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comitato scientifico

Nicola Bonacasa - Ernesto De Miro Antonino Di Vita - Maria Trojani

coorclinatore

Marina Consolo

Quademi di archeologia della Libya. - Roma <<L'ERMA di BRETSCHNEIDER. -v. : ill.;28cm. Periodicità irregolare. - Inizia nel 1991. - Continuazione della collezione: Quaderni di archeologia della Libia. - Descr. basata su: 18 (2003) ISBN 88-8265-131-2

CDD21. 939.74

flUBIIII

III BIU WAU I WAI

CIRENAICA

Abdulamid Abdussaid: BACCHIELLI E L'ARCHEOLOGIA CIRENAICA Pag. 9

Fran çois Chamoux: CHIENS CYRENEENS >' 11

Jairnee P. (Jhlenbrock: THE UGLY FAMILY FROM SICILY: A COROPLASTIC CONUNDRUM AT CYRENE " 15

Susan E. Kane: HEROIZED RIDERS FROM THE WADI BEL GADIR SANCTUARY OF DEMETER AND PERSEPHONE AT CYRENE 27

Emanuela Fabbricotii: LA NUOVA SISTEMAZIONE DELLA SCULTURA A CIRENE E LA SFINGE " 35

Serena Ensoli: LA TERRAZZA SUPERIORE DELL'AGORA DI CIRENE. IL TEMPIO DI ZEUS E L'ARCO OCCIDENTALE DELLA SKYROTA ,, 47

Valeria Purcaro: GLI EDIFICI PUBBLICI SULL'AGORA DI CIRENE CON PARTICOLARE RIFERIMENTO ALL'EPOCA GRECA 93

Mario Luni: NUOVE ANFORE PANATENAICHE DA CIRENE " 97

Neil Adams, Susan Walker: A NEW PORTRAIT OF BERENIKE II FROM THE TEMPLE OF APOLLO AT CYRENE? " 115

Claudio Parisi Presicce: RTFLESSIONI SUL GRUPPO SCULTOREO DI BRUTO E CASSIO NELL'AGORA DI ATENE. A PROPOSITO DI DUE STATUE ICONICITIE DI CIRENE > 129

Donald White: INTRODUCTORY OBSERVATIONS FOR A COMPARATIVE STUDY OF URBAN RAISED WATER DELIVERY SYSTEMS: CYRENAICAN APOLLONIA AND MARMARICAN PARAITONION " 153

<<L'ERMA>> di BRETSCHNEIDER

Abdulghader Al Muzzeini, Dorothy Thorn, James Copland Thorn, Joyce Reynolds: NEWLY DISCOVERED FUNERARY VERSES AT CYRENE Pa,-. 165

Gianfranco Paci: ISCRIZIONI DALLA NECROPOLI OCCIDENTALE DI CIRENE >' 173

Anna Santucci, James Copland Thorn: TAHUNA-WINDMILL TOMB, TOMBA DEl DUE CONIUGI, TOMBA Ni: LA GRANDE TOMBA CIRCOLARE DELLA NECROPOLI NORD DI CIRENE 183

Silvia Maria Marengo: L'ISCRIZIONE VOTIVA DI CLAUDIO LYKOS " 205

Catherine Dobias-Lalou: NOTES SUR LE SUPPLEMENTO EPIGRAFICO CIRENAICO " 211

Fadel Ali Mohamed: A NOTE ON THE SITE OF TARGUNIA >> 223

André Laronde: D. GIRARD ET LA CYRENAIQUE: LE REGARD DUN CAPTIF FRANAIS EN BARBA-RIE AU XVIIème SIECLE ,, 229

Enzo Catani: L'ATTlVITA ARCHEOLOGICA DI LUIGI PERNIER A CIRENE DAL 1925 AL 1936 " 235

TRIPOLITANIA

Barbara E. Barich, Giulia Bodrato, Elena A.A. Garcea, Cecilia Conati Barbaro, Carlo Giraudi: NORTHERN LIBYA IN THE FINAL PLEISTOCENE. THE LATE HUNTING SOCIETIES OF JEBEL GHARBI " 259

Antonino Di Vita, Giovanni Pugliese Carratelli, Ginette Di Vita Evrard, Lorenzo Lazzarini, Bruno Turi: IL SERAPEO DI LEPTIS MAGNA: IL TEMPIO, LE ISCRIZIONI, I MARMI 267

Antonino Di Vita: LEPTIS MAGNA. TETRAPILO DEl SEVERI: FILOSOFIA E PRASSI DI UN RESTAURO >> 293

Paolo Busdraghi, Oliviero Gessaroli, Arduino Spegne: ARCO SEVERIANO DI LEPTIS MAGNA: RESTAURO CONSERVATIVO DEGLI ELEMENTI PlANT DEL RIVESTIMENTO DELLO ZOCCOLO DEl PILASTRT 299

Ernesto Dc Miro: STATUETTA MARMOREA DI ESCULAPIO DALL'AREA DELLA BASILICA VETUS DI LEPTIS MAGNA " 307

Maria Floriani Squarciapino: RILIEVI DAL TEMPIO DI ETA ANTONINA NEL FORO VECCHIO DI LEPTIS " 313

