Amazon - The Sealings of Aetolian Kallipolis - no 237

Ι. Λεβέντη-Α. Αλεξανδρή (eds), Kαλλίστευμα. Μελέτες προς τιμήν Ολγας Τζάχου Αλεξανδρή, 2001

ΕΥΑ ΣΗΜΑΝΤΩΝΗ-ΜΠΟΥΡΝΙΑ ΞΩΜΠΟΥΡΓΟ ΤΗΝΟΥ: Ο ΑΝΑΓΛΥΦΟΣ ΠΙΘΑΜΦΟΡΕΑΣ ΤΗΣ ΓΕΝΝΗΣΕΩΣ ΕΚΔΟΣΗ ΔΕΥΤΕΡΗ, ΒΕΛΤΙΩΜΕΝΗ 69-84 ΦΩΤΕΙΝΗ ΝΙΚΟΥ ΖΑΦΕΙΡΟΠΟΥΛΟΥ ΚΡΑΤΗΡΟΣΧΗΜΟΣ ΑΜΦΟΡΕΑΣ ΤΟΥ 7ου αι. π.Χ. ΑΠΟ ΤΗΝ ΠΑΡΟ 85-96 ΑΛΕΞΑΝΔΡΑ ΑΛΕΞΑΝΔΡΗ ΝΕΑ ΠΑΡΑΣΤΑΣΗ ΤΗΣ ΚΡΙΣΗΣ ΤΟΥ ΠΑΡΗ ΣΕ ΜΕΛΑΝΟΜΟΡΦΟ ΓΑΜΙΚΟ ΛΕΒΗΤΑ 97-116 ΧΑΡΙΚΛΕΙΑ ΠΑΠΑΔΟΠΟΥΛΟΥ-ΚΑΝΕΛΛΟΠΟΥΛΟΥ ΑΝΑΧΩΡΗΣΗ ΤΟΥ ΑΜΦΙΑΡΑΟΥ ΣΕ ΜΕΛΑΝΟΜΟΡΦΗ ΥΔΡΙΑ 117-120 LUIGI BESCHI UN EXALEIPTRON A FIGURE NERE DAL SANTUARIO ARCAICO DIEFESTIA 121-126 JOHN H. OAKLEY "WHEEL OF FORTUNE" 127-132 JEAN-JACQUES MAFFRE LE PEINTRE DE BRYGOS ET SON CERCLE A ATHENES, A PARIS ET A BALE 133-160 ΕΛΕΥΘΕΡΙΑ ΣΕΡΜΠΕΤΗ ΔΕΚΑΠΕΝΤΕ ΑΤΠΚΕΣ ΛΗΚΥΘΟΙ ΑΠΟ ΤΗΝ ΗΛΙΔΑ 161-198 HENRI METZGER VARIANTES DANS LE CHOIX DU SIEGE DU PERSONNAGE CENTRAL SUR LES "LECYTHES DE PAGENSTECHER" 199-202 ΡΟΖΑ ΠΡΟΣΚΥΝΗΤΟΠΟΥΛΟΥ ΠΗΛΙΝΑ ΓΥΝΑΙΚΕΙΑ ΕΙΔΩΛΙΑ ΕΛΛΗΝΓΣΤΙΚΗΣ ΕΠΟΧΗΣ ΑΠΟ ΤΗΝ ΑΡΧΑΙΑ ΕΠΙΔΑΥΡΟ 203-214 ELENA WALTER-KARYDI DEN FRAUEN ZU EHREN: ARCHAISCHE GRABPLASTIK FUR ATHENERINNEN 215-232 JOHN BOARDMAN PANDORA IN THE PARTHENON: A GRACE TO MORTALS 233-244 ΑΘΗΝΑ Γ. ΚΑΛΟΓΕΡΟΠΟΥΛΟΥ ΕΠΙΤΥΜΒΙΑ ΣΤΗΛΗ ΑΠΟ TON ΜΑΡΑΘΩΝΑ 245-254 ΜΑΡΙΑ ΠΕΤΡΙΤΑΚΗ Ο ΚΛΕΙΤΩΡ, Ο ΑΚΤΑΙΩΝ ΚΑΙ Η ΑΡΤΕΜΙΣ ΣΥΣΧΕΤΙΣΜΟΙ -ΑΛΛΗΛΕΞΑΡΤΗΣΕΙΣ -ΠΡΟΒΛΗΜΑΤΙΣΜΟΙ 255-270 JEAN MARCADE DELYCOSOURAACLAROS 271-284 OLGA PALAGIA SCULPTURES FROM ROMAN SPARTA 285-300 WILLIAM D.E. COULSON AND IPHIGENEIA LEVENTI TWO ATTIC GRAVE RELIEFS OF ROMAN DATE IN THE COLLECTION OF THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS 301-318 ΓΕΩΡΓΙΑ ΚΟΚΚΟΡΟΥ-ΑΛΕΥΡΑ ΔΡΑΣΤΗΡΙΟΤΗΤΕΣ ΤΩΝ ΑΤΤΙΚΩΝ ΕΡΓΑΣΤΗΡΙΩΝ ΓΛΥΠΤΙΚΗΣ ΤΗΝ ΕΠΟΧΗ ΤΗΣ ΡΩΜΑΙΟΚΡΑΤΙΑΣ 319-348 ΜΕΛΠΩ Ι. ΠΩΛΟΓΙΩΡΓΗ Διός κούρος ΕΠΙ ΕΛΕΦΑΝΤΙΝΟΥ ΠΛΑΚΙΔΙΟΥ 349-356 ΕΥΑΓΓΕΛΟΣ ΤΖΑΧΟΣ ΜΙΑ ΕΠΑΝΕΚΤΙΜΗΣΗ ΤΗΣ ΑΘΗΝΑΙΚΗΣ ΤΡΙΗΡΟΥΣ Η ΛΗΚΥΘΟΣ ΑΡ. 9167 ΤΟΥ ΕΘΝΙΚΟΥ ΑΡΧΑΙΟΛΟΓΙΚΟΥ ΜΟΥΣΕΙΟΥ 357-384 ELIZABETH R. GEBHARD VITRUVIUS AND THE PLANNING OF THE GREEK THEATER 385-394 T. LESLIE SHEAR, JR. A TEMPLATE FOR CARVING MOLDINGS 395-402 ΦΑΝΟΥΡΙΑ ΛΑΚΟΡΩΝΙΑ ΑΡΤΕΜΙΣ-ΑΣΠΑΛΙΣ 403-410 VERONIKA MITSOPOULOS-LEON ATHENA ODER ARTEMIS? ZU EINEM ANTEFIXTYPUS VOM TEMPEL DER ARTEMIS IN LOUSOI 411-424 PANTOS A. PANTOS DER TUMULUS IN DER NAHE VON ΝΕΑ ORESTIAS, BEZIRK EVROS, IM GRIECHISHEN THRAKIEN 425-432 ΕΥΑΓΓΕΛΙΑ ΠΡΩΤΟΝΟΤΑΡΙΟΥ-ΔΕΪΛΑΚΗ ΚΑΤΑΣΤΡΟΦΕΣ ΑΠΟ ΣΕΙΣΜΟΥΣ ΚΑΙ ΠΛΗΜΜΥΡΕΣ ΣΤΗΝ ΑΡΧΑΙΑ ΦΕΝΕΟ 433-438 ΚΑΤΕΡΙΝΑ ΚΑΝΤΑ-ΚΙΤΣΟΥ Η ΛΑΤΡΕΙΑ ΤΟΥ ΑΠΟΛΛΩΝΑ ΑΓΥΙΕΑ ΣΤΗΝ ΚΕΡΚΥΡΑ 439-460 STEPHEN G. MILLER CULT TABLES FROM ΝΕΜΕΑ 461-468 ΑΓΓΕΛΙΚΗ ΚΩΝ. ΑΝΔΡΕΙΩΜΕΝΟΥ ΤΟ ΕΡΓΑΣΤΗΡΙΟΝ ΧΑΛΚΟΤΕΧΝΙΑΣ ΤΗΣ ΑΚΡΑΙΦΙΑΣ (830-480 π.Χ.)· ΣΥΜΒΟΛΗ ΕΙΣ ΤΗΝ ΧΡΟΝΟΛΟΓΗΣΙΝ ΕΝΙΩΝ ΤΥΠΩΝ ΚΟΣΜΗΜΑΤΩΝ 469-526 ERIKA SIMON LOKROS 527-532 ΒΙΒΗ ΒΑΣΙΛΟΠΟΥΛΟΥ Η ΑΤΤΙΚΗ ΜΝΑ. ΣΤΑΘΜΙΑ ΤΟΥ ΝΟΜΙΣΜΑΤΙΚΟΥ ΜΟΥΣΕΙΟΥ ΑΘΗΝΩΝ 533-540 ΜΑΝΤΩ ΟΙΚΟΝΟΜΙΔΟΥ ΝΟΜΙΣΜΑΤΙΚΟΣ «ΘΗΣΑΥΡΟΣ» ΑΝΤΙΚΥΘΗΡΩΝ 541-544 BRIAN F. COOK ΛΕΥΚΩΜΑΤΑ 545-548 ΓΕΩΡΓΙΟΣ ΣΤΑΪΝΧΑΟΥΕΡ ΠΡΟΞΕΝΙΚΟ ΨΗΦΙΣΜΑ ΣΑΛΑΜΙΝΙΩΝ ΑΠΟ ΤΟΝ ΠΕΙΡΑΙΑ 549-556 ΒΑΣΙΛΕΙΟΣ Χ. ΠΕΤΡΑΚΟΣ ΕΠΙΓΡΑΦΙΚΑ ΤΟΥ ΡΑΜΝΟΥΝΤΟΣ 557-562 PIERRE DUCREY 35 ANS DE PRESENCE ARCHEOLOGIQUE SUISSE A ERETRIE: REFLEXIONS SUR LE SENS ET LES OBJECTIFS DUN ENGAGEMENT CULTUREL 563-580 ΕΓΧΡΩΜΟΙ ΠΙΝΑΚΕΣ I-VII 583-590

