PROCEEDINGS OF THTHE 13 INTERNATIONAL

COLLOQUIUM ON ROMAN PROVINCIAL ART

CORPUS SIGNORUM IMPERII ROMANI

CULT AND VOTIVE MONUMENTS IN THE ROMAN PROVINCES

Cult and VotiVe MonuMents in the RoMan PRoVinCes

Proceedings of the 13th International Colloquium on Roman Provincial ArtBucharest – Alba Iulia – Constanța, 27th of May – 3rd of June 2013

– within the framework of Corpus Signorum Imperii Romani –

EditorCristina-Georgeta Alexandrescu

Mega Publishing HouseCluj‑Napoca

2015

Descrierea CIP a Bibliotecii Naţionale a RomânieiINTERNAŢIONAL COLLOQUIUM ON ROMAN PROVINCIAL ART (13 ; 2013 ; Bucureşti ; Alba Iulia ; Constanţa)

Cult and votive monuments in the Roman province : Proceedings of the 13th Internaţional Colloquium on Roman provincial art : Bucharest - Alba Iulia - Constanţa, 27th of May - 3rd June 2013 : within the frame of Corpus Signorum Imperii Romani / ed.: Cristina‑Georgeta Alexandrescu. ‑ Cluj‑Napoca : Mega, 2015

Bibliogr.ISBN 978‑606‑543‑592‑6

I. Alexandrescu, Cristina‑Georgeta (ed.)

902/904(063)

Editura Mega | www.edituramega.roe-mail: mega@edituramega.ro

ImλgInes

Studies in ancient arts and iconography3

Series editor Cristina-Georgeta Alexandrescu

Printed with the financial support of the Romanian Academy.

Editor: Cristina‑Georgeta Alexandrescu.Editorial board: Cristina‑Georgeta Alexandrescu, Liana Oța, Mihaela Mănucu‑Adameșteanu.

Front cover: Fortuna relief found reused in the baths of the Roman auxiliary camp of Ilișua, Bistrița‑Năsăud County (Complexul Muzeal Bistrița‑Năsăud, Bistrița, inv. no. 23022; photo C.‑G.Alexandrescu, ArheoMedia). Back cover: Detail of the Fortuna and Pontos statue from Tomis (Muzeul de Istorie Națională și Arheologie Constanța inv. no. 2001; photo O. Țiței).

First published 2015.© Institutul de Arheologie “Vasile Pârvan” & the authors.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without the permission in writing from the author and editor.

This book is not for sale. The distribution of printed volumes is to be made through publication exchange and gift.

Content

8 Abbreviations and used guidelines within the volume

9 FoRewoRd

CULT AND VOTIVE MONUMENTS – CASE STUDIES OF PARTICULAR DIVINITIES AND SITES

Claudina Romero Mayorga13 A new interpretation of a mithraic sculpture in Augusta Emerita, Hispania

Jasna Jeličić-Radonić23 The Cult of Dionysus or Liber – Votive Monuments in Salona

Marija Kolega33 Sculptures and votive monuments of deities in Aenona

Ante Rendić-Miočević43 Areconstructionof thecentralpartof theNymphaeum(fountain)atVaraždinskeToplice(Aquae

Iasae) with a relief depiction of Nymphs

adriana antal55 Consecratio in formam Veneris in Roman Dacia

Iphigeneia Leventi63 The relief statue base of Nummius Nigreinos, sacred herald of the Eleusinian mysteries. The

iconography of Eleusinian cult initiates and officials in Roman Imperial times

Georgia aristodemou73 Mars Victor, Victoria and Nemesis Invicta. Three votive reliefs from the ancient theatre of Philippi

(Kavala) reconsidered

aleksandra nikoloska87 The world of Dionysos on monuments from the Republic of Macedonia

Exhlale Dobruna-Salihu97 Three significant reliefs of grapevine and forest deities in Dardania

wolfgang wohlmayr107 GottheitenundKulteimnördlichenTeilNoricumsnachAussagederWeihedenkmäler. EinBlickauf

Iuvavum (Salzburg) und sein Umland

ICONOgRAPhy & SyMbOLISM

Ilona Skupinska-Løvset 121 Incense Altars and Visualization of Incense Offerings in Roman Syria

sorin nemeti 129 I rilievi dei Cavalieri Danubiani. Spunti per l’interpretazione diacronica delle varianti regionali

Mirjana sanader 139 Der Januskult in den Provinzen des Römischen Reiches unter besonderer Berücksichtigung der

IkonographiezweierReliefsausDalmatienundDakien

Nade Proeva149 Les croyances funéraires des Macédoniens: l’héroïsation et la divinisation des défunts à l’époque

romaine

delphine seigneuret163 Les panneaux sculptés de Khirbet edh-Dharih (Jordanie centrale): remarques sur la restitution, la

technique et l’iconographie

luca Bianchi173 Edifici in miniatura ed esigenze d’apparato: l’edicola funeraria pannonico-dacica

