Pub Date : 2019-01-31DOI: 10.12797/SAAC.22.2018.22.06
D. Grzesik
Oligarchization was a widespread phenomenon that had similar features throughout the Greek world. The differences and variants, however, should not be overlooked. My goal is to present the Delphic version of oligarchization — a task that has not been undertaken so far. The article aims to present how the leading families of Delphi accumulated power and how they operated within a wider Roman world-system. I use the epigraphical and literary sources to assess the degree to which the illustrious families of Delphi entered the wider provincial and imperial elite, and indicate whether careers were of a more local nature. I conclude the paper by analyzing the relationship between the city and its elite and focus on the benefactions recorded in the epigraphic material.
{"title":"From Democracy to Oligarchy – the Role of the Civic Elite Within the Community in Roman Delphi","authors":"D. Grzesik","doi":"10.12797/SAAC.22.2018.22.06","DOIUrl":"https://doi.org/10.12797/SAAC.22.2018.22.06","url":null,"abstract":"Oligarchization was a widespread phenomenon that had similar features throughout the Greek world. The differences and variants, however, should not be overlooked. My goal is to present the Delphic version of oligarchization — a task that has not been undertaken so far. The article aims to present how the leading families of Delphi accumulated power and how they operated within a wider Roman world-system. I use the epigraphical and literary sources to assess the degree to which the illustrious families of Delphi entered the wider provincial and imperial elite, and indicate whether careers were of a more local nature. I conclude the paper by analyzing the relationship between the city and its elite and focus on the benefactions recorded in the epigraphic material.","PeriodicalId":36852,"journal":{"name":"Studies in Ancient Art and Civilization","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44443559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-30DOI: 10.12797/saac.21.2017.21.12
M. Bogucki, Arkadiusz Dymowski, Grzegorz Śnieżko
Ancient coinage, almost exclusively Roman denarii from the 1st or 2nd century AD, constitutes a small percentage of hoards and other assemblages dated (with the latest coins present) to either the Middle Ages or to the modern period in the territory of present-day Poland. Such finds can be seen as strongly indicating that ancient coinage did function as means of payment at that time. This hypothesis is further supported by written sources. Moreover, ancient coins have also been recorded at other sites in medieval and modern period contexts e.g. in burial sites, which are less easy to interpret than hoards. Finds often include pierced coins and others showing suspension loops, which suggests they may have been used as amulets, jewellery or devotional medals. Other finds, such as Roman coins placed in alms boxes in modern period churches in Silesia, also point to a religious context. At the same time, written sources attest that at least since the Late Middle Ages, Roman denarii were known to common people as ‘St John’s pennies’. The name is associated with a Christian interpretation of the image of the emperor’s head on the coin, resembling that of John the Baptist on a silver platter.
{"title":"The Common People and Material Relics of Antiquity the Afterlife of Ancient Coins in the Territory of Present-Day Poland in the Medieval and Modern Periods","authors":"M. Bogucki, Arkadiusz Dymowski, Grzegorz Śnieżko","doi":"10.12797/saac.21.2017.21.12","DOIUrl":"https://doi.org/10.12797/saac.21.2017.21.12","url":null,"abstract":"Ancient coinage, almost exclusively Roman denarii from the 1st or 2nd century AD, constitutes a small percentage of hoards and other assemblages dated (with the latest coins present) to either the Middle Ages or to the modern period in the territory of present-day Poland. Such finds can be seen as strongly indicating that ancient coinage did function as means of payment at that time. This hypothesis is further supported by written sources. Moreover, ancient coins have also been recorded at other sites in medieval and modern period contexts e.g. in burial sites, which are less easy to interpret than hoards. Finds often include pierced coins and others showing suspension loops, which suggests they may have been used as amulets, jewellery or devotional medals. Other finds, such as Roman coins placed in alms boxes in modern period churches in Silesia, also point to a religious context. At the same time, written sources attest that at least since the Late Middle Ages, Roman denarii were known to common people as ‘St John’s pennies’. The name is associated with a Christian interpretation of the image of the emperor’s head on the coin, resembling that of John the Baptist on a silver platter.","PeriodicalId":36852,"journal":{"name":"Studies in Ancient Art and Civilization","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42564613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-27DOI: 10.12797/SAAC.21.2017.21.05
Agata Kubala
In the collection of the University Museum of Wroclaw is a spherical faience aryballos of unknown provenance. It belongs to a group of vessels which enjoyed widespread popularity over a vast area of the Mediterranean in the 6th century BC. The analysis clearly shows that the spherical faience aryballos at the University Museum of Wroclaw should be classified within section 3 of V. Webb’s classification, that containing the most common and crudest type of faience aryballos. Aryballoi classified within this section were made, judging from their distribution, partly or mainly at Naukratis and they belong in date to the second part of the 6th century. It is likely that the Wroclaw aryballos is the product of an Egyptian workshop, perhaps of that located at Naukratis. An Eastern Greek workshop cannot be ruled out either.
