AKTI XII. MEĐUNARODNOG KOLOKVIJA O RIMSKOJ PROVINCIJALNOJ UMJETNOSTI

Datiranje kamenih spomenika i kriteriji za određivanje kronologije

PROCEEDINGS OF THE 12th INTERNATIONAL COLLOQUIUM

ON ROMAN PROVINCIAL ART

The dating of stone monuments and criteria

for determination of chronology

AKTEN DES XII. INTERNATIONALEN KOLLOQUIUMS

ÜBER RÖMISCHE PROVINZIELLE KUNST

Die Datierung von Steinmonumenten

und Kriterien für die Chronologiefestsetzung

LES ACTES DU XIIÈME COLLOQUE INTERNATIONAL

SUR L'ART ROMAIN PROVINCIAL

La datation des monuments en pierre et les

Criteres de determination chronologique

ATTI DEL XII COLLOQUIO INTERNAZIONALE SULL'ARTE

ROMANA DELLE PROVINCE

Datazione dei monumenti lapidei e criteri utilizzati

per la determinazione cronologica

Pula, 23. – 28. V. 2011.

AKTI XII. MEĐUNARODNOG KOLOKVIJA O RIMSKOJ PROVINCIJALNOJ UMJETNOSTIDatiranje kamenih spomenika i kriteriji za određivanje kronologije

Pula, . - . svibnja .

Izdavač / PublisherArheološki muzej Istre, Pula / Archeological Museum of Istria, Pula

Za organizatora i izdavača / For the organizer and publisher Darko Komšo

Organizacijski odbor / Organising CommitteeDarko Komšo, Alka Starac

Znanstveni koordinator / Scientiic CoordinatorAlka Starac

Urednica / EditorIda Koncani Uhač

Uredništvo / Editorial boardOndina KrnjakKristina MihovilićAdriana Gri Štorga

Tajnica uredništva / Editorial board secretaryAdriana Gri Štorga

Stilska lektura / Stylish lecturerEDITOR PLUS d.o.o., Milena Špigić (hrvatski jezik)

Korektura / ProofsEDITOR PLUS d.o.o.

Prijevod na engleski jezik / English translationEDITOR PLUS, Miloš Ilgo

Prijevod na talijanski jezik / Italian translationElis Barbalich - Geromella

Oblikovanje / DesignKADAR d.o.o.

Priprema za tisak / LayoutKADAR d.o.o.

Tisak / PrintPrintera, Zagreb

Naklada / No. of copies700

Tiskano / Date of printSrpanj / July .

Arheološki muzej Istre, Pula, / Archeological Museum of Istria, Pula, .

© Zaštićeno autorskim pravom Arheološkog muzeja Istre. Sva prava pridržana. © Copyright by the Archeological Museum of Istria. All rights reserved.

ISBN ----

Na korici / On the coverAgrippina Minor (?), sredina . st., fotograija iz Arhive Arheološkog muzeja Istre / Agrippina Minor (?), mid of the century, the photo from the Archive of the Archeological Museum of Istria

PREDGOVOR FOREWORD 8

RIJEČ UREDNICE A WORD FROM THE EDITOR 10

ZBIRKA RADOVA COLLECTION OF WORKS 13

Nenad Cambi

Roman Sculpture from Illyricum (Dalmatia and Istria).

Import and Local Production. A Survey 14

Ilona Skupińska-Løvset

Roman Fashion as a Chronological Criterion for the Dating

of Palestinian Portraits 40

Marianne Tabaczek

Zur Datierung eines Grabbaus an der Grenze des Imperiums

(Frankfurt-Zeilsheim) 46

Katarina Šmid

The Mythological Battle Scene on a Funerary Stele from Celeia:

