Classical Sculpture: Catalogue of the Cypriot, Greek, and Roman Stone Sculpture in the University of Pennsylvania Museum of Archaeology and Anthropology

345 Pages·2006·14.38 MB·English

by  Irene Bald Romano

Classical Sculpture
Frontispiece.Portrait of a middle-aged woman (102).
MUSEUM MONOGRAPH NO. 125
Classical Sculpture
Catalogue of the Cypriot, Greek, and
Roman Stone Sculpture
in the University of Pennsylvania Museum
of Archaeology and Anthropology
IRENE BALD ROMANO
University of Pennsylvania Museum of Archaeology and Anthropology
Philadelphia
Copyright © 2006 by University of Pennsylvania Museum of Archaeology and Anthropology
3260 South Street, Philadelphia, PA 19104-6324
First Edition
All Rights Reserved
For Katy, Sarah, Lizzie, and David
LIBRARYOFCONGRESSCATALOGING-IN-PUBLICATIONDATA
University of Pennsylvania. Museum of Archaeology and Anthropology.
Classical sculpture:catalogue of the Cypriot, Greek, and Roman stone sculpturein the University of Pennsylvania
Museum of Archaeology and Anthropology / Irene Bald Romano.— 1st ed.
p. cm.
Includes bibliographical references and index.
ISBN-13: 978-1-931707-84-8 (hardcover : alk. paper)
ISBN-10: 1-931707-84-7 (hardcover : alk. paper)
1. Sculpture, Classical—Catalogs. 2. Sculpture, Cypriote—Catalogs. 3. Sculpture—Pennsylvania—Philadelphia—Catalogs.
4. University of Pennsylvania. Museum of Archaeology and Anthropology—Catalogs. I. Romano, Irene Bald. II. Title.
NB87.P45U555 2006
733.3074—dc22
2006001040
Publication of this book has been aided by a grant from the von Bothmer Publication Fund of the
Archaeological Institute of America.
Financial support was also provided by The Samuel H. Kress Foundation and the American Hellenic Institute Foundation.
Printed in the USA on acid-free paper
Table of Contents
Illustrations and Illustrations on CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .vi
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .viii
Catalogue Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .viii
Introduction to the Classical Sculpture Collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ix
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xii
CATALOGUE
Cypriot Sculpture 1–16 ........................................................................1
Ohnefalsch-Richter Collection 1–7 ..........................................................1
Kourion Sculpture 8–11 ...................................................................8
Other Cypriot Sculpture 12–16 ............................................................15
Greek Sculpture 17–43 .......................................................................20
Attic Grave Monuments 17–23 ............................................................20
East Greek Grave Stelai 24–26 .............................................................33
Hellenistic Divine and Idealized Images 27–34 .................................................37
Late Hellenistic/Imperial Roman Female Heads 35–41 ..........................................60
Roman Copies/Adaptations of Greek Works 42–43 .............................................67
Sculpture from the Sanctuary of Diana Nemorensis at Lake Nemi 44–82 .................................73
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Cult Statue Fragments 44–45 ..............................................................84
Votive Statuettes: Female 46–58 ...........................................................90
Votive Figures: Male 59–72 ..............................................................111
Reliefs 73–74 .........................................................................142
Marble Vessels: The CHIO Dedication 75–80 ................................................146
Marble Furniture Fragments 81–82.........................................................160
Sculpture from Colonia Minturnae 83–90 ........................................................162
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Portraits 83–86 ........................................................................164
Divine and Idealized Images 87–89 ........................................................176
Miscellaneous 90 .......................................................................183
