Get ebook downloads in full at ebookname.

com

Sculpture The Assemblage from the Theater Corinth

Mary C. Sturgeon

https://ebookname.com/product/sculpture-the-assemblage-from-
the-theater-corinth-mary-c-sturgeon/

OR CLICK BUTTON

DOWNLOAD EBOOK

Explore and download more ebook at https://ebookname.com

Instant digital products (PDF, ePub, MOBI) available
Download now and explore formats that suit you...

Border Landscapes The Politics of Akha Land Use in

China and Thailand Culture Place and Nature Janet C.
Sturgeon

https://ebookname.com/product/border-landscapes-the-politics-of-
akha-land-use-in-china-and-thailand-culture-place-and-nature-
janet-c-sturgeon/

Sculpture Philip Rawson

https://ebookname.com/product/sculpture-philip-rawson/

From Pergamon to Sperlonga Sculpture and Context Nancy

T. De Grummond (Editor)

https://ebookname.com/product/from-pergamon-to-sperlonga-
sculpture-and-context-nancy-t-de-grummond-editor/

General William E DePuy Preparing the Army for Modern

War American Warriors First Edition Henry G. Gole

https://ebookname.com/product/general-william-e-depuy-preparing-
the-army-for-modern-war-american-warriors-first-edition-henry-g-
gole/
Law of Restitution In England Ireland 3 e 3rd Edition
Tettenborn

https://ebookname.com/product/law-of-restitution-in-england-
ireland-3-e-3rd-edition-tettenborn/

The Reconstructed Chronology of the Divided Kingdom 1st

Edition M. Christine Tetley

https://ebookname.com/product/the-reconstructed-chronology-of-
the-divided-kingdom-1st-edition-m-christine-tetley/

Mitochondrial Biology New Perspectives Novartis

Foundation Symposium 287 1st Edition Novartis
Foundation

https://ebookname.com/product/mitochondrial-biology-new-
perspectives-novartis-foundation-symposium-287-1st-edition-
novartis-foundation/

Law and ecology new environmental foundations 1st

Edition Andreas Philippopoulos-Mihalopoulos (Editor)

https://ebookname.com/product/law-and-ecology-new-environmental-
foundations-1st-edition-andreas-philippopoulos-mihalopoulos-
editor/

The Science of Compassionate Love Theory Research and

Applications 1st Edition Beverley Fehr

https://ebookname.com/product/the-science-of-compassionate-love-
theory-research-and-applications-1st-edition-beverley-fehr/
Toward a Global Autonomous University Cognitive Labor
The Production of Knowledge and Exodus from the
Education Factory First Edition The Edu-Factory
Collective
https://ebookname.com/product/toward-a-global-autonomous-
university-cognitive-labor-the-production-of-knowledge-and-
exodus-from-the-education-factory-first-edition-the-edu-factory-
collective/
 CORINTH
RESULTS OF EXCAVATIONS CONDUCTED BY THE
AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS

VOLUME IX, PART III

SCULPTURE
THE ASSEMBLAGE FROM THE THEATER

BY
MARY C. STURGEON

THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS

2004
 ForLiz, Alex,
Kelly,Marion, and Thomas

( THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS, 2004

Library of Congress Cataloging-in-Publication Data

Sturgeon, Mary C. (Mary Carol), 1943-

Sculpture : the assemblage from the theater / by Mary C. Sturgeon.
p. cm. - (Corinth;v. 9, pt. 3)
Includes bibliographical references and index.
ISBN 0-87661-093-9
1. Sculpture, Roman-Greece-Corinth. 2. Corinth Theater (Corinth, Greece) I.
Title. II. Series.
DF261.C65 A6 vol. 9, pt. 3
[NB118.G7]
938'.7 s-dc22
[733'.5'09387] 2004050188

TYPOGRAPHY BY ASCSA PUBLICATIONS

6-8 CHARLTON STREET, PRINCETON, NEW JERSEY
PRINTED IN THE UNITED STATES OF AMERICA
BY EDWARDS BROTHERS, INCORPORATED, ANN ARBOR, MICHIGAN
 CONTENTS

PREFACE vii
LIST OF ILLUSTRATIONS ix
BIBLIOGRAPHY AND ABBREVIATIONS xiii

INTRODUCTION 1

1 SCULPTURAL DECORATION IN THE CORINTH THEATER 9

2 SCULPTURAL ASSEMBLAGES IN THEATERS IN CORINTH AND THE ROMAN EAST 29

3 DEDICATIONS OF ROMAN THEATERS IN THE GREEK EAST:

QUESTIONS OF PATRONAGE 41

4 THE ROLE OF THE ROMAN THEATER 51

5 CONCLUSIONS: THE SCULPTURAL ASSEMBLAGE OF THE CORINTH THEATER 57

Catalogue
6 ARCHITECTURAL SCULPTURES ON THE FACADE (1-12) 61

7 STATUES BETWEEN THE COLUMNS (13-26) 101

8 SCULPTURE FROM WITHIN THE THEATER COMPLEX:

STAGE, ORCHESTRA, CAVEA (27-55) 133

9 SCULPTURE FOR THE ENTRANCES (56-84) 167

10 MISCELLANEOUS PIECES (85-94) 201

APPENDIX: INSCRIPTIONS FROM THE CORINTH THEATER 211

CONCORDANCE OF INVENTORY AND CATALOGUE NUMBERS 215
INDEX OF MUSEUMS 219
INDEX OF ANCIENT SOURCES 227
GENERAL INDEX 229
PLANS AND PLATES 237
 PREFACE

This book on the sculptural assemblage of the Corinth Theater was designed as an extension of
my study on the Theater reliefs published in 1977. At first I intended to include only freestand-
ing sculptures, but further investigations at Corinth have revealed an additional group of archi-
tectural sculptures as well as figures in niches and between columns, which I also present here.
The Theater was the site of one of the first trenches laid out in Ancient Corinth by the Ameri-
can School of Classical Studies at Athens in 1896, and was investigated in the succeeding cam-
paigns of 1902, 1903, and 1908-1910. It is hoped that this volume, which appears about one
hundred years later, will in some sense pay homage to those early American School excavations
and the intrepid people who managed against considerable odds to initiate investigations of the
Corinth Theater, especially Rufus B. Richardson (1896), F. C. Babbitt (1896), S. Bassett (1902),
D. M. Robinson and T. W. Heermance (1903), G. W. Elderkin (1908), B. H. Hill (1908 and 1909),
and W. B. Dinsmoor (1909 and 1910).
The Corinth Theater has held the attention of, and provided the training ground for, many
people over the years, repaying efforts far exceeding expectations. I wish that the earliest excava-
tors-especially W. B. Dinsmoor, who first compiled a list of Silenos fragments, and E. M. Gardiner,
who first published an article on sculptures found in the Theater-could see the reconstruction
of the sculptures on the architecture in the perspective drawing byJames Herbst (Plan IV). It is
indicative of the degree to which our understanding of Roman sculpture in general and of Ro-
man theaters and their sculptural assemblages in particular has changed that the large quantity
of sculptures found in the Theater could initially be explained only as sculptures that had been
collected there for burning in a lime kiln.
I have many people to thank for their assistance during my work on this project. The study was
conducted under the auspices of the American School of Classical Studies at Athens and facili-
tated by its successive directors-Stephen G. Miller, William D. E. Coulson, James Muhly, and
Stephen V. Tracy. Permission for this work was granted by the Archaeological Service and its
Directors of Antiquities, through the Nauplion Ephoreia of Antiquities and its ephors, P. Pach-
yianni and E. Spathari. I thank Charles K. Williams II, former director of the Corinth Excava-
tions, for inviting me to study this material; Nancy Bookidis, former Assistant Director, for pro-
viding capable assistance of many kinds, patiently filling photographic orders, and giving useful
comments on the manuscript; and the present director, Guy Sanders, for providing support for
the architectural drawings.
I am grateful to Brunilde S. Ridgway for reading earlier drafts of the manuscript and offering
sage comment, to M. B. Richardson and Suzanne Abrams for careful editing, and to the reader
from the Publications Committee and two anonymous readers for their useful suggestions. In
addition, I have had fruitful conversations at Corinth and elsewhere with many whom I thank for
their useful comments: A. Ajootian, G. and I. Despinis, C. M. Edwards,J. Fischer, E. B. Harrison,
G. W. Houston,J.Jordan, D. Laing,J. C. Lavezzi, A. Mantis, O. Palagia, H. A. Shapiro, A. Stewart,
R. Stroud, S. Tracy, I. Trianti, M. B. Walbank, W. West III, and students in my seminar (1989)-
A. Cavanaugh, N. Gifford-Martin, A. Nicgorski, and E. Seybolt.
VIiI PREFACE

For photographic work I have had the able support of I. loannidou and L. Bartzioti. Many
pieces were ably cleaned or joined by S. Bouzaki and the team of Corinth conservators:
N. Didaskalou, A. Papaioannou, and G. Arberores. The trench plan (Plan I) and architectural
drawings are the work ofJ. Herbst, who used AutoCAD for the architectural perspectives (Plans
II:b, c and IV), and Adobe Photoshop for the drawingsof the griffin reliefs (P1.11), the Nereid
and Triton heads (Pls. 17:b, 18:a), and the Silenos piers (Pls. 21:a, 22). A. Hooton inked drawings
of two catalogue items (Pls. 56:c, 66:c) and made state and reconstruction drawings of a third
(PI. 57:b-d); and K. Dohan drew sections of three heads (PI. 30:d). The photograph of the
Pergamon Hadrian (PI. 28:d) appears courtesy of the Deutsches Archaologisches Institut in
Istanbul(neg. Perg. 62-78), that of the sarcophagusfrom Patras(PI.13:c) courtesyof the Deutsches
Archaologisches Institut in Athens (neg. 74/70).
My work on the Theater sculptures has been supported by grants from the American Philo-
sophical Society (1986); Research Council Grants from the University of North Carolina at Chapel
Hill for the summers of 1985, 1986, 1988, 1989, and 1995; a Solow Summer Senior Research
Fellowship at the American School of ClassicalStudies (2001); and terms as Visiting Scholar at
theJ. Paul Getty Museum (1986), and in the Department of Classics,Universityof Californiaat
Berkeley (1987-1988). A Pogue Competitive Grant from the University of North Carolina (1992-
1993), the Elizabeth A. Whitehead Professorship at the American School of Classical Studies
(1998-1999), and a grant from the Fulbright Foundation (1998-1999) freed me from teaching
and administrative duties so that I could complete the project. Work on the manuscript was
completed in 2001, and few references could be added after that time.

October 1, 2003
Chapel Hill, North Carolina
 ILLUSTRATIONS

PLANS

Plan I. Plan of the excavations

Plan II. (a) Restored plan of the Theater, 2nd century A.C.; (b) computer rendering of the Theater, frontal
view; (c) computer rendering of the Theater, three-quarter view
Plan III. Reconstruction of Theater facade with sculptures
Plan IV. Perspective reconstruction of scaenae frons with sculptural assemblage

PLATES

Plate 1. (a) Altar to Julius Caesar as divus, 1-2178; (b) revetment panel with dedication to Claudius,
A.D. 42, 1-2287; (c) pavement recording gift of Erastus, aedile, 1-2436; (d) revetment panel
with dedication to Titus, A.D. 79-81, I-1555; (e) epistyle block with dedication to the emperor,
1-2416, I1-2417;(f) Ionic cornice block with dedication to Trajan, 1-2448; (g) architrave-frieze block with
partial dedication to the emperor, 1-359/500; (h) architrave-frieze block with partial dedication;
(i) architrave-frieze block with partial dedication
Plate 2. (a) Revetment panel with CAESARI-H, 1-2372, 1-2373; (b) revetment panel with [orna]MENTA.OM,
1-2302/2357/2391/2774; (c) revetment panel with sculptor's signature in Greek beneath Latin
dedication, 1-251/2294; (d) revetment panel with donor's name, M. Antonius Aristocratis, I-356/
357/1899/2337/2351; (e) revetment panel with SCAENA, 1-2289/2290/2392 + 1-2368/2379/2380/
2381/2382/2390; (f) revetment with dedication from a praefectusfabrumand curatorannonae, 1-2297;
(g) base of the aedile Hicesius, 1-2224; (h) revetment from dedication by a priestly official or
collegiumfetialis, I-510
Plate 3. Portrait of Trajan 1: (a, b) head 1A
Plate 4. Portrait of Trajan 1: (a, b) head 1A
Plate 5. (a) Head of Trajan 1A; (b) detail of Corinth S-1065
Plate 6. Portrait of Trajan 1: (a) head 1A; (b, c) left hand 1B
Plate 7. (a, b) Mantle statue, portrait of Augustus(?) 2
Plate 8. Draped female figure, Livia(?) 3: (a) upper torso 3A; (b-d) draped legs 3B
Plate 9. Draped female figure, Livia(?) 3: (a-c) draped legs 3B
Plate 10. Cuirassed statue of Hadrian (?) 4: (a) gorgoneion 4A; (b) fragmentary relief from cuirass with
Nike 4B; (c) fragmentary draped torso 4C; (d) fragmentary mantle with socket 4D;
(e, f) fragmentary booted leg 4E; (g) fragmentary booted right(?) foot 4F; (h) fragmentary
foot with flat strap(?) 4G; (i) fragmentary left foot 4H
Plate 11. Relief with a pair of griffins 5, reconstruction drawings: slabs A and B
Plate 12. Relief with a pair of griffins 5: (a) griffin tail directed right 5A; (b)fragmentarytail in relief
5B; (c) fragmentarywing 5C; (d) relief of wing 5D; (e)relief with raised left forepaw to right 5E
Plate 13. (a) Fragmentarybody, foreleg of griffin 5F; (b)relief of winged animal to left 5G; (c) sarcophagusfrom
Patras,back side, Athens, NM 1187
Plate 14. (a) Male bust, Helios(?), right side of head 6A; (b, c) male bust, Helios(?), left side of head 6B;
(d) male bust, Helios(?), hair fragment 6C; (e)bust of Poseidon(?) 7
Plate 15. (a, b)Bust of Demeter(?) 8
Plate 16. (a, b) Bust of Demeter(?) 8
Plate 17. (a, c) Relief of Nereid (or Aphrodite) 9; (b)state drawingof Nereid (or Aphrodite) 9
x ILLUSTRATIONS

Plate 18. Relief of Triton 10: (a) reconstruction drawing; (b) lower face 10E
Plate 19. Relief of Triton 10: (a) dolphin swimming through wavelike hair 10A; (b) large hair segment
with dolphin tail 10B; (c) hair on medallion rim 10C; (d) hair on medallion rim 10D;
(e) nose 10F; f) hair on medallion rim 10G; (g) hair and left side of face 10H; (h) hair
on medallion rim 10I; (i) dolphin body 10J; (j) dolphin body 10K
Plate 20. Relief of Triton 10: (a, b) lower face 10E; (c) detail of dolphin head 10E
Plate 21. Silenos pier A, 11: (a) reconstruction drawing; (b) lower mantle and legs lE
Plate 22. Silenos fragments 11, 12
Plate 23. Silenos fragments 11, 12: (a, b) Silenos pier A, head hA; (c-e) Silenos pier B, fragmentary head 12A
Plate 24. Silenos pier A, 11: (a) right forearm and hand 1 B; (b) raised hand with bent left arm 11C;
(c) fragment from chest 11D; (d) fragment of hair, probably leg 11F; (e) right foot 11G;
(f) left foot 11H
Plate 25. Silenos pier B, 12: (a) hairy arm 12B; (b) right(?) forearm 12C; (c) forearm 12D;
(d, e) hand, left(?) 12E; (f) two fingers 12F; (g) right(?) leg 12G; (h) fragmentary hairy leg 12H;
(i) hairy limb(?) 121; (j) left foot 12J
Plate 26. Horse (with Dioskouros) 13: (a) chest and foreleg 13A; (b) fragmentary horse leg, rear left(?) 13B;
(c, d) horse foreleg 13C; (e) horse leg 13D
Plate 27. Nude standing male with cloak, Hadrian(?) 14: (a, b) left arm with mantle 14A; (c, d) left hand holding
sword 14B; (e) right arm 14C
Plate 28. (a) Nude standing male with cloak, Hadrian(?), left foot 14D; (b, c) nude standing male with cloak,
Hadrian(?), right foot on plinth 14E; (d) statue of Hadrian from Pergamon
Plate 29. (a, b) Head of Aphrodite 15
Plate 30. (a-c) Head of Aphrodite 15; (d) horizontal sections of 15, 19, and 20
Plate 31. (a, b) Head of "Ares"of Ludovisi type, from statue of Hermes(?) 16; (c, d) head of Athena 17;
(e) booted legs of striding Artemis(?), right leg, feet on plinth 18A; (f) booted legs of striding
Artemis(?), booted left ankle 18B
Plate 32. (a-d) Head of Monteverde type, as an athlete 19
Plate 33. (a-d) Doryphoros, head 20A
Plate 34. (a) Head of Monteverde type, as an athlete 19; (b, d) Doryphoros, head 20A; (c) head of Aphrodite 15
Plate 35. (a) Doryphoros, right arm 20B; (b) Doryphoros, lower left leg 20C; (c) Doryphoros, lower right leg 20D;
(d) horned figure, Pan(?) 21
Plate 36. (a, b) Herakles hip herm 22
Plate 37. (a-d) Herakles hip herm 22
Plate 38. Chiron 23: (a, b) seated horse 23A; (c) horse foreleg 23A; (d) fragment of horse anatomy 23B;
(e) fragment of horse flank 23C
Plate 39. Youth in chlamys, musician(?) 24: (a-c) lower torso 24A
Plate 40. (a) Youth in chlamys, musician(?), lower torso 24A; (b) youth in chlamys, musician(?), draped right
shoulder 24B; (c) Antinous as Apollo in Lykeios pose, fragment from the head 25A; (d) Antinous as
Apollo in Lykeios pose, fragment from the head 25B; (e) Antinous as Apollo in Lykeios pose, right
hand 25D
Plate 41. (a, b) Antinous as Apollo in Lykeios pose, upper torso 25C
Plate 42. Dionysos as Kitharoidos 26: (a) head 26A; (b) upper arm 26B; (c) right forearm and hand 26C;
(d) upper arm fragment 26D; (e) upper(?) arm fragment 26E; (f) left forearm fragment 26F
Plate 43. (a, b) Head of an Isthmian official or victor 27
Plate 44. (a) Head of an Isthmian official or victor 27; (b) portrait of a Roman 28
Plate 45. (a, b) Portrait of a Roman 28
Plate 46. (a, b) Portrait of a Roman 28
Plate 47. (a) Fragmentary male head, Early Imperial 29; (b, c) fragmentary male head, Flavian (?) 30;
(d-f) helmeted head 31
Plate 48. (a-c) Female head 32; (d-f) fragmentary male head 33
Plate 49. (a) Togatus 34; (b)shoulder with paw,Herakles(?) 35; (c) right elbow 36; (d) right arm 37; (e)male
figure wearing calceiwith metal tassels, right foot 38A; () male figure wearing calceiwith metal tassels,
booted left leg and foot 38B
Plate 50. (a) Male figure wearing calcei,right toes from booted figure 39A; (b)male figure wearing calcei,booted
left leg 39B; (c)left lower leg 40; (d-f) head from statuette of Aphrodite(?) 41
Plate 51. (a) Statuette of Aphrodite in Europa type 42; (b)tripod support for Apollo 43; (c) Dionysos in nebris44;
(d, e) satyrwith crossed legs 45
 ILLUSTRATIONS xi

Plate 52. (a, b) Satyr as support for Dionysos 46; (c, d) herm 47; (e, ) statuette of Priapus 48; (g) statuette of
Telesphoros 49
Plate 53. (a-c) Altar of Dionysos(?) 50
Plate 54. (a-c) Altar of Apollo 51
Plate 55. (a) Spearlike object 52A; (b) spearlike object 52B; (c) lion from throne arm 53A; (d) lion from throne
arm 53B; (e, f) torso of an imperial governor 54
Plate 56. (a, b) Right arm and hand 55; (c) Dionysos, left hand with grapes 56; (d, e) head of Ganymede (?) from
statuette 57; (f) left arm from statuette 58; (g) fragmentary votive relief of Kybele 59
Plate 57. (a) Mythological relief 60; (b) drawing of 60; (c) reconstruction A, of 60, as binding a wound of
Herakles; (d) reconstruction B, of 60, as the birth of Dionysos
Plate 58. (a-c) Panther head from adjunct of Dionysos 61; (d) tree-trunk support for Dionysos or
Antinous 62; (e) arm from statue of Aphrodite(?) 63
Plate 59. (a) Torso from statuette of Aphrodite 64; (b, c) Hygieia statuette 65; (d) head of woman with
headdress 66
Plate 60. (a-c) Statue of an Amazon 67
Plate 61. (a-c) Statue of an Amazon 67
Plate 62. (a, b) Mantle statue 68; (c) bull's head(?) 69; (d) two feet on trapezophoros base 70
Plate 63. (a) Base for statue of boy victor 71; (b-e) victor stele or base(?), fragments 72A-72D
Plate 64. (a-c) Miniature bust of Antoninus Pius(?) 73
Plate 65. Youth as Hermes 74: (a, b) torso 74A; (c) left forearm 74B; (d) pouch of Hermes, in right hand 74C
Plate 66. (a, b)Youth as Hermes, torso 74A; (c) finger from bronze sculpture 75
Plate 67. (a, b) Female portrait 76; (c, d) head of Dionysos(?) 77
Plate 68. (a, b) Headless female bust 78
Plate 69. (a) Right hand with drapery from statuette of Aphrodite(?) 79; (b, c) fragmentary statuette of
Aphrodite with bare left leg 80; (d) left arm from statuette 81; (e) hero banquet relief 82;
(f) fragmentary votive relief 83; (g, h) face from votive relief 84
Plate 70. (a-c) Head of Dionysos 85
Plate 71. (a-d) Head of Herakliskos 86
Plate 72. (a) Right arm fragment 87; (b, c) Isis votary 88; (d) right arm from female figure 89;
(e) bent right leg 90; (f) base of Aphrodite statuette 91
Plate 73. (a, b) Woman with polos 92; (c-e) head of a muse from a sarcophagus 93; (f; g) head of Dionysos 94
 BIBLIOGRAPHY AND ABBREVIATIONS

Adam, S. 1966. The Techniqueof GreekSculpturein theArchaic . 1926. "Der Meister des Apollon auf dem Omphalos
and ClassicalPeriods(BSA Suppl. 3), London. und seine Schule,"JdI41, pp. 247-287.
Adriani, A. 1933. "Aproposito delle repliche degli Hermes Anderson, G. 1993. TheSecondSophistic:A CulturalPhenom-
Lansdowne e Richelieu esistenti nel Museo Nazionale di enon in theRomanEmpire,London.
Napoli," BullCom61, pp. 59-78. Anderson,J. K. 1961. AncientGreekHorsemanship,Berkeley.
Agora= TheAthenianAgora:Resultsof ExcavationsConducted Anderson, M. L. 1984. "A Proposal for a New Reconstruc-
bytheAmericanSchoolof ClassicalStudiesat Athens,Princeton tion of the Altar of the Vicomagistri," Bollettinodei museie
I = E. B. Harrison, PortraitSculpture,1953. galleriepontificie5, pp. 33-54.
XI = E. B. Harrison, Archaic and Archaistic Sculpture, Andreae, B. 1988. Laokoonund die GriindungRoms(Kultur-
1965. geschichte der antiken Welt 39), Mainz.
XIV = H. A. Thompson and R. E. Wycherley, TheAgoraof , ed. 1995. BildkatalogderSkulpturendes Vatikanischen
Athens: The History,Shape, and Usesof an Ancient City Museums1: MuseoChiaramonti,3 vols., Berlin.
Center,1972. , ed. 1998. BildkatalogderSkulpturendes Vatikanischen
Ajootian, A. 1993. "Silenusat Sparta,"in Sculpturefrom Arcadia Museums2: MuseoClementino,Cortileottagono,2 vols., Ber-
and Laconia (Proceedings of an InternationalConferenceHeld lin.
at the AmericanSchoolof ClassicalStudies at Athens, April Andreae, B., et al., eds. 1990. Phyromachos-Probleme: Mit einem
10-14, 1992) (Oxbow Monograph 30), O. Palagia and AnhangzurDatierung desgrossenAltaresvon Pergamon (RM-
W. D. E. Coulson, eds., Oxford, pp. 251-256. EH 31), Mainz.
. 1999. "Roman Architectural Reliefs at Ancient Angel, J. L. 1945. "Skeletal Material from Attica," Hesperia
Corinth" (paper, Washington, D.C., 1998), abstract in 14, pp. 279-363.
AJA103, p. 322. AntikeHelme= AntikeHelme:SammlungLipperheide und andere
Akurgal, E. 1978. Ancient Civilizationsand Ruins of Turkey: Bestdndedes AntikenmuseumsBerlin (R6misch-German-
FromPrehistoricTimesuntil the End of the Roman Empire, isches Zentralmuseum, Monographien 14), Mainz 1988.
J. Whybrow and M. Emre, trans., 4th ed., Istanbul. AphrodisiasPapers
.1987. Griechischeund romischeKunst in der Tiirkei, 1 = C. Roueche and K. T. Erim, eds., Recent Workon
Munich. Architecture and Sculpture(PapersGivenat theSecondIn-
Alcock, S. E. 1993. GraeciaCapta: The Landscapesof Roman ternationalAphrodisiasColloquiumHeld at King'sCollege,
Greece,Cambridge. London, on 14 November1987) (JRA Suppl. 1), Ann
. 1997. "The Problem of Romanization, the Power of Arbor 1990.
Athens," in TheRomanizationof Athens (Proceedingsof an 2 = R. R. R. Smith and K. T. Erim, eds., The Theatre,a
International ConferenceHeld at Lincoln, Nebraska,April Sculptor'sWorkshop, Philosophers,and Coin-Types (Papers
1996) (Oxbow Monograph 94), M. C. Hoff and S. I. Given at the ThirdInternationalAphrodisiasColloquium
Rotroff, eds., Oxford, pp. 1-7. Held at New YorkUniversityon 7 and 8 April 1989) (JRA
Altenh6fer, E., and R. Bol. 1989. "Der Eroten-Jagdfries des Suppl. 2), Ann Arbor 1991.
Theaters in Milet," IstMitt39, pp. 17-47. 3 = C. Roueche and R. R. R. Smith, eds., TheSettingand
Altmann, W. 1905. Die romischenGrabaltdre derKaiserzeit,Ber- Quarries,Mythologicaland OtherSculpturalDecoration,
lin. ArchitecturalDevelopment,Porticoof Tiberius,and Tetra-
Amandry, M. 1988. Le monnayagedesduovirscorinthiens(BCH pylon(PapersGivenat theFourthInternationalAphrodisias
Suppl. 15), Paris. ColloquiumHeld at King's College,London, on 14 March
Amandry, P. 1946-1948. "Naiskos en or de la collection 1992, in Memoryof Kenan T Erim) (JRASuppl. 20),
Helene Stathatos," ASAtene24-26, pp. 181-198. Ann Arbor 1996.
Amandry, P., and T. Spyropoulos. 1974. "Monuments Archaeometry = Y.Maniatis, ed., Archaeometry (Proceedingsof the
choregiques d'Orchomene de Beotie," BCH98, pp. 171- 25th InternationalSymposiumon Archaeometry Held in Ath-
246. ensfrom 19 to 23 May 1986), Amsterdam 1989.
Amedick, R. 1987. Friihkaiserzeitliche Bildhauerstileim alten Argive HeraeumI = C. Waldstein, H. S. Washington, E. L.
Rom: Entwurf und Verbreitungkaiserlicher Reprdsenta- Tilton, R. B. Richardson, and J. R. Wheeler, TheArgive
tionskunst(Altertumswissenschaften 1), Rheinfelden. HeraeumI, Boston 1902.
Amelung VatKat= W. Amelung, Die Sculpturendes Vatican- Arias, P. E. 1940. Mirone,Florence.
ischenMuseums,3 vols., Berlin 1903-1956. . 1964. Policleto(Collana d'arte 7), Florence.
Amelung, W. 1901. "Statue der Aphrodite," RM 16, pp. 21- Arndt, P. 1930. "DerKopfdes matteischen Amazonentypus,"
32. in Festschriftfur James Loeb: Zum sechzigstenGeburtstag
xiv BIBLIOGRAPHY AND ABBREVIATIONS

