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By R. Fleischer

The forerunner of this finished and completely descriptive catalogue of statues and different repre-sentations was once the paintings released in Berlin via Hermann Thiersch, Artemis Ephesia, I. Katalog der erhaltenen Denkmäler (Abh. Göttingen, 1935, lately reprinted). Fleischer has augmented the cloth by means of approximately one-third. His learn is typological and expressly renounces any quandary with the comparable cults or with the starting place of the deities. keep in mind that, it contributes vitally however to such a considerations.

He defines his uncomplicated variety as deriving from the Hellenistic and Roman eras, yet as showing, whilst, an historical visual appeal: the legs are indistinguishably closed, the higher fingers lie at the line of the physique, whereas the reduce palms are symmetrically stretched out in the direction of the beholder; the reduce physique and legs are usually encased through a narrow-fitting sheath, and the chest is embellished with many 'breasts', heavy necklaces or different undefined. different gains are the excessive head-dress and the animals figured on the facets or in entrance. what's firstly a bit marvelous is that, even if goddesses predominate, a few male deities are incorporated within the basic type; leader between them are Zeus Labraundus and Jupiter Heliopolitanus of Baalbek. The prime goddesses are the Ephesian Artemis, Aphrodite of Aphrodisias (in Caria), Hera of Samos, and Artemis of Perge (in Pamphylia). Welcome good points of the current assemblage of fabric are the due consciousness given to representations on cash and the assiduous monitoring down of the entire extra imprecise deities who will be assigned to the fundamental style. The query of courting, in regards particularly to the last word starting place, is handled too — a truly helpful research in view of theories which invoke an Anatolian or Syrian 'Renaissance'.

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M. RosTowzEW, Tesserarum urbis Romae et suburbis plumbearum sylloge (1903) 257 Nr. 2151 ff. Taf. 8, 50 f. Ein weiteres Exemplar bei Dr. F. Reinert in Wien, unveroffentlicht. 1 Dem BeBitzer danke ioh auoh an dieBer Stelle fiir die Erlaubnis zur Veriiffentliohung. 6 die Gottin auf den BIeitesserae meist langes, auf die Schultern fallendes Haar tragt, wie auf Reliefs aus dem lydischphrygischen Raum.! Falschungen THIERsCH AE besprach bereits die beiden Bronzestatuetten und die Terrakotta in Paris, Musee Guimet (87 f.

2. - Zur Basis: F. DREXEL, BJb 126, 1921,45 ff. E 32 ROM Lateran, Museo Profano 768 Frliher in Magazinen des Vatikan. JESSEN, RE "Ephesia" 2765. - THIERSCH AE 26 ff. Nr. 21; 85, 92, 108, 128 Taf. 10/ 1-2, 11, 12/1-3, 27/2, hier altere Literatur. - LICHTENECKER, Kultbilder 36 Nr. 10. - A. FROVA, Bd'A 4. Ser. 47, 1962,307. E 33 ROM Museo Torlonia 483 Aus Sammlung Giustiniani. JESSEN, RE "Ephesia" 2765. - REINACH RS I 300, 1199; II 321, 6. - THIERSCH AE 36 ff. Nr. , Taf. 9, 1-2; 14, 2, hier altere Literatur.

1 Taf. 2. - LICHTENEcKER, Kultbilder 68 Nr. 6. E 69 VERSCHOLLEN Polosfragment. CAYLUS, Recueil4 (1761) Taf. 52, 1-3. - THIERscH AE 36 zu Nr. 26. O. l3. Reliefs E 70 AFYON Museum, ohne Inv. Nr. FO. unbekannt. UnverOffentlicht. 1 TaJ. 38 H. 173 m, B. 0,15 m, D. 0,04 m. Feinkorniger hellgrauer Marmor. Riickseite grob gespitzt. Ecken des Relieffeldes und der Bodenleiste verbrochen. Dargestellt eine der Artemis Ephesia ahnliche Gottin in der iiblichen Stellung. Unter ihrem Ependytes treten Chitonfalten hervor.

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