SCULPTORS’ SKETCHES, TRIAL PIECES, FIGURE STUDIES, AND MODELS IN POROS LIMESTONE FROM THE ATHENIAN...

din i ng in the sanctuary of deme ter and kore 1

Volume 8 220 1 3

Copyright copy The American School of Classical Studies at Athens originally published in Hesperia 82 (2013) pp 615ndash650 This offprint is supplied for personal non-commercial use only The definitive electronic version of the article can be found at lthttpwwwjstororgstable102972hesperia8240615gt

Hesperia The Journal of the Amer ic an School

of Cl assic al S tudies at Athens

hesperiaSusan Lupack Editor

Editorial Advisory Board

Carla M Antonaccio Duke UniversityAngelos Chaniotis Institute for Advanced Study Princeton

Jack L Davis University of CincinnatiA A Donohue Bryn Mawr College

Jan Driessen Universiteacute Catholique de LouvainMarian H Feldman University of California Berkeley

Gloria Ferrari Pinney Harvard UniversitySherry C Fox American School of Classical Studies at Athens

Thomas W Gallant University of California San DiegoSharon E J Gerstel University of California Los Angeles

Guy M Hedreen Williams CollegeCarol C Mattusch George Mason University

Alexander Mazarakis Ainian University of Thessaly at VolosLisa C Nevett University of Michigan

Josiah Ober Stanford UniversityJohn K Papadopoulos University of California Los Angeles

Jeremy B Rutter Dartmouth CollegeA J S Spawforth Newcastle University

Monika Truumlmper Freie Universitaumlt Berlin

Hesperia is published quarterly by the American School of Classical Studies at Athens Founded in 1932 to publish the work of the American School the jour-nal now welcomes submissions from all scholars working in the fields of Greek archaeology art epigraphy history materials science ethnography and literature from earliest prehistoric times onward Hesperia is a refereed journal indexed in Abstracts in Anthropology LrsquoAnneacutee philologique Art Index Arts and Humanities Citation Index Avery Index to Architectural Periodicals Current Contents IBZ Internationale Bibliographie der geistes- und sozialwissenschaftlichen Zeitschriften- literatur Numismatic Literature Periodicals Contents Index Russian Academy of Sciences Bibliographies and TOCS-IN The journal is also a member of CrossRef

The American School of Classical Studies at Athens is a research and teaching institution dedicated to the advanced study of the archaeology art history philosophy language and literature of Greece and the Greek world Established in 1881 by a consortium of nine American universities the School now serves graduate students and scholars from more than 180 affiliated colleges and uni-versities acting as a base for research and study in Greece As part of its mission the School directs on going excavations in the Athenian Agora and at Corinth and sponsors all other American-led excavations and surveys on Greek soil It is the official link between American archaeologists and classicists and the Ar-chaeological Service of the Greek Ministry of Culture and as such is dedicated to the wise management of cultural resources and to the dissemination of knowl-edge of the classical world Inquiries about programs or membership in the School should be sent to the American School of Classical Studies at Athens 6ndash8 Charlton Street Princeton New Jersey 08540-5232

copy The Amer i c an Sc hoo l o f C l a s s i c a l S tud i e s a t Athens

hesperia 82 (2013)Pages 615ndash650

SCULPTORSrsquo SKETCHES TRIAL PIECES FIGURE STUDIES AND MODELS IN POROS LIMESTONE FROM THE ATHENIAN AGORA

ABSTRACT

This study publishes all 16 of the poros limestone statuettes and small reliefs from the excavations that can be identified with some degree of certainty as sculptorsrsquo sketches trial pieces models and other exercises Dating from the 4th century bc through the 2nd century ad this heterogeneous collection includes apprenticesrsquo trial pieces for a head and a foot studies for single fig-ures and reliefs archetypes for embossed metalwork and a possible model or paradeigma for a public monument

INTRODUCT ION

The Stoa of Attalos in the Athenian Agora now houses 3548 inventoried fragments of marble sculpture and 25 fragments of limestone sculpture the fruit of 80 years of excavation of the site (Fig 1)1 Most of them are still unpublished This article includes all the poros limestone statuettes and small reliefs from the excavations totaling 16 that can be identified with some degree of certainty as sculptorsrsquo models sketches and other exercisesmdashthough in the particular case it is often difficult to tell exactly which To put this little collection in perspective these 16 pieces are quite different in scale and character from the other nine poros sculptures yielded by the Agora excavations which comprise fragments of Archaic

1 Research for this study was car-ried out in the Agora Museum and the American School of Classical Studies at Athens in 1996ndash1998 2000 and 2007ndash2011 I owe my sincere thanks to John Camp Evelyn Harrison T Leslie Shear Jr and the late Homer Thomp-son for allowing me to study and pub-lish this material to Jan Jordan and Sylvie Dumont for facilitating access to it to Karen Loven for cleaning those pieces that required it to Craig Mauzy and Harry Laughy for their magnifi-

cent photographs to Karen Bohrer Robert Bridges the late William D E Coulson Jack Davis Blanche Mena-dier James Muhly Maria Pilali Ste-phen Tracy and Nancy Winter for administrative and library support at the School and to Gianfranco Ador-nato Richard Anderson Vassiliki Barlou Beryl Barr-Sharrar the late Judith Binder Jake Butera John Camp Hallie Franks the late Evelyn Harri-son Eleni Hasaki Annie Hooton Michael Ierardi Raphael Jacob

Carol Lawton Becky Martin Jenifer Neils Olga Palagia Susan Rotroff Kristen Seaman Alan Shapiro Heather Sharpe Dimitris Sourlas Mary Stur-geon the late Dorothy Thompson Barbara Tsakirgis three anonymous reviewers for Hesperia and lecture audi-ences in Athens and Berkeley for help on particular points Others will be acknowledged in their proper place

All measurements are in meters unless otherwise indicated All transla-tions are by the author

andre w ste wart616

animal pediments part of a large tree trunk and snake a Late Roman Egyp- tianizing triple Hekate and an under-life-size torso of a Madonna and Child2

The catalogue that follows is organized by type since the piecesrsquo exact function often remains unclear It comprises body parts (1 2) male figure studies in the round (3ndash8)3 female figure studies in the round (9ndash11) and reliefs single- and multifigured (12ndash16) A discussion follows each cata-logue entry and the article ends with a discussion of the proveniences and possible functions of these pieces along with some general conclusions

Figure 1 State plan of the Agora indicating findspots of the statuettes and reliefs discussed in this articleCourtesy Agora Excavations with additions by E Babnik

2 Pediments S 1653 S 1670 S 1222 S 1479 S 1879 and S 1972 (Agora XI pp 30ndash36 nos 94ndash95 pls 13ndash16) tree trunk and snake S 2179 (unpublished) triple Hekate S 1943 (Agora XI p 107 no 155 pls 14ndash16) Madonna and Child S 278 (unpublished) For comparison there are no poros fragments at all among the over 6500 in the Roman Agora store-

rooms which house material both from the excavations and from all over Plaka (I thank Dimitris Sourlas for confirm-ing this)

3 Two of these pieces (4 5) are technically reliefs but since they are single figures unfinished and evidently intended to be worked out in the round I have included them in this section

sculp tors rsquo tr ial p iece s fr om the ag ora 617

CATALO GUE

Body Parts

1 Bearded male head Fig 2

S 2009 Found by a Late Roman wall at approximately O20ndash1810 (object card ldquoa small building near the center of the sectionrdquo) August 2 1957

H 0125 H of head 0100 W 0080 D 0090 Soft whitish porosTop of head and face broken away rest battered Made as a fragment Under-

side of neck chiseled flat at an angle from Adamrsquos apple up to nape and rasped Curly hair and beard roughly chiseled

The head is turned to the right on the neck and inclined toward its right The hair and beard are curly

The underside of the neck is finished showing that the head was made as a fragment It is clearly a trial piece or sample of reasonable quality to judge by the remains of the hair and beard but the total destruction of the face makes it impossible to say more It could date to anywhere between the 4th century bc and the 3rd century ad but its findspot in the southwest part of the Agora near the industrial quarter of the Roman period tilts the balance toward the latter half of this range

RomanBibliography unpublished

2 Unfinished right foot Fig 3

S 1664 Byzantine fill at Q912ndash161720 May 30 1952L 0110 H 0060 W 0042 Soft yellow poros Little toe and much of right (lateral) side of foot broken away pitted and

scarredUnfinished and apparently made as a fragment Roughly chiseled below and

on the undifferentiated lump at the heel The latter cut slightly concave at the backRight foot perhaps female too long at the instep in place of the ankle and

heel a rough-cut lumpFound in the same general area as 1 this piece is merely competentmdashif one

overlooks the amorphous blob replacing the heel It cannot be from a statuette since it includes no plinth and is finished at the back so it was made as a frag-ment Its lack of a plinth and the fact that it is fully modeled underneath also distinguishes it from all the other trial feet from elsewhere published so far4 The

Figure 2 Unfinished bearded male head (1) front and right profile views Athens Agora Museum S 2009 Scale 12 Photos C Mauzy courtesy Agora Excavations

4 Edgar 1906 pp 45ndash48 nos 33377ndash33388 pl 19 Van Voorhis 1998 Smith and Lenaghan 2008 pp 122ndash128 figs 1 2 ( J Van Voorhis)

andre w ste wart618

small scale suggests a study for a statuette probably (since it is unshod and relatively unarticulated and therefore probably female) a semidraped Aphrodite dating to the Roman period of which the Agora excavations have produced literally dozens5

Hellenistic or RomanBibliography unpublished

Male Figure S tudies

3 Unfinished bearded male head Sarapis Fig 4

S 383 Well at J1617ndash1120121 June 15 1933 In ldquotwilight zonerdquo (object card ie interface) between use fill of 1stndash3rd century ad and dump of early 3rd century ad along with S 382 (5) and S 384 (14) Deposit J 121

H 0090 W 0040 D 0045 Soft greenish yellow perforated porosBroken at shoulder level Unfinished rough-chiseled and very crude cut flat

at the back Bearded head with crudely cut lips flattish nose and bulging eyes facing front wears what could be a kalathos

This head seems to combine a Sarapis type (if the headgear is truly a kalathos and not a handle for holding the piece) with the lips of a comic mask Is it merely incompetent a beginnerrsquos essay or the work of a childmdasha sculptorrsquos young son These are not mutually exclusive and similar bumbling attempts in other media recently have been recognized as apprenticesrsquo baby steps in their craft6

The context shows that it must have been made before ca ad 200 and like the other two found with it (5 14) it ought to be Roman in date along with the Agorarsquos marble busts of the Sarapis type One such bust was found in the debris attributed to the workshop in the Library of Pantainos and so must have been made between ad 102 and 267 probably nearer the latter date than the former7


5 For a list of those that can be typed see Stewart 2012 p 338 n 52 As noted above an apprenticersquos marble trial piece for hands was found on the Pnyx (PN S 31 Davidson and Thomp-son 1943 pp 35ndash40 no 6 fig 19) and others (particularly some described as

medical votives by their excavators) may lurk in the Agora storerooms eg the marble hand in relief S 1913 (unpublished)

6 Hasaki 2013 I thank Eleni Hasaki for sharing the proofs of her essay with me

7 Shear 1935 p 398 fig 24 (S 355) Construction of the Library began in ad 98 and finished in ad 102 Others S 448 S 561 S 1089 S 1160() S 2197 all unpub-lished

Figure 3 Unfinished right foot (2) top and left profile views Athens Agora Museum S 1664 Scale 12 Photos C Mauzy courtesy Agora Exca- vations


4 Roughly rectangular block of poros bearing an Fig 5 archaistic Hermes Kriophoros in relief

S 2107 Core of post-Herulian fortification wall to the southeast of the Agora under a projecting block of tie-wall 2 at S-17 together with an archaistic herm and near several unfinished Roman marble statuettes8 July 2 1959

H 0420 H of figure 0340 W 0170 Th 0180 Soft yellowish white porosBattered and chipped manrsquos head left upper torso and left arm are missing

as well as an animalrsquos hindquartersUnfinished Figure horizontally chiseled with a narrow flat chisel Block

roughly chiseled at bottom and on backThe man in relief stands on a roughly delineated plinth ca 3 cm high at the

front His right leg is slightly advanced An animal probably a ram is slung across his shoulders its head to the spectatorrsquos left his right arm is bent at the elbow and he grasps the animalrsquos feet with his raised right hand A long flat cloak ca 12 cm wide falls down his back to below his knees framing his body

This figure found in the post-Herulian fortification wall with debris attributed to the sculptorrsquos workshop in the Library of Pantainos is unfinished The technique of carving the figure back from the front plane in increasingly higher relief until it is fully rounded is a Late Hellenistic and Roman one9 and its archaistic subject suggests the latter also It may be an unfinished study for or after the archaistic

8 Herm S 2104 Agora XI p 149 no 164 pl 45 Others (all unfinished) Hermes S 2100 Artemis S 2101 Artemis S 2102 peplophoros S 2103 partially draped woman S 2108 An unfinished copy of an Archaic relief S 2079 was found in the core of the wall just to the north Agora XI pp 77ndash 79 no 127 pl 29 Still more including 16 were found nearby for a partial list see Harrison 1960 p 370 n 7

9 See eg the athlete from Rhe-neia Athens National Archaeological Museum (hereafter Athens NM) 1660 the unfinished Roman trapezophoros with Dionysos and satyr group from the Olympieion Athens NM 245 and the young athlete Athens NM 1662 Kaltsas 2002 pp 276 352 nos 576 743 Palagia 2003 pp 59ndash63 figs 4ndash8

Figure 4 Unfinished bearded male head (3) Sarapis Athens Agora Museum S 383 Scale 11 Photo C Mauzy courtesy Agora Excavations

Figure 5 Poros block with an unfin-ished archaistic Hermes Kriophoros in relief (4) Athens Agora Museum S 2107 Scale 13 Photo C Mauzy cour-tesy Agora Excavations

andre w ste wart620

Corinth-Wilton HouseWarburg Kriophoros Its pose ram and cloak echo the statuersquos and it is about one-third the scale of the complete replica in London which is 112 m high Known in two copies this kriophoros type is often attributed optimistically to Kalamis on the strength of a note in Pausanias but is far more likely to be Roman10 If the Corinth Kriophoros is Augustan as Ridgway suggests11 then this figure would reproduce the type This date is far from assured however and the Roman workshop context of 4 perhaps suggests a preliminary study rather than a reproduction

ad 102ndash267 (context)Bibliography Harrison 1960 p 370 n 7 Agora XI no 110 pl 22 (recognized

as a sculptorrsquos model) Ridgway 1981 p 431 n 36 (compared to Corinth S 686) Zagdoun 1989 pp 201 227 no 36 Van Voorhis 1998 p 183 n 15

5 Unfinished statuette of a striding youth (satyr) with raised Fig 6 left arm in relief

S 382 Well at J1617ndash1120121 June 15 1933 In ldquotwilight zonerdquo (object card) between use fill of 1stndash3rd century ad and dump of early 3rd century ad with S 383 (3) and S 384 (14) Deposit J 121

H 0138 W 0082 Th 0100 Soft greenish yellow porosBroken across below the kneesUnfinished cut with a narrow flat chisel in long coarse horizontal strokesThe youth strides out from the rough-cut background with his right foot

forward right arm lowered left arm raised and head lowered and turned to his right His forearms were never carved

