Morgantina Studies, Volume I: The Terracottas [Course Book ed.] 9781400853243

Table of contents :
Contents
List of Plates
List of Text Figures
Editor’s Foreword
Preface
Abbreviations
Introduction and Historical Sketch
I. Archaic and Early-Classical Terracottas
II. Late-Classical Terracottas
III. Early-Hellenistic Terracottas
IV. Late-Hellenistic Terracottas
V. The VotiveTerracottas
Catalogue of the Terracottas
Introduction Part I.
Introduction Part II.
Introduction Part III.
List of Contexts
Concordance
Index
Plates
1-19
20–40
41–60
61–80
81–100
101–120
121–150

Citation preview

Morgantina Studies

i]> The Terracottas

Morgantina Studies

Volume I RESULTS OF THE PRINCETON UNIVERSITY ARCHAEOLOGICAL EXPEDITION TO SICILY

PRINCETON, NEW JERSEY ·1981

The Terracottas

BY M A L C O L M

B E L L , I I I

PRINCETON UNIVERSITY PRESS

COPYRIGHT © 1981 BY PRINCETON UNIVERSITY PRESS PUBLISHED BY PRINCETON UNIVERSITY PRESS, PRINCETON, NEW JERSEY IN THE UNITED KINGDOM: PRINCETON UNIVERSITY PRESS, GUILDFORD, SURREY ALL RIGHTS RESERVED LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA WILL BE FOUND ON THE LAST PRINTED PAGE OF THIS BOOK THIS BOOK HAS BEEN COMPOSED IN V-I-P GARAMOND CLOTHBOUND EDITIONS OF PRINCETON UNIVERSITY PRESS BOOKS ARE PRINTED ON ACID-FREE PAPER, AND BINDING MATERIALS ARE CHOSEN FOR STRENGTH AND DURABILITY PRINTED IN THE UNITED STATES OF AMERICA BY PRINCETON UNIVERSITY PRESS, PRINCETON, NEW JERSEY

To the memory of Erik Sjdqvist

Contents

List of Plates

ix

List of Text Figures

xi

Editor's Foreword

xiii

Preface

xvii

Abbreviations

I.

Introduction and Historical Sketch

3

Archaic and Early-Classical Terracottas

9

1. 2. 3. 4. 5. 6.

II.

III.

IV.

xxi

TERRACOTTAS AT EARLY MORGANTINA THE INFLUENCE OF THE EASTERN CITIES THE INFLUENCE OF GELA AND THE SOUTH COAST IONIAN IMPORTS IONIAN INFLUENCE CORINTH AND CORINTHIAN INFLUENCE

9 11 13 15 16 18

Late-Classical Terracottas

22

1. 2. 3. 4. 5.

27 33 34 36

SIKELIOTE PRODUCTION IN THE FOURTH CENTURY BUSTS STANDING PERSEPHONE THE ARTEMIS GROUP MISCELLANEOUS TERRACOTTAS; RELIEFS

22

Early-Hellenistic Terracottas

41

1. 2. 3. 4. 5. 6. 7.

CHRONOLOGY OF THE TRANSITIONAL PERIOD, 310-280 B.C. MORGANTINA AND SYRACUSE IN THE THIRD CENTURY STANDING GODS PERSEPHONE HOLDING THE PIGLET AND TORCH EARLY-HELLENISTIC BUSTS DRAPED WOMEN AT MORGANTINA AND SYRACUSE DANCERS 8. FEMALE HEADS OF THE THIRD CENTURY 9. ACTORS AND MASKS

41 43 45 48 48

Late-Hellenistic Terracottas

74

1. COROPLASTIC PRODUCTION IN LATE-HELLENISTIC MORGANTINA 2. FEMALE HEADS OF THE SECOND CENTURY

74

51

64 65 67

75

viii

CONTENTS

3. 4. 5.

V.

THE CATANIA GROUP

76 78

MAGENTA WARE

79

THE REVIVAL OF VOTIVE TERRACOTTAS

TheVotiveTerracottas

81

1. PERSEPHONE

81

2. 3. 4. 5.

THE GOD

88

ARTEMIS THE NYMPHS

91 92

OTHER GODS: EROS, NIKE, ATHENA, AND HERAKLES

93

6. SEATED KORAI AND STANDING WOMEN

7.

DRAMATIC AND GROTESQUE SUBJECTS

8. ANIMALS AND FRUIT

9.

THE CULT OF DEMETER AND PERSEPHONE AT MORGANTINA

94 97

98 98

Catalogue of the Terracottas

113

List of Contexts

238

1. AREA CONTEXTS

238 249 256 258

2. 3. 4.

THE SANCTUARIES THE NECROPOLEIS TERRACOTTAS IN SYRACUSE

Concordance

261

Index

263

Plates

267

List of Plates

PI. i.

Morgantina: Areas I-VI

PI. 2

Morgantina: Plan of Areas I, II, and IV

Pis. 3 - 1 4 1

The Terracottas

Pis. 1 4 2 - 1 5 0

Comparanda

Fig.

1.

Context III E

Fig.

2.

Context S 8F, tomb 10 ( 1 9 1 2 )

Fig.

3.

Head, from Grammichele, Syracuse 1 4 5 2 2

Fig.

4.

Peplophoros, from Selinous, Palermo 345

Fig.

5.

Protome of Persephone, from Grammichele, Syracuse 1 4 1 9 6 (photo J . Uhlenbrock)

Fig.

6.

Bust of Persephone, from Grammichele, Syracuse 18940 (photo E. Sjoqvist)

Fig.

7.

Peplophoros, from the Fusco necropolis, Syracuse 1 1 0 7

Fig.

8.

Persephone, from Avola Antica, Syracuse 46062

Fig.

9.

Figures from the Costa Zampogna tomb, Gela 4 1 2 7 and 4472 (photo courtesy Museo Nazionale, Gela)

Fig. 10.

Figure from the Nile Delta, Allard Pierson Museum (photo courtesy Allard Pierson Museum)

Fig. 1 1 .

Persephone, from Grammichele, Syracuse 27907

Fig. 1 2 .

Persephone, from Syracuse, Syracuse 66962

Fig. 1 3 .

Standing woman, from Syracuse, Syracuse 66963

Fig. 14.

Standing woman, from Santa Flavia, Palermo 1 0 3 2

Fig. 1 5 .

Standing woman, from Santa Flavia, Palermo 1 0 3 3

Fig. 16.

Limestone woman, from Morgantina, 56-1749 (expedition photo)

Fig. 17.

Bust of Persephone, from Kentoripa, Catania M . B . 5 7 1 7

Fig. 18.

Priapos, plastic vase from Syracuse, Syracuse s.n. (photo courtesy Museo Nazionale, Syracuse)

Fig. 19.

Persephone unveiling, Syracuse; from Kekule

Fig. 20.

Fragmentary volute krater, The Metropolitan Museum of Art 1 9 . 1 9 2 . 8 1 . 1 (photo courtesy The Metropolitan Museum)

Fig. 2 1 .

Fragmentary pinax, from Hipponion, Museo Archeologico, Vibo Valentia, no. 1 1 4 0 (photo courtesy Soprintendenza alle Antichita di Reggio Calabria)

Fig. 22.

Apulian volute krater, Naples SA 1 1 (photo courtesy Deutschen Archaologischen Institut, Rome)

X

LIST OF PLATES

Fig. 23.

Sikeliote skyphoid pyxis, private collection Basel (photo courtesy Antikensammlung1 Basel)

Fig. 24.

Sikeliote lebes, Syracuse 47099 (photo courtesy Museo Nazionale, Syracuse)

Fig. 25.

Tetradrachm of Agathokles, Museo Nazionale, Syracuse (photo courtesy Museo Nazionale)

Fig. 26.

Tetradrachm of Agathokles, Museo Nazionale, Syracuse (photo courtesy Museo Nazionale)

Fig. 27.

Electrum coin of Agathokles, Museo Nazionale, Syracuse (photo courtesy Museo Nazionale)

Fig. 28.

Gold half-stater of Pyrrhos (photo Hirmer Fotoarchiv Miinchen)

List of Text Figures

Fig. a. Bust of Persephone (106a) 31

Fig. b. Bust of Persephone (106c) 32 Fig. c. Standing draped women 52

Fig. d. North Sanctuary and North Sanctuary Annex 253

Fig. e. South Sanctuary 255

Editor's Foreword AFTER SO many years of fieldwork, this first volume begins the definitive publication of the Morgantina excavations in a series to be called Morgantina Studies. The series title has been chosen to indicate that the classic format of dedicating a separate volume to a specific topic has been abandoned in favor of publishing both monographs and combined short studies in the order received by the editors to avoid delays. The excavations were carried on from 1955 to 1963 and 1966 to 1967 by the Princeton University Archaeological Expedition to Sicily under the joint directorship of Professors Erik Sjoqvist and Richard Stillwell. From 1968 to 1972 the excavations were continued by Dr. Hubert L. Allen of the University of Illinois under the auspices of the jointly sponsored Illinois-Princeton Morgantina Expedition. During the Princeton years, the directorship in the field alternated between Sjoqvist and Stillwell with preliminary reports published annu­ ally in the American Journal of Archaeology. The results of the years 1968 to 1972 were sum­ marized in two long reports in the same journal by Allen. The results of all the campaigns are included in the present volume and will, for the most part, be used in all subsequent studies. The excavation of Morgantina was begun as a project in the doctoral program in classical archaeology by the Departments of Art and Archaeology and Classics of Princeton Univer­ sity. Erik Sjoqvist had come to Princeton in 1951 after having served as Director of the Swedish Institute in Rome and Secretary to the late King Gustavus VI Adolphus of Sweden. With the strong support of Professor Ε. B. Smith, Chairman of the Department of Art and Archaeology, and Harold W. Dodds, President of the University, the decision was made to seek an excavation for the university. Princeton had a traditional interest in the eastern Mediterranean, dating from the expeditions of Howard Crosby Butler to Syria from 1904 to 1909, and the expeditions to Sardis (1910-22) and Antioch (1932-39) in which the univer­ sity was a major participant. Sjoqvist- spent a summer investigating sites in the eastern Mediterranean but in the end looked westward to Sicily and chose the site of Serra Orlando because it best fulfilled the aims of the new doctoral program in classical archaeology of the university. With the continuing support of the Department of Art and Archaeology in the person of its new chairman, Professor Rensselaer W. Lee, the excavations began in 1955. First known only by its modern name, Serra Orlando, the site's ancient name was soon discovered through the study of coins recovered during the early seasons of excavation. The great chronological range and the varied character of the material from the site have required the development of many talents and have served admirably the pedagogical role required by the project. It is a pleasure to list the Princeton students who worked at the site; for many it was the first time in the field but not the last: R. Grimm, K. T. Erim, M. del Chiaro, Κ. M. Phillips, T. Hoving, F. Licht, R. R. Holloway, J. P. McAleer, D. White, T. L. Shear 1 Jr., N. Nabers, H. L. Allen, S. Lattimore, Μ. I. Davies, P. W. Deussen, W.A.P. Childs, J. R. Coleman, W. Al'Salihi, S. G. Miller, M. Bell, and J. F. Kenfield. It is an agreeable task to name also the numerous other colleagues and students who con­ tributed to the work of the excavations: our architects, A. de Vido, J. M. Woodbridge,

XlV

EDITOR'S FOREWORD

C. K. Williams, J. Jarrett, G. Hartman, R. Kyllingstad, A. Morpurgo, S. S. Schwartz and H. Linden; our photographers, O. Falk, P. N. Nilsson, A. Frantz, S. T. Karlson, Α. V. Larsson, J. B. Dobbins and G. Soderberg; and those who participated directly in the excava­ tions or served on the support staff, His Majesty the late King Gustavus VI Adolphus of Sweden, C. E. Ostenberg, M. Ostenberg, F. F. Jones, L. Shoe, M. Jameson, S. R. Roberts, I. M. Shear, A. Burnstan, S. Borgstam, H. Woodruff, P. G. Gierow, M. T. Sitterding, D. Taylor, S. Judson, M. L. Thompson, B. C. Carmel, A. Kennedy-Cooke, B. Torelli, C. Kalkman, and K. Linden. Such an extensive project as the excavations of Morgantina could not have been carried out without the extensive aid and continuing goodwill of the Italian authorities. The original permit was made available in 1955 through the good offices of Dr. G. de Angelis D'Ossat, Director General of the Department of Antiquities, Dr. Pietro Castiglia, the Assessor for Public Instruction of the Region of Sicily, and Professor Bernabo Brea, the Superintendent of Antiquities for Eastern Sicily. His able successor, Dr. Paola Pelagatti, continued and fur­ thered the excellent relations between the Morgantina expedition and the Soprintendenza in Syracuse. In 1969 a change in the boundaries of the archaeological regions carried Morgantina into the Soprintendenza of Central Sicily. On behalf of the joint Illinois-Princeton ex­ pedition I wish to thank Professor Ernesto De Miro for continuing to support actively the expedition and most recently the intensive study program begun in 1978 by Princeton Uni­ versity under the direction of William A. P. Childs. Many more people gave generously of their time to make the expedition a success, particu­ larly our Italian colleagues and staff in the field: our government representatives, A. Giucastro from 1955 to 1968, F. Cassarino from 1969 to the present; our foremen, T. Sidote, F. Campione, G. La Versa, A. Tudisco, M. Giacinto, and since 1969 Giuseppe Di Bilio, and G. Parrino; and finally our restorers, N. di Tommaso, G. Vincifori, G. Ponzio, and Giovanni Di Bilio. It is, of course, impossible to establish a hierarchy of the elements that have contributed to the success of a lengthy undertaking such as the excavations of Morgantina. But without the generous funding of the project nothing could have been done. It gives me, therefore, the greatest pleasure to name the many private donors and foundations who have contributed to the expedition: Princeton University, its Research Fund, and its Spears Fund; The Bollingen Foundation; The National Endowment for the Humanities; The Ford Foundation; The Robert Sterling Clark Foundation; The Luigi Sturzo Sicilian Archaeological Fund; H.M. the late King Gustavus VI Adolphus of Sweden; Mrs. Robert Woods Bliss; Dr. Joseph V. Caltagirone; Mrs. Alfred T. Carton; Mrs. Rosemary Cobmann; Mr. J. A. Farrington; Mrs. Rosemary Reed Kallmann; Mrs. Ernest C. Savage; Mr. Bernhard K. Schaefer; Mr. Charles K. Williams; Mr. Robert Winters; and Mr. Charles Woodward. The task of beginning the final publication of the excavations of Morgantina after an inter­ lude of almost a decade has required the efforts of many people. Our most pressing need from the start was funds. Only through the very generous support of Mr. Frank Taplin was a successful drive begun to add to the Luigi Sturzo Archaeological Fund's original gift, which has resulted in the publication of this volume and assures the future of several more. Many

EDITORS FOREWORD

people contributed to the new publication fund and are due our profound gratitude: H. Helm, G. Lambert, R. W. Lee, S. McAlpin, B. Schaefer, E. Wolf, and Princeton Uni­ versity, in addition to two anonymous donors. Since none of the work done in the field and in the library has any meaning without dissemination, the help these donors have rendered is particularly significant. After so many years and with so much help from all quarters, it is possible or likely that I have forgotten to give due recognition to many people; may they not take this ill and accept this volume and its successors as thanks in part. Richard Stillwell Princeton June 1 9 7 9

XV

Preface MY INTRODUCTION to the terracottas of Morgantina came in Professor Erik Sjoqvist's semi­ nar in Sicilian archaeology at Princeton University in the spring of 1966. What was then the subject of a seminar report later became the topic of a dissertation, which now in turn has become the nucleus of this book. The second metamorphosis was thorough-going; six hun­ dred entries were added to the catalogue, chapters one and four to the text, and there were major revisions elsewhere. The dissertation was written in Rome and Syracuse between the summers of 1968 and 1971; the work of revision was completed in the fall of 1975. For fellowships and grants during these seven years I am indebted to several institutions: to the American Academy in Rome, for a fellowship in 1968-70; to the Institute for International Education, for a Fulbright fellowship in 1968-69; to the Princeton Expedition to Sicily, for a grant in 1970-71; and to the University of Virginia, for a summer grant in 1972. I am grateful to all of these institutions for their generous assistance, without which my work could not have been accomplished. It is a pleasant duty to record my thanks to those individuals who have helped me in a variety of ways during the preparation of this book. First among these is my teacher, the late Erik Sjoqvist, to whom this book is dedicated. Of necessity much of my work has been done without his advice and direction, but it has always been shaped by the broad view of ar­ chaeology as an historical science which he so vigorously and inimitably set forth, both in his courses at Princeton and in the field in Sicily. I am grateful for his example and owe much to his generosity and encouragement. I am also happy to thank Dorothy B. Thompson, who assumed direction of my dissertation when Professor Sjoqvist became ill; her remarkable knowledge of the world of the Greek coroplast has been a great resource for me, and I am grateful to her for advice and criticisms, as well as for a memorable visit to Syracuse and Morgantina in 1970. I am also indebted to Professor Evelyn Harrison for helpful advice. Professor Richard Stillwell has been generous with advice and assistance of every kind, for which I express my warmest thanks. In Italy my work was furthered by the cooperation of the Soprintendenza alle Antichita di Sicilia Orientale, at Syracuse, and subsequently by the Soprintendenza alle Antichita di Agrigento. I am especially indebted to Professor Luigi Bernabo Brea, Soprintendente at Syracuse, and to his successor, Dr. Paola Pelagatti, who gave me access to the collections and archives of the Museo Nazionale Archeologico. I warmly thank Professor Bernabo Brea, Dr. Pelagatti, and Dr. Giuseppe Voza for the many acts of kindness that have made my visits to Syracuse so pleasurable and rewarding. One could not find a higher level of scholarly cour­ tesy. At Agrigento, Professor Ernesto De Miro has been most helpful, as has been Professor Vincenzo Tusa at Palermo. In addition I have received valuable technical assistance from members of the staffs of the museums at Syracuse, Agrigento, and Palermo, and of the Princeton Expedition. In particular I wish to thank N. di Tommaso, chief restorer of the Museo Nazionale at Syracuse, to whose expertise is owed the restoration of most of the Mor-

XVlii

PREFACE

gantina terracottas; and Giovanni di Bilio, the former custodian at Aidone, whose skill in restoration helped to recover several dozen terracottas from boxes of fragments. I am grateful to my colleague Professor Jon Mikalson for reading and criticizing chapter five, in which I have somewhat rashly speculated on the religious meaning of votive terracot­ tas. An earlier version of this chapter was read by Professor Gunther Zuntz, whose profound and learned book Persephone: Three Essays on Religion and Thought in Magna Graecia (Oxford, 1972) contains many valuable insights into the problem of the interpretation of votive ter­ racottas. I offer my thanks to both scholars for their advice and criticisms, which have been most helpful; but neither can be held responsible for any errors that may remain. Professor Bernabo Brea, who is preparing a comprehensive study of the rich group of Sikeliote theatrical terracottas, kindly examined the group of actors and masks from Morgantina, and many of the identifications proposed in the catalogue were suggested by him. I am also indebted to Professor Bernabo Brea for permission to include in this catalogue the Morgantina terracottas now in the Museo Archeologico at Syracuse. For other assistance in the form of photographs, useful information, or advice, I owe a debt of thanks to numerous scholars and friends. I am particularly grateful to Professor Hubert L. Allen, the late Professor Giovanni Becatti, Nancy Bookides, Professor Frank E. Brown, ProfessorJoseph C. Carter, Dr. MariaTeresaCurro, Professor Paul W. Deussen, Dr. Filippo Giudice, ProfessorJohn Arthur Hanson, R. A. Higgins, Professor R. Ross Holloway, Eric Hostetter, ProfessorJohn F. Kenfield III, Professor Martin Kilmer, Dr. Elena Lattanzi, Dr. Peter Noelke, Professor Carl Eric Ostenberg, Professor Piero Orlandini, Dr. Patrizio Pensabene, Sally R. Roberts, Professor T. L. Shear, Jr., and ProfessorJaime Uhlenbrock. This book was largely written under ideal conditions in the library of the American Academy in Rome. I am happy to acknowledge the unfailing courtesy and friendly assistance of Ines Longobardi, the former librarian, of her successor, Lucilla Marino, and of the library's efficient staff. I also wish to thank Frederica Oldach, former librarian of the Marquand Li­ brary at Princeton University. About one quarter of the photographs of the Morgantina terracottas that appear in the plates were taken in 1970 by Barbara Bini, to whom I express my warm thanks. The Soprintendenza alle Antichita di Sicilia Orientale kindly provided the photographs of catalogue numbers io6a-c, 203, and 717. A few of the remaining photographs were made from expe­ dition negatives, and the rest were taken by the writer. All negatives have been consigned to the expedition archives at Princeton. I am grateful to Michael Hentges and Gary Alter for their work in making prints. I am also indebted to EIsa Carl for the line drawings of terracot­ tas which appear in text figure c; and to the late Umberto Lazzarini of Syracuse for the draw­ ings in figs. a-b. It is finally a pleasure to thank Janice Gurley in Charlottesville and Molly Schacherl in Rome for their accurate and efficient work in typing a difficult manuscript. For permission to publish photographs of comparanda I am indebted to the following sources: the Soprintendenza alle Antichita di Sicilia Orientate, for pi. 145, figs. 12, 13; pi. 147, fig. 18; pi. 149-150, figs. 24-27; the Soprintendenzaalle Antichitadi Agrigento, for pi. 144, fig. 9; the Soprintendenza alle Antichita di Calabria, for pi. 148, fig. 21; the Deutsches Archaologisches Institut in Rome, for pi. 149, fig. 22; the Allard Pierson

PREFACE

Museum in A m s t e r d a m , for pi. 1 4 4 , fig. 1 0 ; the Antikenmuseum in Basel, for pi. 1 4 8 , fig. 2 3 ; the Metropolitan Museum of A r t in N e w Y o r k , for pi. 1 4 8 , fig. 2 0 ; and the H i r m e r Fotoarchiv of Munich, for pi. 1 5 0 , fig. 2 8 . Finally I thank my wife, for all her help and for much else besides. Charlottesville January

1981

xix

Abbreviations IN ADDITION to the short titles listed below, abbreviations are in general those recommended by the American Journal of Archaeology, 69 ( 1 9 6 5 ) 2 0 1 - 2 0 6 . Adamesteanu, Butera

Adamesteanu, D. "Butera: Piano della Fiera, Consi e Fontana Calda." MonAnt 44 (1958) col. 205-672.

Arias-Hirmer

Arias, P. E . , and Hirmer, M. A History of Greek Vase Painting. Trans, and rev. by B. B. Shefton. London, 1962.

Becatti, Oreficerie

Becatti, G . Oreficerie antiche dalle minoiche alle barbariche. Rome, J955-

Belov, Terrakoty Tanagry

Belov, G . D. Terrakoty Tanagry. Leningrad, 1968.

Bernabo Brea, Meligitnis-Lipdra 11

Bernabo Brea, L. and Cavalier, M. Meligunis-Lipdra. 11, La necropoli greca e romana nella Contrada Diana. Palermo, 1965.

Bernabo Brea, Musei

Bernabo Brea, L. Musei e monumenti in Sicilia. Novara, 1958.

Bieber2

Bieber, M. The Sculpture of the Hellenistic Age. 2nd ed. New York, 1 9 6 1 .

Bieber, HT2

Bieber, M. The History of the Greek and Roman Theatre. 2nd ed. Princeton, 1 9 6 1 .

Blinkenberg, Lindos 1

Blinkenberg, C. Lindos, Fouilles de I'acropole 1902-1914, petits objets. 2 vols. Berlin, 1 9 3 1 .

Boardman, Tocra I

Boardman, J . , and Hayes, J . Excavations at Tocra, 1963-65. The Archaic Deposits I. The British School of Archaeology at Athens, supplementary volume no. 4. London, 1966.

Boardman, Tocra II

Boardman, J . , and Hayes, J . Excavations at Tocra, 1963-65. The Archaic Deposits II and Later Deposits. The British School of Archaeology at Athens, supplementary volume no. 10. London,

1, Les

1973-

Boehlau, Nekropolen

Boehlau, J . Aus ionischen und italischen Nekropolen, Ausgrabungen und Untersuchungen zur Geschichte der nachmykenischen griechischen Kunst. Leipzig, 1898.

le Bonniec

le Bonniec, H. Le culte de Ceres a Rome, des origines a la fin de la republique. Etudes et commentaires, vol. 27. Paris, 1958.

Borbein, Campanareliefs

Borbein, A. H. Campanareliefs, Typologische und stilkritische Untersuchungen. RomMitt, 1 4 Erganzungsheft. Heidelberg, 1968.

Breitenstein, Copenhagen TC

Breitenstein, N . Danish National Museum, Catalogue of Terracottas, Cypriote, Greek, Etrusco-ltalian, and Roman. Copenhagen, 1941.

xxii

ABBREVIATIONS

Burkert, Homo Necans

Burkert, W . Homo Necans, Interpretationen altgriechischer Opferriten und Mythen. R V V : 3 2 . Berlin and New York, 1972.

Burr, Boston Myrinas

Burr, D. Terra-cottas from Myrina in the Museum of Fine Arts, Boston. Diss. Bryn Mawr. Vienna, 1 9 3 4 .

Ciaceri, Culti

Ciaceri, E. Culti e miti nella storia dell'antica Sicilia. 1911.

Crawford, RRC

Crawford, M. H. Roman Republican Coinage. Cambridge, 1974.

DarSag

Daremberg, C., and Saglio, E . , eds. Dictionnaire des antiquites grecques et romaines. 5 vols, in 9. Paris, 1 8 7 7 - 1 9 1 8 .

Diepolder

Diepolder, H. Die attischen Grabreliefs des v. Chr. Berlin, 1 9 3 1 .

Ducat, Vases plastiques

Ducat, J . Les vases plastiques rhodiens archa'iques en terre cutte. Bibliotheque des Ecoles Frangaises d'Athenes et de Rome, vol. 209. Paris, 1966.

Ferri, Divinita ignote

Ferri, S. Divinita ignote. Nuovi documenti di arte e di culto funerario nelle colonte greche. Florence, 1929.

Finley, Ancient Sicily

Finley, M. I. A History of Sicily. Ancient Sicily to the Arab Conquest. London, 1968.

Forster, Raub und Riickkehr

Forster, R. Der Raub und die Riickkehr der Persephone. Stuttgart, 1874.

Fuchs, Skulptur

Fuchs, W . Die Skulptur der Griechen. Munich, 1969.

Goldman, Tarsus I

Goldman, H . , et al. Excavations at Gozlii Kale. Tarsus, vol. 1. Princeton, 1950.

GRBS

Greek, Roman, and Byzantine Studies

Griffo, Gela

Griffo, P., and von Matt, L., Gela. Schicksal einer griechischen Stadt Siziliens. Wiirzburg, 1964.

Grose, McClean Coll.

Grose, S. W . Fitzwilliam Museum. Catalogue of the McClean Collection of Greek Coins, vol. I. Cambridge, 1 9 2 3 .

Head, HN

Head, B. V. His toria Nummorum. A Manual of Greek Numismatics. 2nd ed. Oxford, 1 9 1 1 .

Herdejiirgen, Basel

Herdejiirgen, H. Die tarentinische Terrakotten des 6. bis 4. Jahrhunderts v. Chr. im Antikenmuseum Basel. Basel, 1 9 7 1 .

Heuzey

Heuzey, L. A . Musee national du Louvre. Les figurines antiques de terre cuite du Musee du Louvre. Paris, 1883.

Higgins, BM TC

Catania,

und 4. Jahrhunderts

Higgins, R. A. Catalogue of the Terracottas in the Department of Greek and Roman Antiquities, British Museum. 2 vols. London, 1954,

1959-

Higgins, GTC

Higgins, R. A. Greek Terracottas. London, 1967.

Higgins, Jewellery

Higgins, R. A . Greek and Roman Jewellery. London, 1 9 6 1 .

Higgins, Knossos TC

Higgins, R. A . , "The Terracottas." In Coldstream, J . N . Knossos. The Sanctuary of Demeter. The British School of Archaeology

ABBREVIATIONS

at Athens, supplementary volume no. 8. London, 1 9 7 3 , pp. 56-92. Higgins, Magenta Ware

Higgins, R. A . "Magenta Ware." The British Museum Yearbook 1 (1976) 1 - 3 2 .

Holloway, CSRC

Holloway, R . R. "Catalogue of the Stratigraphically Related Coins." Unpublished manuscript.

Jastrow

Jastrow, E. "Abformung und Typenwandel in der antiken Tonplastik." OpusArch 2 (1939) 1-28.

Kabus Jahn

Kabus Jahn, R. Studien zu Frauen-figuren des vierten Jahrhunderts vor Chr. Diss. Freiburg. Darmstadt, 1 9 6 3 .

Kekule

Kekule, R. Die Terracotten von Sicilien. Die antiken Terracotten, 11. Berlin and Stuttgart, 1884.

Kerenyi, Eleusis

Kerenyi, C. Eleusis, Archetypal Image of Mother and Daughter. Trans. Ralph Manheim. London, 1967.

Kleine Pauly

Der Kleine Pauly. Lexikon der Antike . . . bearbeitet und herausgegeben von K . Ziegler und W . Sontheimer. 5 vols. Stuttgart, 1964-75.

Kleiner

Kleiner, G . Tanagrafiguren. Untersuchungen zur hellenistischen Kunst und Geschichte. Jdl, 1 5 . Erganzungsheft. Berlin, 1942.

Koster

Koster, A . Die griechischen Terrakotten. Berlin, 1926.

Kobylina, Terrakoty

Kobylina, M. M. Terrakoty Severnogo Prichernomor'ia. Moscow, 1970.

Kraay-Hirmer

Kraay, C. M . , and Hirmer, M. Greek Coins, New York, 1966.

Langlotz

Langlotz, E. Die Kunst der Westgriechen in Sizilien und Unteritalien. Munich, 1 9 6 3 .

Langlotz, Zeitbestimmung

Langlotz, E. Zur Zeitbestimmung der strengrotfigurigen Vasenmalerei und der gleichzeitigen Plastik. Leipzig, 1920.

Laumonier, Delos TC

Laumonier, A. Exploration archeologique de Delos faite par I'Ecole frangaise d'Athenes, vol. 2 3 , Les figurines de terre cuite. Paris, 1956.

Laumonier, Madrid TC

Laumonier, A . Catalogue de terres cuites du Musee archeologique de Madrid. Bordeaux, 1 9 2 1 .

Lazarides, Abdera

Lazarides, D. I. nf)A.iva Ei86>.ia 'ApSripcbv. Athens, i960.

Levi, Napoli TC

Levi, A. Le terrecottefiguratedel Museo Nazionale di Napoli. Florence, 1926.

Libertini, Centuripe

Libertini, G . Centuripe. Catania, 1 9 2 6 .

Libertini, Museo Biscari

Libertini, G . II Museo Biscari. Milan and Rome, 1 9 3 0 .

Libertini 1 9 3 2

Libertini, G . "Nuove ceramiche dipinte di Centuripe." AttiMGrecia ( 1 9 3 2 ) 1 8 7 - 2 1 2 .

Lullies-Hirmer

Lullies, R . , and Hirmer, M. Griechische Plastik von den Anfangen bis zum Hellenismus. Munich, 1956.

Marconi, Agrigento

Marconi, P .Agrigento. Topografia e arte. Florence, 1929.

xxiii

xxiv

ABBREVIATIONS

Marconi, Agrigento arcaica

Marconi, P. Agrigento arcaica. II santuario delle divinita chtonie e il tempio detto di Vulcano. Rome, 1 9 3 3 .

von Matt

von Matt, L. Das antike Sizilien. Wiirzburg, n.d.

Mattingly, RIP

Mattingly, H. The Roman Imperial Coinage. 9 vols, in 1 1 . London, 1 9 2 3 - 6 7 .

Maximova, Vases plastiques

Maximova, M. I. Les vases plastiques dans I'antiquite. Epoque archaique. 2 vols. Paris, 1 9 2 7 .

Mendel, Istanbul TC

Mendel, G . Mus'ees Imperiaux Ottomans. Catalogue des figurines grecques de terre cuite. Constantinople, 1908.

Mollard-Besques, Louvre TC

Mollard-Besques, S. Musee national du Louvre. Catalogue raisonne des figurines et reliefs en terre-cuite grecs etrusques et romaines. 3 vols. Paris, 1 9 5 4 , 1 9 6 3 , 1 9 7 2 .

MolLard-Besques, TCG

Mollard-Besques, S. Les terres cuites grecques. Paris, 1 9 6 3 .

Moret, llioupersis

Moret, J . - M . L'llioupersis dans la ceramique d'ltalie meridionale. Bibliotheca Helvetica Romana X I V , 1975.

Miiller, Polos

Miiller, V. K . Der Polos. Die griechische Gotterkrone. Berlin, 1915.

Mylonas, Eleusis

Mylonas, G . E. Eleusis and the Eleusinian Mysteries. Princeton, 1961.

Nabers, Macellum

Nabers, N . "The Macellum." Unpublished manuscript.

NC

Payne, H . G . G . Necrocorinthia. A Study of Corinthian Art in the Archaic Period. Oxford, 1 9 3 1 .

Neutsch

Neutsch, B. Studien zur vortanagraisch-attischen Koroplastik. 1 7 . Erganzungsheft. Berlin, 1 9 5 2 .

Nicholls

Nicholls, R. V. "Type, Group, and Series: A Reconsideration of Some Coroplastic Fundamentals." BSA 47 ( 1 9 5 2 ) 2 1 7 - 2 6 .

Nilsson, GGR

I3

Jdl,

Nilsson, M. P. Geschichte griechische Religion, 1, Die Religion Griechenlands bis auf die griechische Weltherrschaft. 3rd ed. Handbuch der Altertumswissenschaft, 5:2. Munich, 1967.

Olynthus iv

Robinson, D. M. Excavations at Olynthus, part iv, The Terracottas of Olynthus Found in 1928. Baltimore, 1 9 3 1 .

Olynthus vn

Robinson, D. M. Excavations at Olynthus, part VII, The Terracottas Found in 1931 • Baltimore, 1 9 3 3 .

Olynthus x i v

Robinson, D. M. Excavations at Olynthus, part x i v , The Terracottas, Lamps, and Coins Found in 1934 and 1938. Baltimore, 1952.

Overbeck

Overbeck, J . Die antiken Schriftquellen zur Geschichte der bildenden Kiinste bet den Griechen. Leipzig, 1868.

Pace

Pace, B. Arte e civilta della Sicilia antica. 4 vols. Milan, Genoa, Rome, Naples, 1935-49 (2nd ed. vol. 1, 1958).

ABBREVIATIONS

Pelagatti, Anheologia

Pelagatti, P., and Voza, G . Archeologia nella Sicilia sudorientale. Naples, 1 9 7 3 .

Perachora

Jenkins, R . J . H . , in Payne, H . , et al. Perachora. The Sanctuaries of Hera Akraia and Limenia, Excavations of the British School ofArchaeology at Athens 1 9 3 0 - 3 3 . London, 1940, pp. 1 9 1 - 2 5 5 .

Pfuhl, MuZ

Pfuhl, E. Malerei und Zeichnung der Griechen. 3 vols. Munich, 1923.

Picard, Manuel

Picard, C. Manuel d'archeologie grecque. La sculpture. 5 vols, in 8. Paris, 1935-66.

Pottier-Reinach, Necropole

Pottier, E . , Reinach, S., and Veyries, A. La necropole de Myrina. Paris, 1888.

Poulsen

Poulsen, V. H. "Der strenge Stil." ActaA 8 ( 1 9 3 7 ) 1 - 1 4 2 .

Poulsen, Ny Carlsberg TC

Poulsen, V. H. Catalogue des terres cuites grecques et romaines. Publications de la Glyptotheque Ny Carlsberg, no. 2. Copenhagen, 1949.

PR I

Stillwell, R . , and Sjoqvist, E. "Excavations at Serra Orlando, Preliminary Report." AJA 61 ( 1 9 5 7 ) 1 5 1 - 5 9 .

PR II

Sjoqvist, E. "Excavations at Serra Orlando (Morgantina), Preliminary Report II." AJA 62 (1958) 155-64.

PR III

Stillwell, R. "Excavations at Serra Orlando 1958, Preliminary Report III." AJA 63 (1959) 1 6 7 - 7 3 .

PR IV

Sjoqvist, E. "Excavations at Morgantina (Serra Orlando) 1 9 5 9 , Preliminary Report I V . " AJA 64 (i960) 1 2 5 - 3 5 .

PR V

Stillwell, R. "Excavations at Morgantina (Serra Orlando) i960, Preliminary Report V . " AJA 65 ( 1 9 6 1 ) 2 7 7 - 8 1 .

PR VI

Sjoqvist, E. "Excavations at Morgantina (Serra Orlando) 1 9 6 1 , Preliminary Report V I . " AJA 66 (1962) 1 3 5 - 4 3 .

PR VII

Stillwell, R. "Excavations at Morgantina (Serra Orlando) 1962, Preliminary Report V I I . " AJA 67 (1963) 1 6 4 - 7 1 .

PR VIII

Sjoqvist, E. "Excavations at Morgantina (Serra Orlando) 1 9 6 3 , Preliminary Report VIII." AJA 68 (1964) 1 3 7 - 4 7 .

PR IX

Stillwell, R. "Excavations at Morgantina (Serra Orlando) 1966, Preliminary Report I X . " AJA 7 1 (1967) 245-50.

PR X

Allen, H. L. "Excavations at Morgantina (Serra Orlando), 1967-69, Preliminary Report X . " AJA 7 4 ( 1 9 7 0 ) 3 5 9 - 8 1 .

PR X I

Allen, H. L. "Excavations at Morgantina (Serra Orlando), 1970-72, Preliminary Report X I ."AJA 78 (1974) 3 6 1 - 8 2 .

Priickner, Tonreliefs

Priickner, H. Die lokrische Tonreliefs. Beitrag zur Kultgeschichte von Lokroi Epizephyrioi. Mainz am Rhein, 1968.

Quarles van Ufford

Quarles van Ufford, L. Les terres-cuites siciliennes. Une etude sur I'art sicilien entre 550 et 450. Assen, 1 9 4 1 .

x

XXV i

ABBREVIATIONS

RE

Pauly, A . , Wissowa, F., and Kroll, W . , eds. Paulys Realencyclopadie der klassischen Altertumswissenschaft. Stuttgart, 1894-.

Richardson, Hymn

Richardson, N . J . , ed. The Homeric Hymn to Demeter. Oxford, 1974-

Richter, Furniture

Richter, G . M . A . The Furniture of the Greeks, Etruscans and Romans. London, 1966.

Rizzo, Monete greche

Rizzo, G . E. Monete greche della Sicilia antica. Rome, 1946.

Rizzo, Prassitele

Rizzo, G . E. Prassitele. Milan and Rome, 1 9 3 2 .

Robinson Essays

Kraay, C. B . , and Jenkins, G. K . Essays in Greek Coinage Presented to Stanley Robinson. Oxford, 1968.

Roscher, Lexikon

Roscher, W . H . , ed. Ausfiihrliches Lexikon der griechtschen und romischen Mythologie. 6 vols, in 9. Leipzig, 1 8 8 4 - 1 9 3 7 .

Rouse, Votive Offerings

Rouse, W . H . D . Greek Votive Offerings, An Essay in the History of Greek Religion. Cambridge, 1902.

Schauenburg 1 9 5 3

Schauenburg, K . "Pluton und Dionysos."Jdl 68 ( 1 9 5 3 ) 38-72.

Schauenburg 1958

Schauenburg, K . "Die Totengotter in der unteritalischen Vasenmalerei."jdl

73 ( 1 9 5 8 ) 4 8 - 7 8 .

Schefold, Untersuchungen

Schefold, K . Untersuchungen zu den kertscher Vasen. Berlin and Leipzig, 1934.

Sfameni Gasparro, Culti orientali

Sfameni Gasparro, G. I culti orientali in Sicilia. Etudes preliminaires aux religions orientales dans l'empire romain, no. 2 1 . Leiden, 1 9 7 3 .

Sichtermann, GVU

Sichtermann, H. Griechische Vasen in Unteritalien aus der Sammlungjatta in Ruvo. Tubingen, 1966.

Sieveking, Loeb TC

Sieveking, J . Die Terrakotten der Sammlung Loeb. 2 vols. Munich, 1916.

Sjoqvist, Sicily

Sjoqvist, E. Sicily and the Greeks. Studies in the Interrelationship between the Indigenous Populations and the Greek Colonists. Ann Arbor, 1 9 7 3 .

Stillwell, Corinth XV:2

Stillwell, A. N . Corinth. Results of Excavations Conducted by the American School of Classical Studies at Athens, vol. x v , part 11, The Potters' Quarter. The Terracottas. Princeton, 1 9 5 2 .

Thompson, Queens

Thompson, D. B. Ptolemaic Oinochoai and Portraits in Faience. Aspects of the Ruler-Cult. Oxford, 1 9 7 3 .

Thompson, Troy TC

Thompson, D. B. Troy. The Terracotta Figurines of the Hellenistic Period. Excavations conducted by the University of Cincinnati, Supplementary Monograph 3. Princeton, 1 9 6 3 .

Trendall, LCS

Trendall, A. D. The Red-figured Vases of Lucania, Campania and Sicily. Oxford, 1967.

Trendall-Webster, Illustrations

Trendall, A . D . , and Webster, T . B . L . Illustrations of Greek Drama. London, 1 9 7 1 .

ABBREVIATIONS

Ure, Rhitsona

Ure, P. N . Aryballoi and Figurines from Rhitsona in Boeotia. Cambridge, 1 9 3 4 .

Velickovic, Beograd TC

Velickovic, M. Musee national de Beograd. Catalogue des terres cuites grecques et romaines. Belgrade, 1 9 5 7 .

Voza, Sicilia

Voza, G . , Caizzi, A. et al. Sicilia. Milan, n.d.

W I, W II

Winter, Franz. Die Typen der figiirlichen Terrakotten. Die antiken Terrakotten ill. 2 vols. Berlin and Stuttgart, 1903.

de Waele, Acragas

de Waele, J . A . Acragas Graeca. Die historische Topographie des grtechischen Akragas auf Sizilien, I, Historischer Teil. Archeologiscbe Studien van het Nederlands Historisch Instituut te Rome, deel III. The Hague, 1 9 7 1 .

Walters, BM Cat

Walters, H. B. Catalogue of the Terracottas in the Department of Greek and Roman Antiquities, British Museum. London, 1 9 0 3 .

Webster, GTP

Webster, T . B . L . Greek Theatre Production. 2nd ed. London, 1970.

Webster, MNC

Webster, T . B . L . Monuments Illustrating New Comedy. 2nd ed. University of London, Institute of Classical Studies, bulletin supplement no. 24. London, 1969.

Webster, MOMC

Webster, T . B . L . Monuments Illustrating Old and Middle Comedy. 2nd ed. University of London, Institute of Classical Studies, bulletin supplement no. 23. London, 1969.

Webster, MTSP

Webster, T . B . L . Monuments Illustrating Tragedy and Satyr Play. 2nd ed. University of London, Institute of Classical Studies, bulletin supplement no. 20. London, 1967.

Wiegand-Schrader, Priene

Wiegand, T . , and Schrader, H. Priene. Ergebmsse der Ausgrabungen und Untersuchungen in den Jahren 1895-1898. Berlin, 1904.

Wuilleumier, Tarente

Wuilleumier, P. Tarente. Des ongines a la conquete romaine. Bibliotheque des ecoles franchises d'Athenes et de Rome, 148. Paris, 1939.

Zanotti Bianco-von Matt

Zanotti Bianco, U . , and von Matt, L. Magna Graecia. Genoa, 1961.

Zuchner, Klappsptegel

Zuchner, W . Griechische Klappsptegel. Jdl, Berlin, 1942.

Zuntz

Zuntz, G . Persephone. Three Essays on Religion and Thought in Magna Graecia. Oxford, 1 9 7 1 .

14. Erganzungsheft.

xxvii

Morgantina Studies

The Terracottas

Introduction and Historical Sketch MORE than two thousand terracottas have come to light since the Princeton excavations

began at Morgantina in 1955. In addition to the excavated finds there is a substantial collec­ tion of Morgantina pieces in the National Museum at Syracuse, and a much smaller one at Palermo, both made up of gifts and purchases from local landowners. The catalogue that is the nucleus of the present work documents 1,331 terracottas in 958 entries. Included are all of the pieces in Palermo and most of those in Syracuse.1 A more rigorous selection has been made of the excavated finds, many of which are fragmentary.2 The catalogue incorporates the results of sixteen seasons of excavation, from 1955 until 1972. Preceding the catalogue are five chapters that assess the archaeological and religious significance of the terracottas; follow­ ing it is a list of contexts, which provides dating and other circumstantial evidence concern­ ing the discovery of the catalogued pieces. The arrangement of the context lists is described in the introduction to the catalogue. The large body of terracottas from Morgantina offers access to the coroplastic production of a Greek city in central Sicily, and in this simple circumstance lies perhaps their greatest interest. Until now there has been no general study of the terracottas of a Sikeliote site, and consequently many basic questions have not yet been posed. The sources of many Sicilian groups and types must be determined, and to do so we must distinguish the major centers of production. Problems of stylistic development and chronology follow. Morgantina sheds new light on all of these areas of inquiry. The local terracottas also illuminate the extraordi­ nary role played by the cult of Persephone in stimulating coroplastic production. Morgantina is not a perfect model for the study of the whole history of Sikeliote terracottas, because it lacks substantial numbers of archaic, early classical, and late Hellenistic finds. Yet in the late classical and early Hellenistic periods there was an abundant local production, which docu­ ments the coroplastic traditions of the final phases of Greek culture in Sicily, from the era of Timoleon to the fall of Syracuse in'212 B.C. The special sort of terracotta production that took place at Morgantina was determined by the nature of the Greek coroplast's craft. As at other Greek sites, most of the local terracottas were made in molds, and these were taken either from freely modeled archetypes or from mold-made terracottas themselves descended from such archetypes.3 Because the artist who created a terracotta archetype did not have to be present when reproductions of it were made with molds, the possibility existed of wholly derivative shops, staffed by craftsmen who were skilled in the techniques of mass production. Although in the large ateliers the artist and technician may have been the same person, the smaller shops that satisfied the needs of towns or sanctuaries could through commercial arrangements or other means build up a repertory of molds, all of which were descended from archetypes created elsewhere. The distinction be­ tween the processes of creation and mechanical reproduction is basic to terracotta production at Morgantina. The consistent use of the same clays and the repeated discovery of more than one figure from the same mold prove beyond doubt that the large majority of the terracottas

4

INTRODUCTION AND HISTORICAL SKETCH

found at the site were also made there. But there is no evidence in the form of archetypes for the presence of a master coroplast, and there is only a handful of pieces that were modeled freely, without molds. Thus, while there is abundant evidence for the presence of ac­ complished craftsmen at Morgantina, there were evidently few artists. Any study of such a derivative production must first confront the question of influence. In the case of craftsmen who were engaged in mechanical reproduction of works created elsewhere, it is not so much a matter of artistic influence. The first step must be the identifi­ cation of the source of the archetypes for the local molds. Where were the creative work­ shops? The means for answering this question vary according to local conditions and patterns of artistic or cultural influence. In the case of Tanagra figures, a network of stylistic and technical evidence has slowly built up, so that we now know this major class of Hellenistic terracottas originated in Athens and not in Boeotia, where the majority have been found. At Taras the tombs of the fourth century and later contain so many first-generation terracottas of unique types that there can be little doubt of their local provenance. But the situation is much less clear in Sicily. In the archaic period, as is shown in chapter one, Morgantina's terracottas depend on several centers in eastern and southern Sicily. The patterns of influence appear to reflect political and economic ties between the independent city-states, although the number of finds is too small to permit any certain conclusions. In the late classical and early Hellenistic period, when the local coroplasts were much more active, all signs point to Syracuse as the source of molds or archetypes. The Morgantina finds are then as useful for the study of Syracusan terracottas as they are for local production; along with recent Syracusan finds of high quality, still largely unpublished, the Morgantina terracottas should contribute to our recognition of Syracuse as one of the leading coroplastic centers of the early Hellenistic world. The evidence for the Syracusan presence at Morgantina is introduced in chapters two and three. The history of the terracottas of Morgantina is written in the history of the site. The Greeks who settled in the uplands of the Catania plain toward the middle of the sixth century B.C. brought with them knowledge of the technique of molding and firing terracotta statuettes, and, some five hundred years later, when urban life at the site was nearing its end, a coroplast was still at work using the same knowledge. Excavation has shown that between this begin­ ning and end there was an almost continuous demand for terracottas at Morgantina, al­ though this waxed and waned with the fortunes of the city. A brief outline of the history of Morgantina may be useful as an introduction to chapters one through four, which are arranged chronologically.4 Urban life at the site began late in the second quarter of the sixth century, when a body of Greeks came up from one or more of the colonial cities in eastern Sicily to secure control of the hinterland of the Catania plain.5 They settled on the conical hill that is today called Cittadella, surrounded by the wheatgrowing lands of the Gornalunga valley. The site had long been occupied by a small commu­ nity of indigenous Sikel farmers. The absence of an orthogonal plan for the early town indi­ cates that colonization did not take place with a formal act of foundation but was a gradual process. Archaeological evidence suggests that during the early years of the settlement the Greeks coexisted peacefully with the Sikels whom they found at Cittadella.6 During the later

INTRODUCTION AND HISTORICAL SKETCH

sixth century the town grew; naiskoi with painted terracotta revetments were constructed and chamber tombs were cut into the hillside of Cittadella. The multiple burials in the tombs contained imported pottery and terracottas from the mainland and the Aegean, as well as numerous examples of the late geometric wares made by local potters. 7 Such chamber tombs with family or clan burials had been characteristic of Sikel culture, and their use at Morgantina may indicate that a strong Sikel element survived in the local population. But the cultural artifacts of early Morgantina are largely Greek. Toward the end of the sixth cen­ tury the hilltop at Cittadella evidently proved too confining, and the settlement spread to the adjacent Serra Orlando plateau. There a naiskos and probably also several houses were con­ structed, foreshadowing the transference of the city to Serra Orlando in the fourth century. 8 The tranquility of this isolated town was evidently shattered in the early fifth century, during the Deinomenid expansion from Gela. 9 Morgantina lies on a major line of communi­ cation between eastern and southern Sicily and consequently may have attracted the attention of Hippokrates and then Gelon, in their inexorable progress toward Syracuse. Destruction levels of the early fifth century have been plausibly associated with this era of continuous military campaigning, and it seems probable that after the 490s Morgantina came under Geloan-Syracusan control. The terracottas of this period include several Geloan types. 10 The early period of the city's history ends in 459, when the Sikel leader Duketios captured Morgantina in his vain effort to free central Sicily from Greek control. Diodoros called Morgantina a πολις αξιόλογος and thought it a substantial place. 11 The capture of the city in 459 must have been a disaster for the Greeks; excavation has revealed that the site was only sparsely inhabited after mid-century. The series of chamber tombs ends, significantly, at about this time. In the second half of the fifth century, the historical sources are more revealing than the archaeological evidence, and one suspects that Morgantina had become important for strate­ gic reasons, not as a populated center. 12 At the congress of Gela in 424 the city was given by Syracuse to Kamarina in exchange for a specified sum. 13 Perhaps the intention was to estab­ lish a neutral zone between the rival cities of Akragas and Syracuse. The destruction of Kamarina by the Carthaginians in 405 probably gave the city a momentary freedom, but nine years later, in 396, Morgantina was captured by Dionysios of Syracuse and for the next two centuries it remained firmly in the Syracusan sphere of influence. 14 Not long after 396 Morgantina minted a tetradrachm closely modeled on the Syracusan dekadrachms of Euainetos. ls This coin is emblematic of the new political relationship. To the period after the congress of Gela, perhaps to the reign of Dionysios, belongs the orthogonal plan of the Serra Orlando plateau, which now became the site of the city, replacing the isolated settle­ ment of Cittadella. The sanctuaries of Demeter and Persephone, where many terracottas have been discovered, were incorporated into the insulae of the new plan and so are no older than it. To the new plan also belongs the carefully situated agora, which during the next century would be adorned with public buildings. Although the record of both written sources and excavation is scanty for the first half of the fourth century, the ensuing periods are much better documented. There is evidence for a revival in the decade 340-330 coinciding with and probably resulting from the pacification and resettlement of much of Sicily by Timoleon, who was based in Syracuse. 16 Sjoqvist has

5

6

INTRODUCTION AND HISTORICAL SKETCH

assigned both the foundation of the North Sanctuary and the construction of the city wall to the Timoleontic era; 17 contemporary burials contain excellent examples of late Sikeliote red-figure pottery. 18 In 317 the citizens of Morgantina gave crucial support to Agathokles in his successful bid to return to power at Syracuse; 19 major public building projects of the last quarter of the fourth century show that the city was rewarded. 20 Prosperity continued in the third century under Hieron II, when a theater, gymnasium, and granary were built. 21 The large granary may have housed the tithe of grain required by the so-called lex Hieronica; if so, it is a palpable link between Syracuse and Morgantina. 22 Elegantly decorated peristyle houses arose on the east and west hills, overlooking the agora; terracotta dedications filled the neighboring sanctuaries of Demeter and Persephone. The orthogonal plan was extended dur­ ing the third century to outlying quarters of the plateau, and the occupation of these areas (iv, v, and Vi on pi. 1) indicates a growing population and continued prosperity. Excavation has shown that Morgantina is essentially a city of the third century, more specifically of the age of Hieron II of Syracuse (ca. 305-215 B.C.). This was a period of mate­ rial prosperity that saw a real revival of the arts. Hieron was the first Sicilian ruler after the fifth century to support a major building program; gymnasia, temples, and theaters were constructed at Syracuse and in other towns within the realm. 23 Syracusan sculptures, proba­ bly of bronze, are recorded by the sources; 24 surviving works in limestone are of considerable quality and interest, and they indicate the existence of local workshops. 25 Metalworking flourished, as is shown both by grave goods and the written sources. 26 The remarkable craft resources of the kingdom were exemplified in the ship Syrakosia which Hieron sent as a gift to Ptolemy III of Egypt, laden with foodstuffs; Moschion's description of the ship mentions numerous works of sculpture, painting, and mosaic, as well as several complex utilitarian devices. 27 A pragmatic interest in the products of applied science seems characteristic of the Hieronian age, one of whose two geniuses was Archimedes. The other was the poet Theokritos, who early in the reign of Hieron departed the comfortable bourgeois pleasures of Syra­ cuse for the more rewarding atmosphere of the Aegean and Alexandria; the delicate combina­ tion of artifice and deep human sympathy in his verse makes it the most outstanding artistic achievement of early Hellenistic Sicily. Other writers included the comic poets Rhinthon and Boiotos, whose dramatic works were no doubt performed in the new theaters of eastern Sicily. The large group of early Hellenistic terracottas of Morgantina and Syracuse belong to this world and should thus be viewed against a background of substantial intellectual and artistic activity. Morgantina and Syracuse shared a similar fate at the end of the century: protected by the shield of Roman alliance during the wars with Carthage, they prospered, but having thrown it off to join the enemy, they were utterly defeated. The year 211 is even more significant than 459 as a turning point in the history of Morgantina. The archaeological record is eloquent. Domestic habitation in areas ill, v, and Vi ceases at the end of the third century; all of the small sanctuaries of Demeter and Persephone were sacked and permanently abandoned; and the city's flourishing terracotta production came to a full stop. 29 The causes of this dis­ aster can only have been the capture of Morgantina in 211 by a Roman army and its subse­ quent presentation as booty to a band of Spanish mercenaries, whose leader had betrayed Syracuse to Marcellus the preceding year. 30

INTRODUCTION AND HISTORICAL SKETCH

The Hispani now became the masters of the city. There must have been major cultural changes; we can perceive at least two of these in the extinction of the cult of Demeter and Persephone and the cessation of terracotta production. The only literary references to Morgantina in the second century concern its role in the slave revolts of 139-131 and 104-101 B.C.; it was besieged during both revolts by the slave armies and may have been taken in the first.31 The archaeological record shows some signs of recovery in the second half of the cen­ tury; a series of bronze coins bearing the legend HISPANORUM was minted and a large market building was constructed in the upper agora. 32 The chthonian sanctuary in the lower agora appears to have been the only cult center that survived into this period; the chthonian nature of the sanctuary is proved by the discovery of lead tabellae with inscriptions addressed to the gods of the underworld, but the relationship of the cult to the earlier sanctuaries of Demeter and Persephone has not been established. 33 During the second century the large houses on the east and west hills were reoccupied; their rooms and peristyles were often par­ titioned into smaller spaces, suggesting that the standard of living was a good deal lower than in the third century. In fact, it seems evident enough that Morgantina was a smaller and less prosperous place in the second century. This decline may be owed largely to the expul­ sion or enslavement of its former population and to the arrival of the Hispani; yet it is paral­ leled at other sites in eastern Sicily. The late Hellenistic period almost everywhere saw a steady decline in urbanization, which was accompanied by markedly lower standards of craftsmanship and taste. 34 The first century B.C. saw nothing but further decline, no doubt exacerbated by the rapac­ ity of Roman magistrates; Cicero records that the Murgentini were among the civitates decumanae which suffered from Verres' misdeeds. 35 At the end of the century Strabo speaks of Morgantina as a place that no longer existed. 36 His statement is corroborated by the results of excavation, for the floor deposits in houses on the west hill contained coins and sherds of Arretine ware that belong in the last quarter of the century. 37 There are not many finds at Morgantina that can be dated any later. 38 The city may have been a victim of the Augustan settlement of Sicily, during which a number of towns were punished for their support of Augustus' enemies. 39 There was in any case a slow decline, ending with the final abandon­ ment of the site early in the first century of our era. The floor deposits of this late period also contained two interesting groups of terracottas, which are discussed in chapter four. One consists of busts and votive types of the old cult of Persephone; evidently in the last years of Morgantina's existence there was a renewed veneration of the ancient goddess of Sicily. The other group is composed of Aphrodites, Erotes, and related figures of eastern origin, few of which have any ties with earlier production. These groups together exemplify the cultural fragmentation of Sicily in the Roman period.

Notes 1. For the material in Palermo and Syracuse, see the in­ troduction to the catalogue. 2. On the criteria used in the selection of the excavated finds, see the introduction to the catalogue. 3- For the terminology of archetype and mold series, see Nicholls.

4. The fullest accounts of the history of the site yet to appear are E. Sjoqvist, "Perche Morgantina?," RendLinc 15 (i960) 291-300, and K. T. Erim, "Morgantina," AJA 6 2 (1958) 75-90. Now see also Princeton Encyclopedia of Classical Sites (Princeton, 1976), s.v. Morgantina (R. Stillwell).

7

8

INTRODUCTION AND HISTORICAL SKETCH 5. Sjoqvist has proposed that the Greeks originated in the Chalcidian cities ofLeontinoi or Katane (Suily, 2 1 - 3 5 ) , the terracottas of the second half of the sixth century suggest ties with Megara Hyblaia (see chapter 1, section 2). 6. Sjoqvist, Sicily, 28ff 7. On the archaic tombs, see context list, Necropoleis II and VI. 8. On this settlement, see chapter 2, section 1. Addendum. analysis of ceramic material from the earliest habitation levels at Serra Orlando has now convinced me that the initial settlement in this area was made in the 450s; see also chapter 2, n. 12. 9. Sjoqvist, Sicily, 4 5 f f . ; T . J . Dunbabin, The Western Greeks (Oxford, 1948) 376-434. 10. Infra, chapter 1, section 3. 11. Diod. 11.78. 12. On Morgantina's history in the second half of the fifth century, E. Sjoqvist, RendLinc 15 (i960) 292f. 13- Thuc. 4.65. 14. Diod. 1 4 . 7 8 . 7 . 15. Rizzo, Monete greche, 268F , no. 6, pi. LX. 16. On Morgantina in the Timoleontic period (a term that is here understood conventionally to refer to the years 340-320), see E. Sjoqvist, "Timoleonte e Morgantina," Kokalos 4 ( 1 9 5 8 ) 107-118; R . J . A. Talbert, Timoleon and the Revival of Greek Sicily, 344-317 B.C. (Cambridge, 1974) I 5 2 f . , 202f. 17. Sjoqvist, PR IV, 1 2 7 (city wall); Kokalos 4 ( 1 9 5 8 ) 1 i4f. (North Sanctuary). 18. Sjoqvist, PR VI, pi. 36, fig. 37, Trendall, LCS. 19- Diod. 1 9 . 6 . 2 - 3 . 20. These include the great steps and the East Stoa in the agora; Sjoqvist, PR VI, 135^ 21. See contexts IC, IH; Sjoqvist, PR IV, 13of 22. Sjoqvist, PR IV, 1 3 1 . 23- On gymnasia and temples, Moschion, ap. Ath. 5 . 2 0 6 E , IG xiv. 240. The theaters of Syracuse, Akrai, and also Morgantina belong to the Hieronian period. On Hieronian architectural forms, L. Shoe, Profiles of Western Greek Moldings, Papers and Monographs of The American Academy of Rome, vol. xiv (Rome, 1952), 27, 37. 24. Six portrait statues of Hieron II were dedicated at Olympia, the sculptor of all of them was probably Mikion, son of Nikeratos, of Syracuse (Paus. 6 1 2 . 2 - 4 , 6.15 6; F. Eckstein, Olympiabericht VI, 205-209). Hieron gave a

sculptural group to Rhodes (Polyb. 5 88 8) Syracusan sculptures were taken by Marcellus to Rome (Livy 2 5 . 4 0 , 2 6 . 2 1 . 8 ) , some of these must have been Hieronian, inasmuch as Timoleon in the early 330s had melted down the city's bronze sculptures (Plut., Tim 23 4-5). 25 Many of these are unpublished, in Syracuse; but see the limestone relief from Camaro, NSc ( 1 9 1 2 ) 4 5 7 , fig 3 1 , Fuchs, Skulptur, fig 628, and the standing woman from Morgantina, PR I, pi. 60, fig. 32 (here pi. 1 4 7 , fig. 16). 26 A golden Nike was sent to Rome by Hieron in 2 1 7 (Livy 22 37.5), and Hieron and Gelon together sent silver cauldrons to Rhodes (Polyb 5 . 8 8 5 ) Livy mentions works of silver and bronze in Marcellus' ovation at Rome (26.21.8). Examples of Syracusan metalwork can be seen in the golden ears of grain now in the Schimmel collection (P. Wolters, Festschrift James Loeb [Munich, 1 9 3 0 ] pi. xvi, O. W . Muscarella, ed , Ancient Art. The Norbert Schimmel Collection [Mainz, 1974}, no. 74), and in jewelry from Syracuse and Morgantina (NSc [ 1 9 1 5 ] , 1 8 7 , fig. 7, late fourth or early third century, PR I, 1 5 8 , pi. 60, fig. 28) 27 Moschion, ap Ath. 5.206D-209F. 28 On Syracusan culture in the Hieronian period, M -P Loicq-Berger, Syracuse: Histoire culturelle d'une cite greique, Collections Latomus 87, 25 iff., H Berve, Komg Hieron 11, AbhMun 47 ( 1 9 5 9 ) 70-75 29. Infra, chapter 4, section 1. It has been proposed that the cult of Demeter and Persephone was involved in the resistance to the Romans at the end of the third century, which would explain the brutal treatment of the sanctuaries, see E. Sjoqvist, ANSMN 9 (i960) 58ff , D White, GRBS 5 (1964) 2 7 off. 30. On the events of 2 1 4 - 2 1 2 , Livy 2 4 . 3 6 . 1 0 , 26.21.14-17. 31 On the sources, see K. T Erim, AJA 62 (1958) 86, n. 6of. 32 On the coins, ibid., 79-85, see also Nabers, Macellum. 33 On this sanctuary, see context I L, N Nabers, AJA 70 (1966) 67ff. (on the lead tabellae). 34 Finley, Anaent Suily, 132!" 35 Cic. Verr 2 . 3 . 1 0 3 . 36 Strab. 6 2 . 4 . 37. See Contexts I G 2 , I T, II D, II E. 38. Sjoqvist, PR VI, 140 (Tibenan coins). 39. See chapter 5

11 * Archaic and Early-Classical Terracottas 1. TerracottasatEarlyMorgantina ONLY about seventy-five of the terracottas found at Morgantina can be assigned to the first phase of the city's existence. Sixty-seven of these, consisting of representative Sikeliote types and a handful of imports from the Aegean, have been included in the catalogue. Our perspec­ tive on the early terracottas of Morgantina depends on this scanty group of finds from houses and tombs, and it may well be distorted. The fullest picture of terracotta production at an archaic site has usually been provided by votive deposits found in chthonian sanctuaries, composed of a great variety of offerings—standing and seated goddesses, protomes, animals, fruit, and other figures—all dedicated over periods of many years. Although several archaic naiskoi have been excavated at Morgantina, none has contained terracottas. 1 The early city probably possessed a chthonian sanctuary, but if so, it is yet to be found. About fifty of the terracottas are made of the local buff clay. Such a small number implies that Morgantina did not support an active coroplast in the sixth and fifth centuries. Some pieces have the characteristic fabric of architectural terracottas and may have been made by the same craftsmen, as a sideline (2a, 9, 17, 18, 50). 2 Perhaps other pieces—especially the homogeneous group of mass-produced protomes found in tombs—were molded by local pot­ ters, whose pale buff wares are not unlike some of the early terracottas. All of the mold-made terracottas of the early period depended on archetypes created elsewhere, for there are no first-generation finds. The only unique piece among the early terracottas is the lively and amusing head 19, which was hand-modeled by an artist who has unfortunately left no other traces of his work at the site. Most of the local terracottas belong to Sikeliote mold series that originated in the coastal cities. A few pieces of coastal manufacture have been found, and such works as these must have served as the archetypes for the local molds (12, 27, 28). These Sikeliote pieces, both locally made and imported, reflect the influence of either the eastern cities or of Gela to the south. The first group belongs mostly to the sixth century, the second to the fifth century. The evidence of the terracottas thus indicates consecutive periods of eastern and Geloan influence—corresponding in a striking way with what has been learned about the early his­ tory of the site from excavation and study of the written sources (see the Introduction). Terracottas imported from the Greek homeland are either Ionian or Corinthian. Ionian plastic vases appear in the first burials of the archaic town toward the middle of the sixth century, and for the next fifty years eastern imports recur sporadically. During this period the influence of the delicate and decorative taste of the eastern Aegean was felt in most cor­ ners of the Greek world. The remarkable career of the mold series of the siren 51 demon­ strates the diffusion of Ionian products: sisters of 51 traveled to Gela, Perachora, Athens, and

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS

Sidon. At Morgantina, Ionian style can also be seen in the maenad antefixes of a still unlocated building at Cittadella and in the elaborate eaves tiles of the naiskos on Farmhouse Hill. 3 Because the strength of the Ionian style was not dependent on the origins or the geo­ graphical location of the Sikeliote communities, it is impossible to ascertain from what direc­ tion the imports came to Morgantina. Ionian terracottas are as common at Naxos, Katane, Megara, and Syracuse to the east as they are at Gela to the south. The Ionian imports had a decisive impact on the development of Sikeliote coroplastic art (cf. i, 8, 21, 32-43). Their influence is felt well on into the fifth century, long after they had ceased to be imported. Yet the Ionian terracottas were not copied indiscriminately; the more frivolous works, like the plastic vases, were of less interest to the local coroplasts than the "serious" subjects, the votive types that could be adapted to local needs. The Sikeliote coroplast was generally occupied in satisfying the demands for votive and funerary offerings, and unlike his counterparts in eastern Greece, he did not serve a large export market. The role played by Corinthian terracottas in Sicily is less important. Late archaic Corin­ thian production is represented at Morgantina by a single imported figure (3), but there are several pieces under Corinthian influence (2, 4). Through an analysis of find patterns and local styles, this Corinthian group can be traced to eastern Sicily, probably to Megara (see section 6). Roughly eighty percent of the catalogued early terracottas can be dated between 550 and 480 B.C. The remaining pieces belong in the second half of the fifth century, most of them in the last third. There is, then, a period that seems to lack terracottas during the middle years of the century. Could this apparent break in production correspond to the capture of Mor­ gantina by the Sikel leader Duketios in 459 (Diod. 11 .78)? It seems possible that it does, although the historical date 459 seems somewhat later than the break in production—if we are to judge by the style of the terracottas which belong to the early group. Perhaps the coroplasts were more conservative than we have thought, and consequently our stylistic chronology should be lowered. Yet with so little material to judge by, it would be unwise to force the chronology to agree with the known history of the site. Many of the early terracottas come from miscellaneous habitation levels of the archaic town at Cittadella; a few were found in the scattered settlements on the Serra Orlando ridge. Although no large sanctuary deposits comparable to those of the Hellenistic period have been discovered, most of the finds from the settlements belong to common chthonian votive types that are probably images of Persephone. Three such figures (6, 20f.) may possibly be associ­ ated with sanctuaries; the rest must have come from houses. The other important context of archaic terracottas is funerary. Most of the protomes and plastic vases, as well as one standing goddess (2b), were found in tombs. A few tombs can be dated by their pottery. The most important of these are nos. 9 and 28 in Necropolis II, which contained both local and im­ ported terracottas in several burial groups. All too often, however, the tombs had collapsed, disordering the numerous burials within and diminishing the chronological import of the associated pottery. The chthonian character of these funerary terracottas is patent. Thus it seems that the chief deity of early Morgantina, as of all Sicily, was Persephone, whose do­ main encompassed both life and death. Her role in the later cults of the city is discussed in chapter five.

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS

2. The Influence of the Eastern Cities Among the local archaic terracottas, 19 is outstanding. This genial, vigorously modeled head is one of the rare pieces at Morgantina that was made without a mold. The triangular face is tilted upwards; large eyes float in shallow indentations under the low forehead, and the bold chin is cleft. The head of the standing kore 1 is similar, although the features of 19 have greater volume. There is a closer parallel in a smaller head from Grammichele, the shape of whose face is also determined by a low forehead and prominent chin (pi. 143, fig. 3). 4 Both of these heads can be compared to the standing kore from Megara, now in Syra­ cuse. 5 Although the cheeks are fuller, most of the features of 19 and the Grammichele head recur there. The heads of the twins held by the limestone suckling goddess of Megara have a similar triangular shape. 6 In the terracottas the prominent chin and high mouth make the heads seem tilted backwards. All of these heads are characterized by vigorous modeling and a stylistic freshness that borders on naivete. The kore from Megara is placed well on in the second half of the sixth century by Quarles van Ufford and Langlotz. 7 The crescent brows are derived from works of Ionian style of the third quarter of the century, a period that is a good deal later than the shape of the face might seem to indicate. The influence of Megara on Grammichele has been noted by Quarles van Ufford and Vallet, and it appears that the archaic coroplasts of this as yet nameless, increasingly Hellenized town depended on Megara for their molds. 8 This group of heads can then be assigned to Megara or her influence. The genial style is more like that of the suckling goddess than of imports; Langlotz has called the goddess a work of popu­ lar art (Yolkskunst), an apt designation which fits the terracottas. 9 A later head in Megarian style is 20; the modeling is characteristically full. The head is tilted forwards, the polos set at a raking angle. Similar heads of the late sixth century have been found at Megara and may have been influenced by contemporary limestone sculptures. 10 In the second quarter of the fifth century, peplophoroi of the severe style first appeared in the Sikeliote coroplast's repertory. They never attained great popularity, and they form only a small part of the overall votive production, which in general remained quite conservative (cf. 5). Although there are several large-scale Sikeliote terracotta and stone peplophoroi, the small votive figures are more closely related to the coroplastic types that Poulsen assigns to Attic production. 11 However, the attributes are local. The pig is most frequent, but there are also occasional oinochoai, baskets, flowers, and pieces of fruit. The only peplophoros from Morgantina, 6, is derived from Poulsen's first Attic type, where the right hand is placed at the breast and the left is lowered. 12 A complete version from the same mold series is extant, from the sanctuary of the Malophoros at Selinous (pi. 143, fig. 4). 13 A pig was held in the lowered left hand. The piece from Selinous is about fifteen percent smaller than 6 and must come from a later generation. As 6 does not belong to a first generation mold, the archetype for both figures should not be attributed to Morgan­ tina. The distribution of the Sikeliote peplophoroi suggests that they originated in eastern Sic­ ily. Poulsen's second Attic type, with both hands lowered, occurs at Megara, Kamarina, and

11

12

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS

Selinous. 14 A fine fragmentary version, holding a pig in the left hand, was found in the Fusco cemetery at Syracuse; the clay is local (pi. 144, fig. 7). 15 A related type, holding an oinochoe in the right hand, is represented at Kamarina and Selinous. 16 Other peplophoroi of more local style have also been found in the east. The finest come from the inland towns of Grammichele and Kentoripa. 17 Here the pig is held across the overfold in both hands; the motif is adapted from the earlier Sikeliote votive type wearing the chiton (cf. 5). Two other peplophoroi were found at Grammichele; one carries a pig in her right hand and holds a flower to her breast in her left; the other holds a basket in place of the flower. 18 The latter type is also known at Leontinoi. 19 In these figures the initial impulse from the mainland has been absorbed and transformed. Even farther removed from mainland style is a group of figures who hold pieces of fruit or a bird in the overfold; examples have been found at Syracuse, Megara, and Rhegion. 20 The hair of the Syracusan pieces is bound in the lampadion knot, a characteristic fashion of the fourth century. 21 None of the Sikeliote peplophoroi comes from a dated context. The earliest may be the broad, heavy figures from Grammichele and Kentoripa. The bulky proportions are typical of the first third of the century, and the pig is held by both hands as in the earlier type wearing the chiton. The smooth surfaces of the peplos are quite unlike the drapery of other terracotta peplophoroi, although the linear precision of the folds does reflect the values of the severe style. 22 In their combination of softness and precision these figures are reminiscent of the women of the east pediment at Olympia and should not be dated much later than midcentury. 23 The other Sikeliote figures can be dated by their similarity to Attic types; all appear to be later than 450. 24 The finest of these, the figure from Syracuse (pi. 144, fig. 7), shows the bunching of folds at the kolpos under the overfold, a feature reminiscent of Hippodameia (fig. K) from Olympia and the Kimasos peplophoros. 25 Example 6 from Morgantina and Selinous must be somewhat later because of the finicky, mechanical folds. 26 Even more advanced are the figures from Grammichele, Kamarina, Syracuse, and Megara, where the drooping sides of the overfold are treated with perfect symmetry. These may be as late as the early fourth century. The absence of peplophoroi at both Gela and Akragas is surprising, since creative work­ shops were located in both cities throughout the fifth century. This circumstance may be fortuitous; yet both sites have produced a generous selection of contemporary terracottas. From the evidence at hand it appears that the peplophoroi were popular only in the eastern cities under Syracusan influence and at Selinous. The large group from Selinous is likely to be derivative; the blurred features of all the examples from the sanctuary of the Malophoros argue for this conclusion, as does the mold series of 6. Megara hardly existed in the second quarter of the century and cannot be considered as a possible source for the peplophoroi. Syracuse is more likely. The piece from Fusco (pi. 144, fig. 7) proves that at least one firstgeneration peplophoros was made there. Syracuse may thus be the point of origin for the second-generation pieces from Grammichele, Kentoripa, Leontinoi, Kamarina, Megara, and Morgantina. So little is now known of terracotta production in fifth-century Syracuse that such a claim must be tentative. 27 It is striking that so little of note has turned up in the fruitful excavations of the last seventy-five years, which have provided us with abundant ma­ terial dating from the later fifth century down to the sack of the city by Marcellus. Neverthe-

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS

less, one senses that many of the problems of terracotta production in eastern Sicily during this period would be nearer solution if more were known of the Syracusan shops. An early version of the standing Persephone holding piglet and torch is 7; this was the most popular and long-lived of all Sikeliote votive types. It originated in eastern Sicily, perhaps in Syracuse, toward the middle of the fifth century; the earliest example is from Grammichele. 28 The type is derived from the late-archaic Geloan figure who carries a piglet (cf. 5 and the discussion infra, section 3). The wavy lines of the chiton have straightened out but the old-fashioned low kolpos is retained; the himation is now worn over the chiton. The version represented by 7 is close to the figures from Grammichele and should belong in the second half of the fifth century. The descendants of 7 at Morgantina are numerous (65-84). In view of the small number of finds it is hazardous to claim strong Megarian influence at early Morgantina. Yet several of the sixth-century terracottas support such a hypothesis. The archaic heads 19(. have their best parallels at Megara. As will be noted below, the Corinthian import 3 and the related figure 4 probably passed through Megara on their way inland; such terracottas are more common at Megara than elsewhere. At Morgantina we can also point to the standing kore 2, which belongs to a Corinthian type found at Megara with some fre­ quency. 29 It thus seems possible that the local coroplasts in the second half of the sixth cen­ tury were dependent on Megara for their molds or archetypes. As has been noted, there is good evidence for such a situation at Grammichele. 30 If indeed this relationship existed for Morgantina, it must have been brought to an abrupt end in 484-483, when Gelon destroyed Megara. Thereafter other sources had to be utilized by the local coroplasts, and for historical reasons these are likely to have been Geloan. As for east Sikeliote influence at Morgantina in the fifth century, there is only the evidence of the peplophoros 6 and the Persephone 7. Too little is known of Syracusan production in the first part of the fifth century, and even less of Syracuse's relations with Morgantina. The sequence of events that brought the molds or archetypes of these pieces to inland Sicily remains obscure.

3. The Influence of Gela and the South Coast The fragmentary standing figure 5 belongs to a large class of Sikeliote terracottas that are most common in the southeastern part of the island. Although there are several variants, two features consistently recur: the chiton with low kolpos, its surface striated with parallel wavy lines; and the votive pig, carried in both hands over the breasts or lowered in one hand. The entire class is reasonably attributed to the first half of the fifth century, when the conven­ tional representation of the chiton's surface in wavy lines is common in Magna Graecia. 31 The discovery of only one example at Megara indicates the class was largely diffused after the destruction of that city in 484-483. 32 Terracottas of this class are particularly frequent at Gela, Kamarina, and Grammichele. 33 Quarles van Ufford surmised that the type originated on the Greek mainland, probably in the Peloponnesos, inasmuch as examples have been found in the Corinthian colony of Korkyra. 34 However, there are strong reasons to question this hypothesis. No versions of the type have been found on the mainland, and the pieces from Korkyra are later than the earliest

13

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS

Sikeliote examples. 35 There is no intrinsic reason why the Sikeliotes should not themselves have created the type; given the available evidence, it seems more probable that the terracot­ tas from Korkyra were made under Sikeliote influence. The entire class probably originated at Gela, where lively workshops had existed since the mid-sixth century. Such a conclusion is borne out by the large numbers of the type found at Gela, by the freshness of several pieces, and by their presence at other sites with which Gela would reasonably have had political or commercial relations. 36 At least one Geloan piece comes from a first-generation mold, and many of the examples found at other sites in south­ eastern Sicily come from mold series that are represented at Gela. 37 The Morgantina piece 5 probably belongs to a later generation after a Geloan archetype. The group of seated goddesses of the fifth century, 11-16, all depend on Geloan models. From the provenance of similar pieces at Gela in chthonian sanctuaries they can be identified as images of Persephone. The figure 12 is an import, of a type that was popular at Gela; the himation falls from the left side, leaving the right shoulder and arm exposed. 38 The modest figures I3f. also have parallels on the south coast. The seated goddess 15 wearing an elaborate pectoral ornament is more interesting. The type was popular in southern and eastern Sicily in the late archaic period, and it survived until about 400. Long ago Blinkenberg attempted to identify the subject of the group as Athena Lindia, the patroness of the Rhodian city of Lindos, which had contributed men to the foundation of Gela; the terracottas were interpreted as small-scale versions of the cult statue of Lindian Athena. 39 However, Zuntz has recently shown that the type is Sicilian and its subject Demeter or Persephone. 40 Its total absence on Rhodes and great popularity in Sicily clearly indicate a western origin. But the major objection to Blinkenberg's theory is found in his identification of the subject. The provenance of most examples of the type in chthonian sanctuaries is a strong argument against Athena and in favor of Demeter or Per­ sephone; moreover, the ritual costume (polos, ependytes panel, and pectoral ornament) is more appropriate to the Two Goddesses—or to one of them. 41 Zuntz has argued that the type can represent either goddess, the major distinguishing feature being the shape of the face and the expression. 42 Yet there are reasons to doubt that Demeter was ever represented in votive terracottas—at least in Sicily; these are discussed in chapter five, where the criterion of the facial type is also questioned. 43 Persephone is likely to be the subject of all these terracotta figures. Most examples are found in chthonian sanc­ tuaries, in the company of such images of Persephone as protomes and busts. Some versions of the type accompanied the dead into the grave, a significant destination. 44 Among the western Greeks, the polos and veil—worn by many such terracottas—were almost always the attributes of Persephone. 45 The type of the seated goddess with ependytes and pectoral ornament is not restricted to the south coast, for examples have been found at Heloros, Syracuse, and Megara. 46 But it is most common at Gela, where the earliest versions have been found in the Bitalemi sanctuary; and it seems probable that it originated there in the last quarter of the sixth century, spreading eastwards only in the fifth century. 47 No. 15 is the only example at Morgantina; its excel­ lent condition suggests that this piece was found in a tomb. It is one of the latest ver­ sions, as can be seen in the realistic treatment of the body and the mild classical head. The

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS

ependytes is replaced by the sleeved chiton. Of about the same date is a handsome larger ver­ sion, seated on an elaborate throne, from the Canalicchio cemetery in Syracuse. 48 The thick hair and decorated polos put that figure

at the end of the fifth century; the benign expression

of the Morgantina piece suggests that it is contemporary. The isolated heads 22-31 all have their best parallels in the production of Gela and Akragas. Some belong to the Ionian tradition represented by the protomes (22ff.); others adopt the angular facial type that is used in Akragas and Gela around 500 (25-28). 49 The second group extends from the end of the sixth century (25) well into the fifth

(27f.). The

origins of the "Attic" head 30 are less certain; Gela is a good possibility, for heads that are Attic in feeling have been found there. 50 These all belong to the second half of the fifth century, when Attic classicism began to assert itself in the lingering archaic atmosphere of the west.

4. Ionian Imports The seated goddess 10, the crouching dwarves 48f., and the plastic vases 5if. and 54f. are all members of the Ionian Aphrodite Group, which is composed of terracottas and plastic vases; the fabric is a soft, reddish brown and contains much mica. 51 The traditional attribution of this group to Rhodes has recently been questioned, in favor of Samos or some other south Ionian center; there are stylistic similarities with Samian and Milesian sculpture. 52 The oldest of the Aphrodite Group pieces at Morgantina is the plastic vase in the form of a siren (51), which was found in the earliest burial in a particularly large chamber tomb in Necropolis II. 53 The associated pottery belongs not much later than the mid-sixth century. The mold series of 51 is also known at Gela, Athens, Perachora, and Sidon; 51 is the only dated member. The mid-century context is in accord with the recent updating of Ionian terracottas and plastic vases. 54 A large siren of similar type comes from an important tomb at Taras, dated by Lo Porto to ca. 580-560. 55 The series to which 51 belongs is, like the piece from Taras, considerably larger than many examples of the type. The more frequently en­ countered siren (cf. 52) measures about 12 cm. in height; the series of 51 is close to 17 cm. As the few dated versions of the smaller type belong well on in the second half of the sixth century, it seems probable that the larger type is earlier. 56 There is also a distinction in quality between the larger and smaller sirens: the striking craftsmanship of 51 is apparent in the delicacy of detail and the confident mastery of volume and smooth surfaces. From a slightly later burial in the same tomb that contained the siren 51 is the seated goddess 10, also a member of the Aphrodite Group. 57 The type was frequently used as a burial offering in Sikeliote tombs of the second half of the sixth century; 58 several examples come from the same or very similar mold series. 59 The identity of the seated goddess without specific attributes must have been determined by the purchaser, who dedicated the image in a sanctuary or placed it in a tomb. The subject of 10 must be Persephone because of its funerary context. 60 The crouching dwarves of the type of 48f.—naked, smiling, hands placed over prominent stomach—represent another Aphrodite Group type frequently encountered in burials of the second half of the sixth century. It originated at mid-century, as is shown by grave groups from Taras and Selinous. 61 Orsi noted that at Syracuse and Megara the crouching dwarves

15

l6

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS

were almost always found in children's graves, and the accuracy of this observation has been borne out by subsequent discoveries. 62 The Morgantina pieces come from two chamber tombs of the last third of the sixth century, unfortunately from disturbed contexts. 63 The subject and meaning of these amusing, apparently benevolent beings is still uncer­ tain. It is usually assumed that the Ionian dwarves have an Egyptian origin in representations of Ptah-Sokar. 64 Another eastern source was proposed by Furtw'angler, who associated the dwarves withpataikoi, the pygmylike figures that served as bowsprits on Phoenician ships. 65 Pataikoi were supposed to have resembled the statue of the god Ptah at Memphis, who was worshiped in the late period as a protecting deity and was imagined as a dwarf. As bowsprits these pataikoi must have had an apotropaic function. 66 If the eastern origin of the type seems assured, the meaning of the terracottas for the Greeks who made and bought them remains obscure. There is no convincing evidence to persuade us that the image was adapted to a preexisting Greek deity or demon, as Blinkenberg thought. 67 It is more probable that the eastern subject was retained in the image and was understood by the Greeks. In favor of this view is the curious occurrence of Pataikos as a proper name at Akragas in the later sixth century; it probably signified that its bearer (a member of the ruling Emmenid family) was a dwarf, for this was its later connotation. 68 Furthermore, the terracotta dwarves found in the graves of children may have had an apot­ ropaic purpose analogous to that of the Phoenician images. 69 A non-Greek subject would also explain why the class of terracottas was popular for a short time, when eastern things were fashionable, but was then abandoned. 70 The Greeks evidently thought of the dwarves as protectors of children, and in this regard it is interesting to note the presence of infants carried on the shoulders of several examples (cf. 48a). 71 Late members of the Aphrodite Group are the plastic vases in the shapes of a deer (54) and a monkey (55). Such vessels were widely popular and the demand for them was met by sim­ ple techniques of mass production; the wheel-made bodies served for a wide range of animal subjects, the heads and limbs of which were modeled by hand. 72 No molds were necessary. The Morgantina pieces come from a disturbed chamber tomb of the second half of the sixth century; they probably belong in the last quarter. 73 The foot vase 53 belongs to a large class of Ionian plastic vases in the form of left feet; the place of manufacture is not yet determined. 74 There are two types, distinguished by the kind of sandal. 75 That of 53 has thongs and metal fastenings; the other wears a more elaborate sandal with fish-net webbing, which rises above the ankle. Both are decorated with black glaze and applied colors, unlike the members of the Aphrodite Group, which received only applied matt colors. Vase 53 comes from the same burial as the siren 51 and belongs close to 550 B.C.; it is the only dated version of the type that wears the simpler sandal. An example of the second type comes from a contemporary tomb at Taras. 76

5. IonianInfluence The influence of Ionian imports on Sikeliote production was pervasive. 77 The standing kore 1 and the head with polos 21 depend on Ionian models. The kore 1 is derived from the stand-

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS ing goddess who grasps the central panel of the chiton with her left hand and holds her right arm to her breast. 7 8 The Sikeliote version retains the tapering proportions of the Ionian figures,

whose feet are placed closely together. However, the simple naive head, with trian­

gular face and large eyes, reflects the Sikeliote style of Megara. The head 21 belonged to a seated goddess wearing a high cylindrical polos, contemporary with and probably derived from such imported figures

as 10. 7 9 The high polos became fash­

ionable in the Sikeliote imitations, sometimes attaining extraordinary proportions. On examples from Megara the veil falls from the very top of the polos and is indicated in low relief on its sides. 8 0 There are versions of this type from Syracuse and Selinous; some have the same caramel-colored fabric of 21. 8 1 The origins of this fabric are uncertain—eastern Sicily seems as likely a place as any, if only because so many examples come from Megara. Also under Ionian influence are the protomes 3 2 - 4 5 . The pendant protome of Persephone probably came to the Greeks from the Phoenicians (see chapter five,

p. 86fF.), but the trans­

action did not apparently take place in Sicily. The earliest examples of the type in Sicily are Ionian imports of the mid-sixth century, from the Bitalemi sanctuary at Gela. 8 2 These had an enormous local progeny; the protome forms the most common votive type of the later sixth century. From Orlandini's excavations at Bitalemi, we can see that the market for the Ionian imports at Gela declined after ca. 550-540, apparently undercut by the excellent new local production. The best Geloan protomes of the last quarter of the sixth century are of very high quality, which is not always easily perceived in the most complete publication by Orsi. 8 3 The Morgantina protomes were locally made, as several well-represented series indicate (33, 36, 41). They are mostly several steps away from their Ionian sources, all of advanced generations and with detail so blurred that it is difficult to trace their origins. The local coroplasts retouched their molds; one characteristic change is the pulling of the veil inwards under the chin, as seen in 35ff. and 42. This peculiarity is found at Grammichele (pi. 143, fig.

5) and in several unpublished protomes from Lipari. 8 4 The parallel at Grammichele is

one of several coroplastic connections with that site. 8 5 Most of the small Morgantina pro­ tomes belong in the last third of the sixth century, with a few surviving into the first quarter of the fifth. More can be said about a few of the larger pieces. The fragment 4 5 in Syracuse may be an import from Gela; similar hair is seen on an unpublished piece from Orsi's excavations at Bitalemi. 8 6 The facial type of the large protome 44 is Sikeliote, similar to late archaic heads from Syracuse and Akragas; the triangular proportions and bold chin are typical. 8 7 The high stephane rising vertically from the forehead is found on examples from Megara (unpublished) and Gela. 8 8 The fragment 46 belongs to a large protome with modeled breast. This type marks a transitional stage between the protome and bust. 8 9 The necessary addition was the back, which enabled the coroplast to model his subject in the round. The head and stephane of the protome are conceived as though in relief; the new form is plastic and sculptural. The facial type of 46 is later than 44; the fabric may be Geloan. Fragmentary examples of such modeled protomes have been found at Gela, as have the earliest known busts (the latter from a small sanctuary in Via Fiume). 9 0

18

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS

6. Corinth and Corinthian Influence Two of the four types of archaic Corinthian terracottas identified by Payne and Jenkins have been found at Morgantina. The Artemis 3 is an import and the standing kore 4 is probably a copy of a Corinthian model, perhaps a direct copy.91 Examples of both types have been found at Megara.92 Others occur at Grammichele and Caltagirone, inland sites that lie behind Megara.93 There is a single unpublished Corinthian import from Gela, found by Orsi at Predio Ventura. A local copy of the standing kore type comes from Selinous.94 Corinthian imports appear to be unknown at Syracuse and Akragas. From their geographical distribu­ tion it appears that Corinthian terracottas were most popular at Megara and the inland towns. They may have been imported through Megara. The Sikeliote finds make a modest contribution toward our understanding the chronology of the Corinthian types. The destruction of Megara in 484-483 must serve as a terminus for the introduction of the terracottas. These have recently been assigned to the early years of the fifth century, but this dating seems to allow too little time for the development and diffusion of the types.95 The appearance of all the major Corinthian types at Megara and the inland towns in fair numbers suggests that they were in existence earlier, at least by the decade 510-500. The new Corinthian imports influenced the local coroplasts, though to a lesser extent than the Ionian terracottas of the previous generation. The standing kore 2 reflects Corinthian models, but it does not copy them as does 4. The arrangement of the transverse himation with hanging folds under the right arm, the chiton with vertical pleats, and the flat back (the piece being solid), are all characteristic features of a widespread Corinthian type of the later sixth century.96 There are numerous examples from Megara and Grammichele; several be­ long to Corinthian mold series, though the clay is local.97 Free adaptations of the type are comrron at Megara, Grammichele, and Selinous, as might be expected, but also at Gela.98 In a few cases they retain the small size and flat backs of the Corinthian imports, but larger hollow figures (ca. 15-20 cm.) with hand-modeled backs and stepped bases are more typical of the Sikeliote production. Kore 2 has a flat back but is much larger than the Corinthian versions of the type, and it also lacks the polos. The mold-series is known at Kamarina; yet another member is in the British Museum.99 These Sikeliote pieces exaggerate the tendency towards bulkiness in the Corinthian types. This heavy, rather clumsy style has been dis­ cussed by Quarles van Ufford, who assigns it to the end of the sixth and early fifth century, on the evidence from Megara.100 The Morgantina mold series is typical of this heavy style; the second-generation piece 2b should be dated from its context not far into the fifth cen­ tury, so the type must have been created somewhat earlier, probably around 500. The pecul­ iar fabric of members of this series is discussed in the notes on technique in the introduction to the catalogue.

Notes 1. Three terracottas (6, 2 6 ( . ) possibly come from sanctuaries; for the naiskoi, see n. 3 and Context V B.

2. Infra, notes on technique in the introduction to the catalogue.

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS 3. PR II, pi. 28, fig 5, Sjoqvist, Sicily, 28ff., 3 3 , fig. 24; PR X , 3 7 7 . At about this time—the decade of the 520s—an Ionic temple was begun at Syracuse (G. V. Gentih, Palladio, 1 9 6 7 , 6 i f f . , P Pelagatti, Dialoghi 3 [ 1 9 6 9 ] 14iff.) and the magnificent altar with volutes was set up at the adjacent Temple of Athena (Langlotz, pi. 24). 4 . MonAnt 7 ( 1 8 9 7 ) 2 2 3 , fig. 1 0 (Syracuse 1 4 5 2 2 , H. 8.7). 5. Quarles van Ufford, 4 i f . , fig. 1 2 , Langlotz, pi. 5, right. 6. Langlotz, pi. 17 7. Supra, n. 5. 8. Quarles van Ufford, 101, G. Vallet, Kokalos 8 ( 1 9 6 2 ) 36ff., esp. 38. For terracottas from Grammichele with Megarian connections, infra, section 2. 9. Cf. Langlotz, notes to pi. 1 7 . 10. Kekule, 9, fig. 3, 4; other heads from Megara are in Syracuse. Limestone head: MonAnt 1 (1892) pi. v, no. 1 5 . 11. Poulsen, 93ff. For large-scale peplophoroi, Pace 11, 50, n. 5. 12. Entry 6 is a modification of the first Attic tyjse, which does not occur in Sicily in its original form, the lowered hand should grasp the peplos. Cf. Poulsen, 49f. 13. MonAnt 32 ( 1 9 2 7 ) pi. LXXII: 1, 3, cf. pi. Lxxiv.4. 14. Megara: Syracuse 1 1 5 6 0 , unpub. Kamarina: Higgins, BM TC 1, no. 1 1 4 8 , pi. 1 5 7 , Poulsen, 9 7 , fig. 62. Sehnous: in Palermo, unpub. 15. Syracuse 1 1 0 7 , H. 1 2 3; Syracusan clay. Another Syracusan peplophoros comes from the sanctuary deposit in Via Carso, unpub. 16. Kamarina: Libertini, Museo Biscari, no. 1 0 4 5 , pi. 106. Sehnous. MonAnt 32 ( 1 9 2 7 ) pi. LXXIV:3 = Poulsen, 97, fig. 63. 17. MonAnt 7 ( 1 8 9 7 ) pi. vii; W . Amelung, RM 40 ( 1 9 2 5 ) 1 8 7 - 9 7 , figs- 4> 5- The example from Kentoripa is much smaller; unpub. 18. MonAnt 7 (1897) 2 5 4 , fig. 37. 19- In the Museo Archeologico, Lentini; unpub 20. Poulsen, 93f., figs. 55-59. 21. For the lampadion knot at Syracuse, see chapter 2 at n. 92. 22. It seems likely that the coroplast who created these peplophoroi was also responsible for the fine busts from the same site, where there is a similar contrast of linear accuracy and smooth unarticulated surfaces. He can be called the "Grammichele Master." 23. Some Boeotian peplophoroi have a similar local style, independent of the more sophisticated severe Attic figures, as at Halae: Hesperia 11 ( 1 9 4 2 ) 385-86, cf. Poulsen, 7 i f . 24. For the Attic types, cf. Higgins, BM TC 1, no. 6 7 3 , pi. 88; no. 8 1 3 , pi. 1 1 2 . 25. The kolpos is visible in Hippodameia; cf. also the Kimasos type, B. S. Ridgway, The Severe Style in Greek Sculpture (Princeton, 1 9 7 0 ) 5 5 , fig. 1 6 8 . 26. Cf. the similar figure from Halae, Hesperia 11 ( 1 9 4 2 ) 395, pi. xi, n-C-4. The Selinountine piece must be dated before 409, when Sehnous was sacked. 27. G. Vallet has commented on the curious absence of

archaic and early-fifth-century finds at Syracuse; Kokalos 8 ( 1 9 6 2 ) 38. 28. MonAnt 7 ( 1 8 9 7 ) 2 5 5 , fig. 39. 29. For this Corinthian group, infra, section 6. 30. Supra, text at n. 8 31. Quarles van Ufford, 53. The convention itself originated in the Greek east in the last third of the sixth century; cf. the figure of Artemis on the east frieze of the Siphnian treasury. It is the accepted way of indicating the light material of the chiton in Magna Graecia down through the middle years of the fifth century. 32. Quarles van Ufford, 54, 80; the single example from Megara in Syracuse was not known to her. 33. Gela: MonAnt 1 6 ( 1 9 0 7 ) 7 0 2 , figs. 5 2 5 ^ , NSc ( 1 9 5 6 ) 2 4 5 , fig. 3; NSc ( i 9 6 0 ) 2 3 2 , fig. 2 1 : 1 , 3. Kamarina' Kekule, 2 5 , figs. 56-59; Libertini, Museo Biscari, nos. 9 8 1 , 9 8 3 , pi. cv; MonAnt 9 (1899) 23of., fig. 19. Grammichele: MonAnt 7 ( 1 8 9 7 ) 237f., figs. 26, 29, 3934. Quarles van Ufford, 53. Figures from Korkyra: W I 1 0 1 : 5 , BCH 7 ( 1 8 9 1 ) 3 2 , fig. 4, pi. 1; see also Stillwell, Corinth x v : 2 , 88, n. 32. 35. Quarles van Ufford believes that examples of this type from Akrai, now in Palermo, prove it was disseminated from Syracuse (p. 98). But these pieces are more likely to have been made after Geloan models; Geloan influence was felt in this area, as at Morgantina. 36. Akragas: Marconi, Agrigento arcaica, 6 3 , fig. 36:2. Akrai: in Palermo, unpub., the clay is too pale to be local. Megara: in Syracuse, unpub. 37. NSc (i960) 2 3 2 , fig. 2 1 : 3 . 38 For comparanda, see catalogue. 39. C. Blinkenberg, "L'Image d'Athana Lindia," Kgl. Danske Videnskabernes Selskab: Hist.-Filologiske Meddelelser 1:2 (1917) 33 et passim. 4 0 . Zuntz, 1 1 4 - 4 1 . 4 1 . The few examples in which a gorgoneion appears on the breast do not prove that the type represents Athena; they are rather adaptations which alter the subject by adding the badge of Athena (pace Orlandini, RivlstArch 15 [ 1 9 6 8 ] 25); Zuntz, 1 1 7 , 399. 42. Ibid., 122ff. 43. See chapter 5, text at n. 48. 4 4 . NSc ( 1 9 5 6 ) 366, 369, fig 1 3 (Via Genova, child's burial). 45. See chapter 5 at n. 43. 46. All unpublished, in Syracuse. 47. P. Orlandini, Kokalos 12 (1966) 2 1 , pi. XK3, 4; Zuntz, 135f., where it is proposed that the terracottas are miniature imitations of a cult statue set up by the Deinomenid Telines. 4 8 . Syracuse 4 2 0 3 8 , unpub. 49- For comparanda, see catalogue. 50. Cf. the fine seated figure now in Syracuse, Poulsen, 98,fig.66. 51. On this group, Higgins, GTC, 32ff., i42f. 52. Higgins, BM TC 1, 20 (Rhodes); E. Diehl, AA (1964) 5 i 4 f . , 525ff. (Samos); Boardman, Tocra I, 66f. (s. Ionia), Higgins, GTC, 30 (Samos or s. Ionia).

19

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS 20 53. See Contexts: Nec. II, tomb 9, burial 9a 54. Jenkins, in Perachora, 2 5 4 , no. 298 (late dating); Higgins, GTC, 32f., 1 4 3 . The facial type corresponds to Ducat's "Rhodian III", Ducat, Vases plastiques, 88f. 55. BdA ( 1 9 6 2 ) 155f., fig. 6:a, H. 1 6 . 0 . Another large version is in Syracuse, Kekule, 26, fig. 63f., thought to be from Megara. 56. Dated smaller sirens: NSc ( 1 9 5 6 ) 1 2 4 , fig. j:g, p. 1 2 7 , tomb 35. Clara Rbodos 3 (1929) 3 5 , fig. 20, pp. 1 1 2 , 1 1 9 . Even smaller versions have been found at Naxos in Sicily. 57. See Contexts. Nec. II, tomb 9, burial 9b. 58 Syracuse: Giardino Spagna, tombs 2 and 20, NSc ( 1 9 4 3 ) 4 5 , fig. 9; p. 59 Megara: tomb 448, in Syracuse. All of these are ca. 5 5 0 - 5 2 5 . In southern Italy at Francavilla Marittima, in Museum at Siban, found with Ionian cups of ca. 5 2 5 - 5 0 0 (for which, Vallet and Villard, MelRome 67 { 1 9 5 5 ] 27ff ). 59. See catalogue entry for 10, no division in mold series has been attempted because of the lack of precise measurements. 6 0 . Zuntz ( i i o f f . ) uses the Italian term "dea rodia seduta" for both the imports and the large group of Sikeliote goddesses created under their influence, and he asserts that the type should usually be identified as Deraeter. Attributes are rarely held by these figures, in the examples without them, the most useful evidence for the identity of the subject is the provenance. I do not see how the numerous examples from the tombs—not cited by Zuntz—can be other than Persephone. 61. F. G. Lo Porto, BdA ( 1 9 6 2 ) 1 6 7 , fig. 24 (Taras, ca. 550-540); V. Tusa, Stalta Archeologu'a no. 11 ( 1 9 7 0 ) 16, fig. 9 (Selinous, ca. 550). 6 2 . NSc ( 1 8 9 3 ) 4 8 1 , n. 3, tomb c x x v i ; also MonAnt 1 ( 1 8 9 2 ) 8 3 8 , tomb Lxxvi, pi. v i : 4 , 5 , 6 (Megara, burial of five children); NSc (1949) 203, tomb LXVIH (Syracuse, child's burial); Sicilia Archeologica no. 11 ( 1 9 7 0 ) 1 6 , fig. 9-a-c (Selinous, tomb "di un giovanotto"); see also Boehlau, Nekropolen, 39, 155, from burials of an adolescent girl and a youth, at Samos, there are the only examples known to me beyond Sicily. 63. See Contexts: Nec. II, tomb 1 7 ; Nec. VI, tomb 2. 6 4 . Blinkenberg, Lindos I, 559f.; followed by Higgins, BMTC I, no. 86f.; Higgins, GTC, 36. 65. A. Furtwangler, ArchRW 1 0 (1907) 3 2 1 - 3 2 = Kl. Schriften 11 (Munich, 1 9 1 3 ) 4 1 7 - 4 2 6 . 66. On Ptah as a dwarf, P. Montet, RA 40 ( 1 9 5 2 ) II, 1-11; also Sandman Holmberg, The God Ptah (Lund, 1946), S. Morenz, in Festschrift fur Friedrich Zucker (Berlin, 1 9 5 4 ) 275ff. The linguistic relationship of Pataikos and Ptah is uncertain; for a negative view, Kleine Pauly, s.v. Ptah (Herter). 67. Blinkenberg, Lindos I, 560, ". . . ce type a du representer des etres crees par les croyances populaires helleniques, et dont la denomination a peut-etre varie selon les endroits." Blinkenberg's association of the type with the Rhodian deity Telchines is weakened by the probability that the Aphrodite Group did not originate on Rhodes, supra, text at n. 52.

68. Hdt. 7 1 5 4 On Pataikos as a proper name, RE xvm 2, 2 5 5 3 , s.v. Pataikoi (Herter). 69. The amuletic dwarf is often used as a charm for averting evil, because the laughter stimulated by its grotesque form dispels fear and danger, see D. Levi, in Stillwell, et al , Antioih on-the-Orontes, III, The Excavations I937~I939 (Princeton, 1 9 4 1 ) 228 70. The pendant protome is another example of possible Punic influence on archaic Greece, infra, chapter 5 at n. 9571. Higgins, BM TC I, no 88, pi 18, Furtwangler, op. cit (n. 65), 4 1 9 72. Higgins, BM TC 1, 58 (no 97), see also Ducat, Vases plastiques, i2of., for monkeys, and Maximova, Vases plastiques, no 52, a deer, see also catalogue 73. Contexts Nec II, tomb 17. 74. Ducat, Vases plastiques, i 8 i f . , Higgins, BM TC 11, nos. 1 6 5 6 ! . , pis. 22f. 75. Ducat's type A and B. 76 BdA ( 1 9 6 2 ) i 5 4 f . , figs. 2, 5. 77 Cf. Quarles van Ufford, 4 3 - 5 0 , 62-77, L. Faedo, ArchCl 22 (1970) 34f., 42f 78 Cf. Higgins, BM TC 1, no. 49, pi. 10. Examples of this type in Sicily: Syracuse, NSc ( 1 9 4 3 ) 44, fig. 8, tomb 2 (ca. 550-525). Gela, NSc (i960) 2 3 0 , fig. 20.3. Selinous, MonAnt 32 ( 1 9 2 7 ) pi. x x x v m . 3 = ArchCl 22 (1970) pi v:3. 79. Cf. Syracuse, Giardino Spagna, tomb 2, NSc ( 1 9 4 3 ) 44. Katane, BdA ( 1 9 6 0 ) 2 5 9 , fig. 21 6. Gela, NSc (1960) 22gf., fig. 1 8 1 , fig. 20.1. Selinous, MonAnt 32 (1927) pi. XXXIX. 10.

8 0 . MonAnt 1 (1892) pi. vn. 10, 13 81. NSc ( 1 9 1 5 ) 2 0 1 . 82. P Orlandini, Kokalos 12 (1966) 24f., others were found by Orsi and are now in Syracuse 83. For Sikeliote protomes, P. Orsi, MonAnt 17 (1906) 685ff., P Orlandini, MonAnt 46 ( 1 9 6 3 ) 28ff., Zuntz, I42ff. For a Geloan example of high quality, Orlandini, fig. 11, pi. Ill 6. 84. This similarity to the piece from Grammichele was pointed out to me by Jaime Uhlenbrock, to whom I also owe the photograph, Syracuse 1 4 1 9 6 . 85. Supra, section 2. 86. I am indebted to J . Uhlenbrock for this observation, see catalogue entry for 45. 87. Cf. the Syracusan antefixes and the half bust from Akragas, Langlotz, pis. 36-38. 88. Cf MonAnt 17 (1906) pi x u x 10. 89- Infra, chapter 5 at n. 83, and Bell, ArihCl 24 ( 1 9 7 2 ) 2, n. 2. 9 0 . Gela 2 1 9 0 , N S c ( 1 9 5 6 ) 258, cf. also fig. 3c, p. 2 5 5 , possibly from a bust. 9 1 . For the Artemis, Jenkins, in Perachora I, 2 1 9 , type D, Stillwell, Corinth x v . 2 , 88, 90, type X . 1 2 - 1 3 . H l g " gins, BM TC 1, no. 903, pi 1 3 1 Standing kore type, Jenkins, 2 i 8 f . , type C, Stillwell, 84f., type X i , 19, etc., Higgins, no. 904, pi 1 3 1 92. Quarles van Ufford, 50, 7 7 , fig 29, there are a dozen or so unpub. examples in Syracuse.

ARCHAIC AND EARLY-CLASSICAL TERRACOTTAS 9 3 . NSc (1906) 440, fig. 23, right (Caltagirone, import), examples from Grammichele are of local clay, in Syracuse and unpub.; Poulsen (p. 119) recorded a Corinthian piece from Paterno 94. MonAnt 3 2 ( 1 9 2 7 ) 2 4 7 , fig. 1 2 3 . 95. Higgins, BM TC 1, no. 903 96. Jenkins, in Perachora, 2 1 8 , type A; Stillwell, Corinth X V : 2, 86f.

97. Unpub., in Syracuse. 9 8 . Megara; Kekule, 1 2 , fig. 18, MonAnt 1 (1892) pi. V 1 1 4 , pi. VIII:3. Examples from Grammichele and Gela (Bitalemi) unpub. in Syracuse. 99. Higgins, BM TC 1, no. 1 2 0 1 , pi 164. 100 Quarles van Ufford, 64^

21

f IIf Late-Classical Terracottas

1. Sikeliote Production in the Fourth Century THE excavations of the past twenty-five years in southern and eastern Sicily have at least doubled the number of fourth-century terracottas available for study, and many of the new finds come from dated contexts. Much of this material has been published, either in prelimi­ nary reports or in several useful studies of individual sites.1 For the first time a synthetic view of late classical terracottas in Sicily seems feasible. Previously known pieces can now be as­ signed to types and groups, within a chronological frame that though still imperfect seems at least relatively secure. The contemporary finds from Morgantina fit into this larger canvas, but their place can only be defined by introducing the new evidence from other sites. It has been shown in chapter one that three general circumstances shaped both the produc­ tion and importing of terracottas at archaic and early-classical Morgantina: the modesty of the settlement, which was not large enough to support a coroplast's workshop; the town's situation in inland Sicily, exposed to influence from east and south; and finally the heteroge­ neous quality of Sikeliote culture in the sixth and fifth centuries. Certainly the first of these conditions altered markedly in the later period, as the much larger number of finds proves. Morgantina grew to become a prospering city. By the decade of the 320s there is much evidence for the existence of local coroplasts, whose successors were active throughout the Hellenistic era. Yet Morgantina still remained subject to strong influence from beyond her walls. There are no traces of creative coroplasts, either in the form of first-generation finds or archetypes. We must then assume that the city's coroplasts relied on imported terracottas as positives for their molds, or bought the molds outright. As before, the nature of terracotta production is predicated on dependence upon the creativity of masters working elsewhere. Morgantina's late-classical coroplasts were obliged to seek out new sources for their molds. Events of the late fifth and early fourth centuries had transformed the relationships between the Sicilian cities. In the early period the island had nurtured independent city-states, to some extent culturally autonomous, in which local coroplastic schools had developed their own traditions. Although there were inevitable contacts between them, caused as much by their proximity as by shared cults and burial customs, their workshops succeeded in develop­ ing individual local styles; and because of trade patterns brought about by changing political alliances, a variety of terracottas found their way to early Morgantina. In contrast to this pluralistic political and cultural situation, late-classical and Hellenistic Sicily was to a large extent dominated by one city, Syracuse, whose hegemony extended to the visual arts.2 One must therefore go first to Syracuse to discover the continued life of the Sikeliote coroplastic tradition. The rise of Syracuse to predominance is owed largely to the catastrophe

LATE-CLASSICAL TERRACOTTAS

that befell the cities of the south coast in the last decade of the fifth century, a blow from which Greek Sicily never really recovered. Important local workshops with roots in the ar­ chaic period were destroyed or dispersed by the Carthaginian invasions, which left Selinous, Akragas, Gela, and Kamarina in ruins.3 Although most of these cities did revive in the sec­ ond half of the fourth century under Timoleon, they never again achieved the cultural iden­ tity that they had enjoyed in the early period. Shortly after the destruction of the southern cities, Syracuse came under the control of Dionysios I. The city survived the Carthaginian menace under his rule and took advantage of the vacuum in the south. 4 She kept her pre­ dominance in the island until the Roman conquest. The Syracusan coroplasts of the first half of the fourth century now assumed an important role. Not only did their products have intrinsic artistic value but they had also become a vehicle for the preservation of continuity with the past. New types were invented; the most important belong to the Artemis Group, created in response to an apparently new veneration of Artemis (see section 4). There were contacts with the Greek mainland, especially with Athens; the influence of the ornate style of Attic drapery can be seen in several figures (pi. 144, fig. 8).5 Classical style had been tentatively appreciated by coroplasts at Akragas, Gela, and Syracuse before the Carthaginian invasions, and it now flourished in the Syracusan shops, achieving a monumental quality unusual in small-scale terracottas.6 The models were in vase painting and sculpture, not Attic terracottas. But the largest part of Syracusan production in this period consisted of busts and standing images of Persephone, which had traditionally been the major concern of Sikeliote coroplasts (see sections 2 and 3). These types lived on because of the Syracusan shops. The chronology of this period is unclear, largely because of the paucity of dated deposits, but it appears that the major groups were created during the reign of Dionysios. The politi­ cal and social disorganization that followed his death in 367 had extensive economic conse­ quences, and the impoverishment of Sicily at mid-century is vividly described by Plutarch.7 The impact of economic troubles on the coroplasts is difficult to assess. It seems probable that the custom of offering terracotta votives to the gods depended on prosperous conditions. Such dedications were the source of most of the Sikeliote coroplast's business, and it may be significant that there are no deposits of votives which can be dated to the middle third of the century.8 The weakening of the coroplastic tradition is only one aspect of a general decline in creativity in Sicily during the first half of the fourth century. The era of Dionysios and his successors was not in general a happy one for the visual arts.9 There is little architecture that is not military in function and there seems to have been no sculpture or vase painting. The situation in silver coinage is emblematic of the extremes of the period: after the Carthaginian invasions at the end of the fifth century, Syracuse almost alone minted silver, and the issues down through the first quarter of the fourth century are among the most splendid coins ever made. The die-engraver Euainetos probably worked through most of the reign of Dionysios, but the tradition ends with him; the coins formerly assigned to the 350s (pi. 150, fig. 27) have recently been shown to belong to Agathokles after 310. 10 The conclusion is that in the second quarter of the fourth century Syracuse was no longer able to mint the silver coins which had earlier proclaimed her civic power and arete. Very little seems to have been hap-

LATE-CLASSICAL TERRACOTTAS pening in Syracuse in this period, and the artistic tradition bequeathed to the Timoleontic settlers was not a lively one. It seems probable that some of the negative, uncreative aspects of the classicizing style which accompanied the Sicilian revival under Timoleon were owed to this decline in creativity brought on by the troubles of the 360s and 350s. In 396 Dionysios occupied Morgantina, whose subsequent history is closely tied to that of Syracuse. 1 1 It is therefore not surprising to find that from the early fourth century the local terracottas depend, with only a few exceptions, on Syracusan archetypes. This is still an obscure period in Morgantina's history. Neither the results of excavation nor the historical sources are very revealing. At some time toward the end of the fifth

century or the beginning

of the fourth the site of the city was shifted from the inaccessible and constricted hilltop at Cittadella to the Serra Orlando ridge, and the orthogonal plan that ordered the new settle­ ment was adopted. 1 2 Like other finds,

the terracottas of the first half of the fourth century are

scanty and none comes from a dated deposit. The study of this material is complicated by the tendency of the late-fourth-century coroplast to revive earlier mold series; unless such pieces come from dated early deposits, it is risky to assert that they are as early as their style might suggest. This phenomenon will be discussed below. 1 3 Incomparably the finest

piece from early-fourth-century Morgantina is the Artemis mold

203, an important example of Syracusan style of the period. Most of the terracottas are, how­ ever, associated with the cult of Persephone. The miniature bust 120 was placed in a prehis­ toric burial before the adoption of the city plan, as it underlay one of the new streets; the more advanced 121 was found in the lowest level of the chthonian sanctuary in the agora. The second piece is close to the Artemis 203. There are no other terracottas from the chtho­ nian agora sanctuary, the cult of which is not yet clearly understood. 1 4 None of the other chthonian terracottas that are early stylistically were found in contexts of the first

part of the

century; these include the standing Persephone 64, and the heads 181-184, *87, and 188; probably from this period is the bust 95 in Syracuse. The paucity of material indicates that the city did not support an active coroplast. The locally made terracottas all belong to Syracusan mold series. The revival of Sicilian urban life that proceeded from the achievements of Timoleon in the 340s and early 330s had immediate effects on the production of terracottas throughout the island. The cults that created a demand for terracottas soon reawakened in the Timoleontic settlements, and agricultural prosperity gave men the necessary means for making offerings to the gods. The vigorous activity of the coroplasts can be sensed throughout the eastern and southern parts of the island. At Gela a creative workshop was established as early as the 330s, and contemporary terracottas have been found at Akragas, Selinous, Scornavacche, and elsewhere. 1 5 On the whole this period of peaceful recolonization was not a stage for innova­ tions. At first

it may seem surprising that there are so few examples of contemporary Greek

style in Sicily, in view of the large number of colonists from the mainland recorded by Plutarch and Diodoros. 1 6 Kleiner's suggestion that the destruction of Thebes in 338 might have contributed Boeotians, and therefore terracottas of the new Tanagra style, to the reset­ tlement has not been borne out by the important excavations at Gela and Scornavacche, which have produced the best evidence for the Timoleontic period. 1 7 The new colonists do

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not seem to have belonged to the avant-garde of the fourth century, and the explanation must lie in their economic background. The strongly classical qualities of the Timoleontic terracottas have been noted and com­ mented upon by their excavators. Orlandini has suggested that the new colonists of Gela inevitably encountered terracottas of the fifth century in the ruins of the city abandoned sixty years earlier, and that these provided them with ready models. "There is no doubt that many of these objects were preserved and must have struck the sharp sensibilities of the artisans, leading to various sorts of imitation, from direct molding to the reworking and mixing of types." 18 Orlandini has shown how such a process occurred in the case of antefixes that were modeled directly from archaic archetypes. 19 Perhaps influenced by this theory of direct copy­ ing, Di Vita has argued that the Timoleontic coroplasts everywhere returned for their inspi­ ration to late-fifth-century models that had survived the intervening fifty or sixty years—a barren period during which Di Vita claims thatars cessavit, not only in the cities of the south coast but throughout the island. The Timoleontic artist was therefore obliged to "reconnect" with the art of the late fifth century as he had no other tradition to seize upon. 20 These theories are not entirely satisfying because they do not do justice to the depth of Sikeliote classicizing, as seen in terracottas, coins, and vase painting, a stylistic phenomenon that is not limited to Gela and Scornavacche. Nor would Di Vita allow for the possibility of a continuous tradition in eastern Sicily, for which there is much evidence. The sources of an artistic style are many and complex, drawn as they are from workshop traditions, the taste of consumers, the function of the work produced, and individual talent. Thus there can be no single explanation for Sikeliote classicizing. Perhaps one of the means for the perpetuation of a conservative style in the second half of the fourth century was provided almost uncon­ sciously by the Sikeliotes themselves, who could look back perhaps longingly over the exhausting and wasteful years of Dionysios and his successors to the prosperity of the previ­ ous century, before the Carthaginian invasions. Stories were told of the magnificence of the Sikeliote cities. 21 The new inhabitants of the cities refounded under Timoleon must in some cases have included the children or grandchildren of citizens who had been expelled by the Carthaginians, and it is not surprising that in the foundations like Gela and Akragas, where colonists in search of a new life mixed with former citizens, the conservative style was espe­ cially strong. 22 The rebirth everywhere of the cult of Persephone, itself a significant phe­ nomenon, must have created a great demand for votives of the traditional types. I have tried to show that although it was weakened, the local coroplastic tradition had survived in eastern Sicily. This late-classical style of the first half of the century became the catalyst for the arti­ sans of the Timoleontic and early Agathoklean periods. Art had not ceased and workshop traditions were ready for invigoration. The Timoleontic period was conservative, a time of consolidation, and the retrospective quality of so many of its products must be owed to the desire of artisans and citizens alike to reestablish continuity with the past—through cults, political institutions, and an available and expressive artistic style. The extent to which Morgantina was affected by the Timoleontic reforms and resettlement has not been determined. Sjoqvist has argued persuasively that the city's late-fourth-century growth began under Timoleon, and if Morgantina was controlled by Syracuse during the first

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half of the fourth century, it seems unlikely that Timoleon would have disregarded it. 2 3 Yet there are no historical sources that refer to Morgantina in the Timoleontic era, and the ar­ chaeological evidence is not much fuller for the period 340-320 than it is for the first

half of

the century. 2 4 It is therefore difficult to perceive a "Timoleontic" style at Morgantina. The evidence for the last quarter of the fourth century is much fuller because of the foun­ dation of the sanctuaries of Persephone, where votive terracottas began to collect in consider­ able numbers. The oldest and largest of these cult centers is the North Sanctuary, which probably came into being after 325; incorporated into one of theinsulae of the fourth-century plan, it was situated near the city wall. 2 5 As the oldest terracottas from the South and Cittadella Sanctuaries are similar to those from the North Sanctuary, their construction may also belong to this period (96, 103, 104). Excavation has shown that Morgantina prospered greatly in the last quarter of the century; her support for Agathokles in 317, which was instrumental in his return to power at Syracuse, is likely to have brought her substantial rewards. 2 6 Most of the oldest terracottas from the sanctuaries exemplify the bland classicizing style that is characteristic of the first

period of Agathokles (320-310). There are, however, a few

pieces which seem considerably earlier. The bust 96, examples of which have been found in two sanctuaries, is close in style to Syracusan terracottas of the first pare pi. 143, fig.

half of the century (com­

6), and there are a number of similar pieces. The discrepancy between style

and context can be explained if we assume that the coroplast of ca. 325-300 revived an earlier mold series. Such a circumstance seems likely, as similar discrepancies can be seen in pieces from late-fourth-century burials, which should be as much as fifty

years older on stylistic

grounds (204, 217); other apparently "earlier" pieces come from less precisely dated latefourth-century strata (181, 183). The difference between date of archetype and of mold-made descendant can be roughly computed if the later piece comes from a sealed context, but it would be rash to attempt to date pieces from unstratified or uninformative contexts on stylis­ tic grounds. In an era that encouraged borrowings from the past one must allow for the probability of such revivals. While for art historical reasons the date of the archetype's crea­ tion is of greater interest as a primary act, for cultural reasons we would also like to know the actual date of the object. 2 7 But in most cases the second question is impossible to answer. While these revivals do cast light on the conservatism of the period, they also make the dating of fourth-century terracottas particularly difficult. Revivals similar to those at Morgantina also occurred at Gela and Scornavacche from the time of Timoleon onwards. As previously noted, at Gela even archaic terracottas might serve as positives for new molds. 2 8 A handsome Artemis from Timoleontic Gela appears to be descended from a Syracusan archetype; a fresher and apparently earlier version of the same series was found in an Artemision on Ortygia. 2 9 At Gela older types were also revived in new mold series: a peplophoros, a kriophoros, and busts all have counterparts in earlier produc­ tion. 3 0 Timoleontic revivals at Scornavacche include busts and a peplophoros, as well as a Nike and a dancing figure

both in the ornate style of the early part of the century. 3 1

The Sikeliote coroplasts of this period seem to have been little interested in the profound transformation taking place in the work of their contemporaries on the Greek mainland as early as the 330s. 3 2 The secular Tanagra style, with its fascination with problems of purely

LATE-CLASSICAL TERRACOTTAS

formal nature, as yet had little appeal in Sicily, where the traditional sacred subjects still required a suitably severe presentation. Down to the last decade of the century the repertory of the coroplast was not strikingly different from what it had been seventy-five years earlier, and such can hardly be said of the mainland coroplasts. In the last decade of the fourth century there are clear signs of change. The best evidence is once again from Gela, where terracottas under mainland influence begin to appear in the Capo Soprano district, which was settled after 310.33 Even at Gela, however, there is a strong conservative element in the votive terracottas from Capo Soprano.34 The sanctuary finds from Morgantina are more difficult to date than their Geloan counterparts, but it is probable that the series of large busts of classical style extends well into the third century. The sanctuaries were filled with examples of earlier votives and the old style was doubtless sanctified by tradition. Its afterlife can be perceived in many modest third-century terracot­ tas, a few of which at least seem to belong to mold series of the fourth century (65, 126). Increasingly isolated from the new Hellenistic style, the classicizing mode of the later fourth century survived in terracottas of the chthonian cult, with which it had become identified.

