Roman sculpture from Butrint: a review of recent finds

Butrint Archaeological Monographs

BUTRINT 4THE ARCHAEOLOGY AND HISTORIES

OF AN IONIAN TOWN

Inge Lyse Hansen, Richard Hodges and Sarah Leppard

OXBOW BOOKS FOR THE BUTRINT FOUNDATIONOxbow Books

Oxford and Oakville

Published byOxbow Books, Oxford, UK

© Oxbow Books, Inge Lyse Hansen, Richard Hodges, Sarah Leppardand the individual authors 2013

ISBN 978-1-84217-462-3

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Library of Congress Cataloging-in-Publication Data

Butrint 4 : the archaeology and histories of an Ionian town / [edited by] Inge Lyse Hansen, Richard Hodges and Sarah Leppard. p. cm. Includes bibliographical references and index. ISBN 978-1-84217-462-3 1. Butrint (Albania)--Antiquities. 2. Excavations (Archaeology)--Albania--Butrint. 3. Butrint (Albania)--History. I. Hansen, Inge Lyse. II. Hodges, Richard. III. Leppard, Sarah. IV. Title: Butrint four. DR998.B88B88 2012 939’.465--dc23 2012030401

Front cover: View of Butrint, Lake Butrint (right) and the Straits of Corfu (rear)Back cover: Details of objects and images from Butrint: 13th-century RMR ware dish; 2nd-century togate statue;

11th-century Benno brooch; 18th-century Venetian map; 1980s inscription; 10th-century silver earrings; 5th/6th-century mosaic pavement

Printed in Great Britain byShort Run Press, Exeter

Contents

Preface and acknowledgements ix

1 Excavating away the ‘poison’: the topographic history of Butrint, ancient Buthrotum 1 Richard Hodges

2 Landscape and environmental change: new perspectives 22 David Bescoby

3 Butrint and the Pavllas River Valley in the late Bronze Age and early Iron Age 31 Sarah Lima

4 The acropolis of Butrint reassessed 47 Simon Greenslade, Sarah Leppard and Matthew Logue

5 The aqueduct of Butrint 77 Andrew Wilson

6 The Roman Bridge of Butrint 97 Sarah Leppard

105 Inge Lyse Hansen

8 The Vrina Plain settlement between the 1st–13th centuries 123 Simon Greenslade

9 Two Roman mausolea on the Vrina Plain 165 Oliver J. Gilkes, Valbona Hysa and Dhimitër Çondi with a contribution by Inge Lyse Hansen

10 The western cemetery: archaeological survey of Roman tombs along the Vivari Channel 182 David R. Hernandez and John Mitchell

11 The Great Basilica: a reassessment 202 Nevila Molla

215 Alessandro Sebastiani, Dawn Gooney, John Mitchell, Pagona Papadopoulou, Paul Reynolds, Emanuele Vaccaro and Joanita Vroom

13 The Western Defences 245 Solinda Kamani Appendix: The glass from Tower 1 in the Western Defences 257 Sarah Jennings and Karen Stark

14 Material boundaries: the city walls at Butrint 260 Nevila Molla, Maria Francesca Paris and Francesco Venturini

15 Late Venetian Butrint: 16th–18th centuries 280 Siriol Davies

16 The Castle of Ali Pasha at Butrint 289 José C. Carvajal and Ana Palanco

17 Archaeologists as placemakers: making the Butrint National Park 309 Richard Hodges

List of photographers and illustrators 323Index 325Plates 331

Contentsviii

When the Italian archaeologist, Luigi Maria Ugolini,

and its association with Rome through foundation myths linked with Aeneas. Though in fact Ugolini adopted a

– as well as of a great many other commercial and cultural institutions in the area – and the imperial portraits, together

3

portraits: a second portrait of Agrippa and a Hadrianic

spolia4

5

periods.6

Since a summary of the

The following will consider the character and regional

Characteristics and regional context

in limestone. Works of the imperial period are numerous

Inge Lyse Hansen

Inge Lyse Hansen

koinon, it is surprising

The Roman period sculptures represent portraits,

Here

Hellenistic period. Most common are representations of

No such

statues – dedicated to the imperial family as well as to local

Where the sculptural works from the two cities appear

state.presence, at Phoenice itself, of sculpture workshops that

workshop traditions continuing through the Roman imperial period.