gewidmetvon seinenarchiiologischen Freundenin Deutschland . 1973-1974. "Opera d'arte greca nella Roma di
und Amerika,Munich, pp. 1-4. Tiberio," ArchCl25-26, pp. 18-53.
Arnold, D. 1969. Die Polykletnachfolge:Untersuchungenzur Beck, I. 1984. Ares in Vasenmalerei:Relief und Rundplastik
Kunstvon Argosund SikyonzwischenPolykletund Lysipp(JdI- (Archaologische Studien 7), Frankfurt.
EH25), Berlin. Beer, C. 1994. Temple-Boys: A Studyof CyprioteVotiveSculpture,
Artal-Isbrand, P., et al. 2002. "Examination of Remains of Part 1: Catalogue(SIMA113),Jonsered.
Gilding and Ground Layers on a Roman Marble Statue Bejor, G. 1979. "Ladecorazione scultorea dei teatri romani
of the Goddess Hygieia," in InterdisciplinaryStudies on nelle province africane," Prospettiva17, pp. 37-46.
Ancient Stone (Proceedingsof the Fifth InternationalConfer- Bell, M. 1981. MorgantinaStudiesI: TheTerracottas, Princeton.
enceof ASMOSIA,June 11-15, 1998, Museumof Fine Arts, Belli Pasqua, R. 1995. Sculturedi etdromanain "basalto"(Xe-
Boston) (ASMOSIA5), Boston, pp. 196-200. nia antiqua, Monografie 2), Rome.
Ashmole, B. 1927. "Hygieia on Acropolis and Palatine," BSR Berczelly, L. 1988. "The Date and Significance of the
10, pp. 1-11. Menander Mosaics at Mytilene," BICS 35, pp. 119-
. 1956. "CyriacofAncona and the Temple of Hadrian 126.
at Cyzicus,"JWarb19, pp. 179-191. Bergemann, J. 1990. RiimischeReiterstatuen:Ehrendenkmaler
. 1959. "Cyriacof Ancona," PBA 45, pp. 25-41. im offentlichenBereich(Beitrage zur Erschliessung helle-
AvP= Altertiimervon Pergamon,Berlin nistischer und kaiserzeitlicher Skulptur und Architektur
III = H. Winnefeld, Die Friesedes groszenAltars, 2 vols., 11), Mainz.
1910. Berger, E. 1958. "Das Urbild des Kriegers aus der Villa
IV = R. Bohn, Die Theater-Terrasse, 1896. Hadriana und die marathonische Gruppe des Phidias in
V, ii = H. Stiller, Das Traianeum,1895. Delphi," RM65, pp. 6-32.
VII = F.Winter, Die SkulpturenmitausnahmederAltarreliefs, . 1971. "Ein neues Portrat Alexanders des Grossen,"
2 vols., 1908. AntK 14, pp. 139-144.
VIII, i = E. Fabricius and C. Schuchhardt, Die Inschriften Berges, D. 1986. Hellenistische Rundaltdre Kleinasiens,
von Pergamon:Bis zumEnde derKinigszeit,1890. Freiburg.
Babbitt, F. C. 1897. "The Theatre at Corinth, 1896," AJA1, Bergmann, B., and C. Kondoleon, eds. 1999. TheArt of An-
pp. 481-494. cientSpectacle(Proceedings of theSymposiumHeld 10-11 May
Badian, E. 1985. Rev. of B. K. Gold, Literaryand ArtisticPa- 1996, at the Centerfor AdvancedStudy in the Visual Arts,
tronagein AncientRome,in CP80, pp. 341-357. Washington, D.C.) (Studies in the History of Art 56), Wash-
Bammer, A. 1968. "Der Altar desjiingeren Artemisions von ington, D.C.
Ephesos," AA, cols. 400-423. Bergmann, M. 1998. Die StrahlenderHerrscher:Theomorphes
. 1976. "Amazonen und das Artemision von Ephesos," Herrscherbild und politischeSymbolikim Hellenismusund in
RA, pp. 91-102. derromischenKaiserzeit,Mainz.
Barattolo, A. 1982. "Afrodisiae Roma: Nuove testamonianze Bergmann, M., and P. Zanker.1981. "'Damnatio Memoriae':
per la storia della decorazione architettonica," RM 89, Umgearbeitete Nero- und Domitiansportrats. Zur Ikono-
pp.133-151. graphie der flavischen Kaiser und des Nerva," JdI 96,
Barr-Sharrar,B. 1987. TheHellenisticand EarlyImperialDeco- pp. 317-412.
rativeBust, Mainz. Bernardi Ferrero, D. de. 1966-1974. Teatriclassici in Asia
Bartman, E. 1992. Ancient Sculptural Copies in Miniature Minore (Studi di architettura antica 1-2, 4-5), 4 vols.,
(Columbia Studies in the Classical Tradition 19), Lei- Rome.
den. Bertoletti, M., et al. 1997. Sculturedi romaantica: Collezioni
. 1999. Portraitsof Livia: Imaging the ImperialWoman deiMuseiCapitolinialla CentraleMontemartini(Exhibition,
in Augustan Rome,Cambridge. Musei Capitolini, Rome 1997), Milan.
Bartoccini, R. 1929. Le Termedi Lepcis,Bergamo. Beschi, L. 1969-1970. "Divinita funerarie cirenaiche,"
. 1958. "Il sarcofago di Velletri," RivlstArch,n.s. 7, ASAtene,n.s. 31-32, pp. 132-341.
pp.129-214. Bethe, E. 1900. "Die hellenistischen Buhnen und ihre Deko-
Bassitas II = B. C. Madigan, The Templeof ApolloBassitasII: rationen," Jd 15, pp. 59-81.
TheSculpture,Princeton 1992. Bianchi Bandinelli, R. 1971. Rome, the Late Empire:Roman
Baumer, L. E. 1997. Vorbilder und Vorlagen:Studien zu klas- Art, A.D. 200-400, New York.
sischenFrauenstatuenund ihrerVerwendungfiirReliefsund Bianchi Bandinelli, R., et al. 1966. The Buried City:Excava-
Statuetten des 5. und 4. Jahrhundertsvor Christus (Acta tions at LeptisMagna, New York.
Bernensia 12), Bern. Bieber, M. 1917. "Die Herkunft des tragischen Kostfims,"
Beacham, R. C. 1992. The Roman Theatreand Its Audience, JdI32, pp. 15-104.
Cambridge, Mass. . 1943. "Greek Sculpture in the Cleveland Museum
Bean, G. E. 1965. SideKitabeleri/ TheInscriptionsof Side,An- of Art,"Art in America31, pp. 113-126.
kara. . 1959. "Roman Men in Greek Himatia (Romani
. 1968. Turkey'sSouthernShore:An Archaeological
Guide, Palliati): A Contribution to the History of Copying,"
London. ProcPhilSoc103, pp. 374-417.
. 1971. TurkeyBeyondtheMaeander:An Archaeological . 1961a. The History of the Greekand Roman Theater,
Guide,London. 2nd ed., rev., Princeton.
. 1978. Lycian Turkey:An ArchaeologicalGuide, Lon- . 1961b. The Sculptureof the HellenisticAge, 2nd ed.,
don. rev., New York.
Becatti, G. 1935. "Timarchides e l'Apollo qui tenetcitharam," ---- . 1964. Alexanderthe Greatin Greekand RomanArt (Ar-
BullCom63, pp. 111-131. gonaut Library of Antiquities), Chicago.
----. 1968. "Una statua di Eracle con cornucopia: Pro- ----. totheHistoryof Greek
1977. AncientCopies:Contributions
blemi iconografici e stilistici," BdA53, pp. 1-11. and RomanArt, New York.
 BIBLIOGRAPHY AND ABBREVIATIONS xv

Biers, W. R., and D.J. Geagan. 1970. "ANew List of Victors . 2000. "Eineneue Replik des Typus 'Herakles Kopen-
in the Caesarea at Isthmia," Hesperia39, pp. 79-93. hagen/Dresden,"' Hefte des Archdologischen Seminarsder
Biolchi, D. 1938. "L'ermadi Ercole del teatro amiternino," UniversitdtBern 17, pp. 11-14.
BullCom66, pp. 31-38. Bowermann, H. C. 1913. "Roman Sacrificial Altars" (diss.
Birley, A. R. 1997. Hadrian: TheRestlessEmperor, London. Bryn Mawr College).
Blanck, H. 1971. Rev. of Niemeyer 1968, in GGA 223, Boyce, G. K. 1937. Corpusof the Lararia of Pompeii(MAAR
pp. 86-103. 14), Rome.
Blanckenhagen, P. H. von. 1940. FlavischeArchitekturund ihre Bracker,J.1968. "EinTrauerbildnisHadrians aus K6ln,"AntP
Dekoration:Untersuchtam Nervaforum,Berlin. 8, pp. 75-83.
Bloesch, H., and H. P. Isler. 1974. "Zircher Ietas-Grabung: Brandenburg, H. 1966. StudienzurMitra:BeitrdgezurWaffen-
Dritte Kampagne, 1973," AntK 17, pp. 119-120. und Trachtgeschichte derAntike(Fontes et commentationes
Blimel, C. 1933. StaatlicheMuseenzu Berlin:RomischeBild- 4), Miinster.
nisse(Katalog der Sammlung antiker Skulpturen 6), Ber- Breckenridge,J. D. 1982. "RomanImperial Portraiturefrom
lin. Augustus to Gallienus," ANRWII.12.2, pp. 477-512.
Boatwright, M. T. 1987. Hadrian and the City of Rome, Bremen, R. van. 1993. "Women and Wealth," in Images of
Princeton. Womenin Antiquity,A. Cameron and A. Kuhrt, eds., 2nd
---. 1989. "Hadrian and Italian Cities," Chiron 19, ed., rev., Detroit, pp. 223-242.
pp. 235-271. Brenk, B. 1987. "Spolia from Constantine to Charlemagne:
--- . 2000. Hadrian and the Cities of the Roman Empire, Aesthetics versus Ideology," DOP41, pp. 103-109.
Princeton. Brilliant, R. 1967. TheArchof SeptimiusSeverusin theRoman
Boethius, A., andJ. B. Ward-Perkins.1970. Etruscanand Ro- Forum(MAAR29), Rome.
man Architecture,Harmondsworth. Brinke, M. 1991. Kopienkritische und typologische Unter-
Bol, P. C. 1972. Die SkulpturendesSchiffsfundesvon Antikythera suchungenzurstatuarischenUberlieferung derAphrodite Typus
(AM-BH2), Berlin. Louvre-Neapel(Antiquitates 1), Hamburg.
aus Bronzein Olympia( OlForsch9),
. 1978. Grossplastik Brinkerhoff, D. 1978. HellenisticStatuesof Aphrodite:Studies
Berlin. in theHistoryof TheirStylisticDevelopment,New York.
. 1988. "Die Marmorbfisten aus dem Heroon von Brinkmann, V. 1985. "Die aufgemalten Namensbeischriften
Kalydon in Agrinion, Archaologisches Museum Inv. Nr. an Nord- und Ostfries des Siphnierschatzhauses," BCH
28-36," AntP 19, pp. 35-47. 109, pp. 77-130.
, ed. 1989-1998. Forschungenzur VillaAlbani:Katalog . 1987. "La polychromie de la sculpture archaique
derantikenBildwerke(Schriften des Liebieghauses), 5 vols., en marbre," PACT17, pp. 35-70.
Berlin. . 1998. Frisurenin Stein:Arbeitsweisen friihgriechischer
. 2001. "Zum Ohr des Doryphoros," in 'AyaorAa: Bildhauer,Munich.
rGa
Me)i'?Tz yea r-v apOxac arcztx npo0 zTIYvzou Froipyov Brommer, F 1963a. Die Skulpturen derParthenon-Giebel: Katalog
Aazrew'v7,D. Pantermalis, M. Tiverios, and E. Voutiras,eds., und Untersuchung,2 vols., Mainz.
Thessaloniki, pp. 163-169. . 1963b. "Selene," AA, cols. 680-689.
Bol, R. 1984. Das Statuenprogramm des Herodes-Atticus
Nym- . 1967. Die Metopendes Parthenon:Katalog und Unter-
phdums (OlForsch 15), Berlin. suchung,2 vols., Mainz.
. 1998. Amazonesvolneratae:Untersuchungenzu den . 1977. Der Parthenonfries:Katalog und Untersuchung,
EphesischenAmazonenstatuen,Mainz. 2 vols., Mainz.
Bonacasa, N. 1962. "Contributo all'iconografia di Tiberio," . 1978-1979. "Huckepack,"GettyMusJ 6-7, pp. 139-146.
BdA 47, pp. 171-179. Broneer, 0. 1935. "Excavationsin Corinth, 1934," AJA39,
. 1964. Ritratti greci e romani della Sicilia: Catalogo, pp. 53-75.
Palermo. . 1942. "Hero Cults in the Corinthian Agora,"Hesperia
Bonanno, A. 1976. Portraitsand OtherHeads on Roman His- 11, pp. 128-161.
toricalReliefup to theAge of SeptimiusSeverus(BAR Suppl. . 1962. "The Isthmian Victory Crown," AJA 66,
6), Oxford. pp. 259-263.
Bonifacio, R. 1997. Ritrattiromanida Pompei(Archaeologia Brouskari, M. 1974. Musee de l'Acropole:Cataloguedescriptif
perusina 14), Rome. V. Hadjimichali, trans., Athens.
Bookidis, N. 1988. "Classicism in Clay,"in Athens Congress Bruneau, P. 1970. Recherches sur les cultesde Delos a lepoque
III, pp. 18-21. et a
hellenistique l'epoque impriale (BEFAR217), Paris.
.1998. "ArchaicCorinthian Sculpture: A Summary," Buckler, W. H., et al. 1926. "Monuments from Central
in Corintoe I'Occidente convegnodi
(Attideltrentaquattresimo Phrygia,"JRS16, pp. 53-94.
studi sulla Magna Grecia,Taranto,7-11 ottobre1994), vol. Budde, L., and R. Nicholls. 1964. A Catalogueof theGreekand
1, Taranto, pp. 231-256. RomanSculpturein theFitzwilliamMuseum,Cambridge.
Borbein, A. H. 1973. "Die griechische Statue des 4. Jahr- Bulle, H. 1928. Untersuchungen an griechischen Theatern
hunderts v. Chr.: Formanalytische Untersuchungen zur (AbhMiinch33), Munich.
Kunst der Nachklassik,"JdI88, pp. 43-212. Bulloch, A., et al., eds. 1993. Imagesand Ideologies:Self-Defini-
Borgeaud, P. 1988. TheCultofPan in AncientGreece, K. Atlass tion in theHellenisticWorld(PapersPresentedat a Conference
andJ. Redfield, trans., Chicago. HeldApril 7-9, 1988, at the Universityof Californiaat Berke-
Boschung, D. 1987. AntikeGrabaltdre aus denNekropolen Roms ley) (Hellenistic Culture and Society 12), Berkeley.
(Acta Bernensia 10), Bern. Burford, A. 1966. "Notes on the Epidaurian Building In-
. 1989. Rev. ofAmedick 1987, in Gnomon69, pp. 279- scriptions," BSA61, pp. 254-334.
281. ~-----. 1969. The GreekTempleBuildersat Epidauros:A Social
. 1993. Die BildnissedesAugustus(Das r6mische Herr- and EconomicStudyof Building in the AsklepianSanctuary
scherbild pt. 1, vol. 2), Berlin. during theFourthand EarlyThirdCenturiesB.c.(Liverpool
xvi BIBLIOGRAPHY AND ABBREVIATIONS

Monographs in Archaeology and Oriental Studies), Clairmont, C. W. 1966. Die BildnissedesAntinous:Ein Beitrag
Liverpool. zur Portrdtplastik unter Kaiser Hadrian (Bibliotheca
Buruaga, J. A. S. de. 1982. "Observaciones sobre el teatro Helvetica Romana 6), Rome.
romano de Merida," in SimposioElTeatro,pp. 303-316. Clarac,F. de. 1841-1853. Museedesculptureantiqueet moderne,
Cain, H.-U. 1988. "Chronologie, Ikonographie, und Bedeu- 7 vols. text, 6 vols. pls., Paris.
tung der r6mischen Maskenreliefs," BJb188, pp. 107- Claridge,A. 1985. "Sullalavorazione dei marmi bianchi nella
221. scultura dell'eta romana," StMisc26, pp. 113-117.
Calza, R., et al. 1977. Antichitadi VillaDoria-Pamphilj,Rome. . 1988. "Roman Statuary and the Supply of Statuary
Capps, E., Jr. 1938. "Pergamene Influence at Corinth," Marble,"in Fant 1988, pp. 139-152.
Hesperia7, pp. 539-556. . 1990. "Ancient Techniques of Making Joins in
Caputo, G. 1959. 11 teatrodi Sabrathae l'architetturateatrale Marble Statuary,"in True and Podany 1990, pp. 135-162.
africana (Monografie di archeologia libica 6), Rome. Clement, P. A. 1972. "Isthmia Excavations,"ArchDelt25, B'1
. 1987. Il teatroaugusteo di LeptisMagna: Scavo e re- [1970], pp. 161-167.
stauro(193 7-1951) (Monografie di archeologia libica 3), Clinton, K. 1992. Myth and Cult: The Iconographyof the
Rome. EleusinianMysteries(TheMartinP NilssonLectureson Greek
Caputo, G., and G. Traversari. 1976. Le sculturedel teatrodi Religion,Delivered19-21 November1990 at the SwedishIn-
Leptis Magna (Monografie di archeologia libica 13), stituteat Athens) (SkrAth8?, 11), Stockholm.
Rome. Coarelli, F. 1971-1972. "IIcomplesso pompeiano del Campo
Carandini, A. 1969. VibiaSabina:Funzionepolitica,iconografia, Marzio e la sua decorazione scultorea," RendPontAcc44,
e il problemadel classicismoadrianeo,Florence. pp. 99-122.
Carducci, C. 1959. "Un balteus daAosta," ArchC111,pp. 36- . 1974. Guida archeologicadi Roma,Milan.
49. . 1981. "Alessandro,i Licinii e Lanuvio,"in L'Artdecor-
Carpenter, R. 1928. Korinthos(AncientCorinth):A Guideto the atif a Rome:A lafin de la Republiqueet au debutdu Principat
Excavationsand Museum,Athens. (Tablerondeorganiseepar I'Ecolefrancaise de Rome,Rome,
- . 1929. The Sculptureof the Nike TempleParapet,Cam- 10-11 mai 1979) (CIFR 55), Rome, pp. 229-281.
bridge, Mass. Cohon, R. H. 1984. "Greek and Roman Stone Table Sup-
. 1951. "AContribution to the Vergil-Menander Con- ports with Decorative Reliefs" (diss. NewYorkUniversity).
troversy,"Hesperia20, pp. 34-44. Cole, S. G. 1993. "Procession and Celebration at the Diony-
Carter,J. C. 1970. "Relief Sculptures from the Necropolis of sia," in Scodel 1993, pp. 25-38.
Taranto," AJA74, pp. 125-137. Collart, P. 1928. "Le theatre de Philippes," BCH52, pp. 74-
Carton, L. 1902. Le theitreromaindeDougga (MemAclnscrXI, 124.
2), Paris. Collins-Clinton,J. 2000. "The Neronian Odeum at Cosa and
Cassimatis, H. 1982. "A propos de couronnes sur les tetes Its Sculptural Program: A NewJulio-Claudian Dynastic
masculines en calcaire de Chypre," RDAC,pp. 156-163. Group," MAAR45, pp. 99-130.
Castiglione, L. 1975. "ZurPlastik von Pompeji in der friih- Comstock, M. B., and C. C. Vermeule. 1976. Sculpturein Stone:
kolonialen Zeit," in Neue Forschungenin Pompejiund den TheGreek,Roman,and EtruscanCollectionsof theMuseumof
anderenvom Vesuvausbruch79 n. Chr verschittetenStddt- Fine Arts, Boston,Boston.
en, B. Andreae and H. Kyrieleis, eds., Recklinghausen, Conlin, D. A. 1997. TheArtistsof theAra Pacis: TheProcessof
pp. 211-217. Hellenizationin RomanReliefSculpture,Chapel Hill.
Castriota, D. 1992. Myth,Ethos, and Actuality:OfficialArt in Connelly, J. B. 1988. VotiveSculptureof Hellenistic Cyprus,
Fifth-CenturyB.C.Athens (Wisconsin Studies in Classics), Nicosia.
Madison. Conti, G. 1971. "Un bustino inedito del Museo di Pesaro,"
. 1995. TheAra PacisAugustaeand theImageryofAbun- RivlstArch18, pp. 91-99.
dance in Later Greek and Early Roman Imperial Art, Cook, A. B. 1914-1940. Zeus:A Study in AncientReligion,3
Princeton. vols., Cambridge.
Chaisemartin, N. de. 1990. "Les modles grecs classiques Corinth= Corinth:ResultsofExcavationsConductedbytheAmeri-
des tetes de la frise du Portique de Tibere," in Aphrodisias can Schoolof ClassicalStudiesat Athens
Papers1, pp. 119-132. I = H. N. Fowler and R. Stillwell, Introduction,Topography,
Chaisemartin, N. de, and D. Theodorescu. 1991. "Re- Architecture,Cambridge, Mass., 1932.
cherches preliminaires sur la frons scaenaedu theatre," I, ii = R. Stillwell, R. L. Scranton, and S. E. Freeman,
in AphrodisiasPapers2, pp. 29-65. Architecture,Cambridge, Mass., 1941.
Charbonneaux, J. 1964. La sculpturegrecqueet romaine du I, iii = R. L. Scranton, Monumentsin theLowerAgoraand
Mus&edu Louvre,Paris. Northof theArchaicTemple,Princeton 1951.
Charbonneaux,J., R. Martin, and F Villard. 1973. Hellenis- II = R. Stillwell, The Theatre,Princeton 1952.
tic Art (330-50 B.c.),P. Green, trans., New York. IV, ii = O. Broneer, TerracottaLamps,Cambridge, Mass.,
Chryssoulakis,Y,E Queyrel, and V. Perdikatsis.1989. "Etude 1930.
systematique des couches picturales trouvees sur quel- V = T. L. Shear, TheRoman Villa,Princeton 1930.
ques portraits en marbre conserv6s au Musee de Delos," VIII, i = B. D. Meritt, GreekInscriptions,1896-1927, Cam-
in Archaeometry, pp. 231-236. bridge, Mass., 1931.
Chuvin, P. 1987. "Observations sur les reliefs du theatre de VIII, ii = A. B. West, Latin Inscriptions,1896-1926, Cam-
Hierapolis: Themes agonistiques et legendes locales,"RA, bridge, Mass., 1931.
pp. 97-108. VIII,iii =J. H. Kent, TheInscriptions,1926-1950, Princeton
Cima, M., and E. La Rocca, eds. 1986. Le tranquilledimore 1966.
deglidei:La residenzaimperialedeglihortiLamiani (Exhibi- IX = F. P. Johnson, Sculpture,1896-1923, Cambridge,
tion "Romacapitale 1870-1911," Il Campidoglio, Palazzo Mass., 1931.
dei Conservatori, Rome, May to September 1986), IX, ii = M. C. Sturgeon, Sculpture:TheReliefsfrom the The-
Venice. ater,Princeton 1977.
 BIBLIOGRAPHY AND ABBREVIATIONS xvII

