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JdI 123, 2008 |
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For further information on this volume please look here.
Contents Ilse Kleemann About the Kouros, Athens, National Museum inv. no. 71, and Its Accompanying Fragments >> Domenico Esposito Philoxenos, the Cyclops, and Sextus Pompeius. Thematic Programs and Political ›Propaganda‹ in Houses of the Pompeian Aristocracy in the Late Republican Period >> Markus Trunk Studies on the Iconography of Pompeius Magnus – the Numismatic and Glyptic Sources >> Stephanie Böhm Enjoying the Wine Spring. A Dionysian Marble Relief in Herculaneum >> Murat Durukan – Serra Durugönül A Relief of the God Men from Tarsus >> Olga Palagia The Date and Iconography of the Calendar Frieze on the Little Metropolis, Athens >> Walter Trillmich, Hans Rupprecht Goette, Frank Beuthan, Patrizia Governale and Donato Attanasio The ›Togatus Vogel‹ in Berlin – Toga Statue and Portrait of Trajan >> Esther Sophia Sünderhauf »At the Fulcrum of German Archaeology« – Gerhart Rodenwaldt’s Activities during the Period of National Socialism Abstracts >> Abstracts
Ilse Kleemann, About the Kouros, Athens, National Museum inv. no. 71, and Its Accompanying Fragments Several years ago, the torso and head of the kouros from the Kerameikos, Athens, National Archaeological Museum inv. no. 71, were restored and supplemented with a plinth with feet still attached and some leg fragments, also excavated in the Kerameikos. This study re-examines this restoration by means of a careful analysis of the Archaic figural forms. This analysis demonstrates that the torso and its head typologically belong to a type of figures which turn in a simple movement to the left; the plinth with the feet, however, pertain to a type in which figures turn to the right and possess a position to the right on their respective bases. In addition, the leg fragments – the upper left leg and the lower right leg – cannot belong to the feet on the plinth, which take a longer stride, and the legs belonged to a larger figure. The formal analysis makes it clear that the torso and the fragments excavated with it actually belong to three, maybe even four, different kouroi, which also are not contemporary. A comparison of the Archaic compositional forms of the Kerameikos statue with those of several other kouroi indicates that the sculptor of NM 71 was an independant master, but was well aware of contemporary ›knowledge of figural composition‹. Keywords: Kouros – Archaic Sculpture – Athens, Kerameikos ▲ Domenico Esposito, Philoxenos, the Cyclops, and Sextus Pompeius. Thematic Programs and Political ›Propaganda‹ in Houses of the Pompeian Aristocracy in the Late Republican Period In the library of house VI 17 (Ins. Occ.) 41 in Pompeii a wall painting depicts a poet whose identity could be revealed by a newly discovered inscription. The reading and analysis of this important epigraphical document allows us to clarify some of the dynamics tied to the self-representation of the house’s owner and the expression of his intellectual interests. It also renders information regarding his political preferences, expressed within the thematic decoration of the house. In the light of this new document it is possible to re-interpret a whole series of thematic complexes in Pompeian houses of the final years of the 1st century B.C. They are analysed within their particular historical context, which included the years of the civil wars as well as the final consolidation of Octavian’s power. In addition, it is possible to understand to what extent and by what means the Pompeian elite explicitly expressed its political preferences and views. Keywords: Pompeii – Wall Painting – Thematic Program – Philoxenos ▲ Markus Trunk, Studies on the Iconography of Pompeius Magnus – the Numismatic and Glyptic Sources The article is an attempt to build a solid basis for the typology and chronology of the portraiture of Pompeius Magnus in glyptic and sculpture in the round. It presents and examines the relevant numismatic sources and discusses the results of earlier research. Thus the historical tradition of the iconography of Pompeius’ portraits can be outlined in the context of the literary and epigraphical evidence. Keywords: Portrait, Republican – Numismatics, Roman – Glyptic – Pompeius Magnus ▲ Stephanie Böhm, Enjoying the Wine Spring. A Dionysian Marble Relief in Herculaneum The study deals with a marble relief representing two satyrs and a nymph handling drinking vessels. The stylistic analysis of the relief suggesting a date in Claudian-Neronian times is followed by considerations concerning the typology of each figure as well as the pictorial composition as a whole. The relief has to be classified as an eclectic creation using late Classical and Hellenistic prototypes. Items of metal work and ringstones as well as wall paintings may have served as sources of inspiration. The composition has to be interpreted as an illustration of a wine wonder, often mentioned in ancient literary sources: the transformation of a spring giving wine instead of water, initiated by Dionysos himself to his followers’ delight. Keywords: Herculaneum – Marble Relief – Roman Decorative Art – Domestic Sculpture – Iconography, Dionysian – Satyrs ▲ Murat Durukan – Serra Durugönül, A Relief of the God Men from Tarsus In this article a Men and a silen relief, which were both found in Tarsus, are discussed. Men is depicted as a young man carved as a bust relief with a crescent beneath him. The facial features, curly hair, anastole, eyes looking upwards and parted lips resemble the image of Alexander the Great created by Lysippos in the 4th century B.C.; it is