The Sealings of the Aetolian Kallipolis: The Iconography. The text "The Sealings of the Aetolian Kallipolis: The Iconography" is a translation of chapter 8 of my doctoral dissertation "The sealings of the Aetolian Kallipolis" (University of Athens, 1984-5). This chapter is divided into three parts: Part A refers to the importance of the sealings of Kallipolis, that is, they are a closed dated group of sealings, and that their art is completely Hellenistic. Part B refers to the theme of the representations on the sealings (gods and heroes, male and female figures, animals, mythical beings, various objects). Finally, in Part C, the relationship between coin types and emblems of public seals is examined.

Funerary naiskoi of monumental size were unusual in fourth-century BC Attic funerary art, but the evidence shows that a similar type of building was more commonly produced in the West: architectural and relief fragments alongside depictions of naiskoi on Apulian red-figure vases indicate that this type of temple-like structure was also produced in Taranto. Relief decoration showing episodes of heroic myth and battles served to enhance the status of the dead in tomb iconography; being the Amazonomachy the single most popular subject on fourth-century BC funerary monuments. Today, it is widely accepted that the popularity of the subject is indebted to its presence in the Mausoleum at Halikarnassos and other eastern funerary monuments, but little has been said about the myth's connotations when placed in different geographic areas. This paper explore the funerary uses of the Amazonomachy through both a contextual and an iconographic analysis of its presence on Attic and Tarantine funerary naiskoi.

American Journal of Archaeology, 1995

A statue found in the Corinth Theater represents a woman wearing a chitoniskos, cross-strap, belt, and high boots. Although the sculpture was first identified as Artemis, its identification is problematic because no other sculpture of the same type is known. Examination of its attributes suggests, rather, that it depicts an Amazon. The statue was also at first believed to be a copy of a Greek bronze of the second half of the fifth century, but close scrutiny of its stance, proportions, and style indicate that it is more likely to be a Roman Classical creation than a variant of a Greek original. Much about the piece is Roman in conception. A date in the first half of the second century A.D. and a location in the peristyle court adjoining the Corinth Theater are argued* During the course of the 1929 excavations in the Corinth Theater conducted by T. Leslie Shear, an over-life-size statue of a woman, complete except for the head and arms, emerged in a remarkably good state of preservation (figs. 1-6).' This statue, which represents a young woman dressed in a chitoniskos, would have formed part of the decoration of the Corinth Theater and related courts in the second century A.D. Since its presentation in Shear's preliminary excavation report in AJA and a subsequent notice in Gnomon by De Waele, the sculpture has gone largely unnoticed, despite its good condition, its continuous display in the Corinth Archaeological Museum, and its high artistic quality.2 The * Study of this sculpture was supported by grants from the Research Council of the University of North Carolina at Chapel Hill. I particularly wish to thank Charles K. Williams, II, Director of the Corinth Excavations, for permission to study the Corinth Theater sculptures and for his general assistance, and also Nancy Bookidis, Assistant Director. In addition, I am grateful to the Greek Ministry of Culture, in particular the Ephor of Antiquities of the Argolid and Corinthia, P. Pachyianni, and the American School of Classical Studies at Athens, under whose auspices this work was carried out; to Brunilde S. Ridgway, Nancy Bookidis, and Gerhard Koeppel for careful reading of drafts of this paper; to Evelyn Harrison, Olga Palagia, and Alan Shapiro for helpful comments; to Giorgios Despinis for inspiration on several points; to Susan Rutter for bibliographic checking; to AJA's anonymous readers for their insightful comments; and to numerous students who have responded kindly to having this subject impressed upon them. All misconceptions are my own. The recent Corinth photographs (figs. 1-4, 6) are by I. Ioannidou and L. Bartzioti. The following abbreviations are used: Bieber 1961 M. Bieber, History of the Greek and Roman Theater2 (Princeton 1961). Bieber 1977 M. Bieber, Ancient Copies (New York 1977). Boardman J. Boardman, Athenian Red Figure Vases. The Classical Period (London 1989). Felletti Maj B. Maria Felletti Maj, Museo Nazionale Romano. I ritratti (Rome 1953). Harrison E.B. Harrison, "Two Pheidian Heads: Nike and Amazon," in D. Kurtz and B. Sparkes eds., The Eye of Greece, Studies in the Art of Athens (Cambridge 1982) 53-88.