This is an unfinished study for a figure such as the striding satyr popular in Late Classical and Hellenistic sculpture12 Somewhat similar satyrs occur on Roman

10 Paus 9221 Zagdoun 1989 pp 201ndash202 246ndash247 no 152 pl 68 LIMC V 1990 p 313 nos 286 287 pl 224 sv Hermes (G Siebert) Fuller- ton 1990 pp 165ndash168 nos 1 2 figs 76 77 For the Corinth statue S 686 see also Corinth IX p 28 no 21 (torso only) Ridgway 1981b p 431 pl 92

(complete) The archaistic kriophoros featured on some marble calyx-krater fragments in Rome and formerly on the antiquities market (Grassinger 1991 p 199 no 39 text figs 43 44 and figs 113ndash116) is draped quite differently

11 Ridgway 1981b pp 430ndash43112 Eg the Lysikrates Monument

of 3354 bc Ehrhardt 1993 p 39 figs 28 29 31 pls 4b 13b LIMC VIII 1997 p 1129 no 205 pl 779 sv Silenoi (E Simon) and two satyrs in the Bibliothegraveque Nationale Cabinet des Meacutedailles (Paris) and the Villa Albani (Rome) Bieber 1961 figs 561 568

Figure 6 Unfinished statuette of a striding youth with raised left arm (5) in relief Athens Agora Museum S 382 Scale 12 Photo C Mauzy courtesy Agora Excavations


ldquoneo-Atticrdquo marble vessels many of which were indeed made in Athens though exact parallels are lacking13 Technically however 5 closely resembles the archaistic kriophoros (4) The sculptor not only carved both of them with a narrow flat chisel that leaves raised ridges between the cuts but did so from the front of the block in increasingly higher reliefmdasha Late Hellenistic and Roman technique14 This piece should therefore also be considered a sculptorrsquos model either for a statuette or perhaps a ldquoneo-Atticrdquo marble vessel15

Late Hellenistic or Roman (before ca ad 200 given the context)Bibliography unpublished

6 Unfinished tripod with a boy supporting its leg Fig 7

S 1170 Footing of post-Herulian fortification wall at Q20ndash1419 May 27 1939 by north angle of wall and south tower and in front of the southern two rooms of the Library of Pantainos

H 0153 W 0110 D 0062 H of base 0023 of tripod 0130 Soft yellow poros with shell inclusions

Broken above and the back is split away battered Unfinished Figure and tripod only roughly blocked out with chisel and gouge sides and bottom coarsely chiseled

Only one leg and the lowest horizontal hoop of the tripod are finished The leg terminates below in a lionrsquos foot which stands on the head of a small boy dressed in a cap long tunic and cloak fastened across his neck He carries something in both hands at chest level an offering tray

The boy looks somewhat like a Telesphoros but what he (or anyone else) would be doing supporting a tripod is a mystery16 Tripods were attributes of Apollo

Figure 7 Unfinished miniature tri-pod with a boy supporting its leg (6) Athens Agora Museum S 1170 Scale 12 Photo C Mauzy courtesy Agora Excavations

13 See eg Grassinger 1991 pp 142ndash143 for the evidence for Attic manufacture (chiefly the Finlay krater Athens NM 127 and Cic Att 117 22 42 63 73 82 93 105) p 193 text fig 33 (A) and fig 191 cf text figs 20 (K) 22 (G) 28 (E) 33 (F) 47 (E)

62 (A) 63 (A) and figs 26 59 80 93 152 192 I can find no sufficiently sim-ilar figures on other genres of Roman decorative relief (eg Froning 1981 Cain 1985 Bacchetta 2006)

14 See n 9 above15 Harrison already identified 7 as

such Harrison 1960 p 370 n 7 Agora XI p 68 no 110 pl 22

16 LIMC VII 1994 pp 870ndash878 nos 1ndash94 pls 602ndash605 sv Telesphoros (H Ruumlhfel) his companion if any should be Asklepios

andre w ste wart622

Lykeios or Dionysos (7) and often have snakes crawling up them One such (but minus the boy) was found in the post-Herulian wall and is likewise attributed to the sculptorrsquos shop in the Library of Pantainos17

Roman ad 102ndash267 if from the sculptorrsquos workshop in the southern two rooms of the Library18

Bibliography Stevens 1949 p 269 n 3 (recognized as a sculptorrsquos model)

7 Statuette of Dionysos leaning on a tripod Fig 8

S 337 Late Roman fill at H34ndash121517 April 22 1933H 0105 W 0068 D 0047 Yellow porosHead missing once inset (dowel hole 0005 Diam x 0018 deep) Right arm

largely broken away left hand battered Drapery folds and support chipped and battered

Cut with a chisel and gouge quite roughly on the back and sides Made as a fragment the feet were never carved for at this point the statuette is abruptly truncated The resulting horizontal surface is roughly rasped

A particularly effeminate Dionysos leans on a tripod supporting himself on his left elbow His left leg carries his weight his right leg is relaxed he has no feet His left forearm is extended forward and carries a corkscrew-like cornucopia that spirals up over the arm a fillet hangs down from it over the lateral part of the forearm just below the elbow his right arm hung down at his side Two long locks of hair frame his neck and chest the poise of his head cannot be determined

He wears a himation slung around his lower torso and legs leaving his chest bare its V-fold hangs down over his stomach and carries a tiny weight at its tip His pectorals are full like a womanrsquos breasts and down the length of his back protrude two long vertical roughly rectangular strut-like appendages The tripod has two circular reinforcement hoops that divide it vertically into three sections and a snake crawls up inside it It is capped by a cushion-like object that may be an attempt at a cauldron or a lebes

Together with the statuettersquos abrupt truncation above the ankles the struts establish its function as a figure study Too long and wrongly shaped for wings they were surely intended to help one hold the piece in the hand for close examination and still serve this purpose today

This looks like a sketch for a choregic monument Although (to my knowledge) this particular composition is not preserved in extant Athenian art a number of scenes on Late Classical Attic vases featuring both Dionysos and a tripod have

17 S 2127 Harrison 1960 p 370 n 7 Unpublished

18 For a partial list of the numerous unfinished busts and statuettes found built into the fortification wall see Harrison 1960 p 370 n 7

Figure 8 Statuette of Dionysos leaning on a tripod (7) front left profile and back views Athens Agora Museum S 337 Scale 23 Photos C Mauzy courtesy Agora Exca- vations


long been associated with choregic victories They begin around 400 bc with the Pronomos krater in Naples19 Closest to 7 is the late-4th-century ldquoRegina Vasorumrdquo in St Petersburg which includes a chiton-clad Dionysos lounging against a pillar topped with a tripod surrounded by a group of deities20

Dionysos may carry the cornucopia from the early 5th century bc and does so several times in 4th- and early-3rd-century minor arts the snake would then be maenadic21 These choregic dedications are mostly 4th century bc in date and apparently peter out altogether by the middle of the 3rd22

Ca 330ndash300 bcBibliography unpublished

8 Base and pair of sandaled feet Fig 9

S 1085 Roman cistern at G45ndash545 June 13 1938 in a post-Herulian fill Deposit G 52

H 0075 Diam of base 0091 H of base at front 0040 at back 0060 L of feet 0060 Soft yellow poros

Somewhat battered broken off above the anklesBase chiseled roughly on the bottom and sides more carefully on top and

on the sandal straps

19 ARV 2 1336 no 1 LIMC III 1986 p 483 no 719 pl 383 sv Dionysos (C Gasparri) Taplin and Wiles 2010 See also LIMC III 1986 pp 457 461 467 nos 372 430 521 pls 339 349 359 sv Dionysos (C Gasparri) and in general Fro- ning 1971

20 Zervoudaki 1968 pp 36ndash 37 no 77 pl 182 Peschlow- Bindokat 1972 p 149 no V134 LIMC III 1986 p 468 no 526

pl 359 sv Dionysos (C Gasparri)21 See Bemmann 1994 pp 48ndash

55 Examples include (1) Bronze hydria appliqueacute from Chalke near Rhodes London British Museum (hereafter BM) Br 311 Walters 1899 p 46 no 311 pl 11 Richter 1946 p 364 no 13 pl 2719 Diehl 1964 p 222 no B193 Bemmann 1994 pp 49 254 no D1 fig 27 ca 350 bc (2) Plastic lekythos from Eretria Lon-don BM 9412ndash44 LIMC III 1986

p 480 no 690 pl 379 sv Diony- sos (C Gasparri) ca 350ndash325 bc (3) Bronze case mirror Paris Biblio-thegraveque Nationale Cabinet des Meacutedai-lles 1355 Zuumlchner 1942 p 39 (KS 48) Schwarzmaier 1997 p 315 no 199 pl 512 LIMC III 1986 p 449 no 272 pl 324 sv Dionysos (C Gas-parri) Bemmann 1994 pp 51 262 no D 14 ca 300ndash275 bc

22 For a survey see Goette 2007

Figure 9 Base and pair of sandaled feet (8) top and front views Athens Agora Museum S 1085 Scale 12 Photos C Mauzy courtesy Agora Exca- vations

andre w ste wart624

On a round Ionic base whose upper surface slopes down toward the front stand two sandaled feet the left turned slightly outward The sandals are Roman caligae The sole has a curved front edge a Y-shaped thong anchored between the big and second toe and supported by a cross-band at the toe joints and at least two more behind it extends up the foot to the instep where it bifurcates into two heel-straps The hem of a garment covers the feet at the instep and the left side of the base projecting ca 3ndash4 mm over its outer rim on this side

This fragment comes from a statuette of a man in Roman military uniform The molded Ionic plinth carved at one with the figure is typically Roman23 as is the position of the feet and the sandals are a soldierrsquos caligae pictured countless times on Trajanrsquos Column and proudly featured on the pediment of the Hadrianic gravestone of the shoemaker C Julius Helius in the collection of the Capitoline Museums24 The drapery at the back must therefore be the remains of his paluda-mentum The piecersquos provenience (alone of the sculptures discussed here) near the casting pits on Kolonos Agoraios could suggest a model for a bronze statuette presumably of a victorious general or emperor (Caligula)


Female Figure S tudies

9 Unfinished female() head Fig 10

S 1843 Post-Herulian fill at Q12ndash151314 August 6 1954H 0118 H of head 0094 W 0050 D 0043 Soft yellow porosBroken across at the neck upper right side of head missing face batteredUnfinished roughly chiseledBeardless apparently helmeted head belonging to Athena Of the modeling

only the eyes remainPoorly worked and heavily damaged this is perhaps another apprenticersquos

exerciseHellenistic or RomanBibliography unpublished

10 Statuette of Aphrodite leaning on a pillar Fig 11

S 965 Well in Theseion Plataea outside Agora grid August 24ndash26 1937 together with several unfinished marbles25 and pottery of ca 375ndash350 bc Deposit BB 171

H 0174 W 0080 D 0040 Original H ca 0200 Soft white porosTwo fragmentsmdashtorso and legsmdashjoined at waist Head missing once inset

(dowel hole 0004 Diam x 0004 D) Right upper arm above elbow and left arm below elbow sectioned and flattened for addition of forearms but not drilled for dowels Forepart of right foot missing once inset (dowel hole 0002 Diam x 0003 D) Supporting pillar under left elbow and adjoining drapery screen

23 These molded Ionic plinths are absent from eg the Hellenistic statu-ettes from Delos Priene and elsewhere but are ubiquitous in the Roman period as a glance around the Agora Museum and sculpture storerooms will confirm Compare for convenience the Aphrodite statuette S 346 found in the debris attributed to the sculptorrsquos shop in the Library of Pantainos and datable thereby to ca ad 102ndash267

Shear 1935 p 393 fig 1924 Trajanrsquos Column see eg

Kleiner 1993 p 220 fig 183 Helius Rome Palazzo dei Conservatori 930 currently in the Montemartini Mu- seum Stuart Jones 1926 p 93 no 29 pl 33 La Rocca Parisi Presicce and Lo Monaco 2011 p 267 On caligae in general see Sebesta and Bonfante 1994 pp 102 fig 61 illustrations o (Helius) and p (Trajanrsquos Column) pp 122ndash123

(N Goldman) I thank Mary Sturgeon for alerting me to this relief and its implications for 8

25 All unfinished small female torso S 966 over-life-size left hand holding a staff or scepter S 967 small right hand holding a phiale mesompha-los S 968 small head and shoulder S 969 an eaglersquos head S 970 four drapery fragments apparently from the same statue S 971


Figure 10 Unfinished female() head (9) front and left profile views Athens Agora Museum S 1843 Scale 12 Photos C Mauzy courtesy Agora Excavations

Figure 11 Statuette of Aphrodite leaning on a pillar (10) front right profile back and left profile views Athens Agora Museum S 965 Scale 12 Photos C Mauzy courtesy Agora Excavations

largely broken away Drapery worn and chipped joining surface of fragments much battered

Drapery over legs chiseled in somewhat tubular folds folds over her right upper arm bifurcated with the chisel drapery over left shoulder chiseled in flat facets Some rasping on fold bundle of himation across belly Back less carefully finished folds faceted with the chisel bottom of base roughly chiseled All joining surfaces smoothed flat

Aphrodite leans on a square pillar (now mostly broken away) in a hip-slung pose supporting herself on her left elbow Her right leg carries her weight her left leg is relaxed and slightly advanced Her left forearm was extended forward The poise of her right arm and head cannot be determined Her hair hangs down either side of her neck in two long locks and down her back in a heavy mass She wears a thin chiton that has slipped off her right shoulder leaving her right breast naked tissue-thin and completely devoid of folds below those looping across her upper body and falling down her left side the chiton reveals the curves of her torso and

andre w ste wart626

even the right side of her groin A heavy himation is draped across her legs back left shoulder and left arm It hangs free down her left side touching the support

The statuette is eclectic and the earliest of the works published in this article Found in a context of ca 375ndash350 bc along with several unfinished marbles in what was probably a workshop dump it combines several Aphrodite types into one and adds two archaistic touches the long locks of hair that descend to the armpits and the rectangular mass of hair that falls down the nape of the neck

The pose of the legs and the arrangement of the himation echo the Pheidian Aphrodite Ourania (best represented by the Brazzagrave Aphrodite in Berlin which also leaned on a pillar) and particularly the Valentini Aphrodite (the so-called Valentini Ariadne) known in seven Roman copies and datable to ca 400 bc (Fig 12)26 They recur on a figure of Ariadne on a mid-4th-century Kerch-style

Figure 12 Valentini Aphrodite (so-called Valentini Ariadne) Roman copy The arms and head are restoredVilla Papale Castelgandolfo Photo Singer Deutsches Archaumlologisches Institut Rom neg 704110

26 Brazzagrave Aphrodite (Berlin Staat- liche Museen Antikensammlung im Pergamonmuseum SK 1459 bought in Venice but perhaps originally from