Paola Finocchi: SU UNA TESTA LEPTITANA DI GlOVE EGIOCO " 323

Irene Bragantini, Enrica Fiandra: RITRATTO FRAMMENTARIO DI DOMIZIANO DAL TEMPIO FLAVIO DI LEPTIS MAGNA 331

Patrizio Pensabene: LA PORTA OEA E L'ARCO DI MARCO AURELIO A LEPTIS MAGNA: CONTPJBUTO ALLA DEFIMZIONE DEl MARMI E DEL LORO COSTO, DELLE OFFICINE E DELLE COMMITTENZE 341

Andrew Wilson: OPUS RETICULATUM PANELS IN THE SEVERAN BASILICA AT LEPCIS MAGMA " 369

Antonella Mandruzzato: UNA LUCERNA CON SCENA DI ANFITEATRO AL MUSEO DI LEPTIS MAGNA 381

Lidio Gasperini: HORA BONA (IRT 277). LA DIVINIZZAZIONE DEL <MOMENTO PROPIZIO> ' PRESSO I ROMANI 391

Benedetta Bessi: SABRATHA. LA STRATIGRAFIA E I MATERIALI DELLE FASI ELLENISTICHE PROTO-ROMANE DELLO SCAVO INTORNO AL MATJSOLEO B 399

Nicola Bonacasa, Rosa Maria Bonacasa Carra: GLI EDIFICI TERMALI DI SABRATHA. NOTA PRELIMINARE >> 403

Sergio Aiosa: UN RESTAURO ANTICO AL TEMPIO DI ERCOLE A SABRATHA: <<LONGA MAJOR GM INCURIA>> 0 TESTIMONIANZA DI UN TERREMOTO? 421

Rodo Santoro: IL CASTELLO DI TRIPOLI " 435

Riassunti in arabo tradotti dall'Arch. Dott. Khalil Abdel Hadi

Studi in memoria di Lidiano Bacchielli

Un gruppo di amici e colleghi vuole con questi con-tributi ricordare ai numerosi estinsatori di Lidiano, cosi pren'iaturamente sottratto alla sua fan'ziglia e ai nostri studi, la figura e l'opera di uno fra gli archeologi cJze meglio hanno rappresentato la nostra scienza nell'an'zica terra di Libia.

N. Bonacasa A. Di Vita

Studi promossi e finanziati dal Consiglio Nazionale delle Ricerche Patrocinio del Dipartimento alle Antichità della Giamahiriyya Araba Libica

2, IU1 I.,fl L4JI e

xJ ZL,iJ Jti Z,L4 ZL

Ii presente <Quaderno> e stato pubblicato con ii contributo del

C0NsIGLI0 NAZIONALE DELLE RICERCHE

© COPYRIGHT 2003 <<L'ERMA>> di BRETSCHNEIDER - ROMA Via Cassiodoro, 19

CIRENAICA

Bacchielli e l'archeologia cirenaica

di ABDULAMID ABDUSSAID

Per me che l'ho conosciuto ed ho lavorato con lui, la scomparsa di Lidiano Bacchielli av-venuta 1'8 giugno 1996, dopo una malattia ag-gressiva e fulminante, e stata una perdita gra-vissima. E altrettanto grave è stata la perdita per 1'Italia e per la Libia, che Lui aveva eletto come seconda patria, perché la sua lunga e fat-tiva attività di ricerca e di studio, bruscamente interrotta, è rimpianta dalla comunità scienti-fica internazionale (Fig. 1).

La mia frequenza con Bacchielli, legata an-che ad importanti interventi nei campi del-l'archeologia e del restauro architettonico, già al tempo della direzione di Sandro Stucchi, si e accentuata sempre di pia, anche perché, come tutti sanno, proprio sul lavoro scienti-fico Bacchielli ha sempre dato risposte chiare strettamente legate alla sua preparazione pro-fessionale.

Ma tale rapporto personale con Bacchielli è diventato in seguito sempre pii saldo e amichevole quando Lui ha assunto la Dire-zione della Missione Archeologica Italiana a Cirene. Durante i lunghi periodi di collabo-razione ed i frequenti scambi di idee ho avuto modo di constatare ii particolare im-pegno posto da Bacchielli nel chiarire 11 rapporto iniziale fra Greci e Libyi sul tern-torio cirenaico. Per questo motivo, uno dei punti di forza della sua ricerca e stata la ri-presa degli studi di quanto gli scavi amen-cani, a partire dal 1910, e le altre ricerche Successive erano venute mano mano a do-cumentare, con particolare rifenimento alle terrecotte figurate. A 66 si aggiunga il vasto

panorama che sostanzia gli interventi scien-tifici di Bacchielli con viva attenzione all'ar-chitettura e alla pittura funeraria, anche tar-da, e il ricordo va allo studio della Tomba di Asgafa presso Barce. Ancora insieme la ri-cerca ci ha condotto a visitare ed indagare l'area archeologica di Beit-Amer; l'esame dei

FIG. 1

10 ABDTJLAMID ABDUSSAID

FIG. 2 - URBAN, Grande Mausoleo

resti sopra suolo e ii censimento delle torn-be, soprattutto di queue dipinte, nonché la presenza della chiesa, ha suggerito a Bac-

chielli ed a me stesso la possibilità di identi-ficare ii sito con Palaibiska, come ho cerca-to di dimostrare.