Menelaus Saving the Body of Patroclus? 50

Claire K. Lindgren

Provincial Ladies in Sculpture: Criteria for Determining Chronology 55

Jasna Jeličić - Radonić

The Relief of the Salona Tyche 59

Wolfgang Wohlmayr

Römische Weihedenkmäler im nördlichen Teil der Provinz Noricum 64

Ingrid Weber-Hiden

Versuche zur Datierung des Inschriftenmaterials von Carnuntum

anhand der Grabstelen. 70

Rachel Feig Vishnia | Vassiliki Gaggadis-Robin

Female Carved Representations from Southern Gaul in the Light

of Iconography and Epigraphy 74

Gabrielle Kremer

Götter- und Weihedenkmäler aus Carnuntum – Die Frage der Datierung 81

Marija Kolega

Problems in Dating Portraits from the Julio-Claudian Period

in Liburnia 87

Felix Teichner | Andreea Drăgan

A ‘Rider’ between the East and the West? Old and New Finds from

Municipium Ulpianum (Kosovo) 95

SADRŽAJ CONTENTS

Nade Proeva

Sur la datation des monuments funéraires de Haute Macédoine :

Critères et diicultés 101

Iphigeneia Leventi

Grave Reliefs from Roman Thessaly 108

Annarena Ambrogi

Determinazione cronologica dei ritratti rilavorati in età tardoantica:

indizi e criteri utilizzati nel caso di un ritratto dall’Agora di Atene 115

Georgia A. Aristodemou

Representations of Women and Children in Roman Banquet Scenes 123

Yvan Maligorne | Serge Février | Jean-Noël Castorio

Les monuments funéraires augusto-tibériens de Langres 129

Florian Blanchard | Geert Veerbrugghe

La datation de la colonne du cavalier à l’anguipède de Brienne-la-Vieille

(Tricasses, Gallia Lugdunensis). 136

Exhlale Dobruna-Salihu

Portrait Busts on Stelae in Dardania – Style, Fashion and Dating 141

Mojca Vomer Gojkovič

Women from Poetovio 148

Holger Wienholz

Grenzen der Datierung 154

Paolo Barresi | Javier Á. Domingo | Patrizio Pensabene

Gigantismo nell’architettura templare delle province romane

e le sue implicazioni nell’approvvigionamento e nella messa in opera

delle componenti marmoree 159

Alfred Schäfer

Neue Ergebnisse zur Chronologie der rheinseitigen Großbauten der CCAA 166

Giorgio Sobrà | Filippo Masino

Theatre Buildings of the Early Imperial Age in Asia Minor:

Some Dating Elements 173

Javier Á. Domingo

I monumenti architettonici ispanici: alcuni problemi

di datazione stilistica 177

A. Badie | R. Robert | D. Tardy

Les productions des sculpteurs de l’Ecole d’Aquitaine au IIe siècle :

les transformations du décor architectural à Bordeaux. 182

Daniela Matetić Poljak

Les blocs à décor architectural antérieurs au palais de Dioclétien à Split 189

R. Facsády Annamária

Les traits iconographiques des stèles funéraires familiales à Aquincum 194

Dražen Maršić

Female Fashion on Late Antique Monuments from Salona (3rd – 4th c. A.D.) 203

Piotr Dyczek

New Head of Caryatid from Ancient Risinium (Montenegro) 211

Ivana Popović

Jewelry and Hairstyle of the Woman on the Family Tombstone from

Kosmaj (Vicinity of Belgrade) 216

Mihai Bărbulescu (Roumanie)

L’ ornatrix de Potaissa 222

María Isabel Rodríguez López | Claudina Romero Mayorga

Luxury and Beauty: An Approach to Jewelry worn by Women in Hispania. 226

Pilar Fernández Uriel | Marta Bailón García

Plantae Pedum à l’amphithéâtre d’Italica. Une représentation

des dévots ou une présence directe de Nemesis Dea? 231

Marija Buzov

The Findings of Sarcophagi Reused as Building Material in the

Church of St. George in Mateško Selo 234

Angela Palmentieri

Materiali marmorei di spoglio dai teatri e aniteatri campani 237

Licínia Wrench

Mobilier liturgique paléochrétien. Quelques exemplaires provenant

du territoire actuellement portugais 240

POPIS AUTORA LIST OF AUTHORS 243

173

In most of the territories of Rome, the Early Imperial Age is a time of reorganization and monumentalization of urban centres, in which Augustus’ propaganda assigns to the theatres a role of strategic importance. New architectural models are introduced, fulilling new functions and symbolic values, while existing buildings of Hellenistic tradition are often adapted or partially renovated.

