The Roman Marble Sculptures from the North Hall of the East Baths at Gerasa.pdf

The Roman Marble Sculptures from the North Hall of the East Baths at Gerasa Author(s): Elise A.Friedland Source: American Journal of Archaeology, Vol. 107, No. 3 (Jul., 2003), pp. 413-448 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/40025394 . Accessed: 16/04/2013 03:59 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . Archaeological Institute of America is collaborating with JSTOR to digitize, preserve and extend access to American Journal of Archaeology. http://www.jstor.org This content downloaded from 62.204.192.85 on Tue, 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions The Roman Marble Hall of the East Sculptures Baths at ELISE A. FRIEDLAND from the North Gerasa Abstract In 1984,Jordanian archaeologistsdiscovered five Roman marble sculptures in the North Hall of the East Bathsat ancient Gerasa(modernJerash,Jordan) . Traditionally,in the RomanNear East,marblesculptureshave been studied as objets d'art,while their role as cultural artifactshas often been overlooked. Nothing could be clearer evidence of "culturalchoice," however,than the importation and display of Roman marble sculptures, carved in non-native stone and sculpted in non-local Graeco-Roman artistic, style.Becausetheir architectural, and social contexts are largely preserved, these sculptures offer an ideal case study for cultural assimilation, urbanization, and the decoration of baths. They were displayed in the basilical hall of an imperial-stylebath, indicating that the Gerasenes adopted the Roman cultural institution of bathing and its architecture. Their sculpturalstyle, carvingtechnique, and isotopic data reveal originsin Thasosand AsiaMinor,demonstratingthe participationof Arabiain the imperialmarble trade. Sixteen statue bases (found with the sculptures) preserve information about the patrons, honorees, and subjects. The sculpturalinstallation suggests that the North Hall mayhave been constructedand decorated in the second half of the second centuryA.D. with a possible renovation in the early third century.By the third century,the displayincluded mythological figures, portraitsof local elite, a governor of Arabia,and Caracalla,revealing the desires of the Gerasenes to participatein Roman political and social arenas. Thus, the sculptures of the East Baths demonstrate the prominent role of statuaryin urbanization and Romanizationof Arabiaand the ancient Near East* INTRODUCTION In recent publications on baths and bathing in the Roman world,1scholars have called for further research to exploit "the potential for baths to contribute to our wider understanding of what it was to be Roman in different times and places within the heterogeneous world of the Roman empire."2 In the latest research on the architecture, design, construction, and context of Roman baths, however,the sculptural displays that once enlivened their major halls rarely have been given center stage.3Ironically,it is in the patrons, honorees, subject matter,style, technique, and material of the marble sculptures found in bath buildings throughout the empire that we can discover instances of "culturalchoice" most *For permissionto studyand publishthese pieces, I would and GhaziBisheh,current like to thankFawwaz Al-Khraysheh of the Departmentof Antiquiand formerDirectors-General ties ofJordan,andAidaNaghawi,Directorof the excavations of the North Hall of the EastBaths,and formerInspectorof indebtedto Ms.Naghawi, I amparticularly atjerash. Antiquities who not onlyaffordedme the invaluable opportunityto pubbut who spent much lish this materialfrom her excavations, her field noteswithme. Forassistance timecarefully reviewing in the cataloguing, study,and photographingof these pieces, I thank Iman Oweiss,Curatorof the JerashArchaeological Chief Restorerof Jerash, Museum,Abdul MajeedAl-Mujali, formerInspectorof Antiquities Monther Al-Dahash, atjerash, at andmuseumsupervisors workmen andthemanyrestoration the Departmentof AntiquitiesOfficeandJerashArchaeologicalMuseum.PierreBikai,Directorof theAmericanCenterof OrientalResearchin Amman,generouslyand unfailinglyasI am indebtsistedwithall mattersof the fieldwork. Likewise, ed to the entire staffof ACOR,especiallyPatriciaBikai,Kurt M.SmithIIofferedinvaluAndrew andHumiAyoubi. Zamora, both at the beginning and end of this project. able assistance During the summersof 2000, 2001, and 2002, Sharon Herof MichMuseumat the University bert,Directorof the Kelsey igan, generouslyprovidedme with researchspacein the muandtimely seum.Chrysanthos artistry, expertise, Kanellopoulos's havegreatlyenriched my understandingof the arassistance 101 (2003) 413-48 American Journal of Archaeology 413 chitectureof the EastBaths.I profitedmuch from discussions Todd of thismaterialwithAndreaM.Berlin,ElaineK.Gazda, E. Gering,SharonC.Herbert, John G.Pedley,DavidS. Potter, AndrewM.SmithII,MelanieGrunowSobM.Barbara Reeves, I especially ocinski,andLaurenE.Talalay. thankjoanA.FriedM. Smith II, Andrew G. land, Elaine K. Gazda, Pedley, John for readC. Stewart MelanieGrunowSobocinski,and Marilyn like to thank R. Bruce I also article. would drafts of this ing Areaders whosecomments Hitchnerandthe twoanonymous A] and suggestionsgreatly mywork improvedthisarticle.Finally, FellowPost-Doctoral has been supportedby a USIA-CAORC two of Oriental Center the American from Research, ship fundsfrom andresearch Grants fromRollins Critchfield College, RollinsCollege.This articleis dedicatedtoJohn G. Pedley,a truementor and teacher. 1DeLaine 1997;DeLaineand Johnston1999;Fagan1999. 2DeLaine 1999, 10. 