The Sculptor's Trade
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Epigraphic Bulletin for Greek Religion 1996
Kernos Revue internationale et pluridisciplinaire de religion grecque antique 12 | 1999 Varia Epigraphic Bulletin for Greek Religion 1996 Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou Electronic version URL: http://journals.openedition.org/kernos/724 DOI: 10.4000/kernos.724 ISSN: 2034-7871 Publisher Centre international d'étude de la religion grecque antique Printed version Date of publication: 1 January 1999 Number of pages: 207-292 ISSN: 0776-3824 Electronic reference Angelos Chaniotis, Joannis Mylonopoulos and Eftychia Stavrianopoulou, « Epigraphic Bulletin for Greek Religion 1996 », Kernos [Online], 12 | 1999, Online since 13 April 2011, connection on 15 September 2020. URL : http://journals.openedition.org/kernos/724 Kernos Kemos, 12 (1999), p. 207-292. Epigtoaphic Bulletin for Greek Religion 1996 (EBGR 1996) The ninth issue of the BEGR contains only part of the epigraphie harvest of 1996; unforeseen circumstances have prevented me and my collaborators from covering all the publications of 1996, but we hope to close the gaps next year. We have also made several additions to previous issues. In the past years the BEGR had often summarized publications which were not primarily of epigraphie nature, thus tending to expand into an unavoidably incomplete bibliography of Greek religion. From this issue on we return to the original scope of this bulletin, whieh is to provide information on new epigraphie finds, new interpretations of inscriptions, epigraphieal corpora, and studies based p;imarily on the epigraphie material. Only if we focus on these types of books and articles, will we be able to present the newpublications without delays and, hopefully, without too many omissions. -
Wonder, Space, and Place in Pausanias' Periegesis
Axion Theas: Wonder, Space, and Place in Pausanias’ Periegesis Hellados by Jody Ellyn Cundy A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Classics University of Toronto © Copyright by Jody Ellyn Cundy 2016 Axion Theas: Wonder, Space, and Place in Pausanias’ Periegesis Hellados Jody Ellyn Cundy Doctor of Philosophy Department of Classics University of Toronto 2016 Abstract The Periegesis Hellados presents a description of the sites and sights of Roman Greece in ten carefully constructed books. These books present the fruits of author’s extensive travels and careful textual research over the course of several decades (between the 130’s and ca. AD 175-80) and compiled into a unified composite itinerary. There is no doubt that Pausanias travels through an “already written landscape,” and his travel experience is necessarily informed by and sometimes clearly motivated by his literary encounters. This project investigates Pausanias’ engagement with literary antecedents, with a particular focus on the antiquarian impulse to excerpt and compile anecdotes in thematic catalogues, which broadly resemble wonder-texts (paradoxographies). The organizing principle of these thematic catalogues contrasts with the topographical (spatial) structure of the frame narrative of the Periegesis. In part, this study aims to resolve the perceived tension between the travel account and the antiquarian mode in Pausanias’ project in order to show that they serve complementary rather than competing ends. Resolution of these competing paradigms allows in turn for a more coherent understanding of the Periegesis as unified subject. This study argues that wonder (thauma) is a unifying theme ii of Periegesis Hellados. -
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. -
Focus on Greek Sculpture
