Corinth - Sculpture: The Reliefs From The Theater (Volume IX, Part II)

CORINTH RESULTS OF EXCAVATIONS CONDUCTED BY THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS VOLUME IX PART II S...

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CORINTH RESULTS

OF EXCAVATIONS

CONDUCTED

BY

THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS

VOLUME IX PART II

SCULPTURE THE

RELIEFS

FROM

THE

THEATER

BY

MARY C. STURGEON

v3

THE AMERICAN

SCHOOL

OF CLASSICAL

PRINCETON,

STUDIES

NEW JERSEY

1977

AT ATHENS

ALL RIGHTS RESERVED

Libraryof CongressCataloging in Publication Data Sturgeon, Mary Carol, 1943Sculpture. (Corinth; v. 9, pt. 2) A revision of the author'sthesis, Bryn Mawr College, 1971. Bibliography:p. 1. Friezes-Greece-Corinth. 2. Corinth, Greece. Theater. 3. Relief (Sculpture)-Greece-Corinth. I. Title. II. Series: American School of Classical Studies at Athens. Corinth; v. 9, pt. 2. DF261.C65A6 vol. 9, pt. 2 [NB91.C615]938'.7s ISBN 0-87661-092-0 [733',3'09387]77-383

PRINTED IN GERMANY AT J. J. AUGUSTIN, GLtCKSTADT

PREFACE T he excavationsof the AmericanSchool of ClassicalStudiesat AncientCorinth,now past their 75thyear,werebegunin 1896,and in the sameyearthe site of the ancienttheaterwas firstinvestigated.Sincethen, the theaterhas beenthe site of a numberof yearlycampaigns,the last of whichtook place in 1929 underT. L. Shear.Most of the piecesin the presentcataloguewere found in the early excavationsin the theater. To EdwardCapps,Jr. was allottedthe task of studyingand publishingthe theaterfriezes.Whilehe was in CorinthMr. Cappsnumberedand preparedan inventorylist of 375 marblesdiscoveredduring the course of the Shearexcavations.Mr. Capps'early death in November,1969 preventedhis final publicationof the friezes.It is not surprisingthat the task of publishingnot only the reliefsfrom the theater,but also all sculpturefound after 1923, may have proved overwhelming.Mr. Capps left a manuscriptof the Archaicand Classicalsculpturesat Corinth,but no notes or paperscould be found whichdealtwith the theaterfriezesdespitethe intensivesearchconductedat his home and in his office at OberlinCollege by Mrs. Capps, Mr. CharlesK. Williams,II, Directorof the AmericanSchool Excavationsat Corinth,and by Mr. Capps'colleagues.The possibleexistenceof a manuscriptwas suggestedby the notation E.C. II, p. -, which appearsin Mr. Capps'inventorylist. Consequently, researchon the theatersculptureneededto startanew. Sincemy workbegan,anotherbody of friezefragmentswas foundduringthe summerof 1970,when I dismantleda marblepile whichhad been in the east basementstoreroompresumablysincethe completionof the new wing of the CorinthMuseumin September,1950.The contentsof this marblepile arelikelyto derivefromexcavationsconductedby Mr. Shear.Fromthe severalthousandfragmentsin the pile I selectedfor inventory316 figuredand non-figuredpieceswhichin style, materialand workmanshipseemedto belongto the theaterfriezes. The piecesin the presentcataloguehavebeen selectedfrom nearly800 fragmentspossiblybelonging to the threefriezes.Generaldiscussionsof eachfriezeprefacethe catalogueentriesfor that section.Each intelligibleif the readershouldwantto check a singlepiece,whilethe catalogueentryis independently chapteron each seriesof reliefsalso formsa discussionindependentof the catalogueitself.This procedurewas felt best, even at the risk of a certainamountof repetition. My studyof the friezestook placeboth at BrynMawrCollegein the year 1970-71,with the aid of a Fellowshipfrom the Departmentof Classicaland Near EasternArchaeology,and in AncientCorinth during1971-72,duringmy tenureas CorinthSecretary.The manuscript,in somewhatdifferentform, was submittedas a doctoraldissertationto the Facultyof BrynMawrCollegein April of 1971. I am deeplyindebtedto ProfessorBrunildeS. Ridgwayfor herconstantinspirationand adviceduring the preparationof this manuscript,and to ProfessorMachteldJ. Mellinkfor valuableencouragement and suggestions.ProfessorsMabelLang, CarlNylanderand Kyle M. Phillipshave also givenfreelyof theircomments.For permissionto studyand publishthe theaterreliefsas well as for financialsupport for photographyand drawingsI owe especialthanksto Mr. CharlesK. Williams,II, Directorof the CorinthExcavations.ProfessorRichardStillwellvery kindly discussedwith me the excavationsand architecturalproblemsof the theater.Conservationand restorationof some of the betterpreserved pieceswas undertakenby StellaBouzaki.Most of the photographsare the workof Ino Ioannidouand Lenio Bartzioti;the slabs on displayin the museumwere photographedat night by MarciaLanger.

vi

PREFACE

Many thanks are extended to Diane G. Peck for her great care and patience in making the reconstructed drawings and her exacting eye for checking my interpretationsof the fragments; late changes in a few reconstructions were made by Louis E. McAllister,Jr. The schematic restoration of the scaenae frons was prepared by Karle Packard III. Warm appreciation is extended to Professor Evelyn B. Harrison, Dr. Nancy Bookidis and Kathryn Butt for their advice and help with details, as well as to Elizabeth Sturgeon and Polly Martin, who worked as volunteers for me in the Corinth Museum during the summer of 1970. ANCIENTCORINTH APRIL, 1972

MARY C. STURGEON

TABLE OF CONTENTS ..

PREFACE ......... .

....

LIST OF ILLUSTRATIONS..

BIBLIOGRAPHYAND ABBREVIATIONS . I. INTRODUCTION

..

.............

V ..

..

.............

ix iii

............................... ...

........................

........

EXCAVATIONHISTORYOF THE FRIEZE FRAGMENTS

. ........

CATALOGUES..

.V . ...........

..

....

1

.................

.

........

1

..

.................

ATTRIBUTION:TECHNICALFEATURES ................

2 3

.....

4

MARBLE................ DATE ......

4

.................. ..

..

II. THE GIGANTOMACHY

.

STYLE ..

..

CATALOGUE.

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

5 7 20

..

...........................

.55

.................... III. THEAMAZONOMACHY................ ................................. CATALOGUE

67

IV. THE LABORSOF HERAKLES .................................... .................. CATALOGUE ............

FRIEZES ...............1................ VI. THEATER FRIEZES .... THEATER .. .. COMPARATIVE THE CORINTHTHEATER....................................

..

......................

..............

FRAGMENTS ............ V. UNATTRIBUTED .. .. .. ................ CATALOGUE ......

..

..

..

....

RECONSTRUCTIONOF THE CORINTHTHEATERFRIEZES

.

......... ....

............. ..

..

....

....

............

..

..

..

....

.. .

......124 ... .

91 103 115 115

124 129 131

VII. SUMMARY................................................136 CONCORDANCEOF INVENTORYAND CATALOGUENUMBERS .......................

138

..

143

INDEX............... PLATES

....................................

LIST OF ILLUSTRATIONS PLATES THEGIGANTOMACHY 1 Slab 1 Selene: G 1-1 2 Slab 1 Selene: G 1-2, G 2; reconstruction 3 Slab 2 Kastor(?): G 3-1, G 3-2, G 4 4 Slab 2 Kastor (?): reconstruction. Slab 3 Dionysos: reconstruction 5

Slab 3 Dionysos: G 5-1, G 5-2, G 5-3, G 6

6 Slab 4 Hermes: G 7-1, G 7-2, G 8-1; reconstruction 7 Slab 4 Hermes: G 7-3, G 7-4, G 8-2, G 8-3 8 Slab 5 Herakles: G 9-1, G 9-2, G 9-3; reconstruction 9 Slab 5 Herakles: G 10-1, G 10-2 10 Slab 6 Hera: G 11-1, G 11-2; reconstruction 11 Slab 6 Hera: G 11-3, G 12 12 Slab 7 Zeus: G 13-2, G 14-2; reconstruction 13 Slab 7 Zeus: G 13-1, G 14-1 14 Slab 8 Athena: G 15-1, G 15-2, G 15-3, G 16-1 15 Slab 8 Athena: G 15-4, G 16-1, G 16-2; reconstruction 16 Slab 9 Ares: G 17, G 18-1, G 18-2, G 18-3; reconstruction 17 Slab 10 Hephaistos: G 19, G 20-1, G 20-2, G 20-3; reconstruction 18 Slab 11 Aphrodite: G 21-1, G 21-3, G 22 19 Slab 11 Aphrodite: G 21-2; reconstruction. Slab 12 Poseidon: G 24-3; reconstruction 20 Slab 12 Poseidon: G 23, G 24-1, G 24-2 21 Slab 13 Amphitrite: G 25-2, G 26 22 Slab 13 Amphitrite: G 25-1, G 25-3; reconstruction. Slab 14 Nereus: reconstruction 23 Slab 14 Nereus: G 27, G 28-1, G 28-2 24 Slab 15 Artemis: G 29, G 30-1, G 30-2; reconstruction 25 Slab 15 Artemis: G 30-3, G 30-4, G 30-5 26 Slab 16 Apollo: G 31-1, G 31-2; reconstruction 27 Slab 16 Apollo: G 32 28 Slab 17 Leto (?): G 33-1, G 33-2, G 34; reconstruction 29 Slab 18 Helios (?): G 35, G 36-1, G 36-2; reconstruction

LIST OF ILLUSTRATIONS

X

30 Arm fragments: G 37-G 45, G 47, G 48 31 Arm fragments: G 46, G 49-G 56 32 Arm and leg fragments: G 57-G 65 33 Leg fragments: G 66-G 71 34 Leg fragments: G 72-G 79 35 Leg fragments: G 80-G 86 36 Coil fragments: G 87-G 93 37 Coil fragments: G 94-G 104 38 Coil fragments: G 105-G 113 39 Miscellaneous fragments: G 114-G 118 40 Drapery fragments: G 119-G 127 41 Drapery fragments: G 128-G 135

THEAMAZONOMACHY 42 Slab 1: A 1; reconstruction 43 Slab 2: A 2-1, A 2-2; reconstruction 44 Slab 3: A 3-1, A 3-2; reconstruction 45

Slab 3: A 3-3, A 3-4, A 3-5, A 3-6, A 3-7, A 3-8, A 3-9

46 Slab 4: A 4-1 47

Slab 4: A 4-2, A 4-3; reconstruction. Slab 5: reconstruction

48 Slab 5: A 5-1, A 5-2 49

Slab 6: A 6-1

50 Slab 6: A 6-2; reconstruction. Slab 7: A 7-2; reconstruction 51 Slab 7: A 7-1, A 7-3, A 7-4, A 7-5 52 Slab 8: A 8 53 Slab 8: reconstruction. Slab 9: reconstruction 54 Slab 9: A 9-1, A 9-2, A 9-3, A 9-4, A 9-5, A 9-6 55 Slab 10: A 10-1, A 10-2, A 10-3, A 10-4 56 Slab 10: reconstruction. Slab 11: reconstruction 57 Slab 11 A 11-1, A 11-2, A 11-3, A 11-4, A 11-5, A 11-6, A 11-7 58 Slab 12: A 12-1, A 12-2; reconstruction 59 Slab 12: A 12-3, A 12-4, A 12-5 60 Slab 13: A 13-1, A 13-2, A 13-3; reconstruction 61 Slab 13: A 13-4, A 13-5, A 13-6 62 Slab 14: A 14-1; reconstruction 63 Slab 14: A 14-2, A 14-3 64 Arm and leg fragments: A 15-A 27

LIST OF ILLUSTRATIONS

xi

65 Leg and drapery fragments: A 28-A 35 66 Drapery, horse and axe fragments: A 36-A 47 THE LABORS OF HERAKLES

67 Slab 1 Herakles in repose: H-i 68 Slab 1 Herakles in repose: reconstruction. Slab 2 Antaios (?): H 2-1, H 2-2; reconstruction 69 Slab 3 The Augeian Stables: H 3-1, H 3-2; reconstruction 70 Slab 4 The Stymphalian Birds: H 4-2, H 4-3; reconstruction 71 Slab 4 The Stymphalian Birds: H 4-1 72 Slab 5 The Nemean Lion: H 5-1, H 5-2, H 5-3, H 5-4; reconstruction 73 Slab 6 The Lernaian Hydra: H 6-1, H 6-2, H 6-3; reconstruction 74 Slab 7 The Keryneian Hind: H 7-1, H 7-2, H 7-3; reconstruction 75 Slab 8 The Cretan Bull: H 8-1, H 8-2, H 8-3; reconstruction 76 Slab 9 The Mares of Diomedes: H 9-1 77 Slab 9 The Mares of Diomedes: H 9-2, H 9-3; reconstruction 78 Slab 10 The Amazon's Girdle: H 10-1, H 10-2, H 10-3; reconstruction 79 Slab 11 Kerberos: H 11 80 Slab 11 Kerberos: reconstruction. Slab 12 Geryon: H 12-1, H 12-2 81 Slab 12 Geryon: H 12-3; reconstruction 82 Slab 13 The Erymanthian Boar: H 13-1 83 Slab 13 The Erymanthian Boar: H 13-2; reconstruction. Slab 14 The Apples of the Hesperides: H 14-1, H 14-2; reconstruction UNATTRIBUTED

84 Arm fragments: U 1-U 13 85 Leg fragments: U 14-U 22 86 Leg fragments: U 23-U 32 87 Foot fragments: U 33-U 40 88 Miscellaneous fragments: U 41-U 51 89 Miscellaneous fragments: U 52-U 58 90 Miscellaneous fragments: U 59-U 64 RESTORATION OF THE CORINTH THEATER

91a. Schematic restoration of the scaenae frons b. Restored plan of the theater of the second century

LIST OF ILLUSTRATIONS

xii

FIGURES IN TEXT

2 The Amazonomachy

.. ....

......

.. .. .. ..............

1 The Gigantomachy .......... ....

3 The Labors of Herakles ......................

.. .. .. .. ..

....

.......... ...............

....

....

........ ..

8-9 56-57 92-93

BIBLIOGRAPHY AND ABBREVIATIONS AJA = American Journal of Archaeology Akurgal, E., Ancient Civilisationsand Ruins of Turkey, Istanbul, 1969. AltPerg = Altertilmer von Pergamon, III, ii, H. Winnefeld, Die Friese des grofien Altars, Berlin, 1908. VII, F. Winter, Die Skulpturenmit Ausnahmeder Altarreliefs, Berlin, 1908. Amelung, Vatican = W. Amelung, Die Skulpturendes VaticanischesMuseums, Berlin, 1908. Amelung, W., "Zerstreute Fragmente romischer Reliefs: 1. Gigantomachie," R6mMitt 20, 1905, pp. 121-130. Anderson, J. K., Ancient Greek Horsemanship,Berkeley, 1961. AntCl = L'Antiquite classique. Anti, C., Teatri greci arcaici, Venice, 1947. Apollodoros, II, 5. Arias, P. E., II teatro greco fuori di Atene, Florence, 1934. Ashmole, B. and N. Yalouris, The Sculpturesof the Templeof Zeus, London, 1967. AthMitt = Mitteilungendes deutschenarchdologischenInstituts, AthenischeAbteilung. Aurigemma, S., The Baths of Diocletian and the Museo Nazionale Romano, Rome, 1963. Babbitt, F. C., "The Theater at Corinth, 1896," AJA, ser. 2, 1, 1897, pp. 481-494. Bartoccini, R., "II sarcofago di Velletri," Rivista dell'Istituto d'Archeologia e Storia dell'Arte, n.s., 7, 1958, pp. 129-214. BCH = Bulletin de correspondancehelldnique. Becatti, G., The Art of Ancient Greece and Rome, New York, 1969. Benndorf, F. and G. Niemann, Das Heroon von Gjolbaschi-Trysa,Vienna, 1889. Berve, H. and G. Gruben, Greek Temples, Theatresand Shrines, New York, 1962. Beschi, L., "Le nuovo repliche dell'Artemide tipo Rospigliosi," Sculturegreche e romanedi Cirene, Padua, 1959. Bianchi Bandinelli, R., E. V. Caffarelliand G. Caputo, The BuriedCity: Excavationsat Leptis Magna, New York, 1966. Bieber = M. Bieber, The Sculptureof the Hellenistic Age, rev. ed., New York, 1961. Bieber, M., The History of the Greek and Roman Theater, Princeton, 1961. Bliimel, C., "Der Fries des Tempels der Athena Nike in der attischen Kunst des fiinften Jahrhunderts vor Christus," Jahrb 65-66, 1950-1951, pp. 135-165. Borchhardt, J., "Limyra: Sitz des lykischen Dynasten Perikles," IstMitt 17, 1967, pp. 151-167. Brenk, B., "Die Datierung der Reliefs an Hadrianstempelin Ephesos und das Problem der tetrarchischenSkulptur des Ostens," IstMitt 18, 1968, pp. 238-258. Brommer = F. Brommer, Die Metopen des Parthenon, Mainz, 1967. Brommer, F., Herakles, Cologne, 1953. -, Vasenlistenzur griechischenHeldensage, Marburg/Lahn, 1956. Broneer, O., "Excavations in Corinth, 1934," AJA 39, 1935, p. 69. -, The Odeum. See CorinthX. Brunn-Bruckmann= H. Brunn, F. Bruckmann, P. Arndt and G. Lippold, Denkmdlergriechischerund rimischer Skulptur, Munich, 1888-. Bulle, H., "Untersuchungen an griechischen Theatern," AbhandlungenBayer. Akad. Wissenschaften,phil.-hist. Klasse XXXIII, Munich, 1928. Capps, Classical Studies = E. Capps, Jr., "The Labors of Herakles from Corinth," Classical Studies Presented to Edward Capps, Princeton, 1936, pp. 46-57. Capps, E., Jr., "A Gigantomachy and an Amazonomachy from Corinth," AJA 38, 1934, pp. 188-189. -, "Gleanings from Old Corinth," AJA 54, 1950, pp. 265-266. -, "Pergamene Influence at Corinth," Hesperia 7, 1938, pp. 539-556. Caputo, G., Il teatro di Sabratha e l'architetturateatrale africana, Rome, 1959.

xiv

BIBLIOGRAPHY

AND ABBREVIATIONS

Carpenter, R., "The Lost Statues of the East Pediment of the Parthenon," Hesperia 2, 1933, pp. 1-88. -, The Sculptureof the Nike Temple Parapet, Harvard, 1929. Caskey, L. D., Catalogue of Greek and Roman Sculpture,Cambridge, Mass., 1925. Charbonneaux, J., "Deesses en action," Marsyas, Suppl. I, Essays in Honor of Karl Lehmann,New York, 1961. Corinth = Corinth, Results of Excavations Conductedby the American School of Classical Studies at Athens I, ii. Richard Stillwell, Robert L. Scranton, and Sarah Elizabeth Freeman, Architecture,Cambridge, Mass., 1941. I, iii. Robert L. Scranton, Monumentsin the Lower Agora and North of the Archaic Temple,Princeton, 1951. II. Richard Stillwell, The Theatre, Princeton, 1952. VIII, i. B. D. Meritt, Greek Inscriptions1896-1927, Cambridge, Mass., 1931. IX. Franklin P. Johnson, Sculpture1890-1923, Cambridge, Mass., 1931. X. Oscar Broneer, The Odeum, Cambridge, Mass., 1931. CRAI = Comptes rendusde l'Academie des Inscriptionset Belles Lettres. Crome, J., Die Skulpturendes Asklepiostempelsvon Epidauros, Berlin, 1951. Daux, G., Guide de Thasos, Paris, 1968. De Bernardi Ferrero, D., Teatri classici in Asia Minore, 3 vols., Rome, 1966-1970. De la Coste-Messeliere. See Fouilles de Delphes, IV, iv. Dinsmoor, W. B., The Architectureof Ancient Greece, New York, 1950. Diodorus Siculus, IV, 2. Donnay, G., "L'Amazonomachie du Mausolee d'Halicarnasse," AntCl 26, 1957, pp. 383-403. Dorpfeld, W. and E. Reisch, Das griechische Theater,Athens, 1896. EAA = Enciclopediadell'arte antica: classica e orientale, Rome (Istituto dell'Enciclopedia Italiana), 1958-1966. Edhem bey, "Fouilles d'Alabanda en Carie," CRAI, 1905-1906. Eichler = F. Eichler, Die Reliefs des Heroin von Gjolbaschi-Trysa,Vienna, 1950. Eichler, F., "Das sogenannte Partherdenkmal von Ephesos," Bericht iiber den VI. internationalenKongrefifiir Archiologie, Berlin 21.-26. August, 1939, Berlin, 1940, pp. 488-494. -, "Eine neue Amazone und andere Skulpturenaus dem Theater von Ephesos," Jahresh 43, 1956-1958, pp. 7-18. Esperandieu, E., Recueil general des bas-reliefs de la Gaule romaine, Paris, 1907-1928. Fiechter, E. R., Antike griechische Theaterbauten,9 vols., Stuttgart, 1930-1937. -, Die baugeschichtlicheEntwicklungdes antiken Theaters, Munich, 1914. Fink, J., "Amazonenkampfe auf einer Relief basis in Nikopolis," Jahresh 47, 1964-1965, pp. 70-92. -, Der Throndes Zeus in Olympia, Munich, 1967. Flaceliere, R. and P. Devambez, Heracles, images et recits, Paris, 1966. Forbes, R. J., Studies in Ancient TechnologyIII, Leiden, 1955. Fouilles de Delphes: IV, i. M. Th. Homolle, Monumentsfigures, Sculpture,Art primitif, Art archai'quedu Peloponnese et des Isles, Paris, 1909. IV, ii. Ch. Picard and P. de la Coste-Messeliere, Sculpturegrecque,Art archaique(suite), Les tresorsioniques, Paris, 1928. IV, iii. Ch. Picard and P. de la Coste-Messeliere, Art archaique: Sculpturesdes temples, Paris, 1931. IV, iv. P. de la Coste-Messeliere, Monumentsfigures, Sculpture: Sculpturesdu Tresor des Atheniens, Paris, 1957. Frova, A., L'Arte di Roma e del mondo romano, Turin, 1961. Gardiner = E. M. Gardiner, "A Series of Sculptures from Corinth: II. A Hellenistic Gigantomachy," AJA 13, 1909, pp. 304-327. Gercke, W., Untersuchungenzum r6mischenKinderportrdt,Hamburg, 1968. Giglioli, G. Q., "II trono dello Zeus di Fidia in Olympia," MemLinc v, 16, 1920, pp. 224-376. Giuliano, A., Arco di Costantino, Milan, 1955. Goethert, F. and H. Schleif, Der Athena Tempel von Ilion, Berlin, 1962. Griffo, P., Novissima guida, Monumentidi Agrigento, Agrigento, 1961. Hanfmann-Vermeule = G. M. A. Hanfmann and C. C. Vermeule, "A New Trajan," AJA 61, 1957, pp. 223-253. Harrison, E. B., The AthenianAgora, I, Portrait Sculpture,Princeton, 1953. XI, Archaic and Archaistic Sculpture,Princeton, 1965.

BIBLIOGRAPHY

AND ABBREVIATIONS

xv

-, "The Composition of the Amazonomachy on the Shield of Athena Parthenos," Hesperia 35, 1966, pp. 107-133. -, "Hesperides and Heroes: A Note on the Three-figure Reliefs," Hesperia 33, 1964, pp. 76-82. Havelock, C. M., "Archaistic Reliefs of the Hellenistic Period," AJA 68, 1964, pp. 46-57. -, Hellenistic Art, New York, 1971. Heberdey, R., "Nachtrag zum ephesischen Berichte fur 1902/3," Jahresh 7, Beiblatt, 1904, pp. 157-160. Heberdey, R., G. Niemann, and W. Wilberg, Forschungenin Ephesos, II, Das Theaterin Ephesos, Vienna, 1912. Heermance, T. W., "Excavations at Corinth: 1903," AJA, ser. 2, 7, 1903, p. 350. Helbig4 = W. Helbig, Fiihrerdurchdie offentlichenSammlungenklassischerAltertiimerin Rom, 4th ed., Tiibingen, 1963-1969. Herbig, R., Antike griechische Theaterbauten,VI, Das Dionysos-Theaterin Athen: TI,Die SkulpturenvomBiihnenhaus, Stuttgart, 1935. Hesperia, Journal of the American School of Classical Studies at Athens. Hill, A. T., The Ancient City of Athens, London, 1953. Holden, B. M., The Metopes of the Temple of Athena at Ilion, Northampton, Mass., 1964. Homolle, M. Th.: See Fouilles de Delphes, IV, i. Hooker, E., "The Sanctuary and Altar of Chryse," JHS 70, 1950, pp. 35-41. Horn, R., "Hellenistische Kopfe: 1. Zur Datierung des 'Kleinen Attalischen Weihgeschenkes'," RomMitt 52, 1937, pp. 140-163. Humann, C., Der Pergamon Altar, Dortmund, 1959. Humann et al., Magnesia = C. Humann, J. Kohle and C. Watzinger, Magnesia am Meander, Berlin, 1904. IstMitt = Mitteilungendes deutschenarchdologischenInstituts, Abteilung Istanbul. Jahrb = Jahrbuchdes (k.) deutschenarchdologischenInstituts. Jahresh = Jahresheftedes isterreichischenarchdologischenInstitutes. JHS = Journal of Hellenic Studies. Johnson, F. P., Sculpture. See CorinthIX. Kahler, H., Das griechische Metopenbild,Munich, 1949. Karouzou, S., National ArchaeologicalMuseum: Collection of Sculpture, Catalogue, Athens, 1968. Keil, J., Fihrer durchEphesos, Vienna, 1964. Kenner, Bassae = H. Kenner, Der Fries des Tempels von Bassae-Phigalia, Vienna, 1946. Kleiner = G. Kleiner, "Das Nachleben des pergamenischen Gigantenkampfes," Berlin Winckelmannsprogram CIX, 1949, pp. 3-43. Krauss, F., "Das Theater von Milet in seiner griechischen und romischen Gestalt," Bericht iiber den VI. internationalenKongrefifiir Archdologie,Berlin 21.-26. August, 1939, Berlin, 1940, pp. 387-393. Langlotz, E., Ancient Greek Sculptureof South Italy and Sicily, New York, 1965. Lantier, R., Recueil ge'neraldes bas-reliefs de la Gaule romaine XII, Supplements, Paris, 1947. Lawrence, M., "The Velletri Sarcophagus," AJA 69, 1965, pp. 207-222. Leipen, N., Athena Parthenos, Royal Ontario Museum, 1971. Leveque = P. Leveque, "La date de la frise du theatre de Delphes," BCH 75, 1951, pp. 247-263. Leveque, P., "Un fragment inedit de la frise du theatre de Delphes," BCH 74, 1950, pp. 224-232. Libertini, G., II museo Biscari, Rome, 1930. Lippold = G. Lippold, Handbuchder Archdologie,III, Die Plastik, Munich, 1950. Loeffler, E., "Lysippos' Labors of Herakles," Marsyas 6, 1954, pp. 8-24. Luce, S. B., "Studies of the Exploits of Heracles on Vases: I. The ErymanthianBoar," AJA 28, 1924, pp. 296-325. Lullies, R. and M. Hirmer, Greek Sculpture,London, 1957. Mansel, A. H., Die Ruinen von Side, Berlin, 1963. Marec, E., Hippone la Royale, antique Hippo Regius, Algiers, 1954. Markman, S., The Horse in Greek Art, Baltimore, 1943. MemLinc = Memorie della (R.) Accademia Nazionale dei Lincei. Mendel, G., Catalogue des sculptures,Constantinople, 1914. Morgan, C., "The Sculptures of the Hephaisteion," Hesperia 31, 1962, pp. 211-219. Perdrizet, M., "Les bas-reliefs du theatre de Delphes," BCH 21, 1897, pp. 600-603. Pfuhl = E. Pfuhl, "Bemerkungen zur Kunst des vierten Jahrhunderts," Jahrb 43, 1928, pp. 1-53.

xvi

BIBLIOGRAPHY AND ABBREVIATIONS

Picard = Ch. Picard, Manuel d'archdologiegrecque, Paris, 1935-1963. Picard, Ch., "Les nouvelles frises dionysiaques d'Orange," RevArch, ser. 6, 39-40, 1952, pp. 115-118. -, "Vestiges d'un decor sculptural, au Th6Btre des Mysteres de Cyble et Attis a Vienne (Isere)," RevArch, ser. 6, 45-46, 1955, pp. 59-62. Picard, Ch. and P. de la Coste-Messelibre. See Fouilles de Delphes IV, ii and iii. Pickard-Cambridge, A. W., The Theaterof Dionysos in Athens, Oxford, 1946. Poulsen = F. Poulsen, Ny CarlsbergGlyptothek,Catalogueof Ancient Sculpture,English ed., Copenhagen, 1951. Praschniker, C., "Die Gigantomachiereliefs von Priene," Jahresh 30, 1936, pp. 45-49. Redlich = R. Redlich, Die Amazonensarkophagedes 2. und 3. Jahrhundertsnach Christus,Berlin, 1942. Reinach, S., Repertoire de reliefs grecs et romains, Paris, 1909. RevArch = Revue archdologique. Richardson, R. B., "Excavations in Corinth, 1896," AJA, ser. 2, 1, 1897, p. 455. -, "Notes from Corinth," AJA, ser. 1, 11, 1896, pp. 371-2. Ridgway, B. S., Classical Sculpture, Catalogue of the Classical Collection, the Museum of Art, Rhode Island School of Design, Providence, 1972. -, The Severe Style in Greek Sculpture,Princeton, 1970. -, "Stone and Metal in Greek Sculpture," Archaeology 19, 1966, pp. 31-42. Robert = C. Robert, Die antiken Sarkophag-Reliefs,Berlin, 1890-1897. Rodenwalt, G., Die Bildwerkedes Artemistempelsvon Korkyra, Berlin, 1939. Rohde, E., Pergamon, Burgbergund Altar, Berlin, 1964. R6mMitt - Mitteilungendes deutschenarchdologischenInstituts, Rimische Abteilung. Ryberg, I. S., Panel Reliefs of Marcus Aurelius,Monographs on Archaeology and Fine Arts, No. 14, New York, 1967. Salviat, F., "Le bitiment de sc6ne du theatre de Thasos," BCH 84, 1960, pp. 300-316. Saporiti, N., "A Frieze from the Temple of Hadrian at Ephesus," Marsyas, Suppl. I, Essays in Memory of Karl Lehmann,New York, 1964, pp. 269-278. Sauer, B., Das sogenannte Theseionund sein plastischer Schmuck, Leipzig, 1899. Schede, M., Ruinen von Priene, 2nd ed., Berlin, 1964. Scheffold, K., MeisterwerkegriechischerKunst, Basel, 1960. Schober = A. Schober, Die Kunst von Pergamon, Vienna, 1951. Schober, A., IstanbulerForschungen,II, Fries des Hekateions von Lagina, 1933. Schrader, H., Die archaischenMarmorbildwerkeder Akropolis, Frankfurt, 1939. Seymour, T. D., "Notes from Corinth," AJA, ser. 1, 11, 1896, p. 196. Seyrig, H., "Quatre cultes de Thasos," BCH 51, 1927, pp. 178-233. Shear, AJA, 1926 = T. L. Shear, "Excavations in the Theatre District of Corinth in 1926," AJA 30, 1926, pp. 444-463. Shear, ArtArch, 1927 = T. L. Shear, "Recent Excavations at Corinth," Art and Archaeology 23-24, 1927, pp. 109-115. Simon, E., "Beobachtungen zum Apollon Philesios des Kanachos," Charites, Studien zur Altertumswissenschaft, Bonn, 1957, pp. 38-45. Snodgrass, A., Early Greek Armourand Weapons,Edinburgh, 1964. Spitzer, D. C., "Roman Relief Bowls from Corinth," Hesperia 11, 1942, pp. 162-192. Squarciapino, M., Leptis Magna, Basel, 1966. -, La scuola di Afrodisia, Rome, 1943. Stillwell. See CorinthII. Strong, E., La scultura romana, Florence, 1923. Stuart Jones, H., The Sculpturesof the Museo Capitolino, Oxford, 1912. Svoronos, N., Das athener Nationalmuseum,Athens, 1908. Thompson, H. A., "The Odeion in the Athenian Agora," Hesperia 19, 1950, pp. 64-68. Toynbee, J. M. C., The Hadrianic School, Cambridge, 1934. Treu, G., Olympia, III, Die Bildwerke von Olympia in Stein und Thon, Berlin, 1897. Van Essen, C., "Le Monument dit Portique des Giants a Athenes," BCH 50, 1926, pp. 183-212. Vermeule, "Cuirassed Statues" = C. C. Vermeule, "Hellenistic and Roman Cuirassed Statues," Berytus 13, 1959-1960, pp. 1-82.

BIBLIOGRAPHY AND ABBREVIATIONS

xvii

Vermeule, Roman Imperial Art = C. C. Vermeule, Roman Imperial Art in Greece and Asia Minor, Cambridge,

Mass., 1968. Vian, F., Guerredes geants, Paris, 1952. Vian, Repertoire = F. Vian, Repertoiredes gigantomachies,Paris, 1951.

Von Salis,A., "Die Gigantomachieam Schildeder AthenaParthenos,"Jahrb55, 1940, pp. 90-169. Wace, A. J. B., A Catalogue of the Sparta Museum, Oxford, 1906. Waldstein, C. et al., The Argive Heraeum, Boston and New York, 1902.

Wiegand,T. and H. Schrader,Priene,Berlin,1904. Winnefeld,H., in W. Dirpfeld, TrojaundIlionII, Athens, 1902. P. and U. Zanotti-Bianco,Heraionalle Foce del Sele II, Rome, 1954. Zancani-Montuoro,

LIST OF ABBREVIATIONSUSED IN THE CATALOGUES cm. D. Diam. Dim. E. C. est. H. L. 1. m. Max. Min. Mus. N.B. P. r. Sc. Th. Tr. W.

centimeter depth diameter(s) dimension(s) EdwardCappsmanuscript estimated height length left meter maximum minimum CorinthMuseum notebook preserved right Corinthsculptureinventory thickness trench width

I INTRODUCTION EXCAVATION HISTORY OF THE FRIEZE FRAGMENTS

The reliefs which so handsomely decorated the theater at Corinth comprise three subjects traditional in Greek art: a Gigantomachy, an Amazonomachy, and the Labors of Herakles. All the fragments presently known to belong to these friezes are located in the Corinth Museum. Fifteen slabs, in various stages of completeness, are on display in the museum and may be seen on the west wall of the Cloister. The remainingfragments are kept in the sculpture storeroom. The frieze was discovered in the course of excavations conducted in the theater by the American School of Classical Studies at Athens during the first two decades of this century. Excavationsin Corinth were begun by the American School in 1896, when the theater was the site of one of the first trenches.1 Only the cavea steps were uncovered at this time, since it was the location of the theater that was the main concern. A more concentrated effort was made in the theatral area in 1902, 1903 and 1904.2 Nearly all of the sculpturalfragments found in the early years came to light during the late spring of 1903.3A large number of these pieces were recognized as part of a gigantomachy and were published by Elizabeth M. Gardiner.4Because the pieces were found together and in such a fragmentarycondition, Gardiner assumed they were grouped in readiness for the lime kiln and did not necessarily belong to the theater. She felt the sculptures dated from a period prior to the large frieze of the Zeus altar at Pergamon. Single trenches were again sunk in the theatral area in 1909 and 1910, but it was not until 1925-1929 that excavation was concentratedthere in a series of yearly campaigns, under the directorshipof T. Leslie Shear. It was at this time, while the orchestra, part of the cavea, the skene, the parodoi, and the East Theater Street areas were cleared, that the majority of sculpturalfragmentsfrom the frieze came to light. Unfortunately only five of the notebooks are available: two from 1928 (Numbers 320 and 321 by F.J. deWaele) and three from 1929 (Numbers 322 and 324 by F. J. deWaele and 323 by W. A. Campbell) in addition to Stillwell's architecturalnotebooks. Small test trenches were made by Richard Stillwell, architect of the Shear excavations, in 1930 and later in 1948, in preparationfor Corinth,II, The Theatre,but no sculpturalfinds are recorded from these years. Shear published a small number of frieze fragments from the Gigantomachy, Amazonomachy, and Labors of Herakles.5In a general discussion of the theater sculpture he also illustrated an additional 1Trench XVIII A-F. T.D. Seymour, "Notes from Corinth," AJA, ser. 1, 11, 1896, p. 196; R. B. Richardson, "Notes from Corinth,"AJA, ser. 1, 11, 1896, pp. 371-372; R. B. Richardson, "Excavationsin Corinth, 1896," AJA, ser. 2, 1, 1897, p. 455; F. C. Babbitt, "The Theaterat Corinth, 1896," AJA, ser. 2, 1, 1897, pp. 481-494. 2 TrenchesXXXIV, XXXVI, XXXVII are recordedfor 1902, Trench LI for 1904. T. W. Heermance,"Excavationsat Corinth: 1903," AJA, ser. 2, 7, 1903, p. 350, reports the discoveryof many frieze fragmentsbelonging to a gigantomachyof Roman work. 3 A brief inventoryof sculpturalfragmentsmay be found in SculptureInventoryNotebook I at Corinth. Excavationnotebooks 18 and 26 record the theaterexcavationsfor 1903. Fifty-fiveof the sculpturalfragmentsdiscoveredin 1902-1910can be attributed to the theaterfriezes.Many joins weremadein subsequentyears by excavatorsand museumrestorers,particularlyGeorge Kachros. 4 "A Series of Sculpturesfrom Corinth: II. A Hellenistic Gigantomachy,"AJA 13, 1909, pp. 304-327. 5 Shear,AJA, 1926.

INTRODUCTION

2

slab from the Amazonomachy and a head from the Gigantomachy.6He dated the friezes to the early 2nd century B.C.,before the Pergamon altar. Preliminarystudies of the friezes were made by Edward Capps, Jr., who gave two papers at the annual meetings of the Archaeological Institute of America.7Capps dated the Gigantomachy, which he thought influenced by the first and second Pergamene schools, in the early 2nd century after Christ, although, because of its fragmentary state, he doubted that it belonged to the theater. He suggested a late 2nd century date for the Amazonomachy, in which he recognized, however, strong influence from the 5th and 4th centuries B.C.as well as Hellenistic prototypes. He also devoted a special study to the Herakles scenes.8Four labors were here considered: those of the ErymanthianBoar and the Horses of Diomedes were placed in the Hellenistic period, while for reasons of technique and finish the Kerberos plaque and the Stymphalian Birds were thought to be Roman in date. Several fragments, which have now been assigned to the friezes, were illustrated by Franklin P. Johnson.9 Successive museum guides point out in passing the slabs on exhibit, but no descriptions or illustrations are given. This concludes the major published references to the friezes up to 1972.10 The friezes are in extremely fragmentary condition. Even the blocks on display in the museum are composed of a great many sections. The theater's destruction was total, and the weight of the falling three-story stage building was more than sufficientcause for the micaceous marble to fractureinto small pieces. Evidence of burning is very slight, so that the collapse of the building may have been caused by one of the severe earthquakesto which Corinth has often been subjected since ancient times. The date of its final destructionis not clear, but Stillwell suggests that the theater ceased being used at the end of the 4th century after Christ, perhaps after the invasion of Alaric in A.D. 396.11 CATALOGUES The catalogue entries have been arranged,in so far as possible, in order of subject. For each frieze, slabs have been reconstructed and an arrangement suggested, based on findspot when it is known, usual sequence as for the Labors, or likely combinations in the case of the gods. The recomposed figures and their slabs are numberedaccording to the suggested arrangementof the reliefs across the stage front. The fact that the theater material was identified in three different periods of excavation explains the two series of inventory numbers compiled at three differenttimes. The 55 pieces from the earlierexcavations, up to 1910, hold S-numbers(S for sculpture)which rangebetween207 and 1620. The 375 fragments numbered by Capps were given T numbers(T for theater).l2Sculptureinventory cards, which were made duringthe Shearexcavations,were taken to the United States and have since been lost, so that provenances are lacking for the majority of pieces. I have been able to establish only general findspots through the aid of drawings in the notebooks of DeWaele and Campbell. Accompanying plans in these notebooks have enabled me to locate the general area of discovery for a relatively small number of fragments, which may prove helpful in reconstructing the original position of these fragments on the theater. It is regrettable,however, that the early excavations were not more amply documented. The third numerical group (S 3170-S 3312), from the basement marble pile, has been given numbers in the usual sculpture inventory system. 6 Shear,ArtArch,1927. Summariescan be foundin "A Gigantomachyand an Amazonomachyfrom Corinth,"AJA 38, 1934,pp. 188-189and "Gleanings from Old Corinth," AJA 54, 1950, pp. 265-266. 8 Capps, ClassicalStudies,pp. 46-57. 9 CorinthIX, no. 276, p. 132, no. 293, p. 140. 10For additionalnotices,see Capps,"PergameneInfluenceat Corinth,"Hesperia7, 1938,p. 548, fig. 7 (G 5-1) and Vian, Repertoire, no. 46, pl. 15 (G 22 and G 29). My paperpresentedat the 73rdGeneralMeetingof the ArchaeologicalInstituteof America, "Theater Friezes" (summaryin AJA 76, 1972, pp. 221-222), made only generalreferenceto the Corinthfrieze. 7

11 Corinth II, p. 140.

12

Capps' numbersare differentfrom and replace the inventory system created by Shear.

ATTRIBUTION: TECHNICAL FEATURES

3

Catalogue numbers have been differentiatedby the first letter of the subject of each frieze: that is, G for Gigantomachy, A for Amazonomachy and H for Herakles. U indicates a group of smaller, figured fragmentswhich are not assignableto a specificfrieze, but which appearto belong to the group as a whole. When two or more fragmentshave been joined together, a single inventory number, usually the earliest in the series, has been used in the catalogue to identify the entire piece. Numbers of joining fragments are listed after the main inventory number. Association of two or more pieces with the same figure or slab is indicated by hyphenated catalogue numbers, such as G 5-1, G 5-2. A concordance of catalogue numbers with museum inventory numbers is provided at the end. In a few catalogue entries, after the provenance, the referenceE.C. II, p. - will be noted. Such references appear in Capps' inventory list and seem to designate page references to a second volume of his manuscript which, however, could not be located. They are included here for the sake of completeness, in case one day this manuscript should be found. In order to avoid unnecessaryrepetition, the terms "right" and "left" refer to the figure's right and left when I am discussing the figure, but to the spectator's right and left when the slab or composition is described. It is possible that not all the fragments included actually belong to the friezes, but it seems necessary to consider all material for which such a possibility exists. In the future, perhaps new joins and new material from additional excavations will clarify the picture. ATTRIBUTION: TECHNICAL FEATURES Several methods have been used to attribute fragments to a particular frieze. Some fragments are easily identifiableby their subjectmatter. Othersfall into two groups according to size. Limbs and torsos larger in scale belong to the Gigantomachy, in which the half life-size figures measure 0.090-1.00 m. in height, and where the proportion of head to body is 1:7. Smaller members fall into both the Amazonomachy and Herakles' Labors series, where the figures are closer to one-third life size, the average height ranges from 0.60 to 0.65 m., and the proportion of head to body varies between 1: 5.25 and 1:6. In general, figures from the Herakles scenes appear less stocky than those in the Amazonomachy, but there is no significant difference in the range of measurementstaken of various body segments safely attributed to one of the two subjects. It is often difficult to ascertain to which of the two size groups a body fragment belongs, since the range of measurements overlaps to some extent. Therefore, a large number of fragments, which are described in Chapter V, remain unattributed. A third means of assigning fragments to one of the three friezes is the treatment of the reverse or back of the marble slabs, whenever preserved. Reverses in the Gigantomachy group are uniformly smooth, as a result of being sawed down from thicker blocks. Offsets have been created near the bottom of the slab at the point where the sawing was interruptedand the block split. Some blocks are so thin that they could only have functioned as revetments.Some reverse sides of the Heraklesgroup are smooth, while others are rough, dressed with the hammer. All reverses of the Amazonomachy group are roughly worked. Hook clamps were placed on the top and/or side borders of the slabs to clamp the unusuallythin frieze blocks to thicker backer blocks or brickwork. Cuttings for simple hook clamps or pins are found in a number of pieces, and the lower corners of the slabs are frequently cut back, probably for a heavier support. Slabs from the Labors of Herakles seem to be the most heavily clamped, a fact which suggests that they were attached to a weaker backing than the other two friezes. A certain amount of piecing was made necessary by the height of the relief; dowels occasionally attached hands to wrists and often the crest to the helmet. Other types of piecing may perhaps represent breaks during manufacture or later repairs. The micaceous nature of the marble must have caused it to break quite easily.

4

INTRODUCTION

Many of the figures are carved in such high relief that they appear to be almost in the round. Struts, therefore, regularly connect sections of a figure (such as hands, serpent coils and heads) to the background. Parts closer to the background have not been separated entirely from it. In many cases the

stone is cut back only slightlybehinda limb or torso, and the undercutsurfaceis roughlyworked,but presumablycould not be seen at the distancethe spectatorwould normallybe from the frieze,that is, in the theaterseats. Such unsmoothedareasprobablywould not have been too obviousto the viewer evenwhenhe was walkinginto the theaterthroughthe parodoi. The sculptorsappearto haveusedconventionalmarble-working tools.13Marksof the rasphavebeen left over manyfinishedsurfaces,includingfaces and undrapedareasof the torsos. The runningdrillis used occasionallyfor coloristiceffectsin the hair, particularlyto emphasizethe giants' unrulylocks. reliefgroundis workedwiththeclawortoothchisel,exceptin areasimmediately Mostof the unsculptured the where adjoining relief, signsof the flatchiselgenerallyappear.Nowhereis the backgroundsmoothed with the rasp. On a small numberof fragmentsa light blue powderadhereswhichcan be identifiedas a pigment knownas Egyptianblue frit. Thispigment,whichwas knownas earlyas the FourthDynastyin Egypt and by 1500B.C. in Assyria,is lighterthanthe blue knownfrom Greecein Archaicand Classicaltimes, and may not have been adaptedto use in Greeceuntilthe Romanperiod.14 MARBLE Determiningthe varietyof marbleused is alwaysa difficultquestionand one which is best left to To the nakedeye the characteristics futurescientificspecialists.15 of the materialin the threefriezesseem uniform:it is a white,fine-grained marbleoftencontainingmicaceousveinsthatvaryfromsilverto blue or brightgreenin color.The surfaceoccasionallyhas a bluetinge,probablyreflectingthe veinsbeneath. Becauseof the proliferationof veins,the blockshavespliteasily,producinga greatnumberof fragments. In some cases, probablywhen exposedto greatheat, the marblebecameextremelycrumbly;very few fragments,however,are actuallyblackenedby fire(cf. above,p. 2). Manyfragmentshavebeenweathered yellowor havetakenon root marks;somehaveactuallybeenblackenedor encrustedfromlongexposure to the elements.The characteristicsof the marblecorrespondto traditionaldescriptionsof Pentelic, and certainlythe Pentelicquarriesare easilyaccessibleto Corinth.Whetheror not all the fragmentsin questioncome from the quarriesof Mount PenteliI do not feel myselfqualifiedto evaluate.16 DATE It has beensuggestedthat the disparityof treatmenton the backsof the slabsindicatestwo periodsof construction.However,my studyof the fragmentsfromthe threefriezeshas led me to believethat they form a stylisticunityand belongto a singleperiod.The differencein finishon the reversesof the slabs mightbe more logicallyexplainedby two sourcesof marbleor two schoolsof marbleworkers(though variationin treatmentof the reversesidescanin no waybe linkedwithstylisticdifferencesin the carvings on the front). Slabswith sawedbacksmay have been re-usedand cut down from larger,architectural blocks,perhapsfroma buildingdestroyedby the earthquakeof A.D.77. The date suggestedherefor the 13S. Adam, The Techniqueof GreekSculpture,BSA, Suppl. III, Thamesand Hudson, 1966. owe the suggestionof Egyptianblue frit to EvelynB. Harrison,who verykindlyexaminedthe fragmentswith traces of pigment. Forbes, Studiesin AncientTechnologyIII, pp. 214, 216, notes that the blue frit, used in powderedform as a pigment,was prepared by heating silica, malachite,calcium carbonate(chalk,limestone) and natron for 24 hours at 800-9000C. 15Colin Renfrew and J. Springer Peacey, "Aegean Marble: A PetrologicalStudy," BSA 63, 1968, pp. 45-66, using the best of currentlyknown scientifictests, reach negativeconclusionsconcerningthe possibilityof identifyingdifferenttypes of Greekmarbles. 16EvelynHarrisonhas given a geologist samplesfrom the AthenianAgora with quarrylabels attached,as designatedby archaeologists, which will be comparedin the laboratorywith samples taken from various Greek quarriesto see if they correspond,and to establish,if possible, a scientifictest for significantdifferenceswhich may exist. In an oral communicationMiss Harrisonsuggested that a few of the Corinthfrieze fragmentsseemed to resemblePentelicmarble. 141

STYLE

5

friezes of the theater coincides with the second and major building phase of the theater in the Roman period, with which the reliefs are associated archaeologically,i.e. the second quarter of the 2nd century after Christ. STYLE The relieffigureson all threefriezes are classicizingin style and drawheavily on the traditionestablished by major monuments of the Greek period. The composition of all the reliefs is very spacious, though there has been little attempt to render spatial effects. Combatants in the Gigantomachy are reminiscent of the great frieze on the Altar of Zeus at Pergamon,of ca. 180B.C.,particularlyin regard to the poses of both gods and giants and the renderingof the giants' heads. On the other hand, the heads of the gods adhere more closely to 4th century B.C. types and proportions. In contrast with the Pergamon frieze, however, the Corinth slabs are noticeably devoid of interest in background detail or fussy elaboration. As a result, the impression of a tumultuous and crowded battle scene is lost. The figures, often in stock battle poses, are frozen in comparativelyinactive positions and give the impression of a series of "cutouts" stretched in two-dimensional fashion across the back of the stage. The remarkablelack of originality is without a doubt due to the stronglytraditionalnature of the subjectmatter and the overwhelming influence of its major prototype. The majority of the Greeks and Amazons are likewise based on familiar, stock figures which seem to derive from pattern books based on late 5th century B.C. examples such as the west metopes of the Parthenon and the reliefs on the exterior of the shield of the Athena Parthenos. Their squat proportions and large, chunky features, however, find numerous parallels on 2nd century Roman sarcophagi. The style and treatmentof many of the figuresare clumsy and inept, occasionally even grotesque.Thereis, however, one slab (A 5) in which the style and carving is unusually delicate and in which the Greek's pose derives not from the well-worn pattern book, but from a spark of originality on the part of the leading master. The series of reliefs depicting the Labors of Herakles likewise shows considerable influence from its major prototype: the twelve metopes from the Temple of Zeus at Olympia. However, the artists here appear less restrictedby previous tradition and present several labors in unprecedentedways as well as several "uncanonical" scenes from the numerous episodes connected with the Peloponnesian hero. The style in which Herakles is rendered also varies considerably from slab to slab. In some Labors (e.g. Kerberos and Keryneian Hind), the hero's musculature is exaggerated to an overwhelming degree, perhaps by a Hellenistic-mindedmaster, while on others (e.g. the ErymanthianBoar), the treatment is quite restrained,the proportions more squarely set, recalling the canon of an earlier era. In summary, the style of the Corinth friezes is eclectic, based on earlier models of different periods. The style of each frieze is not consistent throughout. The three friezes may well have been planned by a single master, with Classical copy book in hand, but the lack of consistency in the rendering and execution of the figures certainly points to a large number of workmen with varying degrees of skill and training. The project of erecting and providing decoration for a scaenae frons of the magnitude of the one at Corinth must have proved a bit overwhelmingand was perhaps finished in some haste. Workmen unused to carving on such a large commission, such as sarcophagi-carvers,were probably hired to speed up the endeavor, perhaps in anticipation of the approachingvisit of the emperor, possibly Hadrian.

THE GIGANTOMACHY

Slab 1, Selene

Slab 7, Zeus

Slab 13, Amphitrite

Fig. 1. The Gigantomachy.Scale 1:20

Slab 2, Kastor(?)

Slab 8, Athena

Slab 14, Nereus

Slab 3, Dionysos

Slab 9, Ares

Slab 15, Artemis

Slab 4, Hermes

Slab 6, Hera

Slab 5, Herakles

'

Slab 10, Hephaistos

Slab 16, Apollo

Slab 11, Aphrodite

Slab 17, Leto

r'

Slab 12, Poseidon

Slab 18, Helios(?)

I THE

GIGANTOMACHY

The battle between the gods and the giants was widely used in ancient times for sculpturaldecoration. It makes its first appearance early in the Archaic period, but is particularlypopular around 525 B.C.,1 perhaps due to the influence of a current literary work. The concept of victory over the giants must already have embodied some symbolism. The subject was used in a variety of architecturalpositionsthat is, for friezes, metopes and pediments-which accounts for a variety of arrangements.In all the Archaic and even the 5th century B.C. examples2 the giants are depicted as Greek hoplites, wearing typical Greek armor, and in fully human form. In the Hellenistic period, under the powerful influence of the frieze on the Altar of Zeus at Pergamon,3 the giants are given snaky legs, usually scaled, and fight with rougher weapons, such as boulders and branches. Occasionally, as at Pergamon and on the reliefs from the coffers(?) of the Temple of Athena at Priene, they are also winged. The continued relevance of the subject in Roman times is expressed by numerous sculptural examples,4 all of which are strongly influenced by the Pergamon frieze. Corinth 1 For instance, Korkyra:Rodenwalt,Die Bildwerkedes ArtemistempelsvonKorkyra,pp. 86-97, pls. 28-29; the north frieze of the SiphnianTreasuryat Delphi: Homolle, Fouillesde DelphesIV, i, pis. 13-15; the pedimentof the MegarianTreasuryat Olympia:Treu, OlympiaIII, pp. 5-15, pls. 2-4; the west pedimentof the AlkmaionidTemple of Apollo at Delphi: Picardand De la Coste-Messeliere,Fouillesde DelphesIV, iii, pp. 16-32, fig. 7; the east (?) pedimentof the PeisistratidTempleon the Akropolisin Athens:H. Payne,ArchaicMarbleSculpturefrom theAcropolis, der Akropolis,pp. 345-377, pls. 185-197; London [1951], pls. 35:1, 2; 36, 37; Schrader,Die archaischenMarmorbildwerke the metopes of Temple F at Selinus: Brunn-Bruckmann,pl. 289; Lippold, pl. 29:2. 2 Compare,e.g., the east pedimentof the Olympieionat Akragas: P. Marconi, Agrigento,Florence, 1929, pp. 171-172; Lippold, p. 178,note 8; Diodorus Siculus,XII, 82, 4; Griffo,Novissimaguida,p. 119; A. D. Trendall,JHS, ArchaeologicalReportsfor 1969-70, p. 49; the metope of Temple E at Selinus: Lippold, pl. 29:4; Langlotz, AncientGreekSculptureof SouthItaly and Sicily, p1. 104; the frieze of the Poseidon Temple at Sounion: Vian, Repertoire,pl. 7; the east metopes of the Parthenon:Brommer,pls. 39-82; the decorationon the inside of the shield of the Athena Parthenos:Von Salis, Jahrb54, 1940, pp. 90-169, figs. 3-5, pl. 2; Vian, Guerredes geants, pp. 149-160; H. Walter,"Gigantomachien,"AthMitt69-70, 1954-55, pp. 95-104. 3 The frieze of the Altar of Zeus at Pergamon:AltPerg III, ii; Schober,Die KunstvonPergamon; the Attalid dedicationon the Akropolis in Athens: Horn, RimMitt 72, 1937, pp. 140-163, pls. 33-43; the reliefsfrom the coffers(?) of the Templeof Athena at Priene:A. Schober,"ZurGigantomachievon Priene,"Jahresh30, 1936, dergriechischen pp. 28-44; Praschniker,Jahresh30,1936, pp.45-49; WiegandandSchrader,Priene,figs.81-89; J. Overbeck,Geschtichte Plastik4II, Leipzig, 1894, p. 405, fig. 217; Schede, RuinenvonPriene2,pp. 36-37, figs. 45-47; the metopes of the Temple of Athena at Ilium Novum: Winnefeldin TrojaundIlion II, p. 430, pls. 49-51; Holden, TheMetopes of the Templeof Athenaat Ilion; Goethert and Schleif, Der Athena Tempelvon Ilion; the west frieze of the Hekateion at Lagina: Schober,Fries des HekateionsvonLagina,pls. 18-23. 4 Compare,for instance, the frieze from a fountain in Aphrodisias:Vian, Repertoire,pl. 16; Squarciapino,La scuoladi Afrodisia, pp. 69-71; the Vatican sarcophagusin the Galleria delle Statue: Amelung, VaticanII, p. 643, no. 414a, pl. 53; Helbig4,no. 145, dated last quarterof the 2nd centuryafter Christ; the friezefrom the sanctuaryof Tellus(?)at Rome, now in the Vatican,Belvedere:Amelung,RUmMitt20, 1905,pp. 121-130, pl. 5; Amelung, VaticanII, p. 94, no. 38, pl. 10; Helbig4,no. 240, which also includesa smallergigantomachy-relieffragmentand related copies such as two fragmentsin the CapitolineMuseum,Museo Nuovo, Helbig4,no. 1703 and Kleiner, figs. 6, 9, and the fragment from the Palatine(presentlocation unknown),Amelung,RomMitt20, pl. 5:5, and now the fragmentin the Basel Museum,E. Berger, "AntikenmuseumBasel,AusbauderSammlung,"'AntikeKunst11, 1968,no. 36, pp. 123-124,pl. 40 (Helbigconsidersthe fivefragments in Rome good examplesof Antonine art of the late 2nd centuryafter Christ,inspiredby the Pergamonfrieze); the pedestalsof the temple columns in the Severanforum at Leptis Magna: Vian, Re'pertoire, p. 17; Squarciapino,La scuola di Afrodisia,pl. 26; BianchiBandinelliet al., TheBuriedCity, fig. 112; Squarciapino,LeptisMagna,pp. 101-103, figs. 56-61;

12

THE GIGANTOMACHY

and Catania provide the only theater friezes decorated with this theme. Since the subject is not likely to be relatedto plays enactedin the theater, it may have been chosen as representativeof struggleswith and

victoryoverthe barbarian,a themewhichis renewedin popularityin the HadrianicandAntonineperiods. The sculpturaltraditionof representinggiantswith snakylegs seemsto beginwith the GreatAltar at Pergamon,but anguiformgiantsappearpreviouslyon a numberof objects,suchas bronzeappliques, funeraryurnsandPraenestinecistae,of the 4th and 3rdcenturiesB.C.,particularlyfromSouthernItaly.5 The firstoccurrenceknownis on a red-figuredlekythosfrom Apuliaof ca. 400-375B.C.6Sincenone of the majorsculpturalmonumentsof the 5thcenturyB.C. showanguiformgiants,inspirationfor thisform, whichcontinuesthroughthe Romanperiod,is perhapsto be foundin a famouspaintingnow lost. More probably,sincemost of the exampleswith this type of renderingweremanufacturedin Italy, the idea may have originatedin the South Italianrepertoire,from which it spreadthroughoutthe Hellenistic world.The Corinthfriezeshows both anguiformand fully humangiants.7 The composition of the Corinth Gigantomachy is difficult to visualize, since none of the slabs is

completelypreserved.Nonetheless,we have enough completeor nearlycompletefigureswhich still adhere to large portions of relief ground to make it clear that the same spacious arrangementof twofigured scenes was sought as on the Amazonomachy and Herakles friezes. Judging from G 11, G 12, and G 14, however, not so much empty space was left between the figures and the lateral edges. The fragment G 33-2 is unusual in showing a right foot separated from the left edge by considerable space.

The figuresare not crowdednext to each other,as on the Pergamonaltarand most otherfriezes,nor is the space betweenthem filled with landscapeor other elements.The Corinthfrieze seemscompletely divorcedfrom the traditionof landscapereliefs. Eachfigureseemsto havetakenup roughlyhalf the total widthof each slab which,if we can use the restoreddimensionsof G 21, was 1.080m. in width.The heightof the slabs as preservedin G 21 and G 32 measures0.980m. and 0.975m. respectively,and is an averageof 15 centimetersgreaterthanthat of eitherthe Amazonomachyor Heraklesfriezes.Unlike these, the preservedGigantomachyplinths are all flat, so that the effectof slopingor rockygroundwas not used to add to the scene. The Gigantomachyfigures,whichare half life size, are somewhatlargerthan figuresin the Amazonomachyor Heraklesseries,andthe proportionof headto bodyis one to seven.Thefiguresaregenerally betterproportionedthroughoutand less stocky,eventhoughsome of the giantsare quitethickthrough the torso. From the largerand more distinctof the preservedfragments,18 relief slabs in varyingstates of preservationhave been posited (see Fig. 1). For the convenienceof discussionthey have been numthe frieze from the theaterat Catania:Libertini,II museoBiscari,nos. 145, 146, pp. 70-71, pl. 38; Duca di Serradifalco,Antichita di Sicilia V, Palermo, 1842, pl. 18:8; the "Stoa of the Giants" in the AthenianAgora: Thompson,Hesperia 19, 1950, pp. 103-124, pls. 61-66; Van Essen, BCH 50, 1926, pp. 183-212, pls. 11,12; H. A. Thompson and R. E. Wycherley,The AthenianAgora, XIV, The Agora of Athens,Princeton, 1972, p. 113, pl. 61; the Captive'sFacade at Corinth: CorinthIX, pp. 101-107, whereit is dated to the 2nd centuryafter Christ; however,Vermeule, RomanImperalArt, p. 83, dates it stylistically to the early 3rd century after Christ, after C. K. Williams, II in A. Megaw,JHS, ArchaeologicalReportsfor 1963-64, p. 7; for a more complete list consult Vian, Repertoireand EAA III, pp. 888-894. 5 Compare, e.g., a bronze appliqu6 in the Villa Giulia, Apulian, third quarter of the 4th century B.C.:Vian, Repertoire, no. 429, pl. 52; a bronze vase in Munich: Vian, Repertoire,no. 441, pl. 52; a bronze plate in Munich, inv. no. 4033: Vian, Repertoire,nos. 433, 434, pl. 53, South Italian, end of the 4th century; a 3rd centuryfuneraryurn in the Museumof Perugia:Vian, Repertoire,no. 462, pl. 53; a funeraryurn at Perugiaof the 3rd century:Vian, Repertoire,no. 461, pl. 54; a funeraryurn of the 3rd centuryin the Grosseto Museum:Vian, Repertoire,no. 463, pl. 54; a Praenestinecista from the Loeb Collectionin Munich of the 3rd centuryB.C.: Vian, Repertoire,no. 458, pl. 56; a Praenestinecista: Vian, Repertoire,no. 459, pl. 56. 6 Vian, Repertoire,no. 400, pl. 48. 7 Perhaps the iconographyof the giants was influencedby that of their younger brother Typhon who from the early Archaic period was representedas semi-humanwith a fish tail sproutingfrom the waist. Later Typhonswith legs turninginto fish tails show a markedresemblanceto anguiformgiants. H. Payne, Necrocorinthia,Oxford, 1931, pl. 15, nos. 4, 5 and EAA VII, pp. 852-853.

THE GIGANTOMACHY

13

bered from 1 to 18 in the order in which they can best be restored on the scaenae frons. A number of similaritiesexist between the reconstructedslabs so that they can be grouped into four main types, some

of whichmayoverlap.In type 1(slabs6, 8, 11, 13)a drapedgoddessis shownstridingrightagainsta giant with humanlegs, in a kneelingposition.One of the giants(slab11)kneelson theleftkneewiththe right leg extendeddiagonallyto the left of the relief.Two others(slabs6, 8) kneelon the rightknee with the left leg turnedsharplyto the rightand the foot restingflat on the plinth.In threeof the four examples (slabs 6, 11, 13) the goddess reaches forward to pull the giant's hair with her left hand while perhaps fighting him with her right. The giants, all of whom are bearded, reach up to grasp their opponents' hands with their left, and extend their right arms to push the goddesses away. Athena (slab 8) holds one of the snakes from her aegis in her left hand and may be about to pull her opponent's hair. Distinct contours bring out the composition, and the motion of the figuresis suggestedby the diagonals of the bodies and the parallel lines of the arms of the two figuresjoined in battle. The figures are predominantly frontal with profile legs and heads. The open composition gives the impression that the figures

havestretchedout so thattheywill fill most of the availablespace.The bodiesof the figuresdo not cross in front of each other,exceptwherethe thean giant stepson the goddess'foot (slab ), so that eachfigureis presentedto the spectatorin its entirety.This type of compositionmust have been especiallyeffective whenseenfrom a distance,as on the stagebuilding.Two veryfragmentaryslabs(Nos. 17) mayhave been quite similar in composition. In type 2 (slabs 3, 5, 7, 14) a god is shown attacking an anguiform giant. The four giants kneel in a frontal position, but variety is achieved by alternatingthe positions of the rising snake coils and heads.

The best preservedsnakylegs (G 10, G 27) suggestthat the directionof the snakeheadscoincideswith the direction in which the giant is fighting.Thus the serpent head G 94 probably belongs to a giant on the right, fighting left. The numerous coil fragments preserved suggest additional anguiform giants. The second coil of some figures seems to have curled up and behind the lower torso. The gods as preserved are variously attired, but each according to his personal characteristics.Judging from the extant torsos, which are all nearly frontal, their strides are not as great as those of the goddesses in type 1.

In type3 the artisthas placedthe divinitieson theright.Fourgods(slabs9, 10, 12, 14)andone goddess (slab 15)are depictedstridingto the left. Two of the gods (slabs10, 12)are shownin rearview,whichis most effectivein the case of Poseidon(slab 12), who raiseshis tridentover his head. This avoidsthe difficulty which would arise if he were frontal and the artist had to carve the thin marble shaft of the trident in the round, crossing in front of the god's body. G 20 may also direct a weapon in front of his face, and Ares (slab 9) is probably shown on the right so that the inside of his shield would face out and not obstruct the major part of his body. A similar reason may explainArtemis' (slab 15) and Nereus' (slab 14) positions. The divinities in slabs 9, 14 and 15 are shown in similar positions, but variety is achieved through differencesin sex and attire. Only the heads remain of three of the giants (slabs 9, 12, 15), but, like those in better states of preservation, they may have been in kneeling positions. Type 4 (slabs 2, 4, 16, 18) may have presented male divinities on the left of the slab advancing right. The giants in this group are shown in a variety of kneeling positions; that in slab 4 is the only preserved non-anguiformexample, who kneels on both knees with both arms down. Even the slabs which are least well preserved seem to follow the principles of composition inherent in the better preserved plaques. The arrangementis kept open and the figures are sufficientlyseparatefrom each other so that even from the top of the cavea the outlines would be clear. Of the 18 deities in the frieze seven are goddesses and eleven gods. The goddesses are characterizedby classicizing faces and hair styles and, with the exceptions of Artemis and Athena, wear long chitons.

Threeof the extantuppertorsos displayhigh belts immediatelybelow the breast(slabs 8, 13, 15), but the lengthof the overfoldis uncertain.Unfortunatelythe figuresareall lackinga largeportion,generally of draperyin that area. frombelowthe bustto the knees,so thatit is impossibleto tell the arrangement The goddessesmay have worn mantlesdrapedaroundthe waist or acrossthe upperthighs. Such an

14

THE GIGANTOMACHY

arrangement would have added a large, heavy quantity of marble near the center of the slab, which would help explain the almost uniform gaps in the preserved figures, since marble seems to fracture

alonglines of tension.The remainingfragmentswouldappearto indicatea lack of pictorialembellishments such as flying drapery or mantles forming niches behind the heads. Even where the relief ground

is preservednextto partof a figure,as on G 11-3, the chitondoesnot swirlout behindthe body. In some cases drapery gives the impression of transparency,such as around the breast on G 25-1, over the legs

on G 21-3, and particularlyon G 25-2. The identification of the goddesses is aided by their adherence to Classical types. The hair style of G 21-1 correspondsin general to 4th century Aphrodite types,8and the transparencyof the thin garment in G21-3 accordswell with the young goddess. The diadem on the head of G 11-1 imparts a regal air to Hera and the heavier cloth on G 11-3 seems fitting for a matronly queen of the gods. Athena is more easily recognized by her Corinthian helmet (G 15-1) and the aegis (G 15-2, G 15-3) which she uses as a shield; the feet stridingright with the lower part of her peplos (G 15-4) seem a logical part of this figure. The fourth goddess in scene type 1 is characterizedby thin transparentdraperyboth in the upper torso

(G 25-1) and the stridinglegs (G 25-2),9whichmay be suitablefor Amphitrite,a Nereidwho is present in both the Parthenonand Pergamongigantomachiesas the consortof Poseidon.The figureof Artemis is easilyrecognizedin the short-skirteddeityG 30, and she is probablythe only goddesswho could be shownwith one breastnude.Her chiton,beltedbelowthe breast,probablyhas a long overfold,perhaps doubledup underneath.A fragmentary head(G 30-1) wouldfit wellwiththisfigure.For the fragmentary and as Selene 1 identifications G G and Leto are suggested,on the basisof the relationshipof 33, figures the formerwith Helios and the latterwith Artemisand Apollo. The male divinitiesare also classicizingin appearance.Onlytwo of the preservedfigures(slabs7, 12) areheavilydrapedwithmantleswhichswingin a heavyrollaroundthehips.Fivegodswearthe chlamys: one has it fastenedin the centerof the chest(slab 18)and the otherfour weartheirsclaspedat the right shoulderanddrapedacrossthe chest(slabs2, 3, 14, 16). One god is showncuirassed(slab9), andothers between may have been completelynude, thoughgarmentsprobablyservedto providedifferentiation the civilizedgods and the uncivilizedgiants, who are invariablyshown naked. The gods are further characterizedby slim proportions,and theirgentlymodeledtorsosform a significantcontrastwith the heavieranatomyof the giants.Onlytwo of the preservedheadsof the male divinitiesare bearded,and theirtorsos are all in nearlyfrontalview. Identificationof someof the godsis facilitatedby theirattributesor by generaltype.Poseidon(slab 12) is shownwith his trident,and the heavilydrapedlegs of G 24-3, quite differentfrom those wearinga chiton,seemappropriatefor a maledivinityand wouldfit with one in rearview, as Poseidonmusthave been. Poseidonmay also have been shownwith dolphinsas an additionalattribute(G 109-G 113),but it is difficultto place them within the slab; some may have been sharedby Amphitriteto make her identificationclearer. Zeus(slab 7) is suitablyattiredin a heavymantleand wearslong hair and a beard.His thunderbolt may be reflectedin the smallpiece whichcurvesdown to the rightof his drapery.Ares (slab 9) can be securelyidentifiedby the cuirassfragmentspresentingthepteryges(G 18-2, G 18-3), andthe headG 18-1 facingleft fits with the directionof the figure.Hermes(slab 4) is suggestedby the hat worn on G 7-1 which may go with the lower torso and legs of G 7-3. One easily recognizes Herakles (slab 5) in the frag-

mentaryheadwearinga lion skin. For G 5 (slab 3) identificationas Dionysoscan be suggestedbecause of the youthful,satyr-likeappearanceof the head. The leopardskin G 5-2 may have been carriedon 8 For instance,Picard III, figs. 187, 188, 193-196, 197, 198. 9 Carpenter,The Sculptureof the Nike TempleParapet. Comparethe predilectionfor transparencyin the Nike Temple parapet reliefs; for G 25-1 see especiallyCarpenter,pl. 8, no. 11, where the tubularfolds form similar archesaround and beside the breast, and for G 25-2 compare pl. 14, no. 25, where, however, the drapery is given greater substancewith lines which emphasizethe curvingbody contours. The lighter materialof the Corinthdraperyimpartsgreaternudity to the figure.