3The seminal datesto 1981, monographby Manderscheid landmarkarticlewaspublishedin 1983. In the and Marvin's set edited by DeLaineandJohnston most recent two-volume decorationof (1999), no one articlefocuseson the sculptural a specificbath building and its programmatic Yet, meaning. see DeLaine's call to "[treat]decorationas an integralpartof effect"of bathbuildings(DeLaine the intended architectural 1997, 226). This content downloaded from 62.204.192.85 on Tue, 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions 414 ELISE A. FRIEDLAND [AJA107 indicative of Romanization.4While many have declared that the role of bathing was so essential to Roman social life that the presence of a bath building in a provincial setting is "a clear indication of it is the statuaryinstalled in these Romanization,"5 bath buildings that animated them and "spoke"to dailyvisitors,peripatetic governmental officials, and visiting emperors. These statues not only relayed messages of health, bodily pleasure, physical fitness, and cultural and intellectual pursuits, they also proclaimed the cultural, social, and political aspirations of their patrons, and often (by association) of their cities. Careful analysis of these messages in the provinces can, therefore, contribute to the larger dialogue on cultural transmission and change in the Roman empire. In the Roman Near East,6the study of these bath statues is particularlyrevealing, because their messages are amplified by their material. There is no nativesource of marbleanywherein the Levant,nor a local tradition of carving marble. Here, all marble artifactshad to be imported from one of the marblerich provinces of the empire such as Asia Minor, Greece, or Italy, either as fully carved monuments, partiallycarvedworks,or uncarvedblocks.7Thus, the importation and display of marble statuary in the Roman Near East providesyet a further index of Romanization,since it must have been a concerted and costly venture for patrons. Traditionally,however, marblesculpturesfrom the Near Easthave been studied as objets d'art, and thus their role as culturalartifacts has often been overlooked.8 Yet, nothing could - and changes be more blatant evidence for identity thereof under Roman rule- than the importation and display of Roman marble sculptures, carved in non-nativestone and non-local Graeco-Roman style. The Sculpturesfrom the North Hall Five life-sizeand larger Roman marble sculptures, discoveredbyJordanianarchaeologistsinJulyof 1984 during rescue excavationsin the North Hall of the East Baths at Gerasa, provide a perfect case study.9 The five sculptures, carved in Graeco-Romanstyle, represent a satyr wearing a nebris(fig. 1; cat. 1), a youthful nude male who may be identified as either Apollo or Dionysos (fig. 2; cat. 2), a figure wearinga floor-length chitonand standing atop a rocky outcrop who may be identified as either an Apollo or a Muse (fig. 3; cat. 3), and two togate men (figs. 4-5; cats. 4-5). 10Two of the three mythological pieces preserved may be associated with sculptural types created during the fourth century B.C. or the Hellenistic period. The satyrwearing the nebris may be a version of the "PouringSatyr" type, originallycreated by Praxiteles around 360 B.C. The nude male may be associated with the Apollo or Dionysos Lykeiostype, also thought to have been created during the middle of the fourth century B.C., perhaps by Praxiteles.The two togate figures must have represented portraits of private individuals, one of whom (fig. 5; cat. 5) was of the equestrianorder. Of the five sculptures discovered, three preserve features that allow them to be dated. One of the togate men (fig. 4; cat. 4) maybe dated by the styleand folds of his toga to the Hadrianic or earlyAntonine period, that is, to the middle of the second century logue entriesof the sculpturesappearin the appendixto Thomas Weber'srecentlypublished Habilitationsschrift (2002), which I thankhim for sharingwithme, and I havepublished a briefdiscussionof the groupand longercatalogueentriesin 2001), the pieces have never been interpretedwithin their architectural, social,andurbancontexts.In additionto thefive and at leastnine unidentifiable life-sizeand largersculptures, smallfragmentswere recoveredfrom the North Hall, six of ArtemisStorehouseat whicharestilllocatablein the so-called the site.Thesesmallpiecesincludemultipledrapery fragments (Weber2002, pl. 128, G-H; pl. 129, E-I; those I could locate I numberedAS.13,AS.15,and NEB.6);a fragmentof a limb folds nownumberedAS.17) ;a basewithseveral (unpublished, nownumbered aleftfoot (unpublished, of drapery surrounding AS.12); and the corner of a thickbase, atop which standsan unevenlyshaped, four-sidedpillar (unpublished,now numbered NEB.7). Because all of these fragmentsare smalland it is none preserveanyidentifiableiconographyor attributes, them or associate matter to their subject identify impossible withanyof the fivelargerfinds.Thus, these fragmentsdo not types provideany additionalevidence concerningsculptural displayedin the North Hall. luFor formalcatalogueentries,see the appendix. the Annual of theDepartment of AntiquitiesofJordan (Friedland anexcellentmodelforviewing 4Smith (1998)provides sculpturalobjetsd'artas materialculture.AlthoughWoolf (2001, 180) does mention statuesof Gaulsin his discussionof the Galliccultural revolution,he givesno specificsregardingtheir material,displaycontext,or subjectmatter. 5Dodge 1990, 112. See alsoWoolf 2001, 180-1, andYegiil 1992, 30-43. 6Here I define the RomanNearEastas the Mediterranean areaeastandsouthof AsiaMinor(modernTurkey) , including theRomanprovinces of Syria, andEgypt. This Palestine, Arabia, areaalso maybe referredto as the Levant. 