Focus on Greek Sculpture Notes for teachers Greek sculpture at the Ashmolean • The classical world was full of large high quality statues of bronze and marble that honoured gods, heroes, rulers, military leaders and ordinary people. The Ashmolean’s cast collection, one of the best- preserved collections of casts of Greek and Roman sculpture in the UK, contains some 900 plaster casts of statues, reliefs and architectural sculptures. It is particularly strong in classical sculpture but also includes important Hellenistic and Roman material. Cast collections provided exemplary models for students in art academies to learn to draw and were used for teaching classical archaeology. • Many of the historical casts, some dating back to the eighteenth and nineteenth centuries, are in better condition than the acid rain-damaged originals from which they were moulded. They are exact plaster replicas made, with piece moulds that leave distinctive seams on the surface of the cast. • The thematic arrangement of the Cast Gallery presents the contexts in which statues were used in antiquity; sanctuaries, tombs and public spaces. Other galleries containing Greek sculpture, casts and ancient Greek objects Gallery 14: Cast Gallery Gallery 21: Greek and Roman Sculpture Gallery 16: The Greek World Gallery 7: Money Gallery 2: Crossing Cultures Gallery 14: Cast Gallery 1. Cast of early Greek kouros, Delphi, Greece, 2. Cast of ‘Peplos kore’, from Athenian Acropolis, c570BC c530BC The stocky, heavily muscled naked figure stands The young woman held an offering in her in the schematic ‘walking’ pose copied from outstretched left hand (missing) and wears an Egypt by early Greek sculptors, signifying motion unusual combination of clothes: a thin under- and life. -
The Riace Bronzes
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 The Riace bronzes: a comparative study in style and technique Jennifer Alaine Henrichs Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Henrichs, Jennifer Alaine, "The Riace bronzes: a comparative study in style and technique" (2005). LSU Master's Theses. 2355. https://digitalcommons.lsu.edu/gradschool_theses/2355 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]. THE RIACE BRONZES: A COMPARATIVE STUDY IN STYLE AND TECHNIQUE 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 Jennifer A. Henrichs B.A., University of West Florida-Pensacola, 2003 May 2005 To Cheryl and Gladys ii ACKNOWLEDGMENTS I would like to express my sincere appreciation to professors Dr. Patricia Lawrence, Dr. Darius Spieth, and H. Parrott Bacot for serving on my thesis committee. Their willing involvement and support has proven essential in both the research and writing of this paper. I am also grateful to my family and friends for their many words of advice and encouragement during the course of my graduate studies. -
Studies in Pausanias' Periegesis Akujärvi, Johanna
Researcher, Traveller, Narrator : Studies in Pausanias' Periegesis Akujärvi, Johanna 2005 Link to publication Citation for published version (APA): Akujärvi, J. (2005). Researcher, Traveller, Narrator : Studies in Pausanias' Periegesis. Almqvist & Wiksell International. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Studia Graeca et Latina Lundensia 12 Researcher, Traveller, Narrator Studies in Pausanias’ Periegesis Johanna Akujärvi Lund 2005 Almqvist & Wiksell International Stockholm/Sweden © 2005 Johanna Akujärvi Distributed by Almqvist & Wiksell International P.O. Box 7634 S-103 94 Stockholm Sweden Phone: + 46 8 790 38 00 Fax: + 46 8 790 38 05 E-mail: [email protected] ISSN 1100-7931 ISBN 91-22-02134-5 Printed in Sweden Media-Tryck, Lund University Lund 2005 To Daniel Acknowledgements There are a number of people to whom I wish to express my gratitude. -
Finding the Originals: a Study of the Roman Copies of the Tyrannicides
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Finding the originals: a study of the Roman copies of the Tyrannicides and the Amazon group Courtney Ann Rader 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 Rader, Courtney Ann, "Finding the originals: a study of the Roman copies of the Tyrannicides and the Amazon group" (2010). LSU Master's Theses. 3630. https://digitalcommons.lsu.edu/gradschool_theses/3630 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]. FINDING THE ORIGINALS: A STUDY OF THE ROMAN COPIES OF THE TYRANNICIDES AND THE AMAZON GROUP 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 Courtney Ann Rader B.A., Purdue University, 2008 May 2010 Acknowledgements First and foremost I would like to thank my parents for their love and constant support, and it was with their encouragement that I pursued this field. Thanks to my sister and brother for always listening. A special thanks goes to Dr. David Parrish for fueling my interest in Greek art and architecture. I would like to thank my committee members, Nick Camerlenghi and Steven Ross, for your thorough review and editing of my thesis. -