the greater use of local limestone, at least for smaller pieces, and in the stylistic differences (despite their typological

for inspiration. Rather, during the Roman imperial period,

its production centre appears to remain local. This is not

workshops in Attica or elsewhere in Achaea. Athenian or

statues found in the Theatre, and the widespread use of

Attica.

on Roman metropolitan forms. In other words, in the imaging of the city through its dedications and adornment

Roman status and it links with powerful patrons in Rome. Not making use of local craftsmen or in any way looking to the sculptural traditions at Phoenice for inspiration

it), since its Roman links allowed it to present itself as the new primary city in the region. Aside from practicalities

Achaean workshops the city highlighted its participation

Achaea.

Finds spots and archaeological context

domus and later Triconch

any of the residential sites, despite their otherwise large

ephemeral. Only two sculptural fragments were found

spoliacase for the single sculptural fragment that has come to

counterpoised hooks, with parts clinging to the forms of

and relief work come from the Temple mausoleum that

in situ,

this process.

the domus The imperial

period domus on the Triconch Palace site was temporarily

and workshops.

fragments appear at these sites as spolia material in later constructions.

Secondly, the consequences of earthquakes that, as shown

The earthquake

c

a compact demolition deposit, neither containing pottery

original location of display.

fragments were all found within a layer c As

the cavea

In other

Inge Lyse Hansen

In other words, the

across a wider area than the focus on the statues might suggest. Statuary fragments were found across the area of

two areas: large statues in a line close to the scaenae frons interspersed with detached heads and sculpture fragments,

damage.

33

gathering and reducing the statues suggests that the area was

34

35

36 As the southern part of the forum area – and,

The togate statues

narrow drain, which fronted a path at the western end of

The associated ceramic material indicates a depositional

c

Unlike

programme.

to the late 4th century.

the statue. In other words, the attempts at refashioning the

that this area close to the acropolis hill (like the Theatre)

necessitated elsewhere. The statue itself was found a few

43

44

0 10 m

Life-sizetogate statue Over life-size

togate statue

Statue base?

0 50 m

TemplePeristylebuilding

Shrines

Forum

Bathhouse

RoadHellenisticcity wall

Prytaneum

Shrine/TreasuryFountain

0 5 m

Life-sizetogate statue

Over life-sizetogate statue

Inge Lyse Hansen

Typological characteristics

to Neronian, and Hadrianic to Marcus Aurelius in date.

support the discussion, a summary catalogue of the latter pieces are included at the end.45

dedications and associated with portrait representations of

highlight the presence also of this type.46 They include

the crown of the head with the central rear whirl of hair

of these as is characteristic of the more summary parts of

of the hair in the manner of the coiffure current in imperial

depicted. It was designed with an inset head (this and the

with his weight on the left leg, the foot of which is placed

Figure 7.2. The life-size togate statue in situ

in a walking pose. The ensuing contraposto

a plain, round capsa or scrinium

sinus balteuspallium

arranged with balteus and umbohere. Statues of this type are most commonly shown with

outer edge of the sinus, in order to accentuate the richness

an imperial type toga with the arm held against the chest

In form and composition the arrangement of the toga, too, presents a series of adaptations of standard models.

balteus is placed high on the left shoulder and drawn in a rather tight diagonal across the chest to

balteus and those of the umboit also limits the space on the right side of the chest of

umbo in Unusual too is the

shallowness of the sinus. Whereas all of these elements

Figure 7.3. The life-size togate statue Figure 7.4. Togate statue from Narona, Croatia (Archaeo-logical Museum of Narona)

Inge Lyse Hansen

parallels in togate statues from the nymphaeum of Annia Regilla and Herodes Atticus at Olympia (in particular in

cc

53 The

balteus

origin in an eastern workshop.