THE GIGANTOMACHY

15

his outstretched left arm, and the boot G 5-3 also seems appropriate.A tentative identification for G 31 (slab 16) is Apollo who seems unusually quiet in the midst of battle, but he presents a dignified, regal air appropriateto this civilized god. The association of the four remaining gods with actual divinities is more tenuous. Since we have already identified so many male divinities, we have the problem of which other gods would have participated in the battle. The Pergamon altar, in which so many deities were represented and securely identified by inscriptions, provides some suggestions.10Rather arbitrarily,the torso G 35 (slab 18) may portray Helios, the torso G 28-1 (slab 14) perhaps Nereus. At Pergamon Eros is a small, winged figure, and so any of the remaining torsos at Corinth would seem inappropriate. The fragmentaryfigure G 3 (slab 2) may have stood for one of the Dioskouroi, who are shown nude on the Pergamon frieze. Hephaistos might have been the possessor of the right leg G 20-3 shown in rear view (slab 10). The male head G 20-1, which is in three-quarterrear view, very likely formed part of this figure. G 20-3 could not have worn the characterizingartisan's exomis, since the lower curve of the buttocks is visible; Hephaistos therefore may have been renderedmore recognizable by his hammer or by a deformed left leg. The giants are differentiatedfrom the gods by the brutality and coarseness of their forms. Except for G 29 the preserved examples all wear thick, bushy beards, but their hair varies in turbulence. Two (G 22, G 26) also present hairy chests. The giants are of stockier proportions than the gods and their muscular torsos are dramatically rendered. At least four (G 6, G 10, G 14, G 27) are of the anguiform type, but perhaps another four were also rendered this way (scene type 3?), since the number of coil fragments preservedis large. The majority of the coils are unsealed. In the four preservedexamples the giants' legs turn into coils below the knees, so the figures can actually be said to kneel. The few coil fragments which bear scaled surfaces (G 87-G 91) may belong to a different context, such as Athena's snake, or even to a differentfrieze, for instance the Herakles series, although the identifiableportions of the likely candidate there, the Hydra, are not enhanced by scales. In each case, however, variety is introduced by changing somewhat the turn of the thighs, in G 27 by making the left knee appear to sink into the plinth, and in all cases, apparently, by altering the direction of the coils, which are decoratively arrangedbeside the thighs. The giants are furthercharacterizedby their "natural" weapons which are tree branches (G 32, G 36, G 114) and rocks or boulders(G 14, G 32, G 57). They all seem renderedin kneeling positions so that they must look up to fight against their opponents; with such an arrangementthe towering gods immediately give the impression of being victorious. Restoration of individual giants is made more difficult by their uniformity and lack of individual characteristics.The head G 16-1 which looks upward to the left and is not being pulled by the hair fits well with the lower torso and legs of G 16-2 and the scene is reconstructedin slab 8. Likewise the head G 8-1 may belong with torso G 8-2 in slab 4 and the position of the breaks on the two pieces accords well with this view. The left anguiform leg depicted kneeling on the plinth (G 10-1) may belong with the snake in fragment G 10-2 though they do not actually join (slab 5). The major preservedfragmentssuch as complete figures,heads, large torsos and legs suggest 18 giants, all of whom are representedin the reconstructeddrawings. The unassociated fragments in the Gigantomachy series give us an additional 21 arm fragments, 8 hands, 18 legs, 5 right feet as well as 5 dolphin fragments, 17 serpent fragments and one stick. Since many of the figures are fragmentaryand few arms or legs are whole, the remaining fragments do not by themselves add additional figures to the reconstruction. If we consider, however, the fragments in the Unattributed series, it might be possible that there were originally more slabs. Nevertheless, it is likely that the composition of the slabs remained the same throughout, conceived as duels, rather than as more complex scenes which would account for a greater number of figures. 10 See the drawingsof the frieze with names from the inscriptionsin Humann, Der PergamonAltar, plate, and Rohde, Pergamon, BurgbergundAltar, pl. 2.

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THE GIGANTOMACHY

The present arrangementof the Corinth Gigantomachy has been worked out on the basis of common associations of the gods in Greek mythology, particularlyas reflected in the two major prototypes for later gigantomachies: the Parthenon east metopes and the Pergamon altar frieze. If we first consider the two central sections of the scaenae frons, each of which has room for five slabs, we find that logical figures for the central positions would be Zeus and Poseidon. These figures, placed respectivelyto left and right, become antithetical, since Poseidon is shown in rear view. Hera and Athena would both be suitable flanking figures for Zeus; with Hera can be associated Herakles, and with Athena Ares as another god of war. In the east central section Amphitrite should appear as Poseidon's consort, with perhaps Nereus to the right, while we might place Hephaistos and Aphrodite to the left. Thus we have the four similar slabs (type 1), each with a goddess striding right, flanking the two major deities. Variety is introduced, particularly on the east, by the direction of the three gods who stand on the right of the slabs, facing left. When placed on the architecture,these figures would be directed toward the monumental central door of the stage front, and might help carry the viewer's eye toward the center. Four positions are available on each of the four sides. Helios and Selene probably stand one at either end of the stage building. The triad Artemis, Apollo and Leto may occupy the remaining positions on the east, with Apollo in the center, alternating with the female figures. Dionysos should probably be placed on the west in a position correspondingto Apollo, and accompanied by Hermes, with whom he has been associated since birth, and with one of the Dioskouroi on the left. Findspots are not recordedfor many fragmentsin the Gigantomachy.Records exist for only 26 pieces, involving 15 slabs. Although these are indefinite and for the most part centrally located, their general direction does, in fact, coincide with the present arrangementof the reliefs (see footnote 42, p. 132). This arrangementas a whole gives a regular alternation of male and female deities, of gods fighting to right or left, and of anguiform versus human-legged giants. In addition, most of the deities fighting toward the left are located on the east portion of the building, so that they may seem rather to be proceeding toward the center of the stage than to be located on what is traditionallythe non-victorious side. Judging from the better preserved slabs, the reliefs seem to be quite rhythmicallyplaced. The Corinth Gigantomachy is strongly influencedin some respects by the Hellenistic tradition, led by the Great Altar at Pergamon. Like the Pergamon frieze, the Corinth gods borrow from Classical prototypes. Some of the giants are anguipeds, though none of them seem to be winged. Their hair, facial treatment and dramatic musculature are also similar, and they too fight with boulders or sticks. The Corinth Gigantomachy makes use of the hair-pullingmotive, which is omnipresent in the Amazonomachy scenes as well. On the other hand, in some respects the Corinth frieze contrasts greatly with its Pergamon antecedent. Like the other theater reliefs at Corinth, the composition is spaciously arranged and the background lacks the many space-fillingdevices employed by the Pergamon artists. The Corinth gods have a greater air of serenity and seem to represent patterns of striding figures rather than figures actually embroiled in a battle. Although the giants' faces are highly modeled, their eyes are not so deeply set or rolled back in their sockets, their attitude is more detached, and their hair is not so thick or turbulent, so that they do not convey so much pathos nor do they appear so wild. But let us examine the Corinth Gigantomachy more closely. The scene type 1 (which is really the only one well enough preservedto discuss in terms of parallels)recalls particularlythe battle between Athena and Alkyoneus on the Pergamon altar (AltPerg III, pl. 12; Schober, fig. 38) especially in the use of the hair-pullingmotive, which is employed in three of the four slabs (Nos. 6, 11, 13). The frontal torso and

stridinglegs of the PergamonAthenaare paralleledalmostexactlyby each of the four goddesses,who also wear the chiton or the peplos with high belt and probablywith long overfold.In the preserved Corinthfiguresthe draperyis not carvedas plasticallybetweenthe legs and seems less flamboyant. Torsion has been eliminatedby having each goddess fight with a giant ahead of her instead of behind.

THE GIGANTOMACHY

17

In each scene the two figures have been pulled so far apart that the Corinth giants no longer cross in front of the goddesses. One of the Corinth giants (G 22, slab 11) is an exact mirror image of Alkyoneus who also has human legs, although, unlike the Corinth figures, he is winged. But probably his ruffled feathers were meant as a balancing element for the wings of Nike who crowns Athena, and this detail could be eliminated in the Corinth scene which includes only the protagonists.Another parallel for this scene is the group of Doris and her opponent at Pergamon (AltPerg III, pl. 22; Bieber, fig. 467). It certainly seems as though pattern books must have been in circulation,ll although variety is introduced by altering minor details, such as the turn of the head. The rendering of the hair also lacks the coloristic effect conveyed by the Pergamene artist, and the facial features of the Corinth figures, particularly the bulging eyebrows and zygomatic bones, are much more prominent. Alkyoneus' left hand, which is outstretched, may help explain the position of the right hand in the corresponding Corinth giant.

The type of scene under discussion, both at Corinth and Pergamon, is reminiscentof Classical prototypes. The giant G 22 recalls those in the Parthenon east metopes nos. 1, 8, and 13, particularlyin the arrangementof the legs,l2while the stridinggoddess is adaptedfrom the Athena in Parthenoneast metope no. 413 and the goddess (Aphrodite) in east metope no. 12.14It is, moreover, widely recognized that the Pergamon Athena herself goes back to the goddess of the Parthenon east pediment. The Corinth giant in slab 8 (G 16) calls to mind the figure on one of the metopes from Temple F at Selinus,'5and the two striding divinities partially preserved from that temple, as well as the Athena from Temple E, are also familiar. The stridingAthena using her aegis as a shield is especially close to the Athena from the east (?) pediment of the Peisistratid Temple on the Athenian Acropolis who also grasps the body of a snake in her left hand.16 The pose of Athena's opponent (G 16) occurs as early as the pediment of the Temple of Artemisat Korkyrawhereit is well adaptedto the spatialconditionson the tympanum.l7This stock

motivewas also widelyusedin vasepainting,18 as well as in latersculpturalfriezessuchas the Antonine gigantomachyfrom Aphrodisias.19 Otherparallelswith the Pergamonfriezeare evident.In the figureof "Night" (AltPergIII, pl. 17; Schober,fig.50) we noticeparticularlythat the draperybetweenthe legs swirlsbackin the directionof the stridenearthe bottom,somewhatin the mannerof the CorinthAmphitrite(G 25-2). Greatertransparencyis achievedin the Corinthfigurewherethe materialis muchless plasticallyrendered.A third stridinggoddessat Pergamon(AltPergIII, pl. 2) shows a similaruse of transparency,and the lower edge of the mantlepulledacrossthe upperthighis particularlyclose to G 25. Eventhe detailof a curl fallingbeforethe ear, as on Hera(G 11) and Dionysos(G5), recallsa trait of the Pergamongigantomachy, as on "Night" (AltPergIII, pl. 17; Schober,fig. 50) and Phoebe(AltPergIII, pl. 7; Schober, fig. 40). The CorinthArtemis(G 30) wearsa characteristic garment,as shownby the short-skirtedfigureon the Pergamon frieze (AltPerg III, pl. 8; Schober, fig. 44),20but the Corinth figure is perhaps closer to the Pergamon Dionysos (AltPerg III, pl. 1; Schober, fig. 58), wearing a high belt and an overfold that is doubled under. The Pergamon Dionysos is also in a frontal stridingposition and his two outstretched arms may suggest a solution for the pose of his Corinthian parallel. 11 See footnote 9, p. 61. 12Brommer,pls. 39, 61, 77; Vian, Repertoire,pl. 8. 13Brommer, pi. 49. 14Brommer, pl. 75. 15Vian, Repertoire, pl. 4.

16Schrader,Die archaischenMarmorbildwerke der Akropolis,pl. 185. 17Rodenwalt,Die Bildwerkedes Artemistempelsvon Korkyra,pp. 28-29. 18 See, e.g., the red-figurekraterin Ferrara,illustratedin Vian, Repertoire,no. 338, pl. 37, ca. 420 B.C. 19See footnote 4, p. 11 above. 20

Compare also the striding Artemis in Copenhagen, Poulsen, no. 83, pl. 7, and the Artemis from Versailles in the Louvre, Bieber,

fig. 201, and see Charbonneaux,Marsyas,Suppl. I, figs. 1-8; see also Beschi, Sculturegrechee romanedi Cirene,pp. 253-297.

18

THE GIGANTOMACHY

A comparison between the Corinth Zeus (G 13) and the Zeus on the Pergamon altar (AltPerg III, pi. 11; Schober, fig. 42) emphasizes the calm, stately characterof the Corinth figure, who strides slowly

to the right,whilethe Pergamongod seemsto be rushingviolentlyto the left. Theirmantles,caughtin front across the hips and over the left shoulder,are worn in the same way, althoughthe dramatic Pergamonrenderingcontrastsstronglywith that of the Corinthdeity.The armsof the lattermay have beenoutstretchedin a mannersimilarto the PergamonZeus.On the altar,the majorOlympiandivinity fights againstthree opponents,but probablyonly one giant confrontedthe CorinthZeus, given the standardizedarrangementof the "duels." The CorinthDionysos (G 5) should be comparedwith the Apollo on the Pergamonaltar frieze (AltPergIII, pl. 9; Schober,fig. 51). Althoughthe cloak of the Pergamongod hangsfromhis left arm, the positions of the two figuresmay be close. The PergamonApollo is shown frontally,wearinga quiver,with both armsoutstretched,and standingwith his legs apart.His head was probablyin right profileview, sincehis opponenthas fallento the right.The CorinthDionysosalso turnshis headto the right,andhis left armis outstretched.TheApollo on the westfriezeof the Templeof Hekateat Lagina21 also reflectthis type.We seemto haveno giantpreservedat Corinthsimilar and the Apollo Belvedere22 to Apollo's opponents either on the Pergamon or Lagina friezes. A comparison with non-Corinthian anguiform giants will clarify the characteristics of the Corinth figures. Those on the Pergamon frieze, for instance, all seem to become serpents at mid-thigh, and their snaky portions are regularlyembellishedwith elaborate scales. Because they have no knees, they appear to ride on their thick coils, and their torsos take a variety of poses. Occasionally they even appear in rear view (AltPerg III, pl. 11). The serpentbodies, besides being much thicker in the thigh and knee area, extend furtherup the slab and, ratherthan assuminga decorativefunction, actually take part in the battle. One of the giants at Pergamon is pulled by the hair (AltPerg III, pl. 18), while others (AltPerg III, pls. 14, 16, 21), frequently in frontal view, lean away from their opponents, much in the manner of G 14, their arms extended and bent upward at the elbow. Other gigantomachy reliefs tend to follow the Pergamon anguiform giants more closely than do the Corinth reliefs. Two of the preserved Corinth giants (G 22, G 26) are shown with tufts of hair on their chests in a "fleur-de-lis" pattern. Rendering of body hair on semi-human figures is not uncommon in antiquity. For instance, the old centaur in black marble by Aristeas and Papias, Hadrianic or early Antonine in

date, displayscurlyhair over a largeportionof his chest.23The torso of a giantin the museumof the RhodeIslandSchoolof Designhas a smallstylizedtuft of hairin the centerof his chestwhichis closer to the Corinthrendering,thoughthe formershowsmore of a rosetteor whirligigpattern.24 The facial structureof the giants is typically complex and the eyes of some are especially large. General comparison with Pergamon has already been noted, but a more specific relationship may be noticed between G 8-1 and the opponent of Hekate (AltPerg III, pls. 8, 29, a; Schober, fig. 46). The head of another giant from Pergamon (AltPerg III, pl. 29, b; Kleiner, fig. 21) is quite close to G 12, G 16-1 and G 26, particularlyin the outline of the head, the direction of the gaze and the slightly parted lips. Most of the giant heads from Corinth, however, are of a differentcharacterfrom those on the Pergamon altar. The Pergamon head which shows the closest relationship to the Corinth giants (AltPerg III, pl. 29,b) also seems to be a prototype for the busts of Zeus and Apollo on capitals of the Temple of Apollo at 21Bieber, fig. 706.

22

Bieber,figs. 199, 200. Havelock,HellenisticArt, p. 124, fig. 91, suggestsa Hellenistic,early 2nd centuryB.C.date for the original of the BelvedereApollo. 23Toynbee, TheHadrianicSchool, p. xxv, no. 242; Brunn-Bruckmann,pl. 392; Helbig4,no. 1398. 24Ridgway, ClassicalSculpture(Rhode Island School of Design), no. 25, pp. 67-68, acc. no. 25.064, p. 183, fig. 5(a-d). Compare also replicasof Marsyas,e.g. the one in the Museumof Fine Arts, Boston, Caskey, Catalogueof Greekand RomanSculpture,no. 87. A giant in the Ny CarlsbergGlyptothekin Copenhagenalso presentsa close parallelwith a barelyvisible whirl of hair on his chest, Poulsen, no. 193, p. 140 and EAA, pp. 1799-1800.

THE GIGANTOMACHY

19

Didyma,25which have been dated to the early Antonine period.26The Didyma heads, in turn, seem particularly good parallels technically and stylistically for the giant heads at Corinth, especially in such details as the prominent, plastic eyebrows, large eyes (especiallyG 8-1), highly modeled cheeks, direction of gaze, open mouth, even the direction in which the hair is combed. The sag of the lower eyelids in the Didyma heads is another feature present in a number of the Corinth heads. The Didyma heads appear to be somewhat later than those at Corinth, because of their more plastic and deeply carved hair, and the proliferation of spiral curls. Their cheeks are also more highly polished and the mouths more widely opened. Mendel suggests that the closest parallels for the Didyma heads are found in the busts of Medusa, Herakles,Perseusand a Minotaur from the consoles of the portico of the Hadrianicbaths at Aphrodisias.27 This comparison would give us a chronological reference for both the Didyma and the Corinth sculptures. Unfortunately the Aphrodisias heads are published only in line drawings. Another work which forms a close stylistic comparison to the Corinth Gigantomachy is the battle scene on the so-called Parthian monument at Ephesos, most recently dated by Rosenbaum to ca. A.D. 161-165.28A detail of the head of a barbarian from this monument,29which also shows echoes from Pergamon, is quite similar to the Corinth giants in the rendering of the thick wavy hair and beard and the highly modeled eyebrows and cheeks. The kneeling barbarian on the left of slab F30is particularly close to G 22, G 23, and G 26 in the general shape of head and beard. However, the Ephesos heads, like those from Didyma, show greater plasticity in the hair and the skin appears more highly polished. Similar characteristics are present in the gigantomachy sarcophagus in the Vatican31and the figures from the "Stoa of the Giants" in the Athenian Agora,32which are also Antonine in date. Greater realism in certain features, such as protruding eyebrows and cheekbones, may reflect the contemporaryliking for realism in portraiture, particularly of barbarians and Gauls. One should note in particular the individualized head of a barbarian in a private collection in London,33probably an Antonine copy of a late 3rd century B.C. original, and especially the barbarians represented on the Aurelian panels on the Arch of Constantine.34 As for the gods, the head of Dionysos (G 5-1) has been compared to a gorgoneion on the lappet of a statue of Hadrian found in the Odeion at Corinth.35In general, the divinities are more difficult to parallel chronologically because of their classicizing appearance; this trait in itself, however, is an argument in support of dating the Corinth frieze to the Hadrianic or early Antonine period. 25 Kleiner, figs. 18, 20, 21. 26 Kleiner, p. 34. 27

Mendel, Cataloguedes sculpturesII, nos. 497-501.

28 Kleiner, p. 42, note 74; Eichler, "Das sogenannte Partherdenkmal von Ephesos," pp. 488-494, pi. 54; Heberdey, Jahresh 7, Beiblatt, 1904, cols. 50-55, 157-160, but recently Vermeule, Roman Imperial Art, p. 508, note 1, dates the monument to ca. A.D. 140. E. Rosenbaum, in a review of Vermeule in Phoenix 25, 1971, pp. 179-186, emphatically prefers the later date. One looks forward to

ProfessorEichler'sarticle on the altar forthcomingin Jahresh. 29

Becatti, The Art of Ancient Greece and Rome, p. 347, fig. 332; Vermeule, Roman Imperial Art, p. 105, fig. 37. Compare also the

barbarians,ibid., fig. 36. 30Vermeule,RomanImperialArt, fig. 36. 31 See footnote 4, p. 11 above. 32 See footnote 4, p. 11 above. 33 Schober,figs. 151-152, p. 161. 34 Ryberg, Panel Reliefs of MarcusAurelius,figs. 2, a, 44, 45, c, d. 35 See the catalogue entry for G 5-1.

THE GIGANTOMACHY

20

THE GIGANTOMACHY:CATALOGUE PLATES1-41 SLAB 1

P1. 1 FRAGMENTARY DRAPED TORSO (SELENE?) T 177; joins T 182, T 185 A-C; Theater, findspot unknown. P.L. 0.63, P.W. 0.380, Th. relief ground 0.034, Max. Th. 0.155, P.L. top edge 0.180, P.L. left edge 0.30 m. Eleven joining fragments, broken on all sides; surfaces badly broken and chipped; upper left corner of slab preserved.

G 1-1

The fragments preserve sections of background and parts of a large figure in very high relief from which almost all surfaces have been chipped off. A draped torso in three-quarter or profile view is represented. One side of the high projection is bounded on the level of the background by a nearly straight line of drapery, and on the other side a fold line runs diagonally. In the center of the projection at the greatest height of the piece, two folds are carved and somewhat undercut, as though it were the overfold across the hips. The surface of the relief ground is worked by the flat chisel; reverse, smooth. G 1-2

FRAGMENTARY LEFT ARM IN RELIEF

PI. 2

S 658; joins T 216; Theater trench, June 4, 1903; N.B. 18, p. 76. P.L. 0.334, P.W. 0.183, P.L. arm 0.148, Th. relief ground 0.034, Th. including arm 0.081 m. Two joining fragments. Relief ground broken on all sides. Arm broken at shoulder and below elbow. Fragmentary left arm and part of short sleeve in relief. Of the sleeve, two buttons, faint pleats and a hem across lightly modeled biceps remain in low relief. A small unpleated section of the sleeve appears at the back of the arm. Part of the inside of the elbow is indicated near the break. At the point of the break the arm is separated from the background by a rough channel made by the running drill. The forearm probably curved away from the relief ground. Most of the arm's surface is smoothly finished; reverse of slab, smooth. Gardiner,p. 314, no. 7.

G 2 FRAGMENTARY NUDE MALE TORSO T 229; Theater, findspot unknown. P.L. 0.218, P.W. 0.158, P.Th. 0.055 m.

PI. 2

Single fragment,broken at back and on all sides; surfacechippedand weathered. The fragmentpreservesthe lowerportionof a nude male torso, probablya giant, from the epigastricarch to the groin. The torso may have turned slightlyto proper left below the waist, but the upper portion seems turned back to proper right. Light grooves modeling part of the epigastric arch, abdominal divisions,waist and the beginningof the ribs on the left survive. The lower abdomen is prominentand fleshy. The separationof the thigh from the bulging hip muscle on the right is sharplyincised, as is the right side of the groin. The position of the right hip muscleandgroinsuggestthatthe rightwasthe straight, supportingleg, perhapskneeling;the left leg may have been in a horizontalposition to the right. A small portion of pubic hair remains.Marksof the rasp are visible over all the preservedsurfaces. SLAB2

G 3-1 MALE TORSO FRAGMENT PI. 3 (KASTOR?) S 3286; Museum basement,marble pile, findspot unknown. P.L. 0.155, P.W. 0.127, Th. 0.058 m. Singlefragment,brokenon all sides;surfacechipped, worn and weathered. Right half of a nude male chest, acrosswhich two folds of a cloak hang from the right shoulder. A furtherbit of the chlamysis to be seen beneaththe break of the right arm. The pectoralis firm, but not overly harsh, and a gentle curve beneathmarks the chest and top rib. The nipple is barely visible. The armpitis modeled,so the right arm must have been held away from the body. The scale correspondswith the Gigantomachytorsos. G 3-2 FRAGMENTARYLOWERTORSO P1.3 AND LEFT THIGH T 103;joins S 961; Theater,findspotunknown. P.L.0.242,P.W. 0.180,W. thigh0.096,Th. abdomen 0.055 m. Fourjoiningfragments,brokendiagonallyat top of groin,top of rightthigh,belowleft kneeanddiagonally throughfigure;surfaceworn and chipped. The fragmentspreservethe lower part of a nude male abdomen,the top of the rightthigh, and the left leg to below the knee. A strongwide furrowrenders

CATALOGUE21 the right groin. The surfaceof the genitalsis mostly missing, though their shape remainsin outline and part of the curlypubic hair survives.The left thigh is lightly modeledand bulgesover the right side of the knee, which seems to turn halfway to the left. The torso may have stood frontallyin relief,since the left thigh seems to have broken from the relief ground, particularlyto left of the knee, and the legs were probably fairly close together. Most of the surface retainsraspmarks.The surfaceon the figure'srightis weatheredyellow.The absenceof harshmodelingand exaggeratedmusculatureseemsto denotea god. G 4 BEARDED HEAD OF GIANT

PI. 3

T 86; Theater,from west skene, between Roman concretefoundations,1.50m. below level of marble strosis,May 18, 1929;N.B. 323, p. 97. P.H. 0.122, P.W. 0.110, Th. 0.059 m. Singlefragment,brokenat left of figure'snose and abovechin; surfacebadlychippedand worn. The fragmentpreservesthe left side of a bearded male head. In its present state of preservationit is impossibleto tell whetherthe head faced frontallyor to the left, althoughit is likelythat all of the preserved part of the head was meant to be seen. Very little of the faceremains,only the left half of the forehead,part of the left eyebrow,the incisedupperlid, and part of the left eye. A smallportionof the cheeksurvives,and the line of the fracturenear the hairlinemay indicate a bulgein the cheektypicalof some of the giants. The beard seems renderedin short wavy clumps, brusheddownward,with individualstrands incised. The outer surface of the ear is worn, but appears carefullyrendered.Marks of the drill can be seen inside.The hairis renderedin shortwavylocks, much like the beard,but thickerand moreplastic.The short hairis brushedup fromthe face and down the backin rows of thick,pointedlocks wavingin oppositedirections. The hair is most plastic on the left, about the face,wheredrillholesemphasizethe curls'centers.The hair nearestthe breakthroughthe centerof the head is less carefullyfinished,suggestingthat this part of the headwasimmediatelyadjacentto the reliefground. Herethe surfaceis roughand wavesare not indicated. The head, which resemblesthat of G 36-1 in type, probablyrepresentsa giant. SLAB3

P1.5 G 5-1 HEAD AND SHOULDERSOF GOD IN CHLAMYS (DIONYSOS) T 18; Theater,findspotunknown;E.C. II, p. 270. 36 E.

Capps, Hesperia7, 1938, p. 548, fig. 7. 370. Broneer, CorinthX, pp. 125-127, fig. 120.

38 Op. cit., pp. 546-548.

Max. Dim. 0.335, L. head 0.117, W. face 0.073, P.L. shoulder to chest 0.173, P.L. chlamys 0.154, Max. Th. 0.190, Th. relief ground 0.087 m. Four joining fragments, background preserved only behind part of head. Figure broken diagonally across chest, from middle of left arm and from background; chipped at breaks. A young, beardless god in frontal view wears a chlamys and looks right at his opponent. His satyrlike head, shown in right profile view, is nearly square in shape. The hair is rendered in short wavy clumps, separated by furrows carved most deeply around the face. Individual strands are incised on each lock. The hair lies flatter at the back than at the sides where the curls are tighter as well as in higher relief. The hair at the forehead is brushed up and away from the center part, off center to right. Adjacent to the relief ground the hair and face are unfinished and remain bumpy from treatment with the point. One tight curl falls before the right ear, which is completely carved. Several single drill holes can be seen in the hair as well as some running-drill channels. The forehead bears a light, horizontal crease, below which the brow projects moderately, farther on the right than on the left. The eyebrows are presented as thin ridges. The eyes, which are not deeply set, have narrow, even lids which meet at the outer corners. The short nose is slightly aquiline in shape and broad at the nostrils. The short, closed mouth is cut back into the plane of the face, and so appears to smile. The cheeks are very lightly modeled and flat, but fine rasp marks remain over the face and neck. The square, short chin is accentuated and lightly separated from the stocky neck, which reflects the turn of the head in its bulging muscles. The chlamys was fastened at the god's right shoulder and lies flatly across the upper chest and left upper arm. A deep groove depicts an indented fold which curves across the front, while the remaining surface is lightly modeled and has occasional creases. The left arm extends out diagonally from the shoulder and seems in a position to have grasped an opposing giant by the hair. The figure's left breast and part of the epigastricarch are lightly modeled above the fracture. Most of the surface of the cloak and chest retain rasp marks. The figure was first identified as Apollo by Shear in 1926, but appears in Capps' Hesperia article as Dionysos.36Broneerfirst made the comparison between this head and the gorgoneion on a lappet of a statua loricata identified as Hadrian from the Odeion at Corinth,37a parallel later stressed by Capps38as an indication of a Hadrianic or early Antonine date for the head and thereby the Gigantomachy frieze.

THE GIGANTOMACHY

22

G 5-2 FRAGMENT OF FELINE SKIN

P1.5

T 152a; Theater,findspotunknown. P. Max. Dim. 0.144 x 0.183, Th. 0.019-0.059m. Single fragment,broken on all sides; chippedand worn.

SLAB4

G 7-1

HEAD OF GOD WEARING CAP (HERMES)

P1. 6

T 85; Theater, west cavea XIV, ca. 2 m. above orchestra level, May 15, 1926. P.H. 0.133, W. 0.114, Th. 0.090 m. Three joining fragments. Head broken at neck and from relief ground. Part of left cheek and back of cap are missing. Nose and hat brim badly chipped and weathered.

The pieceseemsto representa fragmentof a panther skin,whichwasdrapedoverthe armof a god,probably Dionysos. One triangularear is preserved;the other was chipped off. The closed eyes are deeply incised slits, and the face is lightlymodeled.Faint nostrilsare indicatedby the point. A deep hole in one side of the The head of a beardless god wearing a cap appears face denotesthe end of the mouth. The curve of the in profile to right. The figure wears a simple cap, flat wristis visiblewhereit brokeoff, as it extendedfrom on top with a narrow, continuous brim, which forms underthe skin.

a small point in front. Beneath this headdress the hair is rendered in rows of round, flat, regular locks with P1.5 plain surfaces which lack incision or drill holes for G 5-3 LOWERLEG WEARING definition, and which may have been painted. The BUTTONED LEATHER BOOT shape of the face is nearly square and the features on T 123; Theater,findspotunknown. the left are roughly finished and somewhat elongated, P.L. 0.189, Max. Diam. 0.091, Min. Diam. 0.045m. because of their closeness to the background. The Single fragment,brokenbelow knee and at ankle; right eye is set a bit higher than the left; it is also small surfaceworn. in proportion and sketchily rendered. The nose is not quite straight. The fully closed mouth is asymmetrically The piece representsa right lower leg wearing a placed and turns down at the corners. The chin is leatherboot, carved in the round. Three flaps hang firm and strongly set off from the neck in front, down from the top of the boot, whiletwo rows of five though only by incision on the side. The torso was buttons each were once depicted in low relief on probably in three-quarter right or frontal view. The eitherside of two ridges which form the edges of the figure bears a quiet, solemn expression. Rasp marks boot. Five buttons are well preserved,but traces of remain over the surface. the others survive.The boot was buttoneddown the Capps associated the head with the torso G 35 and frontof the leg, sincethe shinbone and calf muscleare arm G 43, but differences in scale and thickness of renderedabove the boot top. The back is flat and background seem to invalidate these attributions, roughlyfinished.The piece may belongto Dionysos. particularly the arm. Shear discussed the head as a representation of Hermes, an identification which G 6 GIANT'S RIGHT LEG KNEELING P1.5 suits the figure's hat.

ON PLINTH

Shear, AJA, 1926, pp. 460-461.

T 344; Theater,findspotunknown. PI. 6 P.L. plinth0.255, D. plinth0.160-0.167,P.H. back- G 7-2 POUCH OR PURSE ground 0.152, H. plinth 0.073, Th. relief ground T 375; Theater, east area, section 10H, on pavement, 0.030, P.L. leg 0.225, P.W. leg 0.075, Th. leg 0.132 m. April 11, 1929; N.B. 324, p. 879. Five joining fragments;plinth brokenat both ends P.L. 0.102, P.W. 0.076, Max. Th. 0.049 m. with sectionsmissingfrom middle.Leg brokenat top Single fragment, broken at one end and from of thighand slicedthroughleft side; beginningof coil projections. breaksoff behindknee. Right leg of giant kneelingon the plinth. The leg appearsin three-quarterview to left and turnsinto a serpentbody behindthe knee, wherethe beginningof the coil remains.The leg's surfaceshows a complete lack of detail, similarto the left leg and rightknee of G 27 and the knee of G 10-1. The rightside of the leg is workedwith the point, as is the top of the plinth; front of plinth,claw chisel; bottom,hammerdressed; reverse,smooth.

Triangular pouch carved in the round. A nearly flat border is set off from the bulging central area. The sides of the bag bear incisions in a herringbonepattern. Part of a finger or thumb is preserved holding the purse-like object at the top. Two other projections, the upper where the hand was attached, the lower a strut, remain on the opposite side of the bag. Such a pouch is a common attribute of Hermes. However, it is possible that it belonged to a figure in the round, rather than to the frieze.

CATALOGUE G 7-3

LOWER MALE TORSO AND LEGS

PI. 7

S 532; joins S 379, S 489; Theatertrench,3.5 m. deep, May 22, 1903; N.B. 26, p. 41; N.B. 18, p. 60. P.L. 0.335, P.W. 0.348, W. top 0.169, W. r. thigh 0.092, Max. H. relief0.150,Th. reliefground0.043 m. Threejoiningfragments;figurebrokenabovenavel, preservedto left knee and below right knee; genitals brokenoff.

23

A batteredheadrepresentsa giant,turnedsomewhat right.The hair is arrangedin short,wide locks which are brushedaway from the face on all sides. Locks survivingon the right are deeplycut by running-drill channels,in which separatedrill holes are apparent. The hair framingthe face is separatedfrom the rest, on the top and right, by a deep, partiallysmoothed, running-drillchannel.Furtherawayfrom the face the hair becomesless plastic and more roughlyfinished. The very high foreheadis markedhorizontallyby two incisedgrooves.The bushy, furrowed eyebrows project stronglyin a frown, which forms a striking pattern.Extremelylarge, round eyes are deeply set; the upperlids are incised,while the lowerare marked off from the plane of the cheeks by gentle grooves. Crow's-footwrinklesare lightly incised at the outer corners.Diagonal groovesbegin at the inner corners of the eyes and extendto the beard,thus settingoff the cheek bone. Althoughmost of the surfaceis lost, the nose appearsshortwithwidenostrils.A longmoustache once covered the mouth, which was slightly open, revealinga doublerow of teeth.The figureworea full beard;in the few placeswhereits surfaceis preserved, channelsproliferate. singledrillholesandrunning-drill on until the left it beginsto curve The neckis preserved marks arevisiblenear A few out for the shoulder. rasp the reliefground;reverse,smooth.

The fragmentspreservethe lower torso and thighs of a nudemalestridingright.Thelightlymodeledlower abdomenis in a three-quarterright view, though it beginsto twistto a frontalpositionfor the uppertorso. The left leg, in relief,extendsforwardand bendsat the knee, while the right stretchessomewhatback and is carvednearlyin the round.The leg musclesare lightly indicated.The pubic hair is carved in low relief in threerows of tight curls,but the genitalsare abraded. The workmanshipon the sidesof the figureis careless, particularlyon properright wherethe excess stone is not completely removed. The smoothness of the modelingsuggestsa deity. Raspmarksarevisibleovermuchof the surface.The relief groundis rough with marks of the point. The reverse, smooth with visible saw marks, retains a horizontal setback, 0.010 to 0.018 m. deep, which probablyresultsfrom sawingfrom two ends of a slab PI. 7 and meetingnot quitein the middle.The setbackcould G 8-2 NUDE, KNEELING GIANT not be intendedas a meansof restingor hangingthe T 8; Theater,west cavea XIV, ca. 2.60 m. above slab on anotherblock, since the greaterdimensionis orchestra level, May 11, 1926. at the bottom. P.L. 0.420, P.W. 0.518, P.L. torso 0.267, W. waist P1.7 0.154, Th. reliefground0.050-0.076,Th. relief0.112G 7-4 FRAGMENTARYRIGHT LEG 0.212 m. S 520; joins S 548; Theatertrench, 3.5 m. deep, Nine joining fragments. Figure broken above May 21, 1903;N.B. 26, p. 40. clavicles,at left wristand middleof rightforearm,top P.L. 0.243, Max. Diam. calf 0.073 x 0.084, Th. of right thigh, at left knee and along left calf. Badly 0.107 m. chippedat breaksand acrosschest;surfaceweathered. Two joining fragments,brokenat both ends, from The piece representsa nude giant kneeling in a reliefgroundand plinth. frontalposition,leaningright and fightingagainstan Right leg from below knee to ankle and back part opponenton the left. The giantappearsto haveheld a of foot. The modelingis fairly smooth, and a strong curvedobject,suchas a stickor bow, in his righthand curving line delineates the calf muscle. The leg is againsthis chestwheretracesof the connectionremain. attachedto the relief groundat the ankle, wherethe His rightshoulderis higherthanhis left, and his right excess marbleis not cut away. The remainderof the arm bends forwardsharplyat the elbow.His left arm back of the leg is unfinished.The piece is similarin was heldstraightdownfromthe shoulderandthe hand workmanshipto G 7-3. appearsto havebeen on the groundfor balanceas the figureleans back, away from his opponent. PI. 6 G 8-1 HEAD OF GIANT The body is renderedfrontallyand its twist at the S 1152; Theater,from west scarp of stage trench waist remains two-dimensional.The right clavicle projects realistically,but the pectorals seem rather XXXIV, Sept. 13, 1916;N.B. 82, p. 47. P.L.0.244,P.W.0.116,L. head0.155,W. head0.122, harshlymodeled. Two horizontalcreases above the navel definefolds of skin at the waist, as though the Max. Th. 0.162,Th. reliefground0.046 m. neck. at Badly figureleans forward.The outwardcurve of the lower Single fragment,broken diagonally of Part and weathered. background abdomenis furtherenhancedby two incisedlines in a chipped, worn mannersimilarto that of G 31-1, Apollo. Furrows preserved.

24

THE GIGANTOMACHY

definethe tops of the thighs. Most of the pubic area survivesin outline,but the surfaceis badly worn.The giant's left knee is brokenfrom the front edge of the plinth on whichhe was kneeling.The lower leg bends back sharplyand to the left, so that his toes probably restedon the backof the plinth.The rightleg mayhave been in a similarposition, but diagonallyto left. The thighfragmentG 8-3 does not join, but may belongto this figure,sinceit is similarin size and weatheringand showsa continuationof the trochantericdepressionon the giant's right thigh. It also seems to belong to a kneelingfigure, since part of the lower leg survives, connectedto the lower side of the thigh. Raspmarksremainvisibleover muchof the surface, particularlyon the sides. Backgroundretains clawchisel and point marks; reverse,smooth. Flat-chisel strokesseparatethe body fromthe backgroundon the left. G 8-3 THIGH FRAGMENT

PI. 7

T 306; Theater,findspotunknown. P.L. 0.134, Max. W. 0.092, Th. 0.039-0.091m. Singlefragment,brokenat both ends and along one side. The fragment depicts a right thigh to knee. It probablybelongsto a kneelinggiant,sincethe leg was bent sharplyat the kneeso that the thighrestedon the calf. On the left a smallsectionof the calf is preserved whichis smooth,curved,and definitelynot partof the background.The trochantericdepressionis rendered on the rightand resemblesa similardepressionin the kneelinggiantG 8-2, to whichthis fragmentdoes not join, but may belong.This thighis the samesize as the left thighof G 8-2 and displayssimilarweathering.On its outer right surfacelies a small,chippedprojection horizontal to the thigh. The broken projectionmay reflecta thin weapon, attachedat right angles to the thigh. SLAB 5

G 9-1 HERAKLES'HEAD

PI. 8

S 661; Theatertrench,June4, 1903;N.B. 18, p. 75. P.L. 0.102, P.W. 0.102, Th. 0.045 m. Single fragment,broken diagonallyfrom base of nose to top of head; surfaceworn.

The forward slope of Herakles' forehead bears a single incised crease. The ridged eyebrows project somewhat. Most of the left eye remains and shows a slight bulge. The eyelids are even ridges; the upper one curves down to meet the lower. The head would have been too large for the Herakles' Labors series, so it must belong to the Gigantomachy. Gardiner,p. 314, no. 8, fig. 12.

G 9-2

FRAGMENT OF LEFT SIDE OF A NUDE MALE

PI. 8

T 315; Theater, findspot unknown. P.L. 0.162, P.W. 0.143, P.Th. 0.025-0.053 m. Single fragment, broken at back and along one side. Fragment of the proper left side of a nude male figure from the waist to the middle of the buttock. The groove at the iliac crest and the trochanteric depression are well modeled. The surface begins to curve out toward the pubic area near one fracture. The careful finish all around suggests that the figure was turned somewhat to the left. Its size places it in the Gigantomachy group. G 9-3

END OF KNOTTED CLUB

PI. 8

S 3173; Museum basement, marble pile; findspot unknown. P.L. 0.088, P.W. 0.042-0.050 m. Single fragment, broken at one end. The end of Herakles' knotted club is carved in the round. Four circular knots project in two even rows. Most of the surface is covered with diagonal striations, indicating texture. The back was not attached to the relief ground, but has been flattened and smoothed, and is ridged on one side. The bottom is worn, and bears a few striations, and therefore it probably did not rest on the plinth. Herakles was probably shown swinging the club with his right hand. G 10-1

LEFT LEG OF KNEELING GIANT AND SERPENT COIL

P1. 9

S 470; joins S 571; Theater, May 15, 1903; N.B. 18, p. 51; N.B. 26, p. 39. P.H. 0.257, P.L. 0.340, P.W. 0.185, H. plinth 0.065, Th. background 0.045, Max. Diam. thigh 0.100, Th. coil 0.040, est. top D. plinth 0.12-0.14 m. Two joining fragments. Plinth broken at two ends(?); leg broken at top of thigh, snake coil at middle of head and part of coil; hand preserved to wrist.

Top portionof Herakles'head,wearinga lion skin. An evenrowof lion'steethprovidesthe upperborderto the forehead.The usual two fangs are lacking. The leonine featuresare roughlycarvedon top, wheretwo depressionsmay indicatethe folds of the eyelids.The nose and at least one nostril are clearlymarked.On The left leg of a kneeling giant is portrayed, turning the left the flap of skin aroundthe mouth is added. into a serpent coil below the knee. A wide, shallow Shallowgroovesrenderthe skin texture. groove sets off the thigh muscle, and a drill channel

CATALOGUE

25

separatesthe knee from the plinth. The knee is wide SLAB 6 and rounded,but its structureis not articulated.The giant's sketchy left hand leans in low relief on the G 11-1 HEAD OF GODDESS (HERA) PI. 10 ground,slightlyhigherthanthe levelof the plinth,and on part of the serpent'sbody. T 81; Theater, east end of stage, 2.50 m. above The snake's body curls in a circle on the plinth. orchestra level, June 3, 1926. Its neckis missing,but the headadheresto the left side P.L. 0.157, P.W. 0.125, Th. 0.136, Th. relief ground of the thigh,facingleft. The serpent'sroundeye bulges 0.042 m. and is set off from the swellingeyebrowby two faint Single fragment, broken on all sides. lines on eitherside. An incisedline marksthe bridge Head and neck of a goddess in profile to right. The on the nose, while a widergroove denotesthe line of the mouth. The serpent'sbody is texturedby rasp goddess' long, wavy hair is surmounted by a diadem marks.The directionof the serpenthead suggeststhat over the forehead and is rolled into a chignon at the the giant was fightingto left. nape, where the smooth area may have been finished in of the at the The verticalcurvedbreak paint. The hair is parted in the center and descends right edge in four channels since at least looks gentle waves which lie close to the head on top, but intentional, plinth are more highly carved about the face. A short curl be seen in drill holes can runningperpendicularly ending to the surfaceof the plinth.Therefore,the rightedge hangs down before the right ear. The round face has of the slab is preserved.The plinth'suppersurfaceis wide, curving cheeks, rather indistinct brows, rather roughlyworkedwith the point; the frontsurfacebears large eyes and a slightly upturned nose. The left half claw-chisel marks, as does the bottom; reverse, of the face is asymmetricaland not completely finished, smooth. particularly around the eye. The wide upper lids meet Gardiner,p. 308, no. 2, fig. 2.

G 10-2 SERPENT'SHEAD AND COIL ON PLINTH

PI. 9

T 49; Theater, from peristyle court, near south center, built into cistern, April 10, 1929; N.B. 324, p. 875. P.H. 0.273, P.W. 0.294, Th. relief ground 0.050, H. plinth0.078, H. of relief0.125, Th. coil 0.077 m. Four joining fragments,plinth brokenat front and sides, backgrounddiagonally on two sides, coil in four places. Most of a snake'shead and coil are portrayed,the latter curvingdown from the right leg of a kneeling giant, although no traces of the leg remain. The serpent'shead is similarto othersfrom the Gigantomachy, for instancethose in G 27, and G 10-1 with whichit may belong.A round,protrudingeye appears undera bulgingbrow on the left, while the right side of the headis unfinished.A grooveindicatesthe mouth. A portionof the "beard"hangsdownfrombelowthe chin and is partiallybrokenoff. Anotherbreakoccurs in the coil on the plinthbelowthe head,a thirdbeyond the neck, and the fourth at the widest part of the preservedcoil, on the right of the relief. Rasp marksremainon the body, heavypoint marks on the upperplinthsurface;bottom,hammerdressed; reliefground,light point work; reverse,smooth.

the lower at the outer corners; a shallow groove below the lower eyelid sets it off from the cheek. The short, full mouth is closed and tilts upwards at the corners. The squarish, full chin is accented below the lower lip and is firmly set off from the neck. The surface is generally smooth; reverse, smooth. Shear first mentioned the head as Hera in 1926 and published it in Art and Archaeology in 1927. But the closest parallel to our piece is a head of Aphrodite or Artemis from Gortyna on Crete, which Picard dates to before 350 B.C.39 This Aphrodite wears a similar, undecorated diadem and reflects a similar intent in the shape of the forehead and hairstyle, including the small curl before the ear. The differences between the two heads are marked, not only in the quality of carving, which on the Corinth head is pedestrian, but particularlyin the proportions, since the long, pleasing oval of the 4th century has been shortened, while at the same time the features are enlarged. The hair of the Corinth head is not nearly so finely carved: the thick mass is divided into wide, cumbrous locks which appear unfinished by comparison, although the artist's intent may have been the same. Even the smoothing of the cheek and neck is imperfect, and the neck lacks any attempt at modeling. In the Gortyna head the roll at the back of the hair is also uncarved and detail was probably added in paint. L. Savignoni, who originally published the Gortyna head as a representation of Aphrodite,40compares it to a copy of the Knidian Aphrodite in the Terme in Rome, which compares more favorably, however, with the goddess G 21-1 than G 11-1.

39Picard, III, p. 402, fig. 158. 40 L. Savignoni,"Di una testa d'Afrodite scopertain Crete," MonumentiAntichi8, 1897, cols. 77-88, figs. 1-2.

THE GIGANTOMACHY

26

more shallower folds. The group nearest the leg, which is the largest,also bends most abruptlyto the right,and is likelyto have continuedupwardto form a strongdiagonalline in the compositionand to carry the spectator'seye in the directionof the goddess' stride,toward the center of the action. The drapery is heavierthan that in G 21-3 and shows no transparency and more folds. Perhaps a more heavily drapedfigure should suggest a more matronlytype, such as Hera, for instance, rather than Aphrodite. P1. 10 The relief groundis workedboth by the claw and flat chisels, the plinth only by the claw; reverse,smooth.

Since we already have a head (G 21-1) which closely follows the Aphrodite type popular after the 4th century, it seems likely that G 11-1, the only female head wearing a diadem, should be here intended as Hera, queen of the gods, despite its youthful and rather coquettish appearance. Shear,AJA, 1926, p. 461. Shear, ArtArch,1927, p. 113, fig. on p. 112.

G 11-2

DRAPED LEFT ARM AND SHOULDER

T 249; joins T 147; Theater, findspot unknown. P.L. 0.220, P.W. 0.262, Max. Th. 0.123, W. of arm 0.068, Th. background 0.050 m. Four joining fragments, broken on all sides. Surface chipped; green-veined marble.

G 12 GIANT KNEELING RIGHT

P1.11

T 28; Mus. no. 13; joins T 59; Theater,east cavea VIII, ca. 1.00 m. above orchestra level, May 29, 1926.

P.H. 0.860, P.W. (at arms) 0.498, Th. 0.047-0.052 A left arm, draped in a himation, is held outstretched (nearbottom),H. head0.136,W. head0.097,W. waist from the shoulder. The heavy folds of the garment are 0.180, P.L. r. border0.730, P.L. plinth 0.230 (along H. 0.062 m. D. closely set and tubular with flattened outer surfaces. frontface), plinth0.147, plinth Giant Eleven exceptfor complete fragments. joining They curve over the arm from two directions to form arm from to left shoulder his arm from wrist, right a V, emphasizing the rounded form of the limb. The Surface knee. below left of knee, elbow, right leg tip folds vary in width, but most are separated by finished at breaks. chipped, especially The a Y. the form of channels, some of which take drapery to left may originate behind the shoulder, A nude,beardedgiantin a semi-kneeling positionat while another section hangs behind the arm to right the himself an defends against opponenton the right where it falls in three straight, hanging folds. The end left who has hold of the giant'shairwith his grabbed of the wide, flat fold at right is slightly undercut. The left hand. With an anguishedexpressionon his face, center fold is narrow and isolated by smoothed, the giantlooks diagonallyupwardat his attacker.The deeply carved channels, while the left fold is accentuated headis in three-quarter view to the left and tiltedback by a central furrow from which the drill slipped to the on the short, muscular neck. The giant's hair is right just before the end. The surface appears smooth arranged in thick, wavy clumps, which are each and well finished throughout; reverse, smooth. furthersubdividedinto more individualstrandsand rise most plasticallyabout the face, but lie flat over P1. 11 the rest of the head. Severallargelocks are pulledup G 11-3 GODDESS STRIDING RIGHT, LOWER DRAPERY throughthe thumb and first finger of the attacker's hand. The long moustacheand full beardare similar T 37; Mus. no. 13; Theater, east cavea VIII, ca. in natureto the hair, but individualstrandsare not 1.00 m. above orchestra floor, May 29, 1926. incised. The giant's forehead is creased,his ridged, P.H. 0.470, P.W. 0.480, Th. 0.040, P.H. drapery bushy eyebrows are furrowed, and his mouth is 0.305, P.W. drapery 0.440, est. top D. plinth 0.170, Crow's-feet are incised at the outer P.L. plinth 0.343 (on front face), P.L. 1. border slightly open. cornerof his left eye, and the cheekboneis highly 0.320 m. modeled. Five joining fragments, part of left border and The giant's left arm was held high above his head, plinth preserved. probablyto graspthe hand of his attacker.His right The lower portion of a draped goddess strides to armextendsstraightout from his body to the left and right of a flat plinth. The fragment is broken diagonally is likely to have pushed against his opponent. His from near the right knee to the level of the left ankle frontal torso is short and stocky, and the pectorals, which, however, is not preserved. The goddess' abdominaldivisionsand hip muscleare quite promiright, booted foot protrudes from under the volumi- nent. The musculatureis stretchedon the left and nous folds of the chiton, which is worn open on the slightlycontractedon the right due to the positionof right, where the edges fall in a loose zigzag arrange- the arm.The majorityof the pubichairand the surface ment. The folds fall back against the background and of the genitalsare missing. The giant's right leg is held diagonallyto the left bend in varying degrees to the right. To the right of the leg the folds are separated by deep, wide channels and kneelson the plinth,but breaksoff in the middle into several groups, each of which contains three or of the knee.His left leg extendsnearlyin profileto the

CATALOGUE right and is sharply bent at the knee so that the foot, in near three-quarterview, rests flat on the plinth. The outer surface of the foot is badly destroyed. The musculature of the legs is gently revealed. Relief ground, flat and claw chisel; plinth, mostly claw chisel; the reverse seems smooth in the small area where the plaster is gone at the edge. SLAB7 G 13-1

MALE GOD TO RIGHT (ZEUS)

P1. 13

T 106; Mus. no. 11;joins S 516, S 526, S 527, S 528, S 531, S 561, S 570; Theater trench, S 516 (head), 3.5 m. deep, May 21, 1903; N.B. 18, p. 60 (also shoulders, legs); S 526-S 528, S 531 (draped figure), May 22, 1903; N.B. 26, p. 41; S 570 (drapery),June 3, 1903; N.B. 18, p. 75. P.H. 0.910, P.W. 0.430, P.H. head 0.136, P.W. head 0.124, L. (left shoulder to ankle) 0.640, Max. Th. 0.15, Th. relief ground 0.062 (top) - 0.025 (bottom), P.L. upper edge 0.091 m. Twelve joining fragments. Broken across front of face, near both shoulders, through most of upper torso and down to right knee, above both ankles. Surface chipped and worn, especially the facial surface. Clamp cutting: Traces of a hook-clamp cutting may be preserved at the upper right break. A male god strides to right, left leg forward. His hair, renderedin long, wavy strands, is brushed forward from a central point on the dome and bound by a fillet. The forehead is marked only by an incised crease, and the nose seems to have extended straight down from it. The right eye is destroyed; the left, farther eye is indistinct and appears to be unfinished. Both eyes were deeply set. The figure once had a full, wavy beard, part of which remains below the ear which is covered by his long hair. The neck, mostly preserved, shows carefully indicated muscles. The majestic figure has broad, powerful shoulders and well-modeled clavicles. The god wears only a himation, draped from the left shoulder, down the back, in a roll across the lower abdomen, and up to the left arm. A narrow segment of torso remains on the left, including a prominent hip muscle. One end of the mantle hangs in long, vertical folds at the right, probably from the figure's left arm. A second end swings upward in an unusual, windblown fashion above the left arm. In lower relief farther right is a small curving section, perhaps a tip from the god's thunderbolt. The heavy drapery acquires some transparencyas it is pulled across the legs, between which long, diagonally curving folds are rendered alternately by light incisions and deep, shelf-like ridges that continue in lower relief over the legs. The advanced leg is outlined by deeper

27

carving in front, more shallow behind. The bottom edge of the himation is preserved, not undercut but roughly worked. The top edge remains only on the left, below the small preserved area of the abdomen. The right edge of the hanging folds is marked by the flat chisel which creates a series of ridges perpendicular to the background. The figure's left arm, held diagonally down, was presumably mainly concerned with holding both ends of the himation, so the right, which may have extended across the chest, was free to aim a weapon at the opposing giant. The left, profile leg is somewhat bent at the knee, while the right, in three-quarter view, is held back. The left foot probably stood flat on the ground, but the right may have rested only on the toes. The relief ground is worked by flat and claw chisels; running-drill channels appear in the folds at the shoulder; reverse, smooth. S 516: Gardiner,p. 311, no. 2, fig. 8. S 526: Ibid., fig. 9.

G 13-2

DRAPERY FRAGMENT

PI. 12

S 544; Theater trench, May 22, 1903; N.B. 26, p. 41. P.L. 0.134, P.W. 0.120, P.Th. 0.062 m. Single fragment, broken on four sides. The fragment preserves parts of four folds which lie rather flatly against the slab and form drawn-out Scurves and a loop swinging upwards, implying some motion. Two folds are slightly undercut and are in higher relief at one end than at the other. The reverse is smooth, so the Herakles or Gigantomachy group is indicated. The style of the drapery is particularly close to the wind-blown portion of Zeus' himation. G 14-1

KNEELING, SERPENT-LEGGED PI. 13 GIANT

T 30; Mus. no. 12; joins S 469, S 472, S 482, S 649, S 659; Theater, from west central portion of stage building, April 9, 1928; N.B. 321, p. 538; S 469, S 472, May 15, 1903; N.B. 18, p. 51, N.B. 26, p. 39. P.H. 0.605, P.H. figure 0.515, P.W. (at plinth) 0.465, Th. relief ground 0.037, L. torso 0.305, W. waist 0.142, H. plinth 0.070, top D. plinth 0.140 m. Five joining fragments. Broken at base of neck, left elbow, right shoulder, in middle of snake coil. Legs weathered and encrusted; some chipping. Small portions added in plaster at joins. Portion of right edge of slab preserved. A nude giant kneels in a predominantly frontal position, leaning back slightly to the right, with his arms stretched back and upward in an attitude of defense. The right arm has a strongly marked shoulder muscle and biceps, and is bent upward at the elbow.

28

THE GIGANTOMACHY

The head, now missing, was probably in threequarteror profile view to the left. The claviclesare very subtly modeled, while the pectorals,epigastric arch and abdominalpartitionsare more pronounced on the comparativelythin torso. The digitationsare also articulated,but not exaggerated.The medianline (linea alba) is diagonallyplaced to indicate a slight torsion. The bulges over the iliac crests are marked and make the upper thighs look quite narrow by comparison.The lower abdomen swells out somewhat below the navel, which is renderedby a slight depressionand two parallelcurvedincisedlines. Most of the genitals are preserved,though the end of the penis is missing; the pubic hair is worn. The left buttockis well modeled. The rightleg is nearlyin profileto the left, whilethe left is almost frontal. On both legs, two grooves accentuatethe bulging thigh muscles.The giant'sleft knee is placed somewhatahead of the right on the plinth,and behindthe kneesboth legs becomeserpent coils in relief. The right coil curves first right, then upwardand to the left. The left is brokenbehindthe knee, but part of it is preservedfurtherback on the plinth, and its upwardposition is indicatednear the top of the left thigh,wherethe base of a strutremains. The relief ground is worked with the flat chisel; reverse,smooth. Gardiner,p. 307, no. 1, fig. 1.

G 14-2 TWO HANDS GRABBING A LARGE ROCK

PI. 12

T 54; Theater,findspotunknown. Background:Max. Dim. 0.230 x 0.225, Th. 0.045. Rock: Max. Dim. 0.179 x 0.095 x 0.144 m. Two joining fragments.Backgroundbroken on all sides; left hand brokenat wrist;right,acrossback.

SLAB8

G 15-1 GODDESSWEARING P1.14 CORINTHIAN HELMET (ATHENA) T 1005;Theater,fromperistylecourt,nearsoutheast corner,H. of 0.20 m. above level of centralcourtyard, June 1, 1929;N.B. 324, p. 987. Max. Dim. 0.151; Min. Dim. 0.099; Max. Th. 0.077 m. Singlefragment,brokendiagonallythroughhelmet, at neck,chippedacrossleft half of face and on helmet; surfacebadlychipped. Femalehead wearingCorinthianhelmet. The nose guardand left eyeholeof the helmet remain,but the front of the brim is chippedoff. A dowel hole in the top of the helmetdenotesthe attachmentof a crest. The helmethas been tilted up to the hairline. The hair is arrangedin two rolls which probably separateunderthe helmetin the centerof the forehead. On the left, the roll appearsabove the eye level and continuesdownthe side of the face to meetthe second rollatthebackof the neck.Groovesdistinguishindividual strands,which are generallyarrangedin clumps of three. The badlyworn face has a low foreheadand wide, even eyebrowsforminggentleridges.The eyes are not deeplyset; theirwide upperlids are set off by incised lines and meet the ends of the lower lids at the outer corners. The lower boundary of the lower lids is lightly modeledand slopes gently into the surfaceof the cheeks. Most of the nose is destroyed,but it curves out from the straight line of the forehead. Remainsof a drillhole can be seenin the rightnostril, and a drill hole remainsto clarifythe right cornerof the lips. A slightindentationextendsdiagonallydown from the rightnostril,and a strongerline separatesthe cheekfromthe neck.Thelowerhalfof the rightsmooth cheek and upperpart of the neck remainon the right. A hard chisel line marks off the hair on the right. Since the figure'sleft eye is somewhatlongerthanthe rightand the head seemsto turnon its neckto proper left, it may havebeen seenoriginallyin a three-quarter view to the right of the relief. The head bears no signs of attachmentto the relief ground and shows goodworkmanshipandsmoothingon all sides.Because it seems finishedall around,wherepreserved,it may belong to a statuein the roundwhichwas on display in the theater,ratherthan to the theaterfrieze. Even the slightasymmetryin the face would be compatible with this interpretation.However,the head is similar in scale and style to the rest of the Gigantomachy

The piece portraysa boulderwhich is attachedto the reliefground(not the plinth).On eitherside of the rock a hand is portrayed,each composedof only two fingers,spreadwide to pick up the rock, which must be visualizedas held aloft with both hands.The back of one handis renderedas two fingerscomingtogether with a "web" connectingthem to each other and to the rock. This side of the rock is unfinishedalso and presumablysuch startlinghandswould not have been seen.The left fingerof this handis fullydepicted,while the right finger is ratheramorphousand disappears into the rock. The two fingersof the secondhand are morefully, but not well, portrayed.The surfaceof the rock bears striationsand bulgeswhich give it a fairly series. naturalappearance.All surfacesbut one, which presumablyfaced downward,are finished.The surfaceof G 15-2 DRAPED CHEST AND PART OF AEGIS (ATHENA) the backgroundis rough; reverse,smooth. Since the T 118;Theater,findspotunknown. giant in G 14-1 reachesup with both arms, he could have held such a largerock. P.L. 0.208, P.W. 0.188, P.Th. 0.080 m.

PI. 14

CATALOGUE Single fragment; figure broken diagonally across chest and below right breast; surface worn, chipped and weathered. The piece represents a draped right breast and the beginning of Athena's aegis. Five folds originate on the right shoulder and curve down over the right breast as well as diagonally toward the left. After the fourth diagonal fold, which may have formed the border of the aegis, the feather-like scales begin to appear in low relief. A low ridge projects in the center of each scale, similar to the treatment on G 15-3. A small rectangular stump, perhaps from a snake body, appears at the viewer's lower right. The aegis was probably fastened at the right shoulder and worn over the left shoulder and the extended left arm to act as a shield. The areas between the folds are smooth and give an illusion of transparency over the ample breast. The ridges of the flat folds are chipped, but are of varying widths. Each fold is carefully outlined by a thin chisel line. Those below the breast are undercut to create a feeling of depth and to cause a slight play of light and shadow. Here one fold takes on the appearance of a dented tube. A thin horizontal chisel line and the line of the lower fracture suggest that a belt or perhaps a mantle was arranged below the bust. The whole piece is carefully executed. Marks of the rasp remain only at the lower right. The piece should probably be associated with G 15-3.

piece can probably be associated with the draped torso G 15-2. Gardiner,p. 311, no. 1, fig. 6.

G 15-4

FRAGMENT OF AEGIS AND LEFT HAND

PI. 14

S 465; joins T 200; Theater trench, 3.5 m. deep, May 15, 1903; N.B. 18, p. 51; N.B. 26, p. 39. P.L. 0.350, P.W. 0.126, Max. Th. 0.092, Th. relief ground 0.032, P.L. aegis 0.156, P.W. aegis 0.060 m. Three joining fragments, broken on all sides; snakes chipped. The fragment preserves a portion of Athena's aegis and her left hand which, facing palm out, extends from under the hide and holds what appears to be the body of a snake. The surface of the aegis is embellished with feather-like scales in low relief, each of which bears a central ridge, much like the scales on G 15-2. Three snake bodies form circular coils adjacent to the border of the garment, but their heads have broken off. It is probably the body of a fourth that curves through Athena's fingers and breaks off at the tip of her thumb. The aegis' border is like a thick, tubular piece of material, divided by a groove into two sections. Although the surface of the hand appears unfinished, the piece is well executed. The surface of the relief ground is rough with marks of the claw chisel and point. Areas under the aegis' border and under the snake coils have been smoothed; reverse, smooth. The

BOTTOM OF SKIRT AND RIGHT FOOT ON PLINTH

P1. 15

T71; Theater, west cavea, ca. 3.00m. above orchestra level, May 8, 1926. P.L. 0.60, P.W. 0.188, P.L. skirt 0.33, P.H. skirt 0.10, H. relief 0.102, Th. background 0.039, P.L. foot 0.078 m. Three joining fragments, broken on all sides, but preserving plinth front. The fragments depict heavy folds at the bottom of a skirt and a right foot on the plinth. The drapery is badly chipped, particularly over the bare foot. Five deeply carved folds of varying widths form strong vertical lines in the center, but the foot, which is drawn back, pulls some folds back with it. Four toes of the right foot remain as the foot stands flat in a diagonal position on the plinth. The surface of the fifth toe is abraded. Of the remaining toes, the nails and joints are clearly marked. The front of the plinth is worked by the claw chisel; bottom, hammer dressed; reverse, smooth, except for a projecting offset at the base, 0.029 m. high. G 16-1

G 15-3

29

BEARDED HEAD OF GIANT

PI. 14

S 530; Theater trench, 3.5 m. deep, May 22, 1903; N.B. 26, p. 41. P.L. 0.151, P.W. 0.134, P.Th. 0.118 m. Single fragment, broken in middle of neck and from relief ground. Bearded head of giant in profile to left. The hair is rendered as a mass of thick, wavy locks, separated by shallow grooves; each lock is subdivided into two or three strands. The hair is rather thick around the face, but lies in flatter relief and is more sketchily rendered on the top and back. Above the forehead the hair is brushed up and away from the center. The face is heavily contorted. The low forehead is strongly creased by a horizontal groove, below which the plastic eyebrows project sharply and rise toward the center with a triangular effect. The eyes are deeply set, but both are impressionistically rendered and appear half closed. The eyeballs are not clearly delineated. The left ear appears to merge into a lock of hair, creating the effect of a satyr's ear. The short nose bulges in the center and at the tip and has rather widely flaring nostrils. The upper, outer parts of both cheeks have marked bulges, accentuated by deep grooves, which seem out of place for a true rendering of the zygomatic bones. The mouth is indicated by a straight, incised line. A long, drooping moustache,

30

THE GIGANTOMACHY

definedabove by deep furrows,covers the upper lip Single fragment,brokenon all sides; surfacebadly and mergeswith the beardbelow.The beardis similar chippedand worn. to the hair, but has slightlytightercurls which wave Head of a beardedgiant, in profile to right, with predominantlytoward the center. The head, which probablyturned from a frontal or three-quarter-left partof the figure'sneckand left shoulder.Most of the torso, appearsto be glancingup at the opponent on nose,mouthandfrontsurfaceof the beardaremissing. the left. Remainsof the attachmentto the background The mass of short,wavy locks which coversthe head on the properrightand harshlyrenderedneckmuscles aboundsin short channelsmade by the runningdrill, determinethe directionof the pose. The figuremay be with individualdrill holes still clear.A small ear, its one of the kneelinggiantsdefendinghimselffrom the center deeply cut, appearson the right. The square face, as preserved,is almostgrotesque.The hairwhich onslaughtof a god. frames it is arrangedin no particularpattern. The Gardiner,p. 308, no. 2a, fig. 3. foreheadis heavilylined,the bushyeyebrowsfurrowed and projectingover the eyes. These are deeplycut at G 16-2 LOWERTORSO AND LEGS OF PI. 15 the inner cornersby two or threedrillchannels,which GIANT, KNEELING RIGHT look as thoughthe artisanmadea mistake.The surface T 190; joins S 549 (foot), S 515, S 553, S 559, of the face is rough, and wide diagonalgroovesgive S 1036;Theater,findspotunknown. the impressionof bags under the eyes. The mouth P.L. 0.395, P.W. 0.268, W. waist 0.165, Max. Th. appearsto have been drilledopen by a deep channel. The beardis renderedby incisedlines at the side. The 0.163, Th. reliefground,ca. 0.041 m. Eightjoining fragments;figurebrokenacrosschest neck seems to turn from a torso in frontal or threeand in middle of left thigh. Missingpubic area,parts quarterview to the right. The surface of the relief of rightthigh,righttoes. groundis rough;reverse,smooth. The fragmentspreservethe lower torso and legs of a nude giant kneelingon his rightknee, to whichpart of the plinth still adheres.The torso appearsin a three-quarterright view, but it seems to twist back towardsa frontalposition near the upperbreak.The prominent abdominal partitions are separated by curvinggrooves. Part of the figure'sback and right buttockcan be seen on his right. The giant's right leg is carvedin the round and is seen somewhatin perspectiveview. The right knee kneels at the front of the plinth, while the lower leg bends sharplyback to the left, so that the foot must have restedits toes at the back of the plinth.The left leg, on the otherhand,is carvedin high reliefwith the thigh extendinghorizontallyto the right. The lower leg must have stood verticallyto right on the plinth and provided supportfor the figure who may have twistedhis shouldersback to engagein combat with a god on the left. The identificationas a giant is suggested by the naked body, prominentmusculature, and the defensivepose. The modelingthroughoutis well executed,and most of the surfaceis smoothed.The figure'sright side is separatedfrom the relief ground by a running-drill channel.Reverse,smooth.

G 18-1 SECTIONOF MALE HEAD (ARES)

P1. 16

T 91; Theater,findspotunknown;E.C. II, p. 283. P.H. 0.131, W. 0.113, P.Th. 0.039 m. Singlefragment;longitudinalsectionof headbroken flat from reliefground(head'sright)and slice missing from left. Brokenjust above hairlinein front and in middleof neck. Nose and chin chipped.

Male head in profileto left. The right side of the face is roughlyrenderedand retainsheavyraspmarks whichwerecertainlynot to be seen.A few lockswhich appearbrushedforwardare preservedat the forehead. Short wavy locks down the back of the head curl alternatelyleft or right and lie flat againstthe head. The hairis arrangedin flame-likelockswithindividual strandsoccasionallyincised. A widefurrowcreasesthe foreheadaboveprojecting eyebrows.Onlyhalf of the indistinctrighteye and the inner corner of the left are preserved.The nose is slightlyaquilinein shape and widens at the nostrils. The corners of the closed, fleshy lips curve sharply downward.The lowerlip is muchfullerthanthe upper. Verylittle of the face on the figure'sleft remains,but the surfaceappearssmooth, and the visiblejaw line SLAB9 clearlyindicatesthat the man was beardless. On the neckthe sterno-mastoidswells,showingthat G 17 BEARDED HEAD OF GIANT P1.16 the head is sharplyturnedfrom the probablyfrontal T 93, Theater, west cavea XII, ca. 0.50 m. above torso. A crease at the nape of the neck defines its orchestrafloor, March20, 1926. curve.The surfacebeginsto curve out at the bottom P.L. 0.229,P.W.0.139,L. head0.173,W. head0.128, of the fragment.Despitethe absenceof a helmet,the Max.Th. 0.170, Th. reliefground0.058 m. head may representAres.

CATALOGUE G 18-2

CUIRASS FRAGMENT

PI. 16

T 365; Theater, findspot unknown. P.L. 0.240, P.H. of relief 0.170, Max. Th. 0.068, H. of relief ground 0.051 m. Single fragment, broken on three sides; surface worn. Part of reverse preserved (Max. W. 0.062 m.). Lower section of cuirass. Part of one row of six long flaps (leatherpteryges) is overlapped by a second row with three remaining flaps. The flat, borderless flaps are each fringed with three spiral curls, separated from the flaps by two horizontal incised lines. The flaps cover the right side of a male warrior as the cuirass rises from the background. For similar style of flaps and fringe compare G 18-3, which may form part of the same figure. A double row of flaps with spiral fringe is contrary to the custom in the examples preserved from the Amazonomachy (A 3-8, A 4-1, A 6-1, A 7-5, A 8). The reverse of the background is smooth, and the piece is larger in scale than the Amazonomachy, so it must belong to the Gigantomachy frieze, perhaps to a representation of Ares. FRAGMENT OF LOWER TORSO P1. 16 WITH CUIRASS, AND KNEE T 17; Theater, findspot unknown. P.L. 0.203, P.W. 0.145, Th. 0.119 m. Two fragments joined diagonally at mid-thigh, broken obliquely at back and below knee. Surface worn, chipped and encrusted.

G 18-3

Lower part of cuirass over left leg, bent at knee. Portions of two rows of leather pteryges remain. Their borders are plain, or denoted by lightly incised lines, and the surfaces are irregularly crisscrossed by rasp marks. A spirally twisted fringe hangs at the bottom of each row. The lower section of the chiton, worn beneath the cuirass, appears below the flaps and is stretched flat across the projecting knee, the surface of which is worn. Diagonal impressions or light folds are indicated in the chiton above the knee. To right of the knee a narrow vertical ridge projects from beneath the cuirass and over the chiton. Perhaps it is intended to be a tube-like fold in the chiton. Further right is another projection which also seems to hang from beneath the cuirass. To right of the knee a blurred incised line seems to indicate the knee's bend at the back, and part of the back surface of the lower leg is preserved. SLAB 10

G 19 UPPER-TORSO FRAGMENT

PI. 17

S 3284; Museum basement, marble pile; findspot unknown.

31

P.L. 0.131, P.W. 0.134, Th. 0.043 m. Single fragment, broken on all sides and at back. Fragment of the upper torso of a nude male. Most of the proper left side is preserved. The left pectoral, epigastric arch and digitations are softly rendered. Its size places it in the Gigantomachy series. G 20-1

BACK OF MALE HEAD (HEPHAISTOS)

P1. 17

T 101; Theater, from east end of stage, March 3, 1928; N.B. 320, p. 495. P.H. 0.159, P.W. 0.129 (= H. of relief); P.Th. 0.070 (= P.W. of head). Single fragment; broken diagonally through back of head, near top of neck, and from relief ground; surface worn. The back and left side of a male head are preserved. None of the face remains. The short hair waves in low relief over the head, and on the left the short, pointed locks are well differentiated. At the nape the lowest section of hair is flat and was perhaps articulated with paint. A small part of the neck is preserved below the hairline. Traces of connection to the background, which survive on the right side of the back, indicate that the head must have faced left, in profile or threequarter view. To right of the place of attachment, a small, roughly finished area remains, which may depict the cheek and jaw line. The head may be tentatively associated with Hephaistos. G 20-2

RIGHT FIST AND ARM, SHARPLY BENT

P1. 17

T 57; Theater, findspot unknown. Background: P.L. 0.231, P.W. 0.065, L. hand to elbow 0.173, L. upper arm 0.148, Th. relief ground 0.044, Th. hand 0.069, Th. upper arm 0.060, P.L. edge 0.121 m. Three joining fragments. Arm broken above biceps. One original edge of background, probably the side, is partly preserved, with a hook-clamp cutting next to the break. The fragments represent a sharply bent right arm and a clenched fist which is connected perpendicularly to the relief ground. The fist is clenched around a weapon which was added separately. The hole for the weapon does not extend entirely through the fist and is only 0.034 m. long, opening beside the little finger. Because of the short distance (0.115 m.) to the edge of the slab, the weapon is likely to have been a sword, but no traces of it remain on the background. The second and third knuckles are attached to the background so that the tips of the fingers are all visible. The weathered side of the arm may have faced upward on the slab, or may have become encrusted

THE GIGANTOMACHY

32

later, afterthe destructionof the theater.The biceps juts out stronglyand a heavy chisel line separatesit fromthe forearm,to whichit adheres.The backof the hand is unfinishedand resembles a horse's hoof. Littlemodelingtakesplaceon this side of the arm.The surfacebearschisel marks;reverse,smooth. The arm maybe that of a god stridingleft, holdinghis rightarm up so that the elbow projectsstraightout from the reliefground,and aiminga swordat his opponent. G 20-3 RIGHT LEG SEEN FROM REAR P1.17 T 156;joins T 238; Theater,findspotunknown. P.L. 0.480, P.W. thigh 0.092, Max. W. calf 0.078, Th. background0.064, Max. Th. at thigh0.152 m. Five joining fragments,broken and chippedon all sides.Chippedat buttock,rightside of thighand back of knee. Diagonalbreakat ankle. Thisrightleg in backviewis preservedfrombuttocks (surface of which is not preserved)to ankle, and adheresto the background.The bottom and center curvesof the buttocksare clearbelow the chippingin the surface.The leg bends somewhatat the knee so that the lower leg turns slightlyto the right. The calf muscleandthe top of the anklearecarefullydelineated. The leg probablybelongsto a figureshownin rearor rearview stridingto the left. The surface three-quarter of the reliefgroundis roughlyfinished;reverse,smooth.

