Weitere Ausgaben

JdI 121, 2006
JdI 120, 2005
JdI 119, 2004
JdI 118, 2003
JdI 117, 2002
JdI 116, 2001
JdI 115, 2000
JdI 114, 1999

Inhalt

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Inhaltsangabe und Zusammenfassungen (Deutsch)

K. Nowicki
Some Remarks on New Peak Sanctuaries in Crete: The Topography of Ritual Areas and their Relationship with Settlements  >>

B. Wesenberg
The ›paradeigma‹ of Eupalinos  >>

A. Scholl
Hades and Elysion – The Iconography of the Underworld in the Funerary Art of Classical Athens  >>

E. N. Borza – O. Palagia
The Chronology of the Macedonian Royal Tombs at Vergina  >>

W.-D. Heilmeyer
Marbles from Asia Minor in Berlin. Report about a Geological-Archaeological Project 1994–2004  >>

K. Schade
A ›Paragon‹ of the Arts. Reflections on Ideal Sculpture of the Middle Imperial Period >>

N. Franken
Two Statuettes of ›Philosophers‹ from the Caelius in Rome – or: About the Advantage of Roman Bronzes for the Research of Portraits  >>

O. Dally
The Emperor’s Image in Classical Archaeology – or: Did a Change of Paradigms Take Place after 1968?  >>

Krzysztof Nowicki, Some Remarks on New Peak Sanctuaries in Crete: The Topography of Ritual Areas and their Relationship with Settlements
This paper presents a series of Bronze Age cult places in Crete, located on hills and mountains, and conventionally called peak sanctuaries. Though peak sanctuaries are among the most often discussed categories of Cretan Bronze Age sites their identification is difficult and their interpretation often controversial. The sites are usually located far from inhabited and cultivated areas and archaeological evidence is in most cases poorly preserved. The author has carried out fieldwork in the Cretan mountains since the early 1980s and identified several previously unknown peak sanctuaries. These, presented here, preserve much of their original distribution of finds, helping us to understand the topography and organization of ritual space, and compare it with the reconstructions already made for excavated sites. The second problem addressed in this paper is the visual relationship between peak sanctuaries and neighbouring settlements. This issue has been often discussed, but most often without analyzing the whole settlement context in which peak sanctuaries originated, developed and declined. Finally, the possible continuation of the idea of the hilltop sanctuary and associated behaviours between the Bronze Age and Classical periods is discussed in the connection with an Archaic to Classical hilltop shrine identified on the southern coast of Crete.

Keywords: Crete, Bronze Age – Peak Sanctuary – Cult Places, Ritual ▲

Burkhardt Wesenberg, The ›paradeigma‹ of Eupalinos
According to recent research the ›paradeigma‹ inscription on the archaic lining (›dromos‹) in the northern gallery of the Samian tunnel does not mark, as formerly assumed, a sample section of the building, but delivers an enigmatic message in which Eupalinos draws posterity’s attention to the architect’s skilful planning. The inscriptions’s position in the depth of the mountain does not agree with this interpretation nor does its non-representative, mere technical character. It has been argued that in Greek ›paradeigma‹ never denotes a component part of the building itself; an investigation of the epigraphic and literary use of the word shows, however, that it may actually do so. In the Samian tunnel the technical function of the 17 meter long section labelled ›paradeigma‹ is obscured by the fact that it is not contiguous to the southern dromos entrance. It only starts from a point about 14 meters behind, because the entrance section, describing a gentle curve, is not aligned with the final direction of the dromos. Situated at the head not of the entire dromos, but of its rectilinear course, the ›paradeigma‹ established a line of direction for the remaining 100 meters of lining still to be walled up.

Keywords: Samos – tunnel (-construction) – construction technique – Eupalinos – paradeigma ▲

Andreas Scholl, Hades and Elysion – The Iconography of the Underworld in the Funerary Art of Classical Athens
Representations of the underworld in the art of Classical Athens are rare. On Attic marble funerary reliefs, where one might expect them in the first hand, they are almost completely missing. The character of these monuments which is dominated by a strong tendency towards civil representation implied that the rigorously stratified society of Classical Athens appears here in heavily idealized family scenes, demonstrating civic pride and other virtues. With regard to this rather uniform background it is remarkable that the few iconographically extremely significant grave monuments with representations of the dead in the underworld or on their passage to it have not yet been properly investigated. This is the aim of this article.

Keywords: Athens – Funerary art, Classical – Vases, Whiteground Lekythoi – History of Religion, Conceptions of the afterlife ▲

Eugene N. Borza and Olga Palagia, The Chronology of the Macedonian Royal Tombs at Vergina
The Great Tumulus at Vergina, excavated by Manolis Andronikos in 1977–1979, yielded three Macedonian tombs (Tombs II–IV) and a cist tomb (Tomb I). The rich burial goods of Tombs II and III and the high-quality wall-paintings of Tombs I and II aroused international interest and fuelled the debate whether the tombs belong to the royal family of the Argeadai. Andronikos’ attribution of Tomb II to Philip II (buried in 336 B. C.) has been challenged by a rival theory, attributing the tomb to his eldest son, Philip III Arrhidaios, and his wife Adea Eurydike (buried in 316 B. C.). The recent publication of the clay pottery from Tomb II has prompted the authors to re-examine the evidence for the dating of Tomb II. Crucial details in the architecture, the wall-painting techniques and the iconography of the hunting frieze, the human remains, the paraphernalia, the Achilles motif of the gold and ivory shield, the black-glaze clay pottery and the Attic standard used in weighing a number of silver vessels, all suggest that Tomb II postdates the death of Alexander the Great. The authors attribute Tomb I to Philip II and his last wife, Kleopatra, Tomb II to Philip III and Adea Eurydike, and Tomb III to Alexander IV, son of Alexander the Great.

