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ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY

in the j. paul getty museum

The free, online edition of this catalogue, available athttp://www.getty.edu/publications/terracottas,

includes zoomable high-resolution photography and a select number of 360 rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty's Thesaurus of Geographic

Names and Pleiades. Also

available are free PDF, EPUB, and MOBI downloads of the book; CSV and JS

ON downloads of the object

data from the catalogue and the accompanying Guide to the Collection; an d JPG and PPT downloads of the main catalogue images.

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Published by the J. Paul Getty Museum, Los Angeles

Getty Publications

1200 Getty Center Drive, Suite 500

Los Angeles, California 90049-1682

www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya,Project Editors

Robin H. Ray and Mary Christian,Copy Editors

Antony Shugaar,Translator

Elizabeth Chapin Kahn,Production

Stephanie Grimes,Digital Researcher

Eric Gardner,Designer & Developer

Greg Albers,Project Manager

Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London

Printed in the United States of America

Library of Congress Cataloging-in-Publication Data Names: J. Paul Getty Museum, author, issuing body. | Ferruzza, Maria Lucia, editor. Title: Ancient terracottas from South Italy and Sicily in the J. Paul Ge tty Museum / Maria Lucia Ferruzza. Description: Los Angeles : J. Paul Getty Museum, [2016] |

2016 | Includes bibliographical references.

Identifiers: LCCN 2015042795 (print) | LCCN 2015048344 (ebook) | ISB

N 9781606064863 (pbk.) | ISBN

9781606064856 (epub) | ISBN 9781606061237 (online)

Subjects: LCSH: Terra-cotta sculpture, Ancient - Italy, Southern - Catalogs. | Terra-cotta sculpture,

Ancient - Italy - Sicily - Catalogs. | J. Paul Getty Museum - Catalo gs. | Terra-cotta sculpture - California - Los Angeles - Catalogs. Classification: LCC NB145 .J27 2016 (print) | LCC NB145 (ebook) | DD

C 733/.309377-dc23

LC record available athttp://lccn.loc.gov/2015042795 Front cover: Thymiaterion Supported by a Statuette of Nike (detail, cat . 53) Back cover: Group of a Seated Poet (Orpheus?) and Sirens (cats. 1- 3) pp. ii-iii: Fragment of a Head (detail, cat. 22) p. vii: Statuette of a Mime (detail, cat. 29) pp. 6-7: Head of a Woman (detail, cat. 51) p. 214: Head and Torso of a Youth with Tarentine mold (detail, fig. 12)

Contents

Director's Foreword . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . vi

TIMOTHY POTTS

Acknowledgments . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . vii

Introduction. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . 1

Classiification . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . 2

Production Techniques. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . 3

Map of South Italy and Sicily. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . 5

Catalogue . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . 6

Taranto Region (Cats. 1-37). . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . 8

Canosa (Cats. 38-46) . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . 122

Medma (Cats. 47-48) . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . 148

Other South Italy (Cats. 49-50) . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . 160

Sicily (Cats. 51-60) . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. 168

Guide to the Collection of South Italian and Sicilian Terracottas . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5 214

CLAIRE L. LYONS

Abbreviations . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5 223

Bibliography . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. 224

Authors . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . 232

Index . . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . . . 5. . . . . . . 233

Director's Foreword

Timothy Potts

The tradition of making sculpture in terracotta represents one of the signal artistic accomplishments of ancient Italian cultures before and during the rise of Rome as the dominant regional power. From Pliny the Elder we learn that in the seventh centurybc, an exiled Corinthian merchant, Demaratus, introduced the fashioning of ifigures from baked earth, an art that was "brought to perfection by Italy and especially by Etruria" (Naturalis Historia35.45,

157). The ifirst recorded artist names on the peninsula in fact

belong to sculptors who worked in clay, Vulca of Veii and Gorgasus and Damophilus of Magna Graecia, who produced decorations for temples in Rome around the turn of the sixth to ififth centuriesbc. As several examples in the Getty collection show, Tarentine masters were not far behind, signing their works by inscribing their names into the damp clay matrix. Identiified in later Greek literature as coroplasts - literally, "modelers of girls" - these artisans crafted ifigurines of great variety and expressiveness that are among these cultures' most distinctive art forms. Mass produced and ifinished by hand, terracottas were ubiquitous in the ancient Mediterranean. Usually modest in scale, statuettes circulated widely over long periods and through multiple generations of molds, providing critical evidence for regional styles, patterns of trade, and local cults. Commonly found in dwellings, graves, and sanctuaries, terracottas gave tangible form both to private spiritual beliefs and to public religious observances.

This catalogue features a selection of the most

important works attributed to coroplastic workshops in southern Italy and Sicily from the collection of the J. Paul Getty Museum. The sixty terracottas investigated by Maria Lucia Ferruzza span the Archaic, Classical, and Hellenistic periods from about 550 to 100bc. Comprising large-scale sculptures and statuettes, as well as votive heads, altars,

decorative appliqués, and masks, they number among alarger collection of over a thousand terracottas described byClaire Lyons in an accompanying guide.