Shear,AJA, 1926, p. 461, fig. 14. Shear,ArtArch,1927, p. 114.

G 21-2

SLAB11 G 21-1

from the cheek by a drill channel. The hair at top left is roughly finished where adjacent to the background, and a few root marks mar the left side of the face. The face is a squarish oval. The brow and cheeks are subtly modeled and give the goddess an unruffled air which must have been especially striking in contrast with any of the giants. The eyes are set under thin ridges which form the eyebrows and extend into the nearly straight nose. The right eye's upper lid is incised to extend beyond the lower, which slopes gently into the cheek. The left eye is as well finished as the right, though the left eyebrow does not project as far. The small, closed mouth turns down at the corners which are cut back into the face. The lower lip is chipped. The square chin is firm and determined, and the jaw line rises to the ear lobe. The neck muscles are carefully indicated. There is a slight roughness of finish about the nose, but the execution of the rest is good. The identification of the head as Aphrodite was first made by Shear and is supported by copies of 4th century types.42 Since the ends of the locks are not preserved in the Corinth head, they may have fallen forward over the chest in a manner common in representations of Apollo and Dionysos. But since we already seem to have Apollo and Dionysos in G 31 and G 5, Aphrodite is the best possibility for G 21.

HEAD OF GODDESS (APHRODITE)

P1. 18

DRAPED RIGHT BREAST AND SHOULDER

PI. 19

T 253; Theater, from center of stage, June 3, 1926; E.C. II, p. 318. P.L. 0.176, P.W. 0.157, Th. 0.130, H. relief ground 0.042 m. Three joining fragments; figure broken at neck, vertically through chest, below right shoulder. Surface chipped and worn, particularly at right breast. Part of background preserved. Draped right breast, shoulder and portion of upper arm. The goddess' sleeveless chiton is fastened at the right shoulder, and ridged folds fall down the right side and diagonally across the chest. The drapery probably created a V pattern in the center of the chest. The folds, both flat and tubular, are firmly carved. The arm is well modeled and hangs straight down as far as preserved. Reverse, smooth.

T 87; Mus.no. 10;Theater,1926,findspotunknown. P.H. 0.165, W. 0.085, H. chin to crown 0.116, Th. nose to chignon0.155 m. Single fragment,broken at neck and from relief ground,diagonally. Attributed:Positionedin MuseumwithG 22, where it verylikelybelongs. A femalehead, in rightprofileview, solemnlygazes down. Her long hair is partedin the center,gathered arounda fillet above the ears and finally tied at the nape in a chignon, from which two loose strands descend along the neck. The hair waves in a zigzag patternat front and side, and more loosely over the back of the crown,whereit lies flat. Most of the locks aredividedby finechisellinesinto a numberof strands G 21-3, G 22 GIANT KNEELING RIGHT PI. 18 except betweenthe two hanging locks, where an SAND LOWER LEGS OF GODDESS channel has not been smoothed.41 shapedrunning-drill The left side of the face is well finished,but partly T 25; Mus. no. 10; joins T 26, T 27; Theater, found coveredby an unfinishedclumpof hairor background, near east end of stage building (T 25) 0.60 m. above whichalso obstructspartof the chinline andis divided Roman orchestra level, April 4, 1928; N.B. 321, p. 519.

41 For a similar hairstyle see, e.g., the Beautiful Head from Pergamon, AltPerg VII, i, no. 90, pl. 25, Beibl. 15, or Schober,

figs. 66, 67. 42 Compare, for instance, Picard, III, particularly figs. 187, 188, 193-198.

CATALOGUE T 25, H. 0.980, restored W. 1.080, P.L. plinth 0.855, D. plinth 0.090, H. plinth 0.070, Th. relief ground 0.045, P.W. skirt 0.041, P.H. skirt 0.110, P.L. r. leg 0.255. Giant: T 26, T 27 (head), H. (head to plinth) 0.645, H. head 0.160, W. head 0.275, Th. r. thigh 0.095, L. outside r. leg 0.405 m. Thirty-one joining fragments include deity's left hand and forearm, lower part of skirt and legs on plinth, whole giant except for right forearm, all left leg, right lower leg. Restored: a portion of giant's torso, knee, part of calf. Clamp cuttings: none preserved. The block shows a deity's lower legs advancing right and a left hand pulling the hair of a nude giant who kneels to right on the plinth. The two figures seem to fill most of the available space, but the composition is open. Only a small part of the goddess is preserved. Her left ankle and foot are in right profile view, while her right leg, preserved from the knee, stretches back in frontal view. Rich folds of the chiton hang between the legs. The cloth adheres closely to the two legs, outlining their shape and revealing its presence mostly by means of a few catenaries over the calf and shin. In between the legs the chiton is massed in a series of large folds, each subdivided by a runningdrill channel, which generally does not reach the edge of the garment and therefore animates rather than fractions the pleat. Each wide fold is separated from its neighbor by a flat "valley", so that a rhythmical effect is achieved. The drapery, which does not reach the ground (as in G 11), appears too delicate to belong to a male figure. Both feet are clad in leather boots. The giant kneels on his (now missing) left leg and thrusts his right diagonally to the left so that his short foot rests on the deity's left foot. He raises his very muscular left arm over his head to grasp his opponent's left arm by the wrist, while the right extends out and down from the body. The line of fracture to left may indicate the direction of his right forearm. Veins and muscles are prominent on both his arms. The giant's gaze is directed diagonally to the left, presumably to watch the work of his right hand. The head, in three-quarter-leftview above the frontal torso, wears thick and tousled hair, moustache and beard. Although the hair is quite thick, it is not deeply cut and shows no evidence of drill work. The running drill is used, however, to separate his head from his left arm and his right arm from the background. The hair, firmly gripped by the deity's long fingers, is rendered in short, wavy clumps, each with thinner incised strands. The forehead is doubly creased, in consternation if not in pain. Beneath furrowed, prominent eyebrows, large eyes are deeply set, with even lids and heavy crow's-feet strongly cut into the cheeks. The hair of the eyebrows is not engraved, but is only suggested by

33

theirform.The right,farthereye is sketchilyrendered. The cheekbones on both sidesof the face are strongly accented.The surfaceof the nose is irregular,and the narrow bridge leads down into wide nostrils. The short,fleshylips are parted,and their downwardturn is emphasizedby the line of the moustache. The giant's stocky neck is renderedmore massive by the projection of the left sterno-mastoid.The clavicles are well modeled. The pectorals and left, schematicallydrawn digitationsare especiallyprominent. Nipples point sideways,and a flower-shaped clump of hair is carvedin low relief on his chest. A secondtuft appearson his left armpit,thoughnone on his right. The bulges of the abdomenand those over the iliac crestare moderate.The navel is a horizontal crease with a shallow groove below, above which a short,widegrooveanglesto the right.The genitalsare missing,but a smallsectionof pubichairis preserved. The torso as a whole is well carved.Modelingon the rightthigh and calf is moderate.The undersideof the knee is unfinished.The toes are particularlylively. A breakin the backgroundto right of his right thigh may show the position of his missingleft foot. The twisted pose determinesa very effectivecurve along the right side and leg of the figure which, as well as being one of the most complete,is certainlyalso one of the most successfulin the Gigantomachy. Background,mostly worked with the flat chisel, claw chiselabove the giant'shead; plinth,point work on top, claw chisel in front; reverse,smooth. Shear,AJA, 1926, p. 459, fig. 12. Vian, Repertoire,pl. 15, no. 46, frag. 24.

SLAB12

G 23 BEARDED HEAD AND LEFT ARM OF GIANT

P1.20

T 82; Theater,found on orchestrafloor(old photo), east cavea VII May 18, 1926. H. of head 0.153, P.W. fragment0.193, W. head 0.115,Max.Th. head0.058,Th. armat elbow0.063 m. Two joining fragments;head broken at back and behind beard, arm broken at wrist and shoulder; surfacebadly chippedand worn, especiallyover face and beard. Beardedmale head in three-quarterview to right withleft armheldup to top of head.Theextantportion of the face is richlymodeled.Two incisedwavy lines on the forehead,a protrudingbrow,deeplysunk eyes, and mouth open revealingthe teeth, all give an anguished expression.The eyes are long with curving lids and protrudingeyeballs,and crow's-feetmarkthe outercorners.Littleof theshortnoseormouthremains, thoughdrillholesstillmarkthe widenostrilsand outer cornersof the mouth. Tracesof a moustachesurvive,

THE GIGANTOMACHY

34

whichdroopeddown to join the full beard,the surface of whichis now lost. A few curlsof the beardremain at the figure'sright. Short,wavylocks forma thickmassof hairover the head. The left arm with strong biceps is complete exceptfor the hand,andrisesdirectlyfromthe shoulder to bend at the elbow towardthe top of the head.Two incised lines emphasizethe crook of the elbow. The giant may have held a rock overhead,readyto throw againstan opponenton the right. Marksof the rasp and chisel are visible over most of the preserved surface. G 24-1 FRAGMENTOF HEAD OF GOD P1.20 (POSEIDON) T 92; Theater, west cavea XI, ca. 0.50 m. above orchestralevel, April21, 1926. P.L. 0.249, P.W. 0.146, L. head 0.132, P.W. head 0.108, Max. Th. 0.134, Th. reliefground0.041 (top)0.059 (bottom)m. Singlefragment,brokenon all sides; surfaceworn. The fragmentpreservesthe back of the head of a male god, probablyPoseidon,sincethe straightobject in relief above the head can be associatedwith the tridentin G 24-2. Since this is a clearindicationof a god to left, it is obviousthat the directiondid not give the victoriousside. The back of the head is preserved to the neck, and part of the figure'sright eye, cheek, and the beginningof a beardremainadjacentto the reliefground.The shortwavyhairis boundby a fillet. The runningdrill has been freely used to define the locks overthe entireheadand six smallholes on either side of the fillet suggestthe attachmentof a wreath. The draperyfragmentG 24-3 may also belong with this figure.The reliefgroundshows marksof the flat chisel;reverse,smooth. G 24-2

POSEIDON'S TRIDENT

PI. 20

T 201; Theater,findspotunknown. P.L. 0.220, P.W. 0.115, Th. 0.042 m. Singlefragment,brokenon all sides. Three prongs of Poseidon'strident,broken before the tips, and partof the shaftremainin low relief.The line of the shaft can be associatedwith the shaft in reliefover the head of the male god G 24-1, although the two fragmentsdo not join. G 24-3

DRAPED LEG STRIDING RIGHT P1. 19

Right leg of drapedstridingfigure.Widelyspaced shallowfolds crossthe thigh, in rightprofileview,and accentuateits form. Wherefree from the underlying body,the narrow,ridge-likefolds are set off by deeper, evenly curvedvalleys sloping in the directionof the left leg, which was probablypositioneddiagonallyin rearview. The broadcharacterof the folds compares most favorably with garments belonging to male deities(compareG 13),so thispiecemightbe associated with Poseidon,who must have appearedin rearview on the rightof the slab,stridingright,but turningback to fightagainstan opponenton the left. The surface is smoothly finished;rasp marks are only faintly and occasionallyleft on the surface.A smallportionof the reliefgroundsurviveson the right and seemsworkedwiththe flatchisel;reverse,smooth.

SLAB13 G 25-1

DRAPED RIGHT BREAST

P1. 22

(AMPHITRITE) T 314; Theater,findspotunknown. P.H. 0.165, P.W. 0.125, Max.Th. 0.172 m. Single fragment; figure broken at neck, right shoulder,throughcenter of chest and below breast. Surfacebadlychipped,worn and weathered. Righthalf of a frontal,drapedfemalechest.A slight indentationmarksthe separationof the clavicles.The preservedportion of the underarmsuggeststhat the right arm was raised or outstretched.The goddess wearsa sleevelesschiton,whichis fastenedat her right shoulder,falls gently over her breastand leaves bare the areas aroundthe neck and below the arm to the narrowbelt. The draperyacquirestransparencyover the breast,whichappearsnude.Two shallow,tubular folds lie on eithersideof the breastto outlineits shape, and curve in to the narrowbelt below. Toward the centerbreak,a verticalfold bearsa widened,concave surface,as thoughpressedin by a thumb.A singledrill hole marksthe top of a fold below the belt. The surfaceof the piece is uniformlysmooth with only faint rasp marks under the arm. Workmanship is excellent.The draperyseems similar in style and treatmentto that of G 25-2, with which it might be associated.

G 25-2 LEGS OF DRAPED GODDESS P1.21 T 155; Theater,findspotunknown. STRIDING RIGHT P.L. 0.283, P.W. 0.208, Th. 0.100, Th. reliefground T 145; joins S 466, S 468, S 478; Theatertrench, 0.053 m. Three joining fragments,broken on all sides; leg 3.5 m. deep, May 15, 1903; N.B. 18, p. 51; N.B. broken in middle of thigh and of lower leg; small 26, p. 39. P.L. 0.490, P.W. 0.305, Max. Th. 0.165, Th. 1. knee sectionof backgroundpreserved;surfacechippedand weathered. 0.090, Th. relief ground 0.033 m.

CATALOGUE Four joining fragments; figure broken near tops of thighs and above ankles; front surface of plinth missing; the line of the top of the plinth and a small portion of the bottom are preserved; surface chipped and weathered. Legs of a draped goddess to right. The figure's right leg is shown in a frontal position, while the left is in profile to the right and bent at the knee. Transparent drapery with very fine crinkly folds reveals the lightly modeled legs. Very low, delicate ridges melt into shallow grooves at the left knee. Long, thin folds that are deeply cut enliven the space between the legs and add to the sense of motion of the goddess. This central area is divided into four main groups of folds, each of which is further subdivided and whose surface is so grooved as to increase the impression of light transparency. The ends of the chiton, which is open on proper right, hang down next to the right leg and strengthen the vertical line on that side of the composition. Near the top fracture, the edge of the overfold can be seen rising diagonally across the right thigh. The line of the break across the left thigh may suggest the direction of the rest of the overfold. The workmanship throughout is good. The position of the legs seems to indicate a striding pose with the left leg perhaps standing on a slight elevation. The bottom edge of the garment seems to fall back over the plinth, from which it is separated by a chisel line. Below the top of the plinth a section (0.05 [depth] x 0.035 x 0.025 m.) has been cut into the plinth, but not quite all the way through (ca. 0.008 m. remains), near the fracture on bottom right. The purpose of the cutting, however, remains uncertain; it does not resemble the hook-clamp cuttings found in the top and side edges of some slabs. Perhaps the marble chipped in antiquity along the pinkish vein in the stone, and the cutting acted as a mortise for a marble tenon. No trace of adhesive remains in the cutting. Gardiner, p. 311, no. 1, fig. 7.

G 25-3

LEFT FOOT FRAGMENT

P1. 22

T 292; Theater, findspot unknown. P.L. 0.202, P.W. 0.082, H. 0.056, Max. H. with foot 0.109, P.L. foot 0.138, W. foot 0.064 m. Single fragment, broken on all sides; small portion of front surface of background is preserved. A left foot, broken through the heel and at the ankle, lies flat on the plinth to the right and adjacent to the relief ground. The instep is badly chipped and worn. The short toes are fully preserved but worn; their joints are modeled. The plinth surface is rough; reverse, not preserved. A diagonal cutting for a dowel (Diam. 0.007 m.) is preserved at the right break, where traces of ancient cement also remain. The foot's size

35

places it in the Gigantomachy series, while the marble's condition and particularly the color of the vein along the back break associate the piece with G 25. G 26 HEAD AND TORSO OF GIANT

PI. 21

T 11; Theater, west cavea XIV, ca. 2.00 m. above orchestra level, May 7, 1926. Est. P.L. 0.555, Max. W. 0.315, Max. Th. 0.180, L. head and hands 0.183, W. head 0.120, P.L. torso 0.250, W. waist 0.164 m. Nine joining fragments, broken across bottom of torso, at giant's right elbow, and opponent's forearm. Chipped at breaks and weathered. Broken in different directions at back. Reverse not preserved. The joined fragments show a giant struggling with an opponent on the left, who has grasped him by the hair. His left hand grabs the god by the wrist. His head faces one-quarter left, his torso only slightly left. An anguished expression appears on his face. His hair is rendered in thick wavy clumps, separated about the face by short channels of the running drill. Below the short, creased forehead, the prominent eyebrows are raised in a frown at the inner corners and overhang the outer corners of the eyes. The plastic eyebrows appear overly large, since the vertical wrinkles between them, usually rendered by incised lines, are here raised in high relief, perhaps to give greater emphasis to his expression of pain. The eyes are somewhat impressionistically rendered: the upper lids curve down to meet the lower at the outer corners, underlined by shallow grooves. The nose is short and bulges out slightly near the end. A long moustache waves down over short, fleshy lips which are slightly parted, below which the beard is thick and full. The head is placed low on the short, stocky neck. The giant's left arm rises nearly straight from the shoulder and bends sharply at the elbow to grasp his opponent by the wrist. His fingers are long with lightly incised nails, and the first fingerextends down the god's forearm, which is lightly modeled. The god's fingers do not grasp a clump of hair, as in G 12 and G 22, but seem to have a firm hold on the top of his head. The giant's right arm extends down and away from his side and perhaps held a weapon. The figure's arm and shoulder muscles are powerful. The clavicles project ratherstrongly, and below them a tuft of hair is depicted in low relief on the chest. The chest and abdominal divisions project moderately.The lower abdomen twists right at the waist, as the giant probably knelt on the plinth, his legs facing proper right. The navel is rendered,the lower abdomen begins to bulge outward, but both hip muscles are broken off. A scar to proper left of the navel may indicate the original position of a weapon. A few drill holes remain which may have undercut the latter.

36

THE GIGANTOMACHY MALE CHEST (NEREUS?)

PI. 23

Rasp marks are visible over parts of the torso; the relief ground shows signs of the point and perhaps the flat chisel.

G 28-1

SLAB14

Upper portion of a male torso with remains of a chlamys fastened at the right shoulder and draped across the chest, in a manner similar to G 5. The two raised folds of the chlamys are badly chipped, in some places completely missing, but enough remains to show that the arrangementand style of the drapery is extremely close to that worn by the figure G 5. Not enough of the base of the neck survives to ascertain the original position of the figure's head. The pectorals are widely spaced, and the abdominal divisions seem to have been lightly modeled. Traces of yellow paint may be preserved just below the top of the chlamys to the left. The figure probably represents a deity.

G 27 LEGS OF SNAKE-FOOTED GIANT P1. 23 KNEELING ON PLINTH T 36; Theater, east cavea VITI, ca. 1.25-1.50m. above orchestra level, April 14, 15, 1926. P.H. 0.330, P.W. 0.490, Th. relief ground 0.0650.096, Th. plinth 0.066-0.083, Max. W. r. thigh 0.106, W. snake neck 0.045, H. relief at r. thigh 0.154, top D. plinth 0.122 m. Seven joining fragments. Relief ground broken on three sides, plinth on two. Legs broken across tops of thighs; snake has lost two struts and left side of head. Right knee of giant and part of coil chipped. Thighs of a kneeling giant whose legs end in a snake's coils. The giant appears in a frontal position on both knees. The left thigh is depicted in high relief, and since the knee is not modeled, it appears to sink slightly into the plinth, from which it is separated by a drill channel. Behind the left thigh on the right, a small portion of a thick snake's coil remains, which curves out from the back of the thigh. The giant's right leg is depicted with strongly exaggerated thigh muscles. This leg turns into a thick coil below the knee and curves upward three times before terminating in a snake head facing the thigh. The back of the coil has a ridge and a surface made rough by the rasp. The snake's round eye is set under a bulging eyebrow and is emphasized by two incised lines which extend behind it. The mouth is closed, but a long, narrow row of teeth is visible. A short, curved "beard" hangs below the chin of the well-modeled head. A strut connects the bottom of the head with the next coil. The stub of a broken strut is preserved on the back side of the head, and the corresponding surface of attachment is indicated by a projection in the relief ground. A third strut seems to have connected the left side of the serpent head, which is missing, to the right side of the right thigh, where we find another such projection. The excess marble has not all been removed behind the coils, and a running-drill channel remains at the right edge of the right thigh. The relief ground is worked with the flat chisel; top and front of plinth, point; bottom, claw chisel with blunt edges; reverse, smooth; rasp marks remain over most of the thighs. The left edge is badly chipped, but a few tool marks may indicate the left edge of the slab.

T 282; Theater, findspot unknown. P.L. 0.273, P.W. 0.151, P.Th. 0.054 m. Two joining fragments; broken on all sides; surface badly chipped and weathered.

G 28-2

LEFT LEG ON PLINTH

PI. 23

T 35; Theater, findspot unknown. P.H. 0.525, P.W. background 0.475, P.L. front of plinth 0.330, Th. plinth 0.066-0.080, P.L. (left side) 0.455, top D. plinth 0.128, L. foot ca. 0.090 m. Five joining fragments; relief ground broken on two sides, plinth on two. Leg broken diagonally at top of thigh and chipped below knee. Right edge chipped, but probably preserves right edge of slab. A left leg, possibly a god's, stands with the foot flat on the plinth and adheres to the relief ground as far as the knee. The leg is turned slightly to the left and appears to be the trailing leg of a figure who strides to the left. The leg is carefully executed. The top of the knee and the calf muscle are marked off by shallow, wide grooves. The surface of the relief ground is worked by the point and unsmoothed around the leg; clawchisel marks remain to the right. Plinth top, hammer and point dressed; front, claw chisel; bottom, claw chisel; reverse, smooth.

SLAB15 G 29 HEAD OF GIANT TO RIGHT

P1. 24

S 657; Theater trench, June 4, 1903; N.B. 18, p. 76. P.L. 0.204, P.W. 0.191, Max. Th. 0.147, Th. relief ground 0.053, L. head 0.138, W. face 0.090 m. Three joining fragments, broken on all sides. Head broken at neck; surface badly chipped and weathered; nose broken in excavation and mended. The fragment preserves the head of a beardless, youthful giant, in three-quarter view to the right.

CATALOGUE Thick clumps of hair wave in different directions, generally brushed toward the face. With one or two exceptions, where running-drill channels can be seen, the locks are not deeply carved or differentiated. The right ear is hastily and unplastically carved and is much too small for the size of the head. The forehead is exaggeratedly convoluted and a strongly incised line cuts the surface horizontally. The bushy, furrowed eyebrows project strongly. The eyes are large, nearly almond shaped, with drooping lower lids. The nose, broken in two places, bulges outward at the bridge. Either the nose is off center to the right or the mouth is displaced to the left, but the features do not appear asymmetrical in the intended three-quarterview. Most of the upper is missing, but both lips are short and fleshy, and are slightly parted to reveal a row of teeth. The cheeks are wide and the square, beardless jaw is set off from the thick neck by an incised line. Two very shallow grooves run diagonally from each side of the nose. Although this is the only beardless giant preserved, its unruly hair and brutal features prevent it from being a god. Rasp marks cover the surface; the relief ground is unsmoothed; reverse, smooth.

37

G 30-2 DRAPED FEMALE TORSO

P1.24

T 32; Theater, from southwest corner of east theater plaza, on level of plateia, March 22, 1929; N.B. 322, p. 813. P.L. 0.250, P.W. 0.216, P.Th. 0.085 m. Single fragment;torso broken at neck, shoulders, below waist and at back from relief ground.Surface badlychipped,worn and blackenedby fire.

A drapedfemaletorsois shownwiththe rightbreast bare. The surface of both probably large breastsis abraded.The restof the torso,wherepreserved,shows no anatomicaldivisions.The chiton was fastenedat the left shoulder,from whichit hangs in wide, rather regularfolds to the waist band, which is tied in a doubleknot somewhatleft of center.The ends of the belt curve down on either side of the knot. The left edge of the garmentcurves over the chest in closer folds and reachesbelow the waist on the right. Parts of thin, shallow folds can be seen below the belt. Faintincisionsgivean impressionof sometransparency to the garment. The right arm appearsto have been held slightly from the side, whilethe left may have been outaway Gardiner,p. 309, no. 4, fig. 4. stretched. Modelingof the preservedsurfacenearthe Vian, Repertoire,pl. 15, no. 46, frag. 23. base of the neck may indicatethat the head turnedto the left of the relief.Marksof the raspare visibleover G 30-1 HEAD OF GODDESS PI. 24 most of the surface.The figure,whichis too large to (ARTEMIS) belong to the Amazonomachy,probablyrepresentsa S 500; Theater trench, 3.5 m. deep, May 21, 1903; goddessin combat,perhapsArtemis.In addition,it is N.B. 26, p. 40. possiblethat the badlypreservedareaaroundthe neck breakcould suggestthat the head was twistedin the P.H. 0.119, P.W. 0.096, Th. 0.047 m. Single fragment, broke from relief ground, above oppositedirection,that is, to the figure'sleft (toward eyebrows and through neck. Nose, lips, chin chipped the right of the relief). Such a restorationwould requirethat the torso fragmentbe shifted from the and worn. rightto the left sideof someotherreliefslab.However, Female face and part of hair and neck, possibly in as no such slot exists within the presentrestoration, a frontal position. A gentle oval shapes the preserved as the semi-draped torsois eminentlymoresuitablefor portion of the face, which is classicizing in appearance. Artemisthanfor any of the othergoddesses,and since The upper eyelid is firmly, but not harshly, rendered thepieceshowsa closestylisticandtechnicalcorresponand meets the lower at the corners which slope down- dencewith the otherfour fragments,I have chosento ward. The large eyes curve outward gently, and a retain it in its presentposition and to accountfor a furrow in the cheek delineates the lower lid. The eyes possiblemisconstruingof the neck tendonsas another seem not to have sunk deeply beneath the eyebrow, of the artists'mistakes.

the line of which curves out to the hairline on the left. The surface of the face is indented on the left between the eye and hair to indicate the temple. The nose appears to curve outward toward its tip, where the nostrils are rather wide. A shallow depression in the cheek extends diagonally from the nostrils to the mouth. The short closed lips curve down at the corners. A depression below the lower lip lends emphasis to the chin. The soft mass of hair preserved on the left has loose waves impressionistically rendered by shallow grooves. The surface is smooth except for chisel marks near the hairline. Gardiner,p. 314,no. 9.

G 30-3

SKIRT AND LEFT LEG OF GODDESS TO LEFT

PI. 25

T 55; joins T 56; Theater,findspotunknown. P.L. skirt0.224, P.W.0.330, L. 1.leg 0.240,Th. skirt 0.049-0.100,Max.Th. at 1. knee 0.138 m. Sevenjoiningfragmentsof figurebrokenat 1.ankle, across skirt above 1. knee and through middle of r. thigh; surface chipped. Marble is soft with blue, micaceousveins. The fragmentspreservethe bottompart of the skirt and the left leg of a femalefigurestridingto the left.

THE GIGANTOMACHY

38

The skirt falls between the legs in deeply cut, curving folds. The bottom of the skirt is not undercut, but is roughly finished to the relief ground, which is barely preserved but appears to be quite thin (ca. 0.010 m.). The folds are set at varying intervals, but are nearly all of uniform depth. In the fold nearest the left leg, marks of the running drill are clear. Drapery lines swing diagonally across the left leg and carry the eye down and around the leg. Two long Y-shaped folds fill the space between the left leg and the relief ground, which seems to have a finished edge on our right, carved to give the impression of drapery. At the top fracture there are traces of a horizontal drapery line, and the folds which come up to it become shallower and stop with final drill holes. Perhaps a heavy mantle or a belt was worn across the upper part of the thighs. While the left leg stands in three-quarter left view, the lower part of the right thigh seems indicated beneath the drapery in profile to left. The right leg must have bent sharply at the knee so that the leg rested on the ground, or perhaps on a slight elevation. The short skirt seems appropriate to Artemis, though Dionysos is also represented in such a fashion. The majority of the surface is smoothly finished; reverse, smooth. G 30-4

LEFT FOOT FRAGMENT

PI. 25

T 244; Theater, findspot unknown. P.L. 0.195, P.W. 0.197, H. 0.069-0.105, Th. with foot 0.121, top D. plinth 0.17, P.L. foot 0.135, P.W. foot 0.041 m. Single fragment, broken on both ends and from background. A left foot, its surface badly abraded, is preserved from toes to ankle. The ball of the foot rests on the plinth with the toes facing directly outward, so that the lower leg probably extended diagonally to the left. The top of the plinth is worked with the point; front, claw chisel; bottom, rough; reverse, smooth. The piece probably belongs to the Gigantomachy group and very likely can be associated with plinth G 30-5 and G 30, Artemis, due to similarities of size and the crumbly nature of the marble. G 30-5

RIGHT FOOT FRAGMENT

PI. 25

T 149; Theater, findspot unknown. P.L. 0.38, H. plinth 0.074, top D. plinth 0.172, L. foot 0.132, W. foot 0.050 m. Two fragments, broken on all sides; front of plinth partly preserved; surface weathered; marble veined and crumbly.

A fragmentaryrightfoot in left profileview lies flat on the plinth,adjacentto the background.The toes are worn, the instep is highly arched, and the heel and ankle are mostly missing. The top of the plinth is markedwith deep point marks;front of plinth, claw chisel; reverse,smooth with an offset at the bottom. The piece probably belongs to the Gigantomachy group, and can be associatedwith the stridingfigure of Artemis,due to the close similarityof the marble's crumblyconditionand thicknessof background. SLAB16 G 31-1

GOD WITH CHLAMYS

PI. 26

(APOLLO) T 3; Mus. no. 14; Theater,from west part of east theaterplaza at H. of 0.30 m. above its floor, March 22, 1929;N.B. 322, p. 815. P.H. 0.615, P.W. 0.410, W. waist 0.146, W. 1. thigh 0.084, Max. H. relief0.168, Th. reliefground0.060 m. Three joining fragments.Figuremissinghead and neck, 1. arm, r. forearmand hand, 1. knee and lower leg, r. leg from groin, and portion of chlamys. A male god stands in three-quarterview to right, wearinga chlamysfastenedat his right shoulderwith a roundclasp. The chlamysis drapedhigh acrossthe chest, curves over the right shoulder and abruptly swings,as if pulled, diagonallyto left. The end of a second garment,perhapsa himation,hangs in loose zigzagfolds on the fragmentrestoredat the right. It seemsimpossiblethat verticalfolds so far to the right could belong to a chlamys swingingleft.43Previous restorationsin plaster were removed, so that joins could be checkedin this area, and it was determined that all piecesdefinitelybelong.The figuremust have held a himationover his left arm in such a way that it did not hang immediatelynext to the body. The god's right arm was held diagonallyacrossthe body, but is brokenat the elbow, whereit bent to a more horizontalposition. The left shoulder is not sufficientlypreservedto tell the position of that arm. The torso is well carved and smoothlyfinished,but fleshilyratherthan muscularlyrendered,and as such forms a greatcontrastto any of the giants.The right arm would have covereda good bit of the chest and thus hiddenthe lack of transitionnoticeablebetween the centralline of the chestand the abdomen.The hip muscles,the outwardplump curve of the lower abdomen,andthe righttrochantericdepressionaregently modeled.The pubichairis not carved,and the genitals are brokenoff at the base.

43Comparevarious arrangementsof the chlamys as illustratedby Renate Tolle, "Zum Apollon des Leochares,"Jahrb81, 1966, pp. 142-172, in the charts,figs. 17, 18, particularlyfig. 18: 7, which most closely resemblesour figureand shows the so-calledProtesilaos in Naples, M.N. inv. no. 6411 (G. 218); S. Reinach, Repertoirede la statuairegrecqueet romaineI, Paris, 1897, p. 528, no. 2; Brunn-Bruckmann,pl. 334.

CATALOGUE The straight left leg is the supporting leg, the right the trailing, judging from the raised right hip; the right leg, which must have been in the round, was not much distant from the left, but perhaps somewhat in front of it. The god is not striding, like the others in the Gigantomachy, but stands quietly with his weight on his left leg. If he is a part of the Gigantomachy, he might be shooting an arrow. Furthermore, the serenity of his pose lends him a detachment incongruous to any battle.44 The relief ground is worked with the flat chisel; reverse, smooth. G 31-2

DRAPERY FRAGMENT

PI. 26

T 372; Theater, findspot unknown. P.L. 0.180, P.W. 0.110, P.Th. 0.071 m. Single fragment, broken on three sides; surface badly chipped, worn and weathered. A portion of the edge of a garment is carved in relief with shallow, medium-sized folds. The piece may form part of a hanging mantle. Since the reverse is smooth, it belongs to the Herakles or Gigantomachy group. The piece is quite similar in style to Apollo's chlamys, as it swings out to the left, and it may be restored further down below the break on the left. G 32 KNEELING GIANT WITH TREE BRANCH

PI. 27

T 10; Mus. no. 15; joins T 76, T 191, T 230, S 547, S 547a (hand with branch); Theater trench, S 547, May 22, 1903; N.B. 26, p. 41; T 10 (torso), central tongue XIT, ca. 2.00 m. to south of stage and ca. orchestra level, April 21, 1926. T 76 (plinth), T 191 (plinth and back), T 230 (1. leg). H. (incl. plinth) 0.975, P.W. 0.615, Th. 0.040, D. plinth 0.120, front H. plinth 0.060, P.H. figure 0.735, Th. thigh 0.097 m. Ten joining fragments. Original height of block preserved. Figure broken diagonally at neck and from proper right side across abdomen. Most of left leg preserved and upper part of right thigh. Small portion of left arm at elbow restored in plaster. A nude giant kneels on his left leg, leans his left hand on a squarish rock, and with his right hand holds a curved tree branch above his head. The head probably faced left. The torso twists from a nearly frontal view at the shoulders to a three-quarterposition to the right below the waist. The pectorals and abdominal divisions are well modeled, with the central line making a slight diagonal to the right.

39

The figure's right arm is raised and bent back over his head to hold his weapon ready to fight against his opponent on the left. The branch is large, curves down on the right, and has two smaller branches broken off. The giant's right arm and hand are fairly well rendered, but the left hand and forearm seem inordinately large in proportion to the right; the upper arm is also more muscular and has projecting veins. The surface of the rock, most of which is preserved, is left rough to give it a natural appearance. The giant's right leg was probably extended diagonally to the left, as the tips of two toes remaining on the plinth belong to his left foot. His left side is broken below the iliac crest, but most of the lightly modeled thigh is preserved, whereas only the top of the right thigh survives. Half of the left lower leg is missing, and the remaining section is separated from the plinth by a drill channel. Relief ground, claw chisel, flat around the figure and top of plinth; front of plinth, smooth; reverse, smooth. SLAB 17

G 33-1

SLEEVED RIGHT ARM AND CLENCHED HAND (LETO?)

P1. 28

T 263; joins T 307; Theater, findspot unknown ("May IX 2.00" written on stone). P.L. 0.226, outside L. arm 0.34, L. forearm 0.212, W. upper arm 0.071 m. Three joining fragments of arm broken off at shoulder and from background at ends of two struts. Clenched right hand and sleeved arm, bent at elbow. The arm was carved in the round and joined to the relief ground by two struts, which protrude on the inside of elbow and wrist. The arm is covered by a tightly fitting sleeve, rendered by 14 low ridges, twisting across the arm to emphasize its rounded form. The transparentsleeve ends in a band at the wrist. The hand tightly clenched a weapon, which was attached separately; a hole ca. 0.010 m. in diameter runs through the hand, but not in a straight line. Since the arm is strongly bent and the outside view is presented, it could have been held overhead by a frontal figure, or pulled back and down, if a rear figure was represented. However, it seems that what we are seeing is a left arm mistakenly put with a right hand. The sculptor seems to have unnaturally twisted the forearm so that the back of the hand would face outward, perhaps to avoid an awkward side view of a clenched hand as well as to direct the weapon, perhaps a spear, to the right of the slab. Its size places it in the Gigantomachy group.

44Except, of course, the centauromachyover the west end of the Zeus temple at Olympia,wherethe centralfigureis not intended

to be a part of the battle.

40

THE GIGANTOMACHY

PI. 28 G 33-2 RIGHT FOOT ON PLINTH T 74; Theater,findspotunknown. P.L. 0.450,P.L. plinth0.259,Max.P.H. background 0.221, top D. plinth 0.128, Th. background0.047, H. plinth 0.077-0.089, Max. Th. with foot 0.103, P.L. foot 0.088, W. foot 0.056 m. Five joining fragments;broken on all sides. Front of plinth and left edge of slab are preserved.Foot brokenacrossmiddle. Fragmentsof plinth and background,with front section of right foot standingflat on the plinth and wearinga leatherboot. Thebase of the toes is indicated by a groove.A smallsectionof draperyremainswhere the foot breaks,and the line of fractureof the backgroundsuggeststhe position of the drapery,probably that of a goddess stridingright. Background,point; top of plinth,flat chisel; reverse,smooth. The size of the foot and depth of the plinth, as well as the treatment of the reverse,suggestplacingthe piece among the Gigantomachyfriezefragments,whereit indicates the existenceof anotherslab. PI. 28 G 34 TORSO FRAGMENT S 3281; Museum basement,marble pile; findspot unknown. P.L. 0.154, P.W. 0.132,Th. 0.054 m. Singlefragment,brokenon threesides. Fragmentof a nude male torso, includingthe iliac crestand hip muscleabove (left)and part of the navel (right). Shallow grooves render the divisions of the abdomen,and gentleconvexcurvestakeup the surface between.Due to its size, the piece is likely to belong to the Gigantomachyseries. SLAB18

G 35 MALE TORSO IN CHLAMYS P1.29 (HELIOS?) S 572; Theatertrench,June3, 1903;N.B. 18, p. 75. P.L. 0.310, Max. W. 0.220, Max. Th. 0.126 m. Single fragment;figure broken at neck, shoulders and top of legs and from most of reliefground. A nude male torso from neck to groin stands in frontalview.The ends of a chlamysare fastenedin the centerof the chest by a roundclasp. Modelingat the base of the neck may indicatea head in profileto the right, which suggeststhat the torso derivesfrom the left side of the slab.The rightarmwas raisedhigh and probablydirecteda weapon againstan opponent on the right.The anatomicalstructureof the torso is well indicated.The pectoralsare most prominent,whilethe abdominaldivisions are more gently modeled. The digitationsare stretchedon the right because of the upstretchedarm. The hips are level, so both legs probably supported the body equally. The lower

abdomenturnsslightlyto the left, and the indentation of the groin is strongeron the right than the left, so that perhapsthe right leg was the weightleg and the left was back in a stridingposition.The pubic hair is worn.The appearanceof the figureseems to suggesta deity. Gardiner,p. 313,no. 4, fig. 10.

G 36-1 BEARDED HEAD AND TORSO PI. 29 OF GIANT T 19;joinsT 84; T 19 (lowertorso andupperr. leg), Theater,found within peristylecourt, near center,at H. of 0.50 m. above "level stone", March 10, 1928, N.B. 320, p. 425; T 84 (head), east caveaVI, ca. 1 m. above orchestralevel,June 1, 1926. Max. P.L. 0.715, P.W. (shoulders)0.215, H. head 0.145, W. head 0.105, W. waist 0.155, Th. relief ground0.033-0.060,H. plinth0.100 m. Eight joining fragments.Relief ground broken on all sides.Headbrokendiagonallyfrombridgeof nose throughcheekand beard;surfaceof neckand 1.shoulder chippedoff; both arms brokenat shoulders;left leg broken diagonallyfrom waist to 1. of genitals,r. leg brokenabove knee. Surfacebadly chipped. A nudemalefigurekneelsfrontallywith his head to left in profileview. To judge from his pectorals,his right arm was raised, probablyto ward off a blow fromhis opponent.The hairis a thick mass of short, wavylockswhichconformto the contourof the head; over the foreheadit acquiresmore bulk and appears disarrayed,but nowhereare the locks deeplycarved. The foreheadis shortand roughlyworked.The bushy plasticeyebrowsare prominent,and the innercorners of the eyes are deeplyset. The hairlineat the temples forms a continuouscurvingline with the full beard, renderedby short,flame-likelocks whichare brushed toward the center.The break throughthe cheek lies adjacentto a furrowwhichprobablydefinesa moustache. The left ear is sketchilydepicted, its center deeplymarkedby the drill. The torso is relativelywell carved.Even groovesset off the pectorals,abdominaldivisionsand digitations, while more emphaticfurrowsmark the waist, groin and iliac crest. The lower abdomenand hip muscles projectgently.Curlsin the pubic hair are emphasized by small drill holes; the genitals are chipped. The figure probablyknelt on both knees on the plinth, leaningstronglyto the rightand stretchingupwardto fight againsthis opponentat the left. The giant's left foot, raisedon its toes, is sketchilycarvedbehindhis rightthigh. The relief ground is not completely smoothed; reverse, smooth. A small portion of the bottom surfaceof the plinthis preserved,whichindicatesthe backward-leaning positionof the figure.

CATALOGUE G 36-2 TREE-BRANCHFRAGMENT

PI.29

G 38 LEFT ARM

41 P1.30

T 153; Theater,findspotunknown. T 77; joins T 183; Theater, east cavea VI, ca. P.L. 0.204, W. 0.005-0.065; relief ground: P.L. 0.25 m. above orchestrafloor, June 1, 1926. P.W. 0.063, Th. 0.016-0.025m. 0.129, Max. P. Dim. 0.310, L. branch 0.17, W. branch Two joiningfragments;armbrokenat shoulderand 0.054, Th. background0.034 m. near wrist. Backgroundbrokenon four sidesand from Threejoiningfragments,brokenon all sides. armin middleof upperarm. The end of a tree branch is carved from a wide Thepiecerepresentsa leftarm,fromshoulderto near reliefground.A clearlydefinedknot and stub of fork wrist,and part of the background,attachedfrom the in the branchare depicted.The surfaceof the branch shoulderto the middleof the upperarm. The arm is bears long, faint striationsto give the appearanceof held in an extendedposition, probablystraight out wood. A prominentchannel, made with the chisel, from the shoulder.The inside of the arm is presented marks the separationof the branchfrom the back- to the spectator,with its muscles stronglymodeled groundon one side. One edge of the slab,perhapsthe and two veins indicated,which give the arm a great right (L. 0.130 m.), is preserved; reverse, smooth. A feelingof strength.Rasp marksare evidentover much short line of fractureadjacentto the branchsuggests of its surface.The back of the arm,whereit beginsto the top of a giant'shead.The conditionof the marble, separatefrom the background,is not rounded,but thickness of background and height of curving forms a ridge. Reverse, smooth; marble has green fracture point to a connection with the kneeling micaceousveins.The armprobablybelongsto a giant. giant, G 36-1. PI. 30 G 39 ARM FRAGMENT

ARM AND LEG FRAGMENTS

G 37 RIGHT ARM, HAND GRASPING SWORD

PI. 30

T 63; Theater,findspotunknown. Max. Dim. 0.247,P.L. (outsidearm)0.28, W. upper arm0.062, W. wrist0.036 m. Two joining fragments,brokenin middle of upper arm, strutbrokenoff at back of wrist; shaft of spear brokenbelow hand. The piece depictsa right arm and hand graspinga swordat the hilt. A seam-likeridgedown one side of the arm and the positionof the strutindicatethat the inside faced the relief ground.The figure'sright arm, therefore,bent at the elbow, may have been held up readyto strikedown at an opponent,if the figurewas in rear view, or been pulled back to the left, if it belongedto a frontalfigure,suchas one of the striding goddesses. The arm musclesand two bones at the wrist and elbow are gently modeled.The inside of the elbow is renderedby a harsh chisel line. The outer surfaceis smooth. The fingersof the plumphand are separated by hard chisel lines, while the second joints are renderedby light incisions. The finger tips are not indicated.The top of the hilt, which projectsabove the thumb,is also markedby an incisedline. Although the hand size correspondsto those in the Amazonomachy group, the length and size of the arm seem to place it with the Gigantomachyfragments.

S 494; joins S 546; Theater trench, 3.5 m. deep, May 21, 1903;N.B. 18, p. 60; N.B. 26, p. 40. P.L. 0.160, outer L. 0.213, Max. Diam. 0.062, Diam. wrist0.036 m. Threejoining fragmentsof an arm broken at the wristand edge of sleeve;chippedand wornat breaks. Arm from biceps to wrist wherethe hand was attachedby meansof a dowel; the hole is ca. 0.005 m. in diameter.The stub of a strut remainson one side of the wrist. The point of the elbow barelyremains. A portion of sleeve is preservednear the top of the fragment,so the piece probablybelongs to a female divinity.The arm is very lightly modeled,and chisel marksremainover much of the surface. G 40 ARM FRAGMENT

P1.30

T 304; Theater,findspotunknown. P.L. 0.136, W. upper arm 0.067, W. lower arm 0.056 m. Single fragment,broken in middle of upper arm, before wrist, and along one side of forearm.Surface chippedand worn. The fragmentdepictsmost of an arm, bent at the elbow.The elbowand ulna aremodeled,with a strong creasedefiningthe crook.Thebicepsis lightlymodeled, and no trace remainsof the connectionto the relief ground. Chisel marks are visible over much of the surface.The marbleis veinedand splintery. G 41 RIGHT ARM FRAGMENT T 363; Theater,findspotunknown. P.L. 0.155, Max.W. 0.057, W. wrist0.042 m.

P1.30

42

THE GIGANTOMACHY

Two joining fragments; arm broken at wrist and above elbow; surface worn and chipped; marble has green micaceous veins. A well-carved right arm, in the round, bends at the elbow at a right angle. An incised line renders the crook of the elbow, while the outside is modeled to a point. The beginning of the contracted biceps survives. Its size may place the piece with the Gigantomachy fragments. G 42 ARM FRAGMENT

PI. 30

G 45 ARM FRAGMENT(?)

PI. 30

T 303; Theater,findspotunknown. P.L. 0.219, Max. W. 0.083, Max. Th. 0.069, Th. reliefground0.014 m. Single fragment,broken on all sides; reverse of backgroundpreserved. The piecepossiblyshowspart of a humanlowerleg or an armin relief.Musclesare lightlymodeledalong the sides, but the surface is badly chipped. The reverseis smooth,and so it belongsto the Heraklesor Gigantomachygroup.

S 550; Theater trench, May 22, 1903; N.B. 26, p. 41. P.L. 0.162, W. 0.054, W. wrist 0.036 m. Two joining fragments; arm broken at wrist, across biceps and along side facing relief ground; strut attached at inside of wrist.

G 46 TWO FOREARMSIN RELIEF

Forearm and part of upper arm, bent at the elbow, carved in the round. A strut linked the arm to the background at the wrist, and a dowel in the wrist was used to attach the hand. Muscles and point and crook of the elbow are lightly modeled. The smooth surface bears some black discoloration. The arm was seen in profile view.

Max. Th. 0.067 m. Threejoiningfragments,brokenon all sides. Two forearms in relief. They are extended in opposingdirectionsand each is broken at wrist and elbow. The insides of both face outwardsand reveal light surfacemodeling.The backgroundhas a rough surface;reversesmooth with saw marks. The scene could be that of a god holdinga giantby the hair,the giant pushinghim away.

G 43 RIGHT ARM IN RELIEF

PI. 30

T 148; Theater, findspot unknown. P.L. 0.242, P.W. 0.164, L. arm (shoulder to inside elbow) 0.108, L. elbow to wrist 0.119, Th. 0.039, Th. with arm 0.071 m. Two joining fragments, broken on all sides. Arm broken at wrist and shoulder. Right arm in relief, bent at the elbow, and a good portion of the surrounding background. The deltoid muscle is strongly modeled, while the tensed biceps is more gently rendered, as is the elbow. The contours of the forearm curve outward on either side to emphasize muscles without modeling the surface. The background retains flat-chisel marks; reverse, smooth. The arm, which appears in almost complete profile view, probably belongs to a frontal torso, perhaps that of a giant. G 44 ARM FRAGMENT

PI. 30

T 165; Theater, findspot unknown. P.L. 0.202, P.W. 0.086, Th. with limb 0.051 m. Two joining fragments, broken on all sides. Section of arm held straight out or down, inside facing out, with small portions of background adhering. The arm muscles, veins and the crook of the elbow are modeled, and the surface retains rasp marks. Reverse, smooth. The fragment probably belongs to one of the giants in the Gigantomachy group.

PI. 31

T 172;joinsT 173,-S471;Theater,findspotunknown. S 471: May 15, 1903; N.B. 18, p. 51; N.B. 26, p. 39. Max. Dim. 0.347, Min. Dim. 0.071; Arm: (T 173) L. 0.116, W. wrist 0.036; Arm: (S 471) L. 0.140,

G 47 RIGHT UPPER-ARMFRAGMENT PI. 30 S 474; Theatertrench,May 15, 1903;N.B. 18, p. 51; N.B. 26, p. 39. P.L. 0.102, P.W. 0.082, W. arm 0.057-0.074, Th. 0.009, Th. with arm0.067 m. Single fragment,broken on all sides; arm broken throughbicepsand above elbow. Fragmentof upperarm,probablythe right,broken at the shoulder.The deltoid muscle is stronglyindicated. The insideof the arm is shown and the triceps is roughly rendered.Traces of blue paint (Egyptian blue frit) flake off from the background,which is unusually thin. The surface is roughly finished, especiallynext to the relief ground;reverse,smooth. G 48 RIGHT UPPER-ARMFRAGMENT PI. 30 S 3219; Museum basement,marble pile; findspot unknown. P.L. 0.095, P.W. 0.058, Th. 0.052 m. Single fragment,broken at both ends and from background. Right upper-armfragment.The biceps is strongly modeledand is separatedby a light groove from the rest of the arm, and by a strongergroove from the shoulder,which curves out sharply.The fragmentis

CATALOGUE finished on all sides; rasp marks are visible all over, but heavier on the sides. The tension of the biceps indicates that the giant's right arm was raised. G 49 FOREARM FRAGMENT

P1. 31

T 204; Theater, findspot unknown. P.L. 0.270, P.W. 0.184, L. arm 0.124, W. arm 0.042, Th. 0.055, Th. with arm 0.103 m. Two joining fragments. Background broken on four sides; arm broken at wrist and middle of forearm. The hand and the outer portion of the arm at the wrist were originally attached to the relief ground by a dowel, inserted perpendicularly to the background. The hand broke off at the dowel, so that part of the hole remains. The end of a dowel still appears embedded in the part of the arm which is carved in one piece with the background. The arm seems to have been held in an extended position. The surface of the arm is smooth; chisel marks are visible on the relief ground; reverse, smooth. G 50 FOREARM FRAGMENT

PI. 31

T 351; Theater, June 5, 1903; N.B. 18, p. 78. P.L. 0.141, W. 0.062, Max. Th. 0.048 m. Single fragment, with two diagonal breaks across back. Fragmentary arm at inside of elbow, and part of forearm to the wrist. The arm was bent and lightly modeled. Originallyin relief, breaks have now removed all but a small bit of the relief ground. Its size and modeling place it within the Gigantomachy group. G 51 FOREARM FRAGMENT

P1. 31

S 3205; Museum basement, marble pile; findspot unknown. P.L. 0.104, P.W. 0.070, W. arm 0.034-0.054, Th. 0.050, Th. background 0.011-0.018 m. Single fragment; arm broken at wrist and near elbow; a portion of background, broken on all sides. Forearm in high relief. The surface is carved in an even curve. The arm is unfinished on both sides near the relief ground. Traces of blue paint (Egyptian blue frit) are preserved on the background adjacent to the arm. Background: front, flat chisel; reverse, smooth. The piece may belong with G 47 which preserves traces of the same type of blue paint, has the same thickness of background, and also forms part of the Gigantomachy. G 52

FOREARM FRAGMENT

P1. 31

S 3192; Museum basement, marble pile; findspot unknown. P.L. 0.116, P.W. 0.058, Th. 0.031-0.051 m.

43

Single fragment, broken at wrist, elbow and from background. Fragmentary forearm, probably the right, which is broken from the relief ground. An unfinished ridge on the upper part perhaps indicates the beginning of the background. The curve of the arm is even, and the elbow is modeled. The size of the piece suggests attribution to the Gigantomachy frieze. G 53 FOREARM FRAGMENT

Pl. 31

S 3226; Museum basement, marble pile; findspot unknown. P.L. 0.120, P.W. 0.059, Th. 0.054 m. Single fragment, broken at elbow and wrist; partly weathered to rusty color (or traces of red paint?). Fragment of large right (?) forearm, which was bent at the elbow, carved in the round. The elbow and the tensed arm muscles are lightly modeled. An incised line depicts the inner bend of the arm. The inside of the arm is nearly finished, but retains a few grooves from the point and some heavy rasp marks, while the outside is smoothly finished. The size of the fragment probably places it in the Gigantomachy group. G 54 ARM FRAGMENT

P1. 31

S 3207; Museum basement, marble pile; findspot unknown. P.L. 0.112, P.W. 0.060, Th. 0.031 m. Single fragment, broken on two sides. Section of what appears to be the inside of an arm, bent at the elbow, which has broken from the relief ground. A groove marks the inner crease of the elbow. Two veins are modeled in low relief, and the ulna is roughly shaped. Because of the modeling, this piece probably belongs to a giant in the Gigantomachy frieze. G 55 FOREARM FRAGMENT

P1. 31

S 3204; Museum basement, marble pile; findspot unknown. P.L. 0.064, P.W. 0.043-0.050, Th. 0.030 m. Single fragment of arm broken near wrist, and diagonally in middle of forearm; badly weathered at the back. Fragmentary forearm, probably from a giant, since the modeling resembles the giants' arms. The veins are modeled on the outside in low relief and the muscle swells gradually. Though carved in the round, it is nearly flat at the back, which must have been exposed to weathering after the arm broke from its original position.

44

THE GIGANTOMACHY

Right hand clenchedaround an object, which was added separately.All of the thumb and four fingers S 662; Theatertrench,June4, 1903;N.B. 18, p. 76. remain,the ends of which are coarselyrenderedand P.L. 0.076, W. 0.056 m. were probablynot seen. The hand was not attached Singlefragment,brokenon threesides. to the reliefground.The size and methodof attaching The fragmentrepresentseitherthe inside of a bent the weaponsuggestthe Gigantomachygroup. elbow or the back of a bent knee. The formerseems more likely, althoughnot enough is preservedto be G 60 OUTSTRETCHEDLEFT HAND P1.32 sure. Some tracesof yellowweatheringremainon the surface,whichis relativelysmootharoundthemodeling T 50; Theater,findspotunknown. lines. Max. Dim. 0.196 x 0.112, Th. 0.059, Th. with hand 0.102-0.120,L. hand 0.152, W. 0.064 m. G 57 RIGHT HAND HOLDING STONE PI. 32 Two joining fragments,brokenon three sides. One originaledge of block preserved,0.156 m. in length; T 228; joins T 286; Theater,findspotunknown. Max.Dim. 0.280 x 0.256,Th. 0.063,W. hand0.094, adjacentbevelededge, L. 0.055 m., indicatescornerof slab. Diam. stone 0.075 m. Five joining fragments,broken on all sides. Hand Left hand held outstretched,palm outward, near broken diagonally at wrist; forearm broken from cornerof slab.The handis in reliefat the wrist,but is reliefground;fingerschipped. raisedfrom,thoughstill attachedto, the reliefground for the entire length and width of the hand. The A righthand, in relief,graspsa rock. Onlytracesof the forearm,now brokenoff, remain.The palm of the fingersare close together.Three incised lines render hand faces out, holding the stone. The excessmarble creasesin the palm, and the fingerjoints are similarly has not been cut away betweenthe back of the hand portrayed.As the hand held nothing, the arm was and the relief ground, but a section of marble ca. probablyflung up towardthe cornerof the relieffor 0.040 m. thick has been left as a wide support, the balance.The surfaceof the backgroundretainsclawsurfaceof which is very roughlyfinished.The fingers, chiselmarks;reverse,smooth;surfaceof edge roughly held slightly apart, are each marked off by strong dressed. chisel grooves. Features of the thumb are clearly depicted.Tendons at the wrist are strongly marked. G 61 FRAGMENTARYLEFT HAND PI. 32 The stone was probablygraspedby a giant. It retains claw-chiselmarks;reverseof slab, smooth. T 310; Theater,findspotunknown. P.L. 0.070, W. (acrossback)0.067,Th. 0.040 m. PI. 32 G 58 RIGHT HAND Singlefragment,originallyattachedto armby dowel

G 56 ELBOW FRAGMENT

P1.31

S 3189; Museum basement,marblepile; findspot unknown. P.L. 0.110, P.W. 0.056, Th. wrist0.035 m. Threejoiningfragments;handbrokenat wrist.The piece is badly weatheredand very crumbly,probably from exposureto burning. Righthandandwrist,carvedin the round.Thehand was clenchedaround a weapon attachedseparately, for whicha hole (W. ca. 0.013 m.) was cut by the drill. Very little of the fingersnow remains.The surfaceis almosttotallyabraded.The wristappearsmodeledon the outside,and on the inside an incised line sets it off from the hand. The size of the piece suggeststhe Gigantomachy. G 59 RIGHT HAND

PI. 32

at wrist (hole W. 0.005 m.); broken at base of fingers,

chippedat the back. The piece depictsmost of an open left hand, from the wristto the firstjoint of thumband base of fingers. Incised lines indicatetwo creasesin the palm. Some chisel markson the surfaceof the palm remain;more appear on the back. Perhapsthe palm was visible, held in an extendedfashion, since it is betterfinished than the back of the hand. G 62 LEFT HAND

P1.32

T 264; Theater,findspotunknown. L. (from wrist) 0.077, W. (from knuckles)0.064, Th. 0.038 m. Single fragment,broken at wrist and from background;surfaceworn; veinedmarble.

T 265; Theater,findspotunknown. A left hand, turnedperpendicularly from the wrist, P.L. (wristto knuckles)0.078,W. (acrossknuckles) is clenched,althoughno objectremainsin it. The back 0.055, Th. 0.051 m. coarselyrendered Single fragment, broken and chipped at wrist; of the handfacesout; the fingersarare at the base, but perhapswould not have been seen. surfaceworn.

CATALOGUE G 63 FRAGMENT OF LEFT HAND

PI. 32

T 259; Theater,findspotunknown. P.L. 0.061, W. 0.060, Th. 0.026 m. Single fragment,broken all around; surfaceworn and chipped. Threelargefingersand part of a fourthare shown, with modeledjoints and nails summarilytreated.The fingers seem to curve gently around something, althoughthey are not clenched. G 64 LEFT HAND FRAGMENT

PI. 32

G 67 LEFT THIGH AND KNEE

45 PI. 33

S 569; Theater trench, June 3, 1903; N.B. 18, p. 75. P.L. 0.166, Max. W. thigh 0.083, Max. Th. (at knee) 0.075 m. Single fragment, broken at top of thigh and below knee. Left thigh and knee with a small portion of the lower leg. The inner thigh muscle (sartorius)is rendered by a groove, and the knee turns somewhat to the left. On each side of the knee a small ridged area indicates the separation from the relief ground. The surface is very smoothly finished.

S 3310; Museum basement,marblepile; findspot unknown. G 68 RIGHT LEG P1. 33 P.L. 0.059, P.W. 0.033, Th. 0.023 m. Singlefragment,brokenon threesides. T 126; Theater, findspot unknown. P.L. 0.360, Max. Diam. thigh 0.094 x 0.102, Th. Third joint of fifth finger and second and third relief ground 0.054, Th. with calf 0.138 m. joints of fourth remainfrom a left hand. The fingers Three joining fragments. Leg broken at top of and small portion of the back curve, as if the hand at ankle. Relief ground broken on all sides. and were loosely claspedarounda weapon.The size sug- thigh at Surface knee chipped and worn. gests the Gigantomachy. G 65 THIGH FRAGMENT(?)

PI. 32

T 102;Theater,fromperistylecourt,nearcenter,at H. of 1.50m. abovecourtfloor,March15, 1929;N.B. 322, p. 787. P.L. 0.62, P.W. 0.167, Th. 0.070, Th. with thigh 0.108 m. Two joiningfragments,brokenon all sides;part of one edge of slab preserved. This piece seemsto representa fragmentof a right thigh (or upper arm) in relief, broken at groin and throughthe kneebent backto the left. The figuremay have been stridingright.The thighis lightlymodeled. The relief groundretainsclaw-chiselmarks;the preserved edge is fairly smooth; reverse, smooth. The piece may belong to the Gigantomachygroup and form the upperpart of a giant'ssnakyleg. G 66 FRAGMENTARYLEFT LEG

P1.33

T 163; Theater,from east end of stage,2 m. above "level stone", March31, 1928;N.B. 320, p. 494. P.L. 0.237, Max. Diam. thigh 0.093 x 0.131, Th. knee0.095 m. Two joining fragments,brokenat top of thighand in middleof lower leg; chippedon knee's right. Thefragmentspreservethe leftthigh,kneeandupper calf of a human leg, carved in the round. The leg appearsfrontal and is slightlybent at the knee. The back is roughlyworkedand heavilyridged.The thigh is quitethickfromfrontto back,andthe thighmuscles and knee bulgeexcessively.

A right leg, carved in the round, is attached to the relief ground along the calf. The leg bends forward slightly and shows gentle modeling of muscles and knee, which appears to twist to the right. This is probably the weight leg of a god striding to right. The relief ground retains point marks; reverse, smooth. G 69 RIGHT LEG

P1. 33

T 105; joins S 650; Theater, findspot unknown. S 650 found June 3, 1903; N.B. 18, p. 75. P.L. 0.335, L. thigh to knee 0.215, Diam. thigh 0.115 m. Four joining fragments, broken diagonally at top of thigh and near ankle. Right leg, carved in the round, from top of thigh to ankle. The leg is bent halfway at the knee. The muscles above the kneecap bulge noticeably, as if this leg supported the weight of the body. The calf muscles protrude almost to a point on either side. The leg perhaps appeared in three-quarter view to left, since the muscles are more exaggerated and the surface less carefully finished on the proper right. G 70 RIGHT LEG STANDING ON PLINTH

P1. 33

T 157;joins T 73; Theater, findspot unknown. P.H. 0.450, H. plinth 0.070-0.084, Max. W. thigh 0.093, P.L. foot 0.111, top D. plinth 0.095 m. Six joining fragments; leg broken at top of thigh and from relief ground at lower leg; plinth broken on three sides.

46

THE GIGANTOMACHY

Right leg, in three-quarter view to left, preserved complete except for chips at knee, heel and toes. The thigh is gently modeled. A strong groove and a narrow ridge delineate the calf muscle. Most of the leg is carved in the round, although the unfinished back retains several projecting ridges. The toes are delicately carved, particularly the smallest, which is shorter and curls up. The piece probably belongs to a god. Front of plinth, flat chisel; top, rough point marks; bottom, smooth point marks.

G 75 THIGH FRAGMENT IN RELIEF

G 71 RIGHT THIGH AND KNEE

G 76 LEG FRAGMENT

P1. 33

S 669; Theater trench, June 4, 1903; N.B. 18, p. 76. P.L. 0.230, Max. W. thigh 0.102, Max. Th. 0.057 m. Two joining fragments, broken at top of thigh, through lower leg, and from back half of leg; surface chipped and worn. Front section of right thigh, knee and part of lower leg, seen frontally. The modeling is careful and the knee, in three-quarterview to the right, is well executed. The surface bears light marks of the claw chisel. G 72 RIGHT LEG FRAGMENT

PI. 34

S 969; Theater, findspot unknown. P.L. 0.235, Max. W. thigh 0.076, Th. 0.044 m. Single fragment, broken at back; surface badly worn. Thigh, knee and small part of lower right leg seen frontally. The knee appears well executed and is fairly natural; the thigh is well modeled. Most of the surface is abraded. G 73 RIGHT THIGH FRAGMENT

PI. 34

T 354; Theater, findspot unknown. P.L. 0.115, Diam. 0.078 x 0.098, Max. Th. 0.130 m. Single fragment, broken at both ends. Fragment of upper right thigh and small part of background. The piece, probably seen from the front, is lightly modeled. The front of the thigh is badly weathered and encrusted, perhaps from its position on the slab. G 74 THIGH FRAGMENT IN RELIEF

PI. 34

T 346; Theater, findspot unknown. P.L. 0.124, W. fragment 0.145, W. leg 0.105, Th. 0.060-0.088, Th. relief ground 0.038 m. Single fragment, broken in sharp diagonal line at the top and on two other sides. Portion of a thigh in high relief. The fragment is carved in much higher relief at one end than the other. The outer surface is scarcely modeled. Perhaps the thigh was in profile view. Heavy tool marks remain on the sides. Reverse of background, smooth.

PI. 34

T 347; Theater, findspot unknown. P.L. 0.178, P.W. 0.115, Th. 0.065 m. Single fragment, broken on all sides. The piece includes a fragment of a thigh in high relief and part of the background. A very shallow groove is modeled across the fragment, which may be in profile view. Rasp marks remain throughout. Surface of relief ground, rough; reverse, smooth. PI. 34

S 538; Theater trench, May 22, 1903; N.B. 26, p. 41. P.L. 0.086, P.W. 0.079 m. Single fragment, broken on two sides; surface chipped and worn. The fragment preserves a sharply bent limb. The outer surface of the bend is worn. The piece most likely represents a giant's knee turning into a coil. The surface appears lightly modeled and is relatively smooth. G 77 LEG FRAGMENT

PI. 34

T 330; Theater, findspot unknown. P.L. 0.117, W. 0.076, Th. 0.062 m. Single fragment, broken on three sides and chipped. The piece may portray part of a giant's leg, sharply bent at the knee, behind which it becomes a snaky leg. The shin bone is strongly rendered, but the kneecap and the top of the thigh are missing. The lower part of the knee is marked off by an incised line on one side and a drill channel on the other, and the side of the thigh is indented. G 78 RIGHT FOOT AND LOWER LEG IN RELIEF

PI. 34

T 70; Theater, findspot unknown. Front L. plinth 0.143, P.H. frag. 0.324, H. plinth 0.068-0.103, Th. background 0.057-0.083, top D. plinth 0.132, P.L. leg 0.193, W. leg 0.079, L. foot 0.136 m. Four joining fragments, broken on all sides; leg broken below knee. Right foot and lower leg, in low relief, facing left. Modeling of the calf is heavy, while only the big toe and a faint indication of the second are given. The rest of the leg is roughly carved. The foot lies flat on the plinth, and the calf stands straight, though the line of the upper break and direction of the adjacent tool marks suggest that the leg was bent fairly sharply at the knee. The background shows claw-chisel and rasp marks; plinth marked by deep incisions and flat-chisel work; front and bottom of plinth, claw chisel; reverse, smooth with offset at the bottom.

CATALOGUE G 79 LEFT LOWER LEG

P1. 34

S 496; Theater trench, 3.5 m. deep, May 21, 1903; N.B. 18, p. 60; N.B. 26, p. 40. P.L. 0.194, Max. W. calf 0.074, Max. Th. 0.105, Th. relief ground 0.042 m. Single fragment, broken above knee and near ankle. Left leg from top of knee to slightly above ankle. The fragment is in high relief and connected to the relief ground, where preserved, near the bottom of the piece. A wide, shallow groove summarily marks off the calf muscle, but rendering of the knee is more careful. The leg was seen in frontal view. Reverse, smooth.

G 80 LEFT LOWER LEG

P1. 35

T 287; Theater, findspot unknown. P.L. 0.159, W. 0.075 m. Single fragment, broken at both ends. Left lower leg from below knee to ankle, carved in the round. The calf muscles and shin bone are prominent and separated by deep chisel strokes. The back of the leg is roughly finished and ridged. The piece probably appeared in profile to the right of the relief and may belong to a giant, because of its bulk and harsh modeling.

G 81 LEFT LOWER-LEG FRAGMENT

P1. 35

T 327; Theater, east parodos, April, 1928; N.B. 321, p. 513. P.L. 0.113, Max. P. Diam. calf 0.075 x 0.071 m. Single fragment, broken diagonally at both ends. Fragment of left lower leg in relief in right profile view. A small portion of the background remains on the right. Rendering of the muscles is smooth. The back of the leg is badly weathered.

G 82 LEG FRAGMENT

P]. 35

S 499; joins S 497; Theater trench, 3.5 m. deep, May 21, 1903; N.B. 18, p. 60; N.B. 26, p. 40. P.L. 0.129, Max. Diam. 0.065 x 0.082 m. Two joining fragments, broken at both ends and diagonally through the piece; front surface chipped and weathered. The piece seems to portray a fragmentary lower leg, chipped at the knee. The limb, carved in the round, was probably seen in frontal view. The shin bone and

47

top of the calf muscle appear modeled in front. The front surface is smoothed, but the back retains rasp marks. G 83 RIGHT FOOT ON PLINTH

PI. 35

T 72; Theater, findspot unknown. P.L. 0.302, top D. plinth 0.142, Th. background 0.034, H. plinth 0.066-0.084, L. foot 0.140, W. foot 0.056 m. Single fragment; broken at both ends and along base of background; foot broken along one side. The piece preserves a right foot wearing a boot, the sole of which is separated from the plinth by an incised line. The foot, which lies with the toes facing straight out and is lightly modeled, leans toward the inside, suggesting that the leg was in a diagonal position. The top of the plinth is worked with the flat chisel; front and bottom, claw chisel; reverse, smooth. The size of the foot and the depth of the plinth make the piece a probable Gigantomachy frieze fragment. G 84 RIGHT FOOT FRAGMENT

P1. 35

T 246; Theater, findspot unknown. P.L. 0.085, P.W. 0.158, P.W. background 0.070, H. plinth 0.068-0.077, Th. background 0.019, est. top D. plinth 0.145, P.L. foot 0.120, W. foot 0.050 m. Single fragment, broken on all sides. A fragmentary right foot resting on the plinth turns diagonally to its right and leans toward the inside. The big toe is long and bony, but the other toes are not preserved. The nail of the preserved toe is incised, the heel is chipped, and the fracture cuts through the ankle. The surface of the plinth is worked with the flat chisel; reverse, smooth with an offset at the bottom. The fragment probably belongs to the Gigantomachy group. G 85 RIGHT FOOT FRAGMENT

PI. 35

T 79; Theater, findspot unknown. P.L. 0.197, P.W. 0.168, Th. plinth 0.076-0.088, Th. background0.023, P.L. foot 0.120, W. foot 0.050 m. Two joining fragments, broken on all sides; foot broken above ankle, through the middle, and at the base of the toes. Two sections of a right foot, turned slightly to its right, stand on the plinth. Most of the fourth and fifth toes survives, with joints and nails faithfully rendered. The heel is only sketchily indicated. The surface of the plinth retains heavy point marks, the background, claw-chisel strokes; the reverse is smooth with an offset at the bottom, and so the piece belongs to the Herakles or Gigantomachy group, though the size of the foot suggests the latter.

48

THE GIGANTOMACHY

G 86 FRAGMENTARYRIGHT FOOT ON PLINTH

PI. 35

surfaceis smooth; reverse, smooth. The piece may seem too large in scale to belong to this frieze, but compareG 87. The treatmentof the reverseprecludes attributionto the Labor of the StymphalianBirds.

T 239; Theater,findspotunknown. P.L. 0.119, P.W. 0.069, H. plinth 0.064-0.079,P.L. foot 0.047, W. foot 0.067, Th. with foot 0.103 m. G 89 SERPENT COIL FRAGMENT PI. 36 Single fragment,broken on all sides; foot broken T 203; Theater,findspotunknown. acrossbase of toes. Max. P. Dim. 0.126 x 0.171, Th. 0.055 m. Toes of a right foot wearinga leatherboot which Singlefragment,brokenon all sides. lies on the plinth perhapsfacing outward.The plinth is workedwiththe clawchisel,whilethe foot is roughly Serpentcoil with feather-likescalescarvedin relief. finished.The scale of the foot fragmentand lack of The edges of the scales are slightlybeveledinwards, modeling place it within the Gigantomachygroup. whiletheircentersare definedby incisedlines.A small No traceof draperyoccursat the fracture. portionof a secondcoil survivesadjacentto the major coil. CompareG 87, G 88, G 90, G 91. G 90 FRAGMENTARYSERPENTCOILS PI. 36

COILFRAGMENTS G 87 FRAGMENTARY SERPENT COILS P1. 36

T 119; Theater,findspotunknown. Max. P. Dim. 0.280 x 0.180, Max. Th. 0.095 m. Threejoining fragments,broken on all sides. The fragments preserve one wide serpent coil (W. ca. 0.110 m.), a thin coil (W. ca. 0.034 m.) that

crosses over it, and what may be either a third coil (W. ca. 0.052 m.) or part of an arm or leg, since it is smooth and has no scales. The wide coil, basically dividedlengthwiseinto two halves, is coveredon the outside by feather-likescales,with bevelededges and incised center lines. Its inner side, which is concave ratherthan convex, curves up to meet the first in a ridge, and is decoratedby incised, parallel, slightly to the ridge.The curvinglines, whichlie perpendicular second coil may representthe serpent'sneck and is broken off at the ridge of the first coil. The third curving object may be a smooth coil or part of a humanlimb.Verylittleof thereliefgroundis preserved; reverse,smooth. The coils may be too large for the Gigantomachyand could perhapsbelong to a scene of Heraklesand the Hydra. On the other hand, they may representa part of Athena's snakefightingalong with the goddess. G 88 LARGE CURVED FRAGMENT WITH SCALES OR FEATHERS

PI. 36

T 120; Theater,findspotunknown. Max. P. Dim. 0.112 x 0.068, Th. 0.067 m. Singlefragment,brokenon threesides. The fragment preserves one curving surface on which short, feather-likescales are renderedin low relief.Thesidesof the scalesareslightlybeveledinward, and an incisedline marksthe center.The beginningof a secondcoil is preservedat one edge. Tracesof red paint remainon the back. Reverse,smooth. G 91 FRAGMENTARYSERPENT COIL PI. 36 T 122;Theater,findspotunknown. P.L. 0.053, Diam. 0.034 x 0.029 m. Singlefragment,brokenat both ends. Small cylindricalfragment of a snake coil. The feather-likescales are carved on one side, while the otherhalf is unfinishedand ridged. G 92 SERPENT COIL ON PLINTH

PI. 36

S 680; Theatertrench,June5, 1903;N.B. 18, p. 78. P.L. 0.270, P.W. 0.120, Max.Th. 0.153 m. Single fragment,broken on all sides; part of front surfaceof plinthremains. A fragmentaryserpent coil in relief lies on the plinth,fromwhichit bendsawayin two directions.The majorityof the coil's surfaceis chippedoff. The plinth is workedby the claw chisel.