X = O. Broneer, The Odeum,Cambridge, Mass., 1932. de GraziaVanderpool, C. 1995. "End of an Era:A Late An-
XII = G. R. Davidson, The Minor Objects,Princeton tique Portrait from Corinth" (paper, Atlanta 1994), ab-
1952. stract in AJA99, pp. 327-328.
XIV = C. Roebuck, TheAsklepieionand Lerna,Princeton . 2003. "Roman Portraiture: The Many Faces of
1951. Corinth," in CorinthXX, pp. 369-384.
XV, ii = A. N. Stillwell, ThePotters'Quarter:TheTerracottas, DeLaine,J. 1997. TheBathsof Caracalla:A Studyin theDesign,
Princeton 1952. Construction,and Economicsof Large-ScaleBuilding Projects
XVII = J. C. Biers, The GreatBath on the LechaionRoad, in ImperialRome(JRASuppl. 25), Portsmouth, R.I.
Princeton 1985. Delbrueck, R. 1932. AntikePorphyrwerke, Berlin.
XVIII, iii = N. Bookidis and R. S. Stroud, TheSanctuaryof . 1933. Spdtantike Kaiserportrdtsvon Constantinus
Demeterand Kore:Topography and Architecture,
Princeton Magnus bis zumEnde des Westreichs, Berlin.
1997. Delivorrias, A. 1974. AttischeGiebelskulpturen und Akroteredes
XX = C. K. Williams II and N. Bookidis, eds., Corinth,the fiinftenJahrhunderts(Tfibinger Studien zur Archaologie
Centenary:1896-1996, Princeton 2003. und Kunstgeschichte 1), Tibingen.
Coulton, J. J. 1976. TheArchitecturalDevelopmentof the Greek . 1978. "DasOriginal der sitzenden 'Aphrodite-Olym-
Stoa, Oxford. pias,"' AM 93, pp. 1-23.
Croissant, F, andJ. Marcade. 1972. "Phocide 1: Sculptures . 1993. "DerstatuarischeTypusder sogenannten Hera
des frontons du temple du IVesi&cle,"BCH96, pp. 887- Borghese," in Polykletforschungen (Schriften des Liebieg-
895. hauses, Museum alter Plastik, Frankfurt am Main),
Crome, J. F. 1951. Die Skulpturendes Asklepiostempelsvon H. Beck and P. Bol, eds., Berlin, pp. 221-252.
Epidauros,Berlin. . 1995. "Polykleitos and the Allure of Feminine
Csapo, E., and W.J. Slater. 1995. TheContextofAncientDrama, Beauty,"in Moon 1995, pp. 200-217.
Ann Arbor. Delivorrias,A., and A. Linfert. 1983. "SkopadikaII: La statue
Cumont, F. 1956. The OrientalReligionsin RomanPaganism, d'Hygie dans le temple d'Alea a Tegee," BCH 107,
repr. of 1911 English translation, with introductory es- pp.277-288.
say by G. Showerman, New York. Delos= Explorationarcheologique deDelos,Paris
Curtius, L. 1935. "Ikonographische Beitrage VIII und IX," 13 = K. Michalowski, Lesportraitshellenistiqueset romains,
RM 50, pp. 260-320. 1932.
Dacos, N. 1961. "Le Paris d'Euphranor," BCH85, pp. 371- 16 = F. Chapouthier, Le sanctuairedesdieuxde Samothrace,
399. 1935.
Daltrop, G. 1958. Die stadtrimischenminnlichenPrivatbildnisse 23 = A. Laumonier, Lesfigurinesde terrecuite, 1956.
trajanischerund hadrianischerZeit,Miinster. 28 =J. Audiat, Le gymnase,1970.
Daltrop, G., U. Hausmann, and M. Wegner. 1966. DieFlavier: Delplace, C. 1980. Legriffonde l'archaismed l'epoqueimperiale:
Vespasian, Titus, Domitian, Nerva, Julia Titi, Domitilla, Etude iconographiqueet essai d'interpretationsymbolique
Domitia (Das r6mische Herrscherbild pt. 2, vol. 1), Ber- (Etudes de philologie, d'arch6ologie, et d'histoire anci-
lin. ennes 20), Brussels.
Datsouli-Stavridi,A. 1974. "Eixovoypaoioa -ry aT6oxpaoc-ripa Demakopoulou, K., and D. Konsola. 1981. Archaeological
Capivs;lis TO-v ?XXvLx6vXpOov," AAA 7, pp. 261-267. Museumof Thebes,Athens.
. 1980. "EuopoXhca-ovelxovoypaqpoaToO'Av-tv6oo," Demargne, P., and W. A. P. Childs. 1989. Fouilles de Xan-
'ApXcaoyvcwacia 1, pp. 345-348. thos 8: Le monumentdes nereids:Le d&corsculpte, 2 vols.,
. 1984. "Pcoiaixa& yXourc-a&roiT' 'EOvtx6Moou?io," Paris.
ArchEph,pp. 161-190. Dentzer,J.-M. 1982. Le motifdu banquetcouchedans le Proche-
. 1985. Potaixua& roprparca aTO6 'EOvtxo6
Apcxoooooytxo Orientet le mondegrecdu VIPe au IV siecleavantJ.-C.(BEFAR
MooaElor; 'A0cvaG,Athens. 246), Rome.
Daut, R. 1975. Imago:Untersuchungen zumBildbegriffderRoimer Deonna, W. 1955. De telesphore au "moinebourru'"Dieux,genies,
(Bibliothek der klassischen Altertumswissenschaften,n.s. et demonsencapuchonnes(CollLatomus21), Brussels.
pt. 2, vol. 56), Heidelberg. de Ridder, A. 1909. Collectionde Clercq:Cataloguemethodique
Daux, G. 1960. "Chronique des fouilles 1959," BCH 84, etraisonne:Antiquitesassyriennes,cylindresorientaux,cachets,
pp.617-868. briques,bronzes,bas-reliefs,etc.,vols. 3, 4, 7, Paris.
. 1961. "Chronique des fouilles 1960," BCH 85, Despini, A. 1988. "nfapaTqrpyoirtg otcr avdyXucpca TtouP3iIaTzog
pp.583-953. To OafS8poo," in AthensCongressIII, pp. 70-73.
- . 1963. "Chronique des fouilles 1962," BCH 87, Despinis, G. 1971. ZovILfo a7 q E-EI TOV zo Ipyoo -OoAyopa-
pp.689-879. xpitoo, Athens.
. 1967. Guidede Thasos(Sites et monuments 3), Paris. . 1988. "H Lxr-c8aBarberini," in Athens CongressIII,
Davidson, P. E, and A. OliverJr. 1984. Ancient Greekand Ro- pp. 65-69.
man GoldJewelryin theBrooklynMuseum(Wilbour Mono- . 2003. Hochrelieffriesedes 2. Jahrhundertsn. Chr.aus
graphs 8), Brooklyn. Athen,Munich.
Davies, P.J. E. 2000. Death and theEmperor:Roman Imperial Devambez, R. 1937. "Deux piliers decores trouves a Cyzique,"
FuneraryMonumentsfrom AugustustoMarcusAurelius,Cam- RA, n.s. 10, pp. 176-194.
bridge. . 1941. "Sculptures d'un monument choregique,
De Franchi, E. 1959. "Statua di Dionysos giovanetto," in Thasos," MonPiot38, pp. 93-116.
Sculturegrechee romane di Cirene (Pubblicazioni della . 1942-1943. "Sculptures thasiennes," BCH 66-67,
Facolta di lettere e filosofia, Universita di Padova 33), pp. 200-227.
C. Anti, ed., Padua, pp. 209-226. de Waele, F. J. 1930. "Die korinthischen Ausgrabungen
de Grazia, C. E. 1973. "Excavationsof the American School 1928-1929," Gnomon6, pp. 52-57.
of ClassicalStudies at Corinth: The Roman PortraitSculp- . 1961. Les antiquitesde la Grece:Corintheet Saint Paul
ture" (diss. Columbia University). (Les hauts lieux de l'histoire 15), Paris.
XVIII BIBLIOGRAPHY AND ABBREVIATIONS

Dinsmoor, W. B. 1950. TheArchitectureof Ancient Greece:An Erim, K. T., and R. R. R. Smith. 1991. "Sculpture from the
AccountofIts HistoricDevelopment,3rd ed., rev. and enl. of Theatre: A Preliminary Report," in AphrodisiasPapers2,
W. J. Anderson and R. Phene Spiers, TheArchitectureof pp. 67-98.
Greeceand Rome,New York. Evers,C. 1994. Lesportraitsd'Hadrien:Typologie etateliers,Brus-
Dintsis, P. 1986. HellenistischeHelme (Archaeologica 43), 2 sels.
vols., Rome. Fabbricotti, E. 1976. Galba,Rome.
Dohrn, T. 1957. AttischePlastik vom Todedes Phidias bis zum Fabbrini, L. 1964. "Il ritratto giovanile di Tiberio e la
Wirkendergrossen MeisterdesI.Jahrhundertsv. Chr.,Krefeld. iconografia di Druso Maggiore," BdA 49, pp. 304-326.
. 1968. "Die Marmor-Standbilder des Daochos- Fant,J. C., ed. 1988. AncientMarbleQuarryingand Trade(Pa-
Weihgeschenks in Delphi," AntP8, pp. 33-53. persfrom a ColloquiumHeld at theAnnual Meetingof theAr-
Dominguez, A. J. 1996. "Assembly Places and Theatres in chaeologicalInstituteof America,San Antonio, Texas,Decem-
the Greek World and Their Later Reuse for Religious ber1986) (BAR-IS453), Oxford.
Functions," in ThePnyx in the History of Athens (Proceed- Farnell, L. R. 1896-1909. TheCultsof the GreekStates,5 vols.,
ings of an InternationalColloquiumOrganizedbytheFinnish Oxford.
Institute at Athens, 7-9 October1994), B. Forsen and FdD = FouillesdeDelphes,Paris
G. Stanton, eds., Helsinki, pp. 57-70. IV, i = T. Homolle, Monumentsfigures: Sculpture:Art
D6rig, J. 1977. Onatas of Aegina (Monumenta graeca et primitif,artarchaiquedu Peloponneseet des iles, 1909.
romana 1), Leiden. IV,v = F. Chamoux, Monumentsfigures:Sculpture:L'Aurige,
Dow, S., and C. C. Vermeule. 1965. "The Statue of the 1955.
Damaskenos at the American School at Athens," Hesperia IV, vi = M.-A. Zagdoun, Monumentsfigures: Sculpture:Re-
34, pp. 273-297. liefs, 1977.
Drager, 0. 1994. Religionemsignificare:Studienzu reichverzier- Felletti Maj, B. M. 1953. MuseoNazionaleRomano:I Ritratti,
ten r6mischenAltdrenund Basen aus Marmor(RM-EH33), Rome.
Mainz. . 1958. Iconografiaromanaimperialeda SeveroAlessandro
Due bronzi= G. B. Triches, ed., Due bronzida Riace:Rinven- a M. AurelioCarino(222-285 d.C.) (Quaderni e guide di
imento,restauro,analisi, ed ipotesidi interpretazione
(BdA, archeologia 2), Rome.
special series 3), 2 vols., Rome 1984. Fiechter, E. 1931. AntikegriechischeTheaterbauten 4: Das The-
Dunant, C. 1967. "Une applique de bronze en relief du aterin Megalopolis,Stuttgart.
Musee de Geneve," in Gestaltund Geschichte: Karl
Festschrift . 1936. AntikegriechischeTheaterbauten7: Das Dionysos-
Schefold,zu seinem60. Geburtstagam 26. Jan. 1965 (AntK- Theaterin Athen3: Einzelheitenund Baugeschichte, Stuttgart.
BH 4), M. Rohde-Liegle, H. A. Cahn, and H. C. Acker- Filges, A. 1997. Standbilderjugendlicher Gottinnen:Klassische
mann, eds., Bern, pp. 110-114. GewandstatuenmitBrustwulstund ihre
undfriihhellenistische
Dunbabin, K. M. D. 1978. TheMosaicsof RomanNorthAfrica: kaiserzeitlicheRezeption,Cologne.
Studiesin Iconographyand Patronage,Oxford. Fink,J. 1964. "Ein Kopf fir Viele," RM71, pp. 152-157.
Duncan-Jones, R. P. 1982. TheEconomyof theRomanEmpire: Finsen, H. 1972. Le levedu theatreromaina Bosra,Syrie(Ana-
QuantitativeStudies,2nd ed., Cambridge. lecta Romana Instituti Danici 6), Copenhagen.
. 1990. Structureand Scalein theRomanEconomy,Cam- Fischer, F. 1934. Nereidenund Okeanidenin Hesiod'sTheogonie,
bridge. Halle.
Dyggve, E., F. Poulsen, and K.A. Rhomaios. 1934. DasHeroon Fishwick, D. 1978. "The Development of Provincial Ruler
von Kalydon,Copenhagen. Worship in the West,"ANRWII.16.2, pp. 1201-1253.
Eckstein, F. 1967. "Ephedrismos-Gruppeim Konservatoren- . 1991. TheImperialCultin theLatin West:Studiesin the
Palast,"AntP 6, pp. 75-88. Ruler Cult of the WesternProvincesof theRomanEmpire2.1
---- . 1985. "T&
a3ora xarcqy6-OX," AJA89, pp. 613-617. (EPRO108.2), Leiden.
Edwards, C. M. 1985. "Greek Votive Reliefs to Pan and the Fittschen, K. 1971. "Zuangeblichen Bildnis des Lucius Verus
Nymphs" (diss. New York University). im Thermen-Museum,"JdI86, pp. 214-252.
. 1993. "A Complex of Copies at Ancient Corinth" . 1972. "Das Bildprogramm des Trajansbogens zu
(paper, New Orleans 1992), abstract in AJA97, p. 300. Benevent," AA, pp. 742-788.
.1994. "The Arch over the Lechaion Road at Corinth . 1977. KatalogderantikenSkulpturenin SchlossErbach
and Its Sculpture," Hesperia63, pp. 263-308. (AF3), Berlin.
Egger, R. 1948. "Der hilfreiche Kleine im Kapuzenmantel," . 1982. "Hinterk6pfe: Uber den wissenschaftlichen
OJh37, pp. 90-111. Erkenntniswert von Bildnisrfickseiten," in PraestantIn-
Eichler, F 1958. "Eine neue Amazone und andere Skulp- terna:Festschriftfur UlrichHausmann zum 65. Geburtstag
turen aus dem Theater von Ephesos," OJh43, pp. 15-18. am 13. August 1982, B. von Freytag gen. Loringhoff et
. 1971. "ZumPartherdenkmal von Ephesos," OJh49, al., eds., Tubingen, pp. 119-124.
Beiheft 2, pp. 102-136. . 1989. "'Barbaren-K6pfe':Zur Imitation Alexanders
Eingartner,J. 1991. Isis und ihreDienerinnenin derKunst der d. Gr. in der mittleren Kaiserzeit,"in Walker and Cam-
romischenKaiserzeit(MnemosyneSuppl. 115), Leiden. eron 1989, pp. 108-113.
Elsner,J. 1998. ImperialRomeand ChristianTriumph:TheArt . 1991. "Zur Rekonstruktion griechischer Dichter-
of theRomanEmpireA.D.100-450, Oxford. statuen 1: Die Statuedes Menander,"AM 106, pp. 243-279.
Ephesos= Forschungenin Ephesos,Osterreichischen archiiologischen . 1992. "Zum Bildnis eines Romers in Thera," in
Institut in Wien,Vienna MOY2JIKOANHP: Festschriftfiir Max Wegnerzum 90.
II = R. Heberdey, G. Hiemann, and W. Wilberg, Das The- Geburtstag(Antiquitasseries 3, no. 32), 0. Brehm and S.
aterin Ephesos,1912. Klie, eds., Bonn, pp. 115-118.
V, i = W. Wilberg, Die Bibliothek,1953. . 1999. PrinzenbildnisseantoninischerZeit (Beitrage
X, i = M. Aurenhammer, Die Skulpturenvon Ephesos:Bild- zur Erschliessung hellenistischer und kaiserzeitlicher
werkeaus Stein:IdealplastikI, 1990. Skulptur und Architektur 18), Mainz.
 BIBLIOGRAPHY AND ABBREVIATIONS XIX

.2001. "EineWerkstattattischer Portratbildhauer im Galinsky, K. 1996. Augustan Culture:An InterpretiveIntroduc-

2.Jh. n. Chr.,"in Griechenlandin derKaiserzeit: NeueFunde tion, Princeton.
und Forschungenzu Skulptur,Architektur,und Topographie Ganshow,T. 1986. "Uberlegungen zum Partherdenkmal von
(Kolloquiumzum sechzigstenGeburtstagvon Prof Dietrich Ephesos," AA, pp. 209-221.
Willers,Bern,12-13Juni 1998) (Hefte des archaologischen Garcia y Bellido, A. 1949. EsculturasromanasdeEspanay Por-
Seminars der Universitit Bern, Suppl. 4), C. Reusser, ed., tugal, Madrid.
Bern, pp. 71-77. Gardiner, E. N. 1930. Athleticsof theAncient World,Oxford.
Fittschen, K., and P. Zanker. 1983. Katalog der romischen Gardner, E. A. 1892. Excavationsat Megalopolis:1890-1891,
Portrdts in den CapitolinischenMuseen und den anderen London.
kommunalenSammlungenderStadtRomIII:Kaiserinnen-und Gasparri, C. 1989. "Una officina di copisti in eta medio-
Prinzessinnenbildnisse 2 vols., Mainz.
Frauenportrdts, imperiale," in Walker and Cameron 1989, pp. 96-101.
. 1985. Katalog der romischenPortrdtsin den Capito- Geagan, D.J. 1968. "Notes on the Agonistic Institutions of
linischen Museen und den anderen kommunalen Samm- Roman Corinth," GRBS9, pp. 69-80.
lungen der Stadt Rom I: Kaiser- und Prinzenbildnisse, . 1979. "Roman Athens: Some Aspects of Life and
Mainz. Culture I: 86 B.C.-A.D. 267," ANRWII.7.1, pp. 371-437.
Fiumi, E. 1976. Volterra: IIMuseoEtruscoe i monumentiantichi, . 1989. "The Isthmian Dossier of P. Licinius Priscus
Pisa. Juventianus," Hesperia58, pp. 349-360.
Flagge, I. 1975. Untersuchungenzur Bedeutung des Greifen, Gebhard, E. R. 1973. The Theaterat Isthmia,Chicago.
St. Augustin. . 1981. "The Theater at Stobi: A Summary,"in Stobi
Flashar, M. 1992. Apollon Kitharodos:StatuarischeTypendes III, pp. 13-27.
musischenApollon,Cologne. . 1988. "Rulers' Use of Theaters in the Greek and
Fleischer, R. 1983. Der Klagefrauensarkophag aus Sidon (Ist- Roman World," in AthensCongressIV, pp. 65-69.
Forsch34), Tubingen. - . 1993. "The Isthmian Games and the Sanctuary of
Floren, J. 1977. Studienzur Typologiedes Gorgoneions(Orbis Poseidon in the EarlyEmpire," in Gregory 1993, pp. 78-
antiquus 29), Miinster. 94.
Forbes, R. J. 1964-1972. Studies in Ancient Technology,2nd . 1996. "The Theater and the City,"in Roman Theater
ed., 9 vols., Leiden. and Society(Papersfrom theFirstE. TogoSalmonConference,
Fougeres, G. 1890. "Fouilles de Mantinee I: Telesphoros," Held in 1993 at McMasterUniversity),W.J. Slater, ed., Ann
BCH 14, pp. 595-601. Arbor, pp. 113-127.
Franceschini, M. de. 1991. VillaAdriana:Mosaici,pavimenti, Geppert, S. 1996. Castorund Pollux: Untersuchungenzu den
edifici,Rome. Darstellungen der Dioskuren in der romischen Kaiserzeit
Fraser, P. M. 1977. RhodianFuneraryMonuments,Oxford. (Charybdis 8), Miinster.
Freytag gen. Loringhoff, B. von. 1987. "Kerameikos 1983- Gercke, P. 1968. "Satyrndes Praxiteles"(diss. Otto-Friedrich-
1985, 2: Heilige Strasse und Eridanos," AA, pp. 484- Universitit Bamberg).
499. Gercke, W. B. 1968. "Untersuchungen zum r6mischer
Frezouls, E. 1982. "Aspects de l'histoire architecturale du Kinderportrat von den Anfangen bis in hadrianische
theatre romain," ANRWII.12.1, pp. 343-441. Zeit" (diss. Universitit Hamburg).
Friedland, E. A. 1997. "Roman Marble Sculpture from the Gergel, R. A. 1994. "Costume as Geographic Indicator: Bar-
Levant:The Group from the Sanctuaryof Pan at Caesarea barians and Prisoners on Cuirassed Statue Breastplates,"
Philippi (Panias)" (diss. University of Michigan). in Sebesta and Bonfante 1994, pp. 191-209.
Frisch, P. 1975. Die Inschriftenvon Ilion (Inschriften griech- Gerkan, A. von. 1921. Das Theatervon Priene,als Einzelanlage
ische Stadte aus Kleinasien 3), Bonn. und in seinerBedeutungfiirdas hellenistischeBiihnenwesen,
Frothingham, A. L. 1915. "Medusa II: The Vegetation Munich.
Gorgoneion," AJA19, pp. 13-23. Gerkan, H. von. 1941. "Die Neronische Scaenae Frons des
Fuchs, M. 1982. "Eine Musengruppe aus dem Pompeius- Dionysostheaters in Athen," JdI 56, pp. 163-177.
Theater," RM 89, pp. 69-80. . 1952. "Zuden Theatern von Segesta und Tyndaris,"
. 1984. "Zueinigen Relieffragmenten aus dem Balbus- in FestschriftAndreasRumpf,zum 60. Geburtstagdargebracht
theater und dem Nachleben des grossen Frieses von von Freunden und Schiilern, Kiln, im Dezember1950,
Pergamon,"JdI99, pp. 215-255. T. Dohrn, ed., Krefeld, pp. 82-92.
. 1986. I teatroromanodi Fiesole:Corpusdellesculture, Gilkes, O. J., ed. 2003. The Theatreat Butrint: Luigi Maria
Rome. Ugolini'sExcavationsat Butrint, 1928-1932 (BSA Suppl.
. 1987. Untersuchungenzur Ausstattungr6mischerThe- 35), London.
aterin Italienund den Westprovinzen desImperiumRomanum, Giuliano, A. 1953-1955. "Ritratto maschile di piccolo for-
Mainz. mato del III d.C.," BullCom75, pp. 163-165.
. 1992. RomischeIdealplastik(Glyptothek Miinchen, Giuliano, A., and B. Palma. 1978. La manieraateniesedi eta
Katalog Skulpturen 6), Munich. romana:I maestridei sarcofagiattici (StMisc24), Rome.
Fuchs, M., P. Liverani, and P. Santoro. 1989. CaereII:II teatro Gleason, K. 1994. "PorticusPompeiana:A New Perspective
e il ciclostatuariogiulio-claudio,Rome. on the First Public Park of Ancient Rome," Journal of
Fuchs, W. 1983. Die Skulptur der Griechen,3rd ed., rev., GardenHistory14, pp. 13-27.
Munich. Glueck, N. 1937. "A Newly Discovered Nabataean Temple
Furtwangler, A. 1893. Meisterwerkeder griechischenPlastik, of Atargatis and Hadad at Khirbet et-Tannur, Trans-
Leipzig. jordania," AJA41, pp. 361-376.
----. 1895. Masterpieces of GreekSculpture:A Seriesof Essays Gnoli, R. 1988. Marmoraromana,Rome.
on theHistoryof Art, London. Goethert, F. W. 1939. "Studien zur Kopienforschung I: Ent-
Gabelmann, H. 1968. "Oberitalische Rundaltare," RM 75, wicklung der Togastatue in der beiden erstenJahrhund-
pp. 87-105. erten der r6mischen Kaiserzeit,"RM54, pp. 176-219.
xx BIBLIOGRAPHY AND ABBREVIATIONS

