Brill’s Companion to Aphrodite

Edited by

Amy C. Smith and Sadie Pickup

LEIDEN • BOSTON2010

On the cover: An Attic black-!gure amphora, featuring Aphrodite and Poseidon, ca. 520"#.London, British Museum B254. Drawing a$er Lenormant, de Witte, Élite des monumentscéramographiques. Matériaux pour l’histoire des religions et des moeurs de l’antiquité (Paris,1844–1861), 3, pl. 15.

%is book is printed on acid-free paper.

Library of Congress Cataloging-in-Publication Data

Brill's companion to aphrodite / edited by Amy C. Smith & Sadie Pickup.p. cm.

Emerged from a conference at the University of Reading, May 8-10, 2008.Includes bibliographical references and index.ISBN 978-90-04-18003-1 (hardback : alk. paper)1. Aphrodite (Greek deity)–Congresses. I. Smith, Amy Claire, 1966- II. Title.

BL820.V5B74 2010292.2'114–dc22

2009052569

ISSN 1872-3357ISBN 978 9004 18003 1

Copyright 2010 by Koninklijke Brill NV, Leiden,%e Netherlands.Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing,IDC Publishers, Martinus Nijho& Publishers and VSP.

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CONTENTS

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . !"Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "!List of illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "!!!

!#$%&'()$!&#Chapter One Flourishing Aphrodite: An Overview . . . . . . . . . . . . . . . . 3

Vinciane Pirenne-Delforge (University of Liège)

Chapter Two Budding Aphrodite: Into the Future . . . . . . . . . . . . . . . . . 17Sadie Pickup (University of Oxford) andAmy C. Smith (University of Reading)

*+%$ &#,

+*-%&'!$,’. !',#$!$/Chapter0ree Aphrodite:0e Goddess of Appearances . . . . . . . . . . . 29

Vered Lev Kenaan (University of Haifa)

Chapter Four O quam te memorem, virgo? Interpreting Venus inAeneid 1.213–314 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51James Burbidge (University of Oxford)

Chapter Five Aphrodite Enoplion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79Stephanie L. Budin (Rutgers University)

Chapter Six Rethinking Aphrodite as a Goddess at Work. . . . . . . . . . 113Gabriella Pironti (University of Naples)

5! )&#$,#$.

*+%$ $6&

+*-%&'!$,’. )&7*+#!&#. +#' %,8+$!&#.Chapter Seven 0e Song of Ares and Aphrodite: Asertu on

Skheria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133Annette Te!eteller (Concordia University, Montreal)

Chapter Eight Father-Daughter Dynamics in the Iliad:0e Roleof Aphrodite in De9ning Zeus’ Regime . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151Kassandra Jackson (University of Chicago)

*+%$ $-%,,

$-, .*%,+' &: +*-%&'!$,’. )(8$.Chapter Nine Images of Cypriot Aphrodite in her Sanctuaries

during the Age of the City-Kingdoms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167Anja Ulbrich (University of Oxford)

Chapter Ten Aphrodite on the Akropolis: Evidence from AtticPottery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195Elisabetta Pala (University of Cagliari)

Chapter Eleven Aphrodite and the Fleet in Classical Athens . . . . . . 217Chryssanthi Papadopoulou (King’s College, University of London)

Chapter Twelve Encountering the World of Aphrodite on theWestern Greek Mainland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235Alexander Nagel (University of Michigan)

Chapter0irteen 0e Architectural Setting of the KnidianAphrodite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251Sophie Montel (University of Paris Ouest Nanterre—La Défense)

Chapter Fourteen Interactive Aphrodite: Greek Responses to theIdea of Aphrodite as Ancestress of the Romans . . . . . . . . . . . . . . . . . . . 269Jenny Wallensten (Swedish Institute, Athens)

)&#$,#$. 5!!

*+%$ :&(%

$-, %,),*$!&# &: $-, ;&'',..Chapter Fi<een Augustan Aphrodites:0e Allure of Greek Art

in Roman Visual Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287Rachel Kousser (City University of New York, Brooklyn)

Chapter Sixteen Aphrodite and the Spectacle of theAmphitheatre in Roman Africa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307Margherita Carucci (Helsinki Collegium for Advanced Studies)

Chapter Seventeen Aphrodite in Late Antique and MedievalByzantium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321Anthousa Papagiannaki (University of Oxford)

Chapter Eighteen Aphrodite Deconstructed: Botticelli’s Venusand Mars in the National Gallery, London . . . . . . . . . . . . . . . . . . . . . . . . . 347David Bellingham (Sotheby’s Institute of Art, London)

Chapter Nineteen Re=ections in a Mirror: Bonnard’s Aphrodite . . 375Anna Gruetzner Robins (University of Reading)

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Periodization of Antiquity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

General Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423Geographic Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433Index of Personal Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437Monumenta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443Testimonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

ABBREVIATIONS

AA Archäologischer AnzeigerABV Beazley, John D., Attic Black-Figure Vase-Painters (Oxford, !"#$)AJA American Journal of ArchaeologyAM Mitteilungen des Deutschen Archäologischen Instituts. Athenische

AbteilungARV2 Beazley, John D., Attic Red-Figure Vase-Painters, %nd ed. (Oxford,

!"$&)BAPD Beazley Archive Pottery Database, Oxford University

!www.beazley.ox.ac.uk/databases/pottery.htm"BCH Bulletin de Correspondence HelléniqueBSA Annual of the British School at AthensCHD Güterbock, Hans G., Harry A. Ho'ner, Jr., and(eo P.J. van den

Hout, eds.,!e Hittite Dictionary of the Oriental Institute of theUniversity of Chicago (Chicago, !")*–)

CIG Corpus Inscriptionum Graecarum (!)%#–!)$*)CQ Classical QuarterlyCVA Corpus Vasorum AntiquorumFHG Müller, C., Fragmenta Historicorum Graecorum (!)+!–!),*)IG Inscriptiones Graecae (!),&–)IGRom. Inscriptiones Graecae ad res Romanas pertinentes (!"*$–)JHS Journal of Hellenic StudiesJRA Journal of Roman ArchaeologyLIMC Lexicon IconographicumMythologiae Classicae (Zurich, !")!–)OCD Hornblower, Simon, and Anthony Spawforth, eds.,!e Oxford

Classical Dictionary, &rd ed. (Oxford, !""$)RDAC Report of the Department of Antiquitues, CyprusSEG Supplementum epigraphicum Graecum (Amsterdam, !"%&–)TAPA Transactions and Proceedings of the American Philogical Association

Abbreviations of primary sources follow those given in OCD.

ILLUSTRATIONS

#.! Terracotta from Salamis, Cyprus, fourth century -.. London, BritishMuseum, A +%&. Photograph by(omas Kiely ©(e Trustees of theBritish Museum.

#.% Drawing of bronze /gurine excavated at Sparta, fourth–third centuries-.. Drawing by Paul C. Butler, a0er Solima, “Era, Artemide e Afrodite,”/g. &, used with kind permission.

#.& Marble statue from Epidauros, Roman. Athens, National ArchaeologicalMuseum, NM %$%. Photo: Alinari /Art Resource, New York.