In this period, like many other regions, Asia Minor sees the airmation of the architectural type of the scaenae frons, completely in marble, organized in several superimposed orders and with rich and highly varied ornaments. hese sumptuous backgrounds, responding to new monumental instances rather than to functional exigencies, become the manifesto of a new golden age, a world paciied under the rule of Augustus: as a compulsory focal point for all spectators, scaenae

frontes are a privileged place for the exaltation of the Princeps, owing to simulacra within aediculae and niches and to the iconographic programmes developed in the architectural decoration.

A lively debate on possible Asian rather than Italic origin of this architectural type was ignited in the past decades; in this regard, we are inclined to support the conciliatory proposal by J. C. Moretti of a contemporary development, rich of mutual inluences. However, the new data on the proto-imperial phases of several theatres in Asia Minor, coming from many recent studies, enable us today to reconsider some aspects of the topic.

Aphrodisias

he heatre of Aphrodisias, systematically excavated since the s is of exceptional interest. As reminded in the dedicatory inscription

Zanker , pp. -, -. Sauron . Moretti , pp. -. Barresi , pp. -. Moretti , in part. pp. -.

(- B.C.E.), the construction of both the proskenion façade and the scaenae frons (Fig., high) was sponsored by an inluent citizen of Aphrodisias, Gaius Iulius Zoilos, freedman of Caesar or Octavian, and have not undergone substantial changes during a long period of use.

he proskenion has been the irst to be achieved and is still anchored in the Hellenistic tradition, both for its decorative aspects and architectural design: trapezoidal plan; eleven intercolumniations closed with pinakes in the front (the central and the two extremes larger and open to the passage) and two in the sides parallel to the analèmmata; vertical elements composed of pillars with Doric half-columns leaning against.

he two-storied marble scaenae frons, realized shortly afterwards, contains outstanding innovations, both for its architecture and for decorative themes. It presents two superimposed orders (Ionic and Corinthian), the lower one resting on a high podium. Four columns are disposed at each side of the valva regia; two on the middle stretch of the podium one at each end, fronted by an additional column, that is projected toward the koilon, to form a forepart free on three sides.

Among the most interesting solutions are the pseudo-aediculae within the tetrastyle entablature, shaped just by means of a central receding of a few inches in the central intercolumniation: in the upper storey, these are dominated by semi-pediments lanking the central space of the scene.

he rich iconographic programme is consonant with the early Augustan igurative spiritus; Egyptian themes and small tritons, recalling the triumph at Actium; garlands and paterae alternately supported by sacriicial protomes, alluding to the princeps’ pietas;

De Chaisemartin, heodorescu , pp. -. Some doubt remains on the mutual position of the large rectangular frame and of the

vault with lacunars. In favour of a reversal of the two elements (as depicted in Fig. ): Sobrà , pp. -.

de Chaisemartin .

Giorgio Sobrà | Filippo Masino

Theatre Buildings of the Early Imperial Age in Asia Minor: Some Dating Elements

La prima età imperiale vede nei teatri dell’Asia Minore l’afermarsi del modello delle

scaenae frontes ipostili: organizzate in ordini architettonici sovrapposti e ornate da

una ricca decorazione, esse divengono un manifesto dell’età dell’oro inaugurata da

Augusto, come puntualmente suggerito dalle modalità iconograiche della decorazione

architettonica e statuaria.Il confronto tra i casi di Aphrodisias, di Stratonikeia, di Mileto

e di Sagalassos e lo studio del materiale architettonico recentemente identiicato nel

teatro di Hierapolis di Frigia permettono di mettere in luce alcuni degli elementi più

signiicativi dei caratteri architettonici e dei linguaggi decorativi, nel rapporto tra lo

sperimentalismo e la permanenza della tradizione ellenistica.

Key words Roman Theatres, scaenae frons, proskenion, Asia Minor, Early Imperial age

174 Theatre Buildings of the Early Imperial Age...

widely distributed acanthus scrolls, evocative of the new golden age inaugurated by Octavianus (Fig. ).

Stratonikeia

In the heatre of Stratonikeia, the scaenae frons has been assigned to the Augustan age and interpreted as contemporary with the insertion of the temple in summa gradatione; this structure seems to have replaced an earlier Hellenistic skene, consistent with the arrangement of the Doric proskenion and of the koilon. Lacking a direct epigraphic base, the dating is based on a stylistic comparison with other Asiatic monuments; this has outlined a strict tie with the decoration of the heatre at Aphrodisias, namely in regards to the acanthus scrolls frieze of the third storey and with the console cornices (Fig. ).