2. Busts Although the earliest Sikeliote busts appear now to have been made at Gela or Akragas in the late-archaic period, the finest examples of the fifth century come from sites in eastern Sic­ ily.35 The same pattern occurs in the first half of the fourth century when the south coast was depopulated. An impressive group of large busts has been found at the inland towns of Grammichele and Akrai.36 These are morphologically similar to the fifth-century examples: the goddess was adorned with polos, necklace, and earrings; her head was rigidly frontal; the unmodeled shoulder area, cut off below the breast, was painted in imitation of drapery; and the arms were imagined as being lowered. It is probable that the archetypes of these inland busts were made at Syracuse, but as yet only a few later examples have been found there.37 Stylistic similarities with known Syracusan products support such a provenance.38 These larger busts range from neoarchaic inexpressiveness to a solemn classicism, the latter perhaps derived from Syracusan coinage.39 At Morgantina, 95 and 120 exemplify the more conserva­ tive style; the coiffure of the former is influenced by late-archaic conventions, and the latter was found in a disturbed prehistoric burial under one of the city's streets, which it must antedate; it probably belongs to the end of the fifth century or early fourth. The more classi­ cal style is exemplified by the series 121; although one example comes from an early Timoleontic context, the archetype belongs in the first half of the century. The goddess wears both the low polos decorated with relief rosettes and the heavy spiral earrings which are commonly seen on Syracusan coins of the end of the fifth century.40 The face has become a broad oval, but the impassive and solemn air recalls the first group. This type of face— indeed, the entire head—appears in the Artemis mold 203, the drapery style of which is typical of the early part of the century; an excellent small bust in this style comes from Grammichele (pi. 143, fig. 6).41 From later contexts are the small busts 122-126 and the larger 96, all of which, because of their early style, must be revivals. Examples of such smaller busts wearing the polos with rosettes are known at Syracuse and Akrai; similar

LATE-CLASSICAL TERRACOTTAS

pieces from Butera and Milingiana of the late fourth century probably depend on earlier pro­ totypes. 42 In the second half of the fourth century, in particular after ca. 325, the bust achieved greater popularity as a votive offering than ever before. 43 The cult of Persephone was revived throughout the island and the bust may have been thought a particularly characteristic ex­ pression of the cult in the fifth century. 44 A few busts were made from earlier mold series, as noted above, but most of the known examples depend on contemporary archetypes of confi­ dently classical style. In this retrospective period the busts were the most conservative of the coroplast's subjects; one feels that the timeless and impassive faces were intentionally oldfashioned. There are so many such busts at Morgantina that we can assume they were dedi­ cated in the sanctuaries over an extended period, even into the first decades of the third cen­ tury. The earliest busts belong to the mold series of 96, which as we have seen stems from an earlier archetype. Busts 97-102 share the same solemn features. These have excellent paral­ lels in a group of large busts from Akragas and in many smaller versions from Gela and elsewhere, all of which can be dated to the second half of the fourth century, many to the last quarter. 45 For this group as a whole, the first tetradrachm issued by Agathokles ca. 310 is a useful parallel (pi. 150, fig. 25); the classicizing head of Arethusa is derived from Euainetan prototypes of the early part of the century, a pattern of influence also encountered in the terracottas, and there is a new emphasis on the breadth and fullness of forms quite analogous to the busts. 46 There is only one early bust at Morgantina on the scale of the examples from Akragas, unfortunately fragmentary (101). The smaller busts 97-100 and 102 reflect the form of such large finished pieces. Characteristic of the Akragantine heads and their smaller counterparts at Morgantina and elsewhere are flaring poloi with moldings at the upper edge, relief neck­ laces, and real earrings. The applied relief necklace, painted or sometimes gilded, consists of a chain of bead-shaped forms from which hang tear-shaped elements (98, 99, 102). 47 The ears of the larger busts are now usually pierced for metal earrings that seldom survive (but see 107); such a practice is at least as old as the busts from Grammichele of the mid-fifthcentury. 48 The earrings of the smaller busts are generally roughly made pendants; the spiral earrings fashionable in the early fourth century are no longer so at its close. The polos in the fourth century was seldom included in the mold for the face and hair, and its shape appears to have been determined by the custom of the workshops; most examples were thrown on a wheel. There were two common types, one straight-sided, the other slightly flaring with a low molding at the top. A composite type is worn by the two earlyfourth-century busts from Akrai. 49 The flaring polos occurs on a later example from Syracuse and on numerous examples from Morgantina, where it is canonical for the last quarter of the fourth century. 50 The straight-sided polos with no crowning molding was retained through­ out the fourth century by the coroplasts of Grammichele. 51 At Morgantina at the end of that century the straight-sided polos came into favor (106) and was normal in the first half of the third century (113, etc.). The polos was frequently painted orange, with a pink flower at the front (106, 107, 113). The freedom with which the polos is treated is probably owed to the absence of any real models; the existence of the polos as an attribute of the goddess appears to

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have been assured more by the traditional representations than by its actual use in the ritual of the cult. In the period of rapid change at the end of the fourth century, when the new Hellenistic modes were taking hold, the Sikeliote coroplast frequently, almost defensively chose to re­ tain the traditional formal style. At Morgantina the busts 106, 109-112 suggest some of the problems that conservative coroplasts encountered in attempting to retain the values of the old style. In some heads the features are stiffened and almost lifeless (106), while in others there is a reversion to the sources of the bust tradition in the early fifth century (109-110). In the second group we have in effect an early example of archaizing, albeit of a limited sort. The hair is arranged in a late-archaic hairstyle that had been used for busts in the fifth cen­ tury and, intermittently, in the fourth. The later examples were first discussed by G. V. Gentili, who published two fragmentary versions from Syracuse. 52 Others have been found at Grammichele (or Akrai?), Scornavacche, Kamarina, and Heloros. 53 With the exception of one of the Syracusan fragments, these busts all combine undulating locks over the forehead with snail-shell curls at the temples and sides of the head. One Syracusan fragment has only snail shells. The remarkably flat surface of the hair of Morgantina no may represent the condition of the other busts before they were retouched—a technique that left each snail shell and undulation defined by deep shadow-creating incisions. The poorly preserved Syracusan fragment with both types of hair was perspicaciously dated by Gentili to the early third cen­ tury; as he observes, the inspiration for the patterned hair is found in works of the first half of the fifth century, best exemplified by the earliest of the Syracusan decadrachms, the Demareteion. 54 More directly relevant is the fine bust of the same period in Catania, which shows the influence of the Syracusan coin; other busts with similar hair come from Grammichele. 55 In none of these early heads are the two patterns—snail shells and undulating curls—combined. Their appearance together in the later busts is a sign of indiscriminate archaizing. Although such fifth-century busts were the models for this group, there are a few inter­ mediate versions which prove that the archaic tradition of patterned hair had a continuous life. A fine classical bust from Akrai in the Judica Collection belongs to the first quarter of the fourth century; the hair is freely modeled, as it had been in the earlier examples. 56 Somewhat later is the bust from Scornavacche, set apart from the other fourth-century busts by its small size and boldly modeled hair—now, however, included in the mold. In both cases the hair at the sides of the head resembles snail shells. The facial features are on the other hand contemporary, so that the old-fashioned coiffure must have been chosen deliber­ ately. In contrast to the fifth-century busts, the mold-made hair of no and the other later busts is constricted and monotonous in effect. The faces have become unduly severe, with small, frowning mouths and full features. Bust 110 and that from Kamarina are extreme cases of such conservatism, demonstrating the exhaustion of the traditional Sikeliote style. The lower part of the unmodeled bust was probably painted in imitation of drapery as early as the fifth century, and there are traces of such drapery on many of the busts from Morgantina of the fourth and third centuries. 57 The goddess wears a purple chiton, which is rendered schematically because of the conventional shape of shoulders and chest. The

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neckline is thus quite horizontal over the breasts, with shoulder straps meeting at right an­ gles. The chiton is almost always a dark purple, apparently a significant color: Plutarch men­ tions the πορφυρίς of Persephone in the sanctuary at Syracuse.58 On some busts a rectangular pink panel lies across the chest, and in the series 106 figurative scenes appear on this pink ground (text figs, a, b). Traces of a scene also remain on 107; analogous depictions may once have existed on the other busts with pink panels (113, 118). A large bust in Syracuse of about this period preserves parts of a painted scene; the only surviving figure is an ecstatic dancer.59 These representations must imitate woven panels, examples of which are depicted on several red-figure vases of the fourth century.60 The earliest and most elaborate of these are Attic but there is at least one on a Campanian vase. The popularity of scenes woven into garments has been attributed to the influence of eastern textiles.61 Although such woven scenes were more common decorations for himatia, they also occurred on chitons and chitoniskoi. Aside from the vases mentioned above, chitons of this sort were used as dedica­ tions at Brauron, and perhaps also as ornaments in the festival tent of Ptolemy II.62 What seems of special interest for the painted Sikeliote busts is that such splendid garments with woven scenes could be presented to the gods, the most notable example being the peplos of Athena in Athens with its gigantomachy.63 One wonders if the πορφυρίς at Syracuse was such a dedication.64 The purple chitons depicted on the Morgantina busts may then be rep­ resentations of offerings to Persephone. The poorly preserved colors were applied directly to the pink ground and were not fired. The outlines and details of the figures were first drawn in reddish brown, the colors then added. These include white, pink, reddish brown, turquoise, pale green, red, and yellow. The figures are drawn in a simple neat style reminiscent of late red figure. The lampadion hair style of the seated woman on 106a (fig. a) also recalls the late fourth century, as do the stocky proportions. The use of applied colors is characteristic of late Sikeliote red figure; the colors on the Morgantina busts are, however, brighter than the pastel hues of the vases.65 The polychrome style and the dark pink ground of the scenes suggest instead the effects of vases from Kentoripa of the third century; however, the small scale of the figures, iconographic parallels with fourth-century representations, and the lampadion hairstyle seen on 106a are all features that support a date for the busts in the last quarter of the fourth cen­ tury.66 The hieratic stiffness of their heads also typifies the classicizing style of the era of Agathokles. The subject of 106c (fig. b) is one of the rare Sikeliote representations of the rape of Per­ sephone.67 Hades has seized the Kore, whose arms are raised in a gesture of desperation. The quadriga moves from right to left. Above, between Hades and the team, hovers Eros, and behind the quadriga Athena strides forward. A figure in front of the quadriga, probably Ar­ temis, is mostly obliterated. This is the traditional iconography of the scene. The earliest example, with only the quadriga and protagonists, occurs on Lokrian pinakes.68 The fuller version with secondary figures probably appears first in Attic red figure of the later fifth cen­ tury, then in a group of Apulian vases of the fourth century; and it is this tradition that the painter of the Morgantina bust evidently drew upon.69 Iconographic elements shared in the various Apulian scenes include Eros (vases in London, Genf, and the former Hope Collec­ tion), Athena (Naples, New York), Artemis-Hekate leading the quadriga (Hope, Genf,

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Fig. a. Bust of Persephone (106a)

31

LATE-CLASSICAL TERRACOTTAS 32

Fig. b. Bust of Persephone (106c)

LATE-CLASSICAL TERRACOTTAS

London, Naples), and the gesticulating Kore (Hope). The dramatic aspects of the event are stressed by the frightened Kore, but the presence of Eros hints at the inner meaning, the union of Hades and Persephone in the theogamia. 70 In the Apulian scenes Persephone is fre­ quently veiled and rides quietly with Hades; she has become a bride, and the violent abduc­ tion seems to have been transformed into a marriage procession. 71 The other legible scene, on 106a (fig. a), depicts the preparations for a wedding more directly. There is a good parallel for the scene on a nuptial lekanis from Kentoripa in New York. 72 Here again are two figures at the right side of a larger composition. A seated woman holding a tambourine on her left thigh with her left hand is approached by a standing friend. The only difference is the action of the right arm of the seated figure; on the New York vase it is extended to make a sacrifice. The pose of the seated woman with her right hand used as a prop and her left hand holding a tambourine or mirror is derived from Attic vases. 73 There now seems little doubt that the major theme of Kentoripan painted vases is marriage, or that their major subject is the bride. 74 The scenes on 106a and 106b, which seems very similar, should therefore be interpreted as preparations for marriage. Erotes are faintly visible on 106b. The subjects of such depictions on the chiton of Persephone must have been chosen carefully, and it would appear that they refer directly to her own bridal.

3. Standing Persephone The most common votive type in the cult of Persephone from the fifth through the third century is the standing goddess holding either piglet and torch or piglet alone. The fourthcentury types are descended from earlier pieces like 7. They were to all appearances a mainstay of the Syracusan shops in the first half of the century, when two groups, each com­ posed of several types with similar attributes and stylistic features, became popular and circu­ lated widely in eastern Sicily; these can be named after sites where their members have been found, Megara and Heloros. 75 There are no examples of the Megara and Heloros Groups at Morgantina, although the standing Persephone 65 is influenced by the latter. 76 These two Syracusan groups are particularly interesting as evidence for the continued vitality of the Syracusan shops in the era of Dionysios. The series of 65 led a long and active life at Morgantina. Most of its members were made in the third century, one even as late as the early second. But the heavy proportions of the standing figure, the old-fashioned emphasis on the distribution of weight, and the large head surmounted by the high polos are all characteristic of the Heloros group of the first half of the fourth century. The chiton with kolpos at knee-level and the flat upper drapery are derived from the same source. This is the oldest of the sizable group of standing Persephones at Morgantina (65-84); the archetype was probably Agathoklean. The small heads 181-184 come from standing figures of this sort. The head 183 with its elaborate polos has late-fifth-century parallels in Katane and Syracuse, but there is also a similar piece from Timoleontic Gela. 77 Head 183 is thus probably a revival of the sort dis­ cussed above. Head 182 is similar, while 184 has the massive, finely detailed hair of Sikeliote heads of the end of the fifth century. 78 Such heads were probably influenced by Syracusan coinage of the second half of the century, where there is careful delineation of individual

LATE-CLASSICAL TERRACOTTAS

locks, culminating in the extraordinary semifrontal heads of Eukleidas and Kimon minted after the Athenian invasion; a similar style is seen at Katane in the tetradrachm signed by Herakleidas. In the later coins the hair is also worn in thick locks to the shoulders. 79 Such grandiose hairstyles are seen elsewhere, especially in Boeotia, but the Sikeliote coiffures never attain the extraordinary proportions of the mainland pieces. 80 Closest to early-fourth-century Syracusan style is 186, which finds parallels in the Artemis 203 and also among the busts (cf. 121fif.). It is not unlike the heads of the Megara Group, although its context is late fourth century. Close to 300 B.C. are 189 and 190, as their similarity with 56 suggests. Both of these smaller heads share inchoate elements of the new style of the early-Hellenistic period; the features of the face are smaller, the expression milder. Heads of this type are conveniently dated by the Agathoklean tetradrachm with the reverse type of a standing Nike, recently assigned to ca. 305 B.C. (pi. 150, fig. 26). 81

4. The Artemis Group Terracottas depicting Artemis appear in striking numbers in southern Italy and Sicily in the late-classical period. Unlike the terracottas of the cult of Persephone they have no anteced­ ents in the fifth century and earlier, when the few representations of Artemis were imported from the mainland (as for instance 3). These terracottas appear to reflect a widespread venera­ tion of the goddess in newly established sanctuaries. 82 In late-classical Sicily, Artemis is the only deity other than Persephone whose worship created a strong need for terracotta votives. The Sikeliote terracottas have not received the attention they deserve. Higgins has pointed out the stylistic similarities of a group of east-Sicilian pieces in the British Museum, which are well represented in the sanctuary deposits of Scala Greca and Belvedere near Syracuse. 83 The members of the Artemis Group, as it can be called, are generally small in scale (ca. 12 -20 cm.), although a few larger pieces have been found, and have flat backs. The goddess is vigorous and athletic; she is depicted frontally, to the extent that her head is turned to the viewer even when she runs or moves laterally (cf. 203), and she is often accompanied by an animal (deer, panther, lion, dog). In one of the finest types she stands before the Delian palm tree holding high a rabbit. 84 She is generally dressed for the chase in a chitoniskos girded loosely about the abdomen, with a long overfold at the level of her knees and sometimes a low kolpos (cf. 204). 85 Her hair is bound in the lampadion knot, in the most finished exam­ ples with a kekryphalos; a fine head in Copenhagen, close to 400 B.C., exemplifies the type. 86 There are several similarities with the Megara and Heloros Groups, which are con­ temporary products of a different workshop; thus Artemis sometimes wears spiral earrings and the facial type is close to small busts and standing Persephones. The Artemis Group as a whole retains the traditional hieratic bearing of earlier Sikeliote votives; frontality is still the rule in the third quarter of the century, as was noticed by Orlandini in examples from Gela and its hinterland. 87 The rich drapery style shows Attic influence: the flowing S-curves and linearity are reminiscent of the ornate style of the early fourth century, and the lampadion coiffure was popular in Athens in this period. 88 The eastern material has been supplemented by many new finds from the south coast. 89 The Timoleontic contexts of many of the new members of the Artemis Group have reason-

LATE-CLASSICAL TERRACOTTAS ably led their excavators to date them to the period of the revival, but these well-dated finds should not be used to push all of the related eastern material into the second half of the century. 9 0 There is no reason to think that terracotta production in Syracuse ceased in the first half of the fourth century, as it did in the southern cities. In some cases it is likely the Geloan coroplasts made use of older Syracusan terracottas as positives for their molds. When versions belonging to the same series have been found at both Syracuse and Gela, the former are fresher and therefore earlier. 9 1 On stylistic grounds much of the Syracusan material must be dated in the first

half of the century. The lampadion knot, which is common to most

members of the group, was a popular hair style from the early part of the century, as its appearance on Attic and south-Italian red-figure vases indicates, 9 2 and the facial features of many members of the Artemis Group are typical of the same period. 9 3 One of the most remarkable early members of the group is the mold 203; the lively drapery and assertive masculinity of the goddess recall Amazons and Lapith women on the Bassai frieze. 9 4 It would be difficult to date this piece later than the first quarter of the century, even allowing for the stylistic time lag sometimes assumed for terracottas. At Morgantina the Artemis Group is represented by 203-206 and possibly by 606. Only 203 belongs to the early Syracusan phase. The large size and sophisticated style are unusual; nor is there any other example that depicts the goddess in her guise as

Elaphebolos, in

the act

of sacrificing a hind. 9 5 The piece was acquired in Catania; in the inventory at Syracuse Orsi noted that a provenance of Serra Orlando (Morgantina) was claimed by the seller, but this seems less certain than in the case of those pieces which Orsi bought directly from local landowners. At any rate there can be little doubt that the positive from which the mold was made was Syracusan. This is assured by the strange head and polos, which are borrowed directly from Syracusan images of Persephone (cf. 96, 121). The armor worn over the abdo­ men is curious and unusual. It may be a ήμιθωράκιον, an abbreviated cuirass that came into use in the early fourth century when hoplite armor was made lighter. 9 6 Plutarch records that ήμιθωροπαα were worn by Pelopidas and his men in the action which led to the expulsion of the Spartans from Thebes in 379; the light armor no doubt abetted their disguise as women. 9 7 It is interesting to note that all of the other representations of this cuirass seem to be western Greek. It is worn on several occasions by Amazons and once by Agamemnon in scenes on Apulian vases; a clearly depicted example occurs on a fragmentary volute krater in New York (pi. 148, fig.

20). 9 8

The head of the Artemis belongs with the busts already discussed; the hair is massed in the same ordered waves, the features are full and impassive, and the goddess wears both the polos with rosettes and spiral earrings (cf. pi. 143, fig.

6). The diaphanous drapery is unusual in

Sikeliote terracottas; one of the rare parallels occurs in the mold series of a dancer, versions of which have been found at Menai and Scornavacche." The ornate style is characteristic of late classical Attic terracottas; these are likely to have influenced the Sikeliote coroplasts who created the Artemis Group, at about the time 203 was made. 1 0 0 The subject also seems to be derived from an Attic source. Artemis

Elaphebolos

appears in

slightly different form on an Attic relief of the late fifth century in Kassel, and on a red-figure pelike of the early fourth century in London. 1 0 1 In the former, the goddess assaults a doe with a spear, in the latter a male faun with a torch. In both works she strides toward the

LATE-CLASSICAL TERRACOTTAS

animal, unlike 203 where she kneels on its back. The kneeling pose is derived from the type of the Nike sacrificing a bull, as Borbein, who first published 203, has shown (cf. 240). 102 The goddess appears here in the iconic frontality typical of the Artemis Group. The later phase of the group is represented at Morgantina by 204-206. Two members of 204 come from imprecise late-fourth-century contexts. This series is more typical of the Ar­ temis Group than 203; goddess and dog are flattened into a single plane enlivened by the flowing lines of the drapery. The height of the complete figure was about 16 cm. and there was no back mold. The gesture is that of αποσκοπεϊν; perhaps it is appropriate to the chthonian Artemis άγγελος worshipped at Syracuse, who may have brought word to Demeter of the abduction of Persephone. 103 Better preserved examples of the type of 205 are known at Syracuse, Akrai, and elsewhere; at the goddess's right stood a lion. Here may be another point of contact with the cult of Artemis at Syracuse, where a live lion was led through the streets in processions. 104 A late member of the group is 206, in which the goddess holds an enigmatic ball at her left shoulder; a much later version of the type is 212. In both 204 and 206 the goddess's hair is bound in the lampadion knot, which went out of fashion at the end of the fourth century.

5. Miscellaneous Terracottas; Reliefs. Late-classical terracottas not associated with the cults of Persephone or Artemis are rare at Morgantina, and most of these have religious subjects. The Athena 217 comes from a burial of the end of the fourth century; the archetype was probably much earlier, however, and the piece is an interesting example of the influence of Pheidias' great cult image in Athens. 105 The goddess 265 represents, in miniature, a late survival of the ancient type of the seated goddess (cf. 10-16); the lampadion hairstyle is enough to date the piece in the fourth century. 106 To the same period belong the fragmentary mounted goddess 266 and the Eros 319. The Syracusan head 607 may be the single secular terracotta of the period; the hair is tied at the crown in the fashionable lampadion; the piece typifies the delicate style of the Timoleontic era as seen in many Geloan finds—here, however, the clay is Syracusan. The fourth-century reliefs from Morgantina fall into two groups, distinguished by size. The astragalizousai 916 belong in the company of an Eros from Gela and perhaps also the Artemis 203, which has a relief conception even though the molded positive was probably three-dimensional. 107 The function of these large reliefs is uncertain; they appear to have been free-standing (a base is included in the mold of 916 and the Geloan Eros), and they are certainly not architectural. Two much smaller reliefs have subjects of narrative character: the round relief 917 depicts Eos seizing Kephalos in the presence of a frightened third figure; in the oval relief 918 Kassandra takes refuge at the Palladeion. In 917 the interest in spatial effects and the contrast of the nude and draped forms recall bronze and ceramic reliefs, as does the tight composition. The Kassandra of 918 is closer to the Apulian vase-painting tradition. Both of these reliefs appear to be terracotta adaptations of subjects borrowed from other media.

LATE-CLASSICAL TERRACOTTAS

Notes 1. Gela. P Orlandini, ArihCl 9 ( 1 9 5 7 ) 44-75, 12 (i960) 57-70. Scornavacche: A. di Vita, Kokalos 4 ( 1 9 5 8 ) 83-99, BdA (1959) 3 5 5 ! , figs. 26-29. Catania' G Rizza, BdA (i960) 262, fig. 24. Paterno: G. Rizza, BdA ( 1 9 5 4 ) 73ff., fig. 4. Butera: Adamesteanu, Butera, 623-69. Syracuse: NSi ( 1 9 5 4 ) 3 1 1 , fig. 10:1-4, 6-9, and 3 1 4 , fig. 1 2 - 2 , 5 , 6 . Heloros: P. Pelagatti, Ariheologia, no. 398, pi. XLI. For other material of the second half of the century, see n. 1 5 An interesting bust of the later fifth century is in a private collection in Germany; see P Noelke in Antiken aus rheintschem Privatbesitz ( 1 9 7 3 ) 1 7 9 , no. 263, pi. 1 1 9 . 2. On the political predominance of Syracuse, Finley, Annent Suily, 74f. On the artistic role of Syracuse, K. M. Phillips, J r . , ArtB 42 (i960) 246 (third-century mosaics); M. Bell, OpusRom 9 ( 1 9 7 3 ) 86, 95 (third-century terracottas). 3. On the long-lived effects of the Carthaginian destruction at Gela. P. Orlandini, Kokalos 2 ( 1 9 5 6 ) 160-64, ArchCl 9 ( 1 9 5 7 ) 44, n. 2. At Akragas' E. de Miro, RendLinc 11 ( 1 9 5 7 ) 1 3 5 - 4 0 ; P. Orlandini, Kokalos 4 ( 1 9 5 8 ) 27f., ArchCl 9 ( 1 9 5 7 ) 44, n. 2 At Kamarina. A. di Vita, Kokalos 4 ( 1 9 5 8 ) 8 3 - 9 1 , P. Pelagatti, Sicilia Archeologica no. 10 (June 1970) 14-16. The history of Sehnous after the destruction of 409 is unclear; excavation in the sanctuary of the Malophoros revealed a sharp decline m the number of votives but the degree of continuity in the fourth century is uncertain. See also D. White, AJA 71 ( 1 9 6 7 ) 3 4 1 . The literary sources for the abandonment of southern Sicily are Diod. 16 6 5 . 9 , 16 83 1, Plut., Tim. 1 1-2, 2 2 . 5 . 35 2 4. Diod. 1 4 . 6 8 . 2 , for a complaint against Dionysios' policy; see also P. Orlandini, Kokalos 2 (1956) 1 6 1 . 5. Busts, standing Persephones, and the Artemis Group are discussed infra, sections 2-4. For Attic influence, pi. 144, fig 8, a figure from Avola Antica (Syracuse 46062, PH. 12.0), reminiscent of Eurydike in the Naples threefigure relief; and the Menai dancer, published by W. Amelung, RomMitt 40 ( 1 9 2 5 ) 208, fig. 20. An unpublished piece from the same mold as the latter comes from Scornavacche, infra, n. 99. 6. Cf. MonAnt 17 (1906) 7 0 3 , fig. 527, von Matt, pi. 92.2 (Gela). My statement in ArchCl 24 ( 1 9 7 2 ) 7, to the effect that classical style is foreign to the Sikehote material of the late fifth century, is too strong. 7 Plut., Tim. 2 2 . 3 - 5 . 8. The as yet unpublished votive deposits from a Koreion at Heloros may include material from the mid-fourth century 9. On the general scarcity of material in this period, A di Vita, Kokalos 4 (1958) 97f., n. 56, where, however, the case for a decline is stated too strongly. 10. On Euainetos' career, Kraay-Hirmer, 288. The lower dating of the coinage formerly assigned to Dion is proposed by G K Jenkins, in Robinson Essays, 145ff. 11. Diod. 1 4 . 7 8 . 7 . 12. On the early habitation levels on the West Hill: Sjoqvist, PR VI, 140; Stillwell, PR VII, 169, and I X , 249, Allen, PR X , 36yff One is tempted to associate the urbanization of the Serra Orlando plateau with the seizure

of the site by Dionysios; if so, it would represent one of the tew acts of the tyrant in support of urban life in Sicily. Several early terracottas found on the plateau indicate that it was becoming more populated during the fifth century (3"5- 7> 12-14, 26-30, 47). More recent study of the finds from the initial habitation levels on the West Hill suggests that the orthogonal plan of the Serra Orlando settlement is as early as the mid-fifth century. 13 For a clear statement of this problem, Thompson, Troy TC, 20. 14. The sanctuaries of Persephone where many terracottas were dedicated had not yet been founded. 15. For Gela and Scornavacche, see n. 1, Akragas: Marconi, Agrigento arcaica, 68f., pis. x n . 1 - 3 , xv:6,7; M. Bell, ArchCl 24 ( 1 9 7 2 ) 8 - 1 2 . Sehnous. MonAnt 32 ( 1 9 2 7 ) pi. LXXVII. Manfria: Kokalos 4 ( 1 9 5 8 ) pi 20, fig. 43, NSc ( 1 9 5 8 ) 3 0 3 , fig. 12. Mihngiana: Kokalos 4 (1958) pi. 2 2 , fig. 49\NSc ( 1 9 5 8 ) 359, fig 7- Cozzo Mususino: Kokalos 4 ( 1 9 5 8 ) pi. 1 2 , fig. 2 1 . 16. Diod. 1 6 . 8 2 , Plut., Tim. 2 3 , 3 5 . 17. Kleiner, 25, 2 7 3 (*y); the experiments which would lead to the new forms of early-Hellenistic art were anyway taking place in Athens; see D. B. Thompson, "The Origin of Tanagras," AJA 70 (1966) 51-63. 18. ArchCl 10 (1958) 242. 19. Ibid., 240-42. 20. Kokalos 4 ( 1 9 5 8 ) 97f., n. 56. 21. Diod. 13.81.4-84, on Akragas. 22. Plut., Tim. 3 5 . 2 , ArchCl 2 4 ( 1 9 7 2 ) 1 if. 23- E. Sjoqvist, "Timoleonte e Morgantina," Kokalos 4 ( 1 9 5 8 ) 1 0 7 - 1 8 . See also R . J . A. Talbert, Timoleon and the Revival of Greek Sicily, 344-317 B.C. (Cambridge, 1974) I 5 2 f . , 202f. 24. The major undertaking at Morgantina in the Timoleontic era appears to have been the city wall, which has been dated to ca. 330; PR IV, i27f. 25. The foundation of the sanctuary is dated by the discovery of four coins in or beneath its floors; all are of the third quarter of the fourth century, prior to Agathokles; see E. Sjoqvist, Kokalos 4 (1958) 1 1 5 , n. 7; also Context List. 26. On the Agathoklean buildings at Morgantina, Sjoqvist, PR VI, i 3 5 f . , PR VIII, 1 3 8 . 27. This is not to deny the art historical interest either of revivals or of stylistic conservatism. 28 Supra, text at n. 18. 29- ArchCl 9 ( 1 9 5 7 ) pi. X I V I ; Pelagatti, Archeologia, no. 2 8 3 , pi. XXXIV.

30 For the peplophoros and kriophoros, ArchCl 9 ( 1 9 5 7 ) pi. XVIII:I, 3; for the busts, ibid., pi. XVIII:2; ArchCl 12 (i960) pis. xv, xvi 31. For the busts, Kokalos 4 ( 1 9 5 8 ) pi. 39, fig. 11 ;BdA ( 1 9 5 9 ) 360, fig. 26. The peplophoros, Nike, and the dancer from Scornavacche are unpublished. For the dancer, supra, n 5. 32. Kleiner has dated several Sikehote draped figures of the Tanagra style to this period, Kleiner, 25f., 2 7 3 (*7), Kekule, pis. 3 7 : 1 , 3 9 : 1 , 2 , 3 , on these see chapter 3, n. 11. No similar pieces have been found in any of the numerous

37

38

LATE-CLASSICAL TERRACOTTAS 38 fourth-century contexts excavated since the publication of Kleiner's study; it seems more probable that these are third-century revivals of early nonSikeliote mold series. 33. P. Orlandini, ArchCl 9 ( 1 9 5 7 ) 153ff. 34. P. Orlandini, ArchCl 12 (i960) 62f. 35. MonAnt 7 ( 1 8 9 7 ) pis. v, vi; MonAnt 1 8 (1908) pi. 1 (Grammichele); RomMitt 1 2 (1897) pi. VII:I; Libertini, Museo Biscart, no. 1 0 3 6 , pi. cvm (perhaps Grammichele); NSc ( 1 9 3 1 ) 392, fig. 1 8 = ArchCl 24 ( 1 9 7 2 ) pi. v: 1 (close by Enna); probably from a bust is a head from Molino a Vento at Gela; Gnffo, Gela, 1 3 7 , fig. 9 9 — i f so, one of the rare Geloan busts of the second half of the fifth century. See also P. Noelke in Antiken aus rhetmschem Prwatbesitz ( 1 9 7 3 ) 1 7 9 , no. 2 6 3 , pi. i i 9 ( c a . 425-400). 36. Grammichele: Kekule, pis. ix, x ; NSc (1902) 2 2 7 , fig. 1 0 . Akrai: ArchCl 24 ( 1 9 7 2 ) pis. I-III. 37. NSc ( 1 8 9 1 ) 3 7 7 ; Archivto Stonco Siracusano 5-6 (1959-60) pi. 11. 38. As for instance the Megara Group, infra, section 3. 39. On the possible influence of Syracusan coinage, see ArchCl 24 ( 1 9 7 2 ) 7. 4 0 . G. E. Rizzo, RM 1 5 (1900) 246f., pi. v; Rizzo, Monete greche, 208, 2 2 2 , fig. 5 1 ; also Higgins, Jewellery, I 2 3 f . ; Becatti, Oreficerie, 7 7 , nos. 3 7 9 , 380, pi. x c i x . For Syracusan coins with such earrings, Rizzo, Monete greche, p i s . X L I , X L I V - X L I X , LI. S e e a l s o 9 6 , 9 8 , 1 5 6 ,

203.

4 1 . Infra, section 4 at n. 95, for the bust from Grammichele, NSc ( 1 9 0 2 ) 226, fig. 9 (Syracuse 18940). 4 2 . Syracuse: Breitenstein, Copenhagen TC, no. 456, pi. 56; Akrai: Kekule, pi. XL.2; Adamesteanu, Butera, 629, fig. 2 5 3 ; Milingiana: NSc (1958) 3 5 9 , fig. 7 : 1 . See also Higgins, BM TC 1, no. 1 1 8 8 , pi. 1 6 2 . 4 3 . There are few examples that can be securely dated to the Timoleontic period proper, but this circumstance may be fortuitous. 4 4 . On the revival of the cult, Zuntz, 154ff. 4 5 . On the busts from Akragas, G. E. Rizzo, JOAl 13 ( 1 9 1 0 ) 77ff., pis. 1, 11, figs. 4 1 - 4 5 ; M. Bell, ArchCl 24 ( 1 9 7 2 ) 8 - 1 2 , n. 36. Other examples: NSc ( 1 9 5 7 ) 2 0 3> figs4 , 5 (Paterno); Adamesteanu, Butera, 629, figs. 249, 2 5 1 , 2 5 3 ; and 6 3 1 , fig. 255. On the dating of the examples from Gela to 320-300 B.C., P. Orlandini, ArchCl 12 (i960) 62f. 4 6 . ArchCl 24 ( 1 9 7 2 ) 11, pi. vii:2; on the dating of the revival tetradrachm, G. K. Jenkins, in Robinson Essays, 151. 47. For necklaces of this type, which also appear in south-Italian red figure, B. Segall, Zur griechische Goldschmiedekunst d, vierten Jahrh. v. Chr. (Wiesbaden, 1966) pi. 35; Higgins, Jewellery, pi. 26 (fifth century), pi. 27 (fourth century). 4 8 . Langlotz, pi. 4 1 ; also an earlier head from Selinous, pi. 3 5 . 4 9 . ArchCl 24 ( 1 9 7 2 ) pis. II, in. 50. NSc ( 1 8 9 1 ) 3 7 7 . 5 1. Supra, n. 36. 52. G. V. Gentili, "I busti fittili di Demetra o Kore di Siracusa," Archwto Stonco Siracusano 5-6 (1959-60) 7 - 1 7 , pi. 1.1,2.

53 Grammichele: Syracuse 1 5 9 4 , Kekule, 6 1 , fig. 1 2 3 (possibly from Akrai). Scornavacche: Ragusa 1291, unpublished, see Gentili, op. cit., 10 Kamarina. Syracuse 29138,

NSi

(1909)

380-81,

figs.

36,

37.

Heloros.

un-

published, in the Antiquarium at Noto (but this piece may be earlier). 54. E. Boehnnger, Die Munzen von Syrakus (Berlin and Leipzig, 1929) pi. 14; Rizzo, Monete greche, pi. XXXVH3. 55. Catania MB 1 0 3 6 , Libertini, Museo Biscari, no. 1 0 3 6 , pi. c v m . 56. ArchCl 24 ( 1 9 7 2 ) pi. in. 57. There seems to have been painted drapery on one of the busts from Grammichele: ArchCl 24 ( 1 9 7 2 ) pi. iv.2, the custom may have begun with archaic protomes, whose veils were painted; cf. 32, 3 3 , etc. 58. Plut., Dion. 56. 59. Bernabo Brea, Musei, 57, G. V. Gentili, op. cit. (n. 5 2 ) , 1 0 , pi. 11 and 1 4 , fig. 1. 60. Talos vase in Ruvo, side B Jason wears a chitoniskos with figurative scenes over the breast and at the lower hem (dancers'), Sichtermann, GVU, pi. 33. Also the Io krater in Ruvo, Sichtermann, GVU, pi. 36. panels on chitons worn by Hera and another goddess; Berlin calyx krater, Schefold, Untersuchungen, Abb. 27; London calyx krater, ibid., no. 94, pi. 26, Naples bell krater, ibid., no. 1 0 4 , Abb. 79. Campanian lebes gamikos (ca. 350-320), Trendall, LCS, pi. 1 1 9 : 1 . The seated goddess m the lower right corner of the Nnnnion plaque wears such a garment; Mylonas, Eleusis, fig. 88. 61. F. von Lorentz, RomMitt 52 ( 1 9 3 7 ) I98ff. 62.

A t h . 5 . 1 9 6 , IG

2 / 3 2 , 2 1, n o . 1 5 1 4 ,

45f.

63- Von Lorentz, op cit., 204, A Michaelis, Der Parthenon (Leipzig, 1870) 328, for sources beginning in the last quarter of the fifth century, mentioning the gigantomachy woven into the peplos for Athena. 64. The picturae in textili that Verres is alleged to have confiscated (Cic., Verr. 2 4 . 1 . 1 . ) may have been removed from dedications, perhaps to Persephone. Verres was not beyond stealing from the Two Goddesses (Verr. 2 . 4 . 4 5 , 49); on this passage, A . J . B . W a c e , J 0 A I 39 ( 1 9 5 2 ) 1 iyf. 6 5 . Trendall, LCS, 6 5 3 ; also in Bernabo Brea, Mehgunis-Lipara II, 2 8 i f . , 2 8 7 , on the work of the Lipari Painter and other polychrome vases. 66. For the lampadion coiffure, Trendall, LCS, pi. 238 (Sikeliote vases of the Lentini-Manfria Group). 67. An archaic relief from Selinous may represent the rape; Gabrici, MonAnt 32 ( 1 9 2 7 ) pi. x x i v , cols. i69ff. 68. Pruckner, Tonreliefs, types 57-83, pis. i 2 f f 69. The first full version of the rape of Persephone occurs on a remarkable Attic skyphos from Eleusis, surely a dedication; P. Hartwig, AthMitt 21 (1896) 377f., pi. 1 2 ; ARV2, 647, "about 4 3 0 B.C."; E. Simon, AntK 9 (1966) 7 7 , fig. 1. For the Apuhan vases, see Schauenburg 1 9 5 8 . The scenes studied by Schauenburg include the following: (a) Amphora in Genf, Schauenburg 1 9 5 8 , fig. 6. (b) Krater once in the Hope Coll., E . M . W . Tillyard, The Hope Vases (Cambridge, 1 9 2 3 ) no. 2 3 3 , pi. 33. (c) Hydria in N Y . , G . M . A . Richter, The Metropolitan Museum of Art. Handbook of the Greek Collection (Cambridge, Mass , 1 9 5 3 ) pi. 96:f.

LATE-CLASSICAL TERRACOTTAS (d) Volute krater in London, Schauenburg 1 9 5 8 , fig. 5. (e) Amphora in Naples, Monlnst 11, pi. 3 1 , see Schauenburg ' 9 5 8 . 5770. Eros also appears on the Eleusinian skyphos; see previous note. For other appearances of Eros, infra, chapter five, section five. 71. Schauenburg 1 9 5 8 , 62, notes correspondences with secular nuptial iconography. In all but the Hope vase, Persephone accompanies Hades quietly, seemingly as a bride, in the Genf and London scenes she is even veiled, and in the latter Hades wears a wreath. The quiet solemnity of these scenes is appropriate for a wedding, though not for an dpnayT). 72. G . M . A . Richter, MMS 4 ( 1 9 3 2 - 3 3 ) 49, figs. 6,7. 73. ARV2, 1 3 6 0 (Louvre CA 1 4 3 3 ) ; P. Jacobsthal, Die melischen Reliefs (Berlin, 1 9 3 1 ) fig. 55 (Athens 1 5 8 5 ) . I thank Sally R. Roberts for pointing out these vases to me. 74. P. W. Deussen, "The Nuptial Theme of Centuripe Vases," OpusRom 9 ( 1 9 7 3 ) 1 2 5 - 3 3 . 75. The Megara Group belongs close to the end of the fifth century and in the early years of the fourth; a single member was found in the Geloan destruction level of 406, on the acropolis (on exhibit at Gela). The goddess holds the piglet alone, there are several mold series of varying size. Many versions from Megara, Syracuse, and Heloros are unpublished, but see NSc ( 1 9 5 4 ) 3 1 1 , fig. 10:9 (Syracuse); Kekule, 2 7 , fig. 65 (from Megara, but the clay is Syracusan); BdA ( i 9 6 0 ) 2 6 2 , fig. 24:4-6 (Katane). Large-scale versions of Megara Group types (ca. 40-50 cm.) come from an unpublished deposit found beneath the Cassa di Risparmio, on Ortygia, at Syracuse. Closely related to this group is the enthroned Persephone from Megara H. (Langlotz, pi. 130). The Heloros Group is composed of at least three types: (a) with torch and piglet, MonAnt 7 ( 1 8 9 7 ) 2 5 7 , fig. 41 (Grammichele); BdA (i960) 262, fig. 24:8 (Katane); Marconi, Agrigento arcaica, pi. XV17 (Akragas); examples from Syracuse and Heloros are in Syracuse; another from Sehnous is in Palermo; none of these are published, (b) With torch and piglet, unpublished examples from Heloros in Syracuse. (c) Kanephoros, unpublished examples from Heloros and Paterno in Syracuse. The Heloros Group is dated by its presence in bothroi of the fourth century at Heloros, and by the discovery of one version at Hadranon, which was founded by Dionysios in 400 B.C. The pieces from Selinous and Akragas indicate that some mold series were in use in the second half of the fourth century. For other related Syracusan terracottas of the first half of the century, NSc 0 9 5 4 ) 3 1 1 . fig- 10: 2-4, 7-9, and 3 1 4 , fig. 1 2 : 2 , 5 . 76. See n. 75. type A of the Heloros Group. 7 7 . In the Museo Nazionale, Gela, unpublished, for Syracuse, NSc ( 1 9 5 4 ) 311, fig. 1 0 : 2 . 78. Syracuse 1 4 5 3 , 3 4 3 4 , 4 3 5 7 , all unpublished; cf. MonAnt 9 (1899) 2 3 3 , fig. 27 (Kamarina);NSc ( 1 9 3 2 ) 4 1 6 , fig. 10; NSc ( 1 9 3 0 ) 86, fig. 20; Marconi, Agrigento arcaica, pi. XIV: 1, 2, P. Griffo, II Museo Civico dt Agrigento (Palermo, 1964) 70, right (all from Akragas); MonAnt 7 (1897) 2 5 4 , fig. 36 (Grammichele); H. Hoffmann, Collect-

ing Greek Antiquities (New York, 1 9 7 1 ) fig. 1 3 5 (Gela; Geloan heads from the same series are in Syracuse). 79. Kraay-Hirmer, no. i n , pi. IV; also no. 1 1 2 , pi. 39, no. 44, pi. Ill, and no. 4 3 , pi. 1 5 (Herakleidas). 80. Halai: Hesperia 11 ( 1 9 4 2 ) 3 9 1 - 9 5 , group E (430390 B.C.) pi. viii. Mollard-Besques, TCG, pi. XI; idem, Louvre TC I, C 2 2 , C 2 3 , pi. LX (from Megara); ibid., C 5 9 6 3 , pi. LXVI (from Boeotia); Higgins, BM TC 1, nos. 846, 849, 860, pis. 1 1 7 , 1 1 8 , 1 2 2 ; Sieveking, Loeb TC 1, pi. 24, right. 81. G. K. Jenkins, in Robinson Essays, 145ff.; KraayHirmer, nos. 1 3 5 - 3 7 , pi. 48. 82. On the late-classical cult of Artemis at Taras, D. B. Harden, "A Series of Terracottas Representing Artemis, Found at Taranto/'JHS 47 ( 1 9 2 7 ) 9 3 - 1 0 1 , figs. 1-4; also AA ( 1 9 3 2 ) 3 1 4 - 3 4 , figs. 1 , 2 , 4-8; MonPiot 30 ( 1 9 2 9 ) 4 8 , fig. 1 (all Taras); RomMitt, 11. Erganzungsheft, pi. 28 (Herakleia); MonAnt 22 ( 1 9 1 3 ) , pi. 0x1:3 (Kyme),MonAnt 20 ( 1 9 1 0 ) 3 5 , fig. 17 (Teano, a Sicilian type). There are also new types on the mainland, identified as ArtemisBendis: RA 2 ( 1 9 0 3 ) 384, fig. 2; Higgins, BM TC I, no. 7 3 1 , pi. 96 (Athens); Koster, pi. 36; P. Hartwig, Bendis (Leipzig, 1 8 9 7 ) fig. 5, Stillwell, Corinth x v : 2 , type x v n : i 7 , pi. 25. Also see infra, chapter 5, section 3. 8 3 . Higgins, BM TC I, 3 1 5 , on no. 1 1 6 2 . Scala Greca: P. Orsi, NSc (1900) 3 5 3 - 8 7 , figs. 7 - 2 7 ; the finds from Orsi's excavations at Belvedere near Syracuse were never published, NSc (1915) i92f. For other Syracusan or eastSicihan terracottas of this group, Kekule, pis. xiv.4, x v n : 8 , xxiv: 1, 3, x x v : i ; Higgins, BM TC I, nos. 1 1 6 2 , 1 1 6 3 , 1 1 7 2 - 7 6 , pis. 1 5 9 , 1 6 1 ; Breitenstein, Copenhagen TC, nos. 4 5 1 - 5 5 , pi. 56 (see no. 4 5 0 for the Sicilian provenance). Other unpublished members of the group in Syracuse come from a small sanctuary deposit found at Avola Antica. For late-fourth-century finds from Timoleontic contexts, see n 89. 84. NSc (1900) 368, fig. 13. 85. On Artemis wearing the chiton, G . Bruns, Die Jagerin Artemis. Studie uber den Ursprung ihrer Darstellung (Diss. Munich, 1 9 2 9 ) 6 3 . 86. Breitenstein, Copenhagen TC, no. 4 5 2 , pi. 56. 87. P. Orlandini, ArchCl 9 ( 1 9 5 7 ) 55. 8 8 . Infra, n. 92. 89. Gela: P. Orlandini, ArchCl 9 ( 1 9 5 7 ) 54f., pis. xiv, xvi, xxil: 1, x x x n : 3 ; ArchCl 12 (i960) 58f., pi. xm; NSc ( 1 9 6 2 ) 3 6 3 , fig. 25.E, fig. 26, and 4 0 1 , fig. 83. Scornavacche. Kokalos 4 ( 1 9 5 8 ) pi. 39, fig. 1 3 ; ibid., pi. 4 1 , fig. 16. Butera: Adamesteanu, Butera, 65of., figs. 2 7 5 - 7 8 , 280-84. Akragas: Marconi, Agrigento arcaica, pis. xil:8, XIII:I, x v . 7 . Selinous: MonAnt 32 ( 1 9 2 7 ) pi. LXXVII:8. Kentoripa: Higgins, BM TC 1, nos. 1 1 6 2 , 1 1 7 5 , pis. 1 5 9 , 161. 9 0 . As A. di Vita, Kokalos 4 ( 1 9 5 8 ) 99, n. 59. 9 1 . Supra, n. 29. 92. On the lampadion knot, Thompson, Troy TC, 41 f.; T . Dohrn, Attische Plastik vom Tod des Phidias bis zum Wirken der grossen Meister des IV. Jahrh. v. Chr. (Krefeld, 1 9 5 7 ) 94, n. 42. The earliest examples of this coiffure appear on Syracusan coins of the second half of the fifth century;

39

40

LATE-CLASSICAL TERRACOTTAS 40 Kraay-Hirmer, no. 90, pi. 30 (ca. 450); no. 96, pi. 31 (ca. 425). An early sculptural version appears on the threefigure relief of Medeia, worn by one of the daughters of Aigeus (Fuchs, Skulptur, fig. 607). For south-Italian vases of the first half of the fourth century, Trendall, LCS, pi. 83, no. 69 (Campanian calyx krater, second quarter); ibid., pi. 84, no. 74 (Campanian bell krater, second quarter), ibid., pi. 86, no. 98 (Campanian bell krater, second quarter); Moret, llioupersis, pi. 63 (Apulian volute krater, Brussels, first quarter); ibid., pi. 34 (Apulian pelike, Naples, second quarter), ibid., pi. 56 (Apulian panathenaic amphora, Berlin, second quarter). The lampadion knot appears frequently in contemporary Attic red figure: Schefold, Untersuchungen, Abb. 24, no. 252 (calyx krater, Munich, late first quarter); ibid., pi. 18, no. 292 (lekythos, Leningrad, second quarter); ibid., Abb. 76, no. 151 (krater, Hildesheim, second quarter); Hahland, Vasen um Meidias (Berlin, 1 9 3 0 ) pi. n : b (lekythos by Eretna Painter, Berlin, first quarter); CV Great Britain, Oxford 1, 3 7 , pi. 46 (pyxis by Meidias, late fifth century). There is also no doubt that the popularity of the lampadion knot extended through the third quarter of the fourth century, as its frequent appearance in late-Campanian and Sikeliote red figure indicates; cf. Trendall, LCS, pis. 88, 1 1 9 , 1 3 0 , 1 3 9 , 1 7 1 , 1 7 7 , 228. The Artemis-Hekate of the Lentini Painter's lebes gamikos in Syracuse (pi. 1 4 9 , fig. 24) is particularly close to the later figures of the Artemis Group (LCS, pi. 228). 9 3 NSc (1900) 364, fig. 7 : 2 , and 3 6 5 , fig. 8 3, Breitenstein, Copenhagen TC, nos. 4 5 1 , 4 5 2 , pi. 56, Higgins, BM TC 1, nos. 1 1 7 2 , 1 1 7 8 , pi. 1 6 1 . 9 4 . Cf. C. Hofkes-Brukker, Der Bassai-Fries (Munich, 1975) 70, 7795. Soph., Trach. 213. For the cult names Elaphiaia or Elaphia, Paus. 6 . 2 2 1 0 , Strabo 8 . 3 . 1 2 . On this aspect of Artemis, Kletne Pauly II, s.v. Elaphebolos. 9 6 . Poll., Onom. 1 . 1 3 4 ; Ael., Tak. 1 6 . 3 ; Polyainos, Strat. 4 . 1 3 . 3 . A. Snodgrass (Arms and Armour of the Greeks [London, 1967} 196), and A. Hagemann (Griechische Panzerung [Leipzig and Berlin, 1 9 1 9 ] 76) assume that the t)(ii0o>pctKiov was a full-sized breastplate without a back. The passage in Polyainos supports this interpretation (Alexander gave his men liniSrapdKia to prevent them from retreating, as their backs would have been exposed had they done so), but its accuracy is not unquestionable. The li^iBtapdKiov was considered sufficiently innovative to have warranted attribution to a historical figure, Jason of Pherai (Poll., Onom.); this seems less likely to have happened if the new armor was only a breastplate. Moreover, the represen-

tations of the armor of the sort worn by 203 are contemporary with the period of use mentioned in the written sources for the rfniOcopdiaov (see also nn 9 7 f ). Hagemann, op. cit. (95ff., 1 0 1 ) considers the cuirass of the sort worn by 203 to be a late descendant of the archaic Italic txitpTi, which covered only the abdomen. Against this view is the absence of any intervening links between the archaic nupai and the fourth-century armor of the type worn by 203. 97. Plut , Mor. 596 D. 98. Naples Achilles amphora, FR, pi. 89 (worn by Agamemnon), Moret, llioupersis, pi 66, Munich volute krater (worn by Amazon), ibid., pi. 90, Munich loutrophoros (worn by Amazon); ibid:, pi. 100, Naples loutrophoros (Amazon), fragmentary volute krater in New York, inv. 1 9 . 1 9 2 . 8 1 . 1 (here pi. 148, fig. 20; worn by Amazon), I am indebted to the Metropolitan Museum of Art for permission to publish the photograph of the last vase. 99- RomMitt 40 ( 1 9 2 5 ) 208, fig. 20, the version from Scornavacche is unpublished On this type, Higgins, BM TC 1, no. 730; also nos. 884, 885, pis. 95, 1 2 8 , P. N. Boulter, "The Frieze of the Erechtheion," Antike Plastik X, fig- 9100. Higgins, BM TC 1, no. 7 1 7 , pi. 94, Mendel, Istanbul TC, pi. iv. 101. Relief: M. Bieber, "Attische Reliefs in Cassel," AthMitt 35 ( 1 9 1 0 ) 9 - 1 6 , pi 11, id., Skulpturen und Bronzen in Cassel (Marburg, 1 9 1 5 ) pi 32. Pelike' E. Simon, Die Gotter der Griechen (Munich, 1969) 1 5 7 , fig. 1 4 3 . 102. Borbein, Campanareliefs, pi. 9.1,2 It is easy to disagree with Borbein's view that the piece is "eine provinzielle Arbeit mitteimassiger Qualitat" (p. 52). The pose of the Artemis is also reminiscent of the centaur group in the marble painting from Herculaneum (Pfuhl, MuZ, Abb. 630), in both works the aggressor's right hand with the sword is lowered and held back, while the front feet of the victim are both extended. The type recurs in two late Hellenistic sculptural groups from Delos; J . Marcade, Au Musk de Delos (Bibliotheque des ecoles frangaises d'Athenes et de Rome, 2 1 5 ) 2 i 8 f . , pi. x u , A 449. 103. Infra, chapter 5, section 3. 104. P. Orsi, NSc (1900) 382, Theocr. 2.68 For other versions of the type, see the catalogue entry. 105. For other terracottas influenced by the Athena Parthenos, N Leipen, Athena Parthenos: A Reconstruction (Toronto, 1971) 1 iff. 106. Supra, n. 92. 107. ArchCl 9 ( 1 9 5 7 ) pi. x i x . 3 , 4 .

Early-Hellenistic Terracottas 1.

Chronology of the Transitional Period, 310-280

B.C.

THE reign of Agathokles (317-289) was a watershed for the arts in Sicily, just as it was for politics. The change from a conservative late-classical style to the new modes of the earlyHellenistic period came very quickly, within the space of a decade, and it coincided with the replacement of democratic government by the new monarchy. It is clearly perceptible in the coins that Agathokles issued between 310 and 300. The severe, classicizing tetradrachm of ca. 310 (pi. 150, fig. 25) is followed shortly by the issue with the reverse of a standing Nike (pi. 150, fig. 26); the head of Persephone on the obverse is softer, no longer merely imita­ tive. 1 The bronze Artemis Soteiraand the electrum Apollo-Artemis issues (pi. 150, fig. 27), both of which belong after Agathokles' assumption of the kingship in 304, document the full acceptance of early-Hellenistic style. 2 This picture of rapid change is apparent elsewhere. Orlandini has shown that the western district of Gela comprising Capo Soprano and Piano Notaro was settled only after Agathokles' capture of the city in 310. 3 As Gela was destroyed in 282 by Phintias of Akragas, the finds from this district belong to a period of just under thirty years. They show that Sikeliote time has been reset to agree with the clock of the Greek mainland, as Orlandini has demonstrated in a classic study. 4 The Geloan standing women of Tanagra types with Praxitelean faces and hair arranged in the fashionable melon coiffure are in phase with the new Syracusan coins. The new mid-Agathoklean terracottas apparently represent a conscious reaction to the late-classical style of the previous generation, which had become increasingly imitative and formulaic. One need only look at the conservative busts of the last quarter of the fourth century to perceive that the tradition was exhausted and no longer sure of its premises (106111). The new terracottas suggest instead a responsive awareness of the changes that had taken place in the art of the mainland during the previous generation. As early as the midfourth century the coroplasts of Attica and Boeotia had begun to absorb the new attitudes toward nature that are apparent in the "major" arts; the process of secularization and reification of subject culminated during the third quarter in the standing Tanagra figures with their intense focus on the problems of form, as expressed in the dynamics of body and drap­ ery. This interest in formalism, one of the strongest artistic currents of the early-Hellenistic period, would during the next century lead to countless variations on the theme of the stand­ ing draped woman. The early phases of this development were unknown to the contemporary Sikeliote coroplasts, who continued to produce the traditional frontal images of gods. Then late in the last quarter the new style emerges, so quickly that we must assume both coro­ plasts and patrons were delighted by it and demanded a change. A catalyst for the reaction must have come in the form of imports—although none has yet been found. 5 The production

EARLY-HELLENISTIC TERRACOTTAS of the Sikeliote workshops continues to satisfy the votive demands of sanctuaries—and thus retains a continuity with earlier tradition—but it has also now clearly become a manifesta­ tion of the Hellenistic koine. The insular qualities noticeable in even the finest

examples of

late-classical Sikeliote art seem to dissolve and disappear shortly after the turn of the new century. The chronology based on the settlements at Gela is supported by several tomb groups of the period 310-290 and by finds

from the North Sanctuary at Morgantina. The important

tomb from Costa Zampogna at Gela contained two early draped women (pi. 144, fig.

9), one

of whom belongs, because of her assertive corporeality and almost architectonic drapery, in the milieu of the Sophokles type and the muses of the Mantinea base. 6 The other figure

is

entirely different: concave where her sister is convex, almost incorporeal, a mere scaffold hung with drapery. One would hardly imagine that the two figures

could come from the

same tomb; yet their heads were made in the same mold, and both pieces must have been fashioned by the same artisan. Perhaps they are experimental works, divergent attempts at assimilating the new drapery style from the mainland. More probably their differences can be explained by the chance presence of two molds in the same workshop. Yet the oddly diverse styles may have a larger significance, which will be discussed below. Two other tomb groups contain slightly later terracottas, of the period close to 300. A draped woman from tomb 11 at Butera belongs to a standard Tanagra type (W 11 36:1), and was found with an early flying

Eros (cf. 300) and a half-draped Aphrodite leaning against a

post. 7 The bold drapery and three-dimensionality of the first figure

place her not long after

300, a date in agreement with the shape of the unguentaria found in the same tomb. The second tomb contained draped women of rare and unusual types, the more so for having been found at Troina, a place that has produced few other terracottas. 8 Tomb 10 contained late Sikeliote red figure

and other vases that ought not be dated later than about 300. 9 Although

the terracottas belong to known types (W 11 8:6, W 11 84:6), both are uncommon and other­ wise unknown in the west. 1 0 Such accurate copies of mainland types as these pieces from Butera and Troina clearly imply the existence of imported "Tanagras." Both popular and unusual types are represented; in their variety these early draped women suggest a period of change. The stylistic (as opposed to typological) contrasts noted with regard to the women from the Costa Zampogna tomb at Gela may also be seen as a characteristic of this transi­ tional period, before new styles and ideas had been assimilated and then codified into a tradition—a process that began shortly. The last years of the fourth century can then be characterized as a period of stylistic fragmentation and reconsolidation, typified by no single shared vision of form. 1 1 At Morgantina the terracottas from the sanctuaries underwent analogous changes in the last years of the fourth century. They are, however, more difficult to date than the pieces from tombs. The Persephone 56 should belong to this decade because of her likeness to the transitional tetradrachm of ca. 305 (pi. 150, fig.

26) and her interesting late-classical drap­

ery. She is a technically ambitious work, demonstrating the new self-assurance of the Syracusan workshops and heading a long sequence of Syracusan standing goddesses and gods. There had been large-scale images of Persephone in Megara Group style of the mid-fourth century, but the great change in 56 is the new relationship to major sculpture: the drapery

EARLY-HELLENISTIC TERRACOTTAS indicates the artist's awareness of developments that had occurred in the period 325-300 on the mainland. 1 2 Also sculptural in appearance is the modeled bust 145, which may have been influenced by the lost Sappho of Silanion, a work which probably arrived at Syracuse in this period. 1 3 The melon coiffure here appears for the first

time in a traditional bust; the

adoption of the new hairstyle led logically to the abandonment of the polos. Similar though less resolved are the busts 107-108, where the polos is somewhat incongruously retained. To this period probably belongs the standing Persephone 66, whose fashionable head with melon coiffure has been attached to a fourth-century body. Of the draped women only 359 and 400 seem to be as early as ca. 300; they mark the first

signs of interest on the part of

Syracusan coroplasts in variations on the Tanagra theme. All of these terracottas are transi­ tional works, pointing the way to the types and styles of Syracusan production in the third century.

2. Morgantina and Syracuse in the Third Century In the early-Hellenistic period Syracuse became by process of elimination the single surviv­ ing center of Greek political power and culture in Sicily. Local tyrants and invading armies brought to an end the cities on the south coast that had been resettled under Timoleon. In 282 Phintias of Akragas destroyed Gela. In 262 Akragas was captured by the Romans and the population was sold into slavery. The city was taken a few years later by the Cartha­ ginians and burned. After mid-century there can hardly have been any cultural continuity at Akragas, and an important religious center like the great chthonian sanctuary seems to have had only a marginal existence. 1 4 At Selinous civic life ceased completely after 250, when the Carthaginians took the city and transferred its population to Lilybaeum. 1 5 Theokritos, writ­ ing to Hieron II in the 270s or 260s, must be thinking of Gela and other such abandoned places: "grant that towns which the hands of enemies have outraged utterly be peopled again by their old citizens" (16.89^). The poet did not stay in Sicily much longer during these troubled years. It is not surprising to find

that the making of terracottas on the south coast

virtually ceases by mid-century. But because of Hieron's long alliance with Rome, the south­ eastern corner of the island escaped the destructive and no doubt demoralizing effects of con­ tinuous violence. As in the era following the Carthaginian invasions of the fifth century, it is to Syracuse that we must look for continued coroplastic production. The making of terracottas at Morgantina in the third century is even more dependent on Syracusan sources than it had been earlier. No doubt there were close political ties, but even so, with the disappearance of Gela, Syracuse became the only creative center on the island and the inland coroplasts had nowhere else to turn. The close ties of Morgantina to Syracuse are demonstrated by three important mold series that are represented at both sites; signifi­ cantly, the examples at Morgantina all belong to later generations. These are 68, 295, and 359. A good number of Syracusan terracottas have been found at Morgantina; these include the Nike 240, the Erotes 303 and 309, the standing women 429 and 444, the female heads 516 and 609, possibly also 523 and 586, the child 696, possibly also 700, the portrait 714, and the relief 917. A dependent relationship is also suggested by much circumstantial evi­ dence, consisting in part of many stylistic features shared by pieces from both sites, and in

EARLY-HELLENISTIC TERRACOTTAS

part of the analogous relationships with Syracuse of several other towns in her sphere (Akrai, Kentoripa, and Heloros, among others). Thus in regard to the second sort of evidence, two mold series at Morgantina have members at Kentoripa, and the archetypes for these are likely to be Syracusan (113, 388); a mold series with examples from both Kentoripa and Syracuse is discussed below (see section 6, type IV). Sikeliote terracottas of the third century have attracted little attention and the Syracusan finds are almost unknown. A few pieces have been published in excavation reports and others appeared in Die Terracotten von Sicilien, Kekule's corpus of 1884, which remains a resourceful and comprehensive work of sound method. Yet it was outdated even in the time of Orsi, whose Sicilian excavations began within five years of its publication. Since the time of Kekule there have been no general or even partial studies. The great majority of Syracusan finds is unpublished, including several large votive deposits possibly belonging to the central chthonian sanctuary in Neapolis. 16 Until these finds are studied, the richness and quality of Syracusan terracottas of the early-Hellenistic period can hardly be demonstrated. While it would exaggerate the dependent role of Morgantina to claim that all of her terracottas are Syracusan, the evidence indicates that most of the finer pieces are directly descended from Syracusan archetypes. The commercial circumstances that lay behind this dependent relationship are unclear. A working agreement between shops is one possibility, but a less formal reliance on the only available source of contemporary terracottas should also be considered. The likelihood of a commercial agreement is supported by the stylistic uniformity of the Morgantina finds. The ten types of standing draped women thus appear to be in large part the products of a single workshop (359-398). The finest of the third-century terracottas at Morgantina come from the sanctuaries that were destroyed in 211 B.C., a date which serves as a secure lower terminus for the votive deposits (for the dating evidence, see the Context List, sanctuaries). Toward the middle of the century, two important smaller deposits serve as guideposts for charting the general de­ velopment during the early-Hellenistic period; both contained interesting votive types (III E; N.S.A. 14). The close relationship between the workshop at Morgantina and Syracusan sources was brought to an end by the disaster that befell Greek Sicily in the penultimate decade of the third century. The capture of Syracuse by Marcellus in 212 appears to have brought about the near cessation of terracotta production. The revolt of Morgantina in 211 led to her cap­ ture and subsequent presentation to the Hispani; a major casualty was the cult of Per­ sephone, which may have participated in the last resistance to the Romans. 17 When the neighborhood sanctuaries were excavated it was clear enough that they had been looted and then abandoned. Whether or not the coroplasts of Morgantina and Syracuse were victims of these events, the society that had created needs for terracottas was shattered. The greatly reduced production of the second century owes very little to the past. 18 The chronological implications of the decade 220-210 B.C. are thus useful both for the study of Sikeliote ter­ racottas and the positioning of Sicily in the broader ambience of Hellenistic art. However, the human disaster of that decade was of tragic proportions, and it marked the death of inde­ pendent Sikeliote culture.

EARLY-HELLENISTIC TERRACOTTAS

3. Standing Gods Recent excavation at Morgantina and Syracuse has revealed the existence of a class of votives of striking size and finish,

consisting of standing figures

of the type of

opfernde Gotter

who

range in height from 35 to 60 cm. or more. The subjects are drawn primarily from the chthonian cult and illustrate the major role that it continued to play for the coroplast. A characteristic of this class is a close relationship with major sculpture. The earliest of the standing gods is the large Persephone 5 6 from the North Sanctuary. Her scale and quality are remarkable, as befits a work that breaks with the past. No longer is a single mold sufficient: 56 requires front and back molds for head, body, and both arms. This is probably the earliest figure

at Morgantina to make use of a back mold. The spatial

assertiveness is unparalleled in earlier terracottas, as is the close relationship to major sculpture. The himation is pulled up from the right side over the left shoulder, leaving the right arm free, an arrangement that recalls the sculptural type of the Florence Kore, and that was commonly used for representations of Persephone in reliefs and vase painting. 1 9 Yet one of the sculpture's effects is altered by the change in the weight distribution, here on the right leg. The free leg thrusts outward against the long falling folds that descend toward the weight leg. The motif of pulling the himation against the weight leg rather than the free leg occurs in several sculptures of the fourth century; an example of the 320s is the late grave relief from Rhamnous. 2 0 In 56 the relationship of body to drapery is less clear than in the grave relief or the Florence Kore. The independence of the drapery is enhanced, the impres­ sion of support being achieved less by contrapposto as in the sculptures than by the heavy folds falling from the left side. Mass and movement are almost neutralized by the action of the left arm, which supports a vertical column-like mass of folds, but was itself supported by the now missing element of the torch, or perhaps scepter, an integral part of the composi­ tion. The smooth surfaces and subtle tensions (both formal and psychological) of the grave relief are not present in 56, where the drapery style is bolder but also a little naive, as we might expect of a craftsman who had little previous experience in problems of late-classical drapery. The work remains an interesting and important piece. The solemn face of 5 6 is close to the Agathoklean tetradrachm of ca. 305 (pi. 150, fig. 26). 2 1 More conservative than the drapery, it belongs to local tradition: the clearly de­ lineated eyelids and the high small mouth remind one of busts of the preceding decades (cf. 98-103). Yet the face is narrower, the forehead triangular, and the hair treated with new freedom. Related to the head of 56 is the series 189, one example of which comes from a funerary context of ca. 300. Although the forehead is not so high, a softening of the conser­ vative style is apparent in the smaller features and milder expression. From the same period is a similar head in Copenhagen of Syracusan clay, unusual for its Praxitelean sfumatura. 2 2 Several fine standing gods belong to the first

half of the third century, a particularly fruit­

ful time for the Syracusan shops. Two examples from Morgantina come from the chthonian sanctuaries; most of the Syracusan pieces were found together in a well, with pottery and other terracottas that indicate a common origin in a nearby sanctuary. This important body of finds

will be referred to as the Well Deposit. 2 3

Members of the mold series 2 9 5 have been found in the North Sanctuary at Morgantina

EARLY-HELLENISTIC TERRACOTTAS

and in the Well Deposit. The Morgantina piece is better preserved, but the quality of the Syracusan fragment, clearly from a first-generation mold, is extraordinarily high. 24 There is a coordinated seizure of surrounding space in the movement of arm, thigh, and head, more fluent than the tentative movement of 56. The drapery is fashioned in broad plastic folds, within which are small areas of incidental tension. The figure is balanced; the movement to the right is stabilized by the clear vertical accent over the weight leg. The soft modeling of the torso and the full oval face with small features point to the influence of Praxiteles; the face is close to that of the Sauroktonos. 25 Very similar to 295 is the Aphrodite 228, a handsome fragment from a domestic context. The folds of the himation are almost the same and the two pieces can be attributed to the same hand. A date in the first quarter of the century seems likely for both. The god 295 can be compared to the terracotta woman in Amsterdam, from a tomb in the Nile Delta (pi. 144, fig. 10). 26 Despite differences in the treatment of drapery, probably owed to divergent local styles, the Egyptian terracotta demonstrates a similar re­ strained movement with little tension; both figures have a positive relationship with sur­ rounding space. They represent more or less the same moment in time in the production of different shops; the Egyptian woman is dated by associated pottery to the early third century. The transition from 56 to 295 is closely paralleled in Syracusan coinage. The bronze issues of the Artemis Soteira type, bearing the legend 'Αγαθοκλής βασιλεύς, are traditionally dated from the assumption of the kingship at Syracuse in 304. 27 The head of Artemis is Praxitelean in style, with a full neck, softly modeled features, and hair similar to that of the Knidia. Also significant is the electrum issue with the heads of Apollo and Artemis, which, as Jenkins has shown, must be dated at the end of the fourth century (pi. 150, fig. 27). 28 Both the Artemis Soteira and the electrum Artemis are strongly Praxitelean; both indicate that the soft features of 295 are at home in early-third-century Syracuse. Still within the first quarter of the century are probably 60, 61, and Syracuse 27907 (pi. 146, fig. 11), a related figure from Grammichele of Syracusan fabric. 29 The last piece is reminiscent of the Themis of Rhamnous. 30 The high-girded chiton is revealed under the heavy upper edge of the himation, which falls in structured, almost geometrical folds, defin­ ing the areas of the abdomen and right thigh but not modeling them. The neckline is a high angular V. 31 Though poorly preserved, 61 offers a glimpse of one of the finest creations of the Syracusan shop: the even more fragmentary counterpart from the Well Deposit is a mas­ terpiece of coroplastic art, characterized by an extraordinarily fresh and plastic drapery style. 32 The figure 61 is similar, though not from the same series; it lacks the small "cab­ bage" of drapery in the crook of the left arm, and the folds of the himation are simplified. 33 The proximity to sculptural style is seen in the emergence of the entire right arm and the left hand from the drapery. The pose is similar to that of 56. A related type is 60, where the left hand is covered by the himation; one feels here the influence of the closed drapery style of the Tanagras. These figures are probably the work of the same coroplast; the plasticity of the right thigh and the flat fold of the chiton below the calf are almost formulaic. The neckline of 61 is still quite high, though lower than that of the terracotta woman in Amsterdam (pi. 144, fig. 10). It begins to fall in Syracuse 27907 from Grammichele (pi. 146, fig. 11), and the full deep V is reached in 58 and 59. This deep neckline has been dated to the end of the first quarter of the third century by D. B. Thompson, using Alexandrian

EARLY-HELLENISTIC TERRACOTTAS evidence. 3 4 It is also seen in 362 at Morgantina, a standing woman of type III from a sealed deposit of the 260s. Types 58 and 59 belong in this period. They are derived from the fourth-century sculptural type of the Florence Kore and demonstrate its influence on later representations of Kore-Persephone. 3 5 The angularity of the himation reflects a linear tend­ ency in standing figures

of the late first

quarter; 362 is again important for dating. In major

sculpture this is the period of the Demosthenes and the Nikeso of Priene; in the drapery of the latter "an abstract system of lines is dominant, and this divides up the whole figure tonically, rather than organically defining the

limbs." 3 6

tec-

The Sikeliote terracottas of the pe­

riod are characterized by a restrained closeness of contour and a balance of movement and mass apparent in 58 and 362. In the latter piece the angular balance of arms and drapery is almost crystalline. The V-neckline descends perhaps even to the rib cage in a figure Deposit (pi. 145, fig.

from the Syracusan Well

12). 3 7 Tension is still apparent in the channeled folds of the himation

but there is also a reassertion of movement. The himation hangs in a free curve, falling from the hips and exposing the upper torso; the turn of the head accentuates the breaking away from the closed forms of the first quarter of the century. The angular structure of the previous decades is being relaxed; a similar movement of flowing

contours is seen in the terracotta

woman from the Eretrian chamber tomb, dated by Kleiner to the second quarter of the cen­ tury, and also in 360 at Morgantina. 3 8 A related but more advanced figure

ends the sequence of Syracusan gods. In 6 2 the rolled

himation falls low over the broad hips, revealing a slender rib cage. Such proportions belong in the second half of the century, as comparison with the limestone woman from Morgantina (pi. 147, fig.

16) indicates; this sculpture should be dated well into the last quarter, because

of the dynamic but still quite structured drapery. 3 9 The figure

62 is closer to major sculpture

than any of the earlier Syracusan deities. It approached a meter in height and the general effect is not that of a miniature work. The arrangement of the himation is similar to the limestone woman, but the larger work has been simplified; the full freedom of the complex apron folds is lacking, even though there is a hint of transparency in the lower himation. There are few parallels for the group of Syracusan sacrificing gods, at least in the third century. Several fragmentary figures

from Capo Soprano at Gela belong in the first

years of

the century; only one has been published, a fragment similar in style and type to Syracuse 27907 from Grammichele. 4 0 The Geloan finds

have no stylistic unity; their interest lies in

their early date and their formal relationship to the Syracusan group. 4 1 Tarantine coroplasts sometimes imitated the drapery of major sculpture, arranging the himation at the waist in a roll so that the arms could be free; however, such figures ably represent women, as they lack any

attributes. 4 2

are essentially miniatures and prob­ Similar miniatures are known on the

mainland, some with divine subjects, others probably mortal. 4 3 The evidence for early-Hellenistic terracottas of a more sculptural style is scanty. A large seated figure

from the Agora at Athens is reminiscent of the Syracusan finds;

it has "the

monumental quality of sculpture rather than the miniature delicacy of 'Tanagras.' " 4 4 Early-Hellenistic adaptations of the Florence Kore analogous to 56 and 58 have been found at Knidos and Priene; neither piece appears to belong to a local class of votives but is instead an isolated example. 4 5 Other parallels for the Syracusan standing gods are late Hellenistic. 4 6

EARLY-HELLENISTIC TERRACOTTAS

We can then conclude that the Syracusan group is an essentially local development in the third century, a response to the continuing votive demands of the cult of Persephone.

4. Persephone Holding the Piglet and Torch The standing Persephone holding the piglet and torch continues to be popular throughout the third century (on earlier versions of this type, see chapter two, section three). Unlike the larger, more ambitious standing gods these figures are made in a single mold and the back is hand-modeled. Their height ranges from 18 to 22 cm. They were no doubt less costly than other votives and were given in greater numbers in the smaller sanctuaries in area V (see V B) and at Cittadella (see C.S.). These modest figures often seem to be reduced versions of standing gods or standing draped women. Series 72 resembles the Persephone 60; the himation falls in similar deep catenaries. The diagonal himatia of 70 and 74 recall that of 58. The popular group 76-79, in which the himation is worn as a shawl over the shoulders and the chiton is fully revealed, depends on the idea of the Mddchen in hochgegiirteten Chiton (cf. 36iff.). The series of 68 is similar to type VIII (cf. 388) and is probably a contemporary creation of the middle years of the century. This series turns up both at Syracuse and Heloros. 47 Strangely enough the most popular series at Morgantina, with twenty-six members, is 66, which is derived from a fourth-century model; despite the jarring head with melon coiffure, the frontal figure must have seemed old-fashioned in the third century. 48 Such was the conservatism of the votive tradition.

5. Early-Hellenistic Busts The acceptance of early-Hellenistic style at the end of the fourth century transformed the traditional unmodeled busts of Persephone. The old convention must have seemed to clash with the more intimate and human conception of divinity apparent in the group of standing gods. Although the coroplasts continued to produce traditional busts during the third cen­ tury, the most striking works of the period are of a new type, in which shoulders, breasts, and drapery are given plastic form. 49 Two types of modeled busts are found at Morgantina. The earlier and more ambitious is derived from the traditional bust; the features that before had been painted are now modeled (145-161). Consequently a new mold for the breast area was necessary; the polos is usually omitted. The second type consists of a bust of small scale in which the forearms and hands are included in the representation; the goddess wears the veiled polos (162-168). The earliest and finest of the modeled busts is 145, which has the formal unity required of major sculpture. For the first time the coroplast's conception includes breast, shoulders, and arms. The piece shares something of the experimental excitement found in other contempo­ rary works (56, 107). The influence of early-Hellenistic style is seen in the shape of the face and the melon coiffure, which appears here for the first time in a bust. Though the omission of the polos is encouraged by the hairstyle, it can also be attributed to the humanizing tend­ encies of the period. Similar heads come from Taras; another is seen on the woman from the

EARLY-HELLENISTIC TERRACOTTAS

Nile Delta (pi. 144, fig.

10). 5 0 The large, heavily lidded eyes of 145 remain as signs of

divinity and a link with the past. Despite stylistic differences in the eyes and brows, 145 has an interesting resemblance to the head of the marble statuette of Korinna in Compiegne, which has been regarded as a reduced copy of an original by Silanion. 5 1 The hair, facial structure, and slight lowering of the head of 145 recur in the statuette. The influence of Silanion on a Syracusan coroplast is at least conceivable. A statue of Sappho by the sculptor once stood in the Prytaneion at Syracuse and was taken by Verres. 5 2 Attempts have been made to identify the Sappho with surviving works, but none has been so convincing as the case of the Korinna, where the statuette fortu­ nately bears the name of the poetess. 5 3 If the Korinna can be considered as the best evidence for Silanion's late style, particularly as expressed in his imaginary portraits of women, then it may perhaps give some idea of the appearance of the Sappho. The Sappho should be dated from the evidence of Timoleon's de­ cree that condemned the public statues of Syracuse to be melted down for coinage. 5 4 This harsh sentence took effect in the early 330s; the bronze statue of the poetess must then have arrived in Syracuse afterwards. Susserott proposed that this event took place between 335 and 330, but this seems too precise; a date in the later fourth century, during the old age of the sculptor, seems more probable. The work must have been a replacement for the condemned sculptures of the Prytaneion, commemorating Sappho's legendary sojourn in Sicily. The ab­ sence of later copies is the consequence of Verres' theft of the original. It is tempting, then, to see in 145 the influence of Silanion's Sappho, the head of which, at least, will have been similar to the Korinna. An extraordinary bust from the Well Deposit at Syracuse, which preserves much of its polychromy, may be earlier than 145· 5 5 It is closer to the style of the fourth century, with high shoulders and modeled drapery in very low relief, so low that the coroplast seems to have been unwilling to break away from the surface. The face is full and closer to the older types. The piece is of high quality and was modeled freely without the use of molds. With 145 this is probably the earliest example of the modeled bust in Sicily. Two smaller versions of the early third century come from Gela. 5 6 One wears a wreath and is reminiscent of 145. The other has an unusual coiffure of snail shells and bow knot, for which there are no Sikeliote parallels. At Morgantina the style of 145 recurs in 146, a reduced version from a deposit of the 260s. The facial type seems more Hellenistic and is close to the gold half-stater of Pyrrhos minted in Syracuse in 278-276 (pi. 150, fig. fure. 5 7

28); there Artemis wears a similar melon coif­

Later in the century the neck becomes longer and the hair is pulled tightly against the

skull (149). There is an inversion of the sacred and the secular as the bust becomes increas­ ingly mundane. Bust 145 wore bracelets and a necklace; 149 adds a Herakles'-knot diadem and a chain ornament over the right breast. The diadem had been worn on late-fourthcentury busts from Akragas; the diagonal chain ornament also appears on 150, 162, 165, and 359a. 5 8 It may be a later version of a diagonal ornament sometimes depicted in Sikeliote red figure. 59

The slight protuberances that can be seen in the necklace at the throat of 148

and 149 must represent an elaborate clasp with human or animal heads. 6 0 Spiral bracelets were also worn by 145 and appear on busts from Kentoripa of the third century. 6 1 The paral-

EARLY-HELLENISTIC TERRACOTTAS

Iel striations in the melon coiffure of 149, made with a tool before firing, are typical of the second half of the third century (see below, section 8). The modeled busts with arms included form a class unique in Sicily and rare elsewhere (162-168). The right arm is lowered at the abdomen and holds a dove; the himation is worn over the polos, and the left arm is raised to the breast as though to adjust it. The significance of this group of busts for the cult of Persephone is discussed in chapter five, where the veil and dove are interpreted as references to the theogamia of the goddess.62 No versions of the seven mold series at Morgantina come from a context that can be dated precisely; 162 proba­ bly belongs in the first half of the third century, while 163 because of the broad facial type is later. The disk earrings worn by 163 are datable to the third century as well.63 Though the type is rare outside Sicily, perhaps because of its special reference to the local cult of Persephone, it is related to busts or protomes found elsewhere in the Greek world. The closest parallel is an early-Hellenistic protome from Kerch, where a dove is held in the right hand and the left appears to adjust the himation.64 The goddess is veiled and must be Persephone; it is tempting to see Sicilian influence here. The idea of representing the arms is older than the third century; protomes with arms included are common in fourth-century Boeotia, in male and female versions, and Persephone is the subject of a group of protomes from southern Italy, where a piglet is held in the left hand and a torch in the right. 65 The older, unmodeled bust follows a haphazard development in the third century. The most ambitious examples are early (107, 108, 113); among these, 107 stands out as a serious attempt to combine elements of the new style with the traditional forms. The face is nar­ rower, the forehead triangular, and the head is tilted forward, recalling 145. The early form of the melon coiffure is surprisingly combined with the polos, which rests lightly on the top of the head. Bust 107 projects a restrained, almost withdrawn melancholy. The features are not unlike those of the late-classical busts and yet the effect is quite different. The piece bridges two periods, like 56 and 145. The similar fragment 108 is probably later because of the breadth of the face. The archetype of the popular series 1x3 was probably fashioned well on in the third cen­ tury. The hair is modeled in the parallel wavy locks characteristic of the early fourth century, although it seems mannered in its fullness. If the hair reflects the older style, the narrow oval face reacts to the solemn late-classical busts both in its shape and expression. The asymmetry of the eyes and the small curling mouth give the face an unexpected lack of seriousness. Another soberer version of this face was used in the modeled bust 145, where face and hair are more compatible. One mold was used for eight of the nine local members of 113 and it probably had a long life. A fragmentary head in Syracuse and an intact bust in Catania from Kentoripa (pi. 147, fig. 17) belong to the series but were made in different molds; the latter piece is evidence for the widespread diffusion of Syracusan products. The pink panel over the breasts, which can be seen on several local members of the series, is analogous to the painted panels preserved on late-classical busts (cf. 106); here the figures are entirely lost. Faint traces remain on 107. There is a weakening of form in the unmodeled busts which follow 113. The broad facial type of the mid-third century appears in 117 and 118. The former is closer to the sophisti­ cated coastal style also seen in the modeled busts of the series 163 and in other isolated

EARLY-HELLENISTIC TERRACOTTAS

female heads (198, 560, 561, etc.)· The oddly shaped lower area now has no resemblance to real shoulders; the old convention has become a formula. The bust 116 has affinities with inland ateliers; the fleshy modeling and turning of the head are paralleled in examples from Kentoripa.66 Another example comes from Syracuse, however, so that this current should not be localized in the interior.67 The head of 116 is reminiscent of the Persephone of the gold drachma of Hieron II; there is a similar emphasis on the eyes, which are piercing and deep-set, and the modeling of the face is full and plastic.68 Bust χ 16 probably belongs in the last quarter of the third century; along with 118, it may be the latest of the unmodeled busts at Morgantina.

6. Draped Women at Morgantina and Syracuse At Morgantina ten types of standing women were found in considerable numbers (see text fig. c), and in the catalogue these have been identified by Roman numerals I-X. This system permits easier reference to the local Sikeliote types, which are not defined clearly in Winter's Typenkatalog. Tanagra types are, however, referred to by Winter's page numbers (W 11, fol­ lowed by the page). The ten Sikeliote types are described in detail at the end of this section; what follows is an outline of the general stylistic development of the Tanagra class in Sicily during the third century. In the period of the first imports the evidence is too scanty to permit a comprehensive view. In the first quarter of the third century, only one Tanagra figure (W Ii 25:1) is repre­ sented in the production of the Syracusan atelier. Two fragmentary versions were found in the Well Deposit; one is very small (ca. 6 cm.) and seems early, while the other is quite large and already shows signs of the local style in the lower drapery.69 The characteristic ray pat­ tern of the type is altered in favor of greater plasticity and simplicity; the piece can be com­ pared to contemporary but cruder examples from a tomb at Kyme.70 Two examples of the same early type were found at Kentoripa, one from a tomb of the first quarter of the cen­ tury.71 Such terracottas as these must depend on imported models. At about this time—the first quarter of the third century—there also begin to appear standing draped women of a new style, clearly derived from Tanagra types but nonethe­ less not Tanagras in essence. These figures mark the first interest of the Syracusan shops in pursuing actively the "Tanagra idea": that is, the creation of formalist studies of the draped woman, by means of a willing acceptance of clearly defined limits on expression exemplified by the types. The environment was less highly charged than on the Greek mainland, where the coroplasts represented only a small part of an artistic movement. The new Sikeliote women are infused with a directness and formal simplicity that is characteristic of an art not so much under the influence of painting and sculpture. The Sikeliote coroplasts had greater freedom than their mainland counterparts. The phenomenon of the creation of such centers as Syracuse has been recognized by Kleiner: "clearly the early Tanagra period is the time of the closest and most frequent con­ tacts. Thereafter was formed a particular, in part provincial, western-Greek tradition; even so, certain centers should be recognized, which supplied the hinterland. Clearly this was the

51

52

EARLY-HELLENISTIC TERRACOTTAS

Fig. c. Standing draped women

EARLY-HELLENISTIC TERRACOTTAS case with Taras." 7 2 In Sicily both the geographical distribution of types and the evidence from the city itself point to Syracuse as this kind of creative center. The new Syracusan types are found throughout most of the island. The shop at Morgantina included a good selection in its repertory and others are found at Kentoripa, which par­ ticularly in the first part of the century was dependent on Syracuse. The types are found elsewhere: at Leontinoi, Megara, Akrai, and Grammichele, all towns in the sphere of Syra­ cuse; in the Aetna region, at Hadranon; and in the west, at Akragas, Selinous, and Soloeis. 7 3 Although few of the new types have been found at Syracuse, there are good reasons for assum­ ing that the entire group originated there. The types are restricted almost entirely to Sicily and should therefore be local. Their stylistic unity points to a single center. Two mold series strengthen the case, for early generations of a type I figure type IV figure

known at Morgantina (359) and a

known at Kentoripa have recently been found at Syracuse. 7 4 Such instances of

direct connections with Syracuse support the cumulative evidence of the distribution of the types in eastern Sicily. What is probably one of the oldest of the Sicilian draped women is found only at Morgantina and in the Well Deposit at Syracuse. 7 5 The figure

359 belongs in the ambience of the

sacrificing gods; the bunched folds falling away from the right shoulder and the quiet almost passive relationship of body to drapery recall 56, as does the free leg emphasized through the himation. The piece seems a tentative essay at working in the Tanagra style. Other new local types are dated by their occurrence in tombs at Kentoripa and exhibit the same placid, undynamic style. The earliest occurrence of type IV is in a tomb of the first century. 7 6

quarter of the

At Morgantina a slightly later version of the same phase is 367, where the con­

tours are angular and there is more surface tension in the drapery. The flowing, found in a terracotta from Kyme, dated to the early third At the end of the first

even folds are

century. 7 7

quarter of the century, life is breathed into the relaxed forms of the

new western draped women. The style is defined at Morgantina by 362, an early version of type III from a sealed deposit of the second quarter (N.S.A. 14). There is a new movement, expressed more by implication than outright motion; this is seen in the almost stylized bal­ ance of the arms. The contours are more angular than in 367. The low neckline is also seen in 58, which is very close to 362;. this fashion is typical of the period. Several other types belong in or near the 270s. The carefully balanced stance of the sandalbinder 396 reflects the same static pause with suggested movement of 362. Type IV in an unpublished piece from Grammichele carries a step farther the inchoate tension of 367. 7 8 The most dynamic of all c o n t e m p o r a r y t y p e s i s t h e v e r s i o n o f t y p e I I f r o m t h e W e l l D e p o s i t ( p i . 1 4 5 , fig.

13).79

Movement is enhanced by the coordination of the gesture of the right arm and the diagonal lines of the himation. Though there is tension, it is not played against the body. The profiles are harsher than in 360, the later version of type II from Morgantina. This is the era of the Demosthenes and the Themis of Rhamnous, to which we have as­ signed the standing Persephone 58. The Syracusan terracottas share with the Attic sculptures a strong sense of internal structure, expressed in angular profiles, balanced poses, and sur­ faces divided into almost tectonic units. These are qualities also found in contemporary mainland terracottas, and they remind us that Syracuse is a part of the larger stylistic koine. This appears in general to have been a more innovative period in the west than it was on the

EARLY-HELLENISTIC TERRACOTTAS

mainland. Lacking exposure to classical or late-classical art, which would surely have influ­ enced and might have dominated him, the Sikeliote coroplast had a peculiar freedom. 8 0 The inherited Greek coroplastic tradition was transplanted in the form of newly arrived and freshly comprehended imports, which then served not as a destination but a point of depar­ ture. The period of growth and development came later in the west by about a generation. The first

three decades of the third century in Sicily correspond to the creative phase on the

mainland from ca. 335 to 310, when the Tanagra style was developed. That the only new types of standing women in the early third century were Syracusan speaks both for the creativity and the previous isolation of the local shops. Toward the middle of the third century there seem to have been two quite different reac­ tions to the taut forms of the 270s. One is characterized by greater movement, relaxing the static tensions of the previous decade. The other is also dynamic, but the movement is force­ ful, jerky, unharmonious. Our understanding of the stylistic currents of this period benefits from a sealed deposit at Morgantina. Three types of standing women are represented in the Cittadella City Wall deposit (III E), all at interesting stages of development. There were two versions of type III. In 363 the inherited crystallized form has relaxed in harmonious move­ ment. The body asserts itself through motion, which the drapery closely reflects. The same sort of relaxation can be seen in the Morgantina version of type II (360), where the bulkier body is accentuated and the contours are softer than in the Syracusan counterpart. 8 1 The second type from the City Wall deposit is V, represented by 374a. This is a quiet variant of type IV, with the right arm akimbo; the himation flows

over the torso and arms in limpid

curves. In the same style are the standing gods 60 and Syracuse 66962 (pi. 145, fig. latest of the group from the Well Deposit. The fine

12), the

seated woman 447 may belong to the

period, perhaps rather early because of the angularity of the limbs and the carefully consid­ ered balance. The piece is related to type IV in the arrangement of the himation over the torso. At the end of the second quarter is type VI, which is not represented in the sealed deposits; here the simple himation is becoming a surface for nervous, graffitolike folds. The flowing

movement of 3 6 0 and 3 6 3 is perceptible in the latest Greek terracottas from

Akragas. Examples of types III and VI were found in houses of the third century; they should p r o b a b l y b e d a t e d before t h e R o m a n c a p t u r e o f t h e c i t y i n 2 6 2 . 8 2 The other stylistic current of the middle years of the century is exemplified by 3 6 5 . Here irregular contours and uncertain movement contribute to an odd sense of instability. Nascent torsion and hints of transparency in the lower himation make 365 a progenitor of the dynamic style of the second half of the century. Other examples of this style will be noted in the discussion of type III. The type VIII figure

3 8 8 is the most advanced member of the City Wall deposit. Am­

biguous movement is expressed in the coincidence of the free leg and the turn of the head, both in opposition to the movement of the drapery. The thigh presses actively against the himation; such tension precedes transparency, which is actually hinted at in the lower border of the himation. Kleiner has collected a group of terracottas that show these features—hints of transparency, tension in the relationship of drapery to body, and uncertain movement. Our piece accords with Kleiner's dating of these figures

to the mid-third century. 8 3 Type

VIII belongs to this group, as does VII in its latest phase (383-386).

EARLY-HELLENISTIC TERRACOTTAS The second half of the third century was a remarkably innovative period throughout the Hellenistic world, and the Sikeliote standing women reflect the same changes that are appa­ rent in the better-known products of the eastern workshops. There are few securely dated pieces; important are the tomb at Santa Flavia near Soloeis on the north coast (see pi. 146, fig. 14, 15) and the deposits of votives at Syracuse and Morgantina, in sanctuaries abandoned as a consequence of the Roman conquest. The most outstanding development is the trans­ formation of broken movement into torsion, an achievement which seems to draw on both of the currents prevalent at mid-century. The change can be seen in several Typenreihen, of which types IV and IX offer the best illustrations. The five draped women from the Santa Flavia tomb probably belong in the 230s. Two were mentioned by Kleiner and I have writ­ ten on the group as a whole. 84 Two figures belong to Syracusan types (pi. 146, figs. 14, 15) which are familiar at Morgantina (IV and IX); the others include another fragmentary Sikeliote piece, an example of W 11 52:11 (Tanagra influence), and a piece with parallels in southern Italy (Tarantine influence). The terracottas should all be attributed to the Syracusan shop. The two well-preserved Sikeliote figures interest us most here. The example of type IV (pi. 146, fig. 14) projects a more coordinated movement than is found at mid-century. The right arm thrusts forward, beyond the himation; the head is turned and tilted, following the movement of the right arm and the diagonal folds of the himation. There is little differentia­ tion between the materials of chiton and himation: the folds of the latter suggest a lighter fabric, more susceptible to sudden movement. 85 They are etched onto the surface and define the abdomen and thigh not so much by modeling as by linear description. Movement is enhanced even further in the example of type IX (pi. 146, fig. 15), where the left arm is now extended under the himation and the right arm in a sling seems to fly away from the breast. Such movement away from the central axis anticipates the centrifugal style of the second century; nevertheless, the central axis is still strongly felt, as can be seen in the three-quarter view. The twisted shoulders and head are governed by it. Type IX was proba­ bly created at mid-century as a vehicle for dynamic movement. The inherent possibilities of the type were quickly exploited. The finest of the surviving versions are the piece from Santa Flavia, Syracuse 27840 from Kentoripa, and 392 at Morgantina. 86 Real transparency appears for the first time in the last piece, which must be dated before 211 because of its presence in the North Sanctuary. This is not merely the pressure of single folds against the lower border of the himation, as seen in other examples of the type or in mid-third-century terracottas from Athens. 87 The chiton is clearly perceived through the himation up to the level of the knee, and there are further hints over the right thigh. Yet this is not the wholly organic relationship of himation and chiton seen in the Baker dancer. 88 The centrifugal movement of 392 is even more pronounced than in the Santa Flavia woman, and the piece is on the very edge of late-Hellenistic style. Any development beyond this must have been cut short by the Roman conquest. TYPE I (fig. c). The weight is to the right; the left arm is akimbo, the right lowered within the himation, which hangs from the left shoulder, falling in diagonal folds over the chest and weight leg, and exposing the chiton at the right breast. There is a single mold series, with two members at Morgantina (359) and one in the Well

EARLY-HELLENISTIC TERRACOTTAS Deposit at Syracuse. The Syracusan piece is 1 4 percent larger than those from Morgantina, a difference of one generation. 8 9 There are references to late-classical style in the placid bearing and the arrangement of the himation. Although the upper edge of the himation often falls below the breast in Syracusan and western terracottas, it is generally to permit the right arm to move freely away from the body; here the arm hangs somewhat limply within the himat­ ion. The motif may represent the influence of the standing gods (cf. 56-59). The hi­ mation is also pulled over the stable right leg, as in 56. The archetype for the series was thus transitional, combining elements of the formal local tradition with the new style introduced from the mainland in the last decades of the fourth century. The series should be dated not long after 300

TYPE II

B.C.

(fig. c).

The weight is to the left; the left arm is akimbo, the right drawn to the

breast within the himation, which is worn over the left shoulder and pulled in long curves from the free leg. The only other version of the type was found in the Well Deposit at Syracuse and is slightly smaller; the two pieces belong to different series. 9 0 The draped woman 360 belongs in the second quarter of the third century, probably in the decade of the 260s. The himation swells out in a broad curve over the prominent lower folds of the chiton, which flares

at the

bottom. The shoulders are full. The surfaces are covered with small parallel folds extending from the major points of tension, the right arm and the left hand. A later and more con­ s t r i c t e d e x a m p l e o f t h i s s t y l e i s t h e t y p e I V figure

369. The Syracusan counterpart (pi. 145,

fig. 13) is probably a decade earlier and may belong to the mold series of the first

version of

the type. The himation presses flat against the lower folds of the chiton, the right shoulder is higher and more angular, and the right foot is thrust back. The movement is more intense, the profiles jagged and forceful. The angular style of the Syracusan figure

is typical of the late

first quarter of the third century and survives until the late 270s; local examples of the style are 362 and 367.

TYPE III

(fig. c).

The weight is usually to the left. The figure

wears the high-girded chiton;

both arms are wrapped in the himation, which is worn as a shawl passing over the left shoul­ der and back but leaving much of the chiton in front exposed. The left arm akimbo holds the himation in place at the hip and the right draws it across the abdomen. The head is turned to the right.

Prototype: W II 71, Madchen in hochgegurteten Chiton. a. Morgantina 3 6 1 . b. Morgantina 3 6 2 (second quarter of third century). c. Morgantina 3 6 3 (late second quarter). d. Akragas 517 (before 262

B.C.).

e. Morgantina 3 6 5 (late second quarter). The type is also found at Kentoripa, Akragas (d), and, outside Sicily, at Kyrene. 9 1 Taking into account the ten versions from Morgantina, the distribution of type III indicates that it is Sicilian. The problem of dating depends on the examples from Morgantina, no less than

EARLY-HELLENISTIC TERRACOTTAS three of which were found in deposits of the second quarter of the third century ( 3 6 2 , 3 6 3 , 365)· The Syracusan coroplast who created type III was influenced by the type of the Madcben

in

hockgegiirteten Chiton (W 11 71), which must have been known to him as a Greek import. There are very few examples of the Greek type in Sicily (cf. 411-412). 9 2 Kleiner has dis­ cussed its history from pre-Tanagra fabrics to Grave A in Myrina, and Thompson has exam­ ined an early Attic version of the fourth century. 9 3 The Syracusan coroplast adapted the sub­ tle, quiet Greek figure

to his own more straightforward style, placing the right arm farther

across the abdomen and obscuring the vertical lines of the chiton, wherein lay the essence of the earlier type. The figure

is now enclosed within a balanced spiral by the draped arms; the

himation becomes a sheath that both conceals and exposes the chiton. The earliest versions of type III at Morgantina are represented by the mold series 3 6 1 and 362. There is an unusual crispness in the folds of the chiton under the breasts and in the himation as it is pulled across the right thigh. There the tension is expressed through broad surfaces and angular folds, which are typical of Syracusan style in the first century. The figure

quarter of the

361 seems a little earlier than 362; in the latter there is greater tension in

the himation and the lower edge at the right knee climbs straight to the hanging folds with­ out the more angular return of 361. The low cut of the chiton is characteristic of the early third century, appearing in one of the pieces from the Well Deposit at Syracuse (pi. 145, fig. 12) and in a fine Tarantine terracotta from a tomb at Herakleia, dated to the third century. 9 4 The series 362 is also dated by its presence in the sealed deposit in the N.S.A. The same style is seen in 58. Type III is represented in the slightly later Cittadella deposit (III E) by two interesting transitional pieces (363, 365). The example 363 is a copy in larger scale of a figure

similar to

361; complete, it would have reached ca. 36 cm. It shows more movement; the left arm is pushed farther back and the right leg and foot are drawn closer to the body; the shoulder is in consequence raised. The angularity of the second quarter has now relaxed somewhat. Even in the pitiful condition in which we see it today, 365 is very interesting. The movement is strangely stressed, the right hand fully crossing the abdomen and pulling the himation over the bent left knee. The head responds to the movement of the body, turned sharply down­ wards. In 363 the himation between the right knee and the hanging folds is tensed for no apparent reason; in 365 it responds to the chiton, hinting at transparency. The folds of the himation react to the strongly emphasized central column of the chiton; there is obvious cause and effect, but no pervasive relationship between outer and inner drapery. The piece is meant to be seen from the lefrside; the right arm and himation are thus forced on the viewer, a s i s t h e j a g g e d c o n t o u r o f t h e r i g h t flank.

The type is pushed to its limits in 365.

A comparable style is found in the mid-third century at Taras. A group of terracottas from tomb 52, Via Battisti, shows the same harsh contours and uncertain but dynamic move­ ment. 9 5 Also in the same style is a painted figure

on a Sikeliote lekanis from Kentoripa, in

the Metropolitan Museum. 9 6 She is seen from behind while sacrificing over an altar; the movement is complex and equivocal. Excellent mainland examples of this style are discussed by Kleiner. 9 7 Morgantina 365 is probably the earliest of this series of terracottas, which shows a development toward more fluid

contours but always with complex movement. The

EARLY-HELLENISTIC TERRACOTTAS

girl from Anzio, in the Museo delle Terme, is representative of the style in its later, more harmonious form. TYPE IV (fig. c). The figure's weight is to her left; the left arm is lowered, the right raised to the breast. The lowered left hand is wrapped in the right border of the himation, which has been drawn from the shoulder diagonally down across the right breast. This hand also secures the left edge of the himation which hangs from the shoulder. A portion of the chiton at the left breast is thus exposed. In the early versions the raised right hand is covered by the himation; in the later ones it is modeled in the round, as the arm swings farther over the breast. Prototype: W II 36. a. b. c. d. e.

Syracuse 49939, from tomb 11 (1942) Kentoripa; NSe (1947) 264(.; C A · 300-275. Sele Sanctuary, AttiMGrecia 6-7 (1965-66) 71, pi. xv:b; before ca. 250. Morgantina 367. Syracuse 27060, from Grammichele. Syracuse 57391, from Syracuse: same series as Catania MB 6009, from Kentoripa;

OpusRom 9 (1973) 91, figs. 9, 10. f. Judica Collection 2968, from Akria or Syracuse. g. Morgantina 369. h. Palermo 1032, from Soloeis; Langlotz, pi. 152; OpusRom 9 (1973) 87, fig. 1; third quarter of third century. Here pi. 146, fig. 14. I have described the type in detail elsewhere, and it will be sufficient here to summarize briefly the development.98 The model was a popular Tanagra figure (W 11 36:6), itself de­ rived from the sculptural type of the smaller woman from Herculaneum. The Sikeliote figures are liberated from the heavy drapery of the Tanagra original. The figure is unified by the light folds of the himation, descending diagonally from the left shoulder to the right ankle. The proportions are slimmer. Such differences are typical of the relationship of the early Sikeliote draped women to their Greek models. Twelve mold series of the type are known, six from Morgantina; two of these are well preserved (367, 369). The other members come from Kentoripa (as listed above, a, e), Syra­ cuse (e), Grammichele (d), Soloeis (h; pi. 146, fig. 14), and Akrai or Syracuse (f). The only member found beyond Sicily is a piece from the Sele sanctuary (b), and it consequently seems probable that the type is Sikeliote in origin; the finds point to the southeastern part of the island. A fine fragmentary versrorrfrom Syracuse (e) belongs to a mold series also known at Kentoripa; the dependence of the inland coroplasts on the metropolis is here apparent. In the early versions of type IV (a, b, c, d) the figure is quiet, the contours angular. These belong in the first quarter of the century, as is indicated by the early piece from Kentoripa (a). The right arm is covered by the himation, in which it rests as though in a sling (cf. 367). In later versions of the type (e, f, g, h) the right arm projects freely, thrusting through the himation; there is greater movement, which can conflict with the pattern of the drapery as in the piece from Soloeis (h; pi. 146, fig. 14), the most ambitious member of the type. The later group is dated by the appearance of a similarly dynamic figure on a painted vase from

EARLY-HELLENISTIC TERRACOTTAS Kentoripa, which belongs in the second quarter of the third century." The tension between body and drapery seen in the woman from SoIoeis has not reached a point of outright conflict. There is no transparency, and the calligraphic folds over the abdomen and thigh seem more mannered than intentionally dynamic. The predecessor of this style is the second version from Morgantina (g, 369). It can also be seen in the Leukon terracottas discussed by Kleiner, where the conflict between body and drapery is still incipient. 100 The Morgantina piece 369 is clearly earlier than the example from Soloeis; yet the narrow shoulders and thick waist, as well as the clinging, finely drawn folds make a date before mid-century unlikely. TYPE V (fig. c). The figure's weight is to her left. Her left arm is lowered and wrapped in the himation, as in type IV; her right arm is akimbo. The himation passes over the right shoulder and descends diagonally across the breast to the lowered left hand. Type V is found only at Morgantina and Kentoripa, at either site in a single mold series. That at Kentoripa has two members, one in Catania and the other from tomb 11 (1942), which also produced an early type IV figure (a, listed above, in the Typenreihe). 101 One firstgeneration member of the Morgantina series was found in the City Wall deposit of the 260s

(374»)· The mainland model for type V may be preserved in a piece in the Loeb Collection. 102 However, type V is quite similar to IV, the major difference being in the position of the right arm; given the rarity of similar mainland pieces, it is also possible that type V was derived independently from type IV. Early versions of both types were found together at Kentoripa; Syracusan archetypes are probable, and these should be attributed to the first quarter of the century, perhaps the decade 290-280. The Kentoripan series is older than the one at Morgantina by perhaps a decade. In the former there is less corporeality and the pose is quieter; the contours are more angular. The Morgantina series 374 is quiet and lyrical. Small catenary folds depending on the right arm and hand comment on the encircling lines of the himation, just as they assert the figure's corporeality. The figure is defined by contours that reflect the internal folds. Such unity of body and drapery is characteristic of the Syracusan shops in the second quarter of the third century, when the stiff poses of the previous decades were relaxed. Type V is probably somewhat later than the early versions of type III, where different solutions are achieved within the same framework of easy, balanced movement. TYPE VI (fig. c). The figure's weight is to the left; the left arm is lowered, the right akimbo, both within the himation, which covers the entire torso. The head is hooded in most versions and turned with the free leg. The type is found at Morgantina in six mold series, of which 375 with eighteen members is much the most important. All belong to the same generation. Type VI is also known in undated contexts at Selinous, Akragas, and Kentoripa; an example from Lilybaeum is in the Motya antiquarium and another in Paris is stylistically Sicilian. 103 There are apparently no non-Sicilian examples. Type VI is very similar to V: the himation is now merely pulled across the left breast and shoulder, the position of the arms being the same. The style of 375 suggests the second quarter of the third century. The figure is defined by a series of relaxed curves, both in pro-

EARLY-HELLENISTIC TERRACOTTAS files (left arm and right leg) and in the long folds of the himation, which fall from the full height of the figure.

The fullness of the lower himation over the weight leg and of the right

thigh are typical of the same period of slackened tensions. The elimination of the diagonal fold of the himation in types IV and V has, however, an odd effect. Instead of further accen­ tuating the corporeality of the figure,

as one might expect, the expanse of the himation be­

comes a surface on which small tension folds begin to appear. They are noticeable in the area of the right hand, with its mannered V-shaped catenaries, and also over the abdomen in the spaces unaffected by the long swinging folds. Even these are not so lyrically responsive to the body as in type V. Type VI is reminiscent of the Nikokleia of Knidos, whose himation be­ comes a field

TYPE VII

for play of unmotivated "irrational" folds. 1 0 4

(fig. c).

The himation is drawn over the left shoulder, covering all of the torso

and chiton. The left arm is akimbo; the right is bent at the elbow and raised under the himation, creating strong vertical folds which form the major accent of the drapery. Weight can be either to right or left.

Prototype : W II 15:7. a.

Naples 140113, from Kyme, tomb 22 6\

MonAnt 22 (1913), pi. 112:4; early third

century. b.

Gela 8838 \

ArchCl

c.

Butera, in Gela;

d.

Morgantina 3 8 1 .

e.

Morgantina 3 8 2 .

f.

9 (1957) pi. LVIII:2;N5V (i960) 173^, fig.

MonAnt 44 (1958) 663, fig.

13a.

287.

Akragas S. 803; before 262?

g.

Morgantina 3 8 3 .

h.

Syracuse s.n., from Kentoripa.

The Tanagra version of the type W 11 15:7 has been discussed by Kleiner. 1 0 5 It arrived in southern Italy at the end of the fourth century and had a large progeny. An early example comes from a tomb at Kyme of the early third century (a, above), and the oldest Sicilian versions from Gela are only a little later. One was found at Piano Notaro in a building de­ stroyed in the sack of Gela in 282 (b); the other comes from Butera in a less securely dated context (c). 1 0 6 All of these examples follow W 11 15:7 quite closely and the weight is always cη the left leg. Two examples at Morgantina exemplify this early form of type VII. Morgantina 3 8 1 and 382 c a n b e d a t e d t o t h e e a r l y s e c o n d q u a r t e r o f t h e t h i r d c e n t u r y a n d c a n b e c o m p a r e d t o 3 6 1 and 362 of type III, which are similarly balanced and composed. There are slight changes in our versions: the lower himation is more sharply vertical and the small catenaries have been eliminated. The himation is closer and tighter; its physical adherence to the mass of the body is emphasized by the lower hem, which falls away to either side of the vertical folds. This more elongated and compact version appears to have supplanted the older form of W 11 15:7 in Sicily, probably in the second quarter. In the creative period beginning in the mid-third century, the weight shifts to the right

EARLY-HELLENISTIC TERRACOTTAS leg. The new version was popular at Morgantina, where it is found in four series (383-386); 383 is best preserved. Instead of the counterbalance of left arm akimbo and right free leg, the new variant is characterized by inchoate movement and tension between body and drapery. In the early form the verticality of the himation arbitrated between the implied movement of left arm and right leg; stability and poise were obtained not only by the chiasmus of the pose but also by the drapery. In the later version the vertical folds restrain the movement of the figure to the left by forming a counterweight to the free leg. The right leg, thrust forward at the thigh, breaks through the surface of the himation. No longer are there the fluid profiles of the second quarter. The treatment of the surfaces of the drapery recalls 375, especially in the nervous folds responding to the motion of the right hand of 383; the relationship of the free right leg to the himation is similar to type VIII (388). The date must be after midcentury. One of the unusual features of the Sikeliote descendants of W IL 15:7 is the contour of the lower himation, which is pulled to an angular peak by the action of the right hand. The sense of the chiton as a kind of sheath is enhanced. This motif is not found in the Tanagra pro­ totype but recurs in several Sikeliote terracottas of the same or related types. 107 Its first ap­ pearance is probably in the second quarter of the century, in such pieces as 381 and 382, and it is retained in 383. The last piece, where the left leg is free, recalls relief figures on the Ptolemaic faience oinochoai that are assigned by Thompson to the late third century; the free left leg is a consistent motif on the oinochoai. 108 Similarities with the faience queens are also seen in type VIII and 430; they suggest contacts of Hieronian Syracuse with Alexandria. Type VII with the weight leg to the right is common elsewhere in Sicily. A version quite similar to 383-385 is known at Kentoripa (h); other examples are in the Motya antiquarium from Lilybaeum, in a free style perhaps depending on Kentoripa, and in Syracuse, from Adrano. 109 A headless version with strongly emphasized left leg comes from Akragas (f); with its flaring base, thin tense arms, and pronounced swing, the piece should belong in the middle of the century, perhaps just before the capture of the city by the Carthaginians in 254. Beyond Sicily the later version of type VII is known only at Lokroi, where there is other evidence of Sicilian influence in the later third century. 110 TYPE VIII (fig. c). The figure's weight is to the right. The himation covers the torso and arms and is worn as a hood. The left arm is raised to the breast, the right lowered. The head is turned with the free leg, the drapery pulled over the weight leg. Type VIII appears only at Morgantina and Kentoripa. Its style and similarities with other types (I, VII, IX) indicate a Syracusan archetype. At Morgantina it is represented by three mold series, 388 being the most important. The piece from Kentoripa belongs to the same series and was found in a tomb of the second half of the third century. 111 The small size is found in other Syracusan terracottas (cf. 397, 430). The type seems well adapted to a small scale and there may have been no larger versions. Our figure is dated by its inclusion in the City Wall deposit of the mid-third century. A similar distribution of weight and the same uncertain movement are found in Type I, which, however, combines these elements in the style of the early third century. Type VIII

EARLY-HELLENISTIC TERRACOTTAS seems to revive older formulae, refashioning them in contemporary style. There is now thus a hint of transparent drapery in the himation near the left knee; though there is a fairly strong sense of movement, it is expressed ambiguously. Thus the free left leg and the raising of the left arm coincide with the turning and tilting of the head to the left, while this movement is expressed in the himation by long folds descending from the stable right side. A lack of balance between the dynamic left side and the passive right is the result. The type is reminis­ cent of representations on Ptolemaic faience oinochoai, where the left free leg also commonly moves against the himation. The tense folds of 388 recur in oinochoai dated by Thompson to the reign of Berenike II (246-222).112 The unresolved tensions of 388 are transformed in the later versions of type IX (cf. 392), where the position of the arms is reversed and the relation­ ship of body to drapery is more unified. Type VIII seems an almost experimental attempt in the middle years of the third century to renew and recreate an older form. TYPE IX (fig. c).

The figure's weight is on her left leg. The right arm is raised to the breast

under the himation; the left is lowered. In most versions the head is hooded, so that the himation is pulled up over the left shoulder; the type is otherwise quite similar to IV. Syracuse

32392,

from Kentoripa.

b. Syracuse century.

a.

49981,

from Kentoripa, tomb

c.

Palermo

3925,

Syracuse

27840,

d.

31 (1942);

NSc

(1947) 277;

mid-third

from Kentoripa. from Kentoripa, tomb

37;

second half of third century; OpusRom 9

(1973) 93> % · 13·

e.

Palermo

1033,

from Soloeis, Santa Flavia tomb; OpusRom 9

p i . x i x ; third quarter o f t h i r d century. H e r e p i .

146,

f. Morgantina 3 9 2 ; before 211. g. Taranto s.n., from the tomb at S. Francesco di Paola

fig.

(1973) 87,

fig.

2;

Langlotz,

15.

(17.12. 1909);

mid-second

century. There are four mold series at Morgantina (391*394), one at Syracuse, and no fewer than ten at Kentoripa.1'3 The type was also used beyond Sicily: two versions come from the Kyrenaika, one each from Taras, Kroton, and Lokroi.114 It appears to have been created at mid-century; the earliest pieces have been found at Kentoripa (a, b). There is no Tanagra model; the new type may instead have been derived from type IV. The development of type IX has been discussed by me elsewhere, and a brief summary will suffice here.115 The finest versions come from Kentoripa (d), Soloeis (e), and Morgantina (392). In the first the left arm is extended, pulling the himation across the torso and causing it to react to the folds of the chiton. There is greater tension between body and drapery and the movement is also more complex. The extraordinary piece from the Santa Flavia tomb (pi. 146, fig. 15) is probably somewhat later. There is only a hint of transparency in the lower himation. The base of the figure has been broadened to enhance possibilities for movement; the left arm thrusts outwards, balancing the trailing right leg, and the head is turned and tilted to the right. The inarticulate torsion of the type IV figure from the same tomb is here

EARLY-HELLENISTIC TERRACOTTAS expressed with open vigor. These features appear in yet more open form in 392 at Morgantina, which probably belongs in the last quarter. Here is outright torsion, transparent drap­ ery in the lower himation, and pyramidal composition. The piece stands at the watershed of late-Hellenistic style; it can hardly have been dedicated in the North Sanctuary much earlier than the Roman sack of 211. Late-Hellenistic style can be seen in an unpublished version of the type from a tomb at Taras of the mid-second century. 116 Here the concept of type is no longer of importance, for the figure has become a dancer with fully transparent drapery. One of the unusual features of type IX is the fringed himation, which occurs in most versions (cf. 391, 392, 394). The consistency with which the detail was repeated in examples of the type over a long period is striking, and one is led to wonder if type IX was not named for this detail. A similar fringe recurs in the Baker dancer, who is related formally to type IX.117 TYPE X (fig. c). The figure's weight is on her left leg. She lifts her right foot in order to adjust the sandal with her right hand; her left arm was extended for balance and support. The himation is worn over the left shoulder, falling in a heavy roll under the right breast in order to free the right arm. Two variations of the draped woman who adjusts a sandal are found in the west, one with the right, the other with the left foot raised. 118 In both cases the sandal is adjusted by the right hand. Type X with the right foot raised is earlier. Its immediate inspiration may have been the Aphrodite adjusting a sandal 228, a work of Syracusan style of the early third cen­ tury. Example 396 is the finest version of type X at Morgantina and belongs in the first half of the century. The drapery is modeled in the broad simple strokes of Syracusan style, nota­ bly in the hanging folds at the right leg and the flat surfaces of the right thigh as revealed through the himation. The balance of the figure is subtly achieved. Her gaze is directed toward the extended left arm, away from the action of her lowered hand; equilibrium is es­ tablished by the central axis of the left leg, which receives the figure's weight. The neu­ tralized movement of 396 is also seen in early type III figures (cf. 36if.). A related piece comes from Kentoripa. 119 The lowered left hand here crosses the body and the shoulders are tilted to the right; the resulting awkward stance suggests a later date, in the second half of the century. In Magna Graecia similar pieces are known at Herakleia and Taras. 120 Another example of probable south-Italian origin is in Madrid. 121 All of these are less stable than 396; in none of them is the left arm extended, so that the necessities of balance twist the torso to the right, setting the shoulders and neck at an uncomfortable angle. The other type of sandalbinder with the left foot raised was especially beloved at Kentoripa. To the five examples listed by Winter (W 11 207:5) five more can be added. 122 There are variations in ponderation but the group is united by the common motif of the right hand crossing the front of the body to adjust the sandal of the left foot. The left hand is raised to provide balance. The type is dated by its predominance in the tombs of Kentoripa of the late third or early second century. Parallel to the draped sandalbinders are the better known nude types. 123 These are repre-

EARLY-HELLENISTIC TERRACOTTAS

sented at Morgantina by the fragmentary pieces 229^; better preserved examples have been found elsewhere in Sicily. 124 The nude sandalbinder is commonly considered to be a lateHellenistic creation, but of importance for the dating of the type is an example in Taranto from a tomb that contained a red-figure pyxis lid of the mid-fourth century, as well as a late red-figure oinochoe. 125 Although the nude figure generally raises the left leg, there is also an example from Taras where the right leg is raised. 126 The discovery of such early examples of the nude type may mean that they were the ultimate models for the half-draped Aphrodite 228 or for type X. The possibility of Tarantine influence at Syracuse in the late fourth cen­ tury cannot be excluded. 127

7. Dancers Most of the dancing women from Morgantina are mantle dancers; the only exception is the late-Hellenistic Phrygian dancer 463. The best-preserved group (454-459) belongs to the third century. Several pieces were found in sanctuaries (454-456), and these remind us of the frequent association of mantle dancers with Greek cults. 128 The presence of musicians among the votives in the Morgantina sanctuaries (253, 258, 260, 264, 469) suggests that music and dance may have played a part in the rituals of Demeter and Persephone; thus an ecstatic dancing figure can appear on a painted bust of the daughter from Syracuse. 129 The Morgantina dancers form a homogeneous group. The examples 454-456 utilize essen­ tially the same pose, with the right arm lowered and the left akimbo; the figure steps forward in a stylized movement, for which there are antecedents in mainland terracottas of the second half of the third century. Dancer 454 is closest to type VIII (cf. 388); 456 suggests the period of type IX, the most dynamic of the draped women, and is not unlike the Baker dancer despite the one-sided conception. 130 These figures are all less flamboyant than the large group of dancers with wildly swirling drapery, found at Syracuse, Kentoripa, and Taras in the later third and early second centuries. 131 Rather poor and very fragmentary examples of such figures are 460-462. The most unusual of the Morgantina dancers is 458, a small piece which may be a Syracusan import; the clay is not local. Like 456 she was intended to be seen only from the right side. Terracotta versions of similar though not identical types are known from mainland sites, 132 but the closest parallel for 458 is a work of major sculpture, the so-called Polyhymnia. 133 The earliest dated appearances of the sculptural version are on the relief of Archelaos and the round base from Halikarnassos, both of the second half of the second cen­ tury. 134 The Polyhymnia is characterized by the fully transparent drapery and flatness of late-Hellenistic style. There are major differences between the Muse and the terracotta: 458 does not lean on a rocky outcropping but is a dancer, with her arms raised to her neck within the himation; nor is there any transparency in the drapery. Yet the similarities—the side view from the right, the arrangement of the himation, the trailing left foot, and the raised right arm—are quite striking. As the date of the terracotta in the third century is more or less assured by context, it must be considerably older than the Polyhymnia, perhaps by as much as a century. It is tempting then to conclude that the late-Hellenistic sculptor drew his inspi-

EARLY-HELLENISTIC TERRACOTTAS

ration for the pose of the Muse from an earlier dancing woman of terracotta or bronze. We should like to know more about the provenance of 458, which is not a typical product of the Syracusan shops in the third century.