Sculpture from Teanum Sidicinum 91–92 ........................................................185
Sculpturefrom NysaScythopolis 93–101 ........................................................189
Other Roman Sculpture102–124 ..............................................................203
Portraits 102–112 ......................................................................203
Divine and Idealized Images 113–120 ......................................................230
Reliefs 121–124 .......................................................................250
Uncertain Works or Forgeries 125–129 ..........................................................271
Palmyrene and Graeco-Parthian Sculpture 130–154 ................................................280
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .280
Palmyrene Relief Sculpture 130–147 .......................................................281
Graeco-Parthian Sculpture 148–154 .......................................................304
Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312
Concordance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .326
Illustrations
FIGURES
Frontispiece.102Portrait of a middle-aged woman (MS 4919)
Map of Mediterranean and Near Eastern world . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .x
1. Mrs Joseph H. Drexel,1900, oil on canvas, Thomas Eakins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xi
2. Sanctuary of Apollo Hylates, Kourion, Cyprus. View of the Southeast Building, looking south . . . . . . . . . . . . . .8
3. Sanctuary of Diana Nemorensis, Lake Nemi, Italy. View from the town of Nemi above . . . . . . . . . . . . . . . . . . . . . .74
4. Sculptures from the Sanctuary of Diana Nemorensis, Lake Nemi, in a storage room in Italy . . . . . . . . . . . . . . .76
5. MS 4035: marble cornice fragment from Sanctuary of Diana Nemorensis in UPM . . . . . . . . . . . . . . . . . . . . . . .77
6. Bronze figurines of Diana from Nemi in UPM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
7. Colonia Minturnae. View of Republican Forum at center with podium of Temple B . . . . . . . . . . . . . . . . . . . .163
8. NysaScythopolis (Beth Shean/Beisan), Israel. View of tell at end of 1928 season . . . . . . . . . . . . . . . . . . . . . .190
9. Marble block joining UPM Puteoli block (123)in the Staatliche Museen, Berlin (SK 887) . . . . . . . . . . . . . .259
10. Viewer’s left side of Puteoli marble block in the Staatliche Museen, Berlin (SK 887) . . . . . . . . . . . . . . . . . . . .259
11. Joined casts of the Puteoli blocks in the UPM (123)and in Berlin (SK 887) in Museo
della Civiltà Romana, EUR, Rome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261
12. Palmyra, Tower Tomb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .280
Illustrations on CD
CD Fig. 1. “Worlds Intertwined: Etruscans, Greeks, and Romans” exhibition, UPM. Seated Dionysos/Bacchus with
lion (117).
CD Fig. 2. Hellenistic display in Greek World Gallery, UPM, with Menander head (43)and small Herculanensis
(125).
CD Fig. 3. Roman World Gallery, UPM, opened March 2003. Puteoli relief (123)in center.
CD Fig. 4. Roman World Gallery,UPM. Display of sculptures from the Sanctuary of Diana, Lake Nemi.
CD Fig. 5. Plan of Sanctuary of Apollo Hylates, Kourion, Cyprus (54-28-21).
CD Fig. 6. 8Idealized female head, Kourion, Cyprus.
CD Fig. 7. 19Attic grave relief (MS 5675).
CD Fig. 8. 22Attic grave relief (MS 5470).
CD Fig. 9. 23Attic grave relief (63-6-1).
CD Fig. 10. 27Head of a goddess (30-70-1).
CD Fig. 11. 29Statuette of Aphrodite Anadyomene (“Benghazi Venus”)(69-14-1).
CD Fig. 12. 33Nude male torso, frontal view (MS 5461).
CD Fig. 13. 33Nude male torso, 3/4 left profile (MS 5461).
Illustrations on CD
CD Fig. 14. 33Nude male torso, back view (MS 5461).
CD Fig. 15. 37Small head from statuette: Aphrodite? (MS 5700).
CD Fig. 16. 42Herm head (30-51-1).
CD Fig. 17. View across Lake Nemi, Italy, to north.
CD Fig. 18. Sanctuary of Diana Nemorensis, Lake Nemi, Italy. View from the town of Nemi above.
CD Fig. 19. Plan of Sanctuary of Diana Nemorensis, Lake Nemi, 1885.
CD Fig. 20. Sanctuary of Diana Nemorensis, Lake Nemi. Vaulted votive room.
CD Fig. 21. 44Cult statue head: Diana(?), Nemi (MS 3483).
CD Fig. 22. 47Statuette: Diana, Nemi (MS 3453).
CD Fig. 23. 54Small female head: Diana(?), Nemi (MS 3478).