Pausanias: Travel and Memory in Roman Greece
Pausanias: Travel and Memory in Roman Greece SUSAN E. ALOCOCK JOHN F. CHERRY JAS ELSNER, Editors OXFORD UNIVERSITY PRESS Pausanias pausanias Travel and Memory in Roman Greece Edited by Susan E. Alcock, John F. Cherry, & Jas´Elsner 3 2001 1 Oxford New York Athens Auckland Bangkok Bogota´ Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Saˆo Paulo Shanghai Singapore Taipei Tokyo Warsaw and associated companies in Berlin Ibadan Copyright ᭧ 2001 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Pausanias : travel and memory in Roman Greece / edited by S.E. Alcock, J.F. Cherry & J. Elsner. p. cm. Includes bibliographical references and index. ISBN 0-19-512816-8 (cloth) 1. Pausanias. Description of Greece. 2. Greece—Description and travel—Early works to 1800. 3. Greece—Antiquities. 4. Greece—Historiography. I. Alcock, Susan E. II. Cherry, John F. III. Elsner, Jas´. DF27.P383 P38 2000 938'.09—dc21 00-022461 Frontispiece: Location of principal places mentioned in the book. 987654321 Printed in the United States of America on acid-free paper For Silvia, Britten, and Bax This page intentionally left blank Preface This volume is dedicated to the principle that Pausanias deserves more—and more ambitious—treatment than he tends to receive. -
A Roman Athena from the Pnyx and the Agora in Athens
HESPERIA 78 (2OO9) A ROMAN ATHENA Pages 481-499 FROM THE PNYX AND THE AGORA IN ATHENS ABSTRACT one on Two fragments of marble sculpture, found in late fill the Pnyx and the other in theAthenian Agora, join to form part of a large helmeted head, a probably from Roman statue ofAthena. Unusual, wavelike curls escaping from beneath the helmet suggest a date in the mid-1st century a.d. The a Pnyx/Agora statuemay have been commissioned inAthens during period of renewed interest in the Panathenaic festival by Athenians who saw the promotion of their city's religious traditions as a way of enhancing their own status and that of their city. Between 1931 and 1937, theAmerican School of Classical Studies exca at some vations the Pnyx in Athens turned up 31 sculpture fragments, a including many figurines, small group of unfinished marble pieces, and was excavators a what termed by the limestone "study piece."1 Almost all the items, ranging in date from Classical to Roman, were discovered in one an fills.2 Just fragmentary statuette, part of unfinished, draped male a more ca. figure, emerged from precisely dated area, Pnyx III, 340 b.c.3 But Rotroff and Camp have shown how extensive the intrusions of Ro man were area so material in this too, itmay not be possible to assign even a an this piece late-4th-century date.4 In addition to assortment of unrelated some fragments, marble votive pinakes from the Zeus Hypsistos Roman sanctuary?a development of the 1st century a.d., when the Pnyx no as a longer functioned site for civic meetings?were recovered.5 The 1. -
Theriomorphic Forms: Analyzing Terrestrial Animal- Human Hybrids in Ancient Greek Culture and Religion
