Περίληψη : Χρονολόγηση Γεωγραφικός Εντοπισμός

Transcription

IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ
Συγγραφή :
Αριστοδήμου Γεωργία
Μετάφραση :
Καμάρα Αφροδίτη
Για παραπομπή :
Αριστοδήμου Γεωργία , "Perge (Antiquity), Nymphaeum of
Septimius Severus", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Μ. Ασία
URL: <http://www.ehw.gr/l.aspx?id=9243>
Περίληψη :
The south nymphaeum (F2) in Perge is situated between the Hellenistic Gate and the Late Antique Gate, on the western part of the trapezoidal square, known as the square of Septimius Severus. It was a monumental two‑storeyed fountain, dating from the end of the 2nd or the beginning of the 3rd century. Χρονολόγηση
End of 2nd/ beginning of 3rd century
Γεωγραφικός Εντοπισμός
Perge in Pamphylia
1. Location
The South Nymphaeum (F2) of Perge is situated between the Hellenistic Gate and the Plancia Magna Gate,1 on the western part of
the trapezoidal square, known as the square of Septimius Severus. It belongs to the type of nymphaea with rectilinear aedicular
façade. The edifice lies next to the propylon of the Southern Baths’ complex of Perge, the hydraulic system of which provided the
fountain with water.
2. Architectural design
The South Nymphaeum of Perge is a monumental fountain, constructed with bricks covered with marble slabs which enhanced the
impressive visual result. It has two storeys and a water basin, measuring 14.85 x 2.85 x 1.60 meters, which is closed with a parapet.
The ground plan is U-shaped, divided in two parts.
Up to 1968, i.e. the year of its excavation, the monument was visible up to the starting point of the niches of the first floor. A large
number of its architectural parts were discovered on the excavation site and Daî2 used them for the reconstruction of the monument.
The façade of the south part formed with two aediculae on each storey. The lower storey aediculae flank an arched opening situated
under the level of the street, on the initial level of the fountain. 3 On the upper storey the aediculae flank a niche. It is possible that a
statue of Artemis found in the well was placed in this niche, right under a receding crown, which forms a deep recess and is decorated
with a relief. 4 In the center of this pediment is situated Artemis Pergaia. She wears a long peplos and a halo with rays. With her left
hand she holds a bow and an arrow and with her right a torch. To the right there are represented the Three Graces, to the left a female
figure, probably a priestess, holding symbolic items (grain, pomegranate, apple, sea-shell). She is followed by Aphrodite emerging
from the sea and crowned by a Cupid. Next to Aphrodite stands a large hydria . In the corners of the pediment Tritons are
represented in relief. In the inside, the Selene and the Helios are represented, the latter with a rayed crown.
The north part of the monument is oblong and structured in aediculae and single columns stepping on a projecting podium. 5 The
columns are based on Attic-type bases and they bear Corinthian capitals. In the centre of each floor an aedicula emerges, flanked by
two single columns.6 The aedicula and the columns of the lower storey support a horizontal receding entablature, with a three-fasciae
architrave and a rich architectural decoration developed in zones (astragals, Ionic cyma, cyma recta and again Ionic cyma.).7 The
aedicula of the upper storey ends in a triangular pediment. On both sides of this central aedicula spouts in the shape of a rectangular
stele are placed. On the façade shallow niches open up, five on each storey. These niches were intended for statues of the imperial
family and of the family of the founder.
3. Epigraphic Evidence
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Συγγραφή :
Above the arched entrance of the nymphaeum there is situated a dedicatory inscription,8 according to which the nymphaeum is
dedicated to Artemis Pergaia, to the emperor Septimius Severus, his wife Julia Domna and his sons, Caracalla and Geta.9 A second,
slightly earlier dedicatory inscription has also been attributed to the nymphaeum.10 The inscription relates that the Fountain is donated
by the present priestess of Artemis and former head priestess of the imperial cult, Aurelia Paulina (198-212 A.D.). The inscription
mentions the dedicator’s offices, her family status and the acquisition of the Roman civic status. According to the inscription, the
Nymphaeum F2 is dated to the end of the 2nd century A.D. or at the beginning of the 3rd century; it is nevertheless later than 198
A.D.11 It is not certain, however, whether the inscription should be attributed to this Nymphaeum (F2) or to the Nymphaeum F4,
excavated by J. Inan in 1976, which remains unpublished.12
4. Sculptural decoration
As mentioned above, the façade of the monument bore niches destined for statues. In the iconographic programme of the
Nymphaeum, the protector gods of Perge and the imperial Severan family exist side by side. Perge was well-known for her devotion
to the Severan dynasty, but equally renowned was the interest of the Severans in the city.13 The presence of Artemis Pergaia on this
monument is of great importance, since the Nymphaeum was built on a well dedicated to the goddess. The figure of the goddess is
represented on the relief decoration in the pediment, whereas it is possible that her statue was situated in the niche right beneath it. In
this statue the goddess is represented as a hunter, in an upright position standing on the right leg. She wears a peplos tied under the
bosom, creating an overfold. Slant on the breast she wears the hanging cord of the quiver. Her left hand rests on the left thigh, whereas
the right hand is not extant. She follows the Berlin-Beirut type.14
The statues of Septimius Severus and Julia Domna were situated at the southern part of the façade, in the two aediculae of the lower
floor and on both sides of the arched opening. Septimius Severus is depicted wearing an armor.15 The left hand was lowering. The
right one was stretched to the side with the arm raised in an upright position. On the head he wears a corona civica made of oak
leaves. The features of the face are juvenile, almost idealized. The type of the portrait does not follow closely any of the official types
of the emperor.
Julia Domna is depicted as praying,16 in a standing, frontal position. She wears a chiton and an himation which covers the head and is
tightly wrapped around the body. She follows the statuary type of Magnesia-Borghese. The left hand is lowering holding poppies, an
oenochoe or the edge of the himation. Her right hand is raised, bent according in prayer. On the head she wears a diadem and on the
feet sandals. The portrait follows the type of the Gabii. The diadem she wears connects her with Artemis Pergaia who is depicted on
the gable relief, on which the goddess is followed by a priestess. According to more than one scholarly views, this priestess depicts the
founder herself, Aurelia Paulina, thus stressing her relation to the religious life of Perge.17 There has been supported, however, that this
figure depicts Julia Domna herself, who in Asia Minor and Syria was worshipped as Artemis or Aphrodite.18 This connects to the
depiction of the empress in the praying position.
In the remaining niches of the façade, it is possible that the statues of the other members of the Severan family were placed as well as
members of the family of the founder. The female figure which bears a clear resemblance to Julia Domna is certainly a member of her
family. It has been suggested that it depicts Julia Maesa.19 The head of a young man has been suggested to depict a member of the
younger generation of the Severan family.20 The iconographic programme comprised the portraits of their sons, Geta (209-211) and
Caracalla (198-217). The name of Geta was later erased and apparently his portrait removed as well. A headless statue of a young
man (no. 254) possibly depicted Caracalla.21 At this point it is worthwhile to stress the similarities between the iconographic
programme of the Nymphaeum and that of the Septizodium in Rome.22 Finally, two female heads have been considered to depict the
dedicator Aurelia Paulina and a relative of hers.23 The covered with an himation head in those portraits is in accordance with the
founder’s priestly status.24 The broken condition of the two heads suggests that they were probably placed on the upper storey of the
monument, from where they must have fallen off.
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Συγγραφή :
1. On Plancia Magna see M. Taliafero Boatwright, “Plancia Magna of Perge: women’s role and status in Roman Asia Minor”, in Pomeroy, S.B. (ed.), Women’s History and Ancient History (1991), pp. 249‑272.
2. Dorl‑Klingenschmid, Cl., Prunkbrunnen in Kleinasiatischen Städten: Funktion im Kontext (München 2001), p. 229, fig. 159b.
3. An ancient well on which the fountain was built was excavated on that site. A statue of Artemis Cynegetis was found during the excavations in the well (the Hunter); this discovery led Mansel to suppose that the well was dedicated to Artemis. Mansel, A.M., Vorbericht über die Grabungen in Perge im Jahre 1968“, TürkAD 17.1.1968, p. 100, fig. 9. See also Mansel, A.M.,“Bericht über die Ausgrabungen und Untersuchungen in Pamphylien in den Jahren 1957‑1972“, AA 90, 1975, p. 67 and note 30.
4. Pediment relief of Artemis and Aphrodite: Antalya Archaeological museum, A32/84 – 68/31. LIMC VIII (1997), 225, no. 359, s.v. Venus (E.Schmidt).
5. Dorl-Klingenschmid, Cl., Prunkbrunnen in Kleinasiatischen Städten: Funktion im Kontext (München 2001), p. 229.
8. IK Perge, no. 196.
9. For the dedicatory inscription see Merkelbach, R., Şahin, S., EpigrAnat 11, 1988, pp. 97‑168. The name of Geta was later wiped out.
10. IK Perge, no.196.
11. It belongs to the early Severan period (193-235). See Vandeput,L., The Architectural Decoration in Roman Asia Minor: Sagalassos, a case study,
(SEMA I, Brepols 1997), pp.35-100
12. The inscription of Aurelia Paulina is slightly earlier than Nymphaeum F2 and Dorl‑Klingenschmid holds the view that it cannot be attributed to it, since the excavations did not bring to light earlier building phases. She stresses the view that Aurelia Paulina was the dedicator of Nymphaeum F4 , which had a similar architectural program as F2. See Dorl‑Klingenschmid, Cl., Prunkbrunnen in
Kleinasiatischen Städten: Funktion im Kontext (München 2001), p. 230. The Nymphaeum F4 which J.Inan excavated in 1976 remains unpublished, and thus one is hindered from reaching final conclusions.
13. Schmidt‑Colinet, A. Eine severische Priesterin aus Syrien in Perge, IstMit 41, 1991, p. 445 and notes 26, 27.
14. Statue of Artemis Cynegetis, Antalya, Archaeological Museum, no. 3300, found in the bottom of the well and probably coming from the niche. The
height is 0,24 m. See Tül Egilmez, E., Darstellungen der Artemis als Jägerin aus Kleinasien (Mainz 1980), p. 174 (K3 no. 1/9).
15. Statue of Septimius Severus Antalya, Archaeological Museum, no. 3266, height 2.36 m. Inan, J., “Neue Porträtstatuen aus Perge”, in Mélanges A.M. Mansel (Ankara 1974) p. 655, no. 8, plate 208‑209. Inan, J., Alföldi‑Rosenbaum, E., Römische und Frühbyzantinische
Porträtplastik aus der Türkei. Neue Funde (Mainz 1979), pp. 114‑116, no. 64, plate 38.4, 57, 271.5. M. Edir Özgen, Et al., Antalya Museum (1988), no. 108. M. Edir Özgür, Skulpturen des Museums von Antalya I. Ausflug in die Mythologie und Geschichte (Istanbul 1987), no. 38.
16. Julia Domna, Antalya, Archaeological Museum, no. 3268, height 1.98 m., height of head 0.28 m. Pinkwart,D., Weibliche Gewandtstatue aus Magnesia am Mäander , AntPl XII (1973) p.156 ,no 7, note 42. H.J. Kruse, Römische weibliche Gewandstatuen des 2.Jhdts n.
Chr (Göttingen 1975) p. 408 (D144); Inan, J., Alföldi‑Rosenbaum, E., Römische und Frühbyzantinische Porträtplastik aus der Türkei. Neue Funde
(Mainz 1979), pp. 116‑118, no. 68, pl. 58.2, 59.1‑2, 271.5; F. Ghedini, Julia Domna tra Occidente e Oriente . Le fonte archeologiche (1984) , 135, fig. 18; Mikocki, T., Sub speciae deae: Les impératrices et princesses romaines assimilées a des déesses. Etudes iconologiques (1985), p. 71, 210, no. 412 (Magnesia/Borghese/SC/CV+) Edir Özgen, M. Et al., Antalya Museum (1988), n. 107, M. Edir Özgür, Skulpturen des Museums von Antalya I.
Ausflug in die Mythologie und Geschichte (Istanbul 1987), no 39 ; A. Filges, Standbilder jugendlicher Göttinen (Köln 1997), p. 188, 238, note 1174. Δημιουργήθηκε στις 16/1/2017
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Συγγραφή :
A. Alexandridis, Die Frauen des Römischen Kaiserhauses. Eine Untersuchung ihrer bildlichen Darstellung von Livia bis Julia Domna (Mainz 2004) p. 199, no. 217, pl. 49.1.
17. Longfellow, B., Imperial Patronage and Urban Display of Roman Monumental Fountains and Nymphaea (Michigan 2005), p. 234. Inan, J., “Neue Porträtstatuen aus Perge”, in Mélanges A.M. Mansel (Ankara 1974), p. 646 and Mansel, A.M.,“Bericht über die Ausgrabungen und Untersuchungen in Pamphylien in den Jahren 1957‑1972“, AA 90, 1975, p. 67, n. 32 refer to her as priestess of Aphrodite. This is due to the fact that she appears closer toAphrodite and that the symbols she holds (the pomegranate for example) belong to the world of Aphrodite.
18. Schmidt‑Colinet,A. Eine Priestirn aus Syrien in Perge, IstMit 41, 1991, p. 442.
19. Julia Maesa or Sohaemias (?). Antalya, Archaeological Museum, no. A3270, he. 1.56 m. Bibliography: Inan, J., “Neue Porträtstatuen aus Perge”, in Mélanges A.M. Mansel (Ankara 1974), p. 659, no. 11, plates 214‑215; Inan, J., Alföldi‑Rosenbaum, E., Römische und
Frühbyzantinische Porträtplastik aus der Türkei. Neue Funde (Mainz 1979), pp.119‑121, no. 66, plates 58.3, 59.3‑4; Edir Özgür, Skulpturen des
Museums von Antalya I. Ausflug in die Mythologie und Geschichte (Istanbul 1987), no. 40; Alexandridis, A., Die Frauen des Römischen Kaiserhauses.
Eine Untersuchung ihrer bildlichen Darstellung von Livia bis Julia Domna (Mainz 2004) p. 199, note 1.
20. Man’s head. Antalya, Archaeological Museum, no. A3265a. Height 0,27 m. Bibliography: Inan, J., “Neue Porträtstatuen aus Perge”, in Mélanges A.M. Mansel (Ankara 1974), p. 660, no. 12, pl. 216.
21. Antalya, Archaeological Museum, no number, height 1.23 m. Bibliography. Mansel, A.M.,“Bericht über die Ausgrabungen und Untersuchungen in
Pamphylien in den Jahren 1957-1972“, AA 90, 1975, p. 71; Dorl-Klingenschmid, Cl., Prunkbrunnen in Kleinasiatischen Städten: Funktion im Kontext
(München 2001), p. 229.
22. Lusnia, S.S., “Urban planning and Sculptural display in Severan Rome. Reconstructing the Septizodium and its Role in Dynastic Politics”, AJA 108 (2004), p. 525. Longfellow, B., Imperial Patronage and Urban Display of Roman Monumental Fountains and Nymphaea (Michigan 2005), p. 229.
23. Female head A: Antalya Archaeological Museum, height 02,25 m. Bibliography: Inan, J., “Neue Porträts von Perge”, in Hellenistisches
und Römisches Bildnis.Symposium. Bern 8. bis 11. November 1982, AntK 26 (1983), 120, plate 28.5. Female head B. Antalya Archaeological Museum, no. A3281, height 0.13 m. Bibliography: Inan, J., “Neue Porträtstatuen aus Perge”, in Mélanges A.M. Mansel (Ankara 1974), p.661, no. 14, plate 218; Inan, J., Alföldi‑Rosenbaum, E., Römische und Frühbyzantinische Porträtplastik aus der Türkei. Neue Funde (Mainz 1979), p. 256, no. 234, plate 167.1‑2.
24. Plancia Magna, as priestess of Magna Mater, Artemis Pergaia and the imperial cult, was also depicted wearing the distinctive garments and jewelry of the priestly status on the monuments which she dedicated in the time of Hadrian. See Inan, J., Alföldi‑
Rosenbaum, E., Römische und Frühbyzantinische Porträtplastik aus der Türkei. Neue Funde (Mainz 1979), no. 225. Van Bremen, R., „Women and Wealth“, in Cameron, A., ‑ Kuhrt, A., (eds)., Images of Women in Antiquity (London 1983), pp. 223‑242; Fantham, E.et al. (ed)., Women in the
Classical World. Image and Text (New York 1994), pp. 363‑4. For depiction of other priestesses with the garments and jewelry of their office see Mucznik, S., “Roman Priestesses: The case of Metilia Acte”, Assaph 4,1999, p. 61 ff.
Βιβλιογραφία :
Gros P., L’Architecture Romaine du début du IIIe siècle av.J.-C. а la fin du Haut-Empire 1. Les
Monuments Publics, Paris 1996
Arkan A., Sâbri A., Aspendos and Perge. A traveller’s guide through ancient Pamphylian cities, Antalya
Lanckoroński N.P., Städte Pamphyliens und Pisidiens, Wien 1892
Σελίδα 4/6
Συγγραφή :
Mansel A.M., "Die Nymphaen von Perge", IstMitt, 25, 1975, 367-372
İnan J., Alföldi-Rosenbaum E., Römische und Frühbyzantinische Porträtsplastik aus der Türkei. Neue
Funde, Mainz am Rhein 1979
Longfellow B., Imperial Patronage and Urban Display of Roman Monumental Fountains and Nymphaea,
Michigan 2005
Dorl-Klingenschmid C., Prunkbrunnen in kleinasiatischen Städten. Funktion im Kontext, München 2001
Hodge A.T., Aqueducts and Water Supply, London 1992
Özgür M.E., Perge. A Travel Guide, NET Turistik Yayınlar, Istanbul 1989, Alemdar, N. (trans.)
Mansel A.M., "Ausgrabungen in Pamphylien 1957-1972", AA, 90, 1975, 49-96
Mansel A.M., Perge kazilarina dair önrapor: Vorbericht über die Grabungen in Perge, Türk Tarih
Kurumu Yayınları, Ankara 1968, TurkArkDerg 17
"Neue Porträtstatuen aus Perge", Mélanges A. M. Mansel, Ankara 1974
Özgür M.E., Skulpturen des Museums von Antalya. Ausflug in die Mythologie und Geschichte., Istanbul
1987
Γλωσσάριo :
aedicula
Small pedimental naiskos, either a free-standing construction or integrated into a larger building's facade.
architrave or epistyle
The lowest part of an entablature resting on the columns capitals and supporting the frieze.
astragal
A decorative motif that consists of half-round surfaces alterating with flat planes (fillets). It occurs oftenly on architectural elements, relief, under an
ionic or lesbian cymation.
attic-ionic base
Base of an Ionic column, consisting of an upper and lower torus, separated by a scotia and fillets
chiton, the
Item of clothing consisting of a square woollen textile seamed on both sides.
corinthian order
The most elaborate of the ancient greek architectural orders. It was developed in the 4th century BC in Greece and it was extensively used in Roman
architecture. It is similar to the Ionic order. Its capitals being four-sided and composed of a basket-shaped body decorated with volumes and rows of
acanthus leaves.
cyma / cymation
Moulding decoration with ovals or tri-cusps alternating with lotus flowers. It was meant to separate or to lay stress upon two surfaces. In ancient
architecture we distinguish Doric, Ionic and Lesbian cymation, according to their decoration and section form.
himation, the
Rectangular woolen (mainly) cloth that was worn over the chiton (cloak). It could be wrapped around the shoulders and the body in different ways
and was fastened with a belt or with brooches.
oenochoe
From the greek words "οίνος" (wine) and "χέω" (pour). Ovoid, single-handled wine jug usually taller than it is wide. There have been distinguished 10
types based on variations of profile, mouth type and handle form.
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Συγγραφή :
pediment, the
The triangular structure, over a building façade, between the horizontal entablature and the sloping roof, often decorated with sculptures, reliefs or
painted figures.
propylon
Monumental architectural entrance, most often to a sanctuary or a building complex.
receding entablature
An entablature which juts out and recedes back in intervals, thus forming a distinctive receding outline. It makes its appearance in the Roman period and is adopted mainly in the impressive aedicular facades of theatrical scenes and nymphaea. Tritons
Sea deities, followers of Poseidon. Their upper body is that of a man while the lower that of a fish.
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Περίληψη : Χρονολόγηση Γεωγραφικός Εντοπισμός

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