By R. Fleischer
The forerunner of this complete and entirely descriptive catalogue of statues and different repre-sentations was once the paintings released in Berlin by way of Hermann Thiersch, Artemis Ephesia, I. Katalog der erhaltenen Denkmäler (Abh. Göttingen, 1935, lately reprinted). Fleischer has augmented the cloth by way of approximately one-third. His examine is typological and expressly renounces any problem with the similar cults or with the foundation of the deities. take into account that, it contributes vitally however to such a considerations.
He defines his simple sort as deriving from the Hellenistic and Roman eras, yet as displaying, while, an old visual appeal: the legs are indistinguishably closed, the higher palms 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 via a narrow-fitting sheath, and the chest is embellished with many 'breasts', heavy necklaces or different undefined. different good points are the excessive head-dress and the animals figured on the facets or in entrance. what's in the beginning a bit impressive is that, even supposing goddesses predominate, a few male deities are incorporated within the common class; leader between them are Zeus Labraundus and Jupiter Heliopolitanus of Baalbek. The best 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 realization given to representations on cash and the assiduous monitoring down of the entire extra vague deities who might be assigned to the fundamental style. The query of relationship, in regards specially to the last word foundation, is handled too — a truly priceless 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
Germain des Pres, Sammlung des Benediktinerordens (86 f. Nr. 124 ff. Taf. 57, 1-3) und eine verschollene Statue (128 f. Nr. 162 Taf. 76). Die Statuette in Bologna E 5 hielt er zu Unrecht fUr eine Falschung. 2 Dagegen handelt es sich bei der einzigen Darstellung unserer Gottin in Mosaik um eine Falschung : ROM Vatikan, Braccio Nuovo B. NOGARA, I mosaici antichi conservati nei palazzi pontifici del Vaticano e del Laterano (1910) 27 Taf. 55. - W. AMELUNG, Die Sculpturen des Vaticanischen Museums 1 (1903) 5.
THIERSCH AE 35 Nr. 25, hier altere Literatur. Fraglich, ob antik! E 43 ROM Villa Albani E. FALKENER, Ephesos and the Temple of Diana (1862) 190, Abb. S. 191. - HELBIG3 2 (1913) 474. - THIERSCH AE 35 f. Nr. 26 Taf. 36, 1-4. - G. LIPPOLD, DLZ 57, 1936, 458. - LICHTENECKER, Kultbilder 67 Nr. 2. - Ch. SELTMAN, NumChron 12,1952 Taf. F. MILTNER, Anatolia 3, 1958, 22. - E. PARIBENI, Catalogo delle sculture di Cirene (1959) 76 f. zu Nr. 181. E 44 ROM Wo~ Zwei wohl zusammengehorige Fragmente. G. ANNIBALDI, NSc 6.
E. STRONG, La scultura romana (1923) 93 f. - Ch. PICARD, CRAcInscr 1956, 94 ff. E 74 SAGIR bei Yalvay,l Vilayet Isparta, Tiirkei Relieffries. M. RAMSAY, BSA 18, 1911-12, 67 Abb. 2 Taf. 3. PICARD EC XIX. - THIERSCH AE 68 Nr. B. WACE, ClRev 49, 1935, 68. E 75 SELQUK Museum 457 TaJ. 41a-b Relief mit Artemis Ephesia und Serapis. Angeblich vom Abhang des Astyageshiigels bei Ephesos. J. KEIL, AnzWien 91, 1954, 226 f. Nr. 7 Abb. 3. E 76 SELQUK Ephesos TaJ. 42a Relief im Pfeilergang der Scholastikiatherme.