Attica or just possibly Smyrna) Lip-pold 1951 p 155 n 9 Ridgway 1981a p 217 no 5 Boardman 1985 p 214 fig 213 LIMC II 1984 pp 27ndash28

nos 174ndash181 pls 20 21 sv Aphrodite (A Delivorrias citing the earlier litera-ture) Rolley 1999 pp 134 140 fig 125 Bol 2004 pp 176 194 fig 96


krater in the Athens National Museum an embossed case-mirror in Boston and (with legs reversed and minus the support) on the Praxitelean Arles-type Aphroditemdasha nexus that severely undercuts the Late Hellenistic date occasionally proposed for the latter on stylistic grounds27

The folds looping across the upper body (the hem of the chiton that has slipped off the right shoulder part way down the right upper arm and under the adjacent right breast) however are best paralleled on two other Aphrodites of the previous generation the GenetrixFreacutejus and armed ldquoEpidaurosrdquo types usually dated just before and just after 400 bc respectively28 This feature makes 10 unique among Athenian Aphrodites in the round which from their inception in the mid-5th century through the Sullan sack of 86 bc are always fully draped29 Finally the goddess now adopts a sinuous off-balance pose that either slightly anticipates the early work of Praxiteles or (if it dates as late as the 360s or 350s) echoes it


11 Draped female torso Fig 13

S 1186 Early Roman well at S67ndash2123 June 22 1939 in lowest fill (D) with pottery datable to ca ad 50 Deposit S 213

H 0087 W 0056 D 0035 Moderately hard pale buff porosRight shoulder and bottom of statuette chipped some surface damage Miss-

ing head right arm below shoulder left forearm Lower legs never carvedApparently made as a fragment Sockets prepared for arms and head but no

dowel holes drilled Truncated below where a patinated area shows faint signs of chisel work indicating that the statuette terminated at knee height Drapery chiseled back vigorously chiseled and rasped

The woman stands on her left leg her right relaxed extending her left forearm toward the observer She wears a high-girt chiton and a himation draped from her left shoulder diagonally across her back around her right leg and up her left side where it wraps around her left arm and falls again in vertical folds toward the ground No support is visible under this arm though the composition seems to call for one compare eg S 965 (10)

Made as a fragment terminating at the knees and lacking head and arms this statuette otherwise is completely finished and remarkably crisp and assured In particular the drapery at the sides and back and its relation with the body are handled in a masterly fashion making the front look somewhat schematicmdashas if

Froning 2005 (new Ourania terracotta from Elis I thank Antonio Corso for alerting me to this important discov-ery) Valentini Aphrodite (Rome Pa- lazzo delle Provincie) Lippold 1951 p 213 pl 704 Bielefeld 1978 Ridg-way 1981a pp 217ndash218 no 6 Board-man 1985 p 215 fig 215 its identifi-cation as Ariadne rests on its vague similarity to an Ariadne being ogled by Dionysos on an Athenian Kerch-style vase referenced in the next footnote but objections are (1) the subject is otherwise unknown in classical sculp-ture (2) why should the Romans have wanted copies of such a statue when the sleeping abandoned Hellenistic type (Bieber 1961 fig 624) was far more entertaining and (3) what if the

vase painter were quoting an Aphrodite type in order to emphasize the heroinersquos irresistible allure

27 Ariadne Athens NM 12592 ARV 2 1447 no 3 Beazley Addenda p 190 Byvanck 1951 pl 3 fig 2 Biele- feld 1978 fig 16 LIMC III 1986 p 484 no 733 pl 384 sv Dionysos (C Gasparri) Mirror Boston Museum of Fine Arts 017494 LIMC II 1984 p 43 no 317 pl 32 sv Aphrodite (A Delivorrias) Schwarzmaier 1997 p 263 no 72 pl 91 Arles Aphrodite Lippold 1951 p 237 pl 832 LIMC II 1984 pp 63ndash64 nos 526ndash532 pls 51 52 sv Aphrodite (A Delivorrias) Stewart 1990 fig 501 Smith 1991 fig 104 Rolley 1999 p 256 figs 255 256 Bol 2004 pp 282ndash284 figs 236

237 Late Hellenistic date Ridgway 1976 2002 pp 197ndash199 pl 91

28 GenetrixFreacutejus Aphrodite Lippold 1951 pp 167ndash168 pl 624 LIMC II 1984 pp 33ndash35 nos 225ndash241 pls 25ndash27 (A Delivorrias) Board-man 1985 fig 197 Stewart 1990 fig 426 Rolley 1999 p 142 fig 127 Bol 2004 pp 199ndash200 figs 196 198 Epidauros Aphrodite Lippold 1951 p 200 pl 683 LIMC II 1984 p 36 nos 243ndash245 pl 28 sv Aphrodite (A Delivorrias) Boardman 1985 fig 217 Rolley 1999 p 45 fig 31 Kaltsas 2002 p 125 no 236 Bol 2004 pp 280ndash282 figs 234 235

29 For the evidence see Stewart 2012

andre w ste wart628

here the sculptor was following a template and had become bored with it Interest-ingly the sockets for the head and left arm and the right arm truncated at the hem of the chiton sleeve are exactly in accord with 4th-century bc piecing technique

At first sight this piece looks like a model for the late-4th-century Agora ldquoThemisrdquo S 2370 (Fig 14)30 Its girdle is slightly higher however it seems to lack the Agora statuersquos shoulder cord its outthrust hip is more pronounced and its drapery is somewhat different especially at the back where the chiton descends in voluminous fold bunches from right shoulder to girdle The higher girdle and somewhat hip-slung pose may place it in the next generation around 325ndash300 bc alongside the similarly poised figures of Boule on the Asklepiodoros document relief

Figure 13 Draped female torso (11) front left profile and back views Athens Agora Museum S 1186Scale 23 Photos C Mauzy courtesy Agora Excavations

Figure 14 Colossal torso of a woman perhaps Themis Athens Agora S 2370 Photo C Mauzy courtesy Agora Excavations

30 S 2370 Palagia 1982 Stewart 1990 fig 575 Palagia 1994 Board- man 1995 fig 51 LIMC VIII 1997 p 1202 no 8 pl 829 sv Themis (P Karanastassi) Rolley 1999 pp 375ndash376 fig 393 Bol 2004 pp 370ndash372 fig 337


of 3232 bc and Eutaxia on another of about the same date31 It may have been either a sketch for a similar statue (compare the Themis of Rhamnous a stilted version of the Agora ldquoThemisrdquo32) or a skilled apprenticersquos exercise in draping this standard Early Hellenistic kore type


Relief s

12 Face of a youthful satyr in relief Fig 15

S 874 Fill on floor of Late Roman house at M12ndash18910 April 2 1937 with pottery and coins of late 3rd century ad (Aurelian ad 270ndash275)

H 0100 W 0090 Th 0030 Th of background 0015 Soft yellow porosMade as a fragment edges carved but battered and broken away in places

above and behind the head surface lightly weathered and pockedAn irregular polygon finished all round its slightly concave edges chiseled

flat and smoothed with abrasives back roughly chiseled Face and background lightly abraded

The snub nose identifies the youth as a satyr as do the remains of his hair by the break at right which reach below the level of the nostril and are chiseled in sharp curving cross-cut strands33 His face seen in left profile is powerfully modeled He has sharply demarcated eyebrows an upper orbital cut in a single flat sweeping plane classically shaped eyes with strong eyelids that merge at the corners a snub nose with somewhat flaring nostrils a deep nasolabial furrow and prominent well-modulated lips

This is a high-quality item of considerable interest Its carefully scalloped edges show that it was supposed to be held in the hand and its formatmdashbut not its stylemdashvaguely recalls a superb little Hellenistic terracotta relief from the Kerameikos that is sometimes thought to be a study for the ldquoVergilrdquo type (the poet visited Athens shortly before his death in 19 bc) This however has a suspension hole at the top suggesting that it was hung up in the workshop as a model or paradeigmamdashthough its small size would make it hard to see in this position34 Yet despite this difference and the huge stylistic distance between the twomdashthe ldquoVergilrdquo is a miniature masterpiece of verismmdashthe Agora head (12) is no less self-assuredThe youthrsquos snub nose artfully modulated lips and yet quite schematic eye place

31 Athens Epigraphical Museum (hereafter EM) 2811 and NM 2958 respectively LIMC III 1986 p 380 no 59 pl 275 sv Demos (O Alex- andri-Tzahou Eutaxia) Meyer 1989 nos A136 A142 pls 41 42 Lawton 1995a pp 105ndash106 146 nos 49 150 pls 26 79

32 Themis Athens NM 231 Lip-pold 1951 p 302 pl 1001 Bieber 1961 p 65 fig 516 Palagia 1982 p 110 pl 1081 Stewart 1990 p 198 figs 602 603 Smith 1991 p 239 fig 296 LIMC VIII 1997 p 1202 no 9 pl 829 sv Themis (P Karanas-tassi) Rolley 1999 p 376 Kaltsas 2002 pp 272ndash273 no 568 Bol 2007

pp 20ndash21 fig 22 Usually dated to ca 300 or later but (1) its sculptor Chairestratos served as bouleutes in 3287 bc and thus was over 30 years old at the time and (2) in a postscript to its dedicatory inscription (IG II2 3109) its dedicator Megakles pro-claims himself a choregos to celebrate which he also dedicated a throne nearby (IG II2 3108) Since Demetrios of Phaleron abolished the choregia in his legislation probably of 317 bc but certainly by his exile in 307 bc and thereafter the task was assigned to an agonothetes the Themis ought to date no later than ca 320ndash310 bc

33 I thank Carol Lawton for this

identification which fits perfectly with the date I had already arrived at on stylistic grounds

34 Kerameikos no 5050 H 0080 Richter 1960 pp 35ndash37 figs 140 143 (with earlier bibliogra-phy) Stewart 1979 pp 85 97 n 85 (with further bibliography) pl 23d On paradeigmata see further below The only trial heads in relief known to me from elsewhere are the Egyptian ones which were meant to test the apprenticersquos ability to carve official relief sculpture in the Egyptian style Edgar 1906 pp 58ndash60 nos 33415ndash33419 pls 26 27

andre w ste wart630

him on the cusp between life and art As to his date the lips and ocular portions of the eyelids somewhat recall those of the youths of the Parthenon frieze particularly the hydriaphoroi of slab North vi35 Yet youthful satyrs of this type are unknown until Praxitelean times and his sharply demarcated eyebrow and the flat uniform plane of the orbital portion of his upper eyelid echo Middle and Late Hellenistic classicizing work such as the Hermes from Atalante and the head (of Apollo) placed on the Muse by Euboulides suggesting a late-2nd- to 1st-century bc date36

Perhaps then the piece was a workshop specimen or paradeigma for sculptors of ldquoneo-Atticrdquo marble vessels which are often Dionysiac to pass around or put on the bench before them while carving This would be particularly necessary to ensure consistency if two different sculptors were working opposite sides of the same vessel Production of these items begins ca 100 bc with the Pentelic marble fragments of the Borghese krater type from the Mahdia wreck and continues through the 1st century ad37

Late HellenisticEarly RomanBibliography unpublished

13 Lower part of a man in relief Fig 16

Pnyx PN S 15 ldquoCleaning below the Great Wallrdquo (object card) outside Agora grid February 27 1931 An apprenticersquos trial piece in marble and two fragments of unfinished marble statuettes were found in the same excavation38

H 0160 Soft creamy poros with shell inclusions Battered broken down her left side and back and across the torsoFigure roughly blocked out with a flat chisel and gouge front of base cut with

flat chisel Beside the left foot a dowel hole 0003 Diam x 0003 DThe figure must be male for there is no trace of a chiton and the hand-clasp

motif seems unattested for women on Attic reliefs of any sort Quite crudely

35 For good details see Robertson and Frantz 1975 endplate 13 Brom-mer 1977 pls 56 58

36 I thank Kristen Seaman for this observation Hermes from Atalante Athens NM 240 Fink 1964 pl 34 (close-up) Kaltsas 2002 p 251 no 524 Muse by Euboulides Athens NM 233 Despinis 1995 pp 325ndash333

pls 62ndash64 Kaltsas 2002 p 282 no 593

37 See Fuchs 1959 pp 97ndash128 pls 30ndash33 Bieber 1961 figs 795 802 Fuchs 1963 pp 44ndash45 nos 61 62 pls 68ndash79 Grassinger 1991 esp pp 140ndash141 figs 1ndash15 26ndash28 51ndash90 118ndash129 152ndash155 174ndash180 184ndash193 Hellenkemper-Salies von Prittwitz und

Gaffron and Bauchhenss 1994 vol 1 pp 259ndash285 figs 1ndash31 (D Grassinger) Bol 2007 pp 369ndash372 figs 367ndash370

38 Unfinished female head PN S 14 two hands PN S 31 unfinished male torso wearing a chlamys PN S 10 Davidson and Thompson 1943 pp 35ndash 40 nos 3 6 11 figs 16ndash18 respectively

Figure 15 Face of a youthful satyr in relief (12) front and back views Athens Agora Museum S 874 Scale 23 Photos C Mauzy courtesy Agora Excavations


carved he stands frontally on a shallow base ca 2 cm high at his proper left with his left leg engaged and right relaxed apparently leaning on a pilaster or anta He wears a himation and his hands are clasped in front of him a fold of the himation envelops his left arm above the elbow and descends a short way down his left side over the pilaster

The pose and drapery are common for later 4th-century bc males The excavator suggested a model for a gravestone but the hand-clasp is quite rare in funerary sculpture and does not occur at all in votive reliefs39 His genre remains problematic

Ca 350ndash325 bcBibliography Davidson and Thompson 1943 pp 35 39ndash40 no 12 fig 18

(female tentatively identified as a model for a gravestone)

14 Relief Two men raising a statue Fig 17

S 384 Well at J1617ndash1120121 June 15 1933 In ldquotwilight zonerdquo between use fill of 1stndash3rd centuries ad and dump of early 3rd century ad with S 382 (5) and S 383 (3) Deposit J 121

H 0100 W 0074 Th 0035 Hard gray poros Right side broken away head of the statue battered Unfinished chiseled

carefully on the menrsquos bodies and limbs the lower part of the statue and back-ground chiseled in long rough strokes on the statue base at bottom left and on the statuersquos torso left arm and head (which are unfinished as is the head of the left-hand man) and on the back of the relief Slightly convex so perhaps carved from a reused piece of poros

Within a roughly quadrangular frame 02ndash05 cm wide and 02 cm high two naked men strain to raise an under-life-size statue on a stepped base The statue which has reached an angle of about 40deg is draped in a long robe and its feet are

Figure 16 Lower part of a male figure in relief (13) front and right profile views Athens Agora Mu- seum PN S 15 Scale 23 Photos C Mauzy courtesy Agora Excavations

39 Gravestones Clairmont 1993 nos 2206 2286 2325 2360b 3425a 3846 4421 Votive reliefs there are no examples with this motif in Svoronos 1903ndash1937 or Kaltsas 2002

andre w ste wart632

together its left arm is flexed so that the forearm crosses the body at waist level and it holds a stemmed object in its left fist its right arm is invisible and its head is battered It is being installed on a stepped base 15 cm high standing on top of a long rectangle 45 cm long x 05 cm high presumably a groundline The basersquos left side is vertical its right side consists of two steps approached by a ramp