Quando mi venne affidato l'incarico di cu-rare ii restauro del Grande Mausoleo di Urban (Fig. 2), a 75 km a Est di Garian, in prossimità della strada Garian-Tarhuna, ho potato rile-vare che di questo eccezionale monumento funerario non tutti gli elementi architettonici erano conservati per poter procedere alla sua ricostruzione sistematica. Per questo, ho sol-lecitato l'aiuto dell'amico Lidiano Bacchielli, ii quale per due sessioni ha visitato a lungo ii monumento e lo ha studiato insieme a me fino a realizzarne la completa restituzione grafica, avendo quindi io la possibilità di pro-cedere a buona parte dell'anastilosi. Senza ii suo impegno 11 Mausoleo di Urban, non solo non sarebbe noto a tutti, ma non sarebbe ar-rivato alla pubblicazione nella rivista Libya Antiqua.

Ritornando a Cirene, desidero segnalare la posizione assunta da Lidiano Bacchielli in Se-guito ai sondaggi da me compiuti lungo l'emi-ciclo esterno della cavea del Teatro 3, in parti-colare verso ii settore orientale, a Sud del Ce-sareo, laddove Bacchielli ipotizzava la presenza del muro di cinta di Cirene arcaica.

Ii poco che qui ho potuto dire di Lidiano Bacchielli come uomo e come studioso fa rim-piangere la sua scomparsa da parte di tutti e certo incolmabile e il vuoto che Lidiano ha lasciato in mezzo a noi.

A. ABDTJSSAID, Bir el-Uaar Mausoleum (Al-Urban, Djebel Garian), LibyaAnt u.s. IV, 1998, pp. 147-155.

Chiens Cyrénéens

par FRANc0Is CHAMOUX

Une belle épigramme de Callimaque 1 illustre par une image évocatrice l'inconséquence de l'amour qui préfère la poursuite a la prise: aLe chasseur, Epicydès, a travers la montagne court après tous les lièvres, s'attache a toutes les pistes de chevreuil qu'il relève dans la gelée blanche et dans la neige. Vient-on a lul dire: "Là-bas, vois, ta proie est abattue"!, ii ne va pas la chercher. Ainsi de mon amour: ii salt bien poursuivre qul lul échappe, mais devant cc qul gIt a sa portée ii passe en hate, indifférents.

ypeivciç, 'Eictinsç, iv o5p&n Tcáv'ci 2cc7wóv

upé IMI iacnç qa 80PKUkL60q

crt'r3r iccd vupc'cöi i pj.tévo fv 6f 'cç e'IICTl

<<'rfl, 'c66c 3C3211'cai. Optovs, 01K fXcxflev.

Xo)j.ôç Cpwç 'toóGSE ix j.tCv (pelYyov'ccx SthKsr

oTa, 'ti 6'Cv tCoco cva pié'ccccar2.

Au-delà de sa valeur littéraire, dont la sobre elegance défie le traducteur, ce texte apporte un témoignage sur Cyrène qu'on a longtemps méconnu. Car, si le poète a constamment vécu a Alexandrie a partir de 280 environ, les allu-sions aux chasses hivernales, avec la gelee blanche et la neige ofi les animaux laissent leurs empreintes 3 , ne s'appliquent évidemment

pas a la réalité geographique de l'Egypte, mais a celle du plateau cyrénéen oh, en hiver, le froid et la neige ne sont pas rares.

L'epigramme pour Epicydès date très proba-blement, avec quelques autres, de la premiere période de la vie de Callimaque, avant son d6- partpour l'Egypte. C'était l'epoque de sa jeu-nesse et de ses amours. Rejeton d'une ancienne et noble famille de Cyrène, il a pris part avec ses compagnons aux parties de chasse dans les hauteurs du djebel, oh les riches citoyens de Cyrène possedaient de grands domaines, avec des maisons de campagne, ces manoirs forti-fiés qu'on appelait des tours, Icl)p7ot. Au-delà des terres agricoles qui faisaient la fortune du pays, de vastes espaces boisés et giboyeux of-fraient aux chasseurs un terrain propice, en toute saison, a leurs courses agrestes oh, corn-me le montre Callimaque, le plaisir tenait plus de place que le profit.

Poursuivre lièvres ou chevreuils exige le concours des chiens 4 : le chasseur, lcDvly(C'tlg,

est proprement acelui qul mène les chiensx'. Les Grecs de Libye avaient naturellement les leurs. Au debut du Verne siècle après J.-C., Sy-nésios en témoigne encore lorsqu'il deplore, s'il

AP, 12, 102 = Epigr. 31 Pfeiffer; D. PAGE, Epigrammata

gi'aeca, Callimachus 1 (Gow, PAGE, Hellenistic Epigrams,

Call. 1); CL. MEILLIER, Callimaque et son temps, Lille 1979, p. 121 sq. (bibi. en n. 21). J'ai signalé l'intérêt de cc texte cans La Civilisation hellenistique, Paris 1981, p. 322.

2 Le mot 6opa0Jç, comme Sopthc, peut designer un che-vreuil ou une gazelle. Ces deux animaux figurent dans le bestiaire de la CyrénaIque. Au v. 4, je garde 'tt, texte du

Palatinus: l'indication de lieu, qua l'interlocuteur du chas-seur lui indique, a un intérSt, alors qua l'interjection tfl (correction de Brunck, adoptée par Pfeiffer et Page), est banale.