This essay examines the "Amazon monument of Ephesus", because the “meaning” of prominent freestanding Greek monuments was often more explicit than the “meaning” of architectural sculpture. If we want to understand the ancient cityscapes we need to take these monuments into account and rekindle the interest in Roman copies of Greek monuments; not so much as evidence of Greek sculptural style but of the Greek visual landscape. This paper is published in its final version in: Cityscapes and Monuments of Western Asia Minor, Memories and Identities. Eds. Eva Mortensen and Birte Poulsen.

The Sealings of the Aetolian Kallipolis : The Portraits Pantos A.Pantos The paper "The Sealings of the Aetolian Kallipolis: The Portraits" is a translation (with the addition of selected footnotes) of chapter 7 of my doctoral dissertation "Τα σφραγίσματα της αιτωλικής Καλλιπόλεως" (University of Athens, 1984-5). The first part examines general themes such as identified and non-identified portraits, the royal portrait (diadem, diadematophoros kausia, chlamys), as well as portraits known from coins. The following are the Ptolemaic portraits on the sealings (Ptolemy I Soter (?), II Philadelphos, III Euergetes, IV Philopator, V Epiphanes, VI Philometor (?), Berenice II, Arsinoe III). From the other Hellenistic dynasties there is a portrait of Attalos I of Pergamon, Antiochos III and other Seleucids (?) and Prusias I of Bithynia. Among the Romans is probably the portrait of Scipio Africanus, while many depict unidentified individuals.Despite the nature of the material, an attempt is made to identify seal engravers. The characteristics of the Ptolemaic can be distinguished in relation to the characteristics of the other portraits.

New Classicist (Institute of Classical Studies. School of Advanced Study. University of London), 09. ISSN 2732-4168, 2023

Amazon myths were acknowledged not only in early Antiquity, but also between the 1st and 7th centuries AD and up until now. The nickname that was created for their culture today has become an adjective that defines not only any warrior woman, but even women who demonstrated special skills in the art of horsemanship. In fact, the meaning variations that this word suffered in Roman culture is an intriguing aspect of this study as we do not know why it was also used in the epigraphic context. The memory of the Amazon myths was preserved in the cultures who inherited the Hellenic tradition and those who came into contact with it until they became a basic and enduring element of the western collective imaginary.

Alexander the Great The Sealings of Aetolian Kallipolis – no. 290 Pantos A. Pantos Head of Alexander the Great . The characteristics of the king are rendered with few, extremely intense lines. Τhe hair is dominated by the "anastole". The portrait of Alexander the Great is a very common theme on the ring stones. Τhese tiny representations in Kallipolis come from rings of the 3rd or early 2nd century BC, when the figure of Alexander already had become a common theme. In them there is a conscious tendency to be rendered, and in fact overemphasized, certain special features of Alexander, which are also testified by ancient writers. The sealings come from the seal of a private person , perhaps an admirer "φιλαλέξανδρος". (Translation. Initial publication in "TA ΣΦΡΑΓΙΣΜΑΤΑ ΤΗΣ ΑΙΤΩΛΙΚΗΣ ΚΑΛΛΙΠΟΛΕΩΣ" (Dissertation, University of Athens, 1984-5, in Greek ).

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Hardcover Edition: ISBN 978-1-78297-663-9 Digital Edition: ISBN 978-1-78297-664-6 Hardcover Edition: ISBN 978-1-78297-663-9 Digital Edition: ISBN 978-1-78297-664-6 A CIP record for this book is available from the British Library Library of Congress Control Number: 2010290514