CD Fig. 24. 62Statuette of nude youth, Nemi (MS 3465).
CD Fig. 25. 65Statue of a satyr with wineskin, Nemi, frontal view (MS 3452).
CD Fig. 26. 65Statue of a satyr with wineskin, Nemi, back view (MS 3452).
CD Fig. 27. 72Hermbust of Dionysos, Nemi (MS 3475).
CD Fig. 28. 73Relief plaque of Pan and Dionysos, Nemi (MS 3459).
CD Fig. 29. 74Architectural relief fragment: scroll and pygmies with crocodile, Nemi (MS 3460).
CD Fig. 30. 77Marble griffin cauldron vessel, Nemi (MS 3448).
CD Fig. 31. Plan of Colonia Minturnae, Italy, ca. 1933.
CD Fig. 32. 83Portrait of “Julius Caesar,” Minturnae (32-36-64).
CD Fig. 33. Cf. 94.Limestone figured capital with a theater mask, Beth Shean.
CD Fig. 34. Cf. 94.Limestone figured capital with a bust of Dionysos/Bacchus, Beth Shean.
CD Fig. 35. 102Portrait of a middle-aged woman (MS 4919).
CD Fig. 36. 103Female imperial portrait head (MS 213).
CD Fig. 37. 105Portrait of a boy (MS 4030).
CD Fig. 38. 106Portrait head of youth (MS 5702).
CD Fig. 39. 110Portrait head of Caracalla (E 976).
CD Fig. 40. 111Male head and bust (MS 250).
CD Fig. 41. 112Portrait of Constantius II(?) (L-51-1).
CD Fig. 42. 114Statuette of female goddess in flight (MS 4029).
CD Fig. 43. 116Idealized nude torso (MS 4018).
CD Fig. 44. 117Seated Dionysos/Bacchus with lion, frontal view (MS 5483).
CD Fig. 45. 117Seated Dionysos/Bacchus with lion, right profile (MS 5483).
CD Fig. 46. 117Seated Dionysos/Bacchus with lion, back view (MS 5483).
CD Fig. 47. 117Seated Dionysos/Bacchus with lion, head (MS 5483).
CD Fig. 48. 117Seated Dionysos/Bacchus with lion, detail (MS 5483).
CD Fig. 49. 122Head of a legionary (54-3-1).
CD Fig. 50. 123Marble relief block, Puteoli (MS 4916).
CD Fig. 51. 123Marble relief block, Puteoli, detail (MS 4916).
CD Fig. 52. 124Sepulcral relief with Dionysiac procession (MS 4017).
CD Fig. 53. 132Loculus relief: female bust, Palmyra (B 8904).
CD Fig. 54. 141Loculus relief: banquet scene, Palmyra (B 8902).
vii
Preface
T
his is the first complete published catalogue of the Clas- and Anthropologyby Jean MacIntosh Turfa (2005: Cat. no.
sical sculpture collectionin the University of Pennsyl- 228: head of sphinx, from Narce; Cat. no. 302: female bust,
vania Museum of Archaeology and Anthropology (UPM). from Tuscania; Cat. no. 230: relief cippus fragment, from
In 1921, S. B. Lucepublished a Catalogue of the Mediterranean Chiusi; Cat. no. 295: inscribed cinerary chest and lid of
Section, The University Museumwith brief descriptions, but Arnth Remzna; Cat. no. 229: winged lion, possibly from
no illustrations, of the key pieces in the existing collection, Vulci; and Cat. no. 293: sarcophagus, from Cività Musarna).
including the sculpture, pottery, and bronzes. Lucedid not With the exception of a female head from Kourionin
include the Classical sculptures under the domain of the the Roman World gallery (8)(CD Fig. 6) and a male stat-
other curatorial divisions of the Museum, such as the Near uette from Kourion (11) in the Greek World gallery, the
Eastern and EgyptianSections. Since Luce’s catalogue, many Cypriotsculpture remains in storage awaiting a future gallery
of the individual stone sculptures in the collection have devoted to Cyprusand the Aegean worlds. Likewise, only two
been published in various formats and in scattered sources, of the Palmyreneor Graeco-Parthiansculptures are currently
though many have never been published. on display in the Roman World gallery (132and 142), and
The goal of this volume is to present a comprehensive only one of the sculptures from Nysa Scythopolis (Beth
catalogue of all of the Cypriot, Greek, and Roman stonesculp- Shean/Beisan) (93)is exhibited in the Greek World gallery.
