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Introduction the Gravestone of Hegeso Introduction picture-frame, for both figures classical detail. Note that the sculptor partially overlap the piers, and were has not quite mastered some details: The gravestone of Hegeso (ca. 410- the seated figure of Hegeso to stand, the right breast appears in profile, 400 B.C.) is one of a series of tomb she would be taller than the with the left compressed and nearly markers (stelai) created in Athens in architrave. Hegeso sits at right on a frontal. Over the head she wears a the 6th-4th centuries B.C., with simple but accurately rendered thin, almost diaphanous veil draped occasional interruptions in Greek chair (klismos), a type which over her wavy hair; lower edges of manufacture due to war or civic later regained popularity in this veil are visible at shoulder level. legislation. In antiquity, as today, classicizing 18th and 19th c. When viewed from the side, it carved tombstones were expensive, reproductions in "empire" style. Her becomes clear how the sculptor and served as indicators of wealth feet rest on a small, ornate footstool. worked (see the way the nose is and status, in addition to Women in similar poses are common attached to the background): first, commemorating the dead. Because on contemporary white-ground oil the slab of marble is prepared flat, Greek society was patriarchal, public flasks (lekythoi) offered at tombs. Our and then the design is drawn in roles for women were bound by two carved figures presumably outline, probably in charcoal or social custom. Women, however, represent Hegeso as mistress with crushed iron oxide (miltos); then the were responsible for tending her servant or maid. The maid, left, sculptor carves away the background individual and family tombs, and wears an unusual long-sleeved leaving the design in relief like a women were appropriate subjects unbelted tunic (we do not know its cooked from a cookie-cutter. finally for representation in funerary art. ancient name), and offers with both the details are sculpted. The tombstone (stele) was found in hands a small (?jewelry) box with an the Kerameikos Cemetery, Athens, Interpretation open lid. Hegeso faces left and in 1870. National Archaeological extends both hands, one above the Museum, Athens. Inventory no. 3624. Like many grave stelai, the Hegeso other, with thumbs and forefingers relief presents problems of Pentelic marble. H. 1.56 m., W. 0.97 touching to grasp a fillet or piece of m (5 ft. 1 in. x 3 ft. 2 in.) interpretation. Is the maid making an jewelry (this must have been painted, offering at the grave or sculpted Description since no carved traces survive). image of her mistress, as some have Painted details may have enhanced argued, or do both figures inhabit the Two figures, mistress and servant, other parts of the stele as well, such realm of the dead? A third possibility are framed within a simple temple- as the sandal straps (only its sole is is that we, the spectators, are like facade (naiskos) consisting of carved). Hegeso's importance is supposed to recall the dead by upright piers supporting a shallow emphasized by the fact that she looking at a generic scene from daily pediment with plain palmette occupies 2/3 of the scene, and she life. The apparent reference to acroteria at the corners and peak; wears a complicated costume. Her jewelry or adornment (kosmos, from the name of the deceased woman, undergarment is an Ionic chiton with which we get our term "cosmetics") HEGESO PROXENO (Hegeso buttoned sleeves, but she wears a could even refer to the duty of a wife [daughter of] Proxenos), is inscribed short mantle over it, one hanging and mother to keep her belongings, on the architrave. This framework corner of which shows a teardrop- and her home, in good order serves as a backdrop rather than as a shaped dress-weight - a common (kosmein). Even the servant's presence underscores Hegeso's role General Bibliography on as good mistress. These ambiguities Women in Antiquity in interpretation are useful because Blundell, S. 1995. Women in Ancient Greece they help us reevaluate ancient - and (Cambridge). modern - attitudes toward gender. Kurtz, D. and J. Boardman, J. and D. 1971. Greek Burial Customs (Ithaca). For more information... Lewis, S. 2002. The Athenian Woman. An WILCOX Iconographic Handbook (London/New You can learn more about ancient York). women in CLSX 515 & 516: Pfisterer-Haas. 1989. Darstellung alter Frauen COLLECTION Gender & Sexuality in in der griechischen Kunst (Frankfurt). of Ancient Greece / Rome and Pomeroy, S.B. 1975. Goddesses, Whores, more about Greek tombstones in Wives and Slaves (New York). Classical Reeder, E.D. (ed.) 1995. Pandora.Women in CLSX 526/HA 526: GREEK Classical Greece (Princeton). Antiquities ARCHAEOLOGY & ART. Department of Classics Select Bibliography University of Kansas Benson, C. 1996. Recurring Figure-Types on Classical Attic Grave Stelai (Princeton Univ. PhD Diss.). Bieber, M. 1961. Sculpture of the Hellenistic Age, rev. ed. (New York) 9, fig. 3. Boardman, J. 1985. Greek Sculpture. The Classical Period (London) 184, fig. 151. Kaltsas, N. 2002. Sculpture in the National Archaeological Museum, Athens (Los Angeles) 156 no. 309 (with refs.), 157 fig. Reilly, J. 1989. "Many Brides: 'Mistress and Maid' on Athenian Lekythoi," Hesperia 58: Study Pamphlet #13 411-44. Ridgway, B.S. 1981. Fifth Century Styles in cast: Greek Sculpture (Princeton) 146-48, fig. 107. Ridgway, B.S. 1997. Fourth Century Styles in TOMB RELIEF OF Greek Sculpture (Princeton) 167, 324, pl. HEGESO 38. For more information about the Rolley, C. 1999. La Sculpture Grecque, 2. La Wilcox Collection and Department période classique (Paris) 169 fig. 153. of Classics, please visit our websites: Younger, J.G. 2002. "Women in Relief: 'Double Consciousness' in Classical Attic http://www.wilcox.ku.edu © Paul Rehak Tombstones," in N. Rabinowitz and L. http://www.classics.ku.edu January 2004 Auanger (eds.), Among Women (Austin) rev. 10.2016 167-210. .
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