Maria weiss191 DerbärtigeRuhendeaufdenSeitenregisternderMithrasmonumente

“AFTERLIFE” OF CULT AND VOTIVE MONUMENTS

Piotr dyczek201 Sculptures from the “templum Aesculapii et Hygiae” in the Legionary Hospital at Novae (Moesia

Inferior)

Jutta Ronke211 Fortuna-FragmenteausderGermaniasuperior.Zur‚antikenGlücksgöttinvonderBaustelle‘

CONTExT & DISPLAy. ARChITECTURAL DECORATION

Walburg Boppert − Christine Ertel223 Ein frühkaiserzeitliches Konsolengesims aus dem Theater in Mogontiacum (Mainz, Germania

superior)

Klaus stefan Freyberger233 FunktionundBedeutungmonumentalerSteinmaleinHeiligtümernderöstlichenMittelmeerweltaus

römischer Zeit

VARIA/DISPUTATIONES

Florina Panait Bîrzescu253 Localcultstatuesoritinerantcoin-types?SomeremarksontheiconographyoftheWestern-Pontic

coinage

Manfred hainzmann263 SAGUM–ZuproblematischenDatierungsansätzeneineskeltisch-römischenKleidungsstückes

NEw FINDS & PROjECTS

Lea Stirling − Nejib Ben Lazreg277 A new portrait of Septimius Severus in the Musée Archéologique de Lamta (Tunisia)

Fulvia Ciliberto287 Un rilievo con zodiaco nabateo a Gerusalemme

Irina Nemeti − Luminiţa Săsăran − Emanoil Săsăran295 Monumenti scultorei nelle collezioni del Museo Nazionale di Storia della Transilvania. Studio sulle

officine e le cave di pietra della Dacia Porolissensis

Alexandru Gh. Sonoc − Mihai Chiriac305 Brief comments on some Roman provincial sculptures from the Sibiu County

adam Jakub Jarych315 HowtheRomanslootedworksofartfromthethirdtothefirstcenturyB.C.–thecaseofAmbracia’s

plunder in 189 B.C.

Filomena Limão − Miguel Pessoa 321 Sculpting Space – The iconography of the architectural sculpture in the Roman Villa of Rabaçal

(Portugal)

Judit Zöldföldi329 Conditions for successful provenance studies on marble

Paola Ventura − Annalisa Giovannini343 Sorelle, spose, madri. Il mondo al femminile nei monumenti funerari di Aquileia

Guntram Koch359 SomeConsiderationsontheSarcophagiofRomanImperialTimesintheProvincesoftheBalkans,

especially Moesia Inferior

375 PRoGRAM oF ThE 13th inteRnational ColloquiuM on RoMan PRoVinCial aRt

378 oRGaniseRs

379 list oF PaRtiCiPants

aBBReViations and used Guidelines within the VoluMe

TheworksofancientwritersarequotedusingtherecommendationsinDerNeuePaulyIII(1997)S.XXXVI–XLIV and Thesaurus Linguae Latinae Index (1900).

The abbreviations are using the guidelines of the German Archaeological Institute published on http://www.dainst.org/publikationen/publizieren-beim-dai/richtlinien.

Further bibliographical abbreviations are listed at the end of each contribution.

Online sources: EDH EpigraphischeDatenbankHeidelberg http://www.epigraphische-datenbank-heidelberg.de/uel ubi-erat-lupa http://www.ubi-erat-lupa.org/ ArheoMedia http://www.arheomedia.ro/monumente/.

PROCEEDINGS OF THE 13TH INTERNATIONAL COLLOQUIUM ON ROMAN PROVINCIAL ART 2013 (2015), 63–72

ThE RELIEF STATuE BASE oF NuMMIuS NIGREINoS, SACRED hERALD oF the eleusinian MysteRies. the iConoGRaPhy oF eleusinian

Cult initiates and oFFiCials in RoMan iMPeRial tiMes1

Iphigeneia Leventi

Zusammenfassung: DiereliefverzierteStatuenbasisdesL.N.Nigreinos,desheiligenΑnzeigersdergroßenMysterienvon Eleusis, ist aufgrund prosopographischer Elemente, die seiner heute verlorenen Weihinschrift entnommen werden konnten,kurznach150n.Chr.datiert.DiebronzenePortrait-Statueistleiderauchnichterhalten.DasHauptinteressedieser erhaltenen Statuenbasis liegt auf den Reliefdarstellungen, auf deren drei Seiten die eleusinischen Mysten in der ProzessiondergroßenMysterienabgebildetsind.EshandeltsichdabeiumdaseinzigeMonumentdieserArtinderantikenKunst.DervorliegendeBeitragstelltinAnspruch,NummiusNigreinosselbstunterdenMännernundFrauendereleusinischenMystendreimaldargestelltzuerkennen.DarüberhinauswirddieIkonographiedereleusinischenMysten und Kultpriester von der archaischen bis zur römischen Zeit anhand von Beispielen untersucht. Besonders wirddieIkonographiederKindermystenerörtert,wieauchdieIkonographieeinesHierophantenaufeinematheni-schen,ebenfallsderfrühantoninischenZeitzuzuordnendenWeihreliefs,diezueinerteilweisenRekonstruktionderverlorenenStatuedesL.N.Nigreinosbeitragenkann.