#.+ Gelon Gem, Hellenistic (ca. %**-.). Museum of Fine Arts, Boston,%!.!%!&. Photograph ©%**"Museum of Fine Arts, Boston.

#.# Attic black-/gure dinos by Lydos, mid-sixth century -.. Drawing byPaul C. Butler, used with kind permission.

#.$ Bronze /gurine from building gamma at Gravisca. Tarquinia, MuseoArcheologico, ,# /!))"$. Drawing by Paul C. Butler, used with kindpermission.

#., Bronze /gurine from building gamma at Gravisca. Tarquinia, MuseoArcheologico, ,% /!*$,+. Drawing by Paul C. Butler, used with kindpermission.

#.) Coin of Octavian. From Forum Ancient Coins,www.forumancientcoins.com, used with kind permission.

#." Bronze mirror back, Roman. Berlin, Staatliche Museen ,"$#. Image a0erFlemberg, Venus Armata, /g. #,.

#.!* Plasma intaglio depicting Venus Victrix, /rst century 12. BeazleyArchive %)* (formerly Marlborough Collection !%+). Beazley Archive,Oxford University, www.beazley.ox.ac.uk/gems. Photograph by ClaudiaWagner, used with kind permission.

#.!! Marble sculpture of Armed Aphrodite, Roman. Pafos District Museum,FR $, /,&. Permission to publish this photograph has been given bykind courtesy of the Director of the Department of Antiquities, Republicof Cyprus.

#.!% Marble sculpture of Venus Victrix, second century 12. Paris, LouvreMuseum, MA &,*. Photo: Réunion des Musées Nationaux/ArtResource /New York.

$.! An Attic black-/gure amphora, featuring Aphrodite and Poseidon,ca. #%*-.. London, British Museum B%#+. Drawing a0er Lenormant, deWitte, Élite des monuments céramographiques. Matériaux pour l’histoiredes religions et des moeurs de l’antiquité (Paris, !)++–!)$!), &, pl. !#.

345 466789:194;<8

".! Map of Cyprus with all city-kingdoms and other cult places mentionedin the text. Drawing Anja Ulbrich.

".% Goddess with upli0ed arms, from Palaepaphos. British Museum,London, !)"".!%–%".!. Image a0er Karageorghis,!e Coroplastic Art ofAncient Cyprus, #, pl. !.!, courtesy of the British Museum, London.

".& Astarte /gurine, from Amathous. British Museum, London, !),$."–".)$. Image a0er Karageorghis,!e Coroplastic Art of Ancient Cyprus, #,pl. !.!*, courtesy of the British Museum, London.

".+ Dea Tyria gravida, from perhaps Kition. Louvre Museum, Paris.Drawing from Georges Perrot and Charles Chipiez,Histoire de l’artdans l’antiquité, & (Paris, !))#), p. %*! /g. !+&.

".# Kourotrophos from Kition. Archaeological District Museum ofLarnaca, Kition !"$& /!"$$, Area II /&",. Image a0er Karageorghis,!e Coroplastic Art of Ancient Cyprus, #, pl. $$.!*, courtesy of theDepartment of Antiquities, Cyprus.

".$ Goddess with vegetal crown, from Idalion. Berlin Museums,Antiquarium (!)"&), inv. M. J. )*!#, &)$ (in the year !)"&). Imagefrom Ohnefalsch-Richter, Kypros, die Bibel und Homer, pl. ##.).

"., Hathor-capital, from Kition. Louvre Museum, Paris: Departmentof Oriental Antiquities, AM "&. Image a0er Hermary, “Un nouveauchapiteau Hathorique,” p. $$$ /g. ).

".) Goddess with lions and turreted crown, from Achna. Present locationunknown. Drawing from Ohnefalsch-Richter, Kypros, die Bibel undHomer, pl. %*$.$.

"." Aphrodite with vegetal Kalathos and Eros, from Golgoi. New York,Metropolitan Museum of Art,(e Cesnola Collection, Purchased bysubscription, !),+–!),$ (,+.#!.%+$+). Image ©Metropolitan Museumof Art.

!*.! Aphrodite with Eros and Himeros, on an Attic black-/gure pinaxfragment, ca. ##*-.. Athens, National Archaeological Museum, Akr.%#%$. Photo courtesy National Archaeological Museum, Athens.

!*.% Procession of gods on an Attic black-/gure kantharos fragment,ca. #)*-.. Athens. National Archaeological Museum, Akr. $*&. Photocourtesy National Archaeological Museum, Athens.

!*.& Eros and Aphrodite (?) on an Attic black-/gure kantharos (?)fragment from Naukratis, ca. #,#–##*-.. London, British Museum!))).*$*!.++$ (B $*!.!,). Photo ©(e Trustees of the British Museum.

!*.+ A duel between Aineias and Achilles, on an Attic black-/gure amphorafragment, ca. #+*–#&*-.. Athens, National Archaeological MuseumAkr. $+$. Drawing a0er Graef and Langlotz, Die Antiken Vasen, !,pl. +%.$+.

!*.# Aphrodite and the Arrephoroi (?), on an Attic red-/gure hydriafragment, attributed to the Kleophon Painter, ca. +&*–+%*-.. Tübingen,Universität, Institut für Klassische Archäologie E !!%, ca. +&*–+%*-..Courtesy Institut für Klassische Archäologie, Tübingen.

!*.$ Map showing Aphrodite’s shrines on the Akropolis and its slopes, a0erTravlos, Bildexikon, /g. "!.

466789:194;<8 35

!!.! Map of the Piraeus peninsula with marked points discussed in thischapter. Map by Cixx design, a0er Garland,!e Piraeus, /g. !.

!!.% Birth of Aphrodite from the sea, on an Attic red-/gure pyxis attributedto the Wedding Painter, ca. +$*–+#* -.. New York,(e MetropolitanMuseum of Art, Fletcher Fund, !"&" (&".!!.)a, b). Image ©(eMetropolitan Museum of Art.

!!.& Anodos of Aphrodite from the earth, on an Attic red-/gure skyphosattributed to the Penthesilea Painter, ca. +#* -.. Museum of Fine Arts,Boston, Henry Lillie Pierce Fund, *!.)*&%. Photograph ©%*!*Museumof Fine Arts, Boston.

!!.+ Aphrodite riding a swan over the sea, on an Attic red-/gure lekythos,ca. +#* -.. Oxford, Ashmolean Museum, AN!)"!.+#!. Image by Cixxdesign, a0er J. Arthur R. Munro, “Excavations in Cyprus:(ird Season’sWork—polis tes Chrysochou,” JHS !% (!)"!), pl. !&.

!!.# Aphrodite riding a shell, on an Attic red-/gure bell krater, ca. &#*–&&*-., acquired in Laurion in !)"$. Dresden, Staatliche Kunstsammlungen,Albertinum ZV!#!,. Image reproduced with the kindest permission ofthe Staatliche Kunstsammlungen Dresden.

!%.! Figurine excavated in cult deposit near Stratos in !""+. Arta,Archaeological Museum, inv. &*)$. Photo: author.