{"title":"A Faience Aryballos in the Collection of the University Museum at Wroclaw","authors":"Agata Kubala","doi":"10.12797/SAAC.21.2017.21.05","DOIUrl":"https://doi.org/10.12797/SAAC.21.2017.21.05","url":null,"abstract":"In the collection of the University Museum of Wroclaw is a spherical faience aryballos of unknown provenance. It belongs to a group of vessels which enjoyed widespread popularity over a vast area of the Mediterranean in the 6th century BC. The analysis clearly shows that the spherical faience aryballos at the University Museum of Wroclaw should be classified within section 3 of V. Webb’s classification, that containing the most common and crudest type of faience aryballos. Aryballoi classified within this section were made, judging from their distribution, partly or mainly at Naukratis and they belong in date to the second part of the 6th century. It is likely that the Wroclaw aryballos is the product of an Egyptian workshop, perhaps of that located at Naukratis. An Eastern Greek workshop cannot be ruled out either.","PeriodicalId":36852,"journal":{"name":"Studies in Ancient Art and Civilization","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48242616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-27DOI: 10.12797/saac.21.2017.21.06
Inga Głuszek
The article discusses fragments of the Athenian red-figure pottery discovered during excavations in Nikonion, an ancient Greek colony founded on the northern coast of the Black Sea, at the end of the 6th century BC. The collection of Athenian pottery finds at this site is very diverse in terms of technique, style and phase of production. In a short introduction to the article the state of research on the finds of Athenian red–figure pottery from the site is presented, but the main focus is on the findings of the Ukrainian-Polish team of archaeologists who conducted joint excavations at the site in the years 2007–2012. The described fragments of vessels, except for one item, come from the same archaeological context – a residential building discovered in the north-western part of the site dating back to the end of the 5th century – the first half of the 4th century BC. One vessel fragment comes from an earlier phase of the city development dated preliminarily to the second half of the 5th century BC.
{"title":"The Athenian Red-Figure Pottery Found in Nikonion During Excavations of 2007-2012","authors":"Inga Głuszek","doi":"10.12797/saac.21.2017.21.06","DOIUrl":"https://doi.org/10.12797/saac.21.2017.21.06","url":null,"abstract":"The article discusses fragments of the Athenian red-figure pottery discovered during excavations in Nikonion, an ancient Greek colony founded on the northern coast of the Black Sea, at the end of the 6th century BC. The collection of Athenian pottery finds at this site is very diverse in terms of technique, style and phase of production. In a short introduction to the article the state of research on the finds of Athenian red–figure pottery from the site is presented, but the main focus is on the findings of the Ukrainian-Polish team of archaeologists who conducted joint excavations at the site in the years 2007–2012. The described fragments of vessels, except for one item, come from the same archaeological context – a residential building discovered in the north-western part of the site dating back to the end of the 5th century – the first half of the 4th century BC. One vessel fragment comes from an earlier phase of the city development dated preliminarily to the second half of the 5th century BC.","PeriodicalId":36852,"journal":{"name":"Studies in Ancient Art and Civilization","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43576855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-27DOI: 10.12797/SAAC.21.2017.21.09
G. Cravinho
The article presents the collection of Roman engraved gems in the National Museum of Archaeology, in Lisbon. Although a small cabinet, it contains a wide variety of themes and motifs. Among the intaglios, the nicolos deserve to be especially highlighted for their quantity when compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).
