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 De même que, dans l’histoire des événemens de ce monde, les faits arrivés dans un temps sont 

les causes, et pour ainsi dire les germes, des faits qui arrivent dans les temps suivans, ainsi dans

l’histoire des Arts les formes emblématiques employées dans les premiers âges devinrent les

 principes ou les germes, qui dans les siécles suivans développèrent, par des formes plus ingénieuses

et plus savantes, les idées rendues primitivement par des formes plus grossières.

Pierre-François H. d’Hancarville1

Pino Blasone

Intimate and Emblematic:

 A Roman Minor Sculpture

1 – Polyhymnia, “The Pensive Muse”, ar!ial vie"s# $e!!y %illa,

Mali&u, 'ali(ornia )(rom !he ancien! 'remna, in !oday’s Tur*ey+

a&ou! . /.0+ and 'ai!oline Museums, 'en!rale Mon!emar!ini,ome. elia&ly, &o!h coies descend (rom !he same los! ori2inal,

ascri&ed !o Philiscus o( hodes

1 “3i*e in !his "orld his!ory !he even!s "hich haened are !he causes and, so !o sea*, !he 2erms

o( !hose "hich "ere 2oin2 !o haen, !hus in !he his!ory o( ar! !he em&lema!ic (orms ado!ed in

an early a2e &ecame rinciles or 2erms, (rom "here in la!er cen!uries !he ideas rimi!ively androu2hly e4ressed "ill develo in!o more in2enious and conscious (orms” )in echerches sur

!"#$%&%'() !"(+$%- (- !(+ $#&$+ /(+ 0$-+ /( !0 1$2(333 , 3ondon# B. leyard, 1567+ . 890. 8! iseviden!, accordin2 !o !he French ar! his!orian, (ine ar!s "ere a&ove all a mimesis o( ideas, as "ell

as his!ory o( ar! "as a his!ory o( ideas, lon2 a(!er Pla!o &u! no! lon2 &e(ore :an! and He2el.

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The “Pensive Muse”

;o many !imes "e have read !ha! !hese e4!an! ar!"or*s are <us! simly coies o( $ree* ori2inals, moreover mos!ly los!. =ha! seems !o &e !rue, &u! only in ar!. 8( "e consider !he

ma!!er "ell, "e shall reali>e !ha!, ra!her, !hey are varia!ions on !hemes su22es!ed &y aHellenis!ic ar!. 8n !he his!ory o( ar!, rarely ree!i!ion and di((erence reached such a mu!ual

 &alance. Those ro!o!yes "ere on !he "ay !o &ecome oular arche!yes, and $reco-oman ar!is!s – in our case, !he scul!ors o( !he imerial a2e – "ere !he o(!en anonymous

au!hors o( !his !rans(orma!ion. They "ere crea!ive ar!is!s, no! mere imi!a!ors, any"ay. ?ven"hen imi!a!ion or !he “varia!ion on !heme” "as !heir main ac!ivi!y, no! seldom !his "as so

di((eren!ia!ed and re(ined, as !o &e no! necessarily valued as a minor level o( e4ression.=ha! a *ind o( !hemes@ Their (avoured su&<ec!s, o( course as "ell as !hose o( !heir Hellenis!ic models, "ere &orro"ed (rom a daily li(e. Then, !ha! "as an in!ima!e and nearlyimmu!a&le "ay o( li(e, no! needin2 !o &e (reAuen!ly uda!ed or re-con(i2ured as i! mi2h!

occur !oday, "hen rhy!hms and (orms o( li(e i!sel( may easily chan2e year &y year.! !imes, anyho", !he su&<ec! could 2ro" em&lema!ic. For ins!ance, i! mi2h! have

assumed a my!hic or reli2ious aearance. This is !he case o( !he so called “Pensive Muse”.l!hou2h her $ree* name Polyhymnia )CDEGI0 means “!he one o( many hymns”, amon2!he Muses she is !he mos! inde!ermina!e+ nay, her loo* is a &i! mys!erious. /iscrean!!radi!ions "an! !ha! she is a 2odli*e a!ron o( !he sacred hymns, o( !he lyric oe!ry, o( !he

 an!omime... 8n a side relie( o( !he “;arcoha2us o( !he Muses” in !he 3ouvre Museum a!Paris )17-1J . /.0, "e can see !he scene o( ;ocra!es, sea!ed in conversa!ion "i!h a

s!andin2 Muse, lis!enin2 !o !he hilosoher "hile res!in2 her le(! el&o" on !he !o o( a smallcolumn. 8( "e loo* a! !he (ron! o( !he same ar!"or*, "here !he nine Muses are deic!ed, in

!he middle "e may no!ice a li*e (i2ure o( youn2 "oman, leanin2 on!o a shor! illar in a!hou2h!(ul a!!i!ude. Her el&o"s are res!in2 on !he illar. Kne hand is suor!in2 her chin.

;he is Polyhymnia. di((erence "i!h !he Muse o( ;ocra!es – ano!her alle2ory, (or hisin!ima!e “daemon”@ – is a veil ar!ly coverin2 her head, "hereas !ha! o( !he (ormer is &are.

=ha! does i! mean@ 8s Polyhymnia !o &e re2arded as a Muse o( hilosohy !oo@ Moreli*ely, she came !o reresen! an inner re(lec!ion, recedin2 !he e4ecu!ion o( a "or* o( ar! or 

li!erary comosi!ion, as much as – even !hou2h e4ce!ionally – a !hin*er’s s!ruc!ural

reasonin2. 3e! us read !he $reco-?2y!ian Lonnus o( Panoolis, in !he 7!h  &oo* o( hismy!holo2ical eic oem Dionysiaca, "hen he descri&es a er(ormance o( Polyhymnia a! !he

"eddin2 o( 'admus and Harmonia# “;heN "aved her arms, and s*e!ched in !he air anima2e o( a soundless voice, sea*in2 "i!h hands and movin2 eyes in a 2rahic ic!ure o( 

silence (ull o( meanin2” )early 7!h

 cen!. '. ?.+ !rans. =. H. /. ouse0. Ondou&!edly, !here!he re(erence is !o a mimic dance. 8! is also !rue, !ha! “ima2e o( a soundless voice” may readli*e allusive !o some!hin2 !aci! "hich rises inside !he soul, or "i!hin our minds, &e(ore

ado!in2 !he (orm o( any seech, (i2ural e4ression or musical score. 8n sum, Polyhymnias!ands (or !he insira!ion i!sel(, ho"ever ar!is!ic or secula!ive i!s ou!come mi2h! &e.

 Lever!heless, alon2 "i!h her sis!ers, !he “Pensive Muse” "as a dau2h!er !o Memosyne,

8n !he 4ymposium &y Pla!o, indeed "e read a di((eren! oinion a&ou! Polyhymnia, "ho !here is laced a(!er Orania in a sym&olic comarison and oosi!ion. 8n (ac! Orania, more

conven!ionally !he Muse o( as!ronomy, "as held as !he mos! lo(!y and siri!ual amon2 hersis!ers. e! !his hyer&ole – in reali!y, an e4cess o( Pla!onic idealism – "as ascri&ed !o !he

 hysician ?ry4imachus, no! !o ;ocra!es, "ho is also a charac!er in !he same dialo2ue.

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!he 2oddess o( memory. ;o, "illin2ly she "as deic!ed "hile holdin2 a scroll in one hand)o!her !imes, !his is a lyre0, almos! !o remind !ha! her (inal !as* "as !o ma*e us !rans(use our 

 ossi&le insira!ion in!o a "or* o( ar! or li!era!ure, "hich is !ransmissi&le (rom 2enera!ion !o2enera!ion and susce!i&le !o render !he au!hor "or!hy o( raise and (ame# o&viously, i( only

he is *no"n.Q e! !he mos! "idesread icono2rahy o( Polyhymnia remains !ha! one, carvedand illus!ra!ed on !he (ron! o( !he “;arcoha2us o( !he Muses”, in !he 3ouvre. s a nice 2irlin !he same os!ure and a!!i!ude, !here "e can admire also a s!a!ue o( her, a oman coya(!er a Hellenis!ic e4emlar. 8n !he 5elebrated 6ravels and 6ravellers, a non-(ic!ion eisode

in his roduc!ion, Rules %erne haened !o "ri!e a&ou!# “mon2 !he an!iAue s!a!ues o( "hich !he 3ouvre is (ull, !here is one o( Polyhymnia, "hich is cele&ra!ed a&ove !he res! (or 

an e4ression o( melancholy ensiveness no! usually (ound amon2 !he ancien!s”.S

l&ei! inciden!ally reor!ed &y !he French science (ic!ion novelis!, !his oinion ishi2hly relevan!. c!ually, i( "e o&serve ano!her coy o( !he same scul!ure, curren!ly in !he'ai!oline Museums'en!rale Mon!emar!ini a! ome, even &e!!er "e "ill 2e! a"are !ha! !he

e4ression o( her (ace is a valid mo!ive (or !he modern de(ini!ion “Pensive Muse”. ;hes!ares in!o !he dis!ance, as i( medi!a!in2 uon some!hin2 &eyond an ordinary ran2e o( vie".

s !o melancholy, indeed i! seems !he re(lec!ion in her eyes o( !he consciousness o( our o"nimo!ence !o 2a>e (ur!her, ra!her !han a real (eelin2 in !he mar&le hear! o( !he Muse )desi!esome resem&lance, she is no! !he 7elancolia, much la!er ersoni(ied and en2raved &y ./Urer0. The more !his divine Polyhymnia loo*s li*e a common, musin2 2irl, !he more her 

(i2ure may aear some"ha! disconcer!in2. s!ran2e de!ail is a ri2h! closed hand, "hichshe u!s under her chin. Tha! (is! is covered &y !he clo!h o( a lar2e $ree* him8tion, "hich

s"a!hes her vir2inal &ody !oo. ! !he same !ime, her lon2 hair is accura!ely !ied u in a &unon !he &ac* o( her head. ?very!hin2 is so s!udied, as !o ma*e s!and ou! an essen!ial &eau!y.

The “Pensive Muse” "as one o( !he mos! imi!a!ed, and emula!ed, in ancien! !imes.May a coy &e &e!!er !han !he ori2inal@ The (ull round scul!ed s!a!ue in !he 'en!rale

Mon!emar!ini su22es!s i! !o &e ossi&le, even more !han !he dama2ed one in !he 3ouvre,rein!e2ra!ed in 156 &y !he 8!alian 2os!ino Penna. Bu! ours "ould remain a 2uess, "i!hou!an ori2inal !o comare "i!h. By con(ron!in2 !he coies in !oday’s museums, "e can res!orean ima2e o( such a los! ro!o!ye.7 &le !o 2ive rise !o so many, more or less (ai!h(ul

relicas, !ha! had !o &e an ideal mas!eriece a! leas!. ;ome have a!!ri&u!ed i! !o Philiscus o( 

Q More rarely, she may &e deic!ed "hile holdin2 her inde4 on her chee* or mou!h, such as in a

 Leoclassical s!a!ue !oday in !he “$arden o( !he Muses” a! !he chilleion Palace, 'or(u, $reece.8! is in!eres!in2 "ha! !he comoser 82or ;!ravins*y "ro!e a&ou! in An Autobiography, in 1VQJ#

“Polyhymnia, (in2er on lis, reresen!s mime. s 'assiodorus !ells us# WThose sea*in2 (in2ers,

!ha! eloAuen! silence, !hose narra!ives in 2es!ure, are said !o have &een inven!ed &y !he MusePolyhymnia, "ishin2 !o rove !ha! man could e4ress his "ill "i!hou! recourse !o "ordsX”.

Be!!er !han !o a mimic silence, indeed, !ha! 2es!ure seems re(era&le !o a 2eneral musin2 a!!i!ude.

S 8n R. %erne, 5elebrated 6ravels and 6ravellers, Par! 888# “The $rea! ?4lorers o( !he Line!een!h

'en!ury”+ 'ha!er 88# “French 'ircumnavi2a!ors” )!rans. L. /’nvers0.

7 For e4amle, in !he %a!ican Museums a! ome+ in !he Lales rchaeolo2ical Museum+ in !he

l!es Museum a! Berlin+ in !he $e!!y %illa a! Mali&u, 'ali(ornia+ in !he rchaeolo2ical Museum

o( /elos, $reece )!he oldes! e4emlar# ca. Qrd cen. B. '.+ al&ei! maimed, i! ma*es ro&lema!ic!he a!!ri&u!ion o( !he “ori2inal” !o Philiscus o( hodes0. cas! (rom a s!a!ue resuma&ly o( !he

same !yolo2y, !he (ra2men! o( a (ine head, is also (ound in !he Push*in Museum a! Mosco".

