Hellenistic Sculpture from Cyprus in the Berlin Collections, in: V. Karageorghis, E....

Vassos Karageorghis, Elena Poyiadji-Richter,

Sabine Rogge (ed.)

CyPRiotE AntiquitiES in BERlin in thE FoCuS

oF nEw RESEARChConFEREnCE in BERlin, 8 MAy 2013

Schriften des Instituts für Interdisziplinäre Zypern-Studien, vol. 10, 2014, 262 pages,

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Hellenistic Sculpture from Cyprus in the Berlin Collections*

Berlin’s public collections of Cypriote antiquities, the Antikensammlung and the Museum für Vor- und Frühgeschichte in the Staatliche Museen zu Berlin, house outstanding late Classical and Hellenistic sculptures. The majority were acquired in the 19th century by Karl Friederichs and Max Ohnfalsch-Richter. Some of them are unprovenanced, as is the case with so many Cypriote objects. These collections boast marble sculpture, rarely found in Cyprus, such as the Hellenistic female heads SK 6171 in the Antikensammlung, and the male beard-ed head 74/1572 in the Museum für Vor- und Frühgeschichte. Some of the ob-jects are now lost or their whereabouts are not known, as is the case with the head of a girl from a relief from Idalion, SK 18682 or with the female marble head, SK 1867,3 which is one of the rare examples of Hellenistic sculpture, let

* I have to thank the Cypriot-German Cultural Association and Vassos Karageorghis for the invitation, Elena Poyiadji-Richter for the organization of the conference, Sylvia Brehme and Johannes Laurentius, Antikensammlung, Melitta Brönner and Horst Wie-der, Museum für Vor- und Frühgeschichte, Berlin, Despina Pilides and Eftychia Zach-ariou-Kaila, Department of Antiquities, Nicosia, Thomas Kiely, British Museum, Lon-don, for their support and kind publication permits, Lisa Jureczko, Arachne, Köln, for providing me with photographs, Karl Peitler and Daniel Modl, Universalmuseum Joan-neum, Graz, for sending me copies of the acts concerning the communication Friede-richs – Pichler.

1 Conze 1891, 240 no. SK 617, acquired in Beirut in 1882.2 Head of a girl, from a relief, inv. no. SK 1868 / Misc. 8015, 391, limestone, H 12.4

cm, from the sanctuary of Aphrodite in Idalion, excavation Ohnefalsch-Richter 1885: Ohnefalsch-Richter 1893, 407, pl. 54,9: Carl Blümel, Die klassisch griechischen Skulp-turen der staatlichen Museen zu Berlin (Berlin 1966) 21–22 no. (K 261), fi g. 16; Martin Miller, Skulpturen, Vasen, Elfenbein und Knochen, Goldschmuck, Gemmen und Kameen. Dokumentation der Verluste, Staatliche Museen zu Berlin, Preußischer Kultur-besitz: Antikensammlung, vol. 5,1 (Berlin 2005) 65.

3 Female head, marble, inv. no. SK 1867 / TC 6682, 16, white marble, H 11.2 cm, from Kition, 1869 acquired from the Cesnola collection, lost or whereabouts not known: Blümel, op. cit. (cf. above fn. 2), 87 no. 106 (K 260), fi gs. 146–147; Miller, op. cit. (cf. above fn. 2), 65.

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alone marble sculpture,4 from Kition,5 thus being a companion to the Artemis of Larnaca.6

Male statue, Antikensammlung TC 6682,5One of the few entirely preserved Cypriote stone sculptures in the Staatliche Museen is the statue of a male votary, TC 6682,57 (Fig. 1a–d) which combines both traditional and new features.

Karl Friederichs acquired the statue, which is presumed to be from Ida-lion, for the museum in 1869.8 In this year, Friederichs was responsible for the augmentation of the Cypriote collection, and consequently travelled to Cyprus where he bought 180 objects from the collection of Luigi Palma di Cesnola in Larnaca.9

Friederichs not only purchased objects for Berlin but also for Vienna, where the Imperial Antikenkabinett bought a large group of 155 objects from the Cesnola collection.10 Due to his knowledge of Cypriote art, he was also advi-

4 For marble sculpture on Cyprus Antoine Hermary, La sculpture en marbre à Chypre à l’époque hellénistique et sous l’Empire: essai de bilan, in: Anne-Marie Guimier-Sorbets – Demetrios Michaelides (eds.), Actes du Colloque “Chypre à l’époque hellénistique et imperial. Recherches récentes et nouvelles découvertes”. Nanterre – Paris, 25–26 sep-tembre 2009, in: CCEC 39, 2009, 153–176 and Peter Higgs – Thomas Kiely, Four un-published marble sculptures of Hellenistic date from Cyprus in the British Museum, in: CCEC 39, 2009, 403–404.

5 Others are the veiled female statuette Copenhagen, National Museum, inv. no. ABb 241: Poul J. Riis – Mette Moltesen – Pia Guldager, Catalogue of Ancient Sculptures I. Aegean, Cypriote, and Graeco-Phoenician. The National Museum of Denmark (Co-penhagen 1989) 100–101 no. 80 and two veiled female heads: Copenhagen, Nation-al Museum, inv. no. ABb 242: ibid., 99 no. 78–79; a lyre player, London, BM, inv. no. 1917,0701.171 (Sculpture C 352): Tatton-Brown 2007, 180, 188–189 no. 16, fi g. 12. – Probably also from Larnaca the female head with crown and veil: London, BM, inv. no. 1852,0609.40 (Sculpture C 342): Tatton-Brown 2007, 180, 189 no. 17, fi g. 13. – The head of a statuette of Apollo, Lyon, Musée Guimet, inv. no. 979–3–667, from the cita-del of Larnaca: Antoinette J. Decaudin, Les Antiquités Chypriotes dans les Collections Publiques Françaises (Nicosia 1987) 117 no. 5, pl. 46. – The head of a child: Turin, Museo di Antichità, inv. no. 5044 (former 1519), from Kition, marmo greco, Coll. Cer-ruti, 250–200 BC: Felice G. Lo Porto, La Collezione Cipriota del Museo di Antichità di Torino (Roma 1986) 206–207 no. 441, pl. 55. – Architectural relief with male and female fi gure, from Kition, white marble: Atlas I, pl. 122, no. 911.

6 Wien, Kunsthistorisches Museum, inv. no. ANSA I 603: Vassos Karageorghis, Greek Gods and Heroes in ancient Cyprus (Athen 1998) 185, fi g. 135, p. 312; Bernhard-Walcher et al. 1999, 33, 51–53 no. 3; Kurt Gschwantler et al., Meisterwerke der Antiken sammlung, Kurzführer durch das Kunsthistorische Museum, vol. 4 (Wien 2009, 2nd ed.) no. 19.