7For a thoroughstudyof the imperialmarbletradein Roman Palestine, see Fischer 1998. Little recent work on this topic has been done in the other regions of the Levant;however, see Mussche1961. 8 E.g., at the end of a recent article on Gerasa, David Kennedyoutlinesa seriesof questionsregardingthe cityand then enumeratesthe manygenres of unpublishedor unanalyzedmaterialthat might answerthese (1998, 66-9). The 58 marblesculpturesdiscoveredthroughoutGerasago unmentioned, however. 9Aida Naghawi,then Inspector of Jerash, directed these excavationson behalf of the Department of Antiquities of hallin whichthesculptures werefound Jordan.The rectangular is referredto here as the "NorthHall."Although short cata- This content downloaded from 62.204.192.85 on Tue, 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions 24762) .85 on Tue. cat.In the RomanNearEast.shownas a statistical possibility ruled out since the marbledid not showanypronouncedfoliation (N. This surveylistsstudiesof marbleoriginsby other scholars. Herz. Therefore.and the analyses conducted at the Centerfor ArchaeologicalSciences.thanks to NormanHerz of the University of Georgia. left profile. 11 were The authorcollected the samples. This content downloaded from 62. 5.. white. transluwith no foliation or color-banding.D. see Herrmann 1990. and Sardis.All haveupheld Pearl'sconclusions.pers. Stable isotopic analyses performed on samples from each of the five sculptures (and from six of the unidentifiable sculpted fragments also found in the room) associate the marble with one quarry in Greece and several quarries in Asia Minor (table I).13 but other data especiallypetrographyshould also be used in makinga decision on origin"(N. The comes suggestionthatthe marbleof the NorthHallsculptures with in both GreeceandAsiaMinorcorresponds fromquarries isotopicresearchfromthe region. can be Pentelikon. The other togatus(fig. 3) is dated to the second half of the second centuryA. Satyrwearinga nebris (cat.2003] ROMAN MARBLESCULPTURES FROM GERASA 415 A..192. 23June 2000). pers. Finally.Herrmannand Newman1995.Herz1988. front view.much of whichwas previous conducted by Z. 255-6. Pearl's lyhas been extended and republishedbyFischer(1998.D. Aphrodisias/Denizli.4923). fig.who compared the datato his Classical MarbleDatabase:"Stable isotopic ratios of carbon and oxygen were determined by a stable isoExtraction of CO2 wascarriedout tope gasmassspectrometer. 23June of the marble 2000).). cat.2). comm. Marmara. 5) may compare with pieces dated to the earlyAntonine period (mid second century A.11 Four of the sculptures and three of the fragments are carved of marble from Cape Vathy on Thasos. at 50° C and valuesreduced to 25° C The resultsof isotopic analysiswere run through a least squaresprogram that comparesthem to the classicalmarbleisotopic databaseand calculatesthe percent probability for each quarry as a source. 1. 218). cat. since this site "appears whitesculptural onlydolomiticmarblesourceof large-grained marbleused in the Mediterranean region"(Tykot1998). Iznik. 1992. Fig.15.bottom.It should not be taken literally.12One other sculpture (the togatus. its centraldatapoint as plotted on a 813C/518O diagram. Top. 4. 12 Formultiplediscussionsof the role of Thasianmarblein the imperialmarble trade.futurefindings mayaltercurrentconclusions. For example. 4) and three more fragments are carved of marble whose isotopic data compare to various Anatolian quarries including Marmara. 3. OtherAnatolianquarries.204. marbleto this region as well (Fischer1998. Afyon. earlyChristian Ionic capitalsin Syria(Herrmannand Sodini 1977. ill. fromthe Thasianmarblehasbeen identifiedin fivesculptures site of CaesareaMaritima(Pearl 1989. of sculpturandAfyonareknownto havebeen majorsuppliers al marble (along with the Greekquarriesof Pentelikonand such as Ephesos. 13 In Palestinein particular. Ephesos. and the North Theater at Gerasa(Dodge 1988.D. comm. table 7. Each Denizli. 1). The large grain size (indicatinga dolomitic stone) makes CapeVathya very to havebeen the likelyquarrysource. 4). 14-28 white marbleartifacts workrecentfor methodologyand 68 for conclusions). the sculptor's signature on the front of the base of the Apollo or Muse (fig. a quarryknown to have supplied marble to locations throughout the Mediterranean during the Roman period. that is. Becausethe marbleof the majority of the North Hall sculptureshas large. however. Herz. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . for AS.2). two sculpturesfound atTel Naharon(Pearl1989. based on the name of the sculptor and on comparison with the letter forms of other inscriptions from Gerasa that are internally dated. The programonlymeasuresthe distancebetweenthe sample and the quarrycentroid.table7.whichhavefocusedon marbleobjectsfound at singlesites in Israel.shipped Thasos)..some quarry cent crystals sourcesmaybe ruled out and othersexpected.Pearlduringhis scientificstudyof imported discoveredin Israel(Pearl1989. the physicalcharacteristics were also taken into account.As the Classical MarbleDatabasecontinues to expand. From 63 B.see Graf1992.C. .the city was renamed Antioch on the Chrysorhoas. as is shown by the fact that the city counted its years from the Pompeiian era.C.Evidence comes mostlyfrom coins.For the Greek sculptural types of these statues as well as their Graeco-Romansubject matter and style were. 106.D. cat.C. then.416 ELISE A.18 Indeed. A Brief History of Gerasa Although the city's name is Semitic in origin. and material evidence show that Gerasa was a Greek foundation. quite "athome" in Gerasa.Gerasa was reinstituted as a free Greek city of the Decapolis in 64/63 B.Jones concludes that Perdiccaswas the original founder of the city. FRIEDLAND [AJA107 back view.C. because they are not distinguishable from one another by these or other known scientific methods. 