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hodes, lived in !he nd cen!ury B. '., "hereas !he coy in !he 'ai!oline Museums da!es

(rom !he nd  cen!ury '. ?. ccordin2 !o Pliny !he ?lder in his 9atural :istory, Philiscusscul!ed !he nine Muses (or !he Temle o( ollo, a! !he Por!ico o( Kc!avia in ome.8nsired &y !his comosi!e mas!eriece, "e have !"o e4!an! relie(s, &o!h conserved in !he

Bri!ish Museum a! 3ondon. Kne o( !hem is &y rchelaus o( Priene )ca. 1Q B. '.0.

;incerely, i! 2ives us a oor idea o( "ha! !he ori2inal mi2h! have &een. e!, !here, "e candiscern "ha! !he nin!h Muse is really doin2. ;he lis!ens !o a music layed &y her mas!er, !he2od ollo. =ha! her oen eyes are dreamin2 is a "orld redeemed, or saved, &y (ine ar!s.

– T"o scul!ed ima2es o( a (orlorn childhood, resec!ively in

mar&le and &ron>e# ;uer lanternarius or “3an!ern-&earin2 'hild”)La!ional Museum o( ome, Ba!hs o( /iocle!ian+ i! is an old ic!ure#

un(or!una!ely, !oday !he le(! arm o( !he sleey child is missin20+ “'oinBan* ;haed as a Be22ar $irl” )$e!!y %illa, Mali&u, 'ali(ornia0

A World of Children,

Sometimes in the Dark 

mon2 ancien! coies a(!er !he an!iAue, no! a (e" s!a!ues or s!a!ue!!es have children as!heir (avoured su&<ec!s. n imro&a&le oman ori2inal is !he lay(ul and em&lema!ic “'hild

"i!h a Mas*”, !ha! is !he !hea!re mas* o( an old ;a!yr )'ai!oline MuseumsPala>>o Luovo,ome+ ca. 1s! cen!. . /.0. more success(ul !ye "as !ha! o( !he “'hild "i!h $oose”, "hichis seci(ically !he (i2ure o( a na*ed male child, !ryin2 !o s!ran2le an unluc*y lon2 nec*ed2oose.J This is a li!!le more !han "ha! usually called a na!uralis!ic “scene o( 2enre”, and

J ! resen!, some o( such mar&le coies or varian!s are (ound in !he 'ai!oline Museums)Pala>>o Luovo0 and in !he %a!ican Museums a! ome+ in !he Museo La>ionale omano

)Pala>>o l!ems0+ in !he 3ouvre a! Paris+ in !he $ly!o!he* o( Munich. This las! one is !he mos!in!e2ral. Bo!h reiclas in !he La!ional Museum o( ome and in !he 3ouvre are lar2ely res!ored.

Pomeian coy o( !he same !ye, in !he Lales rchaeolo2ical Museum, is <us! only a !orso.

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very 2racious indeed, desi!e or !han*s !o i!s sho" o( lay(ul violence. lso in !he case a!hand "e may re(er !o a suosed Hellenis!ic ori2inal, ascri&ed !o BoY!hus o( 'halcedon,

"hose name "as recorded &y Pliny !he ?lder !o2e!her "i!h an in(orma!ion a&ou! his "or*s.The small &ron>e s!a!ue ou2h! !o have &een made in !he (irs! hal( o( !he nd cen!ury B. '.

BoY!hus "as seciali>ed in ima2es o( children. 8n !he 'ai!oline Museums a! ome, Pala>>odei 'onserva!ori, !here is a resumed &ron>e relica o( ano!her o( his decora!ive scul!ures#!he so la&elled 4pinario or “Thorn-Puller”+ a nude li!!le &oy si!!in2 on a roc* or a s!um,occuied in e4!rac!in2 a !horn (rom his le(! (oo!. More &ron>e or mar&le oman coies a(!er 

!he same ro!o!ye are (ound in imor!an! museums, a! Florence, Paris, 3ondon, Mosco".5

There are also coies o( !he “Thorn-Puller”, "hich are old &u! no! an!iAue. 8n an early

Moderni!y, !he mos! “ori2inal” o( !hem "as <us! !he ima2e o( a mar&le s!a!ue, "i!hin a lar2er  ain!in2# <anitas 4till =ife >ith the 4pinario, oil on anel &y Pie!er 'laes> )i<*smuseum,ms!erdam+ 1J60. Fur!hermore, !his coy o( a coy is an ima2inary syn!hesis o( relicas,"hich !he /u!ch ar!is! could have seen in reali!y or reroduced as desi2ns and rin!s, "i!h a

 &i! o( ersonal (ancy added. human s*ull "i!h &ones aar!, so usual in !his 2enre o(  ain!in2s, !he visual con!e4! is mainly made o( ins!rumen!s (or (ine ar!s, as i( !o insinua!e

!ha! even our love (or !hem or !he collec!ionism o( ar!"or*s and survived mas!erieces may &e a sor! o( vanitas vanitatum# !he Bi&lical “vani!y o( vani!ies, all is vani!y”, re2ardin2 amundane recariousness and illusiveness. Kn !his oin!, !he BaroAue s!yle diver2ed (rom'lassicism, in no "ay !he (ormer &elievin2 !he aes!he!ic en<oymen! !o &e a means o( moral

au!onomy. 8n !hemselves, (ine ar!s can redeem or save nei!her us nor !he "orld. They mayeleva!e our souls, only in a reli2ious (rame"or* and ersec!ive. Kn !he con!rary, a

dis!inc!ion &e!"een sacred and ro(ane ar! had &een un*no"n in !he classical cul!ure.Perhas, i! is more e4ac! !o say !ha! such a dis!inc!ion "as erceived in a di((eren!

manner. 8n (ac!, !his does no! mean !ha! !here "as no sacred sense in !he ar!is!icreresen!a!ion, even in su&<ec!s aearin2 ro(ane !o our eyes. 8( !he 4pinario loo*s li*e a

neu!ral one, "e canno! a((irm !he same (or !he divine Polyhymnia al&ei! in her version o( “Pensive Muse”, in si!e o( a s!udied aearance o( common 2irl. ?ven in !he “'hild "i!h$oose”, "e may 2uess an ironical allusion, concernin2 my!holo2y a! leas!. My!hs had &een!he 2round, "here !he a2an reli2ion "as &orn and a rela!ed reli2iosi!y had 2ro"n u. 8n a

$ree* or oman mind, easily !ha! child "i!h 2oose ou2h! !o have recalled !he my!hic !ale o( a &a&y Hercules s!ru22lin2 "i!h sna*es6, or, more 2enerically, !he deeds o( so many heroes

(acin2 !erri&le mons!ers. nyho", !he resi>in2 !o a childish and idyllic dimension "ouldhave roduced a comic e((ec!. 8n a "ay li*e !his, Hellenis!ic ar! had di((eren!ia!ed (rom

5 /esi!e some scholarly ar2umen!s, a dou&! remains !ha! !he 4pinario in !he 'ai!oline Museums

mi2h! &e !he ori2inal i!sel(, ins!ead o( a relica. 8n !he l!es Museum a! Berlin !here also e4is!s asin2ular varian! o( “Thorn-Puller”, !he so named “4pinario o( Priene”, a o!!ery (i2urine o( !he

nd cen!. B. '.# he is no! a child indeed, &u! an e4o!ic &lac* man+ "ha! "e may in(er (rom his hysio2nomy, or!rayed no! "i!hou! any s!ress or 2ro!esAue in!en!ion. nyho", !he (i2ure o( !he

4pinario has &een in!erre!ed as em&lema!ic o( a soul, e4!rac!in2 a sorro" (rom i!sel(, or even all

sorro"s# in !his case, an eviden! consola!ory ada!a!ion o( !he meanin2 !o (uneral occurrences.

6 n iconic reresen!a!ion o( Heracles as a li!!le &oy, "res!lin2 "i!h !"o oisonous sna*es and

s!ran2lin2 !hem, is (ound in !he 'ai!oline Museums, Pala>>o Luovo+ da!ed !o !he nd cen!. '.

?., also !his nice mar&le s!a!ue!!e may &e a modi(ied coy a(!er a Hellenis!ic los! ori2inal.nalo2ue &u! di((eren! ieces o( scul!ure are in o!her ?uroean museums. The same scene is

carved on coins, and is !he !heme o( a (resco in !he House o( !he %e!!ii, Pomeii+ J-5V . /.

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au!hen!ic 'lassici!y, oera!in2 a reduc!ion (rom an aulic level !o an everyday li(e scale, or even !o "ha! in $ree* "as called “rhyaro2rahy”, !ha! is !he deic!ion o( !rivial scenes.

For cer!ain, no! al"ays !ha! e((ec! "as comic. K!her"ise, i! could &e a!he!ic. ?ven inan aro4ima!e selec!ion o( !he mos! coied – and, no! seldom, varied – ar!"or*s in

n!iAui!y, !he su&<ec! o( !he  puer lanternarius  should no! &e a&sen!. 8n ancien! !o"ns,no!oriously an e4!ensive u&lic illumina!ion "as (ar !o come. By ni2h!, eole "al*in2 in!he s!ree!s made use o( !orches, or a servan! carryin2 a lan!ern "en! ahead o( !hem. Lo!rarely !ha! lan!ern-&earer "as a slave child# in 3a!in, !he servus lanternarius "as a puer 

lanternarius !oo. ! !imes, his mas!er used !o visi! (riends or a lover o( him. Then, he could &e very la!e in comin2 ou! o( !heir hosi!a&le houses. K(!en, !he slave child "as le(!

ou!doors. ?asily he occurred !o (all aslee in oen air, in !he dar* and in !he cold, "hilea"ai!in2 &eside his lan!ern "i!h !he li2h! ou!. Moved !o i!y, and may&e &ored !o or!ray2ods or heroes, once a scul!or ca!ured such an ima2e. The snasho! o( !his small, li!erallytrivialis scene, &ecame a a!!ern so imi!a!ed, as !o run a ris* o( 2ro"in2 a s!ereo!ye.V 

"onder is !ha! i! haened so lon2 &e(ore our a2e o( “reroduci&ili!y o( "or*s o( ar!”.The mos! (reAuen! su&!ye o( puer lanternarius "as or!rayed as a sleey or dro"sy

child, si!!in2 on a s!one and "earin2 a shor! cloa*, "i!h a hood coverin2 !he !o o( his head,"hich is suor!ed &y his le(! hand and arm. ;o made mar&le s!a!ue!!es are visi&le in !he

 La!ional Museum o( omeTerme di /iocle>iano )1s!  or nd  cen!. '. ?.0+ in !he l!es

Museum a! Berlin )comin2 (rom !he surroundin2s o( Pomeii+ rior !o 5V . /.0+ in !hen!iAui!ies Museum o( !he 3i&rary o( le4andria, ?2y! )$reco-oman eriod0. K!her 

!imes, !he head2ear "as a ca, !he lan!ern-&earer could &e an (rican &oy, and !he scul!edma!erial "as &ron>e.1 3ess (reAuen!ly, !ha! child or &oy "as deic!ed "hile lyin2 do"n andsleein2 on !he 2round. This is !he case o( a recen! discovery, in !he %a!ican Lecroolisalon2 !he <ia 6riumphalis a! ome# a small mar&le s!a!ue, near a !om&. The head o( !his

child is uncovered, res!in2 very close !o his lan!ern li*e !o a illo". Lay, one o( his li!!lehands is u! on !he o&<ec!, as i( on some!hin2 recious "hich he is a(raid mi2h! &e s!olen.

Pro&a&ly, !he 2rave "as o( a child and !he puer lanternarius is an ima2e o( his o"n soul.Kr, else, !he sym&olo2y mi2h! have &een more comle4 and mys!eric# a2ain, !he

lan!ern-&earer is "ai!in2 (or his mas!er, "ho !his !ime has en!ered !he house o( dea!h. e!,no", !he (ormer is his 2uide in !he dar* o( !he a(!erli(e. lmos! "i!h an inversion o( roles, he

has &ecome !he o"ner o( !he lan!ern and !he holder o( li2h!. ccordin2 !o a modern sycholo2ical in!erre!a!ion, "e can relace !he under"orld "i!h !he unconscious. c!ually,

!he child "res!lin2 "i!h a 2oose, !he 4pinario  and !he  servus lanterarius, may "ell &eima2es o( an inner sel(, or o( an arche!yal puer aeternus. 'arl $us!av Run2 no!iced ho"

much !he (i2ure o( !he hooded lanternarius "as a*in !o some reresen!a!ions o( a “minor”Hellenic dei!y# Teleshorus )“!he accomlisher”0, my!hical son and assis!an! o( scleius,

2od o( medicine. 8n !he so named “;!one o( Bollin2en”, in 1V7 !he elderly sychoanalys!en2raved a relie( "i!h an elemen!ary syn!hesis o( !hose !"o ima2es, all around "ri!in2 a (e"

imressive ma4ims in ancien! $ree*. Transla!ed in!o ?n2lish, one o( !hem reci!es# “ This isTeleshorus, "ho roams !hrou2h !he dar* re2ions o( !his cosmos and 2lo"s li*e a s!ar ou! o( 

V 8n 3a!in, trivium is a crossroad# !he meanin2 o( trivialis, as vul2ar or !ri(lin2, is a derived one.