XENOPHON (Cyn., 5, 1 et 8, 1) souligne l'utilitC de suivre le lièvre a la piste par temps de neige.

' Sur les chiens de Chasse, cf. XENOPHON, Cyn., 3, 1 sq.

12 FRAN0IS CHAMOUX

est appelé a l'épiscopat, ede voir privés de chas-se les chiens qu'il aime tanta, tt yip iccd icátOw

'thç 2'c6'taç icIwsç iteipovç öv'tctç 6p& 5 . Le fu-tur évêque de PtolémaIs, entre autres ouvrages, avait compose des Cynegetiques, traité ou poe-me didactique, inspire par son experience per-sonnelle de chasseur6 . On regrette que ce texte ne nous ait pas été conserve.

Un intéressant monument, récemment pu-blié, illustre cette presence des chiens dans la vie des Grecs de Cyrène. C'est une petite stèle funéraire inscrite retrouvée dans la chôra, a El Fandia, a 17 km au Sud de Cyrène7 . Sous la silhouette sommairement gravée d'un chien, on lit son nom, TIpavvoç icixov, suivi d'un hep-. tamètre oü l'animal s'exprime comme un hu-main, a la premiere personne: êvOa 6il iccIftca intà 7cxulIc, kanoux, TwU6 1tov1ctç, <<je repose ici sous la terre, ô mon maitre, après de rudes travauxa. Les auteurs de la publication, Cathe-rine Dobias-Lalou et Ramadan A. Gwaider, out parfaitement commenté ce monument, qui s'ajoute a la série abondante des épitaphes d'animaax dans l'Antiquite gr6co .-romaine8 . Ils ont bien vu qu'il s'agissait probablement d'un chien de chasse qui, au service de son maitre, a souvent parcouru les vastes espaces du pla-teau, mo26 1tovi< oaç, a la recherche du gibier. Les mots icovsIv, itóvo, qn2oitovics, 2coic6voç,

sont employés par Xénophon pour les chiens

comme pour les chasseurs 9 . Le chien Tyrannos avait pris sa large part des fatigues de la chas-se: le nom qu'il portait ne lui avait pas hté don-n6 par antiphrase, mais plutôt pour souligner son acharnement a la quête du gibier, et peut-être aussi son autorité sur la meute 10 . Ses ser-vices lui avaient valu, a sa mort, d'être enseveli comme un humain dans le domaine campa-gnard oü, comme un humain, ii rappelle lui-même ses mérites dans l'épigramme inscrite sur sa stèle11.

Une autre stèle funéraire de Cyrène illustre, sur un autre registre, les liens affectifs qui s'établissaient entre un chien et son maitre. Ii ne s'agit plus d'un Cyrénéen, mais d'un étran-ger mort a Cyrène, l'athlète Antônianos d'Ephè-se 12 . Le monument, qui date probablement de la premiere moitié du Theme siècle de notre ère (d'après le style du relief et les particulari-tés de la graphie), représente le personnage, boxeur on pancratiaste, dans la nudité athlé-tique, entre une pile de couronnes agonistiques et un petit monument en forme de socle ou d'autel, sur lequel est couché un petit animal, apparemment un chien. Sur la plinthe de la stèle, le nom du défunt est grave, 'Av'co)vtavôç

6 iced Mchpoç, 'EcpCrnoç, suivi d'une palme 13 . Pa-reillement le nom de l'animal, lui aussi suivi d'une palme, est inscrit sur le socle en haut du-quel ii est juché, la tête tournée vers son

SyNEsius, EP, lettre 105, ligne 115 (éd. A. GARZYA, D. ROQUES (CollUnivFr), Paris 2000, avec le commentaire de D. Roques, n. 45 ad loc., p. 368). Autre allusion a la chasse dans la lettre 41, 1.123 (avec la n. 38, P. 132).

SyNEsius, op. cit. a la note 5, p. xxxii (D. RoQuas). Cf. D. ROQUES, Synésios et la CyrénaIque du Bas-Empire, Paris 1987, p. 411 sq.

C. DOBIAS-LALOU, R.A. GWAIDER, From the Cemeteries of Cyrene, LibyaAnt os. 3, 1997, pp. 28-29.

8 G. HERRLINGER, Totenklage um Tiere in der antiken Dichtung (Tubinger Beitrage zur AltertumsWissenschaft 31), Stuttgart 1930. C. Dobias-Lalou et R. Gwaider ren-voient aussi a la monographic de F. MENTZ, Die klassische Hundenamen, Philologus 88, 1937. Xénophon (C'yn., 7, 5) donne une longue liste de 47 noms (tolls dissyllabiques) pour des chiens de chasse, liste qui nest évidemment pas limitative. Étude récente sur les épigrammes composées pour des chiens dans S.B. der Oest. Akad. Wien, Philos.-

hist. KI. 575, Wien 1991, p. 42 (B. Iplikcioglu, a propos dune épitaphe d'un chien a Termessos), signalée dans le Bull. Epigraphique, PEG 105, 1992, p. 522, n. 544.

Références dans XENOPHON, L'art de la Chasse (= Cyn.), éd. ED. DELEBECQUE (CollUnivFr), Paris 1970, Lexique, 5.51.