!%.% Schematic drawing of the /gurine shown in /gure !%.! Drawing: author.!%.& (e western Greek mainland and adjacent areas with the sites

mentioned in this chapter: Leukas, Aktion, Kassope, Ambrakia, Stratos,Phystion, Naupaktos, Kalydon. Photo: Franziska Lang and AlexanderNagel.

!&.! Venus Colonna statue, Roman Imperial period, made a0er the KnidianAphrodite (%.*+m high without the plinth). Rome, Vatican Museum,Museo Pio Clementino no. )!%. Photo: G. Becatti.

!&.% Sketches of niches and shelters with back and side walls. Drawing:C. Amourette.

!&.& Illustration of the di'erences between amonopteros and a tholos.Drawing: C. Amourette.

!&.+ (e second-century -. tholos in Knidos. Photo: Amy C. Smith.!&.# (e second-century 12 round structure of the nymphaeum in Hadrian’s

Villa at Tivoli. Photo courtesy A. Pollini.!&.$ Plan of the round building in Hadrian’s Villa at Tivoli, a0er Ortolani, Il

padiglione, /g. &%.!&., Plan of the tholos in Knidos, a0er Bankel, “Knidos,” /g. !,.

!#.! Denarius of Julius Caesar showing Venus Genetrix on the reverse, ++-..Photo courtesy American Numismatic Society.

!#.% Julio-Claudian relief showing pedimental statues from the Templeof Mars Ultor. Villa Medici, Rome, ca. 12+!–#+. Photo courtesyForschungsarchiv für Antike Plastik, Cologne.

354 466789:194;<8

!#.& Julio-Claudian relief showing cult statues from the Temple of MarsUltor, ca. 12+!–#+. Archaeological Museum, Carthage. Photo courtesyForschungsarchiv für Antike Plastik, Cologne.

!#.+ Sculptural group of Mars and Venus with portrait heads, Ostia, LateAntonine (ca. 12!)*). Rome, Museo delle Terme !*)#%%. Photo a0erG. Moretti, !"%* “Ostia,” Notizie degli Scavi, !,, pl. !!.

!#.# Frescoed wall of cubiculum B, from the Villa Farnesina, Augustan(ca. %*–!*-.). Detail showing Aphrodite with Peitho and Eros. Rome,Museo Nazionale Romano (Palazzo Massimo alle Terme). Photocourtesy Scala /Art Resource, NY ART&+&&$,.

!#.$ Frescoed wall of cubiculum B, from the Villa Farnesina, Augustan(ca. %*–!*-.). Detail showing nymph nursing the young Dionysos.Rome, Museo Nazionale Romano (Palazzo Massimo alle Terme). Photoby Luciano Romano, courtesy Scala /Art Resource, NY ART&+&+&).

!$.! Mosaic from(uburbo Maius, illustrating Venus and the spectacles ofthe amphitheatre. First half of third century. Musée National du Bardo,Tunis %,"*. Photo: Matthew Nicholls.

!$.% Mosaic from Mactar, Maison de Vénus basin, showing Venus, adjustingher sandal, with Erotes. First half of the third century. Museum ofMactar. Photo: author.

!$.& Photomontage by René Magritte published in the last issue of LaRévolution surréaliste (no. !%, December !"%"). Photo showingmen around a naked woman. ©ADAGP, Paris, and DACS, London%*!*.

!,.! Projecta Casket from the Esquiline Treasure, late fourth century.London, British Museum $$.!%–%".!. Photo ©Trustees of the BritishMuseum.

!,.% Silver statuette of Aphrodite from Kaiseraugst, &#*–&#!. Augst,Römermuseum $%.#". Photo ©Augusta Raurica, Switzerland.

!,.& Silver gilt statuette of Aphrodite from Antioch, fourth century. Antakya,Hatay Archaeological Museum. Photo courtesy of Marlia MundellMango.

!,.+ Bone carving of Aphrodite covering her pudenda with a shell, second orthird century. Athens, Benaki Museum. Photo ©%*!* Benaki Museum,Athens.

!,.# Circular pyxis, /0h to sixth century. Baltimore, Walters Art Museum,!.$+. Photo ©(e Walters Art Museum, Baltimore.

!,.$ (e Veroli Casket, tenth century. London, Victoria and Albert Museum%!$–!)$#. Photo ©V&A Images /Victoria and Albert Museum,London.

!,., Aphrodite and lover, detail from the Veroli Casket, tenth century.London, Victoria and Albert Museum %!$–!)$#. Photo ©V&AImages /Victoria and Albert Museum, London.

466789:194;<8 3544

!).! Sandro Botticelli, Venus and Mars, ca. !+)&. Photo ©(e NationalGallery, London.

!).% Detail of /gure !).!, showing Venus. Photo ©(e National Gallery,London.

!).& Detail of /gure !).!, showing Mars. Photo ©(e National Gallery,London.

!).+ Detail of /gure !).!, showing Pan/Satyr inside the cuirass of Mars.Photo ©(e National Gallery, London.

!).# Datura Stramonium. Pencil on paper drawing by David Bellingham,%**", a0er Basilius Besler, !$!&. Drawing ©David Bellingham.

!".! Pierre Bonnard,!e Wash Stand, or!e Mirror (!"*)). Photo ©Muséed’Orsay, Paris.

!"#$%&' %"('%&&)

THE ARCHITECTURAL SETTINGOF THE KNIDIAN APHRODITE

S*$"(&M*)%&+

,is chapter considers the architectural setting of the Knidian Aphroditeby Praxiteles. It underlines the di-culties in its discussion, since somenow think the Knidian tholos (‘round building’) was not designed to shel-ter the famous statue. Only texts remain, and I will concentrate on them.Most date from the Roman Imperial period, and I therefore also considerthe reception of the Knidian Aphrodite at this time.1

Knidos is located on the western coast of AsiaMinor, on the peninsulaof Datça (Turkey), facing the island of Kos. In his Periegesis, Pausaniasdescribes the variation of the cult of Aphrodite at Knidos, where sheis worshipped as Doritis (‘,e Dorian’), Akraia (‘Of the promontory’),and Euploia (‘She who gives a successful navigation’), in three separatetemples.2 By the second century #., Knidian Aphrodite was known asEuploia by the Knidians, as in many other cities on the western coast ofAsia Minor, because she protected sailors.3 Pliny the Elder, writing in the/rst century #., informs us about the purchase of the famous statue ofKnidian Aphrodite:

Praxitelis aetatem inter statuarios diximus, qui marmoris gloria superauitetiam semet. Opera eius sunt Athenis in Ceramico, sed ante omnia estnon solum Praxitelis, uerum in toto orbe terrarum Venus, quam ut uider-ent, multi nauigauerunt Cnidum. Duas fecerat simulque uendebat, alteramuelata specie, quam ob id praetulerunt quorum condicio erat, Coi, cumeodem pretio detulisset, seuerum id ac pudicum arbitrantes. ReiectamCnidiiemerunt, inmensa di!erentia famae. Voluit eam aCnidiis posteamercari rex

1 On this statue and its reception in antiquity, see also Havelock, "e Aphrodite ofKnidos; Stewart, Art, Desire and the Body, pp. 01–231.