7 Berlin, Antikensammlungen, inv. no. TC 6682,5, from Idalion, acquired by Karl Friede-richs 1869 from the Collection Cesnola, Larnaca, H 97 cm.

8 According to the inventory book, email communication with Sylvia Brehme in 2013.9 Brehme et al. 2002, 11.10 Bernhard-Walcher et al. 1999, 29–30.


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Hellenistic Sculpture from Cyprus in the Berlin Collections

Fig. 1a–c: Male statue, probably from Idalion; Staatliche Museen zu Berlin, Antikensammlung, inv. no. TC 6682,5.

sor for the Joanneum in Graz. In 1870, the director of the museum, Friedrich Pichler, asked him to judge the value of a kourotrophos relief, which was then given to the University collections in the course of an exchange, after Friede-richs had declared it to be a common type.11

11 Friederichs was not very enthusiastic about the piece, but maybe, he did not want to object to the exchange. He wrote in Act No. 223, July 7, 1870: “Die cyprisch. Gruppe die Sie weggeben wollen, hat eigentlich gar keinen Werth, da sie in unzähligen Wieder-holungen, die alle gleich schlecht sind, vorkommt. Sie können sie also für das gering-ste Ihnen werthvolle Object getrost hergeben.” See also acts no. 224/July 14, 1870, and no. 243/July 25, 1870. – For the exchange see also Jahresbericht Joanneum 59, 1870 (1871) 26; Stephan Karl, Das archäologische Museum der Universität Graz zwischen


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The statue has a height of 97 cm and depicts a man standing on his left leg, pushing his right knee forward and wearing a chiton and himation in the stand-ard form for late Classical and Hellenistic Cyprus. The chiton has short sleeves with a seam and two small pendants on the upper arm. The himation is thrown over the left shoulder and is draped as a roll at the waist and forms a triangular, apron-like shape under that roll, where a weight is visible which made the fab-ric fall more elegantly.

The votary holds a lustral branch in his right hand, while his left hand grasps the fabric of the himation coming down the left shoulder. He is wear-ing shoes.

The head was broken and has been re-attached to the body. The facial fea-tures show long and full cheeks, a long, straight nose, a rather thin-lipped mouth and eyes with sculpted upper and lower lids but fl at or even concave eyeballs. The ears are rather deeply set and not very carefully carved. A wreath with one row of erected leaves adorns the head. The hair is structured in par-allel strands above the forehead, at the temples and at the backside of the head and is centrally divided at the crown of the head. The head has a high upper part, but its back is not fully developed, instead, it is very fl at with the excep-tion of the hair bulging out above the nape.

The face with long and heavy cheeks, the characteristic eyes with fl at eye-balls, the hair combed in parallel strands and the wreath with one erected row of leaves come from of a tradition that has its roots back in the 5th century BC.12 The particular shape of the eyes with their carved lids and eyeballs that appear concave is a feature quite common on male and female under-life-size votive sculptures from the 4th century BC.13 or even early 3rd century, many of them originating from Idalion.14 This characteristic feature often goes along

1865 und 1875: Zur Inventarisierung und zu den frühen Erwerbungen (unpublished manuscript). – For the collections of Cypriote antiquities Gabriele Koiner, The Archae-ology of Cyprus in Austrian Collections and Research, in: CCEC 42, 2012, 117–132.

12 London, BM, inv. no. 1873,0320.59 (Sculpture C 122): Pryce 1931, 54 no. C 122 (450/40 BC); Senff 1993, 39, pl. 24a–c (450–400 BC).

13 Female heads with crown from Idalion: Turin, Museo di Antichità: Lo Porto op. cit. (cf. above fn. 5), 207–8 nos. 443 (inv. no. 5562; 250–220 BC) and 444 (inv. no. 4491; 230–200 BC), pl. 56; Vienna, Kunsthistorisches Museum, inv. no. V 1192, from Idalion(?), acquired 1869 from the Cesnola Collection (Bernhard-Walcher et al. 1999, 183 no. 86; late 5th cent. BC). – Male head with wreath in Bucharest, National Museum, inv. no. L 1738, from Cyprus: Gabriella Bordenache, Sculture Greche e Romane del Museo Nazionale di Anichità di Bucarest, vol. 1: Statue e rilievi di culto, elementi architet-tonici e decorativi (Bucharest 1969) 119 no. 270, pl. 114, “maniera impressionistica”. – Female heads with mural or cubic crowns, Cyprus Museum E 214, E 226, E 232. For these heads see the paper of Sabine Rogge and Eftychia Zachariou-Kaila in this volume.

14 Lyre players and female statuettes, from the Aphrodite/Astarte sanctuary in Idalion, excavations Ohnefalsch-Richter in 1885: Wolfgang Schürmann, Katalog der ky pri-schen Antiken im Badischen Landesmuseum Karlsruhe (SIMA, vol. 20,9) (Göteborg


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with a distinctive fl atness of the face, a straight line of the chin and thin lips. This stylistic formula is to be seen on both male and female under-life-size stat-

1984): group V, nos.172–192, lyre players produced until 3rd cent., 45 no. 172 (inv. no. B 2559), 46 no. 179 (inv. no. B 2563), no. 180 (inv. no. B 2542), 47 no. 181 (inv. no. B 2561), no. 182 (inv. no. B 2560), no. 183 (inv. no. B 2543), no. 184 (inv. no. B 2540), no. 185 (inv. no. B 2532), no. 186 (inv. no. B 2544); group VI, nos. 193–197, Hellenistic, 48 no. 193 (inv. no. B 2539); group VII, nos. 198–203, Hellenistic, 49, no. 198 (inv. no. B 2552); group VIII, nos. 204–215, Hellenistic, 50 no. 205 (inv. no. B 2536), 51 no. 208 (inv. no. B 2537), no. 209 (inv. no. B 2562).

Fig. 2a–b: Male head from Kourion; Episkopi, Kourion Local Museum, inv. no. ST 454.

Fig. 1d: Detail of the male statue, in Berlin (TC 6682,5.)


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ues, such as at a female statue of Aphrodite with mural crown from Amathus in Brussels15 which also shows the characteristic form of the eyes.