10 Certains chiens de CyrenaIque devaient être partidu-lièrement agressifs, car ils étaient issus de croisement avec des loups selon Aristoteles, HA, 8, 28.

DoBrAs-LALou at GWAIDER (op. cit. Ela note 7, p. 29) pensent que le chien Tyrannos a pu trouver la mort au cours d'une chasse, cc qui rendrait bien compte de l'épi-gramme et du monument.

12 E. ROSENBAUM, A Catalogue of Cyrenaican Portrait-Sculpture, London 1960, n. 285, p1. 101. J'ai étudie et com-menté cc monument dans BullSocNatAntiquairesFrance, 1988, Pp. 492-500 et an Colloque d'Urbino en 1988 (Qua-dALibia 16, sous presse).

13 Inscriptions reprises dans SEG 20, 752.

CHIENS CYRENEENS 13

maitre. Ce nom peut être un féminin, flapTi-

yopIç, ala Consolatricea, ou une graphie pour Ucp'yóp(o)ç, ale Consolateura. Appliqué a un animal de compagnie, ce nom s'ajoute a une série abondante de noms traduisant l'attache-ment de l'homme a son petit compagnon, dont la presence est pour lui une joie. Ce chien ou cette chienne (le museau pointu fait penser a une levrette) partageait la vie rude de l'athlète professionnel, qui allait de concours en concours, de combat en combat. Ses manifes-tations d'affection et de fidélité le consolaient de ses épreuves. C'est pourquoi, tout comme le chien Tyrannos, Paregoris avait mérité, a sa mort, d'être honoré d'une tombe et d'une stèle gravée a son nom, ce qu'Antônianos avait tenu a rappeler sur sa propre stèle funéraire.

On trouve aussi des chiens familiers sur les terres cuites de CyrenaIque, qui s'inspirent vo-lontiers de la vie quotidienne. Pour nous en te-

fir h la riche collection du Louvre, bien publiée par S. Besques 14 , on y relève deux images de chiens isolés (D 4398 et 4399, p1. 41 e et f, un enfant assis sur un chien (D 4158, p1. 34 e), un autre assis sur un chariot traIné par deux chiens (D 4359, p1. 34 f), un autre encore jouant avec un coq et un chien (D 4351, p1. 33 d). Dans tous ces cas, il s'agit, semble-t-il, de la même race de chiens, qu'on appelle traditionnellement <,de Maltea: des animaux de petite taille, poilus, au museau court et a la queue dressée, mieux faits pour partager la vie du maitre a la maison que pour le suivre a la chasse' 5 . Cette dernière tâche incombait évidemment a d'autres races canines, comme les lévriers et les molosses. Ce sont eux qui formaient les meutes avec lesquelles les chasseurs de Cyrène et des autres cites de Libye, depuis les origines jusqu'à lepoque de Synésios, s'adonnaient avec passion a la poursuite du gibier dans les solitudes du plateau.

14 S. BESQUES, Musée du Louvre, Catalogue raisonné des figurines et reliefs en terre cuite hellénistiques el ronlaines, 4, 1, Paris 1992.

' -5 BESQUES, op. cit. a la note 14, p. 77, ad D 4398. Bib!. sur les chiens dans 1'Antiquite dans Kl. Pauly 2, 1979, 1249, Cu. Hund (W. RICHTER).

The Ugly Family from Sicily: a coroplastic conundrum at Cyrene

by JAIMEE P. UHLENBROCK*

Among the over 4,500 terracottas brought to light at the Extramural Sanctuary of Demeter and Persephone at Cyrene by the University Museum of the University of Pennsylvania 1 are some 57 figurines or figurine fragments of local manufacture that, by virtue of their typology and especially their idiosyncratic technique, appear to come together as a group. They are classically late Archaic in style and clearly derive from Sicilian prototypes'. So exceptionally poor in quality and so lacking in aesthetic appeal are they that the nickname <<the Ugly Family>> was given to the group as a whole as a temporary means of distinguishing its members from sev-eral other late Archaic figurines of a similar typology, also coming from Sicily. While their physical attributes may suggest that the differ-ent members of the Ugly Family deserve no more than a passing mention, their very pres-ence at Cyrene is of considerable importance since, because of their numbers, they illustrate

the dependance of the coroplastic industry at Cyrene on that of Sicily during its formative period in the late 6th century B.C. 3 . However, the specific nature of that dependence and its signif-icance are issues that still remain obscure.

Cyrene's Ugly Family comprises types that represent an enthroned female, a standing female holding a bird and a wreath, and a seated kourotrophos. They all were uncovered in the middle of three enclosed terraces that made up the Sanctuary. This middle terrace, referred to by its excavator Donald White as the Middle Sanctuary (Fig. 1), is the only one that has been extensively explored thus far, although some of its areas still await excavation. The roughly 4,500 terracotta figurines that have been recov-ered to date at the Sanctuary were found in varying concentrations intermixed with archi-tectural debris and stones, pottery and lamp fragments, fragments of sculpture, coins, seals and gems, glass, and other small finds in a

State University of New York at New Paltz. I would like to thank Professor Donald White, Director

of the University Museum's excavations at the Extramural Sanctuary of Demeter and Persephone at cyrene, for invit-ing me to study and to publish the terracotta figurines from his excavations. I also am indebted to Ess. Breyik Attiyeh, controller of Antiquities at Shahat, and to his staff of the Libyan Antiquities Service for the cordial assistance and hospitality extended tome during the summer of 1981.