1 no!her &ron>e (i2urine, o( an (rican adul! servus lanternarius, is in !he La!ional

rchaeolo2ical Museum o( 'a2liari, ;ardinia )second hal( o( !he Qrd cen!. '. ?.0.

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!he de!hs. He oin!s !he "ay !o !he 2a!es o( !he sun and !o !he land o( dreams”.11

Q – “Bo4er a! es!”# La!ional Museum o( ome, Pala>>o Massimo+

“;ea!ed $irl”# 'ai!oline Museums, 'en!rale Mon!emar!ini, ome

Players and Beggars,or, More Simly, a Sitting !irl

8( Polyhymnia !he “Pensive Muse” is an uncommon 2irl, (or all her commonaearance, in $reco-oman s!a!uary commoners "ere no! "an!in2. %ir!ually a! leas!, le! usre!urn !o Berlin, in!o !he Per2amon Museum. There, "e mi2h! &e charmed &y !he smallmar&le s!a!ue o( a youn2 2irl, some"ha! scan!ily dressed. ;he is crouchin2 on !he 2round

and layin2 "i!h as!ra2als, or *nuc*le&ones. ! !hose !imes, i! "as a oular as!ime similar !o dice or !o <ac*s, layed &y !"o or more ersons. 8n !his case !he a!!en!ion o( !he lonely

“$irl Playin2 Astrag8loi” is so concen!ra!ed, her (acial e4ression is so !hou2h!(ul, !ha! she

may "ell 2ive an imression !o &e usin2 such a dicin2 as a ma2ic a!!em! !o in!erro2a!e !he(a!e and !o read her (u!ure. The iece o( scul!ure "as (ound on !he 'aelian Hill in ome, in15Q. 8! is a mar&le coy da!in2 &ac* !o !he mid-second cen!ury '. ?., erhas (rom a

Hellenis!ic e4emlar o( !he nd  cen!ury B. '., "i!h some modi(ica!ions o( !he model

concernin2 esecially !he hairs!yle, &e!!er coma!i&le "i!h a oman imerial (ashion. nerudi!e hyo!hesis, !ha! !he ori2inal mi2h! have had a seulchral (unc!ion, "ould 2ive i! a

11 '. $. Run2, 7emories, Dreams and eflections, 3ondon# ou!led2e Z :e2an Paul, 1VJQ+ . 17.8n $ree*, !he ma4im is# [\D\]^_`C b\DIEGG C ]fC\GC Cg f_]C _C, fIj k

]` GIDG f Cg pqC, bt\ I` w\DxCC EDI fIj bCG zG\x`G. Run2’sTeleshoruslan!ern-&earer is !he alle2orical in!roducer !o a !rans(i2ured reali!y+ a(!er !he re-

;ocra!ic hilosoher Heracli!us, he is also an {|}G I, an inner and in!ima!e “?!ernal 'hild”.

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drama!ic !ouch more# "ha! !he 2irlie con!emla!es as imminen! could &e her o"n dea!h.8ndeed, !he s!a!ue curren!ly in Berlin is no! uniAue in i!s 2enre. li*e mar&le s!a!ue,

(ormerly reu!ed !o &e o( !he my!hic Lio&e, is (ound in !he 'olonna $allery a! ome. K!her ancien! reresen!a!ions o( maidens layin2 "i!h as!ra2als, sin2ly and in coule or in 2rou,

mos!ly in !erraco!!a, do no! sho" any ossi&le (uneral sense &u! are only varia!ions on a lay(ul clich~. 8n !he 'en!rale Mon!emar!ini, !here is ano!her mar&le s!a!ue, o( a *neelin2(emale as!ra2al layer. On(or!una!ely, i! is so mu!ila!ed !ha! "e canno! ma*e a clear ideaa&ou!. e! !he circums!ance !ha! i! "as (ound in !he $ardens o( Maecenas e4cludes a

(unerary des!ina!ion. 8! is also !rue, !he “Berlinian” varian! relica &e!rays an e((or! !o u!i!sel( on a hi2her de2ree !han !ha! o( a decora!ive ar!i(ac!. 3i*e (or o!her scul!ures

considered a&ove, i!s un*no"n au!hor s!rove !o <oin a (amiliar "i!h an em&lema!ic asec!, or even !o mi4 !he  :eimliche  and !he ?nheimliche# "ha! is (el! as homely and some!hin2"hich is deely un(amiliar, !o arahrase a reno"ned conce! o( ;i2mund Freud.1 3i*e anar!"or* ou2h! !o do, !his oens !he door !o an in!erre!a!ion+ does no! 2ive us !he *ey o( !he

shrine, "here a de(ini!e meanin2 is loc*ed. Lor are "e merely dealin2 "i!h ro!o!yes or s!ereo!yes, &u! ra!her "i!h arche!yes, and !hese are "or*s in ro2ress. $ree* ar!is!s,

oman coyis!s or modern res!orers, !hey "ere all a! "or*. The cons!ruc!ion o( a cul!uralsense is a collec!ive, and lar2ely unlanned oera!ion, ye! (ine ar!s (ind !heir o"n "ays.1Q

K&viously enou2h, "e "ould re(er !o ima2ine !ha! !he sad adolescen! layin2*nuc*le&ones "as inves!i2a!in2 des!iny a&ou! an early, al&ei! unluc*y, love in her li(e. 8n

si!e o( her simle-mindedness, !he &ac*2round allusion seems !o &e !o an imondera&lecasualness in human lives – li*e in a cas! o( dice –, easily 2enera!in2 sorro"(ul disillusions

in a youn2 a2e. K!her !imes !his a2e may &e so youn2, !ha! i!s una"are !hou2h!lessnesscanno! even !urn in!o a !hou2h!(ul disillusion, in (ron! o( an imendin2 !ra2edy. ;uch a

 essimis!ic re(lec!ion may &e con(irmed &y a (resco in !he Lales rchaeolo2ical Museum,(rom !he House o( !he /ioscuri a! Pomeii. 8! is insired &y !he drama 7edea &y ?uriides,

"here she *ills her sons as a reven2e a2ains! her disloyal hus&and Rason. 8n !he or!rayedscene, !he !"o children are layin2 as!ra2als in (ull li2h! inside an in!erior+ in !he shado",!heir mo!her is medi!a!in2 her ne4! (ilicide. 3e! us !hin* o( ho" many Pomeian children"ere layin2 !heir innocen! 2ames, "hile a s!emo!her as La!ure "as rearin2 des!ruc!ion

!o !hem and !o !heir ci!y, &y means o( a volcanic eru!ion in 5V . /. K( course, nei!her !heau!hor o( !he Hellenis!ic ori2inal nor !he oman coyis! could *no" !ha! coincidence.

 Lone!heless, !heir sensi!iveness su22es!ed !hem a sor! o( 2enerali>a&le remoni!ion.?ven "hen i! "as no! a((ec!ed "i!h melancholy, !he (i2ure o( !he layer had a eculiar 

 p8thos. He could even &e a divine one, and an “?!ernal 'hild” as "ell. 8n a case li*e !ha!,

!he 2ame had &e!!er &e &ased on s*ill !han on chance. li!erary an!eceden! is an eni2ma!ice4!an! (ra2men! o( !he !rea!ise “Kn La!ure” ) ;eri physe@s0, &y !he re-;ocra!ic !hin*er Heracli!us# “?!erni!y is a child, movin2 ieces in a 2ame+ !o him &elon2s !he *in2dom”+

1 '(. ;. Freud, Das ?nheimliche )“The Oncanny”0, (irs! u&lished in mago %, 1V1V+ . V5-QS.

1Q '(. $illes /eleu>e, “The 8dea o( $enesis in :an!’s es!he!ics” )in AngelaBiC ournal of the

6heoretical :umanities, %ol. 7Q, K4(ord# ou!led2e, + !rans. (rom French &y /. =. ;mi!h, . JJ0# “8( !he aes!he!ic 8dea surasses every conce!, i! is &ecause i! roduces !he in!ui!ion o(

another nature !han !he one !ha! is 2iven !o us. 8! crea!es a na!ure in "hich henomena areimmedia!ely even!s o( !he mind, and !he even!s o( !he mind, henomena o( na!ure”. By !he "ay,

!ha! “ano!her na!ure” is no!hin2 &u! cul!ure, in !he &es! sense "e can 2ive !o !his !erm a! leas!.

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{|}G I ] I•€G, \\G‚ Ibƒ „ pI]D•. Mos! ro&a&ly, !his 2ame "as similar !o drau2h!s, !o chess or &ac*2ammon, layed &y movin2 ieces on a &oard and ossi&ly

al!erna!in2 cas!s o( dice, in order !o decide !he seAuence o( !he moves. Thus, casualness and ro<ec!uali!y "ere mi4ed in a cosmic, ri2h! roor!ion. Kr, else, "as !ha! ersoni(ied i…n

 layin2 a2ains! an imersonal no!hin2ness@ 8s !he "orld li*e a &alanced "or*, &e!"een anélan vital  or “"ill !o o"er” and a &lind (orce o( annihila!ion@ Osually, hilosohers areclever in u!!in2 (or"ard Aues!ions+ (ar less, in 2ivin2 ans"ers. Kn an ar!is!ic level, !ha! "ill!o o"er is ra!her a "ill o( reresen!a!ion, no! seldom o( “re-resen!a!ion” !oo. 8! is !o

anno!a!e, "hile scul!in2 his “;!one o( Bollin2en”, 'arl $. Run2 inscri&ed also !he hilosohical Auo!e a&ove, !o2e!her "i!h his childli*e ima2e o( a Teleshoruslanternario.

(!er !he e4amles sulied &y a Hellenis!ic ar!, and li!era!ure, amon2 $reco-omanscul!ors a roensi!y !o"ards "ha! "as childish and (emale, na†ve or hum&le, isundenia&le. =ha!ever conce! "e may have inheri!ed o( an ancien! oman 2randeur,o((icial monumen!ali!y "as no! !heir (avouri!e measure o( e4ression.1S ll !he more !his

may &e !rue, "hen !hose ar!is!s "ere ar!isans and !heir roduc!ion "as a *ind o( handicra(!.8n !he $e!!y %illa a! Mali&u, in 'ali(ornia, our a!!en!ion mi2h! &e ca!ured &y a &ron>e

o&<ec! inlaid "i!h coer# “'oin Ban* ;haed as a Be22ar $irl”. Tha! is a li!!le more !han a!oy, da!a&le !o 7-7 . /. 8( "e "a!ch i! "ell, "ill reali>e !ha! !his money &o4 has no!hin2!o envy !o a small ar!is!ic scul!ure. Four or (ive years old, !he 2irlie is sea!ed on !he 2round.;he reaches ou! her ri2h! hand, "i!h !he le(! ullin2 do"n !he nec* o( her !unic, !o sho" !he

slo! cu! in her ches! "here coins should &e inser!ed. 3i*ely, !he s!andard (i2urine s!ands (or a(emale child "ho "as !o &e resen!ed "i!h !he !oy. e!, no dou&!, !here is some!hin2 odd in

i!. ?secially !he arm s!re!ched (or!h is a disconcer!in2 2es!ure, as i( emer2in2 (rom anam&i2uous uncanny dimension. 8( !he 2irl is "ell dressed li*e a luc*y receiver o( !he 2i(!,

ac!ually !he e4ression o( her (ace is !ha! o( a oor &e22ar, unhay and a((ec!ed a! once, inorder !o move !o i!y an occasional con!ri&u!or. Rus! li*e !he lan!ern-&earer child o( "hich

a&ove, !his &e22in2 li!!le 2irl may "ell reresen! !he removed slavish sel( o( a social ego.;ince "e are mainly sea*in2 a&ou! a oman ar!, a (ur!her visi! !o !he 'en!rale

Mon!emar!ini in ome seems !o &e oor!une. =i!h a con!ras!in2 e((ec!, !here, several ieces o( “minor” scul!ure are se! in !he archi!ec!ural con!e4! o( an old elec!ric o"er 

s!a!ion. r!is!ic or indus!rial archaeolo2y, ei!her o( !hem coe4is!s in !he same am&ien!, so!ha! a remo!e n!iAui!y (aces a vin!a2e Moderni!y. mon2 ancien! scul!ures and o&sole!e

machinery, a “;ea!ed $irl” is a mar&le s!a!ue o( !he nd cen!ury '. ?., erhas a coy a(!er a

$ree* ori2inal (rom !he school o( 3ysius )S!h cen!. B. '.0. Lice loo*in2 and smar!lydressed, !he (emale adolescen! si!s on a s!ool 2a>in2 do"n in a musin2 ose, as i( "ai!in2

(or someone "ho is la!e or mi2h! no! come. More !han ever, i! is di((icul! !o a!!ri&u!e anovermeanin2 !o !his mas!eriece. 8( !here is a 2eneral allusion, !his ou2h! !o &e !o an even!very "ished, or hardly !olera&le17, "hich "e canno! *no" "he!her is 2oin2 !o &e (ul(illed or 

no!. ;uch a sense o( susense does no! reven! an ima2e li*e !ha! (rom &ein2 reresen!ed soverisimilarly – in 3a!in hic et nunc, “here and no"” –, !ha! i! aears !o &e (or ever or ever recurrin2. Lo rhe!orical monumen!ali!y could have &een so 2ood, a! de(yin2 !he cen!uries.

