A Story of Five Amazons

A Story of Five Amazons
Author(s): Brunilde Sismondo Ridgway

Source: American Journal of Archaeology, Vol. 78, No. 1 (Jan., 1974), pp. 1-17
Published by: Archaeological Institute of America
Stable URL: https://www.jstor.org/stable/503751
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A Story of Five Amazons*
BRUNILDE SISMONDO RIDGWAY
PLATES 1-4
THE ANCIENT SOURCE

dam a sua quisque iudicassent. Haec est Poly
In a well-known passage of his bookproxima
on bronze ab ea Phidiae, tertia Cresilae, quarta
donis, quinta Phradmonis."
sculpture Pliny tells us the story of a competition
among five artists for the statue of an This text has been variously interpreted, emen
Amazon
(Pliny NH 34.53): "Venere autem et inand supplemented by trying to identify each st
certamen
mentioned
laudatissimi, quamquam diversis aetatibus geniti,by Pliny among the types extant in
quoniam fecerunt Amazonas, quae cummuseums.
in temploIt may therefore be useful to rev
Dianae Ephesiae dicarentur, placuit eligi probatis-
briefly the basic points made by the passage, be
simam ipsorum artificum, qui praesentes erant the sculptural candidates.
examining
iudicio, cum apparuit earn esse quam omnesi) The Competition. The mention of a cont
secun-
von Bothmer
* The following works will be quoted in abbreviated D. von Bothmer, Amazons in Greek
form:
Arias, Policleto P. Arias, Policleto (Florence 1964) Art (Oxford 1957)
Arias and Hirmer P. Arias and M. Hirmer, A Thousand In referring to illustrations of comparative monuments,
Years of Greek Vase Painting (Newonly standard picture books have been used, with no attempt
York 1962) to provide the best possible photograph or the most important
Becatti G. Becatti, Problemi Fidiaci (Florence publication of the monument. Thus Bieber, Lippold and S. & S.
1951) are the most commonly given sources. In order to avoid ex-
Becatti, Ninfe G. Becatti, Ninfe e Divinita Marine, cessive footnoting, documentation and references have often
Ricerche Mitologiche iconografiche ebeen condensed, so that when several statues or several authors
stilistiche, Studi Miscellanei no. 17are mentioned, only one footnote at the end of the paragraph
(Rome 1971) will provide the bibliographical support.
Bieber M. Bieber, The Sculpture of the Hel- The Amazon types have been referred to as follows:
lenistic Age (2nd rev. ed., NewD-P YorkAmazon = Villa Doria Pamphili Amazon; Capitoline
1961) Amazon type = also known as Sosikles' Amazon because the
Furtwiingler A. Furtwlingler, Meisterwerke dec copy in the Capitoline Museum is signed by Sosikles; Ephesos
(or, F., Meisterwerke) griechischen Plastik (Berlin 1893) (Ephesos pier) Amazon = the newly established "fifth" type
Helbig4 various authors, writing entries for W. known through the high relief figure decorating one of the
piers of the Roman theater at Ephesos; Mattei Amazon type =
Helbig, Fiihrer durch die offentlichen
Sammlungen klassischer Altertiimer after
in the replica in the Vatican; Lansdowne Amazon type
Rom, 4th edition; vol. I (nos. I-Ii6o)
- variously called the "Sciarra" type after the copy in Copen-
1963; vol. 2 (nos. 161-2116) 1966; hagen, or the Berlin Type after the copy in Berlin; the Lans-
vol. 3 (nos. 2117-2994) 1969. downe replica is in the Metropolitan Museum in New York,
Johnson, Lysippos F. Johnson, Lysippos (Durham 1927) and it is published and illustrated fully in G. M. A. Richter,
Lippold G. Lippold, Die griechische Plastik, Catalogue of Greek Sculpture in the Metropolitan Museum of
in W. Otto, Handbuch der Archdologie
Art (Cambridge, Mass. 1954) no. 37, pls. 34-36.
3:1 (Munich 1950) (Handbuch der The bibliography on the problem of the Ephesian Amazons
Altertumswissenschaft Abt. 6) is extensive, and it has proved impossible to acknowledge the
Lullies and Hirmer R. Lullies and M. Hirmer, Greek opinion of all the scholars who have written on the subject.
Sculpture (New York I96o) Summaries of previous attributions as well as lists of replicas
Michaelis A. Michaelis, "Die sogennanten ephesi- can be found in Michaelis, Becatti (ch. 13, pp. 185-199) and
schen Amazonenstatues," IJd I (1886) von Bothmer.
14-74. I am greatly indebted to Carol W. Carpenter for her draw-
Poulsen V. Poulsen, Die Amazone des Kresi- ing of the five Amazons as they may have stood in Ephesos
(pl.1957)
las, Opus Nobile I (Bremen 4, fig. 14). Her sketch is meant purely as a visual
Richter, Archaeology G. M. A. Richter, "Pliny's
aid to Five Ama-of my text and makes no definitive claim
the reading
zons," Archaeology 12 (1959)as toII1-
the correct spacing of the statues and the rendering of
"I5 individual details. Although in the drawing the Amazons have
Ridgway, Severe Style B. S. Ridgway, The Severe Style in rendered as if on a single base, nothing
been conventionally
Greek Sculpture (Princeton prevents
1970) a more scattered arrangement of the statues in the
S. & S. G. M. A. Richter, Sculpture and Sculp- proximity of the temple, perhaps within the perimeter of the
tors of the Greeks (4th ed., New
altar. Such a setting would probably avoid the monotony of
Haven 1970) two figures, each leaning on a pier with the same elbow, but
SQ J. Overbeck, Die antiken Schriftquel- it would not prevent a sequential alignment (from left to
len zur Geschichte der bildende Kiinste
right along a pi-shaped outline?) which may have prompted
bei den Griechen (Leipzig I868)the order of winners in Pliny's anecdote.
2 BRUNILDE SISMONDO RIDGWAY [AJA 78
among ancient masters is notbuslimited
geniti)tobutthis epi-
also for reinforc
sode. Pliny himself (NH 36.17) tells
sentes us that
erant Alka-
iudicio). If, however,
menes and Agorakritos competed
infra, for a statue
Phradmon is of
a fourth centu
Aphrodite, which was apparently voted
possibility of upon by
contemporaneity c
the citizens of Athens; another,
it the but much
entire laterof the conte
anecdote
source (the twelfth century 2) Byzantine
The Artists. writer
Aside from proble
Tzetzes in his Chiliades 8.353
ogy, =
theSQname
772) of
speaks
the fourth mast
of a contest between Pheidias
Plinyand Alkamenes,
has given rise to skepticism,
where the former was pronounced victorious
text has by his
often been emended so a
own compatriots. But all these episodes
entirely and tohave a
eliminate the me
strong anecdotal flavor and statue,
are open to doubt. In
shifting quarta to Phradmo
the case of the Ephesian Amazons
for thisin particular,have usually
emendation
Furtwangler, as early as 1893, had suggested
is otherwise unknownthatas a sculptor
the order of winners in Plinytook
simply corresponded
Kresilas' ethnic (from Kydo
to the alignment of the statues
the name ofsingle
on their base,
another person, and th
of Amazons
which had with time acquired extantof
an implication in our muse
competition and prize; while D. von Bothmer has
tributed to a fifth century mon
more recently assumed that "Pliny's
years, account
however, ... A. Richter h
G. M.
may well be an embroidered anecdote
original prompted
lectio of the text on th
by the presence of four statues of the same
Amazonian type subject
which was exca
in the same sanctuary by different
in 1898artists."'
but did A safer
not receive official
reference to a competition is given
sixty by the later.5
years inscrip-Richter poin
Kydon,
tion on the pedestal of Paionios' not
Nike at attested as an ethnic
Olympia,2
which mentions that the sculptor "won name,
as a proper the com-
and that ther
mission to make the akroteriaformation
for the temple." One
should be accepted in to
may note however that akroteria are part
is probably of an
correct, regardless of
architectural monument, and as such
whole would re-
passage.
quire models and a public commission; nothing
3) The Statues. On the logical a
assures us that a single statue would
the be subject
famous bronze to originals wou
the same rules, or, specifically, thatin
produced the city copies,
Roman of scholars
Ephesos officially commissioned thetempted
ly been statue of toan"illustrate" P
Amazon, though Pliny's passage has sometimes
the sculptural types represented
been thus interpreted.3 Furtwiingler (p. 289),
lections. Though who disagreemen
lively
had discounted this possibility, thought
on the in terms
attributions of the single ty
of a wealthy private citizen,masters,
but in that case it
the types is
themselves have
difficult to see why all five Amazons should
established andbe set
accepted; they ar
up if only one "won" and became the object of the
as: the Lansdowne type (pl. I, f
dedication. Although evidence toline
is insufficient
type (pl.either
i, fig. 2), the Ma
to accept or to reject the idea of 3)
fig. anand
ancient
the com-
Villa Doria Pam
petition, we may still stress the fact that Pliny
(pl. I, fig. 4), which is known th
himself is aware of the discrepancy
statue and intherefore
age among cannot techni
his presumed competitors, and feels the need not
as a type. Indeed Michaelis, in I88
only for justification (quamquam
statuediversis aetati-
as a replica of the Lansdo
1 Meisterwerke 303; von Bothmer 221. Many other scholars
4 See, e.g., S. Ferri, Plinio il Vecchio (Rome 1946) 77 n. 53
have accepted a similar position. for a strong statement to this effect.
2E. Loewy, Inschriften griechischer5 Bildhauer
Richter, Archaeology;
(Leipzig forI885)
the original publication of th
no. 49. Ephesos Amazon see F. Eichler, "Eine neue Amazone und
3 By Poulsen, for instance, who assumed that all the extant
sculptural types are wounded because the terms of andere Skulpturen aus dem Theater von Ephesos," OJh 4
the com-
(1956-58) 7-18.
petition so required. More recently, W. Fuchs, Die 6
Skulptur
Michaelis; his Type I is the Lansdowne; his Type II is th
der Griechen (Munich 1969) 195, repeats that the city of and his Type III is the Mattei, which however h
Capitoline,
Ephesos commissioned a wounded Amazon.
considers later than the other two (though still fifth century
1974] A STORY OF FIVE AMAZONS 3
Furtwiingler (pp. 286-303) strongly
Sestieri, who refuted
in i951 proclaimed the heavily
stored
position and ascribed the statue a to
statue Roman
theclassicizing creatio
little-kno
tended to represent
Phradmon, whom he considered not an Amazonof
a follower but Pol
a Di
He based
kleitos. Furtwaingler's this suggestion on: its
identification excessive sim
gained w
itytypes
acceptance and his four to the Lansdowne
entered type; the
the effort appare
literat
the pose because
of the next fifty years, with of discussion
the elimination of the
maisupp
ing pier present in the
limited to deciding which type belonged to wh Berlin type; the sta
master. which makes it difficult to reconstruct a symm
When Eichler published the Amazon cal fromgroup
the based on the four "canonical" Ama
three of which rest their weight on the right
Ephesos theater (pl. 2, figs. 5-6) he pointed out
and finally the rendering of the drapery, espe
its strong similarity to the Capitoline type,' but
the zigzag fold between the breasts, which betr
did not express himself as to whether the statue
a classicizing origin. Sestieri maintained mor
represented one more creation of the competing
masters or a variant based on the classical Ama- that the head at present on the D-P Amazon
not belong but copies a true fifth century orig
zons and invented for the specific purpose of deco-
probably the Amazon by Phradmon. He sugg
rating the Roman stage.8 Richter was explicit in
that the body type to be associated with the
recognizing the originality of the type, but did not
is preserved in a torso known to him throu
attribute it specifically to either Phradmon or Ky-three replicas; the best one, in the La Valletta M
don, since both the Ephesos and the Doria Pam-
seum in Malta, has no attribute preserved, w
phili Amazons are known through only one replicathe other two, in the Palazzo Corsini, Flore
and could equally well be assigned to either sculp-
and the Ny Carlsberg Glyptothek, Copenha
tor.9 At this point in our knowledge, however, thehave been characterized as Diana by the add
picture was simple and coherent: Pliny spoke of of quiver and strap." Sestieri's attribution to Ph
five sculptors and five statues; the accuracy of hismon has not been repeated in later literature
passage was now confirmed, since we finally pos-
the theory has also been advanced that the t
sessed five sculptural types, some of them definitely
represented by the three replicas is itself a clas
associated with Ephesos through their provenience.ing creation, intended for a Diana but also
But doubts had already begun to undermine this
as a stock body for portraits of Roman ladies a
apparent unity. Imperial court.'2 On the other hand, Sestieri's d
about the D-P Amazon has been confirmed: the
THE DORIA-PAMPHILI AMAZON
most recent systematic study of the Ephesian group
Furtwdingler's attribution of the D-P type to the
omits the statue because it is "not certainly an
Ephesian group was explicitly challenged by and
Amazon, C. P.
in any event so much restored that
even if definitely not by Pheidias), and therefore excludes 9 Richter, Archaeology 115; S. & S. 175 n. 79.
from the Ephesian monument. He lists the Doria-Pamphili 10 C. P. Sestieri, "Alla ricerca di Phradmon," ArchCl 3
statue as Replica H of his Type I. (1951) 13-32, I6. The restorations, as given in the text to
7For Eichler's publication see supra n. 5. A fragmentary BrBr 688-689 are: 1. arm from middle of upper arm; r. arm
head in the British Museum, no. 1239, found near the Arte- from upper third of upper arm; both legs from knee downward;
mision, had been attributed by Poulsen to the Capitoline type, feet; plinth; dog. Extensive reworking on 1. hip. Restored also
but a cast fitted into the remaining portion of the face and is a group of folds on the r. side front, from the belt upward;
body on the Ephesos pier now in Vienna (no. 1616) has un- pieces of the folds between the legs and some individual folds;
questionably shown that the two belong together. part of hanging folds on back, r., and perhaps also part of
8 It should be noted that other piers from the scaenae frons back. The head was originally split lengthwise in two, with
are decorated with Amazons; one, Vienna 1615, though frag- the break running through the cheeks; its restorations include:
mentary and badly preserved, probably represented an Amazon chin, lower part of nose, hair over the forehead at 1., up to
of the Capitoline type; Vienna 1617 is in even worse condi- level of fillet. The 1. half of the head crown retains traces of
tion, but the Amazon carved against the surface of this pier the finger tips where the r. hand originally rested.
has a raised right arm inserted separately, and since no traces 11 La Valletta torso: Sestieri (supra n. io) pl. 8:2; Palazzo
of a garment appear on the right side of the torso as far as Corsini statue: EA 326; Ny Carlsberg torso: EA 3834; Sestieri
preserved, she may perhaps have been of the Lansdowne type. is not aware that the strap and a deer's hoof are thus inter-
One more pier, however, Vienna 834, was adorned with the preted by F. Poulsen, Catalogue of the Ny Carlsberg Glyptothek
figure of a Hellenistic satyr, so the total decoration of the (Copenhagen 1951) no. 86, pp. 84-85.
theater stage must have been eclectic in character. 12F. Poulsen, Catalogue (supra n. I1).
it had better be excluded."3" The following
positive indication points
that the D
should, however, be mentioned.
represented a Diana, and there
Sestieri's analysis of theclue
pose is probably
(the invali-
hand resting on the h
dated by the fact that a being
pillar an
may have been
Amazon. in-
Finally, w
cluded when the D-P statue waswith
concur firstSestieri's
made; the analysi
extensive reworking on the figure's I left
classicizing, hiplike
should hasto str
in fact been interpreted asthe
caused
D-P by the breaking
figure is equally class
off of such a support.14 the rendering of the rhythmi
With this leaning pose on would
eachgo well
side of also
the the
central p
gesture of resting a hand over recall
which the head.
earlySestieri
Imperial coif
disregarded this possibility
bebecause
added he believed
that the
the statue is u
pier absent and the head wrong;work
inferior but ofif little
the head
value, an
is, as generally maintained, part
cas is of the on
explained original
similar g
composition, it shows traces of the attachment
examination for
of the piece" sh
the fingers and confirms this reconstruction--mak-
pressive work of imposing size
ing the statue particularly close to the
mentality, Lansdowne
certainly not infe
lesser replicas
type. This gesture is not attested of the Lansdow
for Artemis/Diana
types, which are more traditionally shownwould
sicizing origin remov-effecti
ing an arrow from the quiver
original while
fromin themotion.
alleged fifth
butbreasts
A chitoniskos covering both this pointis not will be discus
simply
ferent connection.
a prerogative of Artemis/Diana. Those who be-
lieve that the D-P statue reproduces the bronze
THE MATTEI TYPE
original by Phradmon stress the conservatism of
the master and consider theIf attire
some doubt can be entertained
typical of early about th
representations of Amazons. If,the
statue, however,
other threeit is true types ha
Amazonian
that these female warriors tend to appear with one
spired greater confidence, mostly because of
breast uncovered after the middle of the fifth cen-
high quality and the considerable number of
tury, it is also true that cas
the more
extant for modest
each one."8fashion
Perhaps the lea
continues in vogue throughout, as
known is the so-called shown Matteiby in-
Amazon, wh
dividual Amazons on thealwaysBassae frieze, the Maus-
been found headless. An attempt to
solleion frieze, and even to
the thelate-Hellenistic
torso a head known through frieze a repl
bronze from Herculaneum
of the Artemision at Magnesia.5 Specifically, the and one in marble
new Amazon type fromfrom the Ephesos
Hadrian's theater
Villa at Tivoli has
has been accepted
her chiton similarly fastened over both shoulders.
by some, rejected by others.19 The most recent dis-
Since the dog was added by cussion
the on the bronze Herculaneum
restorer, there hermisseems
no
13 Von Bothmer, 216. H. von Steuben, in Helbig', bibliog- is the Mattei type (five copies, all headless, plus one marble
and one basalt copy of reduced size; the Loukou Amazon is
raphy to no. 2216, p. 170, mentions the D-P statue as a surely
eclectic work inspired by the Lansdowne type. considered an adaptation of this type), and his type y is the
14 BrBr text to pls. 688-689 (Munich 1925). This publica- Lansdowne type (to the list of four complete statues, four
tion also states emphatically that the head is pertinent to torsos, four heads, one bronze statuette, one reduced marble
the statue.
copy and the Ephesos relief, add now the head found in 1940,
15 For the chronology of Amazons' attire, see von Bothmer's
at present in the Capitoline Museum, inv. 2435, Helbig' no.
comments, 168-169. Bassae frieze Amazons: S. & S. figs. 211, 1643).
212, 214; Maussolleion frieze: Lullies & Hirmer, figs. 214-215; 19 The attempt was made by Becatti (I92-193) who revived
Magnesia frieze: Bieber, figs. 702-703. an original attribution by Furtwiingler; the combination was
16 See, e.g., L. Furnde-van Zwet, "Fashion in women's hair-
accepted, e.g., by H. von Steuben (Helbig', no. 2216, head
dress in the Ist century of the Roman Empire," BABesch 31 from Villa Hadriana, with previous literature); to the rejections
(1956) 1-22, figs. 14-17; see also Ridgway, Severe Style, ch.mentioned by the German scholar add von Bothmer (p. 220)
9, passim. for whom the head "loses its expression once it is inclined as
17I was allowed to see the D-P statue in 1969; unfortunately on the torso of the Amazon." Becatti, moreover, reconstructs
the sculpture stands at present within a high niche and it is the Amazon with her head turned toward the weight-carrying
therefore impossible to examine its back or any of its details leg, that is, her right side, but I would prefer a reconstruction
at eye level. with head turned to her left, as seems suggested by the strong
18 The most recent listing is by von Bothmer, 216-222; his projection of the right sternomastoid muscle in the Tivoli
type a is the Capitoline (17 replicas listed, of which 8 are replica from the Canopus.
only heads, plus one bronze head of reduced size), his type fj
to accept the Pheidianpendant
attribution but statue
to another more traditional doubts
with the th
fidelity of the head to a right breast revealed.
classical This mirror-image type of
prototype.20
The pose and composition composition
of isthenot unknown
Mattei in antiquity
type from the
are
also not without problems. archaic periodIt hasandbeen
onward,24 generally
it was greatly favored
assumed that the Amazon is not wounded and is by the Romans who even ordered reversed copies
of famous originals for decorative purposes.25 It is
therefore leaning on her spear, not for support, but
interesting to note that the pendant idea was spe-
in order to vault onto her horse, a technique known
from ancient sources and exemplified by the so-
cifically applied to the Mattei type in a construc-
tion probably belonging to the estate of Herodes
called Natter gem.21 In 1955, however, a new replica
of the type was found in Hadrian's Villa at Tivoli,
Atticus at Loukou of Thyreatis in the Peloponnese,
in which the Amazon is wounded on her left thighwhere the Amazon figure was transformed into a
(the blood is plastically shown, spurting from the
Caryatid.26 None of the other known types, how-
wound) and the spear is used for support rather ever, would form a good pendant to the Mattei
than for vaulting.22 The pose remains nonethelesscomposition because of the unusual three-dimen-
lively and three-dimensional, certainly much moresionality of its pose. This also raises a chrono-
complex and mobile than that of all other types, logical problem.
and intended to be seen from more than one point Although traditionally attributed to Pheidias, the
of view. Indeed, the motif of the skirt tucked in Mattei type has also been considered later than
at the waist above the left hip in order to uncoverthe others and therefore not part of the Ephesian
the wounded thigh is not clearly understood unlessgroup.27 Leaving the question of location open, I
the Amazon is approached from the right, in recognize
a in the pose a torsional movement not to
three-quarter view of her left side (pl. 2, fig. 7). be expected before the advanced fourth century B.c.,
Another peculiarity of the Mattei Amazon asaccording to our present understanding of the de-
contrasted with the others is the fact that her left,velopment of classical sculpture. The crossing of
not her right, breast is uncovered.23 Even the spe-the right arm above the head toward the figure's
cific characterization of this type as an archer would
left side, while the weight is supported by the right
seem to require an unimpeded right arm, but notleg, produces a shoulder motion counter to the
the left, and a left-handed Amazon in classicalhip position, with a quasi-spiraling effect not to be
times is hardly imaginable. One further possibilityfound in the relatively open poses of, for instance,
should be mentioned: that the figure formed the
a Ares Borghese, or the so-called Naukydes' Dis-
20 Bronze Herm: Naples Museum 4889; for good illustrations 23 In this connection, von Bothmer (p. 221) clearly points
see Arias, Policleto, pls. 14-15, fig. 64, where the head is con-
out that on contemporary vases and the copies of the shield
sidered Polykleitan. For the most recent discussion see D. of Athena Parthenos the right breast of an Amazon would
Pandermalis, "Zum Program der Statuenausstattung in der occasionally be bared, but never the left.
Villa dei Papiri," AthMitt 86 (1971) 175-209, on the herm see24 Cf., for instance, the stance of Dermys and Kittylos (Lip-
184-185 and Cat. no. 52, p. 206. "Weiterhin ist die Ver- pold, 10:4), the draping of the mantle in the Siphnian Carya-
inderung des Formats zugunsten einer Angleichung an den tid (Lippold, 16:4) and, more specifically, the flanking figures
Doryphoros zu bemerken. Das alles bedeutet, dass wir die of some funerary monuments of the fourth century B.c., either
Amazonenbiiste kaum fiir eine treue und qualitatvolle Kopie lions or servants. For the latter see especially the two seated
eines klassischen Werkes halten k6nnen" (p. 185). women in Berlin, C. Bliimel, Die klassisch griechischen Sklulp-
21 For arguments against the Amazon's wound see, e.g.,turen der Staatlichen Museen zu Berlin (Berlin 1966) no. 45
Becatti 194-196; for ancient references to the vaulting action, (K 13 a, b) figs. 62-69, dated to the last third of the fourth
see Xenophon, On Horsemanship 7.1. The Natter gem is now century B.c.
lost but is frequently reproduced; see, e.g., S. & S. fig. 660. 25 For a reversed copy of Lysippos' Apoxyomenos see, e.g.,
If the gem is accepted as a faithful reflection of the Mattei H. Lauter, "Eine seitenverkehende Kopie des Apoxyomenos,"
type, one should also postulate, as is usually done, that the BonnJhb 167 (1967) I19-128.
head of the type wore a fillet. This elegant coiffure for an 26 On the finds from that site see most recently S. Karousou,
Amazon is not without precedents, but is definitely in contrast"Die Antike vom Kloster Luku in der Thyreatis," R6mMitt
with the more unruly hairstyle of the Capitoline and Ephesos 76 (1969) 253-265; the piece is in the Athens National Mu-
types. See infra, n. 76. seum, no. 705. Although only one Amazon/Caryatid was found,
22 This is B. Andreae's comment in "Archiologische Fundethe type was automatically, and surely correctly, duplicated in
im Bereich von Rom 1949-1956/57," AA 1957, cols. 11o-358;mirror image in an otherwise fanciful reconstruction which
see specifically col. 328 and fig. io8 for the Amazon. A goodformed the frontispiece of A. Blouet, L'Expedition scientifique
analysis of the pose is made by B. Schweitzer, "Neue Wege zude Moree, published in 1831 and reproduced by Karousou,
Pheidias," Jdl 72 (1957) 1-18; see p. 2 for the Amazon, andpl. 81:2.
especially his fig. I on p. 3 for a three-quarter view of the 27 By Michaelis. See supra, n. 6.
composition (our pl. 2, fig. 7).
kobolos; even the "Protesilaos," with
divine figures. The the
possibility accented
must therefore be
considered
crossing of the legs, achieves that Pheidias'
only name became connected
a backward lean
rather than a twisting position. Perhaps
with a specific Amazonian the ear-
type only relatively late,
liest approximation to our when there was confusionbefore
Amazon, about attributions,
Lysip- and
pos' Apoxyomenos, is the mostly because Pheidias Oil-pourer
so-called was responsible for thein
Munich-but he remainsAmazonomachy entirely on the shield of the Athena
frontal because Par-
his raised arm does notthenos, cross which was amply
over but"quoted"
is in Neoattic
simply
shifted backwards. Even works.3,the Capua Aphrodite,
who holds a closely comparable pose (pl. 2, fig.
THE CAPITOLINE TYPE
8), seems less three-dimensional than the Mattei
Amazon, because the position Another of Amazonher exists
arms who leans
is re-on her sp
the
versed; yet the latest analysis of the Capua statue so-called Capitoline type, which has also
dates it to the last decade of the fourth century attributed to Pheidias, though both Kresila
B.C.28 Polykleitos are more frequently favored. Th
If this three-dimensionality is recognized, one the only Amazon who has been unanimousl
more possible explanation for the drapery may be cepted as wounded because she openly ackn
found: the desire to create a pattern of folds em- edges her condition by lifting her garment from
phasizing and continuing the motion of arms and painful spot. This virtual justification for the r
legs.29 The composition would therefore flow from ing of her breast seems fully in keeping with
the raised right arm along the diagonal edge of century practice, which showed the female
the chiton to the crucial gathering-point of the only through transparent drapery or under co
folds over the left hip, to branch off from there in tions of stress or rapid motion.32 The Ama
two directions, one toward the back of the figure, "four-square" pose would have been emphasiz
along the line of the lifted skirt, the other across her right side by the presence of the spear whic
the front to the right knee following the ridge of held with her raised arm, as shown in a ge
the deep fold which ends as the last of the over- the Bibliotheque Nationale, Paris.33 She is the o
regular catenaries on the right thigh. This motion one of the four basic types to reflect the Polyk
can be pursued even farther, from the right knee chiasmos as we know it from the Dorypho
to the left ankle, in one last lap of the zigzag, but and, without going into the matter of attribut
the pattern is not linearly applied to the frontal made more difficult by the possible unreliabili
view of the statue, since the gathering-point at the Pliny's anecdote, she is also the only one in
waist leads the eye in other directions with a depth fifth century style. It is interesting to note th
and complexity somewhat comparable to the "Hel- "fifth" Amazon from the Ephesos theater s
lenistic Muse" in Samos.30 the obvious counterpart of the Capitoline type
A major reason for attributing the Mattei type wears the mantle as well as the chitoniskos,
to Pheidias has been Lucian's description of a her weight on the right leg and lifts her left
Pheidian Amazon leaning on a spear (Imag. 4 in a mirror-image pose; her hairstyle is so clos
SQ 768). Aside from Pliny's Ephesian anecdote, it the Capitoline's that the fragment of her he
is the only other ancient source ascribing such a London was originally considered another re
statue to the famous master; yet the subject seems of that type;35 and both Amazons are characte
hardly in keeping with what we know otherwise by a slightly unruly coiffure which does no
about the sculptor's production, which focused on on fillets but knots the long strands over the n
28 Ares Borghese: Lippold, pl. 68:I. Naukydes' cago 1960) 217.

Diskobolos:
Lippold, pl. 68:2. Protesilaos: Lippold, pl. 68:4. 33
Oil-pourer:
S. & S. p. I8O, fig. w.
Lippold, pA. 78:2. Lysippos' Apoxyomenos: Lippold, 34Thepl.most
II0:1.recent study on the school of Polykleit
Arnold,
Capua Aphrodite: Lippold, pl. IoI:3. For the latest Die Polykletnachfolge, Jdl EH 25 [Berlin 19
discussion
of this statue see T. H61scher, AntPl 10 (1970)n. 155 and fig. ii) definitely attributes the Capitoline
74-75.
29 A somewhat similar explanation is given to byPolykleitos
Michaelis on the basis of the stance.
(p. 40) for the Lansdowne Amazon. s5 See supra, n. 7.
so Lippold, pl. 121:.. "3The one detail that may need explaining, if the
statuestoare
81 On this point, see infra. For confused attributions to be seen as companion pieces, is the incli
major
masters, see also infra. of the head toward the same side in both types; but t
32 Cf. the comments by R. Carpenter, Greek Sculpture
rangement (Chi-
may have been required by the adaptation
The Capitoline type has often
copied, and been
must obviously have attributed
been popular in
to Kresilas because of antiquity-a
her obvious fact which haswound.
convinced many Beside
ar-
the anecdote, in fact, Pliny
chaeologists that the mentions
original must have beenthat
the
wounded Amazon was made
prize-winning statueby Kresilas
by Polykleitos. But, more (NH
34-76) but the original than
lectio reads
the Mattei type, thisCtesilaus, a per-
sculpture presents many
fectly plausible name features
which hard to not alla fifth
reconcile with scholars
century date, wis
to emend; it should moreover
features which have be noted
periodically that th
been questioned
and variously
same passage also mentions explained.
a Doryphoros and reads
like a traditional list of attributions
I) The Supporting Pier. Perhapsto a maste
the most sur-
which would be surprising for Kresilas,
prising element, since
in a bronze original, Pliny
is the pres-
had already mentioned encethe sculptor's
of the pier work
on which the Amazon in an
rests her
earlier passage (NH 34-74).17 The
left elbow;"9 yet fact is
its "legitimacy" that
attested Kres
not
las made a vulneratus deficiens is, of
only by the correspondence per se,replicas,
the various no gua
antee that the master favored pathetic
but especially by a relief found inthemes,
Ephesos which and
since the Mattei and the Lansdowne
shows an types
Amazon of the Lansdowne are al
type leaning
wounded (the Mattei as on aobviously
support which cannot as the
have been addedCapitolin
by the
in the Tivoli replica copyist
which since it is explains the
not structurally required who
by the
safe medium of
composition, pace Becatti), norelief.40
special preferenc
can be given to one type over
It is the that
usually argued others.
leaning poses existed as
early as the fifth century, as proved not only by
THE LANSDOWNE TYPE
statues in the round (most of which, unfortunately,
Recently a new argument has been advanced to Greek work) but also by reliefs,
are not original
some
attribute the Lansdowne type to Kresilas. In of them connected with dated architecture.'
a con-
vincing article J. Frel has shown that the Yet so-called
two points are worth noting: the freestanding
Protesilaos in New York is in fact a wounded statues were marble originals which may have re-
warrior leaning backward and trying to support quired a prop for technical reasons, and both
himself on his spear before collapsing.38 This com-statues and relief figures show a different relation-
position therefore corresponds closely to descrip- ship to their support--they virtually adhere to it,
tions of Kresilas' vulneratus deficiens, and a basic
resting against it more with the hip than the
similarity with the Perikles and the Diomedes
arm. The result is a composition very different
would confirm attribution to that master. The posi-
from that of the Lansdowne Amazon, where the
tion of the wound, a gash at the right armpit, cor-
space between body and pier is actually emphasized
responds to that on the Lansdowne Amazon and by the bending of the leg nearer the support. This
has encouraged Frel to attribute this work also more
to open type of composition is well attested for
Kresilas, as has often been advocated by other
the fourth century and is exemplified by several
scholars. Yet, together with the Capitoline type,
statues in Praxitelean style, but the support usually
the Lansdowne Amazon is the most frequentlyhas a more naturalistic shape and the position of
Ephesos Amazon to the theater stage, rather than by the pose

of the pier than with its very presence in a bronze original.
of the original. 40 For discussion of this relief and its setting, see infra.
3 For a discussion of this point see, e.g., Becatti 191. It41 For a recent discussion of leaning poses see Becatti, Ninfe
should be admitted that the Competition passage also gives 28 and passim. I agree with the Italian scholar that the so-
different lectiones for the name of Kresilas, such as Clesilae
called Narkyssos is a classicizing composition rather than the
and Cressile, but an emendation into the more familiar sculp-
work of the Polykleitan school. More reliable in date is the
tor's name would not be as questionable there as it is in 34-76
leaning Aphrodite, which has been variously attributed to
because of Kresilas' definite mention in 34-74. Pheidias or Alkamenes (Lippold, pl. 56:2, also discussed by
38 J. Frel, "The Volneratus Deficiens by Cresilas," MMAB 39
Becatti, Ninfe 28 with bibliography, n. 30). For leaning figures
(I970) 170-177. Frel dates the "Protesilaos" in the mid-430's
on reliefs see the newly reconstructed Victory from the Nike
and the Amazon (Lansdowne type) ca. 430. Balustrade, E. Harrison, Hesperia 29 (I960) 376-378, pl. 83a; cf.
SgThis detail had already been questioned by Wolters also
(as the woman from the Erechtheion frieze, which P. Boulter
quoted by Michaelis), who suggested that the figure must reconstructs as leaning against a tree while stepping forward
have originally been leaning on her axe and that the pose (AntP io [I971] 9-1o, pls. 3-4); the trunk is definitely visible
was introduced to add one more identifying attribute to the
near the figure's left foot, but a leaning pose seems difficult
composition of an otherwise weaponless Amazon. Michaelis' to reconcile with a stepping motion.
answer (p. 31) is more concerned with justifying the originality
Note further
the body is different--a distinctly obliquethat the Kyn
stance.2
The Amazon, however, is kleitan
perfectlystatue, for to
balanced, that
themat
not is
extent that her left shoulder sopractically
much behind aswith
level to the
her right (despite the presence of thestance,
a much closer pier which
with he
should push it upward),her
which
and therefore thor-
touching the groun
Moreover,
oughly alters the potential while
chiasmos of the Kynisk
the pose.
In defense of a Polykleitan
head andattribution,
raising his it arm
has on
been pointed out that Polykleitos himself changed
leg, compositionally describes
right, the
his famous contrapposto pattern Amazon
in the is enclosed
Kyniskos,43
but the two statues side lines,
by side hershow an entirely leg
weight-carrying
different concept of balance.
pier on The theathlete
other, rests his
accentuat
weight on his left leg and raises plane
frontal the opposite
of the compoarm
touching
to crown himself; as a result the pillar
the chiasmos with he
prevails
in his torso, with shoulder lowered
junction withon the
the side of
trailing foo
the raised hip and raised where
back her the free leg makes
shoulders and push h
the iliac crest dip down. When
The Amazon,
the statue in contrast,
is viewed d
lifts her arm on the side 3, of
fig.her
9),weight-carrying
this pose results i
leg, so that shoulder and rearhip are raised
concavity, which onisthe
unus
same side, and though the left and,
tury hip must
to my be lowered
knowledge, a
because of the trailing foot,
later the left shoulder
monuments.4 Thusre-the p
mains level with the right, as already
necessary for thenoted.
balanceBasi-
of th
cally, therefore, the Kyniskos
a slightlyalters the Doryph-
unnatural position;
oros' pattern only in being a mirror
therefore image of
be sought theaes
in its
canonical pose and in turning his head toward
ing rather than in its functio the
the point
side of the free leg; the Amazon, likeonce
the again,
Doryph- since
oros, rests her weight on statue
the rightwould havechanges
leg, but required
the scheme completely by When do bronzes
eliminating appear in
the contrap-
posto pattern, or rather, "meaningful"her
by shifting balance T
supports?
only up to the waist while seem hertoshoulders
be no earlier remainthan t
virtually level, much like works of the Severe
but a fourth century date m
period or of the "Severizing"
Indeed,phaseseveralduring
scholarsthehave
first century B.c.44 for the Lansdowne Amazon, o
42See, e.g., the Apollo Sauroktonos (Lippold,
For comparable poses in later periods, pl. 84:3)
see, e.g., the classicizin
or the Leaning Satyr (Lippold, pl.
Stephanos' 84:4).
Athlete, The
Lippold, Hermes
pl. 36:3 and comments of in B. S
Olympia (Lippold, pl. 84:2) cannot
Ridgway,be
"Thebrought
Bronze Apollointo this argu-
from Piombino in the Louvre
ment as a valid parallel, since those
AntPI who
7 (1967) consider
59, figs. it "labil"
18-19. On the a Greekpose of th
original recognize the tree trunk as
Amazon in needed
a side for
view, as well the
as on support paral-
the un-Polykleitan
of the fragile marble arm, lelism
while those
of hips who see
and shoulders consider
the commentsitbyaH. vo
copy of an original bronze would eliminate
Steuben (in the
Helbig' no. 433), who tree trunk
however attributes th
as a copyist's addition. The "erect" type with distant pier as
type to Kresilas.
attribute rather than support appears instead
47 Hellenistic in
bronzes: see, the
e.g., Hellenistic
the statue of Agon from th
period. For instance, Becatti Mahdia
(Ninfe 57-58)
shipwreck, dates
which to (Der
W. Fuchs theSchiisflund
late vo
second century B.C. the prototype
Mahdia of his Marine
[Tiibingen Nymph
1963] 12-14, no. I, pls.with
I-8) has joine
water jar resting on a pillar. to the archaistic herm from the same wreck. See also vario
43Lippold, pl. 6o:I. Various good illustrations
statuettes of different
of Aphrodite: in Dresden, Bieber, p. 21, fig. 3
replicas in Arias, Policleto, pl. 5 and
in Paris, figs.
C. M. 16-17,
Havelock, 22,
Hellenistic 23,
Art (New26,
York 1971
27, 28; reconstructed cast in Munich,
no. 87, p. 122.fig. 29.
For comments on the use of supports i
44Cf. e.g., the so-called Omphalos
bronzes see B. S. Apollo,
Ridgway, "StoneLippold,
and Metal in pl.
Greek Sculp
32:1. Severizing phase: see Ridgway, Severe
ture," Archaeology Style,
19 (1966) 42. ch. 9.
4 This foot is preserved in the
FourthNew
century York replica
bronzes: see, and
e.g., the Apollo its
Sauroktonos by
heel is much higher from the Praxiteles,
grounda bronze
than work
in any
where,Polykleitan
as Lippold notes (240, p
statue.
84:3) the light lean of the body against the rather far tre
46 The full profile view of the Lansdowne Amazon trunkis gen-
is only possible because of the original medium. Her
erally avoided by photographers since it obscures some aspects
however the support is needed for the positioning of the lizar
of the composition and shows the statue at its mostandungainly.
the Apollo is slightly more off balance than the Lans-
See however the illustration in AJA 37 (1933) 5, fig. 6a, and
downe Amazon.
contrast the interesting side views of the Mattei type in
48 Becatti.
A dating in the first quarter of the 4th century B.c. is,
One suggestion is thattothe fall back on style. What
Argive is Praxitelean in the
Phradmon
made this Amazon and that he was a fourth cen- Lansdowne type?
tury master, contemporary not with the famous 2) The Gesture of the Right Arm. Besides the
Polykleitos but with Polykleitos the Younger.49 introduction of a support into the composition, an-
Unfortunately little is known about this sculptor,other Praxitelean trait seems to be the position of
and Pliny's floruit in the 9oth Olympiad (ca. 420 the Amazon's right arm, with the hand resting
B.c., NH 34-49) seems in contradiction with anlightly on her head. It is the typical gesture of the
epigram attributed to a third century B.C. poet Apollo Lykeios, which has generally been attrib-
(Theodoridas, in Ant. Pal. 9-743) about two bronzeuted to Praxiteles, though on insufficient grounds.
cows made by Phradmon and dedicated by theLucian (Anacharsis 7) mentions that the Gym-
Thessalians after an Illyrian campaign in 356 or nasium of the Lykeion in Athens had a statue of
336 B.c.50 More recent information about the sculp- Apollo leaning against a column, with a bow in
tor's work is unfortunately impossible to date. Inhis left hand and the right hand over his head
1969 three statue bases were found at Ostia, one of "as if resting from a long effort";54 Lucian, how-
which had once supported a statue of Charite,ever, does not give us the sculptor's name. This
priestess at Delphi, made by Phradmon of Argos,same monument appears on Athenian coins of ca.
as mentioned by the inscription. The letter forms, 50 B.c., but they represent only a terminus ante
however, correspond to the first century B.c., and quem for the dating of the statue. Many replicas of
suggest that the sculptures, carried off from Greece the type are extant, and modern scholarship has
without their pedestals, were set up in Italy on new attributed their original to Praxiteles because of
bases repeating the original inscription.5 Since the elongated proportions, elegant pose, and per-
Pliny's akme dates are notoriously unreliable, it haps somewhat effeminate anatomy, but while
seems best to leave the question open, thoughsome may theoretically reflect a fourth century
acknowledging the possibility that Phradmon lived prototype,55 the majority are variants of the Hel-
in the fourth century B.c. lenistic period, and at least one version has been
Because Phradmon was Argive, scholars have as-convincingly attributed to the Attic artist Timar-
sumed that he may have belonged to the school chides and dated around the middle of the second
of Polykleitos, and have thus been influenced by century B.c. His work stood in Rome (Pliny, NH
that master's style, yet the most recent studies on 36.35) and was probably reproduced in one of the
Polykleitos' followers do not discuss Phradmon.52 panels of the Arch of Trajan at Beneventum, to
Ch. Picard, who ascribes the Lansdowne type to suggest the Forum Boarium and the various divini-
him, sees the work as strongly influenced not only ties there honored. It is significant that while Por-
by Polykleitos, but also by Praxiteles.53 Since at-tunus and Hercules in the same panel are charac-
tributions of types to masters seem unreliable and terized by the symbols they hold, anchor and club
based on inadequate evidence, one is forced again respectively, the Apollo is identified simply by his
for instance, suggested by M. Ervin (now Mrs. John L. Cas-tury B.C. and stresses that his statue of Charite thus become
key), Some Problems of Polykleitan Chronology, unpublishedthe earliest female portrait of which we have knowled
MA Dissertation, Bryn Mawr College 1954; for a penetrating (p. I14).
stylistic analysis of the Lansdowne type see pp. Io9-I16 and 52D. Arnold, Die Polykletnachfolge, JdI HE 25 (1969);
notes.
A. Linfert, Von Polyklet zu Lysipp (Doctoral diss., Giessen
Von Bothmer (p. 221) states that type y (Lansdowne) is connection between Phradmon and Polykleitos
1966). For the
later than a and p (Capitoline and Mattei) and ine.g.,
see, someRichter, Archaeology 115.
measure dependent on them, but he is willing to53Picard,
considerManuel 3:I, 260. Praxiteles' name is connected
the three types roughly contemporary and to attribute y toby Strabo's mention that he made an altar, which
with Ephesos
Kresilas (p. 222). stood in the temple of Artemis (Strabo 14.641); but the text
49See, e.g., Johnson, Lysippos 31; Ch. Picard, Manuel
makes clear that this was not the main altar outside the tem-
d'archeologie grecque, La sculpture, vol. 3:I, 259-260,
ple, withsug-
which the Amazons have sometimes been connected;
gests that Phradmon may have repaired the Amazons see, e.g., or,
K. Lehmann, Parnassus 8 (April 1936) 9-II.
rather, have recommenced on his own the "competition" after
54 7) 8E & 6c' brep rqsg KeQaXS dvaKeKXao7Keufl S orep e K
the fire of 356 B.c., thus connecting his name with KaLcdrov
the group.
/LaKpoV dvaravU6'ievov.
50 For summaries of the evidence on Phradmon see espe-
55 On the Apollo Lykeios see especially G. E. Rizzo, Pras-
siteleno.
dally J. Marcad6, Recueil de Signatures I (Paris 1953) (Milan
88,1932) 79-85, with ills. Cf. also the comments
and EAA s.v. Phradmon (L. Guerrini). by H. von Steuben, Helbig', nos. 1426, 1897. L. Alscher
51 G. M. A. Richter, "New Signatures of Greek Sculptors,"
(Griechische Plastik vol. 3 [Berlin 1956] 198, ch. Ix n. 13)
AJA 75 (I97I) 434-435; F. Zevi RendPontAc 42points out that the many differences among the replicas make
(1969-70)
95-116, takes as certain that Phradmon lived in the it
fifth cen- to reconstruct the appearance of the original.
impossible
conveyed
gesture of resting his arm over that meaning
his head,and was which
therefore given
to a resting
therefore, by Trajanic times at Apollo
least,leaning
had against a column. An
become
investigation
an attribute."5 That the gesture isinto the origin of
typical of the pose may sup-
Apollo
port the second hypothesis
rather than merely of Timarchides' statueand ishelp determine the
shown
chronology of the Lykeios.
by other variants, by representations of the god in
different contexts, and even Arms
by flung
thebackward and touching
portrait oforAn-encircling
the head
tinoos as Apollo from Leptis appear in the archaic
Magna.57 When periodthe
to signify
death; we find
gesture is found also in statues ofthem in two-dimensional
Dionysos, it art,
is such
easy to assume that the asGodvase painting
of Wine and relief, where corpses are
inherited
shown relaxed
the pose from Apollo together in defenseless
with other positions
icono- which sug-
graphic similarities, since the Hellenistic period The
gest the Homeric "loosening of the limbs."59
created a type of youthfulpose continued to
divinity be popular
which isinalmost
classical times,
impossible to recognizeand
astheApollo
range expanded
or to include pedimental
Dionysos
sculpture; among
without qualifying attributes.58 Thethe examples
sequence are, for of
instance,
events would thereforethe be deadas follows:
Niobid in Copenhagen, a major
the dead Trojan
artist, possibly Praxiteles, from
createdthe east a pediment
statue of the
ofAsklepieion
Apolloat Epi-
with arm raised and resting dauros and,
on morethe significantly
crownfor of ourthe
subject, a
head, for the Lykeion indead Amazon on the The
Athens. shield of statue
the Athena Parthe-
be-
came famous and was so nosoften
by Pheidias.60 reproduced
This Amazonomachy was andoften
imitated that the gesture copied in later times,
became almostand though recent studies
synony-
mous with Apollo; when differtheiniconography of that
the arrangement of the figures, some in-
god virtually coincided with dividualthat
types andoftheir poses are well established
Dionysos, the
latter was also reproduced because
in this they appear
pose, in allwhich
the extant then
replicas. One
passed on to many other of them is the so-called
Dionysiac Supine Amazon,
types, such lying
ason
the Sleeping Ariadne, restingher back with one leg
satyrs, slightly bent, her left arm
etc.
along her side and her
But this reconstruction disregards the right flung over and around
interpreta-
her head. It is
tion of the gesture itself. Lucian interestingit
"read" to note
as that
signi-this same
fying rest after a long effort, pose was adopted
and by obviously
the Hellenistic sculptor
this who
meaning applied to the pose made thebyAttalid
the dedications
first for half
the Athenian
of
the second century A.D., Lucian's Akropolis, time,
since the though
Dead Amazonnoth-in Naples could
ing assures us that it obtained at athe
easily represent time when
three-dimensional representation
the original was created. of On the theoretical
shield figure. The correlation
grounds, is not far-
however, it is legitimatefetched, since the Pergamene
to speculate what dedication
came was set
first: whether it was the famous statue which up in Athens not far from the Athena Parthenos
herself, and since the Attalids pursued a policy of
launched the gesture and made it popular as an at-
titude of repose, or whether the gesture alreadyopen admiration and imitation of classical Athens.6B
56 G. Becatti, "Timarchide e l'Apollo qui tenet citharam," Mus. 3710) with the Ransom of Hektor (the corpse under
BollCom 63 (1935) II-I3I1; the same author has recently Achilles' couch): A. Cambitoglou, The Brygos Painter (Syd-
returned to the discussion of the Trajanic panel in Ninfe 48-50 ney 1968) pl. xi fig. I. Note that in some cases the artists
and pl. 38 fig. 76. seem to have made a special effort to show the arm in this
7 For Apollo in other contexts, see e.g., some representa- position, though it would have been simpler to draw or carve
tions of the competition with Marsyas (e.g., comments by it out of sight. Presumably such effort was made because of
H. von Steuben, Helbig', no. I587 and ill. on p. 390). An- the significance of the gesture. In vase painting, however, the
tinoos/Apollo from Leptis Magna, Ch. W. Clairmont, Die pose is also found with seated singers or rapt listeners at a
Bildnisse des Antinous (Rome 1966) no. 38, pl. 29. banquet; see E. Vermeule, "Fragments of a Symposium by
58 See for instance the difficulty experienced in classifying Euphronios," AntK 8 (1965) 34-39, especially p. 35 and
the torso in the de Menil collection, H. Hoffman, Ten Cen-further bibliography in n. 6.
turies that Shaped the West (Houston, Texas 1971) no. 15, 6 Niobid in Copenhagen: Lippold, pl. 65:3. Trojan from
pp. 47-48. See also the comments by H. von Steuben in Epidauros: B. Schl6rb, Timotheos, Jdl EH 22 (Berlin 1965)
Helbig', no. 1383. pl. 6. For the latest discussion of the Shield of Athena Parthe-
5 See for instance the dead Giants on the North frieze nos, and for previous bibliography, see N. Leipen, Athena Par-
of the Siphnian Treasury, Lullies & Hirmer pls. 50-51; in
thenos (Toronto 1971) 41-47; the Supine Amazon is her no. 2.
For various reconstructions of the Shield as well as repro-
vase painting, cf., e.g., the Francois Vase, Arias & Hirmer,
pl. 42, middle picture (Kalydonian Boar Hunt); in red-figure,
ductions of the extant evidence see her figs. 81-83.
the Brygos Painter's skyphos in Vienna (Kunsthistorisches61 Dead Amazon in Naples: see both Lippold, pl. I27:4
But by the third century value, establishing
B.C. the the type interest
as characteristic of of the
Hellenistic period had shifted Apollo; but if the sequence
to topicshas been correctly re-
other than
those favored by the classical constructed, the time of Praxiteles (or even of
repertoire. Thehis sleep
of death was replaced by school) seems
true too earlysleep,
a date for a pose which
induced by
natural causes or by drunkenness, fatigue
presupposes Hellenistic experimentation with sleep- or sor-
row; numerous examples exist
ing themes. of
Similarly the head ofsuch subjects,
the Lykeios, with
from the Sleeping Barberini his braided hair inFaun
the center of to
the forehead,
the re- Sleeping
Ariadne, Endymion and others;
sembles a favorite
the archaizing coiffures of female figures ren-
dering shows the head encircled (for instance, the Karyatids
by the of the Erechtheion)
right arm,
in an easy transposition from
and should represent antheartistic relaxation
phase in which of
death to the relaxation of female and male hair styles could A
slumber.62 intermingle.64
further step,
from resting while asleep To return
to to the Lansdownewhile
resting Amazon: if the awake,
may easily have suggested Apollo Lykeios
such is dated
a poselater than forthe time bothof
the Apollo Lykeios and Praxiteles,
Dionysos,one more reason who is eliminated isforoften
con-
shown inebriated and even sidering the leaning
Lansdowne type on a satyr
Praxitelean. Her ges-for
support. Rather than being ture was an adopted
attributefor the same of reasons
Apollo,which
the gesture would have carried
prompted it for theits Apollo:own to suggest meaning
lassitude.
of relaxation and was therefore In conjunction with the applicable to the
pier, the total composition
drunken Dionysos as well would haveas shown
to the the Amazon resting
resting after Apol-
the
10.63 effort of a battle-implied by the presence of her
It is only at this point in the sequence that we wound. It seems fair to assume that only a Hel-
can imagine an important statue, well known per- lenistic or a Roman audience would have been
haps for its location as much as for its artistic receptive to this message in sign language.65 One
and Bieber, fig. 435. On the Attalid dedication and its topo-In the minor arts the motif of the arm flung over the head
graphical implications see B. S. Ridgway, "The Settingseems of to occur with alive and awake persons earlier than in
Greek Sculpture," Hesperia 40 (1971) 355. I am gratefulthree-dimensional
to sculpture. See, e.g., the seated male figure
Professor Steven Lattimore who pointed out to me how "clas-
in the lower register of the gold gorytos from Chertomlyk
sical" this Pergamene Amazon was. (M. J. Artamonou, Treasures of Scythian Tombs [London
62Barberini Faun, Bieber figs. 450-451; Ariadne, fig. 624;
1969] pls. 181-182; I am indebted to Dr. Stella G. Miller
Endymion, fig. 622; Herculaneum satyr, fig. 576. for this reference), which is presumably dated to the mid-fourth
63 Many representations of Dionysos in this pose entered
century B.c. by its context; or the Dionysos on the Dherveni
the Roman repertoire; see R. Turcan, Les Sarcophages Romains
krater (Ch. M. Havelock, Hellenistic Art [New York 1971]
a Representations Dionysiaques (Paris 1966) plates, passim.
pl. im) usually dated ca. 300 B.c. However, the date of the
Note that the same pose is used for Dionysos, Ariadne, krater
and is still debatable (Havelock 236, for instance, favors
a late Hellenistic origin for the vessel). It can further be
sleeping Silenus or satyrs, often within the same sarcophagus.
Similarly, because the pose was connected with sleep, it could
shown that in many instances the two-dimensional arts, with
be used for variants of the Lykeios, which showed the their
god graphic tradition, precede by several decades comparable
not with the bow (therefore resting after his activity as
renderings in three-dimensional form. See, for instance, the
Avenger and God of Sudden Death) but with the cithara, there-
pose of the sandal-binder on the West, and of the seated Ares
fore as the inspired dreamer and prophetic singer; seeon the
the East, frieze of the Parthenon (P. E. Corbett, The
comments by H. von Steuben, Helbig', no. 1383. Sculpture of the Parthenon [Penguin Books 1959] pl. 23 A
64 See Ridgway, Severe Style, 138-139, 142. The braid start-
slab vi, and pl. ii A slab Iv respectively) as reproduced by
ing from the forehead is also typical of Eros figures (see, e.g.,
the so-called Jason (Havelock, fig. Ioo, there dated ca. Ioo
Bieber, fig. 89) which would tend to confirm the HellenisticB.c.) and the Ares Ludovisi (M. Bieber, The Sculpture of the
date of the fashion.
Hellenistic Age [New York I96I] fig. Io03).
65 It is perhaps significant that the most recent study on It may be argued that to trace the origin of the motif in
the meaning of gestures, G. Neumann, Gesten und Gebdrden death poses is wide of the mark, and that the true prototype
in der griechischen Kunst (Berlin 1965) which discusses thefor the Amazon's gesture is in the iconography of Artemis
subject from the late Geometric period through the 4th cen- drawing an arrow from her quiver (see, e.g., the Artemis of
tury B.c., completely omits the pose with hand resting on the Niobid krater in the Louvre, Arias & Hirmer pl. 175) or of
the head, though fatigue, sorrow and thoughtfulness are care-a warrior raising his arm to strike what is currently known
fully analyzed in compositions where the hand is brought as "the Harmodios blow." The Amazons were women of ac-
into contact with the face (the so-called Zustandsgebdirden).tion whose shortened clothes often resembled Artemis' attire,
Since Neumann is only concerned with gestures of the living and the assimilation of iconography and gestures would have
or of the gods, his speculation does not trace the origin ofbeen plausible on many counts. Likewise, Amazons were often
the death-sleep motif into the archaic period; the fact that represented in fighting poses which required the lifting of
he does not consider it in living beings and gods may perhapsthe right arm to touch the head (see, e.g., another krater by
further confirm that the sleep-rest motif did not occur before
the Niobid Painter, in Palermo, Arias & Hirmer, pl. 176; in
the Hellenistic period. sculpture, see one of the Amazons in the Bassae frieze, Lon-
lies between
cannot help but speculate further the breasts
as to whether the rather
entire composition of the Lansdowne
over one oftype was
them. in-
This display of
spired by the "Supine Amazon"
is oneon theelement
more Parthenos'
militating ag
shield (perhaps via the Pergamene dedication),
tury date, but it cannot be pinne
which would explain how tainty
the name
to a of Pheidias
specific period."6
became connected with theMore
Ephesian anecdote.
significant, perhaps, is t
3) The Drapery. If gesture and skirt,
chiton's pose seem topeculiar rh
with its
point to a Hellenistic date for the prototype,
arranged fur-
in strict bilateral symm
ther confirmation is provided by proportions
of the central gather andand fram
drapery. Many scholars have noted
folds the
at the excessive
outer edge of the th
elongation of the Amazon's legs and may
rendering the general
seem, it is far t
slenderness of her limbs in proportion to the body.6"
classical drapery, which usually t
As for the drapery, it consists
theof a standard
stance mascu-
and the different po
line chiton tied by two belts,
by aone visible and
different one of folds
pattern
hidden by the kolpos, an arrangement
could findintended to
no parallel whatever
shorten the length of the garment
schemetoin
give
theadditional
many rendering
freedom of movement which was common in clas-
chitoniskos, either in Greek or
sical times, as shown by some figures
the on the
excessive Parthe- of the pa
regularity
non frieze.67 The Lansdowne Amazon, however,
to the Roman copyist) in Rom
has also tucked in the center of her skirt, both
pare, for instance, other figures
front and back, presumably for the same purpose,
frieze, or the stele of Chaired
thus stretching the cloth over her thighs and creat-
from Salamis, particularly sign
ing a mass of vertical folds between her legs some-
its use of Polykleitan types. T
what comparable to the arrangement of an Indian
of the Orpheus relief show stee
sari. Her chiton is pinned only over the right
Orpheus' drapery and catenaries
shoulder, and hangs free on the left side uncovering
mes' thighs, but the two render
her breast, but the general arrangement is so loose
that her right flank is alsobined. The Mantineia
revealed. base, an orig
The arrange-
ment of the Mattei Amazon of has
thealready
fourth been
century
dis-B.c., por
slave with central gather
cussed as unusual for a classical rendering, yet and dee
along
hers is simply a mirror image the traditional
of the outer contours
at- of the t
tire with one breast covered naries inother
and the between.70
exposed.It should
The Lansdowne Amazon, on phasized thathand,
the other the Amazon's
has arra
fully duplicated
both breasts bared, an arrangement both in front a
which cannot
view of the
be justified in terms of compositional statue
pattern (pl.
or of 3, fig. o1
matching counterparts, sinceimprobable
the remaining
festoons
strap
over the bu
for the loose arrangement

don, BM slab 536, recently illustrated and integratedof the chitoniskos which by reveals
J.
D6rig, AntK ro [1967] pl. 31 extreme right).
both breasts and However,
virtually the entire both
torso; see, e.g., West viii
these poses imply action and fighting, either
(Lippold, pl. 53:2). with
But this rendering bow and
is understandable
arrow or with the sword, whilethrough
thethepresence ofof the
apparent lively motion the figurepier in
and is not
the Lansdowne type makes it cleardisturbingthat the
in connection withimplications
male anatomy. A possible specu- of
her gesture should be lassitude and
lation is rest. Some
that the Lansdowne scholars
type is influenced by the as-popular
sume that the Amazon raises her arm to uncover her wound Attic motif of "the slipped strap," which first appears on the
and thus relieve the pain, but one would then expect the pose reclining Aphrodite of the Parthenon East pediment, and
to reflect a more conscious awareness of the wound, as for usually occurs on the side of the lowered arm, as for instance
instance in the Mattei or Capitoline types. in the Frejus Aphrodite type.
6 Johnson, Lysippos 13: "the legs of the Berlin Amazon 69 This statement is valid even if one considers not the
are a distress to the cultivated eyes." See also Ervin (supra n. rather cold replicas of the Lansdowne type in New York or
48). Berlin, but even the more impressionistic renderings of the
87 The arrangement of this costume has been analyzed most copies from Lecce (Arias, Policleto fig. 59) or from Tivoli
clearly by M. Bieber, "Der Chiton der ephesischen Amazonen," (ibid. fig. 65; AA 1957, fig. Io7 on col. 331).
Jdl 33 (1918) 49-75, esp. 61-63. For the Parthenon frieze 7o Stele of Chairedemos and Lykeas: Lullies & Hirmer fig.
examples see, e.g., the youth beside the horse in slab xii 184. Orpheus relief: Lippold, pl. 74:2. Mantineia base: Lip-
of the West frieze, which Bieber reproduces on p. 56 fig. 52. pold 85:3.
68 Note that the Parthenon frieze provides examples also
the steep folds along the can safely
thighs be pinned
and between down
them,
giving a pronounced effect of transparency.
though all of them belong,
the
If not in chitoniskoi, this Hellenistic
particular period. Fortu
combination
ple can
of transparent drapery crossed byberegular
found catenaries
in a portra
and outlined by deep foldsciselydoes
the occur in other
chitoniskos, or the
renderings.7' We find it the cuirassed
first in many M. archaic
Holconius
statues from Asia Minor, who is firmly
especially dated
in seated to the
figures
from Miletus, but the motif
3, fig.can
ii). be
Histraced down un
short tunic
through Roman times and as far
the same afield of
pattern as catenarie
Gan-
dhara, Palmyra and Parthia.72
tween theBecause
enframing
it seems vertic
so
much at home in Oriental in a rather one
territory, colder
mayexecution
specu-
late whether the motif Amazon.75
goes back to a pre-Greek
Another, thoug
substratum, often assimilated
firmlyinto Greek
dated toforms
early but
Impe
never totally forgotten, which reemerged
the Arch in timesin F
of Carpentras
of diluted classical influence;
of onethis non-Greek
of the Gaulish ren-
prison
dering would then be responsible for such works
HISTORICAL
as the Phrygian Cybele CONSIDERATIONS
from Bogazkoiy, some A
figures on Luristan objects
On in
thethe Oxus
basis of Treasure,
all these el
and even the traditional version of the Achaemenid
of an unnecessary support,
costume in the Persian meaning
reliefs.7" The the
rest, decorative
elongated
potential of the motif, combined
chaizingwith its modeling
arrangement of th
possibilities, must haveconclusion
appealed to the possible:
seems Eastern the
Greeks, who always preferred
from surface
being a animation to
fifth century B
plastic articulation; these qualities
dated insured the
considerably re-at
later,
vival of the rendering whenever taste favored
lenistic period sym- ev
and possibly
metry and calligraphy, With her should
or emphatic date of
separation the
body and cloth, or evenresembles
when non-Greek connec-
the Lansdowne in
tions were implied. It iswhich
therefore not surprising
was sooner recognize
to find basically the same cause
motif inher
of statues
more of priest-
numerous
esses of Isis, or in mid-and
or late Hellenistic
lesser female
quality. The famou
figures, and especially in archaistic
Pliny sculpture.74
would therefore brea
Close in spirit as these composition,
renderings may
whichbe, none
probably
71 Among these renderings I I00,
L 95-L have not
dated ca. included
530-520, p. 154. For eventhe so-
a cursory
called Venus Genetrix typesurvey
(Lippold, pl. art
of these "provincial" 60:4) because
forms see: Gandhara, EAA:the
general pattern of the enframing folds
s.v. Gandhara, arte, figs.is957 the same, under
(skirt arrangement but thethe
thighs and legs are covered not by 966
mantle swag), catenaries
(the two men at the but by
extreme ogival
right and
and irregular lines. It is worth
one noting that,
man at the extreme left),though most
972 (bottom register, com-
extreme
monly assigned to the fifth century B.C.,
left). Palmyra: the
EAA s.v. composition
Palmirena, of the
arte, fig. 1115. Parthia:
Aphrodite type was questioned by M.
EAA s.v. Parthica, arte, Bieber
figs. II86, II88.("Die Venus
Genetrix des Arkesilaos," RdmMitt 73 Cybele from 48 119331
Bogazk6y: K. Bittel,261-276), who
AntP 2 (1963) pls. i-8;
considered it a classicizing-eclectic creation
cf. also pls. Io-II. Objects of theof Oxus early
Treasure: B. Imperial
Goldman,
times. W. Fuchs ("Zum Aphrodite-Typus Iranica Antiqua 4 (1964) pls. Louvre-Neapel
40-41. For them, as for the und
seinen Neuattischen Umbildungen," Persian reliefs, seeNeue Beitriige
especially C. Nylander, lonians zur klas-
in Pasargadae
sischen Altertumswissenschaft, Festschrift
(Uppsala 1970) 132-137 and B. Schweitzer
addendum, 149. 1954,
206-217) has however rejected the connection
74 Priestesses ofEAA
of Isis: Bieber, figs. 350-353; the type
s.v. Iside,
with Arkesilaos' Venus Genetrix and has restated the fifth with illustrations; K. Parlasca, in Helbig4 no. 1433, makes
century date of the original. This is also the basic assumptionsome interesting comments. Mid- or late Hellenistic female
of the recent study by F. Hiller, Formgeschichtliche Unter- figures: R. Horn, Stehende weibliche Gewandstatuen in der
suchungen zur griechischen Statue des spdten 5. Ja/irhunderts hellenistischen Plastik, RdmMitt EH 2 (Berlin i93i) pls. 28:
v. C/hr. (Mainz 1971), who uses the Aphrodite type as a virtual 1-2; 32:I; 41-2. Archaistic sculpture: EAA, s.v. Rodia, arte
pattern-book of elements for the late fifth century style. Ifellenistica, fig. 886; Encyclopedie Photographique de l'Art
this dating is correct, it would emphasize the basic "baroque" (TEL III) Louvre, pl. 249 3 (caryatid figure from the theater
quality of the period, which links it not only formally butat Miletus, second/first century B.c.) etc.
spiritually to that Hellenistic phase intentionally imitating 7 M. Holconius Rufus: see C. C. Vermeule. "Hellenistic
fifth century forms for dramatic effects. and Roman Cuirassed Statues," Berytus 13 (1959) pl. 4:13,
72 Seated figures from Miletus: K. F. Tuchelt, Die archaischencat. no. 17.
Skulpturen von Didyma, IstForsch 27 (Berlin 1970) pls. 85-86,
of the temple,
cation of a statue of the Capitoline type (byby restoring i
Kresi-
las?), perhaps matched bymarking
another the boundaries
in almost mir- of th
the goddess.79
ror-image pose and comparable equipment, He was
thedirectly
Ephesos pier type. These struction
two statues at themustArtemision
have site
stood somewhere within the ordered
precinct a of
new thetemenos
Arte- wall
not only fire
mision and survived the destructive the oftemple of the g
356 B.c.
After that date, and when Augusteum,
work had begun thus associating
on the
with one the
temple, perhaps under Alexander of the oldest
Great's shrines i
in-
stigation, a third Amazon redefining
was added, ofthethe Mattei
sacred area
type (by Phradmon?), which curtailment
may have of formed
Artemis'aterrito
rightFinally,
focal point between the two. of asylum, undersince
Au- the ext
gustus, two more statues Alexander,
were erected, Mithradates
the Lans-and A
in an abuse
downe and the Doria-Pamphili types, of theformer
the right and ha
recalling the Mattei in armnos into an
position andunwarranted
uncovered refu
chest, the latter resembling the
slaves andEphesos type in
criminals.8" Augustu
her more modest attire (pl.Amazon statues may perhaps
4, fig. 14).76
Some historical confirmation
this verymay perhaps
aspect bereforms
of his
found in support of this proposed of
recognition sequence of
the antiquity a
events. It is well known that Alexander the
Artemision's rightGreat,
of asylum
when he took possession when his actions
of Ephesos in 334may B.c.,have b
offered to reconstruct the curtailment of suchonly
temple of Artemis, right. In
that in
to be spurned by the citizens. ButA.D.he 22, when Tiberius
nonetheless
all claims to
enlarged the limits of the inviolable the
area andright of asylum
great-
bassadors
ly increased the revenues of were
the goddess bythe first to be
divert-
their case
ing to her the Ephesian tribute on the paid
previously strength
to of
the Persians." This was obviously a timesince
of their right, of pros-
the Amazon
suppliants
perity and great revival fervor at theto sit on Artemis' alt
Artemision,
and an Amazon would have chased
beenby
anDionysos and later
appropriate
subject for a dedication at An
thisAugustan addition
moment of virtualto a p
rebirth, since according to ment
mythseems
the Amazons
also wellwere
in keeping
considered the founders of policy of reviving religious p
the sanctuary.78
Augustus also improved the tionfinancial conditions
for earlier monuments, wi
Pausanias (7.2.7)
76 Note that the two "early" types, who, however, does and
Capitoline not consider it reliable.
Ephesos,
have the same unbound hair style; The Amazonsthe werelatest,
also the first D-P
to dedicate
and a bretas of the
Lans-
downe, have chignons held by goddess
fillets, and to in a more
celebrate her with "civilized"
dances (Kallim. Hymn: in
rendering. Since the head of the Mattei
Dian. 237). type
For a discussion has
of the not
ancient sourcesbeenconnecting
positively established, it cannot be affirmed
Amazons with Ephesoswith certainty,
see Furtwingler 289-290. but
comparison with the Natter gem 79T.suggests
R. S. Broughton, that she also
in T. Frank, An Economicwore Survey
of Ancientwith
a fillet. Cf. supra, n. 21. If we believe Rome, 4Furtwingler
(Baltimore 1938) 645 and 679. I am
(supra
n. I) that the alignment of the greatly indebted to Prof.
statues on Broughton
their for providing
base me with all
gave
Pliny his "standings" for the competitors, wewhich
the sources on Roman history may I am further
using on this subject.
speculate how the attribution of Forthe single
the series figures
of inscriptions to
from thesculptors
Cayster valley men-
was made (see fig. 14). The Capitoline
tioning Augustus'type may
restorations, have
see F. been
K. D6rner, Der Erlass
given to Polykleitos because of des
her chiasmos;
Statthalters the
von Asia Paullus Lansdowne
Fabius Persicus (Diss. Greifs-
wald 1935)
was probably attributed to Pheidias 15 and 28.of her resemblance
because
to the Supine Amazon on the Parthenos' shield;
so C. C. Vermeule, Roman ImperialtheArt inMattei
Greece and Asia
could have been connected with Kresilas because of her ob- Minor (Cambridge, Mass. 1968) 68; see also 218.
vious wound, and because the master's name was rightfully 1SThe ancient sources for these statements are Strabo
linked with at least one figure within the group; the D-P Plutarch, de Vit. Aer. Alieno 3; Cicero, Verrines 2.1.85.
14.1.23;
Amazon may have been truly made by a Kydon, an otherwise Cf. also Magie (supra n. 77) 470 and n. o1 on pp. 1332-1333.
unknown first century B.c. sculptor; and finally Phradmon's 82 Tacitus, Ann. 3.61-63. See the discussion in Furtwingler
name was shifted from his legitimate creation, in the center,
280-290; he asserts that the story has a late origin since it is
to the last figure of the group (the Ephesos pier type), per-
mentioned only in Roman Imperial sources and casts Dionysos
haps because of his rather obscure status in Pliny's time. in a role patterned after Alexander's campaigns. The pier of
77 Cf. D. Magie, Roman Rule in Asia Minor (Princeton the two classicizing Amazons could perhaps be also under-
1950) 75. stood as an abbreviated reference to Artemis' altar.
78 Pindar is quoted as the source of this information by
sible
an" activities not only in Romethat an
but, Augustan
for instance, de
in the Athenian Agora.83 would
Since hehave been neglected
considered him-
while the sanctuary itself
self the logical heir of the traditions established by
Alexander the Great andgreater
the Attalids,84
glory fromwhat bet-
an attribu
ter monument could Augustus have set with
century masters, up than
a mist
statuary immediately recalling
abettedthe
bygreat Pergamene
the intentionally c
victories, the Athenianthe akropolis
Amazon and,
andif the as-its
perhaps
sumption about the Mattei Amazon
Pheidian is correct,
prototype one t
from
of Alexander's dedications ?85
shield."
The Ephesos Relief. A mor
OBJECTIONS
represented by a relief which
We must now consider and
the which
evidence against our
unquestionably r
proposed dates for the Mattei
downe and Lansdowne
Amazon in two-dim
Amazons. The first objection, and the most ob-
fig. I3). This relief, which p
vious, is that a dedication by Alexander
firmation for the the Great
presence of
would have certainly found mention
inal bronze in the literary
work, was disco
sources over and above that of a reemployed
material spurious context
in the
among artists. Yet we are all in
road aware ofof
front the
thepeculiar
Ephesos
omissions by ancient writers, and perhaps
able distance, one can
therefore, fro
even assume that Ephesos preferred
recent to recallAustr
years, however, its
proud rejection of Alexander's
temple offer
siterather than his
have uncovered
dedications and benefactions.
large altar, as well as fragmen
Another valid objection is
thethat if the
same Lansdowne
kind as those fou
Amazon (and her companion) had been
Amazon relief. A. set up in
Bammer h
Augustan times, one woulda reconstruction
hardly expectof what
the facthe
to have been forgotten century
less than a century
altar of the later,
Artemi
when Pliny wrote. Here, it
however, one can counter
the architectural elements
that some statues now relief."8
generally considered clas-
sicizing and of late Hellenistic date
If the relief panel are
unquestionably mentioned
belongs to this
by Pliny as the work ofaltar,either Skopas
and if the structure and its sculptureor Praxite-
are safely
les; one of them, a bronze
dated afterstatue
the fire of 356 of
B.c. butJanus,
still within the seems
an unlikely subject for a fourth
fourthcentury, ancentury
Augustan date forGreek
the Lans- mas-
ter, yet Pliny hesitates in attributing
downe it, improbable."9
type would be, at the least, though this
very statue was dedicated by
Though the Augustus.86 It
original excavators of the relief is pos-
seemed
s3 Cf. e.g., J. Travlos, Pictorial Dictionary of Ancient Athens

Zeitbestimmung der florentiner Niobiden," JdIl 75 (I96O) 12-
(New York 1971) s.v. Ares, Temple of; H. A. Thompson, 132.
"Itinerant Temples of Attica," AJA 66 (1962) 200. 87 It is pointless to repeat here the well-known facts about
84 For this statement, cf. C. C. Vermeule (supra n. 80) the interest of the Augustan period in classical motifs and
169-I70. Pheidian prototypes, as exemplified, for instance, by the Prima
85 It is perhaps worth noting that the Attalid dedications Porta statue of Augustus, the reliefs of the Ara Pads, and the
spurred a series of comparable monuments not necessarily flourishing of the so-called Neoattic School.
connected with the Pergamene victories against the Gauls and 88 A. Bammer, "Der Altar des jiingeren Artemision von
geographically widespread throughout the Mediterranean area. Ephesos-vorliufiger Bericht," AA 1968, 400-423; the Amazon
Statues of Gauls have been found at Egyptian Gizah (or the relief is illustrated on 403 fig. 4 and the text gives previous
Fayyum; cf. Bieber, 95 and fig. 373) as well as in Delos bibliography; see also idem, "Tempel und Altar der Artemis
(J. Marcad6, Au Musie de Delos [Paris 19691 127 pl. 80 a-b; von Ephesos," Olh 48 (1966-67, publ. 1969) cols. 22-43.
Athens Nat. Museum. no. 247; at least one more statue of the 89 Theoretically, it could still be argued that the relief came
same subject was found in the Agora of the Italians and dates first and inspired a Neoattic artist to produce a statue in the
from the first century B.c.), and dead Amazons were created round. How faithfully the relief imitates the statue is still an
in classicizing style: cf. the so-called Medusa Ludovisi (Bieber, object of dispute; some scholars, e.g., Bammer, consider it quite
figs. 452-453). Far from being Pergamene in style, this head accurate and very good work, others are less appreciative.
is so strongly classicizing as to be almost in pure fifth century Richter (Archaeology III) calls it an "inferior version," Eich-
idiom; cf. the comments by P. Zanker, Helbig4 no. 2343. ler (supra n. 5) 7 describes it as stylistically very free; M.
s Statues by either Skopas or Praxiteles (the Niobids and Ervin (supra n. 48) 114 states that the Amazon of the relief
the Janus) are mentioned by Pliny, NH 36.28. The Niobids has been given "a good Attic head" which can find parallels
have been dated to the first century B.c. by H. Weber, "Zur in some fourth century Attic grave reliefs.
convinced that it was a classical
cially byGreek original,
the drapery pattern
and Bammer stresses the difference in the marble
included statuary with defin
(hard and large-grained,such
as contrasted with
as the River the Fina
Tiber.
less hard variety used in the Roman
recently period) doubts
suggested that the ar
have been raised as to the true date
around theof the relief,
body of water
and even of some elements of the
meant architecture;
to symbolize it
the station
ages.
would therefore be possible The Tiber
to assume that represented
the altar R
by and large belongs to the fourth
point; century,
his three tripsbut
to Ath
that it was extensively restored
to by the in Roman
replicas oftimes,
the Erech
perhaps after the fire and destruction
silenos which are
figures, together with
would represent
mentioned by some inscriptions."9 Egypt;
In that case the and
embellishment of the Roman
standperiod may have
for Ephesos. in-inter
If this
cluded the reproduction of a recent,
famous famous dedi-
classicizing Amazon
cation. resentative of the city as an ea
It may also be pointed out Kapossy
that the furtherentire struc- suggests t
ture, as reconstructed by Lansdowne Amazons at Tivoli
Bammer, seems had a second mean-
unusual
for the fourth century; ing.
its Setelaborate
up in a position ofpi-shape
preeminence, atandthe
its Ionic colonnade make it a more
semicircular north end ofplausible
the Euripos, they fol-
were
lower than forerunner ofaccompanied
the great by statues of Theseus
altars at and Hermes,
Perga-
mon, Magnesia and Priene; the
the former fence-like
symbolizing lattice
Hadrian, who often inten-
work of the orthostates recalls the Theseus,
tionally emulated Ara the Pacis. Since
latter representing
excavation is still continuing
Antinoos and in the
his fate area
of death. of the
The Amazons, who
had been are
Artemision, and more reports defeated by Theseus, would then it
forthcoming, be a
seems perhaps safer to leave open the question
symbol of Hadrian's Virtus,93 and this allegoricalof
the altar's date. purpose would take precedence over the purely
Hadrianic Copies. As a final objection
aesthetic consideration we may
for reproducing a Greek
consider the presence oforiginal.
a copy of the Lansdowne
type in the sculptural program of the Canopus in
CONCLUSIONS
Hadrian's Villa at Tivoli. Would a Hellenophile
like Hadrian have reproduced
I shall nowabriefly
"Roman" crea-
summarize my conclus
tion instead of, or beside, I other Greek
believe that works?
Pliny's account of a fifth ce
First, a date within the Augustan
contest among period
sculptorsor even
is disproved by the
a dedication by that Emperor
of thedo not
extant automatically
Amazon statues. The Capitolin
make the Amazon a Roman statue;
is truly the and
fifth century, commis-
must have formed
sion is likely to have been given
original core to a monument
of the Greek sculp-
as known in P
tor, probably from Asia time,"9
Minor, as in
perhaps suggested espe-
conjunction with the figur
90 The Amazon relief has been dated to the Antonine period,

determining the time of the replicas.) That Neoattic works
for instance, by H. Lauter, Zur Chronologie rdmischer Kopien copied in later times is shown by many
could be extensively
nach Originalen des V. Jahrh. v. Chr. (Erlangen 1969)
replicas of I19 creations. On this subject see Ridgway,
classicizing
and n. 599. For a possible Roman date of the egg-and-dart
Severe Style, ch. 9, with bibl.
molding based on its shape, and for the general 92discussion
"Zwei Anlagenof der Villa Adriana," Gymnasium 74
repairs to the altar in Roman times, see Bammer, AA 1968,
(1967) 38-45, for a discussion of the Canopus.
415-416 n. 36, who acknowledges a similar state of affairs
S93Note, for for
instance, that Hadrian adopted the Amazons
the altar of the Samian Heraion but considersas the
devicepossibility
for his cuirass, as in the statue in the Villa Albani,
unlikely for the Ephesian altar. For mentions of
EAfire
3526.and
For ruins
the interpretation of the so-called Ares statue
at the Artemision in the time of Claudius, see as
the inscriptions
Theseus see E. Berger, "Das Urbild des Kriegers aus der
Villa Hadriana und die Marathonische Gruppe des Phidias
published and discussed by Dirner (supra n. 79).
91 It has long been recognized that not all in
works inR'mMitt
Delphi," Neo- 65 (1958) 6-32. Without necessarily sub-
attic style were made by Athenian masters, and especially,
scribing not theory, I would accept the identification
to the entire
all in Athens. See W. Fuchs, EAA s.v. Neoatticismo. The of the warrior as Theseus, but as Theseus/Hadrian and in con-
copies of the Lansdowne type listed by Lauter (supra n. 90) nection with the Amazons. His helmet and shield are further
II6-II9 date no earlier than A.D. 20, and are therefore per-proof that original Greek models were disregarded in favor
fectly compatible with an original made some time in the sec-
of special renderings.
ond half of the first century B.c. (Lauter, who assigns the type 94 That sculptural groups could be enlarged by the addition
to Kresilas, is not interested in dating the original but only in
of later works is shown by several examples. See, for instance,
produced by the Ephesos theater
firmly founded on an analysispier. A possib
of pose, iconography
date for the two bronzeand style.statues would be ca. 44
430 B.c. The Mattei type,Another because
important, and moreof her
general torsion
conclusion
movement at hips and shoulders,
should be drawn from her three-dimen
this study: the recognition
sional pose, her drapery
that the which
"Roman" periodmustcould produce be viewe
first-rate
from the side to revealworks
itsof arrangement
high artistic value after theandmanner which
of
subordinates tradition classical
to Greek masters. These works were lines
compositional not (t
uncovered left breast), must
true copies or evenbelong
variants of Greek toprototypes,
the lat
fourth century, perhaps the which
but new originals time did not of Alexande
pedantically quote,
Finally the Lansdowne buttype
paraphrased (as
and, well
as it were,as herinto
translated prob
a
ble pendant, the Doria-Pamphili Amazon)
new idiom, the styles of the major Greek sculptors. is
classicizing creation, When these new creations
probably by have an obvious
Asia Roman Mino
subjects and contexts, and are therefore datable
artist, inspired by fifth century prototypes but e
ecuted during the first century B.c. For this
on historical grounds, it is easy to recognize influ- da
militate: i) the presence of
ences andadistinguish
virtually unnecessary
contributions; but modern
support, unprecedented for
scholarship bronzes
can be before
entirely at a loss when dealing th
Hellenistic period; 2) the gesture
with mythological ofequally
subjects the right
familiar and ar
which implies lassitude, a meaning
appealing to both Greeks and which
Romans. If webecom
can
popular only after the fourth
recognize the vigorcentury
and inventiveness B.c.;
of Roman3) t
elongated proportions, which are not classical b
sculptors in historical reliefs and portraits, we
correspond well to later canons; and especially 4
should also admit the possibility that such quali-
the artificial arrangement of the quasi-transparen
ties obtained also in the creation of cult images and
drapery, with its deep framing folds and its linear
catenaries in between. This last motif is well ex- mythological monuments, a lesson which the Sper-
longa groups are forcefully beginning to impart.
emplified in archaistic sculpture of the first century
When a greater understanding of style and fashions
B.c. and sets the lowest possible date for the Ama-
has opened our eyes, it is likely that in many cases
zon. A connection with Augustus seems defensible
on the basis of historical events and sources, yet the
we shall no longer speak of Roman copies of a
dating of the Lansdowne type does not stand or fall Greek original, but of Roman originals in Greek
together with such historical framework. Whether style, in a belated restitution to Caesar of what
is Caesar's.
Augustan or more generally late Hellenistic, this
new chronology for the Amazon is, to my mind, BRYN MAWR COLLEGE
256-275 and esp. 261 listing other examples), and even

the case of the Hellenistic Niobids (E. Kiinzl, Friihellenistische
Gruppen [Cologne 1968] 36 and n. 73), the Laokoon mention (P.in
von
Pliny (NH 34-71) of a quadriga by the fifth
Blanckenhagen, "Laokoon, Sperlonga und Vergil," turyAA 1969,Kalamis to which Praxiteles added a chariotee
master
RIDGWAY PLATE I
FIG. 2. Amazon, Capitoline

FIG. I. Amazon, Lansdowne type
FIG. 3. Amazon, Mattei type FIG. 4. Amazon, Villa Doria

PLATE 2 RIDGWAY
FIG. 5. Amazon, Ephesos type FIG. 6. Amazon, Ephe
FIG. 7. Mattei Amazon, FIG. 8. Capua Aphrodite

three-quarter view
RIDGWAY PLATE 3
FIG. 13. Relief of Amazon, Lansdowne type,

from Ephesos (altar?)
FIG. 9. Lansdowne Amazon,

side view
P the ugtan u~itx
FIc. i I. Statue of M. Holconius FIG. io. Lansdowne Amazon, rear view

Rufus from Pompeii
PLATE 4 RIDGWAY
N--~
FIG. 12. Arch of C

A Story of Five Amazons

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A Story of Five Amazons

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A Story of Five Amazons

Author(s): Brunilde Sismondo Ridgway

Archaeological Institute of America is collaborating with JSTOR to digitize, preserve and

THE ANCIENT SOURCE

28 Ares Borghese: Lippold, pl. 68:I. Naukydes' cago 1960) 217.

Ephesos Amazon to the theater stage, rather than by the pose

for the loose arrangement

s3 Cf. e.g., J. Travlos, Pictorial Dictionary of Ancient Athens

90 The Amazon relief has been dated to the Antonine period,

256-275 and esp. 261 listing other examples), and even

FIG. 2. Amazon, Capitoline

FIG. 3. Amazon, Mattei type FIG. 4. Amazon, Villa Doria

FIG. 5. Amazon, Ephesos type FIG. 6. Amazon, Ephe

FIG. 7. Mattei Amazon, FIG. 8. Capua Aphrodite

FIG. 13. Relief of Amazon, Lansdowne type,

FIG. 9. Lansdowne Amazon,

P the ugtan u~itx

FIc. i I. Statue of M. Holconius FIG. io. Lansdowne Amazon, rear view

FIG. 12. Arch of C

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