{"title":"Roman Engraved Gems in the National Archaeological Museum in Lisbon","authors":"G. Cravinho","doi":"10.12797/SAAC.21.2017.21.09","DOIUrl":"https://doi.org/10.12797/SAAC.21.2017.21.09","url":null,"abstract":"The article presents the collection of Roman engraved gems in the National Museum of Archaeology, in Lisbon. Although a small cabinet, it contains a wide variety of themes and motifs. Among the intaglios, the nicolos deserve to be especially highlighted for their quantity when compared with the others, thus strenghtening the evidence for the existence of a regional quartz industry in the city of Ammaia, which particularly specialized in the manufacture of nicolo gemstones. The themes match those existing throughout the Empire, but some items deserve special attention: Eros removing a thorn from a lion’s paw (no. 3); three Satyrs performing a sacrifice (no. 1); the wounded warrior (no. 31); the ‘prodigy scene’ (no. 36); Faustulus, the Capitoline Wolf and the twins (no. 37); a possible portrait of Cleopatra (no. 42); the Jewish symbols (no. 70) and the magical amulet (no. 72).","PeriodicalId":36852,"journal":{"name":"Studies in Ancient Art and Civilization","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41510863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-27DOI: 10.12797/saac.21.2017.21.07
Kamil Kopij
The aim of this article is to revisit the issue of Pompey the Great’s imitatio Alexandri, especially the timetable for its beginnings and development. Previous studies of the subject have indicated that either the Roman general was involved in imitating the Macedonian king since his youth, or he did not do so at all. Meanwhile, this article presents evidence indicating that the most likely scenario implies that the image of Pompey as the Roman Alexander was created during his eastern campaign against Mithridates. Moreover, it was probably Theophanes of Mytilene, Pompey’s friend and trusted advisor, who developed this theme. Additionally, there is evidence indicating that Pompey tried to limit the use of imitatio Alexandri primarily to the eastern parts of the Roman Empire, fearing that an ambiguous perception of Alexander in Rome would harm his image.
{"title":"When Did Pompey the Great Engage in his imitatio Alexandri?","authors":"Kamil Kopij","doi":"10.12797/saac.21.2017.21.07","DOIUrl":"https://doi.org/10.12797/saac.21.2017.21.07","url":null,"abstract":"The aim of this article is to revisit the issue of Pompey the Great’s imitatio Alexandri, especially the timetable for its beginnings and development. Previous studies of the subject have indicated that either the Roman general was involved in imitating the Macedonian king since his youth, or he did not do so at all. Meanwhile, this article presents evidence indicating that the most likely scenario implies that the image of Pompey as the Roman Alexander was created during his eastern campaign against Mithridates. Moreover, it was probably Theophanes of Mytilene, Pompey’s friend and trusted advisor, who developed this theme. Additionally, there is evidence indicating that Pompey tried to limit the use of imitatio Alexandri primarily to the eastern parts of the Roman Empire, fearing that an ambiguous perception of Alexander in Rome would harm his image.","PeriodicalId":36852,"journal":{"name":"Studies in Ancient Art and Civilization","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49336469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-27DOI: 10.12797/SAAC.21.2017.21.08
Alexis Bonnefoy, M. Feugére
The ‘Lormier bronze’, named after its earliest known owner, is an exceptional statuette made of copper alloy. It is remarkable, both by its subject and its style, of very fine quality; but also by its state of conservation, namely its gilding, which allows us to contemplate, for once, such a statuette close to its original aspect. The iconography, rather rare in the field of small bronze figurines, clearly derives from the large statuary and illustrates a little-known episode of the Graeco-Roman mythology. Through the diverse possible models and their repercussion in the ‘minor arts’, the article allows to place this work in the Graeco-Roman production by following, in its main lines, the long way going from the original work to the series crafts, sometimes, as here, of high quality.
{"title":"Hermès Dionysophore","authors":"Alexis Bonnefoy, M. Feugére","doi":"10.12797/SAAC.21.2017.21.08","DOIUrl":"https://doi.org/10.12797/SAAC.21.2017.21.08","url":null,"abstract":"The ‘Lormier bronze’, named after its earliest known owner, is an exceptional statuette made of copper alloy. It is remarkable, both by its subject and its style, of very fine quality; but also by its state of conservation, namely its gilding, which allows us to contemplate, for once, such a statuette close to its original aspect. The iconography, rather rare in the field of small bronze figurines, clearly derives from the large statuary and illustrates a little-known episode of the Graeco-Roman mythology. Through the diverse possible models and their repercussion in the ‘minor arts’, the article allows to place this work in the Graeco-Roman production by following, in its main lines, the long way going from the original work to the series crafts, sometimes, as here, of high quality.","PeriodicalId":36852,"journal":{"name":"Studies in Ancient Art and Civilization","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46717251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-27DOI: 10.12797/SAAC.21.2017.21.03
D. Liesegang
The phenomenon of “Personal Religion” influenced Egyptian culture for a long time and left behind an impressive heritage of literature, which shows the development of a historical-social change. The reign of Ramesses III is marked by these special religious-cultural changes and influenced the royal self-presentation of the Egyptian pharaoh and his contact with the divine world. The royal image of Ramesses III demonstrates new aspects in the relation between the king and the deities, which emphasized the effect of a special religious conception. It changed the internal structures of the Egyptian empire under the influence of “Personal Religion” and served as a special of royal legitimation.