8.

Female Heads of the Third Century

As the isolated early-Hellenistic female heads are classified in the catalogue by diverse criteria of costume or hairstyle, it may be useful to outline briefly the general stylistic development. Only a few heads belong in the late fourth century. The blocky inexpressive faces and im­ pressionistic hair of 579, 580, 594, and 607 recall Geloan work of the period.135 But the great majority of the heads belong in the third century and were once attached to the stand­ ing draped women of Tanagra derivation. The influence of Praxiteles is strongly felt in the early third century (359, 484-490, 535*538, 614-620). The nose is generally long, the eyes and mouth small; the shape of the face is a full oval. Praxitelean influence is also seen in the contemporary group of standing gods. 136 None of these heads comes from a dated context, but because of its late-classical drapery 359 must belong close to 300. The full face and thick fluffy hair are typical of the period. Heads of this type were used for standing draped women throughout the first half of the third century. The earliest is probably 359; essentially similar (though sometimes weaker) examples appear on types II (360), III (361, 502), IV (369), V ( 3 7 4 a , b ) , and X ( 3 9 6 ) . In the second quarter the Praxitelean face appears to give way to a broader facial type; the nose is shorter and the breadth of the face at the eyes is stressed. The finest of these is the lovely Syracusan head 516; others include 508-520 and 626-632. The earliest phase of this group is dated at Morgantina by the presence of a head in the North Sanctuary Annex deposit of the 260s (631); most of the members are probably later. Several of these broader faces are almost fleshy, as though the canon of beauty is approaching the Rubensian ( 5 8 5 , 6 1 3 , 6 2 6 , 6 3 0 ; cf. also 1 6 3 , 2 8 0 , and 2 8 1 ) . 1 3 7 The broad, full facial type is found throughout the Hellenistic world in the second half of the third century and the Sikeliote examples are merely regional reflections of a widespread fashion. Thompson has suggested that the plump faces of the period may have been influ­ enced by Ptolemaic court fashions, and, indeed, we find a face of this type in the portraits of Berenike II. 138 But Philistis, wife of Hieron II of Syracuse, has a similar fullness in her pro­ file coin portraits, and such broad fleshy faces are also common in Magna Graecia.139 The type seems common to the Hellenistic koine; the Morgantina head 631 stands as an early dated example. The expressiveness of some of the Sikeliote heads deserves comment. An open mouth and soft yet crisp modeling give 544 and 545 particular vivacity; both heads belong in the first half of the century, probably in the first quarter. Similar features are shared by the goddesses 278-280. Expressive features are more frequent later: the Persephone 198 is amused, almost supercilious (cf. 560), and several of the hooded heads have considerable pathos (626, 629, 630; cf. also 585). Some heads seem about to speak (561, 557); others are merely more alert than their dreamy ancestors ( 3 8 3 , 6 1 9 ) .

EARLY-HELLENISTIC TERRACOTTAS HEADS WITH KNIDIAN COIFFURE.

The arrangement of the hair is that of the Knidia of

Praxiteles; the designation is D. B. Thompson's, who has discussed several Hellenistic coif­ fures in her study of the Troy figurines.140

The thick hair is center-parted, swept back from

the temples, and tied in a low, loose knot (cf. 359, 396). This is the simplest of the Hellenis­ tic hairstyles and is found at Morgantina from the late fourth century (359) to the first

(cf.

members of the Catania Group, 23iff.). The Knidian coiffure becomes a virtual formula for the Syracusan coroplasts (cf. 502, 514, 515) and there is little development in the course of the third century.

HEADS WITH MELON COIFFURE.

There are no Sikeliote examples of the early form of the

melon coiffure, which appears in Attic art of the third quarter of the fourth century. 141 In this coiffure the hair is divided into flat narrow waves, braided, and then wound around the head. The first

hints of the melon coiffure are found in the terracottas from the Costa Zam-

pogna tomb at Gela and the tomb at Troina, where what is essentially a Knidian coiffure is divided into six or so segments by deep incisions. 142 At Morgantina, heads closest to this type are 579 and 580; neither may be quite so early. The heads with melon coiffure at Morgantina fall generally into two large groupings, as at Troy. 143 The early heads are Praxitelean in style (535-538). The thick fluffy

hair is divided

into six or eight waves and tied in a low knot; in one or two cases the knot is a bun, higher and broader, bound with a fillet

(542^). Heads in this style continue into the mid-third

century (550-554). Unfortunately none of these is attached to a body. The broad plump face of 537 must belong near mid-century. This type of melon coiffure is found on many Tanagra figures

and occurs in early-third-century contexts at Gela. 144 A Geloan head of this type has

been found at Morgantina (544). The second type of melon coiffure has a greater number of strands, which are pulled tightly against the head and tied in a higher, usually smaller knot (557ff.). This coiffure appears in major sculpture of the last quarter of the fourth century but does not emerge in the minor arts until somewhat later. 145 In the west early terracotta examples are known at Mor­ gantina (145) and Taras.146 The gold half-stater o f Pyrrhos o f ca. 2 7 8 - 2 7 6 (pi. 1 5 0 , fig. 2 8 ) is a helpful fixed

point for the terracottas: the bust 145 is earlier because of the late-classical

facial features, but 146 (from a deposit of the second quarter) has the same fullness in the chin and eyes. 147 Heads 147 and 148 are probably contemporary; 149 with tighter waves and an oddly expressive, secular face is obviously later. The small head 575 comes from a mid-century context; similar but finer

are the heads 567-574. 148

The treatment of the melon coiffure in the second half of the third century runs parallel to developments in drapery. There is an ever greater sense of tension, rendered both by the tightness of the strands and the nervous linear treatment of the surface. At Morgantina such heads include the interesting Persephone 198 as well as 560-567; cf. also 55off. This taut, mannered hairstyle appears elsewhere in the second half of the century; there are good exam­ ples from the Santa Flavia tomb and others from Taras. 149 Terracottas with this version of the melon coiffure are not found at Gela and appear to have become popular after the destruc­ tion of that city in 282. The most elaborate form of the melon coiffure at Morgantina occurs on the head 585; here are eighteen waves, braided and wound around the head in lieu of a

EARLY-HELLENISTIC TERRACOTTAS diadem. The arrangement of the braided tresses is found in the fourth century but the broad puffy face puts 585 in the second half of the third century. 150 A small group of heads illustrates a simple coiffure that seems almost a composite of the Knidian and melon styles. In 594-605 the hair is pulled back tightly and, except in 594, tied in a high knot. The earliest is late fourth century; the others extend from the beginning to the end of the third.

HEADS WITH BOW KNOT. period 400-325 (cf.

The bow knot is derived from the lampadion popular in the

606). 151

The few examples from Morgantina include an early version of

Syracusan clay (607), clearly derived from the lampadion, and several late-Hellenistic heads (608-611). This coiffure appears to have had little popularity in Sicily in the third cen1 52 tury.

HOODED HEADS.

The group of hooded heads includes several of striking quality (613,

6i8f., 629); they belong to the large group of standing women who wear the himation over the top of the head (cf. 375, 383, 392, 427^). In 645^, as in 545, the himation is pulled tightly across the chin; 644 wears a face veil of a type with Alexandrian associations. 153 A veiled dancer of the later fourth century comes from Gela; 644 is later, closer to the Baker dancer, who wears a similar veil. 154

HEADS WITH STEPHANE.

Heads wearing the stephane are for the most part late Hellenis­

tic. Some are earlier, however, as is indicated by the context of the Persephone 194 and the heads 649 and 651. The low crescent stephane is worn by Arsinoe II in portrait coins issued after her death in 272, and by Berenike II in both coins and representations on the faience oinochoai. 155 As Thompson has noted, the stephane becomes more frequent in the faience representations of the Philopator period and later; on coins its size is generally quite small because of the limitations of space. 156 The third century examples from Morgantina include 649-652, as well as the unidentified goddesses 28if., and the Persephone 194. On all of these heads the stephane is fairly low and undecorated; on 194 and 651 it rises from a round molding, perhaps a rolled fillet.

The heads 715^ wear higher stephanai; if they are correctly

identified as portraits of Philistis, it follows that the high stephane was also known in the third century. That of 715 has a sketchily incised molding at its top. 157

9. Actors and Masks Morgantina possessed a theater in the third century and may have had one earlier; the pre­ ponderance of comic subjects in the dramatic terracottas suggests what sort of plays were popular. 158 Aside from a few tragic masks (770-776), the terracottas consist of comic actors and masks. Whenever possible their types have been identified in the catalogue entries, and correspondences with Pollux's list of comic masks have been drawn. The comic actors from Morgantina are mostly descendants of late-classical Attic types associated with Middle Com­ edy. They supplement the large group from Lipari, 159 of the fourth century, and the smaller and slightly later one from Fontana Calda at Butera. 160 The earliest of the actors are 742f.,

EARLY-HELLENISTIC TERRACOTTAS

from a tomb of ca. 300 (see S 8). Most of the others were found in sanctuaries and residential areas that saw their greatest activity during the third century; many were found in or near the south corridor of the North Sanctuary, where the finds appear to belong to the last years before the sack of 21 1 B.C. 161 The Morgantina actors indicate that the familiar late-classical types remained popular throughout the third century. The actors are shown wearing their masks, so that when the head survives one can usually recognize the character or role. They include several slaves (720-722, 724-727, probably 732-735), old men (718, 719, probably 736f., 739), a parasite (729), and possibly a Herakles (738). Among the recognizable female characters are a pseudo-kore (743) and a bride (742). Male subjects wear padded tights, simulating nudity (cf. 735, where wrinkles are visible at the crotch); some but not all have the attached phallos (7i8f., 734, 736, 738).162 A short tunic or chitoniskos, and possibly a himation, complete the costume (cf. 720, 722, 723). Female subjects wear a himation over the padded chiton (cf. 742, 743). With one or two exceptions (740, 749^), the actors are made with a single front mold, are solid, and stand on a low base. Although many of the actors are derived from Attic prototypes that illustrated the stock roles of Middle Comedy, in early-Hellenistic Morgantina they were probably thought of as phlyakes, characters from the ancient local comedy of Magna Graecia.163 Webster has shown that the dramatic iconography of Athens was very influential in the west.164 The vase paint­ ers of Sikeliote phlyax scenes sometimes remembered the Middle Comedy coroplastic types when they came to draw this or that figure; the bride 742 and the old men (?) 732f. appear on the Lentini calyx krater in only slightly altered form, and the standing actor 738 with crossed legs can be seen in mirror reversal on a vase from the same group from Manfria.165 The appearance of such types in phlyax scenes suggests that the later terracottas had an anal­ ogous meaning. But some of the actors have no Attic prototypes (752^), and these are prob­ ably derived directly from phlyax comedy. The phlyax tradition is best known in the vase paintings of the fourth century, but in the early third century Rhinthon of Syracuse was writing hilarotragoidiai and the old comic tradition probably remained lively. It was during this period that several Sicilian cities and towns constructed new theaters, and these indicate the continued popularity of dramatic performances. The Papposilenoi 754-763 and 768f. are contemporary with the actors. The open mouths of 758-764 mean that masks are worn, but even so, most of these figures are probably not actors.166 Only 754f. wear the wooly tights of the theater; these may be actors in satyr plays, or satyrs from comedy. The other Papposilenoi are dressed in himation and chiton, and prob­ ably signify only the continuing association of Dionysos with the theater.167 The figure 768 is a larger, flute-playing Silenos from the North Sanctuary; there is a close parallel from Gela. The relationship of such large figures to the theater seems even more remote. The only masks that correspond to those worn by phlyax actors are the cook 777 and the leading slave 778; these are derived from Middle Comedy. The rest of the comic masks be­ long to the types of New Comedy, which have been recognized from the descriptions of Pollux.168 A few of these have secure early-Hellenistic dates; they include the fine miniature kore 793, found in the altar room of the North Sanctuary—apparently dedicated there to another Kore; the youth 781, and the fragments 805, 809, 810, and 8i4f. Some of the other

EARLY-HELLENISTIC TERRACOTTAS

New Comedy masks may belong to the third century, but dating them is difficult because the types survived with few or no changes into the late-Hellenistic period.169 Mask 779 is a fragment of a fine leading slave; the fabric is Syracusan. Mask 780, one of the most expres­ sive, is also Syracusan; the subject may be the Sicilian parasite. The only actor from New Comedy at Morgantina is 730, also a parasite. Three excellent masks belong in the first cen­ tury: the youth 782, the old man 785, and the parasite (?) 788; the kore 794 and the frag­ ment 799 may also belong to this group. These pieces have a thin, hard fabric similar but not identical to that of Magenta Ware. Of the female roles, the hetaira 795 and the young woman 796 may be early Hellenistic; the fragments 797f. are later. The tragic masks from Morgantina form a random grouping. There are two interesting but sadly fragmentary masks from the North Sanctuary which seem to represent the mad Herakles (774^). The three miniatures 770-772 are late Hellenistic, as is the bland and neoclassical young woman 773. All of the tragic masks have the high onkos; 773 also wears a wreath.

Notes 1. Kraay-Hirmer, no. 135( , pi. 48, Grose, MtClean Coll., nos 2834-36, pi. 102:1-3, on the earlier tetradrachm of Agathokles, supra, chapter 2, n. 46. 2. Kraay-Hirmer, no. 130, pi. 46; for the bronze Ar­ temis Soteira, Grose, McClean Coll. , nos. 2848-60, pi. 103.4-7; on the low dating of the electrum coin, infra, n. 28. 3. ArcbCl 9 ( 1 9 5 7 ) 153ff. 4. "Tipologia e cronologia del matenale archeologico di Gela dalla nuova fondazione di Timoleonte all'eta di Ierone II," ArehCl 9 (1957) 44-75. !53-735. A piece from Herakleia Minoa may be an import; OpusRom 9 (1973) 89, fig. 7. It is of course possible that imports arrived earlier, in the Timoleontic period, but if so their subversive effects are not noticeable at the time. 6. On the Costa Zampogna tomb, NSe (1956) 337-43, fig. 6 7. Adamesteanu, Butera, 236(., figs. 16-19. Other early versions of W Il 36:1 come from Herakleia Minoa (supra, n. 5) and Selinous (unpublished). 8 . NSe (1961) 307ff., figs. 27-29. 9. Trendall, LCS, 607, no. 135a, last quarter of the fourth century. 10. The second piece has a counterpart in the British Museum Walters, BM Cat., C 202, pi. XXXII : the type was the point of departure for a late and unusual member of the Artemis Group at Scornavacche, Kokalos 4 (1958) pi. 40, fig. 16. 11. In addition to the finds from the tombs, there are a few small-scale draped women that appear to be early. They fall into two groups, one made up of pieces closely imitating early mainland types in the vortanagraische style, the other of local variations on the first group. Kleiner (25f., 273, n. *7) has cited three pieces from the first group as evidence for the spread of Tanagra figures in the third quarter of the fourth century, as a result of the Timoleontic resettlement. All were published by Kekule

(pi. xxix: i, Naples 20989, from Syracuse = Levi, Napoh TC, no. 798, type W 11 14:2, 4d; pi. xxix:2, a piece in Catania from Kentoripa, type W 11 41:11; pi. xxix:3, a lost piece, type W π 23:1). Kekule, pi. xxxvil:i, also cited by Kleiner, almost certainly belongs in the third century. To this group should be added a version of W Il 15:5 in Catania, inv. 6008. As all of these belong on stylis­ tic grounds in the third quarter of the fourth century, they raise the question of whether the Tanagra style arrived in Sicily considerably earlier than the very end of the century, as proposed above. Arguments against Kleiner include the following, none of the stylistically early pieces has a correspondingly early context, none has been found in any of the Timoleontic sites that have been excavated since the early 1950s, and none was made in a mold of an early gen­ eration. We must then ask if the pieces of early style may not in fact be products of the later period, perhaps of the early third century. Some of them may be revivals of earlier mold series, but in the absence of archaeological evidence it would be risky to assert that these series were known in Sic­ ily in the period indicated by their style. Pieces of early style could easily have arrived in Sicily long after they were popular on the mainland, mold series often have long lives. The second group—that of early derivative figures—is re­ ally more interesting, but unfortunately none of the exam­ ples has been published. Several small slender draped women from Montagna di Marzo, in a private collection in Catania, and from Selinous, in Palermo, are closest to the "concave" woman from the Costa Zampogna tomb at Gela; the small scale and delicate style indicate the period around 300. Both of these groups deserve more attention than they have received. 12. On the large Megara Group figures, supra, chapter 2, n. 75. 13. Infra, section 5. 14. Polyb. ι. 19.15, Livy 26.40.13. On Akragas in the third century, de Waele, Aeragas, 143((.

70

52 EARLY-HELLENISTIC TERRACOTTAS 15. On the final abandonment of Selinous, I. Marconi-Bovio, Kokalos 3 ( 1 9 5 7 ) 70-78. 16. For one of these deposits, infra, n. 2 3 . 17. E. Sjoqvist, ANSMN 9 ( i 9 6 0 ) 5 3 - 6 3 , esp. 58ff., D. White, GRBS 5 (1964) 27off. 18. Infra, chapter 4. 19- On the type of the Florence Kore, Kabus Jahn, 1-22, B. Ashmole.JHS 7 1 ( 1 9 5 1 ) 25ff. 20. Diepolder, pi. 54 21. Kraay-Hirmer, no. i 3 5 f . , pi. 48. 22. Breitenstein, Copenhagen TC, no. 456, pi. 56. 23- On this deposit, G. Voza, Kokalos 1 4 - 1 5 (1968-69) 363ff. The provenance of the standing gods in sanctuary deposits such as this one, and not in tombs, explains why only a few examples had been known in the past, and why so many are poorly preserved. 24. Syracuse 66960, unpublished. 25. Rizzo, Prassitele, pi. LXIII. 26. M. I. Rostovtzeff, Social and Economic History of the Hellenistic World (Oxford, 1 9 4 1 ) 1, 1 6 2 , pi. XX. 27. Head, HN2, 1 8 2 , Grose, McClean Coll., 340, nos. 2848-60, pi. 1 0 3 : 3 - 6 . 28. Head, HN2, 1 7 8 , fig. 1 0 2 ; Kraay-Hirmer, no. 1 3 0 , pi. 46. On the lower dating, G . K. Jenkins, in Robinson Essays, 14 5 ff.; for a summary of Jenkins's arguments, C. M. Kraay, Greek Coins and History (London, 1969) 3ff. 29- PH 26.0, unpublished. 30. Bieber 2 , fig. 5 1 6 . 31. On such necklines, infra, text at n. 94. 32. Syracuse 66966, from the Well Deposit. Similar drapery is seen in another fragment, Syracuse 5 2 3 2 0 , PH. 21.1. 33. For such knots of drapery, Kabus Jahn, 3, 30; Neutsch, 38f., pi. 22 (Heidelberg T K 92); Kleiner, pi. 22a (BM C 295); ArchCl 9 ( 1 9 5 7 ) pi- LXIH:2 (late fourth century, Gela); and Morgantina 4 1 8 . 34. D. B . Thompson, Hesperia 28 ( 1 9 5 9 ) 1 4 5 ; idem, Troy TC, 35. 35. Supra, n. 19, and text. 36. Kleiner, 145; also I47f. Bieber 2 , fig 2 2 4 , 5 1 7 . 37. Syracuse 66962, Voza, Sicilia, fig. 1 0 0 38. Kleiner, i9f. 39- The limestone woman from Morgantina is provisionally published in PR I, pi. 60, fig. 3 2 . 40. Gela 1 2 6 0 6 , ArchCl 9 ( 1 9 5 7 ) pi. LVIII:2, center, also NSc (i960) 1 7 4 , fig. 13c. Unpublished finds include a fragmentary figure related to 60 and 61 but with delicate drapery in the Tanagra style (Gela 1 2 6 0 8 , PH. 16.5), two back molds for figures possibly similar to 58 (Gela 2 5 6 2 4 , H. 2 6 . 5 , without head, 2 5 7 2 5 , fragmentary), and a large figure with crude drapery in the assertive manner of the late fourth century (Gela 2 3 2 3 3 , PH. 2 7 . 3 , without head) 41. The only other related Sikehote figures are from Kentonpa, of the later third century; they include a small figure in the Museo Pepoli at Trapani (inv. 4021, H. 22.0) and one in Catania that may be as late as the second century (MB 5860, PH. 2 3 . 0 , Kekule, pi. XXXVII:3 = W 11 68:5; head is no longer attached). 42. Cf. Langlotz, pi. 1 4 3 , left (Taranto 52053); id., pi.

1 4 3 , right, also Taranto 20097, from a tomb of the second half of the century. All of these belong in the third century. 43 Neutsch, pi. 22 (Heidelberg T K 92, H. 10.8), Higgins, GTC, pi 43:E (BM C 304), Koster, pi 32 (Berlin T K 7 7 0 1 ) , W 11 60.4, W 11 62 8, and W 11 64: 1, 3. Cf. also the woman from the Nile Delta, supra, n. 26. 4 4 . Thompson, Hesperia 31 (1962) 250. 45. Knidos. W 1 1 63.4 Priene. Wiegand-Schrader, Priene, 1 58, Abb. 1 28. 4 6 . Higgins, Knossos TC, 76, no 1 3 6 , pi. 51; Laumonier, Delos TC, nos 286-88, pi. 29, no 3 0 1 , pi. 3i4 7 . The jiieces from Heloros and Syracuse are not published, see catalogue entry 6 8 . 4 8 . Supra, chapter 2, section 3. 49. Modeled protomes had been made in Sicily in the early fifth century, but there was no continuous local tradition. Such protomes occur elsewhere in the fourth century, see Olynthos IV, pi. 3 1 , nos. 331 f , ibid, vii, pi. 1 7 , no 145 (nude busts), Hesperia 11 ( 1 9 4 2 ) pi. XVI, no. iv-a2 1 , 2 2 (Halae, dated 3 5 0 - 3 3 5 ) . The melon coiffure should put the second piece at the end of the fourth century. Cf. also Higgins, Knossos TC, 84, no. 206, pi. 57; Ergon ( 1 9 6 2 ) 1 5 1 , figs. 1 7 8 - 8 1 (Ehs). 50. For the Tarantine heads, Poulsen, Ny Carlsberg TC, no. 84, pi. XLVI, for the figure from the Nile Delta, supra, n. 26. 51. On the Konnna, Overbeck, 1 3 5 7 , Bieber 2 , figs. 1 2 0 - 2 2 ; H. von Hemtze, Das Bildnis von Sappho (Mainz and Berlin, 1966) pis 11-15, with a larger version of the head, in the Vatican, see also Kabus Jahn, iff. 52 Cic.Verr. 2 . 4 . 5 7 . 1 2 5 - 7 , Overbeck, 1355f• 53. Schmidt,Jdl 47 ( 1 9 3 2 ) 239ff., esp. 263ff. Picard, Manuel III, 2, 7 9 i f . , especially 794, n. 2; von Heintze, op. cit., i4ff., who attributes the draped bronze from the Peiraeus to Silanion, in this case the Syracusan version was a copy. For a dating of the Korinna to ca. 3 2 0 - 3 1 0 , see Kabus Jahn, iff. On the sculptor's lifespan, EAC vii, s.v Silanion (P Moreno). 54. Plut. Tim. 2 3 . 4 - 5 . H K. Susserott, Griechische Plastik des 4esJahr. (Frankfurt, 1938) I 7 5 f . , 2 i o f 55 Kokalos 1 4 - 1 5 (1968-69) pi. LXXII; Voza, Sicilia, fig 106. 56. ArchCl 9 ( 1 9 5 7 ) pi. LIX:2, PH. 2 1 . 0 , ArchCl 12 (i960) pi. xvi.3. 57. Kraay-Hirmer, no. 476, pi. 1 5 1 . 58. This diagonal ornament occurs on a fragmentary bust in Syracuse, inv. 66997, 6 7 0 1 1 , from the Well Deposit On the diadem: cf. ArchCl 24 ( 1 9 7 2 ) pi. VI, bust from Akragas of the later fourth century. For such diadems in gold, MonAnt 1 7 (1906) 5 3 9 , fig. 3 7 1 , in a hoard from Gela, before 282, P. Amandry, Collection Helene Stathatos (Strasbourg, 1 9 5 3 ) 1 , n 8 f f . , pi XLVIII, figs. 7 1 - 7 2 , Higgins, Jewellery, 1 5 9 ; Becatti, Orefuerie, 89, no. 384, pi. ci. 59. Bernabo Brea, Meligums-Lipara 11, pi. x c v m : i , 2; Trendall, LCS, pi. 234:5 (satyr with thick ornament from right shoulder, maenad with necklace and attached chain falling diagonally from right shoulder); pi. 238.8, frontis-

52 EARLY-HELLENISTIC piece of plate volume, worn by standing male figure, Arias-Hirmer, pi 240 (Lipan krater of Asteas, worn by seated Apollo). I am not at all convinced that the diagonal ornament of the vases is the same as the one worn by the terracotta figures, for the stone setting which appears over the breast is missing. 60. Cf. an example m the Gela hoard (n. 58), also P. Amandry, op. cit. (n 58), pi. XLI1, nos. 249f., F. H. Marshall, Catalogue of the Jewellery in the British Museum (London, 191 1) pi. x x x v n , Becatti, Oreficerie, no. 3 7 7 b , pi. x c i x . 61. Libertini, Centuripe, pi. x x i x : } (genuine?). 62. Infra, chapter 5, text at nn. 26, 38. 63. Higgins, Jewellery, 1 6 5 ! . ; an example from Morgantina, PR 1, pi. 60, figs. 2 7 , 28. 64. CR ( 1 8 7 7 ) pis. 6, 1 3 , W 1 2 5 0 : 2 , H. 1 8 . 0 . 6 5 . Cf. Higgins, BM TC 1, no. 1 2 7 6 , pi. 176 (Taras); Lo Porto, RM 11. Erganzungsheft, i 9 o f , fig. 4 5 , W 1 2 5 0 : 7 , W 1 248-49. 66. Libertini, Centuripe, pis. x x i, 3, x x i : 3 , XIX:1, 2. 6 7 . NSc ( 1 8 9 1 ) 3 7 7 . 68. Kraay-Hirmer, no. 1 3 9 , pi. 49. The freely modeled terracottas from Ariccia, now in Rome, are related to these Sikeliote works; see Roma Medio Repubbhcana (Rome, 1 9 7 3 ) 3 2 i f f . (dated perhaps too early). 6 9 . Syracuse 66964 (PH. 28.0, to the shoulder), the smaller version is unrestored. 7 0 MonAnt 22 ( 1 9 1 3 ) pis c x i . 4 , c x n : 6 ; from tomb 1 5 7 , with vases of the shape called kemai (Trendall, LCS 6 7 7 , no. 65). 71. Syracuse 4 6 7 3 4 , PH. 22 7, to shoulder. From tomb VII ( 1 9 3 2 ) , dated by unguentana and an early vase of the local painted ware. 72. Kleiner, 25. 73. Leontinoi. type VII, in the Antiquarium. Megara: W 11 52:1, in Syracuse. Akrai: type IV, Judica Coll. 2968. Grammichele: type IV, in Syracuse, inv. 27060. Hadranon: type VII, in the antiquarium. Akragas: types III and VI, inv. 5 1 7 and 506. Selinous: type W 11 5 2 : 1 , in Palermo. Soloeis; types IV, I X , and W 11 52:11 74. sion of 75. 76.

On the type IV figure from Syracuse, infra, discustype, also, OpusRom 9 ( 1 9 7 3 ) 9 1 , fig. 9. Syracuse 66965. Infra, n. 1 0 1 .

77. W 11 36.6, 7;MonAnt 22 ( 1 9 1 3 ) , pi. c x i ' 6 (Naples 1 4 0 1 1 , from tomb 226, with kemais and a black-figure lekythos of the Pagenstecher class) 78. Syracuse 27060, PH. 2 2 . 4 , without head. 79. Syracuse 66963, PH. 3 0 . 1 , without head. 80. See Kleiner, 6: "In dem weniger klassischen Bezirk Grossgriechenlands oder gar in dem weniger griechischen Cyperns hat sich dagegen eine Sonderentwicklung mit lhren eigenen Lebensgesetzen herausgebildet. Der Mangel an (gutem) Marmor kann der einzige Grund dafur nicht sein. . . Die tieferen Ursachen liegen vielmehr wohl darin, dass diese Lander weniger Anteil an der Klassik nahmen. . . . " 81. Supra, n. 79.

TERRACOTTAS

8 2 . Agrigento 5 1 7 and 506, from the "quartiere ellenistico-romano 83. Kleiner, 157-60; pi. 10a, 1 5 b , 17c (Mynna), and 33a (Pudicitia motif, from Tanagra). 84. Santa Flavia tomb: M. Bell, OpusRom 9 ( 1 9 7 3 ) 86-95, Kleiner, 111, 287, n. *8. 85. D. B. Thompson, AJA 54 ( 1 9 5 0 ) 38of. 8 6 . On these, see the discussion of type IX below. 87. D. B. Thompson, AJA 54 ( 1 9 5 0 ) 376ff., figs. 6, 7, and 9, on this early type of transparency see also Kleiner, i76ff. 88. D. B. Thompson, AJA 54 ( 1 9 5 0 ) 378, " 2 2 5 - 1 7 5 B.C.", cf

372,

fig.

1.

89. Syracuse 66965, fragment. 90. Supra, n. 79. 9 1 . Kentoripa: Syracuse 3 6 0 1 7 , 35956; Libertini, Centuripe, pi. x x v n : 1, 2; Rome, Villa Giulia 5 2 0 7 5 ; BdA ( 1 9 2 7 ) 324, fig. 32. Akragas: unpublished, inv. 5 1 7 . Kyrene. W 11 16:2, two versions in the Louvre, another in the British Museum. 9 2 . Aside from the Morgantina fragments, there is a very fine early version of the type in a private collection in Catania, from Montagna di Marzo, the piece is closest to the early Attic figures discussed by Thompson (see n. 93). 93. Kleiner, I25ff., i59ff., 168. D. B. Thompson, Hesperia 2 1 ( 1 9 5 2 ) 131 f., idem, AJA 70 (1966) 58, fig. 8, pi. 1 7 . 9 4 . On this piece B. Neutsch, RomMitt, 11. Erganzungsheft, pi. 4 1 ; for the neckline, supra, n 34. 9 5 . On this important tomb, see OpusRom 9 ( 1 9 7 3 ) 90, n. 20, AA (1956) 206, fig. 7; Langlotz, pi. 1 4 3 , left; 1 4 5 , left (Langlotz does not indicate that they are from the same tomb). 96. MAW 4 ( 1 9 3 2 - 3 3 ) 46, fig. 1, plate opposite fig. 1. 97. On the important tomb from the Chalkidike, Kleiner, i 6 f . , pi. 3d. 9 8 . OpusRom 9 ( 1 9 7 3 ) 86ff. 9 9 . Libertini 1 9 3 2 , i87ff., pi. 11; BMMA (Jan. 1 9 5 5 ) 162 and cover. 100. Kleiner, i 6 f . , pi. 6a, b. 101. Catania 856 = W 11 30:3 (head now lost); Syracuse 4 9 9 3 7 , NSc (1947) 264^ Tomb 11 (1942) is dated by early transitional unguentaria to the first quarter of the third century. 102. Sieveking, Loeb TC I, pi. 45. 103. Selinous: Palermo 2267 (H. 19.0). Akragas: Agrigento 506, from the "quartiere ellenistico-romano." Kentoripa' Syracuse 3 5 9 5 1 (H. 2 7 . 5 ) , in Libertini, Centuripe, pi. x x v i : i , Syracuse 3 5 9 8 2 , Libertini, pi. x x v r 3 ; and Catania MB 5862, head missing. Paris: Cab. des Med., Biardot, Les terres-cuites grecques funebres (Paris, 1 8 7 2 ) pi. 3 7 1 . 104. Nikokleia: Kleiner, pi. 52:a. 105. Kleiner, 1 3 3 , pi. 3o:a. 106. Adamesteanu, Butera, 6 6 3 , fig. 287. This piece unfortunately remains in a concretion and cannot be examined, the melon coiffure, of a type popular at mid-century (infra, section 8), suggests that the early-third-century date proposed by Adamesteanu should be lowered.

72

52 EARLY-HELLENISTIC TERRACOTTAS 107. W II 1 8 : 2 , 4, 7, W 11 63:3 (Kyrenaika) 108. Thompson, Queens, 111, nos. 1 8 , 19, pi. VII (last third of century), ibid., no. 106, pi. x x x v n (ca. 240 B.C.). 109. Syracuse s.n., without head (PH. 18.5). 110. AttiMGrecia n.s. 4 ( 1 9 6 1 ) 1 0 3 , no. 140, pi. XLVII, PH. 17.5, without head; the piece is even more elongated and columnar than 385. There is another example from Lokroi, in Taranto, which wears the polos, the piece is not later than the second quarter. 111. Tomb 91. 112. Thompson, Queens, no. 7 5 , pi. B, pis. x x v i , x x v i i , and especially no. 79, pi. x x i x . 113. Kentonpa: Syracuse 2 9 4 2 5 , 3 5 9 5 3 , 3 5 9 5 5 . a piece in Catania, = Kekule, pi. x x x v i : 2 ; id., pi. x x x i v : 5 ; a piece on the N . Y . market in 1 9 7 2 ; add the four versions in the Typenreihe. Syracuse: an uncatalogued example in the late-third-century style from the Corso Gelone (fragmentary). 114. Kyrenaika: Breitenstein, Copenhagen TC, no. 6 8 6 , pi. 84; W 11 46:5, in London. Taras: (g) in the Typenreihe. Kroton: a third-century version in the Museo Archeologico, Crotone. Lokroi: Coll. Scaglione, AttMGrecia n.s. 4 ( 1 9 6 1 ) no. 1 3 4 , pi. x l v i . 115. OpusRom 9 ( 1 9 7 3 ) 9of. 116. Several of the terracottas from this tomb are published by Langlotz: pis. 146, 1 4 7 , 148, left, xv. The tomb is dated by Langlotz to ca. 150. 117. On such fringes, D. B. Thompson, AJA 54 (1950) 380, n. 37, C. Blinkenberg, Knidia (Copenhagen, 1 9 3 ; ) 2l6ff. 118. W 11 207:4, 5. 119. Walters, BM Cat., D 23 = W 11 207 4, Kekule, p i . XLII:5-

120. Herakleia: Policoro, Museo Nazionale: Neutsch, RomMitt 11 Erganzungsheft, 1 7 5 . Taras: Taranto 52092 and 5 0 1 2 5 , tomb in Contrada Madre Grazia ( 1 9 . 7 . 1 9 3 7 ) ; Taranto s.n., tomb 2 2 , Contrada Corvisea ( 7 . 4 . 1 9 3 0 ) , both later third century. 121. Laumonier, Madrid TC, no. 694, pi. Lxxv.3. 122. Syracuse 1 9 5 2 7 (H. 29.2); 2 7 8 4 1 (H. 25.9), from tomb 37 (1907); 50029 (lot of two, H. 1 9 . 0 and 28.0), from tomb 4obis (1942), early second century, NSc ( 1 9 4 7 ) 285; and 2 7 8 1 8 , from tomb 20 (1907). 123. On these, see C. Anti, BMusPad n.s. 3 ( 1 9 2 7 ) 17-38. 124. See catalogue entry for 229. 125. Tomb in Via Bellini ( 1 5 . 1 1 . 1 9 5 6 ) , Taranto M . N . 106495. F ° r the late dating, Higgins, GTC, 1 2 5 ; Langlotz, notes to pi. 160. 126. A. J . Evans,JHS 7 (1886) pi. LXIV, p. 36, no. 3 = W 11 206:5 b. 127. Tarantine influence is found at Gela and Akragas; see P. Orlandini, ArchCl 9 ( 1 9 5 7 ) 57, n 3; ibid., pi. x i x : 1, 2; and Quarles van Ufford, BABesch 1 3 , no. 1 ( 1 9 3 8 ) p. 8, fig. 5. 128. R. Lullies, in Studies Presented to David M. Robinson (St. Louis, 1 9 5 1 ) 1, 6 7 i f f . , Thompson, Troy TC, 102ff. 129. Bernabo Brea, Musei, 57. 130. AJA 5 4 ( 1 9 5 0 ) 3 7 2 , fig. 1. 131. On these see catalogue entry 460.

132. W 11 8 3 : 2 , 3 . 24,

133- D. Mustilli, II Museo Mussolini (Rome, 1939) no pi. 4 6 . 134 D. Pinkwart, Antike Plastik iv, pi 28, ibid., vi,

pi. 5 4 a . 135 ArchCl

9 ( 1 9 5 7 ) pis. LVlll.ie, LXlll; ArchCl

12

( i 9 6 0 ) pi. XIV.2.

136. Supra, text at n. 25. 137. A fine version of this sort of face comes from Gela. ArchCl 12 (1960) pi. XVH-2C, it seems likely that this piece postdates the destruction of 282, on the exiguous late habitation at Gela, Orlandini, ArchCl 9 ( 1 9 5 7 ) iyo( 138. Head from Kyrene Bieber 2 , fig. 346f., Thompson, Troy TC, 32, no. 4 139- Coins with head of Phihstis. Kraay-Hirmer, no. i 4 o f . , pi. 49. On similar western-Greek heads in terracotta: OpusRom 9 ( 1 9 7 3 ) , 87, figs. 1-4 (S. Flavia tomb, Soloeis); Langlotz, pis. 1 4 2 , 143 right (Taras) See also Kleiner, pi. 6:a,b (Leukon terracottas, third quarter of third century), the girl from Anzio (Bieber 2 , fig. cjjt ); portraits of the early Attalids (Bieber 2 , figs. 4 1 6 , 418f., 454, 456). The broad face becomes very popular at Pergamon in the early second century (Bieber 2 , figs. 4 5 5 , 475) 140 Thompson, Troy TC, yji. 141. D. B. Thompson, Hesperia 21 ( 1 9 5 2 ) 138f. 142. Supra, chapter 3 , text at n 6. 143. Thompson, Troy TC, 38f. 144. ArchCl 9 ( 1 9 5 7 ) pis. LVIII: 1, LXIX 2. 145. This coiffure is worn by the two women from Herculaneum and by the Korinna of Silanion, it is a variation of the early type of melon coiffure discussed by Thompson (supra, n. 1 4 1 ) . Cf. also Zuchner, Klappsptegel, 7 9 - 8 3 , Abb. 1 0 8 , 1 10, 1 1 2 , Kraay-Hirmer, no 476, pi. 1 5 1 (gold half-stater of Pyrrhos, struck at Syracuse in 278-276; here pi. 1 5 0 , fig. 28), Ptolemaic issues with Arsinoe II (Thompson, Queens, pi LXXIII a, ca. 270). 146. Poulsen, Ny Carlsberg TC, no. 84, pi. XLVI, Langlotz, pi. I42:left; cf. also Belov, Terrakoty Tanagry, fig. 34 (Tanagra, second quarter of the third century?). 147. On the coin, important for the Sikehote chronology, supra, n. 1 4 5 . 148. An early form of the coiffure comes from Gela and must be earlier than 282: ArchCl 1 2 (i960) pi. XVII 2 , B . 149. OpusRom 9 ( 1 9 7 3 ) 87, figs. 1, 3; ibid., 89, fig. 6 (Santa Flavia), for others from tomb 52, Via Battisti, at Taranto, supra, n 95. For other Tarantine versions, Langlotz, pi. 145: right, Becatti, Oreficerie, no 334, pi. LXXXIII (gold ring, later third century). 150. On the fourth-century examples, supra, n. 141 For the "reticulate" melon coiffure with tiny waves, Thompson, Troy TC, no. 186, pi. XL, Belov, Terrakoty Tanagry, pi. 25f., 31 f.; Kleiner, pi. 19 e. 151. Supra, chapter 2, n. 92; on this coiffure, Thompson, Troy TC, 42ff. 152. C f . a l s o K e k u l e . p l XIX 4, 7 (Syracuse), ibid., pi. XXII:4 (Selinous, pre-250). 153. Thompson, Troy TC, 52, n. 126; ibid., pi. LX:d. 154. Gela: ArchCl 12 (i960) pi. XIII:3D; for the veil of the Baker dancer, D. B. Thompson, AJA 54 ( 1 9 5 0 ) 3 7 i f f . , figs. 1-3, 14 A dancer wearing this veil has re-

52 EARLY-HELLENISTIC TERRACOTTAS cently been found in an early-third-century tomb at Lipari (tomb 75 3bis, in the Contrada Diana necropolis); I owe this information to the kindess of L. Bernabo Brea. 155. Thompson, Queens, 28f., no. 28, pi. x , ibid., no. 1 0 2 , pi. XXXV ( B e r e n i k e II), i b i d . , pi. LXXlll:f, g.

156. Ibid., 28f., also n. 7. 157. See Thompson, Troy TC, no. 2 i y f . , pi. XLVII. 158. On the theater, see context I C 159

Bernabo

Brea,

Meligunis-Lipdra

11,

301-312,

322ff.

160. Adamesteanu, Butera,

642-47.

161. Roughly half of the comic actors were found as dedications in the sanctuaries of Demeter and Persephone; their cult significance is discussed in chapter 5, section 7. 162. On the costume of Middle Comedy and phlyax drama, Webster, GTP, 56f , 1 ioff. 163. Webster, loc.cit.; Trendall, Phlyax Vases, 2nd ed.

(University of London, Institute of Class. Studies, Bulletin suppl. 19) 9 - 1 8 164. Webster, "South Italian Vases and Attic Drama," CA 42 (1948) 1 5 - 2 7 , id., GTP, 1 i 2 f . 165. Trendall-Webster, Illustrations, iv:24; Trendall, LCS, Sicilian no. 74, pi. 2 3 1 . Adamesteanu, Butera, 645, fig. 267 = LCS, no. 69, pi. 2 3 1 ; see also the krater from Lipari, Trendall-Webster, op. cit., 1v.11. 166. On such figures, see T . B . L . Webster, in Bernabo Brea, Meligunis-Lipdra II, 3 2 2 . 167. As in the phlyax vases: see Trendall-Webster, Illustrations, iv: 10, Trendall, Phlyax Vases, 14. 168. Webster's Monuments Illustrating New Comedy (Webster, MNC) is an essential guide to the mask types. I am also indebted to L. Bernabo Brea for many suggestions. 169. Other late-Hellenistic masks come from Kentoripa and Syracuse, the Sicilian material is to be the subject of a study by Bernabo Brea.

«IV * Late-Hellenistic Terracottas

1. Coroplastic Production in Late-Hellenistic Morgantina EXCEPT at Kentoripa, the evidence for late-Hellenistic terracottas in Sicily is quite scanty. The Syracusan workshops do not appear to have survived the third century and must have been victims of the sack of 212. The smaller shops that depended on Syracuse for molds or inspiration had to look elsewhere—if indeed they survived. The situation at Morgantina seems typical of most eastern sites. The end of the third century demarcates a great change in both quantity and quality. The finds that can be dated to the second century show a signifi­ cant restriction in the range of types and in technical ability. The most conspicuous loss is the votive tradition. It is usually fairly easy to distinguish between the early- and late-Hellenistic terracottas because of the abruptness of the transition, brought about by military conquest and the ar­ rival of the Hispani, a culturally diverse people. The third-century votive deposits serve as a useful point of reference, and types, styles, and techniques that are not represented in the deposits can generally be assumed to belong to the later period. However, distinctions within the finds from the two late-Hellenistic centuries are not always easy to make. The second century in particular remains a very obscure period, without dated deposits, and the terracottas seem to have little uniformity. A group of female heads wearing the stephane, another with a broad facial type, some of the Erotes and male figures, some of the masks from New Comedy: with the addition of miscellaneous pieces, these are the extent of the second century terracottas. There is obviously no development in this material, nothing analogous to the continuous, organic process of stylistic change that is so perceptible in the fourth and third centuries. The small number of finds indicates that in their first century or so at Morgantina the Hispani had little interest in terracottas. The patterns of coroplastic creativity and influence that can be perceived in second-century Sicily reflect the new political conditions, as one might expect. A major center was Ken­ toripa, which had good relations with Rome from 263, when the town surrendered to a Roman army. 1 The disaster that befell Greek Sicily at the end of the century therefore seems to have had little effect on Kentoripa, which remained a loyal Roman ally. The tombs of the later period in the Casino necropolis do not show any break or interruption down until the first century B.C. Final conclusions about the later production at Kentoripa must await pub­ lication of this necropolis, which was excavated by the Department of Antiquities at Syracuse in a series of campaigns from 1907 until 1942. 2 Without the influence of the Syracusan shops, it seems that the local coroplasts adopted an increasingly crude style. 3 This is a phe­ nomenon that is also seen at Taras in the second century, and so can hardly be attributed to

LATE-HELLENISTIC TERRACOTTAS

the Sikel ancestry of the local Kentoripan coroplasts. Instead it probably signifies the decline of urbanization in the west and the attendant falling off of creativity, craftsmanship, and standards of taste. It is probable that Kentoripa to some extent assumed the predominance which had previ­ ously belonged to Syracuse. Terracottas of Kentoripan style have been found in Lilybaeum in tombs of the late third or early second century.4 Other types infiltrated eastern Sicily. Heads in the style of Kentoripa are found at Morgantina (285^, 66iff., 66yff.). The type of the muse or nymph seated on a rock (W 11 n6f., W π 118:3) that was popular at Kentoripa recurs in a more modest version at Morgantina (450).5 An expressionistic style utilized at Kentoripa for satyrs and other male figures occurs at Morgantina in the satyr 351.6 The Aphrodite who adjusts her sandal, of the type of 229-230, may be derived from a Kentoripan prototype; similar figures have been found at Paterno and Grammichele.7 This period of putative Kentoripan influence at Morgantina is probably limited to the second century. It is not until the first century that a recovery of sorts is perceptible at Morgantina. De­ posits of the third quarter of the century contain a variety of terracottas, which serve as a guide for dating related finds. These largely come from houses abandoned after 25 B.C.; they offer a brief moment of light in the gathering darkness. Two groups have special inter­ est: one is composed of revivals of earlier votive types, in the form of busts and standing Persephones; the other consists of Aphrodites and Erotes which belong to the production of a single workshop, probably located in Catania, and here referred to as the Catania Group. Aside from these, there is a fair number of miscellaneous finds, including plastic vases of the Magenta Class (945-955), Erotes (333, 340, among others), some of the masks of New Com­ edy (782, 785, 788; cf. also 794, 799), and several male figures including the gladiator 684 (cf. also 682f., 687, 694^). Although this body of finds has hardly more stylistic or typolog­ ical consistency than the second-century material, it does seem to indicate a revival of inter­ est in terracottas in the last years of Morgantina's urban existence. Once again there were resident coroplasts.

2. FemaleHeadsoftheSecondCentury A group of heads characterized by crude modeling and broad features appears to belong to the second century. These include the Athenas 22 if., the unidentified goddesses 285ff., and the female heads 525ff. (with Knidian coiffure), 635^ (with hood), and 66iff. (wearing stephane). The hair is frequently indicated by bold horizontal grooves (cf. 525, 663), the eyes are large (286f.), and the workmanship is consistently careless. Heads of this type have been found in the area of the North Sanctuary and the North Sanctuary Annex but never in the sealed votive deposits. They come instead from the cistern and south corridor of the North Sanctuary, and the upper stratum of the Annex. These are areas that have produced late-Hellenistic coins and pottery, mostly of the second century, as well as disturbed earlier finds from the votive deposits. The absence of heads in this style in the sealed deposits indi­ cates that they must be later; as they are also absent in the first-century B.C. deposits, we are

LATE-HELLENISTIC TERRACOTTAS

left with a probable date in the second century. Also in favor of such a date are certain con­ nections with early-Hellenistic heads; these include the broad facial type, the sources for which are early Hellenistic, the Knidian coiffure, and the generally large scale. We should probably recognize here the influence of Kentoripa. 8 With these heads probably also belongs a large group of nondescript heads of very ad­ vanced generation, wearing the crescent stephane (657-660, 664-676). In some cases the stephane has a serrated top (664, 666). Such heads find parallels in tombs of the second century at Kentoripa. 9 None of these second-century heads is attached to a body, so that we are left in the dark about drapery style in this period. The only standing draped woman from the lateHellenistic context is 394, a fragmentary version of type IX. The transparency of the lower himation is more assertive than in the earlier 392, dated by its presence in a third-century votive deposit. Fragment 394 may be a creation of the early second century and the archetype may have been Kentoripan. Transparency of this sort is seen at Kentoripa. 10 The almost total absence in second-century Morgantina of the standing draped women of early-Hellenistic types is remarkable.

3. The Revival of Votive Terracottas The rather sparse deposits from buildings abandoned in the second half of the first century B.C. contained a surprising number of terracottas in types associated with the chthonian cult. These include the large busts 119, 154, and 161; the small bustlike representation 180; and the standing Persephones, with torch and piglet, 80 and 81. Because of similarities of style and fabric, the large busts in Syracuse i55ff. can be attributed to the same period, as can the standing Persephones 69 and 83. After the apparent extinction of the chthonian cult at Morgantina at the end of the third century, it is curious and interesting to find that it revives to some extent in the first century, in the years preceding the final abandonment of the city. The domestic contexts II D and I T2, and the deposit I G2 from the Northwest Shops can all be dated ca. 30-10 B.C.; the evidence consists of coins of Sextus Pompey, the triumvirs M. Antonius and Octavian, and early Augustus, as well as sherds of Arretine ware. 11 The large busts may well belong earlier in the century, for it seems unlikely they were acquired all at once or even in the span of a few years. The smaller images of Persephone holding the torch and piglet should be dated to the period 30-10 B.C.; the series 80 is very close to the Catania Group, which is securely pegged in the second half of the first century (see below). These terracottas all belong to votive types that as far as we know had been out of currency at Morgantina for a century and a half. Particularly impressive are the busts. Not only are these the latest known examples of the Sikeliote bust of Persephone but they include the two largest examples of the type yet found. Complete, 1 19 and 157 were about 75 cm. in height, thus more than life-size; they seem almost cult images. Except for the very fragmentary 1 19, these late busts all belong to the type with modeled shoulders and lowered arms. The god­ dess wears the high-girded chiton and a low, rounded diadem, and her thick hair falls in

LATE-HELLENISTIC TERRACOTTAS

tresses to her shoulders. Examples 154 and 157 also wear (clay) necklaces with pendants, that of the latter especially elaborate; the shoulder tresses of 119, 155, and 157 were pierced for the passage of metal necklaces.12 The large bust 119 apparently had an unmodeled lower area; as befits the type, she also wore the polos. A peculiar feature of 155 and 156 is the round holes in the lowered arms, probably intended for the insertion of extended forearms. A much smaller early Hellenistic bust from Syracuse has similar holes; in several Punic busts from Spain, clearly imitating Greek models, the arms are preserved intact.13 The convention may have been suggested by the type of bust with both arms represented in relief (i62ff.). As a group these late-Hellenistic busts have no stylistic identity. They seem, in fact, rather anonymous. The drapery can be harsh and metallic (155, 156) or merely rudimentary (159). The modeling of the heads ranges from the bland fullness of 154 to the heavy, expres­ sionless masks of 155 and 157. The three pieces in Syracuse 155-157 were all modeled freely, and there is much retouching in the hair and drapery; the elements of the necklace of 157 were also added after molding. They demonstrate technical ability, for the process of firing pieces as large as 119 or 157 cannot have been easy. Their lack of stylistic coherence must result from the loss of a living tradition. Sicily in the first century was not a matrix for creativity in the visual arts. The contemporary coroplasts must have been largely self-taught, students perhaps of the votive terracottas that had survived the Roman conquest. The standing Persephones 81-83 just as clearly imitate earlier models (cf. 68). They have an almost automatic quality, as though the parts (polos, piglet, torch, pose) are more impor­ tant than the whole. The oddly square polos of 80 is derived from such heads as 189; the image has become entirely frontal, so that the smaller round polos required by a more threedimensional representation is abandoned. The fragmentary busts 158 and 172 (possibly the same piece) and the standing Persephones 82 and 83 should probably be dated somewhat earlier in the first century. Heads 172 and 82 wear the high crescent stephane, which was popular in the second century, and have broad faces (cf. 285ff., 66iff.). The style of 83 is cruder, more mechanical; the fabric may be Syracusan and the piece is interesting because made in a plaster mold.14 The chthonian terracottas of the later first century come for the most part from domestic contexts. The only sanctuary known to have been active in the later period is the rambling structure in the lower agora (I L); the cult there is as yet little understood.15 It seems clear that it did not encourage the giving of terracottas, of which only a few have been found, and none from the first century B.C. The domestic contexts of most of these later terracottas suggest rather that the worship of Persephone had become the essentially private activity of individual householders. In earlier times, before the Roman conquest, the cult had a conspicuous, almost public role at Morgantina, indicated by the ubiquity of the small sanctuaries; moreover, such large votives as busts are seldom found in houses of the early period. The reasons for the revival of the cult in domestic quarters are unclear. It has been suggested that the cult was suppressed at the end of the third century by the Romans for political reasons, but it hardly seems likely that these can still have been a factor over a century and a half later. The appearance of these terracottas in houses may simply be a reflec­ tion of the individual and private appeal of religion in the late-Hellenistic world.16

LATE-HELLENISTIC TERRACOTTAS

4 . The Catania Group During the 1957 season, a group of three terracottas of similar style and fabric was discov­ e r e d i n a floor d e p o s i t i n t h e H o u s e o f t h e T u s c a n C a p i t a l s ( c o n t e x t I I D ; 2 3 1 , 2 3 2 , 4 8 3 ) . The subjects are also related: two nude Aphrodites and a reclining figure seems to signify il

whose indolent air

dolce far niente. They must be the products of the same workshop, perhaps

even of the same coroplast. The standing figures

are placed on a low amorphous base; the

coroplast was little interested in the structure of the body, so that the limbs are tubular and heads reduced to quasi-spheres with formulaic features. The nude female torso was of more interest and is more carefully modeled. All three pieces have the small superficial protrusions which indicate the use of plaster molds. 1 7 All three also belong to late-Hellenistic types characteristic of Asia Minor. Since the discovery of this cache, other terracottas of similar style have been excavated, several in contexts of the third quarter of the first from Morgantina in

Syracuse. 1 8

century, and there are other related pieces

Most of these have the same pale buff micaceous fabric, al­

though a few are made of a darker, reddish clay. The group includes several other Aphrodites (233-238); an Eros and Psyche (324) as well as other Erotes (312, 322, 333, 341); two Persephones holding the piglet and torch (80, 81); a Persian dancer (463); a fragmentary stand­ ing woman (482); two female heads (675^); a fragmentary leg (841); a lion's paw (854); a griffin from a larger group (896); and two Gorgoneia (928f.). This sizable group of terracot­ tas of similar style and fabric probably represents the production of a local shop that was active in the second half of the first

century.

Similar terracottas have been found elsewhere in eastern Sicily. The most important of these are from Catania, where, in July of 1766, an Aphrodite and several Erotes were discov­ ered in the courtyard of the Bishop's Palace; these subsequently entered the collection of the Prince of Biscari. 1 9 These pieces are of similar but fresher style and suggest that the group originated in Roman Catania. Moreover, a member of the mold series of the horse and rider 866 belongs to the Catania deposit, and it seems probable that the Morgantina piece is an import from the coastal city. These terracottas as a whole have consequently been designated here as the Catania Group. Pieces in the same style have also been found in Mineo and Taormina, and another in the Museo Biscari in Catania has an uncertain provenance. 2 0 Had the Catania Group turned up in Asia Minor instead of in Sicily, no one would have been sur­ prised. Most of the Aphrodites and Erotes have parallels among the terracottas of Tarsus and Myrina, and it is probable that the inspiration for most members of the group is eastern. 2 1 There are only a few connections with local tradition. The type of the standing Persephones 80 and 81 is very ancient; as noted above, these pieces reflect the late-Hellenistic revival of the cult of Persephone, and it is not surprising that the types are derived from Sikeliote models. The Gorgoneia 928 and 929 may also have local prototypes. But on the whole the Catania Group is something of a hybrid, perhaps more a manifestation of Roman culture than of Greek. We may imagine that the coroplast responsible for most of the group was an easterner who came to Sicily in the wake of Octavian's victory over Sextus Pompey in 36. During this period Tauromenion, Catania, and Syracuse were given the status of coloniae and

LATE-HELLENISTIC TERRACOTTAS

probably received new foreign populations.22 The Catania Group seems to be a reflection of these new conditions.

5. Magenta Ware The group of late-Hellenistic plastic vases called Magenta Ware was first identified by BeazIey and named for the surviving traces of magenta paint on several pieces (cf. 945, 949). Higgins has written the basic study. 23 The usual shapes are lampfillers and flasks; the thinwalled fabric is pale buff, the surfaces covered with a thin, orange glaze. Subjects include animals, actors, and genre scenes. The group probably originated in Campania in the first century B.C. Although very fragmentary, the finds from Morgantina form the largest group of excavated examples of Magenta Ware. None comes from a dated context, but all were found in areas that were inhabited in the first century B.C. The absence of Magenta Ware in the floor deposits of the last quarter of the first century suggests that the group is earlier.24 Because of their fragmentary condition, nothing can be said about the shapes of the Morgantina vessels. Several types are unusual. The Priapos 945 has a more complete counterpart in Syracuse (pi. 147, fig. 18); the type is late Hellenistic, the god's features Pan-like and lascivious.25 The vase 948 may not be an example of Magenta Ware but is similar in style and fabric; there is a parallel at Lipari.26 The animal vases are more typical of the Magenta class; the leopard 950 has a well-preserved counterpart at Syracuse,27 and the related lion 951 was probably imitated by some local coroplast in 853, which is not a plastic vase. Also related to Magenta Ware is the fragmentary male figure 682. Like the Catania Group, the examples of Magenta Ware at Morgantina reflect the new commercial ties that resulted from the Roman conquest.

Notes 1. Polyb. ι. 16.3, Diod. 23.4. 2. The 1 9 4 2 campaign was published by G. Libertini in incomplete form, NSc (1947) 2 59"97> the earlier excava­ tions were never published. 3. Kleiner, 25, "seine spatere Koroplastik recht barbansch anmutet." 4 In the antiquanum at Motya. 5. Cf. Kekule, pi. X L . 2 . 6. Cf. Liberttni, Centuripe, pi. xviii. This style is de­ rived from Syracusan works of the third century, such as the dancing satyr found at Kentoripa; Langlotz, pi. 148, right. 7. See the catalogue entry for 2 2 9 . 8. Cf. Libertini, Centuripe, pis. xxm:i, xxvi :2; Kekule, pis. xxiv:5, xlii.i, 6. 9- Cf. Libertini, Centuripe, pi. XXVH2; Voza, Sicilias fig. 103.

10. Cf. Libertini, Centuripe, pi. xxvi :2; Kekule, pi. xxxvn.3.

11. There seem to be slight differences in the dating evidence for these late contexts; thus I Ti and II D appear to be later than I G2. Until the evidence for the final phase of Morgantina's existence is examined more carefully, it will be uncertain whether the city was abandoned gradually in the last quarter of the first century, or whether it suf­ fered a unitary disaster. If the city was abandoned at a single moment, we are tempted to think of the period of Sextus Pompey, when Sicily suffered widespread violence; yet this seems too early for some of the deposits (I G2, I T ι). Another possibility is that Morgantina was a victim of the Augustan settlement, which did violence to several c i t i e s (see D i o C a s s . 4 9 . 1 2 . 5 ) . 12. For this convention see the third-century bust 1 1 3 . 13. The Syracusan example is uncatalogued, in the Villa Landolina; for the Punic examples, see J. Colomines Roca, Les terracuites cartagineses d'Eivissa (Pans, 1938) pis. XXX, XXXIII, XXXVII.

14. On plaster molds, Thompson, Troy TC,

16;

Hes-

80

LATE-HELLENISTIC TERRACOTTAS peria 34 ( 1 9 6 5 ) 3 j f . ; C. Grandjouan, The Athenian Agora VI, Terracottas and Lamps of the Roman Period (Princeton, 1 9 6 1 ) 3, n. 1 2 . 15. See context I L, also N. Nabers, AJA 70 (1966) 6~]f., on the lead tabellae of first-century date from this sanctuary. 16. Late-Hellenistic busts have been found in private houses at Priene: Wiegand-Schrader, Priene, 3 5 4 , where they are associated with the cult of the dead. Two busts found in the early nineteenth century at Akrai may come from a domestic context; see ArchCl 24 ( 1 9 7 2 ) iff. 17. Supra, n. 14. 18. Pieces with first century B.C. contexts are 236, 3 3 3 , 4 8 2 f . , 8 4 1 , and 9 2 7 ^ 19. Kekule, 3 i f . , figs. 70-74 20. Mmeo; Syracuse 2 3 3 3 7 , NSc ( 1 9 0 3 ) 440, tig. 4. Taormina: Kekule, pi. x x v i : 2 . See also Libertini, Museo Biscari, no. 1 0 8 1 , pi. CXI. 21. The Taormina piece (see previous note) has an east-

ern parallel at Myrina, Mollard-Besques, Louire TC II, pi. 15. For the Eros leaning on a torch, from Catania (Kekule, 3 1 , fig. 71), see W 11 348; for the Aphrodites and Erotes from Morgantina, see catalogue entries. The Phrygian dancer 463 is also a common eastern type, see Thompson, Troy TC, 1 ooff 22. Finley, Ancient Suily, 1 5 2 . 23- R- A. Higgins, "Magenta Ware," The British Museum Yearbook 1 ( 1 9 7 6 ) 1 - 3 2 . 24 Fragment 948 comes from a cistern filled in the second half of the first century, see context II B2. This piece is related to the Magenta Class but its importance for dating is uncertain. 25. Previously unpublished, from a cistern in the exGiardino Spagna. I am indebted to P. Pelagatti, both for the photograph and permission to publish it. 26. See catalogue entry. 27. Syracuse 4 0 0 5 7 , tomb 39, Canalicchio necropolis, unpublished.

The Votive Terracottas Six deposits of terracottas associated with sanctuaries have been found at Morgantina since 1955, and a group of pieces in Syracuse probably makes up a seventh.1 These deposits are linked to one another by a network of shared types and mold series, as is evident in a com­ parison of the deposits' contents; these are recorded in the Context Lists. Most of the major types and subjects appear in each deposit, and there is no major type that appears in only one deposit. If the different groups of contemporary votive terracottas are then so similar, it would appear that the sanctuaries in which they were found are manifestations of what is in essential respects the same cult. Similarities in the design and cult furnishings of the surviv­ ing sanctuary buildings support this conclusion. These were evidently then neighborhood sanctuaries, serving the different quarters of the city, and so rather like the parochial churches of modern Italian towns. In the absence of written sources for religion at Morgantina, the fullest evidence for the nature of the cult practiced in the sanctuaries is offered by the votive terracottas, which in­ clude among their subjects gods and goddesses, actors and masks, standing draped women, and animals and pieces of fruit. Each of these objects arrived in a sanctuary through an act of dedication. If their subjects can be identified, we shall learn not only more about the ter­ racottas but also, conceivably, about the religious beliefs of the men and women who dedi­ cated them.2

1. Persephone Of the 446 catalogued terracottas from the sanctuary deposits at Morgantina, 150 (or 33.6 percent of the total) have as their subject a goddess here identified as Persephone. The only larger group of votives consists of draped women, standing or seated, of whom there are 160 (or 35.9 percent). These, however, have no specific subject (see section 6 below), and of the terracottas with identifiable subjects those here associated with Persephone are by far the most numerous. There are three basic types: standing figures, reclining figures, and busts. The standing female figures of the type 64-84, who bear the attributes of polos, torch, and piglet, have sometimes been identified as mortal women, either priestesses or worshipers, but more frequently as goddesses.3 This large class was a significant element in the Sikeliote votive repertory for two centuries and was derived from the ancient type of the standing female figure holding the piglet, which must represent the same subject. The different attri­ butes help to identify her. Let us first consider the polos. From the seventh century this is the characteristic adornment of goddesses—die griechische Gotterkrone, as V. Miiller entitled his useful monograph on the subject. There are few occasions, if any, when it is worn by mor­ tals.4 It is, for instance, not worn by sculptural representations of priestesses of the cult of

THE VOTIVE TERRACOTTAS

Demeter and Persephone, where we might expect it. Poloi do appear on some archaic and classical images of heroized mortals, and certain late-classical funerary terracottas from Boeotia evidently belong in the same category. 5 However, these works do not prove that men and women really wore the polos; instead they mostly document an expectation of a higher, godlike existence after death. Although votive poloi of terracotta are known, it seems significant that examples of the thing itself have not been found; had the polos been worn by men and women, examples would surely have turned up. 6 One suspects that polos was by nature an imagined object, taking physical form only in representations of the gods. Proba­ bility also argues for a goddess; if the polos is worn by many images which are accepted as having divine subjects (for instance, enthroned goddesses or busts), is it not likely that its appearance on other classes of votives indicates that they too are gods? If the polos is then a sign of godhead, a majority of the terracottas from the sanctuaries must have divine subjects; and prevalent opinion does hold most of these to be images of Demeter and Persephone. In our view there is little doubt that the subject of all these ter­ racottas is the daughter, Kore-Persephone, and such an interpretation is supported by the conclusions of G. Zuntz. 7 Distinguishing between the two goddesses is an old problem, toward the solution of which Zuntz has made valuable contributions, especially in his as­ signment of certain types, such as protomes and busts, to Persephone. 8 The most valid criteria are provided by types and attributes, and one must be wary of distinguishing be­ tween mother and daughter on the subjective grounds of expression, dignity, or apparent age. 9 For these are all factors strongly influenced by artistic styles, whether of local schools or even of individual artists, about whom we know so little. The polos is not a decisive attri­ bute, for it can be worn by either goddess; in Attic representations it is mostly Demeter's, while in the west it seems to be Persephone's. 10 However, another attribute strongly suggests that the goddess who wears the polos at Morgantina is Persephone: this is the veil, a frequently recurring motif, which will be discussed at greater length below. It will suffice to assert here that Persephone's marriage with Hades offers an appropriate occasion for wearing the veil over the polos. Yet Demeter can also wear the veil on occasion, so that it is not a decisive attribute either. 11 The other attributes of the type 64-84—piglet and torch—are both Persephone's. The torch that illuminates the darkness of the netherworld is hers in the large group of Attic reliefs and vase paintings with Eleusinian subjects, as also in Apulian vase paintings, where it can take a special form with crossed arms. 12 The torch is only rarely held by Demeter. 13 The piglet held by these terracottas was the appropriate sacrificial animal in the cult of the two goddesses; its bones are found in many sanctuaries and there are many literary sources. 14 It was by nature a sacrifice to chthonian gods. In The Frogs of Aristophanes, Xanthias ad­ dresses Persephone, "O much-honored queen, daughter of Demeter, the sweet savor of pig's flesh is wafted over me" (lines 337-38). In the sculptural triad of Demeter, Persephone, and Hades from the Korba sanctuary near Carthage, it is Persephone who holds the pig, very much in the manner of the terracottas. 15 Persephone holds the piglet in the terracottas as it would be held by someone carrying it for sacrifice, and this has misled some scholars into assuming the subject a mortal votary. 16 Polos and torch make this interpretation unlikely. Nor should the piglet be interpreted as a

THE VOTIVE TERRACOTTAS

sacrifice received. These votives belong to a class whose origins go back to the early fifth century, when representations of sacrificing gods frequently appear in vase painting.17 The sacrifice is paradoxically the god's own, the holy act that virtuous men are privileged to im­ itate.18 The pig is "not the symbol but that for which the symbol stands." Similar sacrificial acts are performed by the reclining Persephone, to be discussed below, and by Artemis in Syracusan terracottas of the fourth century (cf. also 207).19 This manner of representation, so characteristic of the fifth century, is retained in western-Greek terracottas well into the Hel­ lenistic era. One of the most remarkable terracotta types from the Morgantina sanctuaries represents the goddess in the guise of a banqueter (85-95). She rests on a kline; in her right hand she holds a phiale, and her himation is drawn over the high polos, revealing her shoulders and breasts. Because of its very strangeness this type ought to have a more specific meaning than the standing figures, and it consequently requires careful consideration. In the first place, reclining female banqueters are quite uncommon, and the identification of particular reclin­ ing figures as female is sometimes doubted.20 Two factors insist that the subject of the Morgantina group is female: the veiled polos, which is otherwise worn only by Persephone, and the pale pink flesh, which is easily distinguished from the dark pink or red flesh of male figures (cf. 295ff.). Related reclining figures, most of whom are assuredly female, are known at Syracuse, Scornavacche, Gela, Butera, and Akragas, but the Morgantina group is much the largest.21 Reclining female figures are so rare elsewhere in the Greek world that it seems probable that the Sikeliote type is a local development.22 The source for the type must be the reclining male banqueter of Taras, where the torso is bare and the phiale is sometimes held in the right hand. The influence of this extremely popular banqueter type reached Sicily as early as the late sixth century, and examples of clas­ sical style have been found at Akragas.23 The reclining position on the kline and the sacrifi­ cial gesture of the right hand both are elements probably derived from the Tarantine ban­ queters. In the largest and perhaps also the earliest of the Morgantina pieces (85), the veiled polos is worn with a taenia, evidently intended to secure the wreath of fruit in front of the polos. It is probable that a taenia was also worn by 86, but it does not appear on any of the other mold series. In place of the polos, 86 wears a thick wreath with rosettes, surmounted by a high palmette. Taenia and elaborate wreaths are characteristic of the Tarantine banquet­ ers in the second half of the fifth century and later, 24 and their appearance in two of the reclining Persephones at Morgantina reinforces the hypothesis of Tarantine influence. The appearance of elements of Tarantine iconography may be occasioned by a congruent mean­ ing. If it could only be determined with certainty that the Tarantine figures are representa­ tions of the heroized dead, hence perforce situated in the underworld, it might then be con­ cluded that the chthonian significance of the larger and older Tarantine group was transferred to the Sicilian type.25 For I would like to identify the subject of the Sicilian terracottas as Persephone, sacrificing at her wedding in the underworld. The interpretation of the Tarantine banqueters as heroized dead or even divinized dead still seems probable, despite recent doubts; perhaps in a small way the Sicilian representations of Persephone in a similar pose and costume help to support it. The himation is pulled up over the polos in all mold series except for 86. The veil—which

THE VOTIVE TERRACOTTAS

the himation may be called when worn as a shawl—is an allusive symbol that can denote sorrow or generalized domestic modesty, but its most frequent association is with mar­ riage.26 The veil is worn in this way by brides depicted in vase paintings of the fourth and third centuries; the moment chosen is either the decking out of the bride or the wedding procession.27 The brides of the processions seen on vases from Kentoripa in the third century are similarly veiled.28 Persephone is herself veiled in this way in the scenes on Lokrian pinakes, when she sits enthroned with Hades receiving gifts from the other gods.29 This is another moment in the marriage rite, which may also be the subject of a fragmentary ter­ racotta in Syracuse (pi. 147, fig. 19); a reclining goddess, probably Persephone, lifts her right hand to pull the veil away from her face.30 Our attention here is drawn to the veil by the bride's gesture, which recurs in the ίερός γάμος metope at Selinous and in many other monuments.31 This gesture must refer to the moment of the anakalypteria, the formal unveil­ ing of the bride, which took place at the wedding banquet.32 The banqueting pose and the veiled polos of 85-94 must mean that their subject is Persephone at her γάμοι; the fragmen­ tary terracotta in Syracuse may show us the actual moment of unveiling. In 85-94 t^ie goddess also holds the phiale in her right hand; this is a conventional gesture by which we should probably understand her arm to be extended before her, the phiale flat in her hand. The meaning of the sacrifice with the phiale is analogous to that of the piglet held by the standing goddesses, but on another level it may refer directly to the occasion of the theogamia. The marriage ceremony called for sacrifices; Hades and Persephone appear on Attic vases of the fifth century holding phialai, and the ritual gesture has been interpreted as tak­ ing place at their wedding.33 A sacrifice may have come at the end of the wedding dinner, coinciding with the anakalypteria. 34 Consequently it is tempting to interpret Persephone's sacrifice as a part of the marriage rite. The most curious feature of these terracottas is the goddess's seminudity. Persephone is hardly ever so represented, even in the rather sensually drawn depictions in Apulian red figure; one notable parallel occurs on the Kerch pelike from Pantikapaion in the Hermitage, where Persephone stands next to her mother and the nudity seems quite inexplicable.35 But seminudity is the costume of brides in south Italian and Sicilian red figure.36 The exposed torso of 85-94 could be viewed as a meaningless inheritance from the source of the type, the Tarantine banqueter. Yet here the partial nudity seems more significant, and we sense in looking at these images that the goddess has unveiled her body as well as her face, even that she has entered the thalamos. The act of unveiling reveals what before had been hidden, and, implicitly, offers to another what before had been held alone. Is the kline then to be under­ stood as a marriage bed? There are analogous scenes in which a bride, often in partial nudity, sits or reclines in the presence of a groom.37 The erotic content of such scenes may be hinted at in the Sikeliote images of Persephone, but if so, only very hesitantly. The torso is that of a young girl and her nudity is hardly sensual. The veil recurs in a group of modeled busts and isolated heads that wear the polos, as well as in several of the large standing goddesses (162-168; also 60, 61). Its meaning must be the same: it is the marriage veil. One of the loveliest of the busts shows Persephone as she adjusts the veil with her left hand (162); in her slight smile and lowered head the coroplast captures the radiance and modesty of a bride. In her right hand she holds a dove. Although the dove is

THE VOTIVE TERRACOTTAS

an attribute of Aphrodite, we need not recognize that goddess here. The dove has become less the attribute of a specific deity than the symbol of a role, one that also calls for the wearing of the veil.38 The bird of Aphrodite frequently appears in scenes of marriages in vase painting of the fourth century, both Attic and Apulian; it is an erotic image appropriate to the occasion, a sign of the blessings of Aphrodite.39 Eros appears in many of the same scenes, with analogous meaning. He is found in marriage scenes on vases from Kentoripa, and he accompanies a reclining woman in a terracotta in Syracuse whom we would like to identify as Persephone.40 Several Erotes were found in the Morgantina sanctuary deposits, as well as a dove; these votives reflect the underlying nuptial theme that we have seen in the images of Persephone (see sections 6 and 8 below). The busts with the veiled polos must then represent Persephone. But what of the others—the many unmodeled busts in which the unadorned polos is the only attribute? Ever since the perceptions of Orsi at the end of the nineteenth century there has been general agreement that the Sikeliote bust represents Demeter or Persephone.41 Zuntz has more re­ cently shown that the bust is Persephone's, and I can only agree with his analysis.42 The painted scenes on the three versions of the unmodeled bust 106 all depict subjects associated with Persephone-Kore, not her mother. The rape of Persephone on 106c would hardly ap­ pear on the chiton of Demeter, and the other two scenes depict preparations for a marriage, a subject appropriate to the goddess whose wedding is alluded to so often. If all the examples of 106, as well as the modeled busts 162-168, represent Persephone, it seems probable that at Morgantina the bust itself, as a type, belongs to the daughter alone.43 The bust is an unusual form in the plastic arts of the Greeks, and this fact has encouraged speculation about its meaning. Long ago Paolo Orsi traced the formal development of the Sikeliote bust from the archaic protome, and his analysis still seems entirely valid.44 Orsi recognized that the bust is in essence a three-dimensional version of a protome, which has been provided with a back and clothed in a more realistic style. The subject of bust and protome ought to be the same; both represent Persephone.45 The essential idea of the protome—an image of the head and upper torso—is retained in the earliest busts of the fifth century, and any attempt to interpret the later works in a narrative or symbolic sense must take into account the history and evolution of the form. The idea of such a partial representa­ tion of the goddess, consisting of head and shoulders, is therefore of archaic origin, and if the type had any special significance, it follows that this must have existed for the earliest exam­ ples.46 As Zuntz has seen, the attempts to interpret the bust as an image of Demeter or Per­ sephone rising from the earth are not convincing.47 The type instead represents "the lasting essence of a goddess rather than one particular scene from her myth"; nor is it similar to the images of various deities rising from the earth, as seen in vase painting.48 However, Zuntz's own interpretation is no more convincing: "the shapeless part of the bust may be held to convey the notion of the shapeless χθων whose essence is visualized in the person of the god­ dess."49 This view may be influenced by the present appearance of most protomes and busts, which have lost their bright painted decoration. For it is clear that the coroplast did not consider the "shapeless lower part" a symbolic form, when he painted it to resemble draped shoulders, sometimes with the addition of a necklace.50 The painting of the lower part goes

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back to the earliest protomes, where the smooth folds served as a decorative field.

of the himation falling over the breast

Inasmuch as the lower area was always treated as a part of the

whole image, we should not interpret it as a separate form with its own meaning. Two questions remain to be answered, or at the least to be posed: is there any explanation for the peculiar form of the protome, which might also shed light on the later development of the bust? and, more generally, why should Persephone, almost alone among the major gods, be represented habitually in such abbreviated images? As we have seen, mythological or symbolic interpretations are not supported by ancient sources, and thus remain unconvinc­ ing. A simpler explanation can be inferred from a feature of the protome that was apparently considered essential: the suspension hole with which almost every example is equipped. Un­ attached to any base, archaic protomes were obviously designed to be hung from some sup­ port, no doubt on a wall. An image intended for suspension must be properly adapted to such an end, and a seated or standing figure

would not do at all. Nor does it seem probable

that images suspended above the ground could have symbolized the earth itself, or a deity rising from it. The important point is that protomes are designed to be suspended. In this respect they are similar to other "partial" representations of the archaic period that were sus­ pended or elevated above the ground. These include gorgoneia, antefixes, and some masks. 51 Yet none of these archaic "partial" representations shares the feature which makes the pro­ tomes of Persephone so unusual: that is, the inclusion of breast and shoulders in the image. This may have been so, at least on one level of exegesis, because Persephone must be more than an "apotropaic" face; she is a goddess whose wholeness of being must be at least im­ plied. Yet, paradoxically, she can also be represented in a partial form, and this must be because of her proximity to the demonic. She is an all-powerful goddess whose epithets do not disguise her authority: Πασικράτεια, Σώτειρα. 52 The most frequent Homeric adjective used to describe her has the same force: έπαινή, fearsome. 5 3 The pendant protome then shares something of the numinous power, commonly called apotropaic, which the isolated images of other demonic beings possessed in the sixth century. In them all meaning is concentrated into that most expressive of vehicles, the frontal face. If the protome was first

conceived for suspension it is unlikely that its primary function

was funerary. Protomes may well have been suspended from the walls of sanctuaries, where they were dedicated in great numbers, but there is yet another possible ambience for them. At Morgantina the protomes 43, 46, and 47 were found in residential areas; although the contexts were disturbed, there seems no reason to doubt that these protomes come from late-archaic houses. Very few early Greek houses with contemporary floor deposits have been excavated, but it is interesting to note that the houses of Olynthos, abandoned in 348 B.C., contained many protomes. 5 4 It then seems likely that at Morgantina and Olynthos, pro­ tomes were suspended from the walls of houses in which men and women passed their lives. As Zuntz has observed, terracottas in houses would have retained their religious meaning. 55 The hovering images of the goddess of the underworld must then have seemed to bless and protect her mortal wards, who would all approach her some day. One is reminded of the inconspicuous yet omnipresent images of the Virgin which hang today from the walls of so many Sicilian houses. Another (nonconflicting) explanation for the form of the archaic protome suggests itself, if

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we consider the type from an entirely different point of view: that of origins. Where the Greek protome came from is still an unanswered question. It has been called an internal development of Greek art, derived from Daedalic heads attached to vases, and others have perceived Egyptian, Cypriote, or Punic influence. 56 The question has been taken up by Co­ lette Picard, in an illuminating study of the important protomes from western Punic sites. 57 Cyprus is once again viewed as the source of both Punic and Greek protomes, which at first are seen to develop separately from Cypriote models, but then to converge in the later sixth century when examples in Ionian style replaced the older Punic types. However, this con­ clusion is not without weaknesses, the most serious being the lack of any indisputably early Cypriote protomes. In fact, the protome was never popular on Cyprus, as even Blinkenberg—who first proposed a Cypriote origin for Greek protomes—perceived, and the few published examples do not appear to be any earlier than the mid-sixth century. 58 If the Greek protome had Cypriote models, they must certainly have been more arresting than these modest objects. Evidence in favor of a Punic origin is provided by three early protomes from Brauron. 59 These either belong to Punic mold series or closely imitate Punic models, and Higgins has recognized their importance for the question of origins. 60 The group of Punic protomes on which the examples from Brauron depend is much larger and of higher quality than the Cyp­ riote material. The earliest examples belong to the end of the seventh century and are differ­ ent enough from later Greek protomes of Ionian type (cf. 32-45) to indicate an independent tradition. 61 In place of the characteristic U-shaped veil of the Ionian protomes, there is a vertically grooved klaft, held in place by a broad band high on the forehead; large ears project at right angles from the temples. The hairstyle and costume are obviously Egyptianizing. 62 What is, of course, especially interesting is that these early Punic protomes (and also their derivants at Brauron) have suspension holes, and thus fulfilled a function similar if not iden­ tical to that of the later Ionian pieces. Protomes of this type have been found not only at Carthage and other North African sites but there are also numerous examples from Motya in Sicily and Tharros in Sardinia, both areas where Carthaginians and Greeks were neighbors. 63 The possibility of western Phoenician influence in archaic Greek art has been dismissed out of hand by some scholars, but one wonders just why this should be so. 64 Greeks and Carthaginians were at close quarters in the west in the sixth century, and Punic commerce touched most of the shores of the Mediterranean. The evidence from Brauron indicates clearly enough that ca. 600 B.C. Punic protomes were used as models or archetypes by Greek coroplasts in Attica. The earliest dated Ionian protomes come from Gela, found by Orlandini in the Bitalemi sanctuary. 65 These belong early in the third quarter of the sixth century. The Brauron finds represent an intermediate step between Punic models and Greek derivatives, and it is probable that analogous works lie behind the Ionian protomes, which achieved such popularity after ca. 550. The numerous Sikeliote protomes probably depend on the Ionian and not the Punic tradition. What is most surprising is that the religious connotations of the Punic images were appar­ ently retained when they were transmitted to the Greeks. Punic protomes are found, like their Greek counterparts, in sanctuaries and tombs. Their subject has been recognized as Tanit, consort of Baal Hammon and one of the chief deities of the Punic west. 66 Tanit was

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worshiped as a chthonian power, as is proved by her presence in signs and inscriptions on many funerary stelai. At Selinous in the fourth century, when the city was in the hands of the Carthaginians, the cult of Tanit was assimilated to that of Persephone in the sanctuary of the Malophoros. 67 Later, in the Hellenistic period, Tanit was sometimes even represented as an unmodeled bust, a form the Greeks reserved for Persephone. The Punic protomes then seem to have represented a goddess who was in important respects similar to Persephone. 68 The ready Greek acceptance of the pendant protome could take place because its chthonian mean­ ing was understood and appreciated. At the end of the sixth century the archaic protome began to give way to the classical bust. We first find large protomes without suspension holes, and then by the mid-fifth century busts predominate. 69 Why was the strange abbreviated image still acceptable, when the fac­ tor that had determined the original design—that is, suspension—was no longer relevant? Perhaps the conventional representation was considered traditional and therefore appropri­ ate. But the answer may also lie in the nature of the subject. Persephone had few myths other than the one that told of her descent, and she did not have to be visualized as a fully corporeal being, thus capable of taking part in narrative action. Zuntz has shown that she could not have come back to her mother, except on the level of myth, for how could the underworld be without its queen? 70 She was instead an awesome and continuing presence. Thus her images could take the form of highly conventional Daseinsbilder, isolated and severe, the more effec­ tive and moving for being so abstract.

2. The God Male subjects usually form a small minority in the population of the votive deposits of chthonian cults, and Morgantina is no exception. Our attention is consequently drawn to the standing male figures 295-299, all from sanctuary deposits and of impressive size and qual­ ity. There are altogether eight pieces, belonging to the five mold series; four were found in rooms with altars, two in the inner room of the North Sanctuary. When complete, 297 was as large as any known terracotta figure from the site. There can be no question about the sex of these figures, for the traces of dark red paint on the flesh indicate clearly that they must be male. The unusual size of the members of this group argues that a god must be represented; so too their provenance. In all mold series the right arm was extended; although no hand sur­ vives, the gesture is sacrificial and it seems probable that a phiale was held (cf. 56ff.). We have then another sacrificing god. Who is he? Two attributes survive: a wreath is (or was) worn by 295a, 295b, 71-341 (S295), 298, and 299, thus by all surviving heads. Around the left hand of 297, slightly extended from the drapery at the hip, was coiled a snake. In the preliminary report for the 1957 season Sjoqvist noted that 2 9 5 "resembles an Apollo Musagetes but may be a youthful Dionysos or a male companion of the goddesses." 71 In the same report Sjoqvist speculated that the identity of 295 might be sought in the person of an obscure figure called Elaielinos, who is known only from an inscription on a pithos rim, found in the North Sanctuary. 72 ΙΕΡΟΥ ΕΛΑΙΕΛΙΝΟΥ: the second word has been under-

THE VOTIVE TERRACOTTAS

stood by Stamires as the name or epithet of a god or hero, formed of the two words έλαια, olive, and έλινος, vine shoot.73 According to Sjoqvist's proposed identification, Elaielinos would presumably become "a male companion of the goddesses." Not the attribute of any single god, the wreath is instead appropriate to occasions; I shall come back to it shortly. The snake is more specific.74 In a sanctuary where the presiding deity was Persephone its meaning must be chthonian. The god cannot then be Asklepios, to whom the snake is sacred; nor Dionysos, who was one of Sjoqvist's candidates. In the few instances where Dionysos is shown holding a snake, it is not an attribute but a wild creature borrowed from the thiasos.75 The serpents of Triptolemos' magic car come to mind, but the Eleusinian demigod is unattested in Sicily before the Roman period; moreover his serpents are never shown unharnessed.76 The snake does have a role in the Roman cult of Demeter and Persephone, perhaps as an inheritance from Alexandrian mystery cults; but even so it is al­ ways in association with Demeter or Persephone.77 Yet there remains one chthonian power to whom the snake is not foreign. In the late-classical painting from the Tomba dell'Orco at Tarquinia the ruler of the underworld is seated next to Persephone and in his raised left hand holds a writhing snake. In the Tomba Golini at Orvieto, the snake is coiled around his scep­ ter.78 Both of these paintings are influenced by the contemporary art of Magna Graecia, and the snake held by Hades should not thus be considered an element of a purely Etruscan vision of the underworld.79 In these two works the snake is an attribute of Hades himself; of less significance for the Morgantina god are the sources that associate snakes with Kerberos.80 Is it possible that the Morgantina god was in fact Hades? The presence of images of the ruler of the underworld in sanctuaries devoted to worship of his queen would not be surpris­ ing,81 and the terracottas are all of a scale and quality appropriate to a major figure in the cult. If indeed the central rite celebrated the marriage of Persephone and Hades, we might expect to find images of the bridegroom along with those of the bride. Here we can consider the wreath, worn by all the surviving heads of the god. It is of a type that has been discussed by D. B. Thompson and that appears on many Hellenistic female heads (cf. 523, 546, 563).82 The wreath might be worn for social occasions as well as for religious festivals. Its use at weddings is well attested and there are many representations of wreathed bridegrooms.83 The wreath is in fact the attribute of the bridegroom, the only element of costume that iden­ tifies him, thus as significant visually as the veil or crown of the bride. The presence of a wreathed god in sanctuaries which celebrated a divine wedding suggests that he may well be the bridegroom. Yet the surviving heads of the Morgantina god show quite clearly that he is a cleanshaven youth. The Hades of the Etruscan tomb paintings is depicted as an older bearded man, as befits the dignity of a ruler, and this is the image of the god that appears in Attic and most south-Italian vase painting. Yet there are a few monuments which seem to show Hades in a more youthful guise; if we could be certain of the correct identification of their subjects we would be more confident in asserting that the Morgantina god is indeed Hades. These in­ clude a rare Lokrian pinax, an Apulian volute krater in Naples, and a Sikeliote pyxis in Basel.84 The pinax (pi. 148, fig. 21) was found at Vibo Valentia, Greek Hipponion, with other pinakes of chthonian subjects. It depicts a youth who stands before an enthroned

THE VOTIVE TERRACOTTAS maiden, to whom he offers a dove; between them hovers Eros, who places a wreath on the boy's head. The maiden wears a wreath of grain or flowers—the

surface of the pinax is badly

damaged—and may well be Persephone. Can the youth be Hades, perhaps presenting a gift to his bride? Against such an interpretation is the characteristic representation of Hades as an older bearded man in scenes on Lokrian pinakes that show him enthroned next to Per­ sephone. 8 5 The Apulian krater (pi. 149, fig.

22) is equally problematic: Persephone holding

a four-headed torch stands in an aedicula; seated to her left on a panther skin is a youth who holds an eagle-headed scepter and wears a wreath. 8 6 The young man sits in the place oc­ cupied by Hades in all the other vases of this group, and he holds the scepter, which is otherwise the attribute of Hades. 8 7 The wreath suggests that he is a bridegroom, and we may note that Persephone here is veiled, more conspicuously so than in any of the other under­ world vases. Is this then the wedding of Hades and Persephone, the youthful and beautiful bridegroom awaiting the hesitant K. Schauenburg. There is finally

bride? I believe so, following the interpretation of

the scene on the Sikeliote pyxis in Basel (pi. 148, fig.

23),

depicting the kosmesis of a bride; the veiled polos identifies her as a goddess, as Trendall has suggested. 8 8 Two actions take place: the bride adjusts her veil with her left hand, assisted both by a semidraped woman and an Eros, hovering at her shoulder; then, to her right, a youthful semidraped man is crowned with a wreath by a woman who modestly lowers her eyes. The man wears a garland and holds a stick in his right hand. 8 9 On another Sikeliote vase, a krater in Lentini, a divine bride is also the main subject; an attendant adjusts her polos and to the right stands a bearded man leaning on a stick—not unlike the one held by the youth on the Basel vase. 9 0 The bearded man wears a wreath. I propose to recognize the subject of the Basel pyxis as the wedding of Hades and Persephone; on the Lentini krater the man with the stick is bearded, in the usual iconography of Hades, but on the Basel pyxis he is shown as a youth, as in the pinax and the Naples amphora. 9 1 If the interpretation of these works presented here is correct, they demonstrate that the Lord of the Underworld could be envisioned as a youth, but only on one occasion: his wed­ ding with Persephone. This is also the event with which we would like to associate the Morgantina god 295-299, who bears a striking resemblance to the youthful god of the pinax and vases. The attribute of the chthonian snake, directly associated with Hades in the two Etrus­ can paintings, supports the proposed identification. Even so we must admit that it is based on iconographic evidence that is subject to diverse interpretation, and so it remains tenta­ tive. There is still to consider the tempting suggestion that the Morgantina god should be iden­ tified as Elaielinos. Is this the name of a god or hero, or an epithet? Stamires noted the adjectival form, which suggests an epithet, and he remarked on the tendency of such epithets to become accepted as names. 9 2 Could Elaielinos be a local name for Hades? If Stamires's explanation of the etymology of the word is correct, as seems likely, the name has obvious agricultural associations. Both the vine and the olive were cultivated at Morgantina, and the pithos may well have contained oil or wine sacred to the deity whose name it bore. If Elaielinos is an epithet of Hades, the god must have been worshipped at Morgantina in his guise as Plouton. Hades-Elaielinos would then reflect the transformation of the deathdealing god of the underworld into a milder, more beneficent figure.

The attribute of

THE VOTIVE TERRACOTTAS Plouton is the cornucopia, overflowing with the riches of the earth. Elaielinos, god of oil and vine, might be an appropriate epithet for such a power. But it must be admitted that none of the numerous epithets or euphemistic names of Hades is so specifically agricultural in mean-

3. Artemis In general little can be said about the cult of Artemis at Morgantina, and if a sanctuary or shrine of the goddess ever existed, it remains unknown. However, several terracotta images of Artemis come from the sanctuaries of Persephone, and these must reflect at least one aspect of the goddess as she was known at Morgantina. Two statuettes of Artemis come from the North Sanctuary, one from the inner altar room (207; see also 209); a third piece in Syracuse may also have been found in a sanctuary deposit (204b). The presence of Artemis in chthonian sanctuaries of Magna Graecia is well attested; this has been the case at Kamarina, 9 4 Akragas, 9 5 and Selinous; 9 6 at Gela in the sanctuaries of Via Fiume 9 7 and Carubbazza; 9 8 and in southern Italy at Herakleia." Moreover, in the rural sanctuaries at Belvedere near Syracuse 1 0 0 and Fontana Calda near Butera, 1 0 1 where Artemis predominates, Persephone is also present. A fine Sikeliote lebes (pi. 149, fig.

24) in Syracuse

suggests the nature of Artemis' role in the chthonian cult. 1 0 2 The goddess, who is dressed much in the manner of 204, carries a torch and approaches Persephone, who is seated in an aedicula. 1 0 3 The moment is the bridal

kosmesis; Persephone holds a mirror and is assisted by a

standing servant. Perhaps Artemis has come as a friend of the bride to participate in the chthonian wedding; on Apulian vases of this period she is shown in similar guise, leading the chariot carrying the bride and bridegroom into the nether realm. 1 0 4 Her presence in these scenes is partially explained by the myth; for Diodoros (5.3.3-4) tells us that Artemis and Athena were among Persephone's companions in the vale of Enna, gathering flowers

at the

moment when Hades burst forth from the earth in his chariot. The story in its outlines goes back to the Hymn to Demeter (line 424); it was used with the Sicilian setting by the Roman poets. 1 0 5 It is not surprising to find

Athena in the scene of the rape of Persephone on the bust

106c, and we can imagine that the severely damaged figure

in front of the quadriga was

Artemis. This is her place in the scenes on Apulian vases. This was a chthonian Artemis who had "the power to move Hell's adamant" (Theocr. 2.33, trans. Gow), and so was a kind of Hekate; the two goddesses seem to have been assimi­ lated at Syracuse, as they were elsewhere. 1 0 6 In the Hymn to Demeter Hekate becomes Per­ sephone's πρόπολος and όπάων (lines 438-40); she had a precinct at the entrance to the sanctuary of the Malophoros at Selinous, like the shrine of Artemis Propylaia at Eleusis. 1 0 7 There is also the splendid early-Hellenistic krater bearing a dedication to Artemis Pheraia, from the Syracusan Well Deposit—-the terracottas of which belong to the cult of Per­ sephone. 1 0 8 Artemis Pheraia is a chthonian figure

of Thracian origin, identified with Hekate

and Bendis. 1 0 9 Her attribute is the torch, which was also carried in the rites of Bendis at the Peiraeus, as described by Plato in Book I of th e

Republic (327-328a). 1 1 0 The torch is held by

209, as by the Artemis-Hekate of the lebes in Syracuse and the Apulian vases. 1 1 1 The Ar-

THE VOTIVE TERRACOTTAS

temis "Elaphebolos" of 203 may be a manifestation of this rather fearsome goddess; so too the numerous other western-Greek terracottas that reflect the strength of this vigorous lateclassical cult.112 Perhaps the goddess whose votives are found in the chthonian sanctuaries is the Artemis άγγελος of the Syracusans, long ago considered by E. Ciaceri to be the messenger who an­ nounced the return of Persephone.113 More probable as a source for the epithet is the role of Hekate in the Homeric Hymn; it is she who witnesses the rape of Persephone and tells Demeter of her loss (lines 51-59). A later source tells us that Zeus sent Hekate into the under­ world in search of Persephone.114 This seems to be the role of the torch-bearing ArtemisHekate in the western terracottas and vases; she is indeed a kind of "messenger," who passes easily between the Olympian and chthonian realms. She has taken the place of the messenger god Hermes; on the single known scene of the rape of Persephone in Attic red figure, it is he who instead leads the chariot of Hades into the underworld.115 Perhaps then the άποσκοneivgesture of the Artemis 204 should be understood as a reference to her search for the lost Kore, although it could also indicate a moment in the chase, as the goddess descries her quarry. This is the gesture of Artemis on the Orestes krater in Naples, where she peers not at an animal but the Erinyes.116

4. The Nymphs The plaques 253-264 depict in relief a triad of female musicians who sound the auloi, kymbala, and tympanon. The three subjects generally wear chiton and himation, as well as a low polos (253, 258). The series 253 was much the most popular. The type recurs elsewhere in Sicily but there are also examples from Lokroi; and a large and interesting group of plaques comes from Lipari.117 The earliest example of the triad may be a fragmentary piece from Grammichele, of the fifth century, but all of the other versions appear to be early Hellenis­ tic.118 The provenance of the great majority of examples argues that the type is of Sikeliote origin. The three musicians have somewhat hesitantly been called nymphs and this identifica­ tion is surely correct.119 Nymphs are commonly represented in triads, and plaques of the Sikeliote type have been found in the spring of the nymphs at Lokroi.120 Most of the Sikeliote examples wear the polos, a sign of divinity.121 A Syracusan votive relief depicts three frontal nymphs who are flanked by paniskoi and wear similar low poloi; the fine lime­ stone relief from Camaro near Messina must also represent nymphs, as Arias has sug­ gested.122 Here too the polos is worn. The subjects of these votive reliefs hold their hands before them under their himatia, and so they must be dancing, as nymphs are wont to do.123 However, nymphs usually rely on Pan for their music, and what makes the terracotta triads of the type of 253 unusual is that instead of dancing the three figures are engaged in making music.124 The plaques from Lipari would seem to dispel any doubts about the identification of the three figures, for one of them includes both dancing figures and a female musician together in the same scene.125 Here, then, nymphs are clearly dancing to music produced by one of their number. Other plaques from Lipari offer variations. There can be little doubt

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that such similar works with an identical provenance have the same subject. We must then acknowledge a Sicilian belief that the nymphs might make music as well as respond to it. 126 Of the plaques with known provenance, only the examples from the spring at Lokroi have been found in a shrine of the nymphs. Eight of the thirty pieces from Morgantina come instead from sanctuaries of Persephone, suggesting a connection with the chthonian cult. This hint is borne out by the large group of plaques from Lipari, which were excavated in a Koreion; a single plaque from Akragas was found among chthonian votives in the favissae below S. Biagio.127 Other examples come from sanctuaries of Artemis where there is also a strong chthonian element.128 The sources do not specify a chthonian role for the nymphs. In the Hymn to Demeter, they are Kore's playmates before she is carried off (lines 417-23). The only Sicilian nymph whom myth links to the underworld is Kyane, who inhabited the spring near Syracuse and was considered in Augustan times "inter Sicelidas celeberrima nymphas."129 Her spring was a gate to the underworld and it was there that Hades descended into his dark realm with his bride.130 Nymphs might also be associated with the cult of the underworld gods more indirectly; the important use of water in the sanctuaries may have given them at least a symbolic presence.131 The most remarkable feature of the terracotta triads lies in the musical activity of the nymphs, which in its strangeness raises the possibility of a narrative meaning.132 This can be sought in the theogamia. The associations of the nymphs with mortal marriage are well at­ tested.133 They were present in the water in which bride and bridegroom bathed, and they could also be the object of sacrifices.134 In the Argonautika of Apollonios of Rhodes, the nymphs actively participate in the wedding of Jason and Medeia, even singing the bridal hymn (4.1 i43ff., 1 i96ff.). They would not be inappropriate as guests at the wedding that took place in the underworld. Nor would the sound of aulos, tympanon, and cymbals, if we are to judge from marriage scenes on vases from Kentoripa; tympana are especially frequent and the cymbals also occur.135 Greek wedding music usually was provided by the flutes, sometimes by the lyre, but cymbals and tympana are unattested elsewhere.136 The presence of these instruments on representations of the gamoi at Kentoripa must reflect local custom, as P. W. Deussen has suggested.137 The sound of flutes, cymbals, and tympana would thus not be out of place in the theogamia, which, as we have seen, appear to have reflected Sikeliote marriage customs. I would then propose to interpret the nymphs of the terracotta plaques as members of the sacred wedding, sounding their instruments in noisy celebration of the bride Persephone.

5. Other Gods: Eros, Nike, Athena, and Herakles The presence of Eros in chthonian sanctuary deposits appears to be limited to the third cen­ tury. At Morgantina five Erotes were found in the North Sanctuary or its Annex (300, 302, 303, 323, and 327), and many more come from the fill or the general area.138 A fine but fragmentary early-Hellenistic Eros comes from the chthonian Well Deposit at Syracuse, another from the Demeter sanctuary at Priene.139 The significance of these finds is indicated by the Eros who hovers above the quadriga of Hades, in the scene of the rape of Persephone

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on the bust

106c. Eros

is a symbol of the inner meaning of the event. Thus he is even present

on the red-figure cup from Eleusis, the only Attic representation of the scene, as well as in Apulian versions. 1 4 0 Later, Ovid will make him the agent of Aphrodite, who ensnares the unsuspecting Hades. 1 4 1 The Eros of the Morgantina sanctuaries probably has no such narra­ tive role; he is rather an emblem of marriage, and with this meaning he appears in numerous wedding scenes on Attic, Apulian, and Sikeliote vases. 1 4 2 Zuntz has pointed to the signifi­ cance of the small Eros who hovers or stands at the breast of Persephone in a group of Lokrian terracottas of the fifth

century: he shows that Persephone has become "the giver of Life—

through her marital union with the Lord of the Underworld." 1 4 3 We have seen that Eros adjusts the veil of Persephone on a Sikeliote pyxis in Basel (pi. 149, fig. youthful Hades (?) with a wreath in a pinax (pi. 148, fig. participation in the

theogamia

24), and crowns the

21) from Vibo Valentia. 1 4 4 His

is implied by most or all of these works. As Zuntz has seen,

Eros comes as a sign of the "grace of Aphrodite," which blesses the union of the chthonian gods. A single Nike was found in the North Sanctuary Annex ( 2 3 9 ) . Like the Erotes, her "mean­ ing" in the cult of Persephone may be a function of the

theogamia.

Nike stands with Hades

and Persephone, on an Attic kylix from the circle of the Brygos Painter, and Nikai fre­ quently appear in Attic and Sikeliote marriage scenes, bearing gifts or carrying nuptial torches. 1 4 5 On a vase from Kentoripa, Nike gently encourages a hesitant bride. 1 4 6 The handsome Athena 2 1 5 is an important member of the group of sacrificing gods. 1 4 7 The presence of the piece in a sanctuary of Persephone has little obvious significance. Athena is seldom represented in votive deposits of chthonian cults and has no role in the cult of the gods of the underworld. 1 4 8 Yet Athena was present in the meadow with Persephone at the fateful moment, as both literary sources and depictions of the scene tell us (cf. 106c).149 Perhaps the donor of 215 remembered this minor part played by Athena in the myth. The modest Herakles 3 5 3 was found in the inner altar room of the North Sanctuary. Al­ though he may have arrived there by chance, it should not be forgotten that Herakles was initiated into the mysteries at Eleusis; on another occasion he descended into the underworld in order to bring back Kerberos, with whom he often appears on Apulian vases. 1 5 0 Herakles 353 may then be an offering to Persephone, before whom the hero had once stood, and be­ fore whom his donor may have hoped someday to stand.

6. Seated Korai and Standing Women From the North Sanctuary comes a group of seated female figures

whose hands, when they

survive, are placed stiffly at their thighs. Some, like 242, are nude; some wear the chiton (248, 25of.). 1 5 1 The nude figures

were intended to sit on seats or thrones, which do not

survive; the draped versions are seated on simple unmodeled supports, of a piece with the figure.

These seated figures

belong to a long-lived class of terracottas that is often included

among the large group of children's dolls; 1 5 2 they have also been called nymphs and, with regard to examples found in tombs, representations of the dead. 1 5 3 Although the examples from Morgantina are related to dolls, the term does not accurately describe them. Nor do they necessarily represent nymphs, although this may have been the case elsewhere.

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It has been rightly said that the type is "an essential form, variously interpreted and used by coroplasts and votaries of different cults at different periods. " 1S4 In a valuable study of the religious and social significance of such terracotta figures of the classical period, J. Dorig has pointed to their frequent associations with marriage. 155 They might serve as bridal dedica­ tions, and when they appear in Attic funerary reliefs, held by young girls, they are emblem­ atic of eternal maidenhood. Their subjects are to be recognized as brides, either mortal or divine. 156 Even their Greek names are significant in this respect: they are Kopaior νύμφαι, words that can refer equally to maidens or to brides. 157 The goddess whom Dorig recognizes in most such figures is Hera Nympheuomene, who because of her own marriage with Zeus is the divine model for mortal brides. It is possible to guess at the circumstances in which such korai were dedicated, more clearly than is the case with other terracottas. The poet who wrote a wedding verse for a young girl named Timarete (Anth. Pal. 6.280) explains how they might arrive in a sanctuary. Before her marriage Timarete dedicated to Artemis her korai, among other gifts. The anonymous poet enjoys playing with the meanings of the word kore, which refers to Timarete's dolls (such they must be in this case), to the virgin goddess, and to Timarete herself. This coincidence of different though related meanings in the single word kore is paralleled in the terracotta korai; and we shall come back to it. But it is the religious act described in the poem that interests us most: at her marriage, Timarete presents to a goddess figures that are emblematic of her maidenhood. The largest collection of such figures in Magna Graecia comes from the spring sanctuary of the nymphs at Lokroi. 158 Several hundred were found in the basin of the grotto, immersed in the spring waters like the korai who are addressed in an epigram by the Tarantine poet Leonidas; his, too, number in the hundreds, even thousands. 159 Yet other examples of the same type come from contexts associated with the chthonian gods. They have been found in votive deposits at Taras, 160 Rhegion, 161 and Fontana Calda near Butera, 162 as well as at Morgantina. At Lokroi, 163 Medma, 164 Metapontion, 165 and Taras 166 they appear in graves, all apparently of young girls; some of the Sicilian examples are also grave goods. 167 If all of these seated figures have a related meaning, it must obviously be derived from the circum­ stances in which they are dedicated or deposited, rather than from the particular deity to whom they are offered. Can these examples from tombs and sanctuaries really be called dolls, as they frequently are? They do not have the movable arms of some seated figures and are ill-adapted to serve as toys. 168 The great numbers of such figures from the sacred spring at Lokroi were made in a few mold series, a fact which suggests that they were supplied to worshipers by one shop, for the specific purpose of dedication. Although perhaps related to or even descended from chil­ dren's dolls, the type in Magna Graecia seems to be votive in use and meaning. In this case the ritual act of Timarete is significant, for it tells us that korai might be dedicated to a goddess when a girl was ready to be married. There does not seem to be a great difference between the dedication of real dolls and of votive figures that resemble dolls. The sacrifices performed at the προτέλεια before a Greek wedding might include the dedication of locks of hair, toys, or other gifts. 169 The hundreds of miniature loutrophoroi and other vases that have been found in Attic sanctuaries of the nymphs have been interpreted as bridal dedica-

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tions. 170 Can the examples of such korai found in sanctuaries be interpreted as άπαρχάι of brides? Dorig's association of these figures with marriage is significant, but goddesses other than Hera could receive them, as the provenance of the western examples of the type indi­ cates. The nymphs did so at Lokroi; they are associated with mortal marriage and elsewhere seem to have received bridal dedications, as noted above. 171 Such dedications to Persephone are not recorded in the sources, but the examples from her sanctuaries invite such an in­ terpretation. In this case the theogamia of Hades and Persephone may have served as a paradigm for mortal marriage. The korai found in the graves of young girls may also be offerings to Persephone, poignant άπαρχαί of girls who died unwed and would achieve the fulfillment of marriage only in the underworld. 172 It thus seems that the ritual act of dedication at the time of marriage informs these figures with their allusive meaning. It may be that we should not ask whether they represent god­ dess or mortal, for their subject seems almost to be a state of being. The nudity of most seated figures is essentially erotic, as Zuntz has noted. 173 Yet in their stiffly hieratic poses they are hardly sensual. 174 Inasmuch as they are wedding offerings, their nudity must allude to the physical union of bride and bridegroom, which marks a transition of special impor­ tance for the bride. While they are emblematic of maidenhood, they seem to imply the mo­ ment of its ending, as the bride waits in the thalamos. The pose recurs in the small female figures who are sometimes perched at the foot of the klinai of Tarantine banqueters, and who are to be identified as brides or wives of the reclining male figures. 175 The implied allusion to the thalamos suggests that these korai may be images of mortal brides. Their dedication to goddesses whose own marital unions could be viewed as divine analogies for human marriages may also indicate that their subjects can be divine; such an interpretation is supported by the occasional presence of elaborate thrones and the frequent wearing of the polos. 176 The significance of the less common draped figures is probably no different; the examples from sanctuaries may demonstrate a reluctance to depict as nude such goddesses as Hera or Persephone. 177 The rigid pose then seems as important from an iconographic standpoint as does the nudity. The seated figure is at once a childish object, in form similar to dolls and consequently an appropriate dedication at the time childhood is abandoned; at the same time it incorporates the bride herself; and when dedicated to a goddess who was also a bride, she too might be­ come a part of the meaning. The image as an object then seems to be analogous to the word kore or nymphe, a linguistic unit capable of varying meanings. While we may not be able to define these precisely in individual cases—lacking access to intentions—we are able at least to circumscribe some of the possibilities. The largest group of votives in the Morgantina sanctuaries is composed of standing draped women. All but one (359) lack attributes, as do most of their Tanagra forebears and contem­ poraries. Such figures are frequent in other third-century Sikeliote sanctuaries, in the Well Deposit at Syracuse, 178 at Akragas, 179 and at Fontana Calda; 180 and they are also present in large numbers at Corinth, 181 Knossos, 182 and Priene. 183 Examples of the late fourth century have been found in sanctuaries in Attica. 184 These figures are thus a representative offering,

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perhaps to be understood as agalmata and without other meaning. Yet it is interesting to note that the brides on polychrome vases from Kentoripa were sometimes copied directly from such terracottas; type IV figures have been found at Kentoripa and also appear on the vases.185 We are led to wonder whether the standing women, like the seated figures, may be interpreted as the offerings of brides to Persephone.

7. Dramatic and Grotesque Subjects Comic actors and dramatic masks are found frequently in sanctuaries of Demeter and Per­ sephone,186 and there is a substantial group of such figures sanctuaries of

Morgantina.187

from the neighborhood

Most of these are descended from Attic prototypes; the actors

are stock characters from Middle Comedy, and the masks include two examples from tragedy (774f.), one perhaps from satyric drama (792), and one from New Comedy (793). There are at least two explanations for the presence of such terracottas in sanctuaries. They may have been dedicated to the goddess, or goddesses, by votaries who were fond of the theater, perhaps even by actors; in this case their dramatic meaning was understood by the votary, and they must be understood by us as simple agalmata. But because dramatic terracottas are found so often in sanctuaries, a more general meaning seems likely. Jesting and playful behavior were a consistent element in cults of Demeter.188 In the Hymn to Demeter the old woman Iambe rouses the sorrowful goddess by jokes and good humor (lines

201-4);

another source tells of the more daring Baubo, who made Deme­

ter laugh by telling jokes and exposing her sexual organs.189 These stories are the aitia for the obscenity and aischrologia that had an important part in the celebration of the Thes­ mophoria at Syracuse and elsewhere.190 The human participants in these rites "were sharing in the sorrow of Demeter, and in its relief by laughter, song, and dance."191 This aspect of the cult is reflected in votive terracottas from Priene, where the strange figures

from the

sanctuary of Demeter seem to personify Baubo's misbehavior. These depict a naked being whose abdomen serves as a head, her sexual organs as a mouth; she plays the lyre or carries a torch.192 From Syracuse is a terracotta group in which Bernabo Brea has recognized a comic version of the theogamia: a thin, pot-bellied Hades stands next to an obese Persephone, both in unflattering nudity.193 Such subjects from the myth of the goddesses are clearly intended to induce votary or goddess, or both, to laughter. It has been suggested that the comic actors and masks reflect the same ritual element in the cult.194 They are tokens of hilarity and humor; their distorted features may have seemed to be appropriate visual counterparts for the aischrologia. The grotesque female figure

709

may have been dedicated for similar reasons. If this interpretation of the comic figures and masks is correct, they must have been dedicated at the time of the Thesmophoria, obviously to Demeter and so are among the few terracottas offered to her in the Morgantina sanctuaries (for others, see section 8). The tragic masks are more difficult to explain. The subject of 774 is the mad Herakles, perhaps also of 775. The grotesque features of the mask may have had more meaning for the votary than the subject, in which case it belongs with the comic figures discussed above. Yet

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a statuette of Herakles comes from the altar room of the North Sanctuary, where 774 was found, and the hero's chthonian experience may have made it an appropriate dedication to Persephone (see section 5).

8. Animals and Fruit Of the terracottas representing animals and pieces of fruit, only the dove 883, the pome­ granates 897, 898, and 901, and the pig 879 have any direct connection with the cult. The dove appears often in Attic marriage iconography of the fourth century and is held by Per­ sephone in the busts 162-168; 883 must allude to the tbeogamia.195 The pomegranate is a frequent offering in sanctuaries of Demeter and Persephone (see 897). "It was symbolical of blood and death, but also of fertility and marriage. Thus it aptly signified the marriage of Persephone and Hades."196 The pig is the proper sacrificial animal in the chthonian cult and is carried by Persephone in the terracottas 64-84. 197 The small pig 879 may be a substitute for a sacrifice, or stand for a sacrifice made.198 Of the other animals the lion 852 and the deer 856 are probably parts of larger figures and consequently their significance is uncertain. Most of the other animals and pieces of fruit have no direct association with the cult. These include the dog 859, the bulls 867, the fowl 886f., and the locust 895, as well as the fig 903 and the blossom 904. 199 The inimical locust is exceptional in this group and must be prophylactic in meaning; it implies a prayer for the goddess's assistance. The other animals and fruit indicate the areas of activity over which the goddess, or goddesses, presided; all are from the world of the farmer. Zuntz has shown that the bounty of Demeter "was felt in all the gifts of the fruitful earth," not merely in the gift of grain. 200 The importance of agriculture in the cult at Morgantina is proven by the pithos in the North Sanctuary, whose contents belonged to Elaielinos, god of oil and vine.201 These offerings may then have been dedicated in thanks for the gift of abundance and fertility, or in hopes of it. 202 Like the comic figures discussed in the previous section, they may well have been dedications to Demeter, whose presence is otherwise so elusive in the predominantly chthonian world of the terracottas.