1S The mos! imressive "i!ness o( a modern (eelin2 o( disorien!a!ion, insired &y an over"helmin2

monumen!ali!y, is 6he Artist’s Despair Eefore the Frandeur of Ancient uins# a dra"in2

e4ecu!ed in 1556-156 &y Rohann H. FUssli a! ome, no" in !he :uns!haus a! ‡Urich.

17 3i*e in an ero!ic lyric oe!ry, !he or!rayed 2irl mi2h! have &een a youn2 hetaera, or cour!esan.

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S – “$irl Playin2 s!ra2als”, in !"o very di((eren! versions, al&ei!eviden! coies a(!er !he same los! ori2inal# resec!ively, in !he

'olonna $allery, ome, and in !he Per2amon Museum, Berlin. This

comarison 2ives a clear idea o( ho" much a “varia!ion on !heme”may vary in !he "or*s o( coyis!s, or in !he in!erre!a!ions o( res!orers

A Wingless "ros,

#ith a $amiliar Psy%he

8n !he Museum o( Fine r!s a! Budaes! !here is !he oman li(e-si>ed s!a!ue o( a nude

child, a (e" years old, "ho is s!andin2 and clasin2 some *nuc*le&ones in his le(! hand.

3ar2ely res!ored in !he 16!h cen!ury, !he ar!"or* "as "ell comosed "i!h di((eren! elemen!s

already in ancien! !imes. The head "i!h a smilin2 (ace as "ell as !he !orso are an!iAue, &u!relia&ly !hey have no! !he same ori2in. Formerly, i! "as &elieved !o &e a reresen!a!ion o( !he 2od ?ros, as a li!!le &oy 2oin2 !o lay "i!h as!ra2als. 3a!er, !his in!erre!a!ion has &eencon!es!ed, "i!h !he main ar2umen! !ha! he is no! "in2ed, as ins!ead i! "as conven!ional in

!he reresen!a!ions o( !he incons!an! and some!imes caricious dei!y1J. Fran*ly, such "ouldsound as a !ri(lin2 ro&lem. e!, i! is a (ac!, !ha! comosi!e "or* o( ar! is one o( !he mos!imressive and leasan! ima2es o( children, ever scul!ed in mar&le. ;o much, !ha! ac!uallyi!s childness may 2ive an imression o( na†ve 2odhead, no! so di((erin2 (rom !ha! "e have

seen associa!ed "i!h !he divine layer i…n &y Heracli!us, and &y '. $. Run2 a(!er him.Moreover, !his is an e4!raordinary e4amle o( a more casual !han ro<ec!ual

colla&ora!ion amon2 ar!is!s, coyis!s and res!orers, !hrou2h !he cen!uries. =ha! !hey "ere"or*in2 on "as a conce!, an idea, an arche!ye. 8n a &road Leo-Pla!onic sense, "e mi2h!asser! !ha!, s!e &y s!e, !hey 2re" a&le !o aroach an “ori2inal” ra!her !han s!rayin2 (rom

1J '(. s!rid /os!er!, “;!a!ue o( a &oy "i!h as!ra2als”, in :ighlighted GorBs of Art , summer 1,Budaes!# 'ollec!ion o( 'lassical n!iAui!ies, Museum o( Fine r!s+ a! !he =e&si!e 

h!!#an!i*.s>emuves>e!i.huan!i*ˆ2yu<!emenyevs>a*ˆmu!ar2yaevs>a*ˆen.h@id‰51. 8n !heeic my!holo2ical oem Argonautica &y ollonius o( hodes, ac!ually ?ros "as descri&ed

"hile layin2 "i!h 2olden di&s a2ains! a youn2 $anymede, !he cu-&earer o( !he 2ods.

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i!. K&viously, no! al"ays i! is so. Lay, !ha! is nearly an e4ce!ion. e!, are mas!erieces no!e4ce!ions@ 8n our case, !he mas!ers "ere more !han one and anonymous !oo. The uncer!ain

iden!i!y o( !he mar&le child "idely deends uon !ha! chain o( anonymi!y, a challen2e !o our need (or iden!i(ica!ion, as much as on !he circums!ance o( his resem&lance !o !he arche!ye

o( a “&a&y 2od”, roo!ed inside our civili>a!ion and reli2iosi!y )le! us !hin* o( !he 8n(an!Resus0. The de!ail !ha! he e4hi&i!s !he as!ra2als, a sym&ol o( casualness, may &e even more

 &e"ilderin2. 8( i! remains ro&a&le !ha! !he comosi!e ar!"or* reresen!s a &are lay(ulchild, "e canno! e4clude !ha!, some"here in i!s “ori2inals”, an am&ivalen! in!en!ion "as

la!en!, or !ha! one o( !hem a! leas! "as a real s!a!ue o( ?ros, in his version o( puer aeternus. Lo", le! us e4amine !he Aues!ion in a more seci(ic, a &i! endan!ic "ay. Lo! all !he

ancien! reresen!a!ions o( ?ros, mor or 'uid, "ere "in2ed. For ins!ance, a Aui!e (reAuen!scul!ure "as o( him as a youn2s!er !o2e!her "i!h Psyche as a 2irl# nay, a! !imes, as a li!!le

 &oy and a li!!le 2irl. 8n $ree*,  psychH  means “soul”, or “&u!!er(ly” !oo. ;o, she "as amy!hical heroine, &u! also a divini>ed ersoni(ica!ion o( !he human soul. The alle2orical

 o!en!iali!y o( a mee!in2 &e!"een ?ros3ove and Psyche;oul is Aui!e eviden!. 8n (ac!, !his is!he su&<ec! o( a (a&ulous love-s!ory, "onder(ully narra!ed &y !he 3a!in 3ucius uleius in

his novel 7etamorphoses )also *no"n as 6he Folden Ass0, no! "i!hou! any hilosohical – and Pla!onic – si2ni(icance. oe!ical deic!ion o( Psyche had &u!!er(ly "in2s on her shoulders, <us! as ?ros "as "illin2ly deic!ed as &ird-"in2ed )such he is, s!ill in a (amed

 Leoclassical mar&le 2rou &y n!onio 'anova, !oday in !he 3ouvre a! Paris0. Kur oinion is

!ha! !he &es! e4emlars o( !his !yolo2y or!ray &o!h o( !hem un"in2ed, <us! li*e normalhuman &ein2s. Ho"ever, mos!ly !hey are na*ed, "hile em&racin2 and *issin2 each o!her.

The oldes! one is no! ye! $reco-oman, &u! s!ill (ully $ree*, al!hou2h made in;ou!hern 8!aly# !he so called  7agna Fraecia  &y !he omans, or  7eg8lH :ellIs  &y !he

$ree*s. 8! is an ori2inally ain!ed dou&le &us! in !erraco!!a, (rom 'en!urie in ;icily, "herean adolescen! ?ros is reresen!ed on !he &ac* o( a u&escen! Psyche, "hile em&racin2 and

2oin2 !o *iss her assiona!ely )Bri!ish Museum, 3ondon+ -1 B. '. ?.0. 8( !his is no! !he ro!o!ye, i! is a oular iconic varian!# &esides, lon2 &e(ore !he a((a&ula!ion &y uleius in

!he nd cen!ury '. ?. This is also a case, "hen a my!holo2ema coincides "i!h an “iconema”and evolves al!o2e!her in a so realis!ic manner, !ha! !he (ormer may aear an ele2an!

 re!e4! (or !he reresen!a!ion o( !he la!!er as an ero!ic scene. ?ven more delica!e, nearly

mincin2, a mar&le s!a!ue o( ?ros and Psyche sho"s !hem as s!andin2 children, in !herchaeolo2ical Museum o( Ks!ia, no! (ar (rom ome. They are em&racin2 and *issin2 each

o!her in a resuma&le lay(ul "ay, esecially i( considerin2 !heir very youn2 a2e. Thecircums!ance !ha! !he ar!"or* had &een ori2inally laced in a cubiculum, riva!e &edroom,

 &e!rays a roaedeu!ic or ausicious urose o( concilia!in2 se4 and innocence, any"ay./iscovered in 1VQ6 inside !he “House o( mor and Psyche”, durin2 an e4cava!ion o( 

!he ruins o( !he ancien! ci!y, !his sli2h!ly dama2ed "or* o( ar! is o( !he same !ye o( ano!her mar&le 2rou, reserved in !he 'ai!oline MuseumsPala>>o Luovo since 15SV, "hen i! "as

(ound on !he ven!ine Hill in ome. 8!s Auali!y is some"ha! more re(ined+ !heir ose is a*in!o !ha! o( !he s!a!ue o( Ks!ia, &u! !hese “'uid and Psyche” are a &oy and a 2irl, no! children

indeed. Kne version more o( !he same e4emlar "as discovered in Hadrian’s %illa a! Tivoli

and (reely res!ored in !he 16!h cen!ury. e!, a(!er"ards, !his disaeared and no"adays onlya dra"in2 o( i! is availa&le, e4ecu!ed &y !he coeval 8!alian ain!er Pomeo Ba!oni.15 ll

15 8n !he . Toham 'ollec!ion, ?!on 'olle2e 3i&rary, near =indsor, O. :. ?secially in !he lo"er

 ar!, a similari!y "i!h !he version in !he 'ai!oline Museums )as "ell as "i!h a re-discovered

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!hose scul!ures are oman relicas da!in2 &ac* !o !he 1s!  or nd cen!ury '. ?., relia&ly

descendin2 (rom a la!e Hellenis!ic model o( !he nd  cen!ury B. '. 8n ar!icular, !heem&racin2 and *issin2 coule o( Ks!ia seems !o &e a varia!ion on !heme, more !han a coy!hou2h. =ha! is !rue is !ha! "e canno! *no" ho" much imi!a!ion and ho" much crea!ivi!y

"ere com&ined al!o2e!her in relicas li*e !ha!# !o such an e4!en!, !ha! "e mi2h! even deem

!his ro&lem !o &e no! so imor!an!, and our cri!icism had &e!!er &e emloyed o!her"ise.Ondou&!edly, &e!!er !han "in2ed and (a&ulous ones, a "in2less ?ros and an un"in2edPsyche "ere susce!i&le !o &e iden!i(ied as a real &oy and a 2irl in !he (lesh. This no!"i!hs!andin2, an ini!ia!ic overmeanin2 canno! &e i2nored. Par!icularly, !ha! (emale alle2oryo( !he “soul” may "ell aear !he mos! &eau!i(ul rincess on ear!h, as in uleius’ (a&le. e!

she loo*s so (amiliar a! !he same !ime, as !o easily remind us o( our souls yearnin2 !o &ere<oined "i!h an ideal divini!y, accordin2 !o a Pla!onic ersec!ive. 8n 6he Folden Ass, alovelorn Psyche is so deely (allen do"n in!o her (or2e!(ul loneliness, as !o &e (orced !o"ander alive in !he under"orld and !o overcome !erri&le !rials, in order !o survive and !o &e

re<oined "i!h her los! &eloved. Rus! only "hen she has reached a (ull a"areness o( her (rail!y

and is close !o dea!h, !hen her lover comes !o rescue her and a! las! !heir reunion can &ehaily cele&ra!ed. Lor should &e undervalued !he de!ail !ha! !he saviour "as !he 2od o( love. Learly soon a(!er, no!oriously, in !he his!ory o( our civili>a!ion !he erce!ion o( a 2odo( love "as 2oin2 !o &e no lon2er a de!ail, &u! !he core i!sel( o( a ne" reli2iosi!y.16

small s!a!ue “'uid and Psyche” auc!ioned &y 'hris!ie’s, Le" or*, in 1Q0 is almos! aniden!i!y, even i( !his ou2h! !o have &een !he resul! o( modern res!ora!ions, &ased on !he 'ai!oline

e4emlar. =ha! di((ers is !he hi2her ar!, "here !he lovers may &e *issin2 or a&ou! !o *iss each

o!her, or even 'uid reulses an advance o( Psyche, as in !he s*e!ch made &y Ba!oni.