In terms of architectural composition, the graphic reconstruction proposed by I.H. Mert (Fig. , middle) has raised a signiicant question, concerning the existence of three storeys’ columnar scenes in Asia Minor, as early as the Augustan age, this type having been considered for a long time as an introduction of the second century C.E.

Besides the presence of broken pediments, the most important common feature of both the scaenae frontes of Aphrodisias and Stratonikeia is the strictly rectilinear design of aedicular façade.

Miletus

he irst example of a curved exedrae - scaenae frons in this region was identiied in the heatre of Miletus, whose irst two storeys have been assigned to the Neronian age on epigraphic basis . he advanced level of architectural elaboration (Fig. , low), also visible in the easy use of the orders at diferent scales and in the polycromy of the marbles employed in the column shafts, coexists with the persistence of Hellenistic models, such as the coeval doric half-column proskenion.

F.M.

Termessos

In the majority of theatres, the proto-imperial facies have been completely changed in the later centuries. It is the case of the heatre at Termessos (Pamphilia), a monument which has not yet been systematically excavated. In this case, a massive Augustan age building phase seems attested and is partially evidenced by the epigraphy. To this intervention shall be assigned the realization of the central section of the wall in the summa gradatione, corresponding to the main entrance; a irst arrangement of the scene and the proskenion, whose front, composed of panels decorated with weapons, difers from the traditional design.

he later transformations have completely erased the primitive scaenae frons: the architectural elements, dropped in the orchestra, date between the late and the early century. he proskenion façade and the upper entrance to the koilon, seem to have been maintained.

his interpretation has been slightly reviewed in de Chaisemartin . Mert , p. . Mert , pp. -. Altenhöfer . Krauss , pp. -. De Bernardi Ferrero , pp. -, pls. I-IV

1. Scaenae frontes of the Theatres at Aphrodisias, Stratonikeia and Miletus (drawing by

the authors).

MILETUS, THEATRE SCAENAE FRONS 54-68 C.E. (after Altenhoefer 1986)

STRATONIKEIA, THEATRE SCAENAE FRONS 27 B.C.E.-14 C.E. (after Mert 2008)

APHRODISIAS, THEATRE SCAENAE FRONS 30-27 B.C.E. (new proposal by the authors, after de Chaisemartin 2002)

Giorgio Sobrà | Filippo Masino 175

exedras, maybe similar to those of the Flavian scene in Ephesus . Decoration and shape of the latter two series show a clear mutual coherence and many similarities with Aphrodisias heatre, standing therefore as probable elements of the Augustan age decoration of the scaenae frons.

Conirmations to this hypothesis come also from the cornice elements, some with dentils (probably from the lower Ionic order) and others with consoles (from an upper Corinthian order). Among the Ionic cornices are: curvilinear elements; others with slight projections in the ends, consistent with the architrave-frieze elements; and also an element free on the three sides, which its with the three-sided Ionic capital.

A half-pediment tympanum depicting a triton playing the buccina has also been found; if we interpret this as evocative of Augustus’ triumphs, as largely attested, this element appears coherent with the garlands frieze (symbol of pietas) and the acanthus-scrolls (announcing the new golden age under the auspices of Apollo), thereby forming a coherent whole impregnated with the Princeps’ propaganda.

In part. Niemann ; Özturk . Zanker , pp. -.

Hierapolis

he heatre of Hierapolis in Phrygia is best known for its grandiose reconstruction dating to the Severan age, but its foundation phase has been recently re-analyzed and assigned to the Augustan age; remains of this phase have been identiied still in situ or re-used as building material in the century.

Recent excavations have brought to light almost the whole foundation of the primitive proskenion that, according to the traditional model, had a façade composed of eleven intercolumniations: three pairs of hinges indicate the position of the doors. Several marble pillars with Doric half-columns have been found; the shafts are smooth in the lower portion and luted above; on the side are traces of the pinakes. Other elements, with half-columns leaning against wall blocks, are supposed to form the oblique wings of the proskenion.

Some marble elements were attributed to the primitive scaenae

frons in the previous studies: the recent research led to discard some of them and to identify a signiicant number of others.