At left one man bends forward from behind the statue his pose somewhat resembling that of Myronrsquos Diskobolos He holds its legs with his extended right arm and reaches out and back with his left arm to grasp what may be a rope or sash attached to its neck or head (the modeling is vague and unfinished) His foreshortened thigh and knee are visible to the right behind the statue where his much smaller companion labors to help him Bending sharply forward the latter hunches his back against that of the statue flexes his knees and braces his right arm on his right thigh and his left hand on his left knee in order to push the statue upright as he straightens up

This relief was found with two pieces presumed to be Roman the Sarapis (3) and the striding youthsatyr (5) in a context of ca ad 200 It may be made of Aeginetan poros its gentle curvature suggests that the stone has been recycled40 It resembles a cheek piece (paragnathis) for an Attic or ldquoChalcidianrdquo helmet but the scene carved on it is unique in Greek art inappropriate for an item of this kind and rotated 90deg from its proper alignment41 nor is it appropriate for a votive plaque We shall revisit these problems below

This scene apparently is one of only two in Greek art showing the erection of a monument and the only one whose sheer animation suggests that it was sketched directly from life For these reasons alone it deserves close attention42

40 I thank Dimitris Sourlas for these observations

41 See Snodgrass 1967 pp 69ndash70 pl 24 Rolley 1986 pp 172 245 figs 151 281 Vokotopoulou 1997 pls 205 206 Probably not a belly guard or mitra despite their somewhat similar shape since these are mostly Cretan larger and much earlier Snodgrass 1967 p 56 Hoffmann 1972 pls 30ndash 47 Rolley 1986 pp 88 237 figs 61 232 Vokotopoulou 1997 pl 34

42 See in general Ziomecki 1975

Zimmer 1982 Himmelmann 1994 pp 23ndash48 Jockey 1998a (catalogue) Nolte 2005 esp pp 235ndash237 on ancient and later methods of erecting statues Unsurprisingly they omit this quite primitive (and unpublished) one Compare Agora S 2495 an early-4th-century document relief of Athena Ergane supervising a crew of women perhaps nymphs building a wall also apparently unknown to scholars of the genre Lawton 1995b p 123 no 1 pl 35a 2006 pp 10ndash11 fig 7

Figure 17 Unfinished relief of two men raising a statue (14) front and back views Athens Agora Museum S 384 Scale 23 Photos C Mauzy cour-tesy Agora Excavations


But there is more It is repeated with variations and additions on two monuments of the Imperial Roman period an elaborate High Imperial discus lamp from Rome (Loescke type VIII Broneer type XXVIII) known only from a reversed engraving of 1691 after a drawing by Bellori (Fig 18)43 and an early Antonine sarcophagus in Princeton with scenes from the childhood of Dionysos (Fig 19)44

43 Bellori 1691 part II p 11 no 28 pl 28 Simon 1962 p 155 pl 441 (Attic) LIMC VIII 1997 p 123 no 145 sv Silenoi (E Simon) Bel-lorirsquos subtitle shows that he is discussing

lamps found in the Roman catacombs44 Princeton University Art

Museum 1949-110 Select bibliogra-phy Simon 1962 Matz 1969 vol 3 pp 354ndash357 no 202 pl 218 LIMC

VIII 1997 p 123 no 145 pl 769 sv Silenoi (E Simon) Padgett 2001 pp 148ndash154 no 42 (with full bibliog-raphy) Jockey 1998a includes neither this nor the lamp drawn by Bellori

Figure 18 Roman lamp with satyrs raising an effigy of Dionysos now lost Bellori 1691 part II p 11 no 28 pl 28

Figure 19 Left side of a Roman sar-cophagus with satyrs raising an effigy of Dionysos Princeton University Art Museum 1949-110 Photo courtesy Princeton University Art Museum

andre w ste wart634

On these two items the statue has become an effigy of Dionysos on a pole holding a kantharos and the figures have become satyrs They also confirm that the cylindrical object immediately behind the statue on the Agora relief is the left-hand manrsquos left thigh Two more participants are added in these images a satyr on one side hauling the Dionysos upright with a rope and a maenad on the other pushing it from behind But whereas Bellorirsquos drawing faithfully reproduces the Agora plaquersquos ramp but turns its steps into a mound the sarcophagus substitutes for both of them a circular stone base with a molded foot Other additions include a fruit-bearing tree and a drapery segmentpanther skin on the statuersquos moundbase respectively

Freer versions of the scene include (1) the obverse of an Early Imperial Ro-man bifacial relief in Oxford that substitutes a bearded mask of Dionysos on an ithyphallic pole for the statueeffigy and Erotes for the mensatyrs and adds a kneeling Eros tending or possibly erecting a hip-herm of Priapos at left45 and (2) a widely scattered group of Roman period reliefs that substitute a colossal torch for the statueeffigy46

Because the lamp was surely Italian-made and the sarcophagus is a Roman metropolitan (ldquostadtroumlmischrdquo) type and fits a side panel in Arezzo the Agora plaque (14) cannot have been their immediate source The plaquersquos peculiar shape could suggest either the top end of a metal support or fulcrum for the armheadrest of a couch or a pelta-shaped oscillum as possible intermediaries though in both cases the sharp angles at top and bottom of the plaque would be atypical

Fulcra often decorated with Dionysiac scenes begin in the 2nd century bc and continue through the middle of the 1st century ad47 Their longevity as prized objets drsquoart and heirlooms is indicated by an exquisite early-1st-century bc gilded silver example quite close in form to 14 found at Marengo in Italy in a hoard along with a bust of Lucius Verus (ruled ad 161ndash169) by which time it was over 200 years old48 As far as I am aware no such metal fulcra are known from the Agora or indeed Athens though an ivory fragment from an inlay for one was found in a post-Sullan Agora deposit49

Pelta-shaped oscilla begin perhaps in the Augustan period They are decorated with masks birds animals or fish though some carry hunting scenes on each side and a few fragmentary ones feature satyrs or Erotes50

Since 14 is so schematic though it could only have served as a preliminary sketch for one of these and certainly not as a casting matrix itself In any case

45 Ashmolean Museum AN1947274 from the Cook collection at Doughty House Richmond Carrara marble Michaelis 1882 p 643 no 82 (but he saw only the reverse from left to right showing masks of Herakles a satyr and a bearded Dio-nysos since the relief was lying face-down on the floor and this side was covered in plaster) Strong 1908 p 23 no 32 pl 16 Matz 1969 p 267 not included in Jockey 1998a I thank Susan Walker for confirming the relief rsquos inventory number and location for autopsying it with me in July 2011 and for suggesting the Early Imperial date The bearded mask on the pole is presumably the right-hand one

shown on the other side46 Mitsopoulou-Leon 1996

pp 76ndash77 figs 1 4 I thank the author for kindly drawing my attention to this article and sending me an offprint of it The group includes two Roman sar-cophagi (Matz 1969 pp 315 380 nos 169 211 pls 190 222 Mitsopou-lou-Leon 1996 p 77 fig 4) a worn terracotta relief in Elis (Mitsopoulou-Leon 1996 p 76 fig 1) and a plaster relief from Begram (Hackin 1954 pp 118 368 no 113 figs 285 405) the latter molded from metalwork could suggest a Hellenistic Alexandrian source for this version of the scene

47 Faust 1989 foldout plate Re- lief 14 seems closest in shape to her

form III ca 100 bcndashad 5048 Faust 1989 p 211 no 386

pl 241 (form I no 8)49 Agora BI 962 Thompson 1958

p 159 pl 46c Thompson 1959 fig 41 Faust 1989 pp 124ndash125 no 13 An- drianou 2006 pp 236 240 no 19 fig 10 2009 p 38 no 20 fig 10 all adopting the excavatorrsquos date of ca 150 bc for the context (Agora deposit O 175) I thank Susan Rotroff for informing me that it contains two Sullan-period Athenian bronze coins and so must postdate 86 bc

50 Bacchetta 2006 pp 69 74ndash76 (inception) 509ndash553 nos P1ndashP127 pls 33ndash46 To my knowledge no pelta-shaped oscilla have been found in Athens


this find problematizes (to say the least) the various grandiose scenarios suggested in the past for the sources of this motif on the sarcophagus such as painted cast or embossed Hellenistic biographies of Dionysos at Pergamon or Alexandria51 Instead it suggests that the theory that the sarcophagus designers either chose their models wherever they could find them or simply invented entirely new composi-tions may well be right Of the two known copies Bellorirsquos lamp (Fig 18) is the closer to its source and the sarcophagus (Fig 19) the more removed suggesting either an inventive sarcophagus designer or yet another intermediary along the way The Oxford relief arranges the figures in a stacked ldquobirdrsquos eyerdquo perspective and adds a rocky landscape indicating a pictorial source the intermediary just suggested or still another

1st century bcBibliography unpublished

15 Relief disk of an enthroned goddess probably Fig 20 Agathe Tyche and Poseidon

S 1194 House H (published as house N) room 6 at C15ndash2013 May 15 1940 in fill below floor with Hellenistic and Augustan pottery A Hellenistic head of Athena (S 1292) and another of Pan (S 1293) were found in the under-floor fills of rooms 2 and 13 of the same house along with similar pottery stamped

Figure 20 Relief disk of an enthroned goddess and Poseidon (15) front and back views Athens Agora Museum S 1194 Scale 12 (front) 14 (back) Photos C Mauzy courtesy Agora Excavations

51 Summarized by Padgett 2001 p 152

andre w ste wart636

amphora handles marble chips bronze slag vitrified clay fragments and slivers of carbon

Diam 0280 Th 0055 Th of background 0035ndash0040 max H of relief 0020 Soft white poros

Right-hand side of roundel mostly missing goddessrsquos right shoulder chipped away minor chipping elsewhere

The disk is shaped like a thick dinner plate with a raised molded rim The rim is embellished with a half-round molding separated by a groove from a shallow roughly cut cavetto below Its back is roughly tooled with chisel and drove Four small scattered highly polished ldquomesasrdquo rising about 1 mm above this tooling and all situated in the same plane indicate that the disk was carved from a previously worked and meticulously finished block The front is completely finished using chisels of different sizes Possible specks of red paint adhere to the two lowest moldings of the thronersquos front leg and Poseidonrsquos cloak

On a horizontal groundline above a plain exergue a woman sits facing right opposite a man facing left stepping up on a rock A gnarled tree grows between them from the rock bifurcating at eye-level and above into several branches

The woman sits on an elaborate backless throne positioned at a slight angle to the background and embellished with turned legs and an armrest supported by a griffin or sphinx presumably its back was added in paint The womanrsquos feet rest on a diagonally placed footstool She wears a chiton and himation Her head is slightly bowed and her hair is parted at the center of her forehead and gathered into a loose knot at the back It is partly covered by her himation one corner of which she holds to the side with her left hand revealing her face to the man the rest of it falls down behind her body looping over the arm of the throne In her right hand she holds a cornucopia nestled against the crook of her arm The man stands on his left leg (his left foot is visible just in front of the break) and steps up onto a rock with his right a cloak falls in long vertical folds from his right thigh His right forearm is vertical and his right hand (now broken away) held a trident that bisects the composition and thrusts upward into the tree

This disk found in a Late Hellenistic workshop context on the Street of the Marble Workers should date to the late 4th century bc or the early 3rd at the latest As Shear noted in his excavation report the throne with its elaborately turned legs and armrest (but no back which must have been added in paint)52 resembles that on the coins of Alexander the Great suggesting a terminus post quem of ca 330 bc Of course thrones with turned legs (so-called Type A) were not new in Greek art and appear quite often in Attic 4th-century vase painting and sculpture but this variety with the legs lathe-turned into multiple lentoid wheel-shaped and even cowbell-like forms is unprecedented It seems entirely absent from contemporary Attic gravestones and vases53

Shear also noted the godrsquos similarity to the Lateran Poseidon type usually also dated ca 330 bc but he overlooked several closer examples (holding the trident in front of the body as here) that appear on Attic 4th-century vases from as early as 390 bc54 The goddessrsquos hairstyle resembles that of Praxitelesrsquo Knidian

52 The armrest presupposes a back for a contemporary Macedonian marble throne with its back painted on the tomb wall see Andronikos 1984 p 36 fig 15 Andrianou 2009 p 30 no 10 (Vergina tomb VIBella Tumulus tomb II)

53 Shear 1941 pp 3ndash4 For thrones with turned legs (Type A) see Richter 1966 pp 19ndash23 figs 63ndash83 Kyrieleis

1969 pp 116ndash151 pls 16ndash18 to con-trast the older squared variety (Type B) see Richter 1966 pp 23ndash28 figs 84ndash 122 Kyrieleis 1969 pp 151ndash177 pls 19ndash21 which seems to have been all but obligatory for Macedonian tomb furniture at this time Sismanidis 1997 Andrianou 2009 pp 30ndash31 39ndash50 nos 9ndash12 22ndash46 Type A thrones are

common on 4th-century Attic vases and gravestones but are never so com-plex as the one shown on 15

54 Lateran Poseidon LIMC VII 1994 pp 452ndash453 nos 34ndash38 pl 355 sv Poseidon (E Simon) Rolley 1999 p 334 figs 346ndash347 Vases LIMC I 1981 pp 747 750 nos 69 98 pls 605 608 sv Amymone (E Simon)


Aphrodite which suggests a date after ca 350 bc but her somewhat florid drapery can hardly be much later than ca 320 bc

As to the plaquersquos function both its circular format and its use of limestone rather than marble are highly atypical for a votive relief Contemporary Attic marble reliefs of Aphrodite PandemosEpitragia are often also circular55 but this format may have been prompted by their celestial subject matter The Agora relief is not only firmly terrestrial but also includes a shelf-like groundline or exergue which might suggest either a copy of a larger composition or a model for one

Yet the disk also bears no trace of mortar so was not a wall decoration it is too early for an oscillummdasha Hellenistic Sicilian and Imperial Roman genremdashand in any case is neither bifacial (see Fig 20 right) nor pierced for suspension56 and finally it is too large and surrounded by the wrong moldings (which continue underneath it) for an archetype for a metal relief (for example a mirror cover or an emblema for a phiale or cup)57 The faint traces of paint on the legs of the throne and Poseidonrsquos cloak if not illusory would also exclude an archetype but together with the piecersquos quality and high degree of finish do open up a further possibility a model (paradeigma) for a sculptural monument

At Athens these paradeigmata were routinely solicited when public projects were advertised and then judged by the relevant body the Boule until apparently the Lykourgan period and thereafter a committee chosen by lot58 Small compact and light enough for easy handling lacking vulnerable corners and protected by its raised molded rim from accidental damage when being passed around this disk perfectly fits the bill for such a model Yet not one has ever been identified in the archaeological recordmdashuntil perhaps now

At first sight the diskrsquos iconography is equally puzzling Facing Poseidon is an enthroned goddess usually identified as Demeter on the basis of Pausaniasrsquos description of the sights along the road to Eleusis59 Just before the bridge over the river Kephisos he saw a sanctuary of Demeter Kore Athena and Poseidon that

55 For example Agora S 395 S 1158 and S 1491 all currently unpublished Roman Agora ΠΛ 2072 from Plaka Diam 034 (I thank Dimi-tris Sourlas for alerting me to this piece and allowing me to mention it) Paris Louvre MA 2701 from Athens LIMC II 1984 p 99 no 957 pl 94 sv Aphrodite (A Delivorrias)