9. The Cult of Demeter and Persephone at Morgantina If our identification of the major figure among the terracottas as Persephone is correct, the cult of the Morgantina sanctuaries must then be a late manifestation of the widespread cult of the chthonian gods which for centuries dominated the religious life of the western Greeks. In its archaic and classical forms the cult has been the object of an important study by G. Zuntz, whose illuminating conclusions contribute to our understanding of religious be­ liefs at Morgantina.203 Zuntz has examined the physical remains of the sanctuaries as well as their votive contents, considering them a primary source of information on a level with the fragmentary written tradition. The chthonian nature of the cult is made manifest by the extraordinary role of Persephone, who is isolated from her mother to a much greater extent than at Eleusis. We cannot, in fact, always speak conventionally of "the cult of Demeter and Persephone," for Demeter, so essential in the Eleusinian myth, seems secondary, in some

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places even absent.204 This has been seen to be the case at Morgantina, at least to some degree, although the votives by themselves probably do not offer an accurate index of the extent of Demeter's veneration. In any case Persephone has become a "universal" goddess.205 She is an eternal presence in the underworld, where she offers men the hope of survival in blessedness after death—a hope revealed to us in the countless terracotta votives from her sanctuaries.206 In her association with grain and other symbols of fertility and abundance, Persephone may even seem to take Demeter's place; this beneficent aspect is perceived most clearly in the cult at Lokroi, in which "the Queen of Death" becomes the "giver of Lifethrough her marital union with the Lord of the Underworld. . . . This marriage—the union of Life and Death—is the work of Aphrodite."207 This fundamental perception, obtained through an examination of Lokrian pinakes and other artifacts, is the key to our understand­ ing of the true meaning of the goddess's descent into the underworld, which marks "the triumph of Life over Death through Eros."208 Although this understanding is not elaborated or clarified by Zuntz, it seems close to the central significance of the veneration of Persephone among the western Greeks·—and at Morgantina. The imagery of the terracottas from the Morgantina sanctuaries places remarkable empha­ sis on one aspect of the myth of Demeter and Persephone. The rape of Persephone led to her "marital union with the Lord of the Underworld," and it is to the marriage that the great majority of the votives seems to allude. The goddess is consistently represented as a bride and in one remarkable group she may recline on her bridal bed (section i). There is some proba­ bility that the bridegroom is represented among the terracottas (section 2), and other gods appear to have taken part in the chthonian wedding (sections 3-5). There is even some evi­ dence to indicate that the wedding of Persephone and Hades was considered to be a paradigm for mortal marriage (section 6). The Morgantina terracottas are not unusual in their emphasis on marriage. Lokrian pinakes illustrate several moments of the story, including the seizure of the goddess, the preliminary rites of the wedding, and the anakalypteria, the solemn recep­ tion by the enthroned Hades and Persephone of the other, gift-bearing gods.209 Other evi­ dence for the overriding significance of the chthonian marriage is found in depictions of the rape of Persephone on Apulian vases of the fourth century.210 There the fear and terror of the event are suppressed, and the violent seizure of the goddess is transformed into a quiet mar­ riage procession. The allusions to marriage in the vases and terracotta votives are borne out by the few writ­ ten sources that mention the cult of Persephone in Sicily. Nilsson noted that several festivals which are attributed to Sicily seem to reflect consecutive moments of the myth.211 These include the anthesphoria,212 the theogamia,213 and the anakalypteria.214 Zancani Montuoro has proposed that these are all constituent elements of a single major festival,215 corresponding to the Koreia216 of Plutarch and the katagoge211 of Diodoros. The anthesphoria had an obvious mythical aition in the moment when the goddesses are gathering flowers and the quadriga of Hades emerges from the earth. Thζ theogamia celebrated the chthonian wedding of Hades and Persephone, the final stage of which was marked by the anakalypteria ', this was an event in the Greek marriage rite at which the bride was unveiled and received gifts.218 In Zancani Montuoro's reconstruction, these observances form parts of a single festival, "a complex έορτή in honor of Kore-Persephone, commemorating perhaps on successive days the relevant events in

IOO

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the life of the goddess, and exalting in particular her union with Plouton."219 According to Zancani Montuoro, this festival corresponds to the καταγωγή της Κόρης mentioned by Diodoros. The passage in Diodoros is important for our understanding of the rites of Demeter and Persephone in Sicily: And the inhabitants of Sicily, since by reason of the intimate relationship of Demeter and Kore with them they were the first to share in the corn after its discovery, instituted to each one of the goddesses sacrifices and festive gatherings, which they named after them, and by the time chosen for these made acknowledgement of the gifts which had been conferred upon them. They instituted the καταγωγή τής Κόρης at about the time when the fruit of the corn was found to come to maturity, and they celebrate this sac­ rifice and festive gathering with such strictness of observance and zeal [ μετά τοσαύτης άγνείας και σπουδής] as we should expect those men to show who are returning thanks for having been selected before all mankind for the greatest possible gift; but in the case of Demeter they preferred that time for the sacrifice when the sowing of the corn is first begun, and for a period of ten days they hold a festive gathering which bears the name of this goddess and is most magnificent by reason of the brilliance of their preparation for it, while in the observance of it they imitate the ancient manner of life. And it is their custom during these days to indulge in coarse language [άισχρολογεΐν] as they associate with one another, the reason being that by such coarseness, the goddess, grieved though she was at the rape of Kore, burst into laughter (Diod. 5.4.5-7).220 Diodoros was himself a Sikeliote and perhaps knew late celebrations of these rites; but he is probably relying here on his sources, most likely on Timaios. The rites he describes should be at least as old as the fourth century, the period of many of our votives. As the Mediterranean climate requires that sowing take place in the late fall, the harvest comes in May or June. The Sikeliote rites of Demeter were thus celebrated in October or November, like the Athenian Thesmophoria, and those of Persephone took place in late spring, some seven or eight months later. It is generally assumed that the two festivals de­ scribed by Diodoros reflected in some way the events of the myth; that they did so is indi­ cated by the term katagoge, which—whatever its significance—must denote some event in the life of Kore-Persephone, and by the sorrow of Demeter at the time of her festival. Diodoros does not specify in detail the mythical events that correspond to the two festivals, but it is likely that they were the kathodos and anodos of Kore-Persephone, which from the time of the Homeric Hymn to Demeter were the central events in the myth of the two god­ desses.221 Cornford and Nilsson proposed that Diodoros' spring festival of Persephone was an observance of the kathodos, and in Zancani Montuoro's view it celebrated the marriage of Persephone and Hades in the general form which I have outlined.222 The archaeological evidence and the written sources together reveal that the western Greeks considered the marriage of Persephone and Hades to be the central event in the myth. The Apulian vases which transform the rape of Persephone into a marriage procession indi­ cate that the seizure of the goddess and her chthonian wedding followed close upon one another; they were, in effect, stages of the same event.223 Demeter could have no place in the

THE VOTIVE TERRACOTTAS

celebration of this marriage. If, as has been assumed, Diodoros' spring festival of Persephone was coordinated with the myth, it seems that the descent and not the return of the goddess must have been the specific event commemorated. Diodoros contrasts the religious purity and seriousness of the celebration of Persephone's spring festival with the magnificence and misbehavior of Demeter's rites in the fall; such differences in tone might result from the diverse nature of the mythical events—on the one hand, the sacred marriage of the chthonian gods, with its momentous consequences for man's hope of surviving death; on the other, the respite from sorrow, the joyous reunion of the two goddesses, and the great gifts to mankind that followed, of agriculture and law.224 Th ζ katagoge then corresponds to the kathodos. The term katagoge may also retain the nuptial meaning of the άγωγή, which could signify the procession of the wedding party from the home of the bride to that of the bridegroom, perhaps with the lingering connotation of a forcible carrying off of the bride.225 One of the Lokrian pinakes seems to depict this event, and I have earlier noted the striking resemblance of Apulian scenes of the rape of Persephone to wedding processions.226 I have therefore un­ derstood ή καταγωγή τής Κόρης to mean literally "the leading down of Kore." If this in­ terpretation is correct, then it was this essentially propitious event that the spring festival celebrated, and to which the imagery of the terracottas alludes. It seems likely that these were dedicated in the neighborhood sanctuaries at the time of the festival.227 Yet it must be admitted that there is also evidence for believing that the rape of Per­ sephone took place in the fall and her return in the spring.228 In the Homeric Hymn (lines 398-403) Demeter tells Kore that she will have to spend a third of the year with Hades, then return in the spring to pass the remaining two thirds of the year with the Olympians. This passage seems clear evidence for a descent in the fall and a return in the spring; moreover, other sources also place the rape of Persephone in the fall.229 The problem here is that we do not know to what extent the Attic Hymn to Demeter should be used as a source for Sikeliote myth and ritual, and an analogous uncertainty applies to the other references to the rape of Persephone, which are mostly late and Roman. There were obvious differences in the Sikeliote and Eleusinian cults, not only with regard to the setting of the events of the myth. For instance, Diodoros specifies that the rape of Persephone took place when the wildflowers were blooming—"in that fair field of Enna, where Proserpine gathering flowers, herself a fairer flower by gloomy Dis was gathered." The Attic account has her return in the spring. Another divergence concerns the length of Persephone's sojourns. The separation of the Sikeliote festivals by a period of about six months indicates that Persephone spends equal parts of the year with Hades and with her mother. This seems to have been the Sikeliote view, but it does not accord with the division of the year into three parts by the Hymn to Demeter.230 These differences with regard to the setting of the myth, the relationship of its events to the seasons, and the length of Persephone's sojourns seem to reflect the various ways in which the myth was localized and transformed into the immediacy of ritual. The manner in which the myth was related through ritual to the passage of the seasons seems to be one of these differences. It thus appears that in Sicily the descent of Persephone was celebrated in the spring, coordinated with the harvest of grain, which had become a symbol of the survival of the soul.231 There is also the question of the meaning of the word katagoge, which has been understood

IOI

I02

THE VOTIVE TERRACOTTAS

to signify a return, "a bringing back"; this is its meaning in the Attic Anthesteria, when it designates the return of Dionysos.232 But this meaning is unusual, and I have tried to dem­ onstrate that the word may also signify "leading down." Perhaps it will not seem a case of special pleading to adopt the compromise of Cornford, who suggests that "Kore is both 'brought home' and 'brought down,' if she is carried into the subterranean megaron of Pluton."233 The goddess's descent has an exalted significance for the Sikeliotes; consequently the katagoge can be understood as both a descent and a homecoming. The analysis of the votives should not lead to the conclusion that Persephone was the only goddess worshiped in the Morgantina sanctuaries.234 It does seem likely that the other deities represented in the votive deposits—Hades (perhaps), Artemis, Athena, Eros, and the Nymphs—are found there because of their relationships with her. None of the terracottas represent Demeter, and only a few are associated with her. It would, however, be rash to conclude from her absence among the terracottas that she was not worshiped in the sanctuaries. Diodoros tells us that she had a magnificent festival at the time of sowing, and her presence in the religious consciousness of the Sikeliotes is attested by many sources.235 Terracotta votives are merely one sort of expression of veneration; were we to measure the devotion of the Syracusans to Zeus, Apollo, and Athena by the number of terracottas offered to them, we would have to conclude that they had little or no importance. Yet each had an imposing temple and an active cult. If Demeter had few votives, at Morgantina and elsewhere, it is because the form that her worship took did not encourage them. We know too little about the motivations for making different types of offerings to the gods.236 What was appropriate in one cult might not be in another; each cult must be con­ sidered on its own terms, and in each we must attempt to recognize the hopes and intentions of the worshipers, for it is these that gave form to the offerings. Many thousands of terracot­ tas from sanctuaries throughout the Mediterranean at least show that such gifts were thought to be pleasing to the gods of the underworld. The Hymn to Demeter offers one explanation for this widespread custom. In lines 367-69, Hades predicts to Persephone that she will rule over all life on earth, and he goes on to say to her, "Those who defraud you and do not appease your power with offerings, reverently performing rites and paying fit gifts [έναίσιμα δώρα} shall be punished for evermore." The terracotta images of the goddess, which could be bought at modest expense and so were accessible to nearly everyone, were evidently such έναίσιμα δώρα. Hades' words also suggest why Persephone required such gifts: it is because she will become a judge of souls, condemning those who do not propitiate her and rewarding those who do.237 The reward was supremely important, for it consisted of both prosperity in life and the hope of joining the δλβιοι in the underworld after death. Those whom the god­ desses love will be "greatly blessed" in life (Hymn, lines 486-87); whoever has seen the mys­ teries at Eleusis will be blessed after death, but he who has not done so "never has lot of like good things, once he is dead, down in the darkness and gloom" (lines 48iff.). As Zuntz and Richardson have seen, it is Persephone who determines the fate of the individual soul.238 At Eleusis initiation might be the means of obtaining the desired reward. The gold leaves from tombs at Thourioi in southern Italy reveal that the decision of Persephone will be favor­ able if the soul has kept pure in life, a requirement that may have demanded ethical as well as ritual purity.239 The kind of devotion that the terracottas record is less exalted but still very

THE VOTIVE TERRACOTTAS

real. Their numbers tell us that they, too, as fitting gifts, were a means of obtaining the goddess's favor. The great majority of these represent the goddess herself, and thus it seems that Persephone was thought to be pleased by the gift of her own image. Yet perhaps these agalmata also satisfied longings of her worshipers, who by purchasing and dedicating an image of the goddess were able to communicate directly with her. The act of dedication was itself an act of communication; the dedication of an image of the goddess herself brought the worshiper into her presence. The dedication of images of the goddess should then be under­ stood as a way of approaching her divinity, which was called for by the structure of chthonian religion. Such a dedication was an act that foreshadowed the day when in truth the dedicant would stand before Persephone, perhaps saying as at Thourioi και γαρ έγών υμών γένος δλβον εύχομαι είναι.240 Zuntz has paraphrased the gold leaves in these words: "Pure I stand be­ fore you, deities of death, myself an offspring of the gods; I have paid the amends of injus­ tice; send me, gracefully, to the sojourn of the pure."241 The votive terracottas seem to record countless anticipations of this moment.

Notes 1. See the Context Lists; the Syracusan material is de­ scribed under contexts S 5 and S 6 . 2. For more pessimistic assessments of the religious sig­ nifi c a n c e o f v o t i v e t e r r a c o t t a s , S t i l l w e l l , C o r i n t h x v : 2 , 7 f f . ; D. B. Thompson, Hesperia 21 (1952) 154. See also Rouse, Votive Offerings, Cha 1 PS. 8 and 14. 3. As mortals: Zuntz, 9 2 , n. 5 ; also 9 5 - 9 7 ; Miiller, Po­ los, 8iff.; see also Sjoqvist, PR II, 159, on 56, Higgins, Knossos TC, 184. Most Italian scholars have called these figures goddesses, either Demeter or Kore, see also Mollard-Besques, TCG, pi. 10:3. 4. Miiller (Polos, 8 4 ) asserts that poloi can be worn by mortals in ritual activities; in this he follows A. Frickenhaus (Tiryns I [Athens, 1912] 68f.). However, none of the examples cited by Muller wears the high cylindrical polos of the goddesses. To fall back on the terracottas in question is to evade the problem of their identity. Frickenhaus as­ serts incorrectly that the pig is not held by the goddesses; see infra, text at n. 15. The polos of the terracottas is quite different in form from the round caps (of felt?) worn by Palmyrene priests in funerary portrait busts; for these, seeSyria 5 0 ( 1 9 7 3 ) I72ff., figs. 8 - 1 3 . 5. Kore from Keratea: Lullies-Hirmer, pis. 18-21. Polos Kore: H. Payne and G. M. Young, Archaic Marble Sculpture from the Acropolis (London, n.d.) pi. 82. Boeotian terracottas: Higgins, BM TC l, nos. 846-51, 86of. , pis. ι i8f., 122. On the polos worn by the dead, Muller, Polos, 70ff.; G. Rodenwaldt,Jof., fig. 4 5 . 13- In her search for Kore, Demeter sometimes carries torches (as in the Hymn to Demeter, lines 48, 6 1 ) ; in the Sikeliote account they were lit in the crater of Aitna (Diod. 5.4.3). Demeter's torches are called for by the narrative; Persephone's are chthonian attributes. The Demeter of the Parthenon frieze holds a torch; her gesture shows that she is thinking of Persephone. For Demeter with a torch see also the Lovatelli Urn and the Torrenuova sarcophagus, Kerenyi, Eleusis, 54ff., figs. 1 1 - 1 3 ; Mylonas, Eleusis, fig. 83f.; and a rare Lokrian pinax, Pruckner, Tonreltefs, 82, type 1 2 4 . 14. Mylonas, Eleusis, 249f.; Nilsson, GGR I 3 , 463; Burkert, Homo Necans, 2&i,ff. Many pigs' bones have recently been found in the area of the sanctuary of Demeter and Persephone at Syracuse (Madonna delle Lacrime), as I learn from G . Voza. 15. For this terracotta sculpture, G . Charles Picard, Carthage (London, 1964) 1 3 0 , fig. 67; the group must have been created by an artist working under strong Sikeliote influence, probably in the early second century. 16. Cf. Zuntz, 92, n. 5; 1 8 3 , Burkert, Homo Necans, 284. 17. E. Simon, Die opfernde Gotter (Berlin, 1 9 5 3 ) 7f.; B. Eckstein-Wolf, Mdl 5 ( 1 9 5 2 ) 39-75; N. Himmelmann-Wildschutz, Zur Eigenart des klassischen Gotterbildes (Munich, 1 9 5 9 ) 2 4 - 3 1 . 18. Himmelmann Wildschutz, op. cit., 29f., "Opfern ist heiliges, gottliches Tun; die opfernde Gotter libernehmen nicht menschlichen Brauch, vielmehr ahmt der opfernde Mensch die Gotter nach, die lhm diese Moglichkeit anverstrauten, um an ihrer Heiligkeit Teil zu haben." 19- A Syracusan terracotta Artemis, from the Belvedere sanctuary, stands next to a small altar, pouring a libation; no priest or dedicant here! Cf. also the Persephone from the Korba sanctuary near Carthage, supra, n. 15. 20. As by Herdejurgen, Basel, 5 , n. 29, Stillwell, Corinth x v : 2 , 1 0 4 , n. 3. 2 1 . Syracuse 4 5 3 2 5 , unpublished. Syracuse or Akrai: Kekule, pi. x x v : 2 . Akrai: Kekule, pi. x x v : 4 = G . Judica, Antichita di Acre (Messina, 1 8 1 9 ) pi. x v = W I 2 0 7 : 3 . Kentoripa: Kekule, pi. x x v : 3 . Scornavacche: A. Di Vita, Kokalos 4 ( 1 9 5 8 ) 95, n. 4 1 . Butera: Adamesteanu, Butera, 6 6 7 , fig. 2 9 3 . Gela: fragmentary piece from Capo Soprano, in "seconda scelta" exhibit at Gela. Akragas: unpub., Agrigento. 22. One wonders if the reclining figures from houses at Priene may not be female; these were associated with a cult of the dead by their excavators; Wiegand-Schrader, Priene, 334f., fig. 372f. There are to my knowledge no reclining female figures with polos beyond Sicily. 23- Marconi, Agrigento, i87ff.; Herdejurgen, Basel, 5f., nos. 3 2 - 3 5 . 2 4 . W I 2o 1 ff., Herdejurgen, pi. 9, nos. 3 3 , 35; Higgins, BM TC I, no. 1 3 4 6 , pi. 187: Wurlleumier, Tarente, 402, pi. x x x : 3 ; Langlotz, pi. 1 2 5 : 1 (relief in Berlin). On such taeniae, P. Corbett, Hesperta 1 8 (1949) 3 i 2 f f .

25. The old question of the subject of the Tarantine banqueters (identified as heroized dead. P. Wolters, in Festschrift Arndt [Munich, 1 9 2 5 ] 9ff., as Dionysos-Hades. A. J . Evans,JHS 7 [ 1 8 8 6 ] 8ff.) has recently been carefully examined by H. Herdejurgen in her publication of the Tarantine terracottas in Basel (Herdejurgen, Basel, 26ff.). In the sixth and early fifth centuries the reclining figures are identified as sacrificing mortals; later, these are heroized. The conclusion that the type underwent a change in meaning in the second half of the fifth century, corresponding to the addition of attributes, etc., is not convincing, for both types are found in the same deposits and the meaning should be consistent throughout; only styles changed. The chthonian significance of the banqueter type in the archaic and early-classical period is established by its frequent appearance in funerary contexts, from Anatolia to Magna Graecia to Etruria. On the dedication of such figures in chthonian sanctuaries, F. G. Lo Porto, NSc (1966) 157ff., 166 (Metapontion, sanctuary deposit at "Le Tegole"). The identification of the reclining figures as heroized dead still seems preferable. Zuntz has exorcized the specter of "Dionysos-Hades"; p. 1 6 7 , n. 5, p. 407ff. 26. On the veil, see RE XI, i69off., s.v. Kredemnon (M. Bieber), esp. 1 6 9 2 ^ , on the marriage veil. Penelope is veiled on an Attic skyphos (FR, pi. 142), as is Demeter in the Lakrateides relief (Mylonas, Eleusis, fig. 7 1 ) and on a Kerch lekythos in Paris (Kerenyi, Eleusis, fig. 54), the veil in these instances may denote sorrow. 27. Cf. A. Bruckner, AthMitt 32 ( 1 9 0 7 ) 80, fig. 1; ibid., pi. 1:1 (Attic); Trendall, LCS, no. 1 0 5 , pi. 236, ibid., no. 206, pi 240, ibid., no. 450, pi. 254, ibid., vol. II, frontispiece. 28. See P. W . Deussen, OpusRom 9 ( 1 9 7 3 ) i29ff. 29- Langlotz, pi. 72; Pruckner, Tonreltefs, 74ff., pi. 2 1 . 30. Kekule, pi. x x v : 2 ; see also pi. x x v : 3 . 31. Langlotz, pi. 1 0 5 ; see, too, Hera on the Parthenon frieze; Hera on an Apulian amphora in Ruvo, Sichtermann, GVU, K 7 3 , pis. 1 2 4 , 1 2 7 ; Helen on a Kerch hydria in Leningrad, FR, pi. 79; Persephone (?) on a Sikeliote pyxis in Basel (here pi. 1 4 9 , fig. 24), Trendall, LCS II, frontispiece; Sikeliote terracottas of the later fifth century, which probably represent Persephone, see Langlotz, pi. 1 3 0 (Megara Hyblaia), BdA (i960) 262, fig. 24:4 (Catania), BdA ( 1 9 5 4 ) 73ff-, fig. 4 (Paterno). See also M.-L. Saflund, The East Pediment of the Temple of Zeus at Olympia (Studies in Mediterranean Archaeology, vol. XXVII) 1 0 5 , on the similar gesture of Hippodameia. 32. On the anakalyptena, L. Deubner, Jdl 15 (1900) i 4 8 f f . , P. W . Deussen, OpusRom 9 ( 1 9 7 3 ) 1 3 1 , n. 40. See also infra, text at n. 209. 33. E. Simon, op. cit. (n. 17), 73f., on the sacrifices of the epaulia, see P. W . Deussen, op. cit. (n. 32), I26ff. What is the significance of the phiale on the ground in front of Herakles and Hebe, on an Apulian amphora (FR, pi. 1 4 9 P Persephone and Hades can hold a phiale in Lokrian pinakes representing the anakalyptena; see Zancani Montuoro, AttiMGrecia n.s. 1 ( 1 9 5 4 ) 9 6 . 34. Deubner, op. cit. (n. 32), 149. 35. FR, pi. 70; E. Simon, AntK 9 (1966) pi. 1 7 . 36. Cf. Sichtermann, GVU, K 49, pi. 82; ibid., K 67,

IC>8 THE VOTIVE TERRACOTTAS pi. 106 (Helen vase in Ruvo; see L. B. Ghali-Kahil, Les Enlevements et les Retours d'Helene, Ecole fran^aise d'Athenes, Travaux et memoires, 10 [Pans, 1 9 5 5 ] 180, no. 1 4 5 , pi. x x i x : 4 ) ; Trendall, LCS, Campanian, pt. 4, nos. 16, 2 1 , pi. 1 7 6 , Sicilian, no. 2 2 7 , pi. 2 4 2 , and many vases of the Lipan Painter, as nos. 448, 4 5 3 , pi 2 5 3 , nos. 449, 464, pi 2 5 4 , etc. For a semidraped Attic bride, AAf 32 ( 1 9 0 7 ) 112, Beil. iv 37. Cf the Helen vase, FR, pi. 79; Helen vase in Ruvo (n. 36); Herakles and Hebe, FR, pi. 149; one also thinks of Hellenistic terracotta representations (see 483) and of the Aldobrandini Wedding. The kline appears in some Attic vase paintings: cf. AM 32 ( 1 9 0 7 ) 93, fig. 6, pi. vi; and B. Schweitzer, Mythische Hochzeiten (SBHeidelberg, 1 9 6 1 ) pi. iv (interpreted, on p. 28, as the kline on which the couple rest at the epaulia). 38. Zuntz (p. i63ff.) has described the analogous significance of the dove in Lokrian pinakes and other terracottas. 39. Cf. AM 32 (1907) 9, fig. 6. 40. Kekule, pi. x x v : 3 ; for Eros at Kentonpa, Libertini 1 9 3 2 , pis. 11, vi. 4 1 . Orsi, MonAnt 7 (1897) 243-48; B. Pace asserted that nymphs were the subject of all Sikehote busts (Pace HI, 487ff.), but the evidence—a rare coin type on which appear three busts and a Pan—is too slim, and is contradicted by the provenance of busts in chthonian sanctuaries and in tombs. See also L. Beschi, ASAtene 3 1 - 3 2 (1969-70) 3 i 8 f f . 4 2 . Zuntz, 151 ff. See also ArchCl 24 ( 1 9 7 2 ) 3. 4 3 . Busts have also been found in graves, and these must certainly represent Persephone rather than Demeter. Gela: MonAnt 1 7 ( 1 9 0 6 ) 4 2 6 , fig. 307. Sehnous: Sicilia Archeologica no. 7 (Sept. 1969) 1 2 , fig. 7 (fifth century). Paterno: NSc ( 1 9 5 4 ) 135f., tomb 9 (fifth century). Medma: NSc (1917) 48, fig. 1 7 , tomb 46 (fourth century); fig. 30, p. 56, comes from the same necropolis. Myrina: PottierReinach, Necropole, 3 i 6 f f . , pi. ix:2 = Mollard-Besques, Louvre TC 11, M Y R 3 5 , pi. 38:a. One bust from Lokroi (NSc [ 1 9 1 1 ] suppl., 69ff., fig. 5 1 ) is wrongly cited by Zuntz as coming from a grave (p. 170); it was found in the sanctuary of Persephone; another Lokrian bust (NSc [ 1 9 1 3 ] suppl., 9, fig. 8) was found "in vicinanza di un sepolcro, e certamente in tutela di esso" (Orsi). 4 4 . Orsi, NSc (1913) suppl., 7 1 . For a recent study of the bust as a type, see Martin F. Kilmer, The Shoulder Bust in Sicily and South and Central Italy: A Catalogue and Materials for Dating, Studies in Mediterranean Archaeology Ll (Gothenburg, 1977). This appeared too late to be of use to me. 45. On the interpretation of the subject of the protome as Persephone, Zuntz, I42ff. 4 6 . We may well ask whether its initial "meaning" was still known in the early fifth century, when the bust replaced the protome, it is possible that new "meanings" accrued to the bust, the strangeness of which may have stimulated learned speculation (comparable perhaps to the modern efforts to interpret the form). 4 7 . Zuntz, 1 5 3 , see also L. Beschi, ASAtene 3 1 - 3 2 (1969-70) 317. The interpretation of abbreviated images of

Demeter or Persephone as representations of a deity rising from the earth can be traced to E. Gerhard, AdI ( 1 8 5 7 ) 2 1 iff., it was followed by G. E. Rizzo, JOAl 1 3 ( 1 9 1 0 ) 73f. The sources in Pausanias that have been used to demonstrate the appropriateness of busthke images for Demeter and Persephone are capable of different interpretation: thus the agalmata of Demeter, Dionysos, and Kore (Paus. 2 . 1 1 . 3 ) with t& npdocona (paivovxa, may have had bodies that were concealed; the same can be said of the Demeter at Thebes, 6oov tq otepva iv avep§ (9.16-5). The image of Demeter Kidaria at Phenea ( 8 . 1 5 . 3 ) may not be early, was an actual mask, and did not in any case represent Persephone. 48. Zuntz, 1 5 3 . 49. Ibid.; S. Ferri, "Archeologia della protome," AnnPisa ser. 2, vol. 2 ( 1 9 3 3 ) 1 4 6 - 5 8 , offers a similar explanation. 50. Cf. Bhnkenberg, Lindos 1, 5 9 2 , fig. 6 1 ; MonAnt 1 ( 1 8 9 2 ) 805; Clara Rhodes 4 ( 1 9 3 1 ) pi. iv. 51. C. Picard, Karthago 13 (1965-66) pi. XIV, fig. 48, a Cypriote mask with suspension hole. H . R . W . Smith has pointed out the likeness of the protome to another sort of partial image, the heads in Daedahc style attached to vases; Hesperia, suppl. vm (1949) 3 5 6 , n. 1 2 ; see also Picard, op. Clt., 52f. 52. Persephone is called Pasikrateia in the inscription from Temple G at Selinous; see Zuntz, i03ff. For Soteira, IG X I V 262, D. Adamesteanu, RendLtnc 9 ( 1 9 5 4 ) 469; P. Griffo, Kokalos 13 ( 1 9 6 7 ) 202-4, pi. x x x i . Polystephanos Soteira: in Sicily a "many-crowned saviour" can only refer to polos-wearing Persephone. 53. II- 9-457, 569\0d. 1 0 . 4 9 1 , 5 3 4 , 564, etc.; Hes. Theog. 768. S. Ferri, op. cit. (n. 49), has suggested that the bust demonstrates a reluctance to show the whole of the goddess, out of fear, in this sense the bust would be analogous to the euphemistic names often used for Hades and Persephone. Such an explanation may account for the faceless images of the goddess from the necropolis of Kyrene, but it is less satisfying for the Sikehote busts; Persephone was, after all, often represented fully; see Ferri, Divinita ignote, 66; L. Beschi, ASAtene 3 1 - 3 2 (1969-70) 3 1 5 - 3 6 . 54. Olynthus vii, 9 - 1 2 , ibid., xiv, 5 3 , 64ff., 7 i f . 55. Zuntz, 9 1 , n. 2. 56. Blinkenberg, Lindos I, 36f., 588f. On Daedalic sources, Smith, op. cit. (n. 5 1 ) . Egyptian influence was seen by Orsi, but has been generally discounted; MonAnt 1 ( 1 8 9 2 ) 935f. For a Punic source, Higgins, GTC, 44. 57. C. Picard, "Sacra Punica, Etude sur les masques et rasoirs de Carthage," Karthago 1 3 (1965-66) 7 - 1 1 5 , esp. 40-55. See also W . Culican, infra, n. 60. 58. For the Cypriote protomes, Picard, op. cit. (n. 57), 47ff. The protome from tomb 9 at Amathus cannot be as early as the end of the eighth century, as stated by Picard; the stratum with the protome contained Ionian pottery and Saitic scarabs (E. Gjerstad, et al., Swedish Cyprus Expedition 11 [Stockholm, 1 9 3 5 ] 64). This piece appears to be a Cypriote copy of an Ionian model; the holes under the ears are seen in Delian examples of the sixth century; cf. Laumonier, Delos TC, pis. 9, 1 0 , 1 2 , 14.

106

IC>8 THE VOTIVE TERRACOTTAS 59. Praktika (1949) 8 9 ^ , fig. 20; Higgins, GTC, 44, fig. 1 3 (drawing). 60. Higgins, GTC, 44. See now the important study by W . Culican, "Some Phoenician Masks and Other Terracottas," Berytus 24 ( 1 9 7 5 - 7 6 ) 47-87, which offers convincing evidence for the Punic origin of the Greek protome, and anticipates several of the conclusions set forth here. 61. Picard, op. cit. (n. 57), no. 2 5 , fig. 2 1 , no. 26, fig. 2 2 . The dating of the other archaic Punic protomes seems too low; the example depicted in pi. VII, fig. 2 5 , was found in a tomb with two Ionian terracottas, one seated, one standing; both belong in the third quarter of the sixth century, not at its end (P. Gauckler, Necropoles Puniques [Paris, 1 9 1 5 } pi. CLXXIII). For the seated figure, cf. 3 1 ; it belongs in the third quarter of the sixth century (cf. Higgins, BM TC I, nos. 68-73, P'- '3f-)• For the standing figure, cf. MonAnt 1 ( 1 8 9 2 ) 820, tomb 30, pi. v:8 (midsixth century, Megara H.); BdA ( 1 9 6 2 ) 1 6 3 , fig. 18, tomb 9 (mid-sixth century, Taras). The protome of Picard, pi. VLI, fig. 2 7 , apparently was found with an Ionian plastic vase of a type of the third quarter of the sixth century; see C. Saumagne, BAC ( 1 9 3 2 ) 326. 62. C. Picard, op. cit. (n. 57), 4 i f . The general likeness is to mummy portraits. 63. Motya: A. Ciasca, Mozta I (Universita di Roma, Centro di Studi Semitici, Studi Semitici 12; Rome, 1964) 6 i f f . , pis. XLVI-XLVJI. Tharros: U. Antonielli, Notiziario Archeologico 3 ( 1 9 2 2 ) 53ff.; see also a protome of gold, used as a pendant in a necklace, F. H. Marshall, Catalogue of the Jewellery, Greek, Etruscan, and Roman, in the Department of Antiquities, British Museum (London, 1 9 1 1 ) no. 1 5 4 5 , pi. xxiv. 6 4 . See Picard, op. cit. (n. 57), 5 3 , "impensable"; Smith, loc. cit. (n. 51). For another possible example of Punic influence, supra, chapter 1, at n. 64. 65. P. Orlandini, Kokalos 1 2 (1966) 23f., pi. x i x : 4 . 66. Picard, op. cit. (n. 57), 9off.; see also Antonielli, loc. cit. (n. 63). If the Punic protomes represent Tanit, as seems most probable, one is led to wonder whether the protome as a form is not derived from her frequently used epithet, Pene Baal, "face of Baal." The idea of the abbreviated image could then be traced directly to a religious concept. 67. On Tanit and Persephone, see D. White, AJA 71 ( 1 9 6 7 ) 346fF.; G. Charles-Picard, Les religions de I'Afrique antique (Paris, 1954) 68ff. 68. White, op. cit., pi. 1 0 5 , figs. 18-20 (arulae from Soloeis); Antonielli, op. cit. (n. 63) 54, fig. 36 (silver diadem with busts of Baal and Tanit). 69. MonAnt 32 ( 1 9 2 7 ) pi. LXV:I, pi. LXVI:I, possibly also pi. LXiv.3. Suspension holes are unfortunately not always visible in photographs and sometimes go unmentioned in descriptions. 70. Zuntz, i 7 3 f f . , 400ff. 71. PR II, 1 5 9 . 72. Ibid., n. 1 7 . 73. G. Stamires, appendix to PR II, i 6 2 f f . 74. On the chthonian significance of the snake, E. Kuster, Die Schlange in der griechische Kunst und Religion, RW 1 3 : 2 ( 1 9 1 3 ) 62ff.

7 5 . K. Schauenburg 1 9 5 3 , 66, n. 1 4 4 , lists the few works in which Dionysos holds a snake; see also Kuster, op. cit , 1 i8f. 76. Triptolemos is youthful and beardless in the classical period and might seem an attractive candidate. Yet he is known in Sicily only in a bronze coin of the Roman period (Enna; Head HN2, 1 3 7 , P. Naster, Collection Lucien de Hirsch [Brussels, 1 9 5 9 ] no. 392) and in a statue seen by Cicero at Enna, which may be represented on the coin, Verr. 2 4 . 1 1 0 . See also Firm. Mat., de Err. prof. rel. 7 . 4 . Triptolemos does appear frequently in south-Italian vases; these are listed by C. Dugas, Recueil C. Dugas (Paris, i960) 137f.; with addenda by K. Schauenburg, Ars Antiqua Ag, Auktion 1 (2 May 1959) 43f. T . also appears on Loknan pinakes, Pruckner, Tonreltefs, type 1 2 0 . The strongest objection to the identification of the Morgantina god as Triptolemos is found in the terracottas: from their size and provenance they must represent a deity at the center of the cult and its mythology; there is no evidence that T . played such a role before the Roman period 77. H. Mobius, Alexandria und Rom (AbhMunich 59, 1964) 36f.; monuments include the Lovatelli urn (Kerenyi, Eleusis, 56, fig. i2a-d), the Torrenova sarcophagus (ibid., 54, fig. 11), a terracotta plaque (ibid., 58, fig. 13), and a terracotta relief in Copenhagen (Poulsen, Ny Carlsberg TC, 1 5 , no. 1 4 , pi. ix; I believe this piece to be genuine). See also the third century A.D. painting of Demeter (or Persephone?) with two snakes, at Ephesos; AJA 66 ( 1 9 6 2 ) pi. 2 2 , fig. 16, and a late-Hellenistic bust of Persephone from Kentoripa, with snakes entwined on her polos; von Matt, pi. 169. This bust reminds one of the Persephone of the Tomba dell'Orco, in whose hair snakes are coiling. 78. Tomba dell'Orco: M. Pallottino, Etruscan Painting (Geneva, 1 9 5 2 ) 111. Tomba Golini: G. Q. Giglioli, L'Arte etrusca (Milan, 1 9 3 5 ) pi. CCXLV; Richter, Furniture, fig. 441. 79. On a gold diadem apparently of south-Italian origin, a snake appears before two figures who may be Hades and Persephone; see P. E. Arias, AntK 2 ( 1 9 5 9 ) i 6 f f , pi. 12. 80. Paus. 3 . 2 5 5f , Roscher, Lexikon, s.v. Kerberos, col. 1133ff. Kerberos can have snakes' heads protruding from his body; cf. the Argive skyphos, Roscher, Lexikon, col. 1 1 2 1 , fig. 1; the Caeretan hydna, Anas-Hirmer, pi. x x v n , etc. In a sculpture of Hades and K . in the Villa Borghese at Rome a snake is coiled around the hell-hound, H. Speier, ed., Fuhrer durch die offenthchen Sammlungen klassischer Altertumer in Rom II (4th ed., Tubingen, 1966), no. 1492. See also a relief in Rome, J . P. Laver, C. Picard, Les statues ptolemaiques du Sarapeion de Memphis (Paris, 1955) 2 5 2 , fig. 140. Late sources identify Hades himself as a snake; on these, K . Kerenyi, Maia 4 ( 1 9 5 1 ) iff.; id., The Gods of the Greeks (London, 1 9 5 1 ) 252f.; see also Zuntz, 398f.; E. Simon, Jdl 79 (1964) 33off. If these late accounts are dependent on classical sources, the snake held by Hades might have much greater significance; for according to them Zeus-Hades in the form of a snake ravished the Kore, who subsequently gave birth to Zagreus-Dionysos (Nonnus, Dion. 6 . i 2 8 f f . ) . 81. Hades is present in the Loknan pinakes, as the kidnapper of Persephone and then as the bridegroom. There

IC>8 THE VOTIVE TERRACOTTAS are also unpublished terracottas of a male figure from the Syracusan Well Deposit (series of 2 9 5 , and others). In Sicily there is also a bearded male head wearing the polos, from the favissae below S. Biagio at Agrigento; and a fragmentary late-archaic head from Akragas, called Hades by N. Breitenstein, ActaA 1 6 ( 1 9 4 5 ) 1 2 0 - 2 3 , fig 7- See also the large group of bearded and unbearded male figures from a chthonian sanctuary at Halikarnassos, Higgins, BM TC 1, nos. 345-48, 359-70, 4 2 4 - 4 1 , 4 6 1 - 8 5 , and 506-22. For similar figures from a sanctuary of Demeter at Iasos, D. Levi, ASAtene 45-46 (1967-68) 573f., fig. 4 2 X . 82 Thompson, Troy TC, 45ff 83. DarSag, s.v. Matrimonium, 1 6 5 1 , figs 4865-67. 84. Pinax. M. Schinko, Klearchos 15 ( 1 9 7 3 ) 63ff., fig. 2 (Vibo Valentia, no 1 1 4 0 ) . Apulian krater: Schauenburg 1 9 5 8 , 66, fig. 11 (Naples SA 11). Sikehote pyxis. Trendall, LCS II, frontispiece (Basel, priv. coll.). 8 5 . For the type, P. Zancani Montuoro, AttiMGrecia n.s. 1 ( 1 9 5 4 ) 79-90, pis. x m - x x m , Pruckner, Tonreliefs, types 9 2 - 1 2 3 . One is reminded of the large group of pinakes depicting a youth who seizes a maiden, and of the single example on which the youth is accompanied by an older bearded man; see Zancani Montuoro, RendNap 29 ( 1 9 5 4 ) 8 2 f f . , pi. vmf., Kerenyi, Eleusis, 1 7 3 , fig. 56, Pruckner, Tonreliefs, 72f., type 83. As Zancani Montuoro has seen, the bearded figure in the unique piece must be Hades, if we assume that the unbearded youth is also the protagonist of the pinakes with a single male subject, then he must be someone other than Hades. Kerenyi calls him Eubouleus, he may be Hades' agent, seizing not Kore but young mortal girls who died before marriage to become "brides of Acheron", see Zuntz, 402ff. Zancani Montuoro's suggestion that he should be called a Dioskouros seems less likely; nor is Pruckner's hypothetical myth in which a local hero carries off a bride very convincing. 86. For the aedicula, see Wiener Vorlegeblatter E, pis. i-iv. 87. Yet we may wonder with Zuntz (p. 409, n. 1) why he is seated on a panther skin; see also Schauenburg 1958, 7 2 , n. 88. 88. Trendall, LCS 1, 695. 89. Ibid. 90. Ibid., pi. 228. 91. P. E. Arias, Cronache di Archeologia e Storia d'Arte 1 (1962) 36ff., has argued that the main subject of the Lentini krater is Hera prior to the judgment of Paris, without identifying the older man. I believe the subject to be Orpheus singing before Persephone, in the presence of Eurydike and Hades. The eyes of Orpheus and Eurydike meet. 92. PR II, appendix, 1 6 3 . 93- For the names and epithets of Hades, RE x x i : i , ioo5f. 94. P. Orsi, MonAnt 9 (1899) 2 2 8 - 3 5 , fig- 2 695. Marconi, Agrigento arcaica, 6 7 , pi. xv:6; "molti esemplari frammentati." 96. MonAnt 32 ( 1 9 2 7 ) pi. LXXVII:8. 9 7 . P. Orlandini, NSc (1956) 252f., 2 5 7 , fig. 2:g. 98. Ibid., 242f., 249, no. 24. 9 9 . F. G. Lo Porto, RomMitt 11. Erganzungsheft, i67ff., pi. 28:1-3 (sanctuary deposit, S. Maria Anglona).

100. P. Orsi, NSc (1915) i 9 2 f . 101. Adamesteanu, Butera, 6 4 9 ^ , figs. 2 7 5 - 7 8 , 28084. 102. Trendall, LCS, 589, no. 27 (related to the Lentini Painter), pi. 228.1, 2 (Syracuse 47099, from Leontinoi). 103- She is similar to terracottas of the Artemis Group; supra, chapter 2, section 4. 104. Supra, chapter 2, at n. 69. As Richardson (Hymn, p. 295) has noted, Artemis is acting out the role ofpropolos for Persephone, which she receives in the Homeric Hymn (line 440). 105. Val. Flac. 5 - 3 4 3 f f . ; Claud., De raptu Pros. i . 2 2 9 f f . ; Hyg., Fab. 146. 106. Ciaceri, Culti, 1 6 7 ; L. Preller and C. Robert, Griechische Mythologie 1 (Berlin, 1894) 3 2 i f f . , 324. 107. E. Gabriel, MonAnt 32 ( 1 9 2 7 ) 73f., 406; M. Guarducci, PP 8 ( 1 9 5 3 ) 209f. On Hekate as a guardian of doors, L. R. Farnell, Cults of the Greek States 11 (Oxford, 1896) 517. See also Richardson, Hymn, 294ff. 108. G. Voza, Kokalos 1 4 - 1 5 (1968-69) 3 6 3 ^ , pi. LXXIN; supra, chapter 3, at n. 2 3 . 109 Hesych., s.v. epa(a. See also Farnell, op. cit. (n. 1 0 7 ) 4 7 4 f f . , 5 8 4 ^ , n. 1 1 7 ; T . Kraus, Hekate (Heidelberg, i960) 77f., H. Biesantz, Die thessalischen Grabreliefs (Mainz am Rhein, 1965) i i o f . 110. P. Phihppson, Thessahsche Mythologie (Zurich, 1944) 69f. 111. In the latter scenes the torch may also have a nuptial meaning. 112. On this manifestation of Artemis, see Kleine Pauly, s.v. Elaphebolos. For the western-Greek terracottas, supra, chapter 2, section 4. 113- Hesych., s.v. fiyyeXov; Ciaceri, Culti, i66ff. An Artemis Eleusinia was also known in Sicily; Hesych., s.v. 'Etaucrivia. 114. Schol. Theocr. 5 . 1 2 . 115. P. Hartwig, AM 2 1 (1896) 3 7 7 ^ , pi. 1 2 ; E. Simon, AntK 9 (1966) pi. 1 7 . 116. FR, pi. 1 7 9 ; Anas-Hirmer, pi. 239; see I. Jucker, Der Gestus des Aposkopein (Zurich, 1956) 98. 117. See the catalogue entry for 2 5 3 . 118. For the Grammichele fragment, NSc ( 1 9 0 2 ) 224; Zuntz, Persephone, pi. I4:a. I know of no late-Hellenistic examples. 119- For the identification as nymphs, Pace 111, 6 2 3 , also 486ff.; followed by Adamesteanu, Butera, 6 3 7 . G. Libertini identified the subjects of the Lipari plaques as Olympos, the inventor of the flute, between two Muses or "adoratrici", Le isole eolie (Florence, 1 9 2 1 ) i 6 2 f . , i 8 i f . In this he apparently follows a suggestion of Kekule (p. 40); the main objection is that the central figure of the Lipari plaques is female. P. E . Arias prefers to see mortal subjects in the versions from Lipari, NSc (1946) I47ff. H. Fuhrmann suggested that the central figure in the Lipari plaques is a mortal, flanked by two goddesses; AA ( 1 9 4 1 ) 699. On the Lipari plaques, infra, n. 1 2 7 . On multiple representations in terracottas from south Italy, S. Lagona, Cronache di Archeologia e Storia d'Arte 1 ( 1 9 6 2 ) 2 8 - 3 5 , P'VII; cf. also similar standing triads from the Greek mainland and elsewhere, W 1 5 7 : 1 0 ; W 1 64:2; MollardBesques, Louvre TC I, C 34, C 3 5 , pi. LXII; Hesperia 9

IC>8

THE VOTIVE TERRACOTTAS (1940) 3 5 5 - 5 9 , fig. 21. A triad appears on coins of Thermae Himerenses; these must be nymphs; see Pace III, 487, fig. 121; E. Gabrici, La monetazione del bronzo nella Sicilia antica (Palermo, 1 9 2 7 ) 1 4 1 , nos. 7 - 1 0 , pi. i x : 4 i . An unpublished archaic terracotta in Agrigento (from the great chthonian sanctuary) with three small female figures on a common base may be the earliest example of the triad in Sicily. G. Zuntz has suggested that the three xoana from a spring sanctuary near Palma di Montechiaro are nymphs; although attractive, the identification is uncertain because the xoana do not stand on a common base and may only happen to be three in number; other votives point to a chthonian cult. On this sanctuary, G. Caputo, MonAnt 37 ( 1 9 3 8 ) 585-683; G. Zuntz, Opuscula Selecta (Manchester, 1 9 7 2 ) 7 3 ; F. Muthmann, Mutter und Quelle, Studten zur Quellenverehrung tm Altertum und tm Mittelalter (Basel, 1 9 7 5 ) i6of. On the cult of the nymphs in Sicily, Ciaceri, Culti, 2 4 2 - 5 1 ; Pace III, 4 8 i f f . , with an attempt to associate busts and other terracottas to the cult of the nymphs, P. E. Arias, RendLtnc 11 ( 1 9 3 5 ) 6o5ff.

130. Diod. 4 . 2 3 . 4 , 5 . 4 . 2 . 131. F. Muthmann, op. cit. (n. 1 1 9 ) , i42ff.; Euseb., Praep. Evang. 86a, where nymphs bring water for the bridal bath in the myth of the Daidala at Plataea. On chthonic associations of the nymphs, D. A. van Krevelen, RhM 108 ( 1 9 6 5 ) 188, B. Neutsch, TAI NYNOAZ EMI HIAPON, Zum unterirdischen Heihgtum von Paestum (AbhHeidelberg, 1957)-

120. For the Loknan examples, P. E. Anas, NSc (1946) i 4 5 f . , figs. 11, 1 2 . Triadic representations are noted in RE XVII, col. 1 5 7 6 , s.v. Nymphai (Herter). 121. Muller, Polos, 4 5 , 6 5 , passim. 122. Syracusan nymphs relief: P. E. Arias, RendLinc 11 ( 1 9 3 5 ) 605-8. Camaro relief: P. Orsi, NSc ( 1 9 1 2 ) 4 5 7 , fig. 3 1 ; see also Arias, op cit., Fuchs, Skulptur, fig. 628; J . Boardman, et al., The Art and Architecture of Ancient Greece (London, 1967) pi. 287. 123. The Sicilians themselves danced for the nymphs in nocturnal hilarity; Timaios apud Ath. 6 . 2 5 0 A . 124. There are a few exceptions: a group of late-Lycian reliefs with up to nine nymphs playing auloi and kymbala, H. Metzger, Monuments votifs du Musee cfAdaha (Pans, nos. 1 9 , 37f., 4of.; on these also B. Pace, 1952) ASAtene 3 ( 1 9 1 6 - 2 0 ) 68f., fig. 34. Attic nymphs seldom make music, but see R. Feubel, Attische Nymphenreliefs (Diss. Heidelberg, 1 9 3 5 ) nos. 2 5 , 8a (with krotala). See also the fragmentary metope from the temple of Apollo at Bassai, with two nymphs holding kymbala and krotala, protecting the infant Zeus (?), B. Sauer, SBLeipzig ( 1 8 9 5 ) 207ff., pi. in. A nymph who accompanies Dionysos to Mount Olympos in the Return of Hephaistos on the Francois Vase sounds the kymbala (FR, pis. 11-12); but she and her friends are more like maenads.

133. RE xvii, col. 1 5 4 9 , Nymphai (Herter); F. G. Ballentine, HSCP 15 (1904) 9 7 - 1 0 2 , F. Muthmann, op. cit. (n. 119), 95. 134. At her marriage, Medeia sets up altars to the nymphs and the Fates; Ap. Rhod. 4 . 1 2 1 7 ^ . ; according to the scholiast, Timaios set the wedding of Medeia at Korkyra and said the sacrifices were still observed annually in his day (see Jacoby, FGrHtst 111B, 626, 87-88; comm., 576). On dedications of miniature loutrophoroi to the nymphs, perhaps by brides, E. Simon, JWalt (1962-63) 2 9 - 3 7 , especially 36f. (sanctuary of the nymphs on the south slope of the Athenian acropolis); L. S. King, AJA 7 ( 1 9 0 3 ) 32 2ff. (cave of the nymphs at Van). The cave of the nymphs at Sikyon may also have seen bridal sacrifices; one may interpret the central figure in the best-preserved of the archaic painted pinakes as a bride, whose hair has been cut for dedication to the nymphs; see BCH 91 (1967) 642ff., EAA VI, s.v Pitsa. The dedications of nude seated karat in the sacred spring at Lokroi may well have been made by brides; infra, section 6. On the possibility of nymphattendants at the wedding of Persephone and Hades on Loknan pinakes, Zancani Montuoro, AttiMGrecia n.s. 1 ( 1 9 5 4 ) 96ff.

125. Kokalos 4 (1958) pi. 47, fig. 3. 126. E. Gabnci's identification of the female figures on the Falcone pyxis as nymphs must be correct; one clashes cymbals while another holds a tympanon, MonPiot 24 ( 1 9 2 0 ) 1 8 3 - 2 1 3 , pis. XIII, xiv; see also Trendall, LCS 1, frontispiece. 127. Lipari: L. Bernabo Brea, Kokalos 4 ( 1 9 5 8 ) 1 2 6 , pi. 47. Akragas: Syracuse 16097; s e e ArchCl 24 ( 1 9 7 2 ) 9f., nn. 40, 44. 128. Syracuse, Artemision at Scala Greca. NSc (1900) 3 8 3 , fig. 29. Butera: Adamesteanu, Butera, 6 3 7 , fig. 260. 129. Ov. Met. 5-409ff. Ovid's account of Kyane is the earliest; there are no Greek sources, although Diodoros mentions the lepov Kudviji; in his narrative of the events of 396 B.C. (Diod. 1 4 . 7 2 . 1 ) ; see also RE xi, col. 2 2 3 4 , s.v. Kyane 2.

132. Thus the narrative content of the metope from Bassai, where myth calls for the nymphs to sound kymbala and krotala to drown out the cries of the baby Zeus; supra, n. 1 2 4 Two of the instruments played by the nymphs were supposed to have been used by Demeter, who searched for her lost daughter to the sound of kymbala and tympana (Schol. Pind. Isthm. 7 . 3 , Schol. Ar. Ach. 708), for a bronze kymbalon with a dedication to Kore, M. Frankel, AZ 34 ( 1 8 7 6 ) 3 i f f . , pi. v. We are probably dealing here with mainland Greek rituals, which imitated the sorrow and search of Demeter and in which the nymphs played no part.

135. P. W Deussen, OpusRom 9 ( 1 9 7 3 ) 132. Cymbals and tympanon are sounded on the vase in Catania, Libertini 1 9 3 2 , pi. 11, for the tympanon alone, MMS 2 ( 1 9 3 0 ) , pi. opposite p. 1 8 7 , also fig. 3; MMS 4 ( 1 9 3 2 ) 49, fig. 6; BullMM 13 ( 1 9 5 5 ) 1 6 2 , Libertini 1 9 3 2 , pi. VII, the flute is also played on the last vase. 136 On music at weddings, M. Wegner, Das Musikleben der Griechen (Berlin, 1949) 94f-, DarSag, s.v. Matrimonium, col. i 6 4 8 f . (Collignon); V. Magnien, AntCl 5 (1936) 137. 137. Supra, n. 1 3 5 . 138. 307, 3 1 0 , 3 1 4 , 3 1 7 , 320, 3 2 3 , 326, 3 3 1 , 3 3 7 , 338. 139- The piece in Syracuse is unpublished; WiegandSchrader, Priene, 160, fig. 148. 140. Supra, n. 1 1 5 . 141.

O v . , Met.

5-344ff.

142. AthMitt 32 ( 1 9 0 7 ) pi. v: 1,2, pis. vm, ix (Attic),

IC>8 THE VOTIVE TERRACOTTAS FR, pi. 149 (Apulian); Libertini 1 9 3 2 , pis. II, vi (Kentonpa). 143. Zuntz, 1 6 5 . For a different interpretation of these small figures, T . Hadzisteliou-Price, AntK 12 (1969) 5 5 - 5 9 , where they are called souls of the dead. Some are female: on these, see Zuntz, 166, n. 2. 144. Supra, text at n. 84. The wreath held by the small Eros who stands in the lap of Persephone in a terracotta from Kamarina must also be the marriage wreath, Zuntz, pi. 24:b; Hadzisteliou-Pnce, op. cit., pi. 29.1. 145 L. Pollak and A. Muiioz, Pieces de choix de la coll. Stroganoff a Rome 1 (Rome, 1 9 1 2 ) pi. 38. A. Bruckner, AthMitt 32 ( 1 9 0 7 ) i o i f . , fig. 10; pi. v.2, pis. VII, viii. 146. AIMS 2 (1930), pi. opposite p. 1 8 7 , fig. 2. 147. The Athenas 2 1 6 , 2 1 8 , 2 2 1 , and 222 were all found in the general area of the North Sanctuary; some may be late Hellenistic, and the group as a whole probably has nothing to do with the early-Hellenistic cult. 148. An Athena was found in the Carrubazza deposit at Gela; NSc ( 1 9 5 6 ) 242, fig. 5A; a group of late-archaic Athenas comes from the chthonian votive deposit at Medma; P. Orsi, NSc (1913) suppl., iooff., figs. 1 1 5 - 2 2 . 149. Hymn to Demeter, 424; Diod. 5 . 3 . 3 - 4 . For the Apulian scenes, supra, chapter 2, at n. 69. 150. On the initiation of Herakles at Eleusis, Kerenyi, Eleusis, 52-59. On Apulian scenes with Herakles, Schauenburg 1 9 5 8 , 64, n. 76f., fig. iof. 151- From miscellaneous contexts are 2 4 3 - 2 4 7 , 249, 252. 152. Thompson, Troy TC, 87-94. 153. Herdejurgen, Basel, 2 5 , 53f.; K . Schefold, Easier Antiken im Bild (Basel, 1958) 28, 35f., pi. 26:b,c. 154. Thompson, Troy TC, 92. 155. J . Dong, "Von griechischen Puppen," AntK

1

(1958) 5if156. Ibid , 44f. 157. Antb. Pal. 6.280; 9 . 3 2 6 , Schol. Theocr. 2. n o . See also Dong, 4 1 , n. 4. 158. P. E. Arias, NSc (1946) 1 5 1 ; Zanotti Bianco-von Matt, pi. I24f. 159. Anth. Pal. 9 . 3 2 6 ; A.S.F. Gow and D. L. Page, Hellenistic Epigrams (Cambridge, 1968) 3 1 4 . 160. JHS 7 (1886) 29, n. 9, 36, no. 4, Dong, op. cit. (n. 155), pi. 24:1; Mollard-Besques, Louvre TC 1, C 249, pi. 88. See also Wuilleumier, Tarente, 397, n. 5, MonPtot 30 ( 1 9 2 9 ) pi. v: 1. 161. C. Turano, Klearchos 6 (1964) 2j(. 162. Adamesteanu, Butera, 6 2 5 , fig. 426. 163. NSc ( 1 9 1 1 ) suppl., 1 8 , tomb 1 1 7 , fig. 1 8 ; NSc ( 1 9 1 7 ) 1 0 5 , tomb 1 1 0 2 , fig. 7, Orsi (p. 105) mentions "numerosi esemplari" from children's graves and considers them "una peculianta della necropoli e del costume puerile locrese." See also Adamesteanu, Butera, 649. 164. NSc ( 1 9 1 7 ) 40, tomb 2 3 ; ibid., 44, tomb 36, fig. 11; ibid., 48, tomb 46, fig. 17 (all children's burials). 165. NSc (1966) 2o 1 f., tomb 8, fig. 54 (no information on burial). 166. NSc ( 1 9 3 6 ) 1 4 8 , tomb 66, fig. 40 (child's burial); ibid., 1 8 0 , tomb 89, fig. 92 (no information on age of dead), NSc (1940) 3 2 6 , tomb 200, ibid., 3 2 8 , fig. 19

(adult's burial); BdA ( 1 9 6 1 ) 1 4 4 , tomb 22; ibid., 1 4 6 , fig. 32:a (child's burial). 167. Kekule, 3 1 , fig. 69. For other Sicilian examples, Kokalos 4 ( 1 9 5 8 ) 5 5 f . , pi. 12, fig. 21 (CozzoMususino, fourth century); NSc ( 1 9 4 3 ) 9 2 , fig. 57 (Syracuse); G . Judica, op. cit. (n. 2 1 ) , pi. xu:$;NSc (i960) 1 7 3 , fig. 1 1 :e(Gela, early third century); W 11 168:7 (Akragas); W 11 1 6 8 : 2 = Kekule, 1 i 8 f . , fig. 33 (Akragas); Libertini, Museo Biscari, no. 1 0 8 7 . Unpublished examples in Palermo (from Akrai) and Syracuse (Villa Landolina, from Syracuse). 168. See Dorig, op. cit. (n. 1 5 5 ) , pi. 2 5 . 1 , 2 , pi. 26:3,4. 169. See P. W . Deussen, OpusRom 9 ( 1 9 7 3 ) 1 2 7 . 170. Supra, n. 1 3 4 . 171. Supra, nn. i33f. 172. E. Buschor, Grab eines attischen Madchens (Munich, 1939) i5 f -> 2 4f173. Zuntz, 1 6 9 , where the seated korai are considered to reflect the role of Aphrodite in the chthonian cult at Lokroi. 174. Perhaps the lovesick Simaitha (Theocr. Id. 2 . 1 1 0 ) is thinking of such figures when she compares herself to a Sayix^ see also schol. ad loc. Some of the nude figures, especially those without arms (cf. 242), may have been dressed in doll's clothing by the votary; see Thompson, Troy TC, 88f. But the examples with lowered arms are less likely to have been dressed. 175. Higgins, GTC, pi. 39:A; idem, BM TC 1, no. 1 2 6 4 , pi. 1 7 3 . 176. For thrones, cf. Higgins, BM TC 1, nos. 7 0 2 f . , pi. 9i;N5V (i960) 1 7 3 , fig. 11 :e;Kokalos 4 (1958), pi. 1 2 , fig. 2 1 . For the polos, Dong, op. cit. (n. 1 5 5 ) , pi. 2 4 : 1 ; W 11 1 6 8 : 7 . 177. On the draped figures, Thompson, Troy TC, 8gf. Herdejurgen takes the draped and nude versions in Magna Graecia to represent the same subject; Basel, nos. 39-40, 54f 178. Mostly unpublished; see G . Voza, Kokalos 1 4 - 1 5 (1968-69) 363. 179. Akragas: unpublished examples in the Museo Nazionale, Agrigento. 180. Adamesteanu, Butera, 56off., figs. 285-92. 181. Hesperia 37 (1968) 3 2 3 . There are not yet published; I have seen them thanks to the kindness of N Bookides. 182 Higgins, Knossos TC, 7 o f f . , nos. 7 1 - 1 1 5 , pis. 43-48.

183. Wiegand-Schrader, Priene, 1 6 1 , figs. 1 4 9 - 5 4 . 184. D. B. Thompson, AJA 70 (1966) 58, n. 69. 185. Libertini 1 9 3 2 , pi. 11; BullMM ( 1 9 5 5 ) 1 6 2 , cover = P. W . Deussen, OpusRom 9 ( 1 9 7 3 ) 1 2 8 , fig. 4. 186. D. B. Thompson, Hesperia 2 1 ( 1 9 5 2 ) 1 4 1 - 4 4 , i 5 4 f . (Eleusinion, Athens); Higgins, Knossos TC, 8 j f . , nos. 2 4 1 - 4 9 , pi. 6 3 ^ ; R . S. Stroud, Hesperia 37 (1968) 3 2 3 ^ ; ibid., pi. 94:g, h, pi. 95:a, b (Corinth, Sanctuary of Demeter); Adamesteanu, Butera, 643ff., figs. 266-72. 187. Actors: 7 2 1 , 724, 728, 7 3 2 , 7 3 4 , 740, 7 5 3 , 7 5 9 , 768, 769. Masks: 774, 7 7 5 , 792, 793, 8 i 3 ( ? ) . Other actors and masks come from the fill of the North Sanctuary and the N . S . Annex. 188. On this element, see Richardson, Hymn, 2 i 3 f f .

IC>8

THE VOTIVE TERRACOTTAS 189. O. Kern, Orphicorum Fragmenta (Berlin, 1 9 3 2 ) fr. 52

190. Diod. 5 . 4 . 7 . See Richardson, Hymn, 2 1 3ff. 191. Richardson, Hymn, 2 1 7 . 192. Wiegand-Schrader, Priene, 1 6 1 , figs. 149-54. 193. L. Bernabo Brea, PP 1 5 2 ( 1 9 7 3 ) 376-84. 194. R. S. Stroud, Hesperia 37 (1968) 3 2 3 . 195. On the dove, supra, text at n. 38. Doves are frequent offerings in chthonian sanctuaries; see Adamesteanu, Butera, 649; NSc ( 1 9 1 3 ) suppl., 1 30 (Medma); BdA (1909) 4 1 9 (Lokroi); Hesperia 34 (1965) 1 8 (Corinth). 196. Richardson, Hymn, 276. 197. Supra, text at n. 14. 198. Rouse, Votive Offerings, 295ff. 199- For the presence of animals and fruit in chthonian sanctuaries, Higgins, Knossos TC, 89f., nos. 252-66, pi. 64f.; Hesperia 34 ( 1 9 6 5 ) 18, pi. 2:g, pi. n : b (Corinth); NSc ( 1 9 1 3 ) suppl., 130 (Medma); BdA (1909) 4 1 9 ; see also NSc (1913) 1 3 0 (Lokroi); Gabnci, MonAnt 32 ( 1 9 2 7 ) 3 7 3 , fig. i 6 6 f . See also E. Bracco, NSc ( 1 9 4 7 ) I46f., n. 2. 2 0 0 . Zuntz, 1 0 1 . 201. Supra, text at n. 92. 202. Rouse, Votive Offerings, 49, 66ff., 75ff. 2 0 3 . G. Zuntz, Persephone. Three Essays on Religion and Thought in Magna Graecia (Oxford, 1972). Other significant studies of the cult include the first article by P. Zancani Montuoro cited in n. 209, as well as the chapter on Demeter in E. Ciaceri, Culti. 204. Zuntz, 164; but see infra, text at n. 2 3 4 . To the sources cited by Zuntz (p. 83!?.) which point to the primacy of Persephone there should be added Theocr., Id. i6.82ff. 2 0 5 . Zuntz, 1 5 7 . 206. Zuntz, 83ff., 2 5 7 , 400ff. 207. Zuntz, 165^ 208. Zuntz, 1 7 0 . 209. The wedding pinakes are discussed by P. Zancani Montuoro in a series of articles: "La teogamia di Locri Epizefin," ArchStCalabria 24 ( 1 9 5 5 ) 2 8 3 - 3 0 8 ; "Note sui soggetti e sulla tecnica delle tabelli di Locri," AttiMGrecia n.s.i ( 1 9 5 4 ) 7 5 - 1 0 2 ; "II corredo della sposa," ArchCl 1 2 ( i 9 6 0 ) 3 7 - 5 0 . On these pinakes, see also Pruckner, Tonreliefs, types 3, 1 4 - 2 9 , 3 4 - 4 1 , 45-46; where they are considered to pertain to the Lokrian cult of Aphrodite. 210. This interpretation of the south-Italian scenes was first set forth by R. Forster (Raub und Ruckkehr, 2 3 7 - 4 5 ) and was followed by K. Schauenburg (Schauenburg 1 9 5 8 , 4 8 f f . , 62). See also supra, chapter 2, nn. 6 9 - 7 1 . 2 1 1 . M. P. Nilsson, Griechische Feste von rehgioser Bedeutung (Darmstadt, 1906; repr. 1 9 5 7 ) 356ff. See also Forster, Raub und Ruckkehr 2 3 , n. 2. 212. Poll., Onom. 1.37, K6pt|; itapd XuceXidmui; ©eoydjua Kai 'Avteoipopia. Strabo (6.1.5) records that the women of Hipponion in south Italy gathered flowers and made wreaths in honor of Persephone. On flower festivals, Richardson, Hymn, 141 f. 213. Poll., ibid. 2 1 4 . Schol. Pind. Ol. 6 . 1 6 1 , iv yap tfi IiKeXig to nepa£p6vt)i; 'AvaicaXuinf|pia TEXOOVTO (Scholia Recent., ed. E. Abel, 1 8 9 1 ) .

215. P Zancani Montuoro, ArchStCalabria 24 ( 1 9 5 5 ) 283-308. 216. Plut., Dion 56. 217. Diod 5.4.6. 218. Intra, n. 32. 219- Zancani Montuoro, op cit ( n . 2 1 5 ) , 304. 220. C. H. Oldfather's translation, in the Loeb edition, vol. 3. 2 2 1 . On the kathodos and anodos, Forster, Raub und Ruckkehr, i8ff. The separation of the worship of Demeter and Persephone in the religious calendar is reflected in the form of their Sikeliote sanctuaries; Cicero records that in the major sanctuaries at Enna and Syracuse each goddess had her own temple (Verr. 2 . 4 . 1 0 9 , 1 19). Earlier evidence for such an arrangement can be found in the chthonian sanctuary at Akragas, which possessed many altars and at least two major temples, perhaps dedicated respectively to Demeter and Persephone, see P. Griffb, Nuovissima guida (Agrigento, 1 9 6 1 ) 134f.; Zuntz, 88f., n. 1. At Morgantina the North Sanctuary suggests another kind of individuation- Sjoqvist has proposed that the outer hypaethral altar (fig. d, court 9) belonged to Demeter, and that the inner room (no. 7), where there was another altar and many terracottas were found, was Persephone's. Demeter was then worshiped as an Olympian deity under the sky, whereas the chthonian goddess was honored in the roofed space, see Sjoqvist, PR II, 1 5 9 . 222. F. M. Cornford, in Essays and Studies Presented to William Ridgeu'ay (Cambridge, 1 9 1 3 ) i57f. Nilsson, GGR 47 2 f223. This is what takes place in Claudian, De Raptu Pros. 2 . 3 0 6 - 3 7 2 . 224. Diod. 5 5 . 2 . 2 2 5 . Hesych., s.v. &yooyr|, DarSag, s.v. Matnmonium, 1 6 5 1 ; Aesch., Ag. 1 2 6 3 (where the word is used with reference to Agamemnon's seizure of Kassandra). 226. For the pinakes, see Zancani Montuoro, op. cit. (n.215), 283-99, pis. I-Ill. 227. On dedications made at the time of festivals, Rouse, Votive Offerings, chap. 8. 2 2 8 . le Bonniec, 3 3 7 f f . ; Richardson, Hymn, 1 3 , 2 8 4 ^ , Burkert, Homo Necans, 2Sy(f. 229- Richardson, 284; le Bonniec, 340 If Persephone descends in the late spring, her absence from her mother corresponds to the summer and fall, which as Nilsson has seen ( G G R I 3 , 472) is, from the point of view of the farmer, the season of infertility; the earth is parched, water scarce, and the color green seems banished from the countryside. But the winter in Sicily and southern Italy is mild, and by early January fields are transformed as the new wheat sprouts. From the perspective of a northerner, the seasons indeed seem to be inverted. 230. See Richardson, 284!.; le Bonniec, 3 3 8 f f . 2 3 1 . P. Wolters, in Festschrift James Loeb (Munich, 1 9 3 0 ) 111-29, Die Antike 6 ( 1 9 3 0 ) 2 8 4 - 3 0 1 . On the loose relationship of myth, festivals, and seasons, see also Burkert, Homo Necans, 288. 232. So Liddell-Scott ( 1 9 5 3 ) , s.v. Kaiaytoyri, "bringing back from banishment, restoration." This meaning is derived from Polyb. 3 2 . 1 2 . 1 , where the word refers to the

IC>8 THE VOTIVE TERRACOTTAS restoration or bringing back of Ariarathes to the throne of Cappadocia. Polybios uses Ka9o8o P'- xiv:2,RomMitt 63 ( 1 9 5 6 ) 142 (Nikias, from Gela). 20. See Higgins, BM TC I, 5; ibid., 11, }2f. 21. Higgins, BM TC I, 5E, vm. 22. Ibid., 111. 23. There is a long tradition of rosettes appearing on poloi; see Muller, Polos, 77. 24. Cf. the Eros in Boston, Burr, Boston Myrmas, 22, for fired colors of this sort, Mollard-Besques, TCG, 28f. I have seen a similar glazelike surface on a late-Hellenistic Silenos from the Athenian Agora (T 364, from the fill of the Middle Stoa).

Archaic and Early-Classical Terracottas (1-55) STANDING GODDESSES (1-9) 1. Standing goddess. PI. 3 5 9 - 1 6 8 0 . Ill B. PH. 1 8 . 5 . Legs and most of back missing. Buff clay, surface worn. Wears chiton and transverse himation; left arm lowered, hand grasping chiton; right hand at breast holding flower. Broad face with large features, unarticulated eyes and prominent ears. Low band at forehead indicates veil or fillet. Ad­ vanced generation. The torso retains the slender proportions of the Ionian model; the head is, however, Sikeliote (cf. 19). Second half of sixth century, probably third quarter for the archetype. P. i6f. PR IV, 135, pi. 30, fig. 45. Cf. Higgins, BM T C I, n o . 4 9 , p i . 1 0 ( R h o d e s ) ; M o n A n t 3 2 (1927) pis. LI, LXII:I, 2, 9 (Selinous); BdA (1960)261, fig. 23:4 (Katane). 2. Standing goddess ( 2 ) . PI. 3 a. 5 9 - 1 9 6 0 . Ill E. PH. 1 4 . 7 . Head, lower legs, and base missing. Pink-buff clay with pale green surface, core with terracotta grog. Solid. b . 7 0 - 1 5 2 . Nec. II, tomb 3 1 . PH. 2 1 . 8 . Miss­ ing feet and base. Green-buff clay, without grog. Traces of red in hair and drapery. Solid. Same series: BM 1905.3-14.1: Higgins, BM TC I, no. 1 201, pi. 164 (attrib. to Lokroi); Ragusa 31633 (Kamarina). Wears chiton with central panel below gird­ ing, and transverse himation with two long hanging folds at right arm. Left leg slightly forward. Left arm lowered, grasping edge of chi­ ton; right raised to breast holding bird. Block­ like head with large features, eyes unarticulated. Hair worn in thick locks to shoulders, bound by fillet and divided into vertical strands at fore­ h e a d , horizontal i n b a c k . T h e figure 2 a is 1 9 percent larger than 2b, a difference of one gen­ eration; 2a is itself not very fresh. Two other members of this series are known, one from Kamarina now in Ragusa, the other in the British Museum. The bulky angular style is typically Sikeliote of the end of the sixth cen­

tury; the arrangement of the himation and the flat back indicate a Corinthian model, as Hig­ gins has noted. Goddess 2b comes from a tomb of the end of the sixth century; 2a may be somewhat earlier. P. 1 8 . Cf. MonAnt 1 ( 1 8 9 2 ) pi. V I H 4 ; ibid., pi. vm:3; ibid., pi. vii:11 (Megara H.); MonAnt 3 2 (1927) pi. LIX :2 (Selinous). 3. Standing Artemis. PI. 4 PH.,6 . 3 . Upperpart missing. Fine pale buff clay, pink core. Red on base. Stands on low base with feet together. Wears chiton with low kolpos, skirt divided into three pleats. Flat back. Corinthian import. The subject is Artemis holding a bow, the end of which can be seen at the figure's left side. The type is common at Corinth; several examples from the same series are known. The arrangement of the chiton fol­ lows a fashion of the late sixth century (Langlotz, Zeitbestimmung, 83f.; Stillwell, Corinth xv:2, 8 4 ^ ) . About 5 0 0 B.C. P. 18. Cf. Higgins, BM TC 1, no. 9 0 7 , pi. 131 (with bibliography); idem, GTC, pi. 35D; Stillwell, Corinth xv:2, 88, type X :i2-i6; C. Waldstein, The Argive Heraeum (Boston and New York, 1905) pi. XLVI: 11; Heuzey, pi. ,i8bis; Perachora, no. 98, pi. 95; CR (1872) pi. ill (S. Russia); Syracuse 11524-27 (Megara H., unpub.); Quarles van Ufford, 5 0 . 63-930. I H3.

4. Standing goddess. PI. 4 6 2 - 1 5 3 4 . I O - PH. 8 . 2 . Legs missing. Graybuff clay. Solid. Wears chiton with low kolpos; hands placed over abdomen, holding objects. Hair worn to shoulders. Flat back. Advanced generation. The type is Corinthian; related figures hold variously pomegranates, flowers, or doves in both hands and wear a similar costume. This example may belong to a Corinthian series al­ though the clay is local. Early fifth century. P. 18.

Cf. Higgins, BM TC 1, no.

904,

pi.

131;

Still-

124

CATALOGUE OF THE TERRACOTTAS

well, Corinth xv : 2 , 84^, type X : I 8 - 3 O ; P o u l s e n , 1 x 9 \ Peraehora I , 2 1 9 , n o s . 1 0 0 - 1 0 1 , pi. 95; Quarles van Ufford, 50, fig. 29 (Megara H.); NSc (1905) 440, fig. 23 :nght (Caltagirone); an example in Syracuse from Grammichele, of local clay. 5. Standing goddess. PI. 4 I B. PH. 8 . 8 . Head, lower part, and back missing. Sandy pink-buff clay. Wears chiton, folds indicated by parallel wavy lines. Holds piglet at waist with both hands. Hair worn to shoulders. Advanced gen­ eration. The type is Geloan, of the early fifth century, and is common in southeastern Sicily. In com­ plete versions the chiton has a very low kolpos and the goddess wears a polos or stephane. P. 56-942.

I3f" Cf. W ι 1 1 5 : 2 , 3 ; Kekule, 2 5 , figs. 5 6 -58 (Kam a r i n a ) ; L i b e r t i n i , Museo B i s e a r t , n o s . 9 8 3 - 9 1 , pi. cv (Kamarina); MonAnt 9 (1899) 230, nos. 37-97 (Kamarina); Higgins, BM TC 1, no. 1092, pi. 150; ibid., no. 1 140, pi. 156 (Kama­ rina); cf. also ibid., nos. 1 0 9 3 , 1138,and 1139; MonAnt 17 (1906) 700 (Gela, "parecchie dozzine"); NSe (1956) 254, fig. 2:6 (Gela); Mar­ coni, Agrigento areaiea, 63, fig. 36:2 (Akragas); AetaA 16 (1945) 129, fig. 27 (Akragas); MonAnt 32 (1927) pi. Lix:3 (Selinous); J. Whitaker, Motya (London, 1921) 3 2 0 , fig. 1 0 1 .

6. Standing goddess. PI. 4 6 7 - 2 9 . Ill D. PH. 11 . 8 . R. arm and shoulder. Buff clay, gray to pink core. Same series: MonAnt 3 2 ( 1 9 2 7 ) pi. LXXII : 3 , complete; ibid., pi. LXXII:I , altered (Selinous). From a standing peplophoros with right arm at breast. The complete version from Selinous (pi. 1 4 3 , fig. 4) is about 12 percent smaller and therefore from a later generation; there was a low base, the figure's weight was to her right, and she held a flower in her right hand. The fabric of 6 is local but the mold series is probably Syracusan. Mid fifth century. P. nf. Cf. W I 6 1 : 5 ; Poulsen, 9 , fig. 2 (Tiryns); ibid., 49, fig. 27 (Athens); ibid., 73, fig. 42 (Boeotia); Higgins, BM TC 1, no. 206, pi. 36 (Rhodes); ibid., no. 6 6 9 , pi. 8 8 (Poulsen, fig. 4 2 ) .

7. Goddess with piglet and torch. PI. 4 I C2. PH. 10.8. Left flank with hand and torch, right leg. Pink clay with greenish surface. Vent at center of back. Weight to left; left arm lowered holding short torch. Chiton has very low kolpos below knees, its folds indicated by parallel lines. Lower border of himation falls at level of abdo­ men, from left side. Flat back. The short torch and chiton with low kolpos are found in mid-fifth-century terracottas from Grammichele, which appear to be the earliest examples of the type carrying piglet and torch. The figure 7 is the oldest example of the type at Morgantina and it has many later descendants (cf. 65-84). The vertical striations of the chiton are derived from the late-archaic convention (cf. 5). Second half of fifth century. P. 13. Cf. MonAnt 7 (1897) 255, fig. 39 (Grammi­ chele).

67-958.

8. Standing goddess. PI. 4 5 8 - 1 8 0 5 . Ill A. PH. 4 . 8 . W. 7 .1. Base and feet. Pale buff clay. Figure stood with left foot forward on rectan­ gular base. Drapery falls evenly over feet, leav­ ing toes exposed. Base included in mold; upper part in front and at left is set back. Possibly a Sikeliote imitation of an eastGreek kore type. Cf. MonAnt 3 2 ( 1 9 2 7 ) pi. L X I I : 2 , 7 , 9 (Selinous). 9. Standing goddess. PI. 4 6 0 - 8 4 1 . Ill A. W. 6 . 5 . Base with feet. Pale green clay with terracotta grog. Left foot forward; very long toes. Base roughly molded.

SEATED GODDESSES (10-18) 10. Seated goddess. PI. 5 Nec. II, tomb 9 , burial 9 b . H. 1 2 . 8 . Orange-buff micaceous clay with waxy surface, slightly encrusted. Knife-blade vent in under­ side. Seated on throne with hands at knees, wear­ ing unarticulated chiton and himation, the lat­ ter covering head, shoulders, and thighs. 6 9 -111.

CATALOGUE OF THE TERRACOTTAS

Ionian import. Probably to be identified as Persephone; context of third quarter of sixth century. P. 15. Cf. Blinkenberg, Ltndos 1, no. 2129, pi. 96; Higgins, BM TC 1, nos. 122, 123, pi. 22 (Kameiros); Mollard-Besques, Louvre TC 1, B 273, pi. XXXII (Thrace); ibid., B 534, pi. XLIX (Magna Graecia); Laumonier, Delos TC, no. 73, pi. 6; Boardman, Tocra I, pi. 99, no. 42; NSe (1943) 45, fig. 9; ibid., 59 (Syracuse, Giardino Spagna: tombs 2 and 20, ca. 550-525); BdA (i960) 259, fig. 21:7 (Katane, many examples); MonAnt 17 (1906) 709, fig. 535:1 (Gela, Bitalemi); NSc (i960) 230, fig. 19:2 (Gela); MonAnt 32 (1927) pi. XXXIX:I (Selinous); un­ published: Megara H., tomb 448, in Syracuse, ca. 550-500; Francavilla Marittima, tomb 24, in Museo Archeologico, Sibari, ca. 525-500.

11. Seated goddess. PI. 4 63-1244a. Ill B. PH. 7.8. Head, shoulders, back of throne, knees. Buff clay, encrusted. Wears high polos, projecting at angle from back of head, apparently veiled. Hair in long tresses to shoulders, patterned horizontally be­ low, vertically above. Throne has flaring cor­ ners; an unattached fragment shows that hands were placed at thighs. Later sixth century. P. 14. Cf. Marconi, Agrigento areaica, 57, fig. 33:4, pi. 8:10, 13.

12. Seated goddess. PI. 5 63-1097. I H3. PH. 10.2. Missing head and feet; hole in front from careless manufacture. Greenish clay, buff core; sandy fabric. Wears chiton and himation, latter falling from left shoulder exposing chiton at breast. Hands placed on thighs. Throne has turned legs in front and broad cushion. Back unmodeled. Geloan import. The type is common at Gela in the later fifth century, a date indicated by the mild features and the polos with rosettes. P. 14. Cf. NSe (1962) 354, fig. 10:0 (Gela, before 406); Higgins, BM TC 1, nos. 1113-14, pi. 153 (Gela, dated to the early fifth century); idem, GTC, pi. 37:C (BM 1113).

13. Seated goddess. PI. 5 61-220. I R2. H. 10.9. Buff clay. Oval vent in back. Drapery very blurred; the goddess may per­ haps wear the ependytes. Hands at thighs. Broad throne with rectangular footstool. Hair bound in lampadion knot, possibly in sakkos. Globular earrings. Very advanced generation. The lampadion knot indicates a date not much before 400, although the rest of the figure seems older. Cf. NSe (1956) 254, fig. 2 (Gela, sanctuary in Via Fiume).

14. Seated goddess. PI. 5 60-1667. I C i . P H . 6.0. Missing head and part of base. Pink-buff clay. Solid. Small version of i2f.

1 5 . S e a t e d g o d d e s s . PI. 6 Palermo 2128. Purchase. H. 18.7. Buff clay. Back flat. Round vent. Wears chiton with long sleeves; very low kolpos at ankles. Arms at sides, hands at knees. Rectangular panel of drapery worn over chiton, with pectoral ornament consisting of three rows of tear-shaped pendants, six in top row and seven in others. Low polos with molding; thick hair worn shoulder-length. Backless throne has turned legs and three broad cushions. Feet on low footstool. The seated goddess with ependytes and pectoral ornament appears here in a very late version; for the type, Zuntz, Persephone, i26ff., i39ff. The soft modeling suggests a date in the late fifth century. P. 15f. Cf. W I 127:4; MonAnt 32 (1927) pi. LIX :9 (Selinous).

16. Seated goddess. PI. 6 i960 uncat. I R2. PH. 9.0. Face broken, lower part missing. Buff clay, coarse fabric. Large oval vent. Wears polos and earrings; chiton with high shallow neckline. Arms at sides. Back handmodeled. Summary modeling; probably toward the end of the fifth century.

CATALOGUE OF THE TERRACOTTAS

17. Seated figure. PI. 6 Ill B. PH. 4 . 4 . Feet only. Greenish buff clay with terracotta grog. Feet project on low irregular base; drapery covered ankles. Freely modeled, to be inserted into the drapery of a large seated figure.

61-1041.

18. Seated figure? PI. 6 5 9 - 2 1 4 6 . Ill A. PH. 3 . 4 . Toes of left foot and part of base. Greenish clay with terracotta grog. Four toes of left foot, perhaps from a seated figure of a height of ca. 60 cm. The modeling is careful, the scale remarkable for the early period, comparable to the goddess from Grammichele (Langlotz, pi. 39). The fab­ ric recalls architectural terracottas.

HEADS (19-31) 19. Female head. PI. 6 Syracuse 1 4 1 2 3 . S 1. PH. 11.7. Back of head missing. Orange-buff clay, encrusted. Face of markedly triangular shape, high cheeks, genial smile. Very low forehead; promi­ nent nose is not centered. Unarticulated eyes, shallow arching eyebrows; cleft chin. Ears were applied. Hair defined as thick band, worn in long locks to shoulders. Hand-modeled. The triangular facial type with bulging features occurs in a group of heads from inland Sicily that appear to imitate ter­ racottas from Megara. Although it is influenced by Ionian imports, the style is best defined as Sikeliote. P. 11 Cf. MonAnt 7 ( 1 8 9 7 ) 2 2 3 , fig. 1 0 (Grammichele, here pi. 143, fig. 3); Quarles van Ufford, 4if., fig. 12; Langlotz, pi. 5, right (Meg­ ara H.). 20. Female head. PI. 6 Ill C. PH. 4 . 5 . Surface damaged. Orange-buff clay. Head tilted downwards, wearing polos; pro­ truding, unarticulated eyes; hair rises in arc above forehead, modeled in vertical bands. Top of polos is flat. Similarly tilted heads are found at Megara. Second half of sixth century. 57-3034.

Cf. Kekule, 9 , figs. 3 , 4 (Megara H.); MonAnt 32 (1927) pi. Liv (Selinous, life-size). 21. Female head. PI. 7 Syracuse 1 4 1 2 2 . S 1 . PH. 1 0 . 7 . Caramel-buff clay, encrusted. High polos, rising from full width of head. Prominent nose and pinched mouth. Perhaps a Sikeliote imitation of an Ionian seated figure; the fabric is unusual and is seen in o t h e r similar figures. Ca. 5 5 0 - 5 2 5 . P . 1 7 . Cf. Blinkenberg, Lindos 1, no. 2 i i 9 f . , p i . 9 6 ; Higgins, BM TC 1, no. 69^, pi. 14 (Rhodes); Boardman, Tocra I , p i . 9 8 , no. 2 7 ; MonAnt 3 2 (1927) pi. xxxix:5, 10 (Selinous); unpublished examples from Syracuse and Megara H. in Syra­ cuse. 22. Female head. PI. 7 5 9 - 1 7 1 4 . Ill A. PH. 7 . 8 . Face only. Pale buff clay, gray core. Prominent nose; eyes are lidless protrusions. Low relief band above forehead indicates hair. Asymmetrical features. Probably a local imitation of an Akragantine head of the last quarter of the sixth century. The angle of brow and nose suggests a date not much earlier than 500 B.C. P. 15. Cf. Marconi, Agrigento arcaica, pi. vii:5, 8, and 9· 23. Female head. PI. 7 6 0 - 1 4 2 3 . Ill A. PH. 4 . 7 . Lower part of face and left side of neck. Pale buff clay, hard thin fabric. Protruding eye; strong nose and chin; broad mouth with slight smile; flat cheeks. Head 23 recalls heads on metopes from tem­ ple C at Selinous (Langlotz, pis. 14-15). Later sixth century. Cf. Marconi, Agrigento arcaica, pi. v m : i , 4 - 6 ; ActaA 16(1945) 125, no. i8 (Akragas). 24. Female head. Ill B. PH. 4 . 9 . Right cheek and lower part of face. Buff clay, pale surface; thick fabric. Small mouth with slight smile; prominent nose and chin. Similar to 22. From a head of considerable size of the late sixth or early fifth century. Cf. Marconi, Agrigento arcaica, pi. vn:5. 63-1125.

CATALOGUE OF THE TERRACOTTAS

2 5. Female head. Pl. 7 60-1022. Ill A. PH. 6 . 0 . Fine buff clay. High flaring polos; before it a stephane. Hair in vertical bands with scalloped edge at forehead; large almond-shaped eyes without lids. Vertical emphasis in face. Retouching in hair, polos, and eyes; back modeled by hand. The long rectangular face has parallels at Akragas, where the stephane before the polos also occurs. Late sixth century. P. 15. Cf. Marconi, Agrigento arcaica, pi. vni:8; ibid., pi. x:3, 4; ActaA 1 6 (1945) 125, no. 15 (Akragas); MonAnt 32 (1927) pi. XLIX :I ; ibid., pi. lvii:5 (Selinous). 26. Female head. PI. 7 61-1005. V A. PH. 7.2. Fine buff clay similar to preceding. Solid. Long rectangular face similar to preceding; flat cheeks and almond-shaped lidless eyes. Broad low polos over thick molding; hair in a symmetrical band over the forehead, articulated in two rows of vertical undulations. Polos may have been veiled. To be associated with the archaic naiskos in Area V. End of sixth century. P. 15. Cf. MonAnt 17 (1906) pi. LIII :6 (Gela); Mar­ coni, Agrigento arcaica, pi. vm:8 (Akragas); MonAnt 32 (1927) pi. LVIII :3 (Selinous). 27. Female head. PI. 7 66-687. I O- PH. 5 . 0 . Pink clay with pale buff surface. Solid. Similar to preceding with low stephanelike polos; hair modeled in vertical undulations. Ad­ vanced generation. An early-fifth-century date for the archetype; evidence for the early occupation of the West Hill. P. 15. Cf. NSc (1962) 354, fig. io:c (Gela, before

Cf. NSc (1962) 354, fig. io:f(Gela, before 406); Higgins 1 BAI TC J, no. 1139, pi. 156; Kekule, 23, fig. 49 (Gela); many unpublished heads of this type from Bitalemi at Gela are now in Syra­ cuse. 29. Female head. PI. 7 61-874. V A. PH. 5.5. Upper part chipped.

Pink-buff clay. High round polos decorated with five rosettes; hair center-parted and swept back from forehead in thick waves; heavy earrings. Back handmodeled. Advanced generation. Second half of fifth century. P. 15. 30. Female head. PI. 7 68-386. V C. PH. 4 .1. Buff-orange clay, traces of white slip. Wears sakkos; hair protrudes at forehead in undulating locks, pulled toward sides of head. Finely modeled features in oval face, showing Attic influence. Back hand-modeled. Second half of fifth century. P. 15. Cf. Poulsen, 9 8 , fig. 6 6 (Gela); Higgins, BM TC i, nos. 673, 680, pis. 88, 89; idem, GTC, pi. 30:C, F (Athens); Mollard-Besques, Louvre TC I, C 603, pi. cm (southern Italy). 31. Female head. PI. 7 60-1126. Ill F. PH. 5.6. Face and part of hair. Pale buff clay. Full, rather flat face with almond-shaped eyes, protruding pupils. Hair arranged in shal­ low vertical waves. Later fifth century. Cf. MonAnt 17 (1906) pi. Lin:2 (Gela, before 406).

PROTOMES (32-47)

406).

32. Protome. PI. 8 28. Female head. PI. 7 57-826. II C. PH. 6 . 6 . Nose chipped. Pale buff clay with greenish surface. Long face with large eyes, small smiling mouth. High broad polos appears to be veiled; hair arranged in unarticulated masses. No back. Advanced generation. Geloan import; style of first half of fifth cen­ tury. P. 15.

69-365. Nec. II, tomb 16. H. 18.8. Chipped

and mended. Pale buff clay. Red veil, to level of face. Large protome with two holes at top. Veil worn over fillet and pulled behind ears, which have large lobes (or earrings?). Provincial copy of an Ionian model. Tomb of ca. 550-500; probably last quarter for 32. P. 17·

127

128

CATALOGUE OF THE TERRACOTTAS

33. Protome ( 2 ) . PI. 8 a. 6 9 - 1 9 0 . Nec. II, tomb 9 , burial 1 0 . PH. 12 .0. Lower part damaged. Soft buff-orange clay. b. 5 7 - 2 8 1 2 . Nec. II, tomb 4 . H. 1 0 . 7 . Miss­ ing right side and part of left; mended. Pale buff clay. Red veil, to level of face; hair and eyes black. Similar to 3 2 though smaller; asymmetrical eyebrows. Suspension hole. Ears retouched, prob­ ably in mold. Protome 33a comes from a burial of the sec­ ond half of the sixth century, probably the third quarter. P. 17. 34. Protome. PI. 8 5 7 - 2 8 1 5 . Nec. II, tomb 4 . H. 1 3 . 3 . Mended. Pale buff clay. Similar to 3 2 ; prominent nose, suspension hole. Second half of sixth century. 35. Protome. PI. 9 Nec. II, tomb 9 , burial 1 0 . H. 11.5. Buff-orange clay, encrusted. Similar to preceding; here stephane is worn under veil, which is pulled toward cheeks in an unusual manner. Suspension hole. From a burial probably of the third quarter of sixth century. 69-181.

36. Protome ( 6 ) . PI. 9 Nec. II, tomb 9 , burial 9 b . H. 1 0 . 4 . Buff clay. Same series: 6 9 - 1 8 0 , - 1 8 9 , - 1 9 3 (Nec. II, tomb 9 , burial 10); 6 9 - 2 1 8 (Nec. II, tomb 16), - 8 7 1 (Nec. VI, tomb 2). Similar to preceding; suspension hole. From a burial of the third quarter of sixth century. 69-110.

37. Protome. PI. 9 Nec. II, tomb 1 6 . H. 9 . 5 . Pale buff clay. Red veil and lips. Similar to preceding except that here the en­ tire veil is painted. Suspension hole. Very ad­ vanced generation. Tomb in use ca. 5 5 0 - 5 0 0 ; probably fairly late in this period for 3 7 .

38. Protome. PI. 9 5 7 - 2 8 2 4 . Nec. II, tomb 4 . H. 1 0 . 0. Missing part of left side. Pink-buff clay, thick fabric. Similarto 37. Suspension hole. Crudely made. Late sixth or early fifth century. 39- Protome. PI. 10 Nec. VI, tomb 2 . PH. 9 . 9 . Missing veil and hair, most of left side. Caramel-buff clay. Red lips, black eyes, traces of two horizon­ tal black necklaces. Similar to preceding; broad face with strong chin. Later sixth century. 69-870A.

40. Protome. Nec. II, tomb 1 6 . H. 8 . 8 . Missing right corner. Coarse pale buff clay. Similar to preceding, except that hair is in higher relief. Tomb of ca. 5 5 0 - 5 0 0 ; 4 0 belongs late in this period.

69-362.

41. Protome ( 5 ) . PI. 11 7 0 - 2 2 1 . Nec. II, tomb 2 8 , burial 1. H. 9 . 4 . Buff-pink clay, encrusted. Eyes retain traces of black. Same series: 7 0 - 2 2 2 - 2 2 5 (same provenance). Similar to preceding, but like other protomes from this tomb with two suspension holes. Late sixth or early fifth century. 42. Protome. PI. 11 Nec. II, tomb 1 6 . H. 8 . 2 . Lower part chipped. Buff-orange clay. Similar to 4 0 but smaller; suspension hole. Veil i s p u l l e d u n d e r ears as i n 3 5 - 3 6 .

69-364.

43. Protome. 5 9 - 1 6 8 1 . Ill A. PH. 7 . 5 . Top and lower right corner missing. Pale buff clay. Similar to 4 2 ; one of the few protomes not found in a tomb (cf. 46f.).

69-360.

44. Protome. PI. 10 7 0 - 2 2 0 . Nec. II, tomb 2 8 , burial 1. PH. 11 . 6 . Lower part missing. Buff clay, surface extremely corroded. Protome of high quality. Prominent chin; long almond-shaped eyes; short, slightly

CATALOGUE OF THE TERRACOTTAS

turned-up nose; smile. Veil rises over diadem. Early fifth century, close to the modeled protome 46. From the same burial is 41. For the triangular face, cf. Langlotz, pis. 3 6 - 3 8 . P. 1 7 . 45. Protome. PI. 1 0 Syracuse 1 4 1 2 5 . S 1. PH. 10 . 8 . R. side of face and forehead. Pink-buff clay, pale buff surface. Hair emerges from underneath veil, surface incised with undulating lines parallel to edge of veil; scalloped hairline. Fresh impression. This is the only protome from Morgantina with hair modeled above the forehead; the type may be Geloan. Late sixth century. P. 1 7 . Cf. MonAnt 17 ( 1 9 0 6 ) pi. XLIX:4-6; NSe ( i 9 6 0 ) 2 3 5 , fig. 23:1 (Gela); MonAnt 3 7 ( 1 9 3 8 ) 6 1 2 , fig. 1 9 (Palma di Montechiaro); BdA ( 1 9 5 4 ) 7 1 , fig. 4 (Leontinoi); MonAnt 9 ( 1 8 9 9 ) 5 3 1 , fig. 6 7 (Pantelleria); Cronache di Archeologia e di Storia dell'Arte 8 (1969) pi. XXXIX:I (Akragas). 46. Protome. Pl. 10 6 1 - 1 1 9 5 . Ill B. PH. 9 . 5 . Mouth, chin, and neck. Fine buff clay with levigated surface layer. Dark brown hair at shoulders. Fragment of large protome. Prominent chin; smiling, thin-lipped mouth; hair worn to shoulders. Flat smooth back indicates that the head was a protome and not modeled in the round; yet the protruding breast shows that the lower area was modeled with greater realism. This stands between the protome and the bust; the models for this development are Ge­ loan or Akragantine. For the triangular facial type, see 4 4 . Early fifth century. P. 1 7 . Cf. Kekule, 24, figs. 54-55 (Kamarina); Lang­ lotz, pis. 3 6 - 3 7 (Akragas); MonAnt 3 2 ( 1 9 2 7 ) pi. LXV:2 (Selinous); RomMitt 1 5 ( 1 9 0 0 ) 2 4 4 , fig. 2 (Randazzo); NSc ( 1 9 5 4 ) 1 3 4 - 3 5 , fig. 5 (Paterno); BdA (i960) 255, fig. 22:4 (Katane). 47. Protome. PL 11 6 3 - 1 0 8 9 . I H 3 . PH. 8 . 3 . Chin and right shoul­ der. Hard gray-buff clay with gray core. Hair worn to shoulders; arms tentatively modeled. Similar to 46, evidently from a protome of Akragantine type of the early fifth century. The clay is not local and may be Syracusan. Cf. Langlotz, pis. 36-37 (Akragas).

CROUCHING DWARF (48-49) 48. Crouching dwarf holding chtld (2). Pl. 11 a. 6 9 - 6 2 4 . Nec. II, tomb 1 7 . H. 9 . 5 . Arms and legs of child are missing. Orange-buff micaceous clay, smooth surface and white slip. Red base and headband. b. 6 9 - 8 5 2 . Nec. VI, tomb 2. H. 7 . 3 . Child missing, surface damaged. Clay as above. Red base. Dwarf stands on low plaque base with bent knees, hands on stomach, small freely modeled child at left shoulder. Both versions are Ionian imports, of a type popular in the second half of the sixth century. The context of 48a is ca. 550-500; of 48b, ca. 525-500. P. 15f.

PR X, pi. 9 8 , fig. 3 9 (48a). Cf. Higgins, BM TC i, no. 9 3 , pi. 1 8 (with child); BdA ( i 9 6 0 ) 260, fig. 22:3 (Katane); NSc (1893) 480, tomb 118; ibid. (1951) 311, fig. 44 :1 (from Syra­ cuse, latter a plastic vase); Sicilia Archeologica No. Ii (Sep. 1970) 16, fig. 9 (Selinous, tomb 133, mid-sixth century); ArehDelt 19 (1964) B, pi. 77 (Aigina); Boardman, Toera I, pi. 100, no. 48L

49. Crouching dwarf. PL 11 6 9 - 8 5 3 . Nec. VI, tomb 2 . H. 7 . 3 . Clay as above. Traces of red over entire figure. Similar to 48.

SATYR (50) 50. Squatting satyr. PL 11 7 -0- Missing face and left side. Buff clay with gray core and red grog. Solid. Advanced generation. Satyr squats with arms at knees, hands hold­ ing erect phallus. Bald with pointed ears; goat legs. The type is Ionian, the fabric local. First half of fifth century. Cf. W ι 2 1 5 : 4 - 8 ; Blinkenberg, Lindos 1, 5 6 1 , nos. 2319-29, pi. 108; Higgins, BAi TC 1, nos. !59-65, pi. 3 1 (Rhodes); MonAnt 1 ( 1 8 9 2 ) 8 5 2 , tomb 120 (Megara H.) 68-284. Hi D-

129

130

CATALOGUE OF THE TERRACOTTAS

PLASTIC VASES (51-55) 51. Plastic vase: siren. PI. 12 69-99. Nec. II, tomb 9, burial 9a. H. 16.5. L. 22.8. Surface damaged at tail and right side of breast. Orange-buff micaceous clay, smooth sur­ face and gray core. Same series: Perachora, 254, no. 298, pi. 113 (the locks of hair indicate that this piece is not a protome, as stated); CV Pays Bas 1, IID/IIIC, pi. ι (from Sidon, now in the Allard Pierson Museum, Amsterdam); unpublished pieces in Athens (Acropolis Museum, from the Cave of the Nymphs; see M. S. Brouskari, The Acropolis Museum: A Descriptive Catalogue, Athens, 1974, 88, NA 55.-Aa 10) and Syracuse (Gela, Bitalemi); a piece from the same series but of Sicilian clay was on the New York market in August 1974 (M. Komor). Sits with head turned to right; wheel-made vase mouth above head. Shoulder-length hair, plaited at back; at forehead surface of hair is smooth with hint of a central part. Veil is worn behind ears in Ionian fashion; locks of hair help to mask the necessary absence of the veil below. Body and head were made with two molds (front and back), the tail attached last. This is one of the numerous Ionian sirens of the Aphrodite Group; its large size is un­ usual. Third quarter of sixth century, probably early on. P. 15. PR X, pi. 97, fig. 35. Cf. Higgins, BM TC 1, no. 75, pi. 16 (Kameiros; with bibliography); Kekule, 26, figs. 63-64 = W 1 226:4 (possibly from Megara H.); BdA (1962) 156, fig. 6:a (Taras, large version; before mid-sixth century); Kokalos 12 (1966) pi. 19:3 (Gela, small version); NSc (1956) 124, fig. 7:g, tomb 35 (Syracuse, 550-500). 52. Fragmentary plastic vase: female head. PI. 11 58-1804. Ill A. PH. 6.9. Lower part of vase and back of head missing. Orange-buff mica­ ceous clay, surface worn. Female head from plastic vase; wheel-turned vase mouth at top of head. Hair center-parted, swept behind ears; large almond-shaped eyes, arching brows. Ionian import. The unarticulated hair with center part is typical of the later members of the

Aphrodite Group; from either a siren or a stand­ ing figure. Last third of sixth century. Cf. Ducat, Vases plastiques, pi. xi:7 (Louvre S652, from Rhodes); A. Furtwangler, Aegtna, pi. 110:6. 5 3. Plastic vase: left foot. Pl. 12 69-132. Nec. II, tomb 9, burial 9a. H. 8.9. L. 10.0. Fine orange clay with smooth, almost polished finish. Maroon sandal straps with black border and white dots; black dots at sole; leaf pattern at ankle and vase mouth in maroon and black, with white dots. Palmette at strap handle in maroon and black. White toenails. Left foot wearing sandal; one strap crosses foot above toes and is joined to second strap by diamond-shaped and round fastenings. Second strap rounds Achilles' tendon and is secured to sole under ankles on both sides. Neck is blackglazed; zigzag on edge of rim. After being pulled from mold, the vase was evidently trimmed and carved with knife. Ionian import. The piece belongs to a large group of foot vases of uncertain provenance; the clay is very similar to other members of the Aphrodite Group (cf. 51, from the same burial). Third quarter of sixth century, probably early on. P. 16. Cf. Higgins, BM TC 11, no. 1655, pi. 22; Ducat, Vases plastiques, i8if., pi. xxiv:i (Louvre); BdA (1962) 154, fig. 2; ibid., 155, fig. 5 (mid-sixth century, found with faience aryballoi and Siana cup); example in National Museum, Athens, inv. 2062. 54. Plastic vase: deer. PI. 12 69-620. Nec. II, tomb 17. H. 7.8. L. 9.1. Tail, front legs, right ear, and left flank miss­ ing; ear restored. Orange-buff micaceous clay, smooth surface. Dark red paint on left ear. Reclines on haunches with front legs ex­ tended, head turned to right (cf. 51). Mouth of vase placed at rump. Ionian import of the Aphrodite Group. The piece belongs to a class of plastic vases in the form of animals that use a similar wheel-made body: see also 55. Third quarter of sixth cen­ tury. P. 16. Cf. Maximova, Vases plastiques, no. 52, pi. xin (Berlin, from Aigina); MonAnt 32 (1927) pi.

CATALOGUE OF THE TERRACOTTAS

XLII :8 (Selinous); Syracuse 20084 unpublished, from Gela; cf. also BdA (1962) 156, fig. 7 (ram with similar body, from Taras). 5 5 . P l a s t i c v a s e : m o n k e y . PI. 11 69-621. Nec. II, tomb 17. H. 9.6. Forearmsof mother, right arm of child missing. Orangebuff micaceous clay, smooth surface. Mother monkey with child in arms; mother's body is wheel-made. Mouth of vase on back. Child and head of mother hand-modeled. Ionian import of the Aphrodite Group. For t he added child cf. the crouching dwarf 4 8 ; for

the wheel-made body, cf. 5 4 . Third quarter of the sixth century. P. 16. PR X, pi. 98, fig. 41. Cf. Kokalos 12 (1966) pi. xx:2 (Gela, Bitalemi, mid-sixth century); NSc (1954) 316, fig. 13:1 (child not restored; Syra­ cuse, tomb H: 550-500); Maximova, VasespIastiques, no. 57 (Berlin, from Sicily), no. 58 (Athens, with child), pi. xiv; Boardman, Tocra I, pi. 101, no. 65; MonAnt 47 (1965) 308, fig. 59b, without child and wearing helmet (Heloros); BABesch 14 (1939) nos. 2, 6, fig. 6 (Akragas); example in National Museum, Athens, inv. 2095.

Late-Classical and Hellenistic Terracottas (56-958)

STANDING PERSEPHONE (56-63) 56. Standing Persephone. Pis. 1 3 , 1 4 5 7 - 8 0 6 . N.S. 5 . H. 6 2 . 0 . Mended; left arm, fingers of right hand, and other small pieces missing. Hard greenish buff clay with pink core; white slip. Three vents, at back of head, shoulders, and knees. Stands with left arm raised in plane of body, right arm extended. Chiton has high Vneckline; himation leaves right arm free, falling across raised left arm in long vertical folds. Weight is on right leg. Hair center-parted, swept back at temples; surface worked exten­ sively with tool. Two freely modeled braided locks fall to shoulders. Oval face with small mouth, symmetrical upper and lower eyelids. Long tear-shaped earrings; low smooth diadem in front of polos, which is round and quite low, resting on freely modeled round molding and crowned with half-round molding. Bottom closed with flat plaque; back riddled with small cracks from uneven drying before firing. One of the largest votive terracottas from Morgantina. The extended hand may have held a phiale, as the palm is up and the thumb raised. The supporting object held by the raised left hand may have been a scepter or torch; simi­ lar attributes, probably of wood, were held by 57, 60, and 61. Although the disposition of the himation is similar to the type of the Florence Kore (Kabus-Jahn, pi. 1; cf. Kore in votive re­ liefs, Rizzo, Prassitele, pis. CLI-CLIII) the effect is altered by the distribution of weight, here on the right leg. The benign late-classical face is seen in the Agathoklean tetradrachm with the reverse of a standing Nike, now dated after 3 0 5 B.C. (here pi. 150, fig. 26). Persephone 56 be­ longs at the end of the fourth century; the piece is an important example of the Sikeliote votive tradition, created at a time of renewed contact with the Greek mainland. P. 4 5 . PR II, pi. 3 2 , fig. 2 1 \ Kokalos 4 ( 1 9 5 8 ) pi. 4 4 : fig- 5-

57. Standing Persephone. PI. 1 4 57*55°· N.S. 7 . PH. 7 . 6 (head). Preserved: head, lower right leg, hanging folds from low­ ered left arm, parts of bunched folds of himation and parts of upper chiton, right shoulder and upper arm; surface damaged. Burned red-buff clay, white slip. White chiton with yellow trim; bold pink himation with gilded borders, both at bottom and in hanging folds; pink flesh, red lips. A very large standing figure, whose original height was ca. 55 cm. Weight to left, left arm lowered and probably extended from elbow, right raised in plane of body. High-girded chi­ ton; himation worn high on hips and folded in heavy roll, falling to cover lower legs and feet. Head turned to right with level gaze; full oval face, long straight nose, heavy upper eyelids. Hair center-parted; crescent stephane behind a rolled fillet. The flat surfaces and bold rhythms of the hi­ mation are found in Syracusan terracottas of the third century; for this style see also 297. The type is known in an example from Syracuse (inv. 66961, possibly male, from the Well Deposit). Mid- to late third century. 58. Standing Persephone (^). PI. 1 4 5 7 - 7 2 0 . N.S. 7 . PH. 3 0 . 4 . Missing: head, lower himation on left side, lower chiton in front, right foot and arm, left forearm; mended. Buff clay, white slip. Blue-gray himation with pink vertical border in hanging folds; purple chiton with gilded stripe 3 cm. above hem. Small oval vent. Same series: 6 9 - 9 3 6 (V C), 7 1 - 5 3 0 (W.S.). Weight to left. Right arm extended, left lowered and extended from elbow. Himation worn over left shoulder, leaving right breast un­ covered and freeing right arm. Chiton cut low at neck in deep V, its descent obscured by hima­ tion. Derived from the sculptural type of the Flor­ ence Kore (Kabus-Jahn, pi. 1). The low neck-

CATALOGUE OF THE TERRACOTTAS

line and angular style suggest a date near

275

B.C. P. 40f.

59. Standing Persephone I S. PH. 1 9 . 5 (largest fragment). Right leg, abdomen, and small fragments of drapery. Buff clay with gray core, white slip. Pale lavender himation with gilded hanging folds; white chiton with horizontal green, gilded, and pink stripes (ascending order). Type and style of 5 8 with similar coloring, bu t s c a l e i s m u c h l a r g e r ; o r i g i n a l h e i g h t c a . 5 5 cm. Very crisp modeling; probably a first-generation impression. Late first quarter of third cen­ tury. P. 40f. 67-109.

60. Standing Persephone ( 4 ) . PI. 1 5 5 7 - 7 1 8 . N.S. 7 . H. 3 7 . 0 . Missing right arm and small pieces; mended. Pink to buff clay, white slip. Traces of yellow and purple in lower chiton; lower edge of kolpos gilded. Nearly round vent. Same series: 5 6 - 2 7 6 (I A), 1 9 5 9 uncat. (N.S.A.), 71-531 (W.S.). Weight to left; right arm raised in plane of body, left lowered within himation. Chiton girded under breasts and worn in full kolpos at hips; himation fastened at right shoulder falling in long catenaries to left hand, which grasps edge to form thick hanging folds. Head is hooded; stephane resembles polos and is of equal height around head; in front a rolled fillet. Hair center-parted in Knidian coiffure with braided locks at either side of neck. Full features: long nose, heavy lips, full chin. The right arm is too high to have held a phiale; a torch is more likely (cf. 56). The stabil­ ity of the figure and formal style of the face suggest an archetype of the early third century, but the flowing contour of the left arm has paral­ lels in the second quarter (cf. 360, 375). The type occurs at Rhegion; 71 is a local reduced version. P. 4 6 . Cf. Italia Antichissima 7 - 8 ( 1 9 3 2 ) 1, 5 , figs. 5 and 6 (Rhegion). 61. Standing Persephone. PI. 15 1 9 5 7 uncat. S.S. 1 and 3 . H. 4 3 . 4 . Restored from many fragments; right front flank and

other parts missing, surface badly worn. Burned orange-brown clay, white slip. Pink flesh, pale blue himation, traces of yellow in chiton, per­ haps as a base for gilding. Oval vent. Weight is to left; right foot trails, right thigh thrown forwards. High-girded chiton with low neckline of loose folds and low kolpos at waist. Himation hangs from right shoulder, leaving left breast exposed, falling in catenaries toward weight leg; upper edge defined by bunched folds. Little can be said of the head, except that there is a stephane, probably veiled (cf. 6 0 ) . The object held by the right hand was perhaps a torch (cf. 56). The left hand may have held a phiale. A very fine version of the type has been found at Syracuse (inv. 66966, original height ca. 60.0 cm., from the Well Deposit; similar is Syracuse 52320, a fragment). First half of third century. P. 4 6 . 62. Standing Persephone. PI. 1 6 Syracuse 3 5 2 8 6 . S 9 . PH. 4 2 . 0 . Missing head and shoulders, left forearm and right hand, lower part; mended. Pink to buff clay with greenish surface, white slip. At least two rough oval vents. Weight to left. Right arm was extended, free from shoulder; left extended from elbow at side. High-girded chiton bound with broad band; himation worn low on hips, twisted into heavy bunched folds and falling toward thighs; pulled over left shoulder. Lock of hair at right shoul­ der. This is one of the largest Hellenistic terracot­ tas yet found in Sicily; the original height was perhaps 80 cm. The piece does not appear to be mold-made. The proportions—narrow rib cage and broad hips—indicate a date in the second half of the third century, if not later. P. 4 7 . 63. Standing Persephone. PI. 1 7 5 8 - 2 1 3 6 . S.S. ι and 3 . PH. 2 8 . 3 . H. of head: 7.9. Preserved: head, most of back, drapery at feet. Buff-orange clay, white slip. Gilded stripe 5 cm. above lower edge of himation. Small oval vent. Weight is to left. Himation is pulled over left shoulder, left arm lowered and extended from elbow as in 62. Right arm was probably ex­ tended from shoulder. Head is tipped to left on

13 3

134

CATALOGUE OF THE TERRACOTTAS

long straight neck; oval face; hair bound in Knidian coiffure and tied in low knot. Sensitive modeling. Original height was ca. 40 cm. First half of third century.

PERSEPHONE HOLDING PIGLET (64) 64. Persephone with piglet. PI. 17 58-338. II B3. PH. 6.0. Breast area with pig­ let. Buff-pink clay with gray surface. From a votive type in which piglet is held by both hands across abdomen; derived from a fifth-century model but rare later (cf. 5). Early-Hellenistic fabric.

PERSEPHONE HOLDING PIGLET AND TORCH (65-84) 65. Persephone with piglet and torch (15). PI. 17 a. 59-1240. I Ci. PH. 4.3. Rightshoulderand breasts. Reddish-buff clay. a. b. Syracuse 32308. S 5. H. 20.5. Buff clay. β. Same series: β, 58-890 (N.S.A. fill), 58-1967 (II F2), 68-424 (V C). γ, 57-H57 (I U), 1957 uncat. (N.S.), 57-1264 (N.S. C, cistern), 631376 (V B). Uncertain generation: 57-2398 (C.S.), 1957 uncat. (N.S.), 6i-3o6a (I R2), Syracuse 35289 (S 9), 32309 (S 5), one uncat. Stands on rectangular base with weight to left; right arm lowered with piglet, left lowered holding short burning torch. Chiton has low kolpos below knees, folds indicated by wavy lines. Himation falls over front of figure in clinging folds, leaving breast area exposed. Broad face has large features; thick hair. Derived from a type of the Heloros Group of the first half of fourth century. The head is simi­ lar to the bust 106 of the end of the century. The earliest context—mid-third century—is for 6i-3o6a, and one version (57-1157) belongs to the early second century. The series with three generations was long-lived; the archetype was apparently created in the period of Agathokles and descendants were still being made over a century later. P. 33.

66. Persephone with piglet and torch (26). PI. 17 57-1957. C.S. H. 21.6. Buff clay, white slip. Large round vent. a. Same series: a, 62-979, -983, -986, 63-1374 (V B), 57-3147 (C.S.), 69-810 (V C). β, 62-747, -980,-982,-985,-987 (V Β), 58-1597, -ι6οο, 63-515 (S.S., fill), 57-3145, -3148 (C.S.), 71-331 (VI B), 58-1593, 62-63 (II B3), 581831 (III F), 68-452 (V C), 60-416 (I F2), 63-472 (I Hi), 61-872 (I H3), Syracuse 32310 (S5)-

Stands on high round base with weight to right, legs apart. Right arm lowered holding piglet, left arm at Hank holding long burning torch. Himation falls low over abdomen, cover­ ing upper arms and pulled over polos behind. Eight-strand melon coiffure; polos with upper and lower moldings. Oval.face of third-century type. Derived from an archetype similar to 65, with a more recent head. The series 66 was very popular and probably long-lived; two genera­ tions are found, the earlier not from a firstgeneration mold. The absence of 66 in the N. Sanctuary is odd, given its popularity elsewhere. P. 48. 67. Persephone with piglet and torch (2). 58-1598. S.S. fill. PH. 17.0. Head missing; lower part mended. Buff clay, white slip. White stripes in himation, bright red flame. Same series: 70-294 (V C). Debased version of 66, perhaps derived from β· 68. Persephonewithpigletandtorch (4). PI. 18 59-888. N.S.A. fill. H. 21.5. Mended, missing part of lower left leg. Buff clay, white slip. Round vent. β. Same series: a, 63-1096 (I Hi); β, 1959 uncat., two (N.S.A.). Stands on high round base with weight to right; torch held by lowered right hand, piglet in crook of elbow at left. Himation pulled over weight leg from left shoulder, falling from polos. Shallow V-neckline in chiton. Back sketchily modeled; advanced generation. The series of 68 is known at Heloros (several examples in Syracuse) and Syracuse (inv. 53587,

CATALOGUE OF THE TERRACOTTAS

Viale Orsi), where a larger version has also been found (inv. 57410, Via Tagliamento). The ar­ chetype must be Syracusan of the second quarter of third century. The drapery is similar to type VIII of the standing women, which belongs at this period (cf. 3 8 8 ) . Pp. 4 3 , 4 8 . Cf. Libertini, Museo Biscari, no. 1 0 5 3 , pi· C V I (Katane); W 1 116:3; Kekule, 59ff., pi. iv. 69. Persephone with piglet and torch. PL 18 Syracuse 18633. S 3. H. 18.4. Pale pink-buff clay. Small round vent. Similar to 68; base has flaring lower molding; broad polos with veil. Shallow neckline. The prominent central folds of lower chiton are typical of the later third or early second cen­ tury. 70. Persephone with piglet and torch {2). PI. 18 57-2214. C.S. PH. 18.4. Frontofbaserestored in plaster. Orange-buff clay, white slip. Worn. Same series: 57-3152 (C.S.). Stands on low round base with weight to right; left arm bent at elbow holding long torch, right lowered with piglet held by hind legs. Himation bunched under breasts, falling from polos; pulls as in 68 against the weight leg. The type is Syracusan. Third century. Cf. NSc ( 1 9 5 5 ) 3 0 9 , fig. 6 (Syracuse). 7 1 . Persephone with piglet and torch. 6 2 - 7 5 3 . I Q . P H . 1 6 . 3 . Missing lower drapery, base, and part of neck. Buff-brown clay. Derived from type of 6 7 ; low round base, himation drawn across abdomen in constricting folds. Head is close to the Catania Group of the first century (cf. 231-233), with large nose and eyes. Hair swept back in groovelike locks; small high diadem. Second or first century. 72. Persephone with piglet and torch {7). PI. 18 57-3151. C.S. PH. 15.0. Base missing. Redbuff clay, burned; white slip. Large oval vent. a. Same series: a, 5 9 - 3 0 7 (N.S. st.), 5 8 - 8 6 5 (N.S.A. fill), 58-1307, -1308 (N.S.A. 4, cis­ tern 2 ) . β, 5 7 - 3 1 4 6 (C.S.), 6 0 - 2 2 5 ( I F ) 2

Weight to left; right arm lowered with pig, slightly flexed; left lowered holding long burn­ ing torch. Himation falls from right shoulder in long catenaries; pulled up over polos behind. The folds of the himation were freshened by incisions after removal from the mold; very ad­ vanced generation. The type is derived from the large standing goddess 58, where the arrangement of the himat­ ion is the same. Mid- to late third century. P. 48.

73. Persephone with piglet and torch ( 3 ) . ^3 _I 375· V B. PH. 12. 0. Lower part missing. Buff-orange clay, encrusted. Same series: 6 2 - 2 7 0 (I Q), 6 9 -811 (V C). Similar to 7 2 . Wears low stephane in place of polos, head turned to right and slightly low­ ered. Advanced generation. Late third century. 74. Persephone with piglet and torch. PL 2 0 57-3150. C.S. PH. 15.2. Head missing, sur­ face worn. Buff-pink clay, burned; white slip. Round vent. Round base. Weight to left; right arm low­ ered with piglet, left raised at hip holding long torch. Himation bunched tightly under breasts, falling to right ankle. The fullness of the lower border of the himat­ ion recalls the standing draped woman 369, a mid-third-century version of type IV. The angu­ larity of 74 makes a later date improbable. 75. Persephone with piglet and torch. 6 2 - 9 8 4 . V B. PH. 1 6 . 0 . Missing head, back, base, and most of right arm. Buff clay, en­ crusted. Similar to 7 4 , but with quieter drapery. 76. Persephone with piglet and torch ( 3 ) . PL 1 9 57-2431. C.S. H. 19.5. Buff clay, white slip. Large oval vent. Same series: 1 9 5 8 uncat. (N.S.A.), 6 2 - 8 9 2 (V B).

Stands on rectangular base with weight to left; right arm lowered holding short burning torch, left bent at elbow holding piglet. Himat­ ion draped over shoulders and arms, as in type

CATALOGUE OF THE TERRACOTTAS

III of the standing draped women (cf. 361-366); chiton is also high-girded. Flaring polos, hair worn to shoulders. Folds rendered as parallel grooves. Syracusan archetype of third century. 77. Persephone with piglet and torch. PI. 20 57-2429. C.S. PH. 10.5. Lower part missing; polos chipped. Buff clay. Similar to 76 though finer. Hair in two strands to left shoulder; small polos rests on round molding. Round face of later-third-century type. 78. Persephone with piglet and torch (9). PI. 19 57-1976. C.S. PH. 18.8. Buff clay, white slip. Large oval vent. Same series: 57-3137-3139, -3142, -3143 (C.S.), 58-1596 (S.S. fill), 59-617 (I U), 631373 (V B). Stands on high shapeless base with weight to right; left arm at waist holding piglet, right holds long burning torch. Chiton girded loosely under breasts, low kolpos at thighs; himation draped behind over arms, rising over high polos. The splayed left leg is seen in figures of the second half of the third century. 79. Persephone with piglet and torch (6). PI. 19 57-2133. C.S. H. 19.0. Buff clay, white slip. Very large irregular oval vent. Same series: 57-2001, -2134, -3140 (C.S.), 58-1216 (N.S.A. fill), 1959 uncat. (N.S.A.). Close to 79: 57-2420, -3141, -3144 (C.S.), 71-525 (W.S.), 62-1670 (I Q). Similar to 78 with small differences in drap­ ery, lower base. Flat back. Third century. 80. Persephone with piglet and torch. PI. 19 56-1344. IG2. PH. 18.8. Base chipped. Sandy pale buff clay, thin micaceous fabric; white slip. Vertical red stripes in chiton; traces of red at lips, in himation, on upper edge of polos; torch and flame yellow. Round vent. Stands on low round base with weight to left, right arm lowered with short torch, left at hip cradling piglet. Himation bunched at abdomen, falling from polos. Broad face, softly modeled. The strong presence of the lower chiton,

pushing out against the folds of the himation, is characteristic of the late-Hellenistic period; the fabric is close to the Catania Group. Probably made in a plaster mold. First century. P. 70ff. 81. Persephone with piglet and torch (4). PI. 20 56-2252. I G2. PH. 13.7. Missing base and part of lower drapery. Pale buff-orange clay, micaceous. Round vent. Same series: 56-1343. -1659, -2253 (I G2). Close to 81: 66-295 (I T2). Reduced version of 80: more frontal, with greater transparency in lower himation. The contexts I G 2 and I T 2 are both late first-century B.C.; these are then the latest ver­ sions of the type at Morgantina. P. 70ff. 82. Persephone with piglet and torch. PI. 20 57-1967. I K3. PH. 11.7. Missing lower half, fragments at neck and right arm. Buff clay, white slip. Dark red hair. Round vent. Himation thickly bunched under breasts, drawn over left shoulder. Left arm akimbo. Torch held by right hand at hip. Head of torch grooved vertically, flaring at upper edge. Head turned to left and slightly lowered; full round face. Hair center-parted, worn to shoulders, and tied in round knot at back of head. High cres­ cent stephane. For the late-Hellenistic facial type see 83. Late period, probably first century B.C. P. 77. 83. Persephone with piglet and torch. PI. 20 59-621. N.S.A. fill. PH. 8.7. Lower half miss­ ing. Lavender-brown clay with orange areas behind, possibly Syracusan; white slip. Round vent. Carries large blazing torch in right hand; wears chiton with high shallow neckline; himat­ ion drawn over breasts in bunched folds, falling from diadem. Folds indicated by grooves. Hair center-parted and worn in long tresses to either shoulder. Low diadem worn before what appears to be polos. Head of torch defined by four hori­ zontal grooves, decorated with vertical inci­ sions. Broad fleshy face with large eyes. Small protrusions on the surface indicate the use of a plaster mold. The face has parallels in 285^ The date is probably late: 83 was found in the uppermost stratum of the North Sanctuary

CATALOGUE OF THE TERRACOTTAS

Annex and does not come from the sanctuary deposits of the third century. The similar heads 2 8 5 f. appear to belong to the second century; 8 3 may be even later because of the use of the plas­ ter mold. P. 76f. 84. Persephone with piglet and torch. PL 20 58-1333. N.S.A. fill. PH. 5.9. Lower part missing. Pale orange clay, white slip. Perhaps similar to 7 0 . Veiled polos and prominent breasts. Advanced generation.