Goette, H. R. 1984. "Coronaspicea, coronacivica und Adler: Hamiaux, M. 1998. Les sculptures grecquesII: La periode
Bemerkungen zu drei romischen Dreifussbasen," AA, hellgnistique(IIIe-IrsieclesavantJ.-C.), Paris.
pp. 573-589. Hamilton, R. 2000. TreasureMap:A Guideto theDelian Inven-
. 1985. "Zum Bildnis des 'Cicero,"' RM92, pp. 291- tories,Ann Arbor.
318. Hanfmann, G. M. A. 1979. Rev. of Schwingenstein 1977 and
. 1986. "Antike Skulpturen im Herzog Anton Ulrich CorinthIX, ii, in ArtB61, pp. 628-630.
Museum, Braunschweig," AA, pp. 711-744. Hanfmann, G. M. A., andJ. G. Pedley. 1964. "The Statue of
. 1988. "Zwei'fest-datierte' griechische Statuen r6m- Meleager," AntP3, pp. 61-66.
ischer Zeit," AM 103, pp. 251-258. Hanfmann, G. M. A., and N. Ramage. 1978. Sculpturefrom
. 1990. Studienzu romischenTogadarstellungen (Beitrage Sardis:TheFinds through1975, Cambridge, Mass.
zur Erschliessung hellenistischer und kaiserzeitlicher Hanlein-Schafer, H. 1985. VeneratioAugusti: Eine Studie zu
Skulptur und Architektur 10), Mainz. den Tempelndeserstenromischen Kaisers(Archaeologica 39),
Goette, H. R., and K. Hitzl. 1987. "Zwei umgearbeitete Rome.
Portratk6pfe in Olympia," AM 102, pp. 283-293. Hannestad, N. 1974. "The Portraits of Aelius Caesar,"
Gografe, R. 1996. "Strenger Stil oder Klassizismus? Die AnalRom7, pp. 67-100.
Bronzestatue des Apollon aus Isriye,"AntW27, pp. 353- . 1986. RomanArtand ImperialPolicy(JutlandArchaeo-
358. logical Society Publications 19), P. G. Crabb, trans.,
Golda, T. M. 1997. Puteale und verwandteMonumente:Eine Hojbjerg.
Studie zum r6mischenAusstattungsluxus (Beitrage zur Harrison, E. B. 1960a. AncientPortraitsfromtheAthenianAgora
Erschliessung hellenistischer und kaiserzeitlicher Skulp- (AgoraPicBk5), Princeton.
tur und Architektur 16), Mainz. . 1960b. "New Sculpture from the Athenian Agora,
Goldman, N. 1994a. "Reconstructing Roman Clothing," in 1959," Hesperia29, pp. 369-392.
Sebesta and Bonfante 1994, pp. 213-237. . 1967. "The Constantinian Portrait,"DOP21, pp. 79-
. 1994b. "Roman Footwear,"in Sebesta and Bonfante 96.
1994, pp. 101-129. . 1977. "The Shoulder-Cord of Themis," in Festschrift
Goodlet, V. C. 1991. "Rhodian Sculpture Workshops," AJA fiirFrankBrommer, U. H6ckmann and A. Krug,eds., Mainz,
95, pp. 669-681. pp.155-161.
Graeve, V. von, and E Preusser. 1981. "ZurTechnik griech- . 1981. "Motifs of the City-Siege on the Shield of
ischer Malerei aufMarmor,"JdI96, pp. 120-156. Athena Parthenos," AJA85, pp. 281-317.
Granger-Taylor,H. 1987. "The Emperor's Clothes: The Fold - . 1982. "TwoPheidian Heads: Nike and Amazon," in
Lines," BClevMus74, pp. 114-123. TheEyeof Greece:Studiesin theArt of Athens,D. Kurtz and
Green, J. R. 1994. Theatrein AncientGreekSociety,London. B. Sparkes, eds., Cambridge, pp. 53-88.
Greenewalt, C. H.,Jr. 1971. "An Exhibitionist from Sardis," . 1984. "A Pheidian Head of Aphrodite Ourania,"
in StudiesPresented M. A. Hanfmann(Monographs
to George Hesperia53, pp. 379-388.
in Art and Archaeology 2), D. G. Mitten, J. G. Pedley, . 1988. "StylePhases in Greek Sculpture from 450 to
andJ. A. Scott, eds., Mainz, pp. 29-46. 370 B.C.," in AthensCongressIII, pp. 99-105.
Gregory, T. E., ed. 1993. The Corinthiain the Roman Period . 1990. "Repair, Reuse, and Reworking of Ancient
(PapersGivenat a SymposiumHeld at TheOhioStateUniver- Greek Sculpture,"in True and Podany 1990, pp. 163-184.
sity on 7-9 March1991) (JRASuppl. 8), Ann Arbor. . 2000. "Eumolpos Arrives in Eleusis," Hesperia69,
Grenier, J.-C. 1989. "La decoration statuaire du Serapeum pp. 267-291.
du 'Canope' de la Villa Adriana: Essai de reconstitution Hartswick, K. J. 1986. "The So-Called Ephesos Amazon:
et d'interpretation," MEFRA101, pp. 925-1019. A New Identification," JdI101, pp. 127-136.
Grimal, P. 1969. Lesjardins romains,Paris. -- . 1990. "The Ares Borghese Reconsidered," RA,
Gros, P. 1987. "Un programme augusteen: Le centre monu- pp. 227-283.
mental de la colonie d'Arles,"JdI 102, pp. 339-363. ----. 1995. "Head Types of the Doryphoros," in Moon
Gross, W. H. 1940. Bildnisse Traians (Das r6mische Herr- 1995, pp.161-176.
scherbild pt. 2, vol. 2), Berlin. Haskell, P. B. 1980. "Temple E at Corinth: A Re-evaluation"
Gruen, E. S. 1992. Cultureand National Identityin Republican (paper, Boston 1979), abstract in AJA84, pp. 210-211.
Rome,Ithaca. Hauschild, T. 1990. "Das r6mische Theater von Lissabon:
Gualandi, G. 1976. "Sculture di Rodi," ASAtene, n.s. 38, Planaufnahme 1985-1988," MM 31, pp. 348-392.
pp. 7-259. Have-Nikolaus, F. 1998. Untersuchungen zu denkaiserzeitlichen
--- . 1977. "Una testa di Adriano da Hierapolis (Frigia)," TogastatuengriechischerProvenienz:Kaiserlicheund private
RdA 1, pp. 64-88. TogatiderProvinzenAchaia, Creta(et Cyrene),und Teilender
Guerrini, L. 1961. "'Las Incantadas' di Salonicco," ArchCl ProvinzMacedonia,Mainz.
13, pp. 40-70. Heilmeyer, W.-D. 1970. KorinthischeNormalkapitelle: Studien
. 1974. "Copie romane del tipo Aspasia/Sosandra da zur Geschichteder romischenArchitekturdekoration (RM-EH
Creta," in Antichith cretesi:Studi in onoredi Doro Levi II 16), Heidelberg.
(Cronache dei archeologia 13), G. Rizza, ed., Catania, Heintze, H. von. 1962. Rev. of Rosenbaum 1960, in AJA66,
pp. 227-234. pp. 111-113.
Habicht, C. 1985. Pausanias' Guideto Ancient Greece(Sather . 1966. Das Bildnis derSappho,Mainz.
Classical Lectures 50), Berkeley. - 1968a. Die antikenPortritsimSchlossFasaneriebeiFulda,
Hallett, C. H. 1995. "The Replica ofPolykleitos' Doryphoros Mainz.
in the Minneapolis Institute of Arts: An Archaeological -----. 1968b. "Galba,"RM 75, pp. 149-153.
Description," in Moon 1995, pp. 116-120. Hekler, A. 1940. "Philosophen- und Gelehrtenbildnisse der
Halm-Tisserant, M. 1986. "Le gorgoneion, embleme mittleren Kaiserzeit,"Die Antike16, pp. 115-141.
d'Athena: Introduction du motif sur le bouclier et Heller, D., and N. Herz. 1995. "Weathering of Dolomitic
l'egide," RA, pp. 245-278. Marble and the Role of Oxalates," in TheStudyof Marble
 BIBLIOGRAPHY AND ABBREVIATIONS xxi

and OtherStones Usedin Antiquity(Transactionsof the 3rd geschichte,denErscheinungsformen und WandlungenderGe-

InternationalSymposiumof ASMOSIA,Athens, 17-19 May stalt eines Gottes(EPRO32), Leiden.
1993) (ASMOSIA3), Y. Maniatis, N. Herz, and Y.Basiakos, Horsesof San Marco= G. Perocco, ed., TheHorsesof San Marco,
eds., London, pp. 267-276. Venice(Exhibition, Convento di Santa Apollonia, Venice,
Herbig, R. 1935. Das Dionysos-Theater in AthenII:Die Skulpturen Italy), J. and V. Wilton-Ely,trans., London 1979.
vomBiihnenhaus(Antike griechische Theaterbauten VI), Howard, R. 1924. "An Athlete Attributed to Myron,"
Stuttgart. BClevMus11, pp. 170-173.
. 1949. Pan, der griechischeBocksgott:Versucheiner Humphrey, J. H. 1986. Roman Circuses:Arenasfor Chariot
Monographie,Frankfurt. Racing,London.
Herdejiirgen, H. 1993. "Campanische Girlandensarko- Imhoof-Blumer, E, and P. Gardner. [1885-1887] 1964. An-
phage," in GrabeskunstderromischenKaiserzeit(Das vierte cient CoinsIllustratingLostMasterpiecesof GreekArt:A Nu-
Symposiumdes Sarkophag-Corpus, vom 23. bis 27. Juli 1990 mismaticCommentary on Pausanias, rev. and enl. by A. N.
in Marburg),G. Koch, ed., Mainz, pp. 43-50. Oikonomides, Chicago.
Hermann, W. 1961. RomischeGotteraltdre, Kallmintz. Inan,J. 1975. RomanSculpturein Side,Ankara.
Hermary, A. 1983. "Deux tetes en marbre trouv6es a Ama- .1978. "Der Bronze Torso im Burdur-Museum aus
thonte," BCH 107, pp. 289-299. Bubon und der Bronze Kopf imJ. Paul Getty Museum,"
Herrmann,J. 1990. "Thasosand the Ancient Marble Trade," IstMitt28, pp. 267-287.
in True and Podany 1990, pp. 73-100. Inan,J., N. Atik, A. Oztfirk, H. S. Alanyali, and G. Ates. 2000.
Herrmann, P., and R. Herbig. 1906-1950. Denkmalerder "Vorbericht fiber die Untersuchungen an der Fassade
MalereidesAltertums,Munich. des Theaters von Perge," AA, pp. 285-340.
Hesberg, H. von. 1978-1980. "ZurDatierung des Theaters Inan,J., and E. Alfoldi-Rosenbaum. 1979. Romischeundfriih-
in der Domitiansvilla von Castel Gandolfo," RendPontAcc byzantinischePortrdtplastik aus derTurkei:NeueFunde,2 vols.,
51-52, pp. 305-324. Mainz.
. 1981-1982. "Elemente der fruihkaiserzeitlichenAe- Inan, J., and E. Rosenbaum. 1966. Roman and EarlyByzan-
dikulaarchitektur," OJh53, pp. 43-86. tinePortraitSculpturein Asia Minor,London.
. 1983. "Zur Datierung der Gefangenenfassade in Isler-Kerenyi, C. 1976. "Die Stiitzfiguren des griechischen
Korinth: Eine wiederverwendete Architektur augusteis- Theaters von laitas II,"in Studia letina I, H. Bloesch and
cher Zeit," AM 98, pp. 215-238. H. P. Isler, eds., Zurich, pp. 30-48.
Heuzey, L. 1884. "Papposilene et le dieu Bes,"BCH8, p. 161. Isthmia= Isthmia:Excavationsbythe Universityof Chicagounder
Hicks, E. L. 1887. "Iasos,"JHS8, pp. 83-118. theAuspicesof theAmericanSchoolof ClassicalStudiesat Ath-
. 1890. TheCollectionofAncientGreekInscriptionsin the ens, Princeton
BritishMuseumIII, Oxford. I = O. Broneer, Templeof Poseidon,1971.
Hierapolis:Scavi e ricerche,Rome II = O. Broneer, Topography and Architecture,1973.
I = T. Ritti, Fontiletterarie
edepigrafiche(Archaeologica 53), IV = M. C. Sturgeon, SculptureI: 1952-1967, 1987.
1985. VI = S. Lattimore, SculptureII:MarbleSculpture,1967-1980,
II = F. D'Andria and T. Ritti, Le sculturedel teatro:I rilievi 1996.
coni ciclidi ApolloeArtemide(Archaeologica 54), 1985. Jacob-Felsch,M. 1969. DieEntwicklunggriechischerStatuenbasen
III = G. Bejor, Le statue (Archaeologica 99), 1991. und dieAufstellungderStatuen,Waldsassen.
Hiesel, G. 1967. "Samische Steingerate" (diss. Universitat Jacopi, G. 1939. "Gli scavi della missione archeologica
Hamburg). italiana ad Afrodisiade," MonAnt38, pp. 74-202.
Higgins, R. 1980. Greekand RomanJewellery, 2nd ed., Berkeley. Jaczynowska, M. 1981. "Le culte de l'Hercule romain au
Hitzl, K. 1991. Die kaiserzeitlicheStatuenausstattungdesMetroon temps du Haut-Empire," ANRWII.17.2, pp. 631-661.
(OlForsch19), Berlin. Janon, N., M. Janon, and M. Kilmer. 1992. "Les frises
Hoepfner, W. 1997. "The Architecture of Pergamon," in d'Orange: Le pouvoir mis en scene," in Landes 1992,
Pergamon:The TelephosFriezefrom the GreatAltar II (Exhi- pp.149-162.
bition, Metropolitan Museum of Art, NewYork, 16Janu- Jeanmaire, H. 1978. Dionysos:Histoire du culte de Bacchus:
ary to 14 April 1996; Fine Arts Museum of San Francisco, L'orgiasmedans l'antiquiteet les tempsmodernes,originedu
California Palace of the Legion of Honor, 4 May to 8 theatreen Grece,orphismeet mystiquedionysiaque,evolution
September 1996), R. Dreyfus and E. Schraudolph, eds., du dionysismeapresAlexandre,repr. of 1951 ed., Paris.
San Francisco, pp. 23-57. Jeppesen, K. K. 1989. "What Did the Maussolleion Look
Holloway, R. 1985. "The Spolia of the Arch of Constantine," Like?"in Architecture and Societyin HecatomnidCaria(Pro-
NumAntCl24, pp. 261-273. ceedings of the Uppsala Symposium 1987) (Boreas 17),
H6lscher, T. 1971. Ideal und Wirklichkeitin den Bildnissen T. Linders and P. Hellstr6m, eds., Uppsala, pp. 15-22.
Alexanderdes Grossen(AbhHeid1971, 2), Heidelberg. . 1992. "TotOperumOpus:Ergebnisse der danischen
. 1974. "Die Nike der Messenier und Naupaktier in Forschungen zum Maussolleion von Halikarnass seit
Olympia:Kunstund Geschichte im spaten 5.Jahrhundert 1966,"JdI 107, pp. 59-102.
v. Chr.,"JdI89, pp. 70-111. Jockey, P. 1998. "Neither School nor Koine:The Local Work-
Hommel, P. 1954. Studienzu den romischeFigurengiebelnder shops of Delos and Their Unfinished Sculpture," in
Kaiserzeit,Berlin. Palagia and Coulson 1998, pp. 177-184.
Honroth, M. 1971. StadtromischeGirlanden:Ein Versuchzur Johansen, F. S. 1971. "Ritrattimarmorei e bronzei di Marco
Entwicklungsgeschichter6mischer Ornamentik (Sonder- Vipsanio Agrippa," AnalRom6, pp. 17-48.
schriften vom Osterreichischen archaeologische Institut . 1994-1995. RomanPortraits:Catalogue,Ny Carlsberg
Wien 17), Vienna. Glyptotek, 3 vols., Copenhagen
Horn, R. 1931. StehendeweiblicheGewandstatuenin der helle- Johnson, F. P. 1924. "Byzantine Sculptures at Corinth," AJA
nistischenPlastik (RM-EH2), Munich. 28, pp. 253-265.
----. 1938. "Hellenistische K6pfe II," RM 53, pp. 70-90. Jones, C. P. 1993. "Greek Drama in the Roman Empire," in
Hornbostel, W. 1973. Sarapis: Studien zur Uberlieferungs- Scodel 1993, pp. 39-52.
XXII BIBLIOGRAPHY AND ABBREVIATIONS

Jordan, D. R. 1994. "InscribedLead Tablets from the Games Kazianis, D. 1982. ""AyaXicya Tiv Krl-
-rq Pcoualoxpaacqa&6So
in the Sanctuary of Poseidon," Hesperia63, pp. 111-126. (poLai,"AAA 15, pp. 130-142.
Jory, E.J. 1967. "A HAIS KQMQiAOZ and the AIAHANTQN: Kemp-Lindemann, D. 1975. Darstellungendes Achilleus in
Some Problems of Festival Competitions," BICS 14, griechischerund romischerKunst (Archaologische Studien
pp. 84-90. 3), Bern.
. 1986. "Continuity and Change in the Roman The- Kiilerich, B. 1993. Late-Fourth-Century Classicismin thePlastic
atre," in Studiesin Honourof T B. L. Webster I,J. H. Betts, Arts:Studiesin theSo-CalledTheodosian Renaissance(Odense
J. T. Hooker, andJ. R. Green, eds., Bristol, pp. 143-152. University Classical Studies 18), Odense.
Jucker, H. 1961. Das Bildnis im Bldtterkelch:Geschichteund Kiss, Z. 1975. L'iconographie desprincesJulio-Claudiens au temps
BedeutungeinerromischenPortrdtform (Bibliotheca Helvet- d'Augusteet de Tibere,Warsaw.
ica Romana 3), 2 vols., Lausanne. Klein, A. E. 1932. ChildLife in GreekArt, New York.
. 1981. "Iulische-claudische Kaiser- und Prinzen- Kleiner, D. E. E. 1983. TheMonumentofPhilopapposin Athens
portrats als 'Palimpseste,"'Jd96, pp. 236-316. (Archaeologica 30), Rome.
. 1982. "R6mische Herrscherbildnisse aus Aegypten," . 1992. RomanSculpture,New Haven.
ANRWII.12.2, pp. 667-725. Kleiner,F S. 1980. "EarlyRoman Putto-and-GarlandReliefs,"
Jucker, H., and D. Willers, eds. 1982. Gesichter:Griechische BABesch55, pp. 37-49.
und rimische Bildnisse aus SchweizerBesitz (Exhibition, . 1985. TheArchof Neroin Rome:A Studyof theRoman
Bernischen Historischen Museum, 6 November 1982-6 HonoraryArchbeforeand underNero (Archaeologica 52),
February 1983), Bern. Rome.
Kabus-Jahn,R. 1963. "Studien zu Frauenfiguren des vierten Kleiner, G. 1949. "Das Nachleben des pergamenischen
Jahrhunderts vor Christus"(diss. Albert-Ludwigs-Univer- Gigantenkampfes," BWPr109, pp. 3-43.
sitit Freiburg). . 1968. Die Ruinen von Milet, Berlin.
Kabus-Preisshofen, R. 1975. "Statuettengruppe aus dem Klockner, A. 1997. Poseidonund Neptun:ZurRezeptiongriech-
Demeterheiligtum bei Kyparissi auf Kos," AntP 15, pp. ischerG'tterbilderin derromischenKunst (Saarbriicker Stu-
31-64. dien zur Archaologie und alten Geschichte 12), Saar-
. 1989. Die hellenistischePlastik derInsel Kos (AM-BH briucken.
14), Berlin. Knoll, K., et al. 1993. Die Antiken im Albertinum:Staatliche
Kihler, H. 1948. DergrosseFriesvonPergamon:Untersuchungen KunstsammlungenDresdenSkulpturensammlung(Zaberns
zur Kunstgeschichte und Geschichte Pergamons,Berlin. Bildbande zur Archaologie 13), Mainz.
Kane, S. 1985. "'The Kore Who Looks After the Grain': A Koch, G. 1975a. Die mythologischen Sarkophage: Meleager(ASR
Copy of the Torlonia-Hierapytna Type in Cyrene," AJA XII, 6), Berlin.
89, pp. 455-463. . 1975b. "Nachlese zu den Meleagersarkophagen,"
. 1988. "Sculpture from Cyrene in Its Mediterranean AA, pp. 530-552.
Context," in Fant 1988, pp. 127-138. Koch, G., and H. Sichtermann. 1982. RomischeSarkophage
Kane, S., and S. Carrier. 1988. "Relationships between Style (HdA), Munich.
and Size of Statuary and the Availability of Marble at Koeppel, G. M. 1982a. "The Grand Pictorial Tradition of
Cyrene,"in ClassicalMarble:Geochemistry, Technology, Trade Roman Historical Representation during the Early Em-
(Proceedingsof the NATO AdvancedResearchWorkshopon pire," ANRWII.12.2, pp. 507-535.
Marblein Ancient Greeceand Rome:Geology,Quarries,Com- . 1982b. "Official State Reliefs of the City of Rome in
merce,Artifacts, II Ciocco,Lucca, Italy, May 9-13, 1988) the Imperial Age: A Bibliography," ANRW 11.12.1,
(ASMOSIA 1), N. Herz and M. Waelkens, eds., Dor- pp. 477-506.
drecht, pp. 197-206. . 1983. "Die historischen Reliefs der r6mischen
Kanta, K. G. 1979. Eleusis:Myth,Mysteries,History,Museum, Kaiserzeit I: Stadtr6mische Denkmaler unbekannter
W. W. Phelps, trans., Athens. Bauzugeh6rigkeit aus augusteischer und julisch-claud-
Kapossy, B. 1969. Brunnenfiguren der hellenistischen und ischer Zeit," BJb183, pp. 61-144.
romischenZeit,Zurich. . 1986. "Die historischen Reliefs der r6mischen Kai-
Karanastassis, P. 1986. "Untersuchungen zur kaiserzeit- serzeit IV: Stadtr6mische Denkmaler unbekannter Bau-
lichen Plastik in Griechenland I: Kopien, Varianten, und zugeh6rigkeit aus hadrianischer bis konstantinischer
Umbildungen nach Aphrodite-Typen des 5.Jhs. v. Chr.," Zeit," BJb186, pp. 1-90.
AM 101, pp. 207-291. . 1987. "Die historischen Reliefs der r6mischen
. 1987. "Untersuchungen zur kaiserzeitlichen Plastik KaiserzeitV: Ara PacisAugustae, Teil 1,"BJb187, pp. 101-
in Griechenland II: Kopien, Varianten, und Umbild- 157.
ungen nach Athena-Typen des 5. Jhs. v. Chr.,"AM 102, Kokkorou-Aleura, G. 2001. "ApaoTrlpto6-xy?qs; -rv axtTLxcv
pp. 323-428. ?pyoaCr'pLtovyXuTrc-xCt vv zCoyjzT-qSPcptoiooxpaTxaoc," in
Karouzou, S. 1968. Catalogue,Sculpture,NationalArchaeologi- KarAct'oevoua:MerA6regwrposzTtC v vT 'OAyaxT'dXou-
cal Museum,H. Wace, trans., Athens. A,?reavSpf,A. Alexandri and I. Leventi, eds., Athens,
. 1969. "Die Antiken vom Kloster Luku in der Thyre- pp.319-348.
atis," RM 76, pp. 253-265. Kolb, F. 1981. Agoraund Theater:Volks-und Festversammlung,
. 1974. "Neues zur Aphrodite Frejus: Ein attischer Berlin.
Kopfund das Fragment einer Grabstele,"AM89, pp. 151- Koortbojian, M. 1995. Myth,Meaning, and Memoryon Roman
172. Sarcophagi,Berkeley.
Kaschnitzvon Weinberg, G. 1936-1937. Sculturedelmagazzino Koppel, E. M. 1982. "Teatroromano de Tarragona,Apendice
delMuseoVaticano(Monumenti vaticani di archeologia e 2: Esculturadel teatro romano de Tarragona,"in Simposio
d'arte 4), 2 vols., Rome. El Teatro,pp. 139-152.
Katakis,S. 2002. 'E2r'aopxos:Ta yAovrza rzcv pcwacxvXypoov&v Kraft, K. 1951. "Der Helm des r6mischen Kaisers," Wissen-
aTo r6 k iep6 zoV AoTrcdovoq Madscaraxa c~roo 'Aax.rizwmo), schaftlicheAbhandlungdes deutschenNumismatikertages in
Athens. Goittingen, pp. 47-58.
 BIBLIOGRAPHY AND ABBREVIATIONS XXIII

Krahmer, G. 1927. "Die einansichtige Gruppe und die . 1985. Amazzonomachia: Lesculturefrontonalideltempio
spathellenistische Kunst," Nachrichtender Gesellschaftder di ApolloSosiano (Exhibition, Palazzo dei Conservatori,
Wissenschaften zu Gittingen,philologisch-historische
Klasse1, Rome, 16 April-16June 1985), Rome.
pp. 53-91. Lattimore, S. 1976. TheMarineThiasosin GreekSculpture,Los
Kraus, T. 1967. Das rimische Weltreich(Propylaen Kunstge- Angeles.
schichte 2), Berlin. . 1979. "Ares and the Heads of Heroes," AJA 83,
Kreikenbom, D. 1990. Bildwerkenach Polyklet:Kopienkritische pp. 71-78.
Untersuchungen zu den mdnnlichenstatuarischenTypennach . 1987. "Skopas and the Pothos," AJA91, pp. 411-
polykletischenVorbildern: "Diskophoros, "Hermes,Doryphoros, 420.
Herakles,Diadumenos,Berlin. Laurenzi, L. 1932. Monumentidi scultura del Museo archeo-
Krien-Kummrow,G. 1975. "Die Maskenfriese vom Theater logicodi RodiIII (ClRhV, 2), Bergamo.
in Myra,"in Myra:Eine LykischeMetropolein antikerund . 1955-1956. "Sculture inedite del museo di Coo,"
byzantinischerZeit (IstForsch30), J. Borchhardt, ed., Ber- ASAtene,n.s. 17-18, pp. 59-156.
lin, pp. 59-61. Lauter, H. 1966. Zur ChronologieriimischerKopien nach
Kritsas, Ch. 1979. "Argolidokorinthia," ArchDelt29, B'2 Originalendes V Jahrhunderts,Hogl.
[1973-1974], pp. 212-249. Lawrence, A. W. 1996. GreekArchitecture,5th ed., New Ha-
Kron, U. 1977. "Eine Pandion-Statue in Rom, mit einem ven.
Exkurs zu Inschriften aufPlinthen,"JdI92, pp. 139-168. Lawrence, M. 1965. "The Velletri Sarcophagus," AJA 69,
Krug, A. 1967. "Binden in der griechischen Kunst: Unter- pp. 207-222.
suchungen zur Typologie (6.-1.Jh. v. Chr.)" (diss. Univer- Leander Touati, A.-M. 1987. The GreatTrajanicFrieze:The
sitat Mainz). Studyof a Monumentand of theMechanismsofMessageTrans-
Kruse, H.-J. 1975. RomischeweiblicheGewandstatuendeszweiten missionin RomanArt, Stockholm.
Jahrhundertsn. Chr.,G6ttingen. Lechat, H. 1905. Pythagorasde Rhegion (Annales de l'Uni-
Kuhn, G. 1984. "Der Altar der Artemis in Ephesos," AM99, versit6 de Lyon, n.s. II, 4), Lyon.
pp. 199-216. Lehmann, P. W. 1953. Roman WallPaintingsfrom Boscoreale
Kunckel, H. 1974. Der romischeGenius(RM-EH20), Heidel- in theMetropolitan MuseumofArt (Monographs on Archae-
berg. ology and Fine Arts 5), Cambridge, Mass.
Kunze, M., et al. 1992. Die Antikensammlungim Pergamon- Levi, A. 1926. Le terrecottefigurate
delMuseoNazionaledi Napoli,
museumund in Charlottenburg, Mainz. Florence.
Kuinzl,E. 1982. "R6mischeKaiserportratsin Gold und Silber: Libertini, G. 1952-1954. "Un gruppo marmoreo da melos
Zur Bedeutung zweier silberner Tetrarchenportrats im del museo di Atene e la scultura equestre romana,"
R6misch-Germanischen Zentralmuseum Mainz," in ASAtene,n.s. 14-16, pp. 363-381.
RomischesPortrdt,1981 (Wissenschaftliche Zeitschrift der Linant de Bellefonds, P. 1996. "The Mythological Reliefs
Humbolt-UniversitSt zu Berlin 31:2-3), Berlin, pp. 233- from the Agora Gate," in AphrodisiasPapers3, pp. 174-
235. 186.
. 1986. Friihhellenistische
Gruppen,Cologne. Lindner, R. 1994. Mythos und Identitait:Studien zur Selbst-
Kuttner, A. 1999. "Culture and History at Pompey's Mu- darstellungkleinasiatischeStddtein der romischenKaiserzeit
seum," TAPA129, pp. 343-373. (Schriften der wissenschaftlichen Gesellschaft an der
Kyrieleis, H. 1969. Throneund Klinen: Studien zur Formge- Johann Wolfgang Goethe-UniversitatFrankfurtam Main,
schichtealtorientalischerund griechischerSitz-und Liegemibel Geisteswissenschaftliche Reihe 9), Stuttgart.
vorhellenistischerZeit(JdI-EH24), Berlin. Linfert, A. 1976. KunstzentrenhellenistischerZeit:Studien an
Lahusen, G. 1978. "Goldene und vergoldete r6mische Eh- weiblichenGewandfiguren, Wiesbaden.
renstatuen und Bildnisse," RM 85, pp. 385-395. Lippold, G. 1911. '"Jinglingsstatuevon Antikythera,"JdI26,
Lamberton, R., and S. I. Rotroff. 1985. Birdsof theAthenian pp. 271-280.
Agora (AgoraPicBk22), Princeton. . 1923. Kopien und UmbildungengriechischerStatuen,
Lambrinoudakis, V. 1971. Mr7poTpacxPr;, Athens. Munich.
Lanckoronski, K. G. 1890-1892. Stiidte Pamphyliens und . 1933. Rev. of CorinthIX, in Gnomon9, pp. 15-18.
Pisidiens,2 vols., Vienna. . 1936. "Herakliskos,"RM51, pp. 96-103.
Landels,J. G. 1978. Engineeringin theAncientWorld,London. . 1950. Die griechischePlastik (HdAVI, 3:1), Munich.
Landes, C., ed. 1992. SpectaculaII: Le theitre antique et ses Lisle, R. 1955. "The Cults of Corinth" (diss. Johns Hopkins
spectacles(Actesdu colloquetenut la MuskearcheologiqueHenri University).
Pradesde Lattes,27-30 April 1989), Lattes. Liverani, P. 1995. "'Nationes' e 'Civitates' nella propaganda
Landwehr, C. 1985. Die antikenGipsabgiisseaus Baiae: Griech- imperiale," RM 102, pp. 219-249.
ischeBronzestatuen in AbgiissenrimischerZeit(AF14), Berlin. Long, C. R. 1987. The TwelveGodsof Greeceand Rome(EPRO
. 1990. "Die Sitzstatue eines bartigen Gottes in Cher- 107), Leiden.
chel: Zur Originalitat r6mischer Vatergottdarstellungen," L'Orange, H. P. 1933. Studienzur Geschichtedes spitantiken
in Andreae et al. 1990, pp. 101-122. Portrdts,Oslo.
. 1993. Die r6mischenSkulpturenvon CaesareaMaure- . 1947. Apotheosisin AncientPortraiture,Oslo.
taniae:Denkmaleraus Stein und Bronze1: Idealplastik,weib- . 1953. Studieson theIconographyof CosmicKingshipin
licheFigurenbenannt (AF18), Berlin. theAncient World,Oslo.
Langlotz, E. 1965. Ancient GreekSculptureof South Italy and . 1961. "Der Subtile Stil:Eine Kunststr6mung aus der
Sicily,A. Hicks, trans., New York. Zeit um 400 nach Christus,"AntK4, pp. 68-75.
La Regina, A. 1998. MuseoNazionaleRomano:PalazzoMassimo Lorenz, T. 1972. Polyklet,Wiesbaden.
alle Terme,Milan. Lullies, R. 1931. Die Typendergriechischen Herme(K6nigsber-
La Rocca, E. 1972-1973. "Una testa femminile nel Museo ger kunstgeschichtliche Forschungen 3), K6nigsberg.
Nuovo dei Conservatori e l'Afrodite Louvre-Napoli," Lullies, R., and M. Hirmer. 1960. GreekSculpture,M. Bul-
ASAtene,n.s. 34-35, pp. 419-450. lock, trans., rev. and enl., New York.
XXIV BIBLIOGRAPHY AND ABBREVIATIONS