2 The existence of these Sicilian types at Cyrene has already been briefly noted, see J.P. UNLENBROCK, Influssi stranieri ne/la coroplastica cirenaica, in Cirene e La Cirenaica nell'antichità. Atti del Convegno Internazionale di Studi. Roma-Frascati, 18-21 Dicembre 1996, forthcoming. This is a revision of what was expressed in an earlier publication,

in which it was held that the seated female type discussed below was influenced directly by East Greek prototypes, see EAD., History, Trade, and the Terracottas, in Gifts to the Goddesses: Cyrenek Sanctuary of Demeter and Persephone, Expedition 34, 1-2, 1992, p. 20, fig. S.

R.A. HIGGINS, Catalogue of the Ten'acottas in the Depart-ment of Greek and Roman Antiquities, British Museum, I. Greek: 730-330 B. C., London 1969, no. 1118, is inclined to date the seated females of this Sicilian variety to the early 51h century B.C. or later because of the wing-like extensions to the back of the throne. These he believes reflect Attic conventions known from early fifth-century figurines. In my view, the wing-like projections on the Sicilian thrones could stem from an independent development and are untrustworthy criteria for dating.

I _U!1I1 I I •miiu..i

Ir -

I

JAIMEE P. UHLENEROCK

83sp

FIG. 1 - Plan of the Extramural Sanctuary of Demeter and Persephone at Cyrene.

THE UGLY FAMILY FROM SICILY: A COROPLASTIC CONUNDRUM AT CYRENE 17

dense stratum that overlay the Middle Sanctu-ary. There is no question that further explo-ration of this area, as well as of the upper and lower terraces, will yield still more material. The ideas presented in this paper, therefore, must be taken as provisional until such time as the remaining areas can be fully investigated.

The members of the Ugly Family were found primarily in two concentrations in the Middle Sanctuary, although they also appeared spo-radically in other areas of the terrace. The first, and largest, concentration of 23 figurines occurred at the South-West corner of the retaining walls of the Middle Sanctuary at grid squares D15-17 on the Sanctuary plan 4 . The second concentration of 18 figurines formed part of a massing of votive material of all kinds that was recovered from a deep level sounding at grid squares F13/G13 at the inner face of the imperial retaining wall T1 5 . Evi-dence indicates that the earth within which this material was buried served as construc-tional backfill for the architectural renova-tions that marked the life of the Sanctuary and consequently little is known about the original deposition of these figurines. However, the bulk of the accumulated material presents a chronological homogeneity that suggests that the greater part of the material from grid squares D15-17, at least, belonged to a votive deposit that was relatively undisturbed and that perhaps was pertinent to the nearby structure marked S6 on the plan. Both of these assemblages comprised material coming pre-dominantly from the Archaic and Classical periods and represent a part of what is believed to be the greatest chronological con-centration of significant portable artefacts

recovered from any period in the life of the Sanctuary6.

The first and best represented member of the Ugly Family typology, known in at least 28 examples from a single mould family and whose height averages ca. 15 centimeters 7 , rep-resents a female seated erect on a high-backed throne with her hands resting palms down on her knees and her feet placed slightly apart on a footrest (Fig. 2). She wears a vague, unde-tailed garment that falls to her feet and that has a high, rounded neckline, a l'zii'nation

drawn over her head and falling behind her ears and over her shoulders and upper arms, a stepliane orpo/os over the himation, disk ear-rings, and round-toed shoes. The top of the back rest of the throne has wing-like projec-tions and the front face of its seat is embel-lished with protuberances formed by blobs of clay pinched and squeezed into place. The fig-ure is very robust with squat proportions, an oversized head, broad, but rounded and slop-ing, shoulders, heavy arms, high, full breasts, and thin, markedly tapering legs with under-sized feet. Stylistically it is characterized by broad, curving contours and full forms. The breasts comprise a single undifferentiated vol-ume, rather than two independent forms, set high in the torso and, together with the over-sized head and broad shoulders, promote a rather top-heavy look for the figure.

Several facial types are known, although all reflect a strong East Greek orientation in the fullness of their modeling. The most common is round with a low, lunette-shaped forehead framed by a thin band of hair; it has long, nar-row eyes, a long, thin-bridged nose, a small, smiling mouth with thick lips, and very ample

D. WHITE, Excavations in the Sanctuary of Demeter and Persephone at 6yrene. Fourth preliminary report, LibyaAnt 13-14, 1976-1977, p. 276 ff.

I D. WHITE, Excavations in the Sanctuary of Demeter and Persephone at Cyrene. Sixth Preliminary Report, LibSt 15-16, 1978-1979, P. 174 ff.; ID., The Extramural Sanctuary of Demeter and Persephone at C'yrene, Libya. Background and Introduction to the Excavations (Final Reports 1) Philadelphia 1984, p. 83.

6 D. WHITE, The Extramural Sanctuary of Demeter and Persephone at cyrene, Libya. The Sites Architecture, Its First Six Hundred Years of Development (Final Reports 5), Philadelphia 1993, p. 44.

