Bibliographie
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Bernand 1981
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Bieber 1907
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Bieber 1955
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Bieber 1961
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Blech 1982
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Borg 1996
Borg, B., Mumienporträts: Chronologie und kultureller Kontext, Mainz am Rhein, 1996.
Breccia 1922
Breccia, E., Alexandrea Ad Aegyptum, Bergamo, 1922.
Bresciani 2010
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Bresciani 2012
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Bresciani, Radwan 2010
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Buongarzone 2015
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Chaniotis 1990
Chaniotis, A., “Zur Frage der Spezialisierung im griechischen Theater des Hellenismus und der Kaiserzeit auf der Grundlage der neuen Prosopographie der dionysischen Techniten”, Ktèma 15, 1990, pp. 89–108
Clarysse-Thompson 2006
Clarysse, W., Thompson, D.J., Counting the People in Hellenistic Egypt, Cambridge, 2006.
Conze 1891
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Csapo 2010
Csapo, E., “A Portrait of the Artist, I, Theatre-Realistic Art in Athens, 500–330 BC”, in E. Caspo (ed.), Actors and Icons of the Ancient Theatre, Wiley, Blackwell, 2010, pp. 1–37.
Edgar 1903
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Ewigleben-Kohne 2000
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Fejfer 2008
Fejfer, J., Roman Portraits in Context, Image & Context 2, New York, Berlin, 2008.
Felletti Maj 1953
Felletti Maj, F., Museo Nazionale Romano I.1, Rome, 1953.
Fittschen 2001
Fittschen, K., “A Portrait of an Olympic Youth (?)”, YalUniB, 2001, pp. 44–55.
Fittschen, Zanker, Cain 2010
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Fraser 1972
Fraser, P., Ptolemaic Alexandria. Oxford, 1972.
Gazda 1978
Gazda, E., Guardians of the Nile, Sculptures from Karanis in the Fayoum (c. 250 BC–AD 450): Kelsey Museum of Archaeology, the University of Michigan, Ann Arbor, October 14–December 17, 1978, Ann Arbor, 1978.
Greene 2005
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Ewigleben-Kohne 2000
Ewigleben, C., Kohne, E., Gladiators and Caesars: The Power of Spectacle in Ancient Rome, Berkeley, 2000.
Harrison 1953
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Himmelmann 1983
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Himmelmann 1994
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Jucker 2006
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Kiss 1983
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Kiss 1995
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Künzl 1977
Künzl, E., “Der Steindenkmälerfund von Benningen, Kreis Ludwigsburg”, Fundberichte aus Baden-Württemberg 3, 1977, pp. 286–327.
Laube 2012
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Ling 1991
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Lise 1979
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Messeri-Pintaudi 2002
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Moreno 2010
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Parlasca 1969
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Parlasca 2003
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Pfuhl, Mobius 1979
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Picard 1934
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Pintaudi- Sijpesteijn 1989
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Richter 1965
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Scholl 1995
Scholl, A., “Nicht Aristophanes, sondern Epigenes. Das Lyme-Park-Relief und die Darstellung von Dichtern und Schauspielern auf attischen Grabdenkmälern”, JDAI 110, 1995, pp. 213–238.
Strocka 1967
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Tedeschi 2011
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Trapp 1958
Trapp, J.B., “The Owl’s Ivy and the Poet’s Bays. An Enquiry Into Poetic Garlands”, JWI 21, 3/4, 1958, pp. 227–255.
Tsantsanoglou 2012
Tsantsanoglou K., “The Statue of Philitas”, ZPE 180 pp. 104–116.
Van Minnen 1998
Van Minnen P., “Boorish or bookish? Literature in Egyptian villages in the Fayum in the Graeco-Roman period”, JJP, 28, 1998, pp. 99–184.
Vogliano 1936
Vogliano A., Rapporto degli scavi condotti dalla missione archeologica d’egitto della R. Universita di Milano nella zona di Madinet Madi 1. Campagna inverno e primavera 1935-XIII, Milano, 1936.
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Walker, Bierbrier 1997
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Zanker 1995
Zanker, P., The Mask of Socrates, The Image of Intellectual in Antiquity, Berkeley, Los Angeles, Oxford, 1995.