4) includes a neck strut. 15Seyrig 16 Jones 1937. it is not possible to identify the specific quarryorigins of these sculptures. Left. Fig. .D. The togate man (fig. Welles 1938. and remained under Hasmonaean control until Pompey the Greatarrivedin the Levant.Its coins claim while that Alexander the Great founded Gerasa. in some cases perhaps fully carved. Because most of the sculptures from the North Hall do not preserve enough detail to associate them with specific sculptural workshops.36-9). J. and the marbles from many of these quarries have identical physical characteristics. . 278. 19 Bowsher1992.left profile. Gerasa operated as a free Greek city. Thus. Bowsher shows that Gerasa and its sister Decapolitan cities all "shared constitutional (Greek) civic status and common civic and magisterial titles . 2. inscriptions. singlebilingualNabataean-Greek 1). 1965.17 Though the city subsequentlywas Alexander Jannaeus in the early 70s captured by B. 137. . 398."19 Greeknatureof the Decapoliscities. erected in the city during the third century A. and emphatic and plentiful drill-workin the drapery.no. [which] in most cases .and its Greek constitution is believed to date to the reign of Antiochus IV Epiphanes (175-164 B. 4. This content downloaded from 62. all features that identify this piece as a product of a sculptor trained in the workshops of Asia and Caria in Asia Minor.14 the legends. of the sampled pieces is associated with at least two different Turkish quarries. 17 Bowsher1992.see Millar 1993. 2).C.see Gatier1993.. no.).a for Nabataeaninfluence at Gerasa inscription(Welles1938. highly polished drapery and flesh. 447. extend beyond the date (AD 106) thought to represent the demise of the Decapolis as an indeEven the language pendent administrative unit. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions .right.85 on Tue.M. 18 Forthe Greeknatureof Gerasa.M. The available evidence. therefore. until the annexation of Transjordan by the Romans in A.192. suggests that the sculptures displayed in the North Hall were purchased and imported to Arabia. the isotopic data suggesting Greek and Anatolian origins can be supported by the carving technique of only one piece.204.15 A. then. 239. from both Greece and Asia Minor.front view. based on a statue of this general of Alexander.16During Seleucid reign of Transjordan.H. Apollo or Dionysos Lykeios (cat. center. and the presence of Nabataeancultsin the city (Kraeling 1938. The 14 For the Semiticoriginsof the name of Gerasa. 266. togatus Apollo/Muse? Satyr Dionysos/Apollo? Togatus Drapery fragment Base with square pillar Left foot on base Drapery fragment Drapery fragment Limb fragment Grain Size 1. with subsequent urban development in the second half of the first century A.Mar= Marmara. Apollo or Muse (cat. and the Cardo.85 Possible Quarrya Th/CV Th/CV 73 Th/CV Th/CV Mar 43.2003] ROMAN MARBLE SCULPTURES FROM GERASA Table 1. but well into In A.De = Denizli.for the distance see Isaacand Roll 1982. Data from Isotopic Analyses of the Sculptures from the North Hall of the East Baths at Gerasa 417 Inv. Ef 47 Th/CV Th/CV Pe 68.Forthe road. Numberslistedbesidequarry Thasos/CapeVathy.46 3. and the names of the local patrons testify to the largely Greek character of this city.7 AS.a widened cardowith renovated corin20 Isaac 1992. not only in its Hellenistic phase.192. the South Theater.52 -4. sourcesare %probability.D. 3) .5 mm 1. from Gerasato Dium and on to the Arabian capital of Bosra.44 3. This content downloaded from 62. 17 a Subject Lower portion. the Oval Plaza.see Isaacand Roll 1982. Mardate of the extension of the Caesarea the pre-Hadrianic Roll 9.46 1.9.79 -5.20 establishment of the province of Arabia. 10. itima-Scythopolis front view.All of these roads situated Gerasa at the nexus of a number of important trade routes.Th/CV = Quarrysources:Af = Afyon.5 mm 1. furthermore. 21 Gerasais approximately47.13 AS.D.with a new road connecting the town to this major north-south artery.30 -2. 106. and from Gerasa to Pella.94 -2. with the the Roman reign of the area. beginning with the Triumphal Arch dedicated to Hadrian and renovations to the South Gate. road. of the inscriptions from the site. which are almost exclusively Greek..Iz = Iznik.36 3. Gerasa wasjust west of the new Via Nova Traiana. Ef57 Pe = Pentelikon.37 -3.17 518O -4. threeFig.85 on Tue.21Such new exposure certainly brought prosperity to the city.38 -4. Top. NEB.58 3. 12 AS.346-7.bottom. quartersleft view.57 2.5 mm 1 mm 1 mm 0.Sa = Sardis.4 NEB.85 miles (77 km) from the coast. Gerasa is said to have entered its "Golden Age.6 NEB. The imperial visit by Hadrian in the winter of A.00 -4.3 NEB.93 1.5 mm Fine grained lmm 1.D.Ef = Ephesos.68 3. this one leading all the way to the Levantine port of CaesareaMaritima. 129-130 initiated massive urban renovation.5 NEB.204. The city's plan is thought to have been laid out sometime around the middle of the first century A. and see Isaac 1982. during the Antonine period.for from Caesareato Scythopolis. including the construction of the Temple of Zeus. De 29 Th/CV Af 94.49 3.l NEB. No. especially those from the Red Sea north along the Via Nova and from the Mediterranean inland along the Caesarea Maritima-Beth SheanPella axis. Sa 66 Af98.36 -7. roads were built from Gerasa to Philadelphia." which witnessed the construction of a new temple to Artemis with a huge monumental gateway. Gerasa found itself at the center of a newly redefined region and became an important urban node out of which several roads emerged.13 -7. Iz 66. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . Thereafter.5 mm Finegrained Finegrained Minerals Dol? Dol? Dol? Dol? Dol? Dol? 513C 3..86 -4. 3.71 3. 15 AS.D.2 NEB. more importantly. a hippodrome (though it may have been used for Greek-stylechariot racing). and transformationsthereof. Caracalla furthered this focus on the Near East with his famousjourney through the Eastfrom A.D. perhaps under the this building continued Severans. 345)."none of [these buildings] is said to have been paid for by the imperialauthorities"(Isaac1992. Temple complex.his wife. how Greekwas Gerasa.110-22.and Kehrbergand Kehrberg Manley 2001. Gerasa seems to have had its fair share of Roman administrativepresence. Gerasa. on. we have evidence for a Roman military presence at Gerasa. however. 215-21 7.204. how Roman did it become? Indeed. the Some of and the West Baths. and Julia Domna. For the urbanization of Roman Gerasa. 22Bowersockl983. 26 Isaac 1992.and. 4.345-6.26 The question then becomes. cloaked the Greek city in distinctly Roman facades: a town plan based on a cardo and decumanus. 25 Isaac 1992.23 In fact. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions .with its clearly Greek origins and civic identity. but conspicuously Roman veneer. at least periodic.Ostrasz1997. Roughly two centuries of building at Gerasa. 27 For one recent study. during his reign the first Arabsbecame Roman senators.346. FRIEDLAND [AJA107 Fig. See also Sear 1996. provides an interesting case for the study of identity. seeJohnston 1983 and Levick1969.22In the early third century A.see the many articles in Zayadine 1986 and Institut francais d'archeologie du Proche-Orient 1989. belonged to the Syrianaristocracy. on. from the early second century A. and Ostrasz1997. a new of the cardo and decumanus. many scholars propose that the East Baths were built in this era. 124-5.front view. Theater of the North Zeus. if not constant.418 ELISE A. From the first centuryA.right. in response to Roman rule. Togate man (cat. at the junction thian capitals.24In addition to this distinctly Roman infrastructure.25 Moreover. many inscriptions mention the governor of Arabia and six are set up for the procurator.D. the south tetrakionia the nymphaeum.D. which is to be expected. hippodrome. therefore.D.85 on Tue. see and two imperial-styleRoman bath complexes. 24 Forrecentworkon these urbanstructures and others. a nymphaeum.27 This contextual study of the Roman marble sculptures from the North Hall of the East Baths at Gerasa will add to this inquiry into the identity Seigne 1992.right profile. This content downloaded from 62. colonnaded streets.see Kennedy1998. two Roman-style theaters.192. 4). it is clear that the city served as a periodic center of Roman administration. since the Near East enjoyed further prosperityand connection to the imperial core during this period because of Septimius Severus's interests in the Near East. Not only did Severus reorganize the provinces of Syriaand Arabia. Left. Whether Isaac's suggestion that Gerasa might have served as the main office for financial administration of Arabia is true or not. 23 On Caracalla's path.. 2003] ROMAN MARBLESCULPTURES FROM GERASA 419 THE ARCHITECTURAL AND ARCHAEOLOGICAL CONTEXT OF THE SCULPTURES Located immediately to the east of the Chrysorhoas Riverand surrounded today by the central bus station of modern Jerash.204. area H. known West than the better larger The general display context of the sculptures was. one of the largest imperial thermae to have been constructed in the Roman Near East.D. the Baths of Diocletianat Palmyra(4335 m2). the well-preserved Baths at Gerasa.thoughDodge (1990. see Braunet al. The sculptural installation documented here. well-cut. VII). 29 Fora correctedversionof the plan publishedbyKraeling (1938. front view of Roman Gerasa and contribute to the dialogue on Romanization and the processes of cultural transmission and change in the Roman empire. Kanellopoulos) Fig. the four largestbaths known to date in the Roman Near Eastare the WesternBathhouseat Beth Shean/Scythopolis (5700m2). 6. 24. provides important evidence for the decoration of provincial baths in the middle empire. 5). Lower portion of a togate man (cat. This content downloaded from 62. from a major hall of an imperial-style bath complex in Arabia.however.28Though East Baths are as yet unexcavated." the Roman Near East in both Nielsen (1990) and Reeves (1996). it provides new evidence for the connection of Roman Arabia to the more central provinces of Greece and Asia Minor via the imperial marble trade.192.all built of large. 5. Plan of the EastBaths. and the bathsat Hammat Gader(4200 m2). 6-7. limestone ashlars: three aligned along an east-west axis and a fourth to the north of the easternmost hall (figs. plan I. known therefore. no. the patrons and honorees of dedications in the hall reveal new information about the history of Gerasa and its urbanization and Romanization in the second and third centuries A. The chronology of sculptural dedication suggests new dates for the construction and use of the North Hall and perhaps the East Baths. 434. furthermore.Kraeling providesthe onlypublishedmeasurements forthismonument. 37. 