PERSEPHONE RECLINING (85-94) 85. Persephone reclining. PI. 2 1 6 2 - 1 4 5 0 . S.S. 7 . PH. 2 0 . 4 . Head and shoul­ ders, breast, part of right arm. Buff-caramel clay, gray core; white slip. Probably from same series: 6 3 - 3 2 3 (I A). Reclines with legs to right; upper torso is bare. Right arm rests on right flank and held phiale (cf. 8yff.); left arm served as prop. Head turned slightly to right. Full, nearly round face with long nose and heavy lips. Hair swept back in heavy waves, thick circlet at parting, probably a diadem (cf. 56). Braided lock to either shoulder, dividing into two strands. Pear-shaped pendant at right ear. Behind locks of hair on either side a broad ribbon falls to shoulders. Slightly flaring polos rests on halfround molding; pieces of fruit are attached to surface: at right and left sides are flat clusters (grapes?); two pieces survive toward the center, one round and flat, the other elongated. Veiled polos. Advanced generation. The formal style of the face is typical of the late fourth century. The fabric seems unusual but it may have been damaged by fire. For poloi with attached fruit, BABesch 13 (1938) no. 1, p. 2, fig. if. (Taras and Selinous, late archaic). For the type, p. 83ff. 86. Persephone reclining. PL 2 0 6 1 - 1 3 9 6 . I M i . P H . 9 . 3 . Head and polos. Pale buff clay. Round vent in back of head. Angular face with full chin; hair drawn to sides in undulating lines. Wears wreath, from which hang pieces of fruit; low broad polos,

veiled, decorated with rosettes; at left side of polos is an applied fruit. Tear-shaped earrings. Flat back. The himation falls from the right shoulder, indicating that the figure was recumbent (cf. 87ff.). Late version of 8 5 . 87. Persephone reclining {1). PL 2 1 5 8 - 2 1 4 4 . S.S. 3 . PH. 1 3 . 9 . Head, most of torso and legs, front of kline. Burned red-buff clay, white slip. Pale pink flesh, pink cushions. Same series: 1958 uncat. (S.S.). Reclines on elaborate kline, left arm and feet resting on two cushions; holds phiale at right knee. Ends of two locks of hair at shoulder; Knidian coiffure, surmounted by wreath; be­ hind, a projecting element, perhaps a palmette; affixed to this a pink rosette between two larger leaves. Reclines on thin cushion; valance gath­ ered at center and ends. Kline has turned legs; inserted between turned elements is small relief figure. The small figures attached to the legs of the kline are probably sphinxes, similar to those found on terracotta klinai from Myrina and elsewhere; see Richter, Furniture, figs. 3 0 2 - 3 ; these may be the κλίναι σφιγγόποδες of Athenaios 5.197a; see C. L. Ransom, Studies in Ancient Furniture (Chicago, 1 9 0 5 ) 5 1 ; 1 1 2 , n .27; figs. 14, 30. Turned legs of thrones are found on Kentoripan vases of the early third century (cf. Arias-Hirmer, pi. LII, vase in Catania). The headdress is similar to those worn by terracotta banqueters from Taras. Third cen­ tury. P. 83ff. 88. Persephone reclining. Pl. 2 2 5 7 - 2 0 7 6 . N.S. 7 . PL. 1 5 . 0 . Abdomen, drap­ ery, and phiale. Buff-red clay, white slip. Tur­ quoise himation, pink flesh. Similar to 8 7 but larger. Advanced genera­ tion. 89. Persephonereclining ( 3 ) . PL 2 1 5 9 - 1 9 9 7 . N.S.A. 1 4 . H. 1 3 . 3 . L. 1 4 . 0 . BufF clay, white slip. Upper front of kline is ma­ genta, phiale turquoise, flesh pink. Rough oval vent. Same series: 5 7 - 2 0 9 4 (N.S.), 6 2 - 1 7 0 5 (S.S. 9 ) . Kline unarticulated except for raised upper

CATALOGUE OF THE TERRACOTTAS

area perhaps indicating a coverlet. Two cushions under left arm, one under feet. Veiled polos with rounded lower molding. Head turned to right; the figure is less hieratic than 87. Ad­ vanced generation. The face and torso seem to be encircled by the falling curves of the himation. Third century.

Hair worn in lock to left shoulder; prominent breasts. The piece is not from a sanctuary and the sub­ ject may not be Persephone. Third century.

BUSTS OF PERSEPHONE (95-180) 90. Persephone reclining. PI. 22 58-1225. N.S.A. 13. H. 17.9. L. 17.0. Burned red-buff clay, white slip. Pink flesh, red lips. Very large rectangular vent. Type of 8 9 . High kline, roughly rectangular in shape. Drapery taut and angular; low polos. Advanced generation. Later third century. 91. Persephone reclining (2). 58-1226. N.S.A. 13. H. 13.5. L. 15.0. Bufforange clay, white slip. Dark pink flesh; phiale, upper part of kline, and polos are magenta; pur­ ple coverlet. Crude oval vent. Same series: 71 -506 (W.S.). Low kline with cushions under feet; otherwise similar to 89. Advanced generation. Third century.

95. Bust. PI. 23 Syracuse 14124. S 1. PH. 11.8. Front of head and part of polos. Buff clay with pink core. Broad face has large features. Hair centerparted, modeled in full wavy lines rising above forehead, in snail-shell curls at sides. Polos with low molding. Advanced generation. Style of end of fifth century. P. 27f.

93. Persephone reclining. PI. 22 58-1311. N.S.A. 5. PH. 12.2. Head and upper torso. Burned orange-buff clay, white slip. Pink flesh, magenta veil; flesh of face is purple from burning. Larger than other members of this type; hair in waves suggesting melon coiffure; indentation at neck from relief necklace, now lost. Later third century.

96. Bust (2). PI. 23 a. 58-2140. S.S. 2. PH. 20.8. Nose and front lower part missing; left shoulder restored. Buff clay, white slip. Pink flesh, red mouth and upper eyelids, pale brown eyes with brown irises. b. 57-3100. C.S. PH. 13.3. Lowerpart miss­ ing. Buff clay. Round vent in back of head. Broad oval face, small mouth, heavy chin, prominent upper and lower lids. Hair thickly massed. Polos is oval in section with straight sides; three rosettes in relief. The polos with large rosettes is also worn by 12if. and 203. The heavy spiral earrings appear on 98 and 12 if., and on Syracusan coins of the second half of the fifth century, especially early on in the last quarter. This bust and the other pieces cited above belong on stylistic grounds in the first half of the fourth century; however, the two members of the series of 96 are probably late-fourth-century impressions after an older archetype. P. 27f. Cf. Breitenstein, Copenhagen TC, no. 456, pi. 56 (Syracuse); NSc (1902) 226, fig. 9 (Grammichele); Kekule, pi. xi:2 (Akrai); ArchCl 12 (i960) pi. XV.2D (Gela, ca. 320-300, perhaps also a revival of an older series).

94. Persephone reclining? PI. 22 F. PH. 4.8. Upper torso and arms. Buff clay, white slip. Pink flesh. Differs from foregoing in that there is no veil.

97. Bust (3). PI. 24 a. 57-721. N.S. 7. PH. 21.0. Polosandlower part missing. Buff clay. Round vent in back of head.

92. Persephone reclining. 57-3114. N.S. 7. PH. 11.8. L. 17.0. Missing head and shoulders, front of couch, back. Buff clay, white slip. Magenta himation, turquoise phiale and cushions. High curving kline as in 8 9 ; one cushion under feet. Advanced generation. Third century.

60-1040. Ill

CATALOGUE OF THE TERRACOTTAS b. 5 7 - 2 0 6 3 . N.S. 7 . PH. 1 0 . 8 . Face, with parts of hair and neck at right side; mended. Buff-brown clay, white slip. Pink flesh, red lips. Same series: 7 1 - 3 2 7 (W.S.). Full features; small mouth with prominent lower lip. Hair is fluffier, less formally treated than in 96. Polos rested on half-round mold­ ings, with a thick fillet in front. Long tearshaped earrings. A fine example of the classicizing phase of the end of the fourth century. P. 2 8 . PR II, 1 5 8 , pi. 3 1 , fig. 1 9 ; Kokalos 4 ( 1 9 5 8 ) pi. 44:3 (97a). Cf. ArcbCl 24 (1972) pi. vi (Akragas).

98. Bust ( 3 ) . Pl. 2 4 Syracuse 3 2 3 0 1 . S 5 . PH. 1 5 . 6 . Lower part missing. Pink clay. Round vent in back of head. Same series: Syracuse 3 2 3 0 0 , 3 2 3 0 3 (S 5 ) . Face similar to 97 though rounder. Wreath of fruit or leaves woven into hair. Spiral earrings (cf. 96); high necklace has row of small budshaped pendants. High concave polos has upper and lower moldings; thick fillet in front of polos. Later fourth century. P. 2 8 . Cf. Kokalos 4 ( 1 9 5 8 ) p i . 3 9 , f i g . I i (Scornavacche, late fourth century). 99. Bust ( 3 ) . PI. 2 5 a. Syracuse 3 2 2 9 9 . S 5 . PH. 2 6 . 7 . Hair and polos missing. Orange-buff clay. b. Syracuse 3 9 4 7 8 . S 11. PH. 8 . 3 . Missing right side of face, polos, and lower part. Orange-buff clay. Same series: Syracuse 3 3 1 8 8 (S 7 ) . Similar to 98 although the impression is crisper. Long nose, prominent lower lip. High unmodeled bust; necklace of bud-shaped pend­ ants is worn very high. Hand-modeled back. The face recalls Akragantine busts of the later fourth century. P. 2 8 . Cf.JOAl 1 3 ( 1 9 1 0 ) 7 1 , fig. 4 3 b ; Pace 11, 8 5 , fig. 83; ArchCl 24 (1972) pi. vi (all Akragas, late fourth century). 100. Fragmentary bust ( 2 ) . PI. 2 5 Syracuse 3 2 3 0 4 . S 5 . PH. 1 4 . 0 . Lower part missing. Pink-buff clay. Traces of red in hair.

Same series: Syracuse 3 2 3 0 2 (S 5 ) . Similar to 98f. Advanced generation. Early third century. 101. Fragmentary bust. PL 2 5 5 8 - 1 2 3 6 . N.S.A. 1 3 . PH. 12.7. Missing top of head, left side of face, and lower part. Pink-buff clay, greenish surface. Similar in style to 98ff., although larger. Mouth slightly open with fleshy lower lip. Pierced ear-lobe. Full chin; sturdy neck has one ring. Later fourth century. 102. Fragmentary bust. PI. 2 5 Syracuse 3 2 3 0 5 . S 5 . PH. 1 5 . 1. Missing left side of face and chin, polos, and lower part. Orange-buff clay, greenish surface, white slip. Large nose; dimple added after molding. Necklace of round elements, from which hang bud-shaped pendants; pierced ears. Hair swept back in thin strands with much retouching; small tufts at sides. Later fourth century. 103. Bust ( 4 ) . PI. 2 6 a. 5 8 - 1 2 1 5 . S.S. i. PH. 1 8 . 8 . Missing right side of neck and lower part. Buff clay, white slip. Traces of pink in hair, dark red at lips; orange tendril on polos. Round vent at back of head. b. 5 8 - 1 2 2 4 . N.S.A. 4 , cistern 2 . PH. 1 8 . 9 . PW. 25.0. Preserved: right side of neck and lower part with small lacunae; fragment of hair on top right side and part of polos. Orange-buff clay, white slip. Same series: 5 7 - 2 0 5 1 (N.S. 7 ) , Syracuse 3 5 2 8 8 (S 9). Full fluffy hair with protruding tufts, which may represent a wreath of fruit and berries woven into hair. Polos has flaring sides, rests on thick molding; upper edge flares slightly, lower half decorated with tendril in orange. Thick fillet in front of polos. In 103a the nose is clumsily modeled by hand, perhaps because of a broken archetype. 103b shows that some versions wear a high necklace, from which hang tear-shaped pend­ ants. There is no trace of paintings on the un­ modeled lower part. Late fourth century.

139

140

CATALOGUE OF THE TERRACOTTAS

Cf. J O A l 1 3 ( 1 9 1 0 ) pi. i; 6 7 , fig. 4 1 ; Pace 11, 88f., fig. 86f. (all Akragas, later fourth cen­ tury). 104. Bust. PI. 2 6 5 7 - 2 3 2 6 . C.S. PH. 1 2 . 6 . Missing part of polos, back of head, neck, and lower part. Buff clay, white slip. Surface worn and encrusted. Similar to 103 but with smaller polos. Prom­ inent forehead, flat cheeks. Tear-shaped ear­ rings. Late fourth century. 105. Bust. PI. 2 6 Syracuse 1 4 1 2 1 . S 1. PH. 1 8 . 1. Lower part missing. BufFclay. Similar to 103, possibly from same series but with altered hair; tufts have been eliminated. Blurred detail of advanced generation. Back hand-modeled; ears pierced for earrings. 106. Bust ( 3 ) . Pis. 2 7 , 2 8 , text figs. a-b. a. 6 2 - 1 2 3 9 . S.S. 7 . H. 3 4 . 0 . W. 2 4 . 0 . Mended. Buff clay, white slip. Pink flesh, red lips; pale green eyes; purple-brown hair with pink diadem; pink emblem (rosette?) on front of polos, orange border at upper edge; purple chi­ ton with red and white trim. Round vent at back of head. Decoration of chiton (text fig. a): the purple chi­ ton descends vertically from the shoulders to a straight horizontal neckline, immediately below which is a white band stitched with red swags; this band resembles an egg-and-dart molding (cf. such moldings at the upper border of painted scenes on Kentoripan pots, MMS 2 [1930} pi. opposite p. 187). Below is a painted scene, in imitation of a woven panel set into the purple material of the chiton; the upper contour is framed by a thin white strip. Two figures and the shadows of two others can be made out on a dark pink ground. At the right is a standing woman, moving to her right and extending an object to a seated woman who faces her, sitting on a couch with her right leg extended and her left drawn up; the first woman may be fanning her. Propped on her left thigh and steadied by her left hand is a round red object, identified in the preliminary report as a shield or mirror, but

probably a tambourine. The right arm supports the torso. Both figures wear turquoise blue chi­ tons and have reddish brown hair and pink flesh. The hair of the seated woman is bound in a Iampadion knot and she appears to have a himation draped over her knees. To the left of this figure are traces of another, also seated on the couch but turned the other way. There are faint traces of at least one more figure at the far left. b. 6 2 - 1 4 4 6 . S.S. 7 . H. 3 3 . 5 . W. 2 4 . 0 . Mended. Buff clay, white slip. Pink flesh, red lips, pale green eyes with brown irises, bright pink diadem, pink emblem on polos, upper edge orange. Decoration of chiton: for the chiton proper, see 106a. The painted scene is extremely worn and difficult to make out. At the left stands a nude figure with green wings, facing right with arms extended. At the right side of the scene is a similar figure facing left, even less well pre­ served. In the center there appear to be two seated figures; the one on the right is similar to the analogous figure on 106a, although she does not seem to hold a tambourine. She wears a green chiton and has reddish brown hair. The other seated figure seems to have naked legs and to hold a green object propped on the knees. The composition is thus similar to the scene on 106a, the major difference being the substitu­ tion of an Eros (?) for the female figure on the right side. c. 6 2 - 1 4 5 1 . S.S. 7 . PH. 1 9 . 5 . W. 2 4 . 0 . Mended; head and neck missing. Buff clay, white slip. Decoration of chiton: for the chiton proper, see 106a. The subject of the painted scene (text fig. b) is the rape of Persephone. In the center the quadriga of Hades moves to the left. The god has seized the maiden whom he clasps in his left arm. Her back is turned to him, her naked torso thus facing the viewer. Her arms are thrown over her head in a gesture of desperation. Slightly above and in front of Hades is a winged figure, identified in the preliminary report as Nike, here interpreted as Eros; he gesticulates at the horses with his right hand. Behind, striding toward the chariot, is Athena, armed with shield and helmet. There are traces of a balanc­ ing figure at the left side of the scene (Hekate?).

CATALOGUE OF THE TERRACOTTAS

The flesh of Persephone, the chiton of Athena, and the horses are white. All hair is reddish brown. The wings of Eros are green, the helmet of Athena turquoise. Hades' himation is red, the shield of Athena yellow. The face of 106 is blocklike, in the formal style; long nose, small mouth, full rather angu­ lar chin. Right eye is larger than left, upper lid higher. Pierced ears. Hair swept to side in thick irregular locks. Low pink diadem in front of high polos with straight sides canted outwards. This is a transitional bust, falling between the conservative late-classical group 96-105 and the Hellenistic series, which begins with 113. The nose is longer and thinner than before, the face narrower; for both the asymmetry of the eyes and the polos, see 109 and χ 13. The Syracusan origin of the series is indicated by a very similar piece from the Cafici Collection (Syracuse 51042, of local clay). The painted scenes imitate figurative panels woven into the chiton. P. 28ff. PR VII, 170, pi. 36: fig. 17 (106b); GRBS 5 (1964) pi. 2 (106a). Cf. ArcbCl 12 (i960) pi. XVi :C (Gela, late fourth century); Bernabo Brea, Musei, 57 (bust with painted scene, from Syra­ cuse). 107. Bust. PI. 29 1971 uncat. W.S. PH. 39.6. Missing parts of lower area in back and front. Buff-orange clay with greenish surface; white slip. Pink flesh, red lips, brown eyes; orange polos with pink rosette (?) at center; painted drapery at bust area: purple chiton with horizontal neckline of two parallel stripes; below a pink rectangular panel over breasts with traces of orange at center. Round vent at back of head. Early version of melon coiffure, divided into six fluffy strands swept back horizontally; with no back mold there is also no knot. Asymmetri­ cal eyes, arching upper lids; long neck with ring. Pierced ears; bronze wire from earring re­ mains in left ear. Small polos with upper and lower molding, set far back on head. This bust successfully combines a traditional facial type (cf. 97) with a new and fashionable hairstyle; the polos is becoming an awkward survival, ill-suited for the melon coiffure. The

painted scene is almost entirely effaced. Proba­ bly from the very early third century. Pp. 2 8ff., 50 PR XI, pi. 74, fig. 14. 108. Bust (2). PI. 26 Syracuse 36798. S 10. PH. 14.0. Lower part missing. Buff clay, white slip. Same series: 5 9 - 1 7 7 9 (N.S.A. fill). Oval face, small chin. Hair swept over low diadem in front of polos, divided into waves suggesting melon coiffure. Flaring polos with upper molding. The combination of polos and melon coiffure is seen in 107 and in such smaller heads as 198. Early third century. P. 50. Cf. Libertini, Museo Biscari, no. 1040, pi. Cix; NSe (1957) 203, fig. 5 (Paterno). 109. Bust. PI. 30 57-706. N.S. fill. PH. 17.5. Missing most of polos and lower part. Greenish clay with pinkred core. Full oval face, thickly lidded eyes, small pursed mouth. Necklace with clasps at throat. Hair patterned in three tiers of undulating lines above forehead, with large snail shells at tem­ ples. Polos was oval in section. No back mold. The archaizing hair places I09f. among a group of third-century busts from eastern Sicily; they imitate the hairstyle of the early fifth cen­ tury. Yet the face indicates that 109 belongs close to 300. P. 29. Cf. NSe (1909) 380-81, figs. 36-37 (Kamarina); Archivio Storieo Siraeusano 5-6 (1959-60) pi. 1:1, 2 (Syracuse); Kekule, 61, fig. 123 (Grammichele or Akrai). 110. Bust. PI. 30 V C . P H . 24. 1 . M i s s i n g r i g h t s i d e o f head and polos, lower part. Thick pale buff clay, pink-white core. No traces of paint or slip. Broad face; small mouth set high over full chin, long nose, right eye wider than left. Hair above forehead forms an undulating line end­ ing in snail shells at temples; above are parallel wavy reflections. Hair is banked behind temples in thick masses, its surface consisting of shal­ low snail shells with indentations at center.

61-1323.

142

CATALOGUE OF THE TERRACOTTAS

Straight-sided polos rests on half-round mold­ ing. Pierced ears. An extreme version of the archaizing bust tradition of 109; from a context of the second half of the third century. P. 29. ArchCl 2 4 ( 1 9 7 2 ) pi. v : 2 .

111. Bust ( 2 ) . PI. 31 5 7 - 3 5 1 . IV B. PH. 1 5 . 0 . Left side of face and neck, forehead and right side of polos. Pink-buff clay, worn. Same series: 5 7 - 6 5 7 (N.S. fill). Classicizing features: thick nose, small pinched mouth, heavy chin. Hair center-parted. Polos with straight profile and lower molding. End of fourth century, or perhaps slightly later.

112. Bust. PI. 3 1 6 2 - 1 4 4 9 . S.S. 9 . PH. 2 8 . 7 . Lower part miss­ ing, parts of back of head and polos restored. Buff-orange clay, white slip. Pink flesh, gilded diadem. Large round vent. Oval face; arching, precisely defined brows, swelling at temples; very large upper eyelids, iris defined by circle in low relief touching upper but not lower lid; straight thin nose; bow mouth with deep indentations at corners; full cheeks and chin. Two shallow rings in neck. Hair center-parted and bound with gilded di­ adem, above which is small bow apparently Jpining the ends of fillet. Hair swept to sides forming thick crescent around head in irregular wavy locks with brushed surfaces; behind, hair indicated by crude, freely incised wavy lines. Straight-sided polos has flat upper molding and thick round base molding. Pierced ears. The head shows the influence of the classiciz­ ing style and owes something to coins of Euainetos (cf. Rizzo, Monete greche, pi. Liv:3). Yet there is striking, perhaps experimental free­ dom in the plasticity of the modeling and the expressive details. The style and shape of the polos may indicate a date not far from 300; the piece is, however, unusual and of uncertain date. P. 29. Cf. Archivio Storico Siraeusano 5 - 6 ( 1 9 5 9 - 6 0 ) pi. 1 :2; Kekule, pi. ix (both from Syracuse).

113. Bust ( 9 ) . PI. 3 2 a. 5 8 - 2 1 4 6 . S.S. i. H. 4 6 . 6 . W. 3 6 . 0 . Mend­ ed; parts of polos chipped and missing. Bufforange clay with green-buff surface; white slip. Pink flesh, vermilion lips, luminous pale green eyes with brown irises; brown hair; orange polos has pink emblem in center, dark pink panel on bust proper, where no other color survives. Round vent at back of head. b . 5 8 - 2 1 4 7 . S.S. i. H. 4 8 . 0 . W. 3 5 . 6 . Mend­ ed; back restored; nose chipped. Buff-orange clay with greenish surface. Pink flesh; vermilion lips and diadem; greenish eyes; hair yellow; polos has pink, candy-striped base molding; orange above with pink emblem at center.

c. 5 8 - 1 2 3 0 . N.S.A. 5 . PH. 4 7 . 5 . W. 3 7 . 3 . Mended; restorations in polos; right side of forehead and eye missing. Orange clay, greenish surface; white slip. Pink flesh; brown-red hair; polos with pink emblem; gilded diadem; purple chiton; pink panel. Same series: 5 8 - 2 1 4 8 (S.S. 1), 5 8 - 1 2 3 1 , - 1 2 3 2 (N.S.A. 5), 68-120 (V C), Syracuse 33187 (S 7), Syracuse 39477 (S 11), Catania, Castel Ursino MB 5717 (Kekule, 62, fig. 124; Ferri, Divinita ignote, pi. xxv:C; bust from Kentoripa, h e r e p i . 1 4 7 , fig. 1 7 ) . Narrow oval face with high forehead, dim­ pled chin, and flat cheeks. Small bow mouth with pursed lips; thin, outwards-curving nose, left nostril slightly curled. Right eye hooded. Hair center-parted, swept back in thick cres­ cent, locks in parallel undulations. Back of head smooth. Diadem close to forehead at parting. Wheel-made polos with straight sides, slightly flaring, resting on round molding. Clearly de­ lineated double chin; sturdy neck with one ring. Neck was a part of mold; the lower area of the bust was freely modeled, as can be seen in the different shapes of 113b and c. The shoulderlength hair of 113b was also a freely modeled addition. The painted decoration of the bust area con­ sisted of a broad panel in deep pink; if there were painted figures similar to those of 1 0 6 , none survive. Framing the panel in 113b above and to the sides was a pale orange band; above it, running between the two strands of hair, was a blue-green band. Outside the short ends of the

CATALOGUE OF THE TERRACOTTAS

orange frame are traces of the deep purple of the chiton. In 113b, at the juncture of the shoulder with the neck on either side is a small hole through the locks of hair; these are also seen in 58-1232 of this series and in 116 and 119; they are intended for the passage of a metal necklace around the neck. The letter β was incised twice on the back of 113c, on the polos and the neck; similar letters are found on 58-1232 (on these, see supra, p. 120). All versions of the series are of the same generation; the piece from Kentoripa in Catania (pi. 147, fig. 17) and the numerous examples at Morgantina must all depend on the same Syracusan archetype. The narrow face with small features and vertical emphasis shows the influ­ ence of Hellenistic art; deliberate asymmetries in the modeling of the nose and eyes give the face a lively, almost supercilious expression. Yet the retention of old-fashioned elements like the polos and patterned hair suggests that the series of 113 ought not be dated after the first half of t h e t h i r d century. P p . 4 4 , 5 0 . 114. Bust. PI. 3 3 Syracuse 3 3 1 8 9 . S 7 . PH. 2 3 . 0 . Left side of face, hair, and polos. Pink-buff clay, white slip. Dark red hair, pale pink veil, dark pink polos. Unusual bust wearing sakkos or veil over hair, below which a diadem. High polos has straight sides and lower molding. Pierced ears. Hair pulled to side in thick crinkly mass. Upper eyelid emphasized. Fabric and style of the third century. 115. Bust. PI. 3 3 Syracuse 3 3 3 8 4 . S 8 B . PH. 13 . 4 . Face, hair at left forehead. Orange-buff clay, greenish sur­ face; thin fabric; white slip. Broad face of third-century type with full dimpled chin; hair arranged in protruding tufts. Similar to 113, probably later. 116. Bust. PI. 3 4 5 7 - 2 0 6 0 . N.S. C, cistern. H. 4 1 . 5 . Mended; lower part of bust at sides is missing. Pink clay, greenish surface; white slip.. Head turned slightly to right and upwards; broad oval face with fleshy cheeks and dimple;

eyes widely spaced with arching upper lids and flat lower ones. Mouth indented at corners. Hair center-parted, drawn to sides in irregular strands; worn to shoulders in freely modeled locks; holes at neck for metal necklace (cf. 113b, 119). Ears pierced. Low diadem in front of polos, which has slightly flaring sides and flat upper molding. While the bow mouth and dimple are derived from busts like 113, the free plastic modeling of 116 is exceptional. The deep, shadowed eyes are unequal in size and unevenly placed; the mouth is irregular; and the individually defined locks are blurred in light and shadow, an effect achieved by much retouching. The polos is not wheel-made. For this style, see also 152; a bust from Syracuse (NSc [1891] 377); and numerous examples from Kentoripa (Libertini, Centuripe, pis. XX: 1-3, XXI:3, XIX:I-2). Late third cen­ tury. P. 51. 117. Bust. PI. 3 3 5 7 - 1 3 1 1. N.S. C, cistern. PH. (face) 1 0 . 1. Face, parts of bust, neck, and polos. Orange clay, pink to green surface; thick coarse fabric. Full face with plump cheeks and short nose; asymmetrical eyes. Hair swept back in low masses close to skull; worn to shoulders dividing into two strands. Low diadem; ears pierced for earrings. Polos rests on half-round molding; upper edge treated as flat molding. Original height ca. 50 cm. The face shows Praxitelean influence in its fullness, in the high forehead, and in the soft modeling of the hair; the polos is also charac­ teristic of the fourth century. Yet the polos is also seen in 116 and the Praxitelean style sur­ vived well into the second half of the third cen­ tury (cf. 163). The later date is more likely. P. 5 of. Kokalos 4 ( 1 9 5 8 ) pi. 4 4 : 4 (dated to the fourth century). 118. Bust ( 2 ) . PI. 3 5 5 8 - 1 2 3 3 . N.S.A. 5 . H. 5 0 . 4 . W. 4 8 . 3 . Mended with minor restorations in plaster; both ears missing. Pink clay, greenish surface; white slip. Red-brown hair, orange polos with pink emblem; pink and white striped polos molding; pink flesh; bright pink panel set into purple chi-

144

CATALOGUE OF THE TERRACOTTAS

ton on bust proper; traces of pale pink in border of chiton. Same series: 58-1229 (N.S.A. 4, cisterns 1 and 2; N.S.A. 5). Broad face has flat cheeks, thick nose, and full dimpled chin. Large slightly open mouth. Large eyes have arching upper lids. Fluffy hair; polos flares with straight sides, resting on thick round molding. Unmodeled lower area has flat surface and sloping shoulders. Dark pink rectangular panel set into purple chiton; no traces of a painted scene of the type of 106. Full style of the later third century; the upper part of the face resembles 117, where the eyes are also similar. The treatment of the painted chiton recurs in 113c, which has similarly dis­ torted proportions. Second half of the third cen­ tury. P. 5of. PR III, 169, pi. 41, fig. 10. 119. Bust. PI. 36 I T2. PH. 42.5. Back of head and polos, lower left cheek and chin, and neck. Pink clay, greenish surface; thick fabric. Rough vent in back of head. Very large scale. Neck is modeled carefully with two rings; hair worn to shoulders, with holes through locks for necklace at juncture of shoulder and neck (cf. 113b, 116). In size, 119 is comparable only to 155-157; the original height was ca. 75 cm. The fabric is similar to 155-157, as well as to 61. Context of the final quarter of first century B.C.; the piece may be somewhat earlier. P. 76f. 66-484.

120. Miniature bust. PI. 36 IV A. PH. 7.9. Most of face and neck; polos missing. Buff clay. Hair swept back from temples in thick un­ dulating waves; thick band at forehead probably to be interpreted as a diadem. This is probably the earliest true bust at Morgantina. It was found in a context antedating the foundation of the North Sanctuary. For the diadem see ArchCl 24 (1972) 4, pi. 11 (Akrai). Late fifth century? P. 27f. 58-1129.

121. Miniaturebust (3). PI. 36 I E3. PH. 7.4. Left side of polos and lower part missing; worn. Buff clay. 55-1566.

Same series, later generation: 5 7 - 1 5 1 3 (III F), (I L2). Full blocklike face with heavy chin and flat cheeks, narrow eyes, large mouth, short nose. Hair delineated as parallel wavy locks. Large spiral earrings (see 96). Polos has vertical sides and three relief rosettes; almond-shaped in sec­ tion. A smaller version of 96. 62-1456 was found with coins of the second half of the fourth cen­ tury. The series belongs on stylistic grounds to the second quarter of the century. P. 27. 62-1456

122. Mtniature bust. PI. 36 V C. H. 12.5. Missingpartsofpolos and breast area; plaster restorations. Buff clay, white slip. Small unmodeled bust. Face and polos similar to 121; polos has five rosettes. Necklace of large pendants; spiral earrings. Advanced generation. Fourth century. P. 27f.

61-1284.

123. Miniature bust. PI. 36 5 7 - 3 5 ° . Ill F. PH. 4.1. Lower part missing. Buff clay. Similar to 122; polos decorated with two rows of rosettes and at top a leaf pattern. Spiral ear­ rings. Flat unmodeled back. Fourth century. 124. Miniature bust. PI. 36 58-1794. I L i . P H . 8.3. Lower part missing. Buff clay. Similar to 122; polos flares slightly, without relief decoration. Spiral earrings. Flat unmod­ eled back. Later fourth century; context as 126 and 128. 125. Miniature bust. PI. 36 V C. PH. 5.9. Face and polos. Buff clay, encrusted. Similar to 124, perhaps from same series. Later fourth century.

69-807.

126. Miniature bust. PI. 36 56-647. I L i . P H . 1 1 .7. Lower part and left side of polos missing. Hard gray-buff clay, brit­ tle fabric. Similar to 158; advanced generation.

CATALOGUE OF THE TERRACOTTAS

Fabric of later third century. There would appear to be a gap of about a century between the creation of the archetype and the manufac­ ture of this descendant. Context as 124 and 128.

127. Miniature bust. PI. 3 7 6 0 - 1 1 3 0 . Ill F. PH. 6 . 2 . Lower part missing. Cream-buff clay. Hair center-parted and swept to sides in regu­ lar waves; cylindrical polos with upper and lower moldings. Style of later fourth century.

128. Miniature bust. PI. 3 7 5 8 - 1 5 7 9 . I L i . H . 1 3 . 2 . Right shoulder and small pieces missing; polos chipped. Buff clay. Broad oval face with blurred features. Hair in fluffy waves suggesting melon coiffure, pulled over low diadem. Flaring polos. Flat back. Ad­ vanced generation. Early third century; context as 124 and 126. 129. Miniature bust. PI. 3 7 5 8 - 1 2 9 4 . II A. PH. 8 . 7 . Lower part missing. Buff clay with orange core; white slip. Round vent. Blocky face with blurred features. Hair in schematic waves, massed high on head. Straight-sided polos. Heavy features and hair of late formal style of third century; for dating, see 132. 130. Miniature bust. 5 9 - 1 0 1 7 . N.S.A. fill. PH. 6 . 8 . Head and polos. Buff clay, white slip. Oval face; high cylindrical polos closed at top; low diadem. Thick hair massed at temples. Third century. 131· Miniature bust. PI. 3 7 V B . P H . 5 . 7 . Faceand hair. Pink-buff clay, surface damaged. Broad face with complacent expression, simi­ lar to 129. Hair swept back in shallow regular waves; large applied disk earring at right ear. Later third century; for dating, see 132.

61-873.

1 3 2 . M i n i a t u r e b u s t . PI. 3 7 S.S. 9 . PH. 9 . 2 . Lower part missing. Buff clay, surface very worn. Irregular vent at back of head. Oval face of type of 129. Hair swept back in parallel waves. High flaring polos. Advanced generation. Found in the South Sanctuary, probably dedi­ cated there not long before the sanctuary's de­ struction in the late third century. 62-1102.

133. Miniature bust. PL 37' 5 8 - 6 3 . N.S.A. fill. PH. 5 . 0 . Lower part miss­ ing. Pale buff clay. Broad oval face. Hair center-parted, swept to sides. Slightly flaring polos with sheer sides. Earrings of type of 163. Advanced generation. Third century. 134. Miniature bust ( 2 ) . PI. 3 7 Syracuse 3 2 3 0 6 . S 5 . H. 1 5 . 5 . Buff-orange clay. Same series: Syracuse 3 2 3 0 7 (S 5 ) . Oval face with vertical emphasis. Hair swept back in irregular locks. Sloping shoulders. Flar­ ing polos. Reduced version of type of 99. 135. Miniature bust. PI. 3 7 5 5 - 2 6 3 7 . I B. PH. 7 . 9 . Head missing. Buff clay, white slip. Pink stripes indicating drapery: vertical at sides, horizontal neckline. Similar to 134. Hair worn to shoulders, ring in neck, sloping shoulders. Fabric of third century. 136. Miniature bust. PI. 3 8 5 7 - 9 7 0 . N.S. 7 . PH. 11.0. Lower part missing. Buff clay, white slip. Oval vent at back of head. Broad oval face, small chin, slight smile. Knidian coiffure. Flaring polos has upper mold­ ing; low diadem at base. Tear-shaped earrings. Similar in style to 134; second half of third century. 137. Miniature bust ( 2 ) . PI. 3 8 5 5 - 1 0 0 3 . I B. PH. 6 . 8 . Lower part missing. Buff clay. Same series: 5 6 - 8 0 2 (I A).

CATALOGUE OF THE TERRACOTTAS

Oval face, similar to 134 but fuller; crisp fea­ tures, dimple. Knidian coiffure. Thick diadem under polos, which is irregularly modeled by hand. Earrings of type worn by 163. Style of later third century. 138. Miniature bust. 5 7 - 1 3 4 6 . N.S. C, cistern. PH. 8 . 8 . Lowerpart missing. Buff clay, hard fabric. Oval face, quite broad at level of eyes, which are crisply modeled; mold was retouched. Hair swept up over low diadem, worn to shoulders in thick locks. Polos with irregular upper mold­ ing. Probably a reduced version of 163. Later third century. 139. Miniature bust. PI. 3 8 5 7 - 1 3 9 8 . N.S. C, cistern. PH. 5 . 8 . Face, right side of hair and polos. Buff-pink clay, white slip. Long oval face with small features, not unlike 134. Knidian coiffure with retouching. Low di­ adem in front of polos. Later third century. 140. Miniature bust. PI. 3 8 5 8 - 1 3 3 4 . N.S.A. 1 3 . PH. 7 . 5 . Lower part missing. Buff-pink clay, white slip. Blue or black traces in hair; pink on polos, red lips. Oval vent at back of head. Broad face of later-third-century type (cf. 163). Flaring polos. 141. Miniature bust. N.S.A. 1 3 . PH. 11.0. Lower part missing. Reddish-buff clay, burned; white slip. Two horizontal pink stripes on polos, pink lips, and traces of pink in lower part. Type of 134; very advanced generation. Third century. 58-1354.

142. Miniature bust. 1 9 5 7 uncat. N.S. C. PH. 8 . 4 . Lowerpart miss­ ing. Buff clay, gray core. Face similar to 134. Melon coiffure in six strands; low diadem in front of flaring polos with upper molding. Pendant earrings of type worn by 163. Advanced generation. Third century.

143. Miniature bust. PI. 3 8 6 1 - 1 4 4 . I R i . P H . 8 . ι. Face, neck, and part of polos. Buff micaceous clay, white slip. Trace of red in hair. From a small bust of the type with veiled polos. Advanced generation. Fabric of the late-Hellenistic period, close to the Catania Group of the first century (see 231). The dull features are typical of the late period. 144. Miniature bust. PI. 3 8 5 7 - 4 8 8 . I A. PH. 8 . 8 . Lower part missing. Sandy buff clay, traces of white slip. Unusual hair and polos: hair swept down from top of head in shallow locks; polos deco­ rated with horizontal grooves. Round earrings. Surface very worn. Face is round, and despite damage appears almost grotesque. Uncertain date. 145. Modeled bust. Pis. 4 0 , 4 1 5 7 - 2 0 5 0 . N.S. 7 . H. 4 4 . 0 . W. 3 6 . 5 . Mended; missing parts of back, hair, and breasts; both ears; and nose, which is restored from bridge; surface worn and flaking. Buff clay, greenish surface; white slip. Pink flesh, traces of bright pink in chiton; brown-red hair. Small oval vent in center of back. Symmetrical oval face; large almond-shaped eyes, prominent lids; small mouth with slight smile; dimpled chin. Twelve-strand melon coif­ fure, tied in large bun at back of head, surfaces worked with tool before firing. Slender neck, slightly tapering and thrust forwards. Lower area is modeled: goddess wears high-girded chi­ ton with V-neckline, her arms bare; there are faint traces of necklace and spiral bracelets on upper arms, all in relief and now lost (cf. 149). Made with back and front molds. The finest and probably the earliest of the modeled busts at Morgantina. In the symmetry of the quiet face one senses the remanent strength of the traditional style; yet the melon coiffure tied in a bun is a fashionable hairstyle of the early third century (for this, D. B. T h o m p s o n , Hesperia 2 1 [ 1 9 5 2 } 1 3 9 , n . 1 0 0 ) . With the melon coiffure the polos was inappro­ priate. A small Geloan bust of the early third century is similar; the archetype of 145 is, how­ ever, probably Syracusan. Pp. 48f., 66.

CATALOGUE OF THE TERRACOTTAS

PR II, 1 5 8 , pi. 3 2 , fig. 2 0 . Cf. ArchCl 9 p i . LIX : 2 ( G e l a , before 2 8 2 B.C.).

(1957)

146. Modeled, bust. PI. 3 9 5 9 - 1 9 9 9 . N.S.A. 1 4 . H. 2 3 . 0 . W. 1 6 . 7 . Lower part missing; restorations in plaster at forehead, nose, and hair. Buff to orange clay, white slip. Round vent in back. Head turned slightly to right. Oval face with full cheeks and expressive mouth. Soft modeling with crispness in eyes and mouth. Chiton simi­ lar to that of 145, sketchily modeled in back; shallow neckline and girding. Melon coiffure of twelve waves tied in low knot. Neck has two rings; prefiring dent at base. More advanced than 1 4 5 ; the soft oval face is closer to Hellenistic style, and the turn of the head and inclusion of the upper abdomen suggest experimentation with the traditional forms. The context indicates a date in the sec­ ond quarter of the third century, as does the low neckline. Pp. 4 9 , 6 6 . 147. Modeled bust. PI. 3 9 Syracuse 1 8 6 2 4 . S 3 . PH. 15 . 8 . Lower part missing, nose and diadem chipped. Buff clay, white slip. Flesh white, lips red. Vent at top of knot. Full oval face, large eyes, swelling lips. Upper lids rounded; eyes wide apart. Ten-strand melon coiffure bound in high knot. Thin di­ adem rests lightly over hair in front; disk ear­ rings. Similar to 148-149; the impressionistic treatment of the hair and the full features suggest the second quarter of the third century. P. 66. 148. Modeled bust. PI. 4 2 Syracuse 3 3 3 8 9 . S 8 C . PH. 2 3 . 4 . Front of head, chest, and right breast. Buff clay, white slip. Oval face similar to 147 with softly modeled features, full mouth. Multiple-strand melon coiffure, surface stippled, knot missing. Di­ adem and necklace as 149. Breasts were mod­ eled; chiton with V-neckline falling to center of chest. The free treatment of the hair and the low neckline suggest the second quarter of the third century. P. 66.

149. Modeled bust ( 2 ) . PI. 4 2 5 8 - 2 1 3 9 . S.S. 3 . H. 3 0 . 4 . Missingand restored in plaster: left eye, left part of head, nose, neck at right jaw, upper part of left arm, right side of back; unrestored are lower part of left arm and small part of right flank. Buff-brown clay, white slip. Pink lips and ribbon girding chiton, yel­ low undercoat for gilding on pendant and spiral bracelet, traces of red in hair. Round vent at back of head. Same series: 5 8 - 2 1 3 2 (S.S. 3 ) . Modeled bust of type of 146. Oval face with large eyes and dimple; slight smile. Melon coif­ fure with fourteen waves, tied in low bun at top of head. Diadem with Herakles knot worn over hair; necklace worn high on neck with clasp at throat; pierced ears. Spiral bracelets worn on upper arms. Pendant over right side of chest, apparently a stone in an oval setting, attached to chain by means of flaring protrusion. Chiton with high V-neckline girded below breasts with pink ribbon. The goddess is here laden with jewelry, which included real earrings. The diadem and necklace are typical of the third century; for the bracelets cf. 145, for the pendant, cf. 150, 162, 165, and 359a (and a fragmentary bust from Syracuse, inv. 66997, 67011, Well Deposit). The parallel striations in the melon coiffure, made with a tool before firing, are typical of the second half of the third century (cf. 198); the proportions of neck and face are manneristic. Pp. 4 9 , 66. 150. Modeled bust. PI. 3 9 5 7 - 1 3 1 0 . N.S. 7 . PH. 6 . 2 . PW. 1 5 . 0 . Breasts only. Orange-buff clay. Pink chiton with purple trim. From a modeled bust of type of 149; highgirded chiton, over right side a chain and medallion. Third century. 151. Modeled bust. PI. 4 2 Syracuse 3 2 5 8 4 . S 6 . PH. 2 5 . 1 . G r e e n i s h c l a y , heavy and thick. Oval face with dimple, similar to 149-150. Eight-strand melon coiffure. Chiton with high V-neckline; prominent breasts. Band of cloth over top of head (cf. 168). Strut of clay behind,

CATALOGUE OF THE TERRACOTTAS

running between two sides of head. No back. Poorly fired with bubbles at left breast. A crude copy of the type of i40ff. The clay m a y not be local, b u t cf. 6 9 0 .

152. Bust

( 2 ) . PI. 3 9 N.S. 7 . H. 1 4 . 6 . Back missing. Buff clay, white slip. Purple chiton, pink himation, blue fillet in hair, blue ribbon girding chiton, red-brown hair. Rough oval vent in back of head. Same series: Syracuse 3 2 5 8 6 (S 6 ) . Small bust with arms lowered. High-girded chiton, V-neckline. Himation pulled over back of head and secured at bun; eight-strand melon coiffure, bound tightly with blue fillet and tied in broad bun; diadem with a round medallion at center secures bun. Full oval face of Hellenistic type; mouth slightly open, full chin and neck. Scarred before firing. The arrangement of hair and veil is unusual; the plump face and pyramidal form point to the second half of the third century. 57-2064.

153. Bust. PI. 4 3 1 9 5 9 uncat. N.S.A. fill. PH. 8 . 7 . Top of head at left side. Pale buff clay, white slip. Orangered hair. From a larger and finer example of the type of 152.

154. Modeled bust. PI. 4 3 6 6 - 5 2 1 . II D. PH. 3 6 . 5 . Breasts, neck, and face with right eye and forehead. Soft orange clay with greenish surface, probably damaged by wa­ ter. Trace of magenta in chiton. Large modeled bust. Chiton has high scal­ loped neckline and protruding fold above breasts; necklace of pendants; hair worn to shoulders, where it divides into two strands modeled by hand. Broad face has plump fea­ tures, dimpled chin, almond-shaped eyes, and small mouth; pierced ears. The breasts are prominent. The plastic mod­ eling of the face suggests the late-Hellenistic style of Kentoripa; for the loose chiton, cf. I 55" I 57· Context of late first century (see also 1 5 9 and 161. P. 76L

155. Modeled bust. PI. 4 4 Syracuse 1 8 6 8 6 . S 4 . PH. 6 0 . 6 . W. ca. 4 9 . 8 . Missing and restored in plaster: parts of chiton, right arm, lower left arm, chin, right cheek and neck, hair on right side, and part of back; polos missing. Orange-buff clay with coarse greenish surface; thick fabric. Large flat oval vent in back, placed horizontally. High-girded chiton with high scalloped neckline; full breasts. Deep groovelike folds under girding. Hair swept back in thick waves from forehead, forming crinkly mass around face; upper surface of hair is modeled freely with applied ringlets and much use of tool. Heavy face has large eyes and full cheeks. Head no­ where joins but is likely to belong. Small round holes in both arms at front. Probably modeled by hand. The three busts 155-157 are of similar style and fabric, and as they were acquired together they probably have the same provenance; closely related is the excavated bust 119. These are the largest and probably also the latest known Sikeliote busts; 119 comes from a destruction context of the final quarter of the first century B.C., and the whole group should be dated in the preceding half century. The style is provin­ cial and there are few contacts with the earlier period, aside from the form itself. The small holes in the lowered arms of 155 and 156 are mysterious. As they are found only in front they cannot have been used for the insertion of poles for a litter—which would anyway be an unlikely mode of support because of the danger of break­ age. A small Syracusan unmodeled bust of the type of 96 also has such holes (uncatalogued, in the Villa Landolina). They were probably used for the insertion of extended arms; Punic busts with arms preserved have been found in Spain, and these apparently depend on Sicilian models. P. 70f. RendLinc 1 8 ( 1 9 6 3 ) pi. 11, figs. 3 , 4 . Cf. J. Colomines Roca, Les terracuites cartagineses d'Eivissa (Paris, 1938) pi. xxxm, xxxvn; also pi. xxx. 156. Modeled bust. PI. 4 5 Syracuse 1 8 6 8 5 . S 4 - PH. 4 1 . 1 . W. 5 0 . 5 . Miss­ ing head, right shoulder, and part of neck; res­ torations in plaster. Clay as 155. Large horizon­ tal oval vent.

CATALOGUE OF THE TERRACOTTAS

Similar to 1 5 5 but with minor differences in drapery. Probably modeled by hand. First century B . C . P. j 6 f . Pace 11, 1 1 0 , fig. 1 0 3 ; RendLtnc 1 8 ( 1 9 6 3 ) pi. 11, figs. 1 , 2 . 157. Modeled bust. PI. 4 5 Syracuse 1 8 6 9 0 . S 4 . PH. 4 6 .1. Lower part missing; restored in plaster are cheeks, eyes, and part of shoulder. Clay as 1 5 5 . Flat broad chin with large dimple; hair in long undulating locks, swept back but also down toward neck; hair in four strands to shoul­ ders; locks on left side are missing. Thick neck has three groovelike rings. Pendant necklace, consisting of flat crosshatched band, at upper surface of which is beaded chain; hanging from the band are roundlets, to which are attached tear-shaped drops ending in round dots. Neck­ lace was applied before firing; many parts are missing. With 1 1 9 the largest of Sikeliote busts. Al­ though of great size, 1 57 was not carefully made or decorated. First century B.C. P. η()ί. 158. Modeled bust. PI. 4 5 I U . PH. 2 5 . 8 . PW. 3 2 . 7 . Head and back missing. Orange to buff clay, thick fabric; white slip. Modeled bust wearing high-girded chiton; flat breasts, girding indicated by incised line, folds below by parallel grooves. Angular neck­ line with horizontal folds; arms at sides. Same provenance as 1 7 2 ; probably late Hel­ lenistic.

60-1531.

159· Modeled bust. PI. 4 5 II D. PH. 25.4. PW. 34.5. Missing upper part of bust, head and most of back. Buff clay, thick fabric; white slip. Traces of deep pink in chiton. Vent in back has squared sides. Large modeled bust wearing high-girded chi­ ton, tied below breasts in bow knot. Arms at sides, bare, right with double bracelet. Ad­ vanced generation. Same provenance as 1 5 4 and 1 6 1 ; context of late first century. 66 - 4 7 0 .

I6O. 1958

Modeled bust. PI. 4 3 uncat. S.S. PH. 9 . 8 . Two fragments of

lower part, including right breast and arm, and left arm. Buff-pink clay. From a modeled bust with arms lowered; chi­ ton girded under breasts, over arms gathered into folds by buttons, four of which are pre­ served. Probably later third century. 161. Modeled bust. 6 6 - 4 6 9 . II D. PH. 1 9 . 4 . Right shoulder and parts of breast and chiton. Buff clay, traces of white slip. Modeled bust with arms lowered; large ver­ sion of 1 4 9 . Context of late first century; see also 1 5 4 and 159.

P. 76f.

162. Modeled bust with arms ( 2 ) . PI. 4 6 57-1893. C.S. H. 28.2. Missing and restored: right breast and forearm, right side of polos, left elbow, lower back. Buff-orange clay, white slip. Pink himation with purple hem at neckline, traces of pink and purple in himation; redbrown hair. Same series: 5 7 - 3 1 0 1 (C.S.). Left arm within himation adjusts veil at shoulder; right arm lowered at abdomen hold­ ing bird, most of which is lost. Chiton cut low with high girding; small brooch at bottom of V-neckline, between breasts. Medallion and chain worn over right chest (cf. 149); necklace with pendants worn high on neck. Narrow oval face, long nose, almond eyes (cf. 145); deeply indented mouth, dimpled chin. Knidian coif­ fure; broad low polos with upper and lower moldings; tear-shaped earrings. Mouth and eyes lightly retooled before firing. Advanced genera­ tion. This is the earliest of a class of third-century busts that appears to be unique to Morgantina, although the archetypes were no doubt Syracusan: the goddess adjusts the veil with her left hand and in her right she carries a dove (see also 163-168). Facial type, polos, and low-cut chi­ ton indicate a date early in the third century. P. 49f.

163. Modeled bust with arms ( 6 ) . Pis. 4 6 , 4 7 a. 5 7 - 2 0 5 2 . N.S. 7 . PH. 2 3 . 8 . Missing polos, left arm, and right elbow; plaster restorations. Buff clay, white slip. Vent in back of head.

149

150

CATALOGUE OF THE TERRACOTTAS

k· 59"39°· N.S. st. PH. 1 7 . 6 . Lower part missing. Buff clay, white slip. Oval vent in back of head. Same series: 5 7 - 7 3 5 (N.S. 7 ) , 1 9 5 7 uncat. ( N . S . C), 5 7 - 2 0 6 2 ( N . S . C , cistern), 5 8 - 1 2 2 3 (N.S.A. 5). Type of 1 6 2 . Broad face with full cheeks, small mouth. High-girded chiton with high V-neckline, flaring below breasts. Himation pulled over polos as in 162. Hair in ten-strand melon coiffure, diadem with Herakles knot at parting (cf. 149). High broad polos with upper and lower moldings; disk earrings with tearshaped pendants. 1 6 3 a belongs to an earlier generation than b , although it is not a first-generation piece. The left arm adjusting the veil was apparently dam­ aged in the positive that was used for making the mold, as it has become here an irregular protrusion. There are no traces of this damage in 163b or in the other members of the series, which must belong to a parallel line of descent from the archetype. The broad face and pyrami­ dal form, which extends even to the flaring chi­ ton below the girding, are typical of the second half of the third century. A disk earring of the type worn by 163 comes from Morgantina (PR II, pi. 60, figs. 27-28; see also Higgins,Jewel­ lery, 165f.). P . 4 9 .

164. Modeled bust with arms. 5 7 - 3 1 1 0 . C.S. PH. 7 . 8 . Head, neck, and base of polos. Buff clay, white slip. From a small modeled bust of the type of 162. The polos is small and apparently high; the base of the polos is closed, perhaps transforming the bust into a thymiaterion. Close in style to 1 6 3 .

165. Modeled bust with arms. PI.

47

I A. PH. 12.5. Missing left side of face and lower part, all of back. Buff clay, white slip. Orange polos. Miniature version of 1 6 2 . Double chin; hair swept back and to sides in formal style. Himation drawn over polos. Brooch and pendant m e d a l l i o n as i n 1 6 2 . Probably second half of third century. P. 4 9 . 56-3095.

166. Modeledbustwitharms

( 2 ) . PI. 4 7 V C. PH. 18.6. Left side missing, sur­ face worn. Buff clay, white slip. Same series: 6 6 - 4 3 0 (II C). Similar to 1 6 2 , although here the right hand holds a dish or shell which perhaps contained a dove (cf. 162). Multiple strand melon coiffure; diadem with Herakles knot (cf. 149)· Chiton has low V-neckline. Earrings as 1 6 3 . Mid- to late third century. 68-374.

167. Modeled bust with arms. V C. PH. 1 0 . i. Lower part missing. Buff clay, white slip. From a modeled bust of the type of 1 6 6 . 68-129.

168. Modeled bust with arms ( 3 ) . PI.

47

N.S.A. 5. PH. 15.3. Head, right shoulder, and breast. Buff clay, white slip. Same series: 6 0 - 1 7 4 3 (I U); Syracuse, s.n. Similar to the type of 1 6 2 ; here dove is held in left hand. Six-strand melon coiffure, bound before polos w i t h b r o a d fillet. E a r r i n g s as 1 6 3 . Second half of third century. 58-1303.

169. Head from bust. PI.

47

I Q. PH. 1 6 . 0 . Polos and lower part missing; surface badly corroded. Red-buff clay with greenish surface; white slip. Pink flesh; yellow hair with traces of gilding. Broad rather flat face; rounded dimpled chin, low brow. Very small mouth, large eyes with protruding upper lids. Hair swept down to sides, apparently in Knidian coiffure, with long sinuous locks modeled by hand. Ears pierced. The piece is unusual but the condition is too poor to permit much to be said. The fabric is characteristic of the third century; the strange features of the face suggest a conscious departure from the classical style of the fourth century, without a coherent assimilation of early-Hellenistic facial types (cf. the less successful 149). 67-88.

170. Head from bust. I B. PH. 6 . 6 . Face only. Burned red-brown clay, white slip. Red hair, pale lav­ ender flesh. Full oval face with slight smile; type of 1 6 3 . Hair in multiple strand melon coiffure, with in55-2635.

CATALOGUE OF THE TERRACOTTAS

dentation for fillet. Narrow eyes. Colors altered by burning. Probably from a small bust of the later third century. 171. Fragmentary bust. I F2. PH. 16.9. Right side of face. Orange-buff clay with pale green surface, white slip. Pink flesh, red lips. From a large bust. Broad face, lifeless model­ ing. Low broad nose, heavy chin, full cheeks, For the style cf. 118. Probably second century.

176. Fragmentary bust. Syracuse 33190. S 7. PH. 10.8. Nose and left eye; surface worn. Pink-buff clay. From a large bust. Upper eyelid exaggerated, straight nose. Third century.

60-1758.

172. Fragmentary bust. PI. 48 60-930. I U. PH. 23.0. Missing right side of face, back of head, neck, and lower part. Orange to buff clay, thick fabric; traces of white slip. Orange polos. Classicizing style, features much flattened. Hair in schematic Knidian coiffure with parallel waves. Pierced ears. Serrated stephane over high molding; in front a fillet tied at parting, with three dangling ends. Surface of fillet is stippled. Behind diadem a small polos. The only example of a bust with both polos and high crescent stephane. Same provenance and clay as 158; probably late Hellenistic. 173. Fragmentary bust. PI. 48 I E i . P H . 5.2. Chin and mouth. Orange clay, thick fabric. From a very large bust of the second half of the fourth century.

61-199.

174. Fragmentary bust. V B. PH. 8.5. Front of neck, chin, and lower lip. Buff clay, greenish surface. From a large bust; neck is almond-shaped in section. Context of third century.

62-819.

175. Fragmentary bust. PI. 48 02-i244a-c. V B. PW. 9.4 (largest fragment). Three small fragments of base of neck and necklace. Buff clay, greenish surface. From a large unmodeled bust wearing a necklace with two rows of pendants, round and tear-shaped. For the general type, cf. 96-105. Later fourth century. Cf- J O A l 13 (1910) 67, fig. 41 (Akragas).

177. Fragmentary bust. V C. PH. 11 .2. Left side of neck with freely modeled locks of hair. Buff clay, thick fabric. From a large bust.

69-93 1 ·

178. Fragmentary bust. I A. PH. 8. 1 . R i g h t s i d e o f s h o u l d e r with two strands of freely modeled hair. Buff clay, gray incrustation. Probably from a bust of the type of 155 ff. There is a similar fragment from Morgantina in Syracuse (s.n.). Late Hellenistic.

62-326.

179. Bust? PI. 48 1957 uncat. N.S. s. corridor. PH. 11 .4. Two fragments: part of neck, left side of face and hair. Gray-green clay, white slip. Purple in hair, pink in wreath, red line under serrated upper ornament. Modified bust terminating above breasts. Hair center-parted, worn shoulder-length. Wreath with fruit and flowers; above an unusual relief crown, perhaps a polos; in lower zone are rampant winged animals, supporting a clipeus; above, a sawtooth pattern forming upper edge. Separating the two zones is a molding in red. Necklace with pendants; below, a large medal­ lion, apparently resting above the shallow V-neckline of the chiton. This and the following piece are adaptations of a common type of Punic thymiaterion; a female head supports a low crownlike dish in which the incense was burned. Such thymiateria are found frequently at Carthage and Sardinia; there is a single unpublished example from Selinous (in Palermo). This piece has winged animals in relief on the crown, instead of the doves that are found on the Punic examples. The crowns of 179 and 180 did not have bottoms, so they cannot have functioned as incense-burners; yet the Punic influence is apparent in the form. On such thymiateria see G. Charles Picard, Les

152

CATALOGUE OF THE TERRACOTTAS

Religions de I'Afrique antique (Paris, 1 9 5 4 ) 8 7 ; P. Cintas, CRAI (1949) 115ff.; Thompson, Troy TC , 78, n. 63. Probably third century. Cf. MonAnt 20 (19 10) 179-93, % s · 9" 1 5 (Sar­ dinia); NSe (1911) 238, fig. 12:2 (Olbia); BdA ( 1 9 1 4 ) 2 6 5 , fig. 2 2 (Sardinia); AA ( 1 9 3 1 ) 4 8 2 , fig. 9, 484^ (Carthage); P. Gauckler, Necropoles Puniques I (Paris, 19 15) pi. CXCin (Carthage); Cahiers de Byrsa 9 (1960-61) pi. LXXXI, nos. 457f. (Carthage); Breitenstein, Copenhagen T C , pi. 90, nos. 757f. (Punic); Laumonier, Madrid TC, no. 9 3 4 , pi. Cxx:2 (Elche); also no. 9 3 3 , pi. cxx:i.

180. Bust? PI. 4 8 I T 2 . H. 15 . 2 . Missing parts of upper crown and breast area. Buff to pink clay. Modified bust, similar in form to 179 but simpler. Head supports broad platelike object with no bottom. Taenia at shoulders; protrusion above temple on right side, a support for object above. Oval face of nondescript style. Context of late first century. P. 7 6 . 66-346.

HEADS OF GODDESS, PROBABLY PERSEPHONE (181-202) 181. Head of goddess. PI. 4 9 6 7 - 9 5 . I C2. PH. 3 . 4 . Part of back missing. Buff clay. Wears low polos; hair modeled in flat un­ dulating waves, worn to shoulders. Style of later fifth century. P. 3 3 . 182. Head of goddess. PI. 4 9 6 8 - 3 8 4 . V C. PH. 5 . 3 . Pale buff clay, buff-gray core. Wears elaborate polos with three bands of decoration; lowest band consists of oval or flame­ like elements possibly representations of fruit; above, a guilloche; and at top a wavy line. Hair modeled in undulating horizontal bands. Large round earrings. Features very blurred. The polos with superimposed relief bands is used at the end of the fifth century and in the Timoleontic period at Gela. A head exhibited at Gela probably comes from the same mold series, and 182 may be a Geloan import. It seems pos­ sible that both heads depend on an archetype of t h e l a t e r fifth c e n t u r y . P . 3 3 .

183. Head of goddess. PI. 4 9 I O. PH. 7 . 5 . Buff clay with orange surface, white slip. High polos decorated with two rows of ro­ settes; below five large ones, above seven smaller; upper edge defined by six oval shapes, possibly a leaf pattern. Thickly massed hair, center-parted; heavy oval face with blurred fea­ tures. Advanced generation. Style of end of fifth century; fourth-century context. P. 3 3 . Cf. NSc ( i 9 6 0 ) 2 0 4 , fig. 3 (Gela, ca. 3 4 0 - 3 1 0 ) ; Higgins, BM TC 1, no. 1182, pi. 161 (Gela); BdA (i960) 262, fig. 24:9 (Katane); similar heads are in Syracuse, from a sanctuary deposit in Via Carso. 60-1471.

184. Head of goddess. PI. 4 9 5 8 - 1 6 3 3 . II A. PH. 7 . 2 . Pink-buff clay. High undecorated polos. Hair in very thick masses around face, locks articulated in irregular undulations rising from forehead. Broad oval face, low brows, strong chin. Back hand-modeled. Syracusan style of later fifth-century, surviv­ ing perhaps into fourth. P. 3 3 . Cf. Higgins, BM TC 1, no. 1 1 8 5 , pi. 1 6 1 (Licata); similar heads are in Syracuse. 185. Head of goddess. PI. 4 9 II G. PH. 4.9. Buff clay. Polos decorated with row of five rosettes in relief; thick earrings. Solid, no back. Advanced generation. Style of second half of fourth century. 70-412.

186. Head of goddess. PI. 4 9 5 9 - 1 0 1 4 . Nec. Ill, epit. VI, fill. PH. 4 . 1 . P a l e buff clay. Broad oval face, short nose and heavy chin. Hair in heavy masses, locks patterned in descending lines, worn to shoulders. Broad low polos, no back. Context of second half of fourth century. P. 34· 187. Head of goddess. PI. 4 9 I O. PH. 4 . 9 . Pale buff clay with pink core. Small face with long nose, large eyes and mouth. Hair modeled in bold undulations,

62-1495.

CATALOGUE OF THE TERRACOTTAS

massed at temples. High broad polos of unusual type, decorated with flat band in relief. Bow mouth and patterned hair suggest the late fifth century, although the context would permit a fourth-century date. Cf. MonAnt 1 7 ( 1 9 0 6 ) pi. L i n :2, 11 (Gela, Bitalemi, before 406); MonAnt 32 ( 1 9 2 7 ) pi. l x x i i i : 7 (Selinous, Malophoros); similar Syracusan heads come from the sanctuary of Artemis at Belvedere (fourth century). 188. Head of goddess. PI. 4 9 6 7 - 7 3 5 . Ill D. PH. 4 . 4 . Pale buff clay. Oval face similar to 187; hair swept back from temples in thick parallel strands and worn to shoulders; broad low polos of type worn by 186 and 189. A date as late as the fourth century is permit­ ted by the context, but the piece may be earlier; if so, it may be an antecedent for the classicizing heads of fourth century. 189. Head of goddess ( 5 ) . PI. 4 9 5 9 - 1 0 1 5 . Nec. Ill, epit. VI. PH. 7 .1. Hard pale buff clay. Same series: 5 9 - 7 3 9 (N.S. A. fill), 5 8 - 1 1 0 1 (I J), 7 0 - 4 9 6 (VI C), Syracuse 3 2 5 8 5 (S 6); very close is 5 9 - 8 4 1 (I Mi). Oval face with composed idealized features; hair in thick mass around forehead, locks pat­ terned in fine undulations. Round earrings. Broad low polos; himation drawn over it at sides. The style of the face recalls the large standing Persephone 56. The tomb belongs to the years around 3 0 0 . A popular mold series at Morgant i n a , after a Syracusan a r c h e t y p e . P p . 3 4 , 4 5 .

fore it a low band-shaped diadem at parting. Hair swept over diadem. One ring in neck. The facial type suggests the influence of the classicizing style of the Agathoklean period. The motif of the hair pulled back over the di­ adem is characteristic of the late fifth century.

192. Head of goddess. PI. 5 0 S.S. 2 . PH. 6 . 0 . Buff-red clay, white slip; encrusted. Turned to left on carefully modeled neck with one ring. Oval face with slightly opened mouth, straight nose, and dimple. Knidian coiffure pulled into high knot at back. Rosette at part­ ing in front; behind is the base of a diadem. Fine style of early third century. 58-1873.

193. Head of goddess. PI. 5 0 7 1 - 5 3 2 . W.S. PH. 6 . 4 . Orange-buff clay. Pink flesh. Oval face, turned to left; Knidian hair bound in high knot; earrings. Early third century.

67-440.

194. Head of goddess ( 2 ) . PI. 5 0 V B. PH. 8 . 0 . Buff-orange clay, white slip. Pink flesh, gilded stephane. Same series: 5 8 - 2 3 5 2 (II A). Turned to right, tilted forward. Long oval face of formal style, with large features. Knidian hair, lock worn to right shoulder. Stephane resting on low base molding; himation pulled over stephane. Later generation of an early-third-century ar­ chetype. P. 6 7 . Cf. Kekule, pi. xxi : 2 (Kentoripa, probably mid-third century.

191. Head of goddess. Pl. 50 I R 2 . PH. 8 . 6 . Broken and mended. Buff clay, white slip. Red hair and polos; red and beige traces in veil; gilded diadem. Fine full-featured face; high veiled polos, be­

195. Head of goddess. PI. 5 0 V B. PH. 1 2 . i. Worn. Orange-buff clay, pale green surface, thick fabric. Turned slightly to right. Oval face, slight double chin, ring in neck; blurred eyes, long nose. Crinkly Knidian coiffure, low knot; two locks worn to shoulders. Slight smile, compla­ cent expression. Style of early third century.

190. Fragmentary head of goddess. PI. 5 0 Ill D. PH. 5 . 5 . Face only. Pale buff clay with pink core; hard fine fabric. Full oval face with features similar to 189 and 56; eyelids of equal size, slight frown. Pendant earrings. Crisp impression. Later fourth century. P. 3 4 .

62-559.

63-1152.

62-846.

153

154

CATALOGUE OF THE TERRACOTTAS

196. Head of goddess. PI. 5 0 Syracuse 3 6 7 9 9 . S 1 0 . PH. 7 . 4 . Buff clay, white slip. Turned to right. Broad oval face. Eightstrand melon coiffure, lock worn to shoulder; large unarticulated wreath. Originally hooded. Fabric and style of third century. 197. Head of goddess? PI. 5 1 5 7 - 8 3 1 . N.S. 7 . PH. 8 . 8 . Surface damaged at back and side of neck. Red-buff clay, white slip. Pink flesh. Turned slightly to right. Angular oval face, long nose, slightly opened mouth, prominent chin; swelling brows and large eyes. Deep ring in neck. Knidian coiffure with applied lock falling from nape of neck to left shoulder; in­ dentation for diadem or wreath. Back unmodeled. Style of late fourth century, probably revived in mid-third—the later date is suggested by the summary modeling, deep ring in neck, and blurred details. This head possibly belongs to the fragmentary god 296. 198. Head of goddess. PI. 5 1 5 7 - 3 1 6 1 . N.S. PH. 9 . 3 . Orange-buff clay, white slip. Maroon hair. Turned to right. Full oval face with large fea­ tures, prominent chin, and slight smile. One ring in neck. Round earrings. Twelve-strand melon coiffure with stippled surface, pulled to high knot. Small low polos on crown of head, resting on low molding. Himation pulled over polos from behind. Lock of hair to right shoul­ der. The polos is very odd. The hairstyle is charac­ teristic of the second half of the third century. Probably Persephone. P. 6 5 . OpusRom 9 ( 1 9 7 3 ) 9 1 , fig. 1 2 . Cf. ibid., 8 7 , fig. 1; Langlotz, pi. 1 5 2 (Palermo 1 0 3 2 , from Solus). 199. Head of goddess. PI. 51 Syracuse 1 8 6 2 6 . S 3 . PH. 6 . 0 . Chin and neck damaged; polos and veil mostly destroyed. Pink-buff clay, white slip. Broad face with short nose and large eyes (cf. 5o8ff. ). Eight-strand melon coiffure in flat striated waves. Himation drawn over head. Ear­

rings; small polos at top of head, resting on low molding (cf. 198). Style of second half of third century. 200. Head of goddess. PI. 5 1 5 9 - 3 3 8 . N.S. st. PH. 7 . 0 . Surface damaged. Buff-orange clay, white slip. Turned to right. Round face with plump cheeks. Knidian hair swept to sides; head was hooded, veil pulled back against diadem, now missing. Later third century. 201. Head of goddess. V B. PH. 6 . 5 . Top and right side miss­ ing. Orange-buff clay, thick fabric; white slip. Tilted to left. Fluffy Knidian hair; round face with large eyes. One ring in neck. Round ear­ rings. Third-century context.

63-728.

202. Head of goddess. PI. 5 1 6 8 - 2 9 6 . V C. PH. 7 . 0 . Left side of polos miss­ ing. Reddish-buff clay, white slip. Turned to right. Fleshy oval face. Hair center-parted and worn to shoulders. High polos over low molding, crowned by prominent flat molding. Style of third century.

ARTEMIS (203-214) 203. Mold of Artemis and hind. Pis. 5 2 , 5 3 Syracuse 4 8 5 9 8 . S 1 3 . PH. 3 1 . 0 . T . 8 . 0 . Miss­ ing lower part; surface damaged at right arm. Fine buff-pink clay, fired very hard. Artemis kneels on animal's back, weight on left knee, grasping horns with left hand and turning its head toward her. Right arm lowered; despite damage, lower edge of knife is visible. Low polos with four relief rosettes; heavy spiral earrings; short chiton, to which a mantle is evi­ dently pinned; light armor over abdomen; high boots. Hind lifts front leg; between legs of god­ dess is small dog with sharp face and pointed ears. The polos and earrings are more often worn

CATALOGUE OF THE TERRACOTTAS

by Persephone (cf. 9 6 , 1 5 5 ) . The piece of armor over the goddess's abdomen is unusual; it is occasionally worn by Amazons, and once by Agamemnon, in scenes on Apulian vases. The subject of Artemis attacking a faun or deer, also unusual, occurs in late-classical Attic art. Ar­ temis 203 is a fine early member of the Artemis Group, which is discussed in chapter 2. The underside of the mold is crisscrossed by a grid of parallel raised ridges with flat surfaces, two ver­ tical and three horizontal, extending to the edges; these permitted the mold to sit evenly as the coroplast pressed in the clay (supra, p. 119). First half of the fourth century, perhaps the first quarter. P. 34ff. Borbein, Campanareliefs, pi. 9 :1, 2 .

204. Standing Artemis ( 3 ) . PI. 5 4 a. 6 2 - 1 7 0 7 . I O. PH. 11 . 4 . Missing head, right arm, and feet. Hard pink-buff clay. b . Syracuse 3 3 1 9 3 . S 7 . PH. 8 . 4 . Lower part missing. Buff clay. c · 59-39 2 - Nec. II, epit. IV. PH. 6 . 0 . Lower part missing. Buff clay. Weight is to right, left leg slightly forward. Wears chiton with long kolpos and overfall, girded loosely at abdomen; neckline a shallow curve. Full oval face; hair thickly pulled to crown and tied in lampadion knot. Right hand raised to head with palm out, torch in lowered left. Behind goddess a large dog, its head at her right hip. Flat back. The mold series belongs to the Artemis Group, created in Syracuse in the late fifth or early fourth century. Both 204a and c come from fourth-century contexts, the latter close to the end of the century. The meaning of the ges­ ture of aposkopein is uncertain; it may refer to a moment in the chase, as the goddess descries her quarry, or it may signify Artemis' role as a mes­ senger in the cult of Demeter and Persephone. P. 36. Cf. NSe ( 1 9 0 0 ) 3 6 4 , fig. 7 : 5 , 7 (Syracuse, Scala Greca); Adamesteanu, Butera, 6 5 9 , fig. 2 8 4 (Fontana Calda); NSc ( 1 9 5 8 ) 3 5 9 , fig. 7 : 2 ( M i l i n g i a n a ) ; Hespena 2 1 ( 1 9 5 2 ) p i . 3 6 : 2 5 (Athenian agora, apparently similar); unpub­ lished are pieces in Syracuse from Megara, Paterno, and Avola Antica.

205. Standing Artemis. PI. 5 2 I U. PH. 7 . 3 . Upper torso and left arm. Buff clay. Weight to left, right leg forward. Wears chi­ ton girded at abdomen, diagonal quiver strap falling from right shoulder. Left arm bent at side in cloak, holding bow; right arm lowered. A very similar piece from Akrai, perhaps in the same series, shows that the goddess's right hand rested on the head of a lion standing at her side. A similar piece in Naples from Kyme looks Syracusan. All of these belong to the Artemis Group and are probably connected with the cult of the goddess at Syracuse, where a live lion was maintained for ritual purposes (see P. Orsi, NSe [ 1 9 0 0 ] 3 8 2 ) . Later fourth century. P. 3 6 . Cf. Kekule, pi. xxiv :3 (Akrai), 4 (Kentoripa = W 11 163:8); also W Ii 163:5 (Kyme, = Levi, Napoli TC, no. 495)\ ArehCl 9 ( 1 9 5 7 ) pi. xiv:2 (Gela, mold with name of Nikias). 60-510.

206. Standing Artemis. PI. 5 4 6 1 - 9 0 5 . V C. PH. 8 .1. Missing left arm and lower half; worn. Soft orange-buff clay. Stands frontally wearing chiton with high V-neckline. Over right shoulder and breast is a quiver strap. Right hand is raised, holding ball-like object at shoulder against head. Broad face with heavy chin and full features. Hair bound in lampadion knot. Large earrings, pos­ sibly of spiral type (cf. 2 0 3 ) . For a later version of this type, see 2 1 2 . The round object is of uncertain identity: it does not appear to be a vase, having neither neck nor foot. The type is related to a class of votives from Poseidonia, where a casket is held at the shoulder (Higgins, BM TC 1, nos. 1371-73, pi. 193). P. 36.

207. Standing Artemis. PI. 5 4 5 7 - 2 0 5 8 . N.S. 7 . H. 1 3 . 7 . Rightarmmissing from elbow. Reddish-buff clay, white slip. Large oval vent. Stands with weight to right, left foot trail­ ing. Wears chitoniskos with kolpos, and chlamys falling from shoulders to left thigh. Left arm is bent at elbow and pressed to side within chlamys, which falls from hand. Right arm was extended from elbow in gesture of sacrificing

CATALOGUE OF THE TERRACOTTAS

gods, perhaps holding phiale. Oval face; Knidian coiffure. The pose is similar to that of the standing goddess 56-63, the drapery very like that of 60 and 61 ; the piece belongs to the group of Syracusan sacrificing gods of the third century. There is a fourth-century antecedent in the Ar­ temis Group, which depicts the goddess pour­ ing a libation at an altar, accompanied by a dog (from the Artemision at Belvedere near Syra­ cuse, unpublished; see NSc [1915] 193). 208. Standing Artemis. PI. 54 Syracuse 33407. S 8E. PH. 17.0. Upper torso, surface very worn. Orange-buff clay. Large round vent. Wears chiton and himation, latter falling from left side in diagonal folds. Both arms were free. Over abdomen and right breast is animal skin, secured by girding below breasts. Irregu­ lar lower edge of skin is visible at right hip. Back hand-modeled. Fabric is typical of the third century, al­ though on stylistic grounds this battered piece could be judged late Hellenistic. 209. Seated Artemis. PI. 54 1957 uncat. N.S. PH. 15.6. Missing head and small pieces; surface worn and powdery. Buff clay, white slip. Round vent. Seated on rock with legs crossed to left. Wears chitoniskos with overfold; bunched folds under breasts indicate a folded cloak, ends of which are carried over shoulders and tucked under folds in front; hunting boots with overfold at ankles. Torch in left hand, propped in lap; right rests on flank of small dog, most of which is lost. The type is derived from an antecedent in the Artemis Group (cf. 202) but the pose is more relaxed. The torch indicates that this is the chthonian Artemis-Hekate. Other versions are known from Kentoripa. Third century. Cf. Kekule, pi. xxiv:5 (Karlsruhe), 6 (Catania, M.B. 5945; both from Kentoripa); Laumonier, Madrid TC, nos. 758-60, pi. LXXX (western Greek); W 11 164:6,7; a similar unpublished figure from Kentoripa is in Palermo; cf. also Syracuse 26741, from Syracuse.

210. Standing Artemis. PI. 53 58-1468. Il A. PH. 8.5. Preserved from waist to below knees. Buff to orange-buff clay, white slip. Wears chitoniskos leaving knees and lower legs bare. Legs are crossed; type may be similar to 209. Advanced generation. Late Hellenistic. 211. Standing Artemis? PI. 53 60-1497. I Q- PH- 4-6. Right breast with quiver strap. Pale buff clay, white slip. Draped breast with trace of girding of chiton below. Quiver strap crosses from left shoulder, pressing into folds of chiton. From a large figure of high quality (original height ca. 50 cm.). The low V-neckline sug­ gests a date in the second quarter of the third century. 212. StandingArtemis. PI. 55 56-1652. I U. PH. 10. i. Lower part missing, very worn. Gray-buff clay, white slip. Chiton and object in right hand touched with red. Wears high-girded chiton with kolpos at thighs; high rounded neckline. Himation draped over shoulders, wrapped around arms. Head turned slightly to left. Right arm raised, hold­ ing small round object; lower left arm may hold bow. A later version of 206. Late Hellenistic. 213. Standing Artemis. PI. 53 66-880. II A. PH. 7.5. Left hand and leg, very worn. Buff clay. Wears chitoniskos; strides forward on left leg, left arm lowered holding bow. A more complete version from Paterno is in Syracuse (29115); a dog is to the right. 214. Standing Artemis? PI. 55 60-1021. Ill F. PH. 6.3. Upper torso and arms. Buff clay. Large oval vent. Right arm appears to hold torch, left bow, both extended in plane of body. Apparently nude, breasts very prominent. Identity uncertain: a semidraped Artemis is known at Syracuse and Gela {ArchCl 9 {1957} pi. XIV:ι ) but this figure seems entirely naked.

CATALOGUE OF THE TERRACOTTAS

General context of third century, although a later date is possible.

figure was evidently not an Athena. Third cen­ tury. 217. Head of Athena. PI. 5 5 Nec. Ill, tomb 3 0 . PH. 5 . 4 . Orangebuff clay, solid. Worn. Wears Athenian helmet with high crest and large cheek flaps turned up; browband rises to a peak with flat underside. Hair is swept to tem­ ples in thick wavy locks and worn to shoulders. Oval face with large features; advanced genera­ tion. The style of the hair and face is of the later fifth or early fourth century. The type depends on the Parthenos of Pheidias; the hair is thicker, the underside of the browband is not curved, and the cheek flaps are much enlarged, perhaps taking the place of the Pegasoi. Both the thick hair and facial features are Sikeliote; the coroplast must have worked from an imported model, which he recast in his own style. Con­ text of the later fourth century; archetype of perhaps a century earlier. P. 3 6 . Cf. N. Leipen, Athena Parthenos: A Reconstruction (Toronto, 1971) 61, fig. 6 (Princeton marble statuette). 61-303.

ATHENA (215-225) 215. Standing Athena, PI. 5 5 5 8 - 1 2 2 1 . N.S.A. 4 , cistern 1. PH. 1 8 . 4 . Miss­ ing right arm, left hand, lower part. Buff clay, white slip. Dark green helmet with traces of gilding; pink aegis with gilding along border at bottom; pale pink himation, dark pink chiton; gilded cincture and border of himation in hang­ ing folds; red hair. Large oval vent. Head turned to right, presumably looking toward extended right hand; left arm lifted, parallel to body, probably holding spear. Sym­ metrical high aegis over breasts, upper edge de­ fined by painting. High-girded chiton, bound with thick fillet; himation folded twice over left arm. Broad face, with long nose and full cheeks. Hair center-parted and bound in back, falling to shoulders in two locks. Corinthian helmet with long visor and holes for eyes, volute behind. Schematic back. The type is perhaps derived from Pheidias' Lemma, who also held a spear; here instead of a helmet in the extended hand, a phiale seems likely. The broad facial type is typical of the second half of the third century. Cf. W I i 1 7 7 : 5 (Museo Biscari); Laumonier, Delos TC, nos. 286-88, pi. 29 (late Hellenistic); Wiegand-Schrader, Priene, 334, fig. 374 (left arm probably held shield). 216. Standing Athena. PI. 55 5 7 - 2 2 0 2 . N.S. s. corridor. PH. 6 . 8 . Area of breasts and aegis. Orange-buff clay. Wears high-girded chiton, himation falling over left shoulder and arm. Freely modeled and applied to breast are lock of hair falling from left shoulder, and aegis in form of crossed straps. At crossing is medallionlike Gorgoneion, very care­ lessly modeled. Upper edge of chiton consists of thick, freely modeled double band. Triangular area above Gorgoneion was incised with tool. The original deep V-neckline of the chiton can be seen under the lock of hair; the original

218. Head of Athena. PI. 5 5 5 9 - 1 3 6 3 . N.S.A. fill. PH. 4 . 7 . Orange-buff clay. Wears helmet with crest, raised cheek flaps, and pointed browband. Face in blurred, full style of mid- to late third century; hair arranged in modified melon coiffure. Type of Athena Parthenos, in a late and al­ tered version; see also 217. 219. HeadofAthena. PI. 5 6 5 7 - 1 6 6 4 . I V i . P H . 5 . 6 . Visor broken at front. Hard orange-buff clay, not local; white slip. Wears Corinthian helmet with high crest; eyeholes in visor and two other holes in either side of helmet. Full broad face of later-thirdcentury type; crisp features, widely spaced eyes, short nose, solemn mouth. Hair swept back from forehead. The extra set of holes in the helmet was prob­ ably used for decorative plumes (cf. late redfigure depiction, Libertini, Museo Biscari, no.

157

CATALOGUE OF THE TERRACOTTAS

pi. L X X X i v). The fabric is similar to clays used at Akragas; if the piece comes from there it ought not be dated after the mid-third century. 737,

220. Head of Athena. PI. 5 6 6 2 - 1 3 4 9 . I Ci. PH. 6 . 4 . Buff-caramel clay, heavily encrusted. Wears low helmet high on head; peaked visor. Both dome and visor are damaged; hole for crest. Full face with long nose and fleshy cheeks. Hair swept to sides in Knidian coiffure with two locks to shoulders. Third century. 221. HeadofAthena ( 2 ) . PI. 5 6 5 7 - 3 1 6 7 . N.S. s. corridor. PH. 5 . 5 . Orange-buff clay. b . 5 7 - 3 1 6 8 . N.S. s. corridor. PH. 6 . 0 . Orange-buff clay. Turned to right, wearing stubby Thracian helmet; pointed visor with volutes at sides, peak curving forward. The peak is hand-modeled and differs in the two versions. Hair swept to sides; two locks to shoulders. Broad plump face with short nose and wide features. The Thracian helmet is common enough in the Greek west (on this helmet see A. Snodgrass, Arms and Armour of the Greeks [London, 1 9 6 7 } 9 5 ) . Third century or later. P. 7 5 . Cf. B. Schroder,Jdl 2 7 ( 1 9 1 2 ) 317-44, fig. 1 3 , Beil. 11, 1 -3; FR, pi. 147; NSc (191 1) suppl. 65, fig. 47; ibid. (1913) suppl. 105, 107, fig. a.

122.

222. Head of Athena. PI. 5 6 5 9 - 1 3 6 . N.S. st. PH. 8 . 6 . Buff clay, gray core; white slip. Traces of red in hair. Wears stubby round helmet high on head; pointed visor, ending in volutes at sides. Hair drawn to sides in parallel striations; two locks to shoulders. Long oval face with blurred features. Third century or later. P. 7 5 . 223. Head of Athena. PI. 5 6 II E. PH. 7 . 9 . Burned gray-buff clay, white slip. Traces of red in hair. Wears Thracian helmet similar to 2 2 1 , but with round flaring visor. Head tilted to left with blurred features; hair worn in locks to shoulders. Context of mid-first century.

66-765.

224. Mold of head of Athena. PI. 5 6 5 5 - 1 4 3 7 . I Α. Η. 11. ι. Buff micaceous clay. Irregularly shaped mold covers area from helmet to breasts; roughly rounded back. Athe­ nian helmet; hair worn to shoulders; V-necked chiton. Crude features of late-Hellenistic period. 225. Head of Athena. PI. 5 6 5 6 - 4 7 7 . I B. PH. 7 . 2 . Forehead and part of helmet. Orange-buff micaceous clay, white slip. Wears Athenian helmet pulled back revealing hair; holes in upper part of helmet indicate that the head was intended for suspension and must therefore have been a protome. Late-Hellenistic fabric.

APHRODITE (226-238) 226. Standing Aphrodite. PI. 5 7 5 7 - 1 4 2 5 . Ill F. PH. 7 .1. Head missing. Buff clay, white slip. Solid. Frontal half-draped figure stands on low rectangular base, weight on right leg. Himation folded in roll over abdomen, held in place by lowered left hand. Right arm akimbo; strong contrapposto. The type is very common in southern Italy, though generally the goddess leans on a post or column. This is a rare Sikeliote version; fabric of the third century. Cf. W I i 9 9 , 1 0 0 (southern Italy). 227. Aphrodite riding on bird. PI. 5 7 Syracuse 39494. S 11. PW. 6.8. Missing head and lower part. Buff clay; encrusted. Pink himation. Reclines on back of large swan or goose, left arm around its neck, right arm across thighs. Wears chiton, right breast bared; himation in lap in bunched folds. The Sikeliote history of the goddess on the swan or goose begins in the archaic period, and there is a fine piece from Gela of the fourth cen­ tury. The bared breasts indicate that the subject is Aphrodite; so should be that of 227. The type also appears on the obverse of coins of Kamarina i n t h e l a t e fifth c e n t u r y ( K r a a y - H i r m e r , p i . 5 4 ,

CATALOGUE OF THE TERRACOTTAS

nos. 1 5 0 -51); the subject there is debated. Ter­ racotta versions are common elsewhere in the Greek world. Fabric and style of the third cen­ tury. Cf. W a 1 9 3 , Kekule, 2 0 , fig. 4 3 (Akragas, sixth century), fig. 3 4 (Kentoripa); Higgins, BAf TC I, no. 1 3 0 8 , pi. 1 7 9 (Taras, early fourth century); Mollard-Besques, Louvre TC II, pi. 37a -c (Myrina).

228. Aphrodite binding sandal. PI. 5 8 I Pi. PH. 1 9 . 2 . Abdomen and lower drapery. Buff clay, white slip. Pink himation, traces of purple in apron folds. Lower half of figure is draped in himation, which is bunched in roll at waist; from roll hangs triangular apronlike fold. Torso slightly twisted, right leg thrown forward. From the position of the right leg it can be assumed that the figure is a sandalbinder, simi­ lar to type X of the draped women ( 3 9 6 - 3 9 9 ) . The nudity of the upper torso argues that the subject is Aphrodite. She stood with her weight on her left leg, her right foot raised so that the sandal could be adjusted. The type is common in Sicily and Magna Graecia, although no examples as large as 228 are known; see 396 and the discussion of type X of the standing draped women in chapter 3 . The arrangement of the himation at the waist is very similar to the god 295; the two pieces can be attributed to the same hand. The large scale also associates 2 2 8 with the Syracusan standing gods (cf. 50ff.). Later generation of a Syracusan archetype of the early third century. For a late-Hellenistic ver­ sion, cf. 231. Pp. 4 6 , 6 3 . 66-286.

229. Aphrodite binding sandal. PI. 5 7 I M ι. PH. 6 . 4 . Torso and right arm. Dark buff clay, white slip. Nude Aphrodite adjusts sandal of left foot with right hand. Drapery falls over left arm, which is raised for support. Conceived as a re­ lief; sketchy modeling. The nude sandalbinder is probably a Tarantine creation of the fourth century; see the dis­ cussion of type X in chapter 3 . The type appears in Sicily in the third century. The flattened re­ lieflike versions 229-230 belong in the late61-1443.

Hellenistic period and are probably influenced by eastern models. P. 6 3 . Cf. W I I 2 0 6 ; Langlotz, pi. 1 6 0 = Libertini, Centuripe, pi. XXIII :4 (Syracuse 3 5 9 5 7 ) ; Hig­ gins, GTC, pi. 59:E (BM 1908.4 -11.1, found "near Palermo," though the fabric is Kentoripan); these all in the round. Relief versions: W Ii 207 :1 (Tripolis), 207:2 (Myrina); von Matt, pi. 2 1 0 (Syracuse 1 3 3 8 2 , from Grammichele); Syracuse 33743 (Paterno, unpublished); NSe ( 1 9 3 6 ) 1 8 1 , fig. 9 2 (Taras, late Hellenistic). 230. Aphrodite binding sandal. PI. 5 7 I Gi. PH. 9 . 6 . Left thigh and flank. Pale buff clay, white slip; thin fabric. Probably a sandalbinder similar to 2 2 9 though finer; buttock and thigh carefully mod­ eled. Upper torso leans forward with motion of lost right arm, which was modeled in the round. Late Hellenistic. 56-2420.

231· Aphrodite binding sandal. PI. 5 8 II Fi. PH. 1 9 . 7 . Minor restorations. Hard micaceous buff clay, thin-walled, white slip. Small round vent. Stands on low base beside column, on which rests left hand. Right arm adjusts sandal of right foot, supported by clay wall. Himation over left arm. Small head with large features; smooth hair bound in low knot. Back hand-modeled. The tubular modeling of the limbs, the facial type, and the low base are all typical of the pro­ duction of the Catania Group of the late-first century. Small protrusions on the surface of 2 3 1 and other members of this group indicate the use of plaster molds (on these, supra, p. 7 8 ) . The model for 231 may be eastern, although the sandalbinder who raises her right foot and ad­ justs her sandal with her right hand occurs fre­ quently in the west from the second century (cf. NSc [ 1 9 3 6 ] pi. VIII :4, tomb 1 8 , ViaC. Battisti, from Taras; unpublished examples from Ken­ toripa). For an earlier version, see 228. Late first century B.C. P. 78f. PR II, 1 6 0 (on discovery). 57-3017.

232. AphroditeAnadyomene. PI. 5 9 5 7 - 3 0 1 8 . II Fi. PH. 1 9 . 3 . Clay as 2 3 1 . Weight on left leg, right slightly forward.

159

CATALOGUE OF THE TERRACOTTAS

Drapery over left arm akimbo, falling behind figure to right thigh, where it rests without support. Raised right arm holds lock of hair. From plaster mold. Style and fabric as 2 3 1 ; the type occurs at Myrina. Late first century B . C . P. y8f. PR II, 1 6 0 , pi. 3 3 , fig. 2 8 . Cf. MollardBesques, Louvre T C 11, p i . 3 o : e (Myrina 9 5 4 ) . 233. AphroditeAnadyomene. PI. 58 60-1086. I Q. PH. 10.3. Upper half of figure. Clay as 2 3 1 . Wrings out hair with both hands; high stephane. Lower half was draped. Style and fab­ ric as 231 ; later generation from a plaster mold. This is the most frequently encountered Anadyomene, derived perhaps from the paint­ ing of Apelles. Other Sikeliote versions of late date are in Catania and Syracuse, the latter from Menai. The prototype is probably eastern, for the type is frequent at Myrina. Catania Group, late first century B.C. P. 78f. Cf. Libertini, Museo Biscari, no. 1 0 8 1 , pi. cxi; NSe (1903) 440, fig. 4 (Menai); Burr, Boston M y r i n a s , 3 3 , n o . 9 , p i . i v (first c e n t u r y A . D . ) ; Mollard-Besques, Louvre T C a , M y r i n a 1 0 3 5 , L Y 1 5 5 4 , p i . i 9 : b , d ; W 11 2 1 2 : 3 , e t c · ; Goldman, Tarsus 1, pi. 211, nos. 10, 12, pi. 2 1 2 , no. 9 . 234. Head of Aphrodite Anadyomene. PI. 5 8 58-1123. II A. PH. 6.9. Fine orange-buff micaceous clay. Oval face with full cheeks and chin, high broad forehead. Hair center-parted, swept down in waves to extended locks held by hands. High narrow stephane. Late-Hellenistic fabric, close to Catania Group. Cf. W I i 2 0 9 - 1 3 , 2 1 4 .

Group although the fabric is darker. Late first century B.C. Cf. Mollard-Besques, Louvre TC 11, pi. 2 8 f . (Myrina). 236. Kneeling Aphrodite. PI. 5 9 5 7 - 1 9 6 8 . I K 3 . PH. 1 2 . 6 . Missing upper torso and head. Pale buff clay, thin fabric; white slip. Pink in hair and on base. Kneels on high irregular base. Weight to right; left elbow rests on raised left knee, wring­ i n g h a i r . M o d e l i n g a n d style s i m i l a r t o 2 3 1 233, clay paler with less mica. In this widespread late-Hellenistic type, the motif of the Anadyomene is combined with the crouching pose of the so-called Aphrodite of Doidalsas. The fairly numerous terracottas may be inspired by small-scale sculptural versions (cf. the figure from Rhodes, Lullies-Hirmer, pi. 273; Bieber 2 , figs. 294-295). Yet an unpub­ lished terracotta in Bari from Taras seems to be earlier than any marble versions of the type; it may have been first given plastic form by Tarant i n e coroplasts. P . 7 8 . Cf. Mollard Besques, Louvre TC 11, MYR 1 8 , pi. i 8 : a (Myrina); L a u m o n i e r , Delos T C , n o . 4 8 9 , pi. 51; W Ii 205:2 (Paris); NSe (1936) 123, pi. viii:3 (Taras, tomb 18, Via C. Battisti; full sec­ ond century). 237. Standing Aphrodite? PI. 5 7 I Q. PH. 5 . 9 . Clay as 2 3 1 . Right flank and upper thigh. From a nude female figure made in a plaster mold. Style and modeling of Catania Group; final q u a r t e r o f first c e n t u r y B . C . 60-1419.

238. Standing Aphrodite? PI. 5 7 II A. PH. 6 . 8 . Legs and drapery. Coarse buff clay, very micaceous, close t o 2 3 1 ; white slip. Right weight leg covered by himation, which is drawn over left thigh revealing knee and calf. Fabric of Catania Group; late first century 66-450.

235. Aphrodite standing. PI. 5 9 Syracuse 1 8 6 3 5 . S 3 . H. 2 3 . 5 . Reddish buff clay, white slip. Stands with weight to left, left arm akimbo; right leg is forward, right arm rests on column. Himation wrapped around column, falling across right thigh. Hair worn to shoulders. The style is similar to that of the Catania

B.C.

Cf. Mollard-Besques, Louvre TC (Myrina).

π, pi.

30

CATALOGUE OF THE TERRACOTTAS

NIKE (239-241) 239. Ntke. PI. 6 0 5 8 - 1 2 2 0 . N.S.A. 4 , cistern 2 . PH. 1 9 . 4 . Miss­ ing head, left arm, right arm from elbow, right leg. Buff clay, white slip. Traces of blue in chi­ ton and lower hem. Round vent. Strides forward, right leg emerging from chi­ ton; right arm raised, left lowered and ex­ tended. Chiton folded down below girding, leaving breasts bare; crossed straps over chest. Free leg was attached to roughened surface; scars at back of shoulders show that wings were in­ tended—yet surfaces are covered with white slip, so they must never have been applied. The type of 2 3 6 is derived perhaps from the Nike of Paionios, where the forward leg also emerges from the chiton. Straps are worn by two figures on the Nike parapet (see R. Carpenter, The Sculpture of the Nike Temple Parapet [Cam­ bridge, Mass., 1929} pis. viii, xi, XVII). The piece was not intended for suspension; the raised arm may have held a wreath. Third century. 240. Nike sacrificing bull. Pl. 6 0 5 6 - 2 0 1 8 and 5 7 - 7 2 5 . I V 2 . PH. 1 3 . 8 . Torso and legs of Nike, front part of bull. Hard red­ dish brown clay with gray core; white slip. Feathers of wings are pink, upper parts gilded. Nike kneels on bull's back with left leg, right leg trailing. Left arm held bull's head, right was raised behind. High-girded chiton of thin fab­ ric, overfold at waist; right breast bare. Right leg emerges through slit seam of chiton as in 239· The notch in the bull's throat shows that the blow has already been struck; the right hand must have held the knife behind. A. Borbein has associated this piece with a group of monu­ ments influenced by the sacrificing figure of the Nike temple parapet. With the consolidation of the piece, only part of which was initially pub­ lished, it is apparent that the figure does belong to this group; the position of the arms is the same. The motif of the nude right leg is derived from flying akroterial Nikai and terracotta ver­ sions (cf. 239). The bare breast is found in flying Nikai from Myrina (cf. Mollard-Besques, Louvre TC 11, pi. 8o:f). The type is also related to the

Artemis 2 0 3 , from which it is separated by about a century. First generation Syracusan im­ p o r t of t h e t h i r d c e n t u r y . P . 4 3 . PR 1, 1 5 9 , pi. 6 0 , fig. 31 (without upper part); Borbein, Campanareliefs, 5 0 , n. 2 4 4 ; ibid., 5 6 . 241. Standing Nike. PI. 6 0 Ill F. PH. 4 . 7 . Lower part missing. Orange-buff clay. Frontal, wings spread to either side. Hands at abdomen, right holding wreath, left oinochoe (?). Hair thickly massed in corona around head; possibly wearing polos. Back unmodeled. Very advanced generation. Third century. 60-1020.

NUDE SEATED FIGURES (242-247) 242. Nude seated figure {2). PI. 6 1 5 7 - 2 0 5 9 . N.S. 7 . PH. 1 2 . i. Missing head, arms, and lower legs. Red-buff clay, thick white slip. Same series: 5 9 - 3 1 0 (N.S. St.). Left leg slightly lower than right, indicating that left foot was forward. Small breasts, nar­ row waist, broad hips and shoulders. Plump amorphous forms. The arms were extended from the elbow as there is no trace of them at the thighs; they were not truncated above the elbow, as is sometimes the case in southern Italy. For a discussion of this class of figures, see chapter 5 . Third cen­ tury. Cf. Kekule, 3 1 , fig. 6 9 (Katane?) = W 1 1 6 8 : 6 ; P. E. Arias, Le Arti 3 ( 1 9 4 1 ) 1 7 8 (on Lokrian examples); Ferri, Divinita ignote, pi. xxin (trun­ cated Lokrian versions); Laumonier, Delos T C , nos. 41 2 , 4 2 5 , 4 2 6 , pi. 4 4 ; Kokalos 4 ( 1 9 5 8 ) pi. 12:21 (Cozzo Mususino). 243. Nude seated figure. PL 61 5 6 - 1 2 8 7 . I B. PH. 6 . 6 . Upper torso and arms. Buff-pink clay. Small version of 2 4 2 ; arms lowered; sketchy modeling. Cf. NSc ( 1 9 4 3 ) 9 2 , fig. 5 7 (Syracuse).

CATALOGUE OF THE TERRACOTTAS

244. Nude seated figure. 6 0 - 9 2 4 . I F 3 . PH. 6 . 3 . Upper torso, left arm, right arm at thigh. Buff-brown clay. Small version of 2 4 2 ; torso leans back in slouch, arms at thighs; rudimentary modeling. Context of third century.

249. Draped seated figure. PL 6 1 VI B. PH. 7 . 7 . Upper torso and left forearm. Buff-orange clay, white slip. Pink ver­ tical stripes in chiton at either side of breast. Type of 2 4 8 ; deep V-neckline painted in pink. Third century. 71-183.

63-227.

245. Nude seated figure. II Bi. PH. 4 . 8 . Upper torso. Hard buff-caramel clay. Traces of arms at flanks; abdomen responds to seated position. Prominent asymmetrical breasts; crudely modeled. Late Hellenistic.

250. Draped seated figure. 5 8 - 1 3 3 0 . N.S.A. 5 . PH. 5 . 6 . Lap and fore­ arms. Orange-buff clay, white slip. Similar to 2 4 8 ; crude shallow modeling, taut metallic folds. Third century.

246. F eet of nude seated figure. PI. 6 1 5 7 - 3 4 7 . IV B. PH. 3 . 4 . Feet only. Orange-gray clay, burned. Feet and ankles of seated figure, probably of type of 242, resting on low base. Late Hellenistic.

251. Draped seated figure. PI. 61 5 8 - 1 3 6 0 . N.S.A. fill. PH. 5 . 8 . Left forearm, lap, and knees. Orange-buff clay, coarse fabric. Type of 2 4 8 ; crudely modeled. Advanced generation. Third century.

247. Feet and legs of nude seated figure. 55-334· I B- PH- 5-5- Upper part missing. Coarse mottled clay with mica. Late-Hellenistic fabric; crudely modeled.

2 5 2. Draped seated figure. 6 0 - 1 4 2 2 . Ill F. PH. 5 . 6 . Upper torso and left arm. Orange clay, white slip. Small version of 2 4 8 ; high-girded chiton. Advanced generation. Third century.

DRAPED SEATED FIGURES (248-252) 248. Draped seated figure (2). PI. 6 1 N.S. 7 . PH. 9 . 9 . Missing head, right shoulder, legs, and back. Buff clay, white slip. White chiton with purple at breasts and on flanks below arms; trace of turquoise at abdo­ men. Same series: 5 9 - 3 1 7 (N.S. St.). High-girded chiton worn with low Vneckline. Arms modeled with torso; left leg slightly higher than right. The folds of the chiton are carefully modeled; the delicate style in the small folds at the gird­ ing is characteristic of the early third century, while the neckline may indicate a slightly later date. The straight sides of the thighs and back suggest that the figure sat on a support modeled with the body. For a discussion of this class of figures, see chapter 5. Third century.

TRIAD OF NYMPHS (253-264)

57-2065.

253. Pinax with three nymphs (17). PI. 6 2 VIA. H. 12.4. W. 11 .9. Lowerright corner missing, restored in plaster. Orange-buff clay, encrusted and worn. Same series: 5 7 - 1 4 0 0 (N.S. C, cistern), 71 - 5 2 8 (W.S.), 62-1243, -801 (V B), 59-305 (Nec. I l l , e p i t . V I I ) , 5 7 - 3 1 2 9 (I D ) , 6 7 - 9 5 9 ( 1 C 2 ) , 62-674 (I P2>, 55-2752 (I N), 71-502 (II G), 61-769, 68-245, 69-857, -858 (V C), Syracuse 3 2 5 9 0 (S 6 ) , 3 2 3 1 5 (S 5 ) . Three female figures stand frontally on rec­ tangular base, each wearing low polos, himation, and chiton; himation of outside figures falls diagonally from left shoulder; on central figure it falls from arms, hanging in catenary fold over abdomen. Left figure plays double flute, center 63-548.

CATALOGUE OF THE TERRACOTTAS

cymbals, right beats tympanon. Conceived as relief; only base is provided with back. Ad­ vanced generation. This is the only complete version at Morgantina of the pinax representing a triad of musicmaking nymphs, examples of which have been found at several Sicilian sites. Dated pieces from Morgantina belong to the third century; the ear­ liest are 59-305 and 67-959, °f first half. The provenance of several examples in chthonic sanctuaries indicates a possible connection with the cult of Persephone. The series of 253 was much the most popular at Morgantina. P. 92f. Cf. W 1 1 1 4 0 : 8 (Akragas); ActaA 1 6 ( 1 9 4 5 ) 1 3 5 , no. 51 (Akragas); NSc (1900) 383, fig. 29 (Syra­ cuse, Scala Greca); Adamesteanu, Butera , 6 3 7 , fig. 2 6 0 (Fontana Calda); Pace i n , 6 2 3 , fig. 1 6 6 (Ciminna); Kokalos 4 (1958) pi. 47:3 (Lipari). There is an unpublished piece in the Antiquarium at Lentini, another from Hadranon in Syracuse. 254. Plaque with three nymphs, fragment. PI. 6 2 Nec. Ill, fill. PH. 6 .1. Head and upper torso. Buff clay. Hair bound in lampadion knot; chiton with shallow neckline; himation hangs from left shoulder. Left arm bent with hand at side. The lampadion knot puts the archetype in the fourth century; a plaque from Akragas may have been similar. Cf. W I i 1 4 0 : 8 (Akragas). 61-329.

255. Plaque with three nymphs (2). PI. 6 2 57-3166. N.S. 4, general area. PH. 8 . 4 . W. 10.7. Missing heads, upper parts of center and right figures, most of base. Pink-buff clay. Same series: 5 9 - 1 9 6 7 (III F). Type of 2 5 3 ; each figure has weight on left leg. Third century. 256. Plaque with three nymphs. PI. 6 2 Syracuse 33191· S 7. PH. 9.3. W. 8.9. Base, heads, and tympanon missing. Pale buff clay. Similar to 2 5 5 . Weight on right leg; figures appear to be dancing rhythmically. Fabric of third century.

257. Plaque with three nymphs, fragment (2). PI. 62

II B 3 . PH. 8 .1. Left figure preserved, head and base missing. Pink-buff clay, white slip. Trace of red vertical stripe at left side. Same series: 5 8 - 1 2 9 7 (II A). Similar to left figure of 2 5 6 . Context of first half of third century. 62-81.

258. Plaque with three nymphs, fragment. PI. 6 2 57-2097. N.S. 4, general area. PH. 5.4. Head and upper torso of nymph. Pink-buff clay, white slip. Flute player from left side of plaque with three nymphs (cf. 253). Third century. 259· Plaque with three nymphs, fragment. 59-340. Nec. Ill, epit. VII. PH. 4.8. Head and upper torso. Pale orange clay. Similar to 2 5 6 ; hair seems to be bound in lampadion knot. Very indistinct, advanced gen­ eration. Third century. 260. Plaque with three nymphs, fragment. PI. 6 3 uncat. N.S. PH. 9 .1. Head missing. Thin hard buff-pink clay. Crudely modeled figure in low relief from plaque of type of 253: central nymph clashing cymbals, wearing chiton and himation. Third century. 1957

261. Plaque with three nymphs, fragment. PI. 6 3 56-2591. I F2. PH. 4.9. Head and torso. Pale orange clay. Right figure from plaque of type of 2 5 3 ; tympanist, smaller scale than other versions. Fabric of third century. 262. Plaque with three nymphs, fragment. 5 9 - 1 3 2 ι. II A. PH. 4 . 3 . Torso, right arm, and tympanon. Burned and mottled buff clay. From a plaque of type of 2 5 3 ; large tympa­ non. 263. Plaque with three nymphs, fragment. PI. 6 3 I B. PH. 2.8. Head. Orange-buff clay. 56-2586.

CATALOGUE OF THE TERRACOTTAS

Round smiling childlike face; hair in thick undulations; low polos. Probably from a plaque of the type of 2 5 3 ; nymphs on similar plaques from Lipari resemble children. Cf. Kokalos 4 ( 1 9 5 8 ) pi. 4 7 : 3 (Lipari). 264. Plaque with three nymphs, fragment. PI. 6 3 1957 uncat. N.S. 4, general area. PH. 7 .1. Head missing. Pale pink-buff clay. From plaque of type of 2 5 3 . Broken to right and left; weight to right, himation hangs in diagonal folds across abdomen; indistinct ob­ jects held by right and left hands. Third century.

MISCELLANEOUS UNIDENTIFIED GODDESSES (265-294) 265. Enthroned goddess. PI. 6 3 Syracuse 3 2 5 8 8 . S 6 . H. 8 . 8 . Pink-buff clay, pale surface. Seated on throne with cushion and turned legs; feet rest on stool, arms extended, hands at knees. Appears to wear chiton and himation. Hair tied in lampadion knot; heavy earrings. Back freely modeled. Advanced generation. Style of fourth century; for an earlier version of the type, cf. 1 2 . P. 3 6 . Cf. Kokalos 4 ( 1 9 5 8 ) pi. 1 2 , fig. 21 (Timoleontic nude figures from Cozzo Mususino). 266. Goddess seated on animal. PI. 6 3 Syracuse 33390. S 8C. PH. 7.3. Head, feet and animal broken. Buff clay, pale surface. Wears chiton with kolpos and shallow neck­ line; himation passes behind body, its ends held by hands. Legs together at figure's right. The unidentified subject appears to have sat on a moving animal. Other mounted goddesses a r e k n o w n i n Sicily ( A r t e m i s : ArchCl 9 [ 1 9 5 7 ] pi. xvi :2, on hind, from Gela; a similar figure from Megara H. is in Syracuse. Aphrodite: cf. 227 and possibly 921). Style of fourth century. 267. Goddess with bird. PI. 6 3 5 7 - 2 0 6 6 . N.S. 7 . PH. 1 5 . 4 . Lowerdraperyand bird. Pale buff clay, white slip; thin fabric. Pink

chiton with two broad white stripes at lower edge, separated by thin pink stripe; upper sur­ face of base dark red. Stands on low flaring base; wears chiton and himation with lower edge at level of thigh. At right foot a large bird with broad body, head and tail missing. Little can be said about the standing figure; the bird may be a goose, which is sometimes as­ sociated with Persephone in the west (seated Persephone from Megara H., Langlotz, pi. 130; L o k r i a n p i n a x , P r u c k n e r , Tonreliefs, p i . 7 : 6 ) ; but see also the Aphrodite 227. Context of third century. 268. Fragmentary standing goddess. PI. 6 3 57-1005. IV B. PH. 18.0. Right hip and leg with drapery. Buff clay, white slip. Right free leg survives. Chiton has apparent low girding, overfold, and kolpos. Himation hangs as in 59 and 60, falling from right shoul­ der but covering more of front. Original height ca. 4 0 cm. Archetype of early third century. 269· Fragmentary standing goddess. 1 9 5 7 uncat. N.S. 7 . PH. 1 5 . 5 . Right leg from hip to foot. Buff clay, white slip. Right free leg with knee forward. Himation worn in bunched folds at thigh, pulled toward left hip, falling over right foot. Traces of chiton above bunched folds; the type may be similar to 61. Advanced generation. Style of third century. 270. Fragmentary standing goddess. 1 9 5 7 uncat. N.S. 1. PH. 8 .1. Right shoulder, breast, and forearm. Hard pink clay, gray sur­ face. Bare right arm at side, perhaps extended from elbow. Faint traces of chiton. Below breast is bunched roll of himation, rising to left shoulder (cf. 56, 57, etc.) Third century. 271. Fragmentary standing goddess. PI. 6 4 56-169. I U. PH. 12.7. Draped right leg from knee. Buff clay, white slip. Purple himation. Similar to 5 7 and 6 2 ; as the himation covers

CATALOGUE OF THE TERRACOTTAS

the lower leg, it must have fallen from bunched folds at waist. Third century. 272. Fragmentary standing goddess. 5 9 - 8 3 9 . N.S.A. fill. PH. 7 . 3 . Upper torso. Orange clay with gray core, white slip. Red hair. Wears chiton and himation, latter pulled over right shoulder and rolled into bunched folds under breasts; chiton has high rounded neckline. Both arms were free, right extended. Lock of hair to right shoulder. Original height ca. 4 0 cm; rough work of later third century.

273. Fragmentary standing goddess. PI. 6 4 57-1263. N.S. C, cistern. PH. 8 . 0 . Left shoul­ der, breast, and base of neck. Hard pale buff clay. Himation worn over right shoulder; chiton has low squared V-neckline. Provenance and fabric of 285-286; these all belong in the second century.

274. Mold of standing goddess. I Q. PH. 11.0. Right side of mold missing. Coarse pink-buff clay. Mold for woman wearing chiton loosely girded under breasts; left arm was probably ex­ tended. Drapery style of later fourth century. 60-1476.

27 5. Fragmentary standing goddess. II A. PH. 9 . 0 . Left arm with drapery. Buff clay, white slip. Left hand at abdomen, from which hangs part of himation. Type uncertain; original height ca. 4 0 cm. Late third century. 63-298.

276. Fragmentary standing goddess. PI. 6 4 I M i . P H . 5 . 0 . Right breast. Pale buff clay. Chiton is apparently folded under breasts; crossed straps are worn over chest, with a metal clasp at crossing. Perhaps a Nike. Late Hellenistic. 61-1472.

277. Head of goddess. 5 5 - 5 5 . I A. PH. 5 . 0 . Head, hair at left, upper part of chest. Soft pale buff clay. Hair rendered in fine undulating lines, simi­ lar to 181, worn to shoulders in thick locks. Broad face with blurred features. Absence of polos may indicate that the sub­ ject is mortal. For the hair, cf. Higgins, BM TC I, no. 1 161, pi. ι 5 9 (Sicilian). 278. Head of goddess. PI. 6 4 I Q. PH. 8 . 4 . Back missing. Bufforange clay, white slip. Turned to left. Oval face of individual type; prominent brows, short nose, widely spaced eyes. Both mouth and eyes were reworked before firing. The head seems to depend on the formal style of the late fourth century, although the general effect is strange. Probably early third century. 66-20.

279. Head of goddess. PI. 6 4 1 9 5 7 uncat. N.S. PH. 4 . 6 . Face only. Buffbrown clay. Nose oddly dented; large eyes; full cheeks, which give face unusual breadth; dimpled chin. This piece resembles the head 715, tenta­ tively identified as a portrait of Philistis. Third century. 280. Head of goddess. PI. 6 4 5 5 - 9 4 6 . I A. PH. 4 . 3 . Back and neck missing. Buff-gray clay. Small mouth, eyes deeply set, hair swept back in crinkly strands recalling the Knidia. Softly modeled surfaces. Stephane broken at base. Similar to 279. Third century. 281. Head of goddess. PI. 6 4 I F 2 . PH. 8 . 3 . Right side missing, face damaged. Pink-buff clay. Tilted to left. Round face, Knidian coiffure; head veiled, with high stephane. The stephane and crude features are typical of the second century (cf. 285). 6 0 - 2 2 1.

282. Head of goddess. PI. 6 4 5 7 - 1 9 0 1 . I V 3 . PH. 7 . 2 . Palecreamy buffclay. Tilted right. Blurred features. Crescent

CATALOGUE OF THE TERRACOTTAS

stephane over low molding. Knidian coiffure. Advanced generation. Context of first half of second century, perhaps from an earlier series. Cf. Kekule, pi. xxi: 2 (Kentoripa, probably mid- to late third century). 283. Head of goddess. PI. 65 Syracuse 18628. S 3. PH. 7 .1. Buff clay, white slip. Turned to right. Full oval face, slight smile. Hair in formal style, pulled to sides and cen­ ter-parted; long locks to shoulders. High stephane. The stephane is typical of the second century (cf. 285), although it sometimes occurs in the t h i r d o n heads of Syracusan origin (cf. 1 9 4 ) . This piece probably belongs in the second cen­ tury. 284. Head of goddess. PI. 65 58-1356. N.S.A. 4 , cistern 2. PH. 6 . 7 . Soft pale buff clay. Red-brown hair. Broad face with blurred features. Knidian coiffure, bound in low knot; small round hole below knot. Style of mid- to late third century. 285. Head of goddess with stephane. PI. 65 57-1267. N.S. C, cistern. PH. 7.8. Back and part of diadem missing. Hard green-buff clay; surface flaking. Broad face, large eyes and mouth. Knidian coiffure. Broad stephane with serrated upper edge. This and the following head probably belong in the second century, when the stephane was a frequent attribute (supra, 283; Thompson, Troy TC, 49f.); the rather coarse style is seen in works of the same period from Kentoripa (cf. Syracuse 31558, tomb 185: Voza, Sictlta, fig. 1 0 3 , center). Cf. also t h e smaller heads 6 4 9 676. Provenance permits a date in the second century. P . 7 5 . 286. Head of goddess with diadem. PI. 65 57-1259. N.S. C, cistern. PH. 7.2. Back miss­ ing. Splotchy buff-pink clay. Similar to 2 8 5 .

287. Head of goddess? PI. 6 5 63-1232. I A. PH. 7 . 5 . Left side of face and back missing. Buff clay, gray core. Frontal face of type of 2 8 5 , though broader. Late Hellenistic. 288. Head of goddess? 62-648. II Bi. PH. 8 . 7 . Forehead and top of head missing. Orange-buff clay, greenish sur­ face; white slip. Turned slightly to right. Oval face has blurred eyes, long nose, and dimple. Hair swept back in formal style to low knot; pinched ear­ rings. Later third century. 289. Head of goddess? PI. 6 5 60-668. I F2. PH. 8 . 3 . Surface damaged. Pinkbuff clay. Hair in thick masses at temples, drawn over wreath or diadem, bound in knot at back of head. Advanced generation. Crude style of second century. 290. Head of goddess? 56-1690. I V2. PH. 6 . 4 . Back missing. Buffpink clay, white slip. Round face with large eyes. Knidian hair pulled back in heavy waves. Base of diadem or polos. Carelessly modeled. Late Hellenistic. 291· Head of goddess. 58-1295. II A. PH. 7 . 5 . Missing top of head and back. Buff-orange clay, encrusted. Oval face with large bow mouth, small eyes, and full chin; indentations at mouth and nos­ trils. Band necklace with row of pendants; tearshaped earrings. Third century. 292. Head with polos. PI. 6 5 55-2236. I A. PH. 7 .1. Neck and upper part of polos missing; worn. Gray-buff clay. Heavy face with large nose and mouth. Hair center-parted. High polos with three horizontal bands: smooth below, thicker with round in­ dentations in center, serrated above. Polos prob­ ably was veiled.

CATALOGUE OF THE TERRACOTTAS

An odd head, possibly of the later fourth cen­ tury. 293. Head with wreath. PI. 6 5 I Q . P H . 1 1 . 2 . Backandrightsideof face and hair missing. Coarse orange-buff clay, thick fabric. Frontal head, broad face. Hair swept back in heavy masses; wreath probably of ivy leaves; below wreath is tasseled fillet. Earrings. Late Hellenistic. 67-232.

294. Protome. PI. 6 5 5 7 - 2 2 9 1 . I K 2 . PH. 6 . 3 . Right side, hair on lower left missing. Buff clay, white slip. Red hair and mouth, yellow berries. Broad oval face of style of second half of third century; Knidian hair, ivy wreath with two ber­ ries at parting. No back. Probably third century.

GOD, PERHAPS HADES (295-299) 295. Hacks? (4). PI. 6 6 57-7 : 9· N.S. 7 . PH. 3 5 . 5 . Missing left hand, fingers, object held by right hand, other small pieces. Surface worn and encrusted. Buff clay, white slip. Reddish pink flesh, pink himation with purple border at bottom. Round vent. γ. b. 6 3 - 1 1 5 3 and -1 1 5 5 . V B. PH. 1 9 . 8 (drap­ ery), 7 . 6 . (head). Head and lower half of figure; lower hem of drapery restored in plaster. Encrusted and worn. Buff clay, white slip. Dark pink flesh, β. Same series: β) 1 9 5 9 uncat. (N.S.A. 1 0 ) , 71-341 (W.S.). Also: Syracuse 6 6 9 6 0 , from the Syracusan Well Deposit, a. a-

Weight to left, right leg drawn forward at knee with foot trailing. Right arm extended, holding object now lost; left bent at elbow wrapped in himation leaving chest bare; himation bunched into roll, at abdomen, from which hangs a triangular apronlike fold. Oval face, long nose, and clearly defined eyes and mouth; slightly furrowed brow. Hair swept back in modified Knidian coiffure; one lock hangs from

back of head to right shoulder. Strong neck with one ring. Wearing of wreath indicated by in­ dentation in hair. For the motif of the bunched himation, cf. 57, 62; like them 295 belongs to the group of Syracusan standing gods. The apron is repeated with almost the same folds in the Aphrodite 228, which must come from the same hand. A first-generation version of the series was found in the Syracusan Well Deposit, proving its Syracusan origins. God 295a is two generations later; 295b may be an intermediate version. The subject is tentatively identified in chapter 5 , section 2 , as Hades. The style is generally Praxitelean; this is one of the most harmonious creations of the Syracusan shops. Early third century. Pp. 4 3 , 4 6 , 88ff. PR II, 1 5 8 , pi. 3 1 : fig. 2 2 (295a); PR VIII, pi. 4 5 : fig. 2 5 (head of 295b). 296. Hades? 1 9 5 7 uncat. N.S. 7 . Fragments include roll of drapery, left breast and shoulder, and right fore­ arm. Surface damaged by burning. Red-buff clay, white slip. Type of 295 but larger by one third. Blurred detail of advanced generation. The head 197 may belong to this figure. Original height ca. 5 0 cm. Third century. 297. Hades? PI.

67

N.S.A. 5 . PH. 3 3 . 5 . Lower half of figure, with several restorations; also hand with snake; surface worn and encrusted. Pink flesh, magenta himation and phiale, tur­ quoise snake. Type of 295 with simplified drapery; influ­ ence of the drapery of 295 is seen in the curve of the lower edge of the himation and the vertical emphasis over the weight leg. The planar sur­ faces are typical of the later third century (cf. the Apollo-Muse relief from Akrai, NSc, [ 1 9 2 0 ] 332-33, fig. 20). The hand appears to have be­ longed to the lowered left arm; in this case it may not have held the phiale, although the motif of the snake drinking from a phiale or cup is attractive and is documented elsewhere (gold diadem, AntK 2 [ 1 9 5 9 ] i 6 f . , pi. 1 2 ; A. D. Trendall, Vast italici ed etruschi 11, (Vatican, ^53) pl· L I ; ArcbEph [ 1 8 9 0 ] pi. vn). The 58-1222, 58-1302.