{"title":"The Reign of Ramesses III – under the Influence of Personal Religion","authors":"D. Liesegang","doi":"10.12797/SAAC.21.2017.21.03","DOIUrl":"https://doi.org/10.12797/SAAC.21.2017.21.03","url":null,"abstract":"The phenomenon of “Personal Religion” influenced Egyptian culture for a long time and left behind an impressive heritage of literature, which shows the development of a historical-social change. The reign of Ramesses III is marked by these special religious-cultural changes and influenced the royal self-presentation of the Egyptian pharaoh and his contact with the divine world. The royal image of Ramesses III demonstrates new aspects in the relation between the king and the deities, which emphasized the effect of a special religious conception. It changed the internal structures of the Egyptian empire under the influence of “Personal Religion” and served as a special of royal legitimation.","PeriodicalId":36852,"journal":{"name":"Studies in Ancient Art and Civilization","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42969939","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-27DOI: 10.12797/saac.21.2017.21.10
Jean-Louis Podvin
Even though we find only a few traces of the Egyptian god Harpocrates on epigraphic inscriptions, his cult was widespread in Ancient Near East during the Graeco-Roman period. The discovery of figurines (terracotta, glass, bronze, silver, and sometimes gold) and other artefacts depicting the young god (for instance on lamps) is a good sign of his popularity at all stratas of society. In Cyprus, such representations of Harpocrates are scarce (Amathontes, Salamine), except for Nea Paphos.The recent publication of an amulet discovered in Nea Paphos gives the opportunity to discuss its interpretation and to come back on the presence of the young god on the island.
{"title":"Le Succès d’Harpocrate à Nea Paphos","authors":"Jean-Louis Podvin","doi":"10.12797/saac.21.2017.21.10","DOIUrl":"https://doi.org/10.12797/saac.21.2017.21.10","url":null,"abstract":"Even though we find only a few traces of the Egyptian god Harpocrates on epigraphic inscriptions, his cult was widespread in Ancient Near East during the Graeco-Roman period. The discovery of figurines (terracotta, glass, bronze, silver, and sometimes gold) and other artefacts depicting the young god (for instance on lamps) is a good sign of his popularity at all stratas of society. In Cyprus, such representations of Harpocrates are scarce (Amathontes, Salamine), except for Nea Paphos.The recent publication of an amulet discovered in Nea Paphos gives the opportunity to discuss its interpretation and to come back on the presence of the young god on the island.","PeriodicalId":36852,"journal":{"name":"Studies in Ancient Art and Civilization","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43040208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-27DOI: 10.12797/saac.21.2017.21.11
H. Rambach
An early nineteenth-century manuscript is preserved in the Jagiellonian Library in Kraków. This document in Italian, entitled ‘Breve Descrizione del Museo Trivulzio’, describes the contents of a collection of an aristocratic family in Milan, as seen shortly after the death of its builder – Don Carlo Trivulzio (1715-1789). The author compares it to a published text in French by Aubin-Louis Millin, and publishes up-to-date descriptions of the engraved gems evoked in the manuscript. Thanks to various sources, five of those seven cameos and intaglios can also be illustrated together for the first time.
一份19世纪早期的手稿保存在克拉科夫的贾吉隆图书馆。这份名为“Breve Descrizione del Museo Trivulzio”的意大利语文件描述了米兰一个贵族家族的藏品内容，这是在其建造者唐·卡罗·特里武尔齐奥（1715-1789）去世后不久看到的。作者将其与Aubin Louis Millin出版的法语文本进行了比较，并发表了对手稿中雕刻宝石的最新描述。由于各种各样的来源，这七个浮雕和凹版中的五个也可以首次一起绘制插图。
{"title":"A Manuscript Description in Kraków of the ‘Trivulzio Museum’ in Milan","authors":"H. Rambach","doi":"10.12797/saac.21.2017.21.11","DOIUrl":"https://doi.org/10.12797/saac.21.2017.21.11","url":null,"abstract":"An early nineteenth-century manuscript is preserved in the Jagiellonian Library in Kraków. This document in Italian, entitled ‘Breve Descrizione del Museo Trivulzio’, describes the contents of a collection of an aristocratic family in Milan, as seen shortly after the death of its builder – Don Carlo Trivulzio (1715-1789). The author compares it to a published text in French by Aubin-Louis Millin, and publishes up-to-date descriptions of the engraved gems evoked in the manuscript. Thanks to various sources, five of those seven cameos and intaglios can also be illustrated together for the first time.","PeriodicalId":36852,"journal":{"name":"Studies in Ancient Art and Civilization","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41837993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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