D. WHITE, Archaic Cyrene and the Cult of Demeter and Persephone, Expedition 17, 4, 1975, p. 12, fig. 2; ID., Fourth preliminary report, p. 277, p1. 75, e; UHLENBROCK, History, Trade, p. 20, fig. 8.

18 JAIMEE P. UHLENBROCK

cheeks and chin (Fig. 2). A second has an oval contour and a wide, crescent-shaped mouth (Fig. 3), while a third has a high forehead with full hair and a long, narrow chin (Fig. 4). Most often, however, the features are indistinct due, no doubt, to the fact that these figurines rep-resent a very late phase in the derivative pro-duction of the type. Variations on the head-dress include the addition of a hand-modeled polos, either low (Fig. 5) or high (Fig. 6), some-times with a center and two side lobes at the upper edge, or a thickening of the hair over the forehead to a donut-like mass that can pro-ject forward over the face (Fig. 7).

The second member of the Ugly Family known in 14 examples from a single mould family is that of a female 17 centimeters high, who stands rigidly with her feet placed slightly apart on a round base (Fig. 8). Her right hand is brought up to her chest, against which she holds a bird facing left; her left hand, held against the left side of her lower abdomen, grasps a wreath. She wears a belted chiton with a barely discernable kolpos and paryphe, a himation over her head and covering her arms, a stephane over the himation, and round-toed shoes. As in the case of the seated figure, the proportions of the standing woman also are squat and the contours rounded, the head is oversized, the shoulders are sloping, and the breasts are high and full, although the figure itself is less robust.

A kourotrophos 15 centimeters in height com-pletes the Ugly Family typology as it is under-stood so far (Fig. 9). The most represented scheme is that of a figure seated erect on a throne with no back rest indicated; the right arm is bent and brought up to the left breast with the hand open; the left arm, also bent, is brought across the lap and cradles a swaddled infant who faces right; the feet are placed slightly apart on a footrest. The kourotrophos wears a long garment lacking detail and a

stephane. One fragment presents an oversized head with a round face, but the features are indistinct. An important variation preserved in a single example shows the right hand down, instead of at the breast, and resting across the ankles of the infant (Fig. 10).

All of the figurines representing these three main types were made in the distinctive, local Cyrenean fabric for the late 6th and 51h century B.C., which is soft and yellowish-buff in color with gritty, black and white inclusions and a grey core. The figurines were made in frontal moulds and were covered with a slab back, while the undersides were always left open. The moulds themselves must have come from a very late stage of derivative production, as the details of anatomy and dress are largely illegible. In many of the examples, the surfaces were wiped when the figurines were in the leather-hard state, a practice that further con-tributed to the illegibility of the features. This condition may have been mitigated somewhat by the application of painted detail, although no traces of color have been preserved. The surfaces of these figurines are distinguished by a slight sheen and, without exception, are crazed to varying degrees, as if they were sub-jected to excessively high and rapidly rising temperatures during firing. Indeed, when examining these figurines as a group, one is left with the impression that they may have been part of a single kiln load that misfired. In no other figurines from the Sanctuary among the roughly 4,500 that have been recov-ered can one encounter this peculiar surface. They are also singularly consistent in their casting technique, which is careless and clumsy, and which resulted in unusually heavy figurines that are unpleasant to hold.

The Ugly Family seems to have entered pro-duction at Cyrene towards the end of the 61h century B.C., to judge by the late Archaic char-acter of the types'. This may have been only

8 The statement by R.A. Higgins that local coroplastic production in cyrenaica began only towards ca. 470 B.C. is no longer tenable in light of the finds from the Extra-

mural Sanctuary of Demeter and Persephone at Cyrene, see HIGGINs, Catalogue of the Terracottas, p. 378.

19 THE UGLY FAMILY FROM SICILY: A COROPLASTIC CONUNDRUM AT CYRF.NE

FIG. 2 - CYRENE, TERRACOTTA FIGURINE. Seated female, UM 73-974.

FIG. 5 - CYRENE, TERRACOTTA FIGURINE. Seated female, UM 74-397.

FIG. 3 - CYRENE, TERRACOTTA FIGURINE. Head from a seated female, UM 78-350.

FIG. 6 - CYRENE, TERRACOTTA FIGURINE. Head from a seated female, UM 77-71.

FIG. 4 - CYRENE, TERRACOTTA FIGURINE. Head from a seated female, UM 76-420.

bu

FIG. 7 - CYRENE, TERRACOTTA FIGURINE. Head from a seated female, UM 77-633.

I

V

20 JAIMEE P. UHLENBROCK

several decades after imports from Miletos, dated to the second and third quarters of the 6th century B.C. 9 , had begun to furnish refined East Greek models for local imitation. This Milesian ware, whose typology comprises the Aphrodite Group of Reynold Higgins' 0 , con-sists of figured perfume vases, figurines, and mask protomai, among other types, which, in contrast to the members of the Ugly Family, are remarkable for their high aesthetic quality and sophisticated double-mould technique, as well as for their fine, dusky-rose or orange, micaceous fabric. Some 200 fragments of these Milesian imports have been brought to light at the Extramural Sanctuary of Demeter and Persephone thus far, while over 100 fragments of local imitations attest to their influence.