Theriomorphic Forms: Analyzing Terrestrial Animal- Human Hybrids in Ancient Greek Culture and Religion Item Type text; Electronic Thesis Authors Carter, Caroline LynnLee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 21:29:46 Link to Item http://hdl.handle.net/10150/633185 THERIOMORPHIC FORMS: ANALYZING TERRESTRIAL ANIMAL-HUMAN HYBRIDS IN ANCIENT GREEK CULTURE AND RELIGION by Caroline Carter ____________________________ Copyright © Caroline Carter 2019 A Thesis Submitted to the Faculty of the DEPARTMENT OF RELIGIOUS STUDIES AND CLASSICS In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2019 THE UNIYERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master's Committee, we certi$ that we have read the thesis prepared by Caroline Carter titled Theriomorphic Forms: Analyzing Terrestrial Animal-Humøn Hybrids in Ancíent Greek Culture and Religion and reç¡¡ü¡sr6 that it be accepted as firlfilling the disse¡tation requirement for the Master's Degree. G Date: + 26 Z¿f T MaryV o 1.011 ,AtÌ.r.ln Date: \l 41 , Dr. David Gilman Romano - 4*--l -r Date; { zé l2 Dr. David Soren r) øate:4'2 6 - l\ Dr. Kyle Mahoney Final approval and acceptance of this thesis is contingent upon the candidate's submission of the final copies of the thesis to the Graduate College. -
The Setting of Greek Sculpture *
THE SETTING OF GREEK SCULPTURE* T WO articles by C. C. Vermeule' have recentlydiscussed the various ways in which the Romans displayed the many copies of Greek works which today fill our museums. Our knowledge of statuary arrangements, already enlightened by the excavation of Hadrian's Villa at Tivoli and of entire sites such as Pompeii and Herculaneum, constantly increases as more methodical and accurate research is carried out in many Asia Minor centers rich in sculpture, as for instance Aphrodisias and Side. But if we are reasonably well informed on Roman practices, the same cannot be said for Greek times despite the great wealth of ancient literary allusions to statuary. Greek originals are seldom found, and when they are, they are mostly out of context. Whatever evidence is available is often hidden in excavation reports with no specific reference to sculptural setting, and ancient sources are rarely detailed enough to allow safe speculation on location and arrangement. The problem becomes even more complex when Greek works are known only through later replicas of various provenience, which in some cases may even involve transposition from one medium to another or conversion into a different form of artistic expression (such as, for instance, a relief reproducing a composition originally in the round, or a sculp- tural group made after a famous painting). The present notes do not attempt to explore the subject with thoroughness but propose to set forth some suggestions as to the arrangements of Greek statuary in antiquity, emphasizing the difference in approach between the Classical and the Hellenistic periods. -
Inscriptions of the Peloponnesos'
INSCRIPTIONSOF THE PELOPONNESOS' (PLATES 49-52) A. HERMIONE J[NSCRIPTIONS1-5 are on the " Bisti " (Albanian, " tail "), the aKTq of Pau- sanias (II, 34, 9) which projects into the sea from the modern town. They are all in or near the second tower from the south of the Venetian wall which cuts across the promontory roughly halfway from the tip (see the plan, copied from A. Phila- delpheus, in Ath. Mitt., XXXVI, 1911, pl. I). Nos. 1, 2, 3, 4. Four dedications to Demeter Chthonia, spanning in all proba- bility four generations. Nos. 1, 2, and 4, large rectangular bases of limestone, placed lengthwise and forming the west face of the tower, can be seen on Plate 50 (Nos. 2, 4, and 1, from front to back). 1* (P1. 50). I.G., IV, 684 (S.E.G., XI, 1950, 379). Height, 0.32 m.; width, 0.76 m.; length, 2.20 m. For other details see W. Peek, " Griechische Inschriften," Ath. Mitt., LIX, 1934, pp. 46-7. This and the following inscription, known since Fourmont, were redis- covered by A. Philadelpheus (llpaKrtKa, 1909, p. 174); the upper surface has been completely uncovered since Peek republished the inscription. With Peek I underline those letters read by Fourmont but now lost. 'AptcrropE'vE avEOE [K] E 'AXEeta ra&ALacrpl rat XOoviaL hep,utovEvl AOpo0'oE EFepyac'TaO'ApyE2oT Noteworthy in the text of the dedication are the forms + for e in 'AXEt'a, and Y for x in XOovtat; the alphabetis that used in the Argolic Akte.2 The signature,in 1 These inscriptions were examined by my wife and me in the winter and spring of 1950 while we were members of the American School of Classical Studies at Athens.