Lyttelton, M. 1974. BaroqueArchitecture in ClassicalAntiquity, Marinatos, S. 1938. "IIaopaptrqaTob150ou -T6ou Tob'ApXao-

Ithaca. XoyLxoD AkeXioo. 'Evda-c xai AextxTY'ApXaLoXoYLtx1 HepL-
Lyttelton, M., and T. Blagg. 1990. "Sculpture in Nabataean (pQpeoa (Kp'n-)," ArchDelt15 [1933-1935], pp. 49-83.
Petra and the Question of Roman Influence," in Archi- Markman, S. D. 1943. TheHorsein GreekArt, Baltimore.
tectureand ArchitecturalSculpturein theRomanEmpire(Ox- Marquardt, N. 1995. Pan in der hellenistischenund kaiser-
ford University Committee for Archaeology, Monograph zeitlichenPlastik (Antiquitasseries 3, no. 33), Bonn.
29), M. Henig, ed., Oxford, pp. 91-107. Marvin, M. 1983. "Freestanding Sculptures from the Baths
Maas, M., andJ. McIntosh Snyder. 1989. StringedInstruments of Caracalla,"AJA87, pp. 347-384.
of Ancient Greece,New Haven. . 1988. "Copying in Roman Sculpture: The Replica
MacDonald, W. L. 1986. TheArchitecture of theRomanEmpire Series," Studiesin theHistoryof Art 20, pp. 29-45.
II: An UrbanAppraisal,New Haven. Massner, A. K. 1982. Bildnisangleichung:Untersuchungenzur
Maclsaac,J. D. 1987. "Corinth:Coins, 1925-1926: The The- Entstehungs-und Wirkungsgeschichte der Augustusportrdts
ater District and the Roman Villa," Hesperia56, pp. 97- (43 v. Chr.-68 n. Chr.)(Das r6mischer Herrscherbild 4),
157. Berlin.
MacMullen, R. 2000. Romanizationin the Timeof Augustus, Mattusch, C. C. 1988. GreekBronzeStatuary:Fromthe Begin-
New Haven. nings throughtheFifth CenturyB.C., Ithaca, N.Y.
Macready, S., and F. H. Thompson, eds. 1987. RomanArchi- . 1996. The Fire of Hephaistos:Large ClassicalBronzes
tecturein the GreekWorld(PapersGiven at theEighth in the from North American Collections(Exhibition, Arthur M.
Societyof Antiquariesof London'sSeriesof One-dayResearch Sackler Museum, Harvard University Art Museum, Cam-
SeminarsHeld on 22nd March1985) (The Society of Anti- bridge, Mass., 20 April- 1 August 1996; Toledo Museum
quaries of London, Occasional Papers 10), London. of Art, Toledo, Ohio, 13 October 1996-5 January 1997;
Maderna, C. 1988. Iuppiter,Diomedes,und Merkurals Vorbilder Tampa Museum of Art, Tampa, Fla., 2 February-13 April
fur romischeBildnisstatuen:Untersuchungenzum r6mischen 1997), Cambridge, Mass.
statuarischenIdealportrit,Heidelberg. Matz, F. 1968-1975. Die dionysischenSarkophage(ASR IV), 4
Madigan, B. C. 1991. "A Transposed Head," Hesperia60, vols., Berlin.
pp. 503-510. McDonald, W. A. 1943. ThePoliticalMeetingPlacesof theGreeks,
Magi, F. 1971-1972. "Ancora sulla data dei cavalli di San Baltimore.
Marco," RendPontAcc44, pp. 209-217. Megaw,A. H. W. 1963-1964. "Archaeologyin Greece, 1963-
Magie, D. 1950. RomanRule in Asia Minor: To theEnd of the 64," AR, pp. 3-30.
ThirdCenturyafterChrist,2 vols., Princeton. Megow, W. R. 1994. "Zwei Kopfe im Rijksmuseum van
Mahler, A. 1904. "Tete d'ephebe au Musee du Louvre," RA, Oudheden," AntP 23, pp. 59-79.
n.s. 4, pp. 106-108. Meiggs, R. 1973. Roman Ostia,2nd ed., Oxford.
Mallwitz,A. 1972. Olympiaund seineBauten, Munich. Melida,J. R. 1915. El teatroromanode Merida,Madrid.
Manderscheid, H. 1981. Die Skulpturenausstattung der Mellink, M. J. 1980. "Archaeology in Asia Minor," AJA84,
kaiserzeitlichenThermenanlagen(Monumenta artis ro- pp. 501-518.
manae 15), Berlin. . 1990. "Archaeologyin Anatolia,"AJA94, pp. 125-151.
Mangold, M. 1993. Athenatypenaufattischen Weihreliefs des5. Mendel, G. 1912-1914. Cataloguedes sculpturesgrecques,ro-
und 4. Jhs. v. Chr.(Hefte des Archaologischen Seminars maines,et byzantines,3 vols., Istanbul.
der Universitat Bern, Suppl. 2), Bern. Mercklin, E. von. 1962. AntikeFiguralkapitelle, Berlin.
Mansel, A. M. 1956. "Berichtiiber Ausgrabungen und Unter- Meritt,B. D. 1948. "GreekInscriptions,"Hesperia17, pp. 1-53.
suchungen in Pamphylien in denJahren 1946-1955," AA, Merker, G. S. 1973. TheHellenisticSculptureof Rhodes(SIMA
cols. 34-119. 40), G6teborg.
. 1963. Die Ruinen von Side,Berlin. Metzger, H. 1951. Representations dans la ceramiqueattiquedu
. 1975. "Die Nymphaeen von Perge," IstMitt 25, IV siecle(BEFAR172), Paris.
pp. 367-372. sur l'imagerieathenienne(Publications
. 1965. Recherches
Marabini Moevs, M. T. 1981. "Le Muse di Ambracia," BdA de la Bibliotheque Salomon Reinach 2), Paris.
66:12, pp. 1-58. Meyer, H. 1986. "Der Berg Athos als Alexander: Zu den
Marcad6, J. 1957a. "Sculptures argiennes I," BCH 81, realen Grundlagen der Vision des Deinokrates," RdA10,
pp. 405-474. pp. 22-30.
. 1957b. Recueildes signaturesde sculpteursgrecs,2nd . 1991. Antinoos:Die archdologischen Denkmiler unter
ed., 2 vols., Paris. Einbeziehungdesnumismatischenund epigraphischen Materi-
. 1963. "Heracles Epitrapezios aAlbe et a Delos," REA als sowiederliterarischenNachrichten:Ein Beitragzur Kunst-
65, pp. 351-358. und Kulturgeschichte derhadrianisch-friihantoninischenZeit,
1969. Au Museede Ddlos:Etude sur la sculpturehelle- Munich.
nistique en ronde bossedecouvertedans l'ile (BEFAR215), . 1995. "A Roman Masterpiece: The Minneapolis
Paris. Doryphoros," in Moon 1995, pp. 65-115.
. 1980. "Sculptures argiennes III,"in Etudesargiennes Milet= Milet:ErgebnissederAusgrabungenund Untersuchungen
(BCHSuppl. 6), Paris, pp. 133-184. seit demJahre1899, Berlin
. 1986. "Les sculptures decoratives de la Tholos de I, vii = H. Knackfuss, Der Sudmarktund die benachbarten
Marmaria Delphes: Etat actuel du dossier," in Archaische Bauanlagen, 1924.
und klassischegriechischePlastikII (AktendesInternationalen VI, ii = P. Herrmann, Inschriftenn. 407-1019, 1998.
Kolloquiumsvom22.-25. April1985 in Athen),H. Kyrieleis, Milleker, E.J. 1985. "Three Heads of Sarapisfrom Corinth,"
ed., Mainz, pp. 169-173. Hesperia54, pp. 121-135.
Marcade,J., and E. Raftopoulou. 1963. "Sculpturesargiennes - . 1986. "The Statue of Apollo Lykeiosin Athens" (diss.
II," BCH87, pp. 33-187. New York University).
Mariani, L. 1907. "Sopra un tipo di Hermes," Ausonia 2, Miller, S. G. 1974. "The Altar of the Six Goddesses in
pp. 207-234. Thessalian Pherai," CSCA7, pp. 231-256.
 BIBLIOGRAPHY AND ABBREVIATIONS xxv

Mingazzini, P. 1959. "Tre giochi infantili antichi," Rend- Nicgorski, A. M. 1988. "The Precarious Iconography of
PontAcc32, pp. 81-92. Marcus Tullius Cicero" (M.A. thesis, University of North
. 1966. L'insuladi GiasoneMagnoa Cirene(Monografie Carolina, Chapel Hill).
di archeologia libica 8), Rome. . 1995. "The Iconography of the Herakles Knot and
Mitchell, S. 1987. "Imperial Building in the Eastern Roman the Herakles-Knot Hairstyles of Apollo and Aphrodite"
Provinces," HSCP91, pp. 333-365. (diss. University of North Carolina, Chapel Hill).
. 1990. "Festivals,Games, and Civic Life in Roman Nicosia, F., G. Maetzke, and L. V. Borelli. 1987. Bronzidorati
Asia Minor,"JRS80, pp. 183-193. da Cartoceto: Un restauro(Exhibition, Museo Archeologico
Mitchell, S., and M. Waelkens. 1988. "Cremnaand Sagalassus di Firenze), G. Greco, ed., Florence.
1987," AnatSt38, pp. 53-65. Niemeyer, H.-G. 1968. Studien zur statuarischenDarstellung
Mitford, T. B. 1971. TheInscriptionsof Kourion(Memoirs of derrimischenKaiser(Monumenta artis romanae 7), Ber-
the American Philosophical Society 83), Philadelphia. lin.
Mitropoulou, E. 1984. H -rtroAoyica z,S Oed&Tyca tice(is&, Nock, A. D. 1930. "E6vvaog; 0es6," HSCP41, pp. 1-62.
Athens. Norman, N. 1986. "Asklepios and Hygieia and the Cult
Moltesen, M. 1995. Greecein theClassicalPeriod:Catalogue,Ny Statue at Tegea," AJA90, pp. 425-430.
CarlsbergGlyptotek, Copenhagen. Oberleitner, W., ed. 1978. Fundeaus Ephesosund Samothrake,
Moon, W. G., ed. 1995. Polykleitos,theDoryphoros,and Tradi- Vienna.
tion, Madison. Oehler, H. 1961. Untersuchungen zu den mdnnlichenr6mischen
Moore, T. J. 1995. "Seats and Social Status in the Plautine MantlestatuenI: Der Schulterbauschtypus, Berlin.
Theater," CJ90, pp. 113-123. OlympiaIII = G. Treu, Die Bildwerkevon Olympiain Stein und
Morelli, D. 1959. "I culti in Rodi," Studi classicie orientali8, Thon (OlympiaIII), Berlin 1897.
pp. 94-99. Orlandos, A. K. 1955-1956. T&6oitxd8o&EfS ?tV &ipXakov
Moreno, P. 1982. "IIFarnese ritrovato ed altri tipi di Eracle 'E22rvcov, Athens.
in riposo," MEFRA94, pp. 379-526. Orr, D. 1972. "Roman Domestic Religion: A Study of
Moretti, G. 1948. Ara Pacis Augustae,Rome. the Roman Household Deities and Their Shrines at
Moretti, L. 1991. "Dagli Heraia all'Aspis di Argo," Miscella- Pompeii and Herculaneum" (diss. University of Mary-
nea grecae romana16, pp. 179-189. land).
Morgan, C. H. 1936. "Excavations at Corinth, 1935-1936," OstiaV = R. Calza, I ritratti1: Ritrattigrecie romanifinoal 160
AJA40, pp. 466-484. circad.C. (OstiaV), Rome 1964.
- 1938. "Excavationsat Corinth, Autumn 1937," AJA Packard, P. M. 1980. "A Monochrome Mosaic at Isthmia,"
42, pp. 362-370. Hesperia49, pp. 326-346.
Morrow, K. D. 1985. GreekFootwearand theDating of Sculp- Packer,J. E. 1997. TheForumof Trajanin Rome:A Studyof the
ture,Madison. Monuments(California Studies in the History of Art 31),
Moss, C. F. 1988. "Roman Marble Tables" (diss. Princeton 2 vols., Berkeley.
University). Palagia, 0. 1980. Euphranor(Monumenta graeca et romana
MusKos=J. Kritikos, ed., MuseumofKos:ExhibitsList,Athens 3), Leiden.
n.d. . 1989. "Seven Pilasters of Herakles from Sparta,"in
MusNazRom= MuseoNazionaleRomano,Le sculture,Rome Walker and Cameron 1989, pp. 122-129.
I, 1 = A. Giuliano, ed., Sale di esposizione,1979. . 1990. "ANew Relief of the Graces and the Charites
I, 2 = A. Giuliano, ed., Ali del chiostro,1981. of Socrates," in Opes Atticae: Miscellanea philologica et
I, 5 = B. Palma and L. de Lachenal, eds., I marmiLudovisi: historica RaymondoBogaert et Hermanno van Looy obla-
Storiadella collezioneMuseoNazionale,1983. ta (Sacris erudiri 31), M. Geerard, ed., Steenbrugge,
I, 7:2 = A. Giuliano, ed., Giardinodei cinquecento,1984. pp. 347-356.
I, 8:1, 2 = A. Giuliano, ed., Aule delleTerme,1985. . 2001. "Sculptures from Roman Sparta," in Kaox2-
Musso, L. 1987. "Rilievo con pompa trionfale di triano al azevua: M?XAT<d;rpoS Tuv vr7 '0AycaST'ckXoo-Arlc^av-
museo di Palestrina," BdA 72:4, pp. 1-46. ,3pj,A. Alexandri and I. Leventi, eds., Athens, pp. 285-
Mustilli, D. 1939. Il MuseoMussolini,Rome. 300.
Muthmann, F. 1951. Statuenstiitzenund dekoratives Beiwerkan Palagia, 0., and W. D. E. Coulson, eds. 1998. RegionalSchools
griechischen und rimischen Bildwerken: Ein Beitrag zur in HellenisticSculpture(Proceedingsof an InternationalCon-
Geschichteder romischen Kopistentdtigkeit(AbhHeid 3), ferenceHeld at theAmericanSchoolof ClassicalStudiesat Ath-
Heidelberg. ens, March 15-17, 1996) (Oxbow Monograph 90), Ox-
Myres, J. L. 1940-1945. "Excavations in Cyprus," BSA 41, ford.
pp. 53-96. Pandermalis, D. 1971. "Statuenausstattung in der Villa dei
Napoli, M. 1954. "Una nuova replica della Sosandra di Papyri,"AM 86, pp. 173-209.
Calamide," BdA 39, pp. 1-10. Papachadzis,N. 1980. IHoaav(oo o'E iaSo 7repyp77anC: 'AxciXx
Nash, E. 1962. PictorialDictionaryof Ancient RomeII: Lacus xai 'Apxa&cxo, Athens.
luturnae-Volcanal,New York. Papadimitriou, I. 1962. "BPATPQN," Ergon,pp. 25-39.
Naumann, F 1983. Die Ikonographieder Kybelein derphryg- Paribeni, E. 1953. MuseoNazionaleRomano:Sculturegrechedel
ischen und der griechischenKunst (IstMitt-BH28),Tiubin- Vsecolo:Originalie repliche(Cataloghi dei musei e gallerie
gen. d'Italia), Rome.
Naumann, R., and S. Kantar.1950. "Die Agora von Smyrna," . 1959. Catalogodellesculturedi Cirene,Rome.
IstForsch17, pp. 102-103. Parker, H. N. 1999. "The Observed of All Observers: Spec-
Villen
riimischer
Neudecker, R. 1988. Die Skulpturen-ausstattung tacle, Applause, and Cultural Poetics in the Roman The-
in Italien, Mainz. ater Audience," in Bergmann and Kondoleon 1999,
Neumann, G. 1979. ProblemedesgriechischeWeihreliefs(Tfibin- pp. 163-179.
ger Studien zur Archaologie und Kunstgeschichte 3), Pekary,T. 1968. "Goldenen Statuen der Kaiserzeit,"RM 75,
Tiubingen. pp. 144-148.
xxvI BIBLIOGRAPHY AND ABBREVIATIONS

. 1985. Das romischeKaiserbildnisin Staat, Kult, und . 1993. "The Cartoceto Bronzes: Portraits of a Ro-
Gesellschaft: DargestelltAnhandderSchriftquellen (Romische man Aristocratic Family of the Late First Century B.C.,"
Herrscherbild pt. 3, vol. 5), Berlin. AJA97, pp. 423-446.
Pensabene, P. 1989. II teatroromanodi Ferento:Architetturae Pollitt, J.J. 1986. Art of theHellenisticAge, Cambridge.
decorazione scultorea(Bibliotheca archaeologica 8), Rome. Potter, D. S. 1999. "Entertainers in the Roman Empire," in
Perdrizet, P. 1911. Bronzesgrecsd 'Egyptede la collectionFouquet, Life, Death, and Entertainmentin the RomanEmpire,D. S.
Paris. Potter and D.J. Mattingly,eds., Ann Arbor, pp. 256-325.
. 1921. Les terrescuitesgrecquesd'Egyptede la collection Pouilloux,J. 1959. "Inscriptions,topographie, et monuments
Fouquet,Paris. de Thasos," REA61, pp. 273-299.
Perret, L. 1929. La titulatureimpriale d'Hadrien,Paris. Poulsen, F. 1951. Catalogue of Ancient Sculpturein the Ny
Pesce, G. 1941. I Rilievi dell'anfiteatrocampano (Studi e CarlsbergGlyptotek, Copenhagen.
materiali del museo dell'impero romano 2), Rome. Poulsen, V. 1940. "Myron:Ein stilkritischer Versuch," Acta-
Peschlow-Bindokat, A. 1972. "Demeter und Persephone in Arch11, pp. 1-42.
der attischen Kunst des 6. bis 4. Jahrhunderts," JdI 87, . 1962. Les portraitsromainsI: Republiqueet dynastie
pp. 60-157. Julienne (Publications de la Glyptotheque Ny Carlsberg
Petrakos, V. 1969. "'ApXaLo6T-rTgs xa [jivri%eLa vwioovAiyaWou: 7), H. Laurent-Lund, trans., Copenhagen.
MoucLXvwr," ArchDelt22, B'2 [1967], pp. 445-462. . 1974. Les portraitsromainsII: De Vespasien&la basse-
Pfanner, M. 1989. "Uber das Herstellen von Portrats:Ein Bei- antiquite(Publications de la Glyptotheque Ny Carlsberg
trag zu Rationalisierungsmassnahmen und Produktions- 8), G. Merad, trans., Copenhagen.
mechanismen von Massenware im spaten Hellenismus Price, M.J., and B. L. Trell. 1977. Coinsand TheirCities:Ar-
und in der romischen Kaiserzeit,"JdI104, pp. 157-257. chitectureon theAncientCoinsof Greece,Rome,and Palestine,
Pfeiffer, H. F. 1931. "The Ancient Roman Theatre at Dugga," London.
MAAR9, pp. 145-156. Price, S. R. F. 1984. Rituals and Power:The Roman Imperial
Pfuhl-Mobius = E. Pfuhl and H. M6bius, Die ostgriechischen Cult in Asia Minor,Cambridge.
Grabreliefs, 2 vols., Mainz 1977-1979. Puilz,S. 1989. Untersuchungen zurkaiserzeitlichen
Bauornamentik
Philadelpheus, A. 1921. "flnapapTrua 'ApXatoXoylxo, AeXr'iou von Didyma (IstMitt-BH 35), Tubingen.
1918. E7psTCpo(7i6g;xal via Tcpoox-rqiiaTca ZOUMooUCioU Radt, W. 1988. Pergamon:Geschichteund Bauten, Funde und
KopLvoou," ArchDelt4 [1918], pp. 1-9. ErforschungeinerantikenMetropole,Cologne.
Picard, C. 1932. in
"DionysosMitrephoros," Melanges Gustave Raeder, J. 1978. "Eine klassizistische Frauenfigur in Rom:
GlotzII, Paris, pp. 707-721. Zur Arbeitsweise klassizistischer Kiinstler des 1. Jahr-
. 1935-1963. Manueld'archeologie grecque:La sculpture, hunderts v. Chr. und der mittleren Kaiserzeit,"JdI 93,
4 vols., Paris. pp. 252-276.
. 1937. "Les sculptures nabateennes de Khirbet-et- - . 1983. Die statuarischeAusstattungder Villa Hadriana
Tannouret l'Hadad de Pouzzoles,"RA,n.s. 10, pp. 244-249. bei Tivoli,Frankfurt.
Picard, C., and P. de la Coste-Messeliere. 1927. Sculptures Raftopoulou, E. G. 1980. "Euoo?TloqOpauotarcovxcpraX]ig aro
de
grecques Delphes, LXXI planchesd'apres les documents du 'EOvlx6 'ApxaLoXoytx6 Mouaeso," in TZr,A~: Tdyos zic pVYl7v
MuseedeDelphes,Paris. NtxoAo,ooKovzo,covzoS, N. Zapheiropoulos et al., eds.,
Pickard-Cambridge, A. W. 1946. The Theatreof Dionysosin Athens, pp. 388-393.
Athens,Oxford. . 2000. Figuresenfantinesdu Museenational d'Athenes,
. 1988. Dramatic Festivals of Athens, 2nd ed., rev., Departementdessculptures,Munich.
J. Gould and D. M. Lewis, eds., Oxford. Rawson, E. 1987. "DiscriminaOrdinum:The LexJulia Thea-
Pinkwart, D. 1965. Das Relief des Archelaos von Priene und die tralis,"BSR55, pp. 83-114.
"MusendesPhiliskos,"Kallmunz. Reden, S. von. 1995. Exchangein Ancient Greece,London.
Pleket, H. W. 1965. "AnAspect of the Emperor Cult: Impe- Rehak, P. 1998. "Unfinished Hair and the Installation of
rial Mysteries,"HThR 58, pp. 331-347. the Pedimental Sculptures of the Temple of Zeus at Olym-
Pochmarski, E. 1972. "Eine zweiter Basler Dionysos," AntK pia," in ZTEXPANOZ, pp. 193-208.
15, pp. 73-75. Reinach, S. 1897-1930. Repertoire de la statuairegrecqueet ro-
. 1974. Das Bild des Dionysos in der Rundplastik der maine,6 vols., Paris.
klassischenZeitGriechenlands(Dissertationen der Univer- Reinhold, M. 1969. "On Status Symbols in the Ancient
sitit Graz 26), Vienna. World," CJ64, pp. 300-304.
. 1985. "Ein Gruppenfragment im DAI Rome," RM Retzleff, A. G. 2001. "Theaters of the Near East in the Ro-
92, pp. 235-243. man and Early Byzantine Period" (diss. University of
. 1988. "Zwei etruskische Klappspiegelreliefs mit North Carolina, Chapel Hill).
dionysischer Gruppe," AA, pp. 487-499. Reutersward, P. 1960. Studien zur Polychromieder Plastik
. 1990. DionysischeGruppen:Eine typologischeUnter- Griechenland und Rom:Untersuchungen iiberdieFarbwirkung
suchung zur Geschichte des Vienna.
Stiitzmotivs, der Marmor- und Bronzeskulpturen (Acta Universitatis
Polacco, L. 1955. Il voltodi Tiberio:Saggiodi criticaiconografica Stockholmiensis 2; Stockholm Studies in History of Art
(Accademia patavina di scienze, lettere, e arte, Memorie 3.1), Stockholm.
LXVII [1954-55]), Rome. Reynolds, J. 1982. Aphrodisiasand Rome:Documentsfrom the
Polacco, L., and C. Anti. 1981. Il teatroantico di Siracusa (I Excavationof the Theatreat AphrodisiasConductedbyProfes-
Monumenti dell'arte classica 1), 2 vols., Rimini. sor Kenan T Erim, Togetherwith SomeRelated Texts(JRS
Pollard, J. 1977. Birds in Greek Life and Myth, London. Monograph 1), London.
Pollini,J. 1984. "DamnatioMemoriaein Stone: Two Portraits --- . 1991. "Epigraphic Evidence for the Construction
of Nero Recut to Vespasian in American Museums," AJA of the Theatre: 1st c. B.C.to Mid-3rdc. A.D.,"in Aphrodisias
88, pp. 547-555. Papers2, pp. 15-28.
---- . 1987. ThePortraitureof Gaius and Lucius Caesar,New Rhomiopoulou, K. 1997. EXYTvopOcoicxda yAurrr -rouEOMvxo6
York. Apxa,o/Aoylxo6Movoaeoo,Athens.
 BIBLIOGRAPHY AND ABBREVIATIONS XXVII

Ricard, R. 1923. Marbresantiquesdu Museedu Prado.dMadrid Riis, P. J. 1974. "A Colossal Athenian Pan," ActaArch65,
(Bibliotheque de l'Ecole des hautes etudes hispaniques pp.124-133.
7), Bordeaux. Rizakis,A. D. 1995. AchaieI:Sourcestextuelleset histoireregionale
Riccardi, L. A. 2000. "Uncanonical Imperial Portraits in the (MeXettxa-rxoc 20), Athens.
Eastern Roman Provinces:The Case of the Kanellopoulos . 1998. AchaieII: La citedePatras:Epigraphieet histoire
Emperor," Hesperia69, pp. 105-132. (MErsXeztxaa 25), Athens.
Richardson, L.,jr. 1988. Pompeii:An Architectural History,Bal- Rizzo, G. E. 1923. II teatrogrecodi Syracusa,Milan.
timore. . 1932. Prassitele,Milan.
. 1992. A New Topographical DictionaryofAncientRome, Roaf, M. 1983. Sculpturesand Sculptorsat Persepolis(Iran 21),
Baltimore. London.
Richardson, R. B. 1897a. "Report of the Director, 1896- . 1990. "Sculptors and Designers at Persepolis," in
1897," AJA1, pp. 107-116. InvestigatingArtisticEnvironmentsin theAncientNearEast
. 1897b. "The Excavations at Corinth in 1896," AJA (Essays Presentedat a SymposiumHeld in April 1988 at
1, pp. 455-480. the Arthur M. Sackler Gallery, Smithsonian Institution),
. 1902. "Report of the Director, 1901-1902," AJA6, A. C. Gunter, ed., Washington, D.C., pp. 105-114.
Suppl., pp. 15-23. Robert, L. 1946. "Surune inscription agonistique de Thes-
. 1903. "Head of a Youth from Corinth," AM 28, pies," HellenicaII, pp. 5-14.
pp. 451-460. . 1960. "Recherches 6pigraphiques,"REA62, pp. 276-
. 1904. "Archaeological News," AJA8, p. 357. 361.
Richmond, I. A. 1930. "The FirstYearsof Emerita Augusta," . 1966. Rev.of CorinthVIII,iii, in REG79, pp. 733-770.
ArchJ87, pp. 98-116. Robertson, M. 1975. A Historyof Greek Art,2 vols., Cambridge.
Richter, G. M. A. 1930. Animals in GreekSculpture:A Survey, . 1992. "Europa and Others: Nostalgia in Late Fifth
Oxford. Century Athenian Vase Painting," in Kotinos:Festschrift
. 1948. RomanPortraits,rev. ed. of two picture books fiirErika Simon,H. Froning, T. H6lscher, and H. Mielsch,
issued in 1941, New York. eds., Mainz, pp. 237-240.
. 1954. Catalogueof GreekSculptures,MetropolitanMu- Robinson, D. M. 1926. "Roman Sculptures from Colonia
seum of Art, Cambridge, Mass. Caesaria (Pisidian Antioch)," ArtB9, pp. 5-69.
. 1965. ThePortraitsof the Greeks,3 vols., London. Robinson, H. R. 1975. TheArmourofImperialRome,NewYork.
. 1966. TheFurnitureof the Greeks,Etruscans,and Ro- Robinson, H. S. 1962. "Excavations at Corinth, 1960,"
mans, London. Hesperia31, pp. 95-133.
. 1970. Sculptureand Sculptorsof the Greeks,4th ed., .1969. "Chiron at Corinth," AJA73, pp. 193-197.
rev., New Haven. Robinson, H. S., and S. S. Weinberg. 1960. "Excavationsat
Ridgway, B. S. 1970. The Severe Style in GreekSculpture, Corinth, 1959," Hesperia29, pp. 225-253.
Princeton. Rockwell, P. 1990. "Finish and Unfinish in the Carving of
. 1972. Classical Sculpture(Catalogueof the Classical the Sebasteion," in AphrodisiasPapers1, pp. 101-118.
Collection,RhodeIsland Schoolof Design, Museum of Art), . 1991. "Unfinished StatuaryAssociated with a Sculp-
Providence, R.I. tor's Studio," in AphrodisiasPapers2, pp. 127-143.
- . 1974. "AStory of Five Amazons," AJA78, pp. 1-17. Rodenwaldt, G. 1927. Die Kunst derAntike:Hellas und Rom,
. 1977. "APeplophoros in Corinth," Hesperia46, pp. Berlin.
315-323. . 1938. "Sarkophag-miscellen,"AA, cols. 386-420.
. 1981a. FifthCenturyStylesin GreekSculpture, Princeton. Rogers, G. 1991. SacredIdentityof Ephesos:FoundationMyths
. 1981b. "Sculpture from Corinth," Hesperia50, pp. of a Roman City,London.
422-448. Rogge, S. 1995. Die attischenSarkophage 1: Achillund Hippolytos
.1982. "OfKouroi and Korai,Attic Variety,"in Thomp- (ASRIX, 1), Berlin.
son Studies,pp. 118-127. Rolley, C. 1999. La sculpturegrecque2:La periodeclassique(Les
. 1984. Roman Copiesof GreekSculpture:TheProblemof manuels d'art et d'arch6ologie antiques), Paris.
the Originals(Jerome Lectures 15th ser.), Ann Arbor. Romano, I. B. 1994. "A Hellenistic Deposit from Corinth:
---- . 1989. "Laokoon and the Foundation of Rome,"JRA Evidence for Interim Period Activity (146-44 B.c.),"
2, pp. 171-181. Hesperia63, pp. 57-104.
. 1990a. HellenisticSculptureI: TheStylesof ca. 331-200 Romeo, I., and E. C. Portale. 1998. GortynaIII: Le sculture
B.C.,Madison. (Monografie della Scuola archeologica di Atene e delle
. 1990b. "MetalAttachments in Greek Marble Sculp- Missioni Italiane in Oriente 8), Padua.
ture," in True and Podany 1990, pp. 185-206. Roques de Maumont, H. von. 1958. AntikeReiterstandbilder,
. 1993a. TheArchaicStylein GreekSculpture,2nd ed., Berlin.
rev., Chicago. Ros, K. E. 1996. "The Roman Theater at Carthage,"AJA100,
. 1993b. "Response,"in Bulloch et al. 1993, pp. 231- pp. 449-489.
241. Rose, C. B. 1994. "The 1993 Post-Bronze Age Excavations at
. 1995. "Paenead exemplum: Polykleitos' Other Works," Troia," Studia Troica4, pp. 75-104.
in Moon 1995, pp. 177-199. . 1997a. DynasticCommemoration and ImperialPortrai-
. 1997. Fourth-CenturyStylesin GreekSculpture,Madi- turein theJulio-ClaudianPeriod,Cambridge.
son. . 1997b. "The Imperial Image in the Eastern Medi-
. 1999. Prayersin Stone:GreekArchitecturalSculptureca. terranean," in TheEarlyRomanEmpirein theEast (Oxbow
600-100 B.C.E. (Sather Classical Lectures 63), Berkeley. Monograph 95), S. E. Alcock, ed., Oxford, pp. 108-120.
Rieche, A. 1978. "Die Kopien der 'Leda des Timotheos,"' Rose, H. J. 1958. Handbookof GreekMythology,Including Its
AntP 17, pp. 21-55. Extensionto Rome,6th ed., New York.
Riemann, H. 1940. Kerameikos II: Die Skulpturenvon 5. Jahr- Rosenbaum, E. 1960. A Catalogueof CyrenaicanPortraitSculp-
hundertbis in romischeZeit,Berlin. ture,London.
XXVIII BIBLIOGRAPHY AND ABBREVIATIONS

. 1971. Rev.ofVermeule 1968, in Phoenix25, pp. 179- Piston Pumps,"in AncientTechnology (Proceedingsof theSym-
186. posiumHeld at theFinnish Instituteat Athens,30 Marchto 4
Rossetto, P. C., and G. P. Sartorio, eds. 1995. Teatrigreci e April 1987) (Tekniikan Museonjulkaisuja 5), P. Castren,
romani alle origini del linguaggio rappresentato:
Censimento ed., Helsinki, pp. 46-67.
analitico, 3 vols., Turin. Schmidt, E. M. 1966. "Der Kasseler Apollon und seine
Rotili, M. 1972. L'arcodi Traianoa Benevento,Rome. Repliken," AntP5, pp. 1-40.
Roueche, C. 1991. "Inscriptions and the Later History of . 1982. GeschichtederKaryatide:FunktionundBedeutung
the Theatre," in AphrodisiasPapers2, pp. 99-108. der menschlichenTrdger-und Stiitzfigur in der Baukunst
Ruesch, A. 1908. GuidaillustratadelMuseoNazionaledi Napoli, (Beitrage zur Archaologie 13), Wiirzburg.
Naples. Schmidt, I. 1995. HellenistischeStatuenbasen(Archaologische
Riihfel, H. 1984. Das Kind in dergriechischenKunst: Vonder Studien 9), Frankfurt.
minoisch-mykenischenZeit bis zum Hellenismus (Kultur- Schmidt-Colinet, A. 1977. AntikeStiitzfiguren:Untersuchungen
geschichte der antiken Welt 18), Mainz. zu Typusund Bedeutungder menschengestaltigen Architek-
Rumpf, A. 1939. Die Meerwesenaufden antikenSarkophagreliefs turstiitzein dergriechischen
und romischenKunst,Frankfurt.
(ASRV, 1), Berlin. - . 1985. "Skulpturen aus dem Nymphaum von Apa-
Rumscheid,J. 2000. Kranzund Krone:ZuInsignienSiegespreisen mea/Syrien: Alte und neue Funde," AA, pp. 119-133.
und Ehrenzeichender r6mischenKaiserzeit(IstForsch43), Schneider, C. 1999. Die Musengruppevon Milet (Milesische
Tibingen. Forschungen1), Mainz.
Risch, A. 1969. "Daskaiserzeitliche Portratin Macedonien," Schneider, R. M. 1986. BunteBarbaren:Orientalenstatuen aus
Jd184, pp. 68-196. farbigem Marmor in der r6mischenReprdsentationskunst,
Ryberg, I. S. 1955. Rites of the State Religion in Roman Art Worms.
(MAAR22), Rome. Scholz, B. I. 1992. Untersuchungenzur Trachtder romischen
Sahin, M. C. 1972. Die Entwicklungdergriechischen Monumen- Matrona,Cologne.
talaltdre, Bonn. Schrader, H. 1939. Die archaischen Marmorbildwerkeder
Saltzmann, D. 1991. "Mosaikenund Pavimente in Pergamon: Akropolis,2 vols., Frankfurt.
Vorbericht der Kampagnen 1989 und 1990,"AA,pp. 433- Schr6der, S. F. 1989. RomischeBacchusbilderin der Tradition
456. des Apollon Lykeios: Studien zur Bildformulierung und
Salviat, F. 1979. "Vedettesde la scene en province: Significa- Bildbedeutungin spdthellenistisch-r6mischer Zeit (Archaeo-
tion et date des monuments chor6giques de Thasos," in logica 77), Rome.
Thasiaca (BCHSuppl. 5), Paris, pp. 155-167. Schweitzer, B. 1948. Die Bildniskunstder romischenRepublik,
Salzmann, D. 1982. Untersuchungenzu den antiken Kiesel- Leipzig.
mosaiken:VondenAnfingen biszumBeginnderTesseratechnik Schwingenstein, C. 1977. Die Figurenausstattungdes griech-
(AF 10), Berlin. ischen Theatergebdudes (Mfinchener archaologische Stu-
SamosXII = R. Horn, HellenistischeBildwerkeaufSamos (Samos dien 8), Munich.
XII), Bonn 1972. Scodel, R., ed. 1993. Theaterand Societyin the ClassicalWorld,
Sanders, I. F. 1982. RomanCrete:An Archaeological Surveyand Ann Arbor.
Gazetteer ofLateHellenistic,Roman,andEarlyByzantineCrete, Scott, K. 1931. "The Significance of Statues in Precious
Warminster. Metals in Emperor Worship," TAPA62, pp. 101-123.
Sanders,J. M. 1993. "The Dioscuri in Post-ClassicalSparta," Scrinari, V. Santa Maria. 1972. Catalogodellescultureromane,
in SculpturefromArcadiaand Laconia (Proceedings of an In- MuseoArcheologico deAquileia,Rome.
ternationalConference Held at theAmericanSchoolof Classi- Sear, F B. 1990. "The Theatre at Leptis Magna and the De-
cal Studies at Athens,April 10-14, 1992) (Oxbow Mono- velopment of Roman Theatre Design," JRA 3, pp. 376-
graph 30), 0. Palagia and W. Coulson, eds., Oxford, 383.
pp.217-224. Sebesta,J. L. 1994a. "Symbolismin the Costume of the Ro-
Saria, B. 1938. "Das Theater von Stobi," AA, cols. 81-148. man Woman," in Sebesta and Bonfante 1994, pp. 46-53.
Sasel Kos, M. 1978. "ALatin Epitaph of a Roman Legionary . 1994b. "TunicaRalla, TunicaSpissa:The Colors and
from Corinth,"JRS 68, pp. 22-25. Textiles of Roman Costume," in Sebesta and Bonfante
Saverkina, I. I. 1979. RomischeSarkophagein derErmitage,Ber- 1994, pp. 65-76.
lin. Sebesta, J. L., and L. Bonfante, eds. 1994. The Worldof Ro-
Schifer,J. 1968. "Der Poseidon von Melos," AntP8, pp. 55- man Costume,Madison.
67. Selzer, W., ed. 1988. RomischeSteindenkmaler: Mainz in Romis-
Schafer, T. 1979. "Zum Schlachtsarkophag Borghese," cherZeit:Katalogzur Sammlungin derSteinhalle,Mainz.
MEFRA91, pp. 355-382. Serwint, N. 1993. "The Female Athletic Costume at the Her-
- . 1989. Imperii Insignia: Sella Curulis undFasces: Zur aia and Prenuptial Initiation Rites,"AJA97, pp. 403-422.
ReprdsentationromischerMagistrate(RM-EH29), Mainz. Shear, T. L. 1925. "Excavationsat Corinth in 1925," AJA29,
Schaller-Harl, G. 1973. "Stiitzfiguren in der griechischen pp. 381-397.
Kunst" (diss. Universitat Wien). . 1926. "Excavations in the Theatre District of Cor-
Schauenburg, K. 1955. Helios: Archiologisch-mythologische inth," AJA30, pp. 444-463.
Studieniiberden antikenSonnengott,Berlin. . 1928a. "Color at Corinth," AJA32, pp. 330-332.
. 1963. "Athletenbilder des vierten Jahrhunderts .1928b. "Excavations in the Theatre District and
v. Chr.,"AntP2, pp. 75-81. Tombs of Corinth in 1928," AJA32, pp. 474-495.
Schefold, K. 1952. "Der Basler Dionysos," OJh39, pp. 93- . 1929. "Excavations in the Theatre District and
101. Tombs at Corinth in 1929," AJA33, pp. 515-546.
Schiffler, B. 1976. Die Typologiedes Kentaurenin der antiken ---- . 1930. "Excavationsin the North Cemetery at Corinth
Kunst: Vom10. bis zum Ende d. 4. Jhs. v. Chr.(Archaolog- in 1930," AJA34, pp. 403-431.
ische Studien 4), Frankfurt. - . 1931a. "A Hoard of Coins Found in the Theatre
Schi0ler, T., andJ. A. Garcia-Diego. 1990. "Bronze Roman District of Corinth in 1930," AJA35, pp. 139-151.
 BIBLIOGRAPHY AND ABBREVIATIONS XXIX

. 1931b. "The Excavation of Roman Chamber Tombs Soles, M. E. C. 1976. "Aphrodite at Corinth: A Study of the
at Corinth in 1931," AJA35, pp. 424-441. Sculptural Types" (diss. Yale University).
. 1933. "The American Excavations in the Athenian Spaeth, B. S. 1996. TheRoman GoddessCeres,Austin.
Agora, Second Report: The Sculpture," Hesperia 2, Spawforth, A.J. S. 1994. "Corinth, Argos, and the Imperial
pp.514-541. Cult:Pseudo-Julian,Letters198,"Hesperia63, pp. 211-232.
. 1935. "The American Excavations in the Athenian Speier, H. 1932. "Zweifiguren-gruppen im fiinften und
Agora, Seventh Report: The Sculpture Found in 1933," viertenJahrhundert vor Christus,"RM47, pp. 1-94.
Hesperia4, pp. 371-420. Sperti, L. 1988. Rilievi greci e romani del Museo Archeologico
Shear, T. L.,Jr. 1971. "The Athenian Agora: Excavations of di Venezia(Collezioni e Musei Archeologici del Veneto
1970," Hesperia40, pp. 241-279. 32), Rome.
. 1981. "Athens:From City-Stateto Provincial Town," Squarciapino, M. F. 1943. La scuola di Afrodisia,Rome.
Hesperia50, pp. 356-377. . 1966. LeptisMagna (Ruinenstadte Nordafrikas 2),
Sichtermann, H. 1957. "Zur Achill- und Chiron-Gruppe," Basel.
RM 64, pp. 98-110. Stavridi, A. 1985. "R6mische Portrats im Archaologischen
. 1959. "Archaologische Funde und Forschungen in Museum von Chania," Boreas8, pp. 105-110.
der Kyrenaika, 1942 bis 1958," AA, cols. 239-348. Stefanidou-Tiveriou, T. 1977. "napaTrpqrioti; or orqXrxoO
Sifakis, G. M. 1967. Studiesin theHistoryof HellenisticDrama, xuvrlyobcfgKopiv0oo,"ArchEph,pp. 23-28.
London. . 1979. Neoar-txd: Oi dvovayAvpoLtrvaxcESaro6z6 ?AtEdiv
Simon, E. 1957. "Beobachtungen zum Apollon Philesios des IOOFItEpati,Athens.
Kanachos," in Charites:Studien zur Altertumswissenschaft . 1985. Tpa7roEopopazoo Mooacioo Ocaaaorovixr;,
(fiiErnst Langlotz),K. Schauenburg, ed., Bonn, pp. 38-45. Thessaloniki.
. 1967. Ara Pacis Augustae,Tfibingen. 1988a. "Po0aitxa Tpasrco(popa: I apawripqoaEl oTo
1968. "ZurBedeutung des Greifen in der Kunst der x-cutx6 in AthensCongressIII, pp. 252-256.
ipyaor ptLo,"
Kaiserzeit,"Latomus21, pp. 749-780. . 1988b. "Doppelbild eines eingehiillten Pan," in
. 1969. Die Gotterder Griechen,Munich. Kanon: FestschriftErnst Bergerzum 60. Geburtstagam 26.
SimposioEl Teatro= Actas delSimposio"ElTeatroen la Hispania Februar1988 gewidmet(AntK-BH15), M. Schmidt, ed., vol.
Romana,"Merida, 13-15 de noviembrede 1980 (Coloquios 1, Basel, pp. 262-268.
cientaificos de la Instituciaon Cultural Pedro de Valen- . 1990. "TcaaXyacxraTroc Mouo6v octo6To coesio qS
cia), Badajoz 1982. OE)?oaXovix-g,"Egnatia 2, pp. 73-122.
Sinn, F. 1987. Stadtrimische Marmorurnen(Beitrage zur Ersch- . 1993. Tpanocrpo6pac Harc x
?xerAcxaortx axxdaonL7av:
liessung hellenistischer und kaiserzeitlicherSkulpturund oudSca,Athens.
Architektur 8), Mainz. xca0O6cov,"ArchEph,pp. 67-75.
. 1995. "EcXhlv6;
Slane, K. W. 1994. "TetrarchicRecovery in Corinth: Pottery, ---- . 1998. "O 7citpLvog 'A-cXaca7r6 rqvtapXaia Ayopc TqS
Lamps, and Other Finds from the Peribolos of Apollo," 0()ooraXovixYg,"in Palagiaand Coulson 1998, pp. 227-233.
Hesperia63, pp. 127-168. Stefanis, I. E. 1988. Atovuvaoxo.TcxvrWCat,Heraklion.
Smith, A. H. 1892-1904. A Catalogueof Sculpturein the De- Stemmer, K. 1978. Untersuchungenzur Typologie:Chronologie
partmentof Greekand RomanAntiquities,BritishMuseum,3 und IkonographiederPanzerstatuen(AF4), Berlin.
vols., London. Stenico, A. 1963. Romanand EtruscanPainting, New York.
Smith, D. E. 1977. "The Egyptian Cults at Corinth," HThR STEPANOS = K. J. Hartswick and M. C. Sturgeon, eds.,
70, pp. 200-231. ZTEPANOS:Studiesin HonorofBrunildeSismondoRidgway
Smith, R. R. R. 1987. "The Imperial Reliefs from the (UniversityMuseum Monograph 100), Philadelphia 1998.
Sebasteion at Aphrodisias,"JRS 77, pp. 88-138. Steuben, H. von. 1973. DerKanondesPolyklet:Doryphoros und
- . 1988a. HellenisticRoyalPortraits,Oxford. Amazone,Tiibingen.
. 988b. "Simulacra Gentium:The Ethne from the .1975. "Die Madchenstatue Berlin/Rom/Benevent,"
Sebasteion at Aphrodisias,"JRS 78, pp. 50-77. AntP 15, pp. 23-29.
. 1990a. "Late Roman Philosopher Portraits from . 1990. "Der Doryphoros," in Polyklet:Der Bildhauer
Aphrodisias,"JRS80, pp. 127-155. dergriechischen Klassik(Exhibition, Liebieghaus, Museum
. 1990b. "Myth and Allegory in the Sebasteion," in alter Plastik, Frankfurt am Main, 17 October 1990 to 20
AphrodisiasPapers1, pp. 89-100. January 1991), H. Beck, P. C. Bol, and H. Buickling,eds.,
. 1991. HellenisticSculpture:A Handbook,New York. Mainz, pp. 185-198.
. 1996. "Archaeological Research at Aphrodisias, Stewart, A. F. 1977. Skopasof Paros,Park Ridge, NJ.
1989-1992, A: The Campaigns of 1989 and 1990," in . 1979. Attika:Studiesin AthenianSculptureof theHelle-
AphrodisiasPapers3, pp. 10-72. nisticAge, London.
. 1997. "The Public Image of Licinius I: PortraitSculp- . 1982. "Dionysos at Delphi: The Pediments of the
ture and Imperial Ideology in the EarlyFourth Century," Sixth Temple of Apollo and Religious Reform in the Age
JRS 87, pp. 170-202. of Alexander," in Macedoniaand Greecein Late Classical
. 1998. "CulturalChoice and Political Identity in Hon- and HellenisticTimes(Studies in the History of Art 10),
orific Portrait Statues in the Greek East in the Second B. Barr-Sharrarand E. Borza, eds., Washington, D.C.,
Century A.D.,"JRS 88, pp. 56-93. pp.205-227.
. 1999. "Late Antique Portraits in a Public Context: . 1990. GreekSculpture:An Exploration,New Haven.
Honorific StatuaryatAphrodisias in Caria,A.D.300-600," . 1993. Facesof Power:Alexander'sImageand Hellenistic
JRS 89, pp. 155-189. Politics(Hellenistic Culture and Society 11), Berkeley.
Sobel, H. 1990. Hygieia:Die GottinderGesundheit,Darmstadt. -----. 1998. "Goddess or Queen? A Colossal Marble Head
Sokolovska, V. 1981. "Stobi in the Light of Ancient Sculp- in the Athenian Agora," in Palagia and Coulson 1998,
ture," in StobiIII, pp. 95-106. pp. 83-91.
Soldner, M. 1986. Untersuchungenzu liegendenErotenin der Stillwell, R. 1929. "The Theatre at Corinth," AJA33, pp. 77-
hellenistischenund romischenKunst, 2 vols., Frankfurt. 97.
xxx BIBLIOGRAPHY AND ABBREVIATIONS

StobiIII = J. Wiseman and B. Aleksova, eds., Studies in the Thompson, D. B. 1982. "A Dove for Dione," in Thompson
Antiquitiesof StobiIII, Beograd 1981. Studies,pp. 155-162.
Stone, S. 1994. "The Toga: From National to Ceremonial Thompson, D. W. 1966. A Glossaryof GreekBirds, repr. of
Costume," in Sebesta and Bonfante 1994, pp. 13-45. 1936 ed., Hildesheim.
Strong, D. E. 1953. "LateHadrianic Architectural Ornament Thompson, H. A. 1949. "The Pedimental Sculpture of the
in Rome," BSR21, n.s. 8, pp. 118-151. Hephaisteion," Hesperia18, pp. 230-268.
. 1961. RomanImperialSculpture,London. . 1976. TheAthenianAgora:A ShortGuide,Athens.
. 1988. RomanArt (The Pelican History of Art), 2nd ThompsonStudies= Studiesin AthenianArchitecture, Sculpture,
ed., R. Ling, ed., Harmondsworth. and Topography Presentedto HomerA. Thompson(Hesperia
Stroud, R. S. 1965. "The Sanctuary of Demeter and Kore on Suppl. 20), Princeton 1982.
Acrocorinth, Preliminary Report I: 1961-1962," Hesperia Threpsiades, I. 1962. "E6pjioaTa-xa avaoxagapo (1959-
34, pp. 1-24. 1960)," ArchDelt16, B' [1960], pp. 21-22.
StuartJones 1912-1926 = H. StuartJones, A Catalogueof the Tobin,J. L. 1997. HerodesAttikosand theCityofAthens:Patron-
Ancient SculpturesPreservedin the Municipal Collectionsof age and Conflictunder the Antonines (Archaia Hellas 4),
Rome,Oxford Amsterdam.
I = TheSculpturesof theMuseoCapitolino,1912. Todisco, L. 1985. "Un nuovo ritratto di principe guilio-
II = TheSculpturesof thePalazzodei Conservatori,1926. claudio da Venosa," RM92, pp. 319-331.
Sturgeon, M. C. 1975. "A New Group of Sculptures from T6lle-Kastenbein, R. 1977. "Zur Mitra in klassischer Zeit,"
Ancient Corinth," Hesperia44, pp. 280-301. RA, pp. 23-26.
. 1977. "The Reliefs on the Theater of Dionysos in Touloupa, E. 1986. "Dasbronzene Reiterstandbilddes Augus-
Athens," AJA81, pp. 31-53. tus aus dem nordagaischen Meer,"AM 101, pp. 185-205.
. 1982. "A Classicizing Statue in Ancient Corinth," Touloupa, E., and S. Symeonoglou. 1967. "'ApXaL6onzS; xcci
AJA86, pp. 219-226. [vyi%ea Bolcotrag," ArchDelt20, B'2 [1965], pp. 228-244.
.1984. Rev. of Schmidt 1982, in AJA88, pp. 415-416. Toynbee,J. M. C. 1934. TheHadrianicSchool:A Chapterin the
. 1989. "RomanSculptures from Corinth and Isthmia: Historyof GreekArt, Cambridge.
A Case for a Local Workshop," in Walker and Cameron . 1951. Some Notes on Artists in the Roman World
1989, pp. 114-121. (CollLatomus6), Brussels.
. 1990. "AnEarlyRoman Portraitat Corinth,"in Akten . 1971. Death and Burial in theRoman World(Aspects
desXIII.InternationalenKongressesfirklassischeArchdologie, of Greek and Roman Life), Ithaca.
Berlin 1988, Mainz, p. 512. . 1973. Animals in RomanLife and Art, Ithaca.
. 1995. "The Corinth Amazon: Formation of a Ro- Toynbee, J. M. C., and J. B. Ward-Perkins. 1950. "Peopled
man Classical Sculpture," AJA99, pp. 483-505. Scrolls: A Hellenistic Motif in Imperial Art," BSR 18,
. 1996. "The Palaimonion Group: New Roman Statu- pp. 1-43.
ary at Isthmia" (paper, San Diego 1995), abstract in AJA Travlos,J.1971. PictorialDictionary
ofAncientAthens, NewYork.
100, p. 399. Trianti, I. 1985. 0 yAorzTo;dcxooa0ogT-oovaoo6Oro Mc6 rg
. 1998a. "A Peloponnesian Aphrodite: The Corinth HAeIaG;, Thessaloniki.
Theater Type," in ZTEPANOS,pp. 223-233. . 2002. "'EvavEo ropT-pa&To TouHIXarcova," in ApXac'a
. 1998b. "Hellenistic Sculpture at Corinth: The State e/rtvtx yAorC'rtx:
o AVtepacuoaanl VvjYrlIoo yAOrc ZrsiAtloo
of the Question," in Palagia and Coulson 1998, pp. 1-13. TpciTvrl,D. Damaskos, ed., Athens, pp. 157-169.
-- . 2003. "Sculpture of the Classical Style at Corinth: Trillmich, W. 1981. "Eine Kopfreplik des Typus Monteverde
1896-1996," in CorinthXX, pp. 351-368. in Merida," MM 22, pp. 268-289.
. 2004. "Dedications of Roman Theaters," in XAPIZ: True, M., andJ. Podany, eds. 1990. Marble:ArtHistoricaland
Essaysin Honorof SaraA. Immerwahr(HesperiaSuppl. 34), ScientificPerspectiveson Ancient Sculpture(PapersDelivered
A. Chapin, ed., Princeton, pp. 411-429. at a SymposiumOrganizedby the Departmentof Antiquities
Stuveras, R. 1969. Leputtodans l'artromain(CollLatomus99), and AntiquitiesConservationand Held at theJ. Paul Getty
Brussels. Museum,April 28-30, 1988), Malibu.
Svoronos, I. N. 1908. To6v 'AO0vat5 'EOwxov Mouaelov,Athens. Tucker, J. 1902. "Various Statues from Corinth," AJA 6,
Swift, E. H. 1921. "AGroup of Roman Imperial Portraits at pp. 422-438.
Corinth," AJA25, pp. 142-157. Tzachou-Alexandri, 0. 1980. "'Avaoxaccxp Oe'cdrpo oTcob;
Tancke, K. 1989. Figuralkassettengriechischerund romischer TpOXcovS;'A-txng," Prakt,pp. 64-67.
Steindecken,Frankfurt. , ed. 1989. Mind and Body:AthleticContestsin Ancient
Theodorescu, D. 1996. "Lafronsscaenaedu theatre: Innova- Greece(Exhibition, National Archaeological Museum,
tions et particularites a l'epoque de Zoilos,"in Aphrodisias Athens, Greece, 15 May 1989-15January 1990), Athens.
Papers3, pp. 127-148. Ugolini, L. M. 1937. Butrinto:II mitod'Enea:Gli scavi, Rome.
Thera = F. Hiller von Gaertringen, H. Dragendorff, and Umholz, G. 2002. "ArchitravalArrogance? Dedicatory In-
P. Wilski, Thera:Untersuchungen,Vermessungen, und Aus- scriptions in Greek Architecture of the Classical Period,"
grabungenin denJahren1859-1902, 4 vols., Berlin 1899- Hesperia71, pp. 261-293.
1909. Vermaseren CCCA= M.J. Vermaseren, CorpusCultusCybelae
ThessalonikiI = G. Despinis, T. Stefanidou-Tiveriou, and E. Attidisque(EPRO50), Leiden
Voutiras, Catalogueof Sculpturein the ArchaeologicalMu- I = Asia Minore, 1987.
seumof ThessalonikiI, Thessaloniki 1997. II = Graeciaatqueinsulae, 1982.
Thoenges-Stringaris, R. 1965. "Dasgriechische Totenmahl," Vermeule, C. C. 1959-1960. "Hellenistic and Roman Cuir-
AM 80, pp. 1-99. assed Statues I," Berytus13, pp. 1-82.
Thomas, E., and C. Witschel. 1992. "Constructing Recon- . 1965. "A Greek Theme and Its Survivals:The Rul-
struction: Claim and Reality of Roman Rebuilding In- ers' Shield (Tondo Image) in Tomb and Temple,"
scriptions from the Latin West," BSR60, pp. 135-178. ProcPhilSoc6, pp. 361-397.
 BIBLIOGRAPHY AND ABBREVIATIONS xxxI

. 1968. Roman ImperialArt in Greeceand Asia Minor, Walter, 0. 1923. BeschreibungderReliefsim kleinenAkropolis-
Cambridge, Mass. museumin Athen,Vienna.
. 1972. "Greek Funerary Animals, 450-300 B.C.," AJA Walter-Karydi, E. 1997. "Skylla, Bilder, und Aspekte des
76, pp. 49-59. Mischwesens,"JdI 112, pp. 167-189.
. 1977. "Commodus, Caracalla, and the Tetrarchs: Walters, E.J. 1988. AtticGraveReliefsThatRepresentWomenin
Roman Emperors as Hercules," in Festschriftfur Frank theDressofIsis (HesperiaSuppl. 22), Princeton.
Brommer,U. Hockmann and A. Krug, eds., Mainz, Walters, H. B. 1903. Catalogueof the Terracottas in theDepart-
pp. 289-294. ment of Greek and Roman Antiquities,British Museum, Lon-
. 1981. Greekand Roman Sculpturein America:Master- don.
piecesin Public Collectionsin the UnitedStatesand Canada, . 1915. SelectBronzes,Greek,Roman, and Etruscan, in
Berkeley. the Departmentsof Antiquities,London.
---- . 1986. "FiguralPillars: From Asia Minor to Corinth Ward-Perkins,J. B. 1948. "SeveranArt and Architecture at
to Rome," in Corinthiaca:Studies in Honor of DarrellA. Leptis Magna,"JRS38, pp. 59-80.
Amyx, M. A. Del Chiaro, ed., Columbia, Mo., pp. 71-80. . 1992. Marblein Antiquity:Collected PapersofJ.B. Ward-
Versakis, F. 1909. "Das Skenengebaude des Dionysos-The- Perkins(Archaeological Monographs of the BritishSchool
aters,"JdI 24, pp. 194-224. at Rome 6), H. Dodge and B. Ward-Perkins, eds., Lon-
Verzone, P. 1978. di
"Hierapolis Frigia nei lavori della Mis- don.
sione archeologica italiana," Quadernide "Laricercascien- Watzinger, C. 1901. "Die Ausgrabungen am Westabhange
tifica"100, Rome, pp. 391-475. der Akropolis V: Einzelfunde," AM 26, pp. 305-332.
Veyne, P. 1990. Bread and Circuses:Historical Sociologyand Waywell,G. B. 1971. "Athena Mattei,"BSA66, pp. 373-382.
PoliticalPluralism,B. Pearce, trans., abr. ed., London. . 1973. "The Sculpture," in Knossos:TheSanctuaryof
Vierneisel, K., and P. Zanker. 1979. Die BildnissedesAugustus: Demeter(BSA Suppl. 8), J. N. Coldstream, ed., Oxford,
Herrscherbildund Politik im kaiserlichenRom (Exhibition, pp. 93-98.
Glyptothek Mfinchen, Dec. 1978 to Mar. 1979; Antiken- . 1978. The Free-Standing Sculptures of the Mauso-
museum Berlin, Staatliche Museen Preussischer Kultur- leum at Halicarnassusin the BritishMuseum:A Catalogue,
besitz, Apr. toJune 1979), Munich. London.
Vierneisel-Schl6rb, B. 1979. Glyptothek Miinchen,Katalogder . 1986. TheLeverand HopeSculptures(Monumenta artis
Skulpturen II: Klassische
Skulpturen des5. und 4.Jahrhunderts romanae 16), Berlin.
v. Chr.,Munich. . 1989. "FurtherThoughts on the Placing and Inter-
Viviers, D. 1992. Recherches sur les ateliersde sculpteurset la cite pretation of the Freestanding Sculptures from the Mau-
d'Athenesa lI'poquesarchaique:Endoios,Philergos,Aristokles, soleum," in Architectureand Societyin HecatomnidCaria
Brussels. (Proceedingsof the UppsalaSymposium1987) (Boreas17),
Vollkommer, R. 1988. Heraklesin the Art of ClassicalGreece, T. Linders and P. Hellstr6m, eds., Uppsala, pp. 23-30.
Oxford. . 1996. "The Scylla Monument from Bargylia,"AntP
Vorster, C. 1983. GriechischeKinderstatuen, Cologne. 25, pp. 75-119.
. 1989. "Bonner Abguss einer Verschollenen Hera- Waywell,G. B., andJ.J. Wilkes. 1994. "Excavationsat Sparta:
klesherme," in Festschriftfur Nikolaus Himmelmann:Bei- The Roman Stoa, 1988-91, Preliminary Report 2," BSA
trige zur Ikonographie und Hermeneutik (BJb-BH 47), 89, pp. 377-432.
H.-U. Cain, H. Gabelmann, and D. Salzmann, eds., Mainz, . 1995. "Excavationsat the Ancient Theatre of Sparta
pp. 281-288. 1992-94: Preliminary Report," BSA90, pp. 435-460.
Wace, A. J. B. 1905-1906. "Excavations at Sparta: The Ro- Webb, P. A. 1996. HellenisticArchitecturalSculpture:Figural
man Baths," BSA 12, pp. 407-414. Motifsin WesternAnatolia and theAegeanIslands (Wiscon-
Waelkens, M. 1982. Dokimeion: Die Werkstatt derReprisentativen sin Studies in Classics), Madison.
kleinasiatischenSarkophage:Chronologieund Typologieihrer Weber,H. 1976-1977. "Spathellenistische Bildniskunst,"OJh
Produktion,Berlin. 51 (Suppl.), cols. 19-47.
. 1985. "From a Phrygian Quarry: The Provenance Weber, M. 1976. "Die Amazonen von Ephesos," JdI 91,
of the Statues of the Dacian Prisoners in Trajan'sForum pp. 28-96.
at Rome," AJA89, pp. 641-653. . 1999. "Sabina aus Gortyn im Nationalmuseum in
Walbank, M. E. H. 1997. "The Foundation and Planning of Athen," AA, pp. 493-500.
Early Roman Corinth," JRA 10, pp. 95-130. Webster, T. B. L. 1960. "Greek Dramatic Monuments from
Waldhauer, 0. 1931. Die antiken Skulpturen Ermitage der 2 the Athenian Agora and Pnyx,"Hesperia29, pp. 254-284.
(Archaologische Mitteilungen aus russischen Sammlung- .1961. Monuments IllustratingNewComedy(BICSSuppl.
en), Berlin. 11), London.
Walker, S. E. 1979. "The Architectural Development of Ro- Webster,T. B. L., andJ. R. Green. 1978. MonumentsIllustrat-
man Nymphaea in Greece" (diss. University of London). ing Old and MiddleComedy(BICSSuppl. 39), 3rd ed., rev.
. 1987. "Roman Nymphaea in the Greek World," in and enl., London.
Macready and Thompson 1987, pp. 60-71. Wegner, M. 1939. Die Herrscherbildnisse in antoninischerZeit
Walker,S., and A. Cameron, eds. 1989. The Greek Renaissance (Das r6mische Herrscherbild pt. 2, vol. 4), Berlin.
in theRomanEmpire(Papersfrom the TenthBritishMuseum . 1956. Hadrian, Plotina, Marciana, Matidia, Sabina
ClassicalColloquium)(BICSSuppl. 55), London. (Das r6mischer Herrscherbild pt. 2, vol. 3), Berlin.
Wallace, R. W. 1997. "Poet, Public, and 'Theatrocracy': Au- . 1966. Die Musensarkophage (ASRV, 3), Berlin.
dience Performance in Classical Athens," in Poet,Public, .1979. "Nachtrage zum r6mischen Herrscherbild im
and Performancein AncientGreece,L. Edmunds and R. W. 2.Jh. n. Chr. I: Verzeichnis der Kaiserbildnisse von Anto-
Wallace, eds., Baltimore, pp. 97-111. ninus Pius bis Commodus," Boreas2, pp. 87-181.
Wallace, W. E. 1994. Michelangeloat San Lorenzo:The Genius Weiss, P. 1981. "Ein agonistisches Bema und die isopyth-
as Entrepreneur, New York. ischen Spiele von Side," Chiron11, pp. 315-346.
xxxii BIBLIOGRAPHY AND ABBREVIATIONS

Welch, K. 1999. "Negotiating Roman Spectacle Architecture 25, 2: The Theatre; 3: The Inscriptions,"BSA26, pp. 119-
in the Greek World:Athens and Corinth," in Bergmann 239.
and Kondoleon 1999, pp. 125-145. . 1925-1926. "Excavationsat Sparta, 1926,2: The The-
West, R. 1933. RimischePortrdtplastik I, Munich. atre; 3: The Inscriptions," BSA27, pp. 175-254.
. 1941. RimischePortrdtplastik II, Munich. . 1926-1927. "Excavationsat Sparta, 1927: The The-
Wiegartz, H. 1977. "Zu Problemen einer Chronologie der atre: Appendix: Sculptures from the Theatre and the
attischen Sarkophage," AA, pp. 383-388. Nymphaeum," BSA28, pp. 22-36.
Willers, D. 1986. "Typusund Motiv:Aus der hellenistischen . 1928-1930. "Excavationsat Sparta, 1924-28, 1: The
Entwicklungsgeschichte einer Zweifigurengruppe,"AntK Theatre," BSA30, pp. 151-240.
29, pp. 137-150. W6rrle, M. 1988. Stadt und Festim kaiserzeitlichen Kleinasien:
Williams, C. K., II. 1978. "Pre-Roman Cults in the Area of Studienzu eineragonistischenStiftungaus Oinoanda(Vesti-
the Forum of Ancient Corinth" (diss. University of Penn- gia: Beitrage zur Alte Geschichte 39), Munich.
sylvania). Wrede, H. 1972. Die spdtantikeHermengalerie von Welschbillig:
.1982. "Zeusand Other Deities: Notes on TwoArcha- Untersuchungzur Kunsttraditionim 4. Jahrhundertn. Chr.
istic Piers," in ThompsonStudies,pp. 175-181. und zur allgemeinenBedeutung des antiken Hermenmals
. 1993. "Roman Corinth as a Commercial Center,"in (R6misch-Germanische Forschungen 32), Berlin.
Gregory 1993, pp. 31-46. . 1981. Consecratioin FormamDeorum: Vergottliche
Williams, C. K., II, andJ. E. Fischer. 1975. "Corinth, 1974: Privatpersonenin derromischenKaiserzeit,Mainz.
Forum Southwest," Hesperia44, pp. 1-50. . 1985. Die antikeHerme(Trierer Beitrage zur Alter-
Williams, C. K., II, and 0. H. Zervos. 1983. "Corinth, 1982: tumskunde 1), Mainz.
East of the Theater," Hesperia52, pp. 1-47. Wright, K. S. 1980. "A Tiberian Pottery Deposit from
. 1984. "Corinth, 1983: The Route to Sikyon,"Hesperia Corinth," Hesperia49, pp. 135-177.
53, pp. 83-122. Yalouris, N. 1992. Die Skulpturen des Asklepiostempelsin
. 1985. "Corinth, 1984: East of the Theater," Hesperia Epidauros(AntP21), Munich.
54, pp. 55-96. Yavis,C. G. 1949. GreekAltars:Originsand Typology, Including
. 1986. "Corinth, 1985: East of the Theater," Hesperia theMinoan-MycenaeanOffertory Apparatus:An Archaeologi-
55, pp. 129-175. cal Studyin theHistoryof Religion,St. Louis.
. 1987. "Corinth, 1986: Temple E and East of the Yegiil, F. K. 1982. "A Study in Architectural Iconography:
Theater," Hesperia56, pp. 1-46. Kaisersaaland the Imperial Cult," ArtB64, pp. 7-31.
. 1988. "Corinth, 1987: South of Temple E and East Yfantidis, K. 1984. "Die Polychromie der hellenistischen
of the Theater," Hesperia57, pp. 95-146. Plastik" (diss. Universitat Mainz).
- . 1989. "Corinth, 1988: East of the Theater," Hesperia Zagdoun, M.-A. 1989. La sculpture archaisante dans l'art
58, pp. 1-50. hellenistiqueet dans l'art romain du Haut-Empire(BEFAR
--- . 1990. "Excavationsat Corinth, 1989: The Temenos 269), 2 vols., Athens.
of Temple E," Hesperia59, pp. 325-369. Zancani-Montuoro, P. 1933. "Repliche romane di una statua
. 1991. "Corinth, 1990: Southeast Corner of Temenos fidiaca," BullCom61, pp. 25-58.
E," Hesperia60, pp. 1-58. Zanker, P. 1970. "DasTrajansforumin Rom,"AA,pp. 499-543.
Williams, E. R. 1982. "A Terracotta Herakles at the Johns . 1972. Rev.of Lauter 1966, in Gnomon44, pp. 385-389.
Hopkins University,"Hesperia51, pp. 357-364. . 1973. Studienzu den Augustus-PortritsI: Der Actium-
Wilson, L. M. 1924. TheRoman Toga,Baltimore. Typus (Abhandlung G6ttinger Akademie der Wissen-
Wilson Jones, M. 2000. Principlesof RomanArchitecture, New schaft F. 3, 85), Gottingen.
Haven. . 1974. KlassizistischeStatuen:Studienzur Verdnderung
Winkes, R. 1969. Clipeataimago: Studien zu einer romischen desKunstgeschmacks in derrimischenKaiserzeit,Mainz.
Bildnisform(Habelts Dissertationsdrucke,Reihe klassische . 1979. "ZurFunktion und Bedeutung griechischer
Archaologie 1), Bonn. Skulptur in der R6merzeit," in Le classicismea Romeaux
Winkler,J.J. 1985. Auctorand Actor:A NarratologicalReading 1ersieclesavant et apresJ.-C.:Neuf exposissuivis de discus-
ofApuleius' "TheGoldenAss, "Berkeley. sions (EntrHardt 25), T. Gelzer et al., eds., Geneva,
Winter,F. 1898. "Sculpturen,"in Altertiimervon Hierapolis(JdI- pp. 283-314.
EH4), C. Humann, C. Cichorius, W.Judeich, and F.Win- . 1980. "Einh6her Offizier Trajans,"in Eikones:Studien
ter, eds., Berlin, pp. 59-62, 63-65. zum griechischenund romischenBildnis: Hans Juckerzum
(Die antiken
. 1903. Die TypenderfigiirlichenTerrakotten sechzigstenGeburtstaggewidmet (AntK-BH12), R. A. Stucky
Terrakotten, Auftrag des Deutschen Archaologischen and I. Jucker, eds., Bern, pp. 196-202.
Instituts 3), 2 vols., Berlin. . 1983. ProvinzielleKaiserportrdts:Zur Receptionder
Wiseman,J. 1979. "Corinth and Rome I: 228 B.C.-A.D. 267," Selbstdarstellung desPrinceps(AbhMiinch,n.s. 90), Munich.
ANRWII.7.1, pp. 438-548. . 1988. ThePowerof Imagesin theAge of Augustus (Je-
Wojcik, M. R. 1986. La VilladeiPapiri ad Ercolano:Contributo rome Lectures 16th ser.), H. A. Shapiro, trans.,Ann Arbor.
alla ricostruzionedell'ideologiadella nobilitas tardorepub- . 1993. "The Hellenistic Grave Stelai from Smyrna:
blicana,Rome. Identity and Self-Image in the Polis," in Bulloch et al.
Wolters, P. 1928. Fiihrerdurchdie Glyptothek Kinig LudwigsI. 1993, pp. 212-230.
in Miinchen,Munich. Zazoff, P. 1962. "Ephedrismos: Ein altgriechische Spiel,"
Wood, S. E. 1986. RomanPortraitSculpture,217-260 A.D.:The A&A 11, pp. 35-42.
Transformationof an ArtisticTradition(Columbia Studies Ziegler, R. 1985. StddtischesPrestigeund kaiserlichePolitik:
in the Classical Tradition 12), Leiden. StudienzumFestwesenin Ostkilikienim 2. und 3. Jahrhundert
Woodward, A. M. 1923-1925. "Excavationsat Sparta, 1924- nach Christus(Kultur und Erkenntnis 2), Dusseldorf.
 BIBLIOGRAPHY AND ABBREVIATIONS xxxIII