56 See Bacchetta (2006 pp 63ndash64) who dates the inception of oscilla to the Augustan period Only one oscillum has been found in Athens Agora S 934 from near the Hill of the Nymphs Thompson 1949 pp 220ndash221 pl 44 Bacchetta 2006 p 413 no T 29 pl 84 405 cm in diameter it shows a satyr on one side and is blank on the other Barbara Tsakirgis kindly draws my attention to the small terracotta oscilla from 3rd-century Gela over-looked by Bacchetta but these clearly have no connection with 15 nor with the Roman marble oscilla Measuring 60ndash95 cm in diameter they are barely one-third the size of 15 and one-quarter

the size of the Roman examples and bear Gorgonieia or abstract designs on each face see Orlandini 1957 pp 64 66 pl 29 Orlandini and Adamesteanu 1960 pp 105 179ndash180 figs 19 20a 26

57 I thank Beryl Barr-Sharrar for confirming this Moreover these arche-types were usually made of waxmdashthough 14 may be an exception

58 Arist Ath Pol 493 ἔκρινεν δέ ποτε καὶ τὰ παραδείγματα καὶ τὸν πέπ- λον ἡ βουλή νῦν δὲ τὸ δικαστήριον τὸ λαχόνmiddot ἐδόκουν γὰρ οὗτοι καταχαρί- ζεσθαι τὴν κρίσιν (ldquoAt one time the Boule used to judge models and the peplos but now this is done by a jury selected by lot because the Boule was thought to show favoritism in its deci-sionrdquo) Discussion and numerous exam-ples from elsewhere can be found in Rhodes 1972 pp 122ndash127 cf esp Plut An vitiositas ad infelicitatem suffi- ciat 3 (Mor 498E) αἱ πόλεις δήπουθεν ὅταν ἔκδοσιν ναῶν ἢ κολοσσῶν προ- γράφωσιν ἀκροῶνται τῶν τεχνιτῶν ἁμιλλωμένων περὶ τῆς ἐργολαβίας καὶ

λόγους καὶ παραδείγματα κομιζόντων εἶθrsquo αἱροῦνται τὸν ἀπrsquo ἐλάττονος δαπά- νης τὸ αὐτὸ ποιοῦντα καὶ βέλτιον καὶ τάχιον (ldquoCities then when they adver-tise the intent to let contracts for tem-ples or statues hear the proposals of artists competing for the commission and bringing in their estimates and models [paradeigmata] then choose the man who will do the work at the least expense and better and quicker than the othersrdquo)

59 Paus 1372 Shear 1941 p 5 LIMC IV 1988 p 882 no 460 pl 597 sv Demeter (L Beschi) LIMC VII 1994 p 475 no 253 sv Poseidon (E Simon) Shear (1941 p 4) identified her as Demeter with a cornucopia after Overbeckrsquos reading of two Athenian New Style coin types of 1087 bc and 10099 bc now generally identified as Tyche with a cornucopia and Demeter with an ear of wheat Thompson 1961 pp 265ndash271 nos 730ndash748 pls 80 81 p 389 no 1263 pl 141 Herzog 1996 pp 57ndash60 131ndash134

andre w ste wart638

commemorated Demeterrsquos gift of a fig tree to the hero Phytalos Yet Demeter is never attested as carrying a cornucopia in Attic art nor (to my knowledge) elsewhere instead she normally carries a scepter or torch and wears a stephane Moreover she has no reason to unveil herself to Poseidon her erstwhile rapist with whom she consorts only on the rarest of occasions60

Agathe Tyche along with Agathe Theos the only goddess to carry a cornucopia in extant 4th-century art61 is a far better candidate First attested epigraphically in Athens on an early-4th-century Agora dedication62 thereafter she appears standing and cradling a cornucopia on an inscribed Attic late-4th-century relief on a second Attic relief which is unfortunately uninscribed a seated woman is shown cradling a cornucopia and holding out a phiale to a worshipper63 This second example is unanimously also identified as Agathe Tyche and offers the best parallel for the Agora matron Third on an inscribed marble base Agathe Tyche unveils herself to a cornucopia-carrying Agathos Daimon Finally she appears again cornucopia in hand as a column figure on two unpublished Panathenaic prize amphorae of the year 3232 bc64

In the 4th century Agathe Tychersquos powers are quite undefined and acquire focus only when she is accompanied by a particular divinity or personification andor placed in a particular context such as an Asklepieion65 So in the case of the Agora relief her welcome to Poseidon should signal good fortune at sea and the tree and rock should locate the encounter on the Acropolis more precisely to the west of the Erechtheion where the godrsquos Salt Sea was located This setting tilts the balance away from a personal appeal (for example by a sea captain or merchant) toward an official Athenian one presumablymdashgiven the relief rsquos modest size material and conjectured functionmdasha monumental dedication on the Acropolis modeled upon this paradeigma

60 See Peschlow-Bindokat 1972 LIMC VII 1994 pp 474ndash475 nos 249ndash253 pl 376 sv Poseidon (E Simon) for the two together

61 Bemmann 1994 pp 59ndash60 for a thorough survey of votive reliefs cer-tainly (ie inscribed) and more-or-less plausibly conjectured to have been dedicated to Agathe Tyche and Aga-thos Daimon see Leventi 2003 pp 128ndash132 figs 1ndash8 Elements com-mon to the set are cornucopia phiale veil and sometimes a polos As for Agathe Theos Olga Palagia points out to me Piraeus 211 (IG II2 4589) dedicated to this cornucopia-holding goddess is not to be confused with Agathe Tyche for she is a medical deity perhaps imported from Asia Minor see Hausmann 1960 p 180 no 165 Palagia 1982 p 109 n 61 Bemmann 1994 pp 56ndash57 58 216 no B15 fig 35 LIMC VIII 1997 p 121 no 54 sv Tyche (L Villard) Pologiorgi 1998 p 43 fig 18 Leventi 2003 pp 131ndash132 fig 5 At first sight the scene of the birth of Ploutos on an Attic early-4th-century red-figure hydria from Rhodes now Istanbul Archae- ological Museum no 152 looks like an

exception to Bemmanrsquos rule since it shows Ge rising from the earth holding a cornucopia with Ploutos sitting on it LIMC IV 1988 p 174 no 28 pl 98 sv Ploutos (M B Moore) Bemmann 1994 pp 44ndash45 58 189ndash190 no A30 As Bemmann remarks however the cornucopia is his not hers

62 IG II2 4564 (Athens EM 1080) Agora III p 122 no 376 Leventi 2003 p 128

63 The inscribed relief Athens NM 1343 from the Asklepieion IG II2 4644 Svoronos 1903ndash1937 pp 261ndash263 pl 346 Suumlsserott 1938 pp 111ndash112 pl 172 Hausmann 1960 p 180 no 166 Palagia 1982 p 109 n 61 Bemmann 1994 pp 55ndash56 58 215ndash216 no B14 LIMC VIII 1997 p 118 no 5 sv Tyche (L Villard) p 552 no 4 pl 354 sv cornucopiae (K Bem-mann) Pologiorgi 1998 pp 42ndash43 fig 16 Leventi 2003 pp 128ndash129 figs 1 2 Uninscribed relief Athens NM 2853 from Piraeus Svoronos 1903ndash1937 p 652 no 404 pl 176 Bemmann 1994 pp 55ndash62 217ndash218 no B17 LIMC VIII 1997 p 119 no 27 sv Tyche (L Villard) Leventi 2003 pp 130ndash131 fig 3 Against the

identification of Agora S 2370 as Agathe Tyche see Palagia 1994

64 Athens Acropolis Museum 4069 from near the Parthenon SEG XLVII 210 Walter 1923 pp 184ndash186 no 391 LIMC I 1981 p 278 no 4 sv Agathodaimon (F Dunand) Pala-gia 1982 p 109 n 61 Bemmann 1994 pp 55ndash62 219 no B 19 LIMC VIII 1997 p 118 no 2 sv Tyche (L Vil-lard) Poligiorgi 1998 pp 43ndash44 fig 17 Leventi 2003 p 131 Prize amphorae Bentz 1998 pp 54 (n 283) 199 nos 4109 110 (formerly assigned to 3665 bc) Two more reliefs prob-ably featuring the goddess both unpublished are housed in the Agora storerooms S 1529 a half-life-size version of the Large Herculaneum Woman holding a cornucopia pre-served from thighs to neck and S 2399 a fragmentary votive relief of a standing woman holding a cornucopia pre-served from the waist up (I thank Carol Lawton for alerting me to this relief and for sharing a draft of her discussion of it with me)

65 See the judicious discussion by Bemmann 1994 p 61


As it happens quite a lot is known about the civic functions of Agathe Tyche in 4th-century Athens The preambles of decrees invoke her regularly after the 370s a temple to her was built at some point before the ascendancy of Lykourgos in the mid 330s a statue of her also was dedicated in the Prytaneion or perhaps the Tholos (Prytanikon) and she received lavish sacrifices at least twice at times of great emergency the first probably during or immediately after the Lamian War of 323ndash322 bc (note in this context the Panathenaic prize amphorae mentioned above) and the second immediately after Cassanderrsquos attempts to recapture the city in 3043 bc66

In conclusion then it is possible that the Agora relief references some impor-tant maritime event (real or desired) during the period suggested by its style and realia namely ca 350ndash300 bc The following candidates come to mind

340ndash339 bc Philip II unsuccessfully besieges Byzantion in order to inter-dict the Athenian grain supply

336ndash324 bc Lykourgos increases the fleet to over 400 ships refurbishes the Piraeus dockyards and ship sheds rebuilds the arsenal and sends 20 ships to accompany Alexanderrsquos expedition to Asia

323ndash322 bc The Lamian War the Macedonian fleet annihilates the Athenian fleet off Abydos and Amorgos

307 bc Demetrios Poliorketes arrives to liberate Athens in June with a 250-ship fleet is welcomed as a god gives the Athenians timber for 100 warships smashes the Ptolemaic fleet off Salamis in Cyprus in 306 bc with the help of 30 Athenian quadriremes and returns to stay several times in the next four years

Two of these occasions offer the most tempting pretexts for such a dedication First Lykourgosrsquos naval reforms not only revitalized the Athenian fleet (albeit temporarily) but clearly anticipated war with Macedonmdashfor which the support of Agathe Tyche and Poseidon would be sorely needed Moreover as the leader of the Eteoboutad clan the orator also was the priest of Poseidon Erechtheus whose trident was handed down from father to son as a symbol of their priestly authority67 Might this disk then be a model for a Lykourgan public monument on the Acropolis to solicit good fortune for his reformed and reinvigorated navy If so the gods signally failed to respond since a mere two years after the oratorrsquos death the Macedonians crushed the cityrsquos naval power for good

The second possibility would be the arrival of Demetrios Poliorketes in Athens In this case the disk and its putative monumental realization would then join those extravagant Athenian celebrations of the Macedonianrsquos seaborne arrival libera-tion of the city lavish benefactions (naval timber included) and naval successes in the ensuing half-dozen yearsmdashespecially Salamis where the Athenian squadron made a decisive contribution to the victorymdashuntil he and his father went down to defeat at Ipsos in 301 bc and Athens promptly changed sides again68 The scene

66 In addition to the inscribed reliefs noted above see IG II2 333 lines 16ndash17 (3232 bc update SEG LIV 143) 1195 line 14 1496 lines 76 107 148 4564 (= Agora III no 376) 4610 Agora XVI p 180 no 114 (3043 bc 9th prytany so after the termination of hostilities) Agora XXI p 54 no G9 Harpokration sv Ἀγαθὴ Τύχη (Lykourgos) Aelian VH 939 (statue in the PrytaneionPrytanikon = Agora III no 542) Tracy 1994

Walbank 1994 Parker 1996 pp 231ndash232 Mikalson 1998 pp 36ndash37 45 62ndash63 The decrees specify that the goddess is being invoked ldquofor the safety of the demos of the Atheniansrdquo Finally an Agathe Tyche and Agathos Daimon by Praxiteles of unknown provenance but possibly from Athens were located in Rome in Plinyrsquos day Plin HN 3623 Corso (2010 pp 79ndash84) identifies the goddess as the Agathe Tyche in the Agora mentioned by Aelian

67 See [Plut] X orat (Mor 841Andash 844A) for most of this for synopses see Humphreys 1985 Bosworth 1988 pp 204ndash215 Habicht 1997 pp 22ndash30 Humphreys 2004 pp 76ndash129 (updating Humphreys 1985) My thanks to Niko-laos Papazarkadas for this suggestion

68 Narrative Habicht 1997 pp 66ndash81 IG II2 1492 B lines 97ndash99 Diod Sic 20464 503 522 Plut Demetr 101

andre w ste wart640

would now be read as Agathe Tyche welcoming Poseidon Demetriosrsquos protector onto the Acropolis or even (on a maximalist view if the sea godrsquos now-missing head were clean shaven and diademed) Demetrios himself His cloak would now become the long Macedonian chlamys as seen on the portraits of eg Alexander and Antigonos Gonatas69 In support of all this from 301 bc the king issued coins featuring Poseidon in both the smiting and ldquoLateranrdquo pose and his own head with the godrsquos bullrsquos horns sprouting from his hairmdasha conceit echoed in his freestanding portraits Most notoriously the ithyphallic hymn sung in his honor when he returned to Athens in 290 bc even greeted him as Poseidonrsquos sonmdasha final possible context for this disk and our putative monument70

Ca 350ndash300 bcBibliography Shear 1941 pp 3ndash5 fig 4 (identified as ldquoperhaps a sample

model for a work to be wrought in a more permanent mediumrdquo) Young 1951 pp 273ndash276 (house N) LIMC IV 1988 p 882 no 460 pl 597 sv Demeter (L Beschi) LIMC VII 1994 p 475 no 253 sv Poseidon (E Simon)

16 Irregular piece of poros bearing four scenes in relief Fig 21

Scene (a) at left a woman in a roundel (b) at right a man in a roundel (c) below Psyche pursuing Eros (d) at bottom part of a hand

S 2083 Core of post-Herulian fortification wall to the southeast of the Agora lower fill at S-17 June 13 1959 together with two fragments of unfinished marble statuettes71

H 0165 W 0190 Th 0040 Soft yellow porosBroken all around back and front abraded and flaked Original surface pre-

served only on the right-hand childrsquos head body and wings and on the body and wing tips of the left-hand one

Roughly chiseled in patches on the back Small patches of original surface on front finely chiseled and polished

Two roundels (a b) sunk into the surface of two different scales separated by a crude column in relief two figure scenes (c d) below them

(a) At left in a shallow bowl-shaped roundel with a narrow rim originally about 24 cm in diameter a womanrsquos outstretched left arm emerges from the break her outturned left hand rests on a rock four shallow drapery folds are visible below and to left beside the break at lower right is a small apparently overturned krater a lump of stone just above it may be the remains of a cup

This figure recalls the seated nymph from the Invitation to the Dance and similar Hellenistic figures72 the fallen krateriskos below it suggests a Dionysiac context such as this

(b) At right in a second shallow bowl-shaped roundel with no rim originally about 19 cm in diameter the lower part of a man in heavy chunky drapery leans against an object what little remains of his torso is naked and his draped right arm projects from the background a few millimeters just below the break The heavy drapery strongly recalls Hellenistic Alexandrian statues in this style73

(c) Below two winged toddlers seen in three-quarter view stride to the left with their right legs forward on a shallow groundline about 3 mm thick Eros at

69 Stewart 1990 figs 563 590 625 Smith 1991 figs 4 5 2261 Rolley 1999 pp 342 356 365 367 figs 355 369 370 382 385 386

70 Coins Stewart 1990 figs 621ndash624 Moslashrkholm 1991 pp 78ndash79 pl 10162ndash174 Smith 1991 fig 10 Rolley 1999 p 364 figs 379 380 Hymn Demochares FGrH 75 F 2

Douris FGrH 76 F 13 Athen 663 253BndashF

71 Lower part of a draped woman standing on an Ionic base S 2082 two hands holding a rough-hewn piece of marble S 2084 The kriophoros (4) was found nearby together with many unfinished busts and statuettes of Roman date see the bibliography listed

for 4 and Harrison 1960 p 370 n 7 for a partial list

72 Bieber 1961 figs 562ndash566 Stewart 1990 figs 723ndash726 Smith 1991 fig 1571ndash4 Bol 2007 pp 260ndash262 fig 228

73 EAA I 1958 pp 218ndash219 figs 320 321 sv Alessandrina Arte (A Adriani)


left wears a small cloak and kausia and carries a bow over his left shoulder and a torch in his lowered right hand His head slumps forward and he appears to be swooning perhaps with exhaustion The right-hand toddlerrsquos genitalia are miss-ing but her butterfly wings identify her as Psyche Smiling she strides vigorously forward and with her left hand grabs Eros by his left arm

Psychersquos tryst with Eros is a well-known theme in the Hellenistic minor arts and even appears on two Late Hellenistic silver cups found in central Asia though at present the composition on 16 seems to be unique Psychersquos head recalls that of the boy in the group of the Boy with the Fox-Goose known from Roman copies in Vienna and elsewhere and often dated to the 2nd century bc74

(d) Four fingers preserved just below the battered ground line of (c) the remainder of the surface completely abraded away

These four scenes look like a collection of archetypes for metalwork75 since the two roundels originally measuring approximately 24 cm (a) and 19 cm (b) are too big for relief pottery The scenes would be molded in clay and the reliefsmdashpresumably emblemata for gold or silver cups or phialaimdashcast from these molds (They cannot be matrices for box mirror covers since these were embossed not cast and disappear around 270 bc)

This piece (16) was found near the Kriophoros (4) and its accompanying marbles which have been identified as workshop debris from the sculptorrsquos shop in the Library of Pantainos that was active between ad 102 and 267 Yet since its Hellenistic-looking scenes can hardly have been carved this late perhaps it was either kept there as a curiosity or comes from another workshop altogether

HellenisticBibliography Harrison 1960 p 370 n 7 (identified as a model for metalwork)

Figure 21 Piece of poros with four scenes in relief (16) (a) at left a seated woman in a roundel (b) at right a man in a roundel (c) below Psyche pursuing Eros (d) at bottom part of a hand Athens Agora Mu- seum S 2083 Scale 12 Photo C Mauzy courtesy Agora Excavations

74 LIMC VII 1994 p 578 nos 114ndash117 pl 454 sv Psyche (N Icard-Gianolio) see esp no 117 which shows the two silver cups from the Sadovyi Kurgan at Novocherkassk now in the Rostov State Museum of Local History (I thank Anna Trofimova for

kindly supplying me with this informa-tion) the first of which depicts a torch-bearing Psyche tormenting a bound Eros with Nemesis looking on while the second portrays the same scene but with the charactersrsquo roles reversed see also LIMC VI 1992 p 753 no 205b

pl 444 sv Nemesis (P Karanastassi) cf Stampolidis and Tassoulas 2009 pp 135ndash141 nos 92ndash104 Boy with Fox-Goose Bieber 1961 fig 534

75 As Harrison (1960 p 370 n 7) has already suggested

andre w ste wart642

FINDSPOTS

Nine of these 16 pieces come from areas where marble working took place (1 2 4 6 9 11 12 15 16)76 and nine (3ndash6 10 13ndash16) come from prob-able workshop dumps

The only three found together the ldquoSarapisrdquo (3) the striding youthsatyr (5) and the statue-raising relief (14) come from a well filled around ad 200 Unfortunately since the well lies to the north of South Stoa II firmly within the civic space of the Agora and quite far from the industrial quarter to the southwest the location of the workshop that made them remains a mystery77 Another the Agathe Tyche and Poseidon disk (15) was found in a house in this industrial quarter whose remaining finds clearly identify it as a Hellenistic-Augustan production center for both marbles and bronzes

Most of the rest (1 2 4 6 9 11 12 16) come from the Roman in-dustrial area to the south and southeast and three of these (4 6 and 16) were discovered near each other inside the post-Herulian fortification wall along with or close to numerous finished and unfinished Roman marble busts statuettes and reliefs These marbles were found both in situ in the debris of the two southernmost rooms of the Library of Pantainos and built into the adjacent parts of the post-Herulian fortification wall They indicate a workshop that was active between ad 102 (when the Library was completed) and the Herulian sack of ad 267 specializing in both archaistic and classicizing work and in portraits78

Finally the three outliers The Aphrodite (10) was found in an earlymid-4th-century fill of a well in the Theseion Plateia together with several unfinished marbles indicating a High Classical workshop in this outlying area the draped man (13) was found on the Pnyx as were an apprenticersquos trial piece for hands and two unfinished Late Classical marbles indicating a Late Classical workshop somewhere nearby79 and the feet on an Ionic base (8) were found on Agoraios Kolonos not far from the casting pits around the Hephaisteion

F UNCT IONS

These little sculptures may be divided for convenience into three major categories body parts (1 2) figure studies in the round of various kinds (3ndash11) and reliefs single and multiple (12ndash16) Five of them (1 2 7 11 12) are clearly made as fragments and all five reliefs (12ndash16) are in nonstandard formats Three of them (7 12 15) were made to be held in the hand and four more (2 4 5 11) are unfinished like most of the remainder (3 6 9

76 Cf Young 1951 Thompson 1960 p 333 Agora XIV pp 177 187ndash188 Lawton 2006 pp 12ndash23

77 For what it is worth however the Dionysos (2) was found not far away to the west en route to this quarter

78 For some of the marbles from the shop see Shear 1935 pp 394ndash398

figs 19ndash24 with Stevens 1949 p 269 n 3 (recognizing 6 as a sculptorrsquos model) for the marbles from the wall see Harrison 1960 p 370 n 7 (recog-nizing 16 as a model for metalwork) cf Agora XI p 68 no 110 (recognizing 4 as a sculptorrsquos sketch) Agora XIV p 187 Lawton 2006 pp 12 22ndash23

figs 8 22 2379 Unfinished female head

PN S 14 two hands in unrelated positions PN S 31 unfinished male torso wearing a chlamys PN S 10 Davidson and Thompson 1943 pp 35ndash40 nos 3 6 11 figs 16ndash18 respectively


10 13 14) Several (1 7 9ndash11) are carved more-or-less evenly in the round or almost in the round but two (4 5) both unfinished are carved from the front like a high relief a characteristically Late Hellenistic and particularly Roman technique for work in the round80 In short both singly and as a collection they look like sculptorsrsquo preparatory studies of various kinds

Art historical scholarship largely focused on the medieval period and after usually divides such studies (drawings apart) into three broad categories as follows

1 Apprenticesrsquo pieces including (a) Workshop samples for novice apprentices to copy often of

individual body parts (b) Apprenticesrsquo copies after (a) (c) Apprenticesrsquo sketches and other exercises2 Bozzetti or rough sketches for sculptures3 Modelli or detailed models for display to a client or patron andor

for implementation by the workshop81

When evidence is lacking and the work is competent it is often dif-ficult if not impossible to distinguish between workshop samples (1a) and apprenticesrsquo copies of them (1b) and between apprenticesrsquo sketches and other exercises (1c) and genuine bozzetti It will be evident that the present collection provides several cases in point but before addressing them let us turn to the ancient evidence

To judge from the texts Greek and Roman sculptors usually employed wax clay plaster and even wood for such studies which were called para-deigmata82 None of them mentions limestone in this context Yet this

80 Eg the athlete from Rheneia Athens NM 1660 the unfinished trapezophoros with Dionysos and satyr group from the Olympieion Athens NM 245 and the young athlete Athens NM 1662 Kaltsas 2002 nos 576 743 Palagia 2003 pp 59ndash63 figs 4ndash8

81 See eg EAA V 1963 pp 132ndash137 sv Modello (G Becatti) Turner 1996 vol 21 pp 767ndash771 sv Modello (C Avery)

82 The bibliography on sculptural paradeigmata is too vast to cite here For recent surveys see Nolte 2005 pp 167ndash 168 and Palagia 2006 pp 262ndash266 for ancient citations of paradeigma and its uses see Pollitt 1974 pp 204ndash215 and for the much more problematic typoi see Pollitt 1974 pp 272ndash293 (both with earlier bibliography) Yalouris 1992 pp 70ndash74 (models) contra Schultz 2009 p 77 n 20 (reliefs with recent bibliography to which add Nolte 2005 p 167 n 312) Although para-deigma is standard Greek usage for

model its explicit use for sculptural models in Attica is lacking the terra-cotta ldquoVergilrdquo head from the Keramei-kos (see above n 33) may qualify as a paradeigma or proplasma (see following note) For 15 typos seems appropriate at first sight since the disk is in relief and both Plato and Aristotle use the word to indicate a roughly worked form or sketch though they may be referring to roughly hammered reliefs in metal (toreutike) that needed a more detailed finish with the chisel and graver Pl Resp 414a τοιαύτη τις δοκεῖ μοι ὦ Γλαύκων ἡ ἐκλογὴ εἶναι καὶ κατάστασις τῶν ἀρχόντων τε καὶ φυ- λάκων ὡς ἐν τύπῳ μὴ διrsquo ἀκριβείας εἰρῆσθαι (ldquoI think Glaukon that as in a typos though not in detail our selec-tion and appointment of our guardians proceeds along those linesrdquo) Tim 76e ἐν ἀνθρώποις εὐθὺς γιγνομένοις ὑπετυ- πώσαντο τὴν τῶν ὀνύχων γένεσιν τούτῳ δὴ τῷ λόγῳ καὶ ταῖς προφάσεσιν ταύ- ταις δέρμα τρίχας ὄνυχάς τε ἐπrsquo ἄκροις τοῖς κώλοις ἔφυσαν (ldquoThey impressed

upon men at their very birth the typos of fingernails Upon this account and with these designs they caused skin to grow into hair and nails upon the extremities of the limbsrdquo) Arist Eth Nic 1098a22 Περιγεγράφθω μὲν οὖν τἀγαθὸν ταύτηmiddot δεῖ γὰρ ἴσως ὑποτυ- πῶσαι πρῶτον εἶθrsquo ὕστερον ἀνα- γράψαι δόξειε δrsquo ἂν παντὸς εἶναι προαγαγεῖν καὶ διαρθρῶσαι τὰ καλῶς ἔχοντα τῆ περιγραφῆ (ldquoThere-fore the Good must be delineated as follows one must begin by making a typos and fill it in later If a work has been well laid down in outline to carry it on and complete it in detail ought to be within anyonersquos capacityrdquo) 1107b14 νῦν μὲν οὖν τύπῳ καὶ ἐπὶ κεφαλαίου λέγομεν ἀρκούμενοι αὐτῷ τούτῳmiddot ὕστερον δὲ ἀκριβέστερον περὶ αὐτῶν διορισθήσεται (ldquoFor now we describe these qualities as if in a typos and sum-marily which is enough for the present purpose but later they will be more accurately definedrdquo)

andre w ste wart644

83 HN 35153 155ndash156 using pro-plasma not paradeigma TLG and epi-graphical database searches (Packard Humanities Institute Greek Inscrip-tions) have turned up no other instances of proplasma As mentioned in the previous note the terracotta ldquoVergilrdquo head from the Kerameikos (see below) may qualify as such

84 See eg Vanhove 1988 Jockey 1995 1998b Van Voorhis 1998 Mous- taka 1999 Duthoy 2000 Gaggadis-Robin and Jockey 2003 Nolte 2005 pp 238ndash289 (explicit statement on p 238) Rockwell 2008 (explicit state-ment on p 92) Smith and Lenaghan 2008 pp 28ndash33 102ndash119 121ndash135

85 Pnyx Davidson and Thompson 1943 pp 35ndash40 no 6 fig 19 (PN S 31 two hands) Acropolis Heberdey 1919 pp 123ndash125 nos 1ndash12 figs 132ndash135

see below Aphrodisias Van Voorhis 1998 (feet) Smith 2008 pp 122ndash128 figs 1 2 ( J Van Voorhis) Egypt Edgar 1906 nos 33327ndash33417 pls 8ndash27 (heads bodies limbs hands and feet)

86 Architectsrsquo studies are a different matter See eg Hellmann 2002 pp 38ndash43 fig 25 (a 2nd-century ad lime-stone temple model from Niha in Leb-anon called in the accompanying inscription a προσκέντημα instead of a paradeigma) In this regard Margaret Miles has kindly alerted me to an array of miniature painted but somewhat crude poros capitals triglyphs mold-ings and other items displayed behind the storeroom at the Sanctuary of Aphaia on Aigina and Sarah Morris to two fine Late Hellenistic models of capitals (nos 124 and 1462) and an unfinished limestone statuette (no

MR 811) in the Corfu Museum that also may be trial pieces On the use of specimens (paradeigmata again) for such architectural details see Coulton 1977 pp 55ndash58 71ndash72 fig 15 Hell-mann 2002 pp 38ndash42

87 Heberdey 1919 pp 123ndash125 nos 1ndash12 figs 132ndash135 Acropolis Museum nos 11 12 4347 4349 4348 4354 4350 4355 4359 4471 4564 I thank Christina Vlassopoulou and Raphael Jacob for bringing these to my attention and for allowing me to study and photograph them in June 2012 Since no provenance for them is recorded they could have come from anywhere on the Acropolis or (more likely) its environs

88 Hasaki 2013 Again I thank Eleni Hasaki for sharing the proofs of her essay with me

information comes from only a handful of sources none of them Athenian and sculptorsrsquo studies per se are discussed only by a single Roman author the elder Pliny He however mentions only clay and plaster studies and also uniquely records another term for them namely proplasmata which suggests molded work not carved83 Moreover recent investigations of Greek sculpture workshops and their detritus have turned up no such items in any medium84

Yet all these ancient sources also omit the workshop samples (1a heads hands feet etc) and apprenticesrsquo copies of them (1b) as do all modern surveys of Greek and Roman sculptural technique These are known from a few sites including the Pnyx the Acropolis Aphrodisias and several places in Ptolemaic and Roman Egypt the two in poros published here (1 2) now complement them85

As mentioned above the material of these 16 Agora sculptures poros limestone is not attested in the written sources or the published archaeologi-cal record as a medium for preparatory studies (paradeigmata) of any sort86 These pieces however may be exceptions together with a dozen others in the Acropolis Museum also in poros but of unknown provenance published by Heberdey in 1919 as ldquoSpielereienrdquo or ldquodoodlesrdquo87