Among our holdings perhaps the most remarkable of

all is the life-size funerary group of a seated poet as Orpheus and two sirens captured in a moment of song (cats. 1, 2, and 3). This is surely one of the most spectacular achievements of the ancient coroplast's art from anywhere in the Mediterranean. Much interest attaches also to the smaller ifigurines that represent miniature versions of celebrated sculptures, such as the Apollo playing a kithara (cat. 44), which echoes the Apollo Kithar5oidos carved by Timarchides in the second centurybc. A unique pair of altars with expressively modeled reliefs of the Adonis myth (cats. 47 and 48) depict aspects of cult worship and faith in the afterlife that held particular sway among the residents of Magna Graecia.

Following an introduction to the collection, the

catalogue entries situate each object within its wider typological and iconographical milieu, citing connections to centers of production in Puglia, Lucania, Calabria, Sicily, and the Greek mainland. Technical analyses conducted by the Getty's Antiquities Conservation Department have revealed details of manufacturing techniques and the application of a palette of polychrome pigments and gilding. Ancient Terracottas from South Italy and Sicilyis the second in a series of web-based scholarly catalogues of the collection of Greek, Roman, and Etruscan art at the Getty Villa. By presenting this important material in an online format, our aim is to launch a new platform to share the latest research and to encourage readers to explore related groups of terracottas in the museum. We are grateful to the author, all the contributors, and the Publications stafff for realizing this innovative and accessible guide to the collection. vi

Acknowledgments

I extend my sincere and afffectionate gratitude to the stafff of the J. Paul Getty Museum, particularly to Claire Lyons, curator of Antiquities, and Karol Wight, former senior curator of Antiquities, who supported and encouraged me through the many stages of this project, assuring an ongoing dialogue that has enriched me and this project enormously. A grateful acknowledgment goes to Marion True, former curator of Antiquities, who initially entrusted this project to me in the conviction that it would be a signi5ificant addition to scholarly knowledge of the Getty collections.

I would also like to thank current and former

colleagues in the Department of Antiquities - Mary Louise Hart, Kenneth Lapatin, Janet Burnett Grossman, John

Papadopoulos, and Alexandra Sofroniew - whose

professionalism and collaboration made my task a privilege and a pleasure. Special thanks are due to Jerry Podany, former senior conservator of Antiquities, Jefffrey Maish, Susan Lansing Maish, Erik Risser, Marie Svoboda in the Department of Antiquities Conservation, and to David Scott, for their observations on and contributions to the scientiific analysis of several terracottas. Stimulating discussions of technical problems made me more conifident in my understanding of unusual aspects of some of the

terracottas. I am grateful to Benedicte Gilman, MarinaBelozerskaya, Ruth Evans Lane, Elizabeth Kahn, GregAlbers, Eric Gardner, Stephanie Grimes, Rachel Barth, andother stafff at Getty Publications who made this catalogue areality.

I am especially grateful to Clemente Marconi, ifirst editor of the manuscript, and Caterina Greco for their continuing intellectual generosity and enlightening conversations. Heartfelt thanks are owed to all the colleagues who offfered suggestions to improve and enrich the work, though responsibility for any errors or omissions rests with me alone. In particular, it was a privilege to have the superb guidance of Pietro Giovanni Guzzo, Paola Pelagatti, and Salvatore Settis, who found the time and patience to read and review parts of this book. I had stimulating an5d invaluable conversations with Gianfranco Adornato, Nunzio Allegro, Nicola Bonacasa, Paolo Carafa, Rosa Maria Cucco, Maria Antonietta Dell'Aglio, Daniel Graepler, Maria Costanza Lentini, Enzo Lippolis, Paolo Moreno, Giampaolo Nadalini, Erik Østby, Nicoletta Poli, Valeria Tardo, Stefano

Vassallo, and Carla Aleo Nero.

My gratitude goes also to my family for their patience in enduring my preoccupations during the production of the book. vii

Introduction

This catalogue, which features a selection of terracottas from South Italy and Sicily now in the collection of the J. Paul Getty Museum, was born from a preliminary study of the coroplastic collection carried out during a graduate internship at the Getty Museum in 1988-89. 1The assignment of the terracottas to these geographical areas is based on stylistic analysis, on the appearance of the clay, and on information related to the objects' acquisition. The terracottas were for the most part purchased on the art market from the 1970s onward; a few were private donations. Most have never been published, though some have been presented in preliminary and general publications. One group of nine examples comes from the collection of Barbara and Lawrence Fleischman, acquired by the Museum in 1996. 2 Only one of the sixty terracottas presented in this publication comes from a certain, datable context (cat. 60), and thus for the most part it is impossible t5o reconstruct with conifidence their potential associations with other materials. Furthermore, this selection intentionally presents signiificant variations in typology and chronology, spanning many centuries from the Archaic to the Late Hellenistic period. In addition, the intrinsic nature of the collection imposes certain limitations on this catalogue, as one cannot base interpretative theories on solid foundations that might deepen our understanding of a speciific center, region, or cultural context. Certain aspects of the methods, objectives, and 5results presented in this catalogue merit attention. The catalogue presents a selection of the most signiificant typologies 5of the terracottas in the collection, and it includes unique 5pieces as well more ordinary ones that were acquired as donations. Overall, the Getty's antiquities collection is comprised of more than 1,000 terracotta statues, statuettes, and other object types, ranging in date from the Neolithic to the Roman period, the great majority of which can be associated with votive deposits in southern and central Italy, especially the areas of Campania, Lucania (Metaponto), and Puglia (Taranto). The decision to organize the catalogue by region and site, even if such identiifications are hypothetical, derives from the methodological approach of the study.