2 Paus. 2.2.4.3 ,ere is a sanctuary of Aphrodite Euploia in Kaunos, for example: Baki Ögün and

Cengiz Isik, Kaunos-Kbid:"e Results of #$ Years of Research (%&''–())%) (Izmir, 5334),pp. 241–267. On Euploia, see Nils Sandberg, Euploia. Études épigraphiques. Acta Uni-versitatis Gothoburgensis 73, 8 (Göteborg, 2096); Pirenne-Delforge, L’Aphrodite grecque,pp. 644–641.

!"! #$%&'( )$*+(,

Nicomedes, totum aes alienum, quod erat ingens, ciuitatis dissoluturum sepromittens. Omnia perpeti maluere, nec inmerito. Illo enim signo Praxitelesnobilitauit Cnidum.Praxiteles is an artist whose date I have mentioned among those of themakers of bronze statues, but in the fame of his work in marble he sur-passed even himself.-ere are works by him at Athens, in the Cerameicus;and yet superior to anything not merely by Praxiteles, but in the wholeworld, is the Venus, which many people have sailed to Cnidus to see. Hehad made two .gures, which he put up for sale together. One of them wasdraped and for this reason was preferred by the people of Cos, who hadan option on the sale, although he o/ered it at the same price as the other.-is they considered to be the only decent and digni.ed course of action.-e statue which they refused was purchased by the people of Cnidusand achieved immeasurably greater reputation. Later KingNicomedes wasanxious to buy it from them, promising so to discharge all the state’s vastdebts. -e Cnidians, however, preferred to su/er anything but this, andrightly so; for with this statue Praxiteles made Cnidus a famous city.4

Pliny begins with the context of acquisition and the celebrity of thestatue, for example that the Knidians preferred to keep it rather thanwriting o/ their debt. -e inclusion of this anecdote, however, is a raresource concerning the cost of a marble statue. -e statue is usuallydated between 012–013 and 02456, at the peak of Praxiteles’ career.-eoriginal, made in Parian marble, is now lost, but we know its appearancefrom descriptions in numerous texts, primarily the Palatine Anthology,5and the later authors, Pliny and Pseudo-Lucian, which I consider below.6We can also discern its appearance from labeled images on coins, reliefs,statuettes or .gurines, as well as those of large scale (.gure 30.3).7

4 Plin., HN 01.!4–!3, trans. and ed. D.E. Eichholz, Natural History, Libri !"–!#(London, 371!).

5 See Marion Muller-Dufeu, La Sculpture grecque. Sources littéraires et épigraphiques(Paris, !44!), nos. 32!4–322".

6 Twelve works of Lucian, among them Amores (A$airs of the Heart), were relegatedto the eighth volume of the Loeb edition because “there are good reasons for doubting theLucianic authorship of some if not all of these works.” Matthew Donald Macleod, trans.and ed. (London, 3718), p. ix.

7 See, for example, the Venus Colonna (.gure 32.3, !.42m high), a torso in Parianmarble (Paris, Louvre Museum, Ma !392; 3.!!m high), or the Kaufmann head (Paris,Louvre Museum, Ma 0"39; 4.0"m high). On the Aphrodite statues made by Praxiteles,see Praxitèle, ed. Alain Pasquier and Jean-Luc Martinez (Paris, !448), pp. 304–!43.See also a statuette in Malibu (J. Paul Getty Museum, inv. 8!.AA.70); two coins fromKnidos showing the Aphrodite by Praxiteles are preserved in the Bibliothèque nationalede France in Paris (Pasquier and Martinez, Praxitèle, p. "0). Kristen Seaman, “Retrievingthe Original Aphrodite of Knidos,” Atti della Accademia nazionale dei Lincei. RendicontiClasse di scienze morali storiche e %lologiche, 3" (!442), "03–"72.

!"# $%&"'!#&!(%$) *#!!'+, -. !"# /+'0'$+ $1"%-0'!# 234

Figure 54.5. Venus Colonna statue, Roman Imperial period, made a6erthe Knidian Aphrodite (2.78m high without the plinth). Rome,

Vatican Museum, Museo Pio Clementino no. 952. Photo: G. Becatti.

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!e Architectural Setting of the Statue: Two Texts, Two Buildings?

Only two surviving texts deal with the setting of the statue, whereas onlyone of its known replicaswas discovered in an architectural environment,a nymphaeum or fountain building in Hadrian’s Villa at Tivoli.8 .e /rsttext is Pliny’s description:

Aedicula eius tota aperitur, ut conspici possit undique e"gies deae, fauenteipsa, ut creditur, facta. Nec minor ex quacumque parte admiratio est..e shrine in which it stands is entirely open so as to allow the image ofthe goddess to be viewed from every side, and it is believed to have beenmade in this way with the blessing of the goddess herself.9

Pliny wrote hisNatural History during the last part of his life, in the yearsbefore 0123. It is unlikely that he went to Asia Minor, as his account ofthis part of the Aegean Sea is based on that of Mucianus, governor ofSyria during the reign of the Emperor Vespasian (0124–25).10 Mucianustraveled while in exile during the reign of Claudius,11 when he wrote amemoir, chie6y dealing with the natural history and geography of theEast. Mucianus gives no description of the shrine of Aphrodite in hisaccount on Knidos, but recounts a story about murex shells dedicated atthat sanctuary, as stated by Pliny.12 Yet Mucianus is probably the sourcefor the description given by Pliny.

What sort of building was this? Pliny uses the word aedicula, which isthe diminutive of aedes (‘a sacred, cultic place’)..e word itself, however,says nothing about the architectural form of the building. I count onlysix other instances of it in Pliny. .e /rst is in book 7, which deals withgeography of the world: here aedicula designates a small temple builtfrom only a single stone.13 .e second is in book 88, which concerns

8 Nowadays at Tivoli a cast of this statue is on view (/gure 98.")..e Roman copy isin the Museo Archeologico (Villa Hadriana). .e Villa was built and embellished from01993 to 983.

9 Plin., HN 87.!9, trans. Eichholz.10 All thewritings of LiciniusMucianus are lost; there only remain quotations in Pliny’s

Natural History. See George Williamson, “Mucianus and a Touch of the Miraculous:Pilgrimage andTourism inRomanAsiaMinor,” inPilgrimage inGraeco-Roman and EarlyChristian Antiquity: Seeing the Gods, ed. Jas Elsner and Ian Rutherford (Oxford, !44"),pp. !!"; !#5, n. 92.

11 Tac., Hist. 9.94.".12 Plin., HN 5.25.13 Plin., HN 7.!4#.9–!, trans. and ed. Horace Rackham, Natural History, Libri #–$

(London, 9579). Pliny o:en refers to a work of art “built only a single stone.” See also theFarnese Bull group (Plin.,HN 87.8#.9–!), the quadriga of Apollo and Artemis (Plin.,HN

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metals. Pliny uses it when he mentions a small bronze shrine abovethe Comitium in Rome, built with income from the 4nes imposed onusurers.14 5e third occurrence is in book 63, which deals with painting.Here aedicula designates a structure dedicated to Youth.15 Pliny employsaedicula a 47h time in book 68, where he designates a structure abovethe arch of the Palatine. It sheltered the quadriga of Apollo and Artemis,a work of Lysias carved from one block of marble.16 5e last occurrenceconcerns shrines in Egypt.17 From these passages we can conclude thatan aedicula is a little building, sometimes in the form of a temple withcolumns, which may have sheltered a single statue or group of statues.

