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JdI 121, 2006 |
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For further information on this volume, please look here.
Contents A. Scholl ΑΝΑΘΗΜΑΤΑ ΤΩΝ ΑΡΧΑΙΩΝ. The Akropolis Votives from the 8th to the early 6th Century B.C. and the Formation of the Athenian City-State >> A. Schwarzmaier »I will be called kore forever« – on the Grave Stele of Polyxena in the Antikensammlung of Berlin. With a supplement on the sets of jewellery from the ›Great Blisniza‹ on the Taman peninsula >> H. Gans The Ancient Isthmos of Syracuse. The Topographical and Urbanistic Data on the Basis of Ancient, Medieval and Modern Sources >> V. M. Strocka Aeneas, not Alexander! On the Iconography of the Roman Hero in Pompeian Wall Painting. With two Supplements on the Iconography of Aeneas aside of Wall Paintings >> K. Lippold The Terracotta Statue of Eirene by Kephisodotos produced by the Terracotta Company March >> Andreas Scholl, ΑΝΑΘΗΜΑΤΑ ΤΩΝ ΑΡΧΑΙΩΝ. The Akropolis Votives from the 8th to the early 6th Century B.C. and the Formation of the Athenian City-State This investigation focuses on the votive offerings from the Athenian acropolis in the Geometric and Early Archaic periods. Discussion starts with the oldest preserved dedications from the Middle Geometric period, and terminates with the description of a radical change in Athenian votive practice in the early 6th century. By looking closely at the vast amount of published archaeological material from the Acropolis, one can analyse the development of votive practice there much more precisely than has been done in the past. The article presents a synoptic overview of the most important types of votive offerings known from the Geometric and Early Archaic acropolis. An attempt is also made to link these observations with the few facts known about the historical situation of Athens and mainland Greece in the 8th and 7th centuries. It becomes evident that the Acropolis came to be the central sanctuary of the emerging Athenian polis already in the second half of the 8th century and that it was able to consolidate that position in the course of the 7th century. Keywords: Athens, Acropolis – votive offerings, Geometric-Archaic – Formation of the Polis – History of religion – History of research and reception ▲ Agnes Schwarzmaier, »I will be called kore forever« – on the Grave Stele of Polyxena in the Antikensammlung of Berlin. With a supplement on the sets of jewellery from the ›Great Blisniza‹ on the Taman peninsula The grave stele of Polyxena in Berlin has been interpreted as the depiction of a priestess although her dress does not correspond to that of images securely identified as priestesses. A detailed study of all iconographical elements reveals that Polyxena is depicted as a bride, who dedicates a kore figurine and her belt as votive gifts in a sanctuary to Artemis or to another deity responsible for the rite de passage from girl to woman. The belt, made of metal, once was separately attached to her right hand. The gravestone shows Polyxena as a girl who died unmarried yet, but who achieves the marriage she did not experience during her life. Comparable grave stelai from Boiotia and Athens, as well as offerings found in childrens’ graves in Athens and Southern Italy, give evidence of the widespread belief that the missed marriage must be celebrated in the afterlife. The supplement to this article treats the jewellery ensembles and their iconography from the Great Blizniza on the Taman peninsula and demonstrates that they were not adornment for priestesses but accessories for brides; in the case of the ›Grave of the Third Lady‹, the female buried with the jewellery was a child, not an adult. In the ›Grave of the Priestess of Demeter‹ the possibility exists as well that the female interred there died young and unmarried. Keywords: grave relief, Attic – iconography –bride – jewellery ▲ Henning Gans, The Ancient Isthmos of Syracuse. The Topographical and Urbanistic Data on the Basis of Ancient, Medieval and Modern Sources This article corrects one aspect of the reconstruction of the topography of ancient Syracuse: the location of the passage from the mainland (Achradina) to the island (Ortygia). Until now, it was thought that the location of the ancient isthmos was not where it is today, but further east in the area of the Small Harbour (Porto Piccolo) between Casanova (at the northern end of the island) and Scalo di Santa Lucia (on the mainland). Literary sources from antiquity through modern times, which have been overlooked until now, demonstrate that this is not the case. The main argument is the re-discovery of the Castello Marchetto on the present isthmos, where ancient finds, which were made between 1528 and 1553, prove that at least this portion of the isthmos reaching as far as Marchetto already existed in antiquity. The ancient isthmos, with its stone bridge mentioned by Cicero and Strabo, was, in fact, situated in the area of the modern isthmos, not elsewhere. Keywords: Syracuse – Isthmos – topography – Frederick II Hohenstaufen ▲ Volker Michael Strocka, Aeneas, not Alexander! On the Iconography of the Roman Hero in Pompeian Wall Painting. With two supplements on the Iconography of Aeneas aside of Wall Paintings More paintings with depictions of Roman mythological scenes are preserved in Pompeian houses than previously known. This article deals with 21 paintings regarding the deeds of Aeneas, half of which have been overlooked or disputed. Here they are discussed in regard to their iconography and interpreted in the context of the pictorial program of their individual rooms. Furthermore, the question is discussed which themes are based on Virgil’s Aeneid and which are not, as well as to what degree artists innovated or endeavored to illustrate well-known Virgilian scenes. Keywords: wall painting, Pompeian – iconography – Aeneas ▲ Katharina Lippold, The Terracotta Statue of Eirene by Kephisodotos produced by the Terracotta Company March The statue of Eirene with Plutos in the collection of the German Archaeological Institue in Berlin was produced by the terracotta company March in Berlin and is one of the most beautiful terracotta statues of the 19th century; it belongs to the most important modern reproductions of the lost bronze original by Kephisodotos. The sculpture with its yellowish-beige colour has been reproduced exactly after the Roman marble copy exhibited in the Glyptothek in Munich. The statue was produced in 1871 ordered by the liberal politician Georg von Bunsen who deliberately chose this motif during the troubled times of the German-French War as a symbol of peace to be set up in the facade of his house in Berlin-Schöneberg. Bunsen knew the just published results of the research of Heinrich Brunn who in his catalogue of the Glyptothek interpreted the sculpture for the first time as the group of Eirene and Plutos by Kephisodotos. On the basis of this interpretation and with a plaster cast that Bunsen provided for March as a model the terracotta industrialist produced from clay this artistically noteworthy ›copy‹ labelled »The Peace«. The statue shows an outstanding technical quality which can be recognized especially in its big size and the perfect resistance against weathering. The statue group is one of the few well-preserved large-scale terracottas and thus a masterpiece of European terracotta sculpture. Keywords: reception of antiquity – Eirene of Kephisodotos – terracotta sculpture, modern – March, Paul ▲ |
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