Keywords: Vergina, Royal Tombs – Barrel-Vault – Hunt (Bear and Lion) – Spool Salt Cellars – Cremation ▲

Wolf-Dieter Heilmeyer, Marbles from Asia Minor in Berlin. Report about a Geological-Archaeological Project 1994–2004
This report summarizes the archaeological results of an interdisciplinary project, which was supported by the Deutsche Forschungsgemeinschaft from 1996 through 2002; more details have been published in the geological dissertation of one of the participants, Thomas Cramer. The starting point of the research was the question of the provenance of the marble used for the friezes of the Pergamon Altar, which underwent restoration from 1994 through 2004: it was securely determined that the marble derives from Prokonnesos/Marmara. From the view of natural sciences it was necessary to create a more comprehensive list of questions than usually applied to determine the provenance of white marbles; the result is the Marble Diagnosis System »MarbExpert« by K. Germann and Th. Cramer, which was incorporated by the latter into the above mentioned dissertation. As the archaeological part of the project 30 pieces of sculpture or architecture from sites in Asia Minor and now in the Antikensammlung in Berlin were included, and their analysis led to historically interesting results: aside of the description of their respective quarry sites, it is important above all to distinguish between local, regional and supraregional use of ancient marble deposits, as well as to take into account the existing supply and availability of its stone.

Keywords: Stone Analysis – Stone Working – Geology – Marble – Material ▲

Kathrin Schade, A ›Paragon‹ of the Arts. Reflections on Ideal Sculpture of the Middle Imperial Period
Contrary to the wide-spread opinion in German archaeology that Roman ideal sculpture of the Middle Imperial period consists only of mediocre pieces of mass production, this article argues that sculptors of that time produced high-quality, extremely skillful works of art, which required a high degree of artistic self-reflection. The creative context was the cultural milieu of the so-called Second Sophistic. The thesis presented here is that the exceptional aesthetic of ideal sculpture of the Middle (and Late) Imperial period(s) was the result of a competition with other contemporary arts – of a ›paragon‹ of the arts. Beginning the comparison with literary sources the main focus in this article is poetry and painting. The fine conception and workmanship of the sculptures are interpreted as a sculptural response to the respective challenges of the contemporary competiting arts.

Keywords: Ideal sculpture – Implement – Art History – Technique – Material ▲

Norbert Franken, Two Statuettes of ›Philosophers‹ from the Caelius in Rome – or: About the Advantage of Roman Bronzes for the Research of Portraits
This article deals with two bronze statuettes depicting seated men, one bearded, one without beard, stored in the Museo Nazionale del Palazzo di Venezia in Rome. It can be proved that the »filosofi overo consoli« have been found in 1664 in or near the Domus Valeriorum on the Caelius in Rome. First seized by the Commissario delle Antichità di Roma, Leonardo Agostini, they got into the collections of Giovan Pietro Bellori, then Camillo Massimo, later the Odescalchi family and finally into the Museo Kircheriano in the Collegio Romano. In 1762 J. J. Winckelmann studied at least the bearded one and interpreted it convincingly as the depiction of a philosopher. About 250 years later our better knowledge of Roman bronze furniture allows us to determine their primary function as crowns of folding tables with three or four legs. In the same complex have been found two statuettes of griffins which served as well as table crowns; in 1698 they were brought as part of the collection of Bellori to Berlin. Late antique bronze lamps with figural decoration are good parallels which allow us to date the statuettes of ›philosphers‹ into the 4th century A.D. Because of the exactly copied statue type the unbearded man (›philosopher B‹) can be identified as a depiction of the Attic poet of comedy, Menandros. Like the statuette of this poet also the statue type of the bearded ›philosopher A‹ whose name cannot be determined derives from a Greek original of the time around 300 B.C.

Keywords: Menandros – Bronze Implement – Rome, Caelius – History of Collections in Rome, 17th Century ▲

Ortwin Dally, The Emperor’s Image in Classical Archaeology, or: Did a Change of Paradigms Take Place after 1968?
In the late 1960ies German speaking archaeologists for the first time began comprehensive studies on the Roman emperor. In the beginning the emperor was regarded as the controlling force in the Imperial visual arts; terms like ›propaganda‹ and ›self-representation‹ indicate a centralistic view of the emperor’s manner of acting. More sophisticated attempts which focused on the local and regional distinctions of the adoption of the emperor’s portrait were developed only in the second half of the 1980ies. By means of portrait research this article exemplifies how the artist as the paradigm of German Classical Archaeology of the late 1960ies was still influential for the consideration of the emperor in the 1970ies, and that a real change of paradigms which has been claimed already before only took place during the past 20 years. At the end this paper discusses the reasons for such a long tradition of manners of thinking.

Keywords: Research History of Classical Archaeology – Roman Emperor – Historical Reliefs – Portraits – History of Research ▲