also reminiscent of the Hellenistic baroque period. This relief must be reinterpreted by Tarsian artists, most possibly in the 2nd century A.D. during the ›Hadrianic Renaissance‹ when Greek culture was revived with admiration. This is also the period as the cult of Men became popular in Cilicia. The Silen relief was found at the same place in Tarsus as the Men relief. The silen is depicted as a ›mask‹ placed on a basket. Silens kept evil spirits away from the dead, were perceived as good luck charms of the Dionysian world and were used in tombs or on sarcofagi. The area where the Men and silen reliefs came to light is a necropolis area and one of the best known characteristics of Men is that he is the protector god of tombs. Because of the similarity in typology, dimensions and quality of workmanship between the Men and silen reliefs, they should be associated with each other therefore both should be dated to the 2nd or 3rd quarter of the 2nd century A.D. Keywords: Men – Tarsus – Alexander – Silen – Mask ▲ Olga Palagia, The Date and Iconography of the Calendar Frieze on the Little Metropolis, Athens An ancient relief frieze built into the Christian church of Agios Eleutherios in Athens represents the months and festivals of the Attic calendar alongside the signs of the zodiac. The frieze attempts to coordinate the lunar and solar calendars, the lunar being represented by the Attic months, the solar by the signs of the zodiac. It presents two peculiarities: a) even though the Attic calendar began on Hekatombaion 1 until changed to Boedromion 1 in A.D. 124/5, the calendar frieze begins with Pyanopsion, b) the lack of lunar month within the period July 20 to August 20 indicates an intercalary month. It is argued here that the festival calendar on the frieze begins with the birthday of Augustus on September 23 which fell in Pyanopsion in A.D. 138/9. This was also a Panathenaic year containing 13 lunar months. Herodes Atticus was agonothetes of the Great Panathenaia in A.D. 138 and in that year began construction of the Panathenaic Stadium. The calendar frieze is thus tentatively associated with the patronage of Herodes Atticus. Keywords: Attic Festival Calendar – Metonic Cycle – Lunar Months – Solar Months – Zodiac Signs – Augustus – Hadrian ▲ Walter Trillmich, Hans Rupprecht Goette, Frank Beuthan, Patrizia Governale and Donato Attanasio, The ›Togatus Vogel‹ in Berlin – Toga Statue and Portrait of Trajan The article discusses a toga statue, which is said to come from Tivoli and was crowned by a portrait of Trajan not belonging to it. The sculpture came into the possession of the painter Hugo Vogel in Berlin, who obtained it from the Roman art market; after Vogel’s death it arrived in the German Archaeological Institute (Central Office) in 1957 where it now resides (part 1). The occasion for the current publication arises from the recent cleaning, conservation, and new installation executed by the sculptor Frank Beuthan and the conservator, Patrizia Governale (appendix 1). The statue figured in the discussion initiated by Margarete Bieber in 1959 concerning the problem of defining ›toga‹ or ›pallium‹. More significant, however, are its typological position within the group of Late Republican and Early Imperial toga statues, and its high quality of sculptural workmanship, which became apparent only after the recent cleaning and conservation, and issues raised by H. R. Goette concerning its place of origin or workshop and the letters inscribed on its plinth, which remain puzzling (part 3). This topic is completed by an analysis of the marble by D. Attanasio (appendix 2). The heavily weathered head, now removed from the statue and displayed separately, most probably belongs to a late portait type of Trajan (part 2). Keywords: Togatus Vogel – Toga Statue – Portrait – Trajan ▲ Esther Sophia Sünderhauf, »At the Fulcrum of German Archaeology« – Gerhart Rodenwaldt’s Activities during the Period of National Socialism This biographical study of Gerhart Rodenwaldt’s activities during the National Socialist period examines the stage of his life following his function as president of the German Archaeological Institute (1922–1932). Since he never discharged himself from his responsibility for classical archaeology as a whole, he exerted a decisive influence on decisions of content, personnel and organization by virtue of his experience and connections. He applied his name and his entire energy to the task of raising the reputation of his field with the National Socialists and asserting it in its rivalry with the nationally oriented pre-historian faction. To this end he used the possibilities offered by the classicistic bent of architecture and sculpture in the ›Third Reich‹, the staging of the Berlin Olympics of 1936, and the idealistic enhancement of the campaign in Greece in order to demonstrate the topicality and cultural-political relevance of classical archaeology. This outwardly opportunistic behaviour contrasts, however, with Rodenwaldt’s gradually growing anti-Nazi inner posture. To describe this polarity between public action and private reflection, between social commitment and scholarly activity, is the concern of this study. By bringing together archive material and personal letters with publications and public statements it is possible to show previously unnoticed correlations which reveal above and beyond the fate of one individual an insight into the social history of German scholarship and officialdom during the time of the German Reich and National Socialism. Keywords: Classical Archaeology – Biography of a Scholar – Academic History – National Socialism – Adaptation ▲ |
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