CATALOGUE OF THE TERRACOTTAS

snake is important for the identification of the figure as Hades. Second half of the third cen­ tury. P. 88ff. 298. Hades? PI. 6 7 Syracuse 3 5 2 8 5 . S 9 . H. 6 7 . 0 . Missing right arm from shoulder, left hand; minor restorations in plaster; encrusted. Buff to pink clay with greenish surface; hard fabric. Two large vents in back, another in head. Type of 2 9 5 . Hair in modified Knidian coif­ fure with striated surface; long locks worn to right shoulder. Wears wreath, its surface stip­ pled with wedge-shaped holes. A clumsy imitation of 2 9 5 . The features of face are asymmetrical, there is little modeling of the bare chest, and the drapery hangs awk­ wardly. The strong vertical accent in the drap­ ery of the model is transferred from beneath the weight leg to a position under the left arm, where it forms a bulky column of clay. The left leg is brought forward with strange effects in the drapery. One of the largest figures from Morgantina, and also one of the few handmodeled pieces. The piece is not a testament of local talent—although firing such a large figure was no doubt an achievement. Third century or later. 299. Head of Hades? PI. 6 7 5 7 - 1 0 9 0 . N.S. C. PH. 9 . 7 . Buff-brown clay, white slip. Red-pink flesh, brown hair, yellow wreath. Long oval face; long nose, broad mouth. Slight furrow in brow; double chin (cf. 2 9 5 ) . Hair center-parted in Knidian coiffure with a long applied lock falling to right shoulder. Smooth round wreath. Head turned to right, slightly inclined. The modeling is sparer and finer than in 2 9 5 . Style of early third century. Archeologia no. 1 ( 1 9 6 4 ) cover (color excavation photograph).

damaged. Burned red-brown clay, white slip. Pink flesh. Left arm was raised, right extended at shoul­ der, as though holding a vessel. Right leg for­ ward as in 301. Child's body with plump creased abdomen and fat arm. Back modeled sketchily; no traces of drapery. The piece is quite similar to an Eros from an early-third-century tomb at Butera; other re­ lated Erotes come from Syracuse and Taras. The modeling is careful and sensitive. Early third century. Cf. Adamesteanu, Butera, 2 3 8 , fig. 1 8 (tomb XI); Levi, Napoh TC, no. 2 1 5 , fig. 5 3 (Taras); Syracuse 6 6 0 8 6 (Well Deposit, unpublished). 301. Flying Eros. PI. 68 I M i . P H . 9 . 9 . Front of torso and thighs. Orange-buff clay, white slip. Similar to 3 0 0 but rougher work. Folds of flesh indicated by grooves; two prefiring scars at right thigh. Third century or later.

60-1580.

302. Flying Eros. PI. 68 5 8 - 9 8 3 . N.S.A. fill. PH. 7 . 0 . Torso only. Orange clay, white slip. Similar to 3 0 0 ; spare sketchy modeling. Stumps of wings at shoulders; right arm raised, left lowered. Later-third-century fabric. 303. Flying Eros? PI. 68 1 9 5 8 uncat. N.S.A. 1 3 . PH. 4 . 7 . Abdomen and thigh. Red-brown clay, probably Syracusan. Bunched folds of chlamys over right thigh; right leg forward. Child's body. From a fairly large figure, ca. 2 5 cm. in height. The figure appears to have been flying. The chlamys was perhaps folded in a looped catenary across his thighs (cf. Wuilleumier, Tarente, pi. xxxvr .4 ;NSc [ 1 9 4 7 } 2 9 3 , fig. 1 6 a , Kentonpa). P.43.

EROS (300-347) 300. Flying Eros. PI. 68 5 8 - 1 3 3 5 . N.S.A. 4 , cistern 1. PH. 1 0 . 5 . Miss­ ing head, shoulders, left arm, and legs; surface

304. Flying Eros? PI. 68 5 6 - 2 7 3 . I A. PH. 9 . 2 . Lower abdomen and left thigh. Buff clay. Left leg advanced; thigh covered by chlamys, which descends toward right leg in bunched

CATALOGUE OF THE TERRACOTTAS

folds. Child's body with soft plump abdomen. Sketchy style. He may have been standing rather than fly­ ing, as the chlamys falling away below the bunched folds seems to suggest. Fabric of the third century.

305. Flying Eros. PI. 68 I V 3 . PH. 8 . 0 . Chest and shoulders. Buff-pink clay, white slip. Flesh glossy red, wings white. Neck bent to right, head possibly turned to left. Arms lowered. Stump of left wing survives. Hair worn in flat locks to shoulders and chest. Not so childlike as in previous versions: Eros is here an ephebe. The modeling of chest and flanks is spare and firm. One of the few examples of fired colors at Morgantina (cf. 836). Terminus ante quern of late second century. 57-1892.

306. Eros. PI. 68 I B. PH. 8 . 5 . Missing left wing and feet; very worn. Buff clay. Right arm has pulled chlamys down over chest, using it as a sling; left arm lowered. Very modest work; fabric of third century. The type is the so-called Eros funeraire , common at Myrina in the late-Hellenistic period but otherwise unknown in the west. Cf. W I i 3 2 8 ; Pottier-Reinach, Necropole, i5of. ; M o l l a r d - B e s q u e s , L o u v r e T C 11, p i s . 7 7 - 7 9 (Myrina). 63-234.

307. Eros

PI. 6 8 5 7 - 3 0 9 6 . N.S. St., deposit. PH. 7 . 3 . Head missing; surface worn. Buff clay, white slip. Same series: 58-176 (I A). Leans against post to his left, left arm wrapped in chlamys, which passes over shoul­ ders and is secured by right arm akimbo. Legs crossed. The type is common in southern Italy. Third century. Cf. W I i 2 4 9 - 5 2 . (2).

308. ErosP PI. 6 9 5 9 - 1 5 0 5 . I M 2 . PH. 5 . 5 . Upper torso and right arm. Buff-orange clay, white slip.

Chlamys draped over shoulder as in seems similar. Fabric of later third century.

307;

type

309· Eros? PI. 6 9 V C. PH. (a) 4 . 2 , (b) 2 . 7 . Broken into two pieces, chest and feet missing. Buff-brown clay. Naked winged boy stands with weight to left, playing flutes; hooded head, hood rising over lampadion knot. To his left a thymiaterion. Syracusan import of third century. For the thymiaterion, cf. 9 x 9 . P. 4 3 . 68-299.

310. ErosP PI. 6 9 N.S. PH. 5 . 5 . Missing head and feet. Buff clay, white slip. Pink drapery. Solid. Naked boy stands frontally playing flutes, which he holds with both hands. Chlamys passes over shoulders and under left arm. Third century. 57-3164.

311. ErosP PI. 6 9 5 6 - 3 0 2 6 . I A. PH. 1 2 . 4 . Head, left arm, and left flank missing. Pale gray-buff clay, white slip. Stands on low base with weight to right. Right arm raised to chest, holding object under chin, perhaps a flute. Over left shoulder and across chest is stippled cordlike band, perhaps a wreath. Late-Hellenistic fabric, perhaps of first cen­ tury B.C. 312. Eros. PI. 6 9 5 6 - 3 1 8 7 . I B. PH. 6 . 8 . Head, right torso, and forearm. Gritty micaceous pale buff clay. Plump expressionless face, low plaited fore­ lock. Chlamys over shoulder. Late-Hellenistic fabric, perhaps of first cen­ tury B.C. P. 7 8 . 3 1 3 . S e a t e d E r o s . PI. 6 9

I A. PH. 5 . 3 . Torso, left thigh, and right wing. Buff clay, white slip. Pink flesh, magenta feathers. Seated Eros with wings spread, legs probably crossed as in 314. Right arm was raised. Sketchily modeled. Two rows of feathers in wings. The type is known from Myrina to Taras, and 58-1546.

170

CATALOGUE OF THE TERRACOTTAS

there is a fine example of the early third century from the Athenian agora. This Eros and the fol­ lowing may have been part of a group, perhaps as the companion of a standing woman (cf. Sieveking, Loeb TC 1, pi. 55; W Ii 82:7, 83:6). Third century. Cf. W Ii 263:3 (Myrina); ibid., 263:10 (Taras); Hesperia 26 (1957) 113, no. 4, pi. 34 (Athens); Wiegand-Schrader, Pnene, 341, fig. 391. 314. SeatedEros. PI. 69 N.S. st. PH. 4.7. Torso, crossed legs, and right wing. Dark red clay, white slip. Pink flesh. Arms extended, body slightly twisted to left. Wings freely modeled; sketchy but fluent treatment of body. The fabric is not local, perhaps Kentoripan (see also 466f.). Third century. 57-2259.

315. SeatedEros. PI. 69 I A. PH. 4.6. Lower part missing. Micaceous buff clay, white slip. Red-brown hair. Small boy wearing chlamys pinned at right shoulder, falling across chest to cover left arm; both arms lowered. Head turned to right; forelock. Advanced generation. The forelock indicates that the subject is Eros; he may have been seated, perhaps on a moving animal. Late Hellenistic. Cf. W Ii 300:2 = Kekule, 31, fig. 72 (Katane).

61-1164.

316. Seated Eros. PI. 70 I Q. PH. 6.6. Lower part missing. Buff clay, white slip. Similar to 315 except that drapery is quieter. Left arm wrapped in chlamys; forelock. Ad­ vanced generation. Probably late Hellenistic.

60-1350.

317. Seated ErosP PI. 70 59-847. N.S.A. fill. PH. 6.3. Head missing. Buff clay, white slip. Naked child seated with arms at sides, on rec­ tangular object that resembles an altar, with an upper molding (or might one see here a slave from Old or Middle Comedy? Cf. 724). Fabric of late third century.

318. Eros, in group. PI. 70 56-2456. I A. PH. 5.3. Abdomen, left hand, and legs; rest of group missing. Buff clay, white slip. Small boy holds double flute (or bow?) in lowered left hand; to his right is part of another figure. The boy may be Eros; cf. 309 and 310. 319. Eros kneeling, in group. PI. 70 57-1582. I V i . P H . 7.4. Rest of group missing. Buff-orange clay. Winged Eros kneels in profile to left, before a larger figure now lost. Hair bound in high knot, probably lampadion; wings spread behind. Ad­ vanced generation. Erotes sometimes hover at the shoulders of a goddess, as in the kneeling Aphrodite from Foce del Sele (Langlotz, pi. 131; for earlier examples from Medma, NSc, 1913, suppl. 129, fig. 172; cf. also the Sikeliote skyphoid pyxis in Basel, Trendall, LCS 11, frontispiece); 319 might in­ stead belong to the type of a reclining goddess in Catania who pulls aside her veil as a small Eros hovers at her left shoulder (see pi. 147, fig. 19; also Kekule, pi. xxv :3, from Kentoripa). The coiffure indicates a fourth-century date. 320. Eros with birdP PI. 70 N.S.A. fill. PH. 6.0. Right shoulder and arm with bird. Buff clay, white slip. Roll of drapery at abdomen. Bird held in crook of right hand; possibly a dove or cock. Cf. W Ii 284, 285. 56-1636.

321. Eros with gooseP PI. 70 Ill F. PH. 8.5. Head missing. Buff clay, white slip. Small boy stands with feet apart on shapeless base, holding small goose in left arm; bird ap­ pears to eat from right hand, below right side of his chest. Solid; advanced generation.

60-1374.

322. Eros with goose. PI. 70 Syracuse 18629. S 3. PH. 6.0. Missing lower part, including body of goose. Pale buff clay, white slip. Naked winged Eros grasps neck of goose with both hands. Bird's body was to his left; he stares at it. Fat round face, plaited forelock.

CATALOGUE OF THE TERRACOTTAS Style and fabric of Catania Group of mid-first c e n t u r y B.C. P . 7 8 .

forelock, hair worn to shoulders. height ca. 15-17 cm. Fabric of later third century.

323. Eros, in group ( 2 ) . PI. 7 0 5 7 - 1 2 6 8 . N.S. C, cistern. PH. 8 .1. Head and torso of Eros, part of figure to his right. Hard pink-buff clay, greenish surface. Same series: 5 7 - 2 2 5 8 (N.S. St.). Eros in relief stands next to larger figure at whom he glances, head inclined upwards. Cloak over shoulders and arms; left arm akimbo, right lowered. Wings spread behind. Hair worn in forelock. Fabric is similar to 2 8 5 and 2 8 6 , which have the same context; a mid-second-century date is possible.

327. HeadofEros. PL 7 1 1 9 5 7 uncat. N.S. 4 . PH. 2 . 4 . Burned buff clay. Round child's face with large eyes and forelock. Original height ca. 9-10 cm. Third century.

324. Eros and Psyche. PI. 7 1 Syracuse 1 8 6 3 6 . S 3 . PH. 1 8 . 1. Most of front missing. Pale buff micaceous clay; white slip. Round vent. Eros stands with right arm around Psyche's shoulder; she kisses his cheek. His hair in thick curls at nape of neck; forelock. Her hair unarticulated, bound in low knot. Style and fabric of the Catania Group of the first century B.C. The arrangement of the two figures, with contrasting frontal and rear views, may have a late-Hellenistic sculptural source. P. 78. Cf. W 11 2 3 1 : 9 (Karlsruhe, from Kentoripa); W II 228:6 (B.M., from Kyrenaika, figures re­ versed); Mollard-Besques, Louvre TC 11, pi. 57X (Myrina, Psyche frontal); Laumonier, Madrid TC, no. 787, pi. LXXXV:2 (south Italian).

325. Eros and Psyche? PI. 7 0 5 6 - 8 1 5 . I U. PH. 8 . 5 . Buttocks and lower drapery of female figure. Buff clay, white slip. Himation falls from left side, revealing but­ tocks of woman similar to the Psyche of 324; the Eros is missing. Probably late Hellenistic.

326. HeadofEros. PI. 7 1 5 9 - 4 6 0 . N.S.A. fill. PH. 4 .1. Hardpaleorange micaceous clay. Smiling face turned to right; large eyes, small

Original

328. HeadofEros. PI. 7 1 5 8 - 1 2 0 0 . II A. PH. 3 . 2 . Buff clay, white slip. Round face with sketchily defined features; hair striated with locks to shoulder; large forelock. Probably late third century. 329. Head of Eros. PI. 7 1 5 6 - 3 0 9 8 . I B. PH. 2 . 5 . Buff clay, white slip. Similar to 3 2 8 . Shoulder-length hair bound at neck. 330. HeadofEros. PI. 7 1 6 0 - 6 7 7 . I M i . P H . 4 . 4 . Burned gray clay. Similar t o 3 2 8 . 331. HeadofEros. 5 8 - 1 3 1 3 . N.S.A. fill. PH. 2 . 6 . Burned redbuff clay, white slip. Pink flesh. Chubby face with high forehead, small fore­ lock. Advanced generation. Fabric of third century. 332. HeadofEros. PI. 7 1 7 1 - 7 8 . VI B. PH. 3 . 2 . Buff clay, white slip. Small round child's face. Hair indicated by stippling; small forelock; large wreath. Fabric of third century. 333. HeadofEros ( 2 ) . PI. 7 1 6 6 - 3 3 8 . II D. PH. 3 . 9 . Surface worn. Orangebuff micaceous clay. Same series: 6 2 - 1 5 3 6 (I B). Plump oval face. Shoulder-length hair, plaited forelock. First century B.C. P. 7 8 . 334. Head of Eros. PI. 7 1 6 0 - 1 2 5 . I W. PH. 4 . 9 . Burned buff-brown clay, white slip.

171

172

CATALOGUE OF THE TERRACOTTAS

Round smiling face with small nose, large mouth, alert expression. Hair worn in long locks behind ears; plaited forelock. First half of third century. 335. Head of Eros. 5 7 - 6 5 5 . I B. PH. 2 . 7 . Pale buff clay. Child's face. Forelock, short hair. Advanced generation. 336. Head of Eros. PI. 7 1 5 7 - 4 9 3 . 1 Ki. PH. 3 . 6 . Worn. Coarse orangebuff micaceous clay. Eros as ephebe. Head turned to right; hair worn in thick locks over ears; forelock. Late Hellenistic. 337. HeadofEros. PI. 7 2 N.S.A. 1 0 , fill. PH. 6 . 0 . Pink-buff clay. Head turned slightly to left wearing low cres­ cent stephane over base molding. From under­ neath emerges plaited forelock. Hair worn to shoulders in freely modeled locks. Advanced generation. Cf. Libertini, Centuripe, pi. xxiv:i (Eros with stephane, Syracuse 35959); Mollard-Besques, Louvre TC 11, LY 1541, pi. 43rd (Myrina). 59-1362.

338. HeadofEros. PI. 7 2 5 9 - 5 4 3 . N.S.A. fill PH. 5 . 0 . Pale gritty buff clay, white slip. Head tilted right wearing high, fan-shaped stephane; plaited forelock protrudes from un­ derneath. Round fat face with odd frown and lined cheeks. Fabric of later third century. For the stephane, cf. 337. 339· Head of Eros. PI. 7 2 6 0 - 7 8 9 . I F 2 . PH. 5 . 3 . Buff clay. Turned to left. Face with large features. Plaited forelock, hair worn to shoulders. Cres­ cent stephane. Back sketchily modeled. Fabric of late third or possibly early second century. The stephane points to a later date (cf. 337)· 340. Head of Eros. PI. 7 2 I H 2 . PH. 8 . 8 . Orange-buff clay.

63-194.

Turned to right. Puffy features, prominent ears. Scalloped hairline with prominent plaited forelock; hair worn to shoulders; low wreath. Original height ca. 40 cm.; the largest Eros from Morgantina. Wreathed Erotes are common at Myrina in the late-Hellenistic period. Examples have also been found in tombs at Kentoripa. Context of final quarter of first century B.C. Cf. Libertini, Centuripe, pi. xxv. 341. HeadofEros. PI. 7 2 5 6 - 2 9 5 1 . I A. PH. 7 . 4 . Left side of face and neck. Buff micaceous clay, white slip. Pink flesh, red hair. Large head with fleshy cheeks. Hair pulled forward into prominent plaited forelock, tied in bun behind. For smaller versions, see 342. Later period: possibly Catania Group of the first century B.C. P.78. Cf. Libertini, Museo Biscari, no. 1 1 5 4 , pi. cxiv. 342. Head of Eros ( 5 ) . PI. 7 2 a. 6 6 - 2 4 9 . I Q- PH. 6 .1. Burned gray-buff clay. a. b. 6 7 - 5 3 3 . I H i . P H . 3 . 8 . Pale buff clay, white slip. a. c. 5 6 - 1 2 7 6 . I U. PH. 2 . 9 . Buff clay, white slip. β. Series: a, 6 0 - 1 4 0 8 (I Q). β, 5 6 - 2 9 3 2 (I A). Head turned slightly to left. Full almost rec­ tangular face with inexpressive features. Hair worn to shoulders in 342a though not in b; drawn forwards in large forelock; at crown in back is applied disk of clay, indicating knot. Late Hellenistic, perhaps first century B.C. 343. HeadofEros. PI. 7 2 II A. PH. 6 . 9 . Gray-black clay, burned. Flesh burned red, hair red-brown. Turned to right. Child's round face; large eyes, short curving nose, full chin. Face is ex­ pressive with a pronounced frown (cf. 338). Hair shoulder-length in back, swept forwards to forehead, broad low knot at crown. Freely mod­ eled wreath with round petals. Fine crisp im­ pression. Back unmodeled. The hair is similar to that of the ErosHarpokrates in Boston (Burr, Boston Myrinas, 58-1423.

CATALOGUE OF THE TERRACOTTAS no. 1 8 , pi. VIII ). The style is, however, quite different; the fine modeling combined with emotional depth bring 343 closer to the dancing satyr from Kentoripa (Syracuse 49960; NSc {1947] 268, fig. 5; Langlotz, pi. 148, right). The treatment of the back of the head and the clumsily modeled wreath suggest that the fresh­ ness is owed to an imported mold; Syracuse is the likely point of origin, as also for the Kentoripan satyr. Last quarter of the third century. 344. Head of Eros? PI. 7 2 5 8 - 2 8 7 . II Bi. PH. 5 . 9 . Buff-orange clay. Heavy frontal child's face. Shoulder-length hair; ivy crown over heavy fillet at forehead. Ad­ vanced generation. Third-century fabric. 345. Head of Eros? PI. 73 5 7 - 3 0 9 5 . N.S. s. corridor, deposit. PH. 6 . 0 . Buff-pink clay, green surface. Turned to right. Hair swept back in Knidian coiffure, bound in low knot. Ivy crown with wreath in front, worn at top of head; wreath protrudes over forehead. Advanced generation. Late fabric, possibly second century. 346. Head of Eros? PI. 7 3 Syracuse 1 8 6 2 7 . S 3 . PH. 6 . 3 . Buff micaceous clay, white slip. Pale brown flesh. Angular oval face, large eyes. Hair pulled back and worn to shoulders; fillet at top of fore­ head. Low wreath of leaves, tied at back of neck with ribbon. Above fillet are protrusions that may indicate a plaited forelock. Subject uncertain. Late-Hellenistic fabric. 347. Head of Eros? 5 8 - 9 8 6 . N.S.A. fill. PH. 4 . 2 . Front of head. Green-buff clay. Red paint in hair and on flesh. Round face with ruffled hair, wreath droop­ ing over forehead. Advanced generation.

MISCELLANEOUS GODS (348-358) 3 4 8 . Hermes. P I . 7 3 V C. PH. 7 .1. Missing face, right arm, and feet. Buff clay, white slip. Youthful Hermes, wearing chlamys and ap­ 69-804.

parently a wreath. Right arm extended, perhaps with phiale; left lowered with caduceus over chest. Later generation, after a graceful archetype. Fabric and style of third century. For Hermes, see also 935bis. 349. Dionysos. PI. 7 3 II Bi. H. 6 . 0 . Buff clay. Hand-modeled stick figure. Hole through chest indicates figure was used as pendant (and also navel?). Incised inscription above hole: ΔΙΟΝΥΣΟΣ. 63-134.

350. Squatting Silenos. PI. 7 3 7 0 - 5 3 8 . VI B. PH. 3 . 8 . Bright orange clay; orange slip. Small vent under buttocks. Bearded Silenos squats with large cornucopia in crook of left arm, phiale in right hand. Flat head, broad smile. Genitals displayed before him on plaque base. The squatting Silenos, which originated in Rhodes ca. 500, had a long life in Boeotia and the west (Blinkenberg, Lindos 1, 561 ff.; Higg i n s , B M T C 1 , nos. 1 5 9 - 6 5 , 2 7 0 - 7 2 , 8 3 8 - 3 9 , pis. 31, 46, 115). In the west the cornucopia is a c o m m o n a t t r i b u t e (cf. 9 3 6 ; W 1 2 1 7 : 4 , 5 , from Taras). It may have developed from the rhyton (W 1 217:2, from Lakonia). The combi­ nation of phiale and cornucopia in 350 is un­ usual, as is the diminutive size. The bright orange clay is not Sicilian. Cf. W II 392:2, 393 :1 -5. 351. Head of Satyr. PI. 73 IV B. PH. 5 . 8 . Buff clay, burned to gray-brown. Flesh burned red, red also in hair. Turned to right. Large eyes, furrowed fore­ head. Hair stands up in thick locks. Muscular neck, pointed ears. Back of head hand-modeled. The face is similar to a group of male heads from Kentoripa, most of which belong in the second century; the broad cheeks and irregular surfaces suggest a late version of the style of 3 4 3 and the dancing satyr in Syracuse (Langlotz, pi. 148, right). 58-116.

352. Pan. PI.

73

Buff clay, white slip. Bright red paint in face and beard. 66-795. I Q- PH. 4.2.

173

174

CATALOGUE OF THE TERRACOTTAS

Turned to right. Beard flows in irregular strands, hair standing almost straight up in stephanelike symmetry. Emerging from hair are horns, one of which is broken. Furrowed brows, broad cheeks. Fine crisp impression. Very similar is the head of Pan standing over an awakened nymph, in a terracotta group known at Syracuse, Kentoripa, and Paterno; an unpublished first-generation fragment from Syracuse indicates that the group originated there. Pan and the nymph belong with Dionysos and the maenad, another frontally conceived group dated by its appearance in a tomb at Ken­ toripa of the end of the third century. (Dionysos and maenad: Syracuse 30255, tomb 133; other versions: Langlotz, pi. 144; Kekule, pi. XLVIII:I , London). Cf. Libertini, Centuripe, 121(., pi. XXXI:I; Langlotz, pi. 150 (Syracuse 43634, from Ken­ toripa); Libertini, Centuripe, pi. XXXI :2 (from Syracuse; another unpublished fragment is in the museum); Libertini, Centuripe, pi. xxxi:3; von Matt, pi. 2 0 9 (from Paterno); BCH 7 0 (1946) pi. xv:7 (Asia Minor). 353. Herakles. PI. 7 3 5 7 - 1 0 0 3 . N.S. 7 . PH. 8 .1. Feet missing. Buff clay, burned pink; white slip. Solid. Weight on right leg; right arm akimbo prob­ ably holding club. Hood over head, perhaps a lion-skin, falling over left shoulder and arm, which is bent to support it. The type is known in the west, though not apparently elsewhere in Sicily. Third century. Cf. W II 380:2 (Italian; and others not so close). 354. Herakles. PI. 7 3 V C. PH. 4 . 5 . Buff clay. Small protome, perhaps an applique, repre­ senting Herakles wearing the lion-skin; jaws pulled over forehead, mane to sides of head, and paws tied below his chin. Broad crudely mod­ eled face. Third century or later. 68-49.

355. PriaposP PI. 7 4 5 7 - 1 4 6 5 . N.S. fill. PH. 7 . 0 . Missing head and feet; abdomen chipped. Buff clay. Solid. Draped, standing with legs together, left arm akimbo, right in sling under himation. Head

lowered at chest, point of beard surviving. Ab­ domen thrust forwards. A nude limestone Priapos, found recently in Syracuse, has legs, abdomen, and apparently arms in this position (unpublished; see also H . H e r t e r , De Priapo, R V V x x m , i 2 8 f f . ) . Third-century fabric. See also 9 4 5 . Cf. Kekule, 3 5 , fig. 7 9 (Kentoripa). 356. Head of Telesphoros. PI. 7 4 56-3155. I U. PH. 4.6. Buff clay. Solid. Small head, covered by hood rising to point and circling under chin. Sketchily modeled. The figures 3 5 6 - 3 5 8 appear to be the only Sicilian representations of Telesphoros, the minor deity in the cult of Asklepios. A complete figure in the British Museum comes from Ruvo in Apulia. It has been argued that T. is of E t r u s c a n - C e l t i c o r i g i n (see R . E g g e r , J O A I 3 7 [1948] 90 -111). See also 480-481. Late Hel­ lenistic. Cf. W II 2 6 5 :1 = Walters, BM Cat, D 3 5 7 , pi.

XII (Ruvo); Ergon

(1958) 76, fig. 79; ibid., fig. 36 (Amphipolis); Velickovic, Beograd T C , no. 4 3 , p i . x v n , also p . 9 i f . ; Breitenstein, Copenhagen T C , n o . 5 3 5 , p i . 6 5 . (ϊ959) 38,

357. HeadofTelesphoros. PI. 7 4 5 6 - 4 7 3 . I B. PH. 3 . 9 . Coarse orange clay, slightly micaceous. Solid. Wears peaked hood with stitched seam from forehead to peak. Sketchily modeled; type of 356. Late Hellenistic. 358. Telesphoros? PI. 7 4 V C. PH. 3 . 5 . Buff clay. Blue hood, pink flesh. Solid. Small head of type of 3 5 6 ; wreath worn low over forehead, passing under hood. Fat face, sketchily modeled. Late Hellenistic; the wreath is unusual. 62-957.

STANDING DRAPED WOMEN (359-446) 359. Standing woman, type I ( 2 ) . PI. 7 4 a. 57-1872. N.S. C. H. 34.0. Restored from fragments with a few lacunae; worn and en-

CATALOGUE OF THE TERRACOTTAS

crusted. Buff-caramel clay, white slip. Small round vent. β. b. 6 0 - 1 1 9 0 . I Q. PH. 1 5 . 3 . Five fragments, including right breast, abdomen, and lowered right arm; surface worn. Orange-buff clay, white slip. Pink himation. β. Same series: (a) Syracuse 6 6 9 6 5 , fragmentary (Well Deposit). For type I, supra, p. 55^. Full oval face. Knidian coiffure, bound in knot of medium height. Incised groove in hair for wreath or taenia; neck deeply creased, chin underscored. Chiton worn with high loose neckline. The pendant chain ornament of 359a is not found in b, which evidently belongs to the same generation but not the same mold. Morgantina 3 5 9 a is 1 4 percent smaller than Syracuse 6 6 9 6 5 , a difference of one generation. The quiet pose, harmonious relationship of body and drapery, and heavy expressionless face indicate a date early in the third century. The addition of the necklace in 359a may mean that the subject is Peresphone (see 149). Pp. 4 3 , 4 9 , 5 3 · 360. Standing woman, type II. PI. 7 5 5 7 - 8 0 9 . N.S. 8 . H. 3 5 .1. Mended, right knee restored. Buff clay, fired orange at bottom; white slip. Pink chiton, dark gray himation (originally green or blue?), lips touched with red, pink flesh. Irregular round vent. For type II, supra, p. 5 6 . Heavy body, thick at hips and waist. Navel visible through drap­ ery. Broad oval face, long slightly curved nose, small mouth, widely spaced eyes. Hair centerparted, swept back to small high knot; cf. 486, from the same mold. Probably of the second quarter of the third century, because of the flowing, easy move­ ment. An earlier example of the type comes from the Syracusan Well Deposit (pi. 145, fig. 13)· Pp- 53, 56. Cf. Voza, Sicilia, 1 0 2 , fig. 9 9 (Syracuse, Well Deposit). 361. Standing woman, type III ( 2 ) . PI. 7 6 a. 5 8 - 2 1 4 2 . S.S. 2 . H. 2 3 . 5 . Missing back, left arm, other small pieces. Buff clay, buff-red core; white slip. Pink chiton, white himation. b. 1 9 5 7 uncat. N.S. 4 , general area. PH. 12 .5. Lower part from waist down, back miss­ ing. Buff clay, white slip. Pink himation.

For type III, supra, p. 56ff. Head slightly tilted, features blurred. Fingerprints on right arm of a. Overfold of chiton decorated with stripe, defined by two incisions. Low neckline. Crispness of modeling may indicate a first gen­ eration. Twenty-two examples of the head have been found at Morgantina (see 502). Because of the angular style and the V-neckline, the series be­ longs close t o 2 7 5 B . C . P . 5 7 . 362. Standing woman, type III. PI. 7 6 59-2000. N.S.A. 14. PH. 20.8. Head missing. Buff clay, white slip. Rough oval vent. Differs only slightly from 361, in lower hem of himation at right knee and in deeper penetra­ tion of folds. Very low V-neckline. Early second quarter of third century. Pp. 5 3 , 5 6f. 363. Standing woman, type III ( 2 ) . PI. 7 6 59-1957. Ill E. PH. 31.5. Mended, head miss­ ing; surface encrusted and worn. Buff clay, white slip. Pink himation. Round vent. Same series: 1 9 5 7 uncat. (N.S. 7 ) . Large version of 361 f. More prominent breasts (cf. 365 from the same context); greater tension in himation. The narrow rib cage and broad hips are char­ acteristic of the middle years of the third cen­ tury; context of ca. 2 6 0 . P p . 5 4 , 5 7 . PR IV, pi. 2 1 , fig. 3 . 364. Standing woman, type III ( 2 ) . 57^936- C.S. PH. 1 9 . 3 . Surface worn and encrusted; head missing. Buff clay, white slip. Magenta himation. Oval vent. b. 6 7 - 4 2 0 . Ill F. PH. 8 . 5 . Right arm and hip. Buff clay, white slip. Midway between 36if. and 365; right leg closer to body, as in former, but right arm is pulled across abdomen as in latter. The fresher is 364b. a·

365. Standing woman, type III ( 2 ) . PI. 7 7 a. 5 9 - 1 9 5 9 · Ill E. H. 2 3 . 2 . Mended, surface worn and encrusted. Buff clay, white slip. Gray-blue himation. Large oval vent. b. 5 7 - 2 0 7 4 . N.S. 7 . PH. 7 . 6 . Right leg from knee to foot. Buff clay, white slip. Purple stripe at hem of chiton, traces of blue in himation.

CATALOGUE OF THE TERRACOTTAS

This is the most developed and dynamic ver­ sion of type III at Morgantina. The figure 365a belongs to a context of the late second quarter of the third century; b better demonstrates the quality o f t h e original. P p . 5 4 , 5 7 . 366. Standing woman, type III. uncat. N.S. 7 . PH. 5 . 6 . Right upper arm. Buff clay, white slip. Magenta himation. Differs only slightly from other versions of the type. 1957

367. Standing woman, type IV. PI. 7 7 V C. H. 24.6. Missing left elbow and small section of chest, hanging folds under left arm, part of back; weathered and encrusted. Buff to orange clay. Large oval vent. For type IV, supra, p. 58f. Head set on short neck; hair bound in Knidian coiffure, tied in medium knot. The body is more assertive than in later ver­ sions; the drapery is fuller under the right knee, where hanging folds are later eliminated. Later generation of an archetype of the first quarter of t h e t h i r d century. P p . 5 3 , 5 6 , 5 8 . 69-778.

368. Standing woman, type IV. PI. 7 7 I B. PH. 8.4. Right arm, breasts, shoulders, and left upper arm. Buff clay, white slip. Pink himation. Oval vent. Similar to 367. The V-neckline suggests a date near 2 7 5 B . C .

56-2414.

369. Standing woman, type IV ( 1 0 ) . PI. 7 8 a. 5 8 - 2 2 0 1 . S.S. i. PH. 1 8 . 7 . Head missing. Buff clay, white slip. Pink himation, white chi­ ton. Large oval vent. b. 5 8 - 1 2 1 9 . N.S.A. 5 . PH. 1 3 . 3 . Uppertorso and head. Buff clay, white slip. Bright pink himation, pink flesh. c. 6 2 - 1 5 4 4 . S.S. 9 . H. 2 1 . 3 . Head broken and mended. Buff clay, white slip. Pink flesh. Large oval vent. Same series: 5 7 - 2 0 7 0 (N.S. 7 ) , 5 7 - 1 8 7 0 (N.S. C), 1957 uncat., two (N.S.), 58-1634(8.8. 1), 71-332 (VI B), 56-3090 (III F). All members of this series belong to the same generation. Drapery folds are shallow incisions cutting lightly into the surface. The small shoulders and heavy hips are typical of the sec­

ond half of the third century. The head is tilted forwards and sideways. The hair of 369b is bound in the Knidian coiffure and tied in a low knot; this head is very common (cf. 514) and is also used on 5 8 - 1 6 3 4 of this series and on 374c (type V). The head of 369c is similar; it also ap­ pears on 57-1870. Spool-shaped bases were found w i t h a and c . P p . 5 6 , 5 8 . 370. Standing woman, type IV. PI. 7 7 V C. PH. 6.5. Shoulders, right arm, and breast. Buff clay, white slip. Pink himation and chiton. A dynamic version of type IV: right hand ex­ tends through the diagonal folds of himation and was modeled freely. 68-473.

371. Standing woman, type IV. I A. PH. 5 . 9 . Shoulders, right breast and arm; very worn. Orange-buff clay. Right arm covered by himation, pulling downwards. Original height ca. 2 3 - 2 4 cm. Third century. 59-1021.

372. Standing woman, type IV. PI. 7 8 Syracuse 3 3 3 9 1 . S 8c. PH. 7.5. Lower part missing. Orange-buff clay, white slip. Small version of type IV. Himation pulled over knot at back of head, which is tilted for­ ward on long neck. Broad face, prominent breasts. Style of later third century. 373. Standing woman, type IV. PI. 7 9 I B. PH. 8 . 7 . Shoulders, breast, and right arm. Buff clay. Chiton has low rounded neckline with banded hem. Himation pulled over right arm in broad folds (cf. W 11 3 6 : 6 ) . Original height ca. 4 0 cm. Later third or early second century. 56-1283.

374. Standing woman, type V ( 1 5 ) . PI. 7 9 a. 5 9 - 1 9 5 8 . Ill E. H. 2 6 . 0 . Mended, back of head missing, lower chiton on right side re­ stored; surface worn. Buff clay, white slip. Rough oval vent. a. b. 5 7 - 2 0 8 0 . N.S. C, cistern. PH. 1 0 . 8 . Head, right shoulder, and upper torso. Buff clay, white slip. Oval vent. a.

CATALOGUE OF THE TERRACOTTAS

c. 5 7 - 2 0 5 3 . N.S. 9 . H. 2 3 . 0 . Hard buff clay, white slip. Pink flesh, red lips, dark red hair. Rough oval vent. β. Same series: a, 5 7 - 2 0 9 2 (N.S. 7 ) , 7 1 - 5 2 0 (W.S.), 67-957 (I C2). β, 57-832, -2055, - 2 0 6 7 , uncat. (N.S. 7), 1 9 5 7 uncat. (N.S. C), 5 9 - 1 7 1 6 ( N . S . A . fill), 7 1 - 4 8 5 ( V I B ) , 7 1 - 5 2 2 (W.S.). For type V, supra, p. 5 9 . Type V is repre­ sented by fifteen members of the same series, in two generations. Two different heads are used for the first generation, as seen in 374a and b; in both the hair is bound in the Knidian coiffure, and tied in a low knot; the face is oval with a long nose. The first-generation pieces are care­ fully made; 374a (a) and 6 7 - 9 5 7 (a) come from contexts of the second quarter of the third cen­ tury. Pp.

Left hand holds himation, apparently hang­ ing from right side of figure, possibly from right hand akimbo. Similar to 3 7 7 ; the clay appears to be Syracusan. Third century. 377. Standing woman, type VI. 5 7 - 1 8 6 2 . C.S. PH. 2 8 . 7 . Missing head, left shoulder, most of back, chiton under left hand; much restored; encrusted. Buff clay, white slip. Pink himation. Large version of type VI. Differs from 3 7 5 in tighter curve of chiton, pressing closer to body, and in flaring lower hem. Long diagonal folds of himation are interrupted by catenaries at right hand. Second half of third century.

54, 59.

375. Standing woman, type VI ( 1 9 ) . PI. 8 0 a. 6 2 - 1 5 4 3 . S.S. 9 . H. 2 3 . 0 . Missing left leg and lower drapery. Buff clay, white slip. Oval vent. Spool base. b. 5 8 - 2 1 3 3 . S.S. 2 . PH. 2 2 . 9 . Missing right shoulder, upper arm, lower left arm, lower right leg, back. Buff-orange clay, white slip. Pink flesh. c. 1 9 5 9 uncat. N.S.A. fill. PH. 1 8 . 9 . Frontof torso. Buff clay, white slip. Same series: 5 7 - 2 0 7 2 (N.S. 7 ) , 1 9 5 7 uncat. (N.S.), 5 7 - 2 0 7 3 (N.S. C, cistern), 1 9 5 8 uncat., three versions (N.S.A.), 1 9 5 8 uncat. (S.S. 1), 5 8 - 2 1 4 1 (S.S. 2), 5 8 - 2 1 4 3 (S.S. 3 ) , 1 9 6 2 uncat. (S.S. 9), 5 7 - 2 2 3 9 and uncat. (C.S.), 71 -32 1 (VI B), 6 3 - 3 5 3 (VI A), 6 8 - 4 6 9 (V C), Syracuse s.n. For type VI, supra, p. 5 9 f. All examples of 375 belong to the same generation. The head used for a and 5 8 - 2 1 4 3 also appears on 3 9 1 (type IX); see also 627. None of the examples of 375 can be dated with precision, although the sanctuary finds are of the third century. The similarities with 369 (type IV) and 374 (type V) suggest a date not much after mid-century. P. 59f. 376. Standing woman, type VI. PI. 8 0 1 9 5 8 uncat. S.S. 3 . PH. 11 . 6 . Shoulders, left arm, right arm between elbow and wrist. Brown clay, white slip. Pink himation with dark pur­ ple border.

378. Standing woman, type VI. 5 9 - 7 3 6 . Nec. Ill, fill. PH. 9 . 1. Torso and right arm. Buff-orange clay, white slip. Similar to 3 7 5 , except that right hand does not create V-shaped minor folds. Harsh metallic style of later third century. 379. Standing woman, type VI. 1 9 5 9 uncat. N.S.A. fill. PH. 1 0 . 5 . Three frag­ ments of front of figure. Burned orange clay. Very poor condition. Similar to 3 7 5 , drapery somewhat more angular; perhaps as early as ca. 2 7 5 . Original height ca. 2 4 cm. 380. Standing woman, type VI. PI. 8 0 1 9 5 7 uncat. N.S. s. corridor. PH. 11 . 7 . Right arm and abdomen. Hard buff clay; very worn. From a figure ca. 3 5 cm. high. Crude drapery style. 381. Standing woman, type VII ( 5 ) . PI. 81 a. 1 9 5 7 uncat. N.S. C. PH. 1 8 . 2 . Mended; missing head, feet, and most of back. Buff clay, white slip. Pale blue himation. b . 5 7 - 2 2 9 9 . C.S. PH. 11.i. Lower half. Bufforange clay, gray core; white slip. Purple chi­ ton. Same series: 1 9 5 7 uncat., two versions (N.S. 7 ) ; 6 0 - 9 2 3 (I F 2 ) . For type VII, supra, p. 6of. Probably the early version of type VII, with the weight on the

177

CATALOGUE OF THE TERRACOTTAS

left leg as in the Tanagra source W Ii 15 : 7 . Carelessly modeled. The archetype is probably to be dated early in t h e second quarter of t h e t h i r d century. P . 6 1 . 382. Standing woman, type VII. PI. 8 1 Syracuse 45054. S 12. PH. 27.2. Lower half. Buff clay, white slip. Blue himation. From a large figure approximately 4 0 cm. high. The right arm is lower than in 381, and the flat hanging folds on the left side are cut by deep channels suggesting incipient transpar­ ency. Weight is t o left as in 3 8 1 . From a fine model, perhaps of the second quarter of the third century. P. 6of. 383. Standing woman, type VII ( 7 ) . PI. 8 1 N.S. 7 . PH. 2 1 . 5 . Orange-buff clay, white slip. Pink himation. Broad oval vent. Same series: 1957 uncat. (N.S.), 58-1685 (S.S. 1), 58-2135 (S.S. 2), 1957 uncat. (C.S.), 7 1 - 5 2 9 ( W . S . ) , i 9 6 0 uncat. (I F 2 ) . Hooded head turned with free leg. Expressive face with vertical lines at nose and mouth; dimple. For other examples of the head see 6 2 2 . There are clear hints of transparency in the lower border of the himation. From a fine ar­ chetype of t h e m i d - t h i r d century. P . 6 1 . 57-2054.

384. Standing woman, type VII ( 3 ) . PI. 8 2 1969 uncat. V C. PH. 20.6. Missing head, lower legs; surface encrusted. Buff clay, white slip. Pink himation. Large oval vent. Same series: 1 9 5 8 uncat. (N.S.A.), 5 9 - 1 1 4 8 (N.S.A. 15, cistern). Original height ca. 2 6 cm.; a large version of 3 8 1 . P. 6 1 . 385. Standing woman, type Vll ( 2 ) . PI. 8 2 5 8 - 1 2 2 8 . N.S.A. 1 3 . PH. 1 8 . 4 . Missing head, part of back, and left side. Buff clay, white slip. Pink himation and lower border of chiton. Same series: 6 0 - 1 2 8 2 (III F). A modified version of 3 8 3 . The flaring chiton and elongated body are typical of the second half of the third century, as is t h e enhanced movement. P . 6 1 . 386. Standing woman, type VII. 5 7 - 2 0 6 8 . N.S. 7 . PH. 1 4 . 5 . Lower half. Buff clay, white slip.

Greater movement, more mannered drapery, especially in the folds at the knee. Third quarter of the third century.

387. Standing woman, type VII. PI. 8 2 5 9 - 9 3 0 . N.S.A. fill. PH. 4 . 5 . Uppertorsoand arms. Buff-orange clay, white slip. Small version, similar to 3 8 3 except that right arm is lower. Original height ca. 13 cm. 388. Standing woman, type VllI ( 3 ) . PI. 8 2 58-1227. N.S.A. 13. H. 15.4. Buff to orange-buff clay, white slip. Pink in hanging folds, also possibly yellow. Oval vent. Same series: 5 7 - 3 1 5 3 (C.S.), 5 9 - 1 9 5 4 (III E); also Syracuse 29568 (tomb 91, Kentoripa). For type VIII, supra, p. 6 1 . A fresh impres­ sion, perhaps only a generation removed from the archetype. The scalloped folds of the hood are typically Syracusan. The example from Kentoripa must also depend on the Syracusan model. For other versions of the head see 6 2 1 . Dated to the late second quarter of the third century by 59-1954. The spool-shaped base was found w i t h 3 8 8 . P p . 4 4 , 5 4 , 6 1 . PR IV, pi. 2 1 , fig. 3 ( 5 9 - 1 9 5 4 , in two pieces). 389. Standing woman, type VIII. I N . P H . 7 . 0 . Shouldersand left arm. Buff clay. Slightly larger than 3 8 8 ; blurred details. 55-1281.

390. Standing woman, type VIII. I C i . P H . 5 . 5 . Shoulders and left arm; very worn. Buff-yellow clay. Slightly larger than 3 8 9 .

60-1585.

391. Standing woman, type IX ( 2 ) . PI. 8 3 62-1638. S.S. 9. PH. 12.3. , head 4. 1. Left arm with hanging folds and lower drapery, right arm in sling; head unattached. Buff-orange clay, white slip. Blue himation with pink border. Same series: 1957 uncat. (N.S.). For type IX, supra, p. 6 2 . Head turned to r i ght; for others from the same mold see 375 and 627. Fringed border in hanging folds of hima­ tion. Original height ca. 2 0 c m . Similar to 3 9 2 . A fragmentary spool base was found with 3 9 1 . T h i r d quarter of t h i r d century. P . 6 2 .

CATALOGUE OF THE TERRACOTTAS

392. Standing woman, type IX (3). PI. 83 a. 1957 uncat. N.S. C. H. 20.8. Mostoffront of figure except for lower himation. Orange-buff clay, white slip. Pink himation. b. 57-2096. N.S. 4, general area. PH. 13.8. Right leg, lower drapery. Burned red-buff clay, thick slip. Blue himation. Same series: 1957 uncat. (C.S.). Later version of 3 9 1 with smaller head. Thick fabric. Hooded head, himation pulled tightly across nose and mouth; hair tied in knot at back of head. Folding creases in himation appear at upper left thigh; lower border of himation de­ fined by incised line; transparent drapery in lower himation. Last quarter of third century. Pp. 55, 62. OpusArch 9 ( 1 9 7 3 ) 9 3 , fig- 1 4 ( 3 9 2 a ) .

393. Standing woman, type IX. PI. 83 1968 uncat. V C. PH. 6.9. Five fragments: lower drapery and right leg, parts of back and flank. Buff clay with gray core, white slip. Pink himation, chiton with horizontal stripes: dark pink at bottom, above three stripes of gold, pink, and blue. A fine version of type IX with well-preserved color. The broad base of the lower drapery and the falling fold of the chiton at the left suggest the style of Palermo 1033 from the Santa Flavia tomb at Solus (pi. 146, fig. 15). Second half of third century. Cf. Langlotz, pi. χιx,OpusRom 9 (1973) 87, fig. 2 (Palermo 1033).

394. Standing woman, type IX. PI. 83 57-1970. I V3. PH. 18.5, head 5.6. Three fragments: head, left hand, lower drapery, and part of back. Hard orange-buff clay, white slip. Magenta himation. Blurred later generation; original height ca. 30 cm. Hooded head turned to right; broad oval face, hair bound in knot at back of head. Border of himation is fringed. An unfamiliar fabric. Similar in style to late third century versions of type IX from Kentoripa. Context of ca. 1 50 B.C. ; the archetype is probably half a century earlier. Pp. 62, 76. Cf. OpusRom 9 (1973) 93, fig. 13 (Syracuse 27840; tomb 37, Kentoripa).

395. Standing woman, type IX (2). PI. 84 a. 58-936 (mold). N.S.A. 13. PH. 11.5. Hard pink-buff clay. b. 5 9 - 1 9 9 5 . I B. PH. 9.5. Buff clay. Type IX as a child's doll: holes at either side of the lower back were used for string support­ ing pendant legs, a hole in the top of the head for suspension; the drapery is simplified. At Morgantina 395 is the only example of mold and positive of the same series. The difference in size—about 17 percent—indicates that the positive does not depend directly on the mold; nor does it show the retouchings which are vis­ ible in the mold. But the two pieces clearly de­ pend on the same archetype. The back of the mold is shaped for the hand; for the markings on the edges, supra p. 118. For another draped doll of pyramidal shape with jointed legs, see 7 5 7 . Third century.

396. Standing woman, type X. PI. 84 57-2056. N.S. 7. H. 23.7. Mended; missing left arm and side, right forearm and foot. Buff clay, white slip. Round vent. White chiton with two purple bands at bottom, one wide, one narrow; thin purple hem at neckline of chiton. Pale pink himation with bold scarlet in hanging folds. For type X, supra, p. 02f. Oval face with full under-chin and creases in neck; Knidian coiffure tied in low knot. Coloring of drapery is full and harmonious, perhaps reflecting the scheme of the archetype. From the low neckline and carefully balanced pose the piece should be dated about 280-270 B.C. Pp. 53, 62 f. Cf. Laumonier, Madrid TC, no. 694, pi. LXXV :3 (south Italian).

397. Standing woman, type X. PI. 84 57-2057. N.S. 7. H. 14.3. Missing back of head, left arm, right foot, drapery below right leg. Buff clay, white slip. Traces of pink at right breast. Reduced copy of 3 9 6 ; in process of diminu­ tion, right breast has been bared and the hang­ ing fold over the left shoulder has been set awry. A similar piece from Kentoripa is in the Brit­ ish Museum. Cf. Walters, BM Cat, D 23.

179

ΐ8θ

CATALOGUE OF THE TERRACOTTAS

398. Standing woman, type X. S.S. fill. PH. 1 8 . 8 . Missing head, right foot, parts of right leg, and back; surface worn and encrusted. Buff clay, white slip. Broad purple stripe along the bottom edge of chiton. Small crude vent. Further reduced from 396. Himation has been eliminated, modeling of chiton is crude, folds defined by channels. The broad hips and narrow shoulders are characteristic of the second half of the third cen­ tury. 58-2134.

399. Standing woman, type X. I U. PH. 6 . 0 . Right shoulder and breasts; worn. Orange-buff clay, white slip. Differs from 396 in absence of hanging folds from left shoulder. 57-804.

400. Standing woman. PI. 85 7 1 - 2 9 1 . VI B. PH. 1 2 . 0 . Torso and arms, sur­ face damaged. Orange-buff clay, white slip. Traces of pink and pale blue in himation, pale pink flesh. Himation passes under right arm, exposing chiton at right shoulder and breast; right arm appears to grasp a hanging fold from left shoul­ der, but the small knot of drapery at the left elbow must also represent the edge of the himat­ ion pulled from the back. Related to types I and IV: the bunched hi­ mation exposing the shoulder, the knot of drap­ ery, and the quiet pose all indicate a Syracusan archetype of the early third century. The type is related to W 11 9 (see 413^); a good parallel comes from Egnatia ( W 11 9 : 5 ) . 401. Standing woman. PI. 8 5 7 1 - 5 2 0 . W.S. H. 2 7 . 6 . Pink-buff clay, white slip. Pink flesh. No vent. High-girded chiton, thick band for girding; himation worn around shoulders covering low­ ered left arm. Head turned to left; Knidian hair bound in low knot, worn to shoulders. Right arm held object now lost; bracelet at wrist. Although the type is more appropriate for an Apollo, the coroplast here considered it female, as the pink flesh indicates. After a Syracusan ar­ chetype of the first half of the third century. Cf. W Ii 350 :1 (Apollo, from Athens; modeled freely); Libertini, Centuripe, pi. xxxvn :2 (at­

tached to clipeus, from Kentoripa); similar pieces in Syracuse from Kentoripa and Syracusan Well Deposit. 402. Standing woman. PI. 8 5 1 9 5 7 uncat. N.S. 4 , general area. PH. 1 0 . 8 . Left shoulder and flank. Hard buff clay with greenish surface; white slip. Similar to 401; wears high-girded chiton with flat girding; cloak over shoulders, leaving left arm free; high rounded neckline. Lock of hair at shoulder. Small hole through left side of abdomen. Perhaps originally an Apollo Kitharoidos, like 401 transformed into a woman. 403. Standing woman, W π 25. PI. 8 5 58-1217. N.S. 4. PH. 16.4. Head, left arm, and lower drapery missing. Buff clay, white slip. Carelessly modeled; later generation. The upper himation may have been missing in the positive used for making the mold, hence the smooth area below the neck. The type of 403 is of Attic origin; the figure's weight is on her right leg; her right arm is akimbo, her left lowered, both within the hi­ mation which covers the entire torso. The dis­ tinctive feature of the type is the play of the folds of the himation as they respond to the arms—the left pulling taut diagonal folds from the right hip and thigh, the right creating catenaries from the area of the breasts. There is little that is Sikeliote about this version of the type. The taut constraining folds suggest the later third century. Cf. Kleiner, i 2 8 f . , pi. 2 3 X , d (BM C 2 4 9 ) , pi. 24:b (Alexandria). 404. Standing woman, W Π2β. PI. 86 Syracuse 35291. S 9. PH. 12.9. Head and lower part missing. Buff-orange clay. Large round vent. Type of 403; debased style of third century. 405. Standing woman, W 11 2j. PI. 8 6 Syracuse 18632. S 3. PH. 17 .9. Head missing. Buff clay, white slip. Large oval vent. Similar to 404. Head was hooded and turned to right. High rectangular base; back handmodeled. Advanced generation.

CATALOGUE OF THE TERRACOTTAS Archetype of late third century; this version may be much later.

411. Standing woman, W 11 71. 66-367. I Q. PH. 4.3. Upper torso and right arm. Buff-orange clay, much corroded.

406. Standing woman, W 1 1 2 5 . PI. 86 1962 uncat. S.S. fill.

One of the few examples in Sicily of the Mdd-

PH. 7.1. Neck; right

chen in hochgegiirteten Chiton, a widely diffused

shoulder, arm, and breast. Buff clay, white slip.

type created on the Greek mainland, probably

Oval vent.

in Athens. The himation is usually worn as a

Similar to 4 0 3 .

shawl around the shoulders, held by both arms at the hips; here the right arm is akimbo. Un­

407. Standing woman, W 11 2 5 . 1958 uncat. N.S.A. fill.

published examples of the type have been found

PH. 5.9. Right arm.

Buff clay, white slip.

at Akragas (Syracuse 16095, ^ r o m the favissae below S. Biagio; early third century) and Mon-

Type of 4 0 3 ; crisp drapery style, fresh im­ pression.

tagna di Marzo (private coll., Catania; ca. 300 B.C.). Fabric and style of the early third cen­

Perhaps as early as the second quarter of the third century.

tury. P. 57. Cf. Kleiner, 92f.; D. B. Thompson, Hesperia 21 (1952) i 3 i f . , pi. 34, no. 19 (Athenian Agora,

408. Standing woman. PI. 86 1958 uncat. N.S.A. 13. PH. 8.3. Lower drap­

early third century).

ery. Buff clay, white slip. Probably an example of the type of W 11 25; later generation.

412. Standing woman, W 11 71. PI. 87 58-1906. N.S. PH. 5.3. Upper torso. Pale buff

Third century.

clay, white slip. Very advanced version of the type of 4 1 1.

409- Standing woman, W u 11. P1. 86 Syracuse 35292. S 9. PH. 13.7. Head and lower legs missing. Orange-buff clay, white slip. Oval

413. Standing woman, W 119. PI. 86

vent.

62-1089. I P i . PH. 9.6. Head missing; worn

Weight is on left leg; torso and arms are covered by himation, left arm akimbo, right at base of neck. Himation quite full in lower bor­

and encrusted. Pink-buff clay. Stands on low rectangular base with weight to left. Left arm akimbo, right over abdomen holding fold of himation.

der. A variant of Kleiner's "Sophokles type," with folds of the himation pulled taut from the right arm to the left hand. Fluid, balanced style of the second quarter of the third century (cf. 360).

Balanced style of the early third century. Al­ though the type is common in the west, it ap­ pears to depend on a mainland model. Cf. W I i 9:1 (Greek mainland); Kleiner, pi. 1 i f (Hermione); Bernabo Brea, Meligunis-Lipara 11, B 202, pi. CLXXXI:4 (first half of third century);

410. Standing woman, W Π 52:11. PI. 86

W Ii 9:6 (south Italian); Laumonier, Madrid

57-487. I A. PH. 7.0. Upper torso and arms;

TC, no. 690, pi. LXX: ι (probably south Italian);

back missing. Buff clay, white slip.

Kobylina, Terrakoty, pi. 14:3, pi. 25:1 (south

From a figure

ca. 15 cm. in height. Advanced

Russia); Ergon (1969) 75, fig. 81 (Mesembria).

generation of a modest archetype. The type originated on the Greek mainland; there are several western adaptations. Both arms are lowered under the himation, the right lifted just

enough

to

create

tension

folds

pulling

against the left leg. The looped fold of the hima­ tion

revealing

the

right

breast

is

typically

414. Standing woman, W 119. PI. 86 69-806.

V C. PH. 5.6. Missing head, feet;

worn. Orange-buff clay, white slip. Type of 4 1 3 ; advanced generation. Third century.

Sikeliote. Third century. Cf. OpusRom 9 (1973) 89, figs. (Palermo

1047,

Kleiner, 11 of.

from

5-6; ibid., 94

Solus; ca.

225

B.C.);

415. Standing woman. PI. 87 Syracuse 18630. S 3. H. 9.0. Base chipped. Pale buff clay.

182

CATALOGUE OF THE TERRACOTTAS

Small figure with weight on right leg; left arm raised holding small object, right akimbo. Himation drawn over head. Child's face with broad features. Quiet composed style of the early third cen­ tury; similar small standing figures, apparently children, have been found at Syracuse and Lipari (see also 4i6f.). Cf. Kekule, pi. xxxix:i, 3 (Syracuse); Bernabo Brea, Meligunis-Lipdra 11, B 204, pi. CLXXXI:8, CLXXXII :1-3. 416. Standing woman. PI. 87 Syracuse 32313. S 5. H. 11.8. Buff clay. Stands on rectangular base, weight on right leg. Both arms covered by himation, right low­ ered, left raised to breast. Child's face; sixstrand melon coiffure; large wreath. No back. This uncommon type is of mainland origin. Fabric of third century. Cf. W II 54:6. 417. Standing woman. PI. 87 Syracuse 32314. S 5. PH. 9 . 8 . Feet missing. Gray-buff clay. Weight is on right leg; left arm bent at side, right in sling at breast. Himation pulled over head. No back. Style of third century. Cf. W 11 41; Bernabo Brea, Meligunis-Lipara 11, B 210, pi. CLXXXI:3. 418. Standing woman. PI. 87 1957 uncat. N.S. 4 , general area. PH. 1 2 . 1. Missing head and shoulders, part of base. Buff clay, white slip. Stands with weight to right, left arm lowered holding folds of himation with knot of drapery pressed to side at elbow. Right arm was proba­ bly akimbo. Rectangular base with flaring lower molding. Later generation. Close to type VI (cf. 375), although the style is more characteristic of the late fourth century. 419. Standing woman. 57-890. I U. PH. 9 . 5 . Head and base missing. Buff micaceous clay; solid. Left arm holds border of himation, pulling it across breast; right arm raised within himation. Very advanced generation.

A much debased version of the mainland type W II 43. Third century or later. 420. Standing woman (3). PI. 87 58-1359. IV B. PH. 7 . 9 . Head missing. Buff clay; solid. Same series: 59-1715, 60-1267 (III F). Low rectangular base. Weight on right leg; left arm akimbo, right lowered. High-girded chiton. Advanced generation. A modest descendant of the type of the high-girded maiden, 41 if., but without the shawl. Third century. 421. Standingwoman (2). PI. 87 71-77. VI B. PH. 10.6. Head missing. Buff clay, white slip. Same series: 60-1128 (III F). Similar to 420, except that position of arms is reversed. Stands on low round base. In left hand holds wreath and object that may be torch or thyrsus. Third century. 422. Standing woman. 62-1535. I Q. PH. 7 . 7 . Head missing. Buffbrown clay. Weight on right leg; both arms akimbo. Wears high-girded chiton, himation worn as shawl around shoulders. Marked contrapposto. No back. Third-century fabric. 423. Standing woman. 60-1219. Ill F. PH. 5.4. Head and lower part missing. Mottled buff-orange clay, very worn. Similar to 422 though larger; left arm bent at elbow and lowered; diagonal bunched folds of himation fall from left shoulder. Cf. W II 29:6 (southern Italy). 424. Standing woman. PI. 88 1959 uncat. N.S.A. fill. PH. 8 . 9 . Right arm and drapery. Buff clay, white slip. Right arm placed over abdomen, slightly higher than in type III; linear groovelike folds, hard clay. Style and fabric suggest the early third cen­ tury.

CATALOGUE OF THE TERRACOTTAS

425. Standing woman. 1 9 5 9 uncat. N.S.A. fill. PH. 6 .1. Himation at abdomen. Buff clay, white slip. Loose folds of himation suggest the later ver­ sions of type IV (cf. 369). Third century. 426. Standing woman. PI. 88 1 9 5 9 uncat. N.S. st. PH. 1 0 . 6 . Upper left arm and breast. Orange to buff clay, white slip. Pink himation. Perhaps related to type VI, where left arm is also lowered. Original height ca. 40-45 cm. Bold modeling with retouching at shoulder. Later generation. Third century. 427. Standing woman. PI. 88 5 8 - 2 0 4 5 . S.S. 2 . PH. 1 2 . ι (arm), 4 . 9 (head). Draped right arm and head. Brown-red clay, white slip. Pink himation. Right arm lowered within himation, creating soft catenaries from abdomen and breast. Hooded head, turned to right; knot of medium height. Broad face of mid-third-century type. Good impression after a fine Syracusan ar­ chetype, possibly related to type VIII where the right arm is also lowered. 428. Standing woman. PI. 88 5 8 - 1 8 3 6 . S.S. i. PH. 6 . 2 . Head, shoulders, and right arm. Burned orange clay, white slip. Pink flesh. Hooded head turned to right; right arm raised to breast, left arm probably lowered. Hair in low knot. Perhaps related to type IX, although the hi­ mation at the right arm is different. Probably second generation after a fine Syracusan ar­ chetype. Original height ca. 12 cm. Third cen­ tury. 429. Standing woman. PI. 88 5 8 - 1 1 5 3 . II Bi. PH. 7 . 0 . Right arm, abdo­ men, and left thigh. Hard gray-brown clay, white slip. Pink himation. Right arm at breast in sling, suggesting type IX; yet weight is on right leg, over which hi­ mation is pulled. Free left leg shows strongly through himation.

A rare and interesting type; the fabric is probably Syracusan. Late third century. P. 4 3 . 430. Standing woman. PI. 8 9 5 7 - 2 0 6 9 . N.S. 7 . PH. 11 . 5 . Left arm, abdo­ men, and lower drapery. Buff clay, white slip. Weight to right; himation falls to weight leg in thin, tense folds. Left arm wrapped in himat­ ion and lowered. Later generation. The style is that of 388, which is about the same size; the countermovement of himation and free leg is seen in representations on Ptolemaic faience oinochoai of the third quarter o f t h e t h i r d c e n t u r y ( T h o m p s o n , Queens, n o . 7 9 , pi. xxix). 431. Standing woman, 1 9 5 7 uncat. N.S. 4 , general area. PH. 2 2 . 9 . Lower drapery, parts of abdomen, and back at shoulders. Buff-orange clay, white slip. Traces of pink in himation and chiton. Weight is on left leg; right arm was probably at breast, left lowered. Not unlike type IX, although the himation over the abdomen is different. The heavy bulk of the cloak overpowers the body; the flat surfaces foreshadow transparency. The latter tendency is seen in the response of the himation to the thrust of the chiton. The pyramidal form points to the late third century (cf. 395). Later genera­ tion. 432. Standing woman. uncat. S.S. 2 . PH. 9 . 0 . Lower drapery. Buff clay, white slip. Traces of purple in chiton. Stands with weight to right; there is no trace of himation except in hanging folds at left. The himation was possibly worn as a shawl as in type III, or in looped folds over the abdomen as in terracottas from Kentoripa and Taras (cf. NSc [1936] 116, fig. 6). Syracusan style of the first half of the third century. 1958

433. Standing woman. 5 8 - 1 8 2 1 . S.S. 2 . PH. 7 . 8 . Drapery from left side of figure. Buff clay, white slip. White hi­ mation with bright lavender hanging folds, edge gilded. Fine drapery style of first half of third cen­ tury.

CATALOGUE OF THE TERRACOTTAS

434. Standing woman. PI. 8 9 6 7 - 1 1 2 . I S. PH. 11 . 2 . Front of torso. Graybuff clay, white slip. Left arm akimbo, right lowered. Weight is on left leg. Edge of himation pulled over left shoulder with heavy folds at neck. Navel visible through drapery. The clay is not local; the quiet relationship of drapery to body suggests a date for the archetype in the first half of the third century. The type originated on the mainland (W 11 15:6) and there are western derivants ( W 11 1 9 : 1 , 2 ) , though none apparently in Sicily. 435. Standing woman. PI. 88 5 6 - 2 6 0 7 . I F 2 . PH. 9 . 3 . Right leg and lower drapery. Buff clay, white slip. Pink himation. Weight is to left. Himation hangs in broad catenaries from hips, where it was secured by hands. Transparent drapery in lower folds. Later generation. The type is similar to 4 3 4 . Third century or later. 436. Standing woman. PL 88 6 8 - 9 4 . V C. PH. 7 . 3 . Lower border of himat­ ion. Buff clay, orange core. The type may be similar to 434. Original height ca. 30 cm. Later generation. Style of third century. 437. Standing woman ( 2 ) . PI. 8 8 I Q. PH. 7 . 2 . Lower half of figure. Buff to orange clay, white slip. Traces of gray in chi­ ton. Same series: 5 6 - 2 0 3 8 (I A). Himation falls evenly in straight folds to level of knees. Weight balanced on both legs. Right hand lowered, pulling slightly at himation to create diagonal folds; left arm was probably akimbo. Advanced generation. Angular style of late first quarter of third cen­ tury. Probably after a mainland model. Cf. W I I 1 9 : 2 (south Italian); Hesperia 2 1 ( 1 9 5 2 ) 129, no. 15, pi. 33 (Athenian agora, late fourth century);Hesperta 3 2 ( 1 9 6 3 ) 2 8 2 , no. 1 4 , pi. 7 4 (later third century). 66-22.

upper torso. Buff-orange clay, white slip. Pink himation. Left arm akimbo, right lowered. Folds of hi­ mation falling from left. Type uncertain. 439. Standing woman. PI. 88 6 2 - 8 2 . II B 3 . PH. 9 . 7 . Abdomen, left leg, lower drapery. Buff clay, white slip. Traces of pink and blue in chiton. Stands on low round base with weight to right, himation pulled from that side. Crisp drapery; angular folds at left leg. Fresh impres­ sion. The drapery is typical of the late first quarter of the third century. Uncertain type, probably not W Ii 25, as the right hand seems to have been at the breast. 440. Standing woman. PI. 8 9 1 9 5 8 uncat. N.S.A. fill. PH. 9 . 0 . Left leg and lower drapery. Orange-buff clay, thick fabric; white slip. Pink himation. Himation pulled tightly across free left leg. Type uncertain; second half of the third cen­ tury. 441. Standing woman. 55- 1 5 6 5 . I N. PH. 8 . 0 . Left forearm. Bufforange clay, white slip. Left arm pulls upwards in himation, creating vertical folds. Type uncertain. 442. Standing woman. 5 8 - 1 3 5 3 . N.S.A. fill. PH. 5 . 4 . Head and shoulders of figure wearing himation. Buff-pink clay, white slip. Hooded head turned to left; blurred details. Type uncertain. Third century. 443. Standing woman. 1 9 5 8 uncat. II Bi. PH. 1 5 . 5 . Leftlegofdraped figure. Buff clay, white slip. Traces of gray in himation. Left leg is free; figure wears himation and chi­ ton. Type uncertain. Original height ca. 30 cm. 444. Mold of standing woman. PI. 8 9 I D. PH. 7.7. Lower drapery at back. Hard gray-brown clay. Right arm was lowered, left perhaps akimbo.

69-423.

438. Standing woman. 5 9 - 1 7 1 7 . N.S.A. 1 0 . PH.

5.4.

Shoulders and

CATALOGUE OF THE TERRACOTTAS

Weight was on left leg. Original height ca. ι 3-14 cm. Early generation. Probably a Syracusan import. The back mold is much more detailed than is usual; the figure seems close to type I. Third century, probably early. P. 4 3 . 445. Mold of standing woman. PI. 8 9 60-124. I F j - PH. 17.7· Right side ofback pre­ served. Pink-buff clay with pale green surface. Back mold; figure stood with weight to right, right arm lowered and bent at elbow pulling drapery forward. The drapery is treated summarily, as is usu­ ally the case with the backs of Sikeliote draped figures. 446. Mold ofstanding woman. Pl. 8 9 56-508. I B. H. 21.5. Buff-orange micaceous clay. Irregularly shaped back mold for a standing draped figure similar to type III or VI, with right arm at breast and left akimbo. Summary treatment of drapery. For the small flanges and scored marks at the edges of the mold, supra, p. 118.

SEATED DRAPED WOMEN (447-453) 447. Seated draped woman. PI. 9 0 7 Ι_ 393· VI PH. 1 3 . 6 . Head, fingers of left hand missing. Orange-buff clay, white slip. Bold pink himation, pale pink flesh, blue rock and chiton. Sits on irregularly shaped rock, leaning on right arm, right leg drawn under left. Himation falls diagonally across torso from right shoulder to left arm; left hand extends through folds, holding an object now missing. Broad white band at lower hem of himation. Blue was applied somewhat indiscriminately to drapery and rock. The relaxed diagonal folds crossing the torso recall the standing types IV and V. The Tanagra prototype sits either on a rock or an angular block; there is also a mirror image of the pose, examples of which are known in Magna Graecia. Fresh impression after a fine Syracusan archetype o f t h e first q u a r t e r o f t h e t h i r d c e n t u r y . P . 5 4 .

Cf. W π 113 : 2 (Tanagra); E. Paul, Antike Welt in Ton (Leipzig, n.d.) no. 174, taf. 44 (probably Tanagra); Mollard-Besques, Louvre TC hi , D 141, pi. 31 (Myrina); W 11 113:5 (southern Italy; propped on left arm). 448. Seateddrapedwoman ( 2 ) . P I . 9 0 a. 5 8 - 1 3 5 8 . N.S.A. 1 3 . PH. 9 . 3 . Lower part missing. Buff clay, white slip. Pink flesh, brown hair. Magenta himation. b . 1 9 5 8 uncat. N.S.A. 1 3 . PH. 7 . 5 . Left arm and breast, legs, and part of head. Buff clay, white slip. Pink flesh, brown hair, magenta hi­ mation. Half-draped woman seated on rock, left arm partly wrapped in himation at lap, right arm propped on rock. Legs were covered by himat­ ion, right somewhat extended. Head turned to right and downwards; hair swept back to high knot. Advanced generation. A miniature version of 447; parallels for the half-draped figure are western. Cf. W I i 1 3 2 : 2 (Apulia), 4 (Curti). 449. Seateddrapedwoman ( 2 ) . Pl. 9 0 1 9 5 7 uncat. N.S. 7 . PH. 3 . 9 . Lap, lower legs, and round object. Burned red-buff clay, white slip. Round object is pink. Same series: 1 9 5 7 uncat. (N.S. 7 ) . Woman wearing himation sits with right leg forward, left drawn back. Left arm rests on thigh. To left is large round object with hole in center. The type is similar to 447. The round object is probably a tambourine, which in late redfigure vase painting sometimes has a central o p e n i n g (cf. T r e n d a l l , L C S , p i . 2 2 7 : 7 , 2 3 8 : 8 ) ; in the other member of the series this object is blue. Third century. 450. Seated draped woman. Pl. 9 0 5 8 - 1 3 1 4 . II A. PH. 4 . 7 . Missing head, shoul­ ders, arms. Gray-brown clay, white slip. Figure seated on irregularly shaped rock with several protrusions. Legs crossed at calves, left over right; neither is supported. Wears highgirded chiton, break coming at girding. Ad­ vanced generation; not a local fabric. Draped women seated on rocks are found at Kentoripa and at Taras; their legs are sometimes

CATALOGUE OF THE TERRACOTTAS

extended as here, in defiance of gravity. Most belong to the second century. Cf. Kekule, pi. XL :2; Syracuse 46824, from Kentoripa, tomb 18 (1932), about 200 B.C.; Hesperia 32 (1963) 283^, no. 16, pi. 74 (Athe­ nian agora, second century); Ferri, Divinita Ignote, pi. xxvi (Berlin; south Italian). 451. Seated draped woman. PI. 90 59-535· N.S.A. fill. PH. 8.9. Missing head, arms, feet. Hard buff-caramel clay, white slip. Wears high-girded chiton with kolpos at thighs; neckline a fairly low V. Arms freely mod­ eled, perhaps holding something. Legs ex­ tended. Later generation. Fabric of late third century. 452. Seated draped woman. 56-2945. I Gi. PH. 5.0. Thighs and lower right leg. Buff clay, white slip. Wears himation and chiton; left leg higher than right. 453. Seated draped woman. 56-1297. I B. PH. 5.9. Knees and lower legs. Buff-pink clay. Legs draped in himation, left somewhat lower and drawn back. Later generation.

DANCING WOMEN (454-468) 454. Dancingwoman (4). PI. 90 1957 uncat. N.S. C. H. 14.4. Missing parts of lower drapery and back. Buff clay, white slip. Large oval vent. Same series: 62-651 (I Pi), 62-886 (V B), 69-805 (V C). Left shoulder and left arm akimbo are thrust forward with movement of right leg; lowered right arm balances trailing left leg. Head tilted to left. Himation worn short to permit move­ ment; hooded head. Later generation, retouched before firing. The type is derived from a dancing figure of pre-Tanagran style; the model was probably Attic but there are two versions from eastern Sicily in the same series, and an adaptation is known at Taras. In the pre-Tanagran figures the

left foot is forward, giving the dancer more free­ dom; the stylized immobility of the Morgantina examples is typical of the third century. The piece 454 may be as early as the second quarter; 455, with tauter drapery and more pronounced movement, is probably later. P. 64. Cf. W II 145:1 -5; Rom Mitt 40 (1925) 208, fig. 20 (from Menai; a fragmentary version from the same series is at Ragusa from Scornavacche, inv. 1298); Langlotz, pi. XVII (Taranto 52076, from a tomb in Via G. Giovine, 28 .11.1951; dated to the second century but probably a century earlier). 455. Dancingwoman (3). PI. 91 I Q. PH. 11 .7. Missing head and part of back. Buff clay, white slip. Traces of purple, pink, and blue in chiton. No vent. Same series: 71-526, 71 -527 (W.S.). Similar to 454. Greater movement in hang­ ing folds under left arm and in chiton at right calf; prominent breasts. Advanced generation. Later third century.

67-218.

456. Dancing woman. PI. 91 N.S.A. 13. PH. 12.6. Missing ab­ domen and head. Buff-orange clay, white slip. Bright pink chiton, white himation. Primary view is from behind. Head was prob­ ably turned to left, looking over left arm akimbo. Chiton trails, himation worn short and pulled over hip. Long hanging fold of himation falls over left shoulder, stabilizing the forward movement and accenting the head. No transpar­ ency. Later generation. Related to 454, which is, however, intended to be seen from three sides instead of one, as here; the position of the arms and distribution of weight is the same. This figure is also related to the type of the Baker dancer, who can be viewed from behind and who moves to the right with trailing drapery (D. B. Thompson, AJA 54 [1950} 37if. , fig. 2). The Baker dancer type is known in Sicily in three versions (Kekule, pi. xuv:i, Hadranon; pi. XLV:I , Troina; pi. XLV :2, Kentoripa); the primary view is always from behind. The pyramidal form of 456 suggests a date for the archetype in the last quarter of the third century. P. 64. 58-1357.

CATALOGUE OF THE TERRACOTTAS

457. Dancing woman. PI. 9 1 6 0 - 1 3 1 . I W. PH. 8 .1. Head missing. Buff clay, white slip. Blue chiton. Right foot forward; right arm lowered, left raised within himation creating vertical folds. The type is similar to the preceding in distri­ bution of weight and pose, although the left arm is not akimbo. Second half of third century. C f . W i e g a n d - S c h r a d e r , Priene, 1 6 0 , fig. 1 4 7 (right leg back; from sanctuary of Demeter).

figure is meant to be viewed in the round. Ad­ vanced generation. A modest version of a dancer with arms ex­ tended, of a type found at Kentoripa and Taras (W II 155; Kekule, pi. XLV:3, pi. XLIII; an un­ published piece from the mid-second-century tomb at San Francesco da Paola at Taranto, IG 4098, 17.12.1909). These all have wildly swirl­ ing drapery at the level of the lower leg. Later third century.

458. Dancing woman. PI. 9 1 6 8 - 2 9 5 . V C. PH. 8 . 9 . Head, shoulders, and small pieces missing; mended. Buff clay with orange core; white slip. Weight is to right; left leg trails. Both arms raised to head with elbows extended in front. Chiton with low kolpos; himation is pulled up over arms, falling in long folds over shoulders and back, and drawn tightly over right hip. Main view is from right. Crisp folds of firstgeneration impression; not a local clay, perhaps Syracusan. The piece recalls the statue type of the Capitoline Muse, the so-called Polyhymnia ( D . M u s t i l l i , I l Museo Mussolini [ R o m e , 1 9 3 9 ] 78f., no. 24, pi. 46) which is generally dated to the second half of the second century. As the terracotta seems to be at least a century older, it is possible that the sculptor of the Muse was influenced by such a small-scale figure, in terra­ c o t t a o r bronze. C o n t e x t o f t h i r d c e n t u r y . P . 6 4 . C f . W II 8 3 : 2 , 3.

461. Dancing woman. PI. 9 1 6 0 - 1 5 1 0 . I U. PH. 8 . 3 . ' Left arm and upper torso. Dark buff clay, white slip. Appears to run forward with drapery flying behind. High-girded chiton worn with left breast bare; over right shoulder is freely mod­ eled end of himation. Right arm raised, left lowered and wrapped in himation. A dancer of the type of 460. Complete ver­ sions from Kentoripa show that the right arm was extended, the head was turned to the left and lowered, and the figure tripped forwards on the tips of her feet. Cf. Kekule, pi. XLV:5,6 (Kentoripa).

459. Danctng women. PI. 9 1 5 8 - 1 5 0 8 . II A. PH. 8 . 4 . Missing heads and lower drapery. Hard buff-pink clay. Two mantle dancers side by side, both wear­ ing chiton and himation. Right figure extends right arm under drapery, left figure holds left arm akimbo. Very advanced generation. Later third century. 460. Dancing woman. PI. 9 1 6 9 - 7 6 7 . I D. PH. 7 . 5 . Upper half missing. Buff-caramel clay, white slip. Bright pink chi­ ton. Dances forward with weight on right leg; left leg is raised behind. Himation worn very high. Molds divided front to back, indicating that the

462. Dancing woman. PL 9 2 5 8 - 1 4 4 7 . II B 3 . PH. 1 2 . 9 . Missing head, left arm, lower drapery. Buff-orange clay, white slip. Traces of bright pink in drapery. To be viewed from left side. Left leg forward, drapery of chiton trailing. Left arm extended, right akimbo. Himation folded over left shoul­ der. Later generation. 463. Dancing woman. PI. 9 2 6 0 - 1 2 6 4 . I Q- PH. 8 . 9 . Right part missing. Coarse micaceous orange-buff clay. Hands held above head, torso bent sharply at waist. Right leg extended, left drawn back. Chiton girded at abdomen; Phrygian cap with side flaps at shoulders. The dance is the Persian igdisma or oklasma (for w h i c h , B . S c h w e i t z e r , Hermes 7 1 [ 1 9 3 6 ] 288-94; J. D · Beazley, JHS 49 [1939} 3°"3 2 » no. 60, p. 25, no. 82, p. 30). The terracottas of this type are discussed by Thompson, Troy T C , ι ooff. An earlier Sikeliote version of the fourth century, kneeling rather than swaying, comes f r o m L i p a r i ( B e r n a b o B r e a , M e l i g u n i s - L i p a r a 11,

188

CATALOGUE OF THE TERRACOTTAS

316, E io, pi. CLV:2); another occurs on a frag­ mentary relief vessel in Syracuse (Kekule, pi. LViii : ι). The piece is late Hellenistic; the fabric is typical of the first century B.C. P. 78. Cf. W Ii 158:6, 7.

Mold with irregularly shaped back. Young girl stands holding large tympanon in left hand, right lowered. Hair bound in lampadion knot; high-girded chiton. Style of third century.

464. Dancing woman. PI. 92 56-1286. I A. PH. 8.5. Right leg. Buff clay, white slip. Right leg forward, draped in himation; foot lightly touches ground. Himation pulled up behind leg, falling in vertical folds and catenaries. Fresh impression.

470. Woman with tympanon. PI. 92 Syracuse 33192. S 7. PH. 7.9. Head and feet missing. Orange-buff clay. Large round vent. Large tympanon held in left hand; gestures with right palm and fingers extended. Himation falls in diagonal folds over abdomen; weight is to right. Back flat. Third century. Cf. Kekule, pi. xm:2 = W 11 139:11 (Syra­ cuse).

465. Dancing woman. 58-1248. N.S.A. fill. PH. 9.4. Right arm and shoulders. Buff-caramel clay. Viewed from right side; right arm pulls down within himation forming a taut sling. Left arm raised, apparently free of himation. Head was turned back to right. Advanced generation. 466. Dancing woman? 56-616. I A. PH. 8.5. Left arm. Dark red clay, not local. Left arm lowered within himation, creating tense folds. Hand emerges, holding an object which was inserted into a small hole in fist. For the fabric see 314. 467. Dancing woman? 58-298. II Bi. PH. 10.3. Lower chiton and part of himation. Dark red clay. Probably part of a dancing woman with right leg forward. Original height ca. 40-45 cm. Chi­ ton.modeled in parallel groovelike folds; himat­ ion a flat surface. For the fabric, cf. 314. 468. Dancing woman? PI. 92 56-2415. I A. PH. 9.0. Left leg and part of base. Hard buff-orange clay, pale buff surface. Steps forward on right leg, left trailing. Chi­ ton with kolpos. High base.

471. Woman with flutes. PI. 93 61-394. Ill F. PH. 6.0. Head missing. Buffpink clay. Woman stands on rectangular base, weight to right; wears chiton and himation; plays flutes which are held in either hand. Similar to the left figure in the triad of nymphs (cf. 253). Cf. NSc (1943) 89, fig. 52 (Syracuse). 472. Woman with flutes (2). PI. 93 Syracuse 32312. S 5. H. 11.2. B u f f clay, white slip. Solid. Same series: Syracuse 32311 (S 5). Weight to right; himation falls from left arm in diagonal folds across abdomen. Holds flutes with both hands. Lampadion knot (?); low ir­ regular base. A similar piece in Syracuse may belong to the same series; the type is not uncommon in Sicily. Cf. W Ii 140:9 (Syracuse); Higgins, BM TC 1, no. 1179, pi. 161. 473. Woman with flutes. PI. 93 Palermo 3371. From Aidone, gift of P. Ranfaldi. H. 10.3. Buff clay. Holds flutes in both hands; weight to right. Wears himation and chiton. Hair in melon coif­ fure, low diadem. Later generation. Style and fabric of third century. Kekule, 38. Cf. W 11 140:6, etc.

MISCELLANEOUS WOMEN (469-483) 469. Mold of girl with tympanon. PI. 92 58-1902. S.S. fill. PH. 7.1. Lower part miss­ ing. Buff-pink clay.

474. Kanephoros. PI. 92 Syracuse 32589. S 6. PH. 7.5. Chipped; head missing. Buff clay. Stands on low base holding round basket in

CATALOGUE OF THE TERRACOTTAS

left hand; right lowered holding object of uncer­ tain identity. Himation worn over torso; weight is to left. Very advanced generation. Fabric and style of third century. A descend­ ant of a fifth-century type which was popular at Poseidonia. Cf. W ι ι i g ; N S c ( 1 9 4 3 ) 9 2 , fig. 5 8 (Syracuse). 475. Standing woman. 5 9 - 4 1 6 . N.S.A. PH. 6 . ι. Head and back miss­ ing. Buff clay. Stands frontally wearing high-girded chiton with low kolpos. Arms at sides. Fabric of third century. 476. Standing woman. PI. 9 2 5 7 - 9 8 3 . II A. PH. 5 . 3 . Right breast and shoul­ der. Pale buff clay. Standing figure with right arm lowered; chi­ ton with apparent low girding and kolpos; hair worn to shoulders. The drapery style recalls fine late-classical figures f r o m T i m o l e o n t i c G e l a (cf. ArcbCl 9 [1957} pi. xvii :2, 3). Possibly a Geloan import. 477. Standing woman. 5 7 - 7 4 0 . N.S. fill. PH. 7 . 5 . Left arm and shoul­ der. Pink fabric with pale surface, orange core; white slip. Wears chiton; himation wrapped around right arm. Object (himation?) at breast; hand holds dish (?). Later generation. Third century or later. 478. Recumbent woman? PI. 9 3 6 0 - 4 9 5 . I U. PH. 6 . 3 . Lower part missing. Buff clay, white slip. Holds himation to face with both hands, covering mouth. Himation drawn over high crescent stephane. Large eyes. Figure appears to have propped elbows on some support, with legs perhaps extended behind (the surviving part of the back projects out from the body). Late Hellenistic. 479· Woman leaning on column. PI. 9 3 56-1762. I A. PH. 6 .1. Draped left arm with capital of column. Pale buff micaceous clay. Figure leans on column with broad capital, left arm wrapped in drapery. Later generation. Fabric of Catania Group of first century B.C.

480. Standing woman? PI. 9 3 I F i . P H . 6 . 2 . Lower part. Pale buff micaceous clay. Round vent. Stands on low base, weight to left. Feet emerge from lower drapery. Fabric is close to the Catania Group of the first century; the subject may be Telesphoros (cf. 356; very similar is a Telesphoros from Ruvo; cf. Walters, BM Cat, D 357, pi. xii). Cf. Libertini, Centuripe, pi. xxxiv :3 (Athena, first century). 60-411.

481. Standing woman? PI. 9 3 6 6 - 2 2 3 . I T i . P H . 7 . 7 . Upper part missing. Soft pale buff clay. Round vent. Similar to 480; distribution of weight indi­ cated more carefully. Possibly Telesphoros; context of late first cen­ tury B.C. 482. Standing woman. PI. 9 3 5 6 - 2 3 2 5 . I G i . P H . 1 0 . 3 . Lower part of figure. Pale buff micaceous clay, white slip. Pink drap­ ery, red object in right hand. Round vent. Closely fitting chiton. Weight to right, in strong contrapposto. Right hand lowered, hold­ ing round object, perhaps a phiale or a mirror. Fabric of Catania Group of first century B . C . P. 78. 483. Reclining woman. PI. 9 4 I I F i . H . 1 3 . 4 . L. 1 7 . 8 . Mended. Hard micaceous buff clay, thin-walled, white slip. Figure of uncertain sex, probably female, re­ clines on high kline, head propped on left arm, which is supported by two large pillows. Right arm falls over edge of thick cushion on which figure reclines. Himationlike garment, falling over right arm and leaving left knee bare. Kline is supported on turned legs; head- and foot­ boards ornamented with volutes. Below is a long trapeza, or perhaps a step (the surface of kline being quite high). A genre subject: an emotional content is evoked by the languid gesture of the right hand and by the head, which rests on the left arm. An eastern source is likely, as for other members of the Catania Group to which 483 belongs. The group of the bride and bridegroom from Myrina is an eastern parallel; the form of the kline is similar, with turned legs, head- and foot­ boards, and trapeza (W 11 232:5; Mollard57-3016.

190

CATALOGUE OF THE TERRACOTTAS

Besques, Louvre TC n, 127, MYR 268, pi. 153). Second half of first century B.C. P. 78. Cf. Libertini, Museo Biscari, no. 1185, pi. CXV (with male figure).

FEMALE HEADS WITH KNIDIAN COIFFURE (484-534) 484. Female head. PI. 94 63-1151. V B. PH. 6.8. Orange-buff clay, white slip. Worn. Turned to left. Oval face with large features, mouth slightly open. Knot at back of head. Perhaps from a standing deity. Early third century. Cf. NSe (1951) 289, fig. 25:6 (Syracuse). 485. Female bead (2). PI. 94 69-886. V C. PH. 6.6. Dark buff clay, white slip. Worn. Same series: 57-2308 (I Ki). Turned to left. Mouth slightly open. High knot. Face of Praxitelean style. Early third century. 486. Female bead. PI. 94 58-519. I J . P H . 7.2. Buff clay, white slip. High knot, round earrings, two creases in neck. From same mold as the head of 3 6 0 . First half of third century. 487. Female head. PI. 94 57-3165. N.S. s. corridor. PH. 5.7. Coarse buff clay, containing bits of shell; white slip. Dark red hair, pink flesh. Turned to right, himation at nape of neck. High knot, round earrings. Full face in Praxitelean style of early third century. 488. Female bead. 71-184. VI B. PH. 6.3. Back missing. Orangebuff clay, white slip. Oval face similar to preceding, though more plump. 489· Female head. PI. 94 60-1400. I Q. PH. 2.6. Buff clay.

Turned to right. Low knot. From a figure about 15 cm. in height. Praxitelean style of third century. 49Ο. Female head. PI. 94 63-1203. I A. PH. 4.9. Buff clay, orange core. Turned to left. Knot at back of head. Fine Praxitelean face of early third century. 491. Female head. 60-1586. I C i . P H . 4.9. Back missing. Buff clay, white slip. Turned to left. Full face in Praxitelean style of first half of third century. 492. Female head. PI. 94 61-778. V B. PH. 4.6. Back missing. Cara­ mel-buff clay, white slip. Turned to left. Eyelids crisply defined; one crease in neck. Full Praxitelean face of early third century. 493· Female head. PI. 95 Syracuse 39481. S 11. PH. 5.7. Orange-buff clay, white slip. Turned to right. Oval face with long nose, low knot. Style of first half of third century. 494. Female head. PI. 94 56-2611. I A. PH. 3.6. Neck missing. Hard buff clay, pink-gray core; white slip. Broad face in Praxitelean style; curved nose; round earrings. Fresh impression. Possibly mid-third cen­ tury. 495. Female head. PI. 95 66-264. II A. PH. 4.3. Levigated pale buff clay, white slip. Dark red hair. Turned slightly to left. Fine oval face with high cheekbones and deep-set eyes, upper lids larger; long nose. Earrings; hair bound with fil­ let, tied in low knot. The heavily lidded eyes suggest the period of 516 (cf. the oval facial type referred to by Thompson as the "Arsinoe type"; Troy TC, 32). The clay is not local.

CATALOGUE OF THE TERRACOTTAS

496. Female head. PI. 9 5 5 6 - 1 3 5 0 . I B. PH. 4 . 7 . Back missing. Orange clay, gray core; white slip. Face is similar to the "Arsinoe type" (for which see 495), although nose is shorter, mouth larger. Eyes widely spaced. Unfamiliar fabric. Mid-third century. 497. Female head. PI. 9 5 5 6 - 2 0 4 6 . I B. PH. 3 . 7 . Pink-buff clay. Long oval face with large features. Third century. 498. Female head. PI. 9 6 6 0 - 6 6 6 . I F 2 . PH. 4 . 7 . Pale orange clay. Turned to left. Broad oval face with full cheeks. Small eyes with clearly defined lids. Hair bound in low knot. Second quarter of third century; an adapta­ tion of the Praxitelean face. 499. Female head. 5 8 - 8 5 4 . II Bi. PH. 3 . 3 . Back missing. Buff clay, white slip. Similar to 497-498 but with coarser features. 500. Female head. PI. 9 6 Ill F. PH. 4 . 0 . Back missing. Pale orange clay. Later version of the type of 498. Second half of third century. 60-1321.

501. Female head. PI. 9 5 5 7 - 3 1 6 3 . N.S. PH. 7 .1. Orange-buff clay, burned; white slip. Surface damaged. Tilted to left. Oval face with soft, full fea­ tures; hair worn in low knot. From a figure about 35-40 cm. high. Mid- to late third century. 502. Female head ( 2 2 ) . PI. 9 5 57-3 1 ?°- N.S. fill. PH. 4 . 5 . Buff clay, white slip. Red-brown hair, pink flesh, b. 60-1320. Ill F. PH. 4.3. Buff clay. Same series: 5 7 - 8 0 3 , - 8 0 8 (N.S. 7 ) , 5 7 - 7 3 7 ( N . S . C , cistern), 1 9 5 7 uncat. ( N . S . ) , 5 7 - 3 1 0 7 , 5 9 - 1 3 0 , - 1 3 7 , - 3 9 1 (N.S. St.), 1 9 5 9 uncat. (N.S.A.), 58-1900 (S.S. 2), 59-1961 (III E), 71-297, -337 (VI B), 58-631 (IV B), 67-38 (I a·

S),

(I Gi), 5 5 - 3 9 1 , - 2 3 8 4 (I B), (I A), Syracuse 4 5 0 5 5 (S 1 2 ) . Inclined to right. Short oval face, long slightly curved nose, bow mouth. Hair full at temples, pulled into low knot. Head 502a has a long anchor for insertion into torso. This is one of the most frequently found heads; yet only one example is attached to a body (361a, to a type III standing draped woman). The twenty-two other heads may have also belonged to type III figures, although mix­ ing of heads and body types did occur (369 and 374, types IV and V; 375 and 391, types VI and IX). A terminus ante quem is given by the pres­ ence of a fragmentary version in the Cittadella Wall deposit (III E) of the mid-third century. The style of 361 suggests a somewhat earlier date close to 275 B.C. 56-2555

59-107

503. Female head. PI. 9 6 V B . P H . 5 . 0 . Burned pink-buff clay, white slip. Similar to 502, with flatter cheeks. Mid-third century.

63-1150.

504. Female head. PI. 9 6 5 7 - 1 4 9 6 . N.S. fill. PH. 4 . 7 . Buff clay, white slip. Similar to 502, coarser modeling. Fillet in hair. Third century. 505. Female head. PI. 9 6 5 8 - 1 8 7 2 . S.S. 2 . PH. 5 . 7 . BufF clay, white slip. Pink flesh. Turned to left. Similar to 502. Mid-third century. Cf. NSe (1951) 2 8 9 , fig. 2 5 : 8 (Syracuse). 506. Female head. PI. 9 6 5 7 - 1 4 6 6 . N.S. fill. PH. 4 . 8 . Buff to pale orange clay, white slip. Inclined to right. Oval face similar to 502 but perhaps influenced by the "Arsinoe type" (cf. 495). Striated hair at sides, pulled into knot at back of head. Probably later third century. 507. Female head. 1 9 5 8 uncat. S.S. PH.

5.2.

Buff clay, white slip.

CATALOGUE OF THE TERRACOTTAS

Turned slightly to right. Oval face with large features; schematic Knidian coiffure bound in low knot. Third century. 508. Female bead ( 2 ) . PI. 9 6 5 8 - 1 3 3 6 . N.S.A. fill. PH. 5 . 5 . Burned redbuff clay, white slip. Same series: 5 8 - 2 2 0 6 (S.S. 2 ; earlier genera­ tion). Turned slightly to left; broad softly modeled face of mid-third century. Hair bound with fil­ let, tied in low knot. 509- Female head ( 2 ) . 5 8 - 1 3 2 8 . N.S.A. fill. PH. 5 .1. Right side damaged, part of neck missing. Burned red-buff clay, white slip. Pink flesh, red lips. Same series: 6 8 - 4 7 8 (V C). Inclined to right. Broad face, short slightly curved nose; similar to 5 0 8 . Mid-third century. 510. Female head. I F 2 . PH. 4 . 7 . Buff clay with pinkish core, white slip. Pink flesh. Softly modeled features; sakkos appears to be worn over hair. Third century. 60-234.

511. Female head. PI. 9 6 5 8 - 2 2 0 8 . S.S. 2 . PH. 4 . 7 . Burned red-buff clay, white slip. Broad Praxitelean face of mid-third century. Hair bound in knot at back of head.

Broad face of mid- to late third century. Thick neck, low knot.

514. Female head ( 8 ) . PI. 9 6 S.S. 2 . PH. 4 . 3 . Buff-brown clay, white slip. 58-2043.

Same series: a, 1 9 5 7 uncat. (N.S.), 1 9 5 7 uncat. (C.S.), 59-2067, 61-656 (I A), 55-1368 (I B). β, 57" 6 98 (N.S. 7, fill), 57-899 (I B). Broad face with short nose and bow mouth; full chin. Style of mid-third century. The eight versions of 5 1 4 are found in two generations. Three other heads which belong to the α group are attached to bodies: two to draped women of type I V ( 3 6 9 b , 3 6 9 : 5 8 - 1 6 3 4 ) and one to a type V figure (374c). The similarity of types IV and V permitted the use of the same head. Both belong in the middle years of the third century. Cf. NSc ( 1 9 5 1) 2 8 9 , fig. 2 5 : 3 (Syracuse); Kekule, pi. XV:y (Akrai).

515. Femalehead ( 3 ) . PI. 9 6 5 6 - 2 9 6 0 . I B. PH. 4 . 9 . Pale buff clay, white slip. Same series: a , 5 8 - 2 2 0 4 (II A); β, 5 8 - 1 0 9 2 (II A). Inclined to left. Facial type is similar to 5 1 4 , although the style is closer to 516. Hair bound in low knot. The clay is unusual.

512. Female head. PL 9 6 59" 1 35· N.S. st. PH. 6 . 2 . Buff clay, white slip. Red mouth, red-brown hair. Turned to left. Broad face with large, widely spaced eyes. Round earrings. Deep anchor for insertion into body. The face suggests the early third century in its large features and slightly opened mouth (cf. 484ff.), but the breadth and short nose show the influence of the mid-century facial type of Berenike II. Fresh impression.

516. Female head. PI. 9 7 I S. PH. 5 . 4 . Top of head damaged. Red-buff clay. Turned sharply to right on sturdy neck, without creases. Broad expressive face, full cheeks and chin, large half-closed eyes with em­ phasized upper lids. The style is that of mid-third century, the fa­ cial type influenced by Berenike II (or perhaps by Philistis?). This fine head belonged to a figure about 25 cm. in height; the style and clay are Syracusan. P p . 4 3 , 6 5 . Cf. Thompson, Troy TC, 3 2 , no. 1 8 7 , pi. X L .

513. Female head. 5 8 - 1 1 4 9 . II A. PH. Red-brown hair.

5 1 7 . F e m a l e h e a d . PI. 9 7 N.S. 7 , fill. PH. white slip. Pink flesh.

67-41.

4.5.

Buff clay, white slip.

57-704.

4.3.

Gray-buff clay,

CATALOGUE OF THE TERRACOTTAS

Inclined on sturdy neck with one crease; facial type of 514. Knot at back of head. Later genera­ tion. Third century. 518. Female head. PI. 97 N.S. 5. PH. 3.2. Orange-buff clay, white slip. Turned to right on sturdy neck. Facial type of 514. From a figure of about 16-17 cm. in height. Later generation. Mid-third century. 57-748.

519. Female head. PI. 97 I F2. PH. 4.7. Back missing. Pinkbuff clay. Turned to left. Broad full face of mid-third century, with widely spaced eyes; mouth slightly open. Earrings formed by prefiring inci­ sions.

60-1343.

520. Female head. PI. 97 56-1298. I B. PH. 3.7. Missing lower part of face and neck. Red-buff burned clay, white slip. Round childlike face with broad forehead and small mouth. Hair bound in low knot. Third century.

The clay is possibly Syracusan. Third cen­ tury. P. 43. 524. Female head. PI. 97 55-297. I A. PH. 4.4. Buff clay. Turned to right. Full face of later third cen­ tury. Hair bound in low knot. 525. Female head. PI. 98 56-469. I B. PH. 4.8. Back missing. Pink-buff clay. Full face, striated hair. Style of late second century. P. 75. 526. Female head. PI. 98 58-1093. II Bi. PH. 4.0. Soft pale buff clay, white slip. Red-brown hair. Full face. Late-Hellenistic fabric and style; very advanced generation. 527. Female head. 59-890. N.S.A. fill. PH. 4.5. Buff-pink clay. Turned to right. Round face and striated hair of second century. High knot. 528. Female head. PI. 98 S.S. 7. PH. 3.1. Buff clay, thick white slip. Pink flesh, red lips. Turned to left, shoulder apparently bare. Oval face; hair in low masses at ears, bound in very low knot. Second half of third century.

62-1299.

521. Female head. PI. 97 I A. PH. 6.0. Orange-buff clay, thick white slip. Turned sharply to right on inclined neck with one crease. Round face with high forehead and prominent chin. Hair bound in low knot. From a figure ca. 26-28 cm. in height. Later third century. 55-774.

529. Female head. PI. 97 N.S. A. fill. PH. 4.0. Orange-buff clay, gray core; white slip. Tilted to left on long neck; blurred features. Hair swept back, tied in knot at back of head. Applied wreath of leaves. Cf. Kekule, pi. XX:6 (Akrai). 58-83.

522. Female head. 57-1586. I A. PH. 5.0. Back missing. Orangebuff clay, white slip. Round face with sharp features, full cheeks. Hair in waves at forehead; thick unarticulated wreath. For the face, cf. 611.

66-695. U E-

523. Female head. PI. 97 55 -1435. I A. PH. 3.5. Hard buff clay with gray core. Pink wreath. Tilted to left; round face with retouching in mouth. Modified Knidian hair tied in low knot; pulled up over wreath.

5 31. Female head. I A. PH. 4.1. Back missing. Bufforange clay, white slip.

530. Female head. PI. 98 PH. 4.9. Buff clay, white slip. Round face with large features; bow mouth; small chin. Hair swept back from forehead. Back unmodeled.

58-259.

194

CATALOGUE OF THE TERRACOTTAS

Round face similar to 5 3 0 ; hair in low waves, ears prominent.

lar to 5 3 5 . Hair in six waves, bound in low knot. Third century.

532. Female head. PI. 98 56-809. I B. PH. 3.8. Back of head damaged. Dark red-buff clay, white slip. Sharply inclined to left on long neck. Oval face with symmetrical features; lips straight, not bowed; earrings. The fabric is probably late Hellenistic. Al­ though the face recalls the style of the first half of the third century, it shares other features with t h e t e r r a c o t t a s o f t h e C a t a n i a G r o u p (cf. 2 3 1 ) and should belong to the second century or later. For the fabric see 314.

537. Female head. PI. 98 55-771. I B. PH. 3.8. Missing neck and right side of head. Pale buff clay. Traces of red in hair. Full face in Praxitelean style, crisp features and slight smile; large eyes and mouth. Hair swept back in six crinkly waves to low knot, now missing. Earrings. Fresh impression with retouching in hair; probably a first generation. Third century. P. 66. Cf. Kekule, pi. xvi:4 (probably Akrai).

533. Female head. PI. 98 60-424. I F2. PH. 3.9. Back missing. Redbrown clay, white slip. Turned to left. Full oval face of late PraxiteIean type with puffy cheeks; mouth formed by two unarticulated protrusions. Earrings. Style of second century or later; cf. 5 3 2 .

538. Female head. PI. 99 Syracuse 33392. S 8C. PH. 3.9. Buff clay, white slip. Turned to right; oval face with long nose. Fluffy six-wave melon coiffure, tied in broad bun at back of head; round earrings. Style of early third century.

534. Female head. PI. 98 68-5. Stray find. PH. 3.8. Clay as 5 3 3 . Turned to left. One crease in neck; hair bound in low knot. Full late Praxitelean face similar to 532-533; it should be attributed to the same shop.

539· Female head. 55" 11 37- IE2. PH. 4. ι. Buff clay, white slip. Surface worn. Turned slightly to left. Face similar to 5 3 7 ; hair divided into six waves, bound in low knot (now missing); earrings. Third century.

FEMALE HEADS WITH MELON COIFFURE (535-593) 535. Female head. PI. 98 62-732. V C. PH. 6.7. Orange-buff clay, white slip. Face in Praxitelean style with blurred fea­ tures; head level. Hair divided into six waves, bound in low broad knot. Earrings. Deep an­ chor for attachment to body. Soft style of third century. 536. Female head. PI. 98 66-128. I P2. PH. 3.8. Buff clay. Traces of orange in hair. Turned slightly to right. Full oval face simi­

540. Female head. PI. 98 68-250. V C. PH. 4.2. Top of head missing. Buff clay, gray core; white slip. Turned to left. Praxitelean face showing lin­ gering influence of Sikeliote formal style in sol­ emn mouth and broad features. Earrings were gilded, hair bound in melon coiffure of eight or more waves. For the style, cf. Kleiner, pi. 22:a (BM C 295, late fourth century). A date early in the third century is likely. 541. Female head. PI. 98 60-1154. Ill F. PH. 4.5. Buff-orange clay, sur­ face worn. Turned to right. Eight-wave melon coiffure bound in broad low bun; diadem over two cen­ tral waves. Round earrings. Similar to 5 4 0 . Early third century.

CATALOGUE OF THE TERRACOTTAS

542. Female head ( 3 ) . PI. 9 9 7 0 - 4 1 4 . II G. PH. 4 . 5 . Buff clay, white slip. Red in hair and at lips. Same series: 5 5 - 2 0 7 0 (I B), 7 1 - 4 1 2 (II G). Tilted to left, turned slightly to right. Oval face with soft features; melon coiffure in six fluffy waves, striated surface. Bound in high broad bun with fillet. Third century, probably early. 543. Female head. PI. 9 8 1 9 5 7 uncat. N.S. C. PH. 5 . 7 . Right side of face and knot missing. Orange-buff clay, white slip. Face in Praxitelean style; full chin, ring in neck. Hair divided into eight waves, tied in high knot; band diadem; earrings. Third century. 544. Female head. PI. 9 9 5 9 - 1 4 4 8 . N.S.A. 1 0 . PH. 4 . 3 . Orange clay, white slip. Turned to right. Symmetrical oval face with dimples; slightly opened mouth; soft modeling. Pupils of eyes defined by small incisions. Hair divided into six waves, bound in low knot. The fine orange clay is probably Geloan; a similar head was found at Gela in a context an­ tedating 282. First quarter of third century. P. 05f. Cf. ArchCl 9 ( 1 9 5 7 ) pi. L V I N :ib (Gela). 545. Female head. PI. 9 9 5 7 - 2 0 9 0 . N.S. 4 . PH. 4 . 5 . Pale orange clay, white slip. Turned to right on long neck; himation drawn from nape of neck across chin in tight folds. Long face in late Praxitelean style with alert expression, wide eyes, slightly open mouth. Hair in six waves, bound in low knot (now missing). Round earrings. The clay is probably Geloan; if so, the piece should antedate 2 8 2 . P . 6 5 . Cf. Kekule, pi. XVIII:4 (Akrai); Lazarides, Abdera, pi. 21, A 18; Laumonier, Delos TC, no. 624, pi. 62. 546. Female head. PI. 9 9 5 7 - 1 4 9 5 . N.S. fill. PH. 3 . 4 . Buff-orange clay, white slip.

Round childlike face; melon coiffure in six strands formed by incisions, swept down to round knot at nape of neck. Thin wreath over forehead, applied leaves on upper surface. Round earrings. Third century. 547. Female head. PI. 9 8 5 8 - 1 1 4 8 . II A. PH. 3 . 7 . Buff-orange clay. Sur­ face worn. Similar to 538. Large nose; later generation. First half of third century. 548. Female head. PI. 9 9 6 0 - 1 4 0 4 . I Q. PH. 3 . 8 . Buff clay, white slip. Similar to 538. Hair in six waves, bound in broad bun at back of head. Lower strands em­ phasized; round earrings. First half of third century. 549. Female head. PI. 9 9 5 6 - 1 6 3 . I U. PH. 3 . 5 . Buff clay, white slip. Orange-red hair; worn. Similar to preceding. Hair in six waves, bound in broad bun at top of head; band di­ adem. Third century. 550. Female head ( 2 ) . PI. 9 9 58-1602. II A. PH. 4.9. Buff-pink clay. Same series: 6 9 - 7 2 0 (I A). Face similar to 551, with full chin and more expressive mouth. Hair divided into twelve bands defined by incisions and stippled; bound in broad high bun with fillet. Mid-third century. The fabric is unfamiliar. 551. Female head. PI. 9 9 6 1 - 7 6 7 . V C. PH. 5 . 4 . Buff clay, white slip. Turned to right; thick neck. Full features, in style of early third century; hair divided into eight flat bands by incisions; stippled surfaces; high bun bound with fillet. Round earrings. The hairstyle indicates a date toward midthird century. Cf. Kekule, pi. xvn:7 (Syracuse). 552. Female head. PI. 1 0 0 6 2 - 6 1 7 . I Q. PH. 4 . 8 . Buff-orange clay, white slip. Hair reddish-orange.

195

CATALOGUE OF THE TERRACOTTAS

Similar to 551; hair drawn back in blurred melon coiffure to high broad bun, bound with fillet; band diadem. Round earrings. Later gen­ eration. Mid-third century.

bound in high bun. Fillet or narrow diadem at top of head, tied at center in Herakles knot. Mid- to late third century. 559- Female head. PI. 1 0 0 I U. PH. 5 . 2 . Buff-orange clay, white slip. Dark maroon hair. Turned to right. Long neck with one crease. Face similar to 558; hair divided into seventeen strands, created by incisions; surface stippled, bound in small high knot. Second half of third century. Cf. Kekule, pi. xvi:5 (probably Akrai). 60-637.

553. Female head. PI. 1 0 0 5 7 - 2 4 3 2 . I B. PH. 4 . 6 . Buff clay, white slip. Red-brown hair. Turned to right. Similar to 551: hair in melon coiffure with multiple waves, bound in large high bun with fillet. Round earrings. Later generation of mid-third-century ar­ chetype. 554. Female head. PI. 1 0 0 5 9 - 4 1 5 . I B . P H . 4 . 5 . Neck missing. Buff clay. Full face in Praxitelean style; hair mostly unarticulated; knot askew. 5 5 5. Female head. 1 9 5 7 uncat. N.S. 7 , fill. PH. 3 . 9 . Top of head. Gray burned clay. Eight-wave melon coiffure, tied in large high knot; band diadem with Herakles knot (cf. 149)·

560. Female head. PI. IOO N.S. PH. 7 . 1 . B u f f c l a y , w h i t e s l i p . Red-brown hair. Turned to right. Face is full with large chin and eyes, open mouth. Similar to 558f. but more expressive. Hair divided into sixteen waves, tied in small high knot; surface stippled. From a figure about 4 0 cm. high; style of sec­ ond half of third century. Cf. Kekule, pi. xvii . ' 3 (Syracuse). 57-3162.

561. Female head. PI. 1 0 0 Ill F. PH. 6.4. Buff clay. Turned to right and tilted; sturdy neck with one ring. Facial type similar to preceding though more angular; prominent chin. Hair in twelve waves, bound in high knot tied with fil­ let; remains of a band diadem. Round earrings. The striated hair is characteristic of the sec­ ond half of the third century (cf. 198). P. 65^ 67-183.

556. Female head. 5 7 - 9 2 5 . I U. PH. 5 . 3 . Surface worn. Buff clay, white slip. Turned to right; long thin neck. Oval face; hair center-parted, drawn to high broad bun in nine strands, bound by fillet. Round earrings. Facial type of first half of third century. 557. Female head. PI. 1 0 0 5 7 - 2 2 1 2 . N.S. st. PH. 5 . 8 . Hard buff clay, white slip. Turned to right on long neck with two creases. Blurred features, Praxitelean facial type. Large round earrings. Hair divided into eleven waves by deep incisions, surface striated; bound in high knot with fillet. Careless work; probably later third century. 558. Female head. PI. 1 0 0 Syracuse 1 8 6 2 5 . S 3 . PH. 8 . 8 . Buff clay, white slip. Turned to right and tilted; fleshy face, two creases in neck. Ten-wave melon coiffure,

562. Female head ( 4 ) . PI. 101 5 8 - 1 6 8 4 . S.S. i. PH. 7 . 2 . Pink-buff clay, white slip. Same series: 6 1 - 1 2 8 (I A), 6 9 - 7 9 8 (V C). Very similar, probably belonging to a second genera­ tion: 59-624 (I A). Turned to left; full neck with one crease. Face similar to preceding, with flat forehead and cheeks, long nose, solemn mouth. Eight-wave melon coiffure bound in high bun with fillet. Round earrings. Mid- to late third century. 563. Female head. PI. 1 0 0 5 8 - 5 0 1 . I A. PH. 8 . 3 . Buff-pink clay, traces of white slip.

CATALOGUE OF THE TERRACOTTAS

Deep-set eyes and prominent mouth; thin stippled wreath worn over melon coiffure with ten waves and high knot; surface of hair consists of irregular striations. Flat style of later third century. Cf. Kekule, pi. xvn:9 (Syracuse). 564. Female head. PI. 100 61-508. I Ri. PH. 6.7. Right side of face dam­ aged. Buff clay, orange core. Pink-brown hair. Turned to right; neck with two rings. Softly modeled face in Praxitelean style. Hair in four­ teen waves defined by incisions; surfaces stip­ pled, tied in small high knot. Earrings. Back hand-modeled. Early-third-century facial type appears to have been reused (probably in a second genera­ tion) with a later hairstyle. 5 65. Female head. 57-1009. I U. PH. 6.5. Buff-orange clay, white slip. Encrusted and worn. Turned to right. Face in Praxitelean style with round earrings. Hair in twelve waves, tied in high small knot. 566. Female head. PI. 101 57-2095. IV B. PH. 4.4. Top of right side bro­ ken. Buff clay with gray core; white slip. Long face with flat cheeks and forehead. Hair in eight waves, bound in high knot (now miss­ ing). First half of third century. 567. Female head. PI. 101 57-2261. N.S. 3. PH. 5.0. Neck missing. Buff clay, gray core. Full face in Praxitelean style, with broad cheeks. Hair in eight waves, bound in high knot with fillet; diadem at crown of head; round ear­ rings. Later generation. First half of third century. 568. Female head. PI. 101 70-615. VI B. PH. 5.0. Buff clay, white slip. Full oval face with carefully modeled features; broad at level of eyes. Multiple-wave melon coif­ fure formed by grooves, drawn to small high knot. Second half of third century.

569- Female head. PI. 101 56-1969. I V2. PH. 5.8. Buff clay, white slip. Turned to right. Long face of Praxitelean type; hair divided into fourteen unarticulated waves, tied in high small knot. Later genera­ tion. Later third century. 570. Female head. PI. 101 55-1741. I A. PH. 4.6. Back missing. Graybuff clay. Turned to right. Full facial type of 523; melon coiffure in twelve waves, surface smooth. End of third century or later. 571. Female head. PI. 101 67-32. Ill F. PH. 5.6. Orange-buff clay, white slip. Turned to left. Long neck with several rings. Face in late Praxitelean style with blurred fea­ tures. Hair in fourteen waves, bound in high knot; fillet. Probably later third century. 572. Female head. PI. 101 60-907. I F2. PH. 4.5. Worn. Orange-buff clay. Turned slightly to right; thick neck. Facial type of 571; hair in eight waves bound in bun at back of head; surfaces striated. Later third century. 573. Female head. Pl. 1 ο 1 59-133. N.S. st. PH. 7.5. Back and right side of hair missing. Orange-buff clay, white slip. Frontal head, possibly of a goddess; broad face; eight-wave melon coiffure. Mid-third century. 574. Female head. PI. 101 57-807. N.S. 7. PH. 4.4. Includes part of himation. Buff clay, white slip. Similar to 50off. Crudely molded with dented chin. Later third century. 575. Female head. PI. 101 62-196. II B3. PH. 3.6. Buff clay, thick white slip. Red-brown hair. Turned to right; thick neck. Solemn version

197

CATALOGUE OF THE TERRACOTTAS

of Praxitelean facial type. Caplike hair divided into eleven waves by incisions. Later generation. Later third century. P. 66. 576. Female head ( 2 ) . PI. 1 0 2 VI A. PH. 5 . 7 . Buff clay, encrusted. Same series: 6 2 - 4 7 4 ( H ^ ) Hair divided into eight waves, bound at top in high knot. Later generation. 63-502.

1

577. Female head. PI. 1 0 2 5 9 - 7 4 0 . I U. PH. 6 .1. Worn. Buff clay, gray core; white slip. Turned to right. Similar to preceding; hair in small high knot; anchor for attachment to body. Later third century. 578. Female head ( 5 ) . PI. 1 0 2 5 6 - 1 2 7 9 . I B. PH. 5 . 3 . Buff clay. Worn. a. Same series: a, 5 9 - 1 5 2 4 (N.S.A. fill), 6 1 - 1 2 6 7 (Nec. Ill fill), β, 57-381 (I A). Very similar, with added melon coiffure: 6 2 - 6 7 2 (I P 2 ) . Turned to right. Thick neck with one ring. Hair treated as cap, here unarticulated but in other members of the series incised to form melon coiffure. Late third century. 579- Female head. PI. 1 0 2 7 1 - 1 4 6 . VI B. PH. 4 . 7 . Worn. Buff clay. Blocky face with high forehead; hair in melon coiffure of six waves; wreath of applied fruit or berries. Possibly late fourth century. P. 6 5 f.

582. Female head. PI. 1 0 1 IQ. PH. 3.7. Lower part of face miss­ ing. Buff clay, white slip. Mouth was veiled by himation. Blurred fea­ tures. Hair drawn back in melon coiffure of about eight waves to large bun at back of head. Diadem at crown. Hole in top of head for inser­ tion of object, perhaps a hat. Third century? 60-1359.

583. Female head (6). PI. 1 0 2 a. 6 1 - 9 0 3 . V B. PH. 4 . 8 . Orange-buff clay, white slip; worn. Red hair. b . 7 1 - 1 8 0 . VI B. PH. 7 . 2 . Includes part of shoulders. Buff clay, white slip. Same series: 1 9 5 7 uncat. (N.S. fill), 5 7 - 1 0 9 8 (III F), 59-1634 (I Ci), 57-372 (I A). Turned to right. Himation drawn over bun at back of head; diadem or fillet before bun. Hair worked with greater detail in 583a; divided into eight waves. Probably second half of third century. 584. Female head. PI. 1 0 1 7 1 - 4 1 1. II G. PH. 3 . 2 . Buff clay, white slip. Traces of red in hair. Broad face. Hair in multiple-strand melon coiffure with scored surface, bound in high knot. Second half of third century.

580. Female head. PI. 1 0 2 II A. PH. 4 . 0 . Orange-buff clay, traces of white slip. Small face with high forehead. Melon coiffure of eight waves, deep incisions articulating sur­ face; caplike sakkos at back of head; round ear­ rings. Possibly late fourth century. P. 65^

585. Female head. PI. 1 0 2 5 8 - 2 0 4 4 . S.S. 2 . PH. 4 . 9 . Red-buff clay, pos­ sibly Syracusan. Turned to left on heavy neck, tilted forwards. Expressive face with half-opened mouth, low­ ered brows. Full modeling; high broad fore­ head. Hair arranged in tight multiple waves, pulled to (missing) knot at top of head. Braided strands appear to bind hair from nape of neck to crown; but this may be a diadem or a wreath. Second half of third century. P. 66(.

581. Female head. PI. 1 0 2 6 0 - 1 3 5 5 . I Q. PH. 3 .1. Buff-caramel clay, white slip. Small head tilted to right. Large round ear­ rings. Multiple-strand melon coiffure, drawn back apparently under a freely modeled hood. Style of third century.

586. Female head. PI. 1 0 2 5 8 - 1 8 0 7 . Ill F. PH. 3 . 7 . Missing neck. Buff clay, tending to caramel. Full face with large fleshy mouth; back unmodeled. Melon coiffure in eight waves; heavy wreath, rectangular in section, with stippled surface.

66-365.

CATALOGUE OF THE TERRACOTTAS

Third century. P. 4 3 . Cf. Kekule, pi. xx:4 (Akrai). 587. Female head. 60-511. I U . P H . 3.4. Buff clay. Worn features. Hair in melon coiffure formed by incisions; thick wreath. Back unmodeled. 588. Female head. PI. 102 69-799. V C. PH. 4 . 7 . Buff clay, white slip. Encrusted. Tilted to right. Neck has one ring; full round face. Hair seems almost a cap, with five waves defined by shallow incisions; surface otherwise smooth. Knot at back of head now missing. The hairstyle is found in the later third cen­ tury; there are examples from dated contexts at Soloeis and Taras. Cf. OpusRom 9 ( 1 9 7 3 ) 8 9 , fig. 6 (Soloeis); NSc (1940) 335, fig. 24 (Taras). 589. Female head. 7 ι "34°. VI B. PH. 1. 7 . Buff clay, white slip. Tiny head with six-wave melon coiffure, bangs at sides of head. Third century. 590. Mold of female head. PI. 102 66-110. I Q. PH. 2.9. Buff clay. Mold for small head with melon coiffure; ad­ vanced generation. The only mold for a female head from Morgantina. 591. Female head. PI. 102 5 7 - 1 6 2 5 . I K 3 . PH. 5 .1. Buff clay. Worn. Features very worn. Eight-wave melon coif­ fure, surface striated in parallel lines imitating effect of combing hair toward forehead. Wreath at back of head. Late-second-century context. 592. Female head. PI. 103 5 6 - 5 3 3 . I G i . P H . 6 . 3 . Mouth and chin miss­ ing. Buff clay. Very large eyes. Hair drawn straight back in eight or nine strands, tied in bow knot at top of head. In front of knot is fillet. Behind ears, at back of head, hair is bound in another low ir­

regular knot; long locks to shoulders. From a figure ca. 30 cm. in height. Probably late Hellenistic. 593. Female head. PI. 103 Syracuse 3 3 3 9 8 . S 8 D . PH. 5 . 8 . Buff clay. Angular face with large features. Late version of melon coiffure; strands of hair drawn to top of head, apparently tied in bow—or is this protru­ sion a stephane? Large earrings; low diadem in front of bow. Back hand-modeled. Similar to 592; late Hellenistic.