T 202; Theater,findspotunknown. P.L. 0.343, P.W. surface0.074, W. fragment0.137, G 93 ROUNDED OBJECTON PLINTH PI. 36 Th. (H. of relief)0.096 m. Two joiningfragments,brokenon threesides; back T 324; Theater,findspotunknown. of reliefgroundpreserved. P.L.0.154,P.W.0.078,Th. 0.077,Max.Th. 0.107m. Singlefragment,brokenon all sides. Gently curving surface covered with parts of 15 A roundedobject,brokenfrom a second object, is overlappingscalesor feathersin relief.The "feathers" are nearlyall ca. 0.050 to 0.065 m. in length,and each carvedin reliefon a plinth.Thoughthe round,handbears an incised line down the center. The outer like objectis itself smooth,the convolutionsof neigh-

CATALOGUE

49

Fragmentof serpentcoil in relief. A ridge defines boringsurfacesand its position on a plinth fragment the the to a back of the coil, which beginsto turn beforethe that piece belongs serpent-legged suggest the The surfacebearschiselmarks. is worked with break. The bottom the of giant. plinth claw chisel. G 98 FRAGMENTARY SERPENTCOIL P1.37 G 94 SERPENTHEAD TO LEFT

P1.37

T 267; Theater,findspotunknown. P.L. 0.130, Max.W. 0.065, Min. W. 0.043, Th. 0.037 m. Single fragment,brokenfrom backgroundat back and from body; half of lowerjaw missing. The piecedepictsa serpentheadand partof its body facing left. The eyeball is round and carved on a groove which leads down to the nose. An arched bulge depicts the eyebrow.The mouth is open with teeth indicatedin both jaws. Perhapsoriginallythe tongue was rendered.The right side of the face must have adheredto the background,and is broken off. Drill holes and chiselmarksremaininsidethe mouth. The jawbone is renderedbefore the surface curves gently upwardinto the neck. The serpentis likely to belong to a giant on the right of the slab, fightingto left. G 95 FRAGMENTARY SERPENTCOIL P1.37 S 479; joins S 512; Theatertrench,May 19, 1903; N.B. 18, p. 58. P.L. 0.118, W. 0.043-0.053,Th. 0.029-0.041m. Two joiningfragments,brokenon threesides. Curvingsnakecoil. The front surfacecurvesout to a centralridge, while the back surfaceis nearlyflat. Part of a strut remainson one side. Faint striations appearon the surface. G 96 FRAGMENTARYSERPENT COIL P1.37 T 268; joins T 272; Theater,findspotunknown. P.L. 0.140, W. 0.093, Diam. coil 0.033-0.047,Diam. strut0.021, Th. 0.047 m. Two joining fragments,brokenon both ends. Section of serpentcoil which curves in two directions, connectedby a small strut, ca. 0.175 m. long, and a bit of background,finishedon the inside, suggesting that the coil stood independently,probably similarto G 27. The surfaceis texturedwith clawchisel marks. G 97 FRAGMENTARYSERPENT COIL P1.37

S 641; Theatertrench,June3, 1903;N.B. 18, p. 75. P.L. 0.111, W. 0.030-0.039,Th. 0.035-0.065m. Singlefragment,brokenat both ends. Serpentcoil fragment.The back is delineatedby a ridge,whichhas a small bumpat one point. The outer surfaceis treatedwith diagonalstriationsto indicate skin. The inner surfaceis roughlyworkedand shows signsof the runningdrill. G 99 FRAGMENTARYSERPENT COIL PI. 37 T 271; Theater,findspotunknown. P.L. 0.110, W. 0.034-0.036,Max. Th. 0.077 m. Two joiningfragments,brokenall around. Fragmentof a serpentcoil attachedto the background.The coil curvessharplyas it comes out from the reliefground.A short line of the runningdrill at one end separatesthe snake's body from the background.Claw-chiselmarksremainon the surface of the body. G 100 FRAGMENTARYSERPENTCOIL PI. 37 T 312; Theater,findspotunknown. P.L. 0.10, Diam. 0.041, Th. 0.023-0.057m. Single fragment, broken on all sides and from background. Curvingsection of serpentcoil which has broken from the reliefground.The curveis renderedsharply in the inside, while a ridge emphasizesthe curve on the lowerside. G 101 FRAGMENTARYSERPENTCOIL P1.37 T 273; Theater,findspotunknown. P.L. 0.112,W. 0.027-0.037,Th. 0.041-0.058m. Single fragment, broken at both ends; surface weathered. Fragmentof serpentcoil with base of a strutat one edge. A strong groove separatesthe flat, unfinished insideof the curvefrom the outerside. G 102 FRAGMENTARYSERPENTCOIL PI. 37 T 276; Theater,findspotunknown. P.L. 0.082-0.101,Diam. 0.045-0.048m. Singlefragment,brokenat both ends.

T 374; Theater,findspotunknown. A serpentcoil, carvedin the round,bearsa slightly P.L. 0.120, W. 0.092, Th. 0.053, H. relief0.018 m. S-curved worn surface on all broken ridgein the centerof the back. The insideis sides; Singlefragment, finishedthan the outside. less carefully and chipped.

THE GIGANTOMACHY

50 G 103 COIL FRAGMENT, WITH FINGER (?)

PI. 37

T 121; Theater, from southeast corner of peristyle court, May 7, 1928; N.B. 322, p. 758. P.L. 0.127, Max. Diam. 0.050, L. of "finger" 0.039 m. Single fragment, broken at each end; surface worn and discolored gray. The piece seems to represent a fragment of a snake's coil, though the treatment of the surface differs from the rest. The surface is dressed with short, curving grooves, which may represent scales or hair, or perhaps wood. The long narrow "finger" is damaged by a gash at one end and stands out from its background by means of a groove, ca. 0.20 m. wide, which surrounds it on its two long sides. The back of the whole fragment has no striations and probably was not to be seen. No other piece preserves similar striations. G 104 FRAGMENTARY SERPENT

PI. 37

COIL(?) T 274; Theater, findspot unknown. P.L. 0.074, W. 0.038-0.026, Th. 0.033 m. Single fragment, broken at both ends. The fragment seems to represent a serpent coil which curves, narrowing at one end, perhaps at the neck. The piece, however, might also represent part of an animal leg, such as a horse's knee, since it is smaller in dimensions than the other coil fragments and its surface is more smoothly finished. The inside surface retains two drill channels, which follow the curve of the piece. G 105 FRAGMENTARY SERPENT COIL PI. 38 T 275; Theater, findspot unknown. P.L. 0.093, Diam. 0.036-0.044 m. Single fragment, broken at both ends; surface worn. Fragment of a serpent coil carved in the round. A ridge defines the center of the back. The surface bears rough claw-chisel marks. G 106 FRAGMENTARY SERPENT COIL PI. 38 T 269; Theater, findspot unknown. P.L. 0.135, Max. W. 0.048, Max. Th. 0.030 m. Single fragment, broken at two ends and longitudinally through center. Part of a serpent coil, broken lengthwise through the center. The coil curves at one end. A faint ridge defines the center of the back. The surface is smooth except for faint rasp marks.

G 107 FRAGMENTARY SERPENT COIL PI. 38 T 323; Theater, findspot unknown. P.L. 0.161, Diam. 0.044-0.050, Th. 0.063 m. Single fragment, broken on three sides. Fragment of serpent coil, or possibly an arm. The object has a slight curve which on one side is marked by a crease, while on the other it comes to a slight point. There is no ridge to delineate the back, as for most coils. The gently rounded surface has a projection on one side (P.L. 0.081 m.) which may be part of the relief ground, or a second object. The surface is smooth on all sides. G 108 FRAGMENTARY SERPENT COIL (?)

PI. 38

S 560; Theater trench, May 22, 1903; N.B. 26, p. 41. P.L. 0.084, W. 0.030, Th. 0.036 m. Single fragment, broken on four sides. The piece may represent a serpent coil, carved in the round. The back is roughly finished in the manner of most coil fragments, while the smooth front surface curves in two directions and adheres to the beginning of a third curving surface.

DOLPHIN FRAGMENTS

G 109 DOLPHIN HEAD ON "WAVES"

P1. 38

T 270; Theater, findspot unknown. L. head 0.119, W. head 0.049, W. "waves" 0.066, Th. head 0.053, Th. fragment 0.077-0.083 m. Single fragment, broken all around, chipped, encrusted. The piece portrays the head of a dolphin to right, from most of beak to neck. On either side a round eye is surrounded by an almond-shaped groove, which extends to the front of the head to form the forehead. An additional short line continues down into the "beak" on either side. Part of the mouth remains, with a groove between two ridges to delineate the lips. A heavy drill channel (running drill) runs below the "beak" to separate it from the "waves" below. To its right, behind the eye, a flipper is rendered by a knob and a triangular flap. Striations cover the head's surface to indicate skin texture. Below the head, four curving surfaces separated by grooves (ca. 0.010 m. apart) give the impression of waves. These are sometimes further emphasized by striations. If this piece truly belongs to the Gigantomachy, the dolphin might accompany Poseidon or Amphitrite, as an attribute, comparable to Athena's snake.

CATALOGUE G 110 FRAGMENT OF DOLPHIN'S "WAVES"

PI. 38

The piece preserves a small fragment of parallel, curving ridges, divided into two sections of three ridges each, which may represent waves or hair. The ridges closely resemble the "waves" in G 109.

G 111 DOLPHIN HEAD

P1. 38

S 642; Theater trench, June 3, 1903; N.B. 18, p. 75. P.L. 0.125, W. 0.052, Th. 0.060 m. Single fragment, broken on two sides. Most of a dolphin head, carved in the round, which probably faced left. The head has two round eyes, each marked off by an almond-shaped groove, from which a line continues toward the front of the head to set off the "beak." The "beak" and mouth are mostly chipped off, but the lower jaw line sustains an upward curve, and the position of the mouth seems to be diagonal. The top of the head is marked by a ridge, which is pointed at the back, as if to form a crest. The surface displays shallow grooves, which serve to indicate skin texture, a bag of skin under the left eye, and perhaps flippers. Compare G 109. G 112 FRAGMENTARY COIL OR DOLPHIN

PI. 38

S 957; Theater, findspot unknown. P.L. 0.155, W. 0.079, Th. 0.059 m. Single fragment, broken at both ends. The piece may represent a serpent fragment, or part of the body of a finned animal, such as a dolphin. Four fin-like objects project from one side. Faint striations on the surface represent skin texture. G 113 FRAGMENTARY DOLPHIN

MISCELLANEOUSFRAGMENTS

G 114 FRAGMENT OF STICK IN RELIEF

T 270a; Theater, findspot unknown. P.L. 0.080, W. 0.056, Th. 0.048 m. Single fragment, broken on three sides.

PI. 38

S 666; Theater trench, June 4, 1903; N.B. 18, p. 76. P.L. 0.100, W. 0.068, Th. 0.044 m. Single fragment, broken on three sides. Fragment of serpent coil or perhaps dolphin. The piece, carved in the round, has a projection on one side which may be the stub of a strut or fin. A lengthwise ridge defines the center of the body, while shallow striations on the surface depict the skin. A small portion of relief ground remains. The inside surface is roughly worked.

51

PI. 39

T 159; joins T 194a; Theater, findspot unknown. Max. P. Dim. 0.43 x 0.270, P.L. stick 0.170, W. stick 0.050, Th. 0.067-0.074 m. Five joining fragments, broken on all sides, but preserving one edge of slab, L. 0.250 m. Fragment of stick carved in low relief and extending diagonally to the edge of the slab. The surface of the stick is roughly finished and curves outward slightly in the center of the preserved fragment. The end of the stick has broken from the surface. Edge of slab, hammer dressed; reverse, smooth; relief ground, claw chisel. The right edge of the slab may be preserved showing a giant's weapon raised in defense. G 115 NARROW CURVING OBJECT IN RELIEF

PI. 39

T 215; Theater, findspot unknown. Max. P.L. 0.234, Max. P.W. 0.206, Th. 0.0290.044, Th. "snake" 0.055 m. Three joining fragments, broken on all sides. A narrow, wavy snake-like object is depicted in low relief against a wide background. It might be the trailing snake of an aegis or a lock of hair. Front surface, claw chisel; reverse, smooth. G 116 HAIR FRAGMENT

PI. 39

S 3172; Museum basement, marble pile; findspot unknown. P.L. 0.129, P.W. 0.081, Th. 0.037, Th. background 0.057, P.L. hair 0.073, W. hair 0.083 m. Single fragment, broken on all sides. The fragment preserves long, thick strands of wavy hair adhering to the relief ground and separated from it by a chisel line. The strands probably form the top or back of the head. The flat chisel is used to render the strands, and rasp marks are visible between the grooves and contribute to the texture. Because of its size, the piece probably belongs to the Gigantomachy series, perhaps to one of the giants, although their hair is seldom so long or so evenly waved. G 117 ARMOR FRAGMENT (?)

PI. 39

S 3307; Museum basement, marble pile; findspot unknown. P.L. 0.147, P.W. 0.095, Th. 0.031, Th. background 0.022 m. Single fragment, broken on all sides.

52

THE GIGANTOMACHY

The piecepreservestwo curvedobjectsin low relief. G 121 DRAPERY FRAGMENT PI. 40 The one is thinner and evenly rounded, while the T 255; Theater, findspot unknown. other is larger, has a flat outer surface and edges P.L. 0.139, P.W. 0.090, Th. 0.050 m. beveled to the relief ground. The relief ground is Single fragment, broken diagonally at top and worked by the claw chisel; reverse,smooth. Perhaps surface chipped. bottom; portionsof two weaponsare indicated.The object is Three deeply cut folds varying in direction and perhapspart of the Gigantomachyfrieze. width lie next to a wider stretch of slightly modeled garment, perhaps from the skirt of a himation. The surface shows careful finish.

DRAPERY FRAGMENTS

G 118 DRAPERY FRAGMENT

P1.39

T 285; Theater,findspotunknown. P.L. 0.267, P.W. 0.049,Th. 0.096, H. relief0.080 m. Singlefragment,brokenon all sides;veinedmarble. A thin longitudinalsection of a slab with folds of shallowto mediumdepth on the surface.The end of one fold is preserved,while the rest are continuous acrossthe surface,diagonallyas well as straight.The reverseis smooth; thereforethe piece belongsto the Herakles or Gigantomachygroup. The portion of draperymay originatefrom a garmenthanging flat againstthe background. G 119 DRAPERY FRAGMENT

P1.40

G 122 DRAPERY FRAGMENT

PI. 40

T 296; Theater, findspot unknown. P.L. 0.125, P.W. 0.105, Th. 0.045 m. Single fragment, broken at back; surface chipped. The piece seems to represent the overfold of a female garment and may originate from the side of a figure where the heavy folds of the kolpos hang further down. The smoothly finished folds are separated by firm channels of varying width. The folds seem dented or nicked near the bottom, conveying well the impression of thick folded cloth. Below the kolpos the finer pleats of the skirt begin. G 123 DRAPERY FRAGMENT

T 294; Theater,findspotunknown. P.L. 0.119, P.W. 0.083, Th. 0.041 m. Singlefragment,brokenon threesides.

PI. 40

S 3272; Museum basement, marble pile; findspot unknown. P.L. 0.060, P.W. 0.057, Th. 0.086 m. Portions of two wide folds curve horizontally, Single fragment, broken on four sides.

separatedby a wide groove. The surfaceof the lower pleat has shallowerfolds renderedat a diagonalas if this werea twistedmantleroll. To one side of and at a slight diagonal to this "roll" are the ends of five smaller folds set at varying distances, which could form the beginningof a skirt or the end of a bodice. The piece belongs with others in the Gigantomachy which have similar,careful finishes and comparable marble. G 120 DRAPERY FRAGMENT

PI. 40

T 254; Theater,findspotunknown. P.L. 0.198, P.W. 0.096, Th. 0.050 m. Singlefragment,brokenon threesides. A tip of hangingdrapery.The threefolds preserved vary in width and directiontowardthe bottom, suggesting some movement.The folds are narrow and separatedby grooveswhichbecomequite deep at the bottom. These groovesare not hard and regularand sometimeshave minorbranches.The piece may form the end of a mantlehangingover the shoulderor arm. A rough place for an attachmentexists on one side. On the backsurfaceis a cuttingfor a horizontaldowel whichwas used in piecing.

The piece preserves the end of a wide fold in low relief in a gentle zigzag arrangement, probably belonging to the hanging, open edge of a himation as on one of the goddesses. The fold is cleanly undercut on the right. Part of the background is preserved. G 124 DRAPERY FRAGMENT

PI. 40

S 3292; Museum basement, marble pile; findspot unknown. P.L. 0.091, P.W. 0.067, Th. 0.046 m. Single fragment, broken on all sides; surface badly weathered and encrusted. One gentle zigzag fold is carved very flat in low relief and probably forms the edge of an open himation. The bottom of the fold is slightly undercut. G 125 DRAPERY FRAGMENT

PI. 40

S 3293; Museum basement, marble pile; findspot unknown. P.L. 0.099, P.W. 0.047, Th. 0.032 m. Single fragment, broken on two sides; surface chipped and worn.

CATALOGUE Portions of two hangingfolds, probablyfrom the side openingof a mantle or chiton. The one to right is of the zigzagtype with roundededges and seemsto come to a point just below the break. The drapery compares favorably with the proper right side of G 21-3.

G 126 DRAPERY FRAGMENT

P1.40

T 334; Theater,findspotunknown. P.L. 0.058, P.W. 0.055, Th. 0.020 m. Singlefragment,brokenat back. Fragmentof a left chitonsleevewith two buttonsat the top of a small arm. A curvingridge denotes the light border of the material between the buttons, while four incised lines radiate from one button to indicategathersin the cloth. The borderof the top of the sleeve curves and has two shallow, horizontal folds. Next to these, the surface is indented and roughlyworkedfor the attachmentof the upperarm to the shoulder.The piece is much too large for the Amazonomachy. G 127 DRAPERY FRAGMENT

P1.40

S 643; Theatertrench,June3, 1903;N.B. 18, p. 75. P.L. 0.070, P.W. 0.096, Th. 0.063 m. Singlefragment,brokenon threesides.

53

drapery is predominantly flat with two low diagonal ridges and one higher, semicircular ridge which accents the curve of the limb. Small undulations all over impart an impression of softness to the whole fragment. The style compares favorably with Zeus's mantle, G 13-1, but the two do not join. G 130 DRAPERY FRAGMENT

P1. 41

S 3261; Museum basement, marble pile; findspot unknown. P.L. 0.155, P.W. 0.118, P.Th. 0.033 m. Single fragment, broken at back and across most of the front. Marble has rust-colored, micaceous veins. Parts of three folds, closely set and separated by even chisel lines, are preserved at left of fragment. The inward curve at the bottom suggests the bunching of a chiton around a female breast, perhaps the right. Most of the front surface is missing, but its size and color compare well with the Gigantomachy series. G 131 DRAPERY FRAGMENT

PI. 41

T 297; Theater, findspot unknown. P.L. 0.105, P.W. 0.057, Th. 0.065 m. Single fragment,broken on three sides; folds chipped.

The fragment preserves one deep, projecting fold and part of a second, on both sides of which six The piece preserves two deep, wide folds. The shallow folds run in a vertical direction. The inner surface of one is rounded, while the other bears a surfaces of the folds are roughly picked with the point smooth concave area, as if the cloth were impressed and some traces of red paint remain. Most of the by a thumb.The piece belongsto an area wherethe smaller folds are slightly undercut and are flat with a thick mantle hangs bunched in deep folds, such as ridge at one side. The piece probably belongs to an between the legs, and may be associated with the area of a thin chiton where the cloth bunched into deep folds, such as between the legs. Compare the draperyattributedto Poseidon,G 24-3. drapery of G 25-2. G 128 DRAPERY FRAGMENT P1. 41 G 132 DRAPERY FRAGMENT P1. 41

S 3312; Museum basement,marble pile; findspot unknown. P.L. 0.140, P.W. 0.056, Th. 0.032 m. Singlefragment,brokenon all sides,surfacechipped. Partsof two folds are preserved.The surfaceof one is tubular and appearsnicked near the center; the othercurvesto the rightat the bottom.The piece may belongto the swingingfolds of a chlamysor himation. Comparethe garmentof Poseidon,G 24-3. G 129 DRAPERY FRAGMENT

P1. 41

S 491; Theater trench, 3.5 m. deep, May 21, 1903; N.B. 18, p. 60; N.B. 26, p. 40. P.L. 0.207, P.W. 0.060, P.Th. 0.045 m. Single fragment, broken on one side; one fold chipped off; marble crumbles easily. Two wide folds, separated by deeply cut channels, next to two quite shallow folds. What seems to be a third fold is broken off. The piece may represent a portion of a mantle draped crosswise near the waist over part of the underlying chiton, or, if inverted, the hanging tip of a chlamys or himation.

T 300; Theater,east area, March, 1928; N.B. 320, G 133 DRAPERY FRAGMENT P1. 41 p. 400. P.L. 0.146, P.W. 0.142, Th. 0.052 m. S 505; Theater trench, 3.5 m. deep, May 21, 1903; Singlefragment,brokenat back and on all sides. N.B. 18, p. 60; N.B. 26, p. 40. P.L. 0.147, P.W. 0.052, P.Th. 0.040 m. A drapery fragment which curves over a limb, Single fragment, broken and chipped on four sides. perhaps a thigh held in an extended position. The

54

THE GIGANTOMACHY

The piece preserves one or two hanging folds, Three straight parallel folds curve back and up at perhaps from a chlamys or himation, which have one end of the fragment, as if falling from an arm or finished surfaceson three sides. One surfaceis flat shoulder. The folds are nearly tubular in shape, but and covered with rasp marks, while the other is roughly finished. Compare Artemis' skirt, G 30-3. smooth and has one medium-highfold with a flat top surfaceand the indentedend of a second. The piece G 135 DRAPERY FRAGMENT PI. 41 of the far from the rest have may projectedquite S 521; Theater trench, 3.5 m. deep, May 21, 1903; garment,and may thereforebe part of a statuein the N.B. 26, p. 40. round.

G 134 DRAPERY FRAGMENT

P1.41

S 498; Theatertrench,3.5 m. deep, May 21, 1903; N.B. 18, p. 60; N.B. 26, p. 40. P.L. 0.145, P.W. 0.062, P.Th. 0.039 m. Single fragment,broken on one side and chipped; marbleyellowedand crumbly.

P.L. 0.101, P.W. 0.058, P.Th. 0.049 m. Single fragment, broken on two sides; chipped and crumbly.

Three hanging folds remain, perhaps from a mantle tip. The surface of one is smooth and concave, with a curved bottom edge, while the others have rounded surfaces and hang straight. The piece is badly abraded; the marble compares favorably with Artemis' skirt, G 30-3.

THE AMAZONOMACHY

Slab 2

Slab 1

Slab 4

Slab 5

Slab 6

Slab 8

Slab 9

p Slab 11

_

Slab 12

Fig. 2.

_ Slab 13

The Amazonomachy. Scale 1:20

II THE

AMAZONOMACHY

The battle between the Greeks and the Amazons is easily one of the most popular narrativethemes to come down to us from Greek and Roman art. It was widely used, particularlyin architecturalsculpture and on sarcophagi, from the Archaic period down to the time of Constantine. The important monuments of the 5th century B.C., particularly Pheidias' decoration on the outside of the shield of the Athena Parthenos and in two places on the throne of the chryselephantineZeus at Olympia, the west metopes of the Parthenon, the metopes on the Heraion at Argos and one of the friezes of the Temple of Apollo Epikourios at Bassai, did much to establish a tradition that was to prevail with additions and variations for centuries.1 of Asklepios at Epidauros,the lengthy frieze on the Mausoleum at Halikarnassos,and the Limyra reliefs in the 4th century, then appears on the sarcophagusin Vienna, before resuming its architecturalframework in the Artemision of Magnesia and on the Temple of Apollo at Alabanda in the late 2nd century B.C.2

Its Roman treatment is mainly confined to sarcophagi made from the Hadrianic to the Constantinian period, such as those in the Capitoline, the Vatican and other museums in Rome. The relief on the circular base in Nikopolis representsanother example of its use.3 Corinth provides us with the only known treatment of the subject as decoration for a theater. Perhaps the theme still representedto the Greeks the triumph of Greek over barbarian and was in some sense the equivalent of the historic battles depicted on monuments in Rome, such as the column of Trajanand the Trajanic reliefs on the Arch of Constantine. The provincial nature of Greece under Roman rule as well as the lack of any major battles against barbaric forces at home may have caused the Corinthians 1 Parthenosshield: Harrison, Hesperia35, 1966, pp. 107-133. Throne of Zeus at Olympia:Giglioli, MemLincv, 16, 1920, pp. 224-376; Fink, Der Throndes Zeus in Olympia. Parthenonmetopes: Brommer. Heraion at Argos: Waldsteinet al., TheArgiveHeraeum. Bassai Temple: Kenner, Bassae. Eichler. 2 Gjolbaschi-Trysa:Benndorfand Niemann, Das Heroiinvon Gjolbaschi-Trysa; Epidauros:Crome, Die Skulpturendes AsklepiostempelsvonEpidauros. Mausoleum,Halikarnassos:Pfuhl, pp. 1-53; Donnay, AntCl26, 1957, pp. 383-403, pls. 1-8. Limyra:Borchhardt,IstMitt 17, 1967, pl. 16:3. Vienna sarcophagus:Lippold, p. 288; Brunn-Bruckmann,pl. 493. Magnesia:Humann et al., Magnesia. Alabanda:Edhembey, CRAI,1905-06, pp. 443-459; Lippold, p. 375, note 6. Note the amazonomachyfrieze recentlyfound on a naiskos in Kallithea, P. M. Frazer,JHS, ArchaeologicalReportsfor 1968-69. In addition, two sculpturedmetopes, dated not earlier than the 1st centuryB.C., representan amazonomachyin Sparta,Wace, A Catalogueof the SpartaMuseum,no. 717, pp. 204-205, fig. 74. 3 Capitoline sarcophagus: StuartJones, The Sculpturesof the Museo Capitolino,no. 18, p. 81; Robert, II, p. 91, no. 77, pl. 32; Helbig4,no. 1228, dated A.D. 140-150. BelvedereVatican sarcophagus:Amelung, VaticanII, no. 49, pl. 13; Robert, II, p. 113, no. 92, pl. 39; Helbig4,no. 244, dated second quarterof the 3rd centuryafter Christ. Nikopolis: Fink, Jahresh47, 1964-65, pp. 70-92. For other representationsof amazonomachiessee, e.g., D. von Bothmer, Amazonsin GreekArt, Oxford, 1957; idem, EAA I, pp. 302-311; and Redlich.

60

THE AMAZONOMACHY

to look to more traditional themes. In addition, the training of artists in places like Athens or Corinth may have been fully Classical in orientation, due to the proximity of most of the 5th century monuments. As for the choice of this particular subject-which by this time is non-historic, not fanciful, not in

honor of Dionysos, but certainlysemi-mythological-perhapsit was exactlythe mythologicalquality thatwas desirableandmayhavebornesomerelationshipto the contentof theplaysenactedon the stage. We shall see that not only have the Corinthians selected a traditional subject to enhance a portion of their theater building, but that they follow fairly closely a few stock motives establishedby that tradition. Of our three friezes, the Amazonomachy probably makes the most extensive use of perspective. The

legs of theAmazonin slab 6, positioneddiagonally,seemto recedeinto the distance,and the shieldsin slabs 7, 8, 10, 13 and 14 project from the background to varying degrees. But perhaps a new type of perspective is used which is specifically fitted for a theater. This is particularly noticeable in the horse in slab 4, and the Greek in slab 5. In both cases the fartherleg extends on either side beyond the contour

of the nearerleg, so that its actualmeasurementwouldseemgreaterthanthat of the nearerleg. Rather than beingmerelyan awkwardrendering,this deviceseemsto achievea kind of perspectiveview specifically designed for the spectator seated in the semicircularcavea of a theater, for, regardless of which

side of the koilon he sits on, the fartherleg will still be visible.This would also be effectivewhile the spectatorswalk into or out of the theaterpast the reliefs. The sculptorshave usuallyfollowedthe rule of thumbthat whateverwill not be seen need not be completely finished. Areas immediately adjoining the relief ground, such as the farther side of profile heads or the farther side of legs carved partially in the round, are often roughly worked out. Sometimes

only a smallportionof the excessmarblebehinda leg has been removed,if this time-savingshort-cut would not have been noticed. Of course, the strongerthe link with the background, the greater the safety

of the variousparts.The Gigantomachyfigures,on the otherhand, are more smoothlyfinishedon the sides and in areasadjacentto the background,probablybecauseof theirposition on thetion lowest story of the building. Except for the unusual length of its slabs, the composition of our Amazonomachy is related more to metopal design4 than to the more integrated arrangementof architecturalfriezes5or to the extremely crowded compositions on sarcophagi with battle scenes.6In rigidly adhering to two-figured scenes the Corinth reliefs lack the complexity or sophistication that the occasional use of a third figure or more than one plane of action would produce. Moreover, no pictorial touches, such as the occasional suggestion of a landscape, are given. Only in the plinths, as preserved, the ground line is varied by the introduction of a gentle slope or a rocky elevation in order to support the action.7 Five fairly well preservedslabs on display in the Corinth museum, supported by the larger fragments, give us sufficient material to examine the composition of the Amazonomachy frieze. The figures are arrangedin a series of combats with two figures-a Greek and an Amazon, sometimes on horsebackon each slab. They are spaciously positioned in relation to each other with no overlapping limbs or torsos, contrary to custom even in equally spacious arrangements such as the Mausoleum frieze.8 4 H. Kahler, Das griechischeMetopenbild,Munich, 1949. The area alloted to metopes is usually more nearly a squareby which the action of the figuresis limited. If, on the Corinth slabs 4, 6, 8, we mentallyeliminate the undecoratedmarbleto right and left of the figures,the remainingslab more closely approximatesthe form of a metope within which the figuresare well placed. Perhaps the original drawingswere made for narrowerslabs to be set between posts or piers and a later change in plan sometimebefore constructionforced the alterationof the dimensionsof the slabs only, but not of the outline drawingsof the figures. Slab 5 might representsuch a block as originally planned: a spacious two-figuredscene without the added free backgroundat either end. 5 Compareparticularlythe friezes of the Hephaisteion,the Parthenon,Bassai, the Nike Temple, the Nike parapet, the Nereid monument,Gj6lbaschi-Trysa,and Magnesia,where the figuresare placed more closely togetherand overlappingis common. 6 Compareparticularlythe Amazon sarcophagiillustratedby Robert and Redlich. 7 The rocky landscape appearsvery slight when comparedwith copies of the Parthenos shield, particularlythe relief in the Ny CarlsbergGlyptothek,Poulsen, no. 57a, p. 66, pl. V. 8 Pfuhl, pls. 1, 2, where the composition is very open, but varies between two- and three-figuredgroups,as well as groups which form triangles,or two figuresarrangedin paralleldiagonallines, which lends interestto the arrangement.Even though most of the figuresare not set close to each other, they usually overlap at their feet, so that the undulatingmotion of the frieze does not come to a complete stop before the end.

THE AMAZONOMACHY

61

Perhaps the composition was planned with emphasis on the outlines and with the intent of making each figure completely visible, unobscured by overlapping planes. This approach forms a striking contrast with the intensely crowded design of more or less contemporary Roman sarcophagi and historical reliefs, where individual figures and their actions are often lost in the frequently overwhelmingturmoil of battle. Such a treatment also seems particularlywell designed for a theater, where the reliefs would be seen from considerable distance. That the master had this consideration in mind has already been noted when discussing perspective. The idea of dependence on a linear plan is supported by the fact that the outlines of the figures are at least as successful as the sculpturaltranslation of such outlines. It may be that the artist made use of pattern books, which must have circulated widely and carried silhouettes of famous and stock figures.9 For instance, the Greeks in slabs 4 and 6 are nearly identical in outline, the only difference being that the Greek in slab 4 is somewhat thicker in the torso. That the Corinthian artist was not restricted by such books, however, is made obvious by the unique position of the warrior in slab 5. Besides the spacious relationship of the figuresto each other, they are also surroundedby considerable empty background, a feature which might not have been as noticeable when the reliefs were in position on the podia of the second story of the scaenae frons. There, the slabs were probably separated by pilasters or by sections of undecorated revetment. The apparent variation in dimensions agrees with such a reconstruction. While the height of the slabs varies from 0.765 m. in slab 4 to 0.088 m. in slab 5 (with an average height of 0.816 m.), the widths are more irregular, ranging from 1.375 m. (slab 6), 1.423 m. (slab 8), and 1.333 m. (slab 4) to the narrowerslab 5, 1.015 m. Though the background is spacious, the figures themselves seem somewhat compressed in their proportions; they are all one-third life size, but because of variations in scale in the differentsections of the body, their proportions are stocky, giving the impression of squat figures with thick necks, robust torsos and oversizedmembers,particularlyfeet. The lack of adherenceto a single scale within each figure causes the measurements of the extremities to fall quite often within the range of dimensions calculated from the Gigantomachy figures who are, however, half life size. Thus, the inconsistency of the artist hampers recognition of disiecta membra. Contrary to the natural and Classical proportion of head to body of one to seven, the Greeks and Amazons generallyexhibit a proportion of one to six. The short proportionsare obvious in the face, where the width is often nearlyequal to the length and the outline resemblesa rounded square.The Corinth faces differfrom 5th centuryB.C.faces, whereroundedoutlines are fuller,the featuresare in differentproportions to the face, the heavy-lidded eyes are small, and the chins are fuller. Closer comparison is found in the heads from Tegea and other 4th centuryB.C. faces, such as the Meleagertype and the Antikytherayouth.10 The reconstruction of specific slabs in the Amazonomachy frieze is based on tenuous evidence, but a number of suggestions can be made which will clarify our view of the composition and the types of scenes used (see Fig. 2). The reconstructed slabs are numbered according to their probable sequence on the scaenae frons, an order which is based primarily on provenance. Since many of the reliefs are very fragmentary, it seems better to organize the catalogue numbers by slab rather than by figure as was done in the Gigantomachy. As with the other two friezes, the most fragmentaryslabs occur on the extreme west end of the building, a fact which accords with excavational evidence. Slab 1 is composed of only one fragment which, since it represents the left edge of a slab and the hoof of a horse going left, indicates the existence of not only a separate slab, but also the first of five horses in the series. 9 The existence of pattern books is not a well-documentedtheory, but referencesmay be found in Carpenter,Hesperia2, 1933, p. 74; and Havelock, AJA 68, 1964, pp. 46, 48-51, 57. See also G. M. A. Richter, "Ancient Plaster Casts of Greek Metalware," AJA 62, 1958, pp. 369-377. 10Tegea: Lippold, p. 250, pl. 90:3, 4; Berve and Gruben, Greek Temples,Theatresand Shrines,pls. 88, 89. Meleager:Lippold, p. 289, note 6, pl. 102:4. p. 18, no. 1, pl. 1:2. Antikytherayouth: Lulliesand Hirmer,GreekSculpture,pls. 208, 209; Svoronos,Das athenerNationalmuseum,

62

THE AMAZONOMACHY

Slab 2, with but two attributedpieces, presents a Greek's right foot (A 2-1) at some distance from the left edge of the slab and a portion of an Amazon's chitoniskos and axe (A 2-2), which seems to have been held across her knees. The latter piece indicates an Amazon, located on the right of the slab, fighting to the left. Several equine fragments indicate that a second Amazon is portrayed on horseback. That she is on the left side of the slab (No. 3 in our series) is suggested by the right foreleg of a rearing horse (A 3-1) against a fragment of relief ground which preserves the upper left corner of the slab. The horse head facing left (A 3-2) seems logically to belong. Because the position of his foreleg is known, the horse must be rearingquite high. The fragmentarytorso in A 3-5 which faces left with both arms outstretched is a likely candidate for this Amazon; in fact, the line of the fracture corresponds quite closely to the envisioned outline of the horse's neck and withers, and the composition provides a good explanation for the arm position. Head A 3-4 which faces three-quartersto the right of the slab may belong to this figure, and the foot A 3-6, which is finished on the bottom, must belong to a mounted Amazon. So far we have no sizable candidate for the inevitable Greek in slab 3, though a helmet, cuirass fragment and a small portion of his foot have been associated. In slab 4 which pictures a Greek on foot chasing the third mounted Amazon, we might add to the Greek the helmet A 4-2 which faces right. Slab 5, with a fourth mounted Amazon rearing her horse over a fallen Greek, is nearly complete. The head fragmentA 6-2 may fit against the Amazon's broken head in slab 6, which shows a striding Greek attacking a kneeling Amazon. In slab 7 the figures are reversed; here a Greek kneels left on a rocky elevation (A 7-5), holding a foreshortened shield (A 7-3) and wearing a Corinthian helmet (A 7-2). An Amazon strides toward him with her lunate shield outstretched (A 7-1). No non-joining fragments have been added to slab 8, where a Greek again attacks a kneeling Amazon. Fragment A 9-3, where the left foot of a Greek steps on an Amazon's lower right leg, places this familiar scene in slab 9. The Amazon is undoubtedly being pulled by the hair (A 9-4) and probably tries to disengage herself with her right hand, thus turning her upper torso to a nearly frontal position. The left breast preservedin A 9-5 helps complete the picture. Slab 10 portrays a nude Greek with a large shield standing close to the right edge of the slab (A 10-2). The standing right leg (A 10-4) might be associated with the torso, and a spear held outstretched(A 10-3) might define the action of this panel. A fragmentaryAmazon head and shield (A 10-1) might be located here. The warrioris placed far to the right with no free field at the right edge, in a manner similar to the figures on slabs 5 and 14. Slab 11 shows an Amazon striding quickly to the left (A 11-7); she raises her axe behind her head (A 11-5) ready to bring it down against her opponent. A 11-6 may depict her nude right breast. The warrior in the scene may be illustrated by the head and fragmentary shield in A 11-1. The upper right corner of slab 12 is representedby A 12-4 which shows the point of a sword next to the wavy tail of a crested helmet. The nude torso A 12-3 which had an upstretchedright arm would be a successful addition to the warrior advancing left. Only a head (A 12-1) and fragmentarypelta (A 12-2) have been so far attributed to the Amazon. The position of her body is entirely conjectural. In slab 13 an Amazon, representedby head A 13-1, the fragmentarypelta A 13-2 and the lower leg A 13-3, kneels to right on rocky ground, looking up toward the warrior (A 13-4) striding left about to strike down at her with his spear. In slab 14 a nearly complete mounted Amazon (A 14-2) rides left. The left foot A 14-3, which is finished on the bottom, can be associated with this figure. The Greek advancing right with his shield raised high over his head (A 14-1) seems a logical candidate for her opponent. His closeness to the left edge suggests a narrower slab. In the reconstructed drawings 56 fragments have been attributed to specific positions. Most of the 33 remaining pieces are small and statistics show that they do not necessarily indicate any additional

THE AMAZONOMACHY

63

slabs. Three of the fragments are arms (A 15, A 16, A 17), five hands (A 18, A 19, A 20, A 21, A 22). Six Amazon lower legs are preserved(A 23, A 24, A 25, A 26, A 27, A 28), one male leg (A 29) and only three feet (A 30, A 31, A 32). Seven of the remaining pieces representdrapery (A 33, A 34, A 35, A 36, A 37, A 38, A 39). Finally, we have seven horse leg fragments(A 40, A 41, A 42, A 43, A 44, A 45, A 46) and a double axe head (A 47). Therefore,from the preservedfragments we are able to restore 14 relief slabs for the Amazonomachy. If we use the average length computed from the four preserved slabs (Nos. 4, 5,6,8), we obtain 17.92m. as an estimated length for the entire frieze. From the reconstruction we see that there are no recurringtypes of scenes as in the Gigantomachy, but rather that each scene is different, though often composed of stock figures. Five of the Amazons are mounted: three ride to the left and two to the right; alternatively,three are shown on the left of the slab and two on the right. At least three Amazons are shown kneeling on the plinth or on rocky elevations, while two are being pulled by the hair. The Amazon in slab 5 is definitely shown in a victorious position, and her counterpartin slab 11, about to strike down with her axe, may also be the dominating figure of her duel. The Amazon on the right in slab 14 also seems to have the upper hand. The Greeks show less variety in pose. As already mentioned, the warriorin slab 6 is nearly a mirror image of the one in slab 4, and the Greek in slab 8 may be closely paralleled in position, though not in attire, by the Greek in slab 12. The Greek in slab 11 may be close to the cuirassedfiguresin slabs 4 and 6. The remaining Greeks show more variation. In slab 13 the warrior is depicted striding left and striking downward, while in slab 10 his comrade stands in a quiet position with his spear outstretched. In slab 7 a cuirassed Greek kneels left on a rocky elevation, but he is not necessarily in a defeated position, while the kneeling figure in slab 5 crouches over his shield as if waiting for the final blow. The warrior in slab 14 raises his shield to an unusual height and exhibits variety in the arrangementof his chlamys. Six of the preserved Greeks appear as fully armed hoplites (slabs 4, 6, 7, 8 and the more fragmentary ones in slabs 3 and 11). The warriors(slabs 3, 4, 6, 8, 9, 10, 11, 12, 13) wear a crested helmet with a raised, movable visor and no cheekpieces. Although none of the crests are completely preserved, the plumes seem to be raised on stilts and to adhere to the lower portion of the back of the helmet which curves outward at the base of the neck.1 Two Greeks wear Corinthian helmets (slabs 5, 7); that in slab 7 is somewhat smaller than the other, and so its association with the frieze is tenuous. The Greeks are shown in a simple, undecorated metal cuirass which is anatomically modeled.12 Below this a skirt or kilt is formed by long leather flaps or pteryges which protect the thighs.13The double row of lappets, or short, rounded flaps, common in many cuirassed statues, has been omitted from the top of the pteryges.14 Although the cuirassed Polyneikes on an Early Antonine sarcophagus at Corinth15provides a close comparison to the panoply on the theater frieze, it is impossible to find an exact parallel to the extreme 11 Snodgrass,Early GreekArmourand Weapons,pp. 6-7,pp fig. 1. I have followed his terminologyfor the helmet, such as the crest, stilt, plume. The Corinth helmets are closely paralleled by the helmeted heads from Tegea (Berve and Gruben, Greek Temples, Theatresand Shrines,pls. 88, 89) and those on a portion of the Constantinianreliefs from the Arch of Constantine(Giuliano, Arco di Costantino,no. 38, second figurefrom left) wherethe personificationof Rome wearsa similar helmet with a movablevisor, spiral ends and no cheekpieces;the simple crest is attachedby a short stilt in front and to a neck guard at the back. The helmetsin the theater frieze, none of which are completely preserved,may have had higher stilts and crests which were attached for a greater distance down the back, but otherwiseare quite similar. The Constantinianreliefs were probablycarved ca. A.D. 315. 12 Two articles, Hanfmann-Vermeule,and Vermeule,"CuirassedStatues," have been followed for the basic terminology.Hanfmann, p. 225, describesthe modeled cuirass as a "body" or "muscle" cuirass. 13Hanfmann-Vermeule,note 15, remarksthat the termslappetsandpterygescan be used interchangeably(but contrastVermeule, "CuirassedStatues"). 14 Although Vermeule,"CuirassedStatues," regularlyrefersto the short, roundedtabs as pteryges,the sense is clearerif one uses the term lappets for the short, decoratedtabs, and pterygesfor the longerstraps or flaps, as do Hanfmann-Vermeule,note 15, and 0. Broneer, CorinthX, pp. 125-133 and AJA 39, 1935, p. 69, fig. 12. 5Johnson, CorinthIX, no. 241, pp. 114-119. This figurewears simple, undecoratedlappets.

64

THE AMAZONOMACHY

simplicity of our examples. An armed figure in Copenhagen seems close, but Poulsen describes his garment, which has no lappets or pteryges, as a leather jerkin.16

Most artistsin the Romanperioddelightedin elaboratingor decoratingthe breastplateandlappets,17 while in the Hellenisticperiod,the cingulumor knottedbelt is the rule.18In the Antonineperiodthe It is doubtfulthat suchadditions, latterwas againin fashion,oftenin additionto a decoratedcuirass.19 of could have been added to the theater reliefsin paint.Sinceexamples in case the at least the cuirasses, it seemsthatherethe intentof the artist of moreelaboratecuirassedstatuesarenot lackingin Corinth,20 the common soldier. to was represent In our frieze,thepterygesmay havebeen attachedto a leatherliningwornunderthe metal cuirass.21 Beneath the cuirass a chitoniskos is worn, which sometimes is evident across the biceps and below the

flaps.The footgearis variedsomewhatby the alternationbetweenheavilylaced sandalswornup to the calf and metal greaves.The warriorsfight with roundshieldsand spearsor swordscarvedin marble. Some weapons,as in A 6-1, were executedseparatelyin marble,a featurewhich seems commonto Roman sculpture and contrasts with the Greek habit of adding armor and reins in bronze.22

Besidesthe cuirassedfiguresthere are five other preservedwarriors,not dressedin full armor.The figurein slab 14 wearsa chlamysdrapedacrosshis chest,whilein slabs10 and 13 a cloakis carriedover the shieldarm.In slab 12 the Greekmay have carrieda chlamysin a similarposition,but the figurein slab 5 is the only one preservedwho is completelynude,whichmay help accountfor his defeat.All the preservedGreekscarryshieldsand probablymost werehelmeted. The dressof the Amazonsis a shortchitoniskosusuallyfastenedat the left shoulder,leavingthe right breastbare,so that the right arm is allowedfreermovement(see slabs 5, 6, 8 and fragmentA 11-6). Thispattern,however,is reversedin the case of the Amazonridingleft in slab 14, probablybecausethe wouldnot havebeenvisibleto the spectator.Evenso, the figurewieldsherweapon ordinaryarrangement with her righthand, so the artisthas ignoredthe purposeof the conventionalarrangement in favor of the decorativescheme.This is truealso in the case of A 9-5. In slab4 the Amazon'sgarmentis fastened rearview, is mostlyhiddenby the largeshield. at both shoulders.The torso, however,in three-quarter Some of the Amazonswear helmets,while others seem to have lost theirsin the turmoilof battle (A 9-4 and A 12-1). Someof the helmets(A 4-1, A 6-2, A 8 and A 13-1) are similarto those wornby the Greeks,whilea few (A 3-4, A 10-1) mayrepresentsimpleleathercapswithsideflapswhichresemble helmetswith raisedcheekpieces.The Amazon's helmetin slab 8 retainsa bird'swing on one side in low relief. The peltas carriedby the Amazonsare large and crescent-shaped with a centralknob and rounded pointscurvinginwardat the ends(slabs4,6-8, 10, 12-14).The shapeof the shield,whichis muchwider thanit is long, is not at all likethe simple,smallercrescentof Classicaltimes,23or the typeof shieldwhich is muchlongerthan it is wide with one or two smallindentationsat the end.24The Corinthpeltasfind theirclosest parallelson the Amazonomachysarcophagusin the Capitolinemuseum,dated A.D.14015025 and the one in the Louvre of ca. A.D. 160.26 The Magnesia shields are somewhat similar,but the knobs and curved ends are smaller and more decorative.27The shields carried by the Amazons on the 16Poulsen, no. 553, Suppl., pl. 10. 17 Vermeule,"CuirassedStatues," pp. 15-23. 18 Ibid., pp. 13-15. 19Ibid., pp. 23-28.

20

Johnson, CorinthIX, no. 141, p. 79 and Broneer, CorinthX, fig. 122, p. 129. Hanfmann-Vermeule,p. 225. 22 Ridgway, Archaeology19, 1966, p. 38. 23 Compare,for instance, Parthenonwest metope no. 10, Brommer,pl. 24, and Gjolbaschi-Trysa,Eichler,pls. 4, 5, 12, 22, 23. 24 Compare the reliefs on the Bassai temple, Kenner, Bassae, and sarcophagi,such as the ones in the Capitolineand Vatican museums(see footnote 3, p. 59 above), and compareRedlich. 25See footnote 3, p. 59 above. 26Redlich, pl. 1, a; Robert, no. 69, pl. 1. 27 Humann et al., Magnesia,pls. 12-14. 21

THE AMAZONOMACHY

65

frieze associated with the Temple of Hadrian at Ephesos (3rd century after Christ) are also of the type

found at Corinth.28 The Corinth Amazons also wear the traditional leather boots and usually carry single-blade axes, of

whichonly one exampleis preserved(slab8). The Amazonin slab 14 seemsto be in a positionto wield an axe, but is more likely to have held a sword. Likewise, the spear in slab 10 probably belongs to a

Greekratherthan an Amazon.The smalldoubleaxehead(A 47) need not be anomalous,since so few of the weaponsare preserved. The drapery worn by the Amazons is thick and lifeless by comparison with 5th and 4th century B.C. examples. The material is so heavy that it does not suggest nudity even when renderedas if fairly transparent or unclutteredby folds; Classical draperyseems paper thin by comparison. Usually the overfolds of Classical types are belted, and the material is sometimes drawn up to form a kolpos, both of which features are absent at Corinth. In addition, Classical drapery nearly always curves across the thigh so

that the formis unmistakablyemphasized,ratherthanhangingnearlystraightas in slabs4, 5, 6, 11, 14. The draperycurvesaroundthe buttockand acrossthe thighin slab4, butis clumsilyrenderedandgives no impressionof the bodilyform beneath.In the Magnesiafrieze29the Amazonsweartheir overfolds belted, but there too the artist seems not to have cared about the effects possible through transparency nor to have considered the direction draperylines should take in order to reveal the body most success-

fully. The omegapatternin some of the skirts, a classicizingmannerism(e.g. slab 6), is most closely paralleledon the "Dancers"fromtheVia Praenestinain the Terme,a monumentdatedto the 1stcentury B.C., but whichmay also be derived from 4th century B.C.prototypes, or whichwas perhaps carved by Asia Minorartists.30 Some figures in the frieze seem to draw strongly from the long-established tradition of battle scenes, and particularlyfrom earlierAmazonomachies. The Greeks striding right in slabs 4 and 6 are paralleled by the Greekin the Parthenonwest metopeno. 14, who, however,standscloserto his opponent.31The

is similarto a figure Greekstridingleft in slab 8 withhis swordraisedoverhis headHarmodios-fashion from Bassai32althoughthe shieldof the latteris held back so that the insideis seenin perspectiveview. The Bassaifigureis perhapscloserin positionto the warriorin slab 13, althoughthe rightarm of the Corinthhopliteis not raisedoverhead.The perspectiverenderingof the shieldis quite close, but the drapery,which is neitherblownnor flyingbut hangsfromhis arm,seemslifelessby comparison.The Greekin slab 10presentsa less activeposition.His shielddoes not projectso far fromthe background, his legs wereprobablystraighterand his rightarmis not raisedso high.A figurefromGjolbaschi-Trysa also comparesclosely with the warriorin slab 13 and even strikesdown with his spearin the same fashion.33 28 Keil, FuhrerdurchEphesos,p. 120, fig. 64. For the fourth block, showingthreemale figuresstridingleft with similar shields,see Saporiti,Marsyas,Suppl. I, pp. 269-278, fig. 7. Brenk,IsfMitt 18, 1968,pp. 238-258, arguesa single date for the frieze, ca. A.D.300. 29 Humann et al., Magnesia,pls. 12-14. 30Aurigemma, TheBaths of Diocletianand the Museo NazionaleRomano, no. 83, p. 41, pl. 15; Helbig4, no. 2148, there dated in the late Republicanperiod. 31 Brommer,pls. 33-37. For similar patternscompare, e.g., figures on the Nike Temple frieze: C. Blimel, Jahrb65-66,1950-51, pp. 135-165. The closest parallelsare the stridingmale figureson slabs e, fig. 20, p. 161, and m, fig. 25, p. 163. Bassai: Kenner,Bassae, pl. 15. The male to left does not carry a shield and wears only a chlamys,but otherwiseis quite close to the Corinthfigures.The Greek steppingon an Amazon's knee in slab 537, pl. 18, is likewise similarlyplaced, althoughhis shield is held in perspectiveview. A cloak hangs from his left arm, and he wearshis sword strap over the right shoulderin the same manner as the CorinthwarriorA 13-4. Argos: Waldsteinet al., TheArgiveHeraeum,pl. 30. Trysa: Eichler,pls. 4, 5, slabs A 2, A 3; pl. 12, slab A 2; pls. 22, 23, slabs B 14, B 17. Some of these warriorswield spears,some swords,but their outlines are all remarkablyidentical. Mausoleum,Halikarnassos:Pfuhl, pl. 1, opposite p. 46, figure30 in block 1014, figure76 in block 1022,figure 59 in block 1021, and figure 19 in block 1006. Magnesia: Humann et al., Magnesia,pls. 12-14. The closest figuresoccur on pl. 12, slab 5 P. 32 Kenner, Bassae, pl. 14, left of slab 533. Comparealso the Amazons on pl. 12, slab 531 and pl. 19, slab 538. 33Eichler, pls. 4, 5, block A 2.

66

THE AMAZONOMACHY

The hair-pullingmotivewhichappearsin slabs6 and 9 was widelyexploitedin Classicaltimes.This wherethe Amazon seems to be pushingthe is the action on west metope no. 14 of the Parthenon,34 Greekback, and showsby the curveof her body and the extendedleft knee that she is tryinghardto The shieldof the AthenaParthenosseemsalso to extricateherselffrom her unfortunatecircumstances. have had a hair-pulling group,35and the frieze of the Bassai temple shows several examples.36

Kneelingfigures,as in slabs5, 6, 7, 8, 13, are not usuallyas commonin battlescenesat theyare here. in battlen In othermonumentsfiguresareusuallyobviouslywoundedandhavefallen , but unlessmortally injuredthey continuefighting,so that they do not appearas stationaryas the Corinthfigures.Several TheNike Templefriezedoes not makeuse of a fullykneelingfigure,38 parallelsoccuron the Parthenon.37 Exactparallels,however,cannot but two on the Bassaifriezekneel,one frontally,and one to the right.39 in be found for the Corinthfigures.The two Amazons slabs 6 and 8 fight defensivelyfrom stationary positions,but the Greekin slab 5 seemsto have given up all hope of defense,in spite of the fact that his facialfeaturesdo not expresspain,nor is therea woundvisibleon his body. Amazonstraditionallyfight on horseback.Perhapsthe best parallelfor slab 5 is the centralfigure from thewest pedimentof the Templeof Asklepiosat Epidauroswho, however,raisesher rightarmto strike down at her opponent in the manner of the Dexileos monument.40 Compare also the early

4th century B.C. figurein the Museum of Fine Arts in Boston.41 This is a favored pose in the 4th century,but usuallythe opponentis placeddirectlyunderthe horse.The Corinthfiguresin slab 5 have been spreadout to obtaina more spaciousand perhapsa morerealisticeffect. Somefiguresin the friezereflectquitecloselyParthenonianandlaterprototypes.Manyof the Amazonomachysceneson the west metopesof the Parthenonare too badlyabradedto be sureof the composition, but the few figurespreservedseem closely echoed at Bassai and on later friezes, so that the Parthenonmay have servedas a prototypefor all. The badlyproportionedhorsesriddenby the Amazonsare not to be paralleledby any mountin the Classicalor Hellenistictradition.42 The Magnesiahorses may be somewhatcloser in proportion,but The horsesin slabs4 and 14 are similarto they are certainlymore skillfullyand realisticallycarved.43 each otherin proportion,lack of detailedmodelingand knowledgeof structure.The preservedportions of the horsein slab5, however,seemto indicatethatit wascarvedby a differenthand,sincethe modeling of the neck, withersand croupshowsmore sensitivity.The Amazonin the sameslab is also more successfulthan her mountedcompanionsin slabs4 and 14, and may also have been carvedby a different and more skillfulhand.

34Brommer,pls. 33-37. 35Harrison, Hesperia35, 1966, nos. 4, 5, p. 121, pl. 38, a group clear in a numberof copies of the shield. 36 Kenner,Bassae, pl. 13, slab 532; pl. 15, slab 534 (in which the Amazon is on horseback);pl. 16, slab 535; pl. 17, slab 636; and pl. 19, slab 538. Comparealso: Trysa: Eichler, pls. 4, 5, slab A 2; pl. 14, slab A 5; Mausoleum,Halikarnassos:Pfuhl, pl. 1, figures76, 77, slab 1022; pl. 2, possibly figures 22, 23, slab 1006,and figures 43, 44, slab 1007; Magnesia:Humann etal., Magnesia,pl. 12, slabs 6 P, 8 P, 11 P, 13 P, 4 K, 7 K; pl. 13, slabs 10 K, 11 K, 12 K, 21 P; and pl. 14, slabs 5 P, 19 K, 20 K, 21 K, 23 P, 24 P (3 examples), 25 P. 37 Brommer, pls. 33-37. In east metope no. 11, pl. 71, the outline of the right figure,who kneelsright with the left arm raisedand the right stretchedleft, is quite close to the Amazon in A 6-1. 38Bliimel, Jahrb65-66, 1950-51, pp. 159-165, figs. 15-29. 39 Kenner, Bassae, pl. 17, slab 536, where the knees are spreadwide apart, and pl. 19, slab 538, where the figureleans to the left, crouchingunder his shield. 40 Epidauros:Crome, Die Skulpturendes Asklepiostempels vonEpidauros,pl. 13. Dexileos monument:Lippold, pl. 80:1. Mausoleum,Halikarnassos:Pfuhl; the Mausoleumsculptorsalso used this motive, pl. 1, figure 64, slab 1019; pl. 2, figure24, slab 1016; figure 13, slab 1010; figure2, slab 1009; and slab 1019,left. 41 Caskey, Catalogueof Greekand RomanSculpture,no. 40, pp. 89-92. 42 Markman, TheHorse in GreekArt; Anderson,AncientGreekHorsemanship. 43 Humann et al., Magnesia,pls. 1, 2.

CATALOGUE

67

Except for a few similarities,the Corinth frieze does not seem to fall within the iconographic schemes establishedby the numerousAmazon sarcophagi of the 2nd and 3rd centuries after Christ.44If we look at Redlich's drawing of groups common to the sarcophagi,45we note that except for the omnipresenthairpulling motive there are no exact parallels in groups or positions with the Corinth Amazonomachy. Some of the groups, however, show certain similarities. The Amazon in Redlich's group K2 holds an axe up and behind her head with both hands, but the hands are not close to the helmet as in our slab 11. The Greek in Redlich's group A3 steps on the back of the Amazon's knee, rather than on the calf as in the Corinth slab 9. His groups G2 and H1 both show a mounted Amazon riding to the right with the right arm raised to strike down, much as the Epidauros figure, whereas our nearest figure, in slab 5, pulls her right arm back, perhaps preparatory to raising it to strike down with her axe. Hence, the Corinth frieze lies more within the Greek iconographical tradition than the Roman.

THE AMAZONOMACHY: CATALOGUE Plates 42-66 right end, the background all around; foot broken at ankle and toes, instep battered and chipped.

SLAB 1

A 1 HOOF AND PROJECTION IN LOW RELIEF

PI. 42

T 341; Theater, findspot unknown. P.L. 0.243, P.W. 0.143, Th. 0.047-0.059, Max. Th. with projections 0.079 m. Three joining fragments, broken on all sides; surface partly stained yellowish brown. Edge preserved (L. 0.218 m.), probably left edge of slab. A small horse's hoof, raised in the air, is preserved in low relief against the background, facing left. Near by is a second higher projection, the outer surface of which is broken off. This may be the remains of the strut which supported the horse's nearer leg. Relief ground, claw chisel and rasp marks; reverse, hammer dressed. Though the piece is small, it indicates the existence of a fifth horse in the series, an animal whose rearing forelegs abut against the left edge of the slab. No further fragments are attributable to this figure, or, in fact, to this slab. SLAB2

A 2-1

RIGHT FOOT ON PLINTH

P1. 43

T 58; Theater, findspot unknown. P.L. 0.485, P.W. plinth 0.166, P.W. background 0.122, H. plinth 0.041-0.084, Th. background 0.069, L. foot 0.133, W. foot 0.054, top D. plinth 0.113 m. Two joining fragments; the plinth is broken at 44 Redlich, pls. 1-11. 45 Redlich, pl. 12.

A naked right foot stands flat on the plinth and turns three-quartersto left. The foot is well modeled with joints and toenails indicated. The surface of the plinth slopes upward to meet the background, and deeply incised lines are preserved where the two surfaces, both of them worked by the claw chisel, join. Given the space to right of the foot, the figure must have stood with legs widely separated and on the left side of the slab. Front of plinth, claw chisel; left edge of plinth, roughly worked and incised; bottom of plinth, claw chisel; reverse, hammer dressed. A 2-2

DRAPERY FRAGMENT AND HALF AXE BLADE

P1. 43

T 127; Theater, findspot unknown. Max. P. Dim. 0.140 x 0.078, Th. 0.093 m. Single fragment, broken on three sides; surface chipped and worn. Parts of four folds and half of an axe blade are preserved. The surfaces of the thin folds and areas between are bumpy and irregular, suggesting a rough material, probably of an Amazon's chitoniskos. Drill holes and evidence of the running drill can be seen, especially left of and below the axe, where it is undercut. The preservedportion falls at the hem, as indicated by the roughly finished surface connecting the edge of the hem and the background. The Amazon probably held the shaft of the axe across her knees in both hands.

THE AMAZONOMACHY

68

the rightrear,is modeledto indicatethe hoof, fetlock and tendons,whilethe surfaceof the left leg is mostly PI. 44 chippedaway.The left hoof standson a small rise on A 3-1 FRAGMENT WITH HORSE'S the plinth.The outlineof the left leg is fairly straight, HOOF, PART OF FORELEG whilethe rightis raisedoff the groundin quick moveT 116; Theater, findspot unknown. ment to the left. Behindthe left leg and partlyhidden Max. P. Dim. 0.515 x 0.218, P.W. 0.443, Th. by it, the forepart of a human foot stands flat on 0.056-0.070, L. leg 0.149, Max. Th. with leg 0.092, slightly elevated ground. The plinth is unusually P.L. top edge 0.175, P.L. left edge 0.159 m. the is and carved to suggest surface narrow, top Five joining fragments; broken on all sides but two rockyground. that form the upper left corner of the slab. The claw chisel is used on the relief ground, front of plinth and bottom; top of plinth, flat chisel; Horse's hoof and part of right foreleg preserved nearly to knee, carved in low relief against wide empty reverse,hammerdressed. SLAB 3

background. The leg is raised as the horse rears toward the left, the foreleg reaching almost to the preserved corner. This fragment must come from the upper left corner of a slab; part of a hook-clamp cutting is preserved at the break above the hoof, that is, in the top edge of the slab. A curved line along the break immediately above the foreleg may indicate the line of the chest. The background retains rough claw-chisel marks; borders, point; reverse, chipped, hammer dressed.

A 3-4 HEAD OF HELMETEDAMAZON PI. 45

T 95; Theater, east end of stage, 1.50 m. above "levelstone", April 2, 1929;N.B. 320, p. 499. P.H. 0.126, P.W. at hair 0.079, W. face 0.048, Th. head 0.084 m. Single fragment, broken from background and throughmiddle of neck; nose and chin chipped. The piece depicts the head of a helmetedAmazon which was seen in three-quarterview to properleft. The Amazonwearsa simplehelmetwith a triangular A 3-2 FRAGMENT WITH HORSE'S PI. 44 visor in front and a curvedflap raised on each side. HEAD The left, preservedflap seemsseparatefrom the visor and may illustratethe hingedcheekpieceof the Attic T 115; Theater, findspot unknown. Max. P. Dim. head 0.196 x 0.100, P.Th. head (H. helmet,46unless it is an exaggerationof the side curl in one piece with the visor.47Whateverthe original of relief) 0.083, Th. background 0.090 m. Three joining fragments, broken on all sides; intention of the artist, such details were probably clarifiedby paint. The right flap, now missing, was forelock, left ear chipped, surface worn. perhapsmore explicitlycarved.Onlyone smallsection The piece preserves a horse's head, in left profile of the crest-holderremains toward the back, while view, from above nose to middle of neck. In three furtherforwarda fractureindicatesthe crest's front areas parts of the bridle straps remain. The nearer eye connectionto the helmet.Seenfrontally,the helmetis is deeply set beneath a prominent brow and well porasymmetricallyplaced to left of center. A mass of trayed. The mane is brushed to the horse's right and hair from under the helmet on both forms a regular pattern down the neck. A chipped, wavy and protrudes sides covers the ears. The loose waves, which pointed projection was probably an ear. The farther impart a feminine quality to the head, are more side of the head, right eye and neck near the relief rendered on the right than the left. individually ground are sketchily rendered. The shape of the face is a long oval with facial featuresplaced too far up on the head, leaving too A 3-3 FRAGMENT WITH HORSE'S PI. 45 much space between the simple, closed mouth and LEGS IN RELIEF weak chin. The nose is in a straightline with the The figure'sright eyebrowis slightlyhigher forehead. T 40; joins T 175, A, B; Theater, findspot unknown. than the left. Details of the left eye are faint, but the P.L. 0.403, P.H. background 0.176, H. plinth 0.074thin long, right eye is clear. Its upper lid extends 0.086, top D. plinth 0.041, Th. background 0.089the lower at the outer corner, where the eye beyond 0.102, W. leg 0.054 m. downward. The thin lips are also drawndown slopes Four joining fragments, broken on all sides; most at the corners. The upperpartof the neckis preserved. of plinth front preserved. The surfaceis smooth except for faint marks of the The piece portrays the lower portions of a horse's raspon the left. The head resemblesA 10-1 closely in rear legs in left profile view. The advanced leg, probably type, thoughnot in all details. 46

Compare the helmet worn by the Varvakeion Athena, W.-H. Schuchhardt, "Athena Parthenos," Antike Plastik 2, 1963, pp. 31-

52, pls. 20-27. 47Comparehelmets in A 8, A 11-1.

CATALOGUE A 3-5

FRAGMENTARY LIMB AND TORSO IN PROFILE TO LEFT

PI. 45

T 140; Theater, findspot unknown. P.L. 0.355, P.W. 0.245, Th. 0.069, Max. Th. with projection 0.105 m. Single fragment, broken on all sides and badly chipped. Portion of top edge preserved (P.L. 0.115 m.). The fragment preserves part of an arm, perhaps the left, covered near the top by folds of a garment. The limb is stretched to left from a large object, the surface of which has been sliced off, and which possibly represents a torso in profile to left with the smooth curve of the figure's shield preserved on the right. Near the bottom of the fragment lies an additional worked section bordered above by a curved line. This area, worked with the flat chisel, does not bear the claw-chisel marks found over most free background areas, so it is possible that a portion of the figure, which was separated from the background at this point, projected over the worked area. Signs of a second unknown object appear to the right of the "shield", with a deep hole and adjacent curved line. Two alternative restorations are suggested for this fragment. First, the figure broken away may have been a mounted Amazon riding her horse to the left, with both arms stretched to the left, her head turned back to the right of the slab. The worked area on the lower part of the piece would cause the figure's torso to be quite short or unusually undercut. Secondly, the figure may have been a Greek, his right arm raised toward the left, and his shield rising nearly perpendicularly from the background on the right. In this case the torso would not be unusually short, since his left leg could project over the area worked with the flat chisel. The first possibility has been retained for this restoration as the line of fracture on the left of the piece coincides quite closely with the probable curve of the horse's neck and back. The background surface shows rasp marks; reverse, hammer dressed. A 3-6

SHOD LEFT FOOT

PI. 45

T 309; Theater, findspot unknown. L. 0.104, W. 0.047, Th. 0.063 m. Single fragment, broken at ankle; chipped heel and toe. Shod left foot, broken at the ankle. The surface treatment seems to indicate the leather of an Amazon's boot. The unfinished right (inner) side shows that it faced, but did not adhere to, the relief ground, and the top of the foot rises quite high above the arch. The foot is roughly finished underneath, so that it did not stand on the plinth and probably belongs to an Amazon riding horseback to left.

A 3-7

69 BACK OF HELMET

P1. 45

S 3262; Museum basement, marble pile; findspot unknown. P.L. 0.108, P.W. 0.061, Th. 0.027 m. Single fragment, broken longitudinally. The fragment appears to represent part of the back of a helmet. The flap, turned sharply up at the base of the neck, is also preserved together with a small portion of the neck to left. The surfaces are fairly smoothly finished. A 3-8

CUIRASS FRAGMENT

P1. 45

T 373; Theater, findspot unknown. P.L. 0.108, P.W. 0.074, P.Th. 0.043 m. Single fragment, broken diagonally on all sides. The fragment preserves part of a cuirass with the raised borders of two flaps. Four fingertips of a left hand project perpendicularly from the pteryges as if clasping something. It seems unlikely that a shield could be held so close to the body in a relief, and so the warrior is probably not fully armed. A 3-9

FRAGMENT OF LEFT (?) FOOT ON PLINTH

P. 45

T 357; Theater, findspot unknown. P.L. 0.204, P.H. 0.172, Th. slab 0.084, front H. plinth 0.093, top D. plinth 0.045-0.050 m. Single fragment, broken on two sides, chipped; part of front face of plinth and right edge of slab are preserved, but lower right corner was intentionally removed; surface worn. Small part of foot, perhaps outside of left ankle and heel, remains on plinth in profile to left. If an ankle, the ankle bone is chipped, and the lower leg bends forward. Since the plinth is unusually shallow and its upper surface appears rocky, the piece may belong to the same slab as A 3-3. Fine claw chisel used on relief ground, heavier on front and bottom faces of plinth and portion of right edge of the slab. Reverse, hammer dressed.