16 8! is !rue, in his 6he 5ity of Fod , 'ha!er 9%888, ;!. u2us!ine o( Hyo re(ers !o !he ma2ic

ima2ery o( !he Asinus aureus“The $olden ss” in a derisory "ay. 8! is eviden! !hou2h, he "ell*ne" !he novel o( his (ello"-coun!ryman, !he cen!ral !ale o( 'uid and Psyche included. 8n some

measure, !his an!icia!ed a conversion (rom a ro(ane !o a 'hris!ian conce!ion o( love, &yconcurrin2 !o reare !he 2round (or i!s ne" siri!uali!y. 8n an ris!o!elian “oe!ical” sense,

uleius’ 7etamorphoses are !he comedy o( a human erie!ia un!il an a2ni!ion o( 2odhead.

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7 – “Boy "i!h s!ra2als”, (ormerly suosed !o &e a li!!le ?ros#Museum o( Fine r!s, Budaes! )ar!ial vie"0+ childli*e“'uid and

Psyche”# rchaeolo2ical Museum o( Ks!ia, near ome )ar!ial vie"0

The “Maiden of An&io”,

and a Bo'er at (est

?4ce! (or !he small corolas!ic “'uid ?m&racin2 Psyche” (rom 'en!urie, hi!er!o"e have me! "i!h no cer!ain ori2inal. ;er absurdum or else (or (un, "e mi2h! even "onder#"ere !hose Hellenis!ic ori2inals a romo!ional inven!ion o( $reco-oman coyis!s@ K( course, relia&le $ree* s!a!ues, "ell inser!ed in an an!iAue oman con!e4!, are no! "an!in2.

 Lay, a! leas! !"o o( !hem "ere so “ori2inal”, !ha! arado4ically "e do no! *no" any ancien!e4!an! coy o( !hem. ! resen!, &o!h o( !hem are in !he La!ional Museum o( omePala>>o

Massimo. They have &een !i!led resec!ively “Maiden o( n>io” and “Bo4er a! res!”, andare so (amous, !ha! canno! &e re2arded as ieces o( a minor scul!ure. Lone!heless, !here are

some similari!ies "i!h !he a&ove considered ar!"or*s, such as !o ma*e us !rea! o( !hem here,in shor! a! leas!. Their “minori!y” is no! a Auali!a!ive (ac!or. a!her, i! is an a!!en!ion !o

minori!y (i2ures in !he con!emorary socie!y. Bo!h mas!erieces are e4cursions in!o anin!ima!e li(e o( common ersons. 8! haens in a so su&!le "ay, !ha! !heir ordinary ima2esmay 2ro" e4!raordinarily em&lema!ic o( an every !ime and every"here human condi!ion.

The “Maiden o( n>io” is so denomina!ed, &ecause !his mar&le s!a!ue "as (ound in

1656 near !he seaor! o( n>io in cen!ral 8!aly, amon2 !he remnan!s o( a local imerial villa.3on2 reu!ed !o &e a oman hi2h Auali!y relica, more recen! and accura!e s!udies have

es!a&lished !ha! i! is a $ree* scul!ure insired &y Pra4i!eles’ ar!, roduced in an sia Minor "or*sho aro4ima!ely in 7-Q B.'. Knly la!er i! ou2h! !o have &een imor!ed !o

n>io as a "ar &oo!y, or in conseAuence o( a sale, a dona!ion or a reAuisi!ion. 8!s rior des!ina!ion may have &een a !emle ro&a&ly dedica!ed !o !he 2od /ionysus. Bu! !his is an

unveri(ia&le illa!ion, more !han a 2rounded hyo!hesis. Kn one hand, sure !he or!rayed 2irlhas some!hin2 !o deal "i!h !he sacred or "i!h "orshi, and she mi2h! "ell have reresen!ed

a hierJdoulos# o(!en, a (reed slave, oera!in2 as a servan! in a hea!hen sanc!uary )morerarely, e4ce!ionally, a (emale youn2 servan! could "or* also as a sacred ros!i!u!e0. Kn !heo!her hand, nei!her necessarily !he s!a!ue "as redisosed (or &ein2 loca!ed in a sacred area,nor !he sacred i!sel( had !o &e !he sole or !he chie( sense o( !ha! eni2ma!ic reresen!a!ion.

;uch an eni2ma!ici!y is due !o some incomle!eness o( !he s!a!ue, criled &y !herava2es o( !ime. The maiden is s!andin2, decorously &u! normally dressed as a $ree* 2irl o( 

!ha! eoch, no! li*e a ma!ure ries!ess any"ay. =i!h her le(! hand she carrys a round !ray, on"hich !here are a rolled ri!ual &anda2e+ a !"i2 o( olive+ erhas a censer o( er(umes, as i!

may &e in(erred (rom i!s cu! o(( s!ems in (orm o( (eline a"s )&u! i! mi2h! also have &een a pyKis, !ha! is a &o4 or vessel (or (eminine use0. The main missin2 elemen! is !he o!her 

(orearm and hand o( !he youn2 "oman, resuma&ly 2oin2 !o add some!hin2 on her !ray, asan o((erin2 !o divini!y. This ou2h! !o &e a er!inen! clue, in order !o unders!and "ha! !healle2ed hierodule is doin2 and "hich is !he meanin2 o( her a!!i!ude. 8n (ac!, she is 2a>in2do"n !o"ard !he !ray. 8! is more e4ac! !o say, her ensive a!!en!ion is concen!ra!ed on her 

2es!ure and on !he no" los! o&<ec! in her hand. 8ndeed, !his is no! uniden!i(ia&le a! all. (e"sca!!ered (ra2men!s o( i! hin! a! !he circular shae o( a laurel "rea!h, !he circum(erence o( 

"hich "ould have &een !oo narro" (or !he head o( !he adolescen!, &u! ossi&ly no! (or !ha!

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o( !he same su&<ec! in a s!ill youn2er a2e.1V Thus, she mi2h! have &een ar!icia!in2 in anini!ia!ic and mys!eric ceremony# a sor! o( ri!e o( assa2e (rom childhood !o adul!ness.

s e!ymolo2ically de!ermined &y !he Muses, dau2h!ers o( Mnemosyne, !he “museal”sace is a collec!ive memorial dimension. !as* – or a "ish@ – o( such (i2ures li*e !he

“Maiden o( n>io” or else !he “Bo4er a! es!” is o( &earin2 !heir "i!nesses o( li(e – !hrou2hmar&le or &ron>e, or even &a*ed clay – in!o !ha! vir!ual sace, almos! in order !o comare!heir e4eriences "i!h ours or !o conver! our con!in2en! o&livion in!o a !ranscenden!alremem&rance. They are li*e hyer&olic &rid2es &e!"een !ha! reasona&le individual

(or2e!(ulness and a sen!imen!al universal reco2ni!ion, or li*e ac!ors and ins!rumen!s o( anini!ia!ion !o a ri!ual e4ercise o( memory, in(luenced &y an eclec!ic and oulari>in2

Pla!onism. =ha! !he so du&&ed 2irl o( n>io is dislayin2 on her !ray are a (e" souvenirs o( her childish as!, and a !aci! hoe in !he (u!ure !oo. 8( she "as – and (orever is, in a musealsense – a! a ne" &e2innin2 o( her adven!ure on ear!h, !he e4is!ence o( !he no! ye! old “Bo4er a! es!” is ra!her in decline. 8n some an!i-heroic "ay, a! !he mos! he is a ;!oic hero )i! is no!

(or!ui!ous i( a consimilar modern scul!ure is !ha! o( “The Thin*er”, &y u2us!e odin0.8( !he dis!inc!ive mar* o( !he “Maiden o( n>io” is her circular – and no" (ra2men!ary

 – !ray "i!h i!s con!en!s, !ha! o( !he &ron>e u2ilis! are lea!her s!ras encirclin2 his hands# in3a!in, !he caestus, a *ind o( an!iAue &o4in2 2loves. He is or!rayed "hile sea!ed, s!ill na*eda(!er a !irin2 and &loody ma!ch# on his s*in, "ounds or scars are visi&le, and even dros or rivule!s o( &lood are simula!ed in coer. His hysiAue is o"er(ul and overmuscled. The

 &earded head is raised and !urned !o !he ri2h!, as i( he is loo*in2 a! some&ody une4ec!ed"ho is aroachin2, a(!er con(usedly hearin2 !he sound or !he voice o( him# li*e no! seldom

!he ro(essional &o4ers, he mi2h! have &ecome dull o( hearin2. Onli*e in !he $ree* odes o( Pindar or in classical s!a!ues o( sor! "inners, in !his la!e Hellenis!ic ar!"or* da!ed around

1-7 B. '. !here is no!hin2 2lorious, cele&ra!ory or !riumhal. Kn !he con!rary, on !ha!s"ollen and ar!ly dis(i2ured (ace, all !he su((erance and "eariness o( !he si!ua!ion is

deic!ed+ some!hin2 more is e4ressed or can &e ima2ined# an in!erro2a!ive 2lance and ane4!ensive an4ie!y concernin2 !he uncer!ain!y o( !he (u!ure. 8n !he moral &ac*2round, !hesor!ive con!es! !urns in!o a me!ahor o( !he s!ru22le (or e4is!ence. 8n case "e are see*in2 a

 lausi&le arallel "i!h my!holo2y or eic, !he (i2ure o( !he o!her"ise called “Bo4er o( 

Šuirinal” may &e a! a mid"ay &e!"een a (a!i2ued Hercules and a shi"rec*ed Olysses.Onli*e !he “Maiden o( n>io”, ro&a&ly !he &ron>e mas!eriece "as laced in a u&lic

 &uildin2 as !he Ba!hs o( 'ons!an!ine a! ome. 8! "as (ound in 1667 on !he no! (ar ŠuirinalHill, care(ully &uried as (or &ein2 reserved (rom &ar&aric sac*s or reli2ious iconoclasms.n analo2ue condi!ion "as o&served durin2 !he discovery o( !he “Pensive Muse”, o( "hich

a&ove, or (or o!her s!a!ues. Then, !here "as a his!orical 2a, "hen a !rauma and remo!ion1V '(. 3ucio Mariani, “3a 2iovine!!a di n>io”, in Eullettino della 5ommissione Archeologica

5omunale di oma, Par! Q5, Lo. Q-S, ome# ?. 3oescher Z 'o., 1V1+ . 1J5-11# "i!h secialre(erence !o !he 2arland, . 165-166. 8n !he Museum “/. idola” a! Ma!era, 8!aly, !here is an

ulian red (i2ure *ra!er o( !he S!h cen!. B. '., "i!h a ain!ed scene "here a 2irl o((ers !o a you!ha 2arland as sym&ol o( !he adul! a2e a!!ained &y him. 8! can &e added !ha!, accordin2 !o a 3a!in

conven!ion, a &ranch o( olive "as !he a!!ri&u!e o( a minor dei!y# Felici!as, or “hainess”, a"orshi version o( !he <enus feliK. nyho", an analo2ue and coeval “=oman "i!h Tray” is

(rescoed in !he %illa ;. Marco a! ;!a&iae# on her !ray, resuma&ly she carries !he same o&<ec!s.

8!s au!horshi has &een ascri&ed !o ollonius !he !henian+ &u!, indeed, i! has &een also

susec!ed !ha! in !his case !he $ree* scul!or "as !he !alen!ed coyis! o( an older ori2inal.

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in!er(ered in!o !he ar!is!ic !radi!ion. Mos! archaeolo2ical discoveries and rela!ed researches,

"e have considered a&ove, haened &e!"een !he 16!h and !he !h cen!ury. 8n !ha! eriod,!he cul!ural memory and connec!ed res!ora!ion or cri!icism s!ar!ed !o (ully "or* a2ain. This

imlies !ha! no! a (e" o( all !hese rediscovered and res!ored "or*s o( ar! con!ri&u!ed !o !hecon(i2ura!ion o( Moderni!y, such as "e *no" i!, in i!s &es! asec!s a! leas!. The missin2

o&<ec!s on !he !ray o( !he youn2 2irl o( n>io, or !he "ounds and scars in !he &ody o( !hema!ure u2ilis! o( !he Šuirinal, may evo*e all !hose in<uries in our collec!ive memory. Theyshould also remind us o( !ha! e((or! o( reminiscence, "hich Moderni!y eminen!ly is.