28 The followingdescriptionis based on personalobservationsunlessotherwisenoted.85 on Tue. (Chrysanthos built 114) notes that"stonevaultsof at least20 m on massively Based on cataloguesof bathsin wallscan be reconstructed. Finally. To date.29 Fig. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . the ruins of the EastBaths preservethe North Hall and four large chambers. 6-7) . 2001. Itis meantonlyto providea basic architectural descriptionof the remainsof the EastBathsand something of the scale of the structure. the WestBathsat Gerasa(4500m2). pl. two apodyteria to the north ing that frigidarium. the Byzantine bath at Gadara. FRIEDLAND [AJA107 HarvardCollege Library) Fig. 209 (fig. Yeffiil1992. "because theyare generallylate .176 (fig. which include the West Baths at Gerasa.see Nielsen 1990. 51-2. dateassignedbyKraeling and acceptedby subsequentscholarsrestson that of a statuebase (Welles1938. Palmyra. the Vedius BathGymnasium at Ephesos. n. see Yegiil 1992.a basilicathermarum of the frigidarium (again on the main axis).420 ELISE A. Odessus). 112.but wasonly found "nearthe EastBaths"(Welles 1938. 16) that is not securelyassociatedwith the EastBaths.In addition. The massivewest wall of room 1 must have constituted the westernmost (and perhaps the southernmost) end of the complex. Cuicul). which may serve as comparanda for the East Baths. 1993. 192 (fig. 196 (fig.33 The imperial-styleEast Baths may be reconstructed as follows (fig.. 383). 7. Browning1982. Nielsen 1990.D. according to Nielsen.D. no. 174 (fig. 57-8.these bathcomplexesrarely had palaestrae. The north-south axis through room 3. 8).Aphrodisias). but also because the gym- its south.192. Accordingto Nielsen.31 I suggest that this classification of the East Baths can be further specified.Jerash. Palace of the Baths. 131-2. and a Other examples of palaestranorth of the basilica. a row of heated rooms perpendicular to that main axis on 1938. n. the Bath-Gymnasiumat Aphrodisias. and Philippopolis. The date of the construction for the East Baths is commonly published as the third century A. Bath C in Antiochia.220. Ephesos). 131. a frigidariumto the north of the central flankcaldarium along the main axis. and that the complex is identifiable as Krencker'ssmall imperial type. the baths at Bosra. the Large Baths at Lambaesis. 250.Lambaesis). . This content downloaded from 62. 150-1. 33For plans of these baths. 30Kraeling 112. mostly late thermae. projecting 32 classificaSee Krencker1929 for a reprintof Krencker's tions. 226.Nielsen etal. one thatwasdeeper than it was generally wide.the East Baths may be associated with the variation which has the following layout: a central north-south axis. and the Bath-Gymnasium at Odessus. 31 Nielsen 1990. this date rests on very little evidence and is not secure. did this type of bath complex have a caldarium. Nor.85 on Tue. (Courtesyof the Fine Arts Library. It is importantto note thatthe earlythird-century A.204.32 this small imperial type. and the recently excavated Western Baths at Beth Shean/Scythopolis. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . 197. room 4. and the nasiuminstitutionwasneverparticularly popularin these regions"(113) (for another discussionof the lackof palaestrae in baths of the Easternempire. this type had a compactplan. 131. . 326-9).30 however. More specifically. include the Large South Baths at Cuicul. Bonfils (HSM983) .also see Nielsen 1990. 51. Alexandria. 194. Nielsen associates the East Baths with a group of monumental. the North Hall is built in a similar grand. Room 4.we mayimaginethata door from the North Hall.Finally.could have served as the frigidarium. the hall is exactly parallel to the axis of the main bathing block. extant northern edge of the west wall of room 4) . both oriented east-west. 2.85 on Tue. was clearly part of the East Baths complex for several reasons. Reconstructiondrawingof the EastBaths.93 m from column O to the ruined. while another wall extends south from pilaster P in the North Hall towardthe central bathing block. often adjacent to the frigidarium. extending from its northern end and perpendicular to the north-south central axis.we may estimatewhere it lies at the center of based on the top of the arched passageway the north wallof room 4. This content downloaded from 62.36The following brief description.see Yegul 1992. Rooms 1. In addition.34Their southern position and vaulted ceilings indicate use as tepidaria(rooms 1 and 2) and a caldarium (room 3). because it connectedthe centralbathingblockto a subsidiary room (DeLaine 1997. public scale to that of the East Baths and is located near the central bathing block (11. 35 The level of the floor of the North Hall washigher than thatof the mainbathingblock. was a minimumof 10 Romanfeet high (approximately 3 m) and a maximumof 18 Roman feet high (5. 153-4. Thus.That the complex continued to the east is clear from two lines of evidence: first. Though it is impossibleto knowthe styleand size of this passage. and identification smallerrooms that were built between it and room 4. (ChrysanthosKanellopoulos) North Hall apparently provided a central line of symmetry. However. The North Hall.22 m).We can estimatethe floor level of room 4 based on the projectedheight of this passageway. and 3 were equipped with down-drains(shafts that held the lead or terracotta pipes that supplied the pools in the various rooms) and were likely used as wet rooms. rooms 1 and 2 were probablybalanced on the other side of the central north-south axis by two similarly sized rooms. and second. 