FEMALE HEADS WITH MODIFIED MELON COIFFURE (593bis-605) 593bis. Female head. PI. 103 5 9 - 7 3 5 . Nec. Ill, tomb 12. PH. 3 . 5 . Creamy buff clay with gray discoloration; right side damaged. Narrow face with precisely defined features, broad mouth. Hair pulled back and tied in knot, now lost; surface lightly scored. The context belongs to about 3 0 0 B . C . ; the solemn expression and fine modeling are reflec­ tions of the late-classical style of this period. 594. Female head. PI. 103 6 2 - 8 0 8 . V B. PH. 3 . 8 . Pale buff clay, appar­ ently burned. Red in hair. High broad forehead, deep-set eyes. Crinkly hair swept back with deep incisions; fine painted locks in red over forehead. Wreath of leaves and fruit. Probably later fourth century. P. 6 5 . 595. Female head. PI. 103 6 6 - 6 5 0 . II A. PH. 4 . 5 . Buff clay, white slip. Red-brown hair. Turned slightly to right. Face in Praxitelean style; soft modeling, eyes with straight upper lids. Hair pulled back into low bun. Round ear­ rings. Early third century. 596. Female head. PI. 1 0 3 6 2 - 6 7 3 . I Q. PH. 3 . 0 . Missing lower part of face and neck. Buff clay. Red-brown hair.

199

2OO

CATALOGUE OF THE TERRACOTTAS

Similar to 595. Crinkly hair more carefully worked with tool. Third century. 597. Female head. PI. 1 0 3 5 8 - 5 0 2 . I A. PH. 3 . 4 . Buff clay, white slip. Broad face. Hair pulled into high small knot. Earrings. Mid-third century. 598. Female head. V C. PH. 3 . 3 . BufF clay, white slip. Red-brown hair. Oval face, full cheeks and chin. Hair pulled into high knot. Earrings. Style of mid-third century.

61-929.

599· Female head. PI. 1 0 4 PH. 3 . 2 . Buff clay, white slip. Red-brown hair. Similar to 5 9 8 .

60-947. ^ F2·

600. Female head. PI. 1 0 3 6 2 - 6 4 3 . I Q. PH. 4 . 6 . Buff clay, heavy white slip. Brown hair, red lips. Praxitelean face of late-third-century style. Hair drawn into high small knot; surface marked by striations. Earrings. 601. Female head. 6 2 - 6 7 5 . I Q. PH. red lips. Similar to 6 0 0 .

3.9.

Buff clay. Brown hair,

602. Female head. PI. 1 0 3 5 9 - 1 4 4 3 . N.S.A. fill. PH. 4 . 3 . Buff clay, white slip. Turned to left. Face in Praxitelean style with large features. Hair drawn into high knot; sur­ face striated. Round earrings. Style of third quarter of third century. 603. Female head. PI. 1 0 3 6 1 - 6 7 1 . I Q . P H . 4 . 8 . Buff clay. Frontal; oval face with large coarse features. Surface of hair scored with incisions; high knot. Second half of third century; unusual style. 604. Female head. 6 8 - 4 5 4 . V C. PH. Dark red in hair.

5 . ι.

Face damaged. Buff clay.

Tilted left. Hair swept back in irregular, crinkly strands. Wreath at top of head. 605. Female head. 63-737. I C i . PH. 4. 1 . Buff clay, encrusted. Turned to left. Long face. Stippled hair and wreath. Round earrings. Back unmodeled.

FEMALE HEADS WITH BOW KNOT (606-611) 606. Female head. PI. 1 0 4 6 0 - 1 2 9 . I W. PH. 6 . 3 . Head and breasts. Buff clay, white slip. Frontal figure wearing chiton with high shal­ low neckline. Hair bound in large lampadion knot. Head 6 0 6 is related to the Artemis 2 0 4 ; the lampadion knot is an early version of the bow knots of 608-61 1. Fourth century. 607. Female head. PI. 1 0 4 Syracuse 1 7 2 3 1 . S 2 . PH. 5 . 1 . P i n k - b u f f c l a y . White slip. Turned slightly to right. Broad oval face with large features. Hair tied in knot at top of head; scalloped undulating waves in front. Broad fil­ let. There is a later version from Gela but the best parallels occur on vases of the Kerch style. Syracusan import of third quarter of fourth cen­ tury. Pp. 36, 6 5 . Cf. ArchCl 9 ( 1 9 5 7 ) pi. lviii: 1, right (Gela, be­ fore 2 8 2 ) ; Schefold, Untersuchungen, no. 1 5 1 , Abb. 76. 608. Female head. PI. 1 0 4 6 0 - 7 6 4 . I M 2 . PH. 3 . 5 . Buff-orange clay. Tilted left. Knidian hair, high bow knot; small hole in top of head behind knot, perhaps for a hat. Back unmodeled. Round face of late-third-century type; the piece may be later. 609. Female head. 5 8 - 3 2 . N.S.A. fill. PH. 5 . 2 . Pink-buff clay. Battered head with bow knot; hair worn in tresses to shoulders. P. 4 3 .

CATALOGUE OF THE TERRACOTTAS

610. Female head. PI. 104 58-1365. N.S.A. fill. PH. 4.0. Pink-buff clay. Oval face with thick features. Hair modeled in undulations, tied at crown in bow knot, and also worn to shoulders. Round earrings; back flat. Unusual head of uncertain date. 611. Female head. PI. 104 57-796. II A. PH. 4.4. Pale orange clay with flecks of mica. Broad face with large features. Hair arranged in melon coiffure, drawn into broad bow knot with tresses to shoulders. Back unmodeled. Possibly an import from the Kyrenaika.

HOODED FEMALE HEADS (612-648)

615. Female head. PI. 105 56-2705. I F2. PH. 4.2. Buff clay, white slip. Similar to 614. Third century. 616. Female head. 71-39. VI B. PH. 5.1. Right side of head dam­ aged. Orange-buff clay, white slip. Similar to 614. Third-century context. 617. Female head (2). PI. 105 57-3169. N.S. 9. PH. 4.2. Pale orange clay, traces of white slip. Same series: 60-1409 (I Q). Turned slightly to right. Himation pulled close under chin; high knot. Features similar to those of 614. Third-century context.

612. Female head. PI. 104 62-734. I Q. PH. 5.2. Missing top of head. Buff clay. Turned to left, himation pulled tightly under chin. Solemn face with large mouth and deepset eyes (cf. 542f.). From a figure about 35 cm. in height. Early third century.

618. Female head. PI. 105 Syracuse 36800. S 10. PH. 6.4. Buff clay, white slip. Pink flesh. Turned to right. Oval face with long nose. Wimpled hood; eight-strand melon coiffure tied in knot at back of head. Cf. Kekule, pi. xvm:6 (Akrai).

613. Female head {4). PI. 104 57-1004. N.S. 7. PH. 4.9. Buff-red clay, white slip. Same series: 57-2079, 1957 uncat., two (N.S. 7)· Turned to right. Face of Praxitelean type, showing influence of formal style of standing deities (cf. 56-59). Dimpled chin. Knidian coif­ fure tied in knot at back of head. The presence of all four members of the series in the same room is curious. Early third cen­ tury.

619. Female head. PI. 105 59 _I 955· HI E- PH- 4-7- Buff day. white slip. Turned to right, looking down. Expressive face, oval in shape, with open mouth. Knidian coiffure tied in knot at back of head. Scalloped himation pulled across right shoulder. Similar heads have been found at Syracuse. The context of 619 points to a date before midthird century. Cf. Kekule, pis. XVII:I (Syracuse), XVIII:3, 6 (Akrai); NSc (1954) 314, fig. 12:4 (Syracuse).

614. Female head. 59-1956. III E. PH. 4.9. Burned orange-buff clay, white slip. Surface worn. Turned to left. Oval face with long nose, small eyes, and full chin. High knot; edge of himation scalloped in front. Dated by context to ca. 260-250 B.C.; similar heads have been found at Syracuse and Kentoripa. Cf. Kekule, pis. XVII:I, xxxiv:2, 4.

620. Female head. Pl. 105 Syracuse s.n. PH. 4.9. Upper part damaged. Pink-buff clay, white slip. Turned to left on tilted neck. Oval face simi­ lar to preceding. Knot at back of head; scalloped himation. Mid-third century. 621. Female head (5). PI. 105 66-811. I Q. PH. 3.1. Buff clay, white slip. Pink himation. Same series: 56-261 (I B), 57-3116 (N.S. fill),

20I

202

CATALOGUE OF THE TERRACOTTAS 5 9 - 1 2 8 (N.S. St.), 6 1 - 1 3 1 3 (V C). Very similar are 71 -268 and -293 (VI B). A diminutive hooded head, used for type VIII of the standing women (cf. 3 8 8 ) .

622. Female head ( 3 ) . PI. 1 0 5 5 7 - 2 8 7 8 . II A. PH. 4 . 4 . Buff clay, white slip. Same series: 6 7 - 3 3 (I Q)> Syracuse 3 3 3 8 1 (S

8A). Used for type VII of the standing women (cf. The long nose, bow mouth, and dimple are seen in Syracusan heads of the mid-third cen­ tury. Fresh impression. Cf. Kekule, pi. xvni:i (Akrai). 383).

623· Female head ( 3 ) . PI. 1 0 5 5 7 -1 1 2 7 . IV B. PH. 4 . 4 . Buff clay, white slip. Same series: 1957 uncat. (N.S. s. corridor), 71-143 (VI B). Turned slightly to left. Similar to 6 2 2 . 624. Female head. PI. 1 0 5 5 8 - 1 7 4 2 . Ill F. PH. 3 . 2 . Buff clay. Turned to left. Type of 6 1 4 ; mid-third cen­ tury 625. Female head. PI. 1 0 5 5 7 - 2 3 5 . I A. PH. 3 . 7 . Back of head damaged. Buff clay, white slip. Similar to 6 2 4 . 626. Female head. PI. 1 0 6 5 7 - 2 3 9 0 . I K 2 . PH. 4 . 6 . Orange-buff clay; sur­ face worn. Round expressive face with full cheeks, large eyes. Modeling is more detailed than usual. Round earrings; high knot under himation. Context of late second century; perhaps ear­ lier. 627. Female head ( 8 ) . PI. 1 0 6 5 9 - 1 3 1 . N.S. st. PH. 4 . 2 . Buff clay, white slip. Pink flesh, bright pink himation. Same series: 5 7 - 9 9 8 , - 1 0 5 2 , - 1 0 5 3 , " Ι2 θ4 (N.S. 7), 57 -1577 (C.S.), 68-293 (V C), 71-374 (VI B). This head was used for types VI and IX of the standing draped women (375, 391); on the mix­ ing of heads and bodies, see 502. The full oval face is related to the broad facial type of the

mid-third century (cf. 029ff.), but it is also similar to 622 and may come from the same shop. 628. Female head. 6 9 - 8 7 5 . V C. PH. 4 . 7 . Neck and parts of head missing. Buff clay, white slip. Round face of type of 6 2 7 . Dimpled chin, scalloped himation. 629. Female head. PI.

106

Nec. Ill, fill. PH. 4 . 9 . Burned pinkbuff clay, white slip. Turned to right on tilted neck. Fine broad face of type of 516, with widely spaced eyes and high cheeks. Knidian hair bound in low knot; scalloped himation with freely modeled border pulled over right shoulder (cf. 6 1 9 ) . Syracusan style of mid-third century. 59-54.

630. Female head. PI. 1 0 6 6 0 - 7 0 6 . I X. PH. 6 .1. Buff clay, white slip. Traces of pink-brown in hair. Similar to 6 2 9 . Himation pulled forwards framing face and neck, which is extremely long and full. Blurred later generation. Late-third-century context. 631. Female head. PI. 1 0 6 5 9 - 1 9 9 8 . N.S.A. 1 4 . PH. 3 . 6 . Burned buffbrown clay, white slip. Broad face of mid-third-century type. Knidian coiffure, tied in knot at back of head. The treatment of the top of the hood as a flat band is seen in terracottas of Syracusan style (cf. OpusRom 9 { 1 9 7 3 } , 9 3 , fig. 1 3 : Syracuse 2 7 8 4 0 , tomb 37, Kentoripa). Mid-third century. P. 6 5 . 632. Female head. PI. 1 0 6 7 1 - 2 9 4 . VI B. PH. 5 .1. Buff clay; surface worn. Larger version of 6 3 1 . 633. Female head. PI. 1 0 6 5 7 - 7 9 7 . II A. PH. 4 . 0 . Buff clay, white slip. Broad face of mid-third-century type; mouth and nose as 62 2 if. Himation pulled tight under chin, head inclined to right.

CATALOGUE OF THE TERRACOTTAS

634. Female bead. 5 7 - 1 4 9 8 . N.S. fill. PH. 4 . 9 . Buff clay, white slip. Pink flesh. Turned to right on long neck, which is ringed with heavy masses of flesh. Blurred de­ tail; later generation. End of third century. 635. Female head (3). 5 7 - 1 2 6 0 . N.S. C, cistern. PH. 4 . 7 . Buff clay. Same series: 56-379, -481 (I B). Turned to left. Very blurred features; later generation. Third to second century. P. 7 5 . 636. Female head {2). PI. 1 0 6 5 8 - 1 3 0 9 . N.S.A. fill. PH. 3 . 8 . Buff-orange clay, white slip. Same series: 1 9 5 7 uncat. (N.S. s. corridor). Turned to right. Knidian coiffure articulated in parallel striations at temples (cf. 5 2 5 , 5 2 7 , etc.). Probably second century. 637. Female head. PI. 1 0 6 5 8 - 1 1 5 0 . II A. PH. 6 . 2 . Buff clay, white slip. Similar to 635, though larger. Late third century. 638. Female head. Pl. 1 0 6 5 9 - 3 1 3 . N.S. st. PH. 3 . 7 . Gray-buff clay, white slip. Pink-orange flesh. Inclined sharply to right on tilted neck. Round face of unusual type with furrowed brow and thick nose. Same fabric as 692, which also has glazelike applied paint. Perhaps second century. 639. Female head. 5 8 - 1 4 6 6 . II A. PH. 3 .1. Face damaged. Graybuff clay. Frontal head; himation seems to be worn over a low diadem. Small hole for insertion of object at parting of hair before diadem. Knidian hair, swept back to knot at back of head. Fabric simi­ lar to 6 3 8 . 640. Female head. PI. 1 0 7 6 0 - 2 4 0 . I F 2 . PH. 3 . 2 . Buff clay. Crudely modeled; face wrapped in himation.

Hole in top of head for insertion of object, perhaps hat. Uncertain date. 641. Female head. PI. 1 0 7 56-356. I B . P H . 3. 1 . B u f f c l a y . Crudely modeled by hand in imitation of mold-made heads. High knot. Uncertain date. 642. Female head. PI. 1 0 7 6 1 - 9 3 1 . V C. PH. 5 . 3 . Buff-orange clay, white slip. Swathed frontal head; high stephane under himation. Face, though worn, suggests style of midthird century, as does the context. 643. Female head. PI. 1 0 7 6 0 - 5 0 6 . I U. PH. 5 . 4 . Pink-buff clay. Similar to 6 4 2 , though cruder. 644. Female head. PI. 1 0 7 5 8 - 2 1 4 5 . S.S. 2 . PH. 3 . 1 . B u f f c l a y , w h i t e slip. Turned slightly to right. Face veiled; broad eye-holes, veil drawn tightly under chin. Hair bound in knot at back of head. From a dancing figure. Heads of this type have been discussed by Thompson (AJA 54 [1950] 37 iff·, esp. 382^; idem, Troy TC, 52, n. 126), who notes an example in Syracuse from Gela (inv. 18971) and two more at Poseidonia. Possibly evidence of Alexandrian influence, although the mold series is probably Sikeliote. T h i r d century. P . 6 7 . 645. Female head (2 ) . PI. 1 0 7 5 7 - 1 0 8 5 . N.S. fill. PH. 3 . 1 . B u f f c l a y , w h i t e slip. Gray veil. Same series: 6 3 - 1 0 5 0 (V B). Turned to right, veil drawn over tip of nose and mouth. 646. Female head. PI. 1 0 7 6 7 - 3 7 . I S . P H . 3 . 5 . Buff clay, white slip. Pink flesh. Sketchily modeled hooded head with himat­ ion drawn across lower part of face. Hole in top (cf. 6390. Context of third century.

203

204

CATALOGUE OF THE TERRACOTTAS

647. Female head. 6 1 - 9 3 2 . I J . P H . 3 . 8 . Buff clay. Very simply modeled head with himation ap­ parently drawn across lower part of face. Ad­ vanced generation. 648. Female head. PI. 1 0 7 6 0 - 1 3 2 . I W. PH. 6 . 0 . Includes shoulders and breasts. Buff clay, white slip. Hood drawn under chin, pulled over left shoulder. Later generation.

HEADS W I T H S T E P H A N E OR DIADEM (649-676) 649. Female head. PI. 1 0 7 5 9 - 5 4 0 . N.S.A. fill. PH. 4 . 2 . Missing left side of face and back of head. Buff slightly micaceous clay, white slip. Traces of red in hair. Broad face of later-third-century type; low stephane; K n i d i a n coiffure. P . 6 7 . 650. Female head. PI. 1 0 7 5 8 - 1 2 9 8 . II A. PH. 4 . 2 . Surface damaged. Burned buff-orange clay, white slip. Tilted right. Large stephane; Knidian coif­ fure with low knot, now broken. 651. Female head. PI. 1 0 7 7 1 - 3 4 2 . W.S. PH. 5 . 9 . Neck missing. Bufforange clay, white slip. Oval face of third-century type; Knidian coif­ fure; stephane w i t h fillet i n front. P . 6 7 . 652. Female head. PI. 1 0 7 5 6 - 3 6 6 . I U. PH. 5 . 0 . Buff clay, white slip. Red hair and stephane. Turned to left and tilted; long neck with two creases. Stephane; Knidian hair tied in knot at back of head. Second half of third century. Cf. Kekule, pi. xix : 5 , 8 (Syracuse). 653. Female head. PI. 1 0 7 Syracuse 3 9 4 8 4 . S 11. PH. 6 . 4 . Pale buff clay. Oval face with large features, retouched be­ fore firing. Knidian coiffure, tied in schematic knot; low stephane. Frontal. Later third century.

654. Female head. PI. 1 0 8 5 9 - 1 0 7 3 . I M i . P H . 7 . 7 . Partofright shoulder preserved. Buff micaceous clay, white slip. Turned and tilted to left on long neck. Knidian hair worn to shoulders; broad stephane. Broad face in style of later third century, al­ though the fabric is typical of the second cen­ tury or later. 655. Female head. PI. 1 0 8 5 9 - 1 3 2 . N.S. st. PH. 4 . 1 . B u f f - p i n k c l a y , white slip. Broad face with large features, bow mouth. Long neck. Stephane; Knidian coiffure bound in knot at back of head. 656. Female head. PI. 1 0 8 5 9 - 3 0 8 . N.S. st. PH. 5 . 8 . Buffclaywithburned surface. Long oval face of type often found with melon coiffure. Ears and mouth defined by incisions; low hand-modeled stephane. Later third century. 657. Female head. PI. 1 0 8 55-423. I B. PH. 6. ι. Pale buff clay. Broad face; Knidian coiffure bound in high knot; small stephane. Very advanced genera­ tion. Late Hellenistic. 658. Female head. PI. 1 0 8 55"395· I β- PH. 5-3- Pale orange clay, micaceous. Turned to right. Full oval face. Knidian coif­ fure bound in high knot; high stephane. Late Hellenistic. 659- Female head. PI. 1 0 8 5 9 - 1 5 4 3 . I A. PH. 6 . 9 . Buff-orange micaceous clay, worn. Turned to right. Knidian coiffure bound in low knot; broad stephane. Very advanced gener­ ation. 660. Female head. PI. 1 0 8 6 8 - 3 2 . Ill G. PH. 5 . 6 . Back missing. Buff clay, slightly micaceous. Pink flesh. Broad face, with blurred features of advanced

CATALOGUE OF THE TERRACOTTAS

generation. Knidian coiffure, locks defined by parallel striations. Late-Hellenistic context and style.

indentations, perhaps indicating open scroll­ work. Late Hellenistic.

661. Female head. PI. 1 0 8 5 5 - 2 2 4 0 . I A. PH. 4 . 7 . Buff-gray clay, slightly micaceous. Broad face. Stephane with molding at top; Knidian coiffure, defined by parallel horizontal incisions. Late Hellenistic. P. 7 5 .

667. Female head. PI. 1 0 9 5 8 - 4 7 . N.S.A. fill. PH. 7 . 0 . Burned graybrown hair. Tilted forward, turned slightly to left. Blurred features. Knidian coiffure; broad stephane. Same fabric as 671. Late Hellenistic.

662. Female head (3). PI. 1 0 8 5 7 - 1 2 6 4 . N.S. C, cistern. PH. 5 .1. Mottled buff-orange clay, white slip. Same series: 1 9 5 7 uncat., two (N.S. fill). Broad face with hair as 661, rounded stephane (or wreath?); one of the uncatalogued pieces wears a serrated diadem. Second century.

668. Female head. PI. 1 0 9 5 9 - 1 3 2 0 . I M 2 . PH. 5 . 3 . Pale orange clay. Traces of red in hair. Turned to right. Blurred features. Knidian coiffure, tied in high knot; high stephane. Back hand-modeled. Third century.

663. Female head (4 ) . PI. 1 0 8 5 8 - 1 4 6 5 . II A. PH. 6 .1. Burned orange-buff clay, white slip. Same series: 5 6 - 1 6 9 7 (I B), 5 8 - 1 3 0 6 (N.S.A. fill), 58-2203 (II A). Damaged head with features similar to 662; stephane. Late Hellenistic. 664. Female head. PI. 1 0 9 5 9 - 1 0 3 . N.S. st. PH. 3 . 9 . Orange-buff clay, slightly micaceous; white slip. Dark red hair. Fabric and style similar to 662 ff.; serrated di­ adem . Later generation. Third to second century.

669. Female head. 5 7 - 2 2 6 0 . N.S. st. PH. 3 . 4 . Coarse b u f f mica­ ceous clay, white slip. Hooded, himation pulled over high stephane and drawn tightly under chin. Second century. 670. Female head. PI. 1 0 9 5 8 - 1 3 1 2 . N.S.A. 4 , cistern 1. PH. 4 . 5 . Buffpink clay, white slip. Brown-red hair. Tilted and turned to right. Blurred features. Knidian coiffure tied in knot at back of head; high stephane. Second century.

665. Female head. PI. 1 0 9 5 8 - 1 3 4 8 . II A. PH. 3 . 8 . Buff clay, white slip. Turned to right. Knidian coiffure bound in knot at back of head; broad stephane. Third to second century.

671. Female head (2). 5 9 - 5 3 . N.S. st. PH. 5 . 0 . Burned pink-buff clay. Same series: 5 7 - 2 2 0 ( I Gi). Tilted, turned to left. Blurred features. Knidian coiffure; stephane. Same fabric as 667. Second century.

666. Female head. PI. 1 0 9 5 7 - 7 8 0 . N.S. fill. PH. 4 . 4 . Buff-pink clay. Turned to right. Blurred features. Knidian coiffure tied in knot at back of head, locks de­ fined by parallel incisions. Serrated diadem with

672. Female head. PI. 1 0 9 6 2 - 8 5 5 . V B - PH. 2 . 2 . Neck missing. Buffpink clay, white slip. Blurred features. Very broad stephane, re­ sembling a sunhat.

205

2Θ6

CATALOGUE OF THE TERRACOTTAS 673. Female head. PI. 1 0 9 5 5 - 3 9 2 . I B. PH. 4 . 3 . Pale buff-brown clay, white slip. Red hair. Tilted and turned to left. Fleshy oval face with large eyes. Knidian coiffure bound in low knot. High narrow stephane. Second century.

Round face with large features; hair worn short, its surface smooth except for protruding fore­ lock. Back is hand-modeled. Context of the later fourth or early third cen­ tury for 6 1 - 5 5 3 .

674. Female head. PL 1 0 9 6 1 - 9 0 4 . V B. PH. 3 . 5 . Buff clay, white slip. Oval face with blurred features. Knidian coif­ fure, worn to shoulders; broad stephane rising from sides of head. Late third century.

679· Male torso. PI. 1 1 0 6 7 - 8 7 . I Q. PH. 8 . 2 . Chest and part of abdo­ men. Buff-pink clay, white slip. Torso is turned slightly to left. Figure ap­ pears to have been seated; legs would have been to right. Modeling of the muscular chest is spare and careful. The position suggests a reclining banqueter. Fresh impression; fabric of the third century.

675. Female head. 6 1 - 3 0 0 . I R 2 . PH. 4 . 5 . Missing front of neck. Buff micaceous clay, white slip. Oval face. Hair in heavy masses at temples; narrow stephane with fillet in front. The fabric resembles that of the Catania Group although the scale is larger. Probably second century, possibly later. P. 7 8 .

680. Male torso. PI. 1 1 0 5 7 - 9 6 . I G i . P H . 7 . 5 . Right side of chest. Hard buff clay. Simply modeled torso of male figure with raised right arm. Fabric of the later third century.

676. Female head. PL 1 0 9 5 7 - 2 2 1 . I Gi. PH. 4 .1. Pale orange micaceous clay, white slip. Crude version of 6 7 5 ; fabric of first century

681. Standing man. PL 110 5 7 - 3 0 9 . I A. PH. 9 . 2 . Buttocks and back of right thigh. Orange clay, buff-gray core. Weight to right, left leg advanced. Modeling is simple, as is usual for backs. Perhaps a flying Eros; not a local fabric.

B.C.

MISCELLANEOUS HEAD (677) 677. Female head. PL 1 0 9 6 2 - 7 3 5 . I Q. PH. 4 . 5 . Back missing. Gray-buff clay, not local. Broad oval face; deep-set eyes, large mouth. Later third century.

MISCELLANEOUS MALE FIGURES (678-695) 678. Reclining man ( 2 ) . PI. 1 0 9 6 2 - 1 4 8 4 . I Q. PH. 6 . 6 . Lower part missing. Buff clay, white slip. Red flesh. Same series: 6 1 - 5 5 3 (Nec. Ill, fill). Youth reclines in banqueting position, propped on left arm, nude at least to waist.

682. Seated man. PI. 110 5 7 - 1 0 8 1 . IV B. PH. 1 0 . 2 . Left side of back, left arm, and thigh. Hard buff clay; thin fabric with burned surface, fired to ceramic hardness. Seated nude man; bent over, evidently with left elbow resting on left thigh; at shoulder ap­ pears to be right hand (?). Back muscular, mod­ eling fairly careful. The distinctive thin fabric is not local; possi­ bly related to Magenta Ware (cf. 945-955). 683. Striding man. PI. 111 6 2 - 5 7 5 . II B 2 . PH. 13 . 9 . Head, right arm, and feet missing. Buff clay, white slip. Trace of bright pink in chiton; pink flesh. Striding man wearing chiton and himation; left leg forward, left arm lowered within hi­ mation. Right arm was free. Heavy body with prominent stomach. Back treated sketchily. Identity uncertain; the pink flesh suggests a

CATALOGUE OF THE TERRACOTTAS

female subject but pose and proportions seem more masculine. A similar figure from Myrina is called a child. Context of first century B . C . Cf. Mollard-Besques, Louvre TC 11, LY 1531, pi. 154; W Ii 283 :1 (Myrina). 684. Gladiator? PI. no 6 0 - 1 3 9 9 . I A. PH. 5 . 6 . Right arm and chest. Hard pink-buff clay, thin fabric with gray core. Right arm akimbo; hand held object inserted into hole in palm. Wears sleeved costume. Tubular modeling of late-Hellenistic period; the fabric suggests Magenta Ware and is not lo­ cal. The position of the arm recurs in a gladiator who holds a sword in his right hand. Cf. Sieveking, Loeb TC 1 1 , pi. 1 1 1 ; W I i 3 8 7 . 684bis. Male figure? PI. 1 1 0 5 8 - 1 6 6 7 . I B. PH. 4 . 2 . Buff clay. Head, arms, and legs missing. Small "stick figure," modeled by hand; around waist is a thick band, perhaps a kilt or skirt. 685. Fragmentary group. PI. 1 1 0 5 9 - 6 5 2 . Nec. Ill, fill. PH. 5 . 8 . Most of left figure and lower part missing. Pink-buff clay. Male figure with bare chest, wearing hood over head and right shoulder, stands next to a larger draped figure, in an uncertain relation­ ship. The style of the face and the modeling of the torso are also seen in the reclining man 678. Later fourth century. 686. Standingmalefigure. PI. no 5 7 - 4 6 7 . II A. PH. 4 . 8 . Abdomen with drapery. Gray-buff clay, white slip. Protruding stomach, knot of drapery at crotch (phallos of a comic actor?). Fabric of third century. 687. Male bust? PI. 111 6 6 - 8 3 . I Ti. PH. 2 4 . 0 . Area of breast, back of neck, and hair at right side. Buff clay, white slip. Dark pink flesh with red line at neckline; red and pink in drapery. Drapery (chlamys?) has asymmetrical Vneckline; locks of hair at either shoulder. Back is quite flat and unmodeled; neck very shallow, in section almond-shaped. The flat chest and dark pink flesh argue that

the subject is male; if so, this is the only such bust at Morgantina. The subject is uncertain. Context of late first century. 688. Male head. PI. 111 5 5 - 1 5 9 . I A. PH. 7 . 8 . Buff orange clay, burned; white slip. Turned slightly to right with level gaze. Broad face, almost rectangular; full cheeks and brow; prominent chin; slight frown. Hair over forehead rendered in large curls, its surface partly missing. Appears to have worn a low wreath—though the traces may also be inter­ preted as plaited strands of hair pulled up from nape of neck. The strong individual style is otherwise un­ familiar at Morgantina. The face combines fea­ tures of the classical period, as seen in the hair and the large eyes, with a Hellenistic interest in soft surfaces, as in the cheeks and brows. Perhaps early third century. 689. Male head. PI. 111 5 8 - 1 3 3 1 . N.S.A. fill. PH. 3 . 7 . Buff clay, white slip. Pink flesh. Frontal head set on long muscular neck; thick hair at temples. Fabric of third century. 69Ο. Male head. PI. 111 5 6 - 2 6 8 7 . I A . P H . 1 1 . 2 . Missing left eye, fore­ head, and most of back. Hard gray-green clay. Mustache, beard, and lock of hair at right side of neck are all modeled freely of small pieces of clay; the original head, as taken from the mold, does not appear to have been bearded. Very large scale: the original height of the head, including neck, was ca. 15 cm., and the height may have been close to one meter. The coarse, thick fabric could have supported such a figure. Uncertain subject and date; the fabric re­ sembles that of 151. 691· Male head. PI. 111 Syracuse s.n. PH. 3 . 9 . Encrusted. Orange clay, white slip. Negroid face with strong individual features: low, arched brows, full cheeks, frowning mouth. Appears to wear a helmet, although the surface of the head is not clearly rendered.

207

2Θ8

CATALOGUE OF THE TERRACOTTAS Style and fabric of third century. This is one of the rare Hellenistic Sikeliote representations of blacks (cf. guttus, Palermo, von Matt, pi. 196; seated terracotta figures—actors?, Syra­ cuse, Kekule, pi. Li:1-3; lamps, Gela, NSe, [i960] 159, fig. 2; ibid., 205, fig. 4; unpub­ lished plastic vase from Kentoripa, Syracuse 35255, tomb 11, Stancanelli). 692. Male head. PI. 111 6 1 - 6 5 8 . I A. PH. 3 . 3 . Gray-buff clay. Orangeyellow cheek flaps and helmet, dark pink flesh; the colors may have been fired. Round face with large eyes. Thracian helmet with browband and cheek flaps; smooth dome; three holes, one in top and two at sides (for plumes?). Fabric similar to 638. Uncertain date. Cf. A. M. Snodgrass, Arms and Armour of the Greeks (London, 1967), fig. 53 (helmet in Ber­ lin). 693. Male head. PI. 1 1 2 5 5 - 2 0 7 7 . I N. PH. 3 . 9 . Pale buff clay, white slip. Maroon helmet and cheek flaps, pink flesh. Helmeted head of high quality, turned to left. Expressive face with bulging brows, high cheekbones, and large features; muscular neck. The helmet is the so-called Macedonian type, here apparently of leather, with a chin strap. The fabric could be early Hellenistic. Cf. Thompson, Troy TC, no. 137, pi. xxix. 694. Male head. PI. 1 1 2 66-742. I Q. PH. 4.2. Buff clay. Broad oval face, very large ears. Helmet worn with low visor rising to slight point above fore­ head, crested. Advanced generation. Similar in style to 3 4 2 ; late Hellenistic. 695. Male head. PI. 112 Palermo 3373. From Aidone. H. 15.4. Pinkbuff clay, heavily encrusted. Round vent in back. Round face with flat features, short pointed nose. Hair worn to shoulders. Unclear whether he wears a helmet or a Phrygian cap. Lower edge of neck is flat, indicating that the piece is com­ plete. Late-Hellenistic fabric.

CHILDREN (696-706) 696. Seated child. PI. 1 1 2 1 9 5 7 uncat. N.S. 7 . PH. 3 . 8 . (leg). Eight frag­ ments including legs, part of rock, and drap­ ery. Brown-red clay, white slip. Pink flesh, dark pink rock, white chlamys. Small boy seated on rock with chlamys at thighs, falling over left leg. Drapery modeled in rich plastic folds. None of the fragments join and it is impossible to ascertain the position of the arms. Probably a seated Eros. First-generation Syracusan import of high quality. Third cen­ tury. P. 4 3 . 697. Child in swaddling clothes. PI. 1 1 2 57-3097. N.S. St., deposit. PH. 5.5. Headand feet missing. Buff-pink clay. Solid. Child lies with arms at sides, from chest down wrapped in strips of cloth; hands emerge. Back flat. Cf. W I i 2 7 1 : 1 3 (Myrina), 1 4 (south Italian); NSc (1917) 42, fig. 6 (Medma); ibid., 153, fig. 5 8 (Lokroi); Libertini, Museo Biscari, no. 1 1 6 2 , pi. 115 (Sicilian, uncertain prov.); unpublished piece in Syracuse, from Grammichele. 698. Child with goose. PI. 1 1 2 6 0 - 1 4 2 0 . I Q. PH. 3 . 8 . Right arm, upper part of goose. Pale buff clay. Small apparently naked child clutches goose to chest, its neck held by his right hand. Late Hellenistic. Cf. W I i 2 7 7 : 6 , etc. 699· Nursing child. PI. 1 1 2 5 7 - 1 9 5 5 . III F. PH. 7 . 7 . Child only, rest of group missing. Pink-buff clay, pale surface. Small naked boy reclines in lap of woman, nursing at her left breast and partially wrapped in himation. Fabric of third century. 700. Head of child. PI. 1 1 2 56-2708. I Gi. PH. 3.2. Red-buff clay, proba­ bly Syracusan. Round smiling child's face. Knidian coiffure, tied in low knot. Style of third century. P. 4 3 .

CATALOGUE OF THE TERRACOTTAS

701. Girl's head. I J . P H . 3 . 4 . Surface worn. Buff clay, traces of white slip. Round head turned slightly to right, tilted forward on long neck. Round earrings, Knidian coiffure. Fabric of later third century. 61-639.

702. Boy's head. PI. 1 1 3 6 0 - 1 2 9 4 . I Q. PH. 4 . 4 . Surface worn. Buff clay, white slip. Turned to left. Wears kansta\ long shoulderlength locks. Fabric of third century. Cf. Thompson, Troy TC, nos. 5 2 - 5 7 , pi. xvi; also p. 53ff.; Libertini, Centuripe , 104, pi. x x i v : 3 (Syracuse 3 5 9 5 2 ) . 703. Boy's head. PI. 1 1 3 5 9 - 8 4 4 . N.S.A. 1 0 , fill. PH. 4 . 6 . Pale orange clay. Frontal boy's head, wearing a low round cap, close to skull unlike thtkausia. Long locks worn to shoulders. Possibly an Eros. Fabric of later third century. 704. Child's head. PI. 1 1 3 5 8 - 6 3 2 . IV B. PH. 2 . 8 . Surface worn. Pale buff clay. Small child's face with fat round cheeks, bow knot at top of head. Fabric of third century. 705. Child's head. PI. 1 1 3 5 8 - 1 1 0 0 . I A. PH. 5 . 6 . Lower part of face. Orange-buff clay, white slip. Child's face, fat and smiling. 706. Child's head. PI. 1 1 3 5 9 - 8 8 9 . N.S.A. fill. PH. 4 . 2 . Back of head missing. Orange-buff clay, white slip. Round smiling child's face. Ringlets to shoulders, back hand-modeled.

GROTESQUE SUBJECTS (707-713)

Fat naked woman on rock, propped on right arm, seated on drapery which passes over left arm. Left leg drawn back, right extended. Sag­ ging breast and stomach; genitals exposed. The piece is very small, apparently a comic version of the draped woman 447, al­ though the position of the legs is reversed. The treatment of the obese woman is vivid and realistic, despite the tiny scale; for similar sub­ jects, see D . B. Thompson, Hesperia 2 3 ( 1 9 5 4 ) 91 , pi. 2 ι. There is a close parallel from south­ ern Russia. Context of first half of third century. Cf. Kobylina, Terrakoty, pi. 7:3 (south Russia). 708. Fragmentary female figure. PI. 1 1 3 5 5 - 1 2 8 2 . I A. W. 11.7. Left arm and breast. Pale buff micaceous clay. Left hand placed over pendulous breast, hold­ ing handled cup. Hair worn to shoulders in two locks; arm emerges from himation. Late Hellenistic. 709. Female head. PI. 1 1 3 5 7 - 9 8 2 . N.S. 7 . PH. 4 . 7 . Surface damaged. Pink-buff clay, white slip; burned. Grotesque female face: fat cheeks, low fore­ head, prominent nose and mouth. Round ear­ rings; six-strand melon coiffure tied in high knot. The hair style contrasts with the jowly face; excellent modeling although not a firstgeneration piece. Third century. Cf. Sieveking, Loeb TC II, pi. 8 7 : 3 (Asia Minor). 710. Mold of grotesque head. PI. 1 1 3 5 6 - 2 0 1 3 . I B. PH. 4 . 3 . head: 2 . 9 . Buff-orange clay. Mold for face. Pinocchio: large open mouth, receding chin, contracted asymmetrical brow. Long disordered hair parted in center and falling beside face. Anxious expression. Back of mold pulled to blunt point. Late Hellenistic. 711. Grotesque head. PI. 1 1 3 I A. H. 7 . 4 . Buff-brown clay, solid. Round disk with frontal face. Right cheek distended, half-smiling mouth, incised eye­ lashes, asymmetrical brows. The expression 57-18.

707. Seated woman. PI. 1 1 3 I R 2 . PH. 4 . 5 . Missing head and part of base. Orange-buff clay, white slip. 6i-3o6b.

209

2IO

CATALOGUE OF THE TERRACOTTAS

suggests a grimace. Suspension hole, crude knob behind. There seems to be something in the figure's mouth—or the trouble might be a toothache. The knob behind was used for pulling the clay from the mold. Late Hellenistic. 712. Mold of grotesque head. PI. 1 1 4 56-2936. I U. PH. 6.7. Pink-buff clay with ceramic grog. Bulging circular eye, hooked nose, very wide mouth. Back rounded. The piece appears to have been conceived as a relief; the clay with grog is similar to archaic fab­ rics, although the date must be late Hellenis­ tic. 713· Mold of grotesque head. PI. 1 1 4 6 1 - 1 9 8 . I Ei. H. 8 . 5 . Left side of face missing. Coarse orange clay. Round face with open mouth; asymmetrical nose and mouth, lower lip drawn sharply to left. Back rounded. Advanced generation. This may be a mold for a theatrical mask, dis­ torted prior to firing. Late Hellenistic.

terracottas of this quality at Syracuse after the third century. P. 4 3 . G.M.A. Richter, Greek Portraits 111 (Collections Latomus, vol. 48) 21, pi. ιχ; E. Sjoqvist, AJA 6 6 ( 1 9 6 2 ) 319-22, pi. 8 6 , figs. 1-4. 715. Head of Philistis? Pl. 114 I B. PH. 6 . 2 . Back and neck missing; nose broken. Hard buff-orange clay. Broad heavy face of middle-aged woman; ex­ pressive features. Large eyes, left eye opened more widely; large mouth, prominent chin, heavy brow. Nose indented at bridge, turned up at tip; slight double chin. Hair center-parted and swept to sides, all detail lost. High stephane, modeled by hand, with incised line along upper edge. Both 715 and 716 bear a resemblance to the coin portraits of Philistis, wife of Hieron II (cf. Kraay-Hirmer, pi. 49, no. 140). The stephane may be a royal attribute, as it was in Egypt in t h e t h i r d c e n t u r y (cf. K r a a y - H i r m e r , n o . 8 0 2 , pi. 219, worn by Arsinoe II); in Sicily the stephane is frequently worn by Persephone in the later third century (cf. 55, 194; also 649653, 656, etc.). PR I, pi. 6 0 , fig. 2 9 b . 56-925.

PORTRAITS (714-717) 714. Head of Agathokles? PI. 1 1 4 55-2634. I Ei. PH. 4.2. Buff-pink clay, tend­ ing to orange at back; worn. Traces of dark pink paint in face. Turned to left, looking slightly upwards. In­ dividual features: broad mouth, strong full chin, aquiline nose, deep lines in cheeks. Eyes are deep-set, brow heavy. Hair is full in front and falls over forehead. Strong neck, muscles re­ sponding to movement of head. The back of the head is modeled by hand, the front mold-made. The join is visible and was probably masked by a fillet or wreath. The features are blurred, par­ ticularly in the hair; there is a prefiring dent in the left cheek. The subject has been identified by Sjoqvist as Agathokles of Syracuse; in the absence of any other accepted portraits, this attractive identifi­ cation must remain tentative. The date of the piece should be early Hellenistic; the fabric is clearly Syracusan and there is little evidence for

716. HeadofPhilistisP PI. 1 1 4 5 8 - 1 0 9 4 . II A. PH. 6 . 5 . Missing back of head and most of neck. Pink-buff clay, white slip. Pink flesh. Female head turned to right and looking slightly upwards. Broad heavy face with large eyes and mouth, nose indented at bridge and turned upward. Hair swept back in thick waves; crescent stephane with incised line made before firing; swelling brow. Traces of veil at right side of head. The head resembles 715. The wearing of the veil occurs in the coin portraits of Philistis (see 715). Advanced generation; chin damaged be­ fore firing. Third-century fabric and style. 717. Head of a man. PI. 1 1 4 Syracuse 3 9 4 8 8 . S 11. H. 3 . 3 . Reddish brown clay, gray surface. Solid. The lower surface is flat so that the head is complete in itself. Large deep-set eyes under slanting brow, creased by three lines. High

CATALOGUE OF THE TERRACOTTAS

cheekbones over sunken cheeks; prominent chin, thick neck. Short hair with stippled sur­ face. Back of head is notched at top. The piece belongs to a group of portrait heads discussed by Richter, in which an anonymous subject is portrayed realistically (Gteek Portraits ill, Collections Latomus 48, 24ff.); it is also re­ lated to the faience portrait of Arsinoe II in the British Museum, the underside of which is flat (Thompson, Queens, 18, 199, pis. A, LXiv). The head was freely modeled; the clay medium is apparent in the pinched cheeks, hollowed eyes, and crisp detail. The date of the head is uncertain; the features find a parallel in the head of a Hermes from Gela, of the late fourth cen­ tury (ArchCl 9 [1957} 57f., pi. xvm:3—called Punic by A. DiVita in Kokalos 4 [1958] 99, n. 59). The clay could be Syracusan but the gray surface is atypical. Possibly Alexandrian?

720. Comic actor {7). PI. 1 1 5 a. 55-1434. I B. PH. 8.5. Missing base and left arm. Gray-buff clay, burned. Solid. b. 59-263. N.S. st. PH. 5.1. Lower part miss­ ing. Pink-buff clay. Solid. Same series: 57-2514 (N.S. s. corridor, depos­ it), 59-1447 (N.S.A. fill), 57-1047 (III F), 70-495 (VI C), Syracuse 32587 (S 6). Wears short himation. Left arm bent at el­ bow, hand at chest; right arm in sling. Pointed beard, straight mouth; thick hair swept back from face under wreath. Flat back. A slave derived from an Attic type of the fourth century; there is an earlier example from Megara H. Here probably a phlyax. The mask is Webster's K and is common. Cf. Bieber, H T 2 , fig. 1 3 5 (Athens) = Webster, MOMC, 32, AT 39; Bieber, HT2, fig. 136 (Megara H.), figs. 135, 136, 189, 190 (masks); Bernabo Brea, Meligunis-Lipara 11, B 114, pi. CLXVII: ι (fourth century).

COMIC ACTORS (718-769) 718. Comic actor. PI. 1 1 5 59-1197. N.S.A. fill. PH. 9.4. Buff clay. Solid. Touches beard with right hand, left arm akimbo. Pointed beard with mustaches; eye­ brows raised, thick hair at temples and crown. Padded stomach, phallos. Himationwornaround shoulders. Bent before firing; flat back. A padded comic actor derived from an Attic type of the fourth century depicting an old man, perhaps the Middle Comedy antecedent for Pol­ lux' Sphenopogon (Webster, mask A) or First Hermonian (Webster, mask L). In any case, 7 1 8 and the other comic actors at Morgantina are prob­ ably to be understood as phlyakes of the local comedy of Sicily and Magna Graecia. Third cen­ tury. Cf. Bieber, H T 2 , fig. 1 3 7 (Attic, from Thebes) = Webster, MOMC, AT 40; also BT 6 (Thebes); Bernabo Brea, Meligunis-Lipdra 11, B 121, pi. CLXVII:7 (fourth century). 719. Comic actor. PI. 1 1 5 57-2513. N.S. s. corridor. PH. 8.6. Base miss­ ing. Buff-pink clay. Solid. Similar to 718. Third century.

721. Comic actor (2). PI. 115 58-669. N.S.A. fill. PH. 6.4. Missing legsand base. Buff clay. Solid. Same series: 57-1086 (N.S. 3). Left hand holds fold of himation at side, right arm in sling. Pointed spade beard, long mus­ tache. Thick hair, apparently center-parted; high wreath. Padded stomach; phallos. Similar to 7 2 0 , although beard is fuller. Third century. Cf. Bernabo Brea, Meligunis-Lipara 11, B 108, pi. CLXV:I (mask C). 722. Comic actor (2). PI. 1 1 5 60-1470. I Q. PH. 6.9. Missing feet and base, left arm. Buff-pink clay. Solid. Same series: 60-1129 (III F). Runs to left, legs apart; wears himation and short chiton. Left arm akimbo, right in sling. Round beard with deep trumpet. Thick hair ris­ ing to a peak; furrow in forehead. Slave probably from phlyax comedy, wearing Webster's mask B. The position of the arms is similar to 72off. Third century. Cf. Sieveking, Loeb TC 11, pi. 80 (for the mask) = Webster, MOMC, 60, AT 110; Bernabo Brea, Mehgunis-Lipdra 11, B 103, pi. CLXIII:I (fourth century).

211

212

CATALOGUE O F T H E TERRACOTTAS

723. Comic actor. PI. 1 1 5 6 6 - 2 8 1 . I Pi. PH. 9 . 9 . Base and feet missing, surface damaged. Pink-buff clay, encrusted. Solid. Wears short chiton, head tilted to right. Left arm at side, right raised to chest under chiton. Fat face, either clean shaven or with a rounded beard. The pose is similar to that of 7 2 0 , although the mask is different, evidently derived from a beardless youth of Middle Comedy (Webster's mask O?). Larger than most actors at Morgantina, with a molded back. Probably a phlyax. Context and fabric of the third century. C f . Bernabo Brea, Meligunts-Lipdra 11, B 1 0 2 , pi. CLXIII:3-7 (fourth century, mask B). 724. Comic actor. PI. 1 1 5 6 1 - 9 0 0 . V B. PH. 6 . 5 . Surface very damaged; left arm missing. Solid. Buff clay, gray core. Back unmodeled. Solid. Sits on altar with right arm lowered, legs to­ gether. Rounded beard, speira; eyebrows knit­ ted. Very fresh impression. A common Middle Comedy type, here prob­ ably a phlyax, wearing Webster's mask B with short beard and speira. The type is Attic in ori­ gin, of the fourth century. Context here of ca. 330-280 B.C.

Cf. W II 419; Bernabo Brea, Meligunts-Lipara 11, B 155, pi. CLXXIII:4; ibid., B 149, pi. CLXXIII :1 -2. For Attic antecedents wearing the same mask, cf. D. B. Thompson, Hesperia 21 '(1952) 142, nos. 45-47, pi. 38; Higgins, BM TC i, no. 743, pi. 98. 725. Comic actor. Pl. 1 1 5 6 0 - 1 3 4 5 . I Q. PH. 4 . 9 . Lower part missing.

Buff-pink clay, white slip. Solid. Type of 7 2 0 . Long flowing beard; furrowed brow; broad wreath, modeled by hand. A slave from Middle Comedy, wearing Webster's mask K; here probably a phlyax. Fab­ ric of third century. Cf. Bernabo Brea, Meligunis-Lipdra 11, B 1 1 4 , pi. CLX VII: ι (fourth century). 726. Head of comic actor. PI. 1 1 6 1 9 5 7 uncat. N.S. s. corridor. PH. 3 . 3 . Buff clay.

Flowing beard, horizontal mouth. Furrowed brow, broad wreath. Middle Comedy mask (Webster's K). Third century. 727. Comic actor. PI. 1 1 6 6 0 - 5 3 . I U. PH. 5 . 7 . Head and chest. Buff clay, white slip. Back flat. Solid. Himation worn over shoulders, apparently folded over chest. Short pointed beard, furrowed brow, thick hair in speira. Probably Webster's mask K. Fabric of third century. 728. Comic actor (2). PI. 1 1 6 5 7 - 3 0 9 4 . N.S. s. corridor, fill. PH. 6 . 5 . Right arm, chest, and head. Buff clay, white slip. Solid. Same series: 5 9 - 1 4 4 5 (N.S.A. 1 0 , fill). Probably a phlyax wearing Webster's mask O: clean shaven with long hair; cf. 723. Thirdcentury context and fabric. 729. Head of comic actor. PI. 1 1 6 5 9 - 2 6 0 . N.S. st. PH. 3 . 4 . Orange clay with greenish surface, white slip. Solid. Bald, with round beard. Eyebrows lowered, prominent ears. Hole in top of head. The mask resembles the parasite from Middle or New Comedy; third century. 730. Comic actor. PI. 1 1 6 6 7 - 2 7 5 . I Q. PH. 8 . 3 . Head, shoulders, and part of back. Orange clay, white slip. Pink flesh. Solid. Standing actor with head turned to left, himation pulled over left shoulder. Bald with fur­ rowed brow and large ears. Blocklike face with heavy cheeks and chin. Parasite from New Comedy; there is a similar mask on a Roman relief in the Vatican. See also 780. Probably late Hellenistic. Cf. Bieber, H T 2 , 1 5 5 , fig. 5 6 4 = Webster, M N C , I S 1 4 ; also I S 4 . 731. Head of comic actor. PI. 1 1 6 5 5 - 1 8 9 7 . I A. PH. 3 . 4 . Pink-buff clay. Solid. Bald with pinched features, snub nose and furrowed brow; prominent ears. Carelessly made.

CATALOGUE OF THE TERRACOTTAS

732. Comic actor. PI. 1 1 6 1 9 5 7 uncat. N.S. C. PH. 7 . 7 . Top of head and left arm missing. Buff clay, white slip. Solid. Stands on low base with legs together; arms as 720ft. Round beard, padded stomach. Third century. 733. Comic actor. PI. 1 1 6 5 9 - 3 1 4 . N.S. st. PH. 6 . 9 . Missing head and feet. Buff-pink clay, white slip. Solid. Similar to 7 3 2 ; right arm pulls at himation; pointed beard. Back flat. Early-third-century context. 734. Comic actor ( 4 ) . PI. 1 1 6 5 5 - 2 2 9 2 . I A. PH. 6 . 4 . Missing head, left arm, and base. Pink-buff clay. Solid. Same series: 6 0 - 1 2 5 4 F), 6 3 - 9 7 2 , - 1 0 5 1 (V B).

Similar to 7 3 2 ; left arm lower, at abdomen; phallos. The uncatalogued versions come from thirdcentury contexts. 735. Comic actor. PI. 1 1 6 1 9 5 7 uncat. N.S. St., deposit. PH. 5 . 9 . Miss­ ing head, right arm, feet, and base. Buff clay. Solid. Actor stands with legs together, left arm akimbo, right lowered. Pointed beard; head cocked to right. Padded abdomen; folds in tights visible at crotch. Third-century context. 736. Comic actor ( 2 ) . PI.

117

Missing head, right arm, feet, and base. Buff clay, white slip. Solid. Same series: 61-532 (Nec. Ill, fill). Stands with legs together, right arm akimbo, left at hip wrapped in himation, which passes over shoulders. Padded abdomen, phallos. Squarish beard, head cocked to right. Probably aphlyax, after an old man of Middle Comedy (wearing Webster's mask M with squarish beard?). Third century. C f . A d a m e s t e a n u , Butera, c o l . 6 4 3 , f i g . 2 6 6 . 60-1253.

F- PH. 5.5.

737. Comic actor. PI. 1 1 7 6 9 - 3 9 0 . I D. PH. 4 . 5 . Missing head, legs, and base. Buff clay, white slip. Solid.

Similar to 7 3 6 ; mask was apparently un­ bearded . Third century. 738. Comtc actor. PI. 1 1 7 1 9 5 7 uncat. N.S. St., deposit. PH. 5 . 9 . Miss­ ing upper part, feet, and base. Orange core, greenish surface; white slip. Pink at stomach. Solid. Stands with legs crossed, weight to right. Padded abdomen; phallos. Right arm was akimbo. Perhaps a phlyax Herakles, derived from an Attic Middle Comedy type; if so, his left hand may have held the club. Third century. P. 68. Cf. Higgins, BM TC 1, no. 741, pi. 98; Bieber, HT 2 , figs. 170, 171; Webster, MOMC , 29, AT 24 (third century); perhaps also Bernabo Brea, Meligunis-Lipdra 11, B n o , pi. CLXV :4 (fourth century). 739- Comic actor. PI. 1 1 7 5 9 - 5 39. N.S. A. fill. PH. 5.8. Lower half miss­ ing, head chipped. Pink-buff clay. Solid. Standing actor, right arm across abdomen, left akimbo. Pointed beard, padded stomach. Wore a wreath with taenia, which fell to shoul­ ders. Advanced generation. An old man from Attic Middle Comedy, prob­ ably here a phlyax. Third century. 740. Comic actor. PI. 1 1 7 1 9 6 2 uncat. S.S. PH. 5 . 8 . Right flank, arm, and abdomen. Buff clay, encrusted. Right arm bent at elbow; prominent stom­ ach; himation falling across right shoulder. Unlike most of the comic actors, 7 4 0 is hol­ low, made with front and back molds. Perhaps from New Comedy. Third century. 741. Comic actor? PI. 1 1 7 V C. PH. 3 . 3 . Upper part missing. Buff clay, encrusted. Solid. Seated male figure, apparently with actor's phallos; for a similar figure, cf. 7 2 4 . Third century.

68-222.

742. Comic actor. PI. Syracuse 3 3 4 2 2 a . S white slip. Solid.

117 8F.

H.

10.7.

Buff clay,

213

214

CATALOGUE OF THE TERRACOTTAS

Stands on round base, weight to left. Wears padded chiton; himation is pulled over head and held at side by extended right arm; left arm akimbo. Speira at forehead; long locks to shoul­ ders. Advanced generation. Probably a woman fromphlyax comedy, after a Middle Comedy hetaira of Attic origin; an example of the fourth century has been found at Lipari. The context of 742 and 743 is late fourth century. P. βηί. Cf. W II 421:9; Bieber, H T 2 , tig. 160 (Boston, from Thebes); Bernabo Brea, Meligunis-Lipdra 11, type B 209, pi. CLXXVIII :8; Webster, MOMC, 38, AT 78. 743. Comic actor (2). PI. 117 Syracuse 33422b. S 8F. H. 10.5. Red hair. Buff clay, white slip. Solid. Same series: Syracuse 33422c (S 8F). Stands on round base, with weight to left. Wears himation and padded chiton. Left arm akimbo, right to breast. Hair bunched at fore­ head. Advanced generation. Probably a phlyax after a Middle Comedy type; the original may have been a pseudokore (identified by Webster as the second pseudo­ kore, Pollux, no. 34). Sikeliote examples are known at Lipari and Troina; a south-Italian version is in Madrid. Context as 742: late fourth century. Cf. Webster, M O M C , 26, AT 15; Bieber, H T 2 , fig. 192 (New York, from Athens); Bernabo Brea, Meligunis-Lipdra 11, 307, 324, type B 163, pi. CLXI :2; NSc (1961) 369, fig. 27 (Troina, end of fourth century); Laumonier, Madrid T C , no. 703, pi. LXXVIII :3. 744. Comic actor. Pl. 117 59-1966. Ill F. PH. 6.4. Lower part missing. Buff micaceous clay. Solid. Himation is drawn over head covering chin and mouth; hand held to mouth underneath. Hair bunched at forehead, articulated in parallel striations. Large round earrings. Probably a phlyax. Cf. Bernabo Brea, Meligunis-Lipdra 11, type B 165, pi. CLXXIX :3, 4, 7, 9 (fourth century). 745. Comic actor (3). PI. 118 66-378. I Q. PH. 7.2. Head missing. Pinkbuff clay. Solid.

Same series: 58-1083 (N.S. St.), 1957 uncat. (N.S. C). Stands on low rectangular base, weight on right leg, wearing chiton and himation. Right arm at breast, left akimbo. Very advanced gen­ eration. Examples 7 4 5 - 7 4 8 adopt the pose of 7 4 3 and probably represent actors in female roles from phlyax comedy. All belong to the third century. Cf. Bernabo Brea, Meligunis-Lipdra 11, type B 163, pi. CLXXVI:I ; type B 190, pi. CLXXVIII:I. 746. Comic actor (2). PI. 118 55-2239. I E2. PH. 7.0. Head and feet miss­ ing. Orange-buff clay. Solid. Same series: 57-981 (N.S. fill). Similar to 7 4 5 ; padded stomach and himation more clearly visible. Advanced generation. Third century. 747. Comic actor (2). PI. 118 57-1932. Ill F. PH. 6.1. Missing head and feet. Buff-pink clay, white slip. Solid. Same series: 60-1430 (I Q). Similar to 7 4 5 ; weight on left leg. Third century. 748. Comic actor (2). PI. 118 59-1965. Ill F. PH. 9.0. Head missing. Buff micaceous clay, white slip. Solid. Same series: 59-316 (N.S. St.). Stands on high round base with crown and base moldings; weight on left leg. Similar to 745ff. in pose. Third century. 749. Comic actor? PI. 118 59-2129. N.S. PH. 6.9. Head, back, and lower part missing. Hard pink-buff clay, white slip. Figure draped in himation, right arm raised to upper chest, left at side. Back was molded. 750. Comic actor. PI. 118 56-1300. I B. PH. 5.4. Head, back, and lower part missing. Orange-buff clay, white slip. Figure draped in himation, left arm lowered at abdomen, right raised to breast. Marked thrust of hip, swing of arms. Probably a phlyax hetaira, after a Middle Comedy type. Fabric of third century. Cf. Bernabo Brea, Meligunis-Lipdra 11, type B

CATALOGUE OF THE TERRACOTTAS

(fourth century); Bieber, (Athens, fourth century).

170, pi. CLXXV:2, 3, 6

HT 2 , fig.

161

751. Comic actor. PI. 118 Uncat. stray find. PH. 9 . 0 . Head and base miss­ ing. Pink-buff clay, white slip. Solid. Figure draped in himation, with weight on right leg. Left arm lowered at side, right at breast in sling. Actor in female role fromphlyax comedy? Cf. Bieber, HT 2 , fig. 355; Bernabo Brea, Meligunts-Lipara 11, t y p e B 1 9 2 , p i . C L X X V I I I : 3 (fourth century). 752. Comic actor? Pl. 1 1 8 60-1123. F- PH- 4-5- Head and feet miss­ ing. Pink-buff clay, gray core. Solid. Standing figure wearing chiton and himation; weight on left leg. Left arm akimbo within hi­ mation, which is tightly drawn over abdomen, apparently padded. Right arm at breast holding wreath. Apparently a phlyax on the way to a party. Fabric and context of third century. 753. Comic actors? ( 2 ) . PI. 1 1 8 5 7 - 1 2 7 2 . N.S. C, cistern. PW. 8 . 5 . Torsos of two figures preserved; back missing. Hard pink-orange clay, greenish surface. Same series: 1957 uncat. (N.S. s. corridor). Two draped women run to their right; figure at left holds a rectangular chest or basket to her breast; both wear himation and chiton, appar­ ently padded. Crude but vigorous modeling, folds indicated by deep incisions. Perhaps a chase scene from phlyax comedy. Later third century. Cf. Bieber, H T 2 , fig. 5 1 0 (phlyax vase in Berlin, pursuit of thief); Trendall, LCS, 6 0 0 , no. 9 5 , pi. 235 :1 (running Papposilenos). 754. Papposilenos. PI. 1 1 9 7 1 - 3 6 2 . VI B. PH. 8 . 5 . Missing head, right shoulder and arm, right leg, and feet. Buff clay. Strides to right, holding wineskin under left arm. Cloak—an animal skin as shown by the lightly incised folds—is bunched at waist and falls across abdomen. Torso and limbs stippled, simulating shaggy hair. Back hand-modeled. A Papposilenos of unusual size and finish; the

best parallels are mainland Greek. Third cen­ tury. Cf. W II 3 9 6 : 6 (Tanagra?), 3 9 7 : 1 (Attic; with­ out wineskin). 755. Papposilenos. PI. 1 1 9 5 6 - 9 2 3 . I U. PH. 5 . 6 . Missing upper half, feet, and base. Buff-orange clay. Solid. Stands with legs apart, holding object at ab­ domen. Wears short chiton. Stippling on legs, indicating shaggy hair. Third century. 756. Papposilenos. PI. 1 1 9 5 9 - 1 0 4 7 . I U. PH. 1 0 . 3 . Right leg missing. Coarse orange-buff clay, very worn. Solid. Strides to right holding large cup at abdomen in right hand, himation over shoulder; left arm at side, bent at elbow. Bald and bearded; low irregular base. Better-preserved version of 7 5 5 ; probably third century. 757. Papposilenos. PI. 1 1 9 5 8 - 1 0 3 5 . N.S.A. fill. PH. 8 . 0 . Missing upper part of head, pendant legs. Buff-brown clay, burned; white slip. Papposilenos as child's doll; wears chiton and himation, left arm akimbo, right at breast in sling. Head turned to left, full beard with mus­ tache, broad mouth. Holes in lower drapery for string supporting legs. There is a close parallel of south-Italian origin in Madrid. The position of the arms mimics standing draped women (cf. 360); several frag­ mentary Papposilenoi also wear women's cos­ tume (cf. 758ff.). For a doll of the same type, see 395. Third century. Cf. Laumonier, Madrid TC, no. 8 4 8 , pi. xcvii:3 (southern Italy); D. B. Thompson, Hesperia 31 (1962) 253, no. 9, pi. 89 (Papposilenos in woman's costume). 758. Papposilenos. PI. 1 1 9 5 9 - 2 0 8 8 . I A. PH. 6 . 2 . Head and left Gray-buff clay, burned. Left arm akimbo within himation. Long ing beard, thick hair swept down over small hole in top of head. Broad smile, mouth.

arm. flow­ ears; open

215

2L6

CATALOGUE OF THE TERRACOTTAS Papposilenos; the mask is clearer here than in other similar figures. Third century or later. 759. Papposilenosi3). PI. 1 1 9 5 7 - 1 7 7 0 . I A. PH. 5 . 4 . Head and chest. Orange-buff clay, white slip. Same series: 1 9 5 9 uncat. (N.S.A.), 5 8 - 1 3 6 6 (N.S.A. 5). Wears chiton and himation; bald with thick round beard, pointed ears, open smiling mouth. Third century. 760. Head of Papposilenos. Syracuse 3 9 4 8 9 . S 11. PH. 5 . 7 . Left side of head chipped. Buff clay, thick white slip. Round bearded face, large grinning mouth with teeth; beard with undulating curls, cres­ cent incisions in forehead. Papposilenos, similar to 758ff. The back is flat; the piece is probably an applique. Fabric of the third century. 761. Papposilenos (2). PI. 1 1 9 5 9 - 1 2 4 9 . N.S.A. fill. PH. 4 . 4 . Head and right shoulder. Buff-pink clay. Same series: 1 9 5 7 uncat. (N.S.). Bald smiling figure with hooded head and full beard, prominent curving brows. Hole in top of head. Draped Papposilenos, similar to 758ff. Open mouth of dramatic mask. Third century. 762. Papposilenos. PI. 1 1 9 V C. PH. 4 . 9 . Head and upper chest. Buff clay, white slip. Encrusted. Similar to 7 6 1 . Third century.

68-290.

763. Head of Papposilenos. PI. 1 1 9 68-446. V C. PH. 3.4. Orange-buff clay. Bald smiling Papposilenos; fat face with pointed ears. Open mouth of dramatic mask. Third cen­ tury. 764. Head of Papposilenos. PI. 1 1 9 66-599. A. PH. 4 . 7 . Coarse yellow-buff micaceous clay, white slip. Bald smiling face with open mouth; long flowing beard and mustache. Brows lowered.

The decorative curls of the beard suggest a late-Hellenistic date, as does the context. Open mouth of dramatic mask. 765. Head of Papposilenos. PI. 1 2 0 6 0 -213. I Mi. PH. 4 . 2 . Pale buff clay, burned; white slip. Broad face with open mouth; beard falls ver­ tically; pointed ears. Hair pulled back with prominent forelock at center. Advanced genera­ tion. Late-Hellenistic style and context; open mouth of mask. 766. Head of Papposilenos. PI. 1 2 0 I M 2 . PH. 4 . 0 . Orange-buff clay, white slip. Trace of bright red in face. Smiling face with flowing beard. Expressive modeling. Late-Hellenistic style and context. The closed mouth indicates that 766 is probably not dra­ matic. 60-765.

767. Female sden? PI. 1 2 0 5 8 - 9 8 5 . N.S. st. PH. 6 . 4 . Head, left side of chest, and left arm. Pale buff clay, white slip. Trace of red in face. Wears chiton and himation, latter as shawl over shoulders and lowered left arm. Left breast protrudes clearly through chiton, which is girded beneath. Broad face with prominent cheeks, deep-set eyes, and low forehead. Long spade-shaped beard with mustache. Protruding mouth with pursed hps. Suspension hole in top of head. A bearded female silen? Probably late Hel­ lenistic. 768. Papposilenos. PI. 1 2 0 1 9 5 7 uncat. N.S. C. PH. 3 1 . 8 . Missing lower part, right elbow, forehead, mouth, and nose. Surface very worn. Restored from many pieces. Stands with weight apparently on left leg, fully draped (folds appear at sides; cf. 7 6 9 ) . Arms bent at elbows holding double flute. Lower part of beard survives; other features are lost. Broad forehead bordered by thin stippled band of hair; wreath with seven applied rosettes and taeniae at either side of head. This curious figure recurs elsewhere: at Gela,

CATALOGUE OF THE TERRACOTTAS

in an unpublished piece found by Orsi, and at Lipari, in a smaller version where the features are clearer (cf. also 769). The large scale of 768f. and the Geloan piece is unusual; their relation­ ship to the theater is unclear. Third century. P.

68. Cf. Bernabo Brea, Meligums-Lipara 11, A 1 0 5 , pi. CL:2 (fourth century) = Webster, MTSP, 124,

ST

19.

769- Papposilenos. PI. 1 2 0 5 7 - 2 0 7 5 . N.S. C, cistern. PH. 1 2 . 9 . Back, left side, and upper part missing. Buff clay, white slip. Smaller version of 7 6 8 , standing on a high base. Folds of drapery are apparent at left side of abdomen. Third century.

THEATRICAL MASKS (770-815) 770. Tragic mask. PI. 1 2 1 5 6 - 2 5 8 2 . I A. PH. 4 . 4 . Pale buff clay, white slip. Yellow-brown flesh. Miniature bearded tragic mask with high onkos; back of head is included. Eyebrows are raised, mouth open. Advanced generation. The very high onkos points to a late-Hel­ lenistic date. Cf. Mollard-Besques, Louvre TC 11, MYR 3 5 1 , 352, pi. 228 :g, i (Myrina, late first century); NSc (1956) 76, fig. 2 (marble from Capua, probably late Hellenistic). 771. Tragic mask. PI. 1 2 1 5 6 - 9 2 8 . I B. PH. 4 . 3 . Missing onkos at top and left side. Orange-buff clay. Bearded tragic mask with high onkos; fore­ head creased by furrows; mouth and eyes cut out. Probably late Hellenistic. 772. Tragic mask. PI. 1 2 1 Syracuse 3 6 8 0 2 . S 1 0 . H. 6 . 3 . Orange clay, white slip. Miniature mask: protruding knitted brow and prominent nose, small open mouth. High onkos with scored upper surface. Top of head included.

Resembles the mask with onkos con­ templated by an actor in a Pompeian painting in Naples (Bieber, HT 2 , fig. 300a). Late Hellenis­ tic; probably not a local fabric.

773. Tragic mask. PI. 1 2 1 I Q. PH. 1 4 . 3 . Missing chin, both sides of face, and upper left part of onkos. Orange-buff micaceous clay, white slip. Mask with high onkos, on upper part of which is ivy wreath; hair indicated by vertically placed ringlets. Unbearded subject with raised brows, smooth cheeks. Suspension holes under wreath. Tragic mask of a young woman; late Hel­ lenistic. Cf. Mollard-Besques, Louvre TC 11, MYR 3 4 7 , pi. 2 2 9 a (Myrina, first century); Bieber, HT2, fig· 3 1 ¾60-1421.

774. Tragic mask: Herakles. PI. 121 5 7 - 8 1 4 . N.S. 5 . PW. 1 8 . 3 . Onkos and right eyebrow preserved. Fine pink- to caramel-buff clay. High onkos, surface incised with wavy verti­ cal lines; a lion-skin is pulled around its edge, nostrils visible at top and jaws at sides. Sloping eyebrow, knotted near bridge; low furrowed brow. The subject is the mad Herakles; the mask was apparently a dedication in the North Sanctuary before the end of the third century. The piece is similar as far as can be seen to a mask held by a marble statue of Tragoidia in the Vatican and to another in a relief depicting Euripides in Istanbul. The contorted brow ap­ pears in Attic masks of the third century. Cf. Bieber, HT 2 , figs. 305, 109; D. B. Thomp­ son, Hesperia 2 8 ( 1 9 5 9 ) i 4 i f . , pi. 2 9 (no. 3 0 ; also T 88). 775. Tragic mask. PI. 1 2 1 1 9 6 2 uncat. V B. PH. 9 . 4 . Corner of left eye­ brow and lower part of onkos. Reddish buff clay, pale brown surface. Eyebrow was raised, eye very large; onkos similar to 773, but apparently wrapped in cloth or skin at level of forehead. A tragic mask similar to 7 7 4 ; if the onkos is

217

2L8

CATALOGUE OF THE TERRACOTTAS wrapped in a skin, the subject must also be the mad Herakles. 776. Tragic mask. PI. 121 I Mi. PH. 9 . 9 . Nose, left eye, and part of onkos. Buff-pink clay. Round eye with swinging brow, short flat­ tened nose. High onkos, surface arranged in ver­ tical rows of ringlets. Eye pierced. The flat round eye under an undulating brow appears in Athens in the early third century. This piece may be late Hellenistic. Cf. D. B. Thompson, Hesperia 2 8 ( 1 9 5 9 ) i4if. , no. 30, pi. 29. 61-1448.

777. Comic mask. PI. 1 2 1 6 0 - 3 1 4 . I M 2 . PH. 9 . 3 . Broken all around; missing right side of face and chin. Pink-buff clay, greenish surface; thick fabric. Bald with furrowed forehead and sloping eye­ brows; deep trumpet mouth. Eyes and mouth pierced. This example may not have been a true mask as it appears to have had a back; the join is marked by a groove. The subject is Pollux' Maison, the cook (no. 25). The Maison mask appears at Lipari in the early third century, at Halai ca. 335-280, and is worn by several Hel­ lenistic terracotta figures. Probably third cen­ tury. P. 68. Cf. Bernabo Brea, Meltgunis-Lipara 11, C 8, pi. CLXXXVII:8 (early third century); H. Goldman, Hesperia 1 1 ( 1 9 4 2 ) p i . 2 0 (IV-C-I, 3 3 5 - 2 8 0 B.C.); Bieber, HT 2 , fig. 155 (Taras), 156 (Megara), and 397 (Myrina?). 778. Comic mask. PI. 1 2 2 5 6 - 7 8 9 . I B. PH. 5 . 0 . Right side missing. Buff-orange clay. Fat cheeks, swinging brow above small eyes; thick speira, wreath; eyes and mouth pierced. Suspension holes in speira. One of Pollux' leading slaves (no. 2 2 or 2 7 ) ; there are several Sikeliote parallels. Probably early Hellenistic. P. 68. Cf. Bernabo Brea, Meligunis-Lipara 11, C 6, pi. CLXXXV:4 (early third century); Libertini, Museo Biscari, n o . 1 1 7 9 , p i . c x v i = K e k u l e , p i . 1.111 : 5 (Webster gives this piece two numbers in MNC, ST 9 and ST 26).

779· Comic mask. PI. 1 2 2 5 8 - 5 2 0 . I J. PH. 5 . 9 . Right forehead and speira. Rather dark pink-buff clay, white slip. Eyebrow raised, knitted brows; bulging eye. Furrowed forehead; thick speira, with suspen­ sion holes. Careful modeling. Probably Pollux' leading slave (no. 22), who has raised eyebrows and knitted brows. The fab­ ric seems to be Syracusan. Late Hellenistic? C f . B e r n a b o Brea, Meligunis-Lipara 11, t y p e C 4 , pi. CLXXXVI: ι ο (early third century); Bieber, HT 2 , fig. 390 (Melos). 780. Comic mask. PI. 1 2 2 Syracuse 3 3 3 8 5 . S 8 b . PH. 1 3 . 2 . Missing most of top of head, part of left side. Buff-brown clay, white slip. Red mouth, dark brown in hair at forehead. Broad face with swinging, knotted brows, small eyes, hooked nose; the receding hair is unarticulated. Eyes and mouth cut out. Careful modeling. One of the parasites of Pollux, perhaps the parasite proper (no. 18) because of the lowered eyebrows, although the expression does not seemphaidros (Qnom. iv, 148). Mask 780 resem­ bles that worn by a statuette from Capua, which has been identified as the Sicilian parasite (no. 20; Webster, GTP 82). See also 730. The clay is Syracusan. Possibly third century. Cf. Bieber, H T 2 , fig. 374a-b (Capua). 781. Comic mask. PI. 1 2 2 1 9 5 7 uncat. N.S. s. corridor. PH. 7 .1. Face only. Brown-buff clay, white slip. Dark pink flesh. Round face with fat cheeks; straight eye­ brows. Careful modeling. This unbearded mask resembles the type which has been identified as Pollux' second wavy-haired youth (episeistos: no. 16). The dark pink flesh means that he cannot be the delicate youth (no. 13), who is white. Syracusan clay. Third century. Cf. Bieber, H T 2 , fig. 3 4 4 (Amisos) = Webster, MNC, ZT 5; Bernabo Brea, Meligunis-Lipdra 11, C 1 8 , p i . CXCI:I - 6 . 782. Comic mask. PI. 1 2 2 6 2 - 5 6 5 . II B 2 . PH. 4 . 8 . Right side of face and mouth. Fine buff-pink clay, thin fabric.

CATALOGUE OF THE TERRACOTTAS

Broad face with smooth surfaces; level eye­ brows; speira. Fabric as 7 8 5 and 7 8 8 . One of the youths of New Comedy, either Pollux' dark (no. 11) or delicate (no. 13), whose brows are straight. Mask 782 is similar to that held by Menander in the Lateran relief (Bieber, HT 2 , fig. 317a). Context of mid-first century B.C.

Cf. Bernabo Brea, Meligunh-Lipara 11, C c x c i: 7 .

20,

pi.

783. Comic mask. PI. 1 2 2 5 5 - 7 0 0 . I B. PH. 7 .1. Left eye and cheek. Orange clay, greenish surface; white slip. Dark pink flesh. Youth with speira; brows apparently raised; wrinkle at corner of eye. Suspension hole in hair. The dark pink flesh suggests Pollux' panchrestos (no. 11), whose flesh is ruddy (υπέρυθρος) and whose brows were raised. However, the crowsfeet might argue that the subject is an old woman. Late Hellenistic. 784. Comtc mask. PI. 1 2 2 5 9 - 1 5 0 1 . I M 2 . PH. 8 . 2 . Nose and left eye. Buff clay, white slip. Dark pink flesh. Straight short nose; straight brow with fur­ rows above nose. Probably one of the youths of New Comedy, perhaps the melas (no. 11). Probably second cen­ tury. 785. Comic mask. PI. 1 2 3 5 6 - 2 9 4 9 . I A. PH. 2 4 . 8 . Right side of face and wreath. Buff-pink clay, white slip. Dark pink flesh; pale pink eye; brown-red wreath with pink and yellow traces above. Straight eyebrows, smooth rather sunken cheeks; mustache and goatee. Elaborate wreath; ivy wreath at right temple. An old man of New Comedy, perhaps no. 4 or 7 of Pollux, both of whom have long beards. Of the same fabric are 782 and 788; a date for all three in the first century B.C. seems probable. 786. Comic mask. PI. 1 2 3 5 9 - 1 3 6 1 . I M 2 . PH. 5 . 5 . Nose and right eye. Tan-buff clay, white slip. Dark red in eyes and mustache.

Large eye under rising brow; short indented nose; mustache. One of the old men of New Comedy. Proba­ bly second century. 787. Comic mask. PI. 1 2 3 I U. PH. 6 . 2 . Nose, right eye, and brow. Coarse orange-buff clay, white slip. Dark pink flesh; red eyelids. Large eye under sloping brow; long rather flat nose with indentations; mustache. An old man probably from New Comedy (al­ though the sloping eyebrow is found in tragic m a s k s : c f . A t h e n i a n a g o r a T 8 8 , Hesperia 2 8 [!959} pl· 2 9)· Third to second century. 60-1621.

788. Comic mask. PI. 1 2 3 5 6 - 2 9 4 4 . I A. PH. 2 . 5 . Nose and left cheek. Buff clay, white slip. Straight nose, lined cheek; mustache. Same fabric as 7 8 2 and 7 8 5 . One of the old men of New Comedy. First century B.C. 789· Comic mask. PI. 1 2 3 58-2364. I A. PH. 6 .1. Nose, right eye, and brow. Brown-buff clay, white slip; thick fabric Dark pink flesh. Short straight nose; swinging brow, large eye. Mobile surfaces. The subject must be male because of the dark flesh; a parasite from New Comedy seems likely. 790. Comic mask. PI. 1 2 3 5 5 - 2 7 2 0 . I N. PH. 5 . 7 . Right side of beard and lower lip. Buff clay, white slip. Pink lip, red beard. Beard of an old man of New Comedy. Fabric is similar to that of 7 8 2 . 7 9 1 . C o m i c m a s k . PI. 1 2 3 6 2 - 1 1 0 5 . I B - PW. 8 . 8 . Right forehead, ear, and eye. Thin orange-buff micaceous clay. Burned brown paint, perhaps a glaze. Bald; thin lowered eyebrow. The eye is not cut out: perhaps a plastic vase? An old man, apparently from New Comedy. Late Hellenistic. 792. Comic mask. PI. 1 2 3 1 9 5 9 uncat. N.S.A. 1 0 , fill. PH.

6.8.

Left ear.

219

220

CATALOGUE OF THE TERRACOTTAS

Buff clay, white slip. Dark pink flesh, dark red hair. Pointed ear perhaps from a mask of Papposilenos or a satyr. Third century. Cf. Libertini, Centuripe, pi. xxxvi:2 (Kentoripa, in Syracuse). 793. Comtc mask. PI. 124 57-907. N.S. 7. H. 7.9. Buff-pink clay, thick fabric; white slip. Pink flesh, red hair. Broad oval face; smooth cheeks; hair centerparted, stippled; eyes and mouth not cut out. Two suspension holes in hair. The kore of New Comedy, Pollux' no. 33. Third century. P. 68. Cf. Bieber, H T 2 , fig. 548b (statuette from Pompeii) = Webster, GTP, 196, no. 27. 794. Comic mask. PI. 124 56-1691. I V2. PH. 8.2. Nose, right eye and cheek. Thin buff clay, white slip. Pale pink flesh, dark pink upper eyelid. Straight nose, level eyebrow, smooth cheek. Fine crisp work. Probably to be identified as the kore of New Comedy (Pollux' no. 33). 795. Comic mask. PI. 124 Syracuse 18634. S3. H. 16.2. Right side miss­ ing. Coarse buff clay with greenish surface. Red mouth. Broad face with large mouth and short nose. Melon coiffure; diadem (or fillet?) with Herakles knot at parting of hair. Two suspension holes; ear also pierced. A hetaira from New Comedy, probably Pol­ lux' no. 39, the "blooming," who wears a fillet in her hair. Fabric of the third century. Cf. A. W. Pickard Cambridge, The Dramatic Festivals of Athens, 2nd ed. (Oxford, 1968), fig. 157 = Webster, GTP, 200, no. 74; Bernabo Brea, Meligunh-Lipdra 11, C 27, pi. CXCiv:i. 796. Comic mask. Pl. 124 Syracuse 36801. S 10. H. 7.3. Buff clay, white slip; thick fabric. Pink flesh. Broad oval face, large mouth, narrow slanted eyes. Melon coiffure. Two suspension holes in hair. Later generation. Young woman from New Comedy.

797. Comic mask. PI. 124 56-380. I A. PH. 7.7. Nose, right eye, and forehead with hair. Buff clay. Broad face with smooth forehead, short nose. Hair appears to be bound in melon coiffure, with kerchief or wreath above. If the hair is bound in a kerchief, 797 must be Pollux' wimpled hetaira (no. 41); otherwise, perhaps the "blooming"; see 795. 798. Comic mask. PI. 124 57-383. I G i . P H . 4. 1 . N o s e a n d l e f t s i d e o f face and hair. Micaceous orange-buff clay, white slip. Straight nose, smooth cheek, hair bound in melon coiffure. Young woman from New Comedy. Late Hel­ lenistic. 799- Comic mask. PI. 124 58-661. I J . P H . 5.3. Nose, leftsideoffaceand hair. Buff-brown clay. Fat cheek, short nose; hair swept back appar­ ently in melon coiffure. Young woman from New Comedy. Fabric similar to 782. 800. Comic mask. PI. 124 60-241. I F2. H. 10.8. Missing hair on left side. Orange-buff clay, white slip. Broad face with small features. Wreath and possibly serrated stephane in hair. Face is asymmetrical because of uneven pulling from mold. Very advanced generation. Young woman from New Comedy. Late Hel­ lenistic. 801. Comic mask. PI. 125 55-134. I B. PH. 9.8. Nose and right side of face. Buff-brown clay, white slip. Pink fillet; red line above upper eyelid. Fat cheeks; wrinkles at corner of eye; thick fillet hangs at right temple. Old woman from New Comedy; perhaps the fat woman, Pollux, no. 29. Fabric similar to 782. 802. Comic mask. PI. 125 58-1361. N.S. st. PH. 9.9. Right side of face and chin. Buff-brown clay, white slip.

CATALOGUE OF THE TERRACOTTAS

Very broad fat face; straight eyebrow, em­ phasized upper lid, dimple. Probably a young woman from New Comedy. Fabric similar to 782. Third to second century. 803. Comic mask. PI. 1 2 5 6 0 - 6 5 7 . I M 2 . PH. 5 . 3 . Hairand lowerpart of face missing, surface damaged. Micaceous buff-pink clay, white slip. Broad face, short nose, wrinkles at eyes. Possibly an old woman from New Comedy. Late Hellenistic. 804. Comic mask. PI. 1 2 5 5 6 - 2 8 9 5 . I B . P H . 5 .1. Right side of face. Buff micaceous clay, white slip. Fat cheek with part of right eye; lids indi­ cated by incisions. At side of face is thick fillet from wreath. Similar to 8 0 1 . Late-Hellenistic fabric. 805. Comic mask. PI. 1 2 5 5 9 - 6 2 0 . N.S.A. fill. PH. 11.0. Nose and left side of face. Buff clay, white slip; thick fabric. Short straight nose, wrinkled brow, smooth cheek. Probably an old woman from New Comedy. Later third century. 806. Comic mask. PI. 1 2 5 5 6 - 4 7 8 . I B. PW. 6 . 9 . Nose, mouth, and right side of face. Buff clay, white slip. Broad heavy face with sketchily modeled fea­ tures. Late Hellenistic. 807. Comic mask. PI. 1 2 5 5 6 - 4 7 5 . I B. PH. 7 . 7 . Lower part of face. Buff clay. Fat face with straight, slightly pointed nose, and smooth surfaces. Late Hellenistic. 808. Comic mask. PI. 1 2 5 5 7 - 3 1 0 3 . Ill F. PH. 5 . 6 . Broken all around face. Greenish buff clay. Surface worn. Round face of indeterminate sex; brows level, short nose. Mouth and eyes are not cut through. Perhaps an applique. Fabric and context of third century.

809. Comic mask. PI. 1 2 5 1 9 5 9 uncat. N.S.A. fill. PH. 5 . 2 . Nose and part of right eye. Caramel-buff clay. Irregularly curling nose, knitted brow, squinting eye. Mask from New Comedy: perhaps a slave or an old woman. 810. Comic mask. PI. 1 2 5 1 9 5 9 uncat. N.S. s. corridor, deposit. PH. 5 . 5 . Right eye and cheek. Soft orange-buff clay. Heavy swinging brow, round eye, fat cheek. Mask from New Comedy. Third century. 811. Comic mask. PI. 1 2 5 5 7 - 1 9 4 6 . I V 3 . PW. 4 . 7 . Right eye and brow. Pale buff-brown clay, white slip. Raised eyebrow, bulging eye. Mask from New Comedy: perhaps the leading slave (Pollux, no. 22), whose eyebrows are raised. 812. Comic mask. PI. 1 2 5 1 9 5 7 uncat. N.S. s. corridor, deposit. PW. 4.2. Left eye and brow. Soft orange-buff clay. Small round eye, raised eyebrow, knitted brow with furrows. Mask from New Comedy: perhaps a parasite (Pollux, no. 17?). Third century.

813. Comic mask. PI. 1 2 6 5 7 - 2 0 7 7 . N.S. C, cistern. PW. 7 .1. Right eye and brow. Buff clay, white slip; thick fabric. Raised eyebrow with furrows above; round staring eye. Mask from New Comedy. Third century. 814. Comic mask. PI. 1 2 6 1 9 5 7 uncat. N.S. s. corridor, deposit. PW. 8.7. Left eyebrow. Coarse buff clay, burned. Heavy, lowering brow; elongated pierced eye. Mask from New Comedy. Third century. 815. Comic mask. 1 9 5 8 uncat. N.S.A. fill. PH. 9 . 8 . Taenia and wreath. Orange-buff clay, white slip. Traces of red in wreath. Fragment of wreath and taenia from left side of head, as worn by a mask from New Comedy.

221

222

CATALOGUE OF THE TERRACOTTAS

Hole in side of taenia (for fastening the mask to a fixed surface?); surface of wreath is stippled. Third century.

broken. Buff-pink clay, pale green surface. Freely modeled. Extended left arm. Tubular modeling; folds in flesh.

FRAGMENTS OF HUMAN

823. Right arm. PI. 1 2 6 5 6 - 4 8 2 . I B. ML. 5 . 9 . Fingers broken. Buff clay, white slip. Extended arm with hand open, probably holding object now lost; incised line at wrist and elbow indicating joints.

SUBJECTS (816-851) 816. Right arm. PI. 1 2 6 6 3 - 1 2 2 5 . V B. ML. 1 3 . 0 . Fingers broken. Buff clay. Encrusted. Raised right arm, extended in plane of body. The fragmentary arms 816-820 probably belonged to standing deities (cf. 50ff., 215). Third-century fabric. 817. Right arm. PI. 1 2 6 6 3 - 1 1 5 4 . V B. ML. 8 . 8 . Fingers broken. Buffyellow clay, white slip. Similar to 816. 818. Arm. PI. 1 2 6 5 8 - 1 4 7 1 . II A. ML. 6 . 5 . One side missing. Buff clay, white slip. Similar to 816, except that forearm is verti­ cal. 819· Right arm. PI. 1 2 6 5 5 - 1 7 2 2 . I N. ML. 4 . 8 . Inner side missing. Red-brown clay. Similar to 816, but from a small and finely modeled figure. The clay is Syracusan. 820. Right arm. PI. 1 2 6 5 6 - 2 5 5 7 . I G i . M L . 7 . 8 . Forearm and hand. Buff clay, white slip. Pink flesh. Similar to 816; held object inserted into hand, perhaps a spear or torch; female subject. 821. Right arm. PI. 1 2 6 5 6 - 1 6 6 0 . I V i . M L . 6 . 4 . Fingers broken. Buff clay, white slip. Right arm bent at elbow; trace of drapery at shoulder. Perhaps from an Anadyomene with drapery at shoulder. 822. Left arm. PI. 1 2 6 5 7 - 1 2 7 4 . N.S. C, cistern. ML.

8.7.

Fingers

824. Left arm. PI. 1 2 6 5 6 - 1 2 9 0 . I B. ML. 1 3 . 8 . Hand missing. Buff slightly micaceous clay, white slip. Extended left arm, carelessly modeled; hol­ low, made with front and back molds. Late Hellenistic. 825. Right arm. PI. 1 2 6 6 0 - 6 7 5 . I M2. ML. 9 . 0 . Fingers broken. Buff clay, white slip. Raised right arm of child; plump, sketchily modeled. Probably from a large flying Eros of the type found at Kentoripa in the third and second cen­ turies. Original height ca. 40 cm. Cf. Libertini, Centurtpe, pi. xxv. 826. Left arm. PI. 1 2 6 5 6 - 2 9 1 2 . I G i . M L . 8 . 8 . Hand broken. Pink clay, white slip. Forearm pressed tightly against upper arm; biceps flexed. Underside of upper arm is broken away from another surface. The piece may have been a telamon, although the break is strange. Freely modeled. 827. Right arm with ram's head. PI. 1 2 7 5 7 - 1 6 2 7 . I K 3 . ML. 6 . 2 . Forearm only. Brownred clay, white slip. Lowered right arm holding left horn of ram's head. The clay is Syracusan. Third century. 828. Left arm with wineskin. PI. 1 2 7 5 8 - 6 5 . IV B. ML. 5 . 9 . Buff clay. Lowered left arm holding wineskin in crook of elbow; spout held by hand.

CATALOGUE OF THE TERRACOTTAS

Perhaps from a comic figure though the arm is not shaggy.

(cf. 754), al­

829· Right hand holding ball. Pi. 127 66-777. I Q. ML. 5.1. Buff micaceous clay. Heavily encrusted. Extended right hand holding small ball. Catania Group, mid-first century B.C. 830. Right hand. PI. 127 58-414. N.S.A. fill. ML. 7.3. Pink-buff clay. Freely modeled hand, tightly gripping object now lost; ca. half life-size. 831· Finger. PI. 127 56-2047. I B. ML. 6.3. Pink-buff clay. Solid. Long finger about two-thirds life-size. Tubu­ lar modeling with grooves for joints. 832. Leg. PI. 127 55-2718. I N. ML. 9.4. Broken at knee and ankle. Buff-pink micaceous clay, white slip. Muscular lower leg; prefiring scars. Late Hellenistic. 833· Leg. PL 127 58-1470. N.S.A. fill. ML. 12.7. Foot missing. Buff clay, white slip. Pink drapery. Slender left leg with drapery at thigh. Care­ fully modeled. Possibly from a standing Eros. Third century. 834. Right leg. PI. 127 58-1305. N.S.A. fill. ML. 11.0. Broken at knee and ankle. Buff clay, white slip. Lower leg with spiral anklet. Third century. 835. Left leg. PI. 127 57-1623. I K3. ML. 7.0. Foot missing. Orangebuff clay. Left leg bent at knee, drapery over thigh and to left of knee. The clay is not local. 836. Leg. PI. 127 58-1355. N.S.A. 5. ML. 4.3. Broken at knee and ankle. Buff clay. Dark pink flesh, brown shoe.

Top of leather shoe at calf, with overfold. Dark flesh indicates a male subject. The lustrous red flesh appears to have been fired; similar to the Eros 305. 837. Doll's leg. PI. 127 68-442. V C. L. 5.9. Buff clay, white slip. Doll's left leg; hole for suspension at top (cf. 395 and 757, both of which were provided with such legs). 838. Doll's leg. PI. 127 59-1857. I M2. L. 7.5. Buff-brown clay. Similar to 837. 839. Doll's leg. PI. 127 1958 uncat. N.S.A. fill. PL. 6.6. Foot missing. Buff clay. Similar to 837. 840. Moldoffoot. PI. 129 59-627. N.S.A. fill. PL. 6.6. Broken before ankle. Buff-yellow clay, gray core; coarse fabric. Sketchily modeled left foot. Back of mold rounded. 841. Right foot. PI. 129 56-502. I G i . P H . 5.6. Broken above ankle. Pale orange-buff clay, micaceous. Fat crudely modeled foot, perhaps from a late-Hellenistic Eros. P. 78. 842. Right foot wearing sandal. PI. 129 1957 uncat. N.S. 4. L. 3.9. Broken above ankle. Orange-buff clay. Complete figure wore ankle-length drapery; sandal has strap around ankle. 843. Right foot wearing sandal. PI. 129 58-1352. N.S.A. 5. L. 2.5. Broken at ankle. Buff clay, white slip. From a diminutive figure; similar to 842. 844. Right foot in shoe. PI. 129 56-1696. I V i . L . 5.4. Broken at ankle. Buff clay, white slip. Red shoe. Soft pointed shoe with sole; ankles exposed by V-shaped indentations at sides.

223

224

CATALOGUE OF THE TERRACOTTAS 845. Right foot. PI. 129 Syracuse 32297. S 5. L. 9.0. Broken above ankle. Pink-buff clay, thick fabric. Right foot on high sole, notched at big toe; no indication of straps, which may have been painted. Carefully modeled. Cf. ArchCl 9 (1957) pi. LXI:I (left foot, from Gela, early third century); NSe (1936) 148, fig. 40 (Taras, tomb 66; child's burial of earlyHellenistic era).

846. Right foot. PI. 128 66-802. I Q. PH. 35.0. PW. 17.0. Outertwo toes of right foot; part of sandal strap. Pink clay with buff-yellow surface, red ceramic grog. Two fragments from a colossal sandaled foot. It is quite improbable that this foot belonged to a terracotta sculpture of commensurate scale; it may have been an isolated votive (although the context is domestic) or part of a statue, other elements of which were made of different mate­ rials. Probably late Hellenistic. Hand modeled. PR IX, 249.

847. Lampadion knot (2). PI. 129 57-1817. I V i . P H . 7.3. Buff clay, white slip. Same series: 58-1601 (S.S. fill; later genera­ tion). Hair at crown of head, tied in lampadion; back flat, not molded. For the coiffure, cf. 2 0 4 - 2 0 5 . Later fourth century, perhaps from a bust of Persephone or a large-scale figure of the Artemis Group. Cf. Kekule, pi. xn:2 (Syracuse).

848. Wing. PI. 129 1959 uncat. N.S. st. PL. 9.2. Chipped. Bufforange clay, thick white slip. Carelessly made right wing; prefiring dents. Fragments 848-851 probably belonged to Erotes. Third century.

849- Wing. PI. 129 56-2610. I A. PL. 7.7. Buff-brown clay, gray core. Right wing with two rows of short rounded cover feathers; long end quills with central rib. Later generation. The clay is probably Syracusan.

850. Wing. PI. 129 55-1743. I H i . P L . 6.3. Outer edge chipped. Gray-buff clay. Traces of pink and blue. Schematic right wing, with blue cover feath­ ers and pink end quills. Same context as 8 5 1 . Probably late Hellenis­ tic. 851. Wing. 55-1744. I H i . P L . 8.6. Buff-orange micaceous clay, white slip. Traces of blue and pink. Blue cover feathers, pink end quills. Same context as 8 5 0 . Probably late Hellenis­ tic.

ANIMALS (852-896) 852. Lion. PI. 130 57-1372. N.S. 7. PH. 4.3. Left front leg and right front foot missing. Red-buff clay, white slip. Yellow pelt. Sits on haunches, right front leg raised, head turned to right; ribs delineated clearly. Paws probably rested against a larger figure, perhaps a standing deity (cf. also 8 5 6 ) . The fabric is probably Syracusan. Third cen­ tury. Cf. Libertini, Centuripe, pi. xxxix:5 (lioness, Kentoripa). 853. Lion. PI. 130 Palermo 3388. From Aidone, gift of P. Ranfaldi. H. 13.5. PL. 16.2. Reddish buff clay. Encrusted. Recumbent lion on low rectangular base, tail wrapped around rear right leg, head turned to right. Spirited rendering of head, which has very large mouth. Thin body, broad haunches. Late Hellenistic. Cf. 9 5 1 . Kekule, 38. 854. Lion's foreleg and paw. PI. 130 55-2399. I B. PL. 10.2. Buff micaceous clay, white slip. Traces of dark pink in paw. Raised left front leg; pad and claws clearly represented. Advanced generation. CataniaGroup, mid-first century B.C. P. 78. 855. Mold of feline leg. PI. 130 60-236. I F2. L. 7.1. Hard pink-buff clay.

CATALOGUE OF THE TERRACOTTAS

Mold for what appears to be hind leg of feline. 856. Deer. PI. 1 3 0 5 7 - 8 0 2 . N.S. 7 . PH. 5 . 0 . Missing front legs, right antler. Buff-pink clay, white slip. Crouches on haunches, apparently resting forelegs on a figure now missing—perhaps a standing deity (cf. 852, with the same provenance). Third century. 857. Dog. PI. 1 3 0 5 9 - 4 1 7 . N.S. st. H. 5 . 8 . Missing front legs. Buff-pink clay, white slip. Small short-haired dog seen from right side, head turned to right, tail curling over back. Back and front molds; stippled surface imitating hair. Advanced generation. Probably third century. Cf. Libertini, Centuripe, pi. xxxix : 3 ; Laum o n i e r , Madrid. T C , n o . 9 8 4 , p i . C X X X K 3 (Spanish, Cerro Muriano); idem, Delos TC, no. 1336, pi. 9 9 . 858. Dog. PI. 1 3 0 1 9 5 7 uncat. N.S. s. corridor, deposit. PL. 7 . 5 . Missing front of head, legs. Red-buff clay, white slip. Dog running to left, body stippled as in 8 5 7 ; similar fabric. Third century. 859- Dog. PI. 1 3 1 5 7 - 1 2 7 3 . N.S. C, cistern. PL. 9 . 9 . Missing feet, front right leg. Buff clay. Dog running to right; short tail. Slot under abdomen, into which vertical support could be inserted. 860. Dog's head. PI. 131 6 0 - 4 9 . I Mi. H. 6 . 8 . Ears broken. Pink-buff clay, greenish surface. Crudely modeled protome of long-nosed dog. 861. Mold of horse's head. PI. 131 5 5 - 1 7 4 0 . I Α. Η. 11.0. Buff-pink clay, pale green surface. Mold for right side of horse's head. Because of the length of the neck, the horse appears to have been rearing. Good detail in head; ears back, mouth open; veins, nostrils, and teeth clearly

indicated. Incised X-marks at outside edges of mold (for such markings, supra, p. 130). Back of mold rounded. 862. Horse's head. PI. 131 70-537· VI B. L. 7 . 0 . Orange-buff clay. Simply treated protome of horse. Bridle shown by incised lines; holes, probably for sus­ pension, in back and sides of neck. Small holes in ears. Hand-modeled, hollow. 863- Horse's head. PI. 131 6 0 - 3 8 8 . I M 2 . L. 4 . 7 . Broken at top of neck. Pale green clay, thin fabric. Brown-purple glaze. Lively modeling; bridle clearly indicated. Hole through mouth may indicate that the piece was a plastic vase—the hole used for pouring. None of the plastic vases at Morgantina have this fabric, which recurs otherwise only in 8 6 4 . 864. Horse's head. PI. 1 3 1 5 8 - 1 8 . II A. PH. 4 . 0 . Nose broken. Pale buff clay with brownish glaze. Ears back, unbridled. Fabric of 8 6 3 . 865. Horse's hindquarters. PI. 1 3 1 5 6 - 2 5 1 9 . I G i . P H . 6 . 6 . Rear legs. Pale buff clay, slightly micaceous, white slip. Galloping horse seen from right; simple modeling. Fabric of late-Hellenistic period. Horse's leg. PI. 1 3 1 I F 2 . PH. 8 . 9 . Right rear leg. Brownred clay, white slip. Pink base. Stands on base, seen from right side; over leg is draped an animal skin, one paw of which falls at thigh. The clay is not local; the subject of the com­ plete figure was an equestrian Dioskouros, as is shown by a complete version from Catania, perhaps from the same series. Probably an im­ port from Catania; close to the Catania Group. First century. Cf. Kekule, 3 1 , fig. 7 2 (Catania); W 11 3 0 0 ; Mollard-Besques, Louvre TC 11, pi. 1571a, e, pi. 158 (Myrina). 866.

60-231.

867. Bull

(2).

57-2794.

N.S.

Pl. 7.

132

PH.

13.7.

Missing parts of

225

220

CATALOGUE OF THE TERRACOTTAS

head, neck, rump, and legs on left side. Buff clay, white slip. Space under legs painted red. Same series: 57-838 (N.S. 7). Very similar: 58-6, -37 (N.S.A. fill). Stands on low base, seen from right side al­ most as a relief, although both sides were molded. Hole in top of head. Simple realistic conception. Third century. C f . M o l l a r d - B e s q u e s , Louvre T C 11, M Y R 3 7 1 , 673, pi. i8o :a, f(Myrina). 8 6 8 . Bull. PI. 1 3 2 Syracuse 3 5 2 9 0 . S 9 . L. 1 0 . 0. Head missing. Buff clay. Similar to 8 6 7 ; long tail, dewlap. Fabric of third century.

869· Bovine bead. PI. 1 3 2 I M2. PL. 6.9. Left side of face. Redbuff clay, white slip. Pink skin, dark red eye. Head with forelock. Fabric of third century.

60-259.

870. Bull. PI. 1 3 2 5 6 - 1 0 6 . I A. PH. 6 . 2 . Head and shoulders. Buff clay, white slip. Traces of red on head. Head turned to right; position of body un­ certain, possibly reclining. Modest fluent style. Fabric of third century. C f . W i e g a n d - S c h r a d e r , Priene , 3 6 2 , fig. 4 5 1 . 871. Cow's head. PI. 1 3 2 5 8 - 6 4 . N.S.A. fill. PH. 9 . 2 . Top and left side of head missing. Buff clay. Protome of cow, crudely but realistically modeled; advanced generation. Fabric of late third century. 872. Bovine head. PI. 1 3 2 6 0 - 2 2 2 . I F 2 . PH. 1 0 . i. Broken at top of head. Buff-brown clay, very heavy fabric. Crudely modeled; forelock indicated by shal­ low gouges; large round eyes. Broad slot un­ derneath for vertical support. 873. Bovine eye (3). 5 6 - 9 2 9 . I B. PH. 6 . 4 . Right eye. Buff-pink micaceous clay. Same series: 5 5 - 1 2 0 , 5 6 - 1 2 8 0 (I B). Bulging eye; forelock above, brow incised with parallel lines.

874. Cloven hoof. 6 0 - 1 4 7 2 . I Q . P H . 5 . 7 . Greenish-buff clay. Cloven hoof of ox or sheep. Original height of animal ca. 35-40 cm.

875. Horn. PI. 1 3 2 1 9 5 8 uncat. N.S.A. PL. 8 . 7 . End of horn bro­ ken. Orange-buff clay, white slip. Pink at base. Long curving bovine horn. Other similar horns were found in the N. Sanctuary and the N. Sanctuary Annex. Third century. 876. Horn. PI. 1 3 2 5 6 - 4 8 3 . I B . P L . 1 0 . 2 . Buff clay. Similar to 8 7 5 . 877. Horn. PI. 1 3 2 5 6 - 4 8 0 . I B. PL. 1 0 . 6 . Buff clay. Similar to 8 7 4 . 878. Pig. PI. 1 3 2 56-2002. I A . H . 5. 1 . B u f f c l a y , w h i t e s l i p . Stands on low base, seen from right side; tail curled over rump. Advanced generation. C f . M o l l a r d - B e s q u e s , Louvre T C 11, M Y R 3 7 4 , 375, pi. i8i:c, d (Myrina); Laumonier, Delos TC, nos. 1338, 1340, pi. 99 ,Olynthus xiv, nos. pis. 100-101; Wiegand-Schrader, 308-19, Priene, 161, figs. 155 -56 (Sanctuary ofDemeter); Hesperta 34 (1965), pi. 1 i:b (Corinth, Sanctuary of Demeter); JHS 7 (1886) 24 (Taras). 879- Pig. Pl- 1 3 2 5 8 - 2 3 5 4 . N.S.A. H. 3 . 8 . Buff-pink clay, white slip. Smaller version of 8 7 8 . Votive pigs are frequently found in sanc­ tuaries of Demeter and Persephone; see 8 7 8 . Third century. 880. Plaque with pig. PI. 1 3 3 6 3 - 1 1 8 8 . I A. L. 1 3 . 8 . Upper edge chipped. Pink clay with pale green surface. Right side of pig's head in low relief, on a wedge-shaped ground; two suspension holes in upper surface. Cf. Mollard-Besques, Louvre TC in, 4 , E 1, pi. 4: c, d (Athens).

CATALOGUE OF THE TERRACOTTAS

881. Mold of pig's head. PI. 1 3 3 5 5 - 2 2 9 0 . I A. PL. 9 . 7 . Top broken. Buffbrown clay, possibly Syracusan. Mold for left side of pig's head. Low relief, not unlike 880. Back irregularly rounded, with fingerprints very evident. 882. Btlly goat. PI. 1 3 3 5 7 - 2 4 5 8 . N.S. s. corridor, fill. H. 1 3 . 9 . Miss­ ing left leg, right foot, tip of left horn. Orange-buff clay. Rampant billy goat, seen from right. Similar to the lion 8 5 2 and the deer 8 5 6 ; per­ haps part of a group, the other element of which is lost. However, a vertical hole in the base may have been intended for the insertion of a prop, allowing the goat to stand alone. 883- Dove ( 2 ) . PL 1 3 3 5 7 - 9 8 0 . N.S. 7 . PL. 1 0 . 9 . Missing head, tail, and legs. Pink-buff clay, pale green surface; white slip. Same series: 5 6 - 2 8 9 0 (I U). Very similar: 5 5 - 1 7 7 (I A), 5 6 - 2 3 3 4 (I V 4 ) . Stood with wings folded; head was turned to right; holes in underside for insertion of wooden or metal legs. Both sides were molded. For the type of base on which 8 8 3 stood, cf. 89 if. Third century. Cf. Libertini, Centunpe, pi. XXXVIII ; MollardBesques, Louvre T C 11, M Y R 3 7 8 , p i . 1 8 2 (Myrina).

Holes in underside for insertion of legs; cf. 8 8 3 . Third century. 887. Rooster's head. PI. 1 3 4 1 9 5 7 uncat. N.S. 4 . PH. 6 . 0 . Chipped. Buff clay, white slip. Red comb, traces of yellow and green on head. Serrated comb. Advanced generation. Third century. Cf. Mollard-Besques, Louvre TC 11, MYR 3 8 0 , 3 7 9 , pi. 1 8 2 (Myrina); Laumonier, Delos T C , no. 1 3 4 4 , p i . 1 0 0 . 888. Rooster's head. PI. 1 3 4 6 6 - 6 1 3 . I Q. PH. 6 .1. Buff slightly micaceous clay. Seen from left; right side very sketchily treated. Late-Hellenistic fabric. 889. Bird. 5 7 - 1 4 7 1 . I Q. L. 7 . 6 . Beak and tail broken. Buff clay. Solid. Stands on inserted legs, now missing; fanshaped tail. 890. Bird. PI. 1 3 4 5 9 - 2 1 3 0 . IV B. L. 5 . 5 . Buff clay. Sits with wings folded, perhaps originally on the edge of a vessel. Hand-modeled.

884. Goose. PI. 1 3 3 6 2 - 1 5 6 9 . I Q. PH. 6 . 7 . Head missing. Buff clay. Seen from right side; stands on low base. Back flat; advanced generation.

891. Base with bird's feet. PI. 1 3 4 6 0 - 1 4 6 6 . I U. D. 5 . 2 . Coarse buff clay, en­ crusted. Bird's feet in relief on upper surface of round base; holes for insertion of wooden or metal legs. Crudely made. For the sort of bird, cf. 8 8 3 , 8 8 6 .

885. Goose's head. PI. 1 3 4 6 6 - 7 4 5 . I Q- PH. 11 . 5 . Buff clay, white slip. Encrusted, partially restored in plaster. Solid. Head turned back toward body. Apparently a protome, perhaps attached to a vessel.

892. Base with bird's feet. PI. 1 3 4 5 6 - 1 6 6 4 . I B. PW. 4 . 6 . Left foot and back of base missing. Buff-pink clay. Similar to 8 9 1 ; stepped rectangular base.

Chicken. PI. 1 3 3 5 7 - 7 3 6 . N.S. 7 . PL. 11 . 4 . Missing head, legs, base. Gray-brown clay, white slip. Partially re­ stored in plaster. Head was turned to left, body viewed from right side. Tail feathers are sketchily modeled.

886.

893. Frog. PI. 1 3 4 6 7 - 1 2 4 . Ill F. PL. 9 . 2 . PH. 3 . 9 . Head dam­ aged, right foot missing. Pale orange-buff clay. Crouching frog. Webbed rear feet. Third century. Cf. Ure, Rhitsona, pi. x v i i , 18 . 2 6 2 (late sixth or early fifth century); Kobylina, Terrakoty, pi.

227

228

CATALOGUE OF THE TERRACOTTAS

8 : 5 , pi. 2 8 : 9 (south Russia); Mollard-Besques, Louvre TC III, D 1302, pi. 253^ (Smyrna). See also R o u s e , Votive Offerings, 2 3 2 f . , fig. 3 5 . 894. Snail. PI. 1 3 4 5 7 - 9 5 6 . Ill F. W. 2 . 7 . Buff clay. Painted red. Small hand-modeled snail. Third century. 895. Locust (2). PI. 1 3 4 5 7 - 2 3 2 7 . N.S. s. corridor, Orange-buff clay. Same series: 5 7 - 1 2 7 1 (N.S. similar is 55-1000 (I A). Both sides were molded. Fabric of third century. P. Cf. Olynthus X i v , no. 3 4 6 , fourth century).

deposit. L. 7 . 6 . C, cistern). Very

98. pi. 1 0 5 (fifth to

896. Griffin. Pl. 1 3 4 6 6 - 2 6 . I Q. PH. 6 . 7 . PW. 9 . 7 . Broken at left and right, head missing. Pale orange micaceous clay, thin fabric. Rampant griffin in relief, forelegs touching drapery of figure now lost. Below appear to be rocks. Late Hellenistic, close to the Catania Group o f t h e first c e n t u r y B . C . P . 7 8 .

FRUIT (897-903) 897. Pomegranate. PI. 1 3 4 5 7 - 8 3 3 . N.S. 7 . PW. 9 . 9 . Approximately one-third preserved. Buff clay, white slip. Pomegranate, ripe before bursting. Turned on wheel, surface modeled by hand. Third century. P. 9 8 . Cf. MonAnt 3 2 ( 1 9 2 7 ) 3 7 4 , fig. 1 6 6 (Selinous, Malophoros); JHS 56(1936) 232, fig. 13 (Foce d e l Sele); N S c ( 1 9 1 3 ) s u p p l . 1 3 0 , f i g . 1 7 4 (Medma).

898. Pomegranate. PI. 1 3 4 1 9 5 9 uncat. N.S.A. fill. PW. 6 . 8 . Lower part missing. Buff clay, white slip. Similar to 8 9 8 .

899. Pomegranate. 5 7 - 4 9 9 . IV B. PW. 5 . 3 . Lower part broken. Orange-buff clay. Ripe pomegranate of type of 8 9 8 . 900. Pomegranate. PI. 135 5 7 - 2 1 5 7 . Ill F. PW. 4 . 5 . Small portion of upper surface preserved. Buff clay. Similar to 8 9 8 . 901. Miniature pomegranate. PI. 135 57-2456. N.S. s. corridor. D. 2.1. Bottom chipped. Pink-buff clay. Miniature pomegranates of this sort may have been held by standing gods; two others were found in room 11 of the N. Sanctuary. Third century. Cf. Laumonier, Delos TC, no. 1 3 5 5 , pi. 1 0 0 ; Stillwell, Corinth x v : 2 , p i . 5 2 , n o . 2 0 ; J H S 5 6 (1936) 232, fig. 13 (Foce del Sele). 902. Miniature pomegranate. PI. 135 60-491. I F2. D 1.5. Buff-pink clay. Similar to 9 0 1 ; pierced by hole, perhaps for use as pendant. 903. F i g . PI. 1 3 5 1 9 5 7 uncat. N.S. 4 . PW. 5 . 5 . One half of upper part preserved. Buff clay, white slip. Ripe fig opening at top and side, seeds vis­ ible; carefully modeled by hand. Third century. Cf. NSc ( 1 8 9 3 ) 4 8 4 (from a tomb in Syracuse); Stillwell, Corinth x v : 2 , t y p e X X X V I I , n o . 1 6 , pi. 52 (Corinth, early fifth century); Blinkenb e r g , Lindos 1, n o . 2 4 4 5 ^ , p i . 1 1 4 .

MISCELLANEOUS OBJECTS (904-915) 904. Blossom. PI. 1 3 5 5 7 - 2 1 2 7 . N.S. C. L. 2 . 8 . Petals broken. Buff clay, white slip. Small blossom with stem, originally with three petals. Perhaps held by a standing god. 905. M o l d o f shell. PI. 1 3 5 60-256. I F2. D. 2.5. Buff clay. Small mold; the positive may have been a seashell.

CATALOGUE OF THE TERRACOTTAS

Cf. D. B. Thompson, Hesperia 21 ( 1 9 5 2 ) 148(., no. 61, pJ. 41 (Athenian agora, mold); Laumonier, Delos TC, no. 1377, pi. 102 (mold). 906. Shield. PI. 1 3 5 1 9 5 7 uncat. N.S. s. corridor, deposit. W. 5 . 2 . One end broken. Buff clay. Hand-modeled almond-shaped shield with central ridge, underside flat. Terracotta shields are fully discussed by A. N. Stillwell in Corinth xv :2, 2i6ff. , includ­ ing types such as this with a central spine. Third century. Cf. Breitenstein, Copenhagen TC, no. 7 5 , pi. 8 ( C y p r u s ) ; Hesperia 1 1 ( 1 9 4 2 ) 1 2 0 , f i g . 9 , n o . 4 8 (Corinth); ci. also R. Bohn, Altertiimer von Pergamon II (Berlin, 1885), pi. XLV (balustrade of Athena stoa). 907. Shield. PI. 1 3 5 5 6 - 1 3 0 1 . I B. W. 5 . 9 . Half broken. Buff clay. Similar to 9 0 6 . 908. Votive cakes. PI. 1 3 5 1 9 5 7 uncat. N.S. s. corridor, fill. D. (a) 3 .1, (b) 2.9, (c) 3.0. Buff clay, painted red; b has white slip. Small hand-modeled disks which seem to rep­ resent votive cakes; this identification has been suggested for similar pieces from Athens. C f . D . B . T h o m p s o n , Hesperia 2 1 ( 1 9 5 2 ) 1 5 0 , nos. 64-65, pi. 40 (Athenian agora, third century). 909. Phiale. PI. 1 3 5 1 9 5 8 uncat. N.S.A. PW. 4 . 3 . One-quarter pre­ served. Reddish buff clay. Pink applied paint. Flat phiale with raised piecrust edge, knob at center. Such miniature phialai were perhaps held by standing deities (cf. 56ff.). Third century. 910. Miniature altar. PI. 1 3 5 6 0 - 1 6 1 8 . I U. PH. 8 . 7 . Missing base; one side chipped badly; objects on upper surface also chipped. Pink-buff clay. Pink in upper mold­ ings and fruit; dancing figures gilded. Round altar, lower part fluted and flaring; central drum decorated with reliefs of dancing women, apparently holding hands. Above relief

zone are two dentil courses alternating with round moldings; a flaring molding defines the upper edge. On top of altar a group of objects: two are round with indentations at top (pome­ granates?), two are smaller and conical, and in center is an irregular mass perhaps representing flames. A similar altar from Kentoripa in Syracuse is decorated with reliefs of uncertain interpreta­ tion, and another example from the Athenian agora depicts the Ilioupersis. For round altars of this type see C. Yavis, Greek Altars (St. Louis, 1 9 4 9 ) i42ff., esp. i40f. The dancers of 9 1 0 have counterparts on a votive polos from Athens (Hesperia 23 [1954} 99ff., pi. 23); they are rem­ iniscent of Neo-Attic dancers and suggest a late-Hellenistic date (cf. W. Fuchs, Die Vorbilder der neoattischen Reliefs, Jdl 20. Erganzungsheft, 2iff.). Cf. Libertini, Centuripe, i3of., pi. XLI (Kent o r i p a ) ; D . B . T h o m p s o n , Hesperia 3 1 ( 1 9 6 2 ) 256, nos. 19-20, pi. 90 (Athenian agora); Wiegand-Schrader, Priene, 363, Abb. 452; Laumonier, Delos TC, no. 343^, pi. 37 (round altars); nos. 343-47, pi. 37, all have objects on upper surface; Lazarides, Abdera, pi. 1 7 , A 3 4 , B 60 (second century). 911. Miniature altar. 5 5 - 1 1 3 8 . I A. PH. 4 . 3 . Lower part missing. Reddish clay with gray core; very worn. Probably a miniature altar similar to 9 1 0 but without reliefs. Two round pieces of fruit (pome­ granates?) and an upright semicircular disk­ like object (bread?) are affixed to the upper sur­ face. 912. Whipping top. PI. 1 3 5 5 5 - 2 7 3 6 . I N. D. 3 . 2 . H. 3 . 2 . Buff-pink clay. Solid. Cylindrical object with conical top; six hori­ zontal grooves on side. A child's whipping top; there are similar pieces from Knossos and Thebes. Cf. Higgins, Knossos TC, no. 2 7 1 , pi. 6 6 ; P. Wolters and G. Bruns, Die Kabirenheiligtum bei T h e b e n ( B e r l i n , 1 9 4 0 ) p i . i 8 f . 9 1 3 . S h o e . PI. 1 3 5 Syracuse 3 2 2 9 8 b . S 5 . L. 8 . 0 . Buff clay. Left shoe with low sole, apparently made of

229

230

CATALOGUE OF THE TERRACOTTAS

leather; palmette ornament at heel, band before ankle; notched at big toe. Modeled freely. 914. Shoe. PI. 1 3 6 Syracuse 3 2 2 9 8 a . S 5 . L. 1 0 . 5 . Surface dam­ aged. Buff clay. Right shoe with low sole, similar to 9 1 3 but larger and without decorated heel; raised edge may indicate seam at ankle. Modeled freely. 915. Pestle in shape of horse's head. PI. 1 3 6 60-1520. I U. H. 5.5. Coarse orange clay. Solid. The gripping end of the pestle is a sketchily modeled horse's head; similar pestles are known elsewhere, though none apparently with a hippomorphic handle. Cf. Hesperia 21 ( 1 9 5 2 ) 1 5 0 , no. 6 6 , p i . 3 9 ( A t h e n i a n agora); Stillwell, Corinth X V : 2 , p i . 53, nos. 26-29.

RELIEFS (916-921) 916. Mold of relief with knucklebone players. PI. 136

Syracuse 4 8 6 7 8 . S 1 4 . H. 1 6 . 4 . Sides chipped. Pink-buff clay, pale green surface. Two female figures kneel on rectangular base facing one another; each rests on one knee with the other raised; left arm of left figure is ex­ tended; right arm of right figure is lowered to make cast. Hair of left figure bound in lampadion knot. Behind and between the figures rises a large multitiered object; above their heads ap­ pear to be volutes. The object may be a thymiaterion. Blurred details of advanced gen­ eration. The two figures are playing knucklebones; their pose is in mirror reversal of the astragalizousai of the marble painting from Herculaneum (Pfuhl, MuZ, fig. 629). Free-standing terracotta knucklebone players are known from the early fourth century; western examples come from Taras, Capua, and Kentoripa (J. Dorig, MusHel 1 6 [ 1 9 5 9 ] 2 9 - 5 8 ; N e u t s c h , 5 4 - 5 9 ; Higgins, GTC, pi. 61 A; unpublished version in Syracuse from Kentoripa). The manner in which the figures are here set before a space-defining

ground is unusual, perhaps reminiscent of the marble painting—where the ground consists of human figures. But the details of 916 are too blurred to permit closer analysis. The lampadion knot hairstyle of one figure suggests a date in the fourth century, when other large reliefs of terracotta are k n o w n i n Sicily (cf. 2 0 3 \ ArchCl 9 [1957} pi. xix:3, 4). P. 36. 917. ReliefwithEosandKephalos. PI. 1 3 6 56-2627. I Gi. D. 7 .1. T. 2.6. Chipped. Red­ dish brown clay. Round disk with relief scene; in center woman wearing chiton stands with weight on left leg, right leg bent at knee and raised; she pulls naked boy toward her, holding his head or hand with her right hand, grasping his left wrist with her left. He wears chlamys, which flutters behind; head turned away, right arm raised above head. His weight is on extended left leg; right leg is foreshortened. Behind and to left of woman a third figure emerges almost horizon­ tally, gesticulating with left arm; drapery flut­ ters freely. Traces of raised border. Reverse roughly modeled by hand, with crude knob used for pulling disk from mold. The subject must be Eos and Kephalos. A similar scene occurs in south-Italian medallion bowls, with the figures reversed, and on a bronze mirror from Praeneste. The third figure is mysterious: the traces of drapery seem to indi­ cate a female subject, but the analogous figure in the medallion bowls is clearly male. If female, perhaps a nymph (cf. the flanking female figures in the Delian akroterion of Eos a n d Kephalos; A . F u r t w a n g l e r , A Z 4 0 [ 1 8 8 2 ] 335fF., esp. 355; F. Courby, Exploration archeologique de Delos xn, Les temples d'Apollon [Paris, 1931} figs. 270-74), or even Kephalos' wife Prokris; if male, a hunting companion. There are formal parallels with small bronzes: the boy is like a satyr on a relief in Richmond (D. G. Mitten and S. F. Doeringer, Master Bronzes from the Classical World [Mainz am Rhein, 1968] 116, no. 113) and the gesticulat­ ing third figure has an analogy on a mirror cover (Ziichner, Klappspiegel, K S 2 6 , A b b . 9 , p i . 1 4 ) . The function of the relief is uncertain. The heads are entirely without detail and must have been in this state in the mold, to be modeled

CATALOGUE OF THE TERRACOTTAS

freely in the positives. As the details were not added here, this must be a trial piece, made per­ haps from a mold intended for medallion bowls. The style and parallels for the figures in­ dicate a date in the later fourth century. The clay is Syracusan. P p . 3 6 , 4 3 . Cf. O. Deubner, R M 5 2 ( 1 9 3 7 ) 2 4 5 - 5 0 , pi. 53 (medallion bowls); E. Gerhard, Etruskische Spiegel (Berlin, 1843-97) pi. LXXiv(= Deubner, 2 4 9 , fig. 2 ) .

