By R. Fleischer
The forerunner of this finished and entirely descriptive catalogue of statues and different repre-sentations was once the paintings released in Berlin by means of Hermann Thiersch, Artemis Ephesia, I. Katalog der erhaltenen Denkmäler (Abh. Göttingen, 1935, lately reprinted). Fleischer has augmented the fabric via approximately one-third. His examine is typological and expressly renounces any hindrance with the comparable cults or with the starting place of the deities. remember the fact that, it contributes vitally however to this sort of considerations.
He defines his simple style as deriving from the Hellenistic and Roman eras, yet as showing, even as, an historic visual appeal: the legs are indistinguishably closed, the higher fingers lie at the line of the physique, whereas the decrease palms are symmetrically stretched out in the direction of the beholder; the reduce physique and legs are frequently encased through a narrow-fitting sheath, and the chest is embellished with many 'breasts', heavy necklaces or different undefined. different beneficial properties are the excessive head-dress and the animals figured on the facets or in entrance. what's at the beginning a bit dazzling is that, even supposing goddesses predominate, a few male deities are incorporated within the common type; leader between them are Zeus Labraundus and Jupiter Heliopolitanus of Baalbek. The top goddesses are the Ephesian Artemis, Aphrodite of Aphrodisias (in Caria), Hera of Samos, and Artemis of Perge (in Pamphylia). Welcome positive aspects of the current assemblage of fabric are the due cognizance given to representations on cash and the assiduous monitoring down of all of the extra vague deities who may be assigned to the elemental sort. The query of relationship, in regards specifically to the final word foundation, is handled too — a really useful research in view of theories which invoke an Anatolian or Syrian 'Renaissance'.
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Additional info for Artemis von Ephesos und verwandte Kultstatuen aus Anatolien und Syrien
1. RACS, Antikes Erbe (1965) Nr. 96 Abb. E 59 SPLIT Museum Fragment. Aus Salona. M. ABRAMIC, Festschrift R. Egger 1 (1952) 315 Nr. 6 Abb. 3. - F. EICHLER, ()Jh 42, 1955 Sp. 20 Anm. 76. E 60 TRIPOLIS Museum Taj. 34 Aus Leptis Magna. PICARD EC XIX Anm. 4. - R. BARTOCCINI, Guida del Museo di Tripoli (1923) 11 f. Nr. 7 Taf. 2. - H. THIERSCH, NGG Geschaftliche Mitt. 1924, 10. - P. , 81 Abb. 10. - V. MULLER, AM 50, 1925, 59. - H. LAMER, Das humanistische Gymnasium 39, 1928 Taf. 1, 1 bei S. 152. - S.
Reinert. Unveroffentlicht. 1 Taf. 50e Auf schmaler Basis iiblicher Typ, mit Wollbinden, aber ohne Hirsche. Ependytes horizontal gegliedert. "Nimbus" unten stark eingezogen. Sehr schmaler Polos mit bekronender horizontaler Leiste, auf dieser wohl drei senkrechte Spitzen. Bleitesserae Diese Denkmalergattung wurde von Thiersch AE nicht beriicksichtigt. Hier einige Beispiele. J. SCHOLZ, Wiener numismatische Zeitschrift 25, 1893, 30 Nr. 185 ff. Taf. 2; Nr. 185 = Tal 51a. Bliitenkranz und tiefsitzende Briiste angedeutet, Ependytes sehr schmal.
152. - S. REINACH, RA 1930/1, 107, 2. - THIERSCH AE 38 ff. Nr. 29 Taf. ; 105, 131 f. - L. ARMBRUSTER, Archiv fUr Bienenkunde 16, 1935, 209. - THIERSCH EE 49. - L. CURTIUS, Ephem. 1937/2, 500. - S. AURIGEMMA, Tripoli e Ie sue opere d'arte Taf. 13. - G. GUIDI, II restauro del Castello di Tripoli 48 ff. Abb. 22. - REINACH RS VI 174,2. - G. BRUNS, IstForsch 17, 1950,32. - LICHTE NECKER, Kultbilder 37 Nr. , 172 f. Taf. 5. - F. MILTNER, Anatolia 3, 1958, 33 f. - E. PARIBENI, Catalogo delle sculture di Cirene (1959) 77 zu Nr.