J – Three varian!s o( !he !ye "in2less “'uid and Psyche”# in a

dra"in2 &y P. Ba!oni )a(!er a no" los! e4emlar0+ in a s!a!ue sold &y'hris!ie’s, Le" o*, in 1V1Q+ in a scul!ure a! !he 'ai!oline

Museums, Pala>>o Luovo, ome. lmos! li*e in a narra!ive seAuence,

!hey or!ray di((eren! momen!s o( a my!hical a((air# 'uid resis!s a!ender 2es!ure o( Psyche+ reconciled "i!h his lover, he is yieldin2 !o

her+ even!ually, he is em&racin2 and *issin2 her 

The “!ood Sheherd”,or, an "ver )oung *esus

Be(ore !ha! eochal caesura, "hich "as 2oin2 !o u! an end !o n!iAui!y and !o i!scomle4 "orldvie", !here "as a lon2 las!in2 eriod o( !ransi!ion. /urin2 i!, an early'hris!ian ar! (lourished !oo. This sacred ar! o( !he ca!acom&s "as modes!, or !oo didac!ic.3a!er, i!s ar!"or*s &e2an !o &e e4ecu!ed &y real ar!is!s, &e!!er !han &y ar!isans (ull o( (ai!h or 

o( 2ood "ill. 8! is ar!icularly !rue, "i!h re2ard !o scul!ure. ro&lem "as an ini!ialreluc!ance !o reresen! human (i2ures, &ecause o( a reli2ious susicion a2ains! a ossi&le

idola!rous "orshi+ ano!her one "as !he scarce e4erience o( ar!is!s, "ho mi2h! even have

 &een a2an, in illus!ra!in2 su&<ec!s relevan! "i!h !he ne" reli2ion. !hird ro&lem "as !he

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e4i2ence !o choose ima2es consis!en! "i!h 'hris!iani!y, and a! !he same !ime susce!i&le !o &e erceived &y hea!hen eole, in order !o involve and redisose !hem !o !heir conversion.

3as! &u! no! leas!, esecially in !imes o( ersecu!ion, some sym&olism could &e hel(ul (or communica!in2 a messa2e reco2ni>a&le &y &elievers, &u! no! so much &y ersecu!ors.

For some o( !hese mo!ives, or may&e &ecause an aim a! &ein2 “(ine” is revailin2 in!he na!ure o( ar!s – and &eau!y "as Pla!onically divine –, in !he (ield o( scul!ure !he chan2e"as more !ransi!ional !han !rauma!ic. 8n ar!icular, !his is sensi&le in !he (irs! reresen!a!ionso( Resus, !he 'hris! himsel(. Brie(ly, "e "ill e4amine a (e" e4amles, "here !he ersis!ence

o( 'lassical and Hellenis!ic a!!erns or a (ormal sym&olic in!en!ion are &e!!er eviden!, also(or $reco-oman ar!is!s had no! ye! an idea o( ho" Resus could &e hysically or!rayed, or 

even ima2ined. 8nsired &y a "ell *no"n ?van2elical ara&le, one o( !he early ersonalalle2ories is !ha! o( !he “$ood ;heherd”.1 elevan! models "ere no! a&sen! in !he a2anima2ery, since &o!h 2ods Hermes and some!imes ollo had &een (i2ured as sheherdscarryin2 on !heir shoulders a lam& or a cal(. They are resec!ively !he iconemas o( !he

Briophoros and !he moscophoros# in $ree*, “lam&-&earer” and “cal(-&earer”. 8n !he ancien!Ks!ia archaeolo2ical area, !here are !he remains o( a 'hris!ian chael, around "hich some

!om&s are (ound ) egio 88, nsula %880. mon2 !hem, a mar&le “;arcoha2us o( 'yriacus”,

so named (rom !he er!inen! 3a!in inscri!ion, "as made in !he Qrd or early S!h cen!ury.Kn !he (ron! o( !he sarcoha2us, in cen!ral osi!ion, "e can &ehold a relie( o( 

iconolo2ical in!eres!. 8! is a syn!he!ic version o( !he !ye “$ood ;heherd”, no! as “lam&- &earer” &u! as a you!h(ul man dressed in an e4o!ic (ashion, layin2 his lyre amid shee and

o!her animals in a s!yli>ed coun!ryscae. Phri2ian ca, on his head, "as a conven!ionala!!ri&u!e o( Krheus. K!her de!ails ma*e an ascendancy o( !he !radi!ional icono2rahy o( !hemy!hic musician, !amin2 sava2e &eas!s &y his ma2ic melody, incon!es!a&le. e! i! may have

 &een some!hin2 more, !han a simle icono2rahic ascendancy. !aci! and some"ha!

mys!eric comarison &e!"een !he (i2ures o( Krheus and o( !he 'hris! can &e (oundelse"here !oo. Tame or "ild animals, are !hose no! ima2es o( our souls@ K( course, Resus’

ins!rumen! "as no! a lyre, &u! his “=ord made (lesh”. Fur!hermore, in his my!h Krheus hadde(ied dea!h, "i!hou! (inal success !hou2h. 8ns!ead, Resus succeeded in !he same challen2e,accordin2 !o 'hris!ian creed. nyho", !he hea!hen occasional asser-&y could "ell deciher !he messa2e deic!ed on !he sarcoha2us o( Ks!ia, and ossi&ly &e led in!o re(lec!ion.

The “$ood ;heherd”, conserved in !he %a!ican MuseumsMuseo Pio 'ris!iano, is (ar more (amed. 8! is a small mar&le s!a!ue da!ed !o Q-Q7 . /., relia&ly !he &es! in !he

"idesread su&!ye o( !he “lam&-&earer”. similari!y "i!h analo2ue a2an receden!s issuch, !ha! in !heory "e mi2h! no! &e !horou2hly sure !ha! i! "as no! one o( !hem, already

"i!h a sym&olic hilan!hroic meanin2, on "hich a 'hris!ian si2ni(icance "as con(erred. 8n ra!ics, !he ar!"or* "as discovered in !he 16!h cen!ury, inside !he 'a!acom&s o( ;!. 'allis!usa! ome. Kri2inally ar! o( a hi2h-relie( on a sarcoha2us, i! "as res!ored and in!e2ra!ed

in!o a (ull round (orm &y !he 8!alian scul!or $iusee n2elini in 15JS. The sheherd is a

1 8n !he canonical $osels, see Rohn 1#1-1, Ma!!he" 16#1-1S and 3u*e 17#Q-5.

'(. Om&er!o O!ro, “3a Ws!a!ue!!a del Buon Pas!oreX”, in 4ynodus Lpiscoporum Eollettino, 79888, 8!alian ?di!ion, %a!ican# Holy ;ee Press K((ice, 1+ and Pe!er oc*"ell, “The 'rea!ive

euse o( n!iAui!y”, in :istory of estoration of Ancient 4tone 4culptures, edi!ed &y R. B.$rossman, R. Podany and M. True, 3os n2eles# R. Paul $e!!y Museum, 1, . 55. lon2 "i!h

his mas!er Bar!olomeo 'avacei and his collea2ues 'arlo l&acini or Francesco n!onio

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s!andin2, handsome you!h, "i!h !he rescued lam& round his nec*. His head is sli2h!ly !urned!o !he le(!, and – aaren!ly, a! leas! – he s!ares in!o !he dis!ance. 8( his le2s and ar! o( !he

arms are a modern addi!ion, !he res! su((ices !o ma*e !he "hole "or!hy o( !he oular admira!ion, o( "hich i! has &een !he o&<ec!. ?ven i( he "as no! Resus, his s!a!ue!!e has come

!o reresen! !he 'hris! no! less !han so many la!er, more “realis!ic” reresen!a!ions o( him.3i*e (or o!her ieces o( scul!ure o( "hich a&ove, !he mos! in!ri2uin2 de!ail is !he

2a>e. s !o !he “$ood ;heherd” in !he %a!ican Museum, "e canno! *no" "he!her ori2inally !here "as a ossi&le con!e4!, li*e (or !he “Pensive Muse” in !he 'en!rale

Mon!emar!ini, or !here "as no e4lici! one, as (or !he “Bo4er o( Šuirinal”. =e canno! *no"i( !he lam&-&earer is 2a>in2 a! some&ody or some!hin2. =ha! "e can deduce (rom !heir 

 resen! s!a!uary s!a!e is !ha! !hey are loo*in2 !hrou2h and &eyond !ha! ossi&le some&ody or some!hin2. 8( !he “Pensive Muse” is 2a>in2 in!o !he mys!ery o( an e!ernal &eau!y, and !he“Bo4er a! es!” is 2a>in2 in!o a recariousness o( e4is!ence, !he dis!ance "hich !he “$ood;heerd” is s!arin2 in!o may "ell &e our o"n dis!ance. ?ven more !han one in !ime or in

sace, !ha! is a dis!ance (rom !he sacred "e are no lon2er a&le !o unders!and, in !he li!eralsense o( (ailin2 !o see "ha! is s!andin2 under i!s reli2ious – or laical – sur(ace. For i!s o"n

na!ure, his!ory is “secular”. e! a modern human condi!ion may &e more secular !han ever,so !ha! "e mi2h! (eel li*e !ha! los! shee, irrimedia&ly cas! in!o a narro" or dar* resen! )acon!in2ency, closer !o a never and no"here !han !o an immanen!hic et nunc, (or ever0.

8( "e are searchin2 (or a !rue (ull round scul!ed ar!"or*, "e mus! needs 2o &ac* !o

Pala>>o Massimo a! ome, and loo* (or !he “Teachin2 'hris!”. This small mar&le s!a!ueou2h! !o &e !he earlies! o( Resus himsel(, no! as a seudo-Krheus or as !he “$ood ;heerd”.

/a!a&le !o !he Qrd or S!h cen!ury, i!s rovenance is uncer!ain# i! "as said !o have &een (ounda! 'ivi!a 3avinia, !oday’s 3anuvio. lso his iden!i(ica!ion as !he 'hris! has &een disu!ed.e! mos! ro&a&ly !he ima2e is !ha! o( an ehe&ic Resus, clo!hed "i!h a oman !unic and a

$ree* allium, si!!in2 on a lo" chair and e4lainin2 his doc!rine !o his disciles or !o !hedoc!ors o( !he Temle# a "ell *no"n $osel eisode. His ri2h! (orearm is &ro*en+ ossi&ly i!

"as raised !o &less or, ra!her, in an ora!ory 2es!ure, li*e in analo2ue scenes deic!ed on !he(ron! o( coeval sarcoha2i. The le(! hand holds a hal(-oen scroll. His (ar-seein2 2a>e mayresem&le !ha! o( !he “$ood ;heerd” in !he %a!ican, or even o( !he “Pensive Muse”. &oveall, he is sho"ily youn2. 8! is as i( !he arche!yal puer aeternus has 2ro"n u, &u! no! !oo

much, almos! !o avoid a dan2er o( uerile re2ression in !he reresen!a!ion o( a divine =Jgos.=hereas !he child i…n o( Heracli!us "as “movin2 ieces in a 2ame”, and !he resumed

 &a&y ?ros in !he Museum o( Budaes! "as layin2 "i!h as!ra2als, erhas !his &ierdlessMas!er is 2oin2 !o reveal !he secre! o( an e!ernal li(e, !o a slo"-"i!!ed eole !hou2h.

Fran>oni, $. n2elini "as an eminen! res!orer in his !imes. /esi!e or !han*s !o some “licences”,!ha! "as also one o( !hose cases "hen !he res!orer is an in!erre!er a! once, and an ar!is! he

himsel(, li*e !he au!hors o( !he ori2inals and almos! "i!hou! an aaren! solu!ion o( con!inui!y.

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5 – “Maiden o( n>io”# La!ional Museum o( ome, Pala>>o Massimo)ar!ial vie"0+ "all ain!in2 o( “=oman "i!h Tray”# %illa ;an Marco,

oom Q, 'as!ellammare di ;!a&ia, ancien! ;!a&iae, near Pomeii

)early 1s! cen!. '. ?.+ ar!ial vie", ho!o credi!# =i*iedia0

Ar%haeologi%al Memory+

a Cement of Cultural dentity-Q

<eritatis quippe optima indagatriK phylosophia estM comperte vero sub velamine

 servatriK fidissima est poNsis, “For cer!ain, hilosohy is very clever in inves!i2a!in2 veri!y+indeed, oe!ry is mos! relia&le in *eein2 i!, "hich is !o &e discovered &enea!h i!s veils”#!hus "ro!e $iovanni Boccaccio, in his Fenealogie deorum gentilium )“$enealo2ies o( !he

Pa2an $ods”, 98% 160.S 8n $ree* &e(ore !han in 3a!in, !he !erm poiesis ossesses a "ider ran2e o( meanin2 !han our derived “oe!ry”. There is no reason (or no! e4!endin2 !he

o&serva!ion o( !he 8!alian humanis! !o (ine ar!s, "hich should &e in!erre!ed in a“hiloiconic” as "ell as in a hilolo2ical "ay. This is a !as* o( iconolo2y, in such a sense a

 &ranch o( hilosohy. =ha! sounds in!eres!in2 here is !ha! reservin2 (unc!ion o( “oe!ry”,"hich (or Boccaccio, !here, "as mainly a my!holo2ical one. 3i*e !his las! one *ees !he

memories o( my!hs, a sor! o( dreams o( !he collec!ive uncounscious in an auroral a2e o( our 

civili>a!ion, so (i2ura!ive ar!s can conserve !he souvenirs o( a cul!ural ima2ery, o!her"ise

Q The conce! o( cul!ural iden!i!y is an use(ul one. On(or!una!ely, no! seldom i! has &ecome

his!orically am&i2uous or oli!ically eAuivocal. For a cri!ical aroach, c(. Rean-François Bayar!,6he llusion of 5ultural dentity, !ransla!ed (rom French, Oniversi!y o( 'hica2o Press, 7.

S some"ha! consonan! ei2ram "as reor!ed &y !he Pa!riarch o( 'ons!an!inole Pho!ios in his Eibliotheca )1S &0. Tha! had !o "or* as an e4er2ue !o !he homonymous Eibliotheca )“3i&rary”0 &y !he my!ho2raher Pseudo-ollodorus# “/ra"in2 (rom me an e4erience o( !ime, *no" !he

ancien! !ales o( a learned lore. ‹N $a>in2 in!o me, you "ill (ind all !ha! !he cosmos holds”.=ha! a *ind o( “e4erience o( !ime”@ elia&ly, !he ori2inal $ree* e4ression I|ŒGCc \x`I is

an allusion !o a !ime erceived as e!ernal and cyclic a! once, such as !he {|}Gi…n o( Heracli!us.

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easily los!. nd !his ima2ery is made no! only o( my!hs, &u! also o( real and common li(e.=hereas (or ancien! li!era!ures !he chie( !ool o( inves!i2a!ion is hilolo2y, as (or (ine

ar!s i! is archaeolo2y. 8( a hilolo2ical memory is revalen!ly made o( "ri!!en !es!imonies o( !he as!, an archaeolo2ical one is comosed "i!h ain!ed or scul!ed ima2es )and

archi!ec!ural !races0. K&viously, a o!en!ial !endency !o universal communica!ion is morecoma!i&le "i!h a “lan2ua2e” made o( ima2es. nd no! al"ays nor en!irely !hese coincide"i!h "ri!!en !es!imonies. ;ome!imes, !he (ormers may !ransmi! some!hin2 more !han !hela!!ers, or di((erin2 (rom and even con!ras!in2 "i!h !hem. Par!icularly ar!is!ic ima2es sho" a

 &e!!er roensi!y !o &e!ray su&liminal, (or2o!!en or removed con!en!s, !han "ords or2ani>edin a seech. Besides, archaeolo2y is e4osed !o casualness even more !han hilolo2y )in

!his, no! so di((eren!ly (rom !he remem&rance o( an individual memory0. Mos!archaeolo2ical discoveries, "e have men!ioned a&ove, are (or!ui!ous. e! !ha! causalness islimi!ed, "e mi2h! even say some"ha! con!rolled &y !he ar!is!s. K( course, !hey roduced!heir ar!"or*s and ossi&le rela!ed messa2es (or !heir con!emoraries, &u! also redisosed

!hem in order !o &e reco2ni>a&le a! any !ime and in every lan2ua2e “&enea!h !heir veils”.8n mar&le, in &ron>e or in !erraco!!a !oo, !ha! "as a de(iance !o !he corru!ion o( !ime

or !o !he (or!ui!ousness o( his!ory, a human iconoclas!ic incons!ancy no! e4cluded+ and !he2ame o( s!ereo!yes layed some role in i!. 'lassical or Hellenis!ic, and $reco-oman "i!hall !he more reason, an!iAue ar!is!s "ere lay-ma!es "i!h !he i…n alle2ori>ed &y Heracli!us#a lay(ul “?!ernal 'hild”, &u! en2a2ed in calcula!in2 his moves on a &oard ra!her !han !ryin2

!he (or!une &y !hro"in2 dice or di&s. Lo! seldom a s!ereo!yed roduc!ion – or, &e!!er, avaria!ion on !heme – reresen!ed !he ersis!ence o( a si2ni(icance# !ha! o( an arche!ye, !hey

(el! ea2er or imelled !o ere!ua!e. The re-e4is!ence o( a ro!o!ye, o( a his!orical model!o imi!a!e, mi2h! have &ecome o( secondary imor!ance, &ecause !ha! ori2inal "as already

and ideally (i4ed in !heir minds. ?4ce!ionally !hou2h, !he os!ula!e o( a ro!o!ye mi2h!even have &een a simula!ed ro<ec!ion, or may &e <us! only a resuosi!ion o( ours.

! any ra!e, s!ereo!yes are use(ul in a rocess o( archaeolo2ical reminiscence, (or ananalo2ical comarison and a cri!ical deduc!ion a! leas!. 3e! us consider a2ain !he e4amle o( !he “Teachin2 'hris!”, in !he La!ional Museum o( ome. 3i*e (or o!her s!a!ues, i! has los!some immedia!e mar*s o( iden!i(ica!ion. ;o much, !ha! !he su&<ec! o( !he small mas!eriece,

 &ou2h! on !he an!iAuarian mar*e!, could &e (ormerly mis!a*en (or a “Hellenis!ic oe!ess”8!s iden!i(ica!ion as a 5hristus docens is due !o o&er!o Pari&eni, in “;!a!uina di 'ris!o del

Museo La>ionale omano” )!he ar!icle is in 8!alian+ ossi&ly, read i!# &eside i!s secialis!m,!here are all !he emo!ions o( a “minor” archaeolo2y, made o( occasional acAuisi!ions andreco2ni!ions more !han o( sys!ema!ic e4cava!ions and discoveries0.7 ! (irs! si2h!, ac!ually i!

can remind us o( !he ?van2elical scene “Resus amids! !he /oc!ors”, (reAuen! in sacred ar!.e!, indeed, in 3u*e’s accoun!, #S1-7, he is !old !o have &een as old as !"elve years, ali!!le youn2er !han !he or!rayed &oy. similar icono2rahy, more !han once reroduced on

sarcoha2i and else"here, "as !ha! o( !he so de(ined traditio legis, (rom !he Mas!er !o !heos!les, in ar!icular !o Pe!er and Paul. 8! mi2h! &e o&<ec!ed !ha!, !hen, Resus had !o &e (ar older. ?viden!ly, his a2e "as no! a realis!ic one &u! ideali>ed &y early 'hris!ian ar!is!s.

=ha! !he un*no"n au!hor o( !he 5hristus docens  "an!ed !o reresen! "as !he

arche!ye o( an ever youn2, ersonal divini!y. ;ome disroor!ions in !he e4ecu!ion o( hiss!a!ue su22es! !ha! he came (rom !he milieu o( !he scul!ors o( relie(s on sarcoha2i, a

7 8n Eollettino d ’ Arte del 7inistero della ;ubblica struOione, %ol. 988, ome# ?. 'al>one

 u&lisher, 1V1S+ . Q61-Q6J.

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"idesread ar!isan and ar!is!ic ac!ivi!y a! his !imes. His models could "ell &e scenes alreadys!ereo!yed as !he traditio legis, or else “Resus amids! !he /oc!ors”, "i!h re(erence !o

'hris!ian !oics. e! !hey "ere also icono2rahic an!eceden!s o( a recen! hea!hen !radi!ion,li*e several deic!ions o( i…n no! as !he child li!erarily (i2ured &y Heracli!us, &u! as a

youn2 man holdin2 u a >odiac "heel. Tha! "as no! so much an ancien! my!holo2ema, asra!her !he divini>a!ion o( a na!ural, vi!al and cyclic !ime. (ormal di((erence "as !ha! !his

 ersoni(ied i…n "as usually or!rayed nude, "hile s!andin2 or sea!ed. Kne hy&rid a! leas!, ar!ly na*ed, is no! lac*in2. This syncre!ic s!a!ue reresen!s a handsome you!h, "here

(ea!ures o( Resus, o( i…n and even o( Helios P4ol invictus are Aueerly mel!ed !o2e!her )'ivic

rchaeolo2ical 'ollec!ions, Milan+ S!h cen!.0. 8n sum, a a2an ima2ery could "or* as a (il!er (or !he rece!ion o( 'hris!ian con!en!s and (or !ransla!in2 !hem in!o a ne" icono2rahy.

8s !he archaeolo2ical one a random, ra!her !han a selec!ive, memory@ ! leas!, acaricious archaeolo2y seems !o (i! "ell a “minor” $reco-oman s!a!uary. 3a!ely, ano!her Auasi-mas!eriece has re-emer2ed (rom a riva!e collec!ionism, "here i! "as las!in2ly sun*.8! is a mar&le 2rou o( !he !ye "in2less ?ros and Psyche, “ho!o2rahed” "hile em&racin2

and 2oin2 !o *iss each o!her, (ormerly comin2 (rom Lales and da!a&le !o !he 1s!

 cen!ury ./. )sold &y 'hris!ie’s, Le" or*, in 1Q0.J This varia!ion on !heme is no! only a deli2h!(ul"or* o( ar!. =ha!’s more, i! is a recious !erm o( comarison "i!h analo2ue scul!ures as!hose in !he Museum o( Ks!ia and in !he 'ai!oline Museum a! ome, in order !o recomose!heir resuma&le “ori2inal” in our minds, li*e a !essera in a "ider memorial mosaic. 8! is

also !rue, !hose ar! collec!ors, "ho so lon2 derived us o( any o( our ri2h!s in !he “Aues! (or an e!ernal &eau!y”, reserved !ha! s!a!ue so <ealously, as !o 2ro" almos! ins!rumen!s o( a

 servatriK fidissima poNsis a&ove e4al!ed in our Auo!a!ion (rom Boccaccio. 8( !ruly “!he "ayso( Providence are in(ini!e”, some o( !hem – eculiarly, !hose leadin2 !o !he develomen! o( an advanced cul!ural consciousness – ou2h! !o &e even more un(oreseea&le !han o!hers.5

J '(. Molly M. 3immer, “ oman Mar&le 'uid and Psyche”, audio-cli a! !he =e&si!eh!!#""".chris!ies.com(ea!uresaudio-a-roman-mar&le-cuid-and-syche-QJS-S.as4+ or read

'hris!ie’s 'a!alo2, Antiquities, Rune 1Q, Le" or*+ . 66 and (ollo"in2. 8n i! !he res!ora!ion,

da!ed !o !he 16!h cen!ury, lays an imor!an! role. The ar!is! res!orer is un*no"n. 8! is also !rue, acoeval scul!or and res!orer as 'arlo l&acini "as a&le !o roduce as many as !hree – almos!iden!ical – coies o( !he analo2ue “'uid and Psyche” in !he 'ai!oline Museums a! ome

)resec!ively, !oday !hey are in !he eal cademia de Bellas r!es de ;an Fernando, a! Madrid+

in !he Pavlovs* Palace, near ;!. Pe!ers&ur2+ in !he ;hu2&orou2h Hall, near ;!a((ord, ?n2land0.

5 3e! us Auo!e (rom, and some"ha! correc!, Bruce 'ha!"in, 6he 7orality of 6hings )1V5Q0# !he

“!rue collec!or avails himsel( o( !he o&<ec!s as a &and o( lovers !ha! shore u !he "rec*a2e o( hisli(e” )may&e !he Bri!ish "ri!er had in mind a 2rea! collec!or &u! unluc*y lover as =illiam

Hamil!on, (irs! modern o"ner o( !he “'uid and Psyche” !oday sold &y 'hris!ie’s0. 8n reali!y,!ha! ideal collec!or made a li!!le more. He con!ras!ed !he "rec*a2e o( a collec!ive li(e, unders!ood

as 'ul!ure &esides as La!ure, a &i! li*e !he child i…n o( Heracli!us on his cosmic 2ame &oard.

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6 – “$ood ;heherd”# %a!ican Museums, Pio 'hris!ian 'ollec!ion,

ome )ar!ial vie"0+ “Teachin2 'hris!” or “'hris! ;ea!ed”# La!ional

Museum o( ome, Pala>>o Massimo )ar!ial vie"0

Polyhymnia, the .ast Borne+

a “Mona .isa” of Anti/uity-

8n i!s various (orms, an!iAuarianism al"ays e4is!ed. lready in !he oman n!iAui!y,

!here "ere riva!e or u&lic collec!ions o( "or*s o( ar! and ar! ama!eurs. 8n !he Middle2es, !he "orshi o( relics as "ell as !he venera!ion o( icons involved a *ind o( sacred andcon!roversial an!iAuarianism. e! a real archaeolo2y resuoses an eochal caesura, oremore !han one, "hich mus! &e cri!ically overcome, in order !o 2ain a &e!!er *no"led2e o( 

!he as! and conseAuen!ly !o increase a consciousness o( !he resen!. ;uch condi!ions imlie!ha! archaeolo2y is essen!ially modern, and !ha! i! concurred !o con(orm Moderni!y i!sel(,

 &u! also !ha! a so acAuired *no"led2e is lar2ely aro4ima!ed, (or !hose caesuras "e haves!riven !o surmoun! are no! only his!orical+ !hey are cul!ural !oo. ll !he more !his is !rue in!he shere o( (ine ar!s, "here arado4ically our &es! colla&ora!ors should &e !he “classical”ar!is!s, "ho !ried hard !o ma*e !hemselves unders!ood a! any !ime and in any lace.