tures in the Museum, including relevant pieces in the Near
Easternand EgyptianSections, and to provide for each piece
Catalogue Organization
a complete description with measurements and report of
condition, a list of the previously published sources, and a com- This catalogue is mainly organized into groupings by
mentary reflecting the most recent scholarship, along with provenience, so that the excavated collections from Kourion,
ample photographic documentation. The goal is also to present Nemi, Minturnae, Teanum Sidicinum,NysaScythopolis, and
auseful work for various audiences. The writing of this cata- Palmyrahave been treated together, each with an introduction.
logue has been a precarious balance of providing information The Cypriotcollection also comprises a coherent corpus, and
that the general reader will find informative and interesting, since it includes the earliest material in this catalogue, it is
that will stimulate students to engage in further study on some presented first, though the Cypriotpieces range in date from
of the topics raised by individual pieces or groups of sculptures, the late 7th c. BCto the Roman period. Within this category
and that will satisfy a need in the scholarly community to the sculptures collected by Max Ohnefalsch-Richter (1–7)
finally have in their hands a work that provides an up-to-date have been grouped together with an introduction, followed by
and comprehensive look at a significant Classical sculpture those excavated at Kourion(8–11), with pieces with no known
collectionin one of the world’s great archaeology museums. provenience at the end of the Cypriotcategory. Throughout
The impetus for writing this catalogue of the Classical the catalogue in general, within each smaller grouping, the
sculpture in the UPM came from the preparation for the entries are arranged with representations of females first and in
renovation and reinstallation of the Museum’s permanent chronological order, followed by males in chronological order,
Classical galleries, “Worlds Intertwined: Etruscans, Greeks, then pieces of questionable gender and animal figures.
and Romans,” that opened to the public in March 2003 (CD In the broad category of Greek sculpture, Atticgrave
Figs. 1–4). Almost half (approximately 70) of the stonesculp- monuments (17–23), including one of the Roman period
tures included in this catalogue are on display in these new (23), and East Greek grave stelai (24–26) are grouped
Classical galleries.Six of the ten Etruscanstonesculptures in together and presented in more or less chronological order.
the UPM’s collection are also exhibited in the Etruscan Divine and idealized images of the Hellenisticperiodform
World gallery but are not included in this corpus because they aseparate category (27–34), followed by a group of female
have been thoroughly treated in the Catalogue of the Etruscan heads which can be dated by style to either the Late
Gallery of the University of Pennsylvania Museum of Archaeology Hellenisticor the Imperial Roman periods (35–41). Lastly,
Preface
under the broad category of Greek sculpture, but listed lonia, ranging in date from late 7th c. BCto 4th c. AD.The
separately, are two sculptures that are Roman copies or majority of the sculptures are made of marbleor limestone,
adaptations of well-known Greek works (42–43). though there are a handful of pieces in alabaster(150–152),
The sculptures from the Sanctuary of Diana Nemorensis basalt(107), and red granite(110). As is the case for many
at Lake Nemiare presented next, as most of these belong to parts of the UPM’s extraordinary collections, what sets this
the Late Hellenistic/Republican period, though several can be corpus of Classical sculpture apart from many in the United
dated to the Early Imperial period (44–82). Likewise, the States is not its size but the large number of pieces which were
sculptures from Colonia Minturnaeare treated as a distinct excavated, for which provenience is known, or for which the
group with pieces ranging from the second half of the 1st c. Museum has archival records. Excavated sculptures from
BCto the 2nd or 3rd c. AD(83–90). The pieces from Teanum Kourion (8–11), the Sanctuary of Diana at Lake Nemi
Sidicinum(91–92)and a group of nine sculptures in marble (44–82), Colonia Minturnae(83–90), Teanum Sidicinum
and limestonefrom the Museum’s excavations in the 1920s at (91–92), NysaScythopolis(93–101), and Koptos(110)are
NysaScythopolis(Beth Shean/Beisan) in ancient Palestine important in this regard, though these pieces or groups repre-
(93–101)follow. The remaining Roman sculptures are organ- sent only a portion of the excavated corporafrom these sites.