SLAB4 A 4-1

CUIRASSED GREEK CHASING MOUNTED AMAZON

PI. 46

T 23; Mus. no. 3; Theater (old photo shows left portion lying at height of several meters above stage level), west cavea XIV, ca. 2.00 m. above orchestra level; Amazon head, east cavea VII, ca. 4.00 m. above orchestra level, March 31, May 7, 1926. H. 0.765, W. 1.333, Th. relief ground 0.060, est. Max. H. relief 0.185, D. plinth 0.085-0.100, H. plinth

70

THE AMAZONOMACHY

0.060-0.085. Greek: P.H. 0.520, L. torso 0.330, W. waist 0.130, Diam. shield 0.255. Amazon: H. head to plinth 0.640, H. head 0.120, W. at hips 0.120, Max. L. shield 0.270. Horse: H. head to plinth 0.440, L. body 0.360, L. head 0.148 m. Twenty-three joining fragments. Figures complete except for Greek's head, right arm from above elbow, right leg from mid-thigh to foot, left leg from knee to ankle; Amazon's right leg from knee; horse's right foreleg, sections of left foreleg and rear legs, tail. Restored: sections of horse's rear legs and left foreleg, scattered areas of plinth and background. Clamp cuttings: none preserved. A cuirassed Greek, armed with shield and spear, chases a mounted Amazon to right. The Greek holds his shield up in his left hand and prepares to lunge forward, directing his spear with his right. The Amazon gives a brief look back at her pursuer as she spurs her horse on to escape. The scene is more spread out than slabs 6 and 8, but is still framed by empty background48 and is in itself an independentunit. The plinth undulates gradually, so that the Greek appears to rush up a slight incline, while the horse, on somewhat lower ground, heads toward a second incline. The Greek is very close in pose and costume to the figure in A 6-1 and may be copied from the same model or pattern book.49The differences are slight: both his chitoniskos sleeves are visible beneath the cuirass, not just the right, as in A 6-1. Most of the top, rounded border of his "modeled" cuirass is preserved below the fracture. The right breast is chipped, while the nipple is rendered on the left. The epigastric arch is well modeled and projects further on his right than his left. Digitations are incised and the figure is unfinished at the sides. The bottom border has a minimum curve and is not rounded, but irregularly carved. The leather pteryges appear somewhat short. Below their fringe appears the wavy edge of the light chitoniskos in front; the back of the skirt is rendered as an undecorated curve. The front edge is slightly undercut, but the back not at all. The man's left arm is extended forward through the central shield strap, so that his thick hand holds the rim strap.The inside of his left elbow is deeply accented, and creates the impression of a large biceps. His right arm is held back and down; one and a half fingers of his hand remain on his right thigh and appear to be grasping an object. The knob attached to his left side above the waist may be part of his weapon, or the strut for its attachment. A spear was probably directed

across his abdomen and the upper part of his shield toward the Amazon's head. The left foot is parallel to the plinth, rather than oblique as in A 6-1, and wears the same type of sandal. The Amazon gallops right, while turning to look back at her pursuer. Her head, shown in three-quarter back view, is broken through center forehead to right of nose and through the right side of the mouth. Her left eye bulges, the nose is thick and carelesslyrendered, while the mouth is straight and drawn strangely to the left. She wears the usual helmet which, however, covers all her hair. Only a small part of the crest remains at the top and no dowel hole is preserved for its attachment. The visor lacks a side curl. Her back is seen nearly straight on, but is mostly covered by the pelta. Her chitoniskos, summarily treated throughout, is fastened over both shoulders and provides a series of flat, monotonous folds above. Below the shield, the skirt, which has risen high on her right thigh, curves in a row of uneven folds over the leg, without outlining or emphasizing its form, and around to the back. Treatment is very sketchy. The right leg, bent back at the knee, is badly chipped and broken at mid-calf. The left, farther leg hangs straight down, limp, in a manner strange for a rider; it is unevenly finished, as is the whole underside of the horse. The Amazon's large pelta, which she wears slung over her back, covers most of her torso. Part of the shield's lower edge and right point are missing. Since the Amazon holds the reins close to the horse's mouth with her right hand, she may have held her axe up in her left, parallel to the Greek's spear, or perhaps one should imagine her also holding the reins on her other side, out of our vision. The disproportionately small horse galloping right resembles an inanimate merry-go-round pony, particularly in the head. He stands only five hands high, which, since the figures are one-third life size in scale, is equivalent to 15 hands. The horse's head is short and narrow compared to his thick neck and powerful withers. His mane stands up straight in an even fringe. His right profile eye is set deeply under a bulging brow; the left brow is rendered, but no eye appears beneath it. A single line is modeled down the front of the face. Only the right nostril is carved, but the nose bone does not protrude. The mouth opens, revealing two even rows of teeth. Above the upper lip an extra fold of flesh is rendered. The surface of the equine body is gently rounded and has little modeling, though the central portion is set

48 The empty spaceleft betweenthe Greek'sneck and left borderis 0.380 m., from the Amazon's head to the top border,0.070 m., betweenthe horse's head and right border, 0.200 m. 49 A tracing of A 6-1 superimposedover A 4-1 shows that the Greek in A 4-1 is wider in the shouldersand torso. Probably because he is not rushing down a slope, his right leg is held fartherback for balance and his shield is not held quite so high. His head was probablymore erect,in orderto be more on a line with that of his opponent,and his shield is 0.035 m. smallerin diameter.

CATALOGUE off from either end. Parts of the genitals are visible. The left foreleg was lifted high; most of its extant surface is unfinished and was perhaps covered by the right foreleg, mostly missing, which seems to have extended straight forward and rested flat on the plinth, where the bottom of the hoof still remains. The rear legs are posed as if stopped, one next to the other. The sculptor, in trying to make the farther rear leg visible from either a right or left viewpoint, made it twice as thick as the nearer one. The undersides of both are roughly worked with the point. The lower part of the farther leg and its hoof have received no further tooling than with the point. The upper near leg is modeled. A strut for securingthe tail to the background is preserved behind the haunches; a break at the bottom of the Greek's shield shows that the tail curved upward before hanging straight down. Relief ground: claw chisel, flat chisel around figures; plinth: point work on top, hammer picked in front; reverse: roughly picked. Shear,AJA, 1926, p. 458. Shear, ArtArch,1927, p. 113.

A 4-2

HELMET WITH CREST

P1. 47

T 100; Theater, findspot unknown. P.L. 0.108, P.W. 0.108, Max. Th. 0.060 m. Single fragment, broken at bottom of helmet; part of crest is missing; surface worn. The fragment depicts a nearly complete helmet with a triangular visor ending on the proper right side in a curl, the surface of which is broken. The break from the forward attachment of the crest is clear at the center of the top, while part of the tail remains affixed at the back. The head, now broken off, was originally in profile to right, as the left side of the helmet is roughly finished with the point. The right surface is smoothly finished. A 4-3

HORSE LEG FRAGMENT

PI. 47

S 3182; Museum basement, marble pile; findspot unknown. P.L. 0.083, P.W. 0.044, Th. 0.048 m. Single fragment, broken at two ends and from background. Fragmentaryhorse leg in relief. A tendon is indicated by a groove on the right, and the beginning of a joint, such as the knee or fetlock, is modeled at the bottom of the fragment. The side of the leg faces out, with the tendon at the back. The excess marble has not been cut away at the back; and so the piece may represent (though it does not join) the right, nearer foreleg of the horse in A 4-1.

71

SLAB 5

A 5-1

MOUNTED AMAZON ATTACKP1.48 ING GREEK BENT OVER SHIELD

T 24; Mus. no. 4; joins S 656 (Amazon); S 656, Theater trench, N.B. 18, p. 76, June 4, 1903; T 24 (Greek), Theater, west cavea XIV, ca. 1.60 m. above orchestra level, May 12, 1926; E.C. II, p. 208. H. 0.880, W. 1.015, L. 1. border 0.275, L. r. border 0.605, Th. relief ground 0.060, D. plinth 0.067-0.085, H. plinth 0.092-0.107. Amazon: P.H. 0.320, W. waist 0.096. Horse: L. body 0.370, Max. Th. neck 0.116. Greek: H. (helmet to plinth) 0.367, L. face and beard 0.070, Th. head 0.080, Diam. shield 0.245 m. Thirteen joining fragments. Complete except for Amazon's head, right forearm and hand, legs; horse's head and most of legs; part of Greek's helmet; sections of background and plinth. Figures are chipped and worn. Restored: part of horse's rear left leg, areas in plinth and background. Clamp cuttings: none preserved. A mounted Amazon is representedattacking a nude Greek who kneels in a dejected state over his shield shown in a backwards, defenseless position. While she prepares to thrust her axe forward, the Amazon's horse rears on its hind legs and seems about to bring its forelegs down on the Greek's head. The figures, who form a self-contained unit, stand on an even plinth acting as a flat ledge for the combatants. The figures are pushed to the limits of the available space, though a certain amount of background remains free between them. This is unusual for an Amazonomachy slab, and probably the requirementsof its position on the scaenae frons caused it to be made narrower. The rearing horse is well formed. The mane rises in shorts tufts at the top of its head, and provides a border to the pleasing curve of the neck, which is gracefully modeled and quite different from the horse in A 4-1. The top of its head is sensitively carved. The bridle straps are studded with round buttons. Two small shallow holes lie above the right bridle button, but it is difficult to believe that anything could be attached by means of them, and their purpose remains unknown. The farther rein loops back in very low relief, while the nearer runs along the bottom of the neck. The horse's body is competently rendered. The right foreleg is broken at the knee. The original position of the hoof is probably indicated by the strut in front of the Greek's helmet. The farther foreleg is missing from the withers to the fetlock which, with the hoof, is depicted in low relief above and left of the Greek's helmet. The right rear leg is broken just below the haunch and appears to extend back. A break behind the left hoof may indicate where the right hoof came

72

THE AMAZONOMACHY

to rest on the plinth.The curvingtail, whichis smartly proportionto the size of his arms and legs. A wide arched,is renderedin low relief, and ends flush with shallowgroove runs down the centerof his back. His the left borderof the block. waist is stronglyindented,but the bulge over the iliac The Amazon's head was renderedin three-quarter crestis moderate.The buttocksaremodeled,and most right view, as the angle of the break shows. Some of of the genitalsremains. her long hair remainson both sides of the neck. Her The figure kneels on the far side of the plinth, left arm is forwardto hold the reins and is largely parallelto the background.His fartherleg repeatsthe hiddenby the horse'sneck. Her ratherlargerightarm outlineof the nearerone both front and back, so that stretchesback from the body presumablyto hold her the intendedviewwas not fullyfrontal,but from either weapon.The break on the horse's haunchvery likely rightor left (cf. A 4-1, horse).Therightcalf is rendered marksthe point whereher hand rested,while the scar abovethe left, thoughthe rightfoot is not present.The acrossher right thigh may well indicatethe courseof toes touch the plinth at its right edge, and the heel the long weapon which she seems to have directed projectsbeyond the edge of the relief ground about at the Greek'shead. She carriesno shield. onecentimeter;theprojectionappearsgreater,however, The Amazon's nude right breastis chipped,while becausethe plinthwas cut back.The originaledges of the left is gently roundedand crossedby the ridged both the plinth and backgroundare preserved. folds of her light garment.Her chitoniskos,as usual, Reliefground:claw and flat chisel;plinth:claw and is fastened only over her left shoulder, leaving the point; reverse:hammerdressed. rightarmfree, while a shortsleeveseemsto coverher Shear, AJA, 1926, p. 458, fig. 10. left arm.The top borderof the garmentis turnedover Shear, ArtArch,1927, p. 113. and hangs down on her right, wherethe borderfalls open.A belt is tied in a doubleknot directlyunderthe A 5-2 HORSE HOOF AND FETLOCK PI. 48 breasts,belowwhichthe skirtfallslooselyto the knees. S 3181; Museum basement, marble pile; findspot The garmentis arrangedin shallowridgedfolds from her left shoulderto the top of the thigh where it unknown. P.L. 0.120, P.W. 0.033 (top), 0.053 (bottom)m. flares out into deeper folds which curve away from her right thigh and createan interestingplay of light Singlefragment,brokenin middleof foreleg. and shadow.Abdomenand thigh are neatlyaccented Horse hoof, carvedin the round, facing right. The by the action of the drapery.The ends of the deep pastern,fetlock and part of the leg are also preserved. folds are chippedaway, but appearundercutby the The bottom of the hoof was not attachedto the relief running drill. The right leg is broken and chipped ground,but shows long, flat-chiselmarks,so that the aroundthe knee, but enoughremainsto indicatethat the front right,must have been raisedin leg, perhaps it was held back. A strut before the horse's left rear motion. The surfaceis smoothlyfinished.As the hoof leg may show the attachmentof her foot. The left leg well with the two preservedfartherhooves compares is not represented. in A 5-1, this piece may belongto the rightforelegof The nude Greek kneels over his useless shield and that figure. makesno attemptat defense.The insideof the shield, incorrectlyfacingout, neverthelessallowsthe warrior's faceandleft armto remainvisible.The shieldis shown SLAB 6 tiltedfrom the backgroundat top to the front edge of the plinthat the bottom.The Greekwearsa Corinthian A 6-1 GREEK FIGHTING KNEELING P1.49 helmet,the left front of which is chipped.The tail of AMAZON its crest falls down the back and onto his shoulders. A small bit of hair protrudesfrom the helmetbehind T 1; Mus. no. 1; Theater, 1926,west cavea XIV, the ear. He wears a moustache and a full beard, ca. 1.60 m. above orchestralevel; head of warrior, roughly finished.His foreheadis smooth, his brows XIV, ca. orchestralevel; May 11, 12, 1926; E.C. II, unfurrowed as he stares expressionlesslyat his p. 204. inactive,overlargehand. His left eye, not too deeply H. 0.810,W. 1.375,Th. reliefground0.070,est. Max. set within the face, is renderedwith lids of even H. relief0.200, D. plinth0.100, H. plinth0.075-0.160. thickness.The right eye, however,is not shown. He Greek: P.H. 0.605, H. head 0.120, W. waist 0.101, has a straightnose and lightlymodeledcheekbone. Diam. shield 0.290. Amazon: P.H. 0.420, W. head The outline of the warrior'schipped left deltoid 0.078, W. waist 0.119, L. torso ca. 0.220, Max. L. partlycovershis lowerface, suggestingthatthe headis shield0.210 m. hunchedup betweenthe shoulders.A heavyarm rests Thirteenjoining fragments. Complete except for in the centralshield strap and graspsthe rim strap, upperleft cornerreliefground,partof Greek'shelmet, mostly coveredby the hand. The man's back defines spear, hands, Amazon's face, hands, points of pelta, a pleasingcurve, althoughhis torso appearsshort in and variouschips throughout.

CATALOGUE Restored: right side of Greek's right calf, small section of left. Two clamp cuttings: 1. Top border, 0.215 m. from right edge, 0.015 m. wide. 2. Right edge, 0.185 m. from bottom of plinth, 0.015 m. wide. Both are cuttings for hook clamps and extend over the front border. The slab shows a cuirassed Greek50striding right and thrusting his spear into the side of an Amazon, who has fallen to her knees. The Greek holds his shield up on his left arm as he appears to grab his opponent, either by the hair or by the crest of her helmet. She, in turn, forcefully tries to disengage his hold by grasping his wrist with her left hand. Her pelta, held by her left arm, is therefore raised above her head. While the Greek pulls the upper part of her body to the left, the Amazon tries to move her torso to the right and keep the point of the spear from entering her side. She appears to have a firm hold on the spear, but fails to remove it from its critical position. Since her weapon is not preserved, she may have held it also in her right hand. The Greek moves down a slight incline, represented by the slope of the deep plinth; thus his thrust is given more impact. The spacious composition is surrounded by empty background, isolating the two figures and making them a unit independent of the other slabs, more in the manner of a metope than a frieze block. The Greek's profile head is inclined downward. His helmet, mostly destroyed, bore a crest, the tail of which hangs behind his neck; the stub of a strut above his head indicates the crest's connection with the background at the front. His wavy hair, visible below his helmet in back, is detailed by incised lines into an even row of separate strands. A curl falls before his right ear, which is half hidden by the hair. His right cheek is smoothly carved, while the left is sketchily finished and chipped. His smooth forehead tops a furrowed brow below which the right profile eye is set; the left eye is unfinished. The end of the straight nose is chipped, the mouth is straight and thin. A strong jaw line, extending to the hair, separates the wide cheek from his stocky neck. The wide right sterno-mastoid muscle is placed diagonally, as the head turns in profile from a nearly frontal torso. The warrior wears a "muscle" cuirass with undecorated top over a light chitoniskos, visible on his right arm and below the cuirass flaps. The anatomically modeled cuirass has a thick, rounded border at neck, sleeves and lower edge. The leather pteryges have side and bottom borders and are fringed with three to four wavy strands. The chitoniskos skirt is undercut only slightly, as is the right side of the cuirass. The man's left arm, in low relief against the inside of the shield, appears wide in proportion to the rest of

73

his body. His rightarm, carvedin the round,is short and muscular,but less wide. Held back and out from the body, it appearsto have held a long spear,traces of whichcan be seen acrosshis rightthighand against the Amazon's right side and arm. A long strut (L. 0.065 m.) remains,just below the point of fractureof the rightarm,whichprobablyfastenedhandand spear to the background.His legs are short, very muscular and particularlybony at the knees. His left leg, bent at the knee, supports his weight, while the right, positioneddiagonallyto our left, providesbalancefor the thrustof his forwardmovement.His wide,flat feet wear heavily strappedsandals which extend to the middle of the calves. The sandals are raised on a medium-thicksole, whichis separatedfrom the plinth by a narrowgroove. The Greek'sroundshield,with a rim0.034m. wide, abuts againstthe Amazon'spelta, which is also held so that the inside faces out. The Greek's shield is parallelto the background,with no attemptmade at perspective.The three points of the pelta are broken off; a dowel hole shows that the middle point was attachedseparatelyand musthave projectedout from the plane of the shield. The close similaritybetween this figureand the Greekin slab 4 suggeststhat they derivefromthe samecartoon,as well as fromthe same hand. The Amazonis arrangedin a predominantlythreequarterrightposition.The frontof herheadis missing, but appearsin three-quarter right view, though tilted She was the left. to not, therefore,looking diagonally towardsher attacker,but down and to the right.Part of her hair is preservedon her right side; the surface is very roughat present,but tracesof the helmetcan be detected:the brimon the side and the crest on the top. The remainderof the surfaceis chipped;the hair, roughlyworkedwiththe point,extendspartway down the backof her neck,separatedby a chiseledline from the background. Her left arm, raised over her head, has a large deltoid muscle,from the exertionof her defense;her right, held down, bends sharplyat the elbow. The Amazon wears a chitoniskos with long, unbelted overfoldwhichhangsfromthe left shoulderand leaves the right breastbare. The top borderis turnedover slightlyand the light materialis carvedin a seriesof shallowfolds. Transparencyis achievedover the left breast,wherethe nippleshows through,and again at the abdomen, where the navel is visible. Both the overfold and skirt appear caught up by wind from below, which createsshadowsand a feeling of depth in the deeperfolds, particularlybelow the breastsand betweenthe legs. Folds in the skirt originateat the waist in curving, incised lines which develop into deeper,carvedfolds that bend along ogival lines to

50For terminologyof the helmet and cuirass, see above, p. 63, with footnotes 11, 12.

THE AMAZONOMACHY

74

emphasize the contours of the body beneath. The abdomen does not actually curve out, though the drapery lines give that appearance. The drapery is undercut with the drill; running-drill channels are visible in folds on the left side. The omega-shaped patterns created at the lower borders of both overfold and skirt are similar. The Amazon kneels on the plinth, the right knee somewhat forward and projecting slightly over the edge of the plinth. Both legs, large in proportion to the arms, recede to the left in perspective view, the right foot flat against the background. She wears leather boots, which reach to mid-calf; only the top of the left can be seen. The right has a narrow top band and a lateral flap with a rounded tip. The ankle is delicately modeled. A ridge curves across the foot, marking the toes. Relief ground: claw chisel and point; reverse, hammer dressed. Shear, AJA, 1926, p. 456, fig. 9. Shear, ArtArch,1927, p. 113.

A 6-2

FRAGMENT OF HELMETED AMAZON HEAD

P1. 50

T 250; Theater, findspot unknown. P.H. 0.105, P.W. 0.084, P.Th. 0.034 m. Single fragment, broken vertically in front of ears; nose and chin chipped. This is the face of an Amazon in nearly frontal position, wearing a typical helmet, the front visor of which is preserved. The face is oval in shape and has a low forehead with wide brows shaping the large, rounded eyes. The figure's right eye shows greater detail than the left, so the head may have been seen in three-quarter view to the right. The outer corners of the eyes, the upper lids of which extend farther than the lower, curve down slightly, as do the corners of the small mouth. The upper lip appears to project farther than the lower and the mouth as a whole seems very small in proportion to the large, open eyes. The hair, which is parted in the center, waves gently from beneath the helmet and is divided by shallow grooves into groups of two or three strands. The surface of the face is unusually smooth, particularly on the figure's right.

The piece representsan Amazon'spelta, worn with the insidefacingout on the figure'sleft arm, whichis slippedthroughthe shieldstrap.Part of the crestof a helmet remains;perhapsa protrusionon the top of the shieldindicatesthe forwardextensionof the plume. The outline of the helmet and probablypart of the head survivebelow the crest. The arm bends slightly at the elbow as it curvesout to the edge of the shield, whichprojectsdiagonallyfromthe reliefground(Max. P.H. of relief 0.110 m.). The shield projects further

(by 2 cm.) at the bottom than at the top. The lower curvingend of the shield is preserved.The Amazon should be restored on the left of the slab fighting againsta warriorto right. The outersurfaceof the armand shieldare smooth; the reliefgroundis roughwith marksof the clawchisel and point; reverse,hammerdressed. A 7-2 CORINTHIAN HELMET

AMAZON'S SHIELD, LEFT ARM, CREST OF HELMET

P1. 51

T 47; Theater, from Theater Street North, near Erastus inscription, 1 m. above street pavement, May 15, 1928; N.B. 321, p. 657, plan p. 636.

P1.50

T 90; Theater,east end of stage, April 2, 1928; N.B. 320, p. 500. P.L. 0.075, W. 0.075, Th. 0.107 m. Single fragment,broken at bottom, most of crest missing.Surfaceworn,chipped,weathered. The piece representsmost of a Corinthianhelmet which probablyappearedin profile or three-quarter viewto left of the relief,sincethe rightside is sketchily finished.The eyes are depictedin low relief on both sides of a long nose piece, half of which remains. Above the level of the eyes the roundedtop is set off by a groove.A shortflapconnectedto the front hangs down below the top on the left. Part of the crest remainsat the back, and a stub for its attachmentin top center. Originallythe surface was fairly smooth. For another instance of this type of helmet in the Amazonomachycomparethat worn by the Greek in A 5-1, which is, however,largerin size. The helmet was probablyworn back on the head, as the tops of severalcurlsare visiblebeneaththe flap. A 7-3 FRAGMENT OF SHIELD AND LEFT HAND

SLAB7 A 7-1

Max. P. Dim. 0.685-0.204,Th. relief ground0.043 (bottom)-0.089 (top), P.L. arm 0.150, P.L. shield 0.342 m. Threejoiningfragments;reliefgroundbrokenon all sides; arm brokenat wrist and shoulder;centraland upper tips missingfrom shield; surfacechipped and weathered.

PI. 51

T 218; Theater,findspotunknown. P.L. 0.268, P.W. 0.105 m. Threejoiningfragments,brokenon all sides. Fragmentof shieldwith left hand clutchingthe rim strapand partof the armfurtheralongthe shield.The

CATALOGUE shield, a small part of its rim preserved, appears to have projected nearly perpendicularly from the relief ground, of which only a small portion is preserved. The outer surface of the shield is very rough below the rim and probably would not have been seen. A slight chisel line indicates the level of the background on the outside of the shield and corresponds to a small, flat surface on the inside, just above the hand, where the piece adhered to the background. Four fingers of the left hand are preserved, separated by a running-drill channel from the adjoining surfaces.

75

The sides of his left leg and flaps are unfinishedand continuestraightto the reliefground. The surfaceof the relief groundis rough; reverse, hammerdressed. SLAB 8

A 8 KNEELINGAMAZONDEFENDING P1.52 HERSELF FROM GREEK

T 2; Mus. no. 2; joins T 125;Theater,June4, 1926, from east section(old photo)just north of northwall P1. 51 of east parodos,2.50 m. above orchestralevel. A 7-4 SHIELD FRAGMENT Restored H. (at ends) 0.800-0.810, W. 1.423, Th. S 3199; Museum basement, marble pile; findspot reliefground0.080,est. Max. H. relief0.170,D. plinth unknown. 0.065-0.075, H. plinth 0.065-0.075 (edge partly P.L. 0.101, P.W. 0.060, Th. 0.037 m. beveled).Amazon:H. ca. 0.490, H. head0.110, L. top Single fragment, broken from relief ground and shield 0.280. Greek: H. 0.650, H. head 0.119, Diam. from remainder of shield. shield0.260 m. Shield fragment in relief, outside facing spectator. Twenty-eightjoiningfragments. Restored:Amazon:areasof rightarm,51end of axe, The flat rim is not sharply separated from the body of the shield, carved at a somewhat higher plane. The rim part of shield. Greek: most of face, helmet, small is ca. 0.008 m. thick at the edge, but the thickness increases as the rim is undercut, to 0.02 m. in from the rim, so as to suggest a slight perspective. A 7-5

CUIRASSED GREEK

P1. 51

T 16; Theater, from northwest stage, April 9, 1928; N.B. 321, p. 538 (refers only to central fragment). Max. P. Dim. 0.375 x 0.315, Max. Th. 0.145, Th. relief ground 0.051-0.065, W. across flaps 0.240, L. skirt 0.098 m. Four joining fragments, broken and chipped on all sides; weathered. Lower torso and legs of Greek wearing greaves and cuirass (only the pteryges are extant), facing left. The lower border of the cuirass is broken and chipped as are the flaps below. The pteryges have raised borders and overlap each other slightly. A wavy fringe trims the bottom, below which the undulating border of the chiton can be seen. Both legs wear greaves which cover the knees. The figure's right leg is doubled up beneath him, as though he were kneeling on something, such as a rocky elevation or perhaps an Amazon's horse. Most of the right knee and foot are missing. His left leg, broken at the ankle, is rendered frontally and is held slightly back. The torso may have bent forward to fight against the opponent on the left of the slab.

sections in fringe of pteryges, parts of both calves.

Much of background. Clamp cuttings: 1. Top border,left: ca. 0.070 m. from1.border,ca. 0.035m. wide. 2. Top border,right: 0.100 m. from r. border, ca. 0.035 m. wide. Both cuttingsare for hook clamps;neitherextendsto front surface. The block shows an Amazon kneelingright on a rockyelevationand defendingherselffroma cuirassed Greek.With her left hand she raisesher shield, held backwardsso that the outsidefacesthe spectator.The and spaciousin arrangeduel is not only self-sufficient ment, but is also enclosed by considerableempty The two figures,forminga triangle,are background.52 the directionof their eyes and the linked by firmly strong diagonalformed by the Amazon's shield and axe. The Amazon is shown fallen so as to be in position to receivethe downward,slicingblow of the Greek'ssword.Exceptfor the low risein groundlevel underthe Amazon,the plinthconveysthe impression of a flat area.The aggressivewarrior,rushingHarmodios-stylefrom the right,is the dominant,forcefulnote in this lively scene. withpointedtriangular TheAmazonwearsa helmet53 her above in curl visor ending a ear; its surfacecurves is crest The back. out at preservedonly as far as the the plumewas connectedby of the back where crown,

51The photographShearpublishesin ArtArch,1927, p. 113 shows two drill holes on the outside of the Amazon's right arm, one in the upper arm, the other in the forearm.The two holes probablyindicatepiecing duringconstructionor an ancientrepair,since both fragmentsnow attached to the holes fit the arm closely. Although the photographwas taken before the fragmentaryslab was mended,it is unlikely that the drill holes could be modern. 52From left borderto Amazon's head we find 0.550 m. of unsculpturedrelief ground,0.183 m. betweenthe Amazon's head and top border,0.080 m. betweenthe Greek's head and top border,and 0.285 m. from his shield to the right border. 53For discussionon helmets, see above, p. 63, with footnotes 11, 12.

76

THE AMAZONOMACHY

a small dowel. Half of a bronze dowel remainsin a secondhole on top of the head, for attachmentof the plume's stilt. The helmet'ssurfaceto the right of the crownis chipped,but a wing remainsin low reliefand was perhapspart of a whole bird. The Amazon'shair protrudesslightlyfrom beneath the helmet before the ear, and is arrangedin a long spiraltress over the nape and back.Her expressionless face looks up towardher opponent.The entireleft side of the face is unfinishedand still bears marksof the point and flat chisel.Her righteye is fairlyshallow,the left is elongated,but both seemto be quiteindistinctly rendered.The nose is ratherstraight;cheeksand forehead are smooth.The smallmouth,composedof thin lips, the upperlong, turnsdown at the cornersand is slightlyopen. The squarejaw line extendsto behind the ear tip. Her torso is in a three-quarter rightview. Her body, of stocky proportions, appears thick and fleshy, particularlyher rightshoulderand nude breast,which projectsstrongly.The nippleis worn, thoughit seems to have been carved. The top of her chitoniskos, fastenedonly at the left shoulderaccordingto custom, loops underher right arm. The borderis creasedby linesparallelto the loop in front,but diagonalin back. The left border curves over the far side of her left breast,whichdoes not protrudeas far as the right,and on whichthe nippleis clear.The ends of the overfold are evident, slightly uplifted by "wind", from the back to below the right arm in front. The windblown effect introduceslivelinessinto the compositionand suggeststhat the two figureswere in violent motion. Shallow,ridgedfolds of the skirtcoverthick hips and revealthe formof the thighsbeneathand the V-shaped groin. The hem, uplifted only somewhat in front, shows more motion in the rear,as if kickedup by the heelof herboot. The omega-shaped folds at the bottom are slightlyundercutby running-drillchannels. The Amazon's left hand holds the pelta raised against her attacker,while her right rather heavyhandedlydirects a short axe at her opponent's left thigh. The left arm is roughlyfinished.The shield is slightly undercut; its central knob is chipped off, while the bottom edge and half of the axe blade are restored.The axe is renderedin low relief againstthe shield; the axe blade has a single bit whichends in a curl. As both the Amazon'sknees rest on a formless rock pile, her legs are extendedleft, though only the right calf and booted foot are carved.The Amazon wears the common leather boot with rounded top, two turned-downflapsand a thin sole. The Greek'shead is badlydamaged;it retainspart of the helmet'screst, a stub from the stilt on top and a strip down the back from which the plume was broken. The center of the pointed visor tops the

smooth forehead.Part of the upper lid and pupil of each shallow-seteye remains.A section of the left cheek and parts of the neck, front and back,are also preserved. The Greek stridesleft, his thick right arm, faintly modeled,raisedand readyto strike.He holds a short sword,carvedin verylow relief.His cuirass,also worn over a chitoniskos,is similarto that of the Greekin A 6-1,54with the additionalfeatureof a ridgemarking the epigastricarch.The figureis variedby the presence of greaveswhich extend from the knee to the ankle; the clumsyfeet are bare. The figureleans forwardon his right leg, shown in profileview, while his left leg is held back in nearly frontal view, with the foot restingoddlyforeshortenedon the plinth. Reliefground:clawchisel,flatchiselaroundfigures; claw chisel on shield;plinth:claw and point; reverse: roughlypicked. Shear, AJA, 1926, p. 458. Shear, ArtArch,1927, photo p. 113. SLAB9

A 9-1 HELMETFRAGMENT P1. 54 S 3198; Museum basement,marble pile; findspot unknown. P.L. 0.075, P.W. 0.048, Th. 0.027 m. Singlefragment,brokenon two sides. Fragment with rim and dome of a helmet.The separationbetweenthe two is sharplycarved.The rim is flat at the right,but becomesrectangularin section at the left. The surfaceis smoothlyfinished. A 9-2 LEG FRAGMENT PI. 54 S 3217; Museum basement,marblepile; findspot unknown. Singlefragment,brokenat two ends and from relief ground.Surfacewornandchipped,crumblyat one end. The piecepreserveseithera forearmfromthe elbow to the wrist,or a frontalleg frombelow kneeto ankle, probablythe latter.The surfacedoes not continueto curve on the sides of the piece, but extendsoutward at an obliqueanglein a mannersimilarto the preserved portion of the Greek'sfoot in A 9-3. As the marble also containssimilarblue veins, it is probablethat it belongs with the largerpiece. The lower fractureis lost due to the crumblynatureof the marble. A 9-3 LEFT FOOT STEPPINGON P1.54 AMAZON'S RIGHT CALF T 154; Theater,findspotunknown. P.H. 0.213, L. 1. foot 0.112, P.L. r. leg 0.215, H. plinth0.047-0.071,P.L. plinth0.155 m.

54Comparealso A 4-1 and cuirass fragmentsA 3-8 and A 11-3.

CATALOGUE Four joining fragments,plinth brokenon all sides, left foot brokenat ankle,rightleg brokenabove knee and in middle of foot. Surface badly chipped and worn. Marblecontainsblue veins. A figure'snakedleft foot stepson the rightcalf of a second figure. The latter, presumablyan Amazon, wearsa leatherboot of whichthe top borderand two side flaps are portrayed.The arch of the Amazon's rightfoot restson the plinthwith the heel touchingthe slab (background)and the toes facing outward.The toes are brokenoff, but wereobviouslycoveredby the boot. The toes of the nakedleft foot are individually though sketchilydepicted.The place of connectionto the reliefgroundis preservedto left of the nakedfoot and the Amazon's leg. The Amazon's leg bends up sharplyat the knee.A smallportionof the hem of her chitoniskos is preservedjust above the knee, with shallowfolds, of which one is arrangedin an omegapattern. The top of the plinth is rough with point marks; bottom bears marks of the claw chisel; reversenot preserved. Two groupswithinthe Parthenosshield copiesmay have influencedour figures.Harrison'snos. 4-5, the Hair-PullingGroup,56does in some examples show the Greek'sleft foot firmlyplantedon the Amazon's right calf (Strangford,Lenormant),but not on others (Patras,Agora).The secondpossibleinfluencein this series is the correspondingfigures nos. 26-27, the wherethe only preservedexamplein KnifingGroup,56 the Conservatorishowsthe Greek'srightfoot stepping on the Amazon'sleft heel. The scenewouldhaveto be reversed and shifted somewhat to correspond to our group, so the composition of the Hair-Pulling Groupformsa far betterparallel. Onlyone helmetlessAmazonhead, A 9-4, seemsto belongto this type of scene,and, in fact, on A 9-4 the Greek'sleft hand remainsin the Amazon'shair. A 9-4 AMAZON HEAD WITH HAIR PULLED BY OPPONENT

PI. 54

77

the left edge of the neck. Her helmet lost in the struggle, the Amazon's bare head has been pulled back, causing the sterno-mastoid to swell. Her mouth is open and her upper teeth and tongue are visible. The face is a long oval with a strongly receding forehead and weak chin. The eyebrows are lightly carved; the right is higher than the left, which is only sketchily finished, so the head probably appeared in a three-quarterview to the right. The ridge of the nose is sharply outlined on both sides, while the nostrils are lopsided and fleshy. The cheeks are thin, as are the lips, the upper fleshier and protruding over the lower. The hair is parted in the center and flows loosely back in gentle waves highly patternized over the forehead. These waves, rendered in clumps, with additional grooves to indicate strands within, are very shallow around the face and become more plastically rendered farther away from the head on her right. The left side, except for waves immediately around the face, is roughly finished and would not have been seen. The hair is deeply cut behind the neck and in two or three other places farther back; marks of the running drill can be seen, but only very faintly. Half of the fleshy right ear is left uncovered. Shear,AJA, 1926, p. 458.

A 9-5

AMAZON'S NUDE LEFT BREAST

P1. 54

S 3196; Museum basement, marble pile; findspot unknown. P.L. 0.062, P.W. 0.072, Th. 0.038 m. Single fragment, broken at two angles from body. Nude female breast with a small bit of drapery at bottom right of fragment. The breast is rounded and gently curved with a small chipped point representing the nipple. To our right the fragment curves back toward the side of the body, while on the left the surface flattens out for the sternum. Thus the usual arrangement of the garment is reversed, leaving the left breast bare rather than the right.

P1. 54 T 80; Theater, east cavea VI, ca. 2.00 m. above A 9-6 LEFT HAND AND FOREARM IN RELIEF orchestralevel, May 27, 1926; E.C. II, p. 275. P.H. 0.11, P.W. 0.170, P.Th. 0.115, W. face T 136; Theater, findspot unknown ("May 28 VII 0.060 m. 1.50" written on the marble). Singlefragment,brokenat base of neck,acrosshair P.L. 0.217, P.W. 0.168, Th. 0.060, Th. with arm and from background;nose and chin chipped,right 0.076-0.087 m. cheekworn. Single fragment, broken on four sides; fingers and thumb are

missing. The piece representsthe head of an Amazonwhose Fragmentary left hand and forearm in relief. The long hair is grabbedfrom behind by her opponent's at thumb was originally attached separately by a small left hand, of whichthreefingersand thumbremain 55Harrison,Hesperia35, 1966, p. 121, pl. 38. 56 Ibid., p. 125, pl. 38.

78

THE AMAZONOMACHY

dowel(hole ca. 0.003m. in diameter).The hand,thumb down, is held open, as if to serve as a balanceor to ward off an opponent. A running-drill channel separatesthe top of the hand from the background. The side of the forearmis depicted with bones and muscles lightly rendered.The surface of the arm is smooth, with faint chisel marks. The surfaceof the relief ground has heavy chisel marks and is particularly rough between fingers and thumb, an area which the thumb might have covered. The fracture to right is broken in a straight line but does not preservea workededge, though the right edge of the slab may be represented. The reverseis hammerdressed.

Only a small portion of the surfaceof the figure's upper torso is preserved.The shoulder muscle is smalland rounded,comparableto the shoulderof the Greek A 10-2. The figure's left arm, held nearly horizontallyto the right, passes throughthe central strap of the pelta which lies flat against the relief ground, inside facing out. The majorityof the left half of the shield,includingthe base of the left curved point, is preserved.The reverseof the piece is roughly worked. Because of stylistic similaritiesin the head, the shoulder muscle, and comparable thicknesses of background,the piece is associatedwith the Greekin slab 10.

SLAB10

A 10-2 GREEK WARRIOR AND SHIELD, AT RIGHT

P1.55

T 62; joins T 48, T 97 (head); Theater,findspot A 10-1 AMAZON'S HEAD, LEFT P1.55 unknown.Upper right torso fragmentfound in 1970 excavationsin the West Forum, near the Babbius SHOULDER, UPPER ARM AND Monument. PART OF PELTA P.H. 0.420, P.W. 0.342, L. head 0.117, P.L. torso T 96; joins S 1165.Head: fromwest parodos,near 0.240, Th. relief ground 0.120 (upper right), H. of west end of stage, H. 2 m. above Roman orchestra relief: shield 0.110, head 0.198; P. Diam. shield ca. level, May 8, 1929; N.B. 323, p. 89. Shield: Dump 0.400 m. above theater, June, 1925; no N.B. reference. Six joining fragments;reliefgroundbrokenon two Max. P.H. 0.192, P.W. 0.20, Max. Th. 0.17, Th. sides, upper right corner preserved.Figure missing relief ground0.076. Head: H. 0.082, W. 0.087 m. nose, left eye, right arm, left shoulder, both legs, Two joining fragments,brokendiagonallythrough bottom of shield;surfacechipped. upper torso, at top of head and at elbow. Forehead, The piece as recomposedcontainsmost of the torso nose, chin and uppertorso chipped;surfaceworn. and head of a nude Greek warriorin frontal stance Amazon's head, left shoulder,upper arm in shield with a large shield.His head turnsthree-quarters left of and are the and downward. The which lies helmet, portion pelta preservedagainst gazes slightly strap reliefground.As the headfaces somewhatto the right very flat againstthe head,has a flatvisorwith no side of the relief, the Amazon must have been on the left flaps or curls. A crest has brokenfrom the top, but of the slab. its wavy tail can be seen in relief above the shieldto Of the Amazon'shelmet,the right side of the visor right of the head. The long, oval face has a smooth remainsin one piece with the curved side flap. The surface,and the preservedright eye is delicate.The side piece is largerthan the usual curl, as in A 11-1, short full mouth turnsdown definitelyat the corners. and bears more resemblancein shape to a hinged The torso is ratherflatly modeled.The figure'sleft cheekpiece,althoughthereis no hinge and the flap is arm hangs down from the shoulder,bends out at the not separatedfromthe visor.The ambiguitymusthave elbowto graspthe shield'srimstrap;the rightshoulder been eliminatedby paint. A small fragmentof the and preservedportionof the upperarmextendedhoricrestis preservedat thecenterof theback.Thefeminine- zontally to the left. The right,weapon arm may have style hair lies below the helmet in a loose mass and been completelyoutstretchedor bent upwardat the coversthe ears on both sides.Treatmentof the waves elbow.Comparedto the flat renderingof the torso,the is slightlymore detailedon the rightthan the left. The armpitis particularlydeeplycarved.The centralstrap face forms a short oval with a weak chin. Large, of the shieldis not plasticallyportrayed.The figure's roundedeyes bulge out slightlyfrom flat, incisedlids, cloak hangs in three folds over his left forearm.The and at the outercornersthe upperlid extendsbeyond lower edges of the folds appear above the break the lower. The nostrils appearwide above the short and are not undercut.Faint traces of red paint are straightmouth.The cornersof the mouthare cut back preservedon the shield. into the marbleso as to give the face the appearance Two dowel holes appearin the rim break,as if the of a faint smile.The surfaceis smooth,exceptfor tool shieldwerepiecedoriginally,or an ancientbreakhad marksoutliningthe hair.The head is close to A 3-4, been repaired.A clamp, now spread out, is still in thoughnot in all details. place in the top edge of the slab. The surfaceof the

CATALOGUE relief ground bears claw-chisel marks of two sizes. The slab edges have a smoothed band adjacent to the relief ground; the rest is roughly picked. On the top edge this smoothed area takes the form of anathyrosis, while on the right the roughened area rather projects beyond the smoothed. The reverse is hammer dressed. A 10-3

RIGHT HAND HOLDING SPEAR P1. 55

T 38; Theater, from center, rear of stage building, March 12, 1928; N.B. 320, p. 433. Max. P. Dim. 0.450 x 0.298, P.L. arm and hand 0.120, L. spear 0.330, W. wrist 0.031, Th. 0.060, Th. with spear 0.062 m. Single fragment; arm broken in middle of forearm. The edge perpendicular to the spear is possibly original, but chipped (L. 0.30 m.), and possibly derives from the top of the slab.

79

SLAB 11

A 11-1 HEAD OF HELMETEDGREEK PI. 57 AND PART OF SHIELD T 15; Theater,orchestralevel, in front of west part of stage,April26, 1926. P.L. 0.385, P.W. 0.145, Th. relief ground 0.070, Max. H. relief0.153, H. head 0.103, W. face 0.053 m. Two joiningfragments,brokenon all sides; surface chipped,nose and chin battered.

The head of a helmetedwarriorappearsin right profileview againstthe upperpart of the roundshield customarilycarriedby Greeks.Part of his chiton can be seen at the back of his neck. The helmet with triangularvisorendingin a curlis completeexceptfor the crest-holderwhich is chippedat the base of the helmet and fartherup at the beginningof the plume. A dowel hole remainson top of the helmetwherethe A right hand clenches a spear pointed left at an front of the plume was attached.The helmet curves opponent. The shaft is held diagonally against the out at back, and short hair is revealedbeneath it. forearm and extends in front of the hand in very low The head is not rounded at the left, but adheres relief for approximately 0.222 m. The fingers are straightthroughto the relief ground.This treatment separated from the thumb by deep drill holes. At the givesa strongasymmetry to the short,ovalface,whose edge of the fragment below the forearm are traces of a properleft sideappearssketchilyfinishedand distorted curved object, perhaps part of the figure's torso or leg, as if stretched its adherenceto the by background. or an indication of a third figure. If the piece is part Specifically,the medium-sizedmouth is so slanted of a duel scene, the opponent must be at a considerable that the figureappearsto have a tentativesmile. The distance from the spearman. Perhaps the figure could foreheadcurvesback slightlyand leadsinto a straight also be imagined holding the spear upright like a nose. The and brow are gentlymodeled.The curve eye "Hellenistic Ruler." of the shieldrisesfrom behindthe middleof the head. The surface is smooth for about 0.01 m. around the The top part of the centralshield strap is preserved. hand, while marks of a fine claw chisel are evident on The fragmentis brokenalong the top of the left arm. either side of the spear's shaft and point. The rest The reverse is hammerdressed, and rasp marks of the surface is rough and shows marks of two remainvisible over the surfaceof the shield and the larger sizes of claw chisels. The reverse is hammer figure'sskin. dressed. A 10-4

RIGHT LEG IN RELIEF

P1. 55

T 124; Theater, findspot unknown. P.L. leg 0.225, W. fragment 0.232, Max. W. thigh 0.075, Th. relief ground 0.084, Th. at thigh 0.142 m. Single fragment, broken on all sides; leg broken at top of thigh and mid-calf. Right leg in relief, in profile to left, against wide, empty background. The leg, held in a straight, vertical position, is preserved from top of thigh, where a small area bends right (groin, or buttock?), to mid-calf. The thigh muscles are lightly modeled and the knee area is well executed. Marks of the rasp are faint over most of the surface. Since so much of the background in front of the leg appears empty, it is likely that the left leg of the figure was held back. Relief ground retains tool marks, mainly of the point; reverse: hammer dressed.

A 11-2

LEFT HAND HOLDING SHIELD STRAP

PI. 57

S 424; Theater,May 17, 1902;N.B. 13, p. 35. P.L. 0.100, P.W. 0.082. Hand: P.L. 0.071, Max. W. 0.055 m.

Single fragment, hand broken at wrist; small portion of strap missing; shield broken from background;surfacechipped. A small left hand graspsthe rim strapof a shield. Nails were once indicatedagainst the chubby palm. The hand is sharplyseparatedfrom the shieldbehind the fingersand along the side of the little fingerby unsmoothed drill channels, but the thumb side is more roughly worked with the point. The shield curves out toward the chippedrim, and is built up from the background,which meets the shield at the base of the rim on the thumb side, but continues straightto the edge of the rim on the opposite side.

80

THE AMAZONOMACHY

The piece probablybelongsto a Greekin the Amazo- while the weapon and helmet on right are roughly nomachy who advances to the right of the slab, dressed;therefore,the head of the figure faced left. Perhapsone should imagine the figure stridingleft, perhapsto A 11-1. both arms raised holding an axe behind the with Gardiner,p. 310, fig. 6. helmet and about to exert a strong downwardblow an opponentto left. Sincethe righthand is so A 11-3 CUIRASS FRAGMENT P1.57 against far separatedfromthe left, the figuremustbe grasping T 117; Theater, north of center stage building, the haft of an axe ratherthan the sharp blade of a sword. Comparefigure no. 24 in Harrison'sreconMarch2, 1928;N.B. 320, p. 359. struction of the shieldof AthenaParthenos.57 0.145 Th. 0.081 P.L. m. x 0.117, broken on all sides; irregularly Single fragment, A 11-6 AMAZON'S NUDE RIGHT P1.57 surfaceworn and encrusted. BREAST The fragmentpreservesthe lower parts of leather T 308; Theater,findspotunknown. pteryges, each with a raised border. A wavy fringe Max. P. Dim. 0.152 x 0.140, Th. 0.053 m. hangs below, and from underneathappearsthe flat Singlefragment,brokenat odd angles on all sides. lower border of the warrior's chitoniskos, lightly modeledto indicatethe sag of the material,which is The fragment shows the smooth surface of an somewhatundercut.The worn bit of surfacebeneath Amazon's right breast,centerof chest and beginning this hemlinemay be the beginningof a leg. A raised of the outward curveat top of the left breast.A small areato rightmay indicatethat the figure'sleft leg was bit of whichhasfallenfromthe rightshoulder, drapery, raised. The surface of the chitoniskos is smooth, is depictedimmediatelybelow the breastand seemsto whereasthat of the cuirassretainsmarksof the rasp. a short overfoldat the top of the garment. represent For flapscompareA 3-8. The directionof the lowerfractureprobablyindicates the diagonalarrangementof the chitoniskos.A small A 11-4 LEG WEARING GREAVE PI. 57 part of the backgroundis preservedperpendicularto S 677; Theatertrench,June 5, 1903;N.B. 18, p. 78, the left side,and so the torsowas probablyin a frontal position. findspotunknown. W. Th. P.L. 0.118, 0.054 m. 0.063, A 11-7 LOWERTORSO AND LEGS OF P1.57 Single fragment,broken at both ends and from AMAZON TO LEFT reliefground;surfacechipped. T 4; Theater,northof stage,nearcenterof peristyle The piece depictsa rightlowerleg from below knee built into Byzantinewater tank, March 15, court, to ankle.A metal greaveis indicatedby a ridgedown N.B. 1929; 322, p. 789. the right side and acrossthe bottom of the fragment. P.H. P.W. 0.380, Max. Th. 0.120, H. relief 0.370, An incisedline behindthe greaveborderemphasizesit. 0.066 m. ground A shallowgroovedenotesthe calf muscle,and the shin Singlefragment,brokenon all sides. bone projects,indicatinga frontal position. The surface of the greave is crossed by faint diagonallines The piece portraysthe lower half of an Amazon's representing decoration. The surface is relatively body, fromwaist to calves,dressedin a crinklychiton smooth,exceptnearthe placeof connectionto the relief and leather boots, running to left. The nearly flat ground. lowertorso is turnedin three-quarter view towardthe left. The Amazon's right leg, seen in profile,acts as A 11-5 TWO HANDS GRASPING PI. 57 the supportingleg and is bent at the kneeas the figure WEAPON BEHIND HELMET stridesforward.The rightleg is raisedhigherthan the left andmayhaverestedon an elevation.TheAmazon's S 582; Theatertrench,June 3, 1903;N.B. 18, p. 75. left leg, in three-quarterview, is slightlybent at the P.L. 0.130, P.W. 0.077, Max. Th. 0.057 m. and stretchesback behindthe figure.The left leg knee Singlefragment,brokenon all sides. is in high relief (ca. 0.050 m.) while the right is in A right and a left hand clasp a roughly carved medium-high relief (ca. 0.020 m.). The left thigh conweapon, probablyan axe. A second, smooth rectan- tinues to be in higher relief than the right, thus gular object,immediatelyleft of the weapon, appears emphasizingthe twist of the body towardsthe specto representthe crest of a helmet, and the curving tator's left. The Amazon's skirt is renderedin soft, surfacefurtherto left the back of a warrior'shelmet. fine but shallow pleats,whichform loose, ogivallines The surfaceof the crestand helmeton left are smooth, betweenthe legs and emphasizethe form of the body 57Harrison, Hesperia35, 1966, p. 125, pl. 38.

CATALOGUE beneath, such as the figure's left hip and the contour of her right thigh. The hem of the skirt lies above the knees, but falls down lower between the legs. A bit of the skirt swings behind the figure, below which the farther hem of the garment is visible, rendered without any pleats. Relief ground: treated with the point between the legs; reverse: hammer dressed. SLAB12 A 12-1

AMAZON HEAD

P1. 58

T 94; Theater, findspot unknown. P.L. 0.143, P.W. 0.092, Th. 0.061 m. Single fragment, broken at base of neck, badly chipped across right side of face. Head of Amazon in profile to right with proper left side of face only sketchily finished and showing traces of attachment to the background. The right side of the face is badly chipped and worn from the top of the hair in front to the chin. The mouth was open, and the upper row of teeth is depicted. The shape of the face may have been a short oval with the forehead slanting back. Most of the neck is preserved and is sharply separated from the jaw line, suggesting a pose of straining, with the head jutting forward. The hair is represented flying back from the face in a series of short wavy clumps, each of which has one or two individual strands rendered by grooves. Toward the nape one lock hangs down in a spiral curl. Traces of red paint remain in the hair on top. A 12-2

DRAPED LEFT SHOULDER AND PART OF SHIELD

P1. 58

T 128; Theater, east cavea VI, ca. 1.50 m. above orchestra level. P.L. 0.194, P.H. 0.083, Th. 0.087 m. Single fragment, broken on three sides. Amazon's left shoulder and part of her sleeveless chiton. The top curving surface of the pelta rests against the chest, and so the left arm must have held the shield. The torso was probably indicated in frontal view, with the adjacent shield in raised perspective. The surface is relatively smooth, the surface of the drapery worn. The reverse is roughly worked. A 12-3

UPPER HALF OF NUDE MALE TORSO

PI. 59

T 109; Theater, east cavea VIII, ca. 1.00 m. above orchestra level, May 24, 1926. P.L. 0.169, P.W. 0.146, P.Th. 0.054 m. Single fragment with breaks at neck, shoulders, and waist, broken from relief ground.

81

The piece shows a nude male torso from the base of the neck to the waist. The pectorals, epigastric arch and abdominal divisions are rendered by modeling and are more exaggerated on the right than the left. The right breast and stretched abdomen suggest that the right arm was raised, probably wielding a weapon, and in fact part of the stretched armpit is preserved. The hip muscle suggests that the right was the weight leg. Digitations are rendered on the right. The surface is smoothly finished. The portion of the neck preserved at proper left is probably intended to represent the back, and so the head was seen in profile at the left of the relief. A 12-4

SWORD POINT AND TAIL OF PLUME

P1. 59

T 39; Theater, east end of stage, March 31, 1928; N.B. 320, p. 496. P.L. 0.365, P.H. 0.322, Th. 0.071-0.083, H. of relief 0.005, P.L. sword 0.130, P.L. tail 0.085 m. Two joining fragments, broken on two sides; two edges preserved (L. 0.322 m. and 0.255 m.) which form corner, probably upper right. A sword point and the wavy end of a plume cross the fragment diagonally in low relief. A warrior, in "Harmodios' pose," probably advanced left with his sword raised above his helmeted head against his opponent. Background, claw chisel; edges and reverse, hammer dressed. A 12-5

RIGHT LOWER LEG AND FOOT ON PLINTH

P1. 59

T 69; Theater, findspot unknown. P.H. leg 0.215, P.H. leg and plinth 0.265, Diam. leg 0.067, L. foot 0.142, P.L. plinth 0.382, top D. plinth 0.170 m. Four joining fragments; leg broken below knee; plinth broken from background and on one side; corner chipped; no reverse. The fragments preserve a right lower leg and foot, which stands flat on the plinth and turns slightly to its right. Part of a strut adheres to the back of the calf. The foot is sketchily carved, the leg muscles lightly modeled. Traces of yellow paint remain on the calf and heel. The top of the plinth is worked by the point except where a running-drill channel and adjacent smooth area set off the foot. The front surface shows short strokes of a blunt claw chisel. The edge left of the foot may be a straight break or a roughly finished original edge. The scale of the piece places it within the Amazonomachy or Herakles group, but further, the depth of the plinth is too great for the Herakles series.

82

THE AMAZONOMACHY A 13-3 RIGHT FOOT AND ROCKY GROUND ON PLINTH

SLAB 13

A 13-1 HEAD OF HELMETEDAMAZON P1.60

PI. 60

T 112;Theater,findspotunknown. P.L. 0.474, P.W. 0.188, Th. 0.129-0.151, H. plinth T 89; Theater,findspotunknown. 0.057 m. P.H. 0.132, P.W. 0.115, P.Th. 0.062 m. Singlefragment,brokenon all sides;badlychipped. Single fragment,broken through middle of head, Right foot and calf wearingleatherboot. The foot chippedat righteye and temple. stands,heel raised,on some sort of elevationnext to The fragmentrepresentsthe face of an Amazonand rocky ground, illustratedas irregularlyshaped profront part of her helmet with raised visor. The face trusions.The foot bendsforwardsharplyat the ankle has a contorted,torturedappearance,sincethe brows as if the lower torso was positioned diagonallyto are drawnin sharplyand the eyes are deeplyset at the right,and perhapsthe left leg originallyknelt to right innercorners.The workmanshipis exceedinglyrough. on the rocky elevation, while the right extended The left eyeballis stronglyconvexand the upperlid is diagonallyto left. CompareHarrison'sfigure no. 9, drawnby an unsurehand.Therightside,now damaged, the Amazon Retreating Uphill, from the Athena may have had a better eye. The nose continuesin a Parthenosshield.58Although the Patras and Piraeus straightline from the forehead, which slopes back- copies show the correct back view, the Strangford wards.The thick,widelips arepartedand reveala line shieldmay reveala secondarytradition,in frontview, of teeth, but since the teeth are not individually to whichour figurebelongs.The Amazoncould have depicted they resemble a tongue. The lower facial been portrayedeitheron rightor left of the slab. Two featuresare placedfartherto right of centerthan the flapsremainat the top of the boot; the sole is indicated upper,so the headmayhavebeenseenin three-quarter by an incisedline on the side, but roughlyworkedon view to right of the relief.A few strandsof hair curl the bottom. Flat-chiselmarksremainon the rocks, rasp marks out from beneaththe helmeton the figure'sright.On the other side a large mass of hair is depictedwith on the boot. Bottom of plinth, claw chisel; reverse, shallow straight strands which originate under the hammerdressed. helmet and curve up and back over the side. Their extendedpositionsuggeststhat they formeda strutto PI. 61 the background.Part of the neck is preserved,in a A 13-4 GREEK WITH SHIELD twistedposition.The left side of the head is coarsely T 9; Theater;small shieldfragmentfrom east end finished,and many strokes of the point are visible of stage, 3.5 m. above "levelstone", March12, 1928; near the break. N.B. 320,p. 432; torsofromeastend of stagebuilding, H. 1 m. above Roman orchestralevel, April 3, 1928; N.B. 321, p. 516. A 13-2 LEFT HAND HOLDING PELTA P1.60 Max. P. Dim. 0.570, P.L. 0.372, P.W. 0.480, Max. Th. 0.200, Th. relief ground 0.093, W. waist 0.087, T 111;Theater,findspotunknown. Diam. shield0.330 m. P.L. 0.124, P.W. 0.014, L. hand 0.075, L. shield Fivejoiningfragments;breaksat neckandshoulders, strap0.074 m. middle of right forearm,top of right leg, above left Singlefragment,brokenat wrist, acrossbottom of knee. Sectionsof shield,groin,armsmissing. hand and shield,and from reliefgroundat back. The piece as recomposedrepresentsa nude Greek A small left hand grasps the small rim strap of a holding a shield and chlamys in his left arm and pelta with uppertip completelypreserved.The hand fightingto his right.His rightarm,bent at the elbow, is not clenched,but loosely holds the strap, one end is raisedto strikedownwith his spearat his opponent, of which is missing.The arm may have been in low his head perhapsturned in profile view to the left. relief against the shield. The shield tip projected His left armhangsdownandis bentout at the elbowso diagonallyfrom the relief ground (to Max. H. of thathis handcangraspthe rimstrapof the shieldwhich 0.046 m.), more at the tip than at the break, and the projectsfrom the backgroundat a 45? angle.Traces surface is smoothly finished. The loose position of of red paint are visibleon the insideof the shield,the the fingersholding the strap suggeststhat the shield top of the centralshieldstrap,and the draperywhich was held limplyby a defeatedAmazon sinkingto the hangs down in deeply carved, slightly curved folds from the forearm. The folds, which have flat and ground. 58 Harrison,Hesperia35, 1966, pp.

121-122, pi. 38.

CATALOGUE slightly dented edges distinguishing the two borders, are broken beneath the thigh. A sword strap runs from the figure's right shoulder, across the chest and down his left side to near the waist, where the hilt of the sword has broken off. The torso is shown in threequarter left view, and the chest, epigastric arch and ribs are muscular and tensed from the force of the action. The waist is drawn in quite sharply, and the muscles of the figure's left thigh, which is raised toward the right of the relief, are also modeled. The right leg probably acted as his weight leg as he charged to the left of the relief. Marks of the claw chisel and the point are visible on the relief ground; reverse, hammer dressed. A 13-5

FRAGMENT OF HELMET

P1. 61

T 369; Theater, findspot unknown. P.L. 0.061, P.W. 0.059, P. Th. 0.068 m. Single fragment, broken all around. Fragment of top of helmet and part of crest. The top of the crest is flat; its finished side is decorated by an incised line down the center, while on the other side such decoration is rough and exaggerated. If the crest's tail grows narrower toward the bottom, it is the right surface of the helmet that is smoothly finished, the left rough. No portion of the head under the helmet is preserved. Since the crest is usually affixed to the back of the helmet, this piece probably faced to the left of the relief. A 13-6

RIGHT LEG

PI. 61

S 490; joins S 504; Theater trench, 3.5 m. deep, May 21, 1903; N.B. 18, p. 60; N.B. 26, p. 40. P.L. 0.220, P.W. calf 0.138, Diam. thigh 0.065 m. Two joining fragments, broken at two ends, chipped in back. Right leg from mid-thigh to ankle in left profile view. The leg, slightly bent at the knee, is carved in the round, but the excess stone has not been entirely cut away in back. The modeling of the knee and calf muscles is exaggerated in a manner similar to other Amazonomachy legs. The surface is ridged vertically down the right side of the leg about 0.010 m. away from the roughly dressed excess stone connecting the leg to the background.

SLAB 14

A 14-1

HEAD, TORSO OF GREEK WEARING CHLAMYS

P1. 62

T 51; joins S 1440; upper 3 fragments: Theater, next to east wall of peristyle court, H. 1 m. above its floor, March 15, 1929; N.B. 322, p. 787; torso

83

fragment: from road west of Shear House, March 26, 1931; N.B. 125, p. 14. P.H. 0.570, P.W. 0.450, Max. Th. 0.143, Th. relief ground 0.047-0.063, Diam. shield 0.300 m. Four joining fragments, portions of left and top edge of slab preserved;head broken diagonally through upper lip to top back of head; chin and back of head chipped; right side of torso, arm chipped; torso broken diagonally below navel. The fragments preserve head and most of torso of a Greek warrior fighting right, his left arm raising his shield high over his head. His chlamys hangs from his left arm and partially covers a sword strap worn diagonally across his chest. Of the helmetless head, which is in three-quarterright view, only part of the mouth, full chin and back hair are visible. Four wide, flat folds of a chlamys hang in low relief from his left arm along the left side of his torso. The edges of the garment are preserved along the lower break of the slab. A V is formed on the chest by the sword strap, which lies over his right shoulder and meets the folds in front. The torso appears in three-quarter view to the right and the preserved portion is lightly modeled. The figure's right arm, preservedto the middle of the forearm, is held back and away from the body and probably wielded a weapon directed upward towards the opponent on the right, though no trace of the weapon's attachment is preserved. The left arm, in low relief, extends up from the shoulder and bends at the elbow while the forearm goes through the central shield strap and the hand grasps the thinner strap at the rim. The shield, complete except for chips at the rim, projects diagonally from the background, i.e. 2-4 cm. further at the top than at the bottom, in slight perspective rendering, which suggests that the slab occupied a raised position on the scaenae frons. The surface of the shield is smooth, the relief ground has marks of the claw chisel and the point; reverse, hammer dressed. The figure probably assumed a semi-reclining pose. Since the warrior, who occupies the left side of the slab, holds his shield above his head, he must be defending himself against an Amazon in a raised position. The Amazon on horseback in slab 14 is a logical opponent. A 14-2

MOUNTED AMAZON RIDING LEFT

P1. 63

S 568; Mus. no. 5; joins S 573, S 653 A, B; S 654, S 655; S 568 (Amazon's head) found in Theater, June 2, 1903; N.B. 18, p. 74; S 573 (horse's head), S 653 (arm), S 654 (horse), Theater, June 3, 1903; N.B. 18, p. 75; S 655 (Amazon), Theater, June 4, 1903; N.B. 18, p. 76. P.H. 0.570, P.W. ca. 0.510, Th. relief ground 0.060, P.L. top border 0.300. Amazon: P.H. 0.480, Max. L. shield 0.280. Horse: P.H. 0.320, L. body 0.390, H. head 0.135 m.

84

THE AMAZONOMACHY

Eightjoining fragments.Amazon preservedexcept for top and side of head, lower legs; horse exceptfor legs,tail.Tracesof burningareheavyaroundAmazon's face. Restored: small areas in necks of horse and of Amazon. Dowel holes: two at left end of shield. Clampcuttings:hook clampin top border. The block depictsa mountedAmazonridingleft in attackposition.Her rightarmis raisedto strikeand a shield is slung over her back, while her left arm managesthe reins.Both Amazonand horseare shown in left profile.The Amazon'sheadis particularlybadly chippedandworn.Shemayhaveworna crestedhelmet, judgingby the natureof the breakat the back of her head. None of her hair is preserved. Her largeeyes are not very deeply set beneathfurrowed, slightly bulging brows. The upper lid arches high, whilethe lowercurvesmoregently.She seemsto stare straightahead.Featureson the right side of the face are more sketchilyrenderedthan on the left. The small mouth gives the impressionof a smile. The cheeksare flat and smoothlycarved.The chin appears heavy from any but a profileview and seems to continuedirectlyinto the background.A strongjaw line marks off the long, wide neck, topping a heavy left shoulderand breast. The Amazon's chitoniskosis fastenedat only one shoulder,but contraryto usual practiceit is the right shoulder,so that the left breastis bareratherthan the right (cf. A 9-5). If she had worn the dress in the customarymanner,the nude breast would not have been visible.The diagonalfrontborderof the garment can be seen next to the horse's neck. Two borders cross her back: the diagonalone addsflourishwith its wavy edge, but the vertical,which shouldhang down her right side, has been pulledback for the spectator to see and thus gives the impressionthat the figure becomes progressivelythicker between her left side and her right.A thin shieldstraplies betweenthe two borders. The Amazon'sskirt,whichhangsto the knee of her forwardleft leg, spreadsout overthe horse'srump.Its folds,irregularlyspaced,varyfromincisedand shallow ridgesto deeper,wind-sweptfolds nearthe hem where effectiveomega-shapedpatternsare created,addingto the motion of the figure.Her rightarm,carvedin low relief,is raisedreadyto bringdown her short sword, tracesof whichare visible.The left extendsforwardto hold the horse'sreinsand also graspsa scabbard,the top of whichappearsnext to her little finger.Her left leg, bent at the knee,is preservedto just belowthe top border of her leather boot. The calf below this is brokendiagonallyfromthe background,but the place of attachment remains. The Amazon carries the typicalpelta, outsidefacingthe viewer,hungfrom her

right shoulder.The centralpeak is preserved,but the outerpointsaremissing.Theforwardone was attached as a separatepiece by two dowels. The horse, like the others in the Amazonomachy, is of stocky proportions,except for his small head, which looks like a modern-daycartoon. His mane juts upwardin stiff,slightlywavy tufts, separatedinto even strands.He holds the bit in his mouth, which is open and revealsa double row of teeth. The bridle extends across his nose, up the cheek and across abovethe eyes. A secondstrapis wrappedaroundthe top of the neck, while the Amazonholds a rein which originatesunder the jaw. The left eye is deeply set, the surfaceabove it chippedand worn, and tendons are modeled beneath the eye by grooves of varying depths.Fast movementis suggestedby the positionof the legs. Both forelegsare raised high; the rear legs seemto stretchback.The left forelegis carvedin high relief,and its tendon is modeledby a groove parallel to the bottomedge.The forelegbreakis level with the chest.A smallpart of the right forelegis preservedin low reliefin frontof the chest.The haunchandwithers arelightlymodeled,andthe partiallypreservedgenitals appearabovethe Amazon'sbrokencalf. The tail, now broken diagonallyat the base, once rose in a gentle curveand then probablyhung straightdown. As the horse and Amazon are quite similarto their counterpartsin slab4, they wereprobablycarvedby the same hand. Relief ground: claw chisel, flat chisel around the figures;reverse:unknown. A 14-3 LEFT FOOT, SHOD IN BOOT

P1.63

S 3200; Museum basement,marble pile; findspot unknown. P.L. 0.098, P.W. 0.051, Th. 0.045 m. Singlefragment,brokenbelow ankle,badlychipped at toe and heel; weatheredyellow. Preservesmost of small,boot-cladleft foot. The left side faced outward(perhapsin three-quarter view), as shown by the lack of finish on the right, which is rough with long groovesfrom the point. The sole is designatedon the left by an incisedline. The top of the foot rises sharplyfrom the toes. The bottom of the foot, coveredwith long incisions,did not rest on the ground;therefore,it is likelyto belongto an Amazon on horsebackridingleft. ARMANDHANDFRAGMENTS

A 15 FOREARM IN SHIELD STRAP

P1.64

T 257; Theater,findspotunknown. P.L. 0.115, P.W. arm 0.049, L. strap 0.071, Th. fragment0.040 m.

CATALOGUE

85

Singlefragment,brokenfrom relief groundand at wristand elbow.

Fragmentaryright hand, claspedaroundan object. Only two fingersremainwith sketchily carved nails. The wrist is lightly modeled.The strut attachedthe Insideof arm,from wristto elbow, withina central insideof the wrist to the reliefground.Its sizeprobably shieldstrap.The narrowbordersat both edges of the it withinthe Amazonomachyor Heraklesgroup. places strap point in opposite directionsnear the middle of the forearm.Faint chisel marksremainover most of the surface,and green micaceousveins occur in the A 20 RIGHT HAND HOLDING PI. 64 WEAPON marblewhereit split at the wrist. T 266; Theater,from west parodos, section 4 D, A 16 ARM FRAGMENT, PARTLY P1.64 depth of 4 m., March 30, 1929; N.B. 323, p. 58. DRAPED P.L. (acrossknuckles)0.066,W. 0.053,Th. 0.049 m. Singlefragment,broken at wrist and background; S 953; Theater,1903,findspotunknown. surfaceworn and chipped. P.L. 0.097, P.W. 0.068, Th. 0.024-0.040m. Single fragment,broken above and below elbow, Righthandclenchingan object.Sincethe end of the and from reliefground. weaponappearson the side of the little finger,it was Fragmentof arm bent at elbow. The forearm is probablya spear ratherthan a short sword or axe. separatedfrom the biceps by a shallow groove, and Most of the thumbis missing.The ends of the fingers two deepdrillholes accentuatethe crook of the elbow. are lightlyincised.The hand, which probablybelongs Threeworn, shallowfolds of draperycurveacrossthe to a Greek in the Amazonomachy,may have been upper arm. Faint marks of the claw chisel cover all attachedto the backgroundjust beyondthe fingers. the surface. PI. 64 A 21 RIGHT HAND AND WEAPON PI. 64 A 17 DRAPED ARM FRAGMENT S 967; Theater,north extensionof TrenchXXXIV S 3270; Museum basement,marble pile; findspot at stylobatelevel, May 21, 1910;N.B. 65, p. 21. unknown. P.L. hand 0.067, Th. hand 0.037, L. weapon0.086, P.L. 0.072, P.W. 0.034, Th. 0.050 m. Diam. weapon0.030 m. Singlefragment,brokenon two sides. Singlefragment;the wristwas originallyfastenedto the arm by means of a dowel (hole Diam. 0.005 m.), The piece preservespart of a fold lying diagonally a seconddowel (samediameter)fastenedthe end and across a small bit of a body fragment,which looks of the weapon. like an arm. Bit of wristand righthand, tightlyclenchedaround 64 P1. a weapon,perhapsan axe. The hand, which bends at A 18 LEFT HAND CLASPING WEAPON the wrist, is delicatelymodeled in comparisonwith some of the other hand fragments.The nails and T 260; Theater,findspotunknown. thumb are more sketchily rendered and probably P.L. (wristto knuckles)0.086,W. 0.068,Th. 0.036m. would not be seen. The end of the weapon juts out Single fragment; hand broken from background beyondthe little finger.The hand may belong to the and near wrist,chipped.Entirefragmentis blackened Amazonomachyor Heraklesgroup. from burning. Wrist and left hand claspingweapon,the ends of PI. 64 A 22 RIGHT HAND FRAGMENT which have brokenoff. The thumbis missing,but the nails are carefullyindicatedon the first and second S 3195; Museumbasement,marblepile; found in fingers.The piece indentsrathersharplyfor the wrist. east area,section3 C, H. 2 m. aboveRoman orchestra The short, plumphand seemsindicativeof the Ama- level, March31, 1928;N.B. 320, p. 494. P.L. 0.057, P.W. 0.060, Th. 0.022-0.033m. zonomachy. Singlefragment,brokenat base of fingersand near PI. 64 wrist. A 19 RIGHT HAND T 279; Theater,findspotunknown. P.L. (wristto knuckles)0.096, W. 0.035, Th. 0.114, P.L. strut0.060 m. Single fragment;hand broken and chippedacross fingers;surfaceworn and chipped;strutbrokenfrom background.

Fragmentof right hand, carvedin the round, now lackingall of its fingers.The handis held open, as far as one can tell from the palm, which is not creased. Thecurvingsurface,just beforethe breakon the inside, probablyindicatesthe wrist. The outsideof the hand formsan even curve.

86

THE AMAZONOMACHY

Singlefragment,brokenat two ends; one side badly weathered. A 23 AMAZON'S LOWER LEG IN P1. 64 Lowerleg wearingAmazon'sboot (or perhapsarm LEATHER BOOT in sleeve?).The top band and two flaps are worn on the lower ratherthan the upperpart of the calf. The T 258; Theater,findspotunknown. entiresurfaceis roundedas if for an arm,ratherthan Th. 0.035 W. m. P.L. 0.129, 0.056, broken above knee and at midprotrudingonly at the top for the calf muscle.The Single fragment, and from relief fragmentis carvedin the round, though the back is calf, irregularly ground. unfinishedand has a ridge down the center. Rasp The fragmentshowsan Amazon'sleft kneeand calf, marksare visibleover much of the surface. dressedin a leatherboot. The boot's top band and tracesof two flapsremain.The leg facedthree-quarters A 28 LOWER LEG IN BOOT P1.65 left in relief and may have bent at the knee, which is S 3258; Museum basement,marble pile; findspot lightlymodeled.The outlineof the lowerborderof the unknown. chitoniskosremainsat the upperbreak. P.L. 0.078, P.W. 0.057, Th. 0.052 m. Singlefragment,brokenat two ends; surfaceslightly A 24 LOWER LEG IN LEATHERBOOT PI. 64 chipped,weathered. T 261; Theater,findspotunknown. The lower leg fragment wears a leather boot on P.L. 0.139, W. 0.060, Th. 0.057 m. which two remain in outline, their surfaces Single fragment,broken below knee and above effaced.An flaps incised crease at the bottom indicatesa ankle, and from relief ground;surfacechipped. of the ankle. Above this line, to the turning,perhaps The fragmentdepictsthe lowerpartof a leg wearing right,a bone is lightlymodeled.The surfaceis finished a leatherboot. The top band of the boot remains,but all aroundexceptfor some rasp marksat the back. the flap is chippedoff. The position of the shin bone indicates that the leg was in three-quarterview to A 29 LOWER RIGHT LEG IN RELIEF PI. 65 right. The surfaceis relativelysmooth, except at the T 143;Theater,findspotunknown. back of the leg. Max. P.L. 0.278, P.W. 0.194, P.L. leg 0.170, W. calf 0.064,Th. reliefground0.083 m. A 25 LOWER LEG IN LEATHERBOOT PI. 64 Singlefragment,brokenon all sides. Smallportion S 541; Theatertrench,May 22, 1903;N.B. 26, p. 41. of uppersurfaceof plinthpreserved. P.L. 0.100, W. 0.048, Th. 0.050 m. The relief shows most of a lower right leg, from Singlefragment,brokenat two ends; weathered. mid-calfto heel, and partof the foot, in profileto left view against some background.Tendons and calf muscles Leg from below knee to anklein three-quarter to right.The top bandand two sideflapsof the leather are ratherangularlydefined,but the ankle and instep boot are depicted,but only the properright flap was are well modeled. A running-drillchannelseparatesthe leg from the undercutby individualdrill holes. The front surface relief ground and the bottom of the foot from the is relativelysmooth, the calf is lightly modeled, but plinth. The relief ground retainsmarks of the point the back is roughlyfinishedas a ridge. and claw chisel; reverse,hammerdressed. A 26 LOWER LEG IN BOOT PI. 64 A 30 FRAGMENT OF RIGHT FOOT PI. 65 S 3188; Museum basement,marble pile; findspot ON PLINTH unknown. T 368; Theater,findspotunknown. P.L. 0.090, P.W. 0.052, Max. Th. 0.051 m. P.L. foot 0.081, P.H. 0.067, Th. background0.039Singlefragment,brokenat mid-calfand diagonally H. plinth0.145, est. top D. plinth0.077 m. 0.058, below knee. Threejoiningfragments;brokenon all sides; badly Fragmentof booted Amazonleg, badly markedby chipped;only part of front and top surfacesof plinth the excavationpick. The leatherboot is of the usual are preserved. type with a narrowband at the top and partsof three Half of rightfoot is preservedin reliefin profileto hangingflaps,narrowerand shorterthan othersof this left, the surfacebadlycorroded.The firsttwo toes are type. fully carved, the third only sketchilyrendered.The surfaceof the narrow,rocky plinth slopes up to the A 27 LOWER LEG IN BOOT P1.64 background. T 337; Theater,findspotunknown. All front surfacesare coveredwith rasp and clawP.L. 0.122, W. 0.048, Th. 0.057 m. chiselmarks;reverse,hammerdressed. LEG AND FOOTFRAGMENTS

CATALOGUE A 31 FRAGMENTARYRIGHT FOOT

87

PI. 65

The fragmentary lower border of a thin chitoniskos ends above a right knee, which seems to have been S 492; Theatertrench,3.5 m. deep, May 21, 1903; bent. Fine folds in the skirt appear as very low ridges N.B. 18, p. 60; N.B. 26, p. 60. which curve diagonally across the thigh. A deeper fold P.L. foot 0.058,W. foot 0.054, H. plinth0.092 m. appears to the left, presumably between the legs. Left Singlefragment,brokenon all sides;veinedmarble of the fold the depth increases ca. 4 cm., where the with pink inclusions. is drapery slightly undercut; most of this area has A right foot, clad in a leather boot, is preserved flaked off.

fromtoes to middleof archstandingflat on the plinth. The foot may turn somewhattowardthe inside. The surfaceis lightlymodeled.Point marksremainon the A 35 DRAPERY FRAGMENT AND KNEE top of the plinth;thebottomsurfaceis roughlyworked.

