The Birth and Development of the Idealized Concept of Arcadia in the Ancient World

The Birth and Development of the Idealized Concept of Arcadia in the Ancient World for the first time brings together all the available evidence for this topic, from the Homeric period to the early Roman Empire, in one place. The evidence is both literary and visual and is considered in a chronological sequence. Thus the reader can follow the blossoming of the Arcadian dream through eight centuries. The ideological, political and philosophical background that forms the basis of this phenomenon is also outlined, and the contributions of poets, historians, philosophers, antiquarians, architects, sculptors and painters are duly considered. The book brings to light a treasure-trove of evidence, both well-known and obscure or fragmentary, filling a significant gap in the scholarly bibliography. The Birth and Development of the Idealized Concept of Arcadia in the Ancient World for the first time brings together all the available evidence for this topic, from the Homeric period to the early Roman Empire, in one place. The evidence is both literary and visual and is considered in a chronological sequence. Thus the reader can follow the blossoming of the Arcadian dream through eight centuries. The ideological, political and philosophical background that forms the basis of this phenomenon is also outlined, and the contributions of poets, historians, philosophers, antiquarians, architects, sculptors and painters are duly considered. The book brings to light a treasure-trove of evidence, both well-known and obscure or fragmentary, filling a significant gap in the scholarly bibliography. Antonio Corso is currently Visiting Professor in the Department of History and Archaeology of the University of Cyprus. He received his doctorate from the University of Padua and has held fellowships from, inter alia, the British Academy, the German Archaeological Institute and the Onassis Foundation. He is the author of 176 scientific works, including 13 books. His research focuses on ancient art criticism, ancient artists (in particular Praxiteles), architectural drawings and about the after-life of ancient art in the Byzantine world. He is a member of two field archaeology teams: at Tenea and at Kasta of Amphipolis. Cover 1 Title Page 3 Copyright Page 4 Contents Page 5 List of Figures 6 Figure 1: Corinthian orientalizing jug (Munich, Antikensammlung). 19 Figure 2: Gypsum alabaster relief with garden. From Niniveh, North Palace, room H (London, The British Museum, Middle East Department). 20 Figure 3: Gold bowl found in the tomb of Yaba, wife of Tiglat-Pileser III (Baghdad, Iraq Museum). 21 Figure 4: Samian cup, Paris (Louvre, DAGER). 29 Figure 5: The Priam Painter, amphora from Caere (Rome, National Museum of Villa Giulia). 33 Figure 6: Cover slab of the Diver’s tomb from Paestum (National Archaeological Museum of Paestum). 34 Figure 7: The Achilles Painter, lekythos (Munich, Antikensammlung). 55 Figure 8: The Attic Phiale Painter, krater (Rome, The Vatican Museums, Museo Gregoriano Profano). 56 Figure 9: Relief from Daphni (Athens, The National Archaeological Museum). 56 Figure 10: Reverse of coin type of Megara struck in Antonine times with running Artemis, inspired by Strongylion’s Artemis at Megara (London, The British Museum: Department of Coins). 57 Figure 11: The Eretria Painter, epinetron (Athens, The National Archaeological Museum). 57 Figure 12: The Meidias Painter, hydria (London, The British Museum). 59 Figure 13: Pebble mosaic from Olynthus, Villa of Good Fortune (Greece). 59 Figure 14: Dresden Artemis, copy from Praxiteles’ Artemis at Megara (Dresden, Staatlische Kunstsammlungen, Skulpturensammlung). 72 Figure 15: Artemis on coin of Mantinea, inspired by Praxiteles’ Artemis at Mantinea (Athens, The Numismatic Museum). 73 Figure 16: The Versailles Artemis (Paris, Louvre, DAGER). 74 Figure 17: Artemis on coin of Anticyra, inspired by Praxiteles’ Artemis at Anticyra (Athens, The Numismatic Museum). 74 Figure 18: Artemis, bronze statuette close to the Malta type (Museo Nazionale Concordiese, Portogruaro). 75 Figure 19: Knidia Belvedere, copy from Praxiteles’ Aphrodite at Knidos (Rome, Vatican Museums). 75 Figure 20: Resting Satyr, copy from original statue by Praxiteles (Rome, Capitoline Museums). 76 Figure 21: Apollo Sauroctonus, copy from original statue by Praxiteles (Rome, Vatican Museums). 76 Figure 25: Praxiteles, Hermes carrying baby Dionysus (Olympia, Archaeological Museum). 78 Figure 26: Sleeping Eros (Turin, Museum of Antiquities). 79 Figure 27: The Lycian Sarcophagus from Sidon, hunting scene (Istanbul, Archaeological Museum). 