The striking shape of the head with highly arched upper part compares to a 4th century male head (with a wreath) from Kourion (Fig. 2a–b)16 with a similar fl at back, and to examples from Idalion. The Idalion head in London, C 178,17 shows the same central parting of the hair and the bulge of hair above the nape. Reinhard Senff stressed the archaism of the hair styling and dated this head to the years 360–330 BC. The s-shaped strands of this head, however, pro-vide a link to sculptures with similar s-shaped strands and a more voluminous and detailed carving of their facial features, such as to the 3rd century statues in London, C 173 (Fig. 3a–b),18 or in Nicosia, E 494 A,19 or to the male heads in Sarasota, SN28.1770,20 in Boston, Museum of Fine Arts 72.335,21 and in Ann Arbor, Kelsey Museum 29132.22

The draping of the statue is typical for late Classical and Hellenistic male votaries and is paralleled by several pieces, such as by a statue from Golgoi23 with similar draping but displaying longer weights at the mantle. These elongat-

15 Brussels, Musées Royaux d’Art et d’Histoire, inv. no. A 876, H 89 cm, W 35 cm: Franz Cumont, Catalogue des sculptures & inscriptions antiques (monuments lapidaires) des Musées Royaux du Cinquantenaire (Brussells 1913, 2nd ed.) 54–56 no. 44 (4th cent. BC); Antoine Hermary, Testimonia 2, les sculptures découvertes avant 1975. Ama-thonte, vol. 2 (Paris 1981) 41–42 no. 36, pl. 8 (mid 4th cent. BC, time of Euagoras II); Antoine Hermary, Divinités chypriotes I, in: Report of the Department of Antiquities, Cyprus 1982, 170 (Type D.1); Robert Laffi neur – Frieda Vandenabeele (eds.), Cypriote Antiquities in Belgium (SIMA, vol. 20,13) (Göteborg 1990) 27 no. 21, erroneously cat-alogued as inv. no. A 875 (2nd half 4th – beginning 3rd cent. BC).

16 Episkopi, Kourion Local Museum, inv. no. ST 454, limestone, H 14.5 cm, W 11.5 cm, excavated 1935 in the sanctuary of Apollo Hylates.

17 Senff 1993, 42, pl. 27a–c (360–330 BC).18 Inv. no. 1917,0701.249 (Sculpture C 173): Pryce 1931, 69 no. C 173, fi g. 108 (306–

300, Demetrios Poliorketes); Connelly 1988, 66, 72–73 no. 27, pls. 26–27, fi gs. 100–103 (mid-2nd cent. BC); Senff 1993, 40, pl. 26a–g (mid-4th cent. BC); Koiner 2012, 134; http://www.britishmuseum.org (150 – 100 BC; accessed 23/9/2013).

19 Male statue in chiton and himation, with bird and lustral branch: H 99 cm, H head 15 cm.

20 From Golgoi: Atlas I, pl. 142, no. 1060; Cypriote and Classical Antiquities: Duplicates of the Cesnola and Other Collections Sold by Order of the Trustees of the Metropolitan Museum of Art, The Anderson Galleries, New York City (New York 1928) 130 no. 494.

21 Purchase Cesnola 1872: Mary B. Comstock – Cornelius C. Vermeule, Sculpture in Stone: The Greek, Roman and Etruscan collections of the Museum of Fine Arts in Bos-ton (Boston 1976) 280 no. 452.

22 From Golgoi: Atlas I, pl. 142, no. 1067; Fred C. Albertson, Catalogue of the Cypri-ote Sculptures and Terracottas in the Kelsey Museum of Archaeology, The University of Michigan (SIMA, vol. 20,14) (Jonsered 1991) 14 no. 13, fi g. 13a–b.

23 New York, MMA, inv. no. 74.51.2465, from Golgoi: Connelly 1988, 88 no. 31, pl. 32, fi g. 116 (mid-3rd cent. BC); Karageorghis et al. 2000, 246 no. 402 (mid-3rd cent. BC).


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Fig. 3a–b: Male statue of unknown provenance; London, British Museum, inv. no. 1917,0701.249 (Sculpture C 173).

Fig. 4: Torso of a male statue from the sanctu-ary of Apollo in Idalion; London, British Museum, no inv. no. (Sculpture C 174).

Fig. 3b


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ed weights are a common feature on votive statues from Golgoi and Voni24 as well as on sculpture from the coast of Asia Minor25 and its offshore islands.26 These particular weights were popular from the 5th century BC until late Hel-lenistic times,27 thus, unfortunately, providing no reliable instrument for dating.

The Apollo sanctuary in Idalion yielded similar pieces, such as the previ-ously mentioned statue in London, C 17328 (Fig. 3a–b), and a torso in London, C 17429 (Fig. 4) which displays the same type of elongated weight. The pro-posals for the chronological settings of these objects span a time of two cen-turies. Reinhard Senff preferred a rather high date for the statue C 173 and the torso C 174 (mid-4th century BC), whereas Joan Connelly dated C 173 to mid-2nd century BC. She argued from the form of the sandal, which she believed to have been used in Cyprus not before 150 BC, but which, in the meantime, was shown to have been depicted already on 4th century Cypriote sculpture.30 The

24 Nicosia, CM, inv. no. E 513, from Voni: Ohnefalsch-Richter 1893, pls. 41,2 and 215, 5–5a; SCE IV,3, 85 no. 2, pl. 2,1–2 (“early decades of the 3rd century”); Porphyrios Dikaios, A Guide to the Cyprus Museum (Nicosia 1961, revised ed.) 105, Pedestal 44 (early 3rd cent. BC); Connelly 1988, 57–58 no. 18 pl. 20, fi gs. 74–77 (late 3rd cent. BC); Papantoniou 2012, 318–319, fi g. 79. – Nicosia, CM, inv. no. E 514, from Voni: Ohnefalsch-Richter 1893, 489, pl. 215,7–7a (Roman); John L. Myres – Max Ohne-falsch-Richter, A Catalogue of the Cyprus Museum: With a Chronicle of Excavations undertaken since the British Occupation and Introductory Notes on Cypriote Archae-ology (Oxford 1899) 146 no. 5054 (“pure Hellenistic work”); SCE IV,3, 85 no. 4, pl. 2,3–4 (“early decades of the 3rd century”); Dikaios op. cit., 1961, 105, Pedestal 45 (early 3rd cent. BC); Connelly 1988, 60 no. 21, pl. 22, fi gs. 82–85 (200–150 BC); Pap-antoniou 2012, 322, fi gs. 87–88.

25 Ernst Pfuhl – Hans Möbius, Die ostgriechischen Grabreliefs, vol. I (Mainz 1977) 80 no. 109, pl. 26 (lost; 200–150 BC); 86 no. 141, pl. 32 (Berlin, Pergamonmuseum, inv. no. SK 784; 2nd cent. BC); 91 no. 160, pl. 35 (Leiden, Rijksmuseum, inv. no. I. 92/7. 1; 1st cent. BC); 92 no. 161, pl. 35 (Ince Blundell Hall; 150–50 BC); 93 no. 170, pl. 37 (Leiden, Rijksmuseum, inv. no. Pb. 27; 100–50 BC); 108–109 no. 256, pl. 48 (Leiden, Rijksmuseum, inv. no. S. N. Ns. 1; 150–100 BC); 171 no. 569, pl. 89 (Leiden, Rijks-museum, inv. no. I. 93/2. 1; ca. 150 BC).

26 Kos, Archaeological Museum, inv. no. 22: Renate Kabus-Preisshofen, Die hellenisti-sche Plastik der Insel Kos (Beiheft der Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung, vol. 14) (Berlin 1989) 205–207 no. 32, pl. 48.

27 Delphi, tomb relief: Tobias Dohrn, Die Marmor-Standbilder des Daochos-Weih-geschenks in Delphi (Antike Plastik, vol. 8) (Berlin 1968) 33–52, fi g. 31 (about 470 BC). – Delphi, Daochos monument, statue of Aknonios: Dohrn op. cit., 1968, 33–53, pl. 26b; for the monument’s dating to 288–278 BC: Wilfred Geominy, The Daochos Monument at Delphi, in: Peter Schultz – Ralf von den Hoff (eds.), Early Hellenistic Portraiture: Image, Style, Context (Cambridge 2007) 84–98.

28 Cf. above fn. 18. 29 Inv. no. 2009,5010.11 (Sculpture C 174), H 41.5 cm: Pryce 1931, 69 no. C 174 (250

BC); Senff 1993, 40, pl. 25f–h (350 BC).30 Cf. the male statue with the mask of a bull from Golgoi, New York, MMA, inv. no.

74.51.2463: Karageorghis et al. 2000, 249 no. 403 (mid-3rd cent. BC); for its dating in the late 4th cent. BC and the inscription with the name of Pnytagoras: Antoine Herma-ry, Sculptures de la collection Cesnola: le cas du ‘prêtre’ à la tête de taureau, in: Veron-


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torso C 174 is dated about 250 BC by Pryce and in the British Museum data-base.

If we accept that head and body belong together we are confronted with a head displaying traditional, local stylistic formulas, used for under-life-size stat-ues, and a body formed after contemporary Greek models, clad in a himation with a voluminous roll at the waist. Further examples, however, like the previ-ously mentioned female statue in Brussels,31 confi rm that both styles were com-bined and probably carved in the 2nd half of the 4th century or maybe even in the early 3rd century BC. Thus, a date in the late 4th or early 3rd century BC is proposed for the statue TC 6682,5.

Male head, Museum für Vor- und Frühgeschichte XI b 3933 Sculpture from Idalion also provides parallels for the male head XI b 3933 (74/875) in the Museum für Vor- und Frühgeschichte (Fig. 5a–c).32 This un-provenanced object comes from the Ohnefalsch-Richter – Weisbach Collection. It had formerly been kept in Leipzig and was transferred to Berlin in 1974.33

The under-life-sized head has a height of 19.1 cm, full cheeks and a heavy chin, a venus ring at the neck, slit-like eyes with clearly modelled eye lids, spherical eye balls and deeply set inner eye corners. The nose is rather short, and the small mouth displays deeply carved corners. The hair is structured in short curls above the forehead and the temples, but is not sculpted at the upper part or back of the head. A wreath consisting of parallel leaves adorns the head.

Edith Hoffmann and Melitta Brönner compared it to the head C 184 in the British Museum,34 which also originated from Idalion. Both Hoffmann and Brönner pointed to similarities with portraits of the kings Ptolemy III and IV, which indicates a date in the 2nd half of the 3rd century, a date which Reinhard Senff also proposed. However, the head C 184 shows a more slender lower face and differently proportioned facial features, such as a broader nose and a fuller mouth, and a more detailed hair structure, such as the heart-shaped line at the forehead and the sickle-like strands of hair. Like the Berlin head, it displays a

ica Tatton-Brown (ed.), Cyprus in the 19th century AD: Fact, fancy and fi ction. Papers of the 22nd British Museum Classical Colloquium, December 1998 (Oxford 2001) 153–159, who considers him a possible member of the Salaminian dynasty.

31 Cf. fn. 15.32 Edith Hoffmann, Zyprische Skulpturen der Sammlung Ohnefalsch-Richter aus helle-

nistischer Zeit, in: Jahrbuch des Museums für Völkerkunde zu Leipzig 25, 1968, 129, pl. 24.10; Melitta Brönner in: Brehme et al. 2002, 143 no. 153.

33 Communication Melitta Brönner 21 June 2000 and Brönner, Zur Sammlung “Ohnefalsch-Richter-Weisbachˮ einstmals in Leipzig – jetzt in Berlin, in: CCEC 28, 1998, 37-43.

34 Inv. no.1872,0816.45 (Sculpture C 184), H 13 cm: Pryce 1931, 74 no. C 184, fi g. 116 (246–221 BC = Ptolemy III); Senff 1993, 44–45, pl. 28h–k (250–200 BC).


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prominent venus ring at the neck. Proportionally closer to the Berlin head is the face of the statue C 198 in the British Museum, also originating from Idalion (Fig. 6a–b),35 which is very similar in its heavy features and especially in the slit-like eyes with rounded eyeballs.

Heads of late 3rd century Ptolemies, such as Ptolemy III and IV show nar-row eyes with spherical eyeballs combined with long cheeks and more or less

35 Inv. no.1917,0701.248 (Sculpture C 198), H 80 cm: Pryce 1931, 79–80 no. C 198, fi g. 129 (before 300 BC); Connelly 1988, 66, 73 no. 28, pl. 27, fi gs. 104–105 (150–100 BC); Senff 1993, 43–44, pl. 29f–l (ca. 250–200 BC); Tatton-Brown 2007, 175, 185–186 no. 4, fi g. 4; Koiner 2012, 133–134, 137, fi g. 12a–b.

Fig. 5a–c: Male head of unknown provenance; Staatliche Museen zu Berlin, Museum für Vor- und Frühgeschichte, inv. no. XI b 3933.


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heavy chins. The full throats can best be studied on coins,36 the slit-like eyes comparable with the small eyes on marble portraits of these kings, such the heads of Ptolemy III in Alexandria,37 in Cairo38 and in the Helmke collection.39 We may assume that the Berlin head was sculpted after a model of the king’s portrait in marble or bronze, or after honorary or votive portrait statues captur-ing the king’s likeness.40

36 Goldoctodrachmai with the portrait of Ptolemy III: BMC Ptolemies 56, pl. 12.2–5, e.g. London, BM, inv. no. 1841,B.3706: http://www.britishmuseum.org (accessed 23/09/2013); Kyrieleis 1975, pl. 17,1–4; Norman Davis – Colin M. Kraay, The Hel-lenistic Kingdoms: Portrait Coins and History (London 1973, reprint 1980) 158–159, fi gs. 23 and 27; Lorber 2012, 217–218, fi g. 12,13. – Ptolemy IV: BMC Ptolemies 64–65, pls. 14,9–10, 15,1–2; Kyrieleis 1975, pl. 30,1–4; Davis – Kraay op. cit., 1980, 161–162, fi gs. 29 and 33; Lorber 2012, 218–220, fi g. 12,15.

37 Graeco-Roman Museum, inv. no. 3270: Kyrieleis 1975, 167–168 no. C 1, pl. 18,1–3; Koiner 2012, 134 fi g. 14.

38 Egyptian Museum, inv. no. JE 39520, from Tell Timai/Thmuis: Katja Lembke, Eine Ptolemäergalerie aus Thmuis-Tell Timai, in: Jahrbuch des Deutschen Archäologischen Instituts 115, 2000, 113–146, fi gs. 5–7; Eva Schernig, Berenike II. und die anderen, in: Städel-Jahrbuch 19, 2004, 438, fi gs. 12–13.

39 Once in the August Kestner Museum, Hannover: Arachne, Forschungsarchiv für antike Plastik, Universität Köln FA10227/06–10: http://arachne.uni-koeln.de, object no. 35037, or http://prometheus.uni-koeln.de (accessed 23/09/2013).

40 The latest overview in Papantoniou 2012, 295–354, for the typological-stylistic ap-proach 314–326.

Fig. 6a–b: Head of male statue from Idalion; London, British Museum, inv. no. 1917,0701.248 (Sculpture C 198).


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Two male heads, Antikensammlung SK 326 and SK 327 The prominent features of full cheeks and heavy throats characterize a whole string of Cypriote limestone votaries, such as two Cypriote master pieces in the Antikensammlung, the male heads SK 326 (Fig. 7a–b)41 and SK 327 (Fig. 8a–b)42. These near to life-sized heads show the ideal face of a young man, SK 326, and the individual features of a more mature male, SK 327.

The young, ideal head, SK 326 (Fig. 7a–b), with a height of 27.5 cm, fea-tures an oval face with full cheeks and a heavy chin, a high arched skull with a prominent angle above the forehead. The almond-shaped eyes show rounded eyeballs, the lips are slightly parted, forehead and nose in a nearly straight line.

The hair is structured in tiny curls above the forehead, following a slightly heart-shaped line. It features a whirl at the temples and long strands at the nape. The man wears small, horizontally structured sideburns. At the upper part and back of the head, the hair is unstructured. The male wears a wreath consisting of several rows of long, small, lanceolate leaves with a central ridge. The centre of the head does not display leaves but a string which joins the wreath together.

The second head, SK 327 (Fig. 8a–b), with a height of 31 cm, represents a man with individual features, the head slightly tilted, the face itself longer than that of SK 326, with a small dimple in the chin.

The hair is similarly structured in tiny curls above the forehead and at the upper part and back of the head longer curls appear, though the whirl at the temples is missing. Long strands of hair appear at the nape although, in contrast to SK 326, these are carved in two rows which are fi tted into each other. The neck displays a double lined wrinkle forming a gentle venus ring above. The man wears a wreath bound with several rows of long, small leaves with a mid-dle ridge, again joined with a string above the centre of the forehead.

The surface of SK 326 is covered with dark stains, an outcome of the con-servation process after its deposition. Stains resembling pockmarks are not un-common on Cypriote sculptures, this also being the case with two heads in

41 H max 27.5 cm, H head 24 cm, W 17.2 cm, D 21.8 cm: Inventar Skulpturen, vol. I, 94–95 no. 326; Furtwängler 1883–1887, pl. 42 right; Conze 1891, 134–135 no. 326; Senff 1993, 47, pl. 94b; http://arachne.uni-koeln.de, object no. 204462 (Viola Lewandowski, accessed 23/9/2013), with slightly differing measurements.

42 H max 31 cm, H head 22 cm, W 19 cm, D 21 cm: Inventar Skulpturen, vol. I, 94–95 no. 327; Furtwängler 1883–1887, pl. 42 left; Conze 1891, 135 no. 327; Senff 1983, 47, pl. 94a; Brehme et al. 2002, 163–164 no. 175; Emilia D. Vassiliou, Ptolemaic Art and the Legitimation of Power, in: Demetrios Michaelides – Vassiliki Kassianidou – Robert S. Merrillees (eds.), Egypt and Cyprus in Antiquity: Proceedings of the Interna-tional Conference, Nicosia, 3–6 April 2003 (Oxford 2009) 152, fi g. 16,1; Koiner 2012, 137, fi g. 16a–b; http://arachne.uni-koeln.de, object no. 210440 (Viola Lewandowski, ac-cessed 23/9/2013), with slightly differing measurements.


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Fig. 8a–b: Male head of unknown provenance; Staatliche Museen zu Berlin, Antikensammlung, inv. no. SK 327.

Fig. 7a–b: Male head of unknown provenance; Staatliche Museen zu Berlin, Antikensammlung, inv. no. SK 326.


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Graz and two lost heads, formerly in the Brockhaus Collection in Leipzig.43 The stone material of both SK 326 and SK 327 has been optically judged as typical Cypriote by Yannis Maniatis.44

Both heads are said to have been acquired from the dealer Feuardent in Paris and belonged to the Collection of Peter Alexandrovich Saburoff (1835–1918), a Russian diplomat who worked in Berlin from 1879 to 1884. When leaving the city, he dissolved his collection, presenting the stone sculpture, the bronzes and vases to the museum. As early as 1880, he asked Adolf Furtwäng-ler to publish his objects.

Furtwängler,45 who correctly identifi ed the heads as belonging to votaries, was not convinced of the pieces’ quality, but emphasised the decay of Cypriote national art which was no longer able to compete with Greek art, a judgement that has, until recently, been heard frequently:

“Wahrscheinlich gehören diese Köpfe noch dem vierten Jahrhundert an und zeugen von dem frühen Verfalle der cyprischen nationalen Kunst, die es nicht mehr vermochte, der auf ihre freie Höhe gelangten griechischen zu folgen und dieselbe in sich aufzunehmen, die von der Ueberlegenheit jener vielmehr er-drückt wurde.”

Alexander Conze46 recognised their Cypriote characteristics in his 1891 cat-alogue, where he wrote that the form of the high skull is common for sculptures from Cyprus. Like Furtwängler, he showed little enthusiasm for the quality of the heads. With regard to the head SK 326 he noticed:

“Die eigentümliche, nach hinten ansteigende Form des Schädels, sowie die un-griechische, etwas gestülpte Nase hat er mit anderen cyprischen Porträtköpfen gemein (…). Er gehörte wahrscheinlich zu einer jener Statuen, welche nach cyprischer Sitte im Typus der Opfernden geweiht wurden (…). – Mittelmäßige Arbeit.”

43 For the heads in Graz, Universalmuseum Joanneum, inv. nos. 25.211 and 25.212 cf. primarily Gabriele Erath-Koiner, Aphrodite in Graz – Eine Mauerkronenträgerin aus Zypern im Steiermärkischen Landesmuseum Joanneum, in: Schild von Steier 18, 2005, 27–33; Gabriele Koiner, Die Große Göttin in Graz – Ein weiblicher Kopf mit fl oralem Kalathos aus Idalion im Landesmuseum Joanneum, in: Schild von Stein 19, 2006, 81–89. For the heads once in Leipzig, Brockhaus Collection cf. Karl A. Neugebauer (ed.), Antiken in Deutschem Privatbesitz (Berlin 1938) 17–18 nos. 33–34, pl. 17; Johannes Bauer – Wilfred Geominy (eds.), Gips nicht mehr (Bonn 2000, 2nd ed.) 141–142 no. 26. And cf. also the paper of Sabine Rogge and Eftychia Zachariou-Kaila in this volume for one of the heads in Graz (inv. no. 25.211) and one of the heads formerly in the Brockhaus Collection (head with mural crown).

44 Institute of Materials Science of the National Center for Scientifi c Research “Demo-kritos”, Ayia Paraskevi, Greece. Email communication. Unfortunately, it was not possi-ble to take samples for these heads in order to analyse them at the Institute of Materials Science.

45 Furtwängler 1883–1887, pl. 42.46 Conze 1891, 134–135 no. 326.


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The heads were forgotten in the storerooms, and only SK 327 was shown at the exhibition organised in Berlin in 1971.47

A decade later, Reinhard Senff wrote his master’s thesis on Hellenistic and Ro-man limestone sculpture from Cyprus. He dated the heads to the late 1st century AD, but later corrected this to 3rd century BC.48

It was again the more individual head, SK 327, which featured in the new catalogue of the Cypriote Collection of the Antikensammlung in 2001/2002,49 and this very same head is also displayed in the current exhibition.

The shape of their high skulls with the prominent edge at the forehead, the tiny locks above the forehead and the long strands of hair at the nape are all features that the two heads have in common. However, SK 326 displays a still more clear-cut edge at the forehead and a more voluminous skull. In addition, the hair at the nape is structured in long, relatively straight strands, thus being sculpted in a simpler manner than SK 327. These features are consistent with those of the head of the statue C 173 from Idalion and equally with those of the previously discussed statue TC 6882,5 (Fig. 1a–d), for which a date in the late 4th or early 3rd century was proposed.

The elongated form of the faces is comparable with the head of the London statues C 198 (Fig. 6a–b)50 and C 173 (Fig. 3a–b)51 which also show a high-ly arched upper head like that of SK 326. Furthermore, the London head of C 198 and SK 326 share similar curls above the forehead and a whirl of curls at the temples. A head in Paris, Louvre AM 2807,52 originating from Athienou Malloura, is another noteworthy example, showing very similar features, such as the long face with full cheeks, the heavy chin, the high skull, and even the turning of the head with a fl eshy fold at the neck. This head also displays a re-markably similar mouth to SK 326, and clear-cut eyelids. The full face, the heart-shaped line of frontal curls and the clearly defi ned eyelids equally occur on a head in Sarasota, RM SN28.1605, originating from Golgoi.53

Regarding these parallels, SK 326 should be dated to the 3rd century BC, possibly to the 2nd half of this century. As has been previously referred, Connel-ly’s dating to the 2nd half of the 2nd century BC resulted from her late dating of

47 Schätze aus Zypern: Kunst aus acht Jahrtausenden, Staatliche Museen zu Berlin, Altes Museum, Januar bis Februar 1971 (Berlin 1971) 52 no. 130 (350–325 BC).

48 Senff 1983, 47, pl. 94a–b.49 Brehme et al. 2002, 163–164 no. 175 (2nd – 1st cent. BC).50 Cf. above fn. 35.51 Cf. above fn. 18. 52 From Malloura: Hermary 1989, 189 no. 365 (mid-3rd cent. BC). Hermary already noted

the relationship to the head in London, BM, Sculpture C 198, cf. above fn. 35. 53 From Golgoi, purchased from Anderson Galleries in 1928: Atlas I, pl. 142, no. 1061

(Roman period).


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the sandals of the London statue C 173.54 Meanwhile, is now known that they were already worn in the late 4th century BC.55

Another head in Sarasota, RM SN28.1618,56 bears similarities to both heads, but especially to SK 327. It has the characteristic angle at the forehead, sim-ilar crescent-shaped strands with a central radiating whirl above the forehead and at the temples and eyes with clearly defi ned eyelids. The setting of the eyes and carving of the eyebrows, and the long, fully cheeked face are very similar to SK 327, although the Berlin head has a more elongated face and eyes which are set more closely together. Nevertheless, both heads are so similar that they could have come from the same workshop. The fullness of the Sarasota head and its small, crescent-shaped frontal curls are common features of a series of male heads from Golgoi, probably dating back to the 3rd and 2nd centuries BC.57

Parallels outside Cypriote limestone sculpture are provided by portraits of Ptolemy III on coins58 or in the round, such as the head in the Kyrene Muse-um, 17136.59 Nevertheless, it has to be stressed that the identifying and dating of Ptolemaic portraits is a much-discussed fi eld. The types vary from long to round and very full faces. The only feature held in common with the Cypriote heads seems to be the heavy chin. Thus, caution must be exercised when using Ptolemaic portraits to date Cypriote sculpture.

Coin portraits of the 3rd century Ptolemies,60 but also seal stamps61 from the later 2nd century can provide parallels for the full faces, although the Cypriote heads do not show the immense obesity of the seal portraits. Coins and seals re-fl ect the idea of tryphé, the ability of the Ptolemaic king to grant fertility and prosperity to Egypt and its subjects.62 The most prominent representatives of

54 Cf. above fn. 18.55 Male statue in New York, MMA, inv. no. 74.51.2463, from Golgoi: Hermary op. cit.

(cf. above fn. 30); Karageorghis et al. 2000, 249 no. 403 (mid-3rd cent. BC). Cf. also the male torso in Paris, Louvre, inv. no. AM 3844, from Malloura (?): Hermary 1989, 274 no. 557 (late Classical or early Hellenistic).

56 From Golgoi(?), purchased from Anderson Galleries in 1928: Atlas I, pl. 105, no. 687; Koiner 2012, 137, fi g. 17a–b.

57 Cf. the male head in New York, MMA, inv. no. 74.51.2805, from Golgoi: Connelly 1988, 91 no. 36, pl. 35, fi gs. 125–126 (early 2nd cent. BC); Karageorghis et al. 2000, 250 no. 406 (early 2nd cent. BC).

58 Cf. above fn. 36.59 Shahat, Kyrene Museum, inv. no. 17136, from Apollonia: Kyrieleis 1975, 32, 39

no. C 2, pls. 18,4–19,2.60 Cf. above fn. 36.61 Kyrieleis 1975, 64–69, pls. 54–55.62 G. Hölbl, Geschichte des Ptolemäerreiches: Politik, Ideologie und religiöse Kultur von

Alexander dem Großen bis zur römischen Eroberung (Darmstadt 1994) 84; Helmut Kyrieleis, Griechische Ptolemäerbildnisse: Eigenart, Unterschiede zu anderen hellenis-tischen Herrscherbildnissen, in: Ägypten, Griechenland, Rom. Abwehr und Berührung. Städelsches Kunstinstitut und Städtische Galerie, 26. November 2005 – 26. Februar 2006 (Frankfurt 2005) 242; Lorber 2012, 215.


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this idea were Ptolemy III and Ptolemy VIII. Wealthy citizens, wanting to dem-onstrate their own wealth and affl uence, consequently developed similar physi-cal features.

We can conclude that both heads have similarities with heads from Ida lion and Golgoi. Furtwängler had already noticed the similarities with sculptures from Golgoi, which can, for example, be seen on the head AM 3839 in the Louvre.63

Chronologically, the heads could be dated to the late 3rd century BC or, due to the Golgoi parallels for SK 327, maybe even to the early 2nd century BC. The author’s earlier dating to around 100 BC, which is refl ected in the Berlin catalogue of 2002, resulted from the sharp angle on the forehead, which equally occurs on later Hellenistic sculpture from Voni.64

Both heads seem very similar, e.g. in details like the mouth; they could have come from the same workshop and were maybe even made by the same sculp-tor. The differences may not have chronological reasons, but perhaps refl ect dif-ferent wishes or needs of the dedicators, who, in the case of SK 326, wanted a portrait-like votive statue of a young male with young, ideal features, refl ect-ing the wealth of the family and its loyalty to the royal house. In turn, SK 327, whose individualized features could compete well with Greek portraits, perhaps tell us that this man held a higher rank in society.

Whom do the men represent? Inscriptions are rare in the sanctuaries of the Mesaoria plain, and the few we have, cannot, at least up to now, be connected with our life-size statues. Were the dedicators or dedicatees persons living in or near Idalion or did they belong to the elite of the large cities such as Salamis or Kition? We have at least two 3rd century inscriptions from Idalion, which attest to Phoenician dedicators in Idalion. One is the famous Phoenician inscription naming Amath-Osir, the kanephore of Arsinoe II from 254 BC.65 On this statue

63 Furtwängler 1883–1887, fn. 2 refers to the head Paris, Louvre, inv. no. AM 3839, from Golgoi: Wilhelm Froehner, Les Musées de France: Recueil de monuments antiques (Paris 1873) pl. 29; Connelly 1988, 106–107 no. 63, pl. 50, fi gs. 185–186 (late 3rd cent. BC); Hermary 1989, 190 no. 379 (classicising middle Hellenistic work), and to the head in Sarasota, RM, inv. no. SN28.1605 (cf. above fn. 53), formerly in New York, MMA: Atlas I, pl. 142, no. 1061 (Roman period).

64 E.g. on the male statue Nicosia, CM, inv. no. E 514: cf. above fn. 24.65 London, BM, inv. no. C / 125327, marble / Cypriote marble (Senff 1993), W 54 cm,

upper surface with six holes for bronze statues (Senff 1993): CIS I, 93, pl. 13; Senff 1993, 87 no. 4: George Hill, A History of Cyprus, vol. I (Cambridge 1949) 182 fn. 4; Masson 1968, 400; Terence B. Mitford, Further Contributions to the Epigraphy of Cyprus, in: American Journal of Archaeology 65, 1961, 113 fn. 78; Michaelidou- Nicolaou 1976, 170, addendum for p. 47; Marguerite Yon, Kition dans les textes: Testi-monia littéraires et épigraphiques et Corpus des inscriptions. Kition-Bamboula, vol. 5 (Paris 2004) 88–89 no. 82. For the independance of Idalion during the Hellenistic period: Andreas Mehl, Zyperns Städte im Hellenismus: Verfassung, Verwaltung und führende Gesellschaft, in: Hellas und der griechische Osten: Studien zur Geschichte


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base, a woman called Batshalom dedicates three bronze statues of her grand-sons. We do not learn anything from the inscription about where she was living.

The second statue base supported a bronze statue, set up in the temple of Apollo in Idalion by a certain Mnaseas from Meteira after a vow for himself and his son Gerusmon with a Greek inscription in 264 BC.66 Terence Mitford67 and Olivier Masson68 proposed to read Meteira as demotikon, thus indicating a location or village near Idalion.

This inscription not only provides important evidence for expensive bronze statuary. As we learn that this bronze statue was dedicated by Gerusmon’s father, Mnaseas, living, perhaps residing, near Idalion, this shows that this could also be the case for limestone sculpture. Not only individuals in far-away Kition or larger coastal cities were dedicators of costly sculptures, but persons residing locally also dedicated prestigious portrait sculpture. Their wealth may, however, have come from geographically wide ranging activities and could have been connected to administrative functions, such as a chorarchos or to p-archos, the head of a district.69

It is to be hoped that epigraphic evidence will increase70 and that new re-search will be able to connect some of the limestone votive statues to their bas-es and shed new light on questions of sculpture and society.

und Numismatik der griechischen Welt. Festschrift für Peter Robert Franke zum 70. Geburtstag (Saarbrücken 1996) 129 fn. 4.

66 Nicosia, Cyprus Museum, inscription 125 (Masson), grey/black marble, W 75 cm, D 52 cm, H 27 cm (Colonna-Cecaldi and Masson): George Colonna-Ceccaldi, Nou-velles Inscriptions Grecques de Chypre, in: Revue Archéologique 1874, 89–90 (Dali no. 1); id., Monuments antiques de Chypre, de Syrie et d’Egypt (Paris 1882, reprint 2003) 196–198 (Dali no. 1); Masson 1968, 397–400, fi g. 25; Michaelidou-Nicolaou 1976, 83, 132 no. M 39; Senff 1993, 88 no. 9; Yon op. cit. (cf. above fn. 65), 141–142 no. 179.

67 Terence B. Mitford, Kafi zin and the Cypriot Syllabary, in: The Classical Quarterly 44, 1950, 102 fn. 2.

68 Masson 1968, 400: “cette suggestion [by Mitford, note author] est ingénieuse et nous paraît la plus plausible”.

69 Hans Volkmann, Der Herrscherkult der Ptolemäer in phönikischen Inschriften und sein Beitrag zur Hellenisierung von Kypros, in: Historia 5, 1956, 452–453; Jolanta Młynarczyk, Nea Paphos in the Hellenistic Period. Nea Paphos, vol. 3 (Warsaw 1990) 150 fn. 268. Yathabaal as governor of the district of Lapethos in 275/274 BC: Hill op. cit. (cf. above fn. 65), 178–179 fn. 9; Mitford, op. cit. (cf. above fn. 65); Michaelidou-Nicolaou 1976, 29 no. 2. – For the rab’eres as head of the city and its territory: Mehl op. cit. (cf. above fn. 65), 149–151; Andreas Mehl, Griechen und Phoiniker im hellenis-tischen Zypern – ein Nationalitätenproblem?, in: Bernd Funck (ed.), Hellenismus: Bei-träge zur Erforschung von Akkulturation und politischer Ordnung in den Staaten des hellenistischen Zeitalters. Akten des Internationalen Hellenismus-Kolloquiums, 9.–14. März 1994 in Berlin (Tübingen 1996) 387–389.

70 Current epigraphic research by German-speaking researchers e.g. Daniela Summa, Brandenburgische Akademie der Wissenschaften Berlin (Corpus of Cypriote Inscrip-tions), Anne Kolb, University of Zürich (Cypro-syllabic inscriptions of Palaepaphos), Gabriele Ambros, Vienna (Hellenistic and Roman Inscriptions from Cyprus, PhD the-


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Abbreviations of collectionsLondon, BM London, The British MuseumNew York, MMA New York, The Metropolitan Museum of ArtParis, Louvre Paris, Musée du Louvre Sarasota, RM Sarasota, John and Mable Ringling Museum

BibliographyCCEC Cahiers du Centre d’Études ChypriotesSIMA Studies in Mediterranean Archaeology

Atlas I = Luigi Palma di Cesnola, A Descriptive Atlas of the Cesnola Collection of Cypriote Antiquities in the Metropolitan Museum of Art, New York, vol. I (Boston 1885).

Bernhard-Walcher et al. 1999 = Alfred Bernhard-Walcher – Günther Dembski – Kurt Gschwantler – Vassos Karageorghis, Die Sammlung zyprischer Anti-ken im Kunsthistorischen Museum Wien (Vienna 1999)

BMC Ptolemies = Reginald S. Poole, A Catalogue of the Greek Coins in the British Museum: The Ptolemies, Kings of Egypt (London 1883)

Brehme et al. 2002 = Sylvia Brehme – Melitta Brönner – Vassos Karageorghis – Gertrud Platz-Horster – Bernhard Weisser, Antike Kunst aus Zypern: Anti-kensammlung, Museum für Vor- und Frühgeschichte, Münzkabinett. Staat-liche Museen zu Berlin (Berlin 2002).

CIS = Corpus Inscriptionum Semiticarum, vol. I.1: Inscriptiones Phoenicias (Pari-siis 1881).

Connelly 1988 = Joan B. Connelly, Votive Sculpture of Hellenistic Cyprus (Nicosia 1988).

Conze 1891 = Alexander Conze, Beschreibung der antiken Skulpturen mit Aus-schluss der pergamenischen Fundstücke (Berlin 1891).

Furtwängler 1883–87 = Adolf Furtwängler (ed.), Die Sammlung Sabouroff: Kunst-denkmäler aus Griechenland, vol. I (Berlin 1883–87).

Hermary 1989 = Antoine Hermary, Catalogue des Antiquités de Chypre: Sculptures, Musée du Louvre (Paris 1989)

Karageorghis et al. 2000 = Vassos Karageorghis – Joan R. Mertens – Marice E. Rose, Ancient Art from Cyprus: The Cesnola Collection of The Metropoli-tan Museum of Art (New York 2000).

Koiner 2012 = Gabriele Koiner, Ptolemies and Cypriots: Imitation and Distinction in Cypriote Portrait Sculpture, in: Peter Scherrer – Gabriele Koiner – Anja Ulbrich (eds.), Hellenistisches Zypern und weitere Beiträge zur Antike / Hellenistic Cyprus and Further Studies in Antiquity (Keryx, vol. 2) (Graz 2012) 119–158.

Kyrieleis 1975 = Helmut Kyrieleis, Bildnisse der Ptolemäer (Archäologische For-schungen, vol. 2) (Berlin 1975).

sis), Christian Wallner and Martin Bauer, University of Graz (studies on the squeezes by Franz Unger made in 1862).


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Lorber 2012 = Catherine C. Lorber, The Coinage of the Ptolemies, in: William E. Metcalf (ed.), The Oxford Handbook of Greek and Roman Coinage (Oxford 2012) 211–234.

Masson 1968 = Olivier Masson, Kypriaka VII: Le sanctuaire d’Apollon à Idalion (Fouilles 1868–1869), in: Bulletin de correspondance hellénique 92, 1968, 386–402.

Michaelidou-Nicolaou 1976 = Ino Michaelidou-Nicolaou, Prosopography of Ptole-maic Cyprus (Göteborg 1976).

Ohnefalsch-Richter 1893 = Max Ohnefalsch-Richter, Kypros, the Bible and Homer: Oriental Civilization, Art and Religion in Ancient Time (London 1893).

Papantoniou 2012 = Giorgos Papantoniou, Religion and Social Transformations in Cyprus: From the Cypriot Basileis to the Hellenistic Strategos (Leiden 2012).

Pryce 1931 = Frederick N. Pryce, Catalogue of Sculpture in the Department of Greek and Roman Antiquities of the British Museum, vol. I.2: Cypriote and Etruscan (London 1931).

SCE IV,3 = Olof Vessberg – Alfred Westholm, The Hellenistic and Roman Periods in Cyprus. The Swedish Cyprus Expedition, vol. IV,3 (Stockholm 1956).

Senff 1983 = Reinhard Senff, Datierungsprobleme der späthellenistischen und römischen Kalksteinplastik aus Zypern (unpublished master thesis, Munich 1983).

Senff 1993 = Reinhard Senff, Das Apollonheiligtum von Idalion. Architektur und Statuenausstattung eines zyprischen Heiligtums (SIMA, vol. 94) (Jonsered 1993).

Tatton-Brown 2007 = Veronica Tatton-Brown, Sculpture of the Fourth and Third Centuries in the British Museum, in: Pavlos Flourentzos (ed.), Proceedings of the International Archaeological Conference “From Evagoras I to the Ptolemies: The Transition from the Classical to the Hellenistic Period in Cyprus”, Nicosia 29–30 November 2002 (Nicosia 2007) 173–192.

Photo credits Figs. 1a–d, 7a–b, 8a–b: courtesy of the Staatliche Museen zu Berlin – Preu ßischer Kulturbesitz, Antikensammlung (photos: Philipp Groß). – Fig. 2a–b: courtesy of the Department of Antiquities, Cyprus (photos: Gabriele Koiner). – Figs. 3a, 4: © Trustees of the British Museum. – Figs. 3b, 6a–b: courtesy of the Department of Greek and Roman Antiquities, British Museum (photo: Gabriele Koiner). – Fig. 5a–c: courtesy of the Staatliche Museen zu Berlin – Preußischer Kulturbesitz, Museum für Vor- und Frühgeschichte (photos: Claudia Plamp [fi g. 5b–c])

Gabriele KoinerInstitut für Archäologie, Karl-Franzens-Universität Graz, Universitätsplatz 3/II, A-8010 Graz (Austria)[email protected]


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