the excavation of the athenian agora twelfth season: 1947
the excavation of the athenian agora twelfth season: 1947
the excavation of the athenian agora twelfth season: 1947
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182 HOMER A. THOMPSON<br />
Various A<strong>the</strong>na types <strong>of</strong> <strong>the</strong> fifth century are faithfully reproduced in a number<br />
<strong>of</strong> minor terracotta works <strong>of</strong> <strong>the</strong> Roman period in a way paralleled by <strong>the</strong> representation<br />
<strong>of</strong> famous statues on A<strong>the</strong>nian coins <strong>of</strong> Imperial times. The most popular <strong>of</strong><br />
<strong>the</strong>se revivals is <strong>the</strong> bust <strong>of</strong> A<strong>the</strong>na Promachos, armed with Corinthian helmet, spear<br />
and aegis. She appears on a dozen or more lamps <strong>of</strong> <strong>the</strong> second and third centuries<br />
found in <strong>the</strong> Agora as well as on o<strong>the</strong>r lamps <strong>of</strong> <strong>the</strong> same types from <strong>the</strong> A<strong>the</strong>nian<br />
Kerameikos and from Corinth.71 One <strong>of</strong> <strong>the</strong> finest <strong>of</strong> <strong>the</strong>se representations occurs<br />
on a large lamp <strong>of</strong> <strong>the</strong> third century found in <strong>the</strong> Agora in 1939 (P1. 62, 3).72 Working<br />
even in this nmodest medium and small scale <strong>the</strong> late craftsman has caught not a little<br />
<strong>of</strong> <strong>the</strong> beauty <strong>of</strong> <strong>the</strong> original.<br />
The Par<strong>the</strong>nos forms <strong>the</strong> subject <strong>of</strong> two closely related pieces which came to<br />
light in <strong>the</strong> <strong>season</strong>s <strong>of</strong> 1939 and <strong>1947</strong>. One <strong>of</strong> <strong>the</strong>se (P1. 62, 1) preserves <strong>the</strong> face<br />
and <strong>the</strong> bowl <strong>of</strong> <strong>the</strong> helmet,73 <strong>the</strong> o<strong>the</strong>r (P1. 62, 2) gives us <strong>the</strong> shoulder and <strong>the</strong> whole<br />
helmet.74 The sphinx in <strong>the</strong> middle and <strong>the</strong> pegasus on ei<strong>the</strong>r side <strong>of</strong> <strong>the</strong> helmet conform<br />
to <strong>the</strong> normal type; <strong>the</strong> lesser fauna that sometimes appear above <strong>the</strong> brow band<br />
are here entirely omitted as on <strong>the</strong> Varvakeion statuette. The most interesting variant<br />
occurs in <strong>the</strong> treatment <strong>of</strong> <strong>the</strong> cheek plate. which is decoratd with a striding male<br />
figure cradling a club in his left arm; both <strong>the</strong> Aspasios gem and <strong>the</strong> Koul-Oba<br />
medallion which show <strong>the</strong> cheek piece clearly have a griffin rampant.<br />
Both <strong>the</strong> Par<strong>the</strong>nos pieces may be assigned on <strong>the</strong> basis <strong>of</strong> context and workmanship<br />
to <strong>the</strong> third century A.D. That which preserves <strong>the</strong> face may come from an<br />
extremely large lamp, more probably from a decorative medallion. The o<strong>the</strong>r fragment<br />
is part <strong>of</strong> a mould for <strong>the</strong> making <strong>of</strong> a medallion in high relief.75 The beginning <strong>of</strong> an<br />
inscription in <strong>the</strong> bounding zone is tantalizing: H AGHN[A H TTAPG ENOI?; but<br />
we do not know whe<strong>the</strong>r <strong>the</strong> text was continuous or interrupted below as above.<br />
Whatever <strong>the</strong> purpose <strong>of</strong> <strong>the</strong>se two pieces, <strong>the</strong>y are related to each o<strong>the</strong>r in a mechanical<br />
way. Both evidently derive from <strong>the</strong> same original, but <strong>the</strong> inscribed piece is shown<br />
to be <strong>the</strong> more rernote by <strong>the</strong> greater coarseness <strong>of</strong> its detail and by its smaller scale<br />
(ca. 5/6 <strong>of</strong> <strong>the</strong> o<strong>the</strong>r).<br />
A third A<strong>the</strong>na type is represented on a sadly brok-en fragment <strong>of</strong> a once magnificent<br />
lamp, again <strong>of</strong> <strong>the</strong> third century (P1. 62, 4).76 The head <strong>of</strong> <strong>the</strong> goddess is entirely<br />
Among <strong>the</strong> coinis one <strong>of</strong> <strong>the</strong> better parallels is <strong>the</strong> fine bronze piece illustrated in Rodenwaldt, Kunst<br />
urn Augustus, p. 5, fig. 1.<br />
71 See <strong>the</strong> general study by Pick, " Promachos des Pheidias," in Ath. Mitt., 56, 1931, pp. 59-74<br />
and <strong>the</strong> additional comments by Pfuhl in Ath. Mitt., 57, 1932, pp. 151 ff.<br />
72 L 3731. Diameter, 0.092 m. Pale buff clay, unglazed.<br />
73 L 3703. Found in 1939. Maximum dimension, 0.084 m. Dark buff clay, unglazed.<br />
74 T 2376. Found in <strong>1947</strong>. Estimated diameter, ca. 0.24 m.<br />
75 That <strong>the</strong> mould was used for lamp making is ruled out bv <strong>the</strong> absence <strong>of</strong> any trace <strong>of</strong> a handle<br />
in <strong>the</strong> normal position above <strong>the</strong> head. The overall diameter, 0.24 m., is also excessive for a lamp.<br />
76 L 4256. Overall diameter <strong>of</strong> lanmp, 0.185 m.; diameter <strong>of</strong> inner medallion, 0.1 12 m. Pale buff<br />
clay, unglazed.