Greek and Roman Stone
contents
- Catalog Organization
- Introduction to the Classical Sculpture Collection
- Acknowledgments
- CATALOGUE
- Cypriot Sculpture
- Ohnefalsch-Richter Collection
- Kour Ion Sculpture
- Another Cypriot sculpture
- Greek Sculpture
- Attic Grave Monuments
- East Greek Grave Stelae
- Hellenistic, divine, and idealized images
- Late Hellenistic/Imperial Roman Female Heads
- Greek works were either Romanized or adapted.
- Sculpture from the Sanctuary of Diana’s Neogenesis at Lake Nemi
- Introduction
- Cult Statue Fragments
- Votive Statuettes: Female
- Votive Figures: Male
- Reliefs
- Marble Vessels: The CHIO Dedication
- Marble Furniture Fragments
- Sculpture from Colonia Minturn
- Introduction
- Portraits
- Divine and idealized images.
- Miscellaneous
- Sculpture from Tanium Indicium
- Sculpture from Nysa Stathopoulos
- Another Roman sculpture
- PortraitsDivine and idealized images
- Reliefs
- Uncertain works or forgeries
- Palmyrene and Graeco-Parthian Sculpture
- Introduction
- Palmyrene Relief Sculpture
- Graeco-Parthian Sculpture
- Bibliography
- Concordance
- Index
preface
This is the primary, entire, posted catalogue of the Clas-vania Museum of Archaeology and Anthropology (UPM). In 1921, Luce published a catalogue for the Mediterranean Section of The University Museum, which included brief descriptions but no illustrations of the significant pieces in the current series, which includes sculptures, pottery, and bronzes.
Luce no longer included the classical sculptures under the curatorial divisions of the museum, such as the Near Eastern and Egyptian sections. Since Luce’s catalogue, the various character stone sculptures within the series had been posted in diverse codecs and in scattered sources, even though many have in no way been posted.
The purpose of this volume is to provide a comprehensive catalogue of all the Cypriot, Greek, and Roman stone sculptures in the Museum, including those found in the Near Eastern and Egyptian Sections. It also includes a detailed description of each piece, including measurements and a condition report, a list of previously published sources, a commentary reflecting the most recent scholarship, and sufficient photographic documentation.
The aim is likewise to offer a beneficial painting for diverse audiences. The writing of this catalogue has been a precarious stability of presenting records that the overall reader will discover informative and interesting, with a view to stimulating college students to interact in addition to examining a number of the subjects raised through character portions or companies of sculptures, and with a view to fulfilling a want withinside the scholarly network to subsequently have in their hands a piece that gives an updated and complete examine of a full-size Classical sculpture series in one of the world’s first-rate archaeology museums.
The inspiration for writing this catalogue of the Classical sculpture at the UPM came from training for the preservation and reinstallation of the Museum’s enduring Classical galleries, “Worlds Intertwined: Etruscans, Greeks, and Romans,” which opened to the public in March 2003 (CD Figs. 1–4).
Almost 1/2 of the 70 stone sculptures protected in this catalog are on display in those new classical galleries. Six ofSix of the 10 Etruscan stone sculptures from the UPM’s series are also on display in the Etruscan World gallery. However, they are not included in this corpus due to their excellent handling in the Catalogue of the Etruscan Gallery of the University of Pennsylvania Museum of Archaeology and Anthropology, which was compiled by Jean MacIntosh Turfa in 2005. from a lady head from Kourion in the Roman World gallery (8) and a male statuette from Kourion (11) in the Greek World gallery, the Cypriot sculptures remain in the garage, awaiting a future gallery dedicated to Cyprus and the Aegean worlds.
Similarly, the Roman World gallery currently showcases the finest Palmyrene or Graeco-Parthian sculptures (132 and 142), while the Greek World gallery showcases the finest sculpture from Nysa Stathopoulos (Beth Shean/Beishan) (93). Catalog Organization This catalogue is particularly prepared into groupings through provenience, in order that the excavated collections from Kourion, Nemi, Minturn, Tanium Indicium, Nysa Stathopoulos, and Palmyra had been handled collectively, each with an introduction.
The Cypriot series also encompasses a cohesive body of work, and due to its inclusion of the oldest material in this catalogue, it receives priority, despite the Cypriot sections’ varying dates from the late seventh century to the Roman era. Within this class, the sculptures amassed through Max Onalaska-Richter (1–7) had been grouped collectively with an introduction, accompanied through the ones excavated at Kourion (8–11), with portions and not using a regarded provenience on the cover of the Cypriot class.
Throughout the catalogue in general, inside every smaller grouping, the entries are organized with representations of girls first and in chronological order, accompanied by men in chronological order, then portions of questionable gender and animal figures. Within the extensive category of Greek sculpture, we collectively group Attic grave monuments (17–23), which include one of the Roman periods (23), and East Greek grave stela (24–26) in varying degrees of chronological order.
Divine and idealized snapshots of the Hellenistic period form a separate class (27–34), accompanied by a collection of lady heads that can be dated through fashion to either the Late Hellenistic or the Imperial Roman periods (35–41). Lastly, beneath the large class of Greek sculpture, however indexed separately, are sculptures that might be Roman copies or diversifications of famous Greek works (42–43). The sculptures from the Sanctuary of Diana Neogenesis at Lake Nemi are supplied next, as a maximum of those belong to the Late Hellenistic/Republican duration, although numerous may be dated to the Early Imperial duration (44–82). Likewise, the sculptures from Colonia Minturn are handled as an awesome institution with portions starting from the second one, 1/2 of the first cub, to the 2d or third c.AD (83–90). The portions from Tanium Indicium (91–92) and a collection of 9 sculptures in marble and limestone from the Museum’s excavations withinside the Twenties at Nysa Stathopoulos (Beth Shean/Beishan) in historical Palestine (93–101) follow.
“Other Roman Sculpture” (102–124) organizes the last Roman sculptures into “Portraits,” “Divine and Idealized Images,” and “Reliefs.” Again, where appropriate, lady snapshots are supplied first and in chronological order, accompanied by male.
A small class of “Uncertain Works or Forgeries” includes portions (one hundred twenty-five and 126) that could potentially be forgeries, as well as portions (127–129) that could be difficult to interpret due to their fragmentary or crude nature. As discrete groupings from the fringes of the Classical world, Palmyrene remedy sculpture and Graeco-Parthian sculpture shape the very last classes on this catalogue (130–154).For every catalogue entry, the heading consists of the following records in this order: catalogue number; brief title; UPM accession number (see concordance of accession).
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