9-1 0). with its much larger passagewaysand lack of down-drains.45 m wide and at least 29 m long (figs. This difference couldhavebeen bridgedby5 to 12 standard Romansteps leading down into the main bathingblock. First. and to the reconstructed north wall of room 4. the passages in the eastern walls of rooms 3 and 4 must have led to other bathing rooms. the eastern corners remain unexposed.or any apodyteria.192. 390-5.Althoughthe levelof the floor of the EastBathsis unknown. for the watersystemsof baths.the East Baths were completed by a basilica.204. The two transeptsflanking room 4. where all of the statuarywas recovered. The level of the floor in the North Hall is approximately 1.5 m below the underside of the keystone of this archedpassage. may have served as 34DeLaine 1997.and fromthisthe southwestern cornercanbe reconstructed. Second. a passage in the north wall of room 4 leads toward the North Hall.61-3) . rectangular halls. the floor of the North Hallwas1. Thus. date. 36 The northwestern cornerof the hallwasuncovered. the North Hall.5-3. 8. including the North Hall.2003] ROMAN MARBLE SCULPTURES FROM GERASA 421 Fig. long. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions .72 m higher than the projectedfloor level of room 4. as the hall extendsfurthereastbelowmodernbuildings. the exteriors of both the west and east walls of room 4 preserve carvingsfor the support of a raking roof.35 The North Hall is a rectangular structure 12. Forthe importanceof accountingfor the architectural provisionsfor statuary. or 10 Roman feet. 377.see Kanellopoulos1994. 15.37The entire structure. outsidethe hallto the west.40The pilaster bases at the ends of the screened entrances are approxidecoration niches thatwouldhaveaccommodatedsculptural andwhetherthese thinnerwallswouldhavebeen partof such niches.39The average interaxial column spacing of all 14 intercolumniations is 2. Plan of the North Hall showingfindspotsof statuesand statuebases. see Marvin1983. also Chen 1980.a portionof a mosaicfloor 38Just wasuncoveredbut not excavated.figs.Ms. (Chrysanthos of the room's function (not intended as the final publication of this monument) provide an architectural and archaeological context for the sculptural decoration published here.422 ELISE A. is constructed of pinkish-orange limestone. and bases. perhaps because they served as niches or because these intercolumniations were originally entrances to the room that were later blocked. shafts. and between pilaster H and column I are thinner. This content downloaded from 62.or decempeda see Vergil. santhosKanellopoulos formakingthisobservation andsupplying these references. FRIEDLAND [AJA107 Kanellopoulosand EliseA. 18. The hall was paved with smooth rectangular white limestone while numerous ceramic roof tiles found pavers. two along 37 1amindebtedto AidaNaghawi forallowingme to publish the followingbriefdescriptionof the room.85 on Tue. including architectural features such as column and pilaster capitals. 188.for the standard10 foot-longRomanmeasuringrod. books. the North Hall has four entrances.192. and another at the eastern end of the southern wall beginning with pilaster P and extending eastward for an unknown length. 39 Not enough of the North Hall is preservedor has been excavated to determinewhetherthe roomwaselaborated with the northern wall (one between columns A and B and another beginning at column I and extending for an unknown length). In its current state.Eel 9. 14.977 m.and inscriptions from her field notesculptures. location of entrances. all screened by columns: one running most of the length of the western side between pilasters C and F. 40 Forparallelsto 10 foot-longinteraxialcolumnspacingin the Decapolis.7. 1 thankChrypertica.38 within the building indicate that the hall was covered with a flat or raking timber roof. n. Friedland) Fig. The walls between pilaster Q and column A. 9. 19.204. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . between column B and pilaster G.Naghawigenerouslyprovidedthe size of the room. 256. and informationregardingthe archaeologicalcontext of the statuebases. and a fourth outside the North Hall on the ruined northern edge of the westernwall of room 4.while theirwestsides to insertinto areworkedinto rectangular probably projections. although its association with the main bathing complex suggests that it may have been constructed contemporaneously.: the capitals' proportions (narrow volute zone and broad acanthus leaves) and numerous drill channels make them slightly later than the securely dated Severan examples from the Nymphaeum at Gera- was taken (fig. This content downloaded from 62. while the column bases measure approximately 0.2003] ROMAN MARBLESCULPTURES FROM GERASA 423 view of the northwestern Fig. D. and P).84 m wide (bases A. 11) (both in the northeastern corner.D. E. O. bottom. B. capital. 7) . a third atop preserved pilaster Q in the northeastern corner of the hall.85 on Tue. 11) date to the early third century A. mately 0. the ashlarmasonryof the wall. corner. 10.view from northeast. North Hall.88 m long). Both the square shaft and capital are smoothedand decoratedon three sides. M).69 m wide.76 m high.192. Top.41Four squared pilaster capitals are preserved: two among the ashlars and column shaftsin the center of the room (fig.9 m wide (bases C. The preserved Corinthian pilaster capitals from the hall (fig. 41 A completepilaster. both measuring 0. F. N. includingsquaredCorinthian is preservedin the northernwall4. and 0.204. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions .6 m east of the northwestern corner of the room and wasstandingalong with another in the 19th centurywhen the Bonfilsview of the East Baths The dates for construction and use of the North Hall are not known. 