Comprising statuettes herms heads assorted body parts and animals these Acropolis pieces range in quality from poor to atrociousmdasheven worse than the Sarapis (3) Yet as mentioned earlier apropos of the latter similar crudities in other media recently have been recognized as apprenticesrsquo baby steps in their craft88 Most of the Acropolis pieces are unfinished and one combines a sketch of the male genitalia with another of a male head Per-haps all of them are beginnersrsquo efforts yet unlike many of those published here (4ndash8 10ndash13 15) not one looks like a sketch or model for an actual monument public or private

Since most of the 13 Agora figure studies (3ndash11) are made of soft poros limestone are small-scale and are carved with the chisel only they


cannot have been intended primarily to teach apprentice marble workers how to use their tools For not only is marble so much harder than poros that different and more complex motor skills are required to carve it but even on the Agorarsquos marble statuettes the chisel is regularly supplemented by the point rasp and drill Carving poros by contrast is much closer to woodwork using only small flat chisels droves gouges (rarely) and fine abrasives and employing the drill only to make holes for attachment pins So any technical expertise gained from carving the pieces published here would not have transferred seamlessly to marble

Instead perhaps most of them were intended to teach or test rudimen-tary subtractive modeling in stone and particularly the art of draped-figure design For stone carving is quite different from additive modeling in clay or wax and even from wood carving (where the grain is all-important) As for design fine-grained poros takes detail better than marble and as remarked earlier is easier to quarry and carve and also much cheaper Moreover it is easy to see how the ready availability in Athens of particularly fine poros would have made it an attractive alternative to these other media especially for beginners Perhaps more pieces of this kind are sitting unrecognized in storerooms around the city and its environs

Accordingly these studies range from apprenticesrsquo trial pieces for heads and feet (1 2) through the construction of standard types (5 11 13) to more complex exercises in composition (7 10) and workshop models (12) Predictably they differ vastly in quality and achievement Some were aban-doned beforemdashsometimes long beforemdashcompletion (4ndash7 9ndash11) one is so crass as to be comical (3) others are competent and workmanlike (10 11 13) and still others are miniature gems (12 15 16c) The statue-raising scene (14) perhaps was carved from life and it and the multiple relief (16) probably served as a sketch and models respectively for cast metalwork Finally the Agathe Tyche and Poseidon disk (15) has all the marks of a presentation model or paradeigma for a public monument

Their dates where ascertainable from their style iconography or in three cases context (4 6 10) range from the early 4th century bc through the Roman period as follows

Late ClassicalEarly Hellenistic (ca 400ndash300 bc) Dionysos (7) Aphrodite (10) draped woman (11) draped man in relief (13) Agathe Tyche and Poseidon disk (15)

Hellenistic (ca 330ndash30 bc) draped woman (11) Agathe Tyche and Poseidon disk (15) four reliefs (16)

Late HellenisticEarly Roman (ca 100 bcndashad 100) satyr head (12) statue-raising relief (14)

Roman (ca 30 bcndashad 267) foot (2) ldquoSarapisrdquo (3) Kriophoros (4) striding youthsatyr (5) boy and tripod leg (6) sandaled feet on Ionic base (8) statue-raising relief (14)

Uncertain male head (1) ldquoAthenardquo (9)

Pieces from the first two centuries of Athenian sculptural production are markedly absent Most seem to date to the two periods of most intense Attic sculptural activity the 4th century bc and the late 1st century bc through the Herulian sack of ad 267

andre w ste wart646

CONCLUSIONS

Spanning half a dozen centuries from ca 400 bc to the Herulian sack in ad 267 this modest collection includes both relief and freestanding work It ranges in style from Late Classical to Hellenistic ldquorococordquo and Roman archaistic in theme from the Olympians through votaries to common laborers and (if the thesis of this article holds water) in purpose from apprenticesrsquo trial pieces to sketches studies and models for monumentsPredictably then most of these little sculptures conform to standard types known elsewhere from dancing satyrs through quietly standing Roman soldiers to disembodied heads Only a few of them supplement our knowledge to any significant extent but when they do their testimony is invaluable The Aphrodite (10) shows a sculptor from a generation of followers grappling with the problem of belatedness by skillfully blending and reworking his models The cornucopia-toting Dionysos leaning on a tripod (7) offers an idea for a choregic-type composition that intriguingly extends the parameters of the genre The Agathe Tyche and Poseidon disk (15)mdashif it is in fact a model for a civic monument (and of all the pieces published here it is the only viable candidate for this role)mdashreveals much about Athenian commissioning practices and competition materials The Eros and Psyche relief (16c) furnishes a hitherto unattested and quite witty Hellenistic version of their amorous adventures The satyr face (12) sheds fresh light on the working practices of the so-called neo-Attic workshops Finally the statue-raising relief (14) opens a new window onto both the sweaty world of the sculptor-artisan and the varied sources of imperial Roman imagery


REFERENCES

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III = R E Wycherley Literary and Epigraphical Testimonia 1957

XI = E B Harrison Archaic and Archaistic Sculpture 1965

XIV = H A Thompson and R E Wycherley The Agora of Athens The History Shape and Uses of an Ancient City Center 1972

XVI = A G Woodhead Inscrip-tions The Decrees 1997

XXI = M L Lang Graffiti and Dipinti 1976

Andrianou D 2006 ldquoChairs Beds and Tables Evidence for Furnished Interiors in Hellenistic Greecerdquo Hesperia 75 pp 219ndash266

mdashmdashmdash 2009 The Furniture and Fur-nishings of Ancient Greek Houses and Tombs Cambridge

Andronikos M 1984 Vergina The Royal Tombs and the Ancient City Athens

Bacchetta A 2006 Oscilla Rilievi sospesi di etagrave romana Milan

Bellori G P 1691 Le antiche lucerne sepolcrali figurate Raccolte dalle cave sotterranee e grotte di Roma nelle quale si contengono molte erudite me- morie Disegrate ed intagliate nelle loro forme Rome

Bemmann K 1994 Fuumlllhoumlrner in klas-sischer und hellenistischer Zeit (Europaumlische Hochschulschriften series 38 [Archaumlologie] vol 51) Frankfurt

Bentz M 1998 Panathenaische Preis-amphoren Ein athenische Vasengat-tung und ihre Funktion vom 6ndash4 Jarhrhundert v Chr (AntK-BH 18) Basel

Bieber M 1961 The Sculpture of the Hellenistic Age 2nd ed New York

Bielefeld E 1978 ldquoAriadne Valentini (sog Aphrodite Valentini)rdquo AntP 17 pp 57ndash69

Boardman J 1985 Greek Sculpture The Classical Period A Handbook London

mdashmdashmdash 1995 Greek Sculpture The Late Classical Period and Sculpture in Col-onies and Overseas London

Bol P C ed 2004 Die Geschichte der antiken Bildhauerkunst 2 Klassische Plastik Mainz

mdashmdashmdash 2007 Die Geschichte der antiken Bildhauerkunst 3 Hellenistische Plastik Mainz

Bosworth A B 1988 Conquest and Empire The Reign of Alexander the Great Cambridge

Brommer F 1977 Der Parthenonfries Katalog und Untersuchung Mainz

Byvanck A W 1951 ldquoLa chronologie de Praxitegravelerdquo Studia archaeologica Gerardo van Hoorn oblata Leiden pp 12ndash24

Cain H-U 1985 Roumlmische Marmor- kandelaber (Beitraumlge zur Erschlies-sung hellenistischer und kaiserzeit- licher Skulptur und Architektur 7) Mainz

Clairmont C W 1993 Classical Attic Tombstones Kilchberg

Corinth IX = F P Johnson Sculpture 1896ndash1923 (Corinth IX) Cambridge Mass 1931

Corso A 2010 The Art of Praxiteles III The Advanced Maturity of the Sculp-tor (StArch 177) Rome

Coulton J J 1977 Ancient Greek Archi-tects at Work Problems of Structure and Design London

Davidson G R and D B Thompson 1943 Small Objects from the Pnyx I (Hesperia Suppl 7) Baltimore

Despinis G I 1995 ldquoStudien zur hel-lenistischen Plastik I Zwei Kuumlnst-lerfamilien aus Athenrdquo AM 110 pp 321ndash372

Diehl E 1964 Die Hydria Formge-schichte und Verwendung im Kult des Altertums Mainz

Duthoy F 2000 ldquoDie unvollendeten Marmorskulpturen des Keramei-kosrdquo AM 115 pp 115ndash146

Edgar M C C 1906 Catalogue geacuteneacute- ral des antiquiteacutes eacutegyptiennes du Museacutee du Caire Nos 33301ndash33506 Sculptorsrsquo Studies and Unfin-ished Works (= vol 31) Cairo

Ehrhardt W 1993 ldquoDer Fries des Lysikrates-Denkmalsrdquo AntP 22 pp 1ndash67

Faust S 1989 Fulcra Figuumlrlicher und ornamentaler Schmuck an antiken Betten (RM-EH 30) Mainz

Fink J 1964 ldquoEin Kopf fuumlr Vielerdquo RM 78 pp 152ndash157

Froning H 1971 Dithyrambos und Vasenmalerei in Athen (Beitraumlge zur Archaumlologie 2) Wuumlrzburg

mdashmdashmdash 1981 Marmor-Schmuckreliefs mit griechischen Mythen im 1 Jh v Chr Untersuchungen zur Chronologie und Funktion (Schriften zur antiken Mythologie 5) Mainz

mdashmdashmdash 2005 ldquoUumlberlegungen zur Aph-rodite Urania des Phidias in Elisrdquo AM 120 pp 287ndash294

Fuchs W 1959 Die Vorbilder der neu- attischen Reliefs (JdI-EH 20) Berlin

mdashmdashmdash 1963 Der Schiffsfund von Mah-dia (Bilderhefte des Deutschen Archaumlologischen Instituts Rom 2) Tuumlbingen

Fullerton M D 1990 The Archaistic Style in Roman Statuary (Mnemosyne Suppl 110) Leiden

Gaggadis-Robin V and P Jockey eds 2003 Approches techniques de la sculp-ture antique (BAC 30 Antiquiteacute archeacuteologie classique) Paris

Goette H R 2007 ldquoChoregic Monu-ments and the Athenian Democ-racyrdquo in The Greek Theatre and Festivals Documentary Studies (Oxford Studies in Ancient Docu-ments) ed P Wilson Oxford pp 122ndash149

Grassinger D 1991 Roumlmische Marmor- kratere (Monumenta artis Romanae 18) Mainz

Habicht C 1997 Athens from Alexan-der to Antony trans D L Schneider Cambridge Mass

Hackin J 1954 Nouvelles recherches archeacuteologiques agrave Begram ancienne Kacircpicicirc 1939ndash1940 Rencontre de trois civilisations Inde Gregravece Chine (Meacutemoires de la Deacutelegravegation archeacute- ologique franccedilaise en Afghanistan 11) Paris

Harrison E B 1960 ldquoNew Sculpture from the Athenian Agora 1959rdquo Hesperia 29 pp 369ndash392

Hasaki E 2013 ldquoCraft Apprentice- ship in Ancient Greece Reaching Beyond the Mastersrdquo in Archaeology and Apprenticeship Body Knowledge Identity and Communities of Practice

andre w ste wart648

ed W Wendrich Tucson pp 171ndash 202

Hausmann U 1960 Griechische Weihre-liefs Berlin

Heberdey R 1919 Altattische Poros- skulptur Ein Beitrag zur Geschichte der archaischen griechischen Kunst Vienna

Hellenkemper-Salies G H H von Prittwitz und Gaffron and G Bauchhenss eds 1994 Das Wrack Der antike Schiffsfund von Mahdia (Katalog des Rheinischen Landesmuseums Bonn 1) 2 vols Cologne

Hellmann M-C 2002 Lrsquoarchitecture grecque 1 Les principes de la construc-tion (Les manuels drsquoart et drsquoarcheacuteologie antiques) Paris

Herzog H 1996 Untersuchungen zur Darstellung von Statuen auf Athe- ner Silbermuumlnzen des Neuen Stils (Schriftenreihe Antiquates 11) Hamburg

Himmelmann N 1994 Realistische Themen in der griechischen Kunst der archaischen und klassischen Zeit ( JdI-EH 28) Berlin

Hoffmann H 1972 Early Cretan Armorers Mainz

Humphreys S C 1985 ldquoLycurgus of Butadae An Athenian Aristocratrdquo in The Craft of the Ancient Historian Essays in Honor of Chester G Starr ed J W Eadie and J Ober Lan-ham pp 199ndash252

mdashmdashmdash 2004 The Strangeness of Gods Historical Perspectives on the Interpre-tation of Athenian Religion Oxford

Jockey P 1995 ldquoUnfinished Sculpture and Its Workshops on Delos in the Hellenistic Periodrdquo in The Study of Marble and Other Stones Used in Antiquity Transactions of the 3rd International Symposium of the Asso-ciation for the Study of Marble and Other Stones Used in Antiquity Athens ed Y Maniatis N Herz Y Basiakos London pp 87ndash93

mdashmdashmdash 1998a ldquoLes reacutepresentations drsquoartisans de la pierre dans le monde greacuteco-romainrdquo Topoi 8 pp 625ndash652

mdashmdashmdash 1998b ldquoLa sculpture de la pierre dans lrsquoantiquiteacute De lrsquooutil- lage aux processusrdquo in Artisanat et mateacuteriaux La place des mateacuteriaux dans lrsquohistoire des techniques (Ca- hier drsquohistoire des techniques 4)

ed M-C Amouretti and G Comet Aix-en-Provence pp 153ndash176

Kaltsas N E 2002 Sculpture in the National Archaeological Museum trans D Hardy Athens

Kleiner D E E 1993 Roman Sculpture (Yale Publications in the History of Art) New Haven

Kyrieleis H 1969 Throne und Klinen Studien zur Formgeschichte altorien-talischer und griechischer Sitz- und Liegemoumlbel vorhellenistischer Zeit (JdI-EH 24) Berlin

La Rocca E C Parisi Presicce and A Lo Monaco 2011 Ritratti Le tante facce del potere Rome

Lawton C 1995a Attic Document Reliefs Art and Politics in Ancient Athens (Oxford Monographs on Classical Archaeology) Oxford

mdashmdashmdash 1995b ldquoFour Document Reliefs from the Athenian Agorardquo Hesperia 64 pp 121ndash130

mdashmdashmdash 2006 Marbleworkers in the Athenian Agora (AgoraPicBk 27) Princeton

Leventi I 2003 ldquoΠαρατηρήσεις στα αττικά αναθηματικά ανάγλυφα του ύστερου 4ου και πρώιμου 3ου αι πΧrdquo in The Macedonians in Athens 322ndash229 BC Proceedings of an Inter-national Conference Held at the Uni-versity of Athens May 24ndash26 2001 ed O Palagia and S V Tracy Ox- ford pp 128ndash139

Lippold G 1951 Die griechische Plastik (Handbuch der Archaumlologie 31) Munich

Matz F 1969 Die dionysischen Sarko- phage (ASR 43) Berlin

Meyer M 1989 Die griechischen Ur- kundenreliefs (AM-BH 13) Berlin

Michaelis A T F 1882 Ancient Mar-bles in Great Britain Cambridge

Mikalson J D 1998 Religion in Hel-lenistic Athens (Hellenistic Culture and Society 29) Berkeley

Mitsopoulou-Leon V 1996 ldquoEin Ton-relief mit dionysischer Darstellungrdquo in Fremde Zeiten Festschrift fuumlr Juumlrgen Borchhardt zum sechzigsten Geburtstag am 25 Februar 1996 dargebracht von Kollegen Schuumllern und Freunden ed F Blakolmer K R Krierer F Krinzinger A Landskron-Dinstl H D Sze-methy and K Zhuber-Okrog Vienna pp 75ndash88


Moslashrkholm O 1991 Early Hellenistic Coinage From the Accession of Alex-ander the Great to the Peace of Apa-mea (336ndash188 BC) Cambridge

Moustaka A 1999 ldquoUnfertige Mar-morplastik und andere Reste von Steinmetzwerkstaumlttenrdquo in OlBer 11 Fruumlhjahr 1977 bis Herbst 1981 Berlin pp 357ndash366

Nolte S 2005 Steinbruch-Werkstatt-Skulptur Untersuchungen zu Aufbau und Organisation griechischer Bild-hauerwerkstaumltten (Beihefte zum Goumlttinger Forum fuumlr Altertumswis-senschaft 18) Goumlttingen

Orlandini P 1957 ldquoTipologia e crono-logia del materiale archeologico di Gela Irdquo ArchCl 9 pp 44ndash75

Orlandini P and D Adamesteanu 1960 ldquoSicilia II GelandashNuovi Scavirdquo NSc 14 pp 67ndash246

Padgett J M ed 2001 Roman Sculp-ture in the Art Museum Princeton University Princeton

Palagia O 1982 ldquoA Colossal Statue of a Personification from the Agora of Athensrdquo Hesperia 51 pp 99ndash113

mdashmdashmdash 1994 ldquoNo Demokratiardquo in The Archaeology of Athens and Attica under the Democracy Proceedings of an International Conference Celebrat-ing 2500 Years since the Birth of De- mocracy in Greece Held at the Ameri-can School of Classical Studies at Athens December 4ndash6 1992 (Oxbow Monograph 37) ed W D E Coul-son O Palagia T L Shear H A Shapiro and F J Frost Oxford pp 113ndash122

mdashmdashmdash 2003 ldquoDid the Greeks Use a Pointing Machinerdquo in Approches techniques de la sculpture antique (BAC 30 Antiquiteacute archeacuteologie clas-sique) ed V Gaggadis-Robin and P Jockey Paris pp 55ndash64

mdashmdashmdash ed 2006 Greek Sculpture Function Materials and Techniques in the Archaic and Classical Periods Cambridge

Parker R 1996 Athenian Religion A History Oxford

Peschlow-Bindokat A 1972 ldquoDemeter und Persephone in der attischen Kunst des 6 bis 4 Jahrhundertsrdquo JdI 87 pp 60ndash157

Pollitt J J 1974 The Ancient View of Greek Art Criticism History and Terminology New Haven

Pologiorgi M I 1998 ldquoΤο γυναικείο άγαλμα του Αρχαιολογικού Μου- σείου Πειραιώς αρ ευρ 5935rdquo in Regional Schools in Hellenistic Sculp-ture Proceedings of an International Conference Held at the American School of Classical Studies at Athens March 15ndash17 1996 (Oxbow Mono-graph 90) ed O Palagia and W D E Coulson Oxford pp 35ndash45

Rhodes P J 1972 The Athenian Boule Oxford

Richter G M A 1946 ldquoA Greek Bronze Hydria in New Yorkrdquo AJA 50 pp 361ndash367

mdashmdashmdash 1960 Greek Portraits III How Were Likenesses Transmitted in Ancient Times Small Portraits and Near-Portraits in Terracotta Greek and Roman (CollLatomus 48) Brussels

mdashmdashmdash 1966 The Furniture of the Greeks Etruscans and Romans London

Ridgway B S 1976 ldquoThe Aphrodite of Arlesrdquo AJA 80 pp 147ndash154

mdashmdashmdash 1981a Fifth Century Styles in Greek Sculpture Princeton

mdashmdashmdash 1981b ldquoSculpture from Cor- inthrdquo Hesperia 50 pp 422ndash448

mdashmdashmdash 2002 Hellenistic Sculpture III The Styles of ca 100ndash31 BC (Wis-consin Studies in Classics) Madison

Robertson C M and A Frantz 1975 The Parthenon Frieze London

Rockwell P 2008 ldquoThe Sculptorrsquos Studio at Aphrodisias The Work- ing Methods and Varieties of Sculp-ture Producedrdquo in The Sculptural Environment of the Roman Near East Reflections on Culture Ideology and Power (Interdisciplinary Studies in Ancient Culture and Religion 9) ed Y Z Eliav E A Friedland and S Herbert Leuven pp 91ndash115

Rolley C 1986 Greek Bronzes trans R Howell London

mdashmdashmdash 1999 La sculpture grecque 2 La peacuteriode classique (Les manuels drsquoart et drsquoarcheacuteologie antiques) Paris

Schultz P 2009 ldquoAccounting for Agency at Epidauros A Note on IG IV2 102 A1ndashB1 and the Econ- omies of Stylerdquo in Structure Image Ornament Architectural Sculpture in the Greek World Proceedings of an International Conference Held at the American School of Classical Studies at Athens 27ndash28 November 2004

ed P Schultz and R von den Hoff Oxford pp 70ndash78

Schwarzmaier A 1997 Griechische Klappspiegel Untersuchungen zu Typologie und Stil (AM-BH 18) Berlin

Sebesta J L and L Bonfante eds 1994 The World of Roman Costume (Wisconsin Studies in Classics) Madison

Shear T L 1935 ldquoThe Sculpture Found in 1933rdquo Hesperia 4 pp 371ndash420

mdashmdashmdash 1941 ldquoThe Campaign of 1940rdquo Hesperia 10 pp 1ndash8

Simon E 1962 ldquoDionysischer Sar-kophag in Princetonrdquo RM 69 pp 136ndash158

Sismanidis K 1997 Κλίνες και κλινο- ειδείς κατασκευές των Μακεδονικών τάφων Athens

Smith R R R 1991 Hellenistic Sculp-ture A Handbook London

Smith R R R and J L Lenaghan eds 2008 Aphrodisiasrsquotan Roma Por-treleri = Roman Portraits from Aphro-disias Istanbul

Snodgrass A M 1967 Arms and Ar- mour of the Greeks Ithaca

Stampolidis N C and Y Tassoulas eds 2009 Eros From Hesiodrsquos Theogony to Late Antiquity Athens

Stevens G P 1949 ldquoA Doorsill from the Library of Pantainosrdquo Hesperia 18 pp 269ndash274

Stewart A 1979 Attika Studies in Athenian Sculpture of the Hellenistic Age ( JHS Supplementary Paper 14) London

mdashmdashmdash 1990 Greek Sculpture An Ex- ploration New Haven

mdashmdashmdash 2012 ldquoHellenistic Freestand-ing Sculpture from the Athenian Agora Part 1 Aphroditerdquo Hesperia 81 pp 267ndash342

Stuart Jones H ed 1926 A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome The Sculptures of the Palazzo dei Conservatori Oxford

Strong S A 1908 ldquoAntiques in the Collection of Sir Frederick Cook Bart at Doughty House Rich-mondrdquo JHS 28 pp 1ndash45

Suumlsserott K H 1938 Griechische Plas-tik des 4 Jahrhundert vor Christus Untersuchungen zur Zeitbestimmung Frankfurt

andre w ste wart650

Svoronos I 1903ndash1937 Das Athener Nationalmuseum Athens

Taplin O and R Wiles eds 2010 The Pronomos Vase and Its Context Oxford

Thompson D B 1959 Miniature Sculpture from the Athenian Agora (AgoraPicBk 3) Princeton

Thompson H A 1949 ldquoExcavations in the Athenian Agora 1948rdquo Hesperia 18 pp 211ndash229

mdashmdashmdash 1958 ldquoActivities in the Athe-nian Agora 1957rdquo Hesperia 27 pp 145ndash160

mdashmdashmdash 1960 ldquoActivities in the Agora 1959rdquo Hesperia 29 pp 327ndash368

Thompson M 1961 The New Style Silver Coinage of Athens New York

Tracy S V 1994 ldquoIG II2 1195 and Agathe Tyche in Atticardquo Hesperia 63 pp 241ndash244

Turner J S ed 1996 The Dictionary of Art London

Van Voorhis J A 1998 ldquoApprenticesrsquo Pieces and the Training of Sculptors at Aphrodisiasrdquo JRA 11 pp 175ndash192

Vanhove D ed 1988 Marbres helleacute-niques De la carriegravere au chef-drsquooeuvre Brussels

Vokotopoulou I 1997 Ελληνική τέχνη Αργυρά και χάλκινα έργα τέχνης στην αρχαιότητα Athens

Walbank M B 1994 ldquoA Lex Sacra of the State and of the Deme of Kollytosrdquo Hesperia 63 pp 233ndash 239

Walter O 1923 Beschreibung der Reliefs im kleinen Akropolismuseum in Athen Vienna

Walters H B 1899 Catalogue of the Bronzes Greek Roman and Etruscan in the Department of Greek and Roman Antiquities British Museum London

Yalouris N 1992 ldquoDie Skulpturen

des Asklepiostempels in Epidaurosrdquo AntP 21 pp 1ndash93

Young R S 1951 ldquoAn Industrial Dis-trict of Ancient Athensrdquo Hesperia 20 pp 135ndash288

Zagdoun M-A 1989 La sculpture archaiumlsante dans lrsquoart helleacutenistique et dans lrsquoart romain du Haut-Empire (BEacuteFAR 269) Paris

Zervoudaki E A 1968 ldquoAttische poly-chrome Reliefkeramik des spaumlten 5 und des 4 Jahrhunderts v Chrrdquo AM 83 pp 1ndash88

Zimmer G 1982 Antike Werkstatt-bilder (Bilderheft der Staatlichen Museen Preussischer Kulturbesitz 42) Berlin

Ziomecki J 1975 Les repreacutesentations drsquoartisans sur les vases attiques (Bib-liotheca Antiqua 13) trans J Wolf Wroclaw

Zuumlchner W 1942 Griechische Klappspiegel (JdI-EH 14) Berlin

Andrew Stewart

Universit y of California at Berkele ydepartments of history of art and classicsberkeley california 94720ndash6020

astewar tberkeleyedu

OffprintCover

hesperia8240615

hesperiaSusan Lupack Editor

Editorial Advisory Board

Carla M Antonaccio Duke UniversityAngelos Chaniotis Institute for Advanced Study Princeton

Jack L Davis University of CincinnatiA A Donohue Bryn Mawr College

Jan Driessen Universiteacute Catholique de LouvainMarian H Feldman University of California Berkeley

Gloria Ferrari Pinney Harvard UniversitySherry C Fox American School of Classical Studies at Athens

Thomas W Gallant University of California San DiegoSharon E J Gerstel University of California Los Angeles

Guy M Hedreen Williams CollegeCarol C Mattusch George Mason University

Alexander Mazarakis Ainian University of Thessaly at VolosLisa C Nevett University of Michigan

Josiah Ober Stanford UniversityJohn K Papadopoulos University of California Los Angeles

Jeremy B Rutter Dartmouth CollegeA J S Spawforth Newcastle University

Monika Truumlmper Freie Universitaumlt Berlin

Hesperia is published quarterly by the American School of Classical Studies at Athens Founded in 1932 to publish the work of the American School the jour-nal now welcomes submissions from all scholars working in the fields of Greek archaeology art epigraphy history materials science ethnography and literature from earliest prehistoric times onward Hesperia is a refereed journal indexed in Abstracts in Anthropology LrsquoAnneacutee philologique Art Index Arts and Humanities Citation Index Avery Index to Architectural Periodicals Current Contents IBZ Internationale Bibliographie der geistes- und sozialwissenschaftlichen Zeitschriften- literatur Numismatic Literature Periodicals Contents Index Russian Academy of Sciences Bibliographies and TOCS-IN The journal is also a member of CrossRef

The American School of Classical Studies at Athens is a research and teaching institution dedicated to the advanced study of the archaeology art history philosophy language and literature of Greece and the Greek world Established in 1881 by a consortium of nine American universities the School now serves graduate students and scholars from more than 180 affiliated colleges and uni-versities acting as a base for research and study in Greece As part of its mission the School directs on going excavations in the Athenian Agora and at Corinth and sponsors all other American-led excavations and surveys on Greek soil It is the official link between American archaeologists and classicists and the Ar-chaeological Service of the Greek Ministry of Culture and as such is dedicated to the wise management of cultural resources and to the dissemination of knowl-edge of the classical world Inquiries about programs or membership in the School should be sent to the American School of Classical Studies at Athens 6ndash8 Charlton Street Princeton New Jersey 08540-5232




ABSTRACT


INTRODUCT ION






andre w ste wart616








CATALO GUE

Body Parts
















andre w ste wart618




























andre w ste wart620





























andre w ste wart622































andre w ste wart624
























andre w ste wart626

























andre w ste wart628









Relief s














andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615




ABSTRACT


INTRODUCT ION






andre w ste wart616








CATALO GUE

Body Parts
















andre w ste wart618




























andre w ste wart620





























andre w ste wart622































andre w ste wart624
























andre w ste wart626

























andre w ste wart628









Relief s














andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615

andre w ste wart616








CATALO GUE

Body Parts
















andre w ste wart618




























andre w ste wart620





























andre w ste wart622































andre w ste wart624
























andre w ste wart626

























andre w ste wart628









Relief s














andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615


CATALO GUE

Body Parts
















andre w ste wart618




























andre w ste wart620





























andre w ste wart622































andre w ste wart624
























andre w ste wart626

























andre w ste wart628









Relief s














andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615

andre w ste wart618




























andre w ste wart620





























andre w ste wart622































andre w ste wart624
























andre w ste wart626

























andre w ste wart628









Relief s














andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615













andre w ste wart620





























andre w ste wart622































andre w ste wart624
























andre w ste wart626

























andre w ste wart628









Relief s














andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615
















andre w ste wart622































andre w ste wart624
























andre w ste wart626

























andre w ste wart628









Relief s














andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615

















andre w ste wart624
























andre w ste wart626

























andre w ste wart628









Relief s














andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615







andre w ste wart626

























andre w ste wart628









Relief s














andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615


















andre w ste wart628









Relief s














andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615




Relief s














andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615

andre w ste wart630




























andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615













andre w ste wart632


















andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615









andre w ste wart634






















andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615








andre w ste wart636



























andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615














andre w ste wart638

























andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615














andre w ste wart640


































andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615













andre w ste wart642

FINDSPOTS





F UNCT IONS





















andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615














andre w ste wart644

























andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615












andre w ste wart646

CONCLUSIONS



REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615


REFERENCES

















































andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615

andre w ste wart648











































































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615















































andre w ste wart650
























Andrew Stewart



OffprintCover

hesperia8240615

SCULPTORS’ SKETCHES, TRIAL PIECES, FIGURE STUDIES, AND MODELS IN POROS LIMESTONE FROM THE ATHENIAN...

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Transcript of SCULPTORS’ SKETCHES, TRIAL PIECES, FIGURE STUDIES, AND MODELS IN POROS LIMESTONE FROM THE ATHENIAN...