ized under the broad heading of “Other Roman Sculpture” In addition, provenience (at least the site) can be estab-
(102–124) and are divided into “Portraits”; “Divine and lished for approximately 30 other sculptures in this corpus,
Idealized Images”; and “Reliefs.” Again, where appropriate, including 7 Cypriotworks in the Ohnefalsch-Richtercollec-
female images are presented first and in chronological order, tion (1–7), around 18 from Syrian Palmyra(130–147), and
followed by male. A small categoryof “Uncertain Works or other important individual pieces such as the block with the
Forgeries” includes pieces that are suspected of being forgeries erased inscriptionand relieffrom Puteoli(123), the Menander
(125 and 126), as well as pieces that are difficult to place head from Montecelio(43), and the portraits from Caesarea
because of their fragmentaryor crude nature (127–129). As Cappadociae (108), Batna (El Bab) (112), and Hierapolis
discrete groupings from the fringes of the Classical world, (Membidj) (104). Nevertheless, throughout the research
Palmyrene relief sculpture and Graeco-Parthian sculpture process, I was mindful of the difficulties of examining indi-
formthe final categories in this catalogue (130–154). vidual pieces or groups of sculptures in isolation, with or with-
For each catalogue entry,the heading includes the fol- out provenience, and of trying to place them in the context
lowing information in this order: catalogue number; short of their chronological, geographical, or cultural sphere. For the
title; UPM accession number (see concordance of accession larger groups of sculptures, like those from Nemi, Minturnae,
numbers and catalogue numbers on p. 325); provenience, if Kourion, Nysa Scythopolis, and Palmyra, I have provided
known; assigned date; material (with stable isotopic results some introductory remarks in an attempt to painta broader
for those pieces for which we were able to conduct this contextual picture. A number of individual sculptures in this
analysis; see below pp. 80–81 for discussion of the technique collection werepurchased from dealers or accepted as gifts for
and references); and measurements using the metric system. which there is little or no information regarding provenience.
Next is a discussion of the acquisition of the piece, to the The UPM acquired the majority of the sculptures in
extent this is known, followed by all previous bibliographic this corpus between the 1880s and 1890s—when some of the
citations, including both brief mentions and fuller publica- Palmyreneand Graeco-Parthianmaterial, the Ohnefalsch-
tions. Under the heading of condition is a discussion of the Richter Cypriot collection, and the Nemi material were
present state of the piece of sculpture, while the description purchased—and the 1930s. There were few major acquisitions
is a fuller clinical analysis. The extent of the commentary and after that time, with the exception of the Kourionmaterial
its nature vary, as each piece presents unique issues. A discus- which was excavated by the Museum and accessioned in
sion of chronology is included in most of the entries, while 1954, the head of the Roman legionarypurchased in 1954
questions of identification, provenience, function, tech- (122), the gift of an Atticgrave monument in 1963 (23), and
nique, meaning, and iconography are addressed as warranted. the “BenghaziVenus” acquired as a gift in 1969 (29).
It was mainly with funds provided by Lucy Wharton
Drexel(Mrs. Joseph H. Drexel; 1838–1912) (Fig. 1), a promi-
Introduction to the Classical Sculpture
nent Philadelphia philanthropist and advisory member of the
Collection
Museum’s Board of Managers from 1897 to 1912, that many
This corpus of Classical sculpture from the UPM of the earliest purchases of Classical sculpture were made,
includes 154 works from Italy, Greece, Cyprus, Asia Minor, from the 1890s to around 1911. Purchases were made from
North Africa, Roman Syria and Palestine, Egypt, and Baby- various collectors and dealers, some in Italy though contacts
ix