Pliny emphasizes the openness of Aphrodite’s shelter. What kind ofbuilding is an aedicula (eius) tota aperitur? Tota aperitur means ‘entirelyopen, open on all sides’. I think Antonio Corso is wrong when he trans-lates aedicula (eius) tota aperitur into the Italian, Il suo tempietto è tuttofruibile, whichmeans “a little temple of which one could take themost.”18

A colonnade that de4nes a circular or a rectangular space—whatarchaeologists call amonopteros—could easily correspond to Aphrodite’sstructure described by Pliny, which was probably a monopteros since hementions columns. A statue positioned at the center of a monopteros isvisible from every place. On the contrary, if the structure had a back walland side walls, then we cannot consider the building to be an aediculatota aperitur, because in this kind of shelter—like a niche—the statue isnot seen on all its sides (4gure 96.2).

Other literary sources may help us to understand the form of theaediculamentioned by Pliny. Vitruvius also mentions amonopteros (4g-ure 96.6), although only this once: Fiunt autem aedes rotundae, e quibusaliae monopteroe sine cella columnatae constituuntur, aliae peripteroedicuntur (“Circular temples are also built, of which some are monopteralbuilt with columns but not enclosing a cella; others are peripteral”).He opposes the monopteros and the peripteros because in the latter the

68.6:.9–3), or the Laocoon (Plin.,HN 68.6:.9–:). Neither the Farnese Bull nor Laocoonwas built of a single stone. On this point, see Eugenie Sellers, !e Elder Pliny’s Chapterson the History of Art (Chicago, 9;:8), p. 2<8, n. 9.

14 Plin., HN 66.9;.9–=, trans. Rackham.15 Plin., HN 63.9<>.9–6, trans. Rackham.16 Plin., HN 68.68.9–6, trans. Eichholz.17 Plin., HN 68.>:.9–3, trans. Eichholz.18 Antonio Corso, Prassitele. Fonti epigraphiche e letterarie. Vita e opere. Xenia, Qua-

derni 9< (Rome, 9;>>–9;;<), p. 9.::, and commentary pp. ;9–;2.

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Figure ./.!. Sketches of niches and shelters withback and side walls. Drawing: C. Amourette.

Figure ././. Illustration of the di0erences between a tholos(le1) and amonopteros (right). Drawing: C. Amourette.

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colonnade surrounds the walls.19 His second use of the wordmonopterosseemingly designates the Temple of Liber Pater in Teos: Hermogenes deaede Dianae, ionice quae est Magnesia pseudodipteros, et Liberi Patris Teomonopteros (“Hermogenes on the pseudodipteral Ionic temple of Dianaat Magnesia and the monopteral temple of Father Bacchus at Teos”).20Here, Vitruvius seems to have usedmonopteros in the etymological sense,‘with a single row of columns’, to emphasize the di5erences between thetemple in Teos and the pseudodipteral temple in Magnesia.21

Few monopteroi are known from archaeological evidence, althoughsome sheltered statues are known. 6e oldest is the monopteros of theSikyonians at Delphi, built around 378–398:&.6is four-by-;ve colon-nade surrounded a rectangular space of <2.=m2 where the quadriga ofKleisthenes was probably exhibited: Pausanias tells us that Kleisthenes ofSikyon won in the Pythian games of 372:&.22 6e monopteros, built inPeloponnesian limestone, is famous for its metopes, now in the DelphiMuseum.23 Another rectangularmonopteros of the Archaic period (988–>78:&) is known in the Heraion of Samos. It has three-by-;ve columnsand was probably erected in order to shelter the cult statue of Hera a?erthe destruction of the Rhoikos Temple, on the ruins of which it stands.24I know of no ;?h-century examples. 6e next monopteros, chronologi-cally speaking, is Lysikrates’ Monument in Athens (ca. @@>:&). Today itsintercolumniations are closed, and the monument looks like a rotunda,not a monopteros.25 6ere is also one in the Agora of the Competaliasts,in Delos, built in the second half of the second century :& to shelterthe cult statues of the Lares.26 From the second century :& onwards,and during the end of the Republic and the beginning of the Imperialera, the monopteros spread throughout the Mediterranean, especially in

19 Vitr., De arch. >.7.<, trans. and ed. Frank Granger, On Architecture (Cambridge,Mass., <=92).

20 Vitr., De arch. 4, praef. <2, trans. Granger.21 In Graeco-Roman architecture, a pseudodipteral is a temple planned to be dipteral

but lacking the inner range of columns.6e temple ofArtemis Leukophryene inMagnesiawas designed by Hermogenes around 288:&.

22 Paus. <8.4.>–9.23 On this building, see Jean-François Bommelaer and Didier Laroche, Guide de

Delphes. Le site. Sites et monuments 4 (Athens, <==<), pp. <2<–<2@.24 Helmut Kyrieleis, Führer durch das Heraion von Samos (Athens, <=7<), p. 72, no. >.25 Heinrich Bauer, “Lysikratesdenkmal, Baubestand und Reconstruction,” AM =2

(<=44), <=4–224; Pierre Amandry, “Monuments chorégiques d’Athènes,” BCH <2<(<==4), >9@–>74.

26 Claire Hasenohr, “Les sanctuaires italiens sur l’agora des Compétaliastes à Délos,”Revue archéologique (2888), <=7–282.

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Asia Minor, Greece, and Italy; there are monopteroi in Athens, on theAkropolis and in the Agora, and in Pergamon, Termessos, Magnesia,Sagalassos, Corinth (the Monopteros of Babbius Philinus), Olympia (inthe Nymphaeum of Herodes Atticus), and at Argos (a nymphaeum in itsagora).27 From the .rst century /0 onwards, themonopteros was mainlyused in funerary architecture, for example, at Saint-Rémy in Provence,ancient Glanum.28

1e second text that describes the environment of the statue of Kni-dian Aphrodite is Pseudo-Lucian’s description in the dialogue Amores(A!airs of the Heart) 23–24. It forms part of the story of a trip the authormade with some friends. 1e reliability of the text is uncertain: it couldbe a precise description of what they saw, but it is more likely that heembellished it, to captivate his readers.

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27 Athens: Paola Baldassari, Sebastoi Sotiri. Edilizia monumentale ad Atene durante ilSaeculum Augustum (Rome, 255#), pp. 4"–63, !32–!36; this building (#.67m in diame-ter) may serve as a shelter for one or two statues, according to the dedicatory inscrip-tion, IG !2 3283. William Bell Dinsmoor, “1e Monopteros in the Athenian Agora,”Hesperia 43 (2584), 42!–4!8. 1is building measures 8.28m in diameter; we do notknow its precise function. Pergamon: Franz Winter and Jakob Schrammen, Altertümervon Pergamon 8. Die Skulpturen von Pergamon ! (Berlin, 257#), p. 3#7, nn. !!–!3.Termessos: Charles Lanckoronski, Städte Pamphylien und Pisidiens !. Pisidien, Prague,Vienne (Leipzig, 2#5!), pp. 27"–278, .gs. 6#–65, pl. 28. Both of them have a diameterof approx. !."7m. Magnesia: Wilhelm Dörpfeld and Friedrich Hiller von Gaertringen,“Ausgrabungen im 1eater von Magnesia am Maiandros,” AM 25 (2#54), 46–48; OttoKern, Die Inschri"en von Magnesia am Meander (Berlin, 2577), no. !26. On Sagalassos:Marc Waelkens and Jeroen Poblome, Sagalassos !: Report on the#ird Excavation Cam-paign for $%%& (Leuven, 2553), pp. 2"–26, .gs. !6–!8. Corinth (diameter: approx. 4.67m):Robert L. Scranton, Corinth 2, 3:Monuments in the Lower Agora and North of the ArchaicTemple (Princeton, 25"2), pp. 28–3!. Argos: Patrick Marchetti and Kostas Kolokotsas, Lenymphée de l’agora d’Argos. Fouille, étude architecturale et historique. Études péloponnési-ennes 22 (Paris, 255"). Olympia: Hans Schleif, ed.,Das Philippeion. Das Nymphaeum desHerodes Attikos. Grossgriechische Daschterrakotten. Angri!swa!en. Eisengerät. Olympis-che Forschungen 2 (Berlin, 2544).

28 Henner von Hesberg, “Les modèles des édi.ces funéraires en Italie: leur message etleur réception,” in L’architecture funéraire monumentale. La Gaule dans l’Empire romain,ed. Jean-Charles Moretti and Denis Tardy (Paris, !776), pp. 28–!6. Glanum: HenriRolland and Julien Bruchet, Le Mausolée de Glanum (Saint-Rémy-de-Provence). GalliaSupplément !2 (Paris, 2565).

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!"# $"%&'(%() *)"+(,-"., /01234-1"1(., 56$5), 758) 9 :;< 1"=1>):575#. ?@%>., !"# Aµ" $%(-:%"µB) C;$"%4-; 1(D. 35EC5-;) F'’ G-() H):2)"1I) F!15E)J) 1I) "034)" !"15'EC5;K -;LMN :’ F'5-1B. 9 O"CC;!%"1E-:". !"1< )(P) *$57"=µ"Q5). R-1; :’ *µ'E72%(. 9 )5B. !"# 1(D. 74C(2-;!"1< )S1(2 1T) 75I) U:5D) *!%;+8., V)" µ>:W) "01N. *7"=µ"-1() MH. :;’50µ"%5E". (X) F-1; 1MN Y14%Z" $=CM> $"%5C7(P-;) 1T) [$;-75) 50µ(%'E"):;"7%N-";. :\]") (X) GC>) 1T) 75I) U:5D), 5U. 1I !"1\$;) 1(P ->!(P$5%;,C7(µ5). 561’ *)(;L5E->. 1N. 7=%". ^$I 1(P !C5;:('=C"!(. Fµ$5-$;-152µ4)(2 L2)"E(2 7&µ+(. "U')E:;() _µ`. 5635) 1(P !&CC(2..When the plants had given us pleasure enough, we entered the temple. Inthe midst thereof sits the goddess—she’s a most beautiful statue of Parianmarble—arrogantly smiling a little as a grin parts her lips. Draped by nogarment, all her beauty is uncovered and revealed, except in so far as seunobtrusively uses one hand to hide her private parts. So great was thepower of the cra5sman’s art that the hard unyielding marble did justice toevery limb. Charicles at any rate raised amad distracted cry and exclaimed,“Happiest indeed of the godswasAreswho su6ered chains because of her!”And, as he spoke, he ran up and, stretching out his neck as far as he could,started to kiss the goddess with importunate lips. Callicratidas stood byin silence with amazement in his heart. 7e temple had a door on bothsides for the bene8t of those also who wish to have a good view of thegoddess from behind, so that no part of her be le5 unadmired. It’s easytherefore for people to enter by the other door and survey the beauty ofher back. And so we decided to see all of the goddess and went round tothe back of the precinct. 7en, when the door had been opened by thewoman responsible for keeping the keys, we were 8lled with an immediatewonder for the beauty we beheld.29

In this text, Pseudo-Lucian uses the Greek term )"\. to designate thebuilding of theKnidianAphrodite, as doesValeriusMaximus.30 InGreek,*µ'Emeans ‘on two sides, duplicate’.7is would suggest that the templehad two doors, one on the façade, at the main entrance of the building,and one at the back. Once again, I do not agree with Corso, who wantsto draw both texts closer: L’aggetivo amphithyros, riferito al tempietto, è ilcorrispettivo dell’espressione pliniana aedicula . . . tota aperitur.31

Normally there is only one central door at the front of a temple. 7ecult statue, situated in the back of the cella, would have been visible whenthe door was open. An ancient impression of this is found for example ona fragmentary krater inAmsterdam, onwhich a golden statue of Apollo is

29 Trans. Macleod.30 Val. Max. 9.::, ext. ;.31 Corso, Prassitele, p. :<3. In n. 9<:, on p. 222, Corso confesses the discovery of the

building in Knidos brought nothing on this question. See below.

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visible inside his temple.32 Sometimes, the opisthodomos or ‘back room’communicates with the cella or ‘sacred room’, as in the second Aphaiatemple in Aigina (ca. .##/0). Here we can talk of an amphitryos naos or atemple with two doors. But this kind of building is rare: most cult statueswere not visible from behind.1e architectural settings in the 23h cen-tury /0, in particular, emphasized the front of the cult statue for a betterviewby theworshippers standing in front of it in the cella. Several templeshad fences to deter people fromapproaching their statue. In theTemple ofAthena at Sounion, for example, iron railings were installed between thenorth and south walls of the cella, in front of the extant statue base (45#–4.#/0), while in the Temple of Despoina at Lykosoura (!!#–67#/0), alarge marble fence was built 6.4#m from the statue base.33 1ese exam-ples provide interesting evidence for the frequent visits of worshippersto temples.34 Projecting walls hindered access to Pheidias’ chryselephan-tine Zeus in the Temple of Zeus in Olympia, whereas Pausanias wasastonished that one could pass under the throne of Apollo in Amyk-lai.35 1e text of Pseudo-Lucian on the Knidian monument also men-tions the regulations that are familiar from other sanctuaries: the sight-seers had to ask permission to enter the back door. Clearly the Greeksworried about the visibility and the protection of statues. From Pseudo-Lucian’s account, one gets the impression that the architectural setting ofthe Knidian Aphrodite was peculiar, perhaps designed to give the statuea special setting. But the texts describe two di8erent kinds of buildings:Pliny describes a wide, opened structure, while Pseudo-Lucian suggestsa con2ned space.1e disparity in these texts makes it necessary for us toturn to the archaeological evidence, in this inquiry.

32 Amsterdam, Allard Pierson Museum, inv. !.59, ca. :7#–:5#/0. 1ere are a lot ofarchaeological and literary examples. For both see Deborah Tarn Steiner, Images inMind:Statues in Archaic and Classical Greek Literature and !ought (Princeton, !##6); JeniferCinder Gri;nMiller, “Temple and Statue: A Study of Practices in Ancient Greece” (PhDdiss., Bryn Mawr, 699.).

33 Aigina: Hans Walter, Ägina. Die archäologische Geschichte einer griechischen Insel(Munich, 699:), 2g. "# (temple plan). Sounion: Hans Ruprecht Goette, Ho axiologosdemos Sounion, Landeskundliche Studien in Sudost-Attika (Rahden, !###), pp. :5–46.Lykosoura: Edmond Lévy, “Sondages à Lykosoura et date de Damophon,” BCH 96(69"5), .67–.4.; Madeleine Jost, Jean Marcadé, et al., “Rites, cultes et religion. Le sitede Lycosoura,” Ktèma :: (!##7), 9:–!#9.

34 I have studied those structures in Sophie Montel, “Recherches sur la présentationarchitecturale des groupes sculptés en Grèce ancienne” (PhD diss., University of ParisOuest Nanterre – La Défense, Paris, !##7), pp. .4:–..9.

35 Olympia: Paus. ..66.4–.. Pausanias mentions Amyklai (Paus. ..66.4) in comparisonwith Olympian Zeus.

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Figure 45.6.7e second-century 8&tholos in Knidos. Photo: Amy C. Smith.

Restitutions Based on the Ruins: From Knidos to Tivoli

During the American excavations in Knidos in 4939–49:2, Iris CorneliaLove excavated a round structure on the northern terrace of the site,above the terrace of the Apollo Karneios sanctuary.36 Here there are atleast ;ve treasuries oriented to the south, among other rectangular struc-tures or large bases.37 Love uncovered a round structure open on its eastside, as are most Greek temples (;gure 45.6). A staircase allows peopleto reach the level of the podium, where there is a three-stepped marblecrepidoma that supported a colonnade with eighteen poros supports thatLove thought belonged to the Doric order.7ere was no indication of aceiling or roof. Love identi;ed this round structure as Aphrodite’s tholos,based on its similarity to a round structure in Hadrian’s Villa at Tivoli(;gure 45.<), as well as Pliny’s description.7e round Doric structure in

36 Iris Cornelia Love, “A Preliminary Report of the Excavations at Knidos, 49:2,” AJA:: (49:5), 645–626.

37 Treasuries are small buildings in the form of a temple. Map of the ancient city:Hansgeorg Bankel, “Knidos. Der hellenistische Rundtempel und sein Altar. Vorbericht,”AA (499:), 3:, ;g. 5=.

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Figure -../.0e second-century 12 round structure of thenymphaeum in Hadrian’s Villa at Tivoli. Photo courtesy A. Pollini.

Tivoli forms part of a nymphaeum or fountain; two apses on the sidescontained fountains. It is now di3cult to visualize the exact plan of thenymphaeum, because a modern building has replaced one of the apses(4gure -..").

0e two structures had comparable diameters (the tholos at Knidosmeasures -5..6m in diameter while that at Tivoli measures -5.-6m).0at the Tivoli nymphaeum also sheltered a marble copy of the KnidianAphrodite made the connection even more tempting. Finally, the lettersPRAX were discovered in Knidos on an inscribed “altar” dated betweenthe end of the third and the second centuries 78: Love suggested this wasa Hellenistic “statue base” from a re-erection of Praxiteles’ famous statuein the round structure thatmight have been a second architectural settingfor the statue. Since then, the drawing of Praxiteles’ Knidian Aphrodite atthe center of a round Doric monopteros has circulated widely.38 I agreedwith Love that the Tivoli monument was a monopteros, but Giorgio

38 Iris Cornelia Love, “A Preliminary Report of the Excavations at Knidos, -956,” AJA5" (-95!), 5:, ill. 9.

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Figure 54.3. Plan of the round building in Hadrian’sVilla at Tivoli, a6er Ortolani, Il padiglione, 7g. 42.

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Ortolani has now restored it as a tholos.39 Ortolani’s conclusions arein opposition, however: he sees a cella wall in the ruins of the Tivolinymphaeum, but he maintains the identi.cation of the Knidian roundbuilding as a place of exhibition for the famous statue.40

Nevertheless, Turkish excavations at Knidos under the direction ofRamazan Özgan have revealed four features that may help us to under-stand the round structure atKnidos.41 First, the building has aCorinthian(not Doric) colonnade, so the parallel with the circular Doric building ofHadrian’s Villa in Tivoli is no longer possible. Second, the round build-ing at Knidos has a cella wall, so it is not a monopteros (.gure /0.1).With a wall behind its colonnade, this building must be classi.ed as atholos. It was only opened by means of a door installed in the easternpart of the wall, so that a worshipper could only see the statue whenthe door was open. 2e third and most important revelation from theTurkish excavations is the identi.cation of the goddess honored there.Two inscriptions to “Athana” were found, along with votive terracottas,near the round building at Knidos. Wolfgang Blümel has proven, more-over, that the PRAX inscription did not correspond to the sculptor, butto the name of a worshipper of Athena.422us the tholosmust be consid-ered as the Temple of Athena and could not have sheltered the statue ofAphrodite. Finally, these excavations also con.rm the date of the roundbuilding in the second century 34, more than /56 years a7er the pur-chase of the statue by the people of Knidos. 2ese chronological resultsare not, of course, conclusive in themselves, since the preserved templecould have been a second-century rebuilding of a fourth-century origi-nal structure. 2e results of these excavations by Özgan and by Bankel,however, indicate that the Hellenistic round temple at Knidos should notbe considered the shelter for Praxiteles’ Knidian Aphrodite.43

39 Giorgio Ortolani, Il padiglione di Afrodite Cnidia a Villa Adriana. Progetto e signi!-cato (Rome, /889).

40 He based his own restoration on ancient drawings and plans: Ortolani, Il padiglione,p. 89, .g. #" (probabile traccia del muro della cella: “probably traces of the wall of thecella”). Future excavations may solve the problem.

41 Özgan, “/898 Knidos Kazisi,” Kazi Sonuclari Toplantasi /! (/886), 51–"/; Özgan,“/886 Knidos Kazisi,” Kazi Sonuclari Toplantasi /0 (/88/), /1/–/11.

42 Wolfgang Blümel, Die Inschri"en von Knidos /. Inschri7en griechischer Städte ausKleinasien #/ (Bonn, /88!), no. /19.

43 Özgan, “/898Knidos Kazisi,” pp. 51–"/; Özgan, “/886Knidos Kazisi,” pp. /1/–/11;Bankel, “Knidos,” pp. 5/–1/.

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Figure 56.7. Plan of the tholos in Knidos, a8er Bankel, “Knidos,” 9g. 57.