A portrait statue of Lucius Nummius Nigreinos from the Attic deme of Gargettos, who served as sa-cred herald in the Eleusinian Mysteries, was erected shortly after his death in the sanctuary of Eleusis in Attica. The monument, whose bronze statue is not preserved, is dated around A.D. 150 on prosopographical evidence: IG II23574:Νού(μμιος)Νιγρεῖνοςἱεροκῆρυξ.Itsmaininterestliesinthereliefrepresentationscov-ering only three sides of the extant base that depict Eleusinian initiates marching along its lower part in two superimposedrows.Thestatuebase,whichismadeofPentelicmarble,nowmutilatedandbrokenintotwopieces,iskeptinthecourtyardoftheEleusisArchaeologicalMuseum(inv.no.E1143).Itsfourthbacksideisroughlypicked.Thetopofthebasecarryingtheinscriptionalsohasbeenbrokenoff(figs. 1–4). The relief basealreadycapturedtheattentionoftheseventeenth-centurytravelersJacobSponandGeorgesWheeler;both the base and the dedicatory inscription were drawn by both authors, though the reliefs were reproduced inaccurately and in fantasy2.

Nevertheless,itsrepresentationremainsratherunknowninthemodernscholarship,eventhoughitdisplays the only existing extensive visual testimony for the annual procession of Eleusinian initiates from the city of Athens to the sanctuary of the two goddesses, Demeter and Kore, in Eleusis during the celebration of the Great Mysteries. Nummius Nigreinos, still serving as the sacred herald of the Mysteries in the decade A.D. 140–150,wasoneoftheleadersofthisprocessionalongwiththeotherprimeofficials,namelythehierophant and the daduch, as well as other priests and priestesses of the Eleusinian Mysteries3.

The relief procession of Eleusinian initiates on the statue base under discussion is rendered in low relief and its quality is rather crude, notwithstanding that this is a sculpted monument of Athenian art in the Roman Imperial period. Its iconography, however, is of primary importance, since it not only gives us insight intothecontinuingpictorialtraditionforEleusinianinitiatesandpriestsorcultofficialsfromtheClassicalto Roman Imperial times, but also, most intriguingly, provides the opportunity to combine written sources in order to reconstruct at least in part the appearance of its most open and splendid element, the procession 1 Iwouldliketothanktheformerheadofthe1stEphorateofAntiquitiesDr.E.KourinouPikoulaforthepermissiontostudy the votive relief of the hierophantofHagnousthenkeptinthestoreroomsoftheAgoraMuseuminAthensandthepersonnel in the Third Ephorate of Antiquities as well. I am also obliged to Dr. C. Mitsopoulou for discussion and help-fulsuggestions,andtoProf.A.Klöcknerforcallingmyattentiontoherarticlementionedinthisessay.Prof.J.BarringerkindlypolishedmyEnglishinthefinaltext,andfinallyDr.O.SeelcorrectedtheGermaninmyabstract.2 Spon−Wheler1678,283withdrawing;Wheeler1682,428–429withdrawing;Kapetanopoulos1968,510no.76.511no.91;Clinton1974,78no.4;Follet1976,282–284;Papaggeli2002,figs.38–39;Clinton2005,374no.462pls.202–203(survivingbase:H.1.24,W.0.95m.);Clinton2008,354no.462.3 Clinton1974,78–79no.4.OnthesacredprocessionoftheGreaterMysteriesseebelow.

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of the Great Mysteries. These rites, celebrated throughout Antiquity, were recognized as the second greatest Athenian festival after the Panathenaia, and from a Panhellenic perspective were comparable in religious importance only to the Olympic Games (Paus. 5.10.1)4.

Fig. 1 Relief Base of the statue of L. Nummius Nigreinos, Eleusis Museum inv. no. E 1143 (Photo: author).

ThesacredheraldwasoneoftheprimeofficialsoftheEleusinianMysteries,towhomthepracticeofhieronymy (being addressed not with one’s personal name but by the name of one’s priesthood) applied dur-inghis-lifetimeoffice5. Nevertheless, L. N. Negreinos was referred to explicitly by his personal name on the base of his honorary statue, which is an indication that it had been erected posthumously6. The sacred herald wassometimesregardedasonlythirdinrankafterthehierophant and the daduch and before other priests and priestess of the Eleusinian cult. He was a member of the Athenian clan of the Kyrekes (heralds) to whom the Eleusinian daduch also belonged. His duties are mentioned in the literary sources: he was associated with the proclamation of the Festival of the Great Mysteries, the Initiation and the Great Eleusinian Procession, as well7.

Based on an Eleusinian inscription of A.D. 160–170 (IG II21092; the so-calledEleusinianendow-ment), K. Clinton proposed a reconstruction of the Eleusinian Mysteries procession in Roman Imperial times, inparticularthegroupingofpriestsandcultofficialsattheheadofthatprocession.There,thesacredheraldwasamongthefirstgroupsofthepriestsandpriestesswalkingtogetherintwosorthrees,butpossiblyinthefourthranktogetherwiththealtarpriestandjustbeforetheEleusinianpriestessesandminorpriestsofthe cult. The sacred herald was also one of the Eleusinian priests referred to in the endowment inscription who possessed a marble seat in the prohedria of the theater of Dionysos in Athens8. Finally, it is attested that hewasoneofthethreeEleusiniancultofficials,includingthehierophant and daduch, who were imperson-atedbyAlkibiadesandhisfriendsintheProfanationoftheEleusinianMysteriesduringthelastperiodofthe Peloponnesian War in Athens, for which they were condemned for impiety (Plut. Alk. 22.4)9. The above information gives evidence of the importance of the priesthood of the sacred herald in the hierarchy of the Eleusiniancultofficials.

4 Clinton1994,170withnotes72–73.5 Onhieronymy:Clinton1974,9–10;Sourvinou-Inwood2005,61.6 SeeClinton2008,354no.462.7 Sourvinou-Inwood2005,62.8 Clinton1974,9.35–36withnote178.81–82.9 Clinton1974,15–16;Sourvinou-Inwood2005,63no.286.

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Fig. 2 Relief Base of the statue of L. Nummius Nigreinos, Eleusis Museum inv. no. E 1143 (Photo: author).

Fig. 3 Relief Base of the statue of L. Nummius Nigreinos, Eleusis Museum inv. no. E 1143 (Photo: author).

On the three sides of the base of the statue of Nummius Nigreinos the sacred procession of the Eleusinian Mysteries is depicted. The men are portrayed in mantles that descend to the mid-thigh and cover half the upper body. This is the actual attire of the initiates10, possibly those belonging to the upper degree of the initiation (that is, those who had undergone the initiation and participated to the Mysteries already previously, who were called epoptai), which dictated half nudity for the full initiates participating in the Great ProcessionandattendingtheMysteries.Avariantwithnudechestandlongermantlepossiblyreflectsthelesserstageofinitiation,thosethatparticipatedforthefirsttimeafterinitiationinthefestival(thesewerecalled mystai)11. All the women depicted on the base, on the other hand, are modestly dressed in chiton and long mantle, which concealed the body. A Hellenistic sacred law of the Andania Mysteries in Messenia in the Peloponnese (IG V 1, 1390, around 93 B.C.), that were related to the Eleusinian mystery cult, regulates women’s attire in the procession as being modest and not transparent, and the description of the garments matches those of women on the relief base12.

OntheNigreinosbasetheinitiated,bothmenandwomenintheforegroundareshownasfullfigureswalkinginthree-quartervieworstoppingandturningtothefront,eachonewiththeso-calledbakchos, the mystic myrtle staff, held before their bodies, or carried on one shoulder. Heads, mystic staff and occasionally

10 ThemantleisthetraditionalgarmentoftheinitiatesattheMysteriesasattestedbyAristoph.Plut. 842–845: Clinton 1992, 67–68.11 OnthetwostagesoftheinitiatesattheEleusinianMysteries:Clinton2003,especially51.12 Gawlinski2008,157–162;Gawlinski2012,114.118–120;cf.Deshours2006,102–105.108.

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upperbodiesofthebackgroundrowofinitiatesarealsovisible.Allheadsarebrokenorwornoff,thuswecannot determine if the participants bore myrtle wreaths on their heads, another standard iconographical device for Eleusinian initiates, either sculpted in relief or painted on13.

Inthemiddleofeachofthethreecompositionsisthefrontalfigureofamancompletelycoveredinalongmantlewithachitonbeneathandliketheothers,holdingamysticstaff,oralternativelyapriestlyscepteras is rendered on the better preserved side of the base (figs. 2–4). This man recurring on the three sides of the relief base in a prominent position and portrayed in a different iconographical type than the other men initiates, namely as fully dressed and possibly with another attribute, would have been none other than the sacred herald Nigreinos, who was commemorated by the bronze portrait statue standing atop the base.

Fig. 4 Relief Base of the statue of L. Nummius Nigreinos, Eleusis Museum inv. no. E 1143 (Photo: author).

TherepetitionofagivenfigureinanarrativesceneisnotunknowninGreekandRomanart14, and the depictionsoftheEleusinianprocessiononthebasemaybenotacontinuous,butarepeated,motif.Ifwetakeinto account the evidence of the aforementioned Eleusinian endowment, according to which the main cult officialsandpriestsheadupthesacredprocession,wemustassumethatthefigureunderdiscussionwouldhave been a lesser cult magistrate or priest. But this epigraphical testimony is not a strict cult regulation, absolutelyfixingthepositionofthesacredherald.Itdidnotforbidhimfrommovingfromthefirstranksandwalkingamidsttheinitiates,especiallysinceitwashisroletocontroltheirconductduringtheprocessionand occasionally enforce silence15.

IfindeedthesacredheraldL.N.Nigreinoscanberecognizedasthemalefigureinchitonandlongmantle in the middle of each of the three parts of the Great Procession extant on his statue base, this would bearareattestationofanEleusiniancultofficialinaction.Suchrepresentationsappearonlyonahandfulofartistic depictions of Eleusinian cult events on Athenian vase paintings and reliefs of the Archaic to Roman periods.Theappearanceof themulti-figured,densely arranged sacredprocessionof theGreatMysteriesof Eleusis on the sacred herald Nigreinos’ relief statue base is so far unique. A few other scenes on earlier GreekmonumentsfoundinthesanctuaryofEleusisdisplayeithersmallexcerptsofthatprocessionorsa-cred rites16.Mostrenownedistheearly-fourthcenturyB.C.Atticred-figureNinnionvotivetablet(inAthens,National Archaeological Museum inv. no. 11036)17. On this Classical representation (fig. 5) we may have the beginning and the end of the Great Festival of the Mysteries in the lower and upper register respectively, plus another additional moment of the festivities on the pediment. It is noteworthy that the dedicant woman, Ninnion,appearsthreetimesinthethreedifferentscenes;intwooftheseshecarriesacultvessel,theso-called plemochoe on her head, connected with libations performed in the last day of the Mysteries Festival. The Ninnion tablet displays actual moments of the Eleusinian procession leading to the sanctuary of the two 13 OnthemyrtlewreathascharacteristicofanEleusinianinitiate,see:Gawlinski2010,101;Leventi2010,117note25.Cf.Gawlinski2008,151–154.Ontheso-calledbakchos mystic staff as an attribute of mystai:Clinton1974,103–104;Clinton1992, 49 with note 102, on the conventional name, bakchos.14 SeeLeventi2007,127–128.15 SeeClinton1974,81;Sourvinou-Inwood2005,62.16 Kourouniotis1937,226.248,thereinterpretedaspre-initiationrites.AlsoKourouniotis1937,239fig.11.242–243fig.15.17 Clinton1992,73–75(fig.onfrontispiecefortheinterpretationofthescenesontheNinniontablet).Cf.Mitsopoulou2011,192–194.200fig.1,withmorerecentbibliography.

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goddesses Demeter and Kore, who were also depicted on the tablet. Male initiates in short mantles and car-ryingsacks,walkingsticks,myrtlebranchesorvesselsappearaspartofthatprocession.

Fig. 5 Attic red-figure votive tablet of Ninnion, Athens, National Archaeological Museum inv. no. 11036 (Photo: museum).

OntheNinniontabletwelacktherepresentationofanEleusiniancultofficial,andinsteadween-counteronlythedepictionoftheyouthfulIakchos,amaledeityoftheMysteriesdressedinfestivegarment,notunlikeasacredofficial,whoalsosignifiestheprocessionoftheinitiates18. But we have earlier instances of theappearanceoftwoEleusinianhighpriestsalongwithinitiatesinprocessions,forexample,ontheneckofafragmentaryAtticblackfigureamphoraofthesixthcenturyB.C.,todayintheEleusisMuseum(inv.no.467),amonggroupsofinitiates,womenandchildren;thebetterpreservedofthesepriestscarriesatorchandasheafofspits.Inaddition,asimilarbutmoreelaboratemalefigureappearsonanAtticred-figurestamnosattributed to the Polygnotos Painter Group in the Eleusis Museum (inv. no. 636, dating around 440 B.C.). He wears richly decorated garments, a myrtle wreath and the strophion on his head, which designates his priestlyoffice,andalsocarriestwotorches.Thecultofficialsonthesetwovase-paintingsmaypossiblybethedaduch,thesecondcultofficialinrankoftheEleusinianMysteries19. Especially on the Classical stamnos, the daduch is richly dressed with a sleeveless chiton, called an ependytes, and a small mantle. Another depiction of a daduch mayoccurlateronanearly-fourthcenturyAtticvotiverelieffoundinPantikapaion(Kerch),nowin the Hermitage Museum St. Petersburg (inv. no. Pan 160)20.There,acultofficialinashortsleevelesschitonandbootswalksattheheadofaprocessionwithtwochildren,andcarriestwolongtorches.Thechildren,a boy and a girl are possibly the hearth initiates also mentioned in the Eleusinian endowment inscription as a prominent part of the great procession (we will return to the hearth initiates later in this paper)21. Also depictedisHeraklesprotomystes,thatisthemythicalfirst-initiate22. All three initiates carry mystic staffs and approach the Eleusinian goddesses Demeter and Kore. Viewed in this context, the relief representation on the L. N. Nigreinos base dating in Roman Imperial times is the most narrative and highly informative procession scene we have.

18 Clinton1992,64–71onIakchosinartandcult.19 AmphoraEleusisMuseum467:Kourouniotis1923,163–164note7;Leventi2010,119withnote34figs.9–10.Cf.Tiverios 2008, 132 figs. 6a–6b. Stamnos, EleusisMuseum 636 (about 440 B.C.): Kourouniotis 1937, 229–236 fig. 4;Leventi 2010, 118–119 with notes 32 and 33. 20 OnthereliefseeLeventi2010,fig.1,andonthedaduch there, 115–120.21 SeeClinton1974,111;Leventi2010,120–124.22 SeeLeventi2010,120.

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Fig. 6 Votive relief of Hagnousios the Hierophant, Athens, Third Ephorate of Antiquities, Athens Collection inv. no. L 13114 (Photo: author).

Moreover,auniquerepresentationofthemostexaltedEleusiniancultofficialandpriest,thehiero-phant, appears on a Roman period classicizing votive relief in Athens, Third Ephorate of Antiquities, Athens Collection (inv. no. L 13114) found in the vicinity of the Olympieion (fig. 6)23. The hierophant wears a long mantle that extends down to the top of his highly elaborate boots, and a long-sleeved chiton beneath, a priestly strophion on his head and a myrtle wreath in his longish hair (fig. 7).HisfacialtypeinprofileviewtotheleftiscomparabletothatofLakrateides,anEleusinianpriestofthegod,thegoddessandEubouleusalsodonning the priestly strophion, as portrayed on his exceptionally large votive relief in the Eleusis Museum (inv. no. 5079) dating from around 100 B.C.24. The hierophant holds a scepter upright in his right hand, while heclutcheswhatseemtobestalksofgraininhislefthandasheproceedstowardsDemeterandKore.Tosug-gestthatheclaspsmyrtlebrancheswouldbeinappropriateforacultofficial,sincethisistheattribute par excellenceoftheinitiateinEleusinianiconography.Thestalksofgrain,ontheotherhand,wouldbeinaccordwiththeagriculturalaspectoftheEleusiniangoddessesasinvokedbythevotiveinscriptiononthisrelief25. The relief has been dated to the early Antonine period, and thus it is also contemporary with the Nigreinos statue and relief base26. The hierophant is mentioned in the inscription accompanying the relief representa-tiononlywithhisdemoticHagnousios(thatis,hehailsfromtheAtticdemeofHagnous),andhiscultoffice(according to the hieronymy practice) and the inscription informs us that the dedication is made by him to the goddesses of the Thesmophoria festival, that is, Demeter and Kore27.

Inalltheaboverepresentations,theEleusiniancultofficialsarepresentedasfullyandelaboratelydressed in contrast to the initiates of the cult28. The most spectacular element in the depiction of the hiero-phant of Hagnous on his votive relief is admittedly his boots richly decorated with relief motifs (fig. 8), which contrastsstrikinglywiththebarefootednessprescribedfortheinitiatesinEleusiniancult29. The boots are

23 Clinton1974,32–35fig.3;Clinton1992,140no.1fig.55;SourvinouInwood2005,65no.326withpl.;Klöckner2012,34–51,especially34–39figs.3–4.24 Clinton1992,51–53.134no.4fig.5;Klöckner2012,31–51,especially31–34figs.1–2.25 Klöckner2012,39withnote37,suggestsatorchinhisrighthandandmyrtlebranchesinhisleft.Thehierophantcouldnot, however, have held a torch but a priestly scepter, according to Clinton 1992, 69. A torch should have been shown as lit asinnumerousEleusinianscenesinvase-painting,buttherewasnotenoughspaceevenfordepictingfireinpaintontheupperpartofthestaffinquestion.StalksofgrainandascepterinhishandswererecognizedbyClinton1992(seeabovenote23);theseweretheinsigniaofthefirsthierophant, the Eleusian King, Eumolpos: Clinton 1992, 76.26 Clinton1992,139–140no.1;Klöckner2012,34withnote33.27 Klöckner2012,38–39notes51–52;Klöckner2012,37,thinksthatthetorchsherecognizesintherighthandofthehierophant (see above note 25) alludes also to the daduch and the Great Mysteries, but the priestly insignia of these two primeEleusinianofficials seem tobe ratherdistinct in iconography.On the fertility aspect of theThesmophoria: e.g. Clinton 1992, 31. 28 On this opposition and the influence of the outfit of the dramatic stage onEleusinian cult officials’ garments, seeGawlinski2008,162.29 Deshours2006,103;Gawlinski2008,157.160;Gawlinski2012,115–117.OnthecompositionalelementsoftheRomanrelief from the Olympieion area that focus on the hierophant’selaboratedboots,Klöckner2012,35.