P1. 65

S 3264; Museum basement, marble pile; findspot unknown. P.L. 0.132, P.W. 0.177, Th. 0.049 m. S 3209; Museum basement,marblepile; findspot Single fragment, broken on all sides, weathered and unknown. encrusted. P.L. P.W. Th. P.L. foot

A 32 FRAGMENTARY LEFT FOOT

PI. 65

0.100, 0.063, 0.067, 0.100, W. foot (at base of toes) 0.049 m. The fragment preserves the lower edge of a Single fragment,broken on four sides; weathered chitoniskos, probably arranged over a knee. Part of and encrusted. the drapery and the rest of the leg are chipped off. The draperyhangs straight down on the left, as if it fell Left foot in boot is preservedin profile to left of between the legs. relief, the inner side adjacentto the background.An irregularconvex curve rendersthe toes, above which the foot riseswith a strongoutwardcurve.The upper A 36 DRAPERY FRAGMENT P1. 66 surface,but not the whole foot, is separatedfrom the S 3271; Museum basement, marble pile; findspot backgroundby a drillchannel.A smallportionof the front face of the plinth is preserved,roughlyworked. unknown. P.L. 0.121, P.W. 0.105, Max. P.Th. 0.048 m. Single fragment, broken all around; surface chipped and worn.

DRAPERY FRAGMENTS

A 33 DRAPERY FRAGMENT AND NECK

PI. 65

The fragment represents a group of curving, swirling folds, probably near the lower border of a chitoniskos. The surface is convex at the top and curves in at the bottom, as the folds curve to the right.

S 3273; Museum basement,marble pile; findspot unknown. P.L. 0.096, P.W. 0.060, P.Th. 0.044 m. A 37 DRAPERY FRAGMENT P1. 66 Single fragment, broken on three sides; surface S 3277; Museum basement, marble pile; findspot weathered. unknown.

The fragmentpreservespart of some draperyat the P.L. 0.069, P.W. 0.033, Th. 0.070 m. neck of a figure.The throatcurvesout sharplyat the Single fragment, broken on three sides. above the while and is immediately convex, top Small fragment with two light folds and part of a chitoniskos it is only slightly convex. A diagonal The quality of the drapery resembles that of the third. borderforms the top of the garment,fromwhicheven Amazons' chitoniskoi. The outer surfaces of the folds folds run diagonallyto left. The Amazon'schitoniskos are rough, while the intervening valleys were slightly was probablypinnedat the left shoulder. A 34 DRAPERY FRAGMENT AND RIGHT KNEE

PI. 65

cut by the running drill and partially smoothed. The piece may belong to a bunch of cloth between the legs. A 38 DRAPERY FRAGMENT

P1. 66

S 3267; Museum basement,marble pile; findspot S 3265; Museum basement, marble pile; findspot unknown. unknown. P.L. 0.100, P.W. 0.096, Th. 0.057 m. P.L. 0.096, P.W. 0.064, P.Th. 0.067 m. Singlefragment,brokenbelow knee and diagonally aroundskirt; right surfaceof knee chipped. Single fragment, with five diagonal breaks.

88

THE AMAZONOMACHY

The tops of threefolds are preserved.Drill holes are visibleat the ends,but smoothedrunning-drill channels separatethe folds whichflareout somewhatfrom the top. The folds, which are not smoothlyfinishedand have long ridges, give the impression of crinkly material.The endsof two drillholes remaincut deeply underthe fold on the right.The piecemay belongnear the top of a skirt,below a waist band or kolpos.

A cylindrical section is carved in the round and conveys the impressionof a horse leg. Two small bumpsprojectfrom the front as if to suggestperhaps the back of the knee or fetlock.The rest of the surface is unmodeled,but smoothlyfinished.

A 43 HORSE LEG FRAGMENT

P1. 66

S 3210; Museum basement,marblepile; findspot unknown. S 3269; Museum basement,marble pile; findspot P.L. 0.081, P.W. 0.045, Th. 0.034 m. unknown. Single fragment, broken at two ends; chipped, P.L. 0.120, P.W. 0.053, Th. 0.072 m. weathered. Singlefragment,brokendiagonallyon all sides. Partsof threefolds, of varyingwidths,are separated Fragmentaryhorse leg, carved in the round. The tendon and joint, which could representthe knee or by running-drillchannels, smoothed over with the chisel. The outer surfaces of the folds are slightly fetlock,are modeled,but badly worn. The fragmentis unfinishedon the inside, whereit is cut straightback rough.The folds form the bottom of a skirt,probably into a roughlyworked area which probablyadhered an Amazon's chitoniskos.The garmentis undercut, to the relief ground. perhaps0.01 m. in all, and is cut back in successive drill and flat-chisel work; the rest remains stages by rough. A 44 HORSE LEG FRAGMENT P1.66 A 39 DRAPERY FRAGMENT

P1.66

HORSELEG FRAGMENTS

A 40 HORSE LEG FRAGMENT

P1.66

S 3176; Museum basement,marble pile; findspot unknown. P.L. 0.081, P.W. 0.042, Th. 0.067 m. Single fragment,broken on two ends and from background.

S 3183; Museum basement,marblepile; findspot unknown. The joint and part of the front of a horse leg in P.L. 0.048, P.W. 0.035-0.040,Th. 0.048 m. relief.The joint is somewhatbent and probablyfaced Singlefragment,brokenat two ends. to left. The joint, perhapsthe knee, appearsalmost circular abovethe thin, cylindricallimb.One tendonis carved in horse the round. One Fragmentary leg modeled to left. The unfinishedrightside bears lightly the is below which the bone, perhaps fetlock, modeled, surfacebeginsto curveoutward.The back is left flat, long incisions. A bit of backgroundadheres,acting partlyas a strut. but is smoothlyfinished. A 41 HORSE LEG FRAGMENT(?)

P1.66

A 45 ANIMAL LEG FRAGMENT PI. 66 S 3175; Museum basement,marble pile; findspot S 3174; Museum basement,marble pile; findspot unknown. unknown. P.L. 0.073, P.W. 0.048, Th. 0.054 m. P.L. 0.098, P.W. 0.046, Th. 0.055 m. Singlefragment,brokenon two ends;badlychipped, weathered. Single fragment, broken at two ends; chipped, weathered. The fragmentdepicts a curvingsection of a horse leg, perhapsat the pastern(or perhapsankle). The The fragment representsthe curved joint of an front bone is prominent,leadingtowardthe hoof. animalleg, perhapsa horse,dog or bull, carvedin the round. On the outside the joint and tendons are modeled,while the inside is roughlyfinished carefully A 42 HORSE LEG FRAGMENT(?) P1.66 though retainingits form. The joint is bent toward S 644; Theatertrench,June3, 1903;N.B. 18, p. 75. the rightof the reliefand seemsto representthe nearer P.L. 0.086, P. Diam. 0.036 m. leg. The size comparesfavorablywith the AmazonomSinglefragment,brokenat both ends. achy horses.

CATALOGUE A 46 HORSE LEG FRAGMENT

P1. 66

T 350; Theater, findspot unknown. P.L. 0.103, Max. W. 0.047, Max. Th. 0.036 m. Single fragment, broken on all sides. Horse's hind leg, preserved from above the fetlock to just above the knee. The muscles and bones are articulated. The fragment once adhered to the relief ground, so is probably the farther left leg of a horse moving right. The surface is slightly chipped and marked by the rasp.

89

AXE FRAGMENT

A 47 DOUBLE AXE HEAD

PI. 66

T 114; Theater,findspotunknown. P.L. 0.076, W. 0.027, Th. 0.012 m. Singlefragment,brokenfrom relief groundat back and from shaftat end. Axe headshapedas a doubleaxe and the stub of its shaft.It probablybelongsto an Amazon,althoughthe type differsfrom the other preservedblade, in A 8. The surfaceis smoothlyfinished.

THE LABORS OF HERAKLES

Slab 1, Herakles in repose

Slab 4, The StymphalianBirds

Slab 2, Antaios(?)

Slab 5, The Nemean Lion

Slab 3, The Aug

Slab 6, The LernaianHydra

Slab 8, The Cretan Bull

Slab 9, The Mares of Diomedes

Slab 12, Geryon

Slab 10, The Amazon's Gird

Slab 13, The Erymanthian Boar

Fig. 3.

The Labors of Herakles. Scale 1:20

Slab 14

IV THE

LABORS

OF

HERAKLES

hrtheater friezes. The reliefs showing the Labors of Herakles are the least well preserved of thethre the number of fragments to this least This might be partially due to the fact that we are able to attribute frieze because its figures are similar in scale to those of the Amazonomachy and the backs of the slabs are treated like those of the Gigantomachy. The extremelyfragmentarystate of the Herakles frieze may derive mainly from the height of its location on the scaenae frons. As in the Amazonomachy, the figures are one-third life size, but appear in general not to be so stocky, although some are proportionately more slender than others. In addition to Herakles' attributes, size provides one criterion for separating some of the fragments from those belonging to the Gigantomachy, while the treatment of the reverses of the slabs, where preserved, differentiatesothers from those belonging to the Amazonomachy. If we accept what seems a logical restoration in slab 9, we see that the slabs, also like the Amazonomachy, are quite a bit wider than they are high. The restored length of slab 9, 1.085 m., is the only evidence we have for estimating the length of the individual slabs. The restored height of slab 9 is 0.778 m., the complete height of slab 11 is 0.832 m., and of slab 4 (restored only at the right edge) 0.828 m. The restoredheight from the plinth of slab 13 is 0.788 m., which, added to the probableheight of the plinth, brings the slab close to the measurementsof slabs 4 and 11. If we take the average preservedheight of the Herakles slabs (0.81 m.) we find that it is about the same as the average height of the Amazonomachy blocks (0.816 m.). The preserved heights of the Amazonomachy blocks also vary, from 0.765 m. (A 3) to 0.88 m. (A 4). The reverses of some of the slabs have a smooth, sawed finish identical with all the reverses in the Gigantomachy group. Nearly half of the slabs, however, are roughly dressed (e.g., slabs 1, 4, 8, 11, 14). Because of this ambivalenttreatmentof the backs, some fragmentsnow attributedto the Amazonomachy may actually belong with the Herakles series or vice versa. This disparity of finish was previously interpreted to imply that some of the blocks were re-usedfrom a Hellenistic monument, but such an argument disregardsthe stylistic and technical unity of the series, as well as the excavational evidence. In addition, if Herakles was representedin the Amazonomachy as well, one of the figures presently included in the Herakles series should perhaps be transferred.But such questions will remain unanswereduntil further joins can be made, or until additional excavations in the theater uncover new fragments. Sculpturalrepresentationsof the Labors of Herakles during the Greek period seem confined to a few basic, but important monuments. In Archaic times, the metopes of the Treasury at Foce del Sele and eight scenes on the Treasuryof the Athenians at Delphi make use of this theme,' but the most important Classical monuments are the twelve metopes from the Temple of Zeus at Olympia and the east metopes of the Hephaisteionin Athens.2The exploits of Herakleswere very popularin vase paintingin all periods,3 Sele: Zancani-Montuoroand Zanotti-Bianco,Heraionalle Foce del Sele II. AthenianTreasury:De la Coste-Messeliere,Fouillesde DelphesIV, iv, metopesnos. 15 (lion), 16 (centaur),17-18 (horse),19 (hind), 20 ("Atlas"), 21 (Kyknos), 22 (Amazon), 23-25 (cattle of Geryon), pls. 44-74. For ancientliterary sources, see Diodorus Siculus, IV, ii; Apollodoros, II, v, 1-12. 2 Olympia: Treu, OlympiaIII; Ashmole and Yalouris, The Sculpturesof the Templeof Zeus, pls. 143-211, pp. 22-29, 181-184. Hephaisteion:Sauer,Das sogenannteTheseionundsein plastischerSchmuck;Morgan,Hesperia31, 1962, pp. 211-219, pls. 71-76. 3 Brommer,Herakles;Brommer,Vasenlistenzur griechischenHeldensage;Flaceliere and Devambez, Heracles, images et recits; Luce, AJA 28, 1924, pp. 296-325. 1

96

THE LABORS OF HERAKLES

and the deedsof the heroformeda favoritethemefor Lysippos,who executeda seriesof groupsrepresentingthe laborsfor Alyziain Akarnania.4 In the Roman period the subject appears on the frieze from the theater at Delphi,5 a number of

sarcophagi,6on small reliefson the west pilasterof the Basilicain the forum at Leptis Magna,7and in sculpturalgroups in the round.8A fragmentaryRoman friezeis also preservedfrom Pergamon, and a seriesof plaquesis knownfrom southernFrance.9 do not differessentiallyfrom their Greekprototypes,though In the Romanperiod,representations Heraklestakes on new meaningsdue to the increasedimportanceof Heraklescults, and muchmore varietyof sceneis achieved.The popularityof the exploitsof Heraklesat Corinthis attestednot only by theirsculpturaluse on the theaterfriezeand by two unpublishedHeraklesheadsfrom the theater, but also by the find of a group of Roman relief bowls on which eight of the Laborsare portrayed.10 The importanceof the hero in Corinthis furtheremphasizedby the presenceof a cult in the Roman period,as documentedby statuesand perhapsa temple.1l In spiteof the fragmentary natureof the frieze,somegeneralremarkscan be maderegardingthe composition.Judgingfrom slabs 2, 9, 11, 12 and 13, the arrangementof the figuresremainsspaciousand uncrowded,as in the Amazonomachyand Gigantomachyfriezes.Slab 11, for instance,preservesthe entirerightedgeand a largeportionof the upperedgeandplinth,and exhibitsa sizableamountof free backgroundspaceaboveandto the rightof Herakles,as muchas in the Amazonomachyslabsand quite a bit morethanin the Gigantomachyreliefs. Thefigureson someblocksaremorecrowdedthanon others.In the episodeof the StymphalianBirds, for instance,the threeoverlap,the tail of the middlebirdreachesnearlyto the rightedge,whilethe upper bird is ratherclose to the top. In the restoredscene of the Mares,Herakles'head comes withintwo centimetersof the top of the slab, while the end of the club coincideswith it. Still, the relationship betweenthe figuresis spacious. Thefriezeat Delphi,whichLevequedatesto the late 1stcenturyafterChrist,formsthe only counterpart for the choice of the Laborsof Heraklesas a theaterfrieze.12In the Delphi frieze,as at Corinth, the exploitsportrayedare not the canonicalones of Olympia.Rather,Heraklesis shownfightingthe Centaur,the Hydra,Geryon,the Mares,an Amazon,Kerberos,the Nemean Lion, the Stymphalian Birds, Antaios, and appears in the Apples of the Hesperides scene. The Delphi composition differs 4 Lippold,p. 278, note 5; Strabo,X, 459; F. P. Johnson,Lysippos,Durham, 1927,pp. 190-193; Loeffler,Marsyas6, 1954,pp. 8-24, pls. 3-9. 5 Homolle, Fouillesde DelphesIV, i, pl. 76; L6veque,pp. 247-263, pls. 27-29. 6 See, e.g., sarcophagiin the Vatican: Amelung, VaticanII, no. 102 ,i, pl. 24; no. 431, pl. 80; no. 444, pl. 80; Velletri:EAA III, pp. 386-387, figs.470-472; Bartoccini,Rivistadell'Istitutod'Archeologiae Storiadell'Arte,n.s., 7, 1958,pp. 129214; Lawrence,AJA 69, 1965, pp. 207-222, pls. 45-54; Lateran:most recentillustrationin EAA III, p. 387, fig. 473; Helbig4,no. 1026.Comparealso the similarreliefin the Ny Carlsberg Glyptothek,Poulsen, no. 270, pl. 19. See also the Roman relief illustratingHeraklesand the Hydrain Basel, Scheffold,Meisterwerke griechischerKunst,no. 390, p. 280, fig. p. 283. 7 Bianchi Bandinelliet al., TheBuriedCity, Excavationsat Leptis Magna, pls. 134, 136, 137. 8 Compare, for instance, five examples in the Vatican,Amelung, VaticanII, pl. 34, nos. 141, 134, 137 (Helbig4,no. 109), no. 167 (Helbig4,no. 96), no. 213 (Helbig4,no. 98), no. 208. See also the group of Herakles and Kerberosin the Ny CarlsbergGlyptothek, Poulsen, no. 270a, Suppl., pl. 5. 9 AltPerg VII, ii, p. 308, no. 398; Leveque, p. 254, fig. 3. For the reliefs from Chiragan,in the Mus6eToulouse, see Reinach, Repertoirede reliefsgrecs et romainsI, pp. 100-102 and Esperandieu,Recueilgeneraldes bas-reliefsde la GauleromaineII, pp. 36-39. 10Spitzer,Hesperia11, 1942,pp. 162-192.AnotherHeraklesreliefhas recentlybeen found at Corinth,Megaw,JHS, Archaeological Reportsfor 1963-64, pp. 6-7, fig. 5. 11For the survival of a Herakles cult into the Roman period, R. Lisle, The Cultsof Corinth,unpublisheddissertationfor Johns Hopkins, 1955,points to the survivalof the Archaicxoanonnear the sanctuaryof Athena Chalinitis(Pausanias,II, 4, 5), the bronze statue near the Propylaia(Pausanias,II, 3, 2) and Scranton'sidentificationof Temple H as a temple of "Herakles"(CorinthI, iii, p. 70). In additionto this, a fragmentarycylindricalpedestal,probablyfrom the 1st centuryafterChrist,was found, bearingthe name Herakles (CorinthVIII, i, no. 69, p. 53). For his worship in Attica, see Susan Woodford, "Cults of Herakles in Attica," Studies Presentedto GeorgeM. A. Hanfmann,Cambridge,Mass., 1971, pp. 211-225. 12 Leveque,pp. 247-263. I have redated the frieze to the late Hellenistic period and disassociatedit from the theaterwhereit was re-used only in Roman times. See my study "A New Monument to Herakles at Delphi," forthcomingin AJA.

THE LABORS OF HERAKLES

97

markedly from the Corinth frieze. Two and a half labors are represented on each of the two slabs preserved to their entire length (1.64 m., fragments 4, 6). The exploits against the Centaur and Geryon are each split between two slabs, so the blocks must have been arrangedimmediately adjacent to each other.l3 This placement creates the impression of a pseudo-continuous style with the hero presented a number of times on the same relief in episodes which occurred at differenttimes. Since the figures from one exploit often overlap more than one slab, the duel scheme of the scenes is not emphasized. By contrast, only one Labor appears on each of the Corinth slabs, so that each Labor is an independent entity. The Delphi reliefs are restored across the front of the Roman pulpitum. The Labors as represented at Corinth are neither completely canonical nor do they all conform to traditionaliconography. From the availablefragmentsfourteen scenes can be reconstructed(see drawings, Figs. 3): the familiar twelve, plus scenes showing Herakles in repose and the hero's struggle with Antaios. As all of the attributable fragments have been accounted for in the restoration, it does not seem likely that the remaining small fragments in the Unattributed section of the catalogue indicate additional slabs. With an averagelength per slab of 1.08 m., the length of the entirefrieze can be estimated at 14.04 m. Although the fragmentarynature of the slabs is deceptive, the Corinth Labors are seen to vary considerably in spatial arrangementand general layout as well as in the adherence to conventional prototypes. Open compositions, as in the Kerberos Labor, contrast strongly with the arrangement of the Boar and the reconstructeddrawings of the Mares and the Cretan Bull. Some scenes, particularlythe Hydra, Amazon and Kerberos, seem to follow usual iconography, and the Apples is close to a variant means of representingthe scene. Geryon may recall accepted patterns of rendering,but in the Labors of the Boar, the Lion and the Bull the beasts are shown in quiet, relaxed poses which form a great contrastwith traditional motives. The existence of fourteen Labors probably points out the artist's intention of fitting the frieze to its architecturaldestination. The present arrangementof the Labors at Corinth has been worked out partly on the basis of findspots and partly by comparison with the two major ancient sources, Diodorus Siculus (IV, 11-27) and Apollodoros (II, v), and with major sculptural prototypes, such as the Olympia metopes. The most fragmentaryscenes are located on the west. We begin with a quiet scene, probably Herakles in repose at the beginning of his labors. This is followed by Antaios and the Augeian Stables, for which the position is fixed by the discovery of the largest segment near the west end of the stage building. The four Labors on the west central section of the building all took place in the Peloponnese. No provenance is recorded for the Birds, but the findspots for the Lion, Hydra and Hind suggest central, or west central positions. In the east central section, the episodes all occur outside of the Peloponnese. Findspots are recordedfrom the east cavea, as well as the east end of the peristyle court and of the stage building.The provenancesfor those reliefs found on the east side of the building suggest original positions in this area. Though the Boar may seem out of place this late in the series, such a position provides an explanation for the weary demeanor of the hero. The final scene, an alternativerenderingof the Apples, provides a quiet close, complementaryto the beginning of the series. Six of the eight slabs on the two central sections of the skene may have followed the orderfound most often in the literary sources, and at Olympia. The disposition, in the sources, seems most fixed in the relationship of the Lion and the Hydra, as first and second, and in the sequence of the Bull, Horses, Amazon and Geryon, which form the last of the ten main Labors. According to both Diodorus and Apollodoros, Kerberos and the Apples seem added on as secondary or alternative endings. In the succession at Corinth, however, the findspots recorded for Kerberos and Geryon suggest that the two have switched places. As in the other two friezes from the theater, the reliefs posed on the far western end of the building are the most fragmentary. That several of them are also lacking in findspots also 13

Ibid., pl. 29. However, Leveque,p. 247, suggeststhe plaqueswere separatedby pilastersor engagedcolumns.

THE LABORS OF HERAKLES

98

agrees with the fact that excavation notebooks are missing for much of the western area, and that the western portion of the peristyle court remains largely untouched, even by test trenches.

The Laborsof Herakles,as the most fragmentaryof the friezes,is likelyto have occupiedthe podia of the third story of the stage building. This gives to the adopted Peloponnesian hero, who has an active

cult in Corinthin the Romanperiod,a very dominantpositionon the building. HERAKLESIN REPOSE(slab

1)

H 1 shows a rocky elevation at the right on the plinth, with a club resting against it. Further left we see a scar giving the position of Herakles' left leg and one paw of a lion skin which must be hanging down behind the hero. The scene is difficultto identify, but since the preservedfragment occupies nearly

half of the lower right portionof the slab, thereappearsto be no room for a secondfigure.Herakles must be representedalone in the center of the slab wearinghis identifyinglion skin and leaningon his club. In his frontal stance he appears ready to address his audience. The anachronistic presence of the

lion skin wouldnot have disturbedthe Romanaudience. ANTAIOS(slab 2)

Two plinth fragmentscomposethis slab, which is seen to contain Herakles'club, quiverand left foot, with the probable position of his right. The hero is shown striding left, his legs placed far apart.

As no indicationof a secondfigureis preservedagainstthe smallportionof backgroundremainingor on the long plinth, the strugglewith Antaios seems a plausible interpretationfor the relief. Herakles may have been depicted raising the giant from the ground, as this was the only way in which he could defeat him.14 The more common version of the legend shows Herakles and Antaios wrestling on the ground

from whichthe giant drewstrength. THE AUGEIANSTABLES(slab 3)

The Labor in which Herakles cleans out the stables of Augeias may be representedby the head and torso fragment H 3-1. Herakles faces right, and is therefore on the left of the slab, with his left arm down at his side and his right, perhaps H 3-2, raised covering most of his face. His right arm may have held a long pole or hoe with which to knock a hole in the side of the stables so that the rivers Alpheios

and Peneioscould flow throughand wash out the buildingin whichthe oxen of Augeiaswerekept. The Olympia Labor shows Herakles in frontal view striding left raising a pole with both hands to the

right.Ourfigure,if he reallybelongsto thisLabor,is reversedand it is not clearhow he maneuvershis implement. THE STYMPHALIAN BIRDS(slab 4)

The Olympia metope with this Labor representsHerakles after the action has taken place, offering his spoils to Athena. In contrast, the artist of the Corinth relief has chosen to portray the height of the

action,morein the mannerof vase paintings.Heraklesstandson a smallrise at left, as he attemptsto conquerthe ferociousbirds.Onebirdhas alreadybeen struckby an arrowat the base of its neck,while two other birds hover above it in flight. One fragment, H 6-2, shows a hand possibly holding a bow,

but the treatmentof the back of this fragmentis smooth,whereasthat of the birdsis roughand therefore attributionis impossible.The Heraklesin this slab, H 4-3, was probablyshowngrabbingthe top birdby the neck,in the mannerof severalvasepaintings,standingon the highergroundlevelwhichalso supportshis club,H 4-2, with theweaponfixedin the body of the deadbird.The unusuallysmallsize of this figureof the heromakesit the most likelycandidatefor this slab due to the rise in groundlevel 14

Compare,e.g., such sculpturalgroupsin the round in Florence(Pitti Palace),Vienna,Catania,New York, and a representation of a similar group on a coin from Alexandriain the British Museum: Hans Mobius, "Vier hellenistischenSkulpturen,"Antike Plastik 10, 1970, pp. 39-53, figs. 1-10, pls. 34-37.

THE LABORS OF HERAKLES

99

established by the club and weapon. The Corinth scene may represent the moment after the first arrow is shot, and depict the hero coming into closer physical combat with the fierce birds with his left hand

whiledirectingan arrowor spearwith his right. THE NEMEANLION(slab 5)

The Nemean Lion was anotherof the ferociousbeasts Herakleswas to conquerat the biddingof Eurystheus. The fragmentary lion of H 5-1 is the only possible candidate for this scene. It is shown

standingin profileview to the right, and so belongson the left of the slab. Two fragmentarypaws, H 5-2 andH 5-3, maybelongto thisfigurewithwhichtheycorrespondin scale.Althoughthe lion might also be interpretedas a dog, it is unlikelythat it belongsto the KerberosLabor,sinceit has no chain about its neck. The animallooks somewhatdiminutiveand tame, but not more so than one would expectafterconsideringDiomedes'mares(below,p. 100). Among the extantHeraklesfigures,we do not seem to have any whichcould belongto this scene. H 7-1, whichbelongsto the right of the slab, includesthe lion skin, and so could not be part of the scene.H 12-3, also on the right,seemsto fit morelogicallywith H 12-2. H 5-4 may portrayhis club. of thisLaboraremuchmoreactive.Heraklesis shownon manyvases, The traditionalrepresentations on the AthenianTreasuryandthe Hephaisteion,wrestlingwiththeLionwithhis armsaroundthe beast's neck.At Olympiathe end of the exploitis presented,theLion lyingvanquishedon the groundand the tiredhero standingover him in the presenceof Athena.At Corinth,on the otherhand, we may have the beginningof the labor,the Lion portrayedquietlyon the left preparingto lungeto the right.This choice of momentmay be comparedwith that in the Laborof the ErymanthianBoar. THE LERNAIANHYDRA(slab 6)

Among the extant fragments, two seem to represent the rounded snake-like bodies of the Hydra. H 6-1 depicts one of the heads with an incised circle for the serpent eye. The plinth resembles a rocky landscape, probably near the left end of the slab. On the Olympia metope, one of the serpent heads lies

on the groundand is similarin renderingto our fragmentH 6-1. The centralportionof the Hydra's body is largeand ratheramorphousand may have its counterpartin our fragmentH 6-3, from which one of the serpenttails wouldbeginto emerge. TheHydraat Delphi,raisedon a rectangularelevation,swingsits coils into the shapeof a figureeight. Its one head resembles a horse head with three fins on the back, and the body has a fish tail, so that it

looks like a sea monsterratherthan a many-bodiedserpent.Heraklesstridesleft in rearview,grabbing the monster'sneck with his left hand and wieldinga club in his right. The hero strides A relieffromLernaprobablyprovidesa moreconventionalrenderingof the scene.15 armholds his left rightin a frontalpositionsteppingon one of the serpentbodieswith both feet. His lion skin and grabsone of the serpentineends, while his rightraisesa club. Unfortunatelywe seemto have no logicalcandidatepreservedfor Heraklesin this scene.The right foot on H 6-1, steppingon a Hydrahead, suggeststhe directionof the reconstructed figure;as with the Our one of his curled be around Lernarelief,the Hydra'ssnakyappendagemay legs.16 fragmentH 6-2 is a logical candidatefor Herakles'left hand; the peculiarobjecthe holds which resemblesa bow is most probablythe sicklehe used to slice off the Hydra'sheads.His righthandmay have held a torch to burn out the decapitated necks, as told by Apollodoros,17or his club. On H 6-2 a second hand is preservedrising from the background; as it is a right hand which appears directed away from Herakles' left hand, this must indicate the presence of a second figure, presumably lolaos. 15 Karouzou, Sculpture,Catalogue,no.

3617, p. 95, pl. 35, dated in the 3rd centuryB.C.

16S. Lattimoresuggesteda prototypefor such representations,which appearon coins from Phaistos, in a paperread at the 72nd

GeneralMeeting of the ArchaeologicalInstituteof America, summaryin AJA 75, 1971, p. 207. 17Apollodoros, II, v, 2.

100

THE LABORS OF HERAKLES

THE KERYNEIAN HIND (slab 7)

The Keryneian Hind, according to Apollodoros (II, v, 3), was a beast with golden horns to be brought back alive from Oinoi in the Argolid. Although no fragments of the Hind can be identified, it may have

been representedoppositethe Heraklesin H 7-1. This piece depictsHeraklesstridingleft in rearview withhis clubheldagainsthis rightarm.At the rightedgeof the slabhis skin,quiverand bow hangfrom a treebranch.As the preservedsceneoccupiesoverhalf of the block,the hindmayhavebeensomewhat diminutive,like the lion and the mares,and may havebeenrearingto a nearlyuprightposition,as the hero grabsthe horns with his left hand. H 7-2 may representHerakles'left foot, which is well advancedbeyondthe right,and the claw, H 7-3, may fit furtherdown the slab below the lion skin. THE CRETANBULL(slab 8)

H 8-2 can be interpreted as Herakles, accompanied by Athena or Hermes, standing before an altar

or a statuebase. The head H 8-1 may conceivablybelongwith this group.Severalexamplesoccurin vase paintingwhichmightoffera possibleexplanationfor the significanceof this scene.Hooker18has interpretedrepresentationsof the hero standingnext to a rough stone altar and statue as Herakles performinga sacrificeto Chrysebeforesailingto Troy.SincePhiloctetesand olaos or Lichaswerealso presentat the scene,19it is possiblethat this subject,if on the theaterfrieze,would have been inspired by a theatricalperformance,such as the Philoctetesof Euripides.A discrepancymay exist in that the vases show an altarmade of roughstoneswhile the Corinthreliefdepictsan undecoratedrectangular monumentstandingon a two-steppedbase, even thoughthe floor of the plinthis rocky. Among our fragmentsthereis H 8-3, comprisingone rearleg and the tip of the tail of a bull facing left. The immediateassociationis with the Labor of the CretanBull, anotherof the large, ferocious animalswhichHerakleshad to capturealive. The positionof the animal'sleg as preservedsuggestsa quiet,walkingpose,not a momentof struggle,whileall otherdepictionsof this sceneportrayHerakles and the beast in violent action.However,sucha quiet pose would not be uncommonfor the Corinth series.Sincethe backsof both H 8-2 and H 8-3 are roughlyworked,theirassociationis strengthened, and the animalmay have been shown standingbehindHeraklesand his companion.The additionof the Bull would probablycause this slabto be somewhatlongerthanthe rest.Sincethe lion skinis slipping downthe hero'srightleg, his handsare free to hold on to the beast by the head. A comparison with the Olympiabull-legfragmentsbringsout the shortproportionsof the Corinthleg. Heraklesmay be shownstoppingby an altaron his way back from Creteto Eurystheus. THE MARESOFDIOMEDES (slab 9)

The legend about the man-eating mares of King Diomedes of Thrace tells that Herakles tamed the horses by feeding them the flesh of their master. Traditional representationsof the scene, however, show

Heraklesfightinga rearinghorsewith his club, as on the Olympiaand Hephaisteionmetopes,in both of whichthe figuresare arrangedin a crosspattern. At Delphi,the two figuresare not in such a scheme,but Heraklesappearsto grabthe rearinghorse, equalin heightto himself,at the top of its headwith his left hand,while swinginghis club in his right. Heraklesleans back for balance,with his lion skin over his left arm. The positions of the figuresat Corinthare reversed,and the horselooks somewhatdiminutiveand harmless,as a powerfulHerakles stridesforward. The artist,less concernedhere with linearpatternsof composition,has taken advantageof his additional space.Herakles,probablyin three-quarter rearview, stridesleft with his club raisedagainstone horse,whilethe animalrearson the left over a secondhorsewhichhas fallento the ground.The latter probablylies on its back,its head towardHerakleswho may be steppingon its neck. One of the bent 18 E. Hooker, JHS

70, 1950, pp. 35-41, figs. 1-5. 19Ibid., p. 37; the names of the figuresare given on the vases.

THE LABORSOF HERAKLES

101

hind legs of the second horse can be seen beneath the first. Two small leg fragments may be attributed to the preservedhorse, but very little remains of the fallen animal. Herakles holds the lion skin out as a shield, draped over his left arm. The plinth is representativeof the rocky terrain of Thrace. THEAMAZON'S GIRDLE(slab 10)

The left booted leg H 10-3, lying on the plinth in rear view, is the only obvious candidate for this

exploit.Restorationof this slab is madedifficultby the fact that it is uncertainwhetherthe leg belongs on the left or the right.If actuallythe frontof the left leg is shown,the Amazonmightwell be imagined kneelingon the plinth on her right knee. Her torso might then be in frontalview and her right arm raisedto graban opponenton the left. The malefigureadvancingrighton H 10-1 seemsmost likelyto go withthis slab. His torso is nearly frontal;his rightarmwas probablyraisedholdinga club (H 10-2) in readinessto strike,whilehis left armmayhavebeenextendedto grabthe Amazonby the hair.A portionof herraisedrightarmis visible on the rightof H 10-1. Themalefigurewearsa cloak overhis left shoulder,so that the tip falls between his left kneeandthe Amazon'srightarm.His left leg, extendedsharplyto the right,mayhaverestedon the Amazon'sthigh; his right leg extendeddiagonallyto the left. The hero was probablydepicted pullingthe Amazon'shair and swinginghis club into strikingposition. For arrangementssimilar to our reconstructed scene, compare the Parthenon west metope no. 1420

wherethe Amazonkneels on her left and an amphorafrom Orvietoin the MetropolitanMuseum,21 knee and is furtherawayfrom Heraklesthanin the Corinthexample. KERBEROS (slab 11)

In slab 11 the hero stridesright,carryinghis clubin a positionof rest, but availablein case it should be needed.The swirlinglines of the skin hangingfrom his left arm expressivelyadd to the movement of the figure.The hero leans to the rightwith the musculatureof his torso dramaticallycarvedas if to suggestgreatstrain,as wouldbe the case werehe pullinga heavyor resistingweight.Thismightsuggest the Laborof Kerberosin whichHerakleswas to dragthe three-headeddog awayfrom his post at the gates to Hades. The right hand with the chain wrapped around it seems logically restored with the pulling figure. Unfortunately we have no recognizable portion of Kerberos preserved, since the dog-like animal in fragment H 5-1 has no chain around his neck. In the representationat Olympia and on the Hephaisteion, only one of the dog's heads and one set of front paws are shown, while Herakles uses both hands to drag him forward, seemingly from behind the triglyph. By analogy Kerberos may be similarly representedhere as partially concealed, and would

thereforefit well in the availablespace. GERYON (slab 12) The Labor of Herakles against the three-bodiedmonster Geryon is difficult to reconstruct because the three-bodiedtorso is not obviously identifiableamong the Corinth fragments.The beardedhead peeking out from behind the shield in H 12-1 is likely to form a part of Geryon, and may belong with the figure in H 12-2 which also carries a shield and is cuirassed, as are representationsof Geryon elsewhere. For instance, Geryon also appears cuirassed and armed with shields on the Olympia metope, but on the Hephaisteion and on the frieze from the theater at Delphi, although three shields are held, the torsos are nude. In all cases, one body remains actively fighting, while the other two, already wounded or dead, hang in various positions from the waist. H 12-2 probably fights to the right, while H 12-1 forms part of a second torso hanging down on the left. Geryon probably fits on the left of the slab. 20 Brommer, pl. 33.

21

No. 56.171.7, ca. 530-520 B.C., Corpus Vasoru9iAltiquorum, New York 3 (12), pl. 28 (560); Flaceliere and Devambez,

Heracles, imnageset recits, pl. 9.

102

THE LABORS OF HERAKLES

For the opposing Herakles figure, I propose the nude warrior of H 12-3. Herakles would need a real

shieldin this case as a protectionagainsthis humanoidand conventionallyarmedopponent.Herakles' raisedrightarmmay have directeda spearto the left. THEERYMANTHIAN BOAR(slab 13) The story of the Boar was a favorite on vases, and previous sculpturalexamples follow the traditional iconography. The metopes at Foce del Sele, Olympia and on the Hephaisteion depict the moment when Herakles returns to the palace at Tiryns to present Eurystheus with the live boar. They also show a portion of the pithos in which Eurystheustries to hide from Herakles who lifts the boar overhead as if to dash him down on the frightened king. These three examples are remarkably similar to each other

and seemto belongto a firmlyestablishedtradition. The representationchosen by the designer at Corinth is, to my knowledge, unique. The Boar is shown sleeping before his capture, presumablyin his cave. Herakles stands quietly behind the animal, preparing

to chaseit out into the deepsnowandcatchit in a net. Thenet doesnot appearin the reliefas preserved, but Heraklesholds the lion skin over his left arm and leans on the end of his club, as if planninghis futurecourseof action. The boar is shown in perspectiveview, sleepingon rockyground;perhapsthe openingof the cave was carved(or painted?)in the missingportionof the slab above. The back of the boar and the relief groundabovemayboth havebrokenalonglinesof tension,suchas wouldbe causedby plasticrendering of a rockycave.22 When compared with other representationsof boars, the legs of the Corinth animal seem abnormally

thick, more like those of a sheep,and the body appearssmallerand less bristly.Partlybecausehe is shownasleep,the Boar,whowas the terrorof the countryside,appearsperfectlyharmless.Perhapsthis mannerof representingthe sceneis relatedto playsput on in the theater,wherethe boar could not be producedin action,as well as to landscapereliefs. THEAPPLESOFTHEHESPERIDES (slab 14)

In H 14-1, whichshowsa lion skin spreadout and a left handrestingon it, we may perhapsreconstructHeraklesseated on a rock over which the skin has been thrown.Such a restingfiguremight portrayHeraklesrelaxingnear the end of his labors, perhapswhile obtainingthe Apples, since that exploitis not so far representedat Corinth.A comparisonwiththe Hesperidesreliefin the VillaAlbani showsHeraklesseatedfacingleft withhis left handrestingbehindhimin a remarkablysimilarposition.23 He also is seatedon a rock drapedwith his lion skin. Our fragmentH 14-2 illustratinga righthand restingon a club may also belongto this slab. The iconographyof this Labor seems to have been less firmlyestablishedthan that of most other exploits.At OlympiaHeraklessupportsthe heavensaidedby Athena,whileAtlasbringsbacktheApples. On the HephaisteionHeraklesis shown handingthe Apples to Athena.The prototypeof the Albani reliefhas been attributedby Harrisonto the Altar of Pity in the AthenianAgora. 22 Comparisonwith the Grimanireliefs particularlypoints out the possibility of plastic renderingof the cave above and around the boar. See Strong, La sculturaromana,p. 75, fig. 49, p. 76, fig. 50. 23Harrison,Hesperia33, 1964, pp. 76-82, pl. 11, c.

CATALOGUE

103

THE LABORS OF HERAKLES: CATALOGUE Plates 67-83 SLAB 1 (Herakles in repose)

H 1 LION SKIN, CLUB, ROCK PILE IN RELIEF

P1. 67

S 508; joins T 130, S 517, S 525; Theater trench, 3.5 m. deep, May 21, 1903; N.B. 18, p. 60; N.B. 26, p. 40. P.W. 0.750, Max. Th. 0.119, Th. relief ground 0.1070.060, H. plinth 0.039-0.089, D. plinth 0.142, P.L. right edge 0.22, P.L. plinth (front face) 0.425 m. Five joining fragments; lower right corner and part of plinth preserved.

brokenedge of a rocky plinth. The "club" end (ca. 0.066 x 0.043 m.) projectsfrom sloping plinth and backgroundand has two incised knot holes or eyes and variousprojectingbumpsto indicatetexture.The "club" lies at a fairlyclose angle to the ground.The front and top surfacesof the plinth are carved to resemblesmall rocks. An objectmay have been connected to the backgroundat the left of the "club". The marble has silver micaceous veins. Reverse, smooth;bottom of plinth,hammerdressed. H 2-2 RIGHT FOOT AND CYLINDRICALOBJECT

P1.68

Visible from left to right are a lion's paw, a long thin object, a club and a rock pile. The claws of the paw are modeled in higher relief than the rest of the skin. The pointed nails are separated by incised lines from the rest of the claws. The paw hangs vertically. Adjacent, a long, thin scar, which extends diagonally down the slab and across the plinth, seems to preserve the back of Herakles' left leg and foot. The sides of the leg, where preserved, are roughly worked and probably would have been hidden by the leg; however, both sides of the ankle are preserved and the ankle bones are well finished. The club (0.076 x 0.171 m.) stands on the plinth and rests against the rock pile. Five or six raised knots and a rough surface suggest its texture. The rock pile (0.274 x 0.150 m.) has seven subdivisions, separated by grooves, suggesting individual rocks. An indistinguishable object is broken off above the rocky elevation. The relief ground and plinth are worked with the claw chisel and point; front of plinth smooth; bottom of plinth, claw chisel; reverse, hammer dressed. Herakles probably stood at left in a relaxed position, wearing the lion skin and leaning on his club.

A right foot faces left with the edge of a diagonal objectbeforeit, perhapsthe lowerborderof a skirtor a portionof a lion skin or club,whichis parallelto the top of the foot. The leg was bentforwardat the ankle. Behindthe foot standsa cylindricalobjectwhichhas a thin projectionat the right side curving down and towardthe centerand a raisedborderat the bottom, possiblysuggestinga quiver.The front of the plinthis brokenaway,the bottom is hammerdressed;reverse, smooth.The foot and cylindricalobjectare too close to suggestthat the piece belongs with H 7-1, but if restoredat a short distancefrom H 2-1, the diagonal breakabove the foot would line up with the club in H 2-1, and the object broken from the plinth in H 2-1 could be Herakles'left foot. The hero would be in a stridingposition, leaving room for no other figureon the plinth.

SLAB2

SLAB3 (The Augeian Stables)

H 2-1

(Antaios) HEAD OF CLUB ON ROCKY PLINTH

P1. 68

T 65; Theater, findspot unknown. P.L. 0.560, top D. plinth 0.079, P.H. background 0.060, H. plinth 0.082-0.100, Th. background 0.033 m. Single fragment, broken across top and at right; portion of lower left edge of slab preserved. The fragment shows the head of a club (or possibly the head of a Hydra), lying diagonally near the right

T 217; Theater,findspotunknown. P.L. 0.250, P.H. 0.143, Th. 0.029-0.069, H. plinth 0.070-0.077m. Two joiningfragments,brokenon all sides; surface chipped.Top break contains silver micaceousveins.

H 3-1 REAR VIEW OF NUDE MALE TO RIGHT

P1.69

T 21; Theater, near west end of stage building, April 7, 1928; N.B. 321, p. 534 (refersonly to upper fragment). P.L. 0.320, P.W. 0.159, Max. Th. 0.143, Th. relief ground0.061, L. head 0.09, L. torso 0.222 m. Three joining fragments,broken at top of head, at shoulders,through center,at top of legs; surface badlychippedand weathered.

THE LABORS OF HERAKLES

104

The fragmentsdepicta nudemaletorso,in rearview slightly turnedright, and head in right profile view. The figure'srightarmis raisedso that it crossesmost of the face. While the figure'sright arm is raised to strike,his left was held down and slightlyaway from his side. The right eye is barelyvisible.The hair is rendered in shortcurlylocks on a squarishhead supportedby a thick neck. The divisionbetweenneck and shoulders is a sharpplane. The spinalfurrow,wherepreserved, is renderedby modeling.The properright side of the abdomencan be seenfroma lateralviewpoint,and the top of the right leg, directedforward. The surface seems smooth, but is not completelyfinishedat the sides, wherein some places a runningchanneloccurs separatingthe body from the reliefground. Reverse, smooth. The figure, perhaps Herakles, conformsin size and treatmentof the reverseto other fragmentsof this group. H 3-2 RIGHT HAND HOLDING WEAPON

PI. 69

T 353; Theater,findspotunknown. Max. P. Dim. 0.162 x 0.105, Th. 0.054, Th. with hand 0.078, L. hand and wrist0.104 m. Single fragment,broken on all sides. Thumb and two fingerschippedoff; surfaceworn,weaponchipped. The piece showsa righthand,exceptfor thumband ends of two fingers,wrist and part of forearm.Only tracesof a weapon,perhapsa spearor axe handle,or a tool, remain on either side of the hand, which is tightly clenched around it, inside facing out. The wrist appearsratherbony. The surfaceof the wrist is smooth; background retains tool marks; reverse, smoothwith sawmarks.The sizeof the handcompares favorably with others in the Herakles series. The fragmentis similarin marbleand thicknessto H 3-1. SLAB4 (The StymphalianBirds)

H4-1

THE STYMPHALIANBIRDS

PI. 71

S 518; Mus. no. 7; joins S 519, S 529, S 545, S 938, S 939, T 174; S 557, S 753; Theater,S 518, S 519, 3.5 m. deep, May 20, 1903; N.B. 26, p. 40; S 529, S 545, S 557, May 22, 1903; N.B. 26, p. 41; S 938, S 939, Tr. 34, May 20, 1909; N.B. 56, p. 65. Restored H. 0.828, P.W. 0.650, Th. relief ground 0.058, Max. Th. reliefca. 0.072, P.L. top border0.190, D. plinth0.080, H. plinth0.040. Top bird:P.L. 0.322. Middle bird: H. 0.500, W. body 0.141, L. tail 0.200. Bottom bird: P.L. 0.462, W. 0.160. Weapon: P.L. 0.130, W. 0.015 m. Seven joining fragments, plus attributed, nonjoiningfragmentsS 557, S 753, whichjoin each other.

Restored:part of top bird's wing and tail; middle bird,most of wing,partof tail and of eachleg; bottom bird,smallpart of legs. Clampcuttings:none preserved. The block shows three birds, in relief, which form the only readily identifiable remains of Herakles' Laborof the StymphalianBirdsat Corinth.The birds are arrangedone above the other in a scene put togetherfrom manyfragments. The top bird is in flight to left, its right wing fully raisedabove its body. Its oval wing feathers(12 preserved)have centralridgescarvedin low relief,except for the uppertwo in the last row, which are incised. The bird'slong, roundedbody is coveredwith rows of long feathers,which curve in opposite directionsin each row. Its left leg is carvedjust above and behind the middle bird, but it is mostly hidden from view. The fragmentis broken at the base of tail and neck, and the outerhalf of its rightwing is missing.Another fragment,which does not join with the previousone, gives us the pointedwing tip and a smallfragmentof the tail. The middlebird stands uprightwith one awesome claw restingon a dead bird below, whileits head rises in front of the upper bird's body. The front part of its beakis missing;its eye looks forward,and its cheek bones and mouth are rendered by modeling. The pointedhead rises from a long, cylindricalneck which curvesgently upwardsfrom its body. Its left wing is raised,as if preparatoryto flight;it is carvedin very high relief, and is deeply undercut.The right foot reachesforward,its three visible talons viciouslyoutstretched.The tail falls back and to the right, inside facing out. The feathersof the wing and of the area just under the wing are oval and have one or two centralridges modeled lightly. Featherscovering the neck, body, and legs are of the long, pointedvariety, arrangedin rows and curvingalternatelyright or left. The widelyspreadtalons of the bird'sleft foot rest on a third creature,of the same species,which must certainlybe dead. It lies, wings folded, on the ground, with the legs stretchedstraightbehindit and the long neck curvingdown toward the plinth where its now missinghead must have rested.The feathersare comparableto those of the livingbirds,and the wingsare folded so that the long featherslie compactlytogether. The end of the tail appearsjust beneaththe wing tip. Theclawsarequiteshortandtamecomparedwiththose of the bird above. A long, straight object, one of Herakles'arrows,has struckit at the base of the neck and is still planted in its body. The chest, which is barelyvisible, has been only roughlypicked. A continuousgrooveseparatesthe bodyfromthe top surface of the plinth which it barelytouches.To the right of the middlebird,a long, curvedgroovewhich seemsto parallelthe wing line must be a later mishap.

CATALOGUE One can speculate that a section 0.435 to 0.505 m. wide is necessary to complete the slab. The figure of Herakles, perhaps aiming an arrow at the middle bird, would easily fit in this space. Relief ground: claw chisel, point under second wing; drill separates bottom bird from plinth; plinth, claw chisel and point; reverse, hammer dressed. Capps, ClassicalStudies,pp. 51-52, 56-57, fig. 5. Johnson, CorinthIX, p. 132, no. 276.

H 4-2

KNOTTED CLUB ON ROCK

PI. 70

T 61; Theater, findspot unknown. P.L. 0.315, P.W. 0.174, Th. 0.041, Th. with club 0.074, P.L. club 0.180 m. Single fragment, broken on all sides but left. L. of probable left border 0.302 m. Most of a knotted club, the top part missing, is portrayed resting vertically on a rocky elevation. The club bears ten knots, which vary in clarity. The club's surface is made to resemble bark, while the surface of the rock pile is bumpy and indistinct. The surface bears chisel marks; reverse, hammer dressed. The piece may form part of the left edge of slab 4. H 4-3

TORSO AND RIGHT LEG OF NUDE MALE

PI. 70

T 107; Theater, east cavea IX, ca. 0.50 m. above orchestra level, May 26, 1926. Max. P. Dim. 0.448, W. shoulders 0.176, W. waist 0.097, P.L. torso 0.20, P.L. leg 0.27, Max. Th. 0.086 m. Four joining fragments; breaks at neck, both shoulders, proper right ankle, top of left thigh; pubic area missing. Nude male torso and right leg in near frontal position. The pectorals, epigastric arch, abdominal divisions, digitations are all lightly modeled. The digitations are more prominent on the figure's right than on the left, since the right arm is raised and the right side of the torso is in higher relief than the left. The left shoulder is preserved and the arm appears to have been held out from the side, while the right arm was raised, perhaps holding a spear or arrow, for which traces of its partial diagonal attachment seem preserved just below the neck. The right leg, slightly bent at the knee, is held somewhat forward and diagonally to the left, so the figure's weight was borne by his left leg. The scale and proportions place the figure in the Herakles group.

105

P.H. 0.311, P.W. 0.180,Th. reliefground0.04, Max. Th. with lion's body 0.123 m. Singlefragment,brokenon all sides. Preserveslion's head and body to behindthe shoulders, and part of both front forelegs,but the face is brokenoff. The rightforelegis in the round, and less well preservedthan the left, in relief.The animalfaces right.Its maneis full and elaboratelycarvedin featherlike curves;extendingdown the head and neck to the shouldersand comingto an end on the chestin a point. The mane, which is brushedaway from the face, is combedin threemain rows down the neck. The rows meet in the centerfront. The rightear is indicatedby a hollowed curve. The lion appearsin a stationary position facing right and seems small in comparison to the scaleof the relieffigures.The reverseis smooth. This is our best candidatefor the NemeanLion.

H 5-2 PAW ON PLINTH

P1.72

T 75; Theater,fromcenter,rear,of stagebuildingat 1.60 m. above "levelstone", February29, 1928;N.B. 320, p. 344. Max. P. Dim. 0.24, W. claw 0.04, P.H. claw 0.05, H. plinth0.070, top D. plinth0.115 m. Singlefragment,brokenon all sides, but preserving small bit of smooth backgroundslightly raised at bottom. Part of front of plinthalso preserved. Quadruped's paw, with four pointed, sharply distinguishedtoes, is preservedon the back of the plinth.Paw maybelongto a dog or a small lion which faced right. The surfaceof the plinth slopes upward to the backgroundand is roughlymarkedby the flat chisel; front of plinth, point; bottom of plinth, flat chisel and claw.

H 5-3 CLAW FRAGMENT IN RELIEF PI. 72 S 3221; Museum basement,marble pile; findspot unknown. Max. P. Dim. 0.130, P.W. 0.08, Th. 0.090, Th. background0.056,P.L. claw0.051,P.W. claw0.023m. Singlefragment,brokenall around.

The fragmentdepictstwo claws of a small paw in relief. The paw is probably representedagainst the backgroundratherthanon the plinth,sincethe reverse is smoothlyfinishedas in the Heraklesand GigantoSLAB 5 (The Nemean Lion) machy groups. The two claws are set next to each each has two joints preserved,and both are PI. 72 other; H 5-1 LION FRAGMENT pointedat the end. The flat chisel is used on the backorchestra 3 m. above ground.The chisel was used to separatethe end claw east cavea T 20; Theater, VI, D, from the background. 102. E.C. I, p. level, April 2, 1926;

106

THE LABORS OF HERAKLES

Labor of the Lernaian Hydra, where the strange "right hand" may belong to Iolaos or to a severed T 227; Theater,findspotunknown. neckof the Hydra.Heraklesmay have stood at the left Max. P. Dim. 0.22 x 0.20, P.L. club 0.202, W. club wieldinghis sickle.This weaponcannotbe restoredas 0.072,Th. of reliefground0.025,Th. withclub0.071m. an arrow for the exploit of the StymphalianBirds, Singlefragment,brokenon all sides. sincethe back of the latterslab is roughlydressed. The marbleshowsthe bottom end of a club or stick PI. 73 in relief.The surfaceis madevery roughby use of the H 6-3 FRAGMENT OF HYDRA OR as rendered are knots HORSE Three simple vaguely (?) point. protrusions,without being defined by incised lines. T 110;joins T 248; Theater,from northeastpart of Reverse,smooth with saw marks and narrow offset skene,March30, 1928;N.B. 320, p. 488. (W. 0.005 m.) which suggeststhe angle at which the Max. P. Dim. 0.365 x 0.210, Max. Th. 0.091,Min. club was held. Th. relief 0.025, Th. relief ground 0.025, W. "arm" 0.082 m. Threejoiningfragments,brokenon all sides;surface SLAB6 (The LernaianHydra) chippedand weathered. PI. 73 H 6-1 RIGHT FOOT AND HYDRA The fragmentmay portraya portion of the central HEAD ON PLINTH bodyof the Hydraor a modeledraisedforelegand part of a horsebody,or perhapsa portionof a humantorso. T 67; Theater,caveaVIII. The P.L. Th. Max. P.L. 0.196, P.W. 0.105, part of the fragmentin highestrelief, at bottom plinth0.059, of m. 0.065 photo, has a circulararea on it within which two foot 0.145, P.L. Hydra drill holes remain,which seem to be in line shallow all but on broken sides, preserves Singlefragment; front and left edge of plinth; marblevery dark and with a wornline fartherup that may reflectthe attachment of the reins. The holes may have anchoredthe discolored. reins at the turningpoint. Parallelto the "reins"and The plinth surfaceis rough so as to suggestrocky adjacentto the lower break lies a small projection, terrain.The rightfoot is preservedfrom toes to ankle. partlybrokenaway, which may be the trace of some The instep,placed at a 45? angle to the plinth front, drapery,since some fringe can be seen at the end. restsnext to whatresemblesa Hydrahead,with an eye Where the relief becomes lower, we may have the indicatedby a circularring,stretchingto the right,and beginningof the neck. A small area is set off at the below this perhapsa short mouth. The front of the edge of this by a long, incised line. Shallow curved plinthis roughlyworked. grooves on this curvingarea may representhair or folds of skin.Two long areasaremodeledat the top of PI. 73 the H 6-2 LEFT HAND CLASPINGA leg. A depressionmarksthe leg's center.Grooves WEAPON set off the leg fromthe reliefground.The reliefground is worked with the point; reverse,smooth with saw T 53; Theater,from orchestrafill, H. 0.30m. above marks. Roman orchestralevel, 2.15 m. southwestof Roman The interpretationof this piece is verydifficult.By center,March 13, 1928;N.B. 320, p. 439. P.L. 0.358,P.W.0.143,Th. 0.022-0.026,L. left hand turningthe photo upsidedown, one mightbe inclined to see a male torso, but this proposalis not well supand wrist0.124, W. righthand 0.056 m. the "leg" Singlefragment,brokenon all sides; surfaceweath- ported by the height of the relief where rather The the main undulating amorphous, body. joins ered and encrusted. form of the Hydra may be the best suggestion. Preservesin reliefa left handclaspinga sickle(?)and a presumedright hand (or a part of an animal?)perpendicularto the relief groundand half sunk into it. SLAB7 (The Keryneian Hind) Both hands are separatedfrom the relief groundby strongchannels.The ridged"sickle"is markedoff by H 7-1 HERAKLES STRIDING LEFT, PI. 74 a wide, shallowchanneland a peculiarsort of double AT SKIN LION QUIVER AND channelbelow the left hand. On the latter, knuckles RIGHT and nails are rendered.At the break of the "right T 33; joins T 46; Theater, built into Byzantine hand", at the wrist, a flat lump stainedwith brown remains,whichprobablycoversa dowelusedto attach watertankneareast end of stage building,but within the arm. The surface is rough from chisel marks, peristylecourt, March 15, 1929;N.B. 322, p. 789. worn and has some dark discoloration; reverse, P.H. Herakles 0.300, P.L. 0.627, L. pres. edge smooth. The piece is most easily connectedwith the 0.315,P.L. quiver0.185,L. head0.072,W. waist 0.104 H 5-4 CLUB FRAGMENT

PI. 72

CATALOGUE

107

L. torso 0.232, P.L. club 0.138, Th. relief ground 0.052-0.068, Th. relief 0.062-0.152 m. Two joining fragments. Herakles broken through middle of head and top of thigh. Right borderpreserved.

ahead of or behind the left. The top of the plinth is worked with the claw chisel, the bottom is hammer dressed; reverse, smooth.

The piece represents Herakles, in three-quarter rear view, striding left, holding his club beside his right shoulder. To right of relief, near the preserved right edge, a quiver, bow and the head of a lion skin hang from a branch. Herakles' head is in left profile view. Only the sides of his moustache, closed lips and wavy beard remain of his face. The sterno-mastoid is heavily swollen and indicates the turn of the thick neck. The spinal furrowis made more prominent by developed erector spinae muscles on each side. Below powerful shoulder blades three ribs on each side are portrayed as prominent ridges, and digitations are modeled on the left. Two dimples are depicted over the posterior upper spine of the ilium above firm buttocks. The depression over the great trochanter and part of the groin to left are preservedabove the fracture. Herakles' left arm, broken at the shoulder, was raised and in the round, while the right, in low relief, bends back sharply at the elbow with the right hand holding the club against his biceps. Both legs, the left directed forward, are broken at the top of the thighs. Part of the left front of the torso is visible from a lateral viewpoint. The surface of the club, like the tree branch, is rough and knotted. A quiver with a closed pointed top hangs from the branch by a long, flat, leather strap, the nearer part of which is not undercut, but adheres to the background. Over the quiver hangs the bow, which seems to be strung. The large, profile head of the lion skin partially remains at bottom right. Below the loose, rough mane, the right eye is closed and the mouth hangs open. The relief ground is worked with the claw chisel; reverse, smooth with faint saw marks.

H 7-3

H 7-2

LEFT FOOT ON PLINTH

PI. 74

S 475; Theater trench, May 15, 1903; N.B. 18, p. 51; N.B. 26, p. 39. P.H. 0.150, P.L. 0.385, Th. relief ground 0.047, H. plinth 0.073-0.107, top D. plinth 0.127, L. foot 0.105, W. foot 0.05 m. Single fragment, broken at two ends of plinth and from most of background; line of background is visible at fracture. A rather short left foot, broken at the ankle, faces left parallel to the background and rests in the middle of the deep plinth. The toes are straight and somewhat separated, while the little toe is drawn up. Part of the ankle bone can be seen. The foot is unfinished on the inside, and is partly separated from the plinth by a groove. The figure is likely to have been in a striding pose, but the right foot could have been placed either

FRAGMENTARY PAW IN RELIEF PI.74

T 150; Theater, from well near center of stage building; April 6, 1928; N.B. 321, p. 527. P.L. 0.226, P.W. 0.118, Th. 0.055, Max. Th. with projection 0.074 m. Single fragment, broken on all sides; worn. Marble shows green micaceous veins. Fragment portrays two claws of a large lion's paw, in relief. The nails of the claws are carved as two sharp, curving objects, and may form part of a living animal rather than a skin. The rest of the claws is sketchily modeled. Reverse, smooth. SLAB 8 (The Cretan Bull)

H 8-1

BEARDED HERAKLES HEAD

PI. 75

T 99; Theater, in passage east of peristyle court at H. of 0.30 m. above court floor, March 23, 1929; N.B. 322, p. 819. P.L. 0.125, W. 0.085, Max. P. Th. 0.10 m. Single fragment, broken obliquely from neck to top back of head; eyebrows worn, forehead and most of nose missing. Herakles' head with beard and drooping moustache, in three-quarter view to proper right. The hair and full beard are composed of short curls, but their surface is badly abraded. The surface of the eyeballs appears to curve outward, the cheekbone is rendered by modeling, and the short mouth curves down at the outer corners. The surface may have been smoothly finished. The features on the right side of the face are somewhat asymmetrical. Part of the neck is visible behind the beard on the left. The left side of the back was attached to the relief ground. The head is identifiable as Herakles' because of its typology. H 8-2

HERAKLES ADVANCING LEFT TOWARD STATUE BASE OR ALTAR

PI. 75

T 6; Theater, east cavea VI, ca. 2.00 m. above orchestra level, May 27, 1926. P.H. 0.407, P.W. 0.690, Max. H. relief 0.152, Th. relief ground 0.069, top D. plinth 0.080-0.093, H. front plinth 0.130-0.100, P.H. right leg 0.265, H. "statue base" 0.212 m. Six joining fragments, broken at top of "altar", above Herakles' left knee, and at top of right thigh, behind right leg. Part of lower left leg is missing; front and left end of plinth are preserved.

108

THE LABORSOF HERAKLES

The fragmentrepresentsthe rearleg and hoof of a bull to left. The height of the hoof, position of the hockandthe lengthof the shankdistinguishthe animal as a bull, ratherthana horse.The end of its tail curves down next to the shank.The line of the break at left may indicatethe position of the other rear leg. The animalseemsto be in a walkingposition and as such may derivefrom an unusuallycalm representationof the CretanBull. The top and front of the plinth are markedby the flat chisel; bottom, claw chisel; reverse, hammer crowned by a wide fascia (H. 0.020 m.). The top has dressed.The plinthdecreasesin heightand depthfrom a squarecuttingin the centerfrom which an object, left to right. such as a statue or the flamesof an altar,has broken away.The entiremonumenthas been set off from the reliefgroundby an incisedline. SLAB9 (The Mares of Diomedes) Theheadof the lion skinrestson Herakles'left knee, facingupwards.It is brokenthroughthe middleof the H 9-1 HERAKLESAND THE MARES P1.76 nose, its eyes are closed, and its mane falls in four rows of loose waves down the front of the leg. The T 7; Mus. no. 9; joins S 558,T 45, T 64, T 68, T 88, hair in the waves is renderedin clumps,each divided T 170; S 558 (horse'shoof, lion skin), May 22, 1903; into two sections and the rows waving in opposite N.B. 26, p. 41; remainingpiecesfound in east cavea, directions.One paw falls over the front of Herakles' ca. 1.00 m. above orchestra(T 45, 3 pieces with 1926, left foot, the pile of rocks on which that foot rests, arm of Herakles;T 64, Herakles' right foot; right and the edge of the lower step of the monumentbase. T Herakles' left leg; T 88, Herakles' head; 68, The remainderof the preservedlion skin hangsverti- T horselegs). 170, cally to right of the left leg, in relief,and the second Restored H. 0.778, restoredW. 1.085,W. top left paw curvesbehindthe clump of rocks to the floor of border0.320, W. side left border0.382 to offset, W. the plinth, coveringthe front half of the right foot. right border 0.400, W. side right border 0.265, A small portion of a club is presentabove the right top Max. L. plinth (T 64) 0.410, D. plinth 0.040-0.050, foot. H. plinth0.080, Th. relief0.075, W. left offset 0.033. Herakles'left leg bends at the knee and is in the Horse: P.W. frag. 0.660, P.L. body 0.200, Th. body round,while his right leg, modeled at knee and calf, 0.123, L. head 0.102. Herakles:P.H. head 0.075, L. is straightand in relief.Both are seen in profileview. club 0.174, P.L. 1. leg 0.315, Max. W. frag.0.615 m. The Laborrepresentedis not clear. Threenon-joiningsections.Horsesection,14joining The surfaceof the figuresis smooth. Reliefground, head section, four fragments;leg section, claw chisel. The plinth slopes up toward the back- fragments; eight fragments. groundand bearsmarksof the claw chisel and point. Restored: tail and part of head of horse; The frontof the plinthhas heavypoint marks.Reverse insideof left rear, of Herakles. thigh andleft border,hammerdressed.Cuttingsarepreserved two for hook clamps.1. Top border, cuttings: Clamp for two hook clamps,at the left borderand on the top not does extend left; throughto front edge; 0.192 m. surfaceof the plinth.As the plinthdecreasesin height from left border (nearedge);ca.0.015 m. wide. 2. Top and depth from left to right, associationwith H 8-3 not extendthroughto front edge; does border, right; seems plausible,if the slab is restoredas somewhat 0.162 m. from right border (near edge of clamp); widerthan the rest. 0.016 m. wide. The scene shows Herakles,his lion's skin hanging in front of his left knee, advancingleft towarda twosteppedstatuebase or altar.Partof the rightfoot of a second figure is preserved frontally on the right (perhapsAthena), standingbehind Herakles,who is seen in profilewith his left foot on a rocky elevation in front of the monument. The base of the monumentstands 0.140 m. away from the left edge of the block. Its two steps,0.050 m. and 0.045 m. high, are renderedin slight though irregularperspective.The verticalpedestal on top is

Shear, AJA, 1926, p. 458, where the fragmentcontaining an "altar" is attributedto the Amazonomachy.

Heraklesstridesleft, his club raisedto strikeat one of the Mares of Diomedes. Since his right hand and forearmare seen from the inside,the hero must be in PI. 75 H 8-3 HIND LEG OF BULL three-quarterview from the back, with both arms T 52; Theater,at east end of stagebuilding,April3, outstretchedin opposite directions.His left foot may have rested on an elevation such as the neck of the 1928;N.B. 320, p. 514. P.W. 0.286, P.H. 0.435, Th. relief 0.083-0.090,W. fallen horse. One marerearsto attack,protectingher plinth 0.122-0.133, H. plinth 0.062-0.066, Max. Th. fallencompanionprobablylyingon herback.Although the figuresextend to the bordersin some areas, the leg 0.024, top D. plinth0.048-0.057m. on but front is spacious.The remainingplinth is flat, broken all and composition sides, Singlefragment, carvedto give the impressionof rockyground. rightend of plinthpreserved.

CATALOGUE OnlyHerakles'head,rightforearm,and partsof his legs are preserved.His head, in left profile view, is broken diagonallyfrom the middle of the nose to below the ear. His hair is arrangedin short, wavy clumpswhich lie flat againsthis head. The top of a full beard is preservedabove the break.The hairline ends high on the skull in back, so that the neck must have appeared thick and muscular. A deeply set, small,profileleft eye looks out frombeneatha bulging brow.The eyebrowsrise diagonallytowardthe center where two verticalcreasesdefinethe furrowedbrow. The earis thickand fleshy,and the beginningof a high cheek bone is modeledjust above the fracture.The carvingof the entirehead is delicate. The head reachesnearly to the top border of the block, as does the club swungbackby the hero'sright hand. A double row of protrudingknots rendersthe shortclubmoreeffective.Sinceit is so short,perhapsit is foreshortened andis meantto recedeintothe distance. The insideof the hand faces out, and the ratherwide forearm is carved in low relief, its surface lightly modeled. Herakles strides forward, his left, supportingleg advanced,his right stretchedback to the plinth. The left leg, brokenat the top of the thigh and below the ankle bone, bends at the knee and the foot probably did not touch the plinth, but rested on part of the fallen horse. The knee is separatedslightlyfrom the relief, and the muscles and ankle bone are subtly modeled.The right leg, brokenat mid-calf,stretches backin low relief,andonly the toes reston the shallow, rockyplinth.Both legs are in profile,the left in higher reliefthan the right. Part of the lion skin, which hung from Herakles' extendedleft arm,remainsin verylow relief.The ends of both paws, the nails and joints of each carefully rendered,are placed on either side of the tail, which narrowstowardthe end. No attempthas beenmadeto renderthe textureof the skin. One mare has rearedin attack, but does not look veryformidable.Her slender,gracefulproportionsare thrownslightlyoff balanceby hershorthead.The head is lightlymodeled.Her eye is set into the side of her head in frontal view, unlike the Amazonomachy horses,whichhaveprofileeyes.The nostrilsare lightly modeled.The open mouth has been renderedonly by shallow grooving, not by deep cutting to the background, so that from a distance it appears grimly closed.Thejaw is remarkablythin, and projectssomewhatfromthe background,to whichthemajorityof the head remainsattached.Her unruffledmane appears soft and falls in long, gentle waves down the back of the long neck. The left foreleg,preservedentire,bearsan awkward relationshipto the shoulder,perhapsbecause of the lack of modulationin heightof the reliefwhichis kept low for the entireleg. The limb also appearsmuchtoo

109

thin in proportion to the body. The right foreleg is broken in the middle of the forearm, but it was also raised high in an effort to strike at Herakles.The horse's body is evenly rounded; it becomes slightly concave behind the not very powerful shoulders, then rounds outward before the break. The haunches and tail are completely restored. Part of the left rear leg remains, extending toward the plinth; the tendon is modeled. The right rear leg may have been located ahead of or parallel to the left. Below the rearing mare, a sharply bent leg, seen upside down, must belong to a second horse which has fallen to the ground between the two figures. Relief ground: claw chisel, flat around figures; plinth, claw and point; reverse, smooth. Entire block: Capps, ClassicalStudies,pp. 49-51, 56, fig. 4. S 558: Gardiner,p. 315, no. 13.