Capitals belonging to two diferent orders were identiied: a three-sided Ionic column capital, which suits well to some foreparts of a lower storey, and smaller Corinthian antae capitals, characterized by curved sides; a dating to the Augustan-Tiberian age for them seems likely.

Concerning the entablatures, a problem is raised by the presence, among the heatre’s materials, of at least four series of architrave-friezes, difering in decoration and in size. he irst consists of a single element with an inscribed frieze, whose discussed dating can be inally ascribed to the Augustan age; the second has an anthemia frieze. here are is evidences of re-use of these two series in the Severan age building, perhaps having been employed in the heatre during later restorations, so they can hardly be considered for our purpose.

In the third unpublished series, the frieze depicts garlands supported by sacriicial protomes: the presence of slight projections at the ends of some blocks seems to indicate the organization in pseudo-aediculae. he fourth and the smallest series has a frieze with acanthus sinusoidal scrolls and presents, once more, slightly projecting ends, consistent with those described above. Among this series are some curvilinear blocks: the formal and dimensional consistency with the round sided Corinthian capitals could suggest the presence of curved

Masino, Sobrà , p. (in part. no. ). For an overview on the city in the Julio-Claudian age: Ismaelli , pp. -.

A irst presentation is in Bejor . In , the work has been accomplished and the results are now in print.

Compare the Ionic capital with those in the main Temple of Apollo’s Sanctuary (Tiberian); Semeraro , p. . For the Corinthians capitals, see Pensabene , p. -, ig. .

Ritti , p. . It is not possible to rule out an Augustan age dating, but the decorative features, in part.

the difuse vegetalisation, orient towards a later date. E.g. the attested restoration during the century: Masino, Sobrà , pp. -.

Figure 2. Aphrodisias, Theatre. Jamb of the central door of the scaenae frons, decorated

with acanthus scrolls (authors).

Figure 3. Stratonikeia, Theatre. Frieze block from the storey entablature of the

scaenae frons (T. Ismaelli).

Conclusions

Some of presented features seem typical of the proto-Imperial Asiatic theatres, whilst other features, previously considered as dating elements, have to be further discussed.

he proskenia model is still frequently Hellenistic: in addition and to demonstrate its persistence, it is worth mentioning the example of Ephesus (Neronian - early Flavian). his was not, anyway, the only

model in use: the case of Termessos shows the coexistence of multiple architectural conceptions.

With regard to the architecture of the scaenae frontes, the efort of a playful experimentation on the theme of the aedicular design is evident, with interesting solutions: pseudo-aediculae are attested at Aphrodisias and Hierapolis and quite unattested in the later Asiatic

176 Theatre Buildings of the Early Imperial Age...

As to the architectural decoration, the models employed are still linked to the Hellenistic tradition, but their association and spatial organization clearly indicate a programme connected to the Imperial gloriication, in particular throughout the widespread use of acanthus-scrolls.

he small sample of cases presented here gives useful tools to outline some common characters and mutual inluences between their projects, but nevertheless requires prudence in any kind of generalization; only an implementation of the knowledge on these monuments, inter alia the heatre at Hierapolis, and the publication of new ones, will clarify with more certainty the stages of development of the Julio-Claudian theatrical architecture of Asia Minor.

G.S.

theatres. On the contrary, the graphical reconstruction proposed for the coeval scene in Stratonikeia shows a rhythmic succession of authentic aediculae.

he use of pediments is generally limited to the upper storey, sometimes with half-pediment in the sides and interrupted pediments in the centre: a characteristic that will be largely developed from then onwards .

he presence of curved entablatures at Hierapolis seems to discard the largely accepted primacy of the Neronian scaenae frons at Miletus, even if in the irst case, they probably belong to a simpler architectural solution.

Something similar is attested in the third storey of the Severan age scaenae frons at Hierapolis; Masino, Sobrà , pp. -.

Sobrà , pp. -.

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MEĐUNARODNI kolokvij o rimskoj provincijalnoj umjetnosti

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Akti XII. međunarodnog kolokvija o rimskoj provincijalnoj umjetnosti:

datiranje kamenih spomenika i kriteriji za određivanje kronologije, Pula,

.-. V . / urednica Ida Koncani Uhač.

-Pula : Arheološki muzej Istre, .

Bibliograija.

ISBN ----