80 Figure 28: The Satrap Sarcophagus from Sidon, hunting scene (Istanbul, Archaeological Museum). 81 Figure 29: The Nereids’ monument at Xanthus, hunting scene (London, The British Museum). 82 Figure 30: Hunting scene on the sarcophagus of Hecatomnus (Hecatomneion, Mylasa). 82 Figure 31: Hunting of the Calydonian boar, east pediment, temple of Athena Alea at Tegea (reconstruction drawing by Stewart 1977). 83 Figure 32: Hunting frieze, Royal tomb 2 at Vergina (reconstruction drawing by Franks 2012). 83 Figure 33: The Hesperides’ Painter, hydria (New York, The Metropolitan Museum). 84 Figure 34: The Circle of the Black Fury Painter, oinochoe (Malibu, Getty Museum). 84 Figure 35: The Black Fury Painter, krater (Boston, Museum of Fine Arts). 84 Figure 36: The Circle of the Chamay Painter, stamnos (Cabinet des médailles, Bibliothèque nationale, Paris). 84 Figure 37: Coin struck by Pheneos, with Hermes holding the baby Arcas (Athens, Numismatic Museum). 87 Figure 38: Coin struck by Mantinea, with head of Callisto on the reverse (Athens, Numismatic Museum). 88 Figure 39: Wall-painting from the Augusteum, the so-called ‘Basilica of Herculaneum’ (Naples, National Archaeological Museum). 89 Figure 40: Symplegma of Silenus with Hermaphrodite (Dresden, Staatlische Kunstsammlungen, Skulpturensammlung). 94 Figure 41: The Woburn Abbey Dionysos (Woburn Abbey, UK). 95 Figure 42: Hermoupolis Magna, tomb of Petosiris, milking scene (Hermopolis Magna, Egypt). 115 Figure 43: Hermoupolis Magna, tomb of Petosiris, cattle’s scene (Hermopolis Magna, Egypt). 116 Figure 44: Landscape cup (Alexandria, Greek and Roman Museum). 117 Figure 45: Portland vase (London, The British Museum). 117 Figure 46: Pergamon, Altar, Telephos’ frieze, east side (reconstruction drawing by Seaman 2020). 148 Figure 47: Ptolemaic cup (drawing by Adriani 1959, Paris, Cabinet des médailles, Bibliothèque Nationale). 150 Figure 48: Pan with Daphnis (Naples, National Archaeological Museum, Farnese Collection). 151 Figure 49: ‘Invitation to Dance’ (Rome, Torlonia Collection). 151 Figure 50: Nymph with Satyr (Rome, Capitoline Museums). 152 Figure 51: Nymph with Satyr (‘The Ludovisi Group’) (Rome, Roman National Museum, Altemps Palace). 152 Figure 52: The Barberini Faun (Munich, Glyptothek). 153 Figure 53: ‘The Thorn-remover’ (the head being a 5th-c. BC original) (Rome, Capitoline Museums). 153 Figure 54: Satyr removing a thorn from Pan (Paris, Louvre). 153 Figure 55: Old shepherd with lamb (Rome, Capitoline Museums). 154 Figure 56: Plan of the ‘Villa of Mysteries’ (Pompeii, Italy). 167 Figure 57: Plan of the ‘Villa of Livia ad gallinas albas’, Rome. 168 Figure 58: Colour image of ancient Rome, with the parks (horti) shown in green. 169 Figure 64: Wall painting in atrium of the ‘Villa of Mysteries’ (Pompeii, Italy). 172 Figure 65: Wall painting in cubiculum of the villa of P. Fannius Synistor (Boscoreale, Italy). 172 Figure 66: Wall painting of the Villa of Agrippa Postumus (Boscotrecase, Italy). 173 Figure 67: Wall painting of the Villa of Agrippa Postumus (Boscotrecase, Italy). 173 Figure 68: Yellow frieze in the reception room of the House of Livia (Rome). 174 Figure 69: Wall painting in the Rome, ‘room of the Masks’, House of Augustus (Rome). 175 Figure 70: Wall painting in the villa under the Farnesina (Rome). 175 Figure 71: Wall painting from the ‘Villa of Livia ad gallinas albas’ at Rome (Rome, Roman National Museum). 176 Acknowledgements 9 Introduction 10 Escaping the community in Archaic Greece 11 The Homeric / Geometric period 11 The Orientalising period 17 The High and Late Archaic periods 23 The Early Classical Period 31 Historical and literary evidence 31 The visual evidence 33 The Mid Classical Period 36 The historical and literary evidence 36 The visual evidence 55 The Late Classical Period 60 The historical and literary evidence 60 The evidence in architecture and the visual arts 72 The creation of the Arcadian Dream in early Hellenistic times 91 The Age of the Diadochi 91 Historical and literary evidence 95 The visual evidence 115 Evidence from the Roman world 118 The Arcadiam Dream in mid Hellenistic times 119 The historical and mythical evidence 119 Visual evidence 148 The Arcadian Dream in late Hellenistic times 155 The historical and literary evidence 155 Architecture and the visual arts 166 Bibliography 177 Index of testimonia 189 Bringing together for the first time all the available evidence for the origination and development of the concept of Arcadia, from the Homeric period to the early Roman Empire, this book brings to light a treasure-trove of evidence, both well-known and obscure or fragmentary, filling a significant gap in the scholarly bibliography.