In fact, the Ugly Family and the Aphrodite Group comprised two successive and distantly-related streams of foreign influence that alone were directly responsible for the rapid devel-opment of the coroplastic industry at Cyrene by the end of the 6th century B.C. The available evidence indicates that by the end of the third quarter of the 6" century what little that was being produced locally represented an impov-erished craft whose proponents had a poor

grasp of the technical and artistic processes necessary for the mass production of inexpen-sive votives in clay. Several coarse, solid, hand-modeled figurines of standing females from the Extramural Sanctuary represent all that is known of the earliest attempts at local produc-tion 11 . When viewed against this background of a limited and hesitant local manufacture, the ostensibly sudden appearance of larger, hollow-cast figurines, such as is represented by the typology of the Aphrodite Group, and, only slightly later, by members of the Ugly Family, seems to indicate a change in religious practice or perhaps in social conditions, the nature of which still remains unclear. In the case of the arrival and subsequent imitation at Cyrene of the Aphrodite Group typology, this phe-nomenon can be paralleled at sites in Sicily and southern Italy, among other areas of the Greek world, where Milesian imports have been found, sometimes by the hundreds 12 , to then be widely reproduced and imitated after the abrupt cessation of this import trade 13 . The situation at Cyrene, then, may be viewed merely as a local occurrence of a more widespread phenomenon. The same cannot be said for the Ugly Family.

See S. BOLDRINI, Le cerainiche ionic/ic. Gravisca. Scavi nel santuario greco (Gravisca 4), Bari 1994, PP. 30-31 for a review of the currently accepted chronology for the Aphrodite Group. But see also E. WALTER-KARYDI, Fi-gurines en terre curie moulées do V siècle a Samos, in Le moulage en terre cuite dans l'antiquite. Creation et produc-tion dCrivée, fabrication et diffusion. Acres do XVIJ.I Col-loque do Centre de Recherches Archéologiques. Lille III, 7-8 Decembre 1995, ed. A. MULLER, Villeneuve d'Ascq 1997, PP. 15-20 for a lower chronology.

10 R.A. HIGGINS, Greek Ten'acottas, London 1967, PP. 32-37; W.R. BIERS, K.O. GERHARDT, R.A. BRANIFF, Lost Scents. Investigations of Corinthian <,Plastic,, Vases by GasChro-matography-Mass Spectrometry, MASCAP 11, 1994, P. 3.

11 Cyrene Museum: UM 74-396, unpublished; UM 76-938, unpublished; temporary control no. A410, unpub-lished.

12 Catania - G. RIzzA, Stipe votiva di on santuario di Densetra a Catania, BdA 45, 1960, pp. 255-258. Syracuse - P. PELAGATTI, G. VOZA, Archeologia ne/la Sicilia Sod-Orien-tate, Napoli 1973, nos. 323-326. Megara Hyblaia - P. ORsI, Megara Hyblaea. Storia. Topografia. Necropoli e anathemata,

MonAnt 1, 1889, pl. 5, no. 8, p1. 6, nos. 3-6, p1. 7, no. 7. Naxos - P. PELAGATTI, Naxos - Relazione preliminare del/c campagne di scavo 1961-1964, BdA 49, 1964, fig. 16, nos. 2, 3, 6. Morgantina - M. BELL III, Morgantina Studies, 1. The Terracottas, Princeton 1981, p1. 5, no. 10, p1. 11, nos. 48a, b, 49, 52, 55, p1. 12, nos. 51, 54. Gela - P. ORLANDINI, Lo scavo del Thesmophorion di Bitalemi e it cotta del/c divinità ctonie a Ge/a, Kokalos 12, 1966, p. 24, pis. 19, 20. Selinus - F. GABRIcI, Il santuarzo della Malophoros a Se/i-nunte, MonAnt 32, 1927, p1. 38, nos. 1-8, 10, pl. 39, nos. 1, 5-6, 8-10, pl. 40, no. 8, P1. 41, nos. 2, 8-10. Taranto - F. Lo PORTO, Tom/ic arcaiche tarentine con terrecotte ioniche, BdA 47, 1962, figs. 6a, 7, 9, lOa, 13, 17, 18, 19a, b, 24. Cumae - E. GABRIcI, Cuma, MonAnt 22, 1913, pis. 72, 73, no. 8. Gravisca - BOLDRTNI, op. cit., nos. 24-125. For the distribution of Aphrodite Group plastic vases and figurines elsewhere around the Mediterranean and Black Seas, see UHLENBROCK, Influssi stranieri, note 17.

13 This is eloquently illustrated by the Bitalemi strati-graphy, see ORLANDINI, art. cit., P. 16 ff. for the strati-graphical evidence.

THE UGLY FAMILY FROM SICILY: A COROPLASTIC CONUNDRUM AT CYRENE 21

FIG. 8- CYRENE, TERRACOTTA FIGURINE. Standing FIG. 15 - SELINUS, TERRACOTTA FIGURINE. Standing

female with bird and wreath, UM 7433 1. female with bird and wreath (from Gabrici, NSc, fig. 29).

FIG. 9 - CYRENE, TERRACOTTA FIG. 10 - CYRENE, TERRACOTTA FIG. 16 - SELINUS, TERRACOTTA

FIGURINE. Seated kourotrophos, FIGURINE. Body fragment from a FIGURINE. Seated kourotrophos

UM 76-333. seated kourotrophos, UM 76-937. (from GabriCi, NSc, fig. 30).