The purpose of this work is to present a range of

objects of signiificant iconographic and stylistic interest, in some cases characterized by those qualities of uniqueness that generally relflect the tastes of private collectors. Comparisons with material from excavations and critical

discussions helps not only to deifine those qualities but alsoto narrow down, as much as possible, the objects' place 5ofmanufacture and possible cultural context. In this manner,we have identiified the Laconian colony of Taras (Taranto)and the sites of ancient Canusion (Canosa), Medma(Rosarno), Selinous (Selinunte), Kentoripa (Centuripe), andMorgantina as possible original centers of production formost of the objects presented in this volume. I considered itto be especially useful to indicate the hypothetical ifindspotof each object, even if doubtful (in some cases, noted at thetime of acquisition), rather than limiting my work to ageneral typological or stylistic analysis, which wouldinevitably have relegated the items to the status ofdecorative pieces.

My approach could hardly overlook certain diiÌifiÌiculties. First and foremost is the circulation of molds and statuettes among the various centers of production in Sicily and Magna Graecia, a circumstance that leaves signiificant margins of doubt as to the exact origins of an object. Moreover, in cases where no scientiific analysis of the clay was performed, visual examination can provide only a hypothetical attribution of context. Nonetheless, I feel certain that this study, when made available to a wider audience, can enrich further research in the ifield and contribute substantially to our understanding of various aspects of the artifacts from the ancient world. In fact, such artifacts, having been handed down through the ifilter of collectors, sometimes seem to ifit poorly within established hermeneutic categories, which too often are excessively codiified and conventional. I hope that this catalogue and the accompanying Guide to the Collection of South Italian and Sicilian Terracottas, which indexes more than 1,000 other statuettes and molds at the Getty, will encourage wider comparison and connections to materials of more certain archaeological contexts. 3 Notes

1. The manuscript was mostly completed in 2008 in a new context of

cultural and scientiific collaboration between the J. Paul Getty Museum, the Italian Ministry of Culture, and the Assessorato Regionale dei Beni Culturali e dell'Identità Siciliana. Prior to ifinal editing, bibliographical references have been updated through 2010 or, in selected cases, to 2013; the bibliography for individual objects is current through 2015.

2. Cats. 24, 27, 29, 30, 31, 44, 45, 46, and 58. The collection was published

in the cataloguepassion for antiquities1994.

3. See the essays by P. Pelagatti and N. Bonacasa inpelagatti and guzzo

1997
, pp. 9-28, and the introduction to the British Museum catalogue burn and higgins 2001 ,pp. 16-17. 1

Classification

The catalogue includes sixty terracottas, presented according to presumed origins from two major areas: South Italy and Sicily. Within these two major groups, the objects have been further subdivided by the speciific contexts they suggest and are generally organized by their typological classes. Each catalogue entry begins with a brief description of the terracotta fabric and the decoration. The fabric has been analyzed using a macroscopic examination aimed at identifying the consistency and chromatic characteristics, deifined with reference to the Munsell color charts. However, this examination method has intrinsic limitations5, since a single type of clay can take on diffferent colorings or nuances in diffferent sections of an individual piece, depending on the temperature and duration of the ifiring process and the conditions of the kiln. More importantly, there is a high level of subjectivity involved in this form of visual analysis.

1As regards decoration, the presence of

white clay slip or diluted clay has been reported, and in cases where the piece has been subjected to a technical examination, the presence and type of pigments have been noted. Measurements are given in centimeters and in general are the maximum height (H), width (W), and depth (D); in some cases, other signiificant dimensions are also included. The "Condition" section provides information about the piece's state of conservation and technique of manufacture. Further analyses have been carried out by the Antiquities Conservation Department on several of the terracottas with the intention of determining the presence

of polychrome pigments, the nature of potential anomaliesor prior restorations, as well as the technique ofmanufacture. In such cases, the results are shown inappendices at the end of the catalogue entry.

Under the heading "Provenance," the object's

collection history prior to acquisition by the J. Paul Getty

Museum is given.

The object "Bibliography" section lists both

publications devoted to the piece in question and those in which the piece is only mentioned. Citations that are mentioned several times in the catalogue and in notes are cited with an abbreviation; the full references are in the general Bibliography.

The body of each catalogue entry consists of an

iconographic description and a critical commentary with the pertinent comparisons, dating hypotheses, and possible origins. The suggested dating is based, where possible, on comparisons with materials from excavation contexts or, more frequently, through references to stylistic andquotesdbs_dbs24.pdfusesText_30

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