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anelementborrowedfromtheiconographyoftheEleusiniandeitiesIakchosandEubouleus30. In addition, theofficialsarealwaysportrayedasbearded,thatis,asmaturemen,whichaccordswellwiththeepigraphictestimonia thatattesttheirappointmentintheselife-timeofficesatamatureage,around40yearsold31. One could suggest, that the hierophant from the deme of Hagnous depicted on the Olympieion relief also provides a clue as to the appearance of the portrait statue of Nigreinos that once stood on the base, and reinforces the suggestionthattheheavierdressedmalefigureonthethreesidesofthatreliefbaserepresentsthehonorand,the sacred herald, Nigreinos, though here depicted without much detail. If this is the case, then we can deduce that the attire of the sacred priests of the Mysteries in Roman Imperial times was rendered less elaborately than that of Classical art, but it remained distinctive and different from that of the Eleusinian initiates. The problemintheidentificationofcultofficialsoftheEleusinianMysteriesintheformofhonorificstatues,suchas that of Nigreinos, is compounded by the issue of their iconographical assimilation with their mythical proto-typesincult,thelesserEleusiniandeitiesIakchosandEubouleus,aswellaswiththemythicalkingofEleusis,Eumolpos, who appear in Classical vase-paintings of Eleusinian cult and mythology scenes. One distinct fea-tureis,however,thattheEleusiniangodsappearasyouthfulfiguresfromthefourthcenturyB.C.onwards32.

Fig. 7 and 8 Votive relief of Hagnousios the Hierophant, Athens, Third Ephorate of

Antiquities, Athens Collection inv. no. L 13114. Details (Photo: author).

AHellenisticstatueofayouthwithlonglockscharacteristicofDionysos,wearingonlyamantleinAthens, National Archaeological Museum (inv. no. 255), has been interpreted as an Eleusian daduch, but neitherhisyouthfulnessnorhisbarechestarecompatiblewiththeappearanceofEleusinianofficialsinart;thereforeheshouldprobablybeidentifiedasIakchos33. On the other hand, his nudity apart from the mantle isratherakintoTriptolemosinfourth-centuryvasepaintingalthoughTriptolemosissecurelyidentifiedonlyseated in his winged wagon in Eleusinian scenes depicting his departure for his sacred mission34.

30 Seee.g.Clinton1992,67figs.17–21.24–25.27.29–31.33–34.49–50.31 Seee.g.forthehierophant, Clinton 1974, 44. Cf. on the daduch, Clinton 1974, 67. 32 Clinton1992,64–83,especially69–70;ontherejuvenationprocess:Leventi2010,117.33 Foradaduch: Geominy1989,fig.43.4.OnthepossibilityofIakchos:Clinton1992,70withnote38fig.64.34 OntheiconographyofTriptolemos:Clinton1992,39–55,especially41–47,e.g. figs.28.34andespeciallythereliefhydria,theso-calledReginaVasoruminSt.Petersburg,HermitageSt525:Clinton1992,78–81.34no.135fig.17.Ontheproblem of the iconography of a standing Triptolemos without his winged wagon, see Leventi 2007, 131 note 89. On the recognition of Ploutos rather than Triptolemos standing between the two Eleusinian goddesses on the Great Eleusinian relief,Athens,NationalArcheologicalMuseum126:Clinton1992,39–55,especially54–55figs.1–2;Clinton−Palagia2003, with pls. 64–66.

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Initiates, unlike thepriestly officials, appearmoreoften in vasepaintings and in sculpture. Fromthe Classical period until Roman Imperial times, the characteristic features of the two stages of initiates (both myethentes/mystai and epoptai/teloumenoi respectively) in the Eleusinian Mysteries is partial nudity. Participants in the Eleusinian cult scenes who are shown in the process of initiation may be covered only in the canonical civic long mantle without a chiton (as attested by the youth on the above Eleusinian stamnos)35. Thus,thestatuetteofaboyofthethirdcenturyB.C.intheEleusisMusem(inv.no.5162)maybeafirst-stageinitiate, who carries a bakchos, while another marble statuette of a boy, dating possibly from the Roman period, Eleusis Museum (inv. no. 5051), who wears a shorter mantle and is accompanied by a bakchos and a piglet may be a full initiate36.Thesechildrenmaywellrepresenttheπαῖδεςἀφ’ἑστίαςμυηθέντες,namelythe child initiates from Hearth, that is from home, meaning that the mystagogue who initiated them was their father or another close relative, who was himself an initiate. One selected child was initiated each year as rep-resentative of all child initiates37.Honorificstatuesoftheaforementionedchildren,erectedbytheirparentsor by the Demos, Areopagos, or Boule in the Eleusinian sanctuaries, are attested by existing inscriptions on surviving bases of the second century B.C. to the third century A.D.38. Further portrait heads of boys or girls dating in the Roman Imperial times which were recovered in the sanctuary at Eleusis or have been associ-ated with the City Eleusinion situated on the SE part of the Athenian Agora, were recognized as initiates from Hearth.Theboyswearaleafcrownontopoftheirheadsandbearalongerlockofhairovertherighttempleoronthebackoftheirheads,theso-calledpubertylock,whichwascutoffataceremonymarkingtheiren-trance to puberty (ephebeia), or, more probably may have denoted their additional (?) initiation in the cult of Isis39.

The renewed interest and devotion of the Roman emperors, such as Hadrian and Marcus Aurelius, in the Eleusinian sanctuary is evidenced by the construction of the mοnumental Greater Propylaia, which imitatedtheMnesikleanPropylaiaoftheAthenianAkropolis,andwasflankedbytwocommemorativearchesdedicated by the Panhellenes, which copied Hadrian’s arch at Athens40. The initiation of both these emperors in the Eleusinian Mysteries is also attested in contemporary literary sources41. In this context, we encounter therevivalofrepresentationsofEleusiniancultofficials,andtheGreatMysteriesProcessionaswell.

BiBlioGRaPhyClinton 1974K.Clinton,TheSacredOfficialsoftheEleusinianMysteries,TransactΑmPhilosSoc64.3(Philadelphia1974).

Clinton 1989aK. Clinton, The Eleusinian Mysteries. Roman Initiates and Benefactors. Second Century B.C. to A.D. 267. ANRW 18.2 (Berlin 1989) 1499–1539.

Clinton 1989bK.Clinton,Hadrian’sContributiontotheRenaissanceofEleusis,in:S.Walker−A.Cameron(eds.),TheGreekRenaissancein the Roman Empire. Papers from the Tenth British Museum Classical Colloquium, BICS Suppl. 55 (London 1989) 56–68.

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35 Kourouniotis1937,236fig.9.36 Kourouniotis1923,165–167figs.8–10;Clinton1974,104–105nos.CandD;Leventi2010,121figs.5.12.Forthefullinitiate as obliged to offer a piglet in contrast to the pre-initiate in the Eleusinian Mysteries see Clinton 2003, 52. 37 Onthisinterpretationofthemuchdiscussedtermofthechildinitiates from Hearth, which seems very persuasive, see Clinton−Palagia2003,266–268.38 Clinton1974,99–113,onsurvivingstatuebases,headsoforiginalstatues,andmarblesstatuettes(cf.abovenote36).39 Harrison1953,54–55no.41pl.28(AgoraMuseuminv.no.S1307).55–56no.42pl.27(inv.no.S403):bothwithscalp-lock.60–61no.46pl.29(inv.no.S1312),alldatingtothesecondquarterofthethirdcenturyA.D.Cf.Clinton1974,105–106nos.E-G,connectedwiththecityEleusinion.Kourouniotis1923,155–162figs.1a-b.2–5;Clinton1974,104figs.11–14(examplesintheEleusisMuseum);Leventi2010,122withnote50.Onthechildhoodlock,Leventi2003,62withnote117.74–75withnote194.OntheconnectionofthislockwithIsiscultassociatedwiththatofDemeterinRomanImperial times: Harrison 1953, 55 note 8. Cf. Goette 1989, with several examples.40 TheGreaterPropylaiaarethoughttohavebegunbeingconstructedbyHadrianandhavebeencompletedbyMarcusAurelius.SeeClinton1989b,especially61–68;Clinton1997,174–176.Cf.Clinton1989a,1516–1525.1527.1529–1534.41 Clinton1989a,1529–1534;Clinton1989b,55–56.63ontheinitiationofHadrian,LuciusVerus,MarcusAureliusandCommodusintheMysteries;Clinton1997,174–176.AntoninusPius,towhosetimethestatueofL.N.Nigreinosseemstobelong,wasneverinitiatedalthoughhewasinterestedintheEleusinianMysteries:seeClinton1989a,1525–1528;cf.Clinton 1997, 174–176.

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