918. Relief with Kassandra. PI. 1 3 6 61-395. Nec. Ill, fill. H. 8.8. Lower right corner chipped. Pink-buff clay, greenish sur­ face. Oval relief with smooth back, suspension hole at top. Very advanced generation. The details are so indistinct that it is difficult to account for some elements of the scene. Kassandra, nude, rests against an object (possibly an altar?), with the lower part of her body facing our right. She grasps the image of Athena with her left hand; her right is raised, forearm not shown. Her head is turned toward the statue, which is less than half her size and shown in left profile, on a high blocklike base; one arm is out­ stretched, probably the right, which should hold a spear. The object in the lower left corner is apparently the key to the sanctuary of Athena, which is sometimes carried by a fleeing woman in south-Italian red-figure depictions of the rape of Kassandra (cf. Moret, L'llioupersis , 2 2 , pis. 2 , 7:2, 10:2, ii, 13:2); the attached chain is indi­ cated by raised dots. The altar also occurs in south-Italian red figure (cf. Moret, pis. 1 , 2 , 9 , 13:2, 14). The position of Kassandra's right arm, raised behind her, and of her head turned toward the statue, together suggest that the scene is complete in itself, and that Ajax was thus not a part of the composition of the ar­ chetype. In this respect the depiction here is most like representations on gems, which often omit Ajax (cf. J. Davreux, La legende de la prophetesse Cassandre [Liege, 1 9 4 2 ] figs. 8 2 - 9 3 ) . The position of Kassandra's body is to some ex­ tent repeated on an Apulian amphora in Taranto (Moret, pi. 2), where, however, Ajax grasps her hair. The statue is quite small in comparison with the representations on south-Italian vases;

because of its diagonal position Kassandra seems to be holding it, rather as Odysseus does when he and Diomedes have seized the Palladion; then it must be small enough to be carried (cf. Moret, pis. 34, 35, etc.). The relief was found in the fill of Nec. Ill; one wonders whether the subject may not have had funerary significance. The Apulian vases with depictions of the rape of Kassandra were grave goods, and the subject re­ curs in the painting from the Frangois Tomb (F. Messerschmidt, Necropolen von Vulct, Jdl 12. Erganzungsheft, pi. 3). There is a similar ter­ racotta relief of a seated Herakles in Madrid, probably south Italian (Laumonier, Madrid TC, no. 890, pi. cvn:2; cf. also Libertini, Museo Biseari, no. 1 195, pi. cxvm). Context of fourth t o third century. P . 3 6 .

919· Relief with Persephone. PI. 1 3 6 60-1570. I U. D. 12.0. Chipped and worn. Orange-red clay. Round disk similar in form to 917 though larger. Roughly modeled knob on reverse. On front a female figure stands on ground line wear­ ing chiton and himation; her weight is to right. Her left arm holds scepter at side; over arm is himation. Right arm is extended from hip, holding sheaf of wheat. Wears polos, over which is drawn himation; hair falls to shoulders. Flanking are two slender objects probably to be identified as thymiateria: that on left flares in two tiers at top, other in three. Apparently a trial piece like 917. The deep V-neckline of the chiton suggests a date in the second quarter of the third century; the pose is similar to that of the standing Persephone 63. Polos, veil, and sheaf of wheat all point to Per­ sephone as the subject here; the wheat is fre­ quently an attribute of the goddess in the west (supra, p. 101; Lokrian pinax, marriage with Hades, Langlotz, pis. 72-73; Syracusan coins of late fourth century onwards: Kraay-Hirmer, nos. 1 3 5 , 1 3 6 , pi. 4 8 ; nos. 1 3 8 , 1 3 9 , pi. 4 9 ) . The thymiateria are also associated with the goddess, perhaps as a wedding gift (on these see Zuntz, Persephone, 172f.; Attic lekythos in Paris, Kerenyi, Eleusis, fig. 54). The purpose of the relief is uncertain; perhaps like 918 it was intended for suspension.

231

232

CATALOGUE OF THE TERRACOTTAS

920. Mold of relief of lion. PI. 1 3 7 6 2 - 1 6 0 6 . S.S. 9 . H. 6 . 3 . W. 8 . 7 . Pink-buff clay, greenish surface. Rectangular mold of standing lion in relief, facing left, tail curled above back; thick mane. Fabric and context of third century. Cf . L a u m o n i e r , Delos T C , n o . 1 3 7 3 , p i . 1 0 3 (mold); Lazarides, Abdera, pi. 2 9 , B 1 2 8 . 921. Mold of relief with mounted figure. PI. 1 3 7 1959 uncat. I Mi. D. 15 .7. T. 2.5. One-half missing. Pink-buff clay, greenish surface. Round mold with flat back, bead-and-reel molding as border. Of the main subject, the back, hindquarters, and right front leg of a short-tailed animal with stippled pelt are pre­ served; seated on the back of the animal, facing its tail, is a woman wearing a long himation; her right knee and left thigh are visible. Above her to the left are two curved shapes which may be wings. For a similar relief, see 9 2 2 . Cf. OpusRom 9 ( 1 9 7 3 ) 2 0 3 , fig. 5 4 a , b (fragment of similar mold of possibly same subject, from Alexandria).

GORGONEIA (922-929) 922. Relief with Gorgoneion. PI. 1 3 7 6 7 - 1 1 3 . I S. PW. 1 2 . 7 . Upper half missing. Pink-buff clay, greenish surface. Relief of type of 9 2 1 . Gorgoneion with fat oval face, open mouth; hair in rich locks at sides of face. The function of the disk (as also of 9 2 1 ) is uncertain; the type of Gorgoneion is related to early-Hellenistic examples from Taras (cf. ArchCl 6 [1954} pis. LXXI-LXXIV). 923. Gorgoneion. PI. 1 3 7 5 9 - 1 0 4 8 . I M i . D . 4 . 5 . Surface worn. Buff clay, white slip. Small round disk with image of Gorgoneion covering entire surface. Round face, turned slightly to left, surrounded by thick curls. Wings probably at sides of head; deep-set eyes. Cf. Poulsen, Ny Carlsberg TC, no. 88, pi. L (Taras). 924. Gorgoneion. PI. 1 3 7 6 0 - 1 4 3 1 . I U. W. 5 . 7 . Buff clay, encrusted.

Medallion with Gorgoneion: round, with thick hair forming crescent around face. The irregular surface of the back suggests that the piece may have been an applique. C f . Hesperia 2 1 ( 1 9 5 2 ) 1 4 7 , n o . 5 6 , p i . 4 0 (Athenian agora). 925. Gorgoneion. PI. 1 3 7 Syracuse 3 5 2 9 3 . S 9 . D. 6 . 4 . Pink-buff clay, pale green surface. Round moon face with large eyes and arching brows; mouth closed. Hair pulled away from forehead in small waves. Back is round, with small projecting mass of clay used to pull image from mold. Fabric of later third century. 926. Gorgoneion. 5 7 - 1 5 3 5 . I G i . D . 4 . 2 . Pink clay. Small crudely made Gorgoneion, with rough knob attached to back surface for pulling from mold. Late Hellenistic.

927. Gorgoneion. PI. 1 3 7 5 6 - 2 2 5 8 . I G 2 . PH. 9 . 7 . Left side of head and upper part missing. Buff micaceous clay, white slip. Yellow hair; necklace, ornament in hair, and earrings are red. Heavy oval face; large mouth, furrowed fore­ head, prominent eyebrows. Thick hair in long locks to shoulders. Wears torquelike necklace and earrings; snakes rose above crown of head and there may have been small wings (see 9 2 8 ) . No back. The pieces 9 2 7 - 9 2 9 belong to a group of late-Hellenistic Sikeliote Gorgoneia in the form of protomes; small wings project from the sides of the head and snakes are entwined in the thick hair. The best examples are conceived in a florid style reminiscent of second-century Pergamene sculpture, reflected to some extent in 927. Al­ though some of the protomes may have been in­ tended for use as appliques on vases or clipei (cf. 93of), most seem to be complete in themselves. An analogous piece comes from southern Rus­ sia. First century B.C. Cf. Libertini, Centuripe, pi. xxx:i; S. Reinach and F. Winter, Antiquites du Bosphore Cimmerien (Paris, 1892) pi. 75 (southern Russia). Unpub-

CATALOGUE OF THE TERRACOTTAS

lished Sicilian examples in Syracuse from Calascibetta, Paterno, and Kentoripa; another in Palermo comes from Lilybaeum. For exam­ ples attached to vases from Centuripe, Libertini, Centuripe, pi. XLVI: 2, 3; OpusArch 9(1973) 127, fig. I. 928. Gorgoneton. PI. 138 66-764. II E. W. 7.3. Lowerpart missing. Buff micaceous clay. Broad face with furrowed brow similar to 927; undulating surfaces of late-Hellenistic style. Wings at top of head; two facing snakes at top of head, two others at sides. Protome raised on thin strip of clay attached to periphery of underside, allowing the whole to lie flat; top of head slightly higher than chin. Catania Group, first century B.C. P. 78.

chamber tomb (cf. K. G. Vollmoeller, AM 26 [1901] 362), and there is a representation of a shield with a Gorgoneion set in a field of scales in a painted tomb at Naples (MonAnt 8 [1898} pi. vii). The scales are, as Vollmoeller observes, those of the aegis. For similar winged Gorgoneia, cf. 927-929; for the bead-and-reel molding, cf. 92if. Cf. Libertini, Centuripe, 117, pi. xxxvii:3, 4; NSe (1947) 289, fig. 14a, b (Kentoripa, tomb 4obis, ca. 200 B.C.); Miinzen und Medaillen, Basel, 6 May 1967, lot no. 75 (Kentoripa).

929· Gorgoneion. PI. 138 56-2954. I B. PH. 6.6. Right side of face and hair. Pale buff micaceous clay, white slip. Similar to 9 2 8 .

931. Clipeus. 59-1317. N.S.A. fill. PW. 12.0. Threequarters missing. Orange-buff clay. From a clipeus of the type of 9 3 0 . Four rows of imbricate scales; raised circles between the tips of outermost row. Entwined serpent at center. Cf. Libertini, Centunpe, pi. xxxvii:3; NSc (1947) 289, fig. 14b (Kentoripa, tomb 4obis, ca. 200 B.C.).

CLIPEI (930-931)

THYMIATERIA (932-938)

930. Clipeus. PI. 138 57-3082. N.S. s. corridor, deposit. D. 17.5. T. 4.0. Parts missing at upper right, lower left, also right wing of Medusa. Soft orange-buff clay. Clipeus with three rows of imbricate scales, outer row with central spines; at center Gorgoneion in high relief, with thick locks and wings at crown; around neck both a torque necklace and a loosely knotted serpent. Bead j and-reel molding at circumference; two suspen­ sion holes above. The shattered fragments of perhaps two dozen such clipei from the same mold series were found in a cache south of room 4 in the N. Sanctuary; they were sealed by fallen tiles and so belong to the third-century occupation of the area, but their connection, if any, with the sanctuary is unclear. The type is known at Ken­ toripa in the third century and later. These Sikeliote clipei have counterparts elsewhere that are considerably more shieldlike; small terracotta shields were found in an Eretrian

932. Thymiaterion. PI. 138 57-3093. N.S. C. PH. 12.2. Missingcalyxand parts of front and back; restored in plaster. Buff clay, white slip. Pink flesh, magenta himation. Grinning bearded Silenos; in his right hand a skyphos, pressed to chest; left shoulder covered by himation. Large hole at top of head. Heavy beard, broadening into symmetrical strands at bottom, giving face a pyramidal shape. Bald with pointed ears. The large hole in the top of the head suggests that the figure supported some object; thymiateria in the form of busts supporting a calyx have been found in southern Italy and Sicily and 932 must belong to this type. Common subjects are a female figure or a Silenos. The latter is more frequent in Sicily; two examples were found in 1883 in a house at Selinous, destroyed in 250 B.C.; slightly earlier versions come from Lipari. Third century. Cf. M. W. Stoop, Floral Figurines of Southern Italy (Assen, i960) i6ff., pi. x:3 (from Lipari); NSe (1884) 326, pi. ν (Selinous).

233

234

CATALOGUE OF THE TERRACOTTAS

933. Fragmentary thymiaterion. PI. 138 57-311. IV B. PH. 6.5. Face only. Buff-orange clay, white slip. Bald smiling Silenos with thick beard. A large hole in top of head indicates that the piece was a thymiaterion of the type of 9 3 2 . Third century. 934. Thymiaterion. PI. 138 57-1585. I Vi. D. 10.4. Stem and lower part missing. Buff-pink clay, white slip. Six-petalled calyx, probably from thymiate­ rion of type of 9 3 2 . Third century. 935. Thymiaterion. PI. 138 I U. D. 6.5. Edges and base chipped; very worn. Pink-buff clay. Low shallow dish with overhanging lip and ring base. Mold-made nude male figure reclines at edge on upper surface, facing inwards; he is propped on his left arm, his right resting on his raised right knee. The vessel belongs to a class of thymiateria or offering vases in the form of a low dish, to the upper surface of which is affixed a reclining mold-made figure. They appear to have an early-Hellenistic Syracusan origin, judging from the style for the applied figures. Here the subject is uncertain, possibly a satyr. For de­ tached figures from dishes of this sort, cf. 9 3 6 937; 938 is a mold for a similar figure. Cf. NSc (195 1) 283, fig. 20 (dish with reclining woman, from Syracuse). 60-74.

935bis. Thymiaterion. PI. 139 II Bi. PH. 4.4, PD. 7.5. Lower part missing. Pale buff clay, well levigated. Dish type thymiaterion with mold-made figure affixed to upper surface. Hermes rests on low kline, left hand holding caduceus, wearing chlamys fastened with round clasp at right shoulder. Right hand raised at right knee, hold­ ing phiale. Back sketchily modeled. For the general type, see the preceding entry.

63-352.

936. Reclining Silenos, from thymiaterion (2). PI. 139

I V3. H. 3.2. L. 6 .1. Buff clay. Same series: Syracuse 18631 (S 3). 57-1804.

Silenos reclines on left elbow with right knee raised; in right hand he holds phiale, in left cornucopia. Corpulent body with sagging flesh; spade-shaped beard, prominent mustache. Ap­ pears to wear wreath. From a dish of the type of 9 3 5 ; the underside shows a brown glue or varnish. A similar figure comes from Grammichele (Syracuse 19287) and the cornucopia is held by 937 and 938. Context of early second century; probably to be dated somewhat earlier.

937. Reclining woman, from thymiaterion. PI. 139 7 1 -335. VI B. L. 4.4. Head missing. Pale buff clay. Female figure reclines in banqueting position on cushion, holding cornucopia in left hand and phiale in right. Chiton with low V-neckline; himation covers lower torso and legs. From a dish of the type of 9 3 5 . The deep neckline points to a date in the second quarter of the third century. A similar figure in Syracuse is still attached to the dish. The subject may be a Tyche. PR XI, pi. 74, fig. 17. Cf. NSc (1951) 283, fig. 20 (Syracuse).

938. Mold of reclining Silenos, from thymiaterion. PI. 139 55-2766. I B. H. 5.2. W. 7.9. Hard brown-red clay. Nude bearded male reclines in banqueting position, leaning on left arm, right holding phi­ ale. Strap across chest. To right of head is large object, possibly the end of a taenia belonging to a wreath, the rest of which was to be modeled by hand. He appears to be bald. In front of left arm there seem to be a cornucopia and other objects, perhaps pieces of fruit. Mold 9 3 8 may be a Silenos like 9 3 5 but is much more carefully worked. The arms and feet, as well as other details, were to be modeled by hand; the treatment of torso and head is very free and lively. The type resembles the reclining Herakles (for which, see Goldman, Tarsus 1, 332, pi. 227). After a freely modeled archetype; the clay is Syracusan.

CATALOGUE OF THE TERRACOTTAS

PLASTIC VASES, BLACK GLAZE (939-944) 939. Plastic lekythos: Negro's head. PI. 1 3 9 57-2307. I K2. PH. 4.7. Eyes, forehead, and part of hair. Pale buff clay, matte black glaze, flaking. Sloping forehead with receding hair; deep-set eyes, small nose. Neck of vase at crown of head; handle sprang from right temple. 940. Plastic vase: Negro's bead. PI. 1 3 9 57-3104. Ill F. PH. 5.2. Right eye and hair. Orange clay, dull black glaze. From a plastic vase, perhaps of the type of 939. Hair pulled away from forehead in sepa­ rate, striated locks. Third century.

941. Seated figure. PI. 1 3 9 5 6 - 3 1 9 3 . I U. PH. 9 .1. Missing head, shoul­ ders, most of back, and right side. Pink-buff clay, matte black glaze. Red trim with in­ cisions. Seated figure with arms at sides, wearing long garment with seam at front from neck to ankles; incised lines at chest and abdomen indicating fastenings. Mold-made; sketchily modeled. Not properly a plastic vase but included here because of the fabric. The complete figure is hooded; he has a single lock of hair at his forehead and a pig-snout, and he sticks out his tongue. In some versions the hood falls behind his head. Who is he? Winter's parallels are all Italian; the glaze suggests a south-Italian fabric. Cf. W Ii 431 :1; AJA Ii (1896) 150 (Capua); DarSag 1, 2, 1578, fig. 2091 (Louvre, Collec­ tion Campana). 942. Plastic vase: pig. PI. 1 3 9 Syracuse 4 8 6 7 4 . S 1 4 . PL. 9 . 5 . Head and top of back. Orange-buff clay, black glaze. Red and white in wreath, red eyes. Snout lifted; bristles, freely modeled wreath over head. Small ,suspension hole through bris­ tles. Turned on wheel. The fabric is similar to 9 4 1 ; the wreath suggests that the pig has been prepared for sac­

rifice (but cf. 9 5 0 ) . Late Hellenistic; there are similar fragments in Syracuse. Cf. NSc (1 9 7 1 ) 5 9 6 , fig. 2i: A 4 . 943. Plastic vase: pig. PI. 1 4 0 5 8 - 1 2 4 5 . N.S. st. PL. 5 . 7 . Back of head and bristles. Buff clay, glossy black glaze. Eyes, bristles, and base of one ear, probably from a plastic vase in the shape of a pig or boar. 944. Plastic vase: pig. 5 6 - 2 3 2 9 . I A. PH. 4 . 9 . Pig's snout. Pale buff clay, black glaze. Seen from,·left side, back flat and very lightly glazed. Snarling mouth. Rich black glaze. Not unlike the pig plaques 8 8 0 - 8 8 1 .

PLASTIC VASES, MAGENTA WARE (945-955) 945. Plastic vase: Priapos. PI. 1 4 0 6 0 - 2 6 0 . I M 2 . PH. 6 . 2 . Pale buff clay, thin fabric; greenish surface covered by pale orange glaze. Traces of applied magenta over face and drapery. Same series: Syracuse, s.n. (from a Iate-Hellenistic cistern in the area of the hospital). Smiling bearded face with arching eyebrows and large curving nose; face is enveloped in mantle, which presses against forehead. The more complete version of the vessel in Syracuse shows that the subject is Priapos (pi. 147, fig. 18; pace Higgins, who sees here an old woman; Magenta Ware, 26). With his left hand he lifts his himation in the gesture oianasyrma, reveal­ ing his phallos; with his right he touches his beard or chin. The vase mouth is placed on top of his head, resembling a polos. The fragments 9 4 5 - 9 5 5 belong to a class of late-Hellenistic plastic vases called Magenta Ware by Higgins and Beazley and attributed to a Campanian workshop of the first century B.C. (on this group, supra, p. 79). The Morgantina pieces are so fragmentary that the shapes (usu­ ally lampfillers and flasks) are difficult to iden­ tify; 945 was probably a handled flask. The figure type recurs in a small Priapos standing next to Aphrodite, in a terracotta from Myrina,

235

CATALOGUE OF THE TERRACOTTAS

and in Egyptian terracottas of the Roman peri­ od; in general, see H. Herter, De Priapo, RVV xxiii, ic>3f., ii4ff., pis. i, iv:c. Cf. Higgins, Magenta Ware, 26, no. 73, fig. 42 (Syracuse, same series); NSe (1968) 229, fig. 6, no. 22 (Reggio Calabria); Burr, Boston Myrinas, no. 9, pi. IV; E. Breccia, Monuments de I'Egypte greco-romaine 11:2, Terrecotte figurate greehe e greeoegizie del Museo di Alessandria (Bergamo, 1934), pis. 104-6.

949. Plastic vase: cock. PI. 140 58-46. N.S.A. fill. PH. 12.9. Clay as 9 4 5 . Right side of head, breast, and part of wing. Trace of magenta in comb. Right foot is pressed against breast. Molded in two parts, the break following the join. A similar Magenta Ware flask in the form of a cock is in the British Museum. First century

946. Plastic vase: seated boy. PI. 141 60-415. I M2. PH. 5.9. Torso and left upper arm. Clay as 945, with buff surface. Seated boy with left arm lowered; chlamys over shoulders, falling across back. Soft impre­ cise modeling. Magenta Ware, first century B . C .

950. Plastic vase: leopard. PI. 140 66-743. I Q- PH. 15.2. Head, neck, and left shoulder. Pink-red clay, thin fabric; reddish glaze, mostly worn away; encrusted. White teeth, white spots in wreath and on left shoul­ der. Reclines on irregular base, right leg tucked under chest, head turned at angle to body. Wreath around neck; two round objects are applied to its upper surface. Tongue hangs out, hole through mouth serving as spout. Magenta Ware, first century B . C . A similar leopard flask is in the Louvre. Cf. Higgins, Magenta Ware, fig. 58, no. 104.

947. Plastic vase: seated figure. PI. 141 I F2. PH. 8.6. Right arm and leg of seated figure. Buff-pink clay. Seated man (?) apparently wearing trousers, with legs crossed, left foot under right knee; right arm rests on right thigh holding small vase. Magenta Ware, first century B. C . Cf. Higgins, Magenta Ware, fig. 7. 60-224.

948. Plastic vase: head of actor (?). PI. 140 II B2. PH. 15 .0. Left side of head and wreath. Fine buff-pink clay similar to 945; red­ dish paint on face. Plump round face; small mouth and eyes; stippled wreath with taenia, hair emerging in thick striated lock below ear. Above wreath a stippled mound, which served as base of handle and spout. Similar to and probably contemporary with Magenta Ware, although not definitely the same fabric. The subject was first identified as Isis, but another fragment considered to be part of a uraeus does not belong. A youthful male subject from New Comedy seems more prob­ able—although one might expect the mouth to be open if the piece is really a mask. Perhaps the mouth is closed because the piece had to func­ tion as a vessel. Context of late third quarter of first century B . C . Cf. Bernabo Brea, Meligunis-Lipdra II, 8f., 2 5 8 ^ , pi. c c x v : i , 2 (Isis, first century B . C . ) .

62-564.

B.C.

Cf. Higgins, Magenta Ware, fig.

54,

no.

92.

951. Plastic vase: lion. PI. 141 56-2417. I B. PH. 6.0. Head and neck; ears broken. Clay similar to 9 4 5 . Wrinkled nose, angular mouth, mane falling in ray pattern around head. Hole in mouth served as spout. Similar to the recumbent lion 8 5 3 , which is contemporary but not a plastic vase. A Magenta Ware lampfiller in the form of a lion is in the Louvre. First century B . C . Cf. Higgins, Magenta Ware, fig. 20, no. 25. 952. Plastic vase: fragment with hoof. PI. 141 58-1371. N.S.A. fill. PH. 7.0. Basewith hoof. Clay as 9 4 5 . Perhaps to be understood as a right hoof, rest­ ing on an irregularly shaped base (cf. 947). Flat bottom. Magenta Ware, first century B . C . Cf. Higgins, Magenta Ware, fig. 21, no. 27 (reclining bull). 953. Plastic vase: head of animal. PI. 141 56-2684. I B. PH. 7.0. Part of right side of

CATALOGUE OF THE TERRACOTTAS

head. Buff clay, pink core; traces of orange glaze. Right side of head from eye to ear; fillet or band behind ear. Light striations indicate fur. Perhaps the head of a dog or feline; Magenta Ware, first century B.C.

954. Plastic vase: Negro mask? PI. 1 4 1 5 9 - 1 9 3 . I A. PH. 5 . 8 . Nose and upper lip. Fine greenish buff clay, pale orange glaze. Broad flat nose and upper lip from plastic vase in form of Negro's head. Magenta Ware, first century B . C . C f . Hig g i n s , M a g e n t a W a r e , f i g . 4 1 , n o . 7 2 .

955. Plastic vase: duck's bead. PI. 1 4 1 6 0 - 1 3 5 6 . I Q . P H . 4 . 5 . Right side of head and neck. Pink-brown clay, gray core. Duck faces right; at neck a child's arm. A duck or goose ridden by a small child is a common late-Hellenistic type; the fabric here is close to Magenta Ware.

Cf. W I i 3 1 3 - 1 5 ; Higgins, Magenta Ware, fig. 18, no. 23 (Eros reclining with goose). SPOOL BASES (956-958) 956. Base for statuette. PI. 1 4 1 5 8 - 2 0 4 2 . S.S. 2 . H. 4 . 3 . D. rim 9 . 0 . D. cylinder 7.0. Orange-buff clay. Mended. Spool base, thrown on wheel; flat upper sur­ face with small hole at center; no bottom. Spool-shaped stands of this type were commonly used at Morgantina and elsewhere for standing draped women (cf. 369a, 388). Third century. 957. Base for statuette. PI. 1 4 1 5 8 - 1 8 1 9 . S.S. fill. H. 4 . 1 . D . r i m cylinder 6.3. Gray-buff clay. Mended. Spool base of type of 9 5 6 . 958. Base for statuette. PI. N.S. 7 . H. cylinder 4.9. Buff clay. Spool base of type of 57-917.

8.2.

D.

6.3.

D.

141

3.7.

956.

D. rim

237

List of Contexts

1. A R E A

CONTEXTS.

Persephone: 1 3 5 , 1 3 7 , 170. Athena: 225. Nude kore: 243, 247. Triad of nymphs: 263. Eros: 306, 3 1 2 , 329, 3 3 3 , 3 3 5 . Telesphoros: 357. Standing women: 368, 3 7 3 , 395, 446. Seated woman: 453. Dancer: 4 6 1 . Female heads: 496, 497, 502 (2), 5 1 4 (2), 5 1 5 , 520, 525, 532, 5 3 7 , 542, 553, 554, 578, 6 2 1 , 635 (2), 6 4 1 , 657, 658, 663, 673. Male figure: 684bis. Grotesque: 7 1 0 . Portrait: 7 1 5 . Comic actors: 720, 750. Theatrical masks: 7 7 1 , 778, 783, 7 9 1 , 8 0 1 , 804, 806, 807. Fragments: 823, 824, 8 3 1 . Animals: 854, 873 (3), 876, 877, 892. Object: 907. Gorgoneion: 929. Thymiaterion: 938. Plastic vases, Magenta Ware: 9 5 1 , 953. For the agora in general, see I A (pi. 2).

I A. Agora, upper sector (on the agora in general, Sjoqvist and Stillwell, PR I, 1 5 i f f . ; Sjoqvist, PR II, 1 6 1 f., PR IV, i 2 9 f f . , PR VI, i 3 5 f f . ( PR VIII, 1 3 7 f f . ; Stillwell, PR III, 1 6 7 ^ , PR V , 277 f., PR VII, i 6 3 f f . ; Allen, PR X , 3 6 5 f . ) . Persephone: 60, 85, 1 3 7 , 144, 1 6 5 , 178. Athena: 224. Unidentified goddesses: 2 7 7 , 280, 287, 292. Eros: 304, 3 0 7 , - 3 1 1 , 3 1 3 , 3 1 5 , 3 1 8 , 3 4 1 , 342. Standing women: 3 7 1 , 4 1 0 , 437. Dancers: 464, 466, 468. Miscellaneous woman: 479. Female heads: 490, 494, 502, 5 1 4 (2), 5 2 1 524, 5 3 1 , 550, 562 (2), 563, 570, 578, 583, 597, 625, 659, 6 6 1 . Male figures: 6 8 1 , 684, 688, 690, 692. Child: 705. Grotesques: 708, 7 1 1 . Comic actors: 7 3 1 , 734, 758, 759. Theatrical masks: 770, 785, 788, 789, 797. Fragment: 849. Animals: 8 6 1 , 870, 878, 880, 8 8 1 , 895. Object: 9 1 1 . Plastic vase, black glaze: 944. Plastic vase, Magenta Ware: 954. Terracottas from contexts IA and IB (pi. 2) were found in the fill of the agora and were not associated with any buildings; the finds from buildings in the agora are listed separately (I C to I N). The agora was situated between two hills and in consequence silted up rapidly, even before the final abandonment of the site in the late first century B.C. (PR I, 1 5 1 , PR II, 1 6 1 , PR IV, 135). The fill contained coins and other finds ranging in date from the fifth to the first century B.C. Much of this material appears to have washed down from the residential quarters on the surrounding hillsides.

C I , late fill. Seated goddess: 14. Persephone: 65. Athena: 220. Standing woman: 390. Female heads: 4 9 1 , 583, 605. The predominantly early-Hellenistic terracottas found in the fill of the theater (pi. 2) washed down from the residential area of the West Hill, at a higher level immediately to the west.

I B. Agora, lower sector (for references, see I A). Standing goddess: 5.

C 2 , foundation fill. Standing goddess: 7. Persephone: 1 8 1 .

I C. Agora: theater (Sjoqvist, PR VI, 1 3 7 ^ ; Stillwell, PR VII, i 6 3 f f . , PR I X , 2 4 5 f . ; Allen, PR X , 3 6 3 0 .

LIST OF CONTEXTS

Triad of nymphs: 2 5 3 . Standing woman: 3 7 4 . These finds come from underneath the seats of the second, semicircular cavea, and must ante­ date its construction, which is now assigned to the first half of the third century ( P R I X , 2 4 5 , PR X, 363). The latest of the terracottas is the piece from the series 374, type V of the standing woman. This mold series, which also appears in III E, should be no earlier than the second quar­ ter of the third century. I D. Agora: naiskos (Sjoqvist, PR II, 1 6 2 ; Allen, PR X, 365^; Nabers, Macellum). Triad of nymphs: 2 5 3 . Standing woman: 4 4 4 . Dancer: 4 6 0 . Comic actor: 7 3 7 . The fragmentary pinax 253 comes from the fill of the small naiskos (see pi. 2), which is located between the Macellum and the great stairs; it probably has no connection with the cult. The other terracottas come from the third-century fill underlying the area of the naiskos.

temenos with a hypaethral altar, dated to the second half of the fourth century (Nabers, Macellum; see also PR I, 154). The cult is un­ identified; the bust of Persephone is the only ter­ racotta. It was found with coins of the second half of the third century. I F. Agora: West Shops (Sjoqvist, PR IV, i29f., PR VI, 135f.; Stillwell, PR V , 2 7 8 ) . Fl, late fill. Standing woman: 4 4 5 . Miscellaneous woman: 4 8 0 . From the upper level of the fill which washed down from the West Hill, soon after the aban­ donment of the West Shops in the period after 2 1 1 B . C . (see pi. 2 ) . F2, destruction fill. Persephone: 6 6 , 7 2 , 1 7 1 . Triad of nymphs: 2 6 1 . Unidentified goddesses: 2 8 1 , 2 8 9 . Eros: 3 3 9 . Standing women: 3 8 1 , 3 8 3 , 4 3 5 . Female heads: 4 9 8 , 5 1 0 , 5 1 9 , 5 3 3 ,

572,

599, 615, 640.

I E. Agora: Macellum (Sjoqvist and Stillwell, PR I, 154f.; Sjoqvist, PR II, i6if.; Nabers, Macel­ lum). El, late fill. Persephone: 1 7 3 . Grotesque figure: 7 1 3 . Portrait: 714. The Macellum in the center of the upper agora (see pi. 2) went out of use in the latter part of the first century B.C. The fill overlying the building contained predominantly Iate-Hellenistic material, although earlier finds may have washed in from the East Hill. E2, foundation level. Female head: 5 3 9 . Comic actor: 7 4 6 . A construction date of ca. 1 2 0 B . C . has been pro­ posed for the Macellum (Nabers, Macellum; for the numismatic evidence, Holloway, CSRC, deposit 40). Both terracottas are much earlier than the terminus of ca. 1 2 0 . E3, temenos. Persephone: 121. Underlying the west side of the Macellum is a

Theatrical mask: 8 0 0 . Animals: 8 5 5 , 8 6 6 , 8 7 2 . Fruit: 9 0 2 . Object: 9 0 5 . Plastic vase, Magenta Ware: 9 4 7 . According to the analysis of Stillwell the build­ ing was abandoned by the end of the third century; the destruction fill is likely to have built up over a fairly lengthy period (PR V, 278). The finds probably washed down from the West Hill, into the steep scarp of which the West Shops were cut. F3, fill behind rear wall. Nude kore: 2 4 4 . The single terracotta found behind the rear wall ought to antedate the construction of the West Shops in the late fourth century; yet there is evi­ dence for the infiltration of later material (PR V, 278) and the context is not binding. I G. Agora: northwest corner (Sjoqvist and Still­ well, P R I , ι 5 3 ) . G l , trench 33 complex, late fill. Aphrodite: 2 3 0 .

239

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LIST OF CONTEXTS

Seated woman: 4 5 2 . Miscellaneous woman: 4 8 2 . Female heads: 5 0 2 , 5 2 2 , 5 9 2 , 6 7 1 , 6 7 6 . Male figure: 6 8 0 . Child: 7 0 0 . Theatrical mask: 7 9 8 . Fragments: 8 2 0 , 8 2 6 , 8 4 1 . Animal: 8 6 5 . Relief: 9 1 7 . Gorgoneion: 9 2 6 . The northwest corner of the agora was excavated in 1955-56 (see pi. 2). The terracottas from context Gi come from the fill of two buildings: a rectangular structure at the level of the agora, aligned with the western retaining wall, and, behind it to the west, a three-roomed stoa called the Northwest Shops. The fill is mostly late Hellenistic but includes earlier material; much of this appears to have washed down from the West Hill. G2, deposit in Northwest Shops. Persephone: 8 0 , 8 1 ( 4 ) . Gorgoneion: 9 2 7 . In the central room of the Northwest Shops (PR I, 153) was found a deposit of Persephone votives, along with Arretine sherds and coins of the Hispanorum series; the latest coin from this room is a silver issue of Sextus Pompeius (562283; cf. Crawford, RRC, no. 511 /2). The de­ posit thus belongs to the very end of Morgantina's existence as a city; the terracottas can be roughly dated to the last quarter of the first century B.C. I H. Agora: Bouleuterion and Gymnasium (Sjoqvist and Stillwell, PR I, 153^; Sjoqvist, PR VI, 130f., PR VIII, i 4 of.). H I , north side of agora, late fill. Persephone: 66, 68. Eros: 3 4 2 . Fragments: 8 5 0 , 8 5 1 . The north side of the agora (see pi. 2 ) , compris­ ing the structures identified as a Gymnasium and a Bouleuterion as well as subsidiary build­ ings, was still occupied during the first century B.C. and the destruction fill is predominantly late Hellenistic. The finds are likely to have washed in from the north, although some may have belonged to the late occupation.

H2, Bouleuterion, room C. Eros: 3 4 0 . From the floor of the Bouleuterion; the latest oc­ cupation of the building has been dated to the third quarter of the first century B.C. (PR VIII, 141; bronze of Octavian, 63-438); by this time the structure had lost its civic function and be­ come a commercial shop. H3, foundation fill of Gymnasium. Standing goddess: 3 . Seated goddess: 1 2 . Protome: 4 7 . Persephone: 66. The most recent material from the fill of the Gymnasium belongs to the mid-third century (PR VI, 136^). The eastern sector of the build­ ing was investigated in 1963. "The Hellenistic walls are in some cases built over a much earlier structure . . . the cultural accumulation indi­ cates an occupation period beginning in the last third of the fifth century. The pottery consisted mostly of late Siculo-geometric ware, mixed with a fair amount of Attic glaze. Fifth-century coins from Syracuse, Agrigentum, and Camarina also belong to this layer" (PR VIII, i39f.). Several of the terracottas also belong to the fifth century, while none seems later than the early third century. I J. Agora: East Stoa (Stillwell, PR II, 167^; Sjoqvist, PR VI, ι 35f., PR VIII, 1 37f.). Persephone: 1 8 9 . Female heads: 4 8 6 , 6 4 7 . Child: 7 0 1 . Theatrical masks: 7 7 9 , 7 9 9 · Terracottas from the fill of the East Stoa (see pi. 2) all come from its upper levels, evidently hav­ ing washed down from the houses on the East Hill. I K. Agora: Prytaneton (Sjoqvist, PR II 1 6 1 ; manuscript of Stephen G. Miller, to appear in Morgantina Studies). K l , late fill. Eros: 3 3 6 . Female head: 4 8 5 . The terracottas found in the upper fill of the pub­ lic building south of the East Stoa, which has been called a Prytaneion (see pi. 2), are likely to

LIST OF CONTEXTS

have cascaded down from the House of the Doric Capital to the east. K2, destruction fill. Unidentified goddess: 2 9 4 . Female head: 6 2 6 . Plastic vase, black glaze: 9 3 9 . The destruction fill of the so-called Prytaneion is dated by coins of the second century, which in­ clude bronzes of the Hispanorum series and a denarius of P. Calpurnius (57-2348; cf. Crawford, RCC, no. 247/1, 133 B.C.). The ter­ racottas come from stratum 3, which overlay the floor. See also K 3 . K3, destruction fill of room IV. Persephone: 8 2 . Aphrodite: 2 3 6 . Female head: 5 9 1 . Fragments: 8 2 7 , 8 3 5 . A group of terracottas were found together with the fragments of a round altar, in a small room at the northeast corner of the peristyle (room IV, in manuscript of Stephen G. Miller). "This room might have served as a house-altar room, as in the east corner was an altar stand. Around this and from twenty cm. above the floor down to the floor fragments of figurines were found. These were within the slight tile layer which covered the room" (Κ. M. Phillips, Jr., Note­ book 11, 1957). On the floor of the room were found coins of the second century, including three examples of an Apollo/lsis issue of Catania (cf. Grose, McClean Coll ., 259, no. 2205); the most recent coin, from the destruction fill, was a late-second-century issue of the Hispanorum series (type IA in the classification on Κ. T. Erim, forthcoming; see A J A 6 2 { 1 9 5 8 ] 8 2 ) . Judging from the miscellaneous group of ter­ racottas, the cult practiced in room IV was somewhat syncretistic. Context: late second or early first century. I L. Agora: Chthonian Sanctuary (Sjoqvist and Stillwell, PR I , 155f.; Stillwell, P R III, 1 6 8 , PR VII, 104f.; Sjoqvist, PR VIII, i 4 i f f . ) . Li, north courtyard. Persephone: 1 2 4 , 1 2 6 , 1 2 8 . Three miniature busts were found in the north courtyard (see pi. 2); although the sanctuary has

produced hundreds of lamps and coins, many defixiones, as well as other finds, there have been very few terracottas. The cult of the place may not have been the same as that of the other sanctuaries of Persephone (North, South, West, Cittadella, and San Francesco), which created strong demands for terracottas (see also comments under S 4 and S 5). The three busts come from stratum 2 of the courtyard, which contained coins and pottery of the third century. L2, bothros. Persephone: 121. From the lowest level of the bothros in the Chthonian Sanctuary (PR VII, 155, PR VIII, 142); this level is dated by associated coins to the second half of the fourth century (Holloway, CSRC, deposit 7 ) . I M. Agora: Granary (Sjoqvist, PR IV, i3of.; Stillwell, P R V, 2 7 7 ^ ) . M l , late fill. Persephone: 8 6 , 1 8 9 . Aphrodite: 2 2 9 . Unidentified goddess: 2 7 6 . Eros: 3 0 1 , 3 3 0 . Female head: 6 5 4 . Comic actor: 7 6 5 . Theatrical mask: 7 7 6 . Animal: 8 6 0 . Relief: 9 2 1 . Gorgoneion: 9 2 3 . The fairly numerous finds from the upper level of the fill of the Granary (see pi. 2) must have washed down from the domestic quarter above, on the East Hill. The uppermost stratum contained material ranging from the third to the first century B . C . M2, destruction fill. Eros: 3 0 8 . Female heads: 6 0 8 , 6 6 8 . Comic actor: 7 6 6 . Theatrical masks: 7 7 7 , 7 8 4 , 7 8 6 , 8 0 3 . Fragments: 8 2 5 , 8 3 8 . Animals: 8 6 3 , 8 6 9 . Plastic vases, Magenta Ware: 9 4 5 , 9 4 6 . The destruction fill of the Granary contains finds that for the most part appear to have tumbled down from the houses above, although some may be associated with the late occupation. The

241

242

LIST OF CONTEXTS

latest coins belong to the first half of the first century B . C . , and include a denarius of ca. 8 4 B.C. (60-114; Crawford, RCC, no. 356 /ia). Most of the terracottas are of the second century B.C. or later; the number of theatrical subjects is unusual. I N. Agora: kiln (Sjoqvist and Stillwell, PR I, 158).

Triad of nymphs: 2 5 3 . Standing women: 3 8 9 , 4 4 1 . Male figure: 6 9 3 . Theatrical mask: 7 9 0 . Fragments: 8 1 9 , 8 3 2 . Object: 9 1 2 . Like the Granary,,the kiln (see pi. 2 ) was cut into the slope of the East Hill, and the mis­ cellaneous terracottas found in the fill no doubt washed down from the houses above. Material of the third to first century B . C . I O. West Hill: levels of fifth and fourth centuries (Stillwell, PR V, 281, PR VII, 169, PR IX, 2 4 9 ; Sjoqvist, PR VI, 1 4 0 ) . Standing goddess: 4 . Head of goddess: 2 7 . Persephone: 1 8 3 , 1 8 7 . Artemis: 2 0 4 . Little is known of the first phase of the settle­ ment on the West Hill (see pi. 2). Underlying several of the third-century houses are walls of earlier buildings with the same orientation, in­ dicating that the orthogonal city plan deter­ mined their design. With these early walls are associated pottery and coins of the later fifth century and the first half of the fourth. Figures 27 and 183 were found in such contexts below the Hellenistic houses of insula II; 4, 187, and 204 come from a wash stratum on the east slope of the hill containing material of the fifth and fourth centuries. I P. West Hill: levels of third century. PI, domestic contexts. Aphrodite: 2 2 8 . Standing woman: 413. Dancer: 4 5 4 . Comic actor: 7 2 3 . The construction of houses on the West Hill during the third century and later created

numerous sealed deposits in the form of build­ ing fills (see pi. 2). Examples 413 and 454 were found in such a context beneath a late house in insula III; the associated pottery is characteristic of the third century. Figures 228 and 723 come from the building fill of a modest late house in insula V, in association with sherds of the fourth and third centuries. Under the same house was found a hoard of 44 gold coins ranging in date from the third quarter of the fourth century to ca. 274 B.C.; the two terracottas may have be­ longed to the owner of the hoard (PR IX, 2 5 0 ) . P2, street contexts. Triad of nymphs: 2 5 3 . Female head: 5 3 6 , 5 7 8 . A few early levels have been excavated in streets on the West Hill. Triad 253 comes from a stratum containing pottery of the fifth and fourth centuries, in the street between insulae II and III; 536 was found in the street between in­ sulae V and VI, in association with pottery of the third century. I Q. West Hill: late-Hellenistic fill (Sjoqvist, PR II, 16of.; Stillwell, PR IX, 2 47 f.; Allen, PR X, 362).

Persephone: 7 1 , 7 3 , 7 9 , 1 6 9 . Artemis: 2 1 1 . Aphrodite: 2 3 3 , 2 3 7 . Unidentified goddesses: 2 7 4 , 2 7 8 , 2 9 3 . Eros: 3 1 6 , 3 4 2 ( 2 ) . Pan: 3 5 2 . Standing women: 3 5 9 , 4 1 1 , 4 2 2 , 4 3 7 . Dancers: 4 5 5 , 4 6 3 . Female heads: 4 8 9 , 5 4 8 , 5 5 2 , 5 8 1 ,

582,

590, 596, 600, 601, 603, 612, 617, 621, 622, 677.

Male figures: 6 7 8 , 6 7 9 , 6 9 4 . Children: 6 9 8 , 7 0 2 . Comic actors: 7 2 2 , 7 2 5 , 7 3 0 , 7 4 5 , 7 4 7 . Theatrical mask: 7 7 3 . Fragments: 8 2 9 , 8 4 6 . Animals: 8 7 4 , 8 8 4 , 8 8 5 , 8 8 8 , 8 8 9 , 8 9 6 . Plastic vases, Magenta Ware: 9 5 0 , 9 5 5 . The occupation of the West Hill extended from the fourth to the first century B.C.; most of the houses belong to the third and second centuries. The shallow mixed fill that covered the houses contained material originally from domestic

LIST OF CONTEXTS

contexts, including a good number of terracot­ tas. Much of this is late Hellenistic.

unguentaria (cf. ArchCl 9 [ 1 9 5 7 ] pi. L X X I ; from Gela, before 2 8 2 ) .

I R. West Hill: House of the Arched Cistern (Stillwell, PR V, 279^, PR VII, i68f.; Sjoqvist, PR VI, i38ff.).

I T. West Hill: northeast house, insula V (Stillwell, PR IX, 248f.).

Rl, destruction fill. Persephone: 1 4 3 . Female head: 5 6 4 . The House of the Arched Cistern (see pi. 2 ) was probably abandoned in the final quarter of the first century B . C . (PR VI, 1 4 0 , PR VII, 1 6 9 ) . Associated with the last period of occupation are sherds of Arretine ware and Campana C, as well as a hoard of denarii, the latest of which are dated ca. 89-44 B - c · (Holioway, CSRC, deposit 43)· R2, foundation fill. Seated goddess: 13, 16. Persephone:65, 191. Female head: 6 7 5 . Grotesque: 7 0 7 . The house was constructed ca. 2 3 5 - 2 2 5 , accord­ ing to Sjoqvist; the foundation fill contains material ranging from the fifth century to the period of the house (PR VI, 140; see also Hol­ ioway, CSRC, deposit 21). The goddess 13 is contemporary with context I O; the head 675 is one of several intrusions into the lower level (PR VII, i68f., on repairs and rebuilding of the house). Of the foundation finds, 707 is probably closest in time to the house. I S. West Hill: House of the Antefixes, cistern (Al­ len, PR X , 3 6 2 ) . Persephone: 5 9 . Standing woman: 4 3 4 . Female heads: 5 0 2 , 5 1 6 , 6 4 6 . Relief: 9 2 2 . This unstratified cistern (see pi. 2 ) was probably filled in shortly after the sack of the city in 211. The finds include Syracusan bronze issues of the last decades of the third century (Poseidon / tri­ dent, small flan; halved Poseidon / trident; for the latter, R . R . Holioway, A N S M N 9 [ 1 9 6 0 ] 65-73) and a Roman bronze of the same period (cf. C r a w f o r d , R C C , n o . 4 1 / 9 , 2 1 5 - 2 1 2 B . C . ) , as well as sherds of Campana A, strigillated black-glaze pitchers, and so-called transitional

Tl, floor deposit. Miscellaneous woman: 4 8 1 . Male figure: 6 8 7 . The house (see pi. 2 ) was excavated in 1 9 6 6 ; the floor deposits and the material from a large dou­ ble cistern, apparently contemporary, have spe­ cial importance for the late-Hellenistic period. The floor deposits are dated to the last quarter of the first century B.C. (66-204, denarius of M . Antonius, cf. Crawford, R C C , no. 4 9 6 / 1 , 4 2 B . C . ; 6 6 - 2 2 0 , Augustan bronze of ca. 2 0 - 1 0 B.C., cf. Mattingly, RIP 1, 68, no. 92); from this level, which contained objects in the house at the time of its final destruction, came 4 8 1 and 687, as well as a standing Persephone close to the series 81. All of these should be dated in t h e last q u a r t e r o f t h e first c e n t u r y B . C . T2, cistern, rooms A and B. Persephone: 8 1 , 1 1 9 , 1 8 0 . The cistern, which could not be completely ex­ cavated, contained fusiform unguentaria, sherds of Campana C, and a few pieces of Arretine ware: the latest coin is a denarius of L. Julius Caesar (66-326; cf. Crawford, RCC, no. 320 /1, 103 B.C.). Although the coins are not so late as those from the floor deposits, the ceramic mate­ rial is similar; it is probable that the cistern was filled in the last quarter of the first century, at about the time of the final abandonment of the house. I U. East Hill: late-Hellenistic fill (Sjoqvist and Stillwell, PR I , 156f.; Sjoqvist, PR II, 1 6 1 ; Stillwell, PR V , 2 8 0 ) . Persephone: 6 5 , 7 8 , 1 5 8 , 1 6 8 , 1 7 2 . Artemis: 2 0 5 , 2 1 2 . Unidentified goddess: 2 7 1 . Eros: 3 2 5 , 3 4 2 . Telesphoros: 3 5 6 . Standing women: 3 9 9 , 4 1 9 . Dancing woman: 4 6 1 . Miscellaneous woman: 4 7 8 . Female heads: 5 4 9 , 5 5 6 , 5 5 9 , 5 6 5 , 5 7 7 , 587, 643, 652.

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Grotesque: 7 1 2 . Comic actors: 7 2 7 , 7 5 5 , 7 5 6 . Theatrical mask: 7 8 7 . Animal: 8 9 1 . Objects: 9 1 0 , 9 1 5 . Relief: 9 1 9 . Gorgoneion: 9 2 4 . Thymiaterion: 9 3 5 . Plastic vase, black glaze: 9 4 1 . The fill overlying the houses on the East Hill contained materials ranging from the fourth to the first century B.C., with most finds coming from the third and second centuries. The ter­ racottas found in this mixed fill are probably from domestic contexts. I V. East Hill: House of the Doric Capital (Sjoqvist and Stillwell, PR I, 156f.; Sjoqvist, PR II, 161).

VI, late fill. Athena: 219. Eros: 3 1 9 . Fragments: 8 2 1 , 8 4 4 , 8 4 7 . Thymiaterion: 9 3 4 . The upper level of the fill of the house (see pi. 2 ) was similar to the general fill elsewhere on the East Hill (see I U). V2, room 5 , fill. Nike: 2 4 0 . Unidentified goddess: 2 9 0 . Female head: 5 6 9 . Theatrical mask: 7 9 4 . A group of terracottas was found in room 5. In the opinion of their excavator they do not be­ long to the house: "Some . . . that were found in room 5 were at too high a level to have really anything to do with the villa. They probably came down from above" (K. T. Erim, Notebook 11, 1 9 5 6 ) .

V3, annex cistern. Unidentified goddess: 2 8 2 . Eros: 3 0 5 . Standing woman: 3 9 4 . Theatrical mask: 811. Thymiaterion: 9 3 6 . The cistern was unstratified and appeared to have been filled during the second century or later. Ceramic material included much Campana C, fusiform unguentaria, hemispheri­

cal medallion bowls, small black-glaze kantharoi of a type known at Syracuse in the second century (NSc [1954} 366, fig. 28:6), and a few sherds of Roman thin-walled ware. Coin evi­ dence is inconclusive (57-1737, Syracuse post 212 B.C.; cf. Grose, McClean Coll. 352, no. 2970).

V4, cistern 2 . Animal: 8 8 3 . The cistern in the main area of the house was filled in the first century B.C.; the Iate-Hellenistic context has no bearing on 883, which be­ longs to a much earlier mold series. I W. East Hill: trench 65, cistern. Eros: 3 3 4 . Dancer: 4 5 7 . Female heads: 6 0 6 , 6 4 8 . This cistern was excavated in i 9 6 0 in a house on the East Hill (see pi. 2); the latest coin is a Syracusan bronze of ca. 288-279 (60-330, Zeus / eagle; cf. Grose, McClean Coll. 3 4 3 , no. 2 8 8 1 ) ; the pottery includes Campana A but not C, hemispherical pyxides, black-glaze skyphoi, and a lamp of late-fourth-century type (cf. Howland, type 23D, no. 238, pi. 37). Unguentaria of the so-called transitional type, probably of the second quarter of the third century, may be the latest ceramic finds (cf. ArchCl 9 [1957] pi. LXiv:i; from Gela, early third century). I X. East Hill: treneh 64, cistern. Female head: 6 3 0 . Coin evidence suggests this cistern, in a house on the East Hill (see pi. 2), was closed not long after the sack of Morgantina in 211; coins in­ cluded a halved Syracusan bronze of the last quarter of the third century (on these issues, R. R. Holloway, ANSMN 9(1960)65-73), and a semilibral Roman bronze of ca. 2 1 7 - 2 1 5 B . C . (cf. Crawford, RCC, no. 38/7). The pottery in­ cludes fusiform unguentaria, Campana A sherds, and black-glaze kantharoi of a shape known at Syracuse at the very end of the third century (cf. NSc [ 1 9 5 4 } 3 6 6 , fig. 2 8 : 6 ) . II A. West Hill and vicinity: late-Hellenistic fill. Persephone: 1 2 9 , 1 8 4 , 1 9 4 . Artemis: 2 1 0 , 2 1 3 .

LIST OF CONTEXTS Aphrodite: 234, 238. Triad of nymphs: 257, 262. Unidentified goddesses: 275, 291. Eros: 328, 343. Seated woman: 450. Dancer: 459. Miscellaneous woman: 476. Female heads: 495, 513, 515 (2), 547, 550, 580, 595, 611, 622, 633, 637, 639, 650, 663 (2), 665. Male figure: 686. Portrait: 716. Comic actor: 764. Fragment: 818. Animal: 864. Area II is largely residential, encompassing part of the summit of the West Hill and the valley to the west. The fill is similar to that which overlay the rest of the hill, described above (see I Q).

II B. House of the Official (Stillwell, PR III, 170; PR VII, 166ff.; Sjoqvist, PR VIII, 144). Bi, late fill. Nude kore: 245. Triad of nymphs: 257. Unidentified goddess: 288. Eros: 344. Dionysos: 349. Standing women: 429, 443. Dancer: 467. Female heads: 499, 526, 576. Thymiaterion: 935bis. This large house (see pi. 2) in the valley to the west of the West Hill was occupied at least until the third quarter of the first century B.C. , when it served as the residence and working quarters of a potter (PR VII, 168, PR VIII, 144). The fill overlying the house contained finds from this period, as well as material that had washed down from the adjacent West Hill. B2, cistern. Male figure: 683. Theatrical mask: 782. Plastic vase, Magenta Ware: 948. The cistern in the north court of the house was filled in at the time of the abandonment: "A number of Campana C fragments, late molded lamps, and some Arretine ware speak for the date at which the cistern was filled. Moreover,

among the great quantity of material which seems to have been dumped in at one time were a number of misfired pieces, some of typical Campana C shape. The inference is that the building was occupied by a potter who dis­ carded his stock and wasters before leaving" (PR VII, 168). B3, foundation fill. Persephone: 64, 66 (2). Triad of nymphs: 257. Standing woman: 439. Dancing woman: 462. Female head: 575. Probes into the substructure of the house pro­ duced coins and pottery which point to a construction date toward the middle of the third century (PR VII, 168; for the coin evidence, Holloway, CSRC, deposit 20). The terracottas should therefore be earlier. II C. West Hill: foundation levels of the third century. Female head: 28. Persephone: 166. This designation corresponds to context I Pi. Head 28 was found below the House of the Tus­ can Capitals in insula IV, with material from the fifth to the third century (PR II, i6of.). Persephone 166 was found beneath a house in insula V. II D. West Hill: House of the Palmento (Stillwell, PR IX, 247). Persephone: 154, 159, 161. Eros: 333. The latest coins from the floor level of this house (see pi. 2) are Hispanorum bronzes of ca. 100 B.C. (Κ. T. Erim, types 1 and 2, manuscript on the mint of Morgantina, forthcoming; see also AJA 62 [1958] 8off.), but a stamped Arretine sherd from the floor of room 8 indicates that the abandonment took place in the last quarter of the first century B.C. (66-383; stamps of C. Annius and Pantagathus, on whom see A. Stenico, EAA i, 402; H. Dragendorffand C. Watzinger, Arretinische Reliefkeramik [Reutlingen, 1948] 143fF., where C. Annius' activity is placed in the last quarter of the first century). The House of the Palmento was therefore abandoned at the same time as the house in the northeast corner of

LIST OF CONTEXTS

the insula (I T); both houses provide important terracottas from the last phase of Morgantina's history. The busts 154, 159, and 161 were found on the floor in room 5; the head of Eros 333 came from the threshold of the door be­ tween rooms 7 and 8 . II E. West Hill: trench 1 oA-east, cistern in room K (Stillwell, P R I X , 2 4 9 ) . Athena: 2 2 3 . Female head: 5 3 0 . Gorgoneion: 9 2 8 . This cistern belonged to a largely unexcavated house (see pi. 2) in the eastern half of insula V; it contained both Arretine and Campana C sherds and appears to have been filled in during the last quarter of the first century B.C., about the time of the abandonment of the neighboring House of the Palmento (II D). II F. West Hill: House of the Tuscan Capitals (Sjoqvist, PR II, i6of.). Fl, floor deposit, room 3 4 . Aphrodite: 2 3 1 , 2 3 2 . Miscellaneous woman: 4 8 3 . On the floor of room 3 4 (see pi. 2 ) were found three terracottas belonging to the Catania Group; with them were Arretine sherds and coins o f t h e last q u a r t e r o f t h e first c e n t u r y B . C . ( 5 7 - 2 9 8 5 , bronze of Augustus, Mattingly, RIP I, 66, no. 72; 56-2982, bronze of Augustus, Mattingly, RIP 1, 67, no. 78: moneyers of the decade 20-10 B.C.). An important context for the dating of the Catania Group. F2, below mosaic in room 2 9 . Persephone: 6 5 . In 1958 a sondage was made beneath a mosaic in room 29; although the underlying earth contained material as late as the end of the sec­ ond century, the context has no bearing on the date of 65, which comes from an earlyHellenistic series. II G. Contrada Vinci (Allen, PR X, ^66f.). Persephone: 1 8 5 . Triad of nymphs: 2 5 3 . Female heads: 5 4 2 ( 2 ) , 5 8 4 . Excavations on the hillside west of the West Hill (see pi. 1) in 1970 revealed a third-century

building; the zone was occupied in the first part of the century, then abandoned after the sack of 211. This is a pattern that holds for all of the outlying quarters of Morgantina (III F, V C; VI A, B, and C). Ill A. Cittadella: upper city, archaic level (Sjoqvist, PR II, 155ff.; PR IV, 1 33 ff.; PR VI, i4off.; PR VIII, 145f.; Stillwell, PR III, i 7 if.; PR V, 28of.; PR VII, 171; Allen, PR X, 375 ff.). S t a n d i n g goddesses: 8 , 9 . Seated goddess: 18. Heads of goddess: 2 2 , 2 3 , 2 5 . Protome: 4 3 . Plastic vase: 5 2 . The early Greek occupation of Cittadella (see pi. 1) extends from the mid-sixth to the mid-fifth century. The main area of habitation was situ­ ated on a broad saddle to the east of the conical summit of the hill. None of the terracottas from this area come from sealed deposits; all were found in the thin fill overlying the modest struc­ tures; this fill had often been disturbed by the Hellenistic occupation.

Ill B. Cittadella: lower plateau, archaic level (Sjoq­ vist, PR IV, 134f.; PR VI, 1 4 1 ; PR VIII, 1 4 5 ; Stillwell, P R V I I , 1 7 1 ) . Standing goddess: 1. Seated goddesses: 11, 1 7 . Head of goddess: 2 4 . Protome: 4 6 . East of the main settlement (III A) and some fif­ teen meters below it is a small plateau; the chronology of the occupation here corresponds with that of the main settlement (see pi. 1). Ar­ chitectural fragments from this zone indicate that one or more naiskoi stood here in the later sixth century. Ill C. Cittadella: northwest slope (Sjoqvist, PR II, 157)· Head of goddess: 2 0 . A habitation of the second half of the sixth century was partially excavated here in 1957 (see pi. ι); the lower limits are unclear but may be as late as the early fifth century (Area III, trench 10).

LIST OF CONTEXTS

III D. Cittadella: late-classical fill on Farmhouse Hill (Allen PR X, 376). Standing goddess: 6. Satyr: 50. Persephone: 188, 190. After the final abandonment of the archaic naiskos on the summit of Farmhouse Hill (see pi. 1), a wash stratum built up against its east wall; this contained material ranging in date from the seventh to the fourth century. This wash had come down from above, but the original contexts have long since disappeared. There were no Hellenistic finds in this stratum.

Ill E. Cittadella: City Wall deposit (Sjoqvist, PR IV, 15 5f-)· Standing goddess: 2. Standing women: 363, 365, 374, 388. Female heads: 502, 614, 619. A deposit of terracottas and vases (pi. 142, fig. 1) was discovered in 1959 below the city wall of Cittadella (see pi. 1). "The deposit contains some badly fractured terracotta statuettes oi which one is archaic. Probably this was acciden­ tally discovered by the builders of the city wall and redeposited with their gifts. To the same group belong a plain shallow bowl, a pyxis lid, a globular arybailos, an unguentarium, and a disk-shaped loom weight. The unguentarium is particularly helpful in establishing the date of the deposit and thereby the immediate terminus post quem for the construction of the wall. Its elongated shape and the absence of lug handles indicate that it dates from the second quarter of the third century B.C. We may then conclude that the Hellenistic wall of Cittadella was built in the reign of Hieron II of Syracuse and most probably in conjunction with the First Punic War and the tense years preceding its outbreak. The Hellenistic terracottas are accordingly dated to the same period" (PR IV, 156). We would tend to lower this dating slightly. Unguentaria of the sort from the deposit are found in midthird-century tombs at Kentoripa (unpub­ lished); they are clearly more elongated and closer to fusiform types than the so-called transi­ tional unguentaria from Gela (ArchCl 9 [1957} pis. LXIV: ι , LXXI: 1 , pre-282). It seems probable that the deposit is as late as ca. 260-250.

Ill F. Cittadella: Hellenistic habitation (Sjoqvist, PR II, 155, PR VI, 141). Head of goddess: 31. Persephone: 66, 94, 121, 123, 127. Artemis: 214. Aphrodite: 226. Nike: 241. Draped kore: 252. Triad of nymphs: 255. Eros: 32 1. Standing women: 364, 369, 385, 420 (2), 421, 423. Miscellaneous woman: 471. Female heads: 500, 502, 541, 561, 571, 583, 586, 624. Child: 699. Comic actors: 720, 722, 734, 736, 744, 747. 748, 752. Theatrical mask: 808. Animals: 893, 894. Fruit: 900. Plastic vase: 940. The Hellenistic settlement at Cittadella (see pi. 1) has attracted little attention, perhaps because it is overshadowed by the much richer place a kilometer to the west. In the third century the upper saddle of the hill, which had not been oc­ cupied since the fifth century, was the site of a modest residential quarter. The Cittadella set­ tlement had its own city wall and at least one Koreion (C.S., Cittadella Sanctuary). Like other outlying areas of Hellenistic Morgantina it was occupied after the sack of 211 only very tenu­ ously, if at all. III G. Cittadella: cistern, Farmhouse Hill (Allen, PR X, 378). Female head: 660. Long after the naiskos on Farmhouse Hill had been abandoned, a cistern was cut through its southern end and a small house of one room was constructed nearby (see pi. 1). The cistern contained late-Hellenistic sherds; it appears to have been used by a farmer who took up resi­ dence on the uninhabited hill late in the first century B.C. IV A. Tomb below street (Stillwell, PR III, 169). Persephone: 120. In 1958 several prehistoric tombs were discov-

247

LIST OF CONTEXTS

ered beneath the street which separates the North Sanctuary from the North Sanctuary Annex (fig. d). These had been damaged in the construction either of the street or the sanc­ tuaries; from them came a mix of early-Hellen­ istic and prehistoric sherds. Among the few finds was the miniature bust 120. This may have been placed in one of the much earlier tombs as an act of propitiation; a Sikel tomb at Syracuse was apparently used in such a way, per­ haps even as the focus of a cult (NSc {1954] 309-12). A terminus ante quern for 120 is the construction of the sanctuary complex, ca. 325 B.C.

IV B. Hellenistic habitation (Sjoqvist, PR IV, 159)· Persephone: 111. Nude kore: 246. Unidentified goddess: 268. Satyr: 351. Standing woman: 420. Female heads: 502, 566, 623. Male figure: 682. Child: 704. Fragment: 828. Animal: 890. Fruit: 899. Thymiaterion: 933. Although the focus of excavation in Area IV (see pi. 1), northwest of the agora, has been the North Sanctuary complex, several trenches have uncovered modest traces of third-century houses. The zone suffered in the sack of 211, as can clearly be seen in the sanctuaries. Occupa­ tion in the late-Hellenistic period was to all ap­ pearances quite limited; the majority of the finds from the general fill are of the third century. V A. San Francesco Sanctuary Area, archaic level (Sjoqvist, PR VI, 142; PR VIII, 146^; Stillwell, PR VII, 170; Sjoqvist, Sicily, 46Ϊ.). Female heads: 26, 29. Excavations in 1961-63 on the plateau west of Cittadella (see pi. 1) revealed the remains of an archaic naiskos as well as a substantial group of late-classical and early-Hellenistic terracottas (for these, see V B). The site, which was in­ cluded within the city wall in the fourth

century, apparently retained its sacred aspect throughout the Greek occupation of Morgantina; even greater religious continuity is hinted at by the presence nearby of the abandoned medieval chapel of San Francesco. There are probably no votive terracottas from the archaic naiskos (there are none from any of Morgantina's archaic sanctuaries), which was destroyed by fire about 500 B . C . (PR VI, 142). Heads 2 6 and 2 9 were both found in the fill of the building and suggest a continuity of veneration in the fifth century (although the former piece just possibly may belong to the early naiskos). In the same area were found many terracottas of the third century, evidently votives to be associated with a revival of the cult (V B); however, no walls were found that could be identified with a later sanctuary. There is no evidence of late-Hellen­ istic habitation, so it can be assumed the area was abandoned after 211.

V B. San Francesco Sanctuary Area, Hellenistic level (Stillwell, PR VII, 170; Sjoqvist, PR VIII, 146). Persephone: 65, 66(9), 73, 75, 76, 78, 131, 174, 175, 194. r 95> 201. Triad of nymphs: 253 (2). Hades?: 295. Dancer: 454. Female heads: 484, 492, 503, 583, 594, 645, 672, 674. Comic actors: 724, 734 (2). Theatrical mask: 775. Fragments: 816, 817. For the Hellenistic deposits, see above under V A. The actor 724 was found below a thirdcentury floor level; the fill indicates a context of ca. 330-280 B.C. (C. E. Ostenberg, Notebook I, 1961). V C. Area V: early-Hellenistic habitation (Sjoq­ vist, PR VI, 142; Allen, PR Χ, ^6ηίϊ., PR XI, 362ff.). Head of goddess: 30. Persephone: 58, 65, 66 (2), 67, 73, no, 113, 122, 125, 166, 167, 177, 182,202. Artemis: 206. Triad of nymphs: 253 (4). Eros: 309.

LIST OF CONTEXTS

Hermes: 3 4 8 . HerakJes: 3 5 4 . Telesphoros: 358. Standing women:

367, 370, 375, 384, 393,

414, 436.

Dancers: 4 5 4 , 4 5 8 . Female heads: 4 8 5 ,

509,

535,

540,

551,

562, 588, 598, 604, 621, 627,628,642.

Comic actors: 7 4 1 , 7 6 2 , 7 6 3 . Fragment: 8 3 7 . The eastern quarter of Morgantina (see pi. 1) underwent development during the third century. Excavations in 1968-70 revealed an ex­ tensive if modest habitation in the northern part of the district, and earlier trenches had indicated that most of the area within the city wall was occupied by houses. "The area was well built up as an urban district in the third century B.C. during the reign of Hieron II of Syracuse. The city plan is regular and seems oriented according to a main street leading to the East City Gate facing the acropolis. The houses were destroyed and abandoned in the last quarter of the century, most probably in connection with the capture of Morgantina by the Romans in 211 B.C. . . . It should also be noted that this quar­ ter of the town was not rebuilt and occupied during subsequent centuries, as was the case with the residential quarters around the agora. Thus we may conclude that the events of 211 B.C. meant a considerable reduction and restric­ t i o n o f c i t y life a t M o r g a n t i n a " ( P R V I , 1 4 2 ) . The excavations of 1968-70 confirmed this chronology (PR X, 367). The terracottas with the designation V C come from the fill overlying the third century habitation.

VI B. Contrada Agnese, early-Hellenistic habitation (Allen, PR XI, 37off.). Persephone: 66. Draped kore: 2 4 9 . Eros: 3 3 2 . Silenos: 3 5 0 . Standing women: 3 6 9 , 3 7 4 , 3 7 5 , 4 0 0 , 4 2 1 . Seated woman: 4 4 7 . Female heads: 4 8 8 , 5 0 2 ( 2 ) , 5 6 8 , 5 7 9 , 5 8 3 , 589, 616, 621, 623, 627, 632.

Comic actor: 7 5 4 . Animal: 8 6 2 . Thymiaterion: 9 3 7 . The excavations in this western sector of the city (see pi. 1) revealed a habitation extending from the end of the fourth to the end of the third century. The lower date corresponds to the capture of the city in 211; thereafter the district was abandoned. In the zone of excavation are the room with votives identified as part of a sanc­ tuary of Persephone (W.S.) and two unusual round buildings (PR XI, 371, 370ff.); some of the terracottas with the designation VI B may be associated with the nearby sanctuary. VI C. Contrada Raffiota, early-Hellenistic habita­ tion ( A l l e n , P R X I , 3 7 1 ) . Persephone: 1 8 9 . Comic actor: 7 2 0 . Limited excavation in 1 9 7 0 in the field (pi. 1) north of Contrada Agnese (VI B) revealed that the area had been plundered in modern times; the finds were typical of third-century contexts (letter of the excavator, H. L. Allen). See context S 6.

2. THE SANCTUARIES VI A. Papa Hill (Sjoqvist, PR VIII, 1 4 5 ) . Triad of nymphs: 2 5 3 . Standing woman: 3 7 5 . Female head: 5 7 6 . The terracottas were found in trial trenches on a hill in the western district of the city (see pi. 1). "The south part of the top plateau proved to have been a rather densely built-up area. The covering soil is very thin and the houses could only be traced in their lowest foundations" (PR VIII, 145). The area was apparently settled and abandoned within the third century.

N.S. North Sanctuary (Sjoqvist, PR II, 158ff., PR IV, 1 33; Kokalos 4 {1958] 111 -16; Stillwell, PR III, 169). Room ι. Unidentified goddess: Room 3 . Female head: Comic actor: Room 4 . Eros: 3 2 7 .

567. 7 2 1.

270.

249

250

LIST OF CONTEXTS

Standing woman: 403. Female head: 545. Fragment: 842. Animal: 887. Fruit: 903. Room 4, general area. Triad of nymphs: 255, 258, 264. Standing women: 361, 392, 402, 418, 431. Room 5. Persephone: 56. Female head: 518. Theatrical mask: 774. Room 7. Persephone: 57, 58, 60, 88, 92, 97 (2), 103, 109, 136, 145, 150, 152, 163 (2), 197. Artemis: 207. Nude kore: 242. Draped kore: 248. Unidentified goddesses: 267, 269. Hades?: 295, 296. Herakles: 353. Standing women: 363, 365, 366, 369, 374 (4), 375» 381 (2), 383, 386, 396, 397, 430. Seated women: 449 (2). Female heads: 502 (2), 574, 613 (4), 627 (4). Child: 696. Grotesque: 709. Theatrical mask: 793. Animals: 852, 856, 867 (2), 883, 886. Fruit: 897. Spool base: 958. Room 7, fill. Female heads: 514, 517, 555. Room 8. Standing woman: 360. Room 9. Standing woman: 374. Female head: 617. Court C. Persephone: 142, 163. Hades?: 299. Standing women: 359, 369, 374, 381, 392. Dancer: 454. Female head: 543. Comic actors: 732, 745, 768. Object: 904. Thymiaterion: 932.

Court C, cistern. Persephone: 65, 116, 117, 138, 139, 163. Triad of nymphs: 253. Unidentified goddess: 273, 285, 286. Eros: 323. Standing women: 374, 375. Female heads: 502, 635, 662. Comic actors: 753, 769. Theatrical mask: 813. Fragment: 822. Animals: 859, 895. Fruit: 901. North Sanctuary, fill. Persephone: 109. Priapos: 355. Miscellaneous female figure: 477. Female heads: 502, 504, 506, 546, 583, 621, 634, 645, 662 (2), 666. Comic actor: 746. North Sanctuary, unspecified provenance. Persephone: 65 (2), 89, 198. Artemis: 209. Triad of nymphs: 260. Unidentified goddess: 279. Eros: 310. Standing women: 369 (2), 375, 383, 391, 412. Female heads: 501, 502, 514, 560. Comic actor: 749, 761. The North Sanctuary (fig. d) is the largest of the group of cult centers which includes the South, West, and Cittadella Sanctuaries, and also the San Francesco deposit V B. At the moment of its destruction toward the end of the third century it was filled with hundreds of objects: coins, thymiateria, a great variety of pottery ranging from small votive dishes to pithoi, and the largest single collection of terracottas from Morgantina. The North Sanctuary was a much frequented center of the worship of Persephone, and perhaps also of Demeter, receiving not only the agalmata of the worshipers but also oil, cereals, and other comestibles. In plan the sanctuary resembles an unpretentious bouse with rooms placed around a central court (B). Rooms to the north and east of the court (5,7, 8,11, and court C) served ritual purposes, while those to the south (6, 9, and 10) were utilitarian; such a division according to function

LIST OF CONTEXTS

seems to be repeated in the two parts of the South Sanctuary. Of special significance were room 7 and court C, both furnished with stuc­ coed rubble-built altars, and room 8 with a plat­ form for lustration; this room is analogous to room 2 in the South Sanctuary, also entered from a room with altar. A great number of ter­ racottas were found in room 7; those from the adjacent room 8 and court B probably spread there from room 7 after the destruction. Another group of terracottas comes from court C, which suffered more from late-Hellenistic and then modern intrusions than the rest of the sanctuary. Room 11 contained a large collection of votive pottery. Objects on the floor of room 7 were sealed by roof tiles, as were those from the utilitarian rooms 4 and 9. The latest coins from these sealed deposits belong to the last quarter of the third century and include bronze issues of Hieron JI (the coins from the floors of the N.S. make up deposit 29 in Holloway, CSRC; among them is a halved Poseidon/trident issue, dated by Holloway after 214; ANSMN 9 [1960} 6573). The pottery included much Campana A ware but no Campana C, fragments of poly­ chrome vessels related to Kentoripan ware, hemispherical cups with incised decoration, strigillated lekythoi, and sack-shaped juglets. Both ceramic and numismatic evidence suggest that the sanctuary was destroyed before the end of the third century, and Sjoqvist has attributed the event to the sack of Morgantina in 211. Like the other sanctuaries it was never revived as a cult center. The construction of the N.S. is dated to the third quarter of the fourth century by coins found in and beneath its floors (for these,

two human skeletons. The cistern was appar­ ently filled in the first century B.C., perhaps during the period of the city's decline after mid-century. The terracottas are for the most part similar to those from the sanctuary, and in one case there are joins with fragments from room 7 (57-2051, series 103). However, some terracottas from the cistern appear on stylistic grounds to be characteristic of the second century, so that these finds as a whole are not so well dated as those from t h e floor deposits ( 2 7 3 , 285, 286). When the cistern was filled the sur­

rounding earth must have been utilized; hence the presence of many votive terracottas inside. During the excavation of the North Sanctuary a number of terracottas were found in the fill above the floor levels and the layers of roof tiles. These are similar to the terracottas from the floors and most of them were probably votives, shifted about during the later occupation of the area. South corridor. Persephone: 179. Athena: 216, 221 (2). Standing woman: 380. Female heads: 487, 623, 636. Comic actors: 719, 726, 728, 753. Theatrical mask: 781. Fruit: 901. South corridor, deposit. Eros: 345. Comic actor: 720. Theatrical masks: 810, 812, 814. Animals: 858, 895. Object: 906. Clipeus: 930 (several dozen). South corridor, fill.

E. Sjoqvist, Kokalos 4 [1958} 115, n. 7). The building was thus in use for over a century; the

Comic actor: 728. Animal: 882.

objects found in it accumulated during this pe­ riod and all have a terminus ante quem of ca. 211 B.C. Long after the abandonment of the sanc­ tuary the area was reoccupied; the poorly pre­ served walls of the late-Hellenistic period are aligned with the city plan but do not appear to make use of the sanctuary walls. The cistern in court B was, however, reused; its contents in­ cluded a considerable quantity of Campana C, fusiform unguentaria, and late-Hellenistic thin-ware sherds, as well as animal bones and

Object: 908. Street, deposit. Eros: 307. Child: 697. Comic actors: 735, 738. Street, between N.S. and N.S.A. Persephone: 72, 163, 200. Athena: 222. Nude kore: 242. Draped kore: 248.

252

LIST OF CONTEXTS

Eros: 314, 323. Standing woman: 426. Female heads: 502 (4), 512, 557, 573, 621, 627, 638, 655, 656, 664, 669, 671. Comic actors: 720, 729, 733, 745, 748, 767. Theatrical mask: 802. Fragment: 848. Animal: 857, 869 (2). Plastic vase, black glaze: 9 4 3 . Contiguous to rooms 4 , 9 , and 10 is a corridor which may have given access to largely unexcavated structures to the south; these were not a part of the sanctuary proper. A quantity of fragmentary terracottas was found in the lower level of the fill of this corridor, and near the street there was a large deposit of fragments, interpreted at the time of excavation as an inten­ tional dump. The association of this material with the North Sanctuary is problematical, as the finds include several subjects which are in­ frequent or unknown in the votive deposits. Among these are three heads of Athena, several theatrical pieces, and a large group of clipei with the head of Medusa. The presence of numerous pieces from the same mold series might be explained if they were votives or if they were the concents of a coroplast's shop. No molds or other evidence for a workshop was found, but a coroplast's commercial outlet, ad­ jacent to the sanctuary, remains a possible ex­ planation. Material of essentially similar nature comes from another deposit in the street imme­ diately outside this corridor. Although there was no clear chronological evidence, it seems probable both from the circumstances of the finds and stylistic considerations that both de­ posits were made as a consequence of the destruc­ tion of the nearby sanctuary in 211. The ter­ racottas from the lower fill of the corridor are contemporary with the deposits; those from the upper fill are not closely datable and may in­ clude late-Hellenistic material. Many of the terracottas found in the street that separates the North Sanctuary from the North Sanctuary Annex were probably votives, but there are others which are similar to the south corridor finds. The terracottas come from the third-century street level, which may pos­ sibly include intrusive late-Hellenistic material (Holloway, CSRC, deposit 18).

N.S.A. North Sanctuary Annex (Stillwell, PR III, 169; Sjoqvist, PR IV, 133). Court 4, cistern 1. Persephone: 118. Athena: 215. Eros: 300. Female head: 670. Court 4, cistern 2. Persephone: 72 (2), 103, 118. Nike: 239. Unidentified goddess: 284. Room 5. Persephone: 93, 113(3), 118(2), 163, 168. Draped kore: 250. Hades?: 297. Standing woman: 369. Comic actor: 759. Fragments: 836, 843. Room 10. Hades?: 295. Standing woman: 438. Female head: 544. Room 10, fill. Eros: 337. Child: 703. Comic actor: 728. Theatrical mask: 792. Room 13. Persephone: 90, 91, 101, 140, 141. Eros: 303. Standing women: 385, 388, 395, 408. Seated woman: 448 (2). Dancer: 456. Room 14. Persephone: 89, 146. Standing woman: 362. Female head: 631. Court 15, cistern. Standing woman: 384. General fill. Persephone: 60, 65, 68 (3), 72, 79, 83, 84, 108, 130, 133, 153, 189. Athena: 218. Draped kore: 251. Unidentified goddess: 272. Eros: 302, 317, 320, 326, 331, 338, 347. Standing women: 374, 375, 379, 387, 407, 424, 425, 440, 442.

LIST OF CONTEXTS

Fig. d. North Sanctuary and North Sanctuary Annex

253

254

LIST OF CONTEXTS

Seated woman: 451. Dancer: 465. Female heads: 508, 509, 527, 529, 578, 602, 609, 610, 636, 649, 663, 667. Male figure: 689. Child: 706. Comic actors: 718, 720, 721, 739, 757, 761. Theatrical masks: 805, 809, 815. Fragments: 830, 833, 834, 839, 840. Animals: 871. Fruit: 898. Clipeus: 931. Plastic vases, Magenta Ware: 949, 952. No specific provenance. Persephone: 76, 79. Standing women: 375 (3), 384. Miscellaneous woman: 475. Female head: 502. Comic actor: 759. Animal: 875, 879. Object: 909. The North Sanctuary Annex (text fig. d) is di­ rectly across the street from the North Sanc­ tuary. Its relationship to its larger neighbor is uncertain and the term annex may be a mis­ nomer. The juxtaposition of two sacred build­ ings is repeated in the South Sanctuary and its so-called dependency; yet the N.S.A. differs in its possession of an altar room (5), and it is pos­ sible that the structure was an independent sanctuary. The N.S.A. was not so well pre­ served as the N.S., and there are uncertainties concerning the plan. Room 5 gave on a courtyard with two cisterns and was of obvious significance because of its round altar and bench for votives. Several interesting terracottas were found on the floor of this room, among them the figure of a god, perhaps Hades, holding a snake (297). Other terracottas from the two cisterns probably came from this area. To the north of room 5 is a warren of smaller rooms (8-14) all very damaged and of uncertain purpose. Because of the thinness of the fill many terracottas from this zone were found in disturbed contexts (listed under general fill); although the majority of these were votives in the sanctuary, a few be­ long to the late occupation of the area. Rooms 10, 13, and 14 contained deposits of votives sealed by roof tiles. Those from room 14

have special chronological importance: with them in one corner of the room were found sherds of early-third-century black glaze, a Sikeliote red-figure lekanis lid, and three Syracusan coins of the first half of the third century (59-1388, -1390, Holloway, CSRC, deposit 17, dated to the 260s). These are the only ter­ racottas from the entire N.S. complex that can be dated on external evidence earlier than the final destruction at the end of the third century. The evidence for the foundation of the N.S.A. points to the first half of the third century. The bench in room 5 contained a bronze of Hieron II (58-709, Hieron / Horse­ man) and the footing of the altar contained sherds of Campana A ware. Numismatic evi­ dence dates the construction of rooms 8-14 to the late first quarter (PR IV, 133). Some of the terracottas seem earlier (101, 103); whether they indicate the existence of the N.S.A. in Agathoklean times or whether they were brought over from the older N.S. cannot be de­ termined. The destruction of the N.S.A. came toward the end of the third century (Holloway, CSRC, deposits 30-33); like the other sanctuaries it must have been a casualty of the sack of 211. Coins from the floors include late Hieronian bronzes (58-450, -571, -806: Poseidon / tri­ dent, small flan) and a "mental" uncia now dated to the last years of the third century. (58-799; Crawford, RCC, no. 56/7, "after 211 B.C."). The two cisterns in court 4 were filled in at a later period for both contained Campana C sherds; however, the proportion of Campana C to Campana A is much lower than in the cistern in court C in the N.S., where the two fabrics are in roughly equal proportion. There are no coins from the two cisterns later than the third century; their closure probably took place not long after the sack. It seems likely that the ter­ racottas found in them were all votives from the sanctuary. S.S. South Sanctuary (Stillwell, PR III, 171, PR VII, i69f.). Room ι. Persephone: 61, 63, 103, 113 (2). Standing women: 369 (2), 375, 383, 428. Female head: 562.

Room 2. Persephone: 96, 192. Standing women: 361, 375 (2), 383, 427, 43 2 - 433· Female heads: 502, 505, 508, 511, 514, 585, 644. Spool base: 956. Room 3 Persephone: 61, 63, 87, 149 (2). Standing women: 375, 376. Room 7. Persephone: 85, 106(3). Female head: 528. Room 9. Persephone: 89, 112, 132. Standing women: 369, 375 (2), 391. Relief: 920. General fill. Persephone: 66 (3), 67, 78. Standing women: 398, 406. Miscellaneous woman: 469. Fragment: 847. Spool base: 957. No specific provenance. Persephone: 87, 160. Female head: 507. Comic actor: 740. This small sanctuary on the southeastern slope of the West Hill, not far from the city wall, was excavated in 1958 and 1962. It has two parts, both of which were damaged by erosion (text fig. e): the sanctuary proper (rooms 1-5) and a dependency at a lower level (rooms 6-12). Both consist of rooms placed around an open court. The greatest number of terracottas comes from room 2 in the upper building; within this room "were small pithoi, all fragmentary, terracotta figurines and their stands, bits of brightly colored Centuripe vases, and a great mass of de­ bris of terracottas which seemingly had been systematically trampled all over the floor" (PR III, 171). In one corner of room 2 is a raised lustral area, defined by a low partition wall; in the center of room 3 was an altar on a square base. If it were not for the presence of the votives, the lower part of the sanctuary could be taken for a house. Pithoi were found in room 7, a bath in room 6, and a large number of house­ hold pots and amphorae in room 9. But there

LIST OF CONTEXTS

were important terracottas from rooms 7 and 9, as well as a large number of coins from the floor of room 7; all appear to have been votives. The entire complex was abandoned at the same mo­ ment. Coins from the floors include many Hieronian bronzes, especially frequent in rooms ι and 7, and a hoard of early-Roman silver is­ sues found in a jug in room 1 (Holloway, CSRC, deposits 27 and 28). The Roman issues are now dated to the decade 220-210 B.C.; an uncia of the same period was found in room 7 (on the hoard, E. Sjoqvist, AJA 64 [1960} η8ί·\ R. R. Holloway, ANSMN 9 {1960} 65-73; R. Thomsen, EarlyRoman Coinage ii [1961} 336ff.; Μ. H. Crawford, Roman Republican Coin Hoards [Lon­ don, 1969} no. 72; idem, RCC, 8f.). "The ac­ cumulation of evidence regarding the destruc­ tion of the Demeter sanctuaries in Morgantina in the sack of 211 has grown so impressive that there can be little doubt that the destruction of the dependency—as well as that of the sanctuary which it served—must have occured in 211, and no later" (PR VII, 169^). The foundation date of the South Sanctuary is uncertain; the coins from the floor deposits include issues of the sec­ ond half of the fourth century, but soundings have not yet been made beneath the floors. C.S. Cittadella Sanctuary. Persephone: 65, 66 (4), 70 (2), 72 (2), 74, 76, 77, 78 (5), 79 (7), 96, 104, 162 (2), 164. Standing women: 364, 375 (2), 377, 381, 383, 388, 392. Female heads: 514, 627. A small sanctuary in the Hellenistic settlement at Cittadella (III F), in plan similar to the de­ pendency of the South Sanctuary; excavated in 1957 (see pi. 1). The terracottas were found in one room off a court; the context was disturbed, no doubt because of the thinness of the fill, but it seemed clear enough that the sanctuary was abandoned at the end of the third century. The latest material included bronze issues of Hieron II (Poseidon / trident, small flan). The votive deposit is modest in character, with a higher percentage of mass-produced standing Persephones (see 66-79) than is the case in the North or South Sanctuaries. Such votives may reflect the relative poverty of Hellenistic Cittadella.

W.S. West Sanctuary (Allen, PR XI, γ]2ίί.). Persephone: 58, 60, 79, 91, 97, 107, 193. Triad of nymphs: 253. Hades?: 295. Standing women: 374 (2), 383, 401. Dancers: 455 (2). Female heads: 651. The West Sanctuary was partially excavated in 1971 (see pi. 1). One room was cleared; this ap­ pears to have been entered from a courtyard, and so it may be analogous to rooms 2 and 7 in the South Sanctuary, and room 5 in the North Sanctuary Annex. All of the finds designated W.S. came from this room; others from the general vicinity of the room are included in context VI B, but may well be associated with the sanctuary. The coins from the room indicate that it was abandoned at the end of the third century (PR XI, 373)· The terracottas are simi­ lar to those from the other sanctuaries.

3. THE NECROPOLEIS

Necropolis II (Sjoqvist, PR II, 158; Allen, PR X, 380). Tomb 4 (PR II, 158, pi. 29, fig. 11; ibid., pi. 30, figs. 12-15; ibid., pi. 31, fig. 16). Protomes: 33, 34, 38. Chamber tomb with at least six burials; the roof had collapsed and the disordered grave goods could not be assigned to individual burials. The abundant pottery included late-Attic blackfigure lekythoi (Paralipomena, 240, Group of Athens 24327) and an olpe (ibid., 194, Dot Ivy Group), as well as late-Corinthian kotylai (NC, 335, no. 1518), miniature kotylai (NC, 334, no. 1517; M. Cristofani Martelli, CV Gela 11, pi. 25, with recent bibliography), and a late quatrefoil aryballos (NC, 320, no. 1263); there were also numerous Ionian cups of type B2, in the classification of Vallet and Villard (MEFR 67 ti955] 27ff.; for recent bibliography, M. Cristofani Martelli, CV Gela 11, pi. 35:3, 4). The tomb was evidently in use in the last third of the sixth century, perhaps even later. Tomb 9, burial 9a. Plastic vases: 51, 53. Tomb 9 is the largest chamber tomb yet found

LIST OF CONTEXTS

at Morgantina, with sixteen or more burials; most of the burial groups could be re­ constructed, although some problems remain. Burials 9a and 9b were adjacent. Burial 9a was a young girl's; the pottery included a flatbottomed aryballos (NC, 321, no. 1294, fig. 162), a faience aryballos with molded reticulate surface (cf. Lo Porto, BdA {1962] 154, fig. 2, with foot vase), a kotyle (NC, 309, no. 973, fig. 151), a "white style" pyxis with convex sides and ring handles (NC, 323, no. 1326, fig. 164; cf. MEFR 67 {1955] 22, pi. viii: A, tomb 377, Megara H., dated to the second quarter), and a globular pyxis with subgeometric animals (NC, 323, no. 1328; MonAnt 1 [1892} 804, tomb 16 at Megara H., found with a standing figure of the Ionian Aphrodite Group and seated god­ desses). The Corinthian vases point to a date at mid-century; the chronological evidence for the Ionian plastic vases, discussed in chapter 1, is in agreement. Tomb 9, burial 9b. Seated goddess: 10. Protome: 36. The pottery from burial 9b, a child's cremation, included type B2 Ionian cups (for these, supra, tomb 4), late Corinthian round aryballoi, and a late Corinthian flat-bottomed oinochoe with high handle and trefoil mouth (NC, 336, no. 1536). Third quarter of the sixth century. Tomb 9, burial 10. Protomes: 33, 35, 36 (3). There was little pottery here; the only chrono­ logical information is provided by three Ionian cups of type B2 (for these, supra, tomb 4). Sec­ ond half of the sixth century; because of its loca­ tion near burial 9a, burial 10 probably belongs in the third quarter. Tomb 16. Protomes: 32, 36, 37, 40, 42. The finds from this chamber tomb were re­ covered in salvage excavations and the burial groups were not kept separate. The period of use falls in the second half of the sixth century. The pottery included an Ionian cup of type B2 (su­ pra, tomb 4), a Corinthian kotyle (NC, 309, no. 973, fig. 151; mid-sixth century), and a Corinthian "white style" pyxis (NC 331, no. 1488-89). The mold series 36 is also represented

in tomb 9, burials 9b and 10, and in Nec. VI, tomb 2, all of the second half of the sixth century. Tomb 17. Crouching dwarf: 48. Plastic vases: 54, 55. A large chamber tomb, the contents of which were recovered in salvage excavations and were not separated according to burials. The earliest material belongs at the middle of the sixth century (Siana cups, a faience aryballos), but there are many finds of the second half of the century and later (Ionian cups of type B2, for which supra, tomb 4; a footed, handleless cup, for which Bernabo Brea, Meligunis-Lipara 11, pi. XLVin :iob, pi. Li :2a; B. A. Sparkes and L. Talcott, The Athenian Agora XII: 1, The Black and Plain Pottery {Princeton, 1970} pis. 33-36, p. 141). I am indebted to H. L. Allen for the in­ formation on tombs 16 and 17. Four small pro­ tomes from this tomb have not been included in the catalogue (69-618, -619, -622, and -623). Tomb 28, burial 1. Protomes: 41 (5), 44. Chamber tomb with several burials; the pottery from burial 1 includes an Attic black-glaze type C cup with concave lip, datable to ca. 500 (cf. Athenian Agora XII: 1, 91, pi. 19: no. 403), and a stemmed dish of the early fifth century (ibid., pi. 35; no. 978). The burial belongs to early years of the fifth century and is evidence for the late survival at Morgantina of the protome as a burial offering. Tomb 31. Standing goddess: 2. Collapsed chamber tomb with several burials; much damaged, and burial groups could not be distinguished. The oldest finds are of the third quarter of the sixth century (kotyle and debased quatrefoil aryballos, for which Payne, NC, 320, no. 1263) while the latest are Attic black-figure lekythoi of the end of the sixth century. There is also a late-sixth-century trefoil olpe with sketchy black-figure ornament. Necropolis III (Stillwell, PR III, 170; Sjoqvist, PR IV, 128f., PR VI, 143).

257

LIST OF CONTEXTS

Epitymbion IV (PR IV, 128, pi. 22, fig. 6). Artemis: 204. Pottery from this cremation burial includes a bottle with a net design on its lower half, (59403), an unpainted jug (59-394; cf. ArchCl 9 £1957} pi. LXXIV:2, from Gela, early third century; NSc [1958] 326, from Manfria; late fourth century), several unguentaria of the late fourth or early third century, and a strigillated black-glaze pitcher. The tomb belongs in the last quarter of the fourth century. Epitymbion VI (PR IV, 128, pi. 22, fig. 6; ibid., pi. 23, fig. 7). Persephone: 186 (from fill), 189. A strigillated black-glaze pitcher similar to one from epitymbion IV was found in this inhuma­ tion burial, along with a bottle whose upper half was painted in black glaze (59-1006, -1008). Adjacent to epitymbion IV; close to 300 B.C. This burial provides a terminus ante quern for 186, which was found in the fill.

Necropolis III, fill. Triad of nymphs: 254. Standing woman: 378. Female heads: 578, 629. Male figures: 678, 685. Comic actor: 736. Relief: 918. The finds from the fill of the necropolis belong to the period of its use, from the second half of the fourth century through the last quarter of the third. The finds are somewhat miscellane­ ous; there is as yet no evidence at Morgantina that terracottas were often used as grave goods, as they were at contemporary Kentoripa. The triad of nymphs 254 turns up again in epitym­ bion VII; the reclining male figure 678 is rem­ iniscent of the large group of Tarantine funerary banqueters. The relief 918 depicting the rape of Kassandra may also have a funerary meaning (see catalogue entry). Necropolis VI.

Epitymbion VII (PR IV, 128, pi. 22, fig. 6; ibid., pi. 24, fig. 12). Triad of nymphs: 253, 259. This inhumation burial is dated to the last quar­ ter of the third century by a half coin of the Po­ seidon / trident series (on the half coins of Hieron of Syracuse, R. R. Holloway, ANSMN 9 {1959] 65-73); terracottas belong to much earlier mold series.

Tomb 2. Protome: 36, 39. Crouching dwarves: 48, 49. A collapsed chamber tomb, the contents of which were recovered in salvage excavations; "Surface material from the outside slope was mixed with the remains" (letter of H. L. Allen). The pottery ranges from mid-sixth to early fifth century.

Tomb 12. Female head: 593bis. An inhumation accompanied by a modest group of vases; significant for dating is an unguentarium with high sloping shoulders, of a type close to the examples in epitymbion IV.

4. MORGANTINA TERRACOTTAS

Tomb 30 (PR VI, pi. 36, fig. 36). Athena: 217. The terracotta was the only find. "The stratigraphical indications prove that T. 30 is anterior to T. 22 and T. 25. The latter is a child's burial datable ca. 300-275. T. 30 could be in the same period" (letter of the excavator, C. E. Ostenberg, who observes that objects placed in a grave are frequently older than the burial by twentyfive years or more). On stylistic grounds the Athena belongs rather early in the fourth century.

IN THE MUSEO NAZIONALE AT SYRACUSE Between 1894 and 1929 Paolo Orsi acquired for the museum at Syracuse a substantial group of terracottas from Aidone or Serra Orlando, for the most part obtained from local landowners. Orsi became convinced of the need for excava­ tion at Serra Orlando and in the spring of 1912 sent the custodian Luigi Giarratano to investi­ gate the site. The excavations in April-May, 1912, were not particularly fruitful and Orsi did no further work at Morgantina (on the 1912 ex­ cavation, NSe [1915] 233^). Giarratano's field

LIST OF CONTEXTS

notes are to be found in Taccuino 9 0 , in the Orsi archives at Syracuse; the terracottas from contexts S 8A-F entered the museum as a result of Giarratano's visit. S 1. Female heads: 19, 2 1 . Protome: 4 5 . Persephone: 9 5 , 1 0 5 . Acquired in 1 8 9 4 , from Aidone. S 2. Female head: 6 0 7 . Acquired in 1 8 9 7 , from Aidone. S 3. Persephone: 6 9 , 1 4 7 , 1 9 9 . Aphrodite: 2 3 5 . Unidentified goddess: 2 8 3 . Eros: 3 2 2 , 3 2 4 , 3 4 6 . Standing woman: 4 0 5 , 4 1 5 . Female head: 5 5 8 . Theatrical mask: 7 9 5 . Thymiaterion: 9 3 6 . Acquired in 1 8 9 8 ; from "case greche del IV-II sec. a C.," at Serra Orlando. Probably from the domestic area of the West Hill (see I Q). S 4. Persephone: 1 5 5 - 1 5 7 . Acquired in 1 8 9 8 , from Serra Orlando. S 5. Persephone:

65 (2), 66, 98 (3), 99, 100 (2),

102, 134 (2).

Triad of nymphs: 2 5 3 . Standing women: 4 1 6 , 4 1 7 . Miscellaneous female figure: 4 7 2 ( 2 ) . Fragment: 845. Objects: 9 1 3 , 9 1 4 . Acquired in 1 9 1 1, from Serra Orlando. In the inventory at Syracuse Orsi recorded his suspi­ cion that these terracottas were found in the same spot as the busts 155 -157 (S 4), "dove era certamente un tempio di Demetra e Cora." However, this conjecture seems doubtful, as the S 4 terracottas are late Hellenistic while those of S 5 all belong to the fourth or third century. As Orsi says, the S 5 group must have come from a

sanctuary (this is also suggested by the five mold series represented by two or more pieces, a likely occurrence in a votive deposit); one suspects that it was in the western quarter of Morgantina, and also that it was destroyed in 211 B.C. (see S 6). S 6. Persephone: 151, 1 8 9 . Triad of nymphs: 2 5 3 . Unidentified goddess: 2 6 5 . Miscellaneous female figure: 4 7 4 . Comic actor: 7 2 0 . Given by Lorenzo Montemagno in 1911, prob­ ably found on his land in the western quarter of the city. The Montemagno property includes context VI B. Excavation has shown that this area of Morgantina was settled in the late fourth century and was abandoned a century later (see VI B, C). The finds which Orsi indicates as hav­ ing come from members of the Montemagno family all belong to the same period (see also S 7, S 9, S 10), and it seems likely that they were all found on the family property. I have heard members of the Raffiota family, descended from the Montemagnos, tell of how, long ago, entire fields were torn apart in search of "vasi e pupazzi." The presence of busts and other votive types among these finds indicates clearly enough that the Montemagnos came across a sanctuary of Persephone. See also S 5. S 7. Persephone: 9 9 , 1 1 3 , 1 1 4 , 1 7 6 . Artemis: 2 0 4 . Triad of nymphs: 256. Miscellaneous female figure: 4 7 0 . Acquired in 1 9 1 2, from Montemagno property (see S 6). S 8A. Female head: 6 2 2 . Given by the notary Antonino Capra in from his property near the west gate.

1 9 1 2,

S 8B. Persephone: 115. Theatrical mask: 7 8 0 . Given by the farmer Francesco Costanzo in 191 2, from his property.

259

LIST OF CONTEXTS

S 8C. Persephone: 1 4 8 . Unidentified goddess: 2 6 6 . Standing woman: 3 7 2 . Female head: 5 3 8 . Given by Giuseppe Calcagno Giarusso in 1 9 1 2 , from his property in the San Francesco district (see V C). S8D. Female head: 5 9 3 . From "ruderi di case," probably on the West Hill; Giarratano's excavation in 1912. S 8E. Artemis: 2 0 8 . Given by Manfredo Varrero in 1 9 1 2, from the San Francesco district (see V C). S 8F. Comic actors: 7 4 2 , 7 4 3 ( 2 ) . From tomb 1 0 , on the NW slope of Cittadella, excavated by Giarratano in 191 2. This is an area where other Hellenistic graves have been found (PR VIII, 146). The burial was of an infant; two of the statuettes were placed at head and feet, the third in the right hand. The black-glaze pot­ tery from the burial (pi. 142, fig. 2) includes a skyphos with chevron design in white at the lip (cf. Bernabo Brea, Meligunis-Lipara 11, tomb 9 1 , pi. cxxxix :2a, ca. 335-280), an olpe (cf. ibid., tomb 403, pi. CXXXlV:3a, ca. 335-280), and a miniature pyxis. Probably to be dated in the late fourth century. S 9. Persephone: 6 2 , Hades?: 2 9 8 .

65, 103.

Standing women: 4 0 4 , 4 0 9 . Animal: 868. Gorgoneion: 9 2 5 . Acquired in 1 9 1 4 from Paolo Montemagno, from his property (see S 6). S 10. Persephone: 1 0 8 , 1 9 6 . Female head: 6 1 8 . Theatrical masks: 7 7 2 , 7 9 6 . Acquired in 1 9 1 5, from Paolo Montemagno, from his property (see S 6). S 11. Persephone: 9 9 , 1 1 3 . Aphrodite: 2 2 7 . Female heads: 4 9 3 , 6 5 3 . Portrait: 7 1 7 . Comic actor: 7 6 0 . Acquired in 1 9 1 8 , from Serra Orlando. S 12. Standing woman: 3 8 2 . Female head: 5 0 2 . Acquired in 1 9 2 6 , from Serra Orlando. S 13.

Artemis: 2 0 3 . Acquired in 1 9 2 9 . In the inventory Orsi made this notation: "si assicura provenga da Serra Or­ lando ma si hanno dubbi al riguardo." S 14. Relief: 916. Plastic vase, black glaze: 9 4 2 . Given in 1 9 2 9 by Antonino Ranfaldi, whose property included the area of the agora (see I A, B).

Concordance

Inventory numbers (Syracuse, Museo Nazionale Archeologico) and catalogue numbers. I 4 I 2 2 / 21 1 4 1 2 3 / 19 1 4 1 2 4 / IO5 I 4 I 2 5 / 45 I 7 2 3 I / 607 I 8624 / 147 18625 / 558 18626 / 199 18627 / 346 18628 / 283 18629 / 322 1863O / 415 1 8 6 3 1 / 936 1 8 6 3 2 / 405 1 8 6 3 3 ! 69 18634/795 18635 ! 235 1 8 6 3 6 / 324 18685 / 156 18686 / 155 18690 / 1 5 7 32297 / 845 32298a / 9 1 4

32298b / 9 1 3 32299 / 99 32300 / 98 3 2 3 0 1 / 98 32302 / 100 3 2 3 0 3 / 98 32304 / 100 32305 / 102 3 2 3 0 6 / 134 32307 / 1 3 4 32308 / 65 3 2 3 0 9 / 65 3 2 3 1 0 / 66 3 2 3 1 1 / 472 3 2 3 1 2 / 472 32313 / 416 32314 / 417 3 2 3 1 5 / 253 32584/ 151 32585/189 32587 / 720 32588 / 265 32589/474

32590 / 33187 / 33188 / 33189 / 33190/ 33191 / 33192 / 33193 / 33381 / 33384 / 33385 / 33389/ 33390 / 33391 / 33392 /

253 113 99 114 176 256 470 204 622 115 780 148 265 372 538

33398/593

33407 / 208 33422a / 742 3 3 4 2 2 b / 743 3 3 4 2 2 c / 743 35285 / 298 35286 / 62 35288 / 103

35289 35290 35291 35292 35293 36798 36799 36800 36801 36802

/ / / / / / / / / /

65 868 404 409 925 108 196 618 796 772

39477 / " 3

39478/99 39481 / 493 39484 / 653 39488/ 717 39489 / 760 3 9 4 9 4 / 227 4 5 0 5 4 / 382 45055 / 502 48598 / 203 48678 / 9 1 6 48674 / 942 sine numero / 375, 620, 691

Index

actors, comic, 6 7 - 6 9 , 97, 211-17 Agathokles of Syracuse, 6, 23, 26, 28, 34, 41, portrait of, 210 aischrologia, 9 7 , 100 Akragas, 16, 23, 4 3 , 118; terracottas, archaic and early classical, 12, 15 17, 23, 93; fourth century, 24f., 2 7 f . , 91; early Hellenistic, 53f., 59. 8 3 . 96 Akrai, terracottas, fourth century, 27-29, 36, 120; early Hellenistic, 44, 53. 58 Alexandria, 6, 46, 61, 67, 89, 211, 232. See also Nile Delta Allen, H. L., 249, 2 5 8 altars, 229 Amazons, 35 anakalypteria, 84, 99 animals, 98, 2 2 4 - 2 8 anodos, 100 Anthesphoria, 9 9 Anthesteria, 102 Aphrodite, 85, 94, 99terracottas, 42, 46, 7 5 . 7 8 Aphrodite Group, see terracottas, groups Apollo, 46, 88, 102, 180 Apollonios Rhodios, 93 aposkopein, gesture of, 36, 92 Archimedes, 6 Anas, P. E., 92 Aristophanes, 82 Arsinoe II, 67 Artemis, 18, 23, 26, 30, 34-36, 83, 9 i f . , 102; Elaphebolos, 35, 92; dyyeXog, 36, 92; Pheraia, 91; at rape of Persephone, 91; sanctuaries of. 34. 93 Artemis Group, see terracottas, groups Artemis-Hekate, 9 i f . Asia Minor, terracottas, 7 8 Asklepios, 89, 174 astragalizousai, 36, 2 3 0 Athena, 36, 9 4 , 102, I 5 7 f . ; at rape of Persephone, 3of., 91, 94; peplos for, in Athens, 30 Athena Lindia, 14 Athena Parthenos, 36, 157 Athens, terracottas, 9, 11, 15, 41, 4 7 , 57, g6f.; influence in Sicily, 23 Augustus, 7, 76 Baker dancer, 55, 6 3 ^ , 67 banqueters, reclining, 83f., 104 n. 25, 206

bases for draped figures, 237 Baubo, 97 Beazley, J . D . , 79 Bendis, 91 Berenike II, 62, 65, 67 Bernabo Brea, Luigi, 97 blacks, 207f., 235, 237 Blinkenberg, C., 14, 16, 20 n. 67, 87 Boeotia, terracottas, 34, 41, 50 Boiotos, 6 Borbein, A., 36, 40 n. 102 Brauron, dedications, 30, 87 busts, 17, 27-33, 4 1 . 48, 76f., 119, 129, 139-52, 207; painted scenes on, 29-33; modeled, 4 8 - 5 0 ; origin of, 85 Butera, terracottas, 28, 42, 6 0 , 67, 83, 91, 95f. Caltagirone, terracottas, 18 Campania, 79 Carthage, Korba sanctuary, 82; Carthaginian terracottas, 77, i^if. See also Phoenicians Carthaginians, in Sicily, 23, 25, 43 Catania, see Katane Centuripe, see Kentoripa chiton, inwoven scenes, 2 9 - 3 3 , I 4°f-1 with kolpos, 13; deep neckline, 46f.; color, 121 Ciaceri, E., 92 Cicero, 7 clipei, 233 coiffure, see hairstyles Corfu (Korkyra), i^f. Corinth, terracottas, archaic, 10, 18, 117; Hellenistic, 96 Cornford, Francis, 100, 102 costume,see chiton, himation, textiles Cyprus, terracottas, 87 dancers, mantle, 64f. Demeter, dedications to, 9 7 f . , 102; lack of representations of, 14, 82 Demeter and Persephone, cult of, 14, 25, 28, 44, 97, 98f.; festivals, 100-102; at Morgantina, 10, 26, 64, 98-103; in private houses, 77; sanctuaries, 248, 249-56; late Hellenistic revival, 76f. See also Persephone Deussen, P. W . , 93 Diodoros, 91, 100-102 Dionysios I of Syracuse, 5, 23-25, 33

Dionysos, 88f., 102, 173 dolls, 9 4 - 9 6 Dong, J . , 95f. dove, 50, 84, 90, 9 8 draped women, 41, 51-64, 8 i types of, from Winter, Typenkatalog W II 8 : 6 W II 9 W II 15:6 W II 15:7 W II 19:1 W II 25 W II 29:6 W II 36:1 W II 3 6 : 6 W II 41 W II 43 W II 52:11 WII71 W II 8 3 : 2 , 3 W II 84:6 W II 116 W II 118:3 W II 132:2 W II 139:11 W II 140:6, 9 W II 145:1 W II 155 W II 158:6, 7 W II 207:5 W II 232:5 W II 350:1 Duketios, 5, 10 dwarves, 15f.

42 nos. 4 0 0 , 413 no. 434 60 nos. 434, 437 51, nos. 403ff. no. 423 42 58 no. 417 no. 419 55, no. 4 1 0 56f., nos. 41 if. no. 4 5 8 42 75 75 no. 4 4 8 no. 4 7 0 no. 472f. no. 454 no. 460 no. 4 6 3 63 no. 483 no. 401

Elaielinos, 88, 90, 9 8 Eleusis, 91, 94, i o i f . Emmenids, 16 Eos and Kephalos, 36, 230 epaulia, 84, 104 n. 33 Eretria, chamber tomb, 47, 233 Enm, K. T . , 241, 244 Eros, 85, 9 9 , 102 terracottas, 36, 75, 78, 90, 93f., 168-73; * n scenes of rape of Persephone, 30, 33, 93f. Euainetos, 23, 28 Eukleidas, 34 faience oinochoai, Ptolemaic, 6 i f . , 183 fruit, 98, 2 2 8 Furtwangler, A., 16

264

INDEX Gela, 9, 1 3 - 1 5 , 2 3 , 2 5 , 41 terracottas, archaic and early classical, 1 2 , 1 3 - 1 5 , i 7 f . , 2 3 , 87, 1 2 0 ; fourth century, 24-27, 28, 3 3 , 34-36, 65, 9 1 ; early Hellenistic, 47, 49, 60, 66, 68, 83; Costa Zampogna tomb, 42 Geloan terracottas, at Morgantina, 117 busts 27, protomes, 17, 87; revivals at, 25 Gelon, 5, 1 3 Gentili, G. V . , 29 Gigantomachy, 30 gladiator, 207 goddess with piglet and torch, 13, 33f., 48, 76-78, 8 i f . , 1 3 4 - 3 7 gotgoneia, 232f. Grammichele, 11 terracottas, archaic, 11, I 2 f . , 17f., 92; fourth century, 27-29; early Hellenistic, 47, 5 3 , 58; late Hellenistic, 75 graves, terracottas from, see terracottas, funerary grotesques, 97 Hades, 30, 3 3 , 84, 89f., 94, 9 9 - 1 0 2 terracottas, 4">(., 8 8 - 9 1 , 97, 167f.; attributes, 89f. Hadranon, terracottas, 53, 61 hairstyles, lampadion knot, 34f., 39 n. 9 2 , 67, 200, 224; bow knot, 49, 67; melon coiffure, 48f., 66; Knidian coiffure, 66, 76; snailshells, 29, 49 headdress, stephane, 67, 76f., 151; wreath, 8 3 , 89f.; taenia, 83. See also polos Hekate, 9 i f . Heloros, terracottas, late classical, 14, 29, 3 3 ; early Hellenistic, 44, 48, 120 Heloros Group, 33f., 39 n. 75 hemithorakion, 3 5 , 40 n. 96 Hera Nympheuomene, 95f. Herakleia (Policoro), terracottas, 5 7 , 63, 91 Herakleidas, 34 Herakles, terracottas, 69, 94, 9 7 f . , 174, 2 1 3 , 217 Hermes, 92\ terracottas, 1 7 3 , 2 3 4 Hieron of Syracuse, 6, 43 Higgins, R. A., 34, 79, 87, 1 1 7 , 120 himation, fringed, 63; inwoven scenes, 30; color, 1 2 1 Hippokrates of Gela, 5 Hipponion, pinax, 89f. Hispani, see Morgantina

Homeric Hymn to Demeter, 9 i f . , 93, 97, 1 0 0 - 1 0 2 Iambe, 97 Ionian influence, 1 0 , 1 5 - 1 7 Jenkins, G. K . , 46 Jenkins, R . J . H . , 1 8 jewelry, 2jf., 3 5 , 38 n. 47, 49, 70 nn. 58-59, 7 7 , 147 Judica Collection, Pallazolo Acreide, 29, 58 Kamarina, 5, 23; terracottas, 11-13, 1 8 , 29, 9 1 , 1 1 7 , 1 2 0 Kassandra, 36, 2 3 1 katagoge, 9 9 - 1 0 2 Katane, terracottas, 1 0 , 3 3 , 7 5 , 78f., 1 2 0 . See also terracottas, Catania Group kathodos, xoof. Kekule von Stradonitz, R . , 44 Kentoripa, 74f., i i 7 f . terracottas, archaic and early classical, 1 2 ; early Hellenistic, 44, 4 9 - 5 3 , 55f., 57-64, 1 2 0 ; late Hellenistic, 75f. polychrome pottery, see vase painting Kerberos, 89, 94 Kerch, terracottas, 50 Kimon (die-engraver), 34 Kleiner, G . , 24, 37 n. 3 2 , 47, 5 1 - 5 5 , 57. 59. 69 n. 1 1 , 7 1 n. 80 Kmdos, terracottas, 47 Knossos, terracottas, 96 kore, 95 Koreia, 99 Korkyra, terracottas, i3f. Kroton, terracottas, 62 Kyane, 93 Kyme, terracottas, 51, 5 3 , 60 Kyrene, terracottas, 56, 6 2 , 1 1 8 Langlotz, E., 11 Leonidas ofTaras, 95 Leontinoi, terracottas, 12, 53 Lilybaeum, 43; terracotas, 59, 6 1 , 75 Lindos, 1 4 Lipari, terracottas, 1 7 , 67, 92f. Lokroi, terracottas, 6 i f . , 92f., 94-96; pinakes, 30, 84, 89f., 94, 1 0 1 Lo Porto, F. G . , 15 Magenta Ware, 69, 79, 1 1 8 marriage, rites, 3 3 , 84f., 89, 95f., ioof. See also anakalypteria, protele ia, theogamia masks, comic, 67-69, 97; tragic, 69, 97fMedma, terracottas, 164

Megara Hyblaia, terracottas, 1 0 - 1 5 , 1 8 , 33, 53 Megara Group, 33f., 39 n . 7 5 , 42 Metapontion, terracottas, 95 Menai, terracottas, 3 5 , 78 Middle Comedy, 67f., 97 Miletos, 15 Mihngiana, terracottas, 28 Mineo (Menai), 35, 78 mitra, 40 n. 96 molds, see terracottas, technique Montagna di Marzo, terracottas, 69 n. 11, 7 1 n. 92 Morgantina, archaic habitation, 4f., 8 n. 8, 10; Timoleontic period, 5, 24f.; early Hellenistic period, 6, 42-44; late Hellenistic period, 7, 74f.; abandonment, 7 , 7 5 ; Roman sack, 6, 74, 2 5 1 ; Hispani, 6f., 44, 74; coinage, 5, 7, Sikels at, 4f. relations, with Megara Hyblaia, 13, 18, with Gela, 5 , 9 , 13f.; with Syracuse, 5f., 24f., 3 3 , 43f.; Syracusan terracottas at, 24f., 27f., 4 3 f . , 45-48, 5 iff., 1 1 8 ; with Kentoripa, 75 sanctuaries, 5, 7, 26, 44, 8 1 ; North Sanctuary, 42, 68, 7 5 , 88, 9 1 , 9 3 f . , 98, i i o n . 2 2 1 , 249-52; North Sanctuary Annex, 93f., 2 5 2f.; San Francesco Sanctuary (areaV), 248; Cittadella Sanctuary, 256; West Sanctuary, 256, Cthonian Sanctuary (agora), 2 4 1 ; South Sanctuary, 2 53f. necropoleis, 256-58, 260; houses, 243-46, agora and public buildings, 238-42, Cittadella (archaic city), 246f. Moschion, 6 Motya, protomes, 87 Miiller, V., 81 music, 92f. Mynna, terracottas, 78; grave A, 57 Naxos, terracottas, 1 o New Comedy, 68f., 97 Nike, 36; terracottas, 94, 1 6 1 Nile Delta, terracottas, 46, 49 Nilsson, M P., 100 nymphe, 95 Nymphs, 102; terracottas, 92f., 94, 107 n. 1 1 9 , 162-64 Olympia, temple of Zeus, 12 Olynthos, terracottas, 86 Orlandini, P., 1 7 , 25, 34, 4 1 , 87 Orsi, P., 1 5 , 1 7 , 1 8 , 3 5 , 44, 85, 258-60 Orvieto, tomba Golini, 89

INDEX Pace, B . , 1 0 5 n. 41 Paestum (Poseidonia), 58 painted scenes, on busts, 2 9 - 3 3 , i4of. Palermo, Museo Archeologico, terracottas from Morgantina, 3, 1 1 6 Pan, 92, 1 7 3 Papposilenos, 6 8 Pataikoi, 16 Pataikos, as name at Akragas, 16 Paterno, terracottas, 75 Payne, H . G . G . , 1 8 Pelopidas, 35 peplophoroi, i i f . , 26 Perachora, 9, 15 Persephone, 1 0 , I 4 f . , 1 7 , 8 1 - 1 0 3 ; epithets, 86; attributes, 82-85, 2 3 1 , veiled, 83f.; votive offerings for, I02f.; busts and protomes, 84-88, standing figures, 45-48; rape of Persephone, 30, 3 3 , 36, 38, n. 69, 9 1 , 9 9 - 1 0 3 . See also Demeter and Persephone, cult of; goddess with piglet and torch Pheidias, 36 Philistis, 65, 67, portraits of (?), 2 1 0 Phillips, K. M., J r . , 241 Phintias of Akragas, 4 1 , 43 phlyax comedy, 68, 21 iff. Phoenicians, terracottas, 8yf., influence on Greek culture, i6f. See also Carthage Picard, Colette, 87 pig, chthonian sacrifice, 82f., 98. See also goddess with piglet and torch plastic vases, i 3 o f . , 234-37 Plato, 91 Plouton, 90 Plutarch, 2 3 , 30 Pollux, 67f. polos, 1 7 , 28, 48, 50, 8 i f . , 92, 1 5 1 ; votive poloi, 82; with attached fruit, 1 3 7 ; painted ornament, 1 2 1 , 1 4 0 - 4 3 ; absence of real examples, 82 pomegranate, 98, 228 Poseidonia, Sele Sanctuary, 58 Poulsen, V . , n Praxiteles, 46, 65, Sauroktonos, 46 Priapos, 79, 1 7 4 , 235 Priene, terracottas, 47, 9 3 , 96 proteleia, 95 protomes, i 6 f . , 50, 85-88; origins of, 87f., Ionian, 1 7 ; Geloan, 1 7 ; Phoenician, 87 Ptah-Sokar, 1 6 Ptolemy II, 30 Punic influence, see Phoenicians, Carthage

Quarles van Ufford, L., 11, 1 3 , 1 8 , 19 n. 35 rape of Persephone, see Persephone Rhegion, terracottas, 1 2 , 95, 1 3 3 Rhinthon, 6, 6 8 Rhodes, 15. See also terracottas, groups (Aphrodite Group) Richardson, N . J . , 102 Rome, presence in Sicily, 74, 77-79 sacrificing gods, 45-48 Samos, 15 sandalbinders, 5 3 , 63f. satyr, 1 2 9 , 1 7 3 Schauenburg, K . , 39 n. 71, 90 Scornavacche, terracottas, 24-26, 29, 35. 83 sculpture, works cited, Aphrodite Anadyomene, I 5 9 f . ; of Doidalsas, 160; Apollo-Muse relief from Akrai, 1 6 7 ; base from Halikarnassos, 64; Demosthenes, 47, 53; Florence Kore, 4 5 , 4 7 ; girl from Anzio, 57f., grave reliefs, Attic, 95; from Rhamnous, 45; Kassel Artemis relief, 35; Kimasos peplophoros, 1 2 ; Lateran Sophokles, 42; Mantinea base, 42; Nike of Paionios, 1 6 1 ; Nikeso of Priene, 47; Nikokleia of Knidos, 60; Nymph relief, Camaro, 92; Syracuse,