H 9-2

HORSE LEG FRAGMENT

PI. 77

S 3211; Museum basement, marble pile; findspot unknown. P.L. 0.057, P.W. 0.053, Th. 0.025 m. Single fragment, broken on both ends. Fragmentary horse leg, carved in the round, broken just below the knee. Two tendons are modeled on the outside and lead down to a narrow knee. Its size compares most favorably with the horse of the Mares of Diomedes. H 9-3

HORSE HOOF

PI. 77

S 3180; Museum basement, marble pile; findspot unknown. P.L. 0.047, P.W. 0.039, Th. 0.031 m. Single fragment, broken above hoof and across bottom. A small horse hoof, carved in the round, faces right. The farther side is smooth and flat. At the top the hoof curves into a very thin pastern. A slight ridge occurs before the bottom break to delineate the hoof. The hoof, which is quite small, may belong to the mare's right foreleg in the Mares of Diomedes. SLAB10 (The Amazon's Girdle) H 10-1

LOWER ABDOMEN AND THIGHS P1.78 OF NUDE MALE TO RIGHT, WITH PART OF OPPONENT'S ARM

T 104; joins S 1620, T 281; Theater, findspot unknown. Max. P.L. 0.660, P.W. 0.202, Th. relief ground 0.060-0.070, Max. Th. 0.120, Max. P. Dim. 0.730, W. lower abdomen 0.135 m. Six joining fragments from a slab broken longitudinally; surface chipped.

110

THE LABORSOF HERAKLES

The fragments depict a nude male from lower abdomenand groin to left knee and middle of right thigh.The abdomenis turnedsomewhatright,the left leg is in profilehorizontally,whilethe rightleg may be frontal, but placed diagonallyto the left. The inner thighmuscle(sartorius)is renderedby modeling.The intact genitals are carefullyrendered,but the pubic hair is not preserved.Above the left thigh lies a wavy tail of draperyand to its right is part of a second figure's arm. Bent at the elbow, the arm cannot belongto the fragmentarymale,becauseit goes in the oppositedirection.The surfaceof the reliefgroundis workedwith the clawchisel;reverse,smooth.Size and treatment of the reverse place the marble in the Heraklesgroup. H 10-2 CLUB FRAGMENT PI. 78 T 298; Theater,findspotunknown. P.L. 0.223, P.W. 0.087, Th. 0.019-0.031, Max. Th. with club 0.049 m. Single fragment,broken on all sides; marble has silvermicaceousveins; surfacebadly chipped. The fragmentshowsthe wide end of a club in relief. The surfaceof the club displaysfaint rasp marksand deeperincisionsto indicatethe wood-likesurface.The surfaceof the club is badlychipped.The long, straight side, althoughworn,may be an edge of the slab, since point marksremainacrossthe edge.The fragmentmay have brokenfrom a curvedobject such as the top of Herakles'head. H 10-3 AMAZON LEG, LYING ON P1.78 PLINTH T 66; Theater,findspotunknown. P.L. 0.315, top D. plinth0.098-0.113,P.L. leg 0.29, Th. plinth with leg 0.074-0.118, H. plinth 0.0580.072 m. Single fragment, broken on three sides; surface badly worn and chipped.Marblecontains green and silver micaceous veins.

The piecedepictsa leg, perhapsthe right,fromthigh to ankle,lyingproneon the plinth.The top borderand part of the flap of the leatherboot can be seen faintly on the calf. The front of the knee is very cursorily rendered.Draperyseems to stretchacross the lower thigh, as if the torso rises ratherabruptlyfrom the break.The surfaceof the plinth is rough with marks of the point. A channel made by the running drill separatesthe leg from the plinth. The front of the plinth is chipped,while the bottom is smooth with a narrow offset. The marble probablybelongs to the Laborof the Amazon'sGirdle. 24

SLAB 11 (The Abduction of Kerberos)

H 11 HERAKLES

PI. 79

T 31; Mus. no. 6; Theater,excavatedMay 31, 1926, east cavea VII (from old photo seems to have been found near east end of stage), ca. 1.25 m. above Roman orchestralevel; E.C. II, p. 292. H. 0.832, P.W. 0.585,Th. reliefground0.065-0.100, Max. Th. relief 0.095, D. plinth 0.070-0.090, H. plinth 0.100, L. top border 0.330, L. plinth 0.550. Herakles:H. 0.630, H. head 0.110, L. torso 0.245, innerL. r. leg 0.270, P.L. club 0.190, L. skin 0.290 m. Four fragments.Herakles,completeexcept for his right arm, most of left arm, toes of right foot. Attributed:Right hand T 343, whichdoes not join, appliedto background. Clamp cuttings: two for hook clamps. 1. Lower rightborderat level of plinth. 2. Top border,0.185 m. left of upperrightcorner.Plinthis cut back (0.075 x 0.050 m.) at lower right border.

Heraklesstridesright, carryinglion skin and club overhis left shoulder,and looks backto left. He holds a chain, wrappedaround the attributedright hand, which is the only reasonfor identifyingthis scene as the Abductionof Kerberos. Herakles'head,facing three-quarters left, looks not down but straight behind him. The head is rather small,particularlyat the top, in proportionto his thick neck and muscularbody. His short-croppedcurls are carvedfairlyflat againsthis head. They grow up from the foreheadin short tufts, which are directedaway fromthe centerand extendonly a shortdistancedown the back, leaving a large expanse of bare neck. The forehead,triangularin shape,emphasizesthe structure of the head,muchnarrowerat the top thanthe bottom. A single, incised crease extends straight across the foreheadand down on eitherside above his furrowed, butnot verybushybrow.Beneaththis"ledge"his deepset eyes gaze intently at somethingbehindhim; the eyeballsbulge outward.The lids are markedby light, incisedlines. The nose is straight,the tip chippedoff, and the cheeksare gently modeled.The face becomes much wider at the level of the cheeks than it was at the forehead, and the bottom-heavyappearanceis intensifiedby the extremelyfull beard and stocky neck. A long moustachefalls on eitherside of a short, full mouth,the cornersof whichdroopdownin almost a sneer.The thicklocks of the beardcurl awayfrom a central part. Although the beard is quite thick, the locks are not deeply carved and show none of the usual sculpturalattemptsat suggestingdepth.24 The body is concentratedin movementtoward the right.The left sterno-mastoidis powerfullymodeledto

Although Capps felt that the "use of the drill in the hair and beard" was a hallmark of the Roman period displayedby this figure,I find that drill holes or channelsare surprisinglyabsent and that the hair and beard are entirelyworkedwith the chisel. See Capps, ClassicalStudies,p. 53.

CATALOGUE indicatethe twistof the head,belowwhichthe clavicles appearin a frontal position. The musculatureof the torso is exaggeratedlypronouncedand conveys the impressionof immense, active strength.The swollen sternalridge is shifted somewhatto the right,and the pectoralsarevast.The epigastricarch,thefour abdominal divisions and the digitations are powerfully inflated, but their rendering is not anatomically correct. The epigastricarch, confused with the two upper abdominalpartitions,is untraceablein front, while on the sides it is inflated next to powerful digitations which are also mistakenlyinterpretedby the artist.Thebulgeover the iliac crestis moremoderate, and the lower abdominalarea curvesout gently. The genitalsare nearlyintact. Herakles'left leg, in profileto right, is bent at the knee and supportsmost of his weight.Musclesin the thigh and calf are lightly modeled, while the knee bones project.The calf and ankleseemthick,but give realisticsupportto the figure.The left foot lies flat on the plinth in near profile to the right, and toes and toenails are all portrayed.The rightleg, held back, is nearlyfrontal.The bulgingthighand calf musclesgive the impressionof strengthand strainwithinthe figure. The shin bone extends into the knee in a peculiar fashion,makingthe kneecapappearquitenarrow.This leg is separatedfrom the background,but a long ridge is left at the back,whichends ratherawkwardlyat the buttocks. A full lion skin hangs verticallyfrom the figure's left shoulder.The feline head, reaching the hero's waist level, is square.Six drill holes spotlightthe convolutionsin the head.The eyes aretightlyclosedunder protrudingbrows.The mouth hangs open so that the teeth are visible. Two legs of the skin hang from Herakles'forearm;one is nearlyverticalin low relief against the background,while the other swings left behind the hero's left leg and develops a long even fold. This fold, and the modelingaroundit, createa play of lightand shadowwhichgivesdepthto the skin. The undercuttingof the left leg is visiblein the photograph. Four wide coveringsfor claws are carved at the end of each paw. No attemptis made at lending textureto the skin which, nevertheless,adds motion and life to the composition.The club, which extends diagonallybehindthe hero's head,is embellishedwith oval-shapedknots in low relief. It is not in position for imminentuse. Using the restored widths of the slabs with the Labors of the Mares and the Boar as a guide, one might estimate an additional 0.50 to 0.57 m. of relief needed on the left to complete the slab. This would allow room for the entirebody of Kerberos,if representedin a foreshortenedposition; or, possibly only half the body would have been depicted,as on the Olympiametope. The backgroundis mostly worked with the claw

111

chisel, except directly around the figure where the flat chisel is used; plinth top, point; plinth front, claw; side border, point; reverse, hammer dressed. Capps, ClassicalStudies,pp. 52-53, 57, fig. 6. Shear, AJA, 1926, p. 459, fig. 11.

SLAB12 (Geryon) H 12-1

BEARDED HEAD PROTECTED BY SHIELD

P1. 80

T 319; Theater, north of east parodos, near street, March 18, 1929; N.B. 322, p. 800. P.L. 0.145, P.W. 0.105, P.Th. 0.104, L. head 0.098, W. face 0.043, Max. Th. shield 0.026 m. Single fragment, broken on all sides; surface badly weathered. The fragment preserves a small head, with full beard and moustache, adjacentto the inside of a shield on its left, and a second object, perhaps relief ground, on its right. The individual facial features are rather indistinct. As the rim of the shield is not preserved, it projected farther than the face, which could not have been seen except from below when it was in its original elevated position on the scaenae frons; this location accounts for the fact that the beard's underside is indicated, as well as the front. Compare H 12-3 where the left arm, covered by the shield, is also smoothly finished. The fragment might belong to a figure of Geryon. Its position within the slab is, however, difficult to visualize. H 12-2

LEFT ARM AND SHOULDER OF CUIRASSED WARRIOR HOLDING SHIELD

PI. 80

S 522; joins S 523, S 536, S 551; Theater trench, 3.5 m. deep, May 22, 1903; N.B. 26, p. 41. P.L. 0.362, P.W. 0.230, Max. Th. 0.128, Th. relief ground 0.028-0.045, L. arm 0.350 m. Four joining fragments, broken through left breast, near bottom of shield. Relief ground broken on all sides; surface chipped and worn. The piece depicts the left shoulder and part of left breast of a cuirassed warrior carrying a round shield in his left arm, to right. The shoulder strap of the cuirass ends in a buckle for fastening. Two rows of short leather flaps protect the shoulder, below which the thin chiton sleeve falls halfway down the upper arm. The figure's left arm, bent at the elbow, goes through the central shield strap and the hand grasps the thin strap at the rim. The surface of the forearm is unfinished and shows shallow ridges, while the biceps is well modeled. The wide, flat rim of the shield is badly chipped and projects at right angles from the

112

THE LABORSOF HERAKLES

relief ground, the front surface of which is rough; snakes'tails are tied in a doubleknot belowthe chin. reverse,smooth.The size of the figurecorrespondsto The shield is broken below the knot, but a slight others from the Heraklesseries. projectionremainson the surfaceat left, so the tails have curvedawayfrom each other. may S 536 (shoulderwith cuirass): Gardiner,p. 312, no. 3, fig. 6. The surfaceof the reliefgroundis workedwith the no. 6. S 522/3 (shield): Gardiner,p. 314, flat chisel; reverse,smooth.The figurebelongsto the S 551 (shoulderwith strap): Gardiner,p. 315, no. 12. Herakles'groupbecauseof its size and the treatment H 12-3 NUDE WARRIORWITH SHIELD P1.81 of the reverse.It may belong to the GeryonLabor. T 12; Theater, near east end of stage building, H. 0.30 m. above "level stone", March 12, 1928; N.B. 320, p. 431. P.H. 0.460, P.W. 0.463, Max. Th. 0.135, Th. relief ground 0.021-0.039, Diam. shield 0.230, L. torso 0.243, P.L. leg 0.090 m. Seven joining fragments.Figure broken at chin, right shoulderand foot, outer surface of left thigh, bottom part of shield; surfacechipped,weathered. The fragmentshows a nude male warrior,in threequarterrearview, as he stridesleft. His round shield, whichbearsa gorgoneionas its emblem,is held by his left arm. Part of the left arm can be seen as it hangs from the shoulderand bendsforwardat the elbow to hold the shield.Surprisingly, the surfaceof the forearm is finishedall around, even immediatelynext to the shield, yet only the present break makes it visible; compare,however,H 12-1. Sucha finishsuggeststhat the slabwas in an elevatedposition.The rightarmwas probablyheld up, readyto cast its weapon,whichmay have extended forward along the top break of the triangularfragmentat upper left. Only the biceps of the right arm, which stretched out horizontallyat shoulderlevel, remains. The beardlesshead, brokenhorizontallyabove the chin, was in profileto the left. The shortneckis not of heavyproportions.The shouldermusclesare modeled, more stronglyon the right than on the left. A heavy groove, whichforksin two directionsat the waist,indicates the spinalfurrow.Thewaistis well set off, andthe iliac crestbulgesabovethe left flank.The buttocksare rounded and show the trochantericdepression.The left buttock and thigh sufferdiagonalbreaks,so that only the outline of the leg is clear.The right thigh is barelymodeledand in low relief,whilethe calf muscle projectsstrongly. The smooth,slightlyconvex surfaceof the shield is set off by the flat rim ca. 0.02 m. wide. The central gorgoneionhas a round,chubbyface with largeeyes, wide nostrilsand a slightlyopen mouth.Earsstick out on both sides and wavy hair framesthe face above. Above the head two snakesform a doubleknot, from which they rise and face each other heraldically.The

SLAB13 (The ErymanthianBoar)

H 13-1 HERAKLESAND THE ERYMANTHIANBOAR

P1.82

T 13; Mus. no. 8; joins T 22, T 113, S 207, S 959, S 960; T 13, torso, from northeastof peristylecourt, March27, 1929;N.B. 322, p. 829; T 22 (joins S 207), body of boar, within southeast corner of peristyle court, March 29, 1929; N.B. 322, p. 837; T 113, Herakles'head, east cavea, 1926, ca. 1.00 m. above orchestra;S 207, May 14, 1902; N.B. 14, p. 67, rear of boar; S 959, S 960, relief with top of head, TrenchXXXIV, 1909. RestoredH. to plinth0.788, Max. H. 0.390, P.H. at boar's rear 0.390, W. top border 1.054. Herakles: P.H. 0.295, H. head 0.120, P.L. torso 0.165. Boar: Max.L. 0.600,H. withers0.345,Max.W. head0.230m. Two non-joiningsections: Herakles section, four joiningfragments;Boarsection,twojoiningfragments. Restored:Boar: top and middle of body, parts of rocks beneath, tips of front hooves. Herakles:right arm and wrist, back of head, end of club. Clamp cuttings:four cuttingsfor hook clamps on top. 1. 0.170 m. from 1. border,does not extend to front surface. 2. 0.260 m. from 1. border, does not extend to front surface. 3. 0.420 m. from r. border, extendsto front surface.4. 0.165 m. from r. border, extendsto front surface. Heraklesstands,restinghis right hand on his club, and contemplatingthe sleepingErymanthianBoar.26 The boar does not lie on the plinth, but on a rocky elevationto the left. If the artistintendedto give the impressionof the boar lying at the hero's feet, the resultis awkward. The composition,as preserved,seemsspacious.The backgroundto Herakles'rightappearsempty,as does the area above the boar where,however,a cave may have been depicted,perhapsin paint. Accordingto the legend, as we have it in Apollodoros, Herakles cameupon the Boar asleepin its cave, then frightened it out into deep snow and netted it, since he was

26Although Cappslikens Heraklesto the statue of "the hero leaning wearilyon his club" by Lysippos, in the Lysippanfigurethe club is proppedunder the armpit, so that the hero leans his whole weight on it; Capps, ClassicalStudies,p. 47. Compareratherthe Herakles statuette in Boston where the hero also rests his right hand on his club; Ridgway, The Severe Style in GreekSculpture, figs. 161-162.

CATALOGUE requiredto capture it alive and present it to Eurystheus. In fact, traditional representations of the scene show the hero in the act of netting the animal or lifting it above his head to threaten Eurystheus, who hides in a pithos. The Corinth illustration of the Labor, where the boar can only be interpreted as asleep, is unique, to my knowledge, and the presence of the club is unnecessary to the coming action and only serves as an attribute. Herakles stands in three-quarterleft view, his small head sunk down onto his chest. He wears his hair in short, wavy locks carved close to the head, unfinished on the right. His hair extends only halfway down the back of his thick neck. His moustache and full beard are thicker, but not deeply carved (only the flat chisel is used, no running drill). Two curls part in the center of the beard. The surfaces of the forehead and cheeks show subtle modeling though the face is expressionless. The eyes are very lightly carved and medium set, and a trace of yellow paint is preserved on the left eyeball. The end of the straight nose is chipped, and the left ear seems too small in proportion to the thick head and neck. The short mouth turns down at the corners, paralleling the lines of the moustache. The outlines and proportions of Herakles' body are massive, but the musculature is not emphatically modeled. Grooves are narrow and shallow, the flesh between them almost flat, so that the outer surface of the body appears to hide its dynamic strength, rather than reveal it. The pectoral muscles are both chipped at the nipples. The hero holds his lion skin on his left forearm, against his hip. Only part of the lion's head remains; an incised line renders the closed eye, while the pointed mane curves back and lies flat. Traces of yellow paint occur also in the lion's mane. The drill channel which separates it from Herakles' torso has been smoothed with the chisel. The workmanship of this fragment is excellent. In the boar fragment, Herakles' right hand, roughly finished, rests on the end of the knotted club. Although the boar seems to perch on its stomach on a rock pile, with its legs all on one side, one can better visualize the animal lying on sloping ground, such as the irregular floor of its cave. The pose, which should be rendered in perspective, is shown vertically, so that the outcome is clumsy. It is difficult to equate the short-legged, limp animal portrayed here with the terrifying beast of the legend. Its head is quite large in proportion to the rest of the body. The top of the ear is chipped, the eye is creased shut, and the long snout turns up at the end. The mouth appears to smile faintly, partly because of the short fang protruding halfway up the side of the mouth. The whole head is actively modeled. Short locks of hair cover the body and curve in opposite directions. The legs are very thick in proportion to the rather small body of the

113

boar. The position of the hooves makes it clear that the animalis not restingits weighton them,despitethe awkwardpose. The clovenhooveshavea singlefetlock at the back.A thin tail hangsdownthe back,separated from the rear leg by an unsmootheddrill channel. Herakles' club shows a similar lack of finish. The treatmentof the boar in generalis lifelessand unimpressive.

Background,claw and flat chisel; reverse,smooth. Capps, ClassicalStudies,pp. 46-49, 55-56, figs. 1-3. Johnson, CorinthIX, p. 140, no. 293.

H 13-2

HAIR FRAGMENT

PI. 83

S 3308; Museum basement,marble pile; findspot unknown. P.L. 0.110, P.W. 0.075, Th. 0.023 m. Singlefragment,brokenflat acrossthe back and on the side. Long thick waves are incised over a gently convex surface in very low relief. The style of the hair is Boar,andmay quitesimilarto thatof the Erymanthian to the of its where a portion is center back, belong does not the missing,although piece join. SLAB14 (The Applesof the Hesperides)

H 14-1 LION-SKIN HEAD AND LEFT HAND

P1.83

T 60; Theater,just east of stage, 1.30 m. above "level stone", March30, 1928;N.B. 320, p. 487. Max. P. Dim. 0.267, P.W. 0.144, Max. P.Th. 0.130, W. lion's face 0.075 m. Singlefragment,brokenon all sides. Smallportion of reversepreserved;nose chipped,face worn. The headof a lion skinis spreadout oversomething, perhaps a rocky elevation, on which Herakles'left hand rests. The animal'shead is modeledand carved in some detail. Verticallines mark the center of the foreheadand lead into the nose. Additionallines set off protrudingcheeks,and the mouthis chipped.The closed eyes are deeply set with the eyelids lightly indicated.It is interestingto note that the eyes are carvedas if still in theirsockets,even afterthe animal was skinned. Contrastthe treatmentof the eyes in H 7-1, H 8-2, H 11 and H 13-1 where the lion's closedlids are mereslits. On eitherside of the face are rough,sunkenareas,whichmay representwhiskersor tufts of hair. The mane surroundsthe head in thick, curvingcurls.Part of the skin, perhapsa leg, hangsat viewer'sleft. The left hand rests on the mane and is preservedto the wrist. The hand is well carved,but lightlychipped.Heraklesshouldperhapsbe visualized as sittingon the lion skin which he has thrownon a

114

THE LABORS OF HERAKLES

rocky seat, facing left. This would suggest the Labor of the Apples of the Hesperides.26 The reverse is hammer dressed. H 14-2

HERAKLES' RIGHT HAND AND TOP OF CLUB

P1. 83

S 501; Theater trench, 3.5 m. deep, May 21, 1902; N.B. 18, p. 60; N.B. 26, p. 40. P.L. hand 0.093, W. 0.051, Th. 0.038, P.L. club 0.048 m. Single fragment broken at wrist, missing half of the second finger and end of club.

The marbleshows most of a right hand and wrist restingon the narrowend of a club.The handdoes not grip the club, but holds it lightlyin the palm with the fingersoutstretcheddown the side. The thumbside of the hand faces out, and half of the second finger is missing.The fartherside is roughlyworkedand was probablyparallelto the relief ground.The nails are roughly indicatedby incised lines; the fingerjoints and the wrist are lightly modeled. The inside of the hand is roughly worked. A running-drillchannel separates the fingers from the weapon, which is cylindricaland bearsno markings.

26Compare,for instance, Herakleson the Hesperids relief in the Villa Albani, Harrison, Hesperia33, 1964, pp. 76-82, pi. ll,c, and on the hydria by the Meidias Painter in London, pl. 13, a.

V THE UNATTRIBUTED FRAGMENTS For the followingsectionof the catalogueI haveselected64 fragmentswhichappearin workmanship, scaleand materialto belongto one of the theaterfriezes.Becauseof theirfragmentary nature,however, it has been impossibleto attributethemto a particularfrieze.In some cases I have indicatedin which group they might belong, according to the scale or the treatment of the back of the slab. In addition, it is also possible that not all of the fragments included formed part of the theater friezes, but until further evidence is obtained I felt it was preferableto include all the likely pieces found in the

theaterexcavationsand in the museumstorerooms. In this section there are one partialhead, twelve arm fragments,twenty leg fragments,ten foot fragments,five torso fragments,threedraperyfragments,and thirteenmiscellaneousfragments.Since noneof the armor leg fragmentsrepresentwholelimbs,it is difficultto estimatethe numberof additional figuresindicated.

CATALOGUE Plates84-90 U 1 BACKGROUNDFRAGMENTWITH PI. 84 BEGINNING OF FEMALE HEAD IN RELIEF

Most of an arm, bent at the elbow, probably the right arm. A ridge along one side shows that the piece was close, though not attached, to the background. The crook of the elbow is lightly modeled, as are the T 133; Theater,findspotunknown. muscles above and to the outside of it. The indentation P.L. 0.288, P.W. 0.157, P.Th. 0.160, Th. head for the wrist is preserved. The hand extended to the projection0.027, Max. Dim. head 0.158 m. right on the relief, or was held down. The size of the Single fragment,broken on all sides. Edge at top piece probably places it within the Amazonomachy or very roughlydressed. Herakles group.

The piecepreservesa projectionwith the outlinesof a head in profileto right.The majorityof the head is missing.The head was probablyfemale,sincethe hair is dressedin a knot or bun at the back.The preserved surface of the head is roughly finished. A second, curved projectionat the left break may representa weapon. The head's size and hairstyle suggests associationwith the Gigantomachyfrieze. Reliefground, raspmarksand occasionalincisions; no reverse. ARM FRAGMENTS

U 2 ARM FRAGMENT

P1.84

T 305; Theater,findspotunknown. P.L. 0.161, Max. W. 0.052, W. wrist0.033 m. Threejoining fragments;arm broken at wrist and in middle of biceps; elbow chippedoff.

U 3 ARM FRAGMENT P1. 84 S 539; Theater trench, May 22, 1903; N.B. 26, p. 41. P.L. 0.147, Max. W. 0.058, Th. 0.045 m. Single fragment, broken at both ends; surface worn. Fragment of arm bent at the elbow. The point of the elbow and a strong crease at the crook are evident. The arm appears to have been close, though not attached, to the relief ground, as the inside is roughly finished. It probably belongs to the Amazonomachy or Herakles group. PI. 84 U 4 LEFT ARM FRAGMENT S 968; Theater, from north extension of Trench XXXIV, near surface in earth from earlier dig, May 16, 1910; N.B. 65, p. 17. P.L. 0.113, W. wrist 0.032, W. elbow 0.050 m. Single fragment, broken at both ends and partly from the background.

116

UNATTRIBUTEDFRAGMENTS

PI. 84 Fragmentof left forearmand part of upper arm, U 9 LEFT FOREARM bent at the elbow. The outside is stronglymodeled, S 3194; Museum basement, marble pile; findspot but the inside is roughlyfinished.The upper arm is unknown. brokenfrom the reliefground. Th. 0.030 m. P.L. 0.091, W.

U 5 ARM FRAGMENT

PI. 84

T 370; TheaterStreet. P.L. 0.117, W. 0.048, Th. 0.048 m. Singlefragment,brokenat both ends.

0.054, Single fragment of arm broken above elbow, in middle of forearm and from relief ground.

Fragmentary left forearm and portion of arm above elbow. One point of the elbow (ulna) is modeled to a medium height and the arm muscle extends forward from it.

Fragment of a roughly shaped upper arm and inside of elbow with a sharpcreaseto depict a slight PI. 84 bend. The fragmentwas not carvedin relief, but the U 10 FOREARM FRAGMENT side facing the relief ground is roughlyfinishedand T 331; Theater, east parodos, April, 1928; N.B. 321, formsa ridge.The beginningof the armpitand biceps 513. p. may be renderedat the upperend of the fragment.The P.L. 0.092, W. 0.054, Th. 0.040 m. inside of the arm is badly weathered.The piece may Single fragment, broken at both ends and from belong to the Amazonomachyor Heraklesgroup. relief ground.

U 6 ARM FRAGMENT

PI. 84

T 311; Theater,findspotunknown. P.L. 0.110, W. 0.042, Th. 0.042 m. Singlefragment,brokenat both ends.

Fragment of forearm, originally in relief, inside facing out. The flexor is moderately modeled, but the sides are roughly finished. U 11 FOREARM FRAGMENT

PI. 84

Fragment of a cylindricalarm with bent elbow T 336; Theater, findspot unknown. which is not distinctivelymarked.The piece is carved P.L. 0.123, W. 0.046, Th. 0.040 m. in the round and shows very little modeling.It may Single fragment, broken at both ends and from belong to the Amazonomachyor Heraklesgroup. relief ground. Fragment of arm, seen from the inside, with a slight bend at the elbow roughly indicated. The beginnings T 328; Theater,findspotunknown. of the flexor and triceps are harshly modeled. Much P.L. 0.106, Max. W. 0.049, Max. Th. 0.045 m. of the surface retains chisel marks. The piece probably Singlefragment,brokenfrom reliefgroundat back belongs to the Amazonomachy or Herakles group.

U 7 SHOULDER AND UPPER ARM

P1.84

and above elbow.

P1. 84 U 12 FOREARM FRAGMENT Fragment of upper arm with separation of the shoulder lightly rendered.The surface is smoothly S 3208; Museum basement, marble pile; findspot finished,exceptfor the inside of the arm which faces unknown. the background and is roughly picked. The piece P.L. 0.143, L. arm 0.082, W. arm 0.032-0.046, Max. probablybelongs to the Amazonomachyor Herakles Th. 0.032 m. group. Single fragment; arm broken at wrist and before

U 8 RIGHT FOREARM

PI. 84

S 3178; Museum basement, marble pile; findspot unknown. P.L. 0.110, W. 0.046, Th. 0.042 m. Singlefragment;armbrokenat wristand diagonally at elbow.

elbow; over half of surface chipped away; background broken on all sides; no reverse preserved. The fragment preserves part of a forearm in relief. The extant top surface is smooth. One of the sides is well finished, while the other is very roughly worked. The background is worked with the flat chisel near the arm, with the claw chisel further away.

Rightforearm.The surfacegentlyroundsout before U 13 FOREARM FRAGMENT P1. 84 the elbow, and the ulna is delicatelymodeled. The S 3193; Museum basement, marble pile; findspot fragmentis carvedin the round,but its properleft side is unfinishedand forms a ridgewith long chiselmarks. unknown. The armappearsto have bent at the elbow. Smallbits P.L. 0.102, W. 0.052, Th. 0.031 m. of DeWaele'sblue pencilmarksremain,whichsuggest Single fragment of arm broken diagonally at elbow, the theateras provenance. near wrist, and from relief ground.

CATALOGUE

117

Fragmentaryforearm.The surfaceis convex at the narrowerend, and has two smallconcavedepressions near the center.Wherepreservedat the widerend, it is convex.

Part of the groin and the inner thigh muscle are modeled,and two groovesarch over the kneecapto form the knee muscle.Tracesof an objectremainat the insideof the thigh.

LEGFRAGMENTS

U 18 LEFT THIGH

PI. 85

S 3224; Museum basement,marblepile; findspot unknown. P.L. 0.143, P.W. 0.078, Th. 0.042 m. T 278; joins S 495; Theatertrench, 3.5 m. deep, N.B. N.B. 40. Singlefragment,brokenat top of thigh and middle 1903; 21, 18, 60; 26, May p. p. of knee and from background;surfacechippedand P.L. 0.196, W. calf 0.067, W. thigh 0.070 m. Two joining fragments,broken at both ends and worn. from reliefgroundat bottom. Frontal left thigh. Light grooves renderthe thigh muscle and the area above the knee, where a small The fragmentspreservea right leg from middle of of the knee muscle survives at proper right. thighto ankle,bentat the knee.The leg is carvedin the part but small of round, lumps marblehave been left at Heavyrasp markscovermost of the fragment. the top and bottom, where the leg came close to or adheredto the relief ground.The properleft is badly U 19 LEFT THIGH FRAGMENT PI. 85 weathered. The knee and calf muscles are slightly S 3230; Museum basement,marblepile; findspot exaggerated.The inner thigh muscle (sartorius)is unknown. modeled. The stood or leg probably softly frontally P.L. 0.057, P.W. 0.093, Th. 0.068 m. turned somewhat to the right. Its size suggests the Singlefragment,brokenon both ends. Heraklesgroup. Preservesfragmentnear the top of the right thigh, U 15 LEFT THIGH AND KNEE P1.85 carvedin the round.A diagonalgroove on the front surface renders the tensed front thigh muscle. The T 339; Theater,east section,April8, 1929;N.B. 324, is to the heavier viewer's weathering rightof the groove, p. 867. so that the side faced out. right probably P.L. 0.133, W. thigh0.061 m. Singlefragment,brokenat both ends, worn. PI. 85 The fragmentshows a left thigh and knee. The leg U 20 RIGHT THIGH FRAGMENT was bent at the knee;modelingis good. The piecemay S 3220; Museum basement,marble pile; findspot not belong to the theaterfriezebecausethe surfaceis unknown. so highlypolished. P.L. 0.135, P.W. 0.075-0.127(top edge),Th. 0.0360.062 m. U 16 LEFT THIGH AND KNEE P1.85 Single fragment,brokenabove knee, across top of and part of buttock,and from reliefground. thigh S 3225; Museumbasement,marblepile; findspot unknown. Rightthighandpartof buttockin reliefto right.The P.L. 0.098, P.W. 0.057, Th. 0.070 m. soft, even curve of the buttockis differentiatedfrom Single fragment, broken near top of thigh and the thigh by a light groove. The thigh is modeled below knee. inwardverylightlytowardthe bottom. Left thigh and knee. The outer thigh muscle is lightly modeled. The knee is carefully articulated, U 21 RIGHT THIGH FRAGMENT AND PI. 85 KNEE particularlyon the right. S 3238; Museum basement,marble pile; findspot U 17 LEFT THIGH AND KNEE P1.85 unknown. P.L. 0.116, P.W. 0.074, Th. 0.046 m. S 3229; Museum basement,marble pile; findspot unknown. Single fragment, broken at both ends and from P.L. 0.207, P.W. 0.101, Th. 0.067 m. reliefground;partlyweatheredand encrusted. Singlefragment,brokenat top of thigh,belowknee, The piece preservesa right knee and part of the from background. thigh, carvedin reliefin a frontalposition.Verylittle Frontalleft thigh and knee. The piece is carvedin modelingis found in the knee, only a light groove to relief,with a bit of reliefgroundadheringon the right. our rightand in the centerof the projectingkneecap. U 14 RIGHT LEG

PI. 85

118

UNATTRIBUTEDFRAGMENTS

Left lower leg in relief,brokenbelow the knee and at the ankle.The leg, in rightprofileview, showsgentle S 3234; Museum basement,marblepile; findspot renderingof the shin bone and calf muscles. unknown. P.L. 0.134, P.W. 0.098, Th. 0.061 m. U 27 LEFT LOWER LEG P1.86 Single fragment, broken at both ends and from background. S 3237; Museum basement, marble pile; findspot unknown. Most of a rightthigh,in relief,perhapsturnedto our P.L. 0.110, P.W. 0.063, Th. 0.036 m. left. The tensedthigh muscleis modeledby a shallow Single fragment, broken at both ends and from diagonalgroove. reliefground.

U 22 RIGHT THIGH FRAGMENT

PI. 85

Left lower leg from knee to above the ankle,carved in relief in profile to the left. Very shallowmodeling S 3227; Museum basement,marble pile; findspot renderstheknee,calfmuscleandtendonson the outside unknown. of the leg. P.L. 0.115, P.W. 0.106, Th. 0.073 m. Single fragment, broken at both ends and from U 28 LEFT KNEE AND CALF PI. 86 reliefground. S 3239; Museum basement,marble pile; findspot Fragmentof a right thigh carvedin relief.A wide, unknown. shallow groove marks off and emphasizesthe upper P.L. 0.128, P.W. 0.065, Th. 0.064-0.073m. thigh muscle,as if the leg were thrustforward(to the Single fragment, broken at both ends; chipped right of the relief), while the left side is roughly across front, strutbrokenoff at back. finished. Marks of the claw and flat chisels remain Left knee and leg to mid-calf, in the round, in over most of the surface,and a smallpart of the right frontal view. The knee cap is well modeled, and a side retainspoint marks. sets off the upperpart of the lower leg, which groove curvesoutwardbelow the knee. A strut broke off at U 24 THIGH FRAGMENT Pl. 86 the point of attachmentto the relief groundin back. S 3245; Museum basement,marble pile; findspot The back of the leg is nearlyfinished,althoughrasp marksand long point strokesremainvisible in part. unknown. P.L. 0.138, P.W. 0.111, Th. 0.056 m. PI. 86 Single fragment, broken at both ends and from U 29 RIGHT LOWER LEG relief ground;front surfacechipped. T 338; Theater,findspotunknown. P.L. 0.141, W. 0.068 m. in Thighfragment profileview, carvedin relief.The thrust of the thigh muscle is well modeled, but the Singlefragment,brokenat both ends. the direction of limb cannot be determined. original Right lowerleg from below the knee to the front of the ankle.The lowerbreakis diagonaland ends at the U 25 LEFT LOWER LEG AND KNEE PI. 86 calf musclein back.The calf muscleand shin bone are well indicated. The surface retains chisel marks in T 340; Theater,findspotunknown. front, but the back is unfinished.The piece probably P.L. 0.158, P.W. calf 0.067, Th. knee 0.042 m. faced three-quarters to the left of the relief. Single fragment,broken at sharp angles at both ends, and acrossback. U 30 RIGHT LOWER LEG PI. 86 U 23 RIGHT THIGH FRAGMENT

PI. 86

The piece representsa fragmentof a left leg from T 367; Theater,findspotunknown. the kneeto the lowerend of the calf. The leg may have P.L. 0.113, Max. W. 0.060, Max. Th. 0.067 m. been in high relief, and was frontalor turnedslightly Single fragment, broken at both ends and from to the left. Transitionsin the knee and leg are capably relief ground. worked.Tracesof yellow paint remainon properleft. Right lower leg from below knee to ankle. The is nearly in the round, but adheredto the fragment U 26 LEFT LOWER LEG PI. 86 reliefgroundalong a small ridgedsectionin the back. T 366; Theater,findspotunknown. Over the rest of the back surfacethe excess marble P.L. 0.117, Max. W. 0.059, Max. Th. 0.035 m. was not cut away, so that a large ridge remains.The Single fragment, broken at both ends and from musclesprotruderatherstrongly,but are not harshly reliefground. separated.The leg was probablyfrontal.

CATALOGUE U 31 FRAGMENT OF RIGHT LOWER P1.86 LEG

119

marks; front, claw-chisel strokes. A dowel hole (Diam. 0.01 m.) is preserved at the left break of the plinth, from front to back.

T 349; Theater,findspotunknown. P.L. 0.104, Max. Diam. 0.070 x 0.068 m. U 35 RIGHT FOOT FRAGMENT PI. 87 Singlefragment,brokenat both ends. T 277; Theater, findspot unknown. Upper half of a right lower leg, broken below the P.L. 0.142, P.W. 0.044, H. plinth 0.073, Max. Th. knee.Theprominentcalfmuscleandtibiaareseparated with foot 0.130, P.L. foot 0.064, W. foot 0.054 m. by a strongchiselline. The pieceprobablyappearedin Single fragment, broken on all sides; silver-veined profileto the left of the relief.Abouthalf of the surface marble. remainsunfinished,and is particularlyrough in the centerof the back. A section of a right foot, between heel and toes and U 32 RIGHT LOWER LEG FRAGMENT PI. 86

including the beginning of the shin, is preserved on the plinth. The foot's surface is evenly rounded and retains rasp marks.

S 3232; Museum basement,marble pile; findspot unknown. PI. 87 U36 LEFT FOOT FRAGMENT P.L. 0.133, P.W. 0.058-0.068 (lower edge), Th. T 232; Theater, findspot unknown. 0.065 m. P.L. 0.192, P.W. 0.092, H. 0.061-0.087, Max. Th. Singlefragment,brokenat both ends. with foot 0.139, P.L. foot 0.120, W. foot 0.065 m.

Fragmentof a right leg carvedin the round, in a Two joining fragments, broken on all sides; front of frontal position. The upper part of the calf muscle and lower knee area are delicately modeled. The plinth preserved. A fragmentary left foot stands flat on the plinth, kneecap is chipped and worn, and the back of the knee is smoothly finished.The figure was probably pointing diagonally to its left. Preserved are the first three toes (the other two are abraded and visible only standingwith one leg slightlyforward. FEET

U 33 FRAGMENT OF RIGHT FOOT ON PLINTH

P1.87

T 152;joins S 510; Theater,findspotunknown. Max. P.L. 0.310, P.L. leg 0.163, P.L. foot 0.067, 0.055-0.085m. P.W.plinth0.082-0.091,Th.background Threejoining fragments,broken on all sides; very chipped. Fragmentof right foot and lower leg preservedon the plinth. The leg is held nearly horizontalto the plinthwith the front of the leg and the toes facingout. The bottom of the foot and toes are chippedoff. The ankle is lightly modeled.The bottom of the plinth is hammerdressed;reverse,smooth with narrowoffset at bottom. U 34 RIGHT FOOT FRAGMENT

in outline), the inside of the arch, part of the heel, and the ankle bone. Most of the top of the foot is missing. The toe joints and nails are naturally rendered. The surface of the plinth slopes up toward the back, and is worked by the claw chisel, as are the front and bottom. U 37 LEFT FOOT FRAGMENT

PI. 87

T 283; Theater, findspot unknown. P.L. 0.112, P.W. 0.074, H. 0.077-0.091, Max. H. with foot 0.148, P.L. foot 0.076, W. foot 0.061 m. Single fragment, broken on all sides; front of plinth not preserved. The fragment of a left foot, between heel and toes, lies flat on a section of the plinth. Its direction on the plinth is unknown. The base of the smallest toe is preserved. The surface of the foot curves gently up toward the ankle. The plinth retains rasp marks; bottom, hammer dressed.

P1.87 U 38

LEFT FOOT FRAGMENT

PI. 87

T 78; Theater,findspotunknown. T 158; Theater, findspot unknown. P.L. 0.120, W. 0.057, Th. 0.047-0.061, P.L. foot P.L. 0.161, P.W. 0.100, H. 0.064-0.084, P.Th. with m. foot 0.050 W. 0.058, foot sides. on three broken 0.105, P.L. foot 0.090, W. foot 0.052 m. Singlefragment, Three joining fragments, broken on all sides; front The first three toes of a right foot and part of a of plinth preserved. fourth remainnear the front edge of the plinth. The A fragmentaryleft foot lies flat on the plinth pointing foot is turneddiagonallyto its right.Joints and nails bears of the The are lightlymodeled. point diagonally to proper left. The first four toes are preplinth top

120

UNATTRIBUTEDFRAGMENTS

served in chipped condition. A break extends from behind the big toe to near the ankle and leaves part of the top of the foot preserved. The plinth is worked with the claw chisel. Long point marks at the right break suggest that the piece forms the right edge of the slab. U 39 LEFT FOOT FRAGMENT

P1. 87

S 3214; Museum basement, marble pile; findspot unknown. P.L. 0.090, P.W. 0.048 (= P.L. foot), Th. 0.063, W. foot 0.054 (at base of toes). Single fragment, broken on all sides, with remains of plinth and background. The piece preserves the toes and part of a left foot, in left profile view, in relief on the plinth. The big toe is parallel to the background and separated from it by a groove. Incisions separate the toes, the greatest distance being between the first and second. The surface of the toes is worn, but the nails of some are still visible. The foot curves up sharply from the base of the toes. Outer surfaces of neither the plinth nor the background survive. Tool marks on the bit of plinth below the foot imply that the foot stood on something, perhaps rocky ground. U 40 LEFT FOOT FRAGMENT

PI. 87

T 237; Theater, findspot unknown. P.L. 0.205, P.W. 0.111, Th. 0.079-0.088, P.Th. with foot 0.103, P.L. foot 0.066, P.W. foot 0.038 m. Single fragment, broken on all sides; plinth front preserved. The first three toes of a left foot remain on the plinth, pointing outward. The toes are badly chipped, but the nails are still visible. Top of plinth, point; front, claw chisel; bottom, rough. Traces of the foot on the plinth, which cover an unusually small area, suggest that the heel was raised and the foot inclined toward the inside. U 41 LEFT FOOT IN RELIEF

P1. 88

S 467; Theater trench, 3.5 m. deep, May 15, 1903; N.B. 18, p. 51; N.B. 26, p. 39. P.L. 0.237, P.W. 0.197, Th. 0.060-0.080, Max. W. leg 0.058 m. Single fragment, broken on all sides. The fragment may represent a figure's left foot and ankle in relief, except for the toes. The inside of the foot and the ankle bone are modeled, and the surface is chipped. The position of the foot suggests the farther foot of a horseback rider (compare A 4), but the smooth treatment of the reverse precludes its belonging to the Amazonomachy. Since the piece might also be

interpretedas a horse's fartherleg, Herakles'Labor of the Maresbecomesa possibility.The relief ground is workedwith the claw and flat chisels. U 42 RIGHT FOOT FRAGMENT

PI. 88

T 355; Theater,findspotunknown. P.L.0.090,P.W.0.102,Th.0.012-0.024,Th.with foot 0.059 m. Singlefragment,brokenon all sides,heel and ankle missing,toes badlyworn. A smallsectionof a foot is preservedbetweenankle and toes. The direction of the saw marks and the rough finish on the bottom of the foot indicatethat the foot stood on its toes. The figuremay have been in a running position to the right. The reverse is smooth. U 43 FOOT FRAGMENT(?)

P1.88

S 3215; Museum basement,marble pile; findspot unknown. P.L. 0.055 (= L. foot), P.W. 0.070, P.W. foot 0.042, Th. 0.060 m. Single fragment, broken on three sides; surface chippedand worn. Three toes are partly preserved,but their joints seem too heavy to belong to a human foot. Deeply incised lines separatethe toes, but the remainderof the foot is missing.Smooth surfacesare preservedat the end of one toe and at the bottom of the fragment. It mightrepresenta lion's paw. TORSOFRAGMENTS

U 44 SHOULDER FRAGMENT WITH STRAP

PI. 88

S 3263; Museum basement,marble pile; findspot unknown. P.L. 0.064, P.W. 0.075, Th. 0.023 m. Singlefragment,brokenflat acrossthe back(behind the shoulder)and at the bottom. Fragmentof a left shoulderwearing a chiton or cloak fastened across it. The draperyand shoulder have tracesof a light rusty color, perhapspaint or a sizing for paint. The simple strap is slightlyindented down the frontand undercuton the left. The shoulder is gentlyrounded. U 45 SHOULDER FRAGMENT

PI. 88

S 3309; Museum basement,marble pile; findspot unknown. P.L. 0.083, P.W. 0.072, Th. 0.037 m. Singlefragment,brokenon threesides.

CATALOGUE The piece may represent a nude left shoulder. A wide groove bounds it on the left, while a chisel stroke may separate it from the relief ground to the right. U 46 TORSO FRAGMENT WITH STRAP PI. 88 S 3285; Museum basement, marble pile; findspot unknown. P.L. 0.221, P.W. 0.134, Th. 0.046 m. Single fragment, broken at back and on all sides. Traces of red paint remain on the strap. The surface is chipped and partly encrusted.

U 50 DRAPERY FRAGMENT

121 PI. 88

S 3296; Museum basement,marble pile; findspot unknown. P.L. 0.140, P.W. 0.057, Th. 0.040 m. Single fragment, broken on two sides; surface chipped; one side badly weatheredand encrusted. Preservestracesof red paint and root marks.

The end of a hangingfold curvesto the right. The folds are evenly chiseled on the front, but less well carvedon the back. Since both sides are finished,the piece may belong to a flying mantle or the roll of a a nude male torso crossed by straight himationacrossthe torso. Fragmentary

strap or a wide mantle fold. Two grooves set off three low vertical ridges on the "strap". Very shallow grooves indicate abdominal partitions on the torso. U 47 TORSO FRAGMENT

PI. 88

S 3282; Museum basement, marble pile; findspot unknown. P.L. 0.163, P.W. 0.091, Th. 0.036 m. Single fragment, broken across the back and on all sides. The abdominal divisions are very lightly rendered, and the surface curves down toward the groin at the bottom of the fragment. U 48 LOWER TORSO FRAGMENT

PI. 88

S 3287; Museum basement, marble pile; findspot unknown. P.L. 0.202, P.W. 0.120, Th. 0.131 m. Single fragment, broken on four sides; surface chipped and worn. Lower abdomen, groin and tops of thighs of a nude male rushing or kneeling to the left. The left thigh hangs straight down, while the right is placed horizontally to the left, in profile view. The boundaries of the lower abdomen and the right thigh are modeled. The genitals are abraded. The reverse is smooth, and so its size may place the piece in the Herakles series.

PI. 88

S 576; Theater trench, June 3, 1903; N.B. 18, p. 75. P.L. 0.122, P.W. 0.082, Th. 0.078 m. Single fragment, broken on three sides; surface badly chipped. The piece preserves parts of five medium-sized folds delineated by strong chisel lines, where preserved. The folds project somewhat in the center of the fragment, and may have curved over a section of the body such as the shoulder or around the hips.

PI. 88

S 3301; joins S 3295; Museum basement,marble pile; findspotunknown. P.L. 0.155, P.W. 0.094, Th. 0.041 m. Two joining fragments,brokenon all sides. Portions of three wide, ridged folds in low relief curverightsuggestingmotion.The bottom of the skirt is flatly carved,but not undercut.A small portion of the leg beneathis preserved.Rasp marksremainover most of the surface. The piece may belong to the bottom of the skirtof a stridingfigure. MISCELLANEOUSFRAGMENTS

U 52 WING FRAGMENT

P1.89

T 332; Theater,findspotunknown. P.L. 0.219, P.W. 0.133, Th. 0.067 m. Singlefragment,brokenon all sides. The fragment depicts long feathers in very low relief.The feathersare separatedby incisedlines. The firstlayer of five feathersoverlapsa second,of which only a smallportionremains.The surfaceis somewhat concave,and a possiblebordersurvivesat one edge. The piece might belong to Herakles' Labor of the StymphalianBirds. U 53 WING FRAGMENT

DRAPERY FRAGMENTS

U 49 DRAPERY FRAGMENT

U 51 DRAPERY FRAGMENT

P1.89

T 141; Theater,findspotunknown. P.L. 0.173, P.W. 0.071, Th. 0.073 m. Single fragment,broken on all sides, with sharply diagonalbreaks. The fragmentpreservesportionsof fourlong narrow feathers carved in very low relief. Ridges form the feathers'borders.An irregularprotrusionat the lower fracture indicates the beginning of higher relief, perhapsthe body of the bird.The surfaceis irregular, but smoothly finished. The StymphalianBirds are probablyindicated.

122

UNATTRIBUTEDFRAGMENTS

U 54 FRAGMENT OF CUIRASS OR FEATHERS

P1. 89

T 142; Theater, findspot unknown. Max. P. Dim. 0.157 x 0.105, Th. 0.028 m. Single fragment, broken on all sides.

surfaceis roughly worked. Surface,claw chisel and point;reverse,smooth.If a weapon,the pieceprobably belongsto a giant using a curvedstick for defense. U 58 ROUNDED OBJECTWITH POINT PI. 89

Surface with three radiating lines in form of beveled ridges. Area between ridges is not smooth, but slightly irregular. The fragment may represent cuirass flaps (compare A 3-8, A 11-3) or feathers (compare U 53). If the latter, the piece probably belongs with the Herakles series. One edge bears a projection which may have additional ridges on it, but the surface is badly worn.

S 3170; Museum basement,marble pile; findspot unknown. P.L. 0.110, P.W. 0.053, Th. 0.056, Th. with relief object0.093, L. border0.053 m. Singlefragment,brokenon threesides. Preservedend of a roundedobject,0.040 m. wide. A deep drillhole separatesone side of this from what was adjacenton the left. A smaller, rounded form (W. 0.015 m.), chipped on one side, projects from the

U 55 DRAPERY OR SKIN FRAGMENT IN RELIEF

PI. 89

T 149 a; Theater, findspot unknown. P.L. 0.360, P.W. 0.320, Th. 0.065 m. Two joining fragments, broken on all sides but one; L. preserved edge 0.340 m. A wide portion of background has two raised objects on its surface. The larger one may represent a flying piece of smooth drapery or the tip a flat wing or the tail of a lion skin. The second object (P.L. 0.085m.) has broken away from the relief ground. The background is worked with the light claw chisel and point; border, hammer dressed; reverse, smooth. The piece belongs to the Herakles or Gigantomachy group. U 56 SHIELD FRAGMENT

PI. 89

T 360; Theater, findspot unknown. Max. P.L. 0.167, P.W. 0.099, Th. 0.010-0.039 m. Single fragment, broken on one side and from relief-ground back; edge chipped. Preserves part of the edge of a small shield, or perhaps the top of a bird's wing with no feathers. If the latter, the piece probably belongs to the Herakles series. The center is in low relief, but the edge projected from the background. The fragment begins to curve out again at one break. The outer surface bears very shallow, parallel grooves. U 57 STICK FRAGMENT (?)

PI. 89

S 476; Theater trench, May 15, 1903; N.B. 18, p. 51; N.B. 26, p. 39. P.L. 0.375, P.W. 0.147, Max. Th. 0.083, Th. relief ground 0.048-0.059 m. Single fragment, broken on all sides but one; L. preserved edge 0.155 m. Fragment of a stick or possibly a horse's leg represented in relief. One knot or joint is depicted, and the

finished end of the first. A bit of DeWaele's blue crayonis preservedon the front. The reliefgroundis workedby the claw chisel; edge, claw chisel; bottom of plinth,claw chisel; no reversepreserved.The piece mightbe part of a snake'scoil. U 59 POINTED OBJECTIN RELIEF

PI. 90

T 371; Theater,findspotunknown. P.L. 0.205, P.W. 0.085, Th. 0.062, Max. Th. with relief object 0.074 m.

Single fragment, broken on all sides; marble is flaky,silverveined. Against a portion of relief ground an object in reliefcurveswith two pointedends facingin opposite directions.So little of it is preservedthat it may represent a beak, tail, horn,claw, skin or tip of drapery. The relief groundis workedwith the claw chisel. As the reverseis smooth,the piecebelongsto the Herakles or Gigantomachygroup. U 60 CURVED OBJECTIN RELIEF

PI. 90

T 345; Theater,findspotunknown. P.L. 0.150, P.W. 0.115, Th. 0.042, Max. Th. relief object0.015 m. Singlefragment,brokenon all sides. An object which curves spirallyat the end like a staff head is carvedagainstthe relief ground.Incised lines emphasizethe outlineof the objectwhich tapers near the fracture.The piece may depict one horn of Apollo's lyre or the leg of a piece of furnitureor tripod. The relief ground is worked by the claw chisel; reverse,smooth. The fragmentbelongs to the Heraklesor Gigantomachygroup. U 61 HORN-LIKE OBJECTIN RELIEF P1.90 T 356; Theater,findspotunknown. P.L. 0.088, P.W. 0.039, P.Th. 0.055, Max. Th. with reliefobject0.081 m. Singlefragment,brokenon all sides.

CATALOGUE A curved, horn-like object, which could also depict a tail, is represented in relief. The object narrows as it comes to a point. Rasp marks cover the surface. U 62 CURVED OBJECT IN RELIEF

P1. 90

T 220; Theater, findspot unknown. P.L. 0.246, P.W. 0.138, Th. 0.020-0.042, Max. Th. with object 0.049 m. Two joining fragments, broken on all sides; much chipped. A curved object, perhaps part of a horse's or dog's tail or the end of a serpent body, is depicted in low relief. The surface of the object forms a slight ridge in the middle. Relief ground is worked by the claw chisel; reverse, smooth; the piece belongs to the Herakles or Gigantomachy group. U 63 POINTED OBJECT IN RELIEF

PI. 90

T 151; Theater, findspot unknown. P.L. 0.20, P.W. 0.095, Th. 0.053, Max. Th. with object 0.064 m.

123

Single fragment broken on all sides; one edge preserved;marblehas silverveins. A pointed object in relief may representa short horn, tail, claw or tip of drapery.The reliefgroundis workedwith the claw chisel; reverseis smooth with an offset, adjacentto the preservededge, L. 0.19 m. The piece belongs to the Heraklesor Gigantomachy group. U 64 TWO STEPS ON PLINTH

P1.90

T 333; Theater,findspotunknown. P.L. 0.167, P.W. 0.092, Th. 0.098, H. plinth0.0760.089, Th. background0.054 m. Singlefragment,brokenon all sides. Two steps are set at an angle on a plinthfragment, which slopes up toward the background.The steps probablyform part of a monumentor altarshownin slight perspective.The front of the plinth is chipped, the bottom is roughly dressed; since the reverseis roughlyworkedthe piece belongsto the Amazonomachy or Heraklesgroup.

VI THEATER

FRIEZES

COMPARATIVETHEATERFRIEZES The conception of adding sculptural decoration to a Greek or Roman temple is far from startling, but such embellishmenton a theater seems initially an unusual event. The apparent infrequencyof such

friezesarisesfrom their completeabsencein the Classicalperiod.From an architecturalviewpoint,it is impossibleto place stone reliefson a ClassicalGreek or early Hellenistictheater,since sculpture, whetherin the entablatureor on a podium,requiresa substantialandpermanentarchitectural framework. In the 5th and 4th centuriesB.C.Greekplayswereenactedin frontof simplewoodenstagebuildings withprojectingparaskenia.1 Around300 B.C. woodenproskeniawereprobablyadded,creatinga colonnade or a facadein front of the skenebuilding.But it was not untilabout 150B.C. that such structures werecreatedin stone, as at Eretria,Athens,Priene,Oroposand Sikyon.Sucha featurecreatesa high, narrowstage,providedwitha backdropby the secondstoryof the stagebuilding,the episkenion,which, judgingfrom an inscriptionat Oropos,was also transferredfromwood into stonearound150B.C.The openings,or thyromata,on the episkenion,as well as those of the proskenion,could be providedwith stone structures,such as at Oroposand Priene,retaintheir changeablepaintedscenes.Well-preserved Doric entablaturesover the colonnadeof the proskenion.The metopesin such entablatures,however, seemmuchtoo smallto beardecoration,paintedor sculptural,whichwouldbe visibleto the audience. By the Romanperiod,however,even greaterchangeshad takenplacein the theaterstructure.Since the actionwas now primarilytransferred to the stage,a muchdeeper"logeion"was required,fairlylow, no more 1.48 m. than preferably high. Significantchangesfor us are that the frontof the prosceniumor pulpitumis now permanentlyclosed ratherthan colonnaded,and that the backgroundof the stage, insteadof exhibitingwide openingsfor changeablescenery,is also closedand formsthe firstlevel of an elaborate,many-storiedscaenaefrons, architecturallyembellishedwith engagedcolumns supporting entablatures,niches, and more columns.Thereis now abundantroom for sculpturedfriezes:at the front of the proscenium,on the podiaof the columnsacrossthe scaenaefrons,and on the entablatures. Niches in some structuresvary the design of the continuousfront and provide space for individual sculpturesin theround;large statuesof deitiesor importantpersonageswerealso placedon the stage, in the orchestra,or at intervalsaboutthe seatingarea. Of the largenumberof theaterserectedin the late Hellenisticand Romanworld,manywereenhanced by statuaryin the round,but a relativelysmall numberreceivedsculpturedfriezes.Roughly20 such friezes are known, and others may lie unexcavatedor unidentifiedin museumsamong reliefs with unknownprovenances.The dateof the firststonetheaters,ca. 150B.C., closelyapproximatesthat of the first extant theater frieze, erected at Pergamon in the second half of the 2nd century B.C.2Portions of 1 For various theories on the developmentof the Greek and Roman theater, see, for example, Dinsmoor, The Architecture of AncientGreece,pp. 119, 207-211, 244-251, 297-330; Bieber, The History of the Greekand Roman Theater;Arias, II teatrogreco fuori di Atene; Anti, Teatrigreci arcaici;Bulle, "Untersuchungenan griechischenTheatern";Dorpfeld and Reisch, Das griechische Theater; Fiechter, Die baugeschichtlicheEntwicklungdes antiken Theaters; Fiechter, Antike griechische Theaterbauten;Frova, L'Arte di Roma e del mondoromano,pp. 778-787. 2 AltPergVII, ii, nos. 384-386, pp. 294-301, pl. 39 and Schober,pp. 146-147, figs. 149-150.

COMPARATIVETHEATERFRIEZES

125

two slabs are recordedas found in the excavationsof the theateron which Erotesand young winged maidensdrivechariotspulledby goats, and mythicalsea monstersare engagedin a battle.Both blocks measure0.24 m. in height.Two other blocks of similardimensionsand with similarscenesmay also belong to the theaterfrieze. Becauseof its height the frieze may have occupieda position over the architraveof the firststtonebuilding,erectednearthe end of the PergameneKingdom.Anotherfrieze withmasksstood overthe entranceto the theater.3The Pergamonfriezeheadsthe list of theaterfriezes, the rest of whichare Romanin date. Thoughsome friezes appearin the 1st centuryafterChrist,the majority of them belong to the 2nd century, when the Roman scaenae frons reachesits most elaborate development, with three-storied, colonnaded facades, and niches both rectangular and curved varying

the front of the stagebuilding. It seemslikelythat the Pergamonfriezeservedas the prototypefor the Romanfriezes,most of which are locatedin the East. Of these, nine are locatedin modernTurkeyand four at majorsitesin Greece. Those in Turkey can further be subdivided into three groups: on the west coast we have Pergamon, Ephesos, Alabanda and Miletos, two on the southern coast, at Side and Perge, and three inland, at Hierapolis, Aizanoi, and Sagalassos. The major sites in Greece, where the friezes are best known, are Athens, Corinth, Delphi and Thasos. Two friezes are preservedin North Africa, at Sabrathaand Hippo Regius, two in Sicily, at Catania and Taormina, and two in France, at Orange and Vienne. The frieze at Ephesos4consists of eight reliefs, in various states of preservation, portraying reclining satyrs, and perhaps eight reliefs depicting Erotes. The decorated slabs, which originally stood at the base of the scaenae frons, belong to a rebuilding of the theater in A.D. 66 by Domitian. The entablatures of the three stories in the stage building were also enhanced by carved decoration, but of a more purely decorative nature. The height of both the satyr and Erotes reliefs measures 0.875 m., and although the height of the socle to which they are attributed is ca. 0.85 m., the height of the slabs is considered close enough to allow this reconstruction. In addition, piers at the ends of the stage building were decorated with Amazons and satyrs. At least one fragmentaryslab is preservedfrom a frieze on the theater at Miletos.5 The relief, which shows Eros playing with a dog and a ram, is dated to the 3rd century after Christ, but its measurements and position on the theater are so far uncertain. Another theater frieze is currentlybeing excavated at Alabanda and is still unpublished. The ancient town of Side,6located near Eski Antalya in Pamphylia, had a figured frieze on the lowest podium of the scaenae frons built around the middle of the 2nd century after Christ. The reliefs, which remain in situ, are poorly preserved, but Dionysos and Ariadne are evident on one slab, a reveling scene on another. The architraveson the stage building are also decorated, one with masks and Corinthian capitals, the second with rich scrollwork. Current excavations are still in the process of uncovering reliefs at the base of the skene at Perge7 which remain well preserved and in situ. The slabs were divided by piers and followed the rectangular ins and outs of the scaenae frons. The frieze, which shows scenes from the life of Dionysos, probably dates to the second half of the 2nd century after Christ. 3 AltPergVIII, i, no. 236. A similar"frieze" with masks occurs on the metopesof the theaterat Barcelona,Frova, L'Arte di Roma e del mondoromano,p. 466; however, I have not tried to collect all known examples. 4 Eichler,Jahresh43, 1956-1958, pp. 7-18, figs. 7-10 and the publicationof the theaterby Heberdey,Niemann and Wilberg,Das Theaterin Ephesos,pp. 93-94, pl. 7 where the Erotes frieze is placed on top of the first-storywall, beneath the architrave;pl. 8 whereit is put in a niche on the second story; fig. 191 where the most logical restorationis given as on the socle of the second story of the scaenaefrons. The Amazon and satyr piers are illustratedby Eichler, figs. 1, 5, 6. 5 Simon, Charites,pp. 38, 45, pl. 8:3, who cites Krauss, "Das Theatervon Milet in seiner griechischenund romischenGestalt," pp. 387-393, but no mention is made of the theater sculpture. G. Kleiner, Die Ruinen von Milet, Berlin, 1968, pp. 70-71, figs. 44-45. De BernardiFerrero, Teatriclassici in Asia MinoreIII, p. 92, fig. 104. 6 Mansel,Die RuinenvonSide, pp. 122-142, figs. 110-117; M. J. Mellink,"Archaeologyin Asia Minor," AJA 63, 1959,pl. 21:3,4; De BernardiFerrero, op. cit., p. 141, fig. 147. 7 Akurgal,AncientCivilisationsand Ruinsof Turkey,p. 278, pl. 97; G. Bean, Turkey'sSouthernShore,London, 1968,figs. 5, 6, 8.

126

THEATER FRIEZES

The late Severan theater at inland Hierapolis8 was also decorated with reliefs which De Bernardi suggests ranged in three zones across the podia of the three-storied stage building. The front of the building had three curved exedrae and two rectangularniches. Since the reliefs so far published appear on flat slabs, they must have adorned the flat sections between the exedrae or the rectangular niches. However, it is impossible to tell the exact arrangement of the scaenae frons from its present state. According to De Bernardi,9on the lowest podia of the scaenae frons one sees reliefs illustratingthe birth and early years of Dionysos. A celebration of imperial exaltation, with Septimius Severus and local divinities,10decorates the middle podium of the second story, while from the topmost podia two slabs remain, one showing Dionysos' carriage and a second with reveling maenads.1 In addition, over the central niche is a rich frieze of acanthus leaves, animals and rosettes. In subject matter the reliefs are more closely related to the distant theaters on the southern Anatolian coast and in Athens than to those closer by. A continuous frieze of hunting Erotes and warringanimals was seen by two early travelersamong the ruins of the Hadrianic theater at Aizanoi,l2 on the western outskirts of Phrygia. The frieze stood above the composite columns in the entablatureof the first story13and was placed both on the fronts and sides of rectangular niches. Recent investigations show that the theater at Sagalassos,l4 located in Pisidia, was also embellished with a frieze. Two slabs remain on the site, their surfaces badly abraded. However, the outlines of the figures are distinguishableand show Erotes in hunting scenes, suggesting a relationship with gladiatorial pursuits. A date of the last quarter of the 2nd century after Christ is suggested. Because of the legendary origin and religious association of the theater, Dionysiac scenes seem most appropriate. This might seem particularly true in the case of the Theater of Dionysos in Athens. The Dionysos reliefs were originally brought from another monument. That they are re-used here is inferred from the fact that the backs of the slabs were cut down to fit the space available on the low 3rd century (after Christ) pulpitum. Although the first use of the reliefs is not certain, it is usually suggested that they decorated an altar in the precinct of Dionysos. However, since no such altar has been located, it is tempting to attribute them to an earlier phase of the Roman stage building. It should be noted that in their present location on the proscenium, they occupy only the west half of the front of the structure. Presumablyfour additional reliefs, similar in size though not necessarilyin subject matter, were placed on the east half of the stage front. The reliefs have been variously dated, but most likely belong to the middle of the 2nd century after Christ.15 The four reliefs, arrangedacross the front of the pulpitum, depict episodes from the life of Dionysos.l6 The first slab depicts the moment after Dionysos' birth from Zeus' thigh, with Zeus seated, Hermes holding the infant and two Kouretes, probably banging their shields to cover up the infant's cries. On the second plaque Dionysos is being received into Attica and Ikarios with his hound brings a goat to be 8 De BernardiFerrero, Teatriclassici in Asia MinoreI, pp. 57-67, figs. 97, 102, 117. 9 Ibid., p. 59. 10Ibid., fig. 97.

11Ibid., p. 59; Winter,in C. Humann, C. Cichorius,W. Judeich,F. Winter,AltertiimervonHierapolis,Jahrb,ErgdnzungsheftIV, Berlin, 1898, pp. 59-62, nos. 6-9. A photographof the slab with revelingfigurescan be seen in EAA IV, p. 27, fig. 35. 12 C. Texier,Descriptionde l'Asie MineureI, Paris, 1838, pl. 49 and P. le Bas, Voyagearcheologique en Greceet en Asie Mineure, ed. S. Reinach, Paris, 1888, pl. 17, p. 144. 13 Texier, op. cit., pl. 45; Le Bas, op. cit., pls. 5, 6. 14De BernardiFerrero, Teatriclassici in Asia MinoreII, pp. 54-57, pls. 8, 10. 15Herbig, Antike griechischeTheaterbauten VI: II, pl. 9-16, p. 59; it has, however,been held that the reliefs were not put on the theater until the rebuildingby Phaedrus,ca. A.D. 270, and then only for structuralreasons, Bieber, The History of the Greekand RomnanTheater, p. 18, figs. 53-55, p. 215. For the missing figure on the left of the third slab Herbig suggeststwo fragmentsof a drapedfemale figurewhich are now in the National Museumin Athens along with other marblesfrom the excavationsof the theater. See now, however, M. C. Sturgeon,"The Reliefs on the Theater of Dionysos in Athens," AJA 81, 1977, pp. 31-53. 16 Herbig, op. cit., pls. 9-16, pp. 36-59; Pickard-Cambridge,The Theaterof Dionysos in Athens,pp. 261-262; Hill, The Ancient City of Athens,p. 123, agrees with Dinsmoor that the heads were decapitatedlater by vandalism. See also P. Graindor, Athenes sous Hadrien,Cairo, 1934,pp. 171, 243-245, 277-279; and J. Travlos,PictorialDictionaryof AncientAthens,London, 1971,pp. 537551, who dates the Phaedrusbema ca. A.D. 400, p. 538.

COMPARATIVE THEATER FRIEZES

127

sacrificed, with a satyr or Herakles on the right. On the third slab, the ritual marriage of Dionysos and Basilinna at Athens is represented, in the presence of Tyche; a fourth figure, perhaps Eros, was cut away at the left. Finally, Dionysos is shown enthroned in the theater with the rock of the Akropolis in

the background. With him are his bride, Theseus and Tyche. The front of the stage in the Odeion of Agrippa in the Athenian Agora also bore sculptured decoration in the form of male and female herms. These would have appeared almost like pilasters separating blank

marble slabs across the straight front of the stage.17 The sculptured reliefs from the theater in Delphi have already been mentioned in Chapter IV. Leveque

suggests that the six plaques on which the Labors of Herakles are representedwere probably separated by pilasters or engaged columns across the front of the proscenium, where they would have been most visible to the spectators.18 The arrangement of the Labors, however, which overlap from one slab to the next in two cases, seems to indicate a continuous frieze. Leveque's restoration of the Delphi plaques has

been based largely on the analogy to the frieze in Athens, since the height of the Delphi slabs (0.85 m.) is close to the preservedheight of the Dionysos reliefs (0.86 or 0.87 m.).19Leveque dates the reliefs to the second half of the 1st century after Christ,20but closer study, on the contrary, suggests an earlier date. The theater on the island of Thasos is probably unique in having sculpturedmetopes in the entablature over the columns of the proscenium.21 The three carved metopes, which date from a late 2nd century (after Christ) reworking of the theater, represent Dionysos with a panther and kantharos, a Thracian

hero on horseback, and Ares areswearing helmet and cuirass. The pilasters at the end of the proscenium were also decorated, one with a representationof Nemesis, the other with a gladiator. As mentioned in Chapter II, two slabs portraying a gigantomachy were found in the excavations of

the 2nd century (after Christ) theater at Catania. The precise position of the reliefs on the theater has been regarded as uncertain. The frieze was formerly attributed to a position over the architrave, but Libertini suggests22 that until further evidence on the structure of the scaenae frons comes to light one should reserve judgment on the original location. The height of both blocks is 0.70 m. and the length 2.30 m. and 3.00 m. respectively. Judging from the measurements, the blocks are much too large to be placed over the architrave. A more logical position would be the podium of the scaenae frons or the front

of the proscenium. Unfortunately the architecture of the theater is badly preserved and the height of these two areas is unknown or unrecorded. Two unpublished slabs in the museum at Taormina, possibly with a Dionysiac theme, may provide evidence for a second theater frieze in Sicily. The proscenium of the theater at Sabratha in Tripolitania23 has the best preserved reliefs of any of the theaters examined. Here rectangular niches alternate with curved ones, and the entire front of the proscenium bears reliefs. A great variety of subject is achieved in the carvings. Some, such as the representations of tragedy and mime, are related to the plays given on the stage. In the central exedra we see an allegorical scene in which Roma and Sabratha are depicted clasping hands and surrounded by warriors. Other slabs present more traditional figures such as the three Graces, Paris and Aphrodite, the nine muses and Tyche. The effect of this Severan theater, which is the largest in Africa and preserved to three stories in height, is most impressive and greatly enhanced by the decorated proscenium. In fact, 17Thompson, Hesperia 19, 1950, pp. 64-68, fig. 11; Ridgway, The Severe Style in Greek Sculpture, p. 124, no. 1; Harrison, The Athenian Agora XI, nos. 219, 220, p. 169; and H. A. Thompson and R. E. Wycherley, The Athenian Agora, XIV, The Agora of Athens, Princeton, 1972, p. 113, pl. 60, c, d. 18 Leveque, p. 252.

19Ibid., p. 250; P. L6veque,BCH 74, 1950, pp. 224-232, pl. 34. Leveque,p. 260. See my study (footnote 12, p. 96 above).

20

21

Daux, Guide de Thasos, figs. 18, 19, pp. 50-54; Salviat, BCH84, 1960, pp. 300-316. Seyrig, BCH 51, 1927, pp. 178-233, dates the

metopes to the Imperialera (p. 200, pl. 9) and infers that the Thraciancavalier also representsDionysos. 22 Libertini,II museoBiscari,nos. 145, 146,pp. 70-71, pp.38 and Duca di Serradifalco,Antichit di SiciliaV, Palermo,1842,pl. 18:8. 23 Caputo, II teatro di Sabratha e l'architettura teatrale africana, pp. 15-23, pls. 31-49; I. S. Ryberg, Rites of the State Religion in Roman Art, in Memoirs of the American Academy at Rome XXII, 1955, pp. 136-137, pl. 48, fig. 74.