PERIODICALS, LEXICA, AND CORPORA

A&A = Antike und Abendland. Beitriigezum Verstdndnisder BJb-BH= BonnerJahrbiicher desRheinischenLandesmuseumsin
Griechenund Romerund ihresNachlebens Bonn und des Vereinsvon Altertumsfreundenim Rheinlande,
AA = ArchdologischerAnzeiger Beiheft
AAA = 'Apxaorooylxa'Avdox-cxza iE 'AO0vc6v BMC= Catalogueof theGreekCoinsin theBritishMuseum,Lon-
AbhHeid = Abhandlungen der Heidelberger Akademie der don 1873-
Wissenschaften, Klasse
Philosophisch-historische BMMA= Bulletin of theMetropolitanMuseumof Art, New York
AbhMiinch= Bayerische AkademiederWissenschaften, Miinchen, Boreas= Boreas,MiinsterscheBeitrigezurArchiologie
Philosophisch-historischeKlasse.Abhandlungen BrBr = H. Brunn, F. Bruckmann, P. Arndt, and G. Lippold,
ActaArch= Acta archaeologica(Copenhagen) Denkmiilergriechischerund romischerSkulpturin historischer
AF= ArchiologischeForschungen Anordnung,Munich 1888-1911
AgoraPicBk= Excavationsof theAthenianAgora.PictureBook BSA= Annual of theBritishSchoolat Athens
AJA= AmericanJournal of Archaeology BSR= Papersof theBritishSchoolat Rome
AM = Mitteilungen des Deutschen ArchiologischenInstituts, BullCom= Bullettinodella CommissionearcheologicaComunale
AthenischeAbteilung di Roma
AM-BH= MitteilungendesDeutschenArchdologischen Instituts, BullEp= Bulletinepigraphique(Paris)
AthenischeAbteilung.Beiheft BWPr= Berlin Winckelmannsprogramm
AnalRom= AnalectaromanaInstitutiDanici CEFR= Collectionde l'Ecolefrancaisede Rome
AnatSt= Anatolian Studies.Journal of theBritishInstituteof Ar- Chiron= Chiron.MitteilungenderKommissionfiiralte Geschichte
chaeologyat Ankara und EpigraphikdesDeutschenArchdologischen Instituts
ANRW = H. Temporini, ed., Aufstieg und Niedergang der CIG= Corpusinscriptionumgraecarum
romischenWelt,Berlin 1972- CIL= Corpusinscriptionumlatinarum
AntK = Antike Kunst. Hrsg. von der Vereinigungder Freunde CJ= The ClassicalJournal
antikerKunst in Basel Clairmont, CAT=C. W. Clairmont, ClassicalAtticTombstones,
AntK-BH= AntikeKunst. Beiheft 8 vols., Kilchberg 1993
AntP = AntikePlastik ClRh= Clara Rhodos.Studi e materialipubblicatia cura dell'
AntW = Antike Welt. Zeitschriftfur Archdologieund Kultur- Institutostorico-archeologico
di Rodi
geschichte CollLatomus= CollectionLatomus
AR= Archaeological Reports(Suppl. toJHS) CP= Classical Philology
ArchCl= Archeologiaclassica CSCA= Universityof CaliforniaStudiesin ClassicalArchaeology
ArchDelt= 'ApyatoAoytxj6v &A-Ziov DarSag = C. Daremberg and E. Saglio, Dictionnairedes anti-
ArchEph= 'ApXaooAoytx57 'EcpE7zpti quitesgrecqueset romainesd'apresles texteset les monuments,
ArchJ=Archaeological Journal 5 vols., Paris 1877-1919
ArtB = The Art Bulletin DOP= DumbartonOaksPapers
ARV2 =J. D. Beazley, Attic Red-figureVase-painters,
2nd ed., EA= P.Arndt and W. Amelung, PhotographischeEinzelaufnah-
3 vols., Oxford 1963 menantikerSkulpturen, G. Lippold, ed., Munich 1893-1940
ASAtene= Annuario della Scuola archeologicadi Atene e delle EAA = Enciclopediadell'arteantica: Classicae orientale,Rome
MissioniItaliane in Oriente 1958-
ASMOSIA= Proceedingsof the International Symposiaof the EntrHardt= EntretiensHardt
Associationfor the Studyof Marbleand OtherStonesUsedin EPRO=Etudesprliminairesaux religionsorientalesdans l'empire
Antiquity romain
ASR = C. Robert et al., Die antiken Sarkophagreliefs, Berlin Ergon= T6 "Epyov 'ApxacxoAoytx,g
A X EcXraipec'i
1890- Esperandieu = E. Esp6randieu, Recueilgeneraldes bas-reliefs,
AthensCongress= Ipaxrtxdz zoOXII AzIOvoo6 EZovzepioo Kaccr- statues,et bustesde la Gaule romaine(Collection de docu-
tx,q ApXacoAoyic'a,AO,0va,4-10 2.ErEftPp(oo1983 /Acts of ments inedits sur l'histoire de France), 16 vols., Paris
the 12th InternationalCongressof ClassicalArchaeology,Ath- 1907-1928
ens, 4-10 September 1983, 4 vols., Athens 1985-1988 GettyMusJ=TheJ. Paul GettyMuseumJournal
Ausonia= Ausonia. Rivista dellaSocietditaliana di archeologiae GGA= Gottingische gelehrteAnzeiger
storiadell'arte Gnomon= Gnomon.KritischeZeitschriftfiirdiegesamteklassische
BABesch= Bulletinantiekebeschaving.Annual Paperson Classi- Altertumswissenschaft
cal Archaeology GRBS= Greek,Roman, and ByzantineStudies
BAR= BritishArchaeological Reports HdA = Handbuch der Archiologie (Handbuch der Altertums-
BAR-IS= BritishArchaeological Reports,InternationalSeries wissenschaft),Berlin 1931-
BCH= Bulletin de correspondance hellenique Helbig4 = W. Helbig, FiihrerdurchdieiffentlichenSammlungen
BClevMus= TheBulletin of the ClevelandMuseumof Art klassischerAltertiimerin Rom,4th ed., rev., H. Speier, ed.,
BdA = Bollettino d'arte 4 vols., Tiibingen 1963-1972
BEFAR= BibliothequedesEcolesfrancaisesd'Atheneset de Rome Hellenica= L. Robert, ed., Hellenica:Recueild'epigraphiede
Berytus= Berytus.ArchaeologicalStudiesby the Museum of Ar- numismatiqueet d'antiquitegrecque, 13 vols., Limoges 1940-
chaeologyof theAmericanUniversityof Beirut 1965
BICS= Bulletin of theInstituteof ClassicalStudiesof the Univer- Hesperia= Hesperia.TheJournalof theAmericanSchoolof Classi-
sity of London cal Studiesat Athens
BJb= BonnerJahrbiicher desRheinischenLandesmuseums in Bonn HSCP= HarvardStudiesin ClassicalPhilology
und des Vereinsvon Altertumsfreunden im Rheinlande HThR = Harvard TheologicalReview
XXXIV BIBLIOGRAPHY AND ABBREVIATIONS

Icr = Inscriptionescreticae,M. Guarducci, ed., Rome 1935- OlForsch= Olympische Forschungen

1950 PACT= PACTJournal of theEuropeanNetworkof Scientificand
ID = F. Durrbach et al., InscriptionsdeDlos, Paris 1926- TechnicalCooperation for the CulturalHeritage
IFAR= InternationalFoundationfor Art Research,Inc. PBA = Proceedingsof theBritishAcademy
IG = Inscriptionesgraecae Phoenix = Phoenix. TheJournal of the ClassicalAssociationof
Iran = Iran.Journal of theBritishInstituteof PersianStudies Canada
IRT = J. M. Reynolds and J. B. Ward-Perkins, eds., The In- Prakt= Hpaocxzxa zTqSv 'ArOvaic'ApxaioAoyxrfSq 'Ezraipit'
scriptionsof Roman Tripolitania,Rome 1952. ProcPhilSoc= Proceedingsof theAmericanPhilosophicalSociety
IstForsch= IstanbulerForschungen desDeutschenArchiologischen Prospettiva= Prospettiva.Rivista d'arteantica e moderna
Instituts RA = Revue archeologique
IstMitt= IstanbulerMitteilungen RdA= Rivista di archeologia
IstMitt-BH=IstanbulerMitteilungen.Beiheft RDAC= Reportof theDepartmentof Antiquities,Cyprus
JdI = JahrbuchdesDeutschenArchiologischenInstituts RE = A. Pauly, G. Wissowa, and W. Kroll, Real-Encyclopddie
JdI-EH = Jahrbuch des Deutschen ArchdologischenInstituts. derklassischenAltertumswissenschaft, 1893-
Erginzungsheft REA= Revuedes etudesanciennes
JHS= Journal of HellenicStudies REG= Revuedes etudesgrecques
JRA = Journal of RomanArchaeology RendPontAcc = Atti della Pontificia Accademia romana di
JRS= Journal of RomanStudies archeologia
JWarb= Journal of the Warburgand CourtauldInstitutes RivlstArch= Rivista dell'Istitutonazionaled'archeologiae storia
Kerameikos = Kerameikos. ErgebnissederAusgrabungen dell'arte
Latomus= Latomus.Revued'etudeslatines RM = Mitteilungen des Deutschen ArchiologischenInstituts,
LIMC = Lexiconiconographicummythologiaeclassicae,Zurich RomischeAbteilung
and Munich 1974-1997 RM-EH= MitteilungendesDeutschenArchdologischen Instituts,
MAAR= Memoirsof theAmericanAcademyin Rome RomischeAbteilung,Ergdnzungsheft
MEFRA= Melangesde IEcolefrancaisede Rome,Antiquite Roscher = W. H. Roscher, AusfiihrlichesLexikondergriechischen
MemAcInscr= Memoirespresentespar diverssavants I'Academie und rimischenMythologie,6 vols., Leipzig 1884-1937
des inscriptionset belleslettres(Paris) SEG= Supplementumepigraphicumgraecum
MM = MadriderMitteilungen SIMA= Studiesin MediterraneanArchaeology
Mnemosyne= Mnemosyne.Bibliothecaclassicabatava SkrAth= Skrifterutgivna av SvenskaInstituteti Athen
MonAnt= Monumentiantichipublicatidall'accademiadeiLincei SNGCop= Syllogenummorumgraecorum,Copenhagen
MonPiot= Monumentset memoires.FondationE. Piot StMisc= Studimiscellanei.Seminariodi archeologia
e storiadell'arte
NumAntCl=Numismaticae antichitaclassiche,Quademiticinesi grecae romanadell'Universitadi Roma
OCD3= S. Hornblower and A. Spawforth, eds., The Oxford TAM= E. Kalinka et al., eds., Tituli Asiae Minoris,Vienna
ClassicalDictionary,3rd ed., Oxford 1996 1901-1944
OJh=Jahresheftedes Osterreichischen archiologischenInstitutsin TAPA= Transactionsof theAmericanPhilologicalAssociation
Wien

ABBREVIATIONS USED IN THE CATALOGUE

BM British Museum IS Isthmia Inscription NB excavation notebook

cm centimeter IS Isthmia Sculpture NM National Museum
D. depth L. length p. preserved
diam. diameter 1. left r. right
dim. dimension m meter rest. restored
est. estimated max. maximum S Sculpture inventory
FIB Find Inventory Book MFA Museum of Fine Arts Th. thickness
fr. fragment min. minimum Tr. trench
H. height mm millimeter W. width
inv. inventory MMA Metropolitan Museum of Art

Pigment color numbers are from Munsell Soil ColorCharts,Baltimore 1975.

 SCULPTURE

THE ASSEMBLAGE FROM THE THEATER

 INTRODUCTION

A t the time of its creation in the Hadrianic period, the Corinth Theater presented the
most elaborate form of Roman theater architecture to date-a three-storied columnar
facade made of multicolored marble. The polychrome architecture, composed of multicolored
stones, did not stand alone, for the scaenae frons was impressively embellished with painted
marble reliefs beneath the columns, with painted statuary between the columns and in the niches,
and with painted busts in the pediments. The scaenae frons contained a sculptural complex that
evoked the Theater's political, religious, and cultural functions as well as the self-identification
of the city.
The reconstruction offered here shows a sculptural display dominated by a colossal seated
portrait of the deified emperor Trajan, set in the largest niche, over the porta regia. Flanking this
in the niches over the hospitalia stood portraits, possibly of Augustus and Livia, and above, in the
central niche of the third story, stood a cuirassed figure, possibly Hadrian. Viewed collectively,
the imperial family group conveys the message of Roman Imperial government, celebrates the
virtusof the emperor, and legitimizes his rule. The previously published reliefs, with Gigantomachy,
Amazonomachy, and Herakles scenes restored on podia across the three stories of the facade,
are complemented by Silenos piers flanking the third-story niche. Confronting griffins in relief
above Trajan's statue set off his portrait with a popular motif that perhaps alluded to his eastern
campaigns. High-relief heads of Triton and a Nereid (or Aphrodite) project over the hospitalia,
while busts of Demeter(?) and Poseidon(?) enhance the side pediments of the second story, and
Helios(?) crowns the entire facade in the pediment of the third. Thus, Corinth's important affili-
ations provide the contemporary context and a conscious link to Greek culture for the Roman
colony of Corinth.
The sculptures on the scaenae frons would have been seen from a distance, and they would
have been read collectively in related segments, as well as individually. Along the edges of the
stage, parodoi, and cavea stood portraits of high-ranking civic and provincial officials, priests,
and benefactors, which were counterparts to the imperial political figures on the scaenae frons.
Statues of deities and athletic and mythological figures between and before the columns-which
may represent, from left to right in the proposed reconstruction, a Dioskouros, Aphrodite, Ares,
Athena, Artemis, Antinous, Dionysos, two athletes, Pan(?), Herakles, and Chiron-are symbols
of culture, religion, drama, athletics, and education. Altars to Apollo and Dionysos(?), a gilt ima-
go, a stele celebrating prizes, and a boy victor's statue base allude to activities that were regularly
featured in ancient theaters, such as religious processions, contests, and victory celebrations.
Mythological battle scenes depicting the defeat of the giants as well as barbarians and easterners
establish a victory theme on the scaenae frons. Herakles is given the highest position, as if to
highlight his elevation to the realm of the gods, where he represents the ultimate Roman, and
Peloponnesian, exemplumvirtutis.Many of the protagonists of dramatic events, especially the
mimes and pantomimes so popular in the 2nd century A.C., appear on the facade. On the first
tier, statues of divinities stand above battle reliefs in which the gods triumph. On the second tier,
Trajan's posthumous image is set off by reliefs showing the defeat of the eastern Amazons, the
myth providing an analogy to his Parthian campaigns. On the third, the reigning emperor Hadrian,
arrayed in military costume, is placed in the context of the triumphs of Herakles.
2 INTRODUCTION

In the proposed reconstruction, the highly articulated decoration of the Corinth Theater
facade is a vehicle for the self-presentationof Corinth as a Roman city,as a Roman colony, and as
the prosperous capital of the province of Achaia. Both the selection of subjects and their loca-
tion on the facade are deliberate, such that the sculptures are thematically interrelated both
verticallyand horizontally.The sculpturalprogram celebrates the virtusof the reigning emperor
and of past Roman emperors, while it also emphasizes the importance of military triumphs and
hereditary right to rule. The ideas are promoted of Corinth as an important political and cul-
tural center and as a city situated at the crossroads of East and West, populated by people of
many ethnic backgrounds.Moreover,the use of Latin in the dedicatoryinscriptions in the entab-
lature and on revetment plaques highlights Corinth's status as a Roman colony. Both image and
text convey important messages, which can be read singly, in segments, and as a whole. As one of
the most important places in the city for large gatherings of people, citizens and foreigners alike,
the Theater provided an excellent locale for such propagandisticstatements and for the display
of substantial public benefactions. Moreover, the multifaceted decoration of the scaenae frons
exhibits a constructed iconography. The different forms, subjects, and scale of the Theater fa-
cade sculptures provided the setting for the religious, political, and dramatic spectacles that
were likely to have been featured on this stage.

This book presentsthe unpublishedsculpturesfrom the CorinthTheaterwith description,analysis,

photographs, and drawings. It is intended to supplement Stillwell's CorinthII (1952) on the
Theater architecture and my CorinthIX, ii (1977) on the reliefs from the Theater. Sculptures
from the Theater first appeared in Johnson's CornthIX (1931), which published the marble
statuaryfound at Corinth between 1896 and 1923. They are illustratedhere also, with new, more
detailed photographs. Inscriptions from the Theater, which were published by Kent in Corinth
VIII, iii (1966), Meritt and West in CorinthVIII, i and ii (1931), and Stillwell in CorinthII, are also
discussed, in order to give a fuller picture of the chronological phases and social history of the
Theater complex and, ultimately,the meaning of its sculptural assemblage.

HISTORY OF THE CORINTH THEATER

THE EXCAVATIONS

Topographical interest in Ancient Corinth has long centered on the Theater. Excavations at
Corinth, conducted under the auspices of the American School of ClassicalStudies at Athens,
began in 1896 with the first attempts to locate the Theater through exploratory trenches and to
relate it to Pausanias's description of the city in the mid-2nd century A.C. (2.2.4-2.5.4) .1Pausanias
(2.4.5) mentions the Theater as he moves north toward the Spring of Lerna, but he records
nothing about its decoration. More concentrated efforts aimed at determining the boundaries
of the Theater were made during the campaigns of 1902-1903, 1908, and 1909-1910.2 Larger-
scale excavationswere carried out in the Theater by T. Leslie Shear Sr.in 1925 and 1926, and in

1. Conducted by the School's Director, R. B. Richardson, trench 18b extended to the upper cavea wall; Robinson and
and F. C. Babbitt (Corinth NB 1). Reported in Richardson G. W. Elderkin (Corinth NB 45, p. 72; Corinth NB 48, p. 86).
1897a; 1897b, pp. 478-479 (pl. 18, detailed plan of tr. 18a-f); 1909:trench 34 extended south to the Roman orchestralevel,
Babbitt1897. The earlytrenches are also indicated in CorinthI, and trench 18h widened, in the upper cavea;W. B. Dinsmoor
fig. 3. On the date of Pausanias,see Habicht 1985, pp. 9-12; (Corinth NB 58). Trenches 18a-c;J. B. Edwards(Corinth NB
book 2 appears to have been written in the 160s. 58). 1910: trench 34 extended north to the northern edge of
2. 1902:trench 34 cut across the center and west portion of the PeristyleCourt,with ajog to the east for the fountain basin,
the stage, exposing part of the front of the Greekskene; Bassett and trench 18d ran parallelto this to the east;C. A. K. Sanborn
(Corinth NBs 14, 15). 1903: trench 34 extended to the west; (Corinth NB 65).
D. M. Robinson (Corinth NB 26); see CorinthI, pl. III. 1908:
 HISTORY OF THE CORINTH THEATER 3

1928 and 1929, when most of the scene building, parodoi, vomitoria, the east half of the Peristyle
Court, and East Theater Plaza and Street were uncovered.3Trial trenches were sunk by Stillwell
in 1929, 1930, and 1948 as part of his studyfor publication of the architecture.4More recently,in
campaigns from 1982 to 1988, Williamshas investigatedparts of the eastern cavea, its buttresses,
and areas east of the Theater.5For the location of the early trenches, see Plan I.
Sculptures were unearthed during all phases of the Theater excavations, but in especially
large quantities during the 1920s. Manypieces were incorporated into the inventoried sculpture
collection as they were discovered, but others were taken to the courtyardof the Old Museum in
Ancient Corinth or to the basement of Shear's house, which provided additional storage space.
It was in the late 1960s that this materialwas transferredfrom the Shear house basement to the
New Museum, and it was graduallythereafter that pieces from this marble pile entered the inven-
toried collection.
The early date of the excavations, the loss of some excavation notebooks from the 1920s, and
the fragmentarystate of the remains have resulted in an incomplete understanding of the The-
ater sculptures. The method of identifying sculptures as coming from the Theater has varied
depending on the available information. For some objects the provenance is clearly stated as
"Theater"in the inventory records. Other pieces have been recognized as coming from the
Theater by association with drawingsin excavation notebooks, by decipherment of abbreviated
provenances and dates, by the presence of de Waele'sblue-penciled initials (DW)and page num-
bers on the objects, and byjoining or association with a piece recorded as found in the Theater.
Although the secondary provenances of "Shearapotheke," "Shear'sHouse," or "Museumbase-
ment marble pile" do not provide conclusive evidence that a fragment wasfound in the Theater,
the large number of unmarked sculptures in these piles which clearlyoriginated in the Theater,
such as sections of the Silenos piers, suggests that other sculptures in these storage areas were
also found in the Theater.All materialin the Shear house basement derivesfrom Shear'sexcava-
tions, so if a piece does not come from the North Cemetery,the Roman chamber tombs, or the
Roman Villa, it derives from the Theater.6

ARCHITECTURAL PHASES AND CHRONOLOGY

The history of the Theater architecture is discussed by Stillwellin CorinthII. It was subsequently
revised by Williamsin annual reports in Hesperiaon the 1982 to 1988 excavations of the eastern
cavea and its supports, and the chronology of the cavea and East Theater Plazahas been further
refined by Williams.As with many buildings that were in use over a long period of time, possibly
nine centuries in this case, the various stages of construction are difficult to decipher. Building
material from the earlier phases was reused in later construction, and the structurewas heavily
despoiled in late antiquityand after. Several aspects of the architecture have been brought into
sharper focus by the recent excavations. For example, more subphases have been recognized,
and it has emerged that the subphases in one area-for instance, the supports for the cavea
seats-do not necessarily indicate subphases in another-for instance, the scaenae frons. Con-
tinual rebuilding in a single area has created an archaeological picture that is difficult to sort and
date. It is thanks to Williams'scareful investigationsthat the architecturalsequences of the cavea
and its supports are now much better understood, and to Kathleen Slane's analysisof the pottery
that specific dates can be assigned with some confidence to the phases of these features.7For the

3. Shear 1925, 1926; CorinthI, pl. IV; Shear 1928a, 1928b, Williamsand K. Slane are currentlystudyingthe chronological
1929;Stillwell1929;de Waele 1930. The notebooks of de Waele phases and the pottery from the East of Theater excavations.
and Campbell for 1928 and 1929 survive. 6. For his excavation reports, see Shear 1928b, 1929, 1930,
4. CorinthII; see his introduction, pp. 3-4, for a more de- 1931b. On the Roman Villa, see CorinthV.
tailed account of the early excavations. 7. See Wright 1980, pp. 174-175, for the date of the Early
5. Williamsand Zervos1983 through 1989, esp. 1988, 1989. Tiberian earthquake (A.D. 22/3).
4 INTRODUCTION

convenience of the reader, a summary of the major building phases of the Theater complex as
they are currently understood is provided here, with some indication of the effect that architec-
tural renovations had on the sculpture. Since the Hadrianic phase is the phase from which the
greatest numbers of sculptures survive, the primary indicators of its chronology are summarized.
GreekTheater
1. Classicalphase,late5th toearly4th centuryB.C.From the earliest times, the spectatorwould have
been seated in a natural hollow of land, facing north, overlooking the port city of Lechaion and
the Gulf of Corinth. The view was enhanced by the backdrop of the receding and overlapping
mountain ranges of Geraneion to the northeast and Cithaeron, Helikon, and Parnassosbeyond
Perachora to the north. Fragmentary survival, partial excavation, and overbuilding of later phases
on the same site make distinction of the Greek phases difficult. Rows of holes in the bedrock
suggest a temporary, wooden skene for some phase of the Greek theater, and straight sections of
the gutter have suggested to some the possibility of three-sided seating. Some foundation blocks
for seats and a few inscribed limestone seats, variouslydated, may belong to the 4th-centuryB.C.
theater.8
2. Hellenistic phase, late 4th to early 3rd century B.C. This phase had a permanent, stone stage
building with a columnar proskenion, an episkenion, and ramps leading up to the stage. Two
Charonian stairs were built on either side of the orchestra, itself bordered by a deep gutter.
Fifteen stairs divided the koilon into fourteen seating sections. Williams'stests of 1988 indicate
that the cavea was enlarged in the 320s or possibly later and that a wall was added to the back.
This building was probablydamaged during Mummius'ssack of the city in 146 B.C. as well as by
subsequent plundering.9
RomanTheater
1. Late Republicanto EarlyAugustan phase, late 1st centuryB.C. Sometime after the founding of the
Roman colony Laus Julia Corinthiensis in 44 B.C., the Hellenistic theater was reworked. One
change, the placement of the analemmata of the cavea at right angles to the central axis, put a
decidedly Roman stamp on the building.10
2. Late Augustan to Early Tiberianphase, early 1st centuryA.C.The cavea was made steeper, with
raking buttresses added to reinforce the raised cavea wall, and a Doric columnar promenade,
decorated with a painted maroon frieze of Erotes, was added at the back. Architectural frag-
ments of limestone, including two Doric capitals, may be associated with this or the preceding
phase. Little is known about the stage building in this phase."
3. Flavian to Trajanicphase, late 1st to early2nd centuryA.. The earthquake of A.D. 77 probably
prompted the repairs that were made to the cavea buttresses during this period. Williams has
suggested that these repairs may have taken 20 years to complete. They can perhaps be associ-
ated with a revetment plaque, an epistyle block, and an inscription naming Trajan on a gray
marble cornice block, this last dated no later than A.D. 101. The erasure of most of the text, the
cutting down of the block, and the different clamp cuttings indicate that this cornice block was
reused in the Hadrianic phase.'2

8. CorinthII, pp. 5, 8, 15-40; p. 110, nos. 41-49, fig. 86, 11. See Williams and Zervos 1987; 1984, pp. 97, 104-106,
pls. 3, 4; pp. 131-133; Williams and Zervos 1989, pp. 26-28. pl. 30:d, e (frieze); 1988, p. 112, no. 21 (capital); and CorinthII,
See Gebhard 1973, pp. 16-17, on possible three-sided seating pp. 58-65, 110, no. 50, fig. 86; and pp. 135-136.
at Corinth. Seat blocks: CorinthVIII,iii, nos. 11, 16, 17, 19-20. 12. Williams and Zervos 1987, p. 19. For the block, see Corinth
Kolb (1981, p. 82, note 18) believes that the inscribed seat II, pp. 114, 136 (on date), no. 89, figs. 88, 89; CorinthVIII, iii,
blocks were brought into the Hellenistic cavea from outside no. 96 (1-2448), pl. 7, found at west end of stage building, April
the Theater. 1929 (P1. l:f here). The fact that this block was reused seems to
9. CorinthII, pp. 6-12, 15-40, 131-135, pls. 3, 5:c, 8:a;Will- explain in part why Stillwell found no others exactly like it
iams and Zervos 1989, pp. 26-28. among the remains of the Hadrianic phase. Since it was cut
10. For a detailed discussion of the phases of the Roman down to fit in a certain position and no other cornice blocks
theater, see Williams and Zervos 1988, pp. 108-120; 1989, were of the same size, it probably was erected over one of the
pp. 28-36; and CorinthII, p. 81. doors to the versurae, which was Stillwell's first suggestion.
Other documents randomly have
different content
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund from
the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law in
the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms of
this agreement by keeping this work in the same format with its
attached full Project Gutenberg™ License when you share it without
charge with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears, or
with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
 This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning of
this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
 copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the “Right of Replacement or Refund” described in paragraph
1.F.3, the Project Gutenberg Literary Archive Foundation, the owner
of the Project Gutenberg™ trademark, and any other party
distributing a Project Gutenberg™ electronic work under this
agreement, disclaim all liability to you for damages, costs and
expenses, including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF
WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY
DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE
TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE
NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving it,
you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or entity
that provided you with the defective work may elect to provide a
replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the
Foundation, the trademark owner, any agent or employee of the
Foundation, anyone providing copies of Project Gutenberg™
electronic works in accordance with this agreement, and any
volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability,
costs and expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or cause to occur:
(a) distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any Project
Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of

Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.

Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many small
donations ($1 to $5,000) are particularly important to maintaining tax
exempt status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project

Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed

editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.