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Notes
According to the registers in the Kom Oushim Museum, the head comes from Kiman Faris (ancient Ptolemais Euergetis), the capital of the Arsinoite nome; Bailey 1996, p. 213, n. 33, also cites this provenance. In following this information and seeking a more precise find spot for the object, no mention of the head at all was found in the Kiman Faris registers. Widening the search to other Fayum registers revealed that the head comes instead from Medinet Madi, Narmouthis, found during sebakhin work in 1954, and was registered by Naguib Farag. Thanks are due to Mr Mustafa Faisal in the Kom Oushim Museum Magazine, who led me to this information. The image in the register, the serial number 51, which is also inked in black on the neck of the sculpture fig. 5, and an additional note concerning its transfer to Kom Oushim Museum, do not leave any doubt about the correct provenance of the object.
Bailey suggested that the head could “come from a statue dressed in civilian clothes, possibly Greek” (1996, p. 213, n. 33, wich seems reasonable).
Kiss 1995, p. 62 (who incorrectly gave the inventory number as18); followed by Bailey 1996, p. 213, n. 33.
Bergmann 2010, p. 333 ff.
Blech 1982, p. 312 ff, Athenaeus VI, 40, recorded an inscription on the tomb of the poet Machon, who lived and was buried in Alexandria, mentioning the ivy wreath as a prize for comic poet, see as well Fraser 1972, p. 595. An epigram of the Locrian Poetess Nossis confirms ivy as insignia of the tragic poet, Greene 2005, p. 123 f. Vergil, in Eclogue 8, mentions ivy as the crown of the poet. Propertius 4,6,3 describes the Coan poet Philiteas statue crowned in ivy: Serta Philiteis certet Romana corymbis. Ovid Ars Amatoria, III 411, again mentions ivy as the poet’s crown. Scholars agree that ivy and bay were the standard coronation of poets, Trapp 1958, p. 232 f; Blech 1982, p. 312 ff; Zanker 1995, p. 143; Guillaume-Coirier 1999, p. 341.
MA. 62 , Richter 1965, p. 67, figs. 235–236; Zanker 1995, p. 146 ff, fig. 4; Tsantsanoglou 2012, p. 106, fig. 2.
BM. 1830: Richter 1965, p. 67, figs. 238–239; Tsantsanoglou 2012, p. 106, fig. 3. BM. 1851: Richter 1965, p. 67, figs. 240–242; Tsantsanoglou 2012, p. 106, fig. 4.
Villa Albani, no. 81, see Tsantsanoglou 2012, p. 106, fig. 5; Richter 1965, p. 67, questions its antiquity.
Tsantsanoglou 2012, p. 106, fig. 7: no ivy wreath.
Here we follow Zanker 1995, p. 198, referring to portraits of Greek intellectuals from ancient times, copied for Roman use.
Zanker 1995, p. 143.
Museo delle Terme, Inv.612: Felletti Maj 1953, p. 22, no. 23; Richter 1965, p. 58, no. 4, fig. 135.
Richter 1965, p. 59, no. 7, fig. 140–141.
Louvre MA. 741, Picard 1934, p. 144, fig. 5; Bieber 1955, p. 154, fig. 655; Bieber 1961, fig. 86; Moreno 1999, p. 87, fig. 107.
Bieber 1961, pp. 90–91, figs. 322 a–c; Ashby 1999, p. 150, fig. 58.
Moreno 2010, p. 144 ff, figs. 161–162.
Bieber 1961, p. 166, fig. 594.
Bieber 1907, passim; Bieber 1961, p. 84, fig. 307 describes the figure as a leader of actors’ guild and actor-priest, see also Ewigleben, Kohne 2000, p. 118, no. 131.
Blech 1982, p. 216, n. 118.
This category of representations shows masked actors; e.g. the Villa Albani statuette, Bieber 1961, p. 161, fig. 583, and the Berlin statue of a masked actor in the role of Papposilenus, wearing an ivy wreath above the mask, Conze 1891, p. 118 f, no. 278. Many terracotta statuettes and paintings are citable, Bieber 1961, figs. 290–294 (tragedy), 295–299 (comedy), 324–328, 332, 338, 34 (new comedy). See also the Thalia statue in the Louvre, Bieber 1961, figs. 334, 342. From Egypt, see Himmelmann 1983, p. 97, and its marble replica in the Uffizi, Bieber 1955, fig. 333. Also a large statue from Pompeii, Bieber 1961, p. 548 a, and for scenes from Roman plays, see Bieber 1961, p. 161 ff, fig. 585 ff.
A Pompeian painting of seated man contemplating into a mask is labelled poet, Ling 1991, p. 160, or actor, Ashby 1999, p. 151, fig. 60. Another painting shows seated actor while a female painter is working on a mask, Bieber 1961, p. 82, fig. 302.
A relief from Piraeus in Athens shows three actors in an off-stage scene with masks in hands, but no wreaths are seen, Scholl 1995, p. 222, fig. 8; Csapo 2010, p. 17. fig. 1.7. A herm of Norbanus Sorex from the Isis temple in Pompeii shows the mime actor without a wreath, Bieber 1961, figs. 592 a–b ; Fejfer 2008, pp. 301, 456, n. 185. From the Diana sanctuary in Nime comes a togatus statue of Gaius Fundilius Doctus, who is identified as an actor, Fejfer 2008, p. 285 ff, pl. 26. Another head from the same group shows a male portrait wearing a wreath of flowers, Fejfer 2008, p. 301, pls. 33d, p. 488, n. 53. Since most of the sculptures in this find-group represent actors, it was suggested that this figure does too.
A group of Attic funerary stelai, shows bare-headed male figures mediating at a mask held in the hand. It is much debated whether these are actors, choreuts or poets, but in any case the heads are not wreathed, Scholl 1995, p. 213 ff. See the Lyme Park relief, Himmelmann 1994, p. 142 ff, figs. 73–77. Another relief from Piraeus, dates to the late 5th century BC, Himmelmann 1994, p. 147, fig. 80 (actor); Scholl 1995, p. 230, fig. 14 (actor or choreuts); Csapo 2010, p. 22, n. 64, (choreuts). An east Greek funerary stele shows a man mediating to mask held up in his right hand, but no wreath is seen, 2nd century BC, Pfuhl, Mobius 1979, p. 293, no. 1193, pl. 179; Scholl 1995, p. 234, fig. 17. A nude male bust in the Capitoline Museums, found in a tomb near Porta Latina, shows an un-wreathed head, but a comic mask on the chest determines the profession of the subject as an actor or poet, dating to the mid-3rd century AD. Klaus Fittschen favors the identification of actor over poet: Fittschen, Zanker, Cain 2010, pp. 170–171, cat. 169, pl. 210–211.
Chaniotis 1990, pp. 103, 104; the evidence comes from Stephanēs’ prosopographic study of Dionysiakoi Technitai, which we have as yet been unable to consult, but which may be applicable to Egyptian performers, even if it comes from other areas.
From Karanis, see Gazda 1978, nos. 22, 23, 25, 30, (31, 32, 34, 36 powdery limestone) no. 38 porous limestone, see Appendix, 71 ff, nos. 6, 10, 18, 20–23, 25. Also a limestone statue base in Warsaw from the Fayum and dated to the Ptolemaic period, mentioning the dedication of a statue to Artemis Sotereia, Bernand 1981, p. 142, no. 208.
Two Egyptian-style statues, see Lise 1979, no. 88, pl. 125; Ashour 2007, p. 189, cat. 143, and Ashour 2007, p. 190, cat. 144. Limestone is very common in the Narmouthis temples and public buildings, see Bresciani 2012.
The two cuirassed torsi discovered by Vogliano (1938, no. 42 fig., and Cairo. J.E. 66323), represent an emperor or military commander, see Ashour 2007, p. 398 ff, cat. 178–179; Bresciani, Radwan 2010, p. 13; Bresciani 2012. p. 183, For the portrait from the Roman Square, see Buongarzone 2015. Bresciani 2012, p. 181, reported that many private statues of togatus type were found near that square. Epigraphic data from Medinet Madi show many sculptural dedications and statue bases, Bernand 1981, p. 80, no. 160, 91, no. 170; Bresciani 2010, p. 133 f, nos. 148–149.
A head in Munich shows the hair and diadem executed in stucco, Strocka 1967, p. 125, no. 14, figs. 18–21. Alexandria GRM.3661, Breccia 1922, p. 193, no. 64, the levelled breakage indicates that a portion of the diadem would have been finished in the now-missing plaster addition.
Kiss 1983, p. 50, figs. 88–89.
Kiss 1983, p. 51, figs. 94–95.
Kiss 1983, p. 61, figs. 130–131.
Strocka 1967, p. 131, no. 102, Hadrianic private portrait; Laube 2012, p. 144, no. 51, Ptolemy Apion.
Edgar 1903, p. 5, no. 27433, pl. II; Strocka 1967, p. 123, n. 33, confirming the coating of limestone sculptures in stucco.
Bakhoum 1971, p. 66 ff.
Strocka 1967, p. 123 , presents an extensive list of known sculptures up to 1967.
Bresciani 2012, pp. 175, 181; Buongarzone 2015, p. 224, pl. 4.
Buongarzone 2015.
Ashour 2007, p. 398ff, cat. 178–179; Bresciani-Radwan 2010, p. 13; Bresciani 2012, p. 183.
See: http://egittologia.cfs.unipi.it/wp-content/uploads/2016/06/mm2011.pdf
Anonymous sculptor technites is known from Narmouthis via an inscription of late Hellenistic date that mentions his dedication and carving of a monument to Isis and Isermouthis, Bernand 1981, p. 81, no. 161. Another inscription from Temple A in Narmouthis, dated by Vogliano to the late Ptolemaic period, attests the sculpture workshop of Isidoros gluptēs, who carved and dedicated a “monument” to the goddess Isermouthis; see Bernand 1981, p. 83, no. 163, who remarks on the later attestation of the word gluptēs in an inscription from Philae of the late 3rd century AD, but did not re-date the Narmouthis inscription.
The Antonine sculptured portraits show many forms of pupil drilling, amongst which is the circular form, Albertson 1981, p. vii. A round pupil appears on a portrait of Faustina the younger from the Athenian Agora 150–175 AD, see Harrison 1953, p. 45, no. 34, pl. 2. A pupil of circular shape with upper triangular incision appeared on Antonine portraits, like that of Lucius Verus in the Bardo Museum, Albertson 1981, p. 4. The semicircular pupil perhaps does not go later than 160 AD, when round form begin to appear, Jucker 2006, p. 69 with bibliography.
Fittschen 2001.
Borg 1996, p. 80.
An example from Hawara dates between 140–160 AD, Walker, Bierbrier 1997, p. 68, no. 45. Another portrait in Baltimore shows a more elaborate but similar hairstyle, the locks hanging on the forehead being very detailed, curly and spiral. The treatment of the facial hair shows low-cut beard and more Antonine moustache, Borg 1996, p. 79 f, pl. 27.2. Antonine = Parlasca 1969, p. 201, pl. 49,3. Late Hadrianic.
Cairo, CG.33242, shows the same hairstyle, Borg 1996, p. 79, pl. 77.1, belonging to the time of Marcus Aurelius, while Parlasca 1977, no. 377, pl. 91,3 dates to the beginning of the 3rd century AD.
Cairo CG.33252 comes from the Fayum, Parlasca 2003. no. 867, pl. 186.2, and is of late 2nd century AD date; also Borg 1996. 210, Cat. no. 5, of late Antonine to early Severan date.
Another portrait in Cambridge showing similar locks, dates as well to the Commodus age, see Parlasca 1977, no. 332; Borg 1996, p. 80. Antiken Sammlungen Wien. 1983, with a very similar hairstyle, but with less distinct and coiling spiral locks, Parlasca 1977, p. 329, pl. 79,2 dates a little after the middle of the 2nd century AD; Borg 1996, p. 82.1, a transitional piece into Severan period.
Künzl 1977, p. 320, fig. 27.
Fraser 1972. II, p. 870, n. 1
Clarysse-Thompson 2006, p. 135 ff.
P.Oxy. 2476.
Tedeschi 2011.
Literary Greek papyri from Medinet Madi show Homer’s Iliad, Vergilius’ Bucolia, and Isocratess Ad Nicolem and Archidamus, Van Minnen 1998, p. 137 ff, and at least one Mime text is known, Vogliano 1936, pp. 71–73, and one ostrakon shows Iambic Trimeters, attributed to a lost comedy or tragedy, Pintaudi- Sijpesteijn 1989, p. 91 f, no. 7; Van Minnen 1998, p. 137.
OMM. 73, Messeri-Pintaudi 2002, pp. 215–216 no. 3; Tedeschi 2011, p. 119, no. 56, where Mimes, dancers, a company of Heterai, and a singer accompanied by Kithara player, performed in a private feast. Another ostrakon shows a flute player paid in beer, Bresciani 2010, p. 117f, no. 131.
Brescaiani 2012, p. 175; Buongarzone 2015, p. 223 ff. A cuirassed figure once kept in Castello Sforzesco in Milan came from debris, according to Vogliano 1938, no. 42. I was not able to find this statue in Milan in 2005 and the Museum authorities said that it was lost during World War II. This debris could be some place near the Piazza Porticata according to Bresciani 2012, p. 181, and most likely its counterpart in Cairo comes from the same dedication, Ashour 2007, p. 398 ff, Cat. 178.
Bresciani 2012, p. 175, fig on p. 182.
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