54 The

the salient points are worth repeating. Its present aspect

exigua without sinus,

the central chest area of the statue was prepared for use

the Theatre. The attempt here at reworking – rather than

Figure 7.5. The life-size togate statue

parts of original drapery folds. The form and pattern of

the folds of its outer edge. The toga itself was tightly

politics and in its access to patronage from Rome.55

gesture is common in cuirassed and equestrian statues it

Figure 7.6. The over life-sized togate statue Figure 7.7. The over life-sized togate statue; reconstruction of original aspect

Inge Lyse Hansen

56 The latter two statues

A single fragment may indicate the presence of a further

is a fragment of the left shoulder and immediate chest area of

that it was used in this manner is tempting. The use of the

portrait of a young man styled in the manner of Antinous

Statues of deities

Figure 7.8. Shoulder fragment from the over life-size togate statue

Figure 7.10. Shoulder fragment with drapery

Figure 7.9. Rear part of a head of a boy

Among

illustrates how the dedications were clearly well articulated

smooth surface at the uppermost edge of the piece (cat.

So may

63

Figure 7.13. Fragment of upper arm with sleeve

Inge Lyse Hansen

Lastly, a handsome and graceful female statuette wearing

64

Other types of works

of two forms of sculpture otherwise highly ephemeral in

edge of a plinth, on top of which a hand rests on a small,

make it appropriate as pedimental sculpture, rather than as a single, freestanding piece. More clearly a fragment

65

from a sarcophagus, a series of deep attachment holes at

small and needed securing carefully. It is hence tempting to

66

Discussion

naturally complicates assessments of their original place

In other words, it seems likely that despite the systematic

in situ fronting

clearly took place in this area and hence it seems likely that

Numerically, statues interpreted as representing deities

Figure 7.14. Fragment with drapery folds

to Rome, through dedications to the imperial family and

and iconographic forms. Indeed, the statue dedications are numerous in the period when this new Roman identity

to workshops in mainland Achaea for its commissions.

to project a more cosmopolitan image of itself, as a city

in the immediate region.

Catalogue

Figure 7.16. Fragment with remains of a hand resting on a rock

Figure 7.17. Fragment of a statue base

Inge Lyse Hansen

Rear central whirl of hair with good rhythmical arrangement of

cc

chiaroscuro in the handling of the folds. Unusually, the right arm is held against the chest rather than along the side.

c

without sinus and patrician shoes. Remains of original drapery

folds of the sinus

Two joining fragments that together make up a right shoulder

the arm was raised up in an adlocutio

cappear to originate from the reworking of the togate statue.

represents the upper front (chest) part of a shoulder with drapery

6. Two drapery fragments

cat. 5.

separately.

c c

Pentelic.

diagonals interspersed with folds terminating in curling hooks of

c

plain area on the lower part of the piece suggests the dress was

articulated with a neat fold that highlights the elegant sweeping

of a female chiton.

imperial period.

across surface.

c

muscular detailing suggests it was an arm.

are the remains of a roughly triangular mortise, the rear point of

ReferencesDie römische Kolonie von Butrint und die

Romaniserung GriechenlandsPfeil.

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Epire, Illyrie, Maceédonie...

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Studien zur römischen Togadarstellungen.

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The Rise and Fall of an Imperial Shrine. Roman Sculpture from the Augusteum at Narona

PhoinikePhoiniki III. Rapporto preliminare

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ellenistica ed epoca romana. Ocnus

Roman Peloponnese III. Society, Economy and Culture under the Roman Empire: Continuity and Innovation (Meletemata

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in the Roman forum of ButhrotumActa Rei Cretariae

Romanae FautorumButrinto. Il mito d’Enea, gli scavi. Rome,

L’acropoli di Butrinto (Albania antica 3). Rome, Scalia.



BerytusRoman Imperial Art in Greece and Asia

Minor

NotesButrinto. Il mito d’Enea. Gli

Scaviyear after: Con una commozione più intense di quella provata commentando Omero sulle rovine di Micene, ora, io, sull’acropoli di Butrinto, da me scoperta e scavata, leggo Virgilio. I vincoli spirituali tra Roma e Butrinto e tra queste città e Troia diventa ancora più stretti (It is with

among the ruins of Mycenae that now, on the acropolis of

the forum area. My warm thanks also to Iris Pojani for permitting me to reproduce parts of the study of this statue

on this paper.

Hansen forthcoming.

separately and attached, which is one of the Phoenice

in the manufacture of the statue of a man in himation from

formed after collapse of a wall).

6.4–5

height.

are roughly equal, while the southern part of the forum

umbo. balteus and umbo folds,

balteus umbo.

parallels.

Inge Lyse Hansen

and Justinian, Statius Silvae Buildings

like a chlamys.

Roman sculpture from Butrint: a review of recent finds

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