 Lever!heless, cer!ain di((icul!ies ersis!, also &ecause no! all !he ancien! ar!is!s "ere asclassical as !hey aear in our some"ha! “neoclassical” de(ormed erce!ion. Lo dou&!, !he

Resus-i…n-Helios o( "hich a&ove is almos! a s!a!uary 2ro!esAue, !he involun!ary arody o( a mori&und 'lassici!y, no! less !han !he clumsy e4ression o( a recarious e4erimen! o( reli2ious ecumenical oli!ics, in !he a2e o( !he oman ?meror 'ons!an!ine. Rus! (or !hesemo!ives, a! !he same !ime, !ha! is an ima2e o( !he cul!ural caesura i!sel(, "hen one &e2ins !o

unders!and his as! cul!ure no lon2er, so much !ha! a! las! he does no! reco2ni>e i! as hiso"n. 8( ro&a&ly !he “$irl Playin2 s!ra2als”, o( "hich also a&ove, "as !ryin2 !o read her 

(u!ure, nos!al2ic humanis!s li*e Boccaccio a! !he end o( !he Middle 2es and a! !he da"n o( Moderni!y (el! in need !o in!erro2a!e a remo!e as!. e! !hey "ere li*e amnes!ic 2uys "i!hin

a room (ull o( old o&<ec!s, all clues (rom "hich !hey s!rive !o recover !heir suosediden!i!y. ;uch a recoverin2 has &een !i!led enaissance, “ne" &ir!h”. 8n reali!y, i! "as a ne"

eochal caesura. ;!ill no" "e are heirs !o all !ha!, a! !imes !ryin2 a2ain !o render anamnes!icand (amiliar !o us !hose o&<ec!s, "hich o(!en occurr !o &e more eni2ma!ic !han em&lema!ic.

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Perhas, a &e!!er aroach is !o re(rain (rom his!orici>in2 !oo much. valid reason is!ha! all !he ar!"or*s a&ove men!ioned, "i!h !he chimerical e4ce!ion o( !he Resus-i…n-

Helios !oday in Milan, “do no! "an!” !o &e considered an!iAue. a!her, !hey "ish !o &econ!emorary "i!h us. nd !his is !he novel!y – yes, in !he his!ory o( ar! –, "hich ma*es

!hem “minor” mas!erieces. Their or!rayed su&<ec!s, or !heir 2enerally un*no"n au!horsand coyis!s, do no! mind a&ou! his!orical or cul!ural caesuras. The only one !hey seem !o &ein!eres!ed in is a “minor” caesura# !ha!, "hich erennially moves alon2 our lives &e!"een a

 as! and a (u!ure, (rom !he &e2innin2 un!il !he end o( each individuali!y, slo"ly cons!ruc!in2

our iden!i!y or 2ivin2 us a realis!ic illusion o( i!. For !hem, !o &e !hro"n in!o a limi!ed !imeand a de(ini!e lace, li*e a cas! o( dice, is no! !he "ors! ro&lem. Kn !he oosi!e, !ha! very

momen! is some!hin2 !o s!o and !o sho" !o !he 2a>e – !he 2a>e o( !he “Pensive Muse” –, so!ha! !he e4is!en!ial caesura &ecomes an oen "indo" loo*in2 in!o an universal dimension.

Polyhymnia’s 2a>e is an ollonian one, s!arin2 dee in!o !he caesura i!sel( and reven!in2 i! – "i!h her !hauma!ur2ic o"er – (rom 2ro"in2 so lar2e, as !o &ecome a (ac!or 

o( le!hal o&livion. ?ven "hen !his haens, "hen an e4is!en!ial caesura runs a ris* o( de!eriora!in2 in!o a (rac!ure, Memosyne’s dau2h!er is ready !o heal i! , &y s!ar!in2 !he cure o( 

reminiscence or &y res!orin2 an aearance o( remem&rance a! leas!. lmos! an unconsciousconsciousness, she loo*s a(!er !he coherence o( "ha! "e deem !o &e a ersonal iden!i!y or su&<ec!ivi!y, "hichever individual or collec!ive i! mi2h! &e. Fur!hermore, she "a!ches over !he selec!ion o( memories and resis!s !heir dele!in2 removal. r! is no! her leas! !ool, (or i!

2ives &ac* no! only !he no!ion &u! also !he emo!ion o( a memorial momen!, in !heiden!i!arian rocess. Fine ar!s – no! less !han !he  servatriK poNsis  o( Boccaccio – are

media!in2 &e!"een lJgos and p8thos, &e!"een ra!ionali!y and sensi!iveness. 8n a ro&lema!ic(ield li*e !ha! o( cul!ural iden!i!y, "e may even conclude, a 2ood (eelin2 is &e!!er !han any

alle2ed science. =i!hou! a &asic, “mili!an! nos!al2ia”, cri!icism may &e only an academice4ercise+ and a Moderni!y &orn as recovery o( a los! as! can collase in!o o&solescence.

8! is already &een said, "he!her "e consider !hem innova!in2 varian!s or mere coiesa(!er Hellenis!ic ori2inals, !hose $reco-oman scul!ures descend (rom Hellenism more!han (rom 'lassici!y. e!, i! is !o add, !here "as no real con!radic!ion &e!"een 'lassici!y andHellenism. ! !he mos!, !ha! "as a so(! caesura ra!her !han an an!i!he!ic (rac!ure, in !he

dialec!ic o( ancien! ar! )ho"ever, !he 2a>e o( Polyhymnia so di((ers (rom !hose o( !hereno"ned “iace Bron>es”, s!ill (illed "i!h a shade o( es!ran2in2 archaism, as !o aear 

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“human, all !oo human”0.6 8n a nearly oli!ical and ro2ressive "ay, Hellenism !rans(erredan an!hroocen!ric aris!ocra!ic verisimili!ude and !he s!udied imression o( an ever las!in2

con!emoranei!y, (rom a divine or heroic lane !o a democra!ic choice and a hilan!hroic!rea!men! o( i!s (avouri!e su&<ec!s. Thus, a lo(!y e4clusiveness o( &eau!y "as &ro*en. Lei!her 

(ine ar!s shran* (rom reresen!in2 "ha! is u2ly, e4ce!ionally !hou2h and i( !here "ererealis!ic and hilan!hroic reasons in so doin2, nor o&li2a!orily "as !his an a&asemen! (roman aulic or !ra2ic !o a vul2ar and !ri(lin2 or comic de2ree o( !he reresen!a!ion. 8n

 hilosohical !erms, !ha! !imeless con!emoranei!y had &ecome an ris!o!elian ac!uali!y.

8n o!her "ords – or "i!h o!her ima2es –, Polyhymnia’s 2a>e is !ha! o( ar!, as "ell as o( a memory a&le !o remem&er (ar!her &ac* !han a &anal one. ;he does no! care a lo! o( "hich

is an ori2inal or "hich is ins!ead a coy+ ra!her, o( some!hin2 ori2inal in i!sel(. Lor is shein!eres!ed in "ha! is !emorary or e4!emorary, &u! in "ha! mi2h! &e !imeless. ;he remindsus o( ourselves, &eyond a !i2h! sel(ish hori>on. ?ven &e!!er !han !he childish and daemonicTeleshorus lanternarius o( '. $. Run2, &y (ull ri2h! she may &e re2arded as an arche!yal

(i2ure (orerunnin2 some in!ui!ions o( a (ar-o(( Moderni!y. ;!ill she "as a minor 2oddess, &u!i! had !o &e already clear !o sensi!ive individuals !ha! !he youn2es! o( !he Muses – accordin2

!o !he Pseudo-ollodorus in his  Eibliotheca, 8 1Q – "as also !he ersoni(ica!ion o( a ro(ound sycholo2ical (orce. 8n !he oem Qasti &y Kvid,% V-7Q, she is even much more,"hen 2ivin2 us an accoun! o( !he cosmic 2enesis. l&ei! in a oe!ical (orm, i! mi2h! soundillo2ical !ha! !he youn2es! o( !he nine divine sis!ers "as !old !o &e !he reosi!ory o( !he

oldes! memories in !he "orld. ! leas!, i! is ossi&le !ha! !he $ree* my!ho2raher and !he3a!in oe! (ollo"ed discrean! !radi!ions. ! mos!, ro&a&ly !ha! has some!hin2 !o do "i!h

!he hilosohical my!h o( an e!ernal you!h, no! less !han o( an ever rene"ed consciousness.

6 Be!"een !he 16!h and !he 1V!h cen!ury, even &e!!er !han in !he !heore!ical "or*s o( !he $ermanRohann R. =inc*elmann, !he imor!ance o( !ransi!ions in !he his!ory o( ancien! ar! "as erceived

in !he rac!ical considera!ions o( a French oli!ician as !he Laoleonic Minis!er o( 8n!ernal((airs Rean-n!oine 'ha!al. 8n 161, reservedly he "rio!e# “Ta*en sin2ularly, !he o&<ec!s

comosin2 !he collec!ion o( %illa l&ani in omeN ossess a very di((eren! value. e! !he "hole

series ma*es remar*a&le !hose aearin2 less arecia&le, &ecause all !ha! assures a *no"led2eo( !ransi!ions, con!ri&u!es !o !he ro2ress o( ar!s and sho"s !he measure o( !heir er(ec!ion. This

is !o e4lain, 'i!i>en /u(ournyN, ho" much i! ma!!ers !ha! none o( such monumen!s is le(! !here &y your researchers” ) l cardinale Alessandro Albani e la sua villa. Documenti, “Šuaderni sul

 Leoclassico” 7, ome# Bul>oni, 1V6, . Q1S-Q17+ here, !ransla!ed (rom French0.

Q

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V – 4pinario or “Thorn-Puller”# 'ai!oline Museums, Pala>>o dei

'onserva!ori, ome )de!ail0+ “'uid and Psyche”, auc!ioned and sold &y 'hris!ie’s, Le" or*, on J Rune 1Q )de!ail0

More essays 0y the same author, in "nglish, at the We0sites 0elo#+

h!!#""".scri&d.comdoc7Q1VS;ace-and-Time-o(-!he-nnuncia!ion

h!!#""".scri&d.comdocJ61SJJThe-'a!-and-!he-n2el-o(-!he-nnuncia!ionh!!#""".scri&d.comdocV1QQ57The-Hands-o(-Mary-;!a!es-o(-Mind-in-!he-

nnuncia!eh!!#""".scri&d.comdocV66Q65Hail-Mary-La>arene-and-Preahaeli!e-

nnuncia!ionsh!!#""".scri&d.comdocQ6151Q=omen-and-n2els-Female-nnuncia!ions

h!!#""".scri&d.comdocS7V5J5By>an!ine-nnuncia!ions-n-8cono2rahy-o(-8cono2rahy

h!!#""".scri&d.comdoc76Q5VSSMarian-8cons-in-ome-and-8!alyh!!#""".scri&d.comdoc6J7Q61The-Fli2h!-in!o-?2y!--Transcon!inen!al-Trih!!#""".scri&d.comdocV7J6S1Q-3on2-=ay-!o-?mmaus-lmos!-a-;amari!an-

;!ory

h!!#""".scri&d.comdoc11715S1The-Bodily-'hris!h!!#""".scri&d.comdoc1VJ5Ma2dalenes-8cono2rahy

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h!!#""".scri&d.comdocS1QSSThe-;mile-o(-!he-;acredh!!#""".scri&d.comdocJ71157Kn-!he-Traces-o(-lces!is

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h!!#""".scri&d.comdocQ7V7JV5Mirrors-Mas*s-and-;*ullsh!!#""".scri&d.comdocQ7156Q66?4cursions-in!o-Female-Por!rai!ure

h!!#""".scri&d.comdocQ5176SVPy!ha2oreanism-n-?arly-8!alic-Philosohyh!!#""".scri&d.comdocSSJ6JS;!uor-Mundi-The-Pa!hos-o(-Philosohers

h!!#""".scri&d.comdoc7111JVSKrien!alism-%eiled-and-Onveiledh!!#""".scri&d.comdoc575Q8!aly-!hrou2h-a-$o!hic-$lassh!!#""".scri&d.comino&lasonedSVSV5J5-Krien!alism-and-Tur*ish-'o((eeh!!#""".scri&d.comdoc677JVPhilosohical-8ma2ery-and-Philosohy-Moods 

1 – very s!ran2e “Resus-i…n-Helios” )he has also &een de(ined“Resus-le4ander-Helios”0# 'ivic rchaeolo2ical 'ollec!ions, Milan+

head o( Polyhymnia, “The Pensive Muse”# 'ai!oline Museums,'en!rale Mon!emar!ini, ome )&esides &ein2 ensive, here she loo*s

some"ha! erle4ed or ironically smilin2, no! "i!hou! any reason...0

Coyright ino0lasone1yahoo2%om  3456

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