1. whose plan was based on imperial models erected in Rome. 43 The followingdiscussion of the identification of the North Hall employsNielsen's terminologyand definitions for the variousroomsfound in Romanbaths (1990. 153-66) . The North Hall's scale. and proximity to the central bathing block. 36a. They were mixed with dirt and architectural fragments.424 ELISE A.D.46 Thus. 11.85 on Tue. This content downloaded from 62. display the sculptural social context: in the north hall of the east baths The five life-size or larger sculptures and nine other fragments were found in the southeastern and southwestern corners of the North Hall on the limestone pavers of the floor. corridors. These long rectangular 46Yegul often identified as basilicaethermarum. 1lb) . confirmedthisdate. The East Baths suggest that the Gerasenes adopted the Roman cultural institution of bathing and frequented a large-scale Roman-style bathhouse. andofferedfurther examinedphotosof thepilasters comparanda. KlausFreyberger.10a. 14) statesthat of a hypocaust the cover-tiles systemcouldbe coveredwithopus It standsto reasonthatlimestone or marble. the architectural context of the marble sculptures discovered in the North Hall seems to have been a major public hall in one of the largest imperial-type bath complexes discovered to date in the Roman Near East.204. dated to sometime before the fifth or sixth centuries A. bathing room (such as a natatio. 414-6. signinum. the capitalsfrom the Theaterat Bosra (Freyberger 1988. DeLaine 1993.Forotherexamplesof architectural decoration that date to the Severanperiod.55. bathing rooms. the likes of which were dedicated throughout the Roman empire from North Africa to Arabia. see the capitals fromthe Nymphaeum atBosra(Freyberger 1989a. Yet.45Instead.Ms.pls. mosaic. For recent reviews of the thermarumdebate.36c. as well as its display of a substantial number of sculptural dedications. 356-8. suggest that the room probablyfunctioned as a social hall. lack of bathing and heating installations.44The roof and pavement rule out the hall's use as a palaestra. North Hall sa and the Tychaion at as-Sanamain and indicate that they were probably produced during the reign of Caracallaor Alexander Severus. the large scale.and 37b. 160-2 palaestra/basilica and n. in several cases. FRIEDLAND [AJA107 Fig.Naghawidid not lift anyof the paversduringthe courseof the excavations. see Yegiil 1992. and. 9). and proximity to room 4 of the East Baths point to the North Hall's use as a basilical hall.192. no evidence exists for rebuilding or renovation of the North Hall.10b). The presence of sculptural dedications also helps confirm this hypothesis. since these courtyardswere open and rarely paved. The deposition suggests a roof collapse. or exercise venues. this date may represent only a renovation of the North Hall. It is unlikely that the North Hall functioned as an apodyterium. hallsare 1992. see Freyberger 1989b. pls. 1999. andthe capitals who kindly at Gadara(Freyberger1999).42 Except for the thinner walls noted above. by which 44 A hypocaustsystem. mustalsohavebeen used in place of marble.43The architectural form and large scale of the North Hall rule out its identification as any of the smaller auxiliary or laconicum.1001. or tubulation within the walls. 23fromthe "Podiummonument" 4.both a questionable term and unproven function.however.piscina. the room could not have functioned as a wet 42 Forthe architectural decor of the Nymphaeumat Gerasa and the Tychaionat as-Sanamam. because of the sculptural decoration.D. These long rectangular halls or galleries are common in the baths of North Africa and Asia Minor and are thought to have served as social halls. 153. therefore. (as noted above). frigidarium.could have been installed beneath the limestone pavers:Nielsen (1990. rectangular shape. 67. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . Pilastercapital. while the decorative evidence supports a third-century A.400. drains. water basins. such as a sudatorium No evidence was found of hydraulic plaster. As many as 8 of the 16 statue bases were found upright on the floor in front of columns.D. 231. 45 Nielsen 1990. surviving architectural elements. or caldarium) or as any sort of a secondaryheated room (tepidarium or sudatorium). indicating that the hall fell out of use after the fifth or sixth centuries A. architectural phase.4. presumably in situ (table 2). The excavator of the North Hall reported finding Byzantine strata atop the southwestern corner of the building. were lying on the stylobate of the hall between columns or near statue bases (fig. pl. finds of statuarywere discovered only in areas where statue bases were also found in situ. Statue Bases Found in the 1984 Excavationsof the North Hall of the East Baths.53 m n. the number of intact or largely intact statue bases discovered (16) is nearly equal to the number of column bases preserved (17). Gerasa (width and depth represent measurements of the footprint of the statue base) Base No.47the statuaryand heads. H nOAIS 13.67 m 0. mus.= museum. in situ 9.p. n.65 m south of Q West of C West of C West of D East of E West of F Style Square. however.595 m 0.204. mus.p.56 m 0. To motherland An equestrian Findspot Between M-N inside hall Between O-N outside hall In front of O 2. plainly carved I South of G. since it is clear that the North Hall continued to the east and that it contained more statue bases. plainly carved In southwest Square. Location Patron/Honoree 1. molded base Square. withinscribedbases onlysixstatuesmaybe securelyassociated (Smith 1999.545 m 0. that is. and O. