) mentioned that Kresilas made a statue problem, because stylistic grounds only can be ad- of"Olympian Perikles," the Cretan sculptor has been duced in support of each proposal. A presumed re- credited with the Akropolis image (although Pausa- semblance to the Anakreon has been argued for a nias does not name its master), and therefore, by ex- helmeted head in Berlin of which a battered replica tension, with those of the statesman's father and his is now in the J. Paul Getty Museum, but the case is "neighbor." Conversely, these latter have been given far from convincing; other suggestions are equally to Pheidias, on grounds of that master's relationship unprovable.4 3On the meaningful location of the Perikles, see Johansen 1992, 18-21, no. 1 (I.N.491; with full bibliography; H6lscher 1975, 192-93. For the thematic grouping of Ana- other references shall be given infra); Schefold 1997, 270-71 kreon and Xanthippos (one singing, the other listening), fig. 151 with commentary on 522. Nos. 2 and 3 (I.N. 2001, seeJ. Frel, GreekPortraits in theJ.
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