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THEATERFRIEZES

until the excavations in the theater at Perge are completed, Sabratha remains the best example for the

use of a sculpturalfriezeon a theater. Although the theaterat Leptis Magna does not have a sculpturedfrieze, it does display a herm in relief at eachend of the frontof the pulpitum.24This showsan interestinganalogywiththe Odeionin Athens,

and one wondersif additionalherms,now lost, may have stood as pilastersbetweenlargeslabsacross the front. A secondtheaterin Africaat Bona,Hipponium,or ancientHippoRegius,25 oncehadsculpturedreliefs. Portions of two slabs of Hadrianic date are preserved, one portrayinga maenad, the other Apollo. Both were placed in rectangularniches probably across the front of the pulpitum, since their height (1.25 m.)

correspondsto the presumedheightof the proscenium. A numberof friezefragmentsarerecordedas foundin the theaterat Orange.26 firstnoted Esperandieu a dancingmaenadand a satyrfound in 1904,and Lantieradds a numberof slabs, 0.76 m. in height, depictinga seriesof male and femalecentaurswhichhe assignsto the decorationof the scaenaefrons. Picarddifferentiatesbetweena largerand a smallerfrieze.He offersa new interpretationof the latter, whichhe considersAugustan,that shows the returnof Hephaistosto Olymposwith attendantsileni and maenads.The largerfrieze with Dionysiacepisodesand processionhe feels belongs to another structureratherthan the theater. The smallerone, measuring0.24 m. in height,shows Twofriezeswerefoundin the theaterat Vienne.27 lions and lionesses,dogs, bulls and ramsprocessingalternatelyrightand left. Lantierplacesthis frieze acrossthe front throeof pulpitum.The secondfrieze,for whichthe heightis not completelypreserved, shows a figure carrying a ram for sacrifice and holding a patera in the outstretched right hand, while another slab retains a fragmentarynude male figure with chlamys falling behind; his left hand rests on his hip and his right holds a knotted club, thus characterizingthe man as Herakles. The blocks have an average thickness of 0.06 to 0.065 m., so they must have been used as revetments, much as the blocks from the Corinth theater frieze. An inscription dates the theater to the Julio-Claudian period. Picard suggests that the second frieze represents the sacrifice to Cybele and is the first monument at Vienne related to the Mithraiccult. It is not stated in what position the friezesare to be restored; the animal frieze would probably fit over the architrave and the sacrificial scene either on the base of the scaenae frons

or on the proscenium. The known theater friezes appear in clusters ranging from Asia Minor and Greece to Sicily, North Africa and southern France. Of these the largest group, in Asia Minor, can be said to form two subgroups according to the choice of subject matter, whether narrativeor purely decorative as in the case

of theErotes.AsiaMinormaybe, in fact,wherethe idea of a theaterfriezewas most at home and from whereinspirationreachedthe West. Even so, it is surprisingthat no theaterfriezesare knownso far in Italyproper.Thismay be due partlyto the bad state of preservationof many theatersin Italy. Italian 24Squarciapino,Leptis Magna, fig. 32. Marec, Hipponela Royale, antiqueHippo Regius,pp. 79-87, figs. 42-43, and Caputo, op. cit. (footnote 23 above), p. 57. 26 Esperandieu,Recueilgeneraldes bas-reliefsde la GauleromaineI, p. 186, nos. 253-254, figs. 1, 2; Lantier, Recueilgeneraldes bas-reliefsde la GauleromaineXII, Suppl.,no. 7981, p. 29, pls. 33-35 shows the centaurreliefs; R. Lantier,"Au th6etregreco-romain d'Orange," RevArch25-26, part 2, 1946, pp. 101-103; J. Sautel, "Fouilles a Orangeen 1949," CRAI, 1949, pp. 425-429, figs. 1-4; J. Sautel, "Nouvelles decouvertesa Orangeen 1950-1951: Le cadastre agraire et les frises sculptbes,"CRAI, 1951, pp. 236-244, figs. 1-3; Picard, RevArch39-40, 1952, pp. 115-118, figs. 7, 8. 27 Esperandieu,op. cit., no. 356, p. 259; Lantier,Recueilgeneraldes bas-reliefsde la Gaule romaineXII, Suppl., no. 8015, pp. 3536, pl. 44 shows the animal reliefs; the figure carrying the ram is on no. 8013, p. 35, pl. 43, and Heraklesis representedon slab no. 8012, pl. 42, p. 35. For more recentinterpretationssee Picard, RevArch45-46, 1955, pp. 59-62. See also J. Formige, Le thdatre romainde Vienne,Vienne, 1950, and E. Will, La sculptureromaineau Musee Lapidairede Vienne,Vienne, 1952. Small portions of friezes are also known from the theater in Lyon, P. Wuilleumier,Fouilles de Fourvierea Lyon, Gallia, Suppl.4, Paris, 1951,p. 39, pl. XIV, 6, 7 and at the Odeion at Lyon, A. Audin, A. Bruhl, and G. Demarcq, "D6corationsculpt&edu pulpitumde l'Od6on a Lyon," Gallia26, 1968,pp. 43-54; and at the theaterat Lillebonne,R. Lantier,"La ville romaine de Lillebonne," RevArch,ser. 4, 21, 1913, p. 200, and O. Navarre, "Le th6tre romain de Lillebonne," RevEtAnc15, 1913, p. 428. 25

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129

museums also house many reliefs of unknown provenance, some of which may have been theater decoration. The subjects chosen for theater friezes are varied, but the narrative reliefs all show mythological or allegorical scenes. In general, historical figures, not representedin the reliefs, were instead erected as free-standing statues in niches on the scaenae frons or throughout the cavea. The theaters at Corinth, Delphi and Catania chose subjects which are the most traditional in the Greek repertoire. Battles of Greeks against the Amazons or the gods against the giants are still found to be pertinent as symbols of triumph over the barbarian. Herakles in the Hadrianic period becomes prominent again as the embodiment of the conquering hero, assuming local significance at Corinth. Hierapolis seems to be the only site where the imperial family took its place alongside the gods. Dionysiac scenes, which could be considered most appropriate for a theater, assume particular importance at a number of sites. If we examine the known theaterfriezesin chronological order, the Pergamonfrieze is the first,followed

by those in southernFrance,but the largetheatererectedin EphesosaroundA.D. 66 in a populousand frequently visited city may have provided the inspiration for many of those to follow, certainly for the rest of the Asia Minor examples. Perhaps a now missing frieze set the example for those at Pergamon and in France. The theater frieze reaches the height of its popularity in the 2nd century after Christ, where Corinth also assumes a prominent position. The positions of the friezes on the theaters also fall into groups. The decorated podia at the base of the scaenae frons are used throughout most of Asia Minor, at Ephesos, Hierapolis, Side, Perge, and at Orange. Hierapolis even had reliefs placed on the podia of all three stories of the stage building.

The front of the pulpitumis decoratedparticularlyin Greeceand the West: in Athensat both the Odeionof Agrippaand theTheaterof Dionysos,in Delphi, Sabratha,Leptis(2 herms),Hippo Regius, at Thasosis due to and at Vienne.Onlytwo theatersdisplayreliefsovera colonnade.The arrangement re-useof the formerGreekplan of the theater,whilethat at Pergamonis Hellenisticin date. Since Corinthbelongsgeographicallyto the westerngroup,it would seemlikelyby analogythat the front of the pulpitum was decorated originally with reliefs, though the later construction of the arena would have obliterated the carvings. The three friezes preserved,on analogy with the Asia Minor theater friezes,particularlythat at Hierapolis, must have been placed on the podia across the base of the scaenae frons as well as the podia of the second and third stories of the theater building (see below, pp. 133f.). THE CORINTH THEATER Like many theaters in Greece, the theater at Corinth underwent a number of changes during its nine centuries of use (see plan, PI. 91).28During the course of excavation it became clear that a number of

architecturalphaseswere present;their interpretation, however,is madedifficultby the re-usein later phasesof materialfromthe earlierperiodsand by the excessiveplunderingof largeblocksfor building purposes. The firstperiod,whichis datedto the last quarterof the 5th or the earlypartof the 4th centuryB.C., is representedby foundationblocksfor seatsin the cavea,a few scatteredseats,and rows of holes suggestinga wooden skene.29At all periodsthe stage buildingfaced south and the koilon, in a natural hollow, looked to the north. The second Greek theater, built in the Hellenistic period, had a simple stage building, a colonnaded proskenion and an episkenion. Parts of the stone foundation for this stage building were re-used in the Roman period. Ramps led up to the stage on either side and two Charonian stairs, an unusual feature, were cut into the orchestra, one on either side. A deep gutter bordered the orchestra, above which the

koilon was dividedinto 14 sectionsby 15 stairs.The theater,along with the rest of Corinth,probably 28 Stillwell, CorinthII, 29 Corinth

pl. 2. II, pp. 5, 8, 15-40, 131-133, pl. 4.

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sufferedfrom the sack by the Roman generalMummiusin 146 B.c.,30and the subsequent102 year abandonmentof the town. In 44 B.C.31the city was re-established as a Roman colony and soon after a temporary "Phlyakes" stage was set up on the site of the old theater. Many cuttings of different depths and sizes were located across the front of the pulpitum. Stillwell has detected five series within the cuttings, the first of which are assigned to the wooden Roman stage, centered over the ruins of the former skene, the rest to four

laterphases,two of themminor.32 Two major periods for the stage building are attributed to the Roman period. The first structure,33 begun under Augustus, was erected with the straight, Asia Minor variety of scaenae frons, but as the second scaena was rebuilt on the same site with cuttings into bedrock, the earlierplan cannot be exactly recovered. Poros blocks from this early structure were found re-used in the foundations of the next,

indicatingthat it was completelyrebuilt. The secondRomanstagebuilding,datedin the Hadrianicor veryearlyAntonineperiod,was totally revettedin marbleand muchmoreelaborate(PI. 91). The three-storiedfront was embellishedby three semicircularexedrae,the centralone formingthe largerporta regia, the sides the hospitalia.Fluted Corinthiancolumnsstood on podia acrossthe front. Straightsectionsseparatedthe exedraeand continuedbeyondthe hospitaliato the returnof the versurae.At the east and west ends,stairsled fromthe north to boxes for the tribunesor perhapsto chambersin the upperpart of the building.Nearly two thirdsof the stagebuildingwas cartedawayby laterplunderers.The best preservedremains,in the east partof the building,reacha maximumheightof threecoursesabovethe levelof the stage.Severalcisterns were sunk withinthe foundationsof the skene itself. A rectangularhall was addedat each end with andsixrectangular openingsfacingthe stage.Thefrontof theprosceniumis restoredwithfivesemicircular nicheswithstaircasesat the ends.Woodenpoles supportedthe aulaeaor curtainwhichwas raisedacross the front. The heavyblock for the windlasswhichcontrolledthe curtainis locatednear the west end of the stage. The vaulted parodoi lead into the orchestraand the analemmataare strengthenedby buttresses.No seatsremainfromtheRomancavea.Behindthecentralstraightsectionsof the stagebuilding two exedraeprovidedwith stonebenchesfacednorthontoa peribolos.Thislargerectangular Ioniccolonnadedporticowas providedwith a fountainin the centerof thesouthsideandmayhavehada garden.A streetnorthof the Ionic peristyleaccountsforthelack of parallelismin theperibolos.East of the theater a streetleads downwardfrom the south to the entranceof the east parodosand a pavedplaza.34 Earlyin the 3rdcenturythe theaterwas rebuiltinto an arenafor huntingand gladiatorialcombats.35 By theremovalof thefirstten rowsof seatsthe orchestrawasmadeto seemlikea sunkenpit. The parapet at the base of the seatswas paintedwith huntingscenes,perhapsrepresentingactivitiesthat took place in the orchestra.The northernborderof the orchestrawas extendednearlyto the base of the stage building,thus eliminatingmost of the pulpitum(PI.91). In the secondhalf of the 3rdcenturythe theaterwas againaltered,this timefor the purposeof water shows.The orchestralevel was raised,a new gutterbuilt and a waterproofedparapeterected.A deep Roman stagewas built on foundationslaid over a stratumof sand.The theaterwas finallydestroyed around A.D. 396 when the invasionof Alaric took place.36 30CorinthII, pp. 6-12, 15-40, 131-135, pls. 3, 5,c, 8, a. 31Harrison, TheAthenianAgoraI, p. 14, note 12 observesthat Dinsmoor suggests45 ratherthan 44 B.C. 32CorinthII, pp. 41, 75-81 with a chronologicalsequencebased on the post holes on pp. 80-81, pl. 5,a. 33CorinthII, pp. 58-65, 135-136. W. D. Heilmeyer,Korinthische Normalkapitelle,StudienzurGeschichtederrdmischenArchitekturdekoration,RomMitt,Suppl.XVI, Heidelberg,1970, p. 67, note 265, assigns a Flavian date to a Corinthiancapital from the theater at Corinth. It should be pointed out that the capital to which he refers was noted by Stillwell (CorinthII, p. 118, no. 113, fig. 92) as differingin style from those capitalsassignedto the Hadrianicphase of the theater;on the basis of that stylisticevidence,Stillwell concluded that the capital probablycame from elsewherein Corinth. Therefore,Heilmeyer'sattributionof a Flavian date to the capital in no way affects my argument. 34 CorinthII, pp. 41-83, 136-140, pls. 6, 7,a, 8,b. 35 Corinth II, pp. 84-98, 140, pl. 7,b. 36 Corinth II, pp. 82-83, 140-141.

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RECONSTRUCTIONOF THE CORINTHTHEATERFRIEZES The sculptured marble friezes were found in association with the second Roman, or Hadrianic,

scaenaefronswhichprobablystood on the site with only minorrepairsuntilthe finaldestructionof the theater. Several technical features occur on the frieze slabs which further strengthen their connection with the Hadrianic building. Clamp cuttings from the frieze are all for hook clamps, the type used in

the Hadrianicbuildingand not, apparently,in the earlierstructure.3The treatmentof the backs of the frieze slabs, as previously noted, alternates between a roughly picked finish on the Amazonomachy

and some of the Heraklesslas and a smooth, sawn surfaceoneesall the rest of the Heraklesand the blocks. from the architectural cornice members, Gigantomachy among Similarly, scantilypreserved and architrave-friezeblocks show the same variation of treatment.38The roughly worked surfaces may

havebeenplacedagainststonebackerblockswheretheywouldnot be seen,whilethe smoothlyfinished backs may have stood free.39It seemsmore likely, however,that the reversesides of these thin slabs were smoothly finished so they could be fitted as a revetment or veneer against brickwork. The sawn blocks may have been cut down from thicker, probably unsculpturedblocks taken from another structure and re-used. It seems impossible, in terms of style and composition, that such a differencein treatment of the reverse sides could be chronologically significant; there is no relationship between the style of the sculptures and the treatment of the reverse. Cuttings for simple hook clamps or pins seem to occur sporadically along the top and side edges of the blocks; one fragment (A 10-2) even preserves a cutting for a hook clamp that is sunk into the top of the piece, where a portion of the clamp itself is preserved. In addition, the lower corners of some of the preserved plinths are cut back in an irregularmanner. If such irregularcuttings were to provide a supplementarymeans of securing the revetment-likeblocks to their backings, one would expect them to appear on the lower corners of all slabs. The cuttings are not restrictedto an individual frieze, but appear on all three (e.g. G 10-1, G 11, G 12, G 27, G 32, G 33-2; A 3-9, A 5; H 2-1, H 8-2, H 8-3, H 11-1). The thicknesses of the slabs from the three friezes do not seem to show significant differences. The Amazonomachy plaques, on the whole, range in thickness from 0.047 to 0.200 m., and sometimes dimensions vary as much as two to three centimeters within the same block. In the Herakles series the blocks range from 0.020 to 0.150 m. in thickness, the extremely thin slabs occurring only in a few cases and where the reverse is smooth. Here the variation in thickness within one slab can be as much as four centimeters. In the Gigantomachy the blocks show a difference in thickness from 0.032 to 0.087 m.

In generalit seemsthat the slabswith roughlypickedbacksattaingreaterthickness,but this is not the rule and may be a reflection of the fact that they were not made from re-used blocks. The extreme

thinnessof a few of the blockswith sawedreversesmustresultmorefromchancethanintenton the part of the architect, though thin slabs in general would be appropriate for a revetment. An examination of the findspots, where recorded, may be of some help. The Amazonomachy plaques40 were located in the west parodos, east parodos, south of the east parodos, northeast of the stage building, 37 Corintth II, pp. 68, 73, 111-118. The friezes' "hook-clamp"cuttingsfor the most part are not imbeddedin the edge of the block, but extend across the edge and into the front face, as though for a simple kind of clamp or pin. 8 CorinthII, pp. 111-118, especiallycornice blocks nos. 68, 69 and architrave-friezeblocks nos. 97, 100-102. 39CorinthII, nos. 99, 104 and p. 99. 40 Amazonomachy,known findspots: A 3-4. East end of stage. A 4-1. West cavea XIV. Amazon head: east cavea. A 5-1. West cavea XIV. A 5-2. Center, rear, of stage building. A 6-1. West cavea XIV. A 7-1. TheaterStreet North, near Erastusinscription. A 7-2. East end of stage. A 7-5. Northwest stage. A 8. East cavea. A 9-4. East cavea VI.

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and in and east of East Theater Street. The other two friezes show a similar wide distribution. The Herakles slabs41were excavated in the central and east sections of the cavea, from all parts of the stage

building,in southand east areasof the peristylecourt,and northof the east parodos,nearEastTheater Street.Likewise,the Gigantomachyfragments42 appearedin the center,east and westpartsof the stage, in the south part of the peristylecourt and at as greata distancefrom the stage buildingas the east theaterplaza.Thefact that none of the Gigantomachyreliefswerefoundin the caveasuggeststhattheir

A 10-1. Head: west parodos, near west end of stage. Shield: dump above theater. A 10-2. Torso fragment:West Forum, near Babbiusmonument. A 10-3. Center,rear of stage building. A 11-1. Orchestra,in front west part of stage. A 11-3. North of center of stage building. A 11-7. North of stage, near center of peristylecourt. A 12-2. East cavea VI. A 12-3. East cavea VIII. A 12-4. East end of stage. A 13-4. Small shield fragment:east end of stage. Torso: east end of stage building. A 14-1. Upper 3 fragments:next to east wall of peristylecourt. Torso fragment:road west of Shear House. 41 Labors of Herakles, known findspots: H 3-1. Near west end of stage building. H 4-3. East cavea IX. H 5-1. East cavea VI, D. H 5-2. Center,rear of stage building. H 6-1. Cavea VIII. H 6-2. Orchestra,southwestof Roman center. H 6-3.

Northeast part of skene.

H 7-1. Near fountain in south center of peristylecourt. H 7-3. Near center of stage building,from bottom of well. H 8-1. In passageeast of peristylecourt. H 8-2. East cavea VI. H 8-3. East end of stage building. H 9-1. East cavea. H 11. East cavea VII. H 12-1. North of east parodos, near street. H 12-3. Near east end of stage building. H 13. Torso: northeastof peristylecourt. Front of boar: within southeastcorner of peristylecourt. Herakles'head: east cavea. H 14-1. Just east of stage. 42 Gigantomachy,known findspots: West skene. G 4. G 7-1. West cavea XIV. G 8-2. West cavea XIV. G 10-2. Peristylecourt, near south center. G 11-1. East end of stage. G 11-3. East cavea VIII. G 12. East cavea VIII. G 14-1. West central portion of stage building. G 15-1. Peristylecourt, near southeastcorer. G 15-4. West cavea. G 17. West cavea XII. G 20-1. East end of stage. G 21-2. Centerof stage. G 21-3. Near east end of stage building. G 23. East cavea VII. G 24-1. West cavea XI. G 26. West cavea XIV. G 27. East cavea VIII. G 30-2. Southwestcorer of east theaterplaza. G 31-1. West part of east theaterplaza. G 32. Torso, central tongue XII. G 36-1. Peristylecourt, near center of south side. Head: east cavea VI. G 36-2. East cavea VI. G 65. Peristylecourt, near center. G 66. East end of stage. G 103. Near southeastcorner of peristylecourt.

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locationon the buildingwas too low for themto fall sucha distance.A locationon the firststoryseems likely. Due to the nature of the excavations, however, it is impossible to fix the findspots more accurately. The Gigantomachy slabs seem to be the most centrally located, while the Amazonomachy and

Heraklesseriesweremorewidelydispersed,thoughall threeoccuron both the eastandwest sides of the stage building. Our conclusions from the findspots may be misleading for several reasons. Records of location are preserved only for a relatively small number of fragments and a different picture might be

presentedif our recordsweremorecompleteor if we could locatemorecloselythe gridnumbersgiven in the excavation notebooks, which apparently vary from plan to plan. The seeming density of finds

towardthe eastresultsin partfromthe loss of the excavationnotebooksfor the areaof the stagebuilding and from the fact that excavationremainsincompleteat the northwestand west. In addition,during the plunderingof the theatersomeblocksmay have been carriedtowardthe north-southstreetlocated blocksor sizabletorsofragments, to the eastof the theaterbeforebeingdroppedin favorof unsculptured which would be better for building.

From the estimatednumberof slabsin each friezeand from theirpreservedor estimatedlengthswe can calculatethe restoredlength of each frieze and of the threefriezestogether.The Gigantomachy frieze, which measures 0.98 m. in height, has a restored width of 1.08 m. per slab and an estimated total of 18 slabs (see Chapter II). Its entire length, therefore, can be restored as 19.44 m. The Amazonomachy and Herakles series show average heights of 0.816 m. and 0.83 m. respectively. The average preservedwidth of the Amazonomachy slabs is 1.28 m. (taking into account the unusually narrow block A 5 of 1.02 m.; the average width without A 5 is 1.36 m.). If 14 blocks can be suggested

for this frieze,the estimatedentirelengthis 17.92m. (see ChapterIII). The restoredslab widthfor the Heraklesseriesis 1.08m., so with 14 Laborswe obtainan estimatedlengthof 15.12m. (see ChapterIV). This gives us a total length for the three friezes of 52.48 m. and of 33.04 m. for the two friezes having similar heights. The total length of the stage building is 60.00 m., but, as previously mentioned, three exedrae and four straight sections make up the fagade; thus the entire length was not available for a sculptured frieze. A single architrave-friezeblock from the straight portion of the scaena is preserved to its entire length (no. 103).43Its length of 1.815 m. gives us the length of the interaxial spacing across the front, so that the length of the straight sections depends on the number of columns restored. Stillwell stresses that, given the extent of pillaging of architecturalblocks, any reconstruction is to some extent conjectural and has to be made from probability and analogy rather than direct evidence, but his restoration seems logical from the evidence at hand. Five columns can be placed between the porta regia and each hospitalium, giving a straight section of four intervals for a total of 7.26 m. on each side of the central door, or a combined length of 14.52 m. Betweenthe hospitaliumand the end four more columns probably stood. Three interaxial spacings would create a length of 5.445 m. or a combined length of 10.89 m. The total length of straight sections across the front is therefore 25.41 m. There is a block, no. 98, which gives us an architrave-friezeblock combined. Since the height of the frieze portionis 0.235 m.44 the figuredslabs could not go there.The most logical positionfor the sculptured

friezesis withinthe flat, uncurvedpodiumzoneswhichsupportthe columnsof the threestoriesacross the front of the scaenaefrons.Twostoriesgiveus a combinedrunninglengthof 50.82m. availablefor a frieze,not quite sufficient,whereasthreestoriesallow for 76.23 m. Stillwellsuggestsit is unlikelythat the reliefscould have been placed acrossthe front of the pulpitum, since, when the theater was used as an arena, the stage was nearly all demolished, and frieze fragments were "scattered at a low level over the ruins of the third century pulpitum and the orchestra."45It is probable that the friezes remained on the podia of the various stories throughout the use of the building. However, by analogy with other theater 43 Stillwell, CorinthII, pp. 99-101, 117. This block belongs to an upper order of the building. 44 CorinthII, p. 117. 45 Corinth II, p. 137.

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friezesfromGreeceandtheWest(seeabove,p. 129),it seemspossiblethatthefrontof the stageoriginally also bore reliefs.Thosein the centermust have been removedor destroyedduringthe constructionof the arena,whilethose on the flanksmay have been left in position. Fromthe estimatedlengthsof the threefriezes(52.48m.) and the availablespaceacrosseach level of the stagebuilding(25.41m.), it seemsobviousthat all threestoriesof the buildingmust have received sculpturaldecoration.By way of analogy,the friezein the theaterat Hierapolisis thoughtto occupy podia on each of the threelevelsof the stagebuilding(see above,pp. 126, 129).Any suggestionthat the curvedsectionsof the exedraemightalso have been sculpturedis untenableon presentevidence,since none of the slabs in the catalogueshow any signs of curvature.This is supportedby the nearly300 inventoriedbackgroundfragmentsnot includedin the presentcataloguewhichare also completelyflat. The subjectof each friezewould be best understoodif each occupieda single story. The Laborsof Herakles,whichmighthave been postulatedas a friezedividedbetweentwo storieson the basis of the dual treatmentof the backs,is the one friezewhichwouldbe most effectiveif seen as a singleunit. Its extremelyfragmentaryconditionsuggeststhat it might most suitablybe restoredacross the podia of the top story. The Gigantomachy,by virtueof its greaterheight and more carefulfinish,is a logical choicefor the lowestlevel,a positionfurtherconfirmedby the factthatnoneof its fragmentsarerecorded as comingfromthe caveaor orchestra.Thusthe Amazonomachyfriezecan be placedacrossthe middle level. A comparisonof the restoredlengthsof eachfriezeand the lengthof the two centralpodia showsthat eachfriezeis longerthanthe centralarea,so thatat leastpartof the sidepodiamustalso havebeen used. Due to the extent of plundering of the theater and the incompleteness of excavation, it is possible that each frieze was at one time composed of more slabs than we are able to restore with the material at hand. In the original arrangementsmall pilasters may have been placed between the slabs, as at Sabratha (see above, p. 127 and note 23). Such an arrangementwould be quite in accord with the composition, which compares more favorably with metopal than with frieze composition. Nowhere do more than two figures appear on a slab, and nowhere among the existing fragments do we have the slightest suggestion that either the action or an individual figure overlapped from one slab to the next. In the first level of the scaenae frons, the Gigantomachy slabs may be arranged with five blocks in each of the central areas and four on each of the side podia. If such an arrangement is postulated each relief slab would be centered immediately below a column, so that the impressionof individual sculptured pedestals would be given. This reconstructionwould leave a space of about 0.31 m. between the slabs in the two central sections and 0.21 m. on the sides. The unsculptured areas could be filled with plain marble revetment or pilasters. Since 18 columns stand above the straight sections across the scaenae frons, the numberof places for sculpturedblocks agreeswith the 18 slabs estimated in the reconstruction of this frieze.46 The podia of the three stories decrease in height, according to the principles of Vitruvius, from the firstto the third story, and to correspond,the Amazonomachy and Herakles friezes are less high than the Gigantomachy. In addition, the latter friezes appear to be composed of fewer slabs, and are somewhat

widerin dimension.A reconstruction of the uppertwo stories,47 therefore,mightbe madewiththe sculpturedslabs in the intercolumniations rather than (like metopes), directlybelow each column.Such an 14 allows for frieze slabs acrossthe uppertwo stories,an arrangementwhichagreeswith arrangement the numberof slabs restoredfrom the availablefragments:fourteenslabs have been restoredfor the Amazonomachyand the samefor the Laborsof Herakles.The spacesdirectlybelowthe columnsshould be visualizedas plain revetmentslabs or short pilasters.An estimated0.36 to 0.40 m. would remain 46 For

the choice of a gigantomachyfor sculpturedpedestals elsewhere, see, e.g., the column socles from the Templeof Gens Septimia in the SeveranForum in Leptis Magna, Squarciapino,LeptisMagna,figs. 56-63. 47Compare the Captives'Facade'at Corinth for the use of sculpturedpodia in the second story under a "columnar" facade, R. Stillwell, CorinthI, ii, p. 55, fig. 40.

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between the Amazonomachy slabs in the center sections and ca. 0.35 m. on the side sections. As the Herakles blocks are somewhat shorter than those of the Amazonomachy, the intervening spaces would be somewhat greater: ca. 0.60 m. between the slabs in the central podia and 0.54 m. on the sides. The varying widths of the slabs could easily be taken up by adjusting the widths of the pilasters or blank

revetment. members.48 In CorinthII, a numberof pilasterfragmentsareincludedin the catalogueof architectural Althoughthese are few in number,and quite fragmentary,Stillwellnotes threemain sizes, the largest havinga maximumwidthof 0.53 m., the intermediatebeing0.41 to 0.445m., and the smallest0.29 or 0.28m. Thesethreesizesseemto correspondwiththeestimatedwidthsof the unsculpturedsectionsof the podia. If pilastersare restoredin the intervals,they would probablyhave variedslightlyin width to is seento be allowfor the variationin widthof the friezeslabs,whichin the case of the Amazonomachy as greatas 0.048m. Thewidthsof the friezeslabs may have been consciouslyalteredso that the slabs or of the columns.Theirregularity wouldcorrespondmoreexactlyto the widthof theintercolumniations of the slab heightswas probablyeliminatedby moldingsoverlappingthe panels at top and bottom. for eachfriezehasbeendiscussedabovein therelevantchapters(cf. Figs. 1-3). Theproposedarrangement Friezeson the podia of the threestorieswould have beenclearlyseen from any point in the cavea. The slabs on the podia of the first story would have provideda pleasingbackdropto the action and perhapshave suggestedadditionalactors fanned out across the rear of the stage as membersof the chorus.All threefriezeswould have greatlyenhancedthe alreadydecorativescaenaefrons. 48 Corinth II, pp. 122, 124.

VII SUM

MARY

Examinationof the relieffragmentsdiscoveredin the theaterof AncientCorinthshowsthatthe threestory stage buildingerectedduringthe Hadrianicperiodwas decoratedwith three series of reliefs:a Gigantomachy,an Amazonomachyand the Laborsof Herakles.The friezeslabswereplacedacrossthe straightpodia of the three storiesof the scaenaefrons (P1.91). The Gigantomachy,as reconstructed, is composedof 18 slabs, each of whichcontainstwo figures(Fig. 1). As thisfriezeis the bestpreserved and the most carefullyfinished,it can be attributedto the podia of the lowest story of the building, where the figures would appear to stand at the rear of the stage. Since the number of slabs corresponds to the number of columns in the theater fagade, each slab was probably placed directly under a column to create the impressionof sculpturedpedestals. The intervals between the column bases were probably revettedwith plain marble.With an estimated length of 19.44 m., the metope-like duels stride across the entire stage from the wings toward the monumental center. This frieze is strongly reminiscent of the gigantomachy on the Great Altar at Pergamon, now in the Berlin Museum. The Amazonomachy (Fig. 2) was probably secured to the second story of the building. The fourteen slabs were probably placed on the podium which runs below the columns, in the sections corresponding to the intercolumniations above. Throughout its length, estimated at 17.92 m., conventionally clad Amazons defend themselves against Greek warriors. The slabs are all spaciously designed, and many of the figures draw heavily on Classical prototypes. Fourteen episodes are represented in the Labors of Herakles series, two more than what is usually thought of as "canonical." Besides the twelve scenes familiar from the Olympia temple metopes, scenes of Herakles in repose and the hero's struggle against the giant Antaios are shown. As this is the most fragmentaryof the friezes, it is likely that it occupied the podia of the topmost story of the scaenae frons.

Likethe Amazonomachy,the slabswereprobablyplacedin the intercolumnar areas.Thisfrieze,which a of have had 15.12 in ca. shows more innovation m., length may iconographythan the othertwo and exhibitsseveraluniquescenes.Thefacts that the theaterwas extensivelyplunderedin ancienttimes,and that it has not been completelyexcavated,help explainthe fragmentarystate of the frieze. A fourth area on the scene building, which seems a logical place for a frieze by analogy with other theater friezes in Greece, is the front of the pulpitum. Although the central portion of the Hadrianic

pulpitumwas destroyedwhenthe theaterwas convertedto an arena,it is possiblethatoriginallyit was also decoratedwith reliefswhichwereperhapsmoredecorativein nature. Thethreefriezeshavebeenseento borrowin varyingdegreesfromClassicalandHellenisticprototypes. Althoughthey are not strictlydependenton theirpredecessorsin the Greektradition,they show little relationshipwith contemporaryRomanreliefs.Thisis probablydue to the natureof the subjectmatter whichis totallyGreek. Thatall threefriezesare Romanin dateandin fact belongto the periodof the theaterwithwhichthey associatedis provenin a numberof ways.Thethreeseriesof reliefsarecontemporary, arearchitecturally sincetheproportions,treatmentof musculature, andcarvingtechniquesarein generalsimilarthroughout, althoughindividualdifferencessuggesta numberof hands of varyingskill. Rasp marksare often left on the surface,not only of garments,but of skin as well. The hairof manyfiguresappearsonly roughly blockedout with the chisel and lacks the fine, carefulqualityof Classicaland Hellenistichair. Heavy use of the runningdrill,a characteristic whichmightbe said to beginin the late Hadrianicperiod,does

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137

not occur regularly throughout the frieze, but it is apparent in the hair of several of the giants where

the coloristicfeatureis used specificallyto emphasizetheirwild, unrulylocks. Close,contemporary parallelsaredifficultto establish,becausethe datesfor muchof Romansculpture, particularlyin the firsthalf of the 2nd centuryafterChrist,are imprecise,especiallyin the case of nonhistoricalreliefs,and even more so for provincialwork. The Roman sarcophagi,which begin to be producedin greatnumbersin the secondhalf of the 2nd century,are laterand not closelycomparable. The nearestparallelsseem to be found in a lappeton a statueof Hadrianin Corinth,busts from the Hadrianicbaths at Aphrodisias,two heads from Didyma,and the Antoninealtar at Ephesos,dated ca. A.D. 160-168.The pedimentalsculpturefrom TempleE at Corinth,'whichis classicizingin type, showssignsof affinitiesin technique,suchas raspedsurfacesandoccasionalexploitationof drillholesand running-drillchannels.In the Temple E sculpture,however,the heads are more truly classicizing, featuresare sharperand the hair is more finely carved. Spaciouscompositionis the most prominentfeatureof the threeCorinthfriezes.Thoughthis may at of a type firstseemstrangein a Romancontext,suchan arrangement of figuresis highlycharacteristic of sculpturewhichhas untilnow not beendiscussed.All otherexamplesof theaterfriezes,fromthe most familiaron theTheaterof Dionysosin Athens,to the moreremote,in the highlandsof Anatoliaand in southernFrance,presentsimilarcharacteristics. Figuresrarelyoverlap,exceptfor the occasionalcrossing of feet or hands.Theartisthas not createda seriesof planesrecedinginto the distancein orderto convey depth,as he mighthaveif he weredealingwith a sarcophagusor an altaror templerelief,whichwould have been seen at close range.With theaterreliefsthe artistis confrontedwith specialproblems,for Oneof thegivenproblemsto whichhemustcreatea compositionalschemenewto thesculpturalrepertoire. whichtheartisthasto adjustis thegreatdistanceatwhichthereliefswouldbe seen.Viewedfromthecavea, Spreadingthefiguresout figuresin a crowdedcompositionwouldbe lost andtheactionincomprehensible. againsta freefieldcauseseachfigureto be isolatedandemphasized,almostin themannerof a silhouette. Fortheaudience,theoutlineof eachfigure,andlikewisetheaction,wouldappearclearandunderstandable. Demandingalso is the problemof two pointsof view in a semicircularcavea.One artisthas triedto designhis figureswith two views of perspectivein mind (Amazonomachy:slabs 4 and 5). The farther legs of both the kneelingGreekand the horsehave been widenedso that they appearon both sides of the nearerleg, when seenfrom a frontalviewpoint.However,this adjustmentwould make the farther leg apparentwhenviewedfrom eitherside of the cavea. It is possiblethat a singleartist sketchedthe designsfor all threeseries of theaterreliefs.The actual carvingwas probablydividedamongthe seniormembersof a local workshop,whilethe cuttingof the slabsand theworkingof the free fieldaroundthe figureswas possiblyallottedto less skilledworkmen. Six sculptorsmay have been engaged,two for each of the friezes,for a periodof threeor four years. A numberof additionalworkmenmayalso havebeenengagedto workon secondaryfiguresandanimals as well as to hastenthe completionof the project. The possibilityof isolatingthe artist'shandson reliefsin such a fragmentarystate as our is rather remote. Stylistic differences, such as heavy versus light musculature and stocky versus thinner pro-

portions,are apparentin each frieze.Otherpeculiarities,as the size and treatmentof the eyes and the degreeof plasticityin the hair, may denote an individual'swork. The Gigantomachyfrieze, which comprisesfour compositionaltypes, could easily be dividedbetweentwo artists,giving two types to each.In the otherfriezes,however,the gapsin the restoredslabsand the individualnatureof the blocks preventone fromsayingwithassurancewhereone masterleavesoff and the nextbegins.Stylisticsimilarities betweenfragmentsare pointedout in the catalogueand discussionof each frieze.Althoughthe masterand his schoolremainanonymous,the presencein Corinthof an activeand skilledworkshopof sculptorsin the Hadrianicperiodis clear. 1 S. E. Freeman,CorinthI, ii, pp. 210-233; Freemandates the building and its sculptureddecoration sometime after the earthquake of A.D. 77, perhapstoward the end of the 1st centuryor the beginningof the 2nd.

CONCORDANCE OF INVENTORY AND CATALOGUE NUMBERS Corinthsculptureinventory S 207 S 379 S 424 S 465 S 466 S 467 S 468 S 469 S 470 S471 S 472 S474 S 475 S 476 S 478 S 479 S 482 S489 S 490 S 491 S 492 S 494 S 495 S 496 S 497 S 498 S 499 S 500 S 501 S 504 S 505 S 508 S 510 S 512 S 515 S 516 S 517 S 518 S 519 S 520 S 521 S 522 S 523 S 525

H 13-1 G 7-3 A 11-2 G 15-3 G 25-2 U 41 G 25-2 G 14-1 G 10-1 G46 G 14-1 G 47 H 7-2 U 57 G 25-2 G 95 G 14-1 G 7-3 A 13-6 G 132 A 31 G 39 U 14 G 79 G 82 G 134 G 82 G 30-1 H 14-2 A 13-6 G 133 H1 U 33 G 95 G 16-2 G 13-1 H1 H 4-1 H 4-1 G 7-4 G 135 H 12-2 H 12-2 H

(Mus. no. 8)

(Mus. no. 12) (Mus. no. 12)

(Mus. no. 12)

(Mus. no. 11) (Mus. no. 7) (Mus. no. 7)

S 526 S 527 S 528 S 529 S 530 S 531 S 532 S 536 S 538 S 539 S 541 S 544 S 545 S 546 S 547 S 547a S 548 S 549 S 550 S 551 S 553 S 557 S 558H S 559 S 560G S 561 S 568 S 569 S 570 S 571 S 572 S 573 S 576 S 582 S 641 S 642 S 643 S 644 S 649 S 650 S 653 A, B S 654 S 655 S 656

G 13-1 G 13-1 G 13-1 H 4-1 G 16-1 G 13-1 G 7-3 H 12-2 G 76 U3 A 25 G 13-2 H 4-1 G 39 G32 G 32 G7-4 16-2 G42 12-2 G 16-2 H 4-1 9-1 G 16-2 108 G 13-1 A 14-2 G 67 G 13-1 G 10-1 G 35 A 14-2 U 49 A 11-5 G 98 G 111 G 127 A 42 G 14-1 G 69 A 14-2 A 14-2 A 14-2 A 5-1

(Mus. no. 11) (Mus. no. 11) (Mus. no. 11) (Mus. no. 7) (Mus. no. 11)

(Mus. no. 7) (Mus. no. 15) (Mus. no. 15)

(Mus. no. 7) (Mus. no. 9) (Mus. no. 11) (Mus. no. 5) (Mus. no. 11) (Mus. no. 5)

(Mus. no. 12) (Mus. no. (Mus. no. (Mus. no. (Mus. no.

5) 5) 5) 4)

CONCORDANCEOF INVENTORYAND CATALOGUENUMBERS S 657 S 658 S 659 S 661 S 662 S 666 S 669 S 677 S 680 S 753 S 938 S 939 S 953 S 957 S 959 S 960 S 961 S 967 S 968 S 969 S 1036 S 1152 S 1165 S 1440 S 1620 S 3170 S 3172 S 3173 S 3174 S3175 S 3176 S3178 S 3180 S 3181 S 3182 S 3183 S 3188 S 3189 S 3192 S 3193 S 3194 S 3195 S 3196 S 3198 S 3199 S 3200 S 3204 S 3205 S 3207 S 3208

G 29 G 1-2 G 14-1 G 9-1 G 56 G 113 G 71 A 11-4 G 92 H 4-1 H 4-1 H 4-1 A 16 G 112 H 13-1 H 13-1 G 3-2 A 21 U4 G 72 G 16-2 G 8-1 A 10-1 A 14-1 H 10-1 U 58 G 116 G 9-3 A 45 A 41 A 44 U8 H 9-3 A 5-2 A 4-3 A 40 A 26 G 58 G 52 U 13 U9 A 22 A 9-5 A 9-1 A 7-4 A 14-3 G 55 G 51 G 54 U 12

(Mus. no. 12)

(Mus. no. 7) (Mus. no. 7) (Mus. no. 7) (Mus. no. 8) (Mus. no. 8)

S 3209 S 3210 S 3211 S 3214 S 3215 S 3217 S 3219 S 3220 S 3221 S 3224 S 3225 S 3226 S 3227 S 3229 S 3230 S 3232 S 3234 S 3237 S 3238 S 3239 S 3245 S 3258 S 3261 S 3262 S 3263 S 3264 S 3265 S 3267 S 3269 S 3270 S 3271 S 3272 S 3273 S 3277 S 3281 S 3282 S 3284 S 3285 S 3286 S 3287 S 3292 S 3293 S 3295 S 3296 S 3301 S 3307 S 3308 S 3309 S3310 S 3312

A 32 A 43 H9-2 U 39 U 43 A 9-2 G 48 U 20 H 5-3 U 18 U 16 G 53 U 23 U 17 U 19 U 32 U 22 U 27 U 21 U 28 U 24 A 28 G 130 A 3-7 U 44 A 35 A 38 A 34 A 39 A 17 A 36 G 123 A 33 A 37 G 34 U 47 G 19 U 46 G 3-1 U 48 G 124 G 125 U 51 U 50 U 51 G 117 H 13-2 U 45 G64 G 128

Capps theaterinventory T 1 T2 T3 T 4A

A 6-1 A8 G 31-1 11-7

(Mus. no. 1) (Mus. no. 2) (Mus. no. 14)

T6 T 7H T8 T9

H -2 9-1 G 8-2 A 13-4

(Mus. no. 9)

139

140 T 10 T11 T 12 T 13 T 15 T 16 T 17 T 18 T 19 T 20 T21 T 22 T 23 T 24 T 25 T 26 T 27 T 28 T 30 T 31 T 32 T 33 T 35 T 36 T 37 T 38 T 39 T 40 T 45 T 46 T 47 T 48 T 49 T 50 T 51 T 52 T 53 T 54 T55 T 56 T 57 T 58 T 59 T 60 T 61 T 62 T 63 T 64 T 65 T 66 T 67 T 68 T 69 T 70 T 71 T 72 T 73

CONCORDANCE OF INVENTORY AND CATALOGUE NUMBERS G 32 (Mus. no. 15) G26 H 12-3 H 13-1 (Mus. no. 8) A 11-1 A7-5 G 18-3 G5-1 G 36-1 H 5-1 3-1 H 13-1 (Mus. no. 8) A 4-1 (Mus. no. 3) A 5-1 (Mus. no. 4) G 21-3, G 22 (Mus. no. 10) G 21-3, G 22 (Mus. no. 10) G 21-3, G 22 (Mus. no. 10) G 12 (Mus. no. 13) G 14-1 (Mus. no. 12) H 11 (Mus. no. 6) G 30-2 H7-1 G 28-2 G 27 G 11-3 (Mus. no. 13) A 10-3 A 12-4 A 3-3 H 9-1 (Mus. no. 9) H 7-1 A 7-1 A 10-2 G 10-2 G 60 A 14-1 H 8-3 H6-2 G 14-2 G 30-3 G 30-3 G 20-2 A 2-1 G 12 (Mus. no. 13) H 14-1 H4-2 A 10-2 G 37 H 9-1 (Mus. no. 9) H2-1 H 10-3 H 6-1 H 9-1 (Mus. no. 9) A 12-5 G 78 G 15-4 G 83 G 70

T 74 T 75 T 76 T 77G T 78U T 79 T 80A T 81G T 82G T 84 T 85G T 86 T 87 T 88 T 89 T 90A T 91 T 92 T 93 T 94 T95 T 96 T 97 T 99H T 100A T 101 T 102 T 103 T 104 T 105G T 106 T 107 T 109 T 110 T ill T 112A T113 T114A T 115 T 116 T 117 T 118 T 119 T 120 T 121 T 122G T 123 T 124 T 125A T 126G T 127 T 128 T 130 T 133 T 136A T 140 T 141

G 33-2 H 5-2 G 32 36-2 34 G 85 9-4 11-1 23 G 36-1 7-1 G4 G 21-1 H 9-1 A 13-1 7-2 G 18-1 G 24-1 G 17 A 12-1 A 3-4 A 10-1 A 10-2 8-1 4-2 G 20-1 G 65 G 3-2 H 10-1 69 G 13-1 H 4-3 A 12-3 H 6-3 A 13-2 13-3 H 13-1 47 A 3-2 A 3-1 A11-3 G 15-2 G87 G 90 G 103 91 G 5-3 A 10-4 8 68 A 2-2 A 12-2 H1 U1 9-6 A 3-5 U 53

(Mus. no. 15)

(Mus. no. 10) (Mus. no. 9)

(Mus. no. 11)

(Mus. no. 8)

(Mus. no. 2)

CONCORDANCE OF INVENTORY AND CATALOGUE NUMBERS141 T 142 T 143 T 145 T 147 T 148 T 149 T 149a T 150 T 151 T 152 T 152a T 153 T 154 T 155 T 156 T 157 T 158 T 159 T 163 T 165 T 170 T 172 T 173 T 174 T 175 A, B T 177 T 182 T 183 T 185 A-C T 190 T 191 T 194a T 200 T 201 T 202 T 203 T 204 T 215 T 216 T 217 T 218 T 220 T 227 T 228 T 229 T 230 T 232 T 237 T 238 T 239 T 244 T 246 T 248 T 249 T 250 T 253 T 254

U 54 A 29 G 25-2 G 11-2 G 43 G 30-5 U 55 H 7-3 U 63 U33 G 5-2 G 38 A 9-3 G 24-3 G 20-3 G 70 U 38 G 114 G 66 G 44 H 9-1 G 46 G 46 H 4-1 A 3-3 G1-1 G 1-1 G 36-2 G1-1 G 16-2 G 32 G 114 G 15-3 G 24-2 G 88 G 89 G 49 G 115 G 1-2 H2-2 A 7-3 U 62 H 5-4 G 57 G2 G 32 U 36 U 40 G 20-3 G 86 G 30-4 G 84 H 6-3 G 11-2 A 6-2 G 21-2 G 120

(Mus. no. 9) (Mus. no. 7)

(Mus. no. 15)

(Mus. no. 15)

T 255 T 257 T 258 T 259 T 260 T 261 T 263 T 264 T 265 T 266 T 267 T 268 T 269 T 270 T 270a T 271 T 272 T 273 T 274 T 275 T 276 T 277 T 278 T 279 T 281 T 282 T 283 T 285 T 286 T 287 T 292 T 294 T 296 T 297 T 298 T 300 T 303 T 304 T 305 T 306 T 307 T 308 T 309 T310 T311 T 312 T 314 T 315 T 319 T 323 T 324 T 327 T 328 T 330 T 331 T 332 T 333

G 121 A 15 A 23 G 63 A 18 A 24 G 33-1 G 62 G 59 A 20 G 94 G 96 G 106 G 109 G 110 G 99 G 96 G 101 G 104 G 105 G 102 U 35 U 14 A 19 H 10-1 G 28-1 U 37 G 118 G 57 G 80 G 25-3 G 119 G 122 G 131 H 10-2 G 129 G 45 G 40 U2 G 8-3 G 33-1 A 11-6 A 3-6 G61 U6 G 100 G 25-1 G 9-2 H 12-1 G 107 G 93 G 81 U7 G 77 U 10 U 52 U 64

142 T 334 T 336 T 337 T 338 T 339 T 340 T 341 T 343 T344 T 345 T 346 T 347 T 349 T 350 T 351 T 353 T 354 T 355 T 356 T 357 T 360 T 363 T 365 T 366 T 367

CONCORDANCEOF INVENTORYAND CATALOGUENUMBERS G 126 U 11 A 27 U 29 U 15 U 25 A1 H 11 G6 U 60 G 74 G 75 U 31 A 46 G 50 H 3-2 G 73 U 42 U 61 A 3-9 U 56 G 41 G 18-2 U 26 U 30

(Mus. no. 6)

T T T T T T T T T

368 369 370 371 372 373 374 375 1005

Mus. no. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

A 30 A 13-5 U5 U 59 G 31-2 A 3-8 G 97 G 7-2 G 15-1 A 6-1 A8 A 4-1 A 5-1 A 14-2 H11 H4-1 H 13-1 H 9-1 G 21-1; G 21-3, G 22 G13-1 G 14-1 G 11-3; G 12 G 31-1 G 32

INDEX References are to pages except bold face catalogue numbers; principal references are italicized. AIZANOI.See Theater friezes Akragas, Olympieion, east pediment. See Gigantomachies Alabanda, Temple of Apollo. See Amazonomachies Theater frieze. See Theater friezes Alaric, invasion of, 2, 130 Alkmaionid Temple of Apollo. See Gigantomachies, Delphi Alkyoneus, 16-17 Alyzia, group by Lysippos. See Labors of Herakles, Lysippos Amazonomachies, 59 ff. Alabanda, Temple of Apollo, 59 Argos, Heraion, metopes, 59, 6531 Athens, Parthenon, west metopes, 59, 65, 66, 101; shield of Athena Parthenos, 59, 607, 66, A 9-3 (77), A 11-5, A 13-3 Bassai, Temple of Apollo Epikourios, frieze, 59, 605, 65, 6531,66 Corinth, theater reliefs. See Corinth Museum Ephesos, Temple of Hadrian, frieze, 65 Epidauros, Temple of Asklepios, west pediment, 59, 66, 67 Gjolbaschi-Trysa,Heroon, reliefs, 59, 606,65,6531,6636 Halikarnassos, Mausoleum, 59, 60, 6531,66 6 Kallithea, frieze on naiskos, 592 Limyra reliefs, 59 Magnesia, Artemision, 59, 64, 65, 6531,66, 6636 Nikopolis base, 59 Olympia, Throne of Zeus, 59 Sarcophagi: Roman, 606, 67, Capitoline, 59, 64, Louvre, 64, Vatican, 59, Vienna, 59 Sparta, two metopes, 592 Amazonomachy. See Corinth Museum, Amazonomachy Amazon's Girdle. See Corinth Museum, Labors of Herakles Amazons, 125 Amazons' helmets, 64, A 3-4, A 6-2 Amphitrite. See Corinth Museum, Gigantomachy, goddesses Anguiform giants. See Corinth Museum, Gigantomachy, giants Antaios, Struggle with. See Corinth Museum, Labors of Herakles Antikythera youth, 61 "Antonine Altar". See Ephesos

Aphrodisias, Antonine relief. See Gigantomachies Portico of Hadrianic baths, busts from consoles, 19, 137 Aphrodite. See Corinth Museum, Gigantomachy, goddesses from Gortyna, G 11-1 (25) Knidian, in Terme, G 11-1 (25) Apollo. See Corinth Museum, Gigantomachy, gods Apollo Belvedere, 18 Apollodoros, 951, 97, 99 Apples of the Hesperides. See Corinth Museum, Labors of Herakles Apulia, giant on red-figure lekythos, 12 Arch of Constantine. See Rome Ares. See Corinth Museum, Gigantomachy, gods Argos, Heraion, metopes. See Amazonomachies Ariadne. See Theater friezes, Side Aristeas and Papias. See Old centaur Artemis. See Copenhagen; Corinth Museum, Gigantomachy, goddesses; Louvre Athena. See Corinth Museum, Gigantomachy, goddesses Varvakeion, 6846 Athens, Akropolis, Attalid dedication. See Gigantomachies Nike Temple, frieze, 605, 66, parapet, 149, 605 Parthenon, frieze, 605; east metopes. See Gigantomachies; west metopes. See Amazonomachies Peisistratid Temple of Athena, pedimental sculpture. See Gigantomachies Shield of Athena Parthenos. SeeAmazonomachies; inside. See Gigantomachies Agora, Altar of pity, 102 Hephaisteion, friezes, 605.See also Labors of Herakles Odeion of Agrippa. See Theater friezes "Stoa of the Giants." See Gigantomachies Theater of Dionysos, 124, 125, 126-127, 129, 137 Augeian Stables. See Corinth Museum, Labors of Herakles Aurelian Panels, Arch of Constantine. See Rome relief fragment. See Gigantomachies; relief. See Labors of Herakles Barcelona, theater metopes. See Theater friezes Bassai, Temple of Apollo Epikourios, frieze. See Amazonomachies Blue frit, Egyptian. See Frit BASEL,

144

INDEX

Boston, Museum of Fine Arts, Mounted Amazon, 66; Herakles statuette, 11225

Keryneian Hind, 97, 100, 106-107; Lernaian Hydra, 15, G 87, 97, 99, 106; Mares of Diomedes, 2, 96, 97, 100-101, 108-109, 111; Nemean Lion, 97, 99, 105-106; Stymphalian Birds, 2, G 88, 96, CATALOGUES, 2-3. See also Table of Contents Catania. See Theater friezes 97, 98-99, 104-105, U 54 Centaurs, 128 position on theater, 134-135, 136 Roman relief bowls, 96 Chisel, claw or tooth, flat. See Tools Chiton, 13, 14, G 11-3, G 21-2, G 21-3, G 25-1, G 25-2, Sarcophagus, Seven against Thebes, Polyneikes, 63 G 30-2, G 125, G 126 Temples E, sculptures, 137 Chlamys, 14, G 5-1, G 28-1, G 31-1, G 35, 63; "Prote- Corinth theater, architecture, 129f. silaos." See Naples burning, evidence of, 2, 4, G 30-2, G 58, A 14-2 (84), 64 A 18 Cingulum, A 10-2 131. See also Cuttings Clamps, hook, 3, (78), composition. See Composition G G destruction Composition, 5, 12-13, 16, 21-3, 22, 60-61, 62, of, 2. See also Alaric A 4-1 (70), A 5-1 (71), A 6-1 (73), A 8 (75), 96, 97, excavations of, v, 1, 129, 131-132 100-101, H 9-1 (108), H 11 (111), H 13-1 (112), 137 perspective, designed for, 60 137 reconstruction of, 3, 12-13, 15-16, 60, 61, A 14-1, contours, distinct, 13, 61, for 137 theater, 13, 61, 95, 97, H 12-1, H 12-3, 129f., 131ff., 136 designed 134 60, reliefs, If., 125, 129 metopal, no. armed 1720; 553, 64; Artemis, artist, 60, 61, 65, 66, 98, 137 figure Copenhagen, of Parthenon sarcodate of, 4f., 19, G 5-1, 131, 136-137 shield, 607; 1824; giant, copy See also Corinth Museum, Amazonomachy, phagus. See Labors of Herakles Corinth Museum, Amazonomachy, 1-3, G 126, 59ff., Gigantomachy, Labors of Herakles scaenae frons, 16, 61, A 5-1 (71), A 14-1, 95, H 12-1, 95, 131ff., 136f. Amazons, 63, 64-65, 136 129, 130, 131, 133-135, 136 Cretan Bull. See Corinth Museum, Labors of Greeks, 63-64, 136 Herakles position on theater, 134, 135, 136 Cuirass, 14, G 18-2, G 18-3, 63-64, A 3-8, A 4-1, A 6-1 Captive's Fagade, 13447.See also Gigantomachies Gigantomachy, 1-3, 11ff., 60, 95, 131ff., 136f. (73), A 7-5, A 8, A 11-3, H 12-2, U 54 giants, 11, 13, 14, 15, 18-19, 20ff., anguiform, Cutting, rectangular, G 25-2 (35) 11-12, 15, 16, 18, G 6, G 10-1, G 14-1, G 27, Cuttings, hook clamp, 3, G 13-1, G 20-2, A 3-1, A 6-1 G 76, 48-50 (73), A 8 (75), A 10-2 (78), A 14-2 (84), H 9-1(108), H 11 (110), H 13-1 (112), 131 goddesses, 13-14; Amphitrite, 14, 16, 17, 34-35, G 109; Aphrodite, 14, 16, G 11-1, 32-33; Cybele, 128 Artemis, 13, 14, 16, 17, 37-38, G 134; Athena, 13, 14, 15, 16, 28-29, G 87, G 109; Hera, 14, 16, "DANCERS" from Via Praenestina.See Rome, Terme Museum 17, 25-26; Leto, 14, 16, 39-40; Selene, 14, 16, 20 G G 8-2 Date. See Corinth theater, reliefs gods, 14-15; Apollo, 14, 15, 16, 5-1, (23), G 21-1, 38-39, U 60; Ares, 13, 14, 16, 30-31; Delphi, Alkmaionid Temple of Apollo, west pediment. See Gigantomachies Dionysos, 14-15, 16, 17, 18, 19, 21-22, G 21-1, G 30-3 (38); Dioskouroi (Kastor?), 15, 16, 20Siphnian Treasury,north frieze. See Gigantomachies Theater reliefs, so-called. See Labors of Herakles 21; Helios, 14, 15, 16, 40; Hephaistos, 15, 16, 31-32; Herakles, 14, 16, 24; Hermes, 14, 16, Treasury of the Athenians, metopes. See Labors of Herakles 22-23; Nereus, 13, 15, 16, 36; Poseidon, 13, 14, Dexileos monument, 66 16, 34, G 109, G 128; Zeus, 14, 16, 18, 27; position on theater, 134, 136 Didyma, Temple of Apollo, busts of Zeus and Apollo from capitals, 18-19, 137 Hadrian, statue of, from Odeion, gorgoneion on Diodorus Siculus, 951, 97 lappet, 19, G 5-1, 137 Herakles relief, 9610 Dionysos. See Corinth Museum, Gigantomachy, gods Labors of Herakles, 1-3, 15, 95ff., 131ff., 136f.; on theater reliefs, 125, 126, 127, 128, 129 Amazon's Girdle, 97, 101, 109-110; Antaios, Dioskouroi. See Corinth Museum, Gigantomachy, struggle with, 97, 98, 103, 136; Apples of the gods Hesperides, 97, 102, 113-114; Augeian Stables, Dolphin fragments, 14, 50-51 97, 98, 103-104; Cretan Bull, 97, 100, 107-108; Domitian, 125 Erymanthian Boar, 2, 97, 99, 102, 111, 112-113; Dowel holes, G 15-1, G 20-2 (31), G 25-3, G 33-1, G 42, G 49, G 58, G 61, G 120, A 6-1(73), A 8 (76), Geryon 97, 101-102, 111-112; Herakles in repose, 97, 98, 103, 136; Kerberos, 2, 97, 99, 101, 110-111; A 9-6, A 11-1, A 14-2 (84), A 21, U 34

INDEX Dowels, 3, G 49, A 8 (76), H 6-2 Drill holes, G 4, G 5-1, G 8-1, G 17, G 23 (33), G 24-1, G 26, G 30-3 (38), G 58, A 2-2, 7551,A 10-3, A 16, A 25, H 6-3, H 11 (111), 11024U 58 Drill, running, channels of, 4, G 5-1, G 8-1, G 13-1, G 16-2, G 17, G 21-1, G 21-3, G 22, G 24-1, G 27, G 29 (37), G 30-3 (38), G 98, G 99, G 104, G 109, A 2-2, A 5-1 (72), A 6-1 (74), A 9-4, A 9-6 (78), A 11-2 (79), A 12-5, A 29, A 32, A 37, A 38, A 39, H 3-1 (104), H 10-3, 11024,H 13-1 (113), H 14-2, 136 "Parthian Monument" or "Antonine EPHESOS, Altar", 19, 137 Temple of Hadrian, frieze. See Amazonomachies Theater reliefs. See Theater friezes Epidauros, Asklepios Temple, west pediment. See Amazonomachies Eretria, theater, 124 Eros, 15 Erotes, 125, 126, 128 Erymanthian Boar. See Corinth Museum, Labors of Herakles Eurystheus, 99, 100, 102, H 13-1 (113) Exomis, 15 FLAPS.See Pteryges Foce del Sele, metopes. See Iabors of Herakles Fragments. See Unattributed fragments Friezes. See Corinth Museum; Corinth theater, reliefs; Theater friezes Frit, Egyptian blue, 4, G 47, G 51 See Corinth Museum, Labors of Herakles GERYON. Giants. See Corinth Museum, Gigantomachy Gigantomachies, 11ff. Akragas, Olympieion, east pediment, 112 Aphrodisias, Antonine relief, 114, 17 Athens, Akropolis, Attalid dedication, 1 3; Parthenon, east metopes, 112, 14, 16, 17; Peisistratid Temple of Athena, pedimental sculpture, 111,17; shield of Athena Parthenos, inside, 112 Agora, "Stoa of the Giants", 124, 19 Basel, relief fragment, 114 Catania. See Theater friezes Corinth, Captive's Fagade, 124 Delphi, Alkmaionid Temple of Apollo, west pediment, 11 Siphnian Treasury, north frieze, 11I Grosseto, funerary urn, 125 Ilium Novum, Temple of Athena, metopes, 113 Korkyra, Temple of Artemis, pedimental sculpture, 111, 17

Lagina, Temple of Hekate, west frieze, 113, 18 Leptis Magna, pedestals of temple columns in Severan Forum, 114, 13446

145

Munich, bronze plate, 125, bronze vase, 125, Praenestine cistae, 12 Olympia, Megarian Treasury,pedimental sculptures, 111

Pergamon, Altar of Zeus, 1, 2, 11, 12, 14, 15, 16ff., 136 Perugia, funerary urn, 125 Priene, Temple of Athena, coffers(?), 11 Rome, Capitoline, relief fragments, 114; Palatine, relief fragment, 114;Villa Giulia, bronze applique, 125; Vatican, sarcophagus, 114, 19, Tellus(?) sanctuary frieze, 114 Selinus, Temple E metope, 112,17, Temple F metope, 111, 17

Sounion, Temple of Poseidon, 112 Gigantomachy. See Corinth Museum, Gigantomachy Gjolbaschi-Trysa,Hero6n,reliefs.SeeAmazonomachies Goddesses and gods. See Corinth Museum, Gigantomachy, goddesses and gods Gortyna head. See Aphrodite Grimani reliefs, 10222

Grosseto, funerary urn. See Gigantomachies See Corinth theater, reliefs 22 on G Hair, chest, (33). See also Old centaur Hair-pulling motive, 13, 16, 18, G 12, G 22 (33), G 26, G 46, 62, 66, 67, A 9-3, 101 Halikarnassos, Mausoleum. See Amazonomachies Harmodios pose, 65, A 8 (75), A 12-4 Helios. See Corinth Museum, Gigantomachies, gods "Hellenistic Ruler" type, A 10-3 Helmets, in Amazonomachy, 63. See also Amazons' helmets Hephaistos. See Corinth Museum, Gigantomachy, gods Hera. See Corinth Museum, Gigantomachy, goddesses Herakles, 127, 128, 129 cult of, 96, 98 in repose. See Corinth Museum, Labors of Herakles Labors of. See Labors of Herakles Lysippan. See Labors of Herakles See Corinth Museum, Gigantomachy, gods; London, hydria Hermes. See Corinth Museum, Gigantomachy, gods Herms, 127, 128 Hierapolis, theater reliefs. See Theater friezes Hippo Regius, theater reliefs. See Theater friezes Hook clamps, cuttings. See Cuttings Hydra. See Corinth Museum, Labors of Herakles, Lernaian Hydra HADRIANIC DATING.

ILIUMNOVUM,Temple of Athena, metopes. See

Gigantomachies frieze on naiskos. See Amazonomachies KALLITHEA,

Kerberos. See Corinth Museum, Labors of Herakles Keryneian Hind. See Corinth Museum, Labors of Herakles

146

INDEX

Kneeling pose, 15 Korkyra, Temple of Artemis, pedimental sculpture. See Gigantomachies LABORS OF HERAKLES, 95 ff.;

Athens, Hephaisteion, east metopes, 95, 99, 100, 101, 102 Basel relief, 966 Corinth. See Corinth Museum Delphi, theater reliefs, so-called, 96-97, 99, 100, 101, 125, 127, 129; Treasury of the Athenians, metopes, 95, 99 Foce del Sele, metopes, 95, 102 Leptis Magna, Basilica in Forum, west pilaster, 96 Lerna, relief of Herakles and Hydra, in Athens, 99 Lysippos, group at Alyzia, 96; weary Herakles, 11225 Olympia, Temple of Zeus, metopes, 95, 96, 97, 98, 99, 100, 101, 102, H 11 (111), 136 Pergamon, Herakles frieze, 96 Sarcophagi, Roman: Copenhagen, 966, Lateran, 966, Vatican, 966, Velletri, 966 Toulouse-Chiragan (South France), Herakles plaques, 96 Vatican, Herakles groups, in the round, 968 See also Corinth Museum, Labors of Herakles Lagina, Temple of Hekate, west frieze. See Gigantomachies Landscape, 12, 60, 62, 63, A 7-5, A 8 (75), 101, 102, H 1, H 8-2 (108), H 9-1 (108), H 13-1 Lappets, 63. See also Corinth Museum, Hadrian Leptis Magna, Basilica in Forum, west pilaster. See Labors of Herakles Severan Forum, pedestals of temple columns. See Gigantomachies Theater, herms. See Theater friezes Lerna, relief of Herakles and Hydra, in Athens. See Labors of Herakles Lernaian Hydra. See Corinth Museum, Labors of Herakles Leto. See Corinth Museum, Gigantomachy, goddesses Lillebonne, reliefs from theater. See Theater friezes Limyra reliefs. See Amazonomachies London, head of barbarian in private collection, 19; hydria by Meidias Painter with Herakles, 11426 Louvre, Artemis from Versailles, 1720; sarcophagus. See Amazonomachies Lyon, Odeion, frieze. See Theater reliefs Theater, reliefs from. See Theater reliefs Lysippos, Herakles. See Labors of Herakles MAGNESIA, Artemision,See Amazonomachies Maenads, 126, 128 Marble, 3-4, 14 Mares of Diomedes. See Corinth Museum, Labors of Herakles Mausoleum, Halikarnassos. See Amazonomachies, Halikarnassos

Megarian Treasury. See Gigantomachies, Olympia Meleager type, 61 Miletos, reliefs from theater. See Theater friezes Mithraic cult, 128 Mummius, destruction by, 130 Munich, bronze plate, bronze vase. See Gigantomachies NAPLES,"Protesilaos", 3843 Nemean Lion. See Corinth Museum, Labors of Herakles Nereid Monument. See Xanthos Nereus. See Corinth Museum, Gigantomachy, gods New York, Metropolitan Museum, inv. no. 56.171.7, amphora from Orvieto. See Corinth Museum, Labors of Herakles, Amazon's Girdle Nike Temple, frieze, parapet. See Athens, Akropolis Nikopolis base. See Amazonomachies OLD CENTAUR, by Aristeas and Papias, 18 Olympia, Megarian Treasury, pedimental sculptures. See Gigantomachies Temple of Zeus, metopes. See Labors of Herakles; west pediment, Apollo, 3944 Throne of Zeus. See Amazonomachies Omega pattern, 65, A 6-1 (74), A 8 (76), A 9-3, A 14-2 (84) Orange, theater reliefs. See Theater friezes Oropos, theater, 124 PAINT,traces of, G 28-1, G 47, G 51, G 53, G 90, A 10-2 (78), A 13-4 (82), H 13-1? (112), U 25, U44 Parthenon. See Athens, Akropolis "Parthian Monument". See Ephesos Pattern books, 5, 17, 61, A 4-1 (70), A 8 (76) Peisistratid Temple of Athena, pedimental sculpture. See Gigantomachies, Athens Peltas, 64 Pergamene schools, 2 Pergamon, Altar of Zeus. See Gigantomachies; Apollo, 18; Dionysos, 17; Doris, 17; "Night", 17; Zeus, 18 Beautiful Head, 3241 Herakles frieze. See Labors of Herakles Theater reliefs. See Theater friezes Perge, Theater reliefs. See Theater friezes Perspective, 60, 65, A 4-1 (71), A 5-1 (72), A 6-1 (74), A 9-1 (109), A 7-4, A 14-1, H 8-2 (108), 137 Perugia, funerary urn. See Gigantomachies Pictorial embellishments, lack of, 14 Piecing, 3 Piers, decorated, 125. See also Corinth Museum, Captives Fagade; Pilasters Pigment, 4. See also Frit, Paint Pilasters, decorated, 127. See also Piers Poseidon. See Corinth Museum, Gigantomachy, gods

INDEX Praenestine cistae. See Gigantomachies, Munich Priene, Temple of Athena, coffers(?). See Gigantomachies Theater, 124 Proportions, 3, 12, 14, 15, 61, A 5-1 (72), A 8 (76), A 14-2, 95, H 9-1 (109), H 12-3, H 13-1 (113), 136 "Protesilaos". See Naples Pseudo-continuous style, 97 Pteryges, 14, G 18-3, 63-64, A 3-8, A 4-1 (70), A 6-1 (73), A 7-5, A 11-3 Pulpitum, of Corinth theater, 133, 136 RASP.See Tools Reconstruction. See Corinth theater Relief, height of, 4 Reliefs. See Corinth theater, reliefs; Theater reliefs Repair, ancient, 7551,A 10-2 (78) Reverse (back) of slabs, treatment of, 3, 4, 95, 131 Rhode Island School of Design, torso of a giant, 18 Rome, Arch of Constantine, Aurelian panels, 19, Constantinian reliefs, 6311,Trajanic reliefs, 59 Capitoline, relief fragments. See Gigantomachies; sarcophagus. See Amazonomachies Lateran, sarcophagus. See Labors of Herakles Terme Museum, "Dancers", from Via Praenestina, 65 Palatine, relief fragment. See Gigantomachies Column of Trajan, 59 Vatican, Herakles groups. See Labors of Herakles; sarcophagus. See Amazonomachies; Gigantomachies; Labors of Herakles Villa Albani, Hesperides relief, 102 Villa Giulia, bronze applique. See Gigantomachies Running drill. See Drill, running reliefs on theater. See Theater friezes SABRATHA, Sagalassos, reliefs from theater. See Theater friezes Sarcophagi. See Amazonomachies; Gigantomachies; Labors of Herakles Satyrs, 125, 128 Scaenae frons. See Corinth theater Scale, 3, 12, 61, 95 Selene. See Corinth Museum, Gigantomachy, goddesses Selinus, Temple E, Temple F, metopes. See Gigantomachies Septimius Severus, 126 Shield of Athena Parthenos. See Amazonomachies; inside. See Gigantomachies Sikyon, theater, 124 Side, theater reliefs. See Theater friezes Siphnian Treasury. See Gigantomachies, Delphi Sounion, Temple of Poseidon, frieze. See Gigantomachies Southern Italy, 12 Space, use of, 12, 13, 16, 61, 66, 7048, A 5-1(71), A 6-1 (73), 7552,96, 100, 137

147

Sparta, metopes. See Amazonomachies "Stoa of the Giants". See Gigantomachies, Athens, Agora Stock figures, Ferrara red-figure krater, 17'8. See also Pattern books Struts, 4, G 14-1 (28), G 27, G 37, G 42, G 95, G 96, A 1, A 4-1 (70-71), A 5-1 (71), A 6-1 (73), A 12-5, A 19 Stymphalian Birds. See Corinth Museum, Labors of Herakles reliefs. See Theater friezes TAORMINA, Tegea, heads, 61 Tellus(?) sanctuary frieze. See Gigantomachies, Rome, Vatican Thasos, theater metopes. See Theater friezes Theater friezes, 124ff., 133f. Aizanoi (hunting Erotes, fighting animals), 125, 126 Alabanda (unknown subject), 125 Athens, Agora, Odeion of Agrippa (herms, male and female), 127, 128, 129 Theater of Dionysos (life of Dionysos), 125, 126127, 129, 137 Barcelona (masks), 1253 Catania (Gigantomachy), 12, 124, 125, 127, 129 Corinth. See Corinth theater, reliefs Delphi. See Labors of Herakles Ephesos (satyrs, Erotes, Amazons), 125, 129 Hierapolis (life of Dionysos, thiasos, local divinities, Septimius Severus), 125, 126, 129, 134 Hippo Regius (or Bona, Hipponium) (Apollo, maenad), 125, 128, 129 Leptis Magna (herms), 128, 129 Lillebonne, 12827 Lyon, Odeion, 12827,Theater, 12827 Miletos (Eros with dog, ram), 125 Orange (satyrs, maenads, centaurs, Hephaistos?), 125, 128, 129 Pergamon (Erotes, sea monsters), 124-125, 129 Perge (life of Dionysos), 125, 128, 129 Sabratha(tragedy, mime, Roma and Sabratha,Three Graces, Paris and Aphrodite, Nine Muses, Tyche), 125, 127-128, 129, 134 Sagalassos (hunting Erotes), 125, 126 Side (Dionysos and Ariadne, reveling), 125, 129 Taormina (Dionysos and maenad), 125, 127 Thasos (Dionysos, hero, Ares), 125, 127, 129 Vienne (animals, Herakles and sacrifice), 125, 128, 129 Theaters, 124ff. Throne of Zeus, Olympia. See Amazonomachies Tools, for marble working: chisel, claw or tooth, 4, flat, 4 rasp, 4 running drill. See Drill, running. Toulouse-Chiragan (South France), Herakles plaques. See Labors of Herakles

148

INDEX

Transparency, 14, 17, G 13-1, G 15-2, G 25-1, G 25-2, G 30-2, 65, A 6-1 (73) Typhon, iconography, 127

Vienna, sarcophagus. See Amazonomachies Vienne, reliefs from theater. See Theater friezes Vitruvius, 134

UNATTRIBUTED FRAGMENTS, 3, 15, 97, 115

WEAPONS,

VARVAKEION. See Athena Vatican. See Rome Velletri sarcophagus. See Labors of Herakles, sarcophagi

executed in marble, 64, A 11-5, A 20, A 47

XANTHOS,Nereid Monument, 605 ZEUS. See Corinth Museum, Gigantomachy, gods

PLATE 1

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PLATE 41

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AMAZONOMACHY

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