Roman Taste versus Greek Architecture

So, we are no closer to understanding the Knidian Aphrodite’s aedicula,nor its connection to the round structure at Tivoli. Although there aredi:erences between the two round structures at Knidos and Tivoli, thesimilarities in their dimensions are striking. Ortolani had no access tothe results of the Turkish excavations when he published his book on theround structure at Tivoli (in 5;;<). So, his own ideas about the buildingin Tivoli were in=uenced most heavily by the text of Pseudo-Lucian,for example, in his proposal that the building had two doors in axialposition: Pur senza alcuna prova sul terreno, ma cercando di interpretarele idee del progettista antico, si può ipotizzare la presenza di due porteassiali sulla cella della tholos (“Even without any proof on the ground,but trying to interpret the ideas of the author of the ancient project, wemay suppose the presence of two doors in axial position in the cellaof the tholos”).44 >e main di:erence between the two buildings is intheir nature: while the Knidian building is an enclosed structure, theHadrianic one is restored either as an entirely open building—like theshrine described by Pliny—or as a tholos. When one walks around the

44 Ortolani, Il padiglione, p. 5?6; p. 5@?, 9g. 35.

!"" #$%&'( )$*+(,

round building at Tivoli (-gure ./.0), it is easy to realize the visual e1ectproduced by such an architectural setting. If this round structure was atholos, then its similarities to the Knidian building are more striking. Yetits di1erences are great. It has a di1erent architectural order (Doric ratherthanCorinthian, as at Knidos) and function (a temple versus a decorativestructure in the center of a nymphaeum).

We know that Emperor Hadrian (23..4–./5) had a taste for Greekarchitecture and sculpture.45 His villa in Tivoli represents the empirein miniature. Buildings, -lled with a lot of copies of Greek art, evokedfamous sites in Greece and Egypt.46 It would not be surprising, there-fore, if he had copied the context of the Knidian Aphrodite, includ-ing her enclosure. He may also have taken inspiration from the roundmonuments—statue enclosures—that were popular, as I have alreadymentioned, in Hellenistic and Imperial periods. By his time, the Romanshaddeveloped awide range of architectural shelters for statues: the nichesand porticoes of Hadrian’s Villa at Tivoli illustrate well this kind of inter-action between sculpture and architecture.47

Similarly, Pliny and Pseudo-Lucianmay have been responding to fash-ion in their descriptions of the exhibition of statues in the -rst and sec-ond centuries 23. It would be rash to discredit the ancient sources, how-ever, despite their precision. In his story about infatuation with the statueof Aphrodite, Pseudo-Lucian seems to report a true experience.48 6erules regarding visits to sanctuaries that are reported by his !"#$%&'(-")* (‘guardian of the keys’) correspond to those found in inscribed sacredlaws or mentioned by Pausanias.49

By the fourth century 78, when Praxiteles created the Aphrodite pur-chased by the people of Knidos, Greek architects had already developed

45 Among others: Cass. Dio and SHA Hadr.46 MoniqueMosser, Henri Lavagne, et al., eds,Hadrien empereur et architecte. La Villa

d’Hadrien, tradition et modernité d’un paysage culturel (Geneva, !99!); 6orsten Opper,Hadrian: Empire and Con!ict (Cambridge, Mass., !995).

47 For example: we usually restitute statues in the seven rectangular niches in theapsidal wall of the “room of the philosophers” (philosophers or imperial portraits); seealso the statues between the columns of the Canopus (copies of famous Greek statues).

48 6e same remark is valid for Pliny’s testimony: Jacob Isager,Pliny onArt and Society,"e Elder Pliny’s Chapters on the History of Art (London, .::.), p. .0/, n. 0/5.

49 For example: Paus. !..9.; (cult statue of Aphrodite in Sikyon); 4.!/.: (cult statueof Hera in Aigion); or 4.!".4 (statues of Aphrodite and a heavenly goddess in Aigeira).Many examples are in Joseph William Hewitt, “6e Major Restrictions on Access toGreek Temples,” TAPA ;9 (.:9:), 5/–:.; see also Peter E. Corbett, “Greek Temples andGreek Worshippers: 6e Literary and Archaeological Evidence,” Bulletin of the Instituteof Classical Studies of the University of London .4 (.:49), .;:–.05.

!"# $%&"'!#&!(%$) *#!!'+, -. !"# /+'0'$+ $1"%-0'!# 234

several forms of shelter for cultic, votive, or honori5c statues. 6e inte-rior colonnade, known 5rst in the Parthenon at Athens (774–789:&), islater developed in Peloponnesian temples at Epidauros, Tegea, and in thetholoi at Delphi, Epidauros, andOlympia.50 In each case, the inner colon-nade turns the internal room of the temple into an architectural featurethat is an ideal enclosure for a statue. In the third quarter of the fourthcentury :&, the funerary naïskos, or temple façade, known earlier fromtwo-dimensional stelai, developed a third dimension.6e resulting deepnaïskos provides shelter for the statues of family members among imagesof the deceased (5gure ;8.2, top right).51 All of these architectural settingsfor sculpture are contemporaneous with the work of Praxiteles. Perhapsa naïskos or structure like a small temple served as the shelter of the Kni-dian Aphrodite. Taking inspiration from the text of Pseudo-Lucian, thenaïskos would have had two doors: one regularly opened at the front andanother normally closed at the back; the worshipper who desired to seethe back of the statue had to ask the guardian of the keys to open the backdoor. 6e interest in Aphrodite’s back is not speci5c to Pseudo-Lucian,but appears also in a Pompeian painting of Venus at her bath, with twoErotes as helpers. In this painting, dating to the end of the5rst century :&,one Eros holds a mirror that re<ects the back of Venus and reveals it tothe spectators.52

As Pausanias informs us, the Knidian Aphrodite was a cult statue,not a votive. For the goddess’ statue, we do not have to look for aspeci5c exhibition building: a rectangular temple could have shelteredthis famous statue. 6e arguments developed by Corso are obsolete: wehave to consider that the texts are not clear enough to give an idea ofthe form of the structure that once sheltered the statue of Praxiteles. It ispossible that Pseudo-Lucian invented the two doors in order to introduce

50 On the role of the interior colonnade, see Georges Roux, L’architecture de l’Argolideaux IVe et IIIe siècles av. J.-C. (Paris, ;=3;), p. 8=3.

51 Most of them come fromAttika: ChristophW.Clairmont,Classical Attic Tombstones(Kilchberg, ;==8). See, for example, the monument of Nikeratos from Kallithea, nowin the Piraeus Museum: SEG 27 (;=3=), 2>9 (inscription); Georgios Steinhauer, “Larestauration dumonument funéraire deKallithéa,” inColloque International d’ArchéologieFunéraire (!"""), ed. Vasilica Lungu (Tulcea, 2??3), pp. ;7>–;>?. See also Diogeiton’s onein Rhamnous: Vasileios Petrakos, !" #$µ%& '%( !)*µ+%(+'%& (Athens, ;===), pp. 832–84?.

52 For the Pompeian painting, see Istituto della Enciclopedia Italiana, Pompei, Pitturee mosaici, = vols. (Rome, ;==?–;===), pp. 433–49?. I am grateful to Baptiste Augris(University Paris Ouest), who pointed out this painting. On the aspect of the back ofthe statue, see also Pasquier and Martinez, Praxitèle, p. ;7>.

!"# $%&'() *%+,)-

the story of the young man who felt in love with the goddess thatcomes in his next section (Amores ./–."). At present, however, neitherancient texts nor the ruins at Knidos or Tivoli allow us to reconstructthe original shelter of the Knidian Aphrodite with any certainty. Perhapsfuture excavations in Knidos will eventually reveal the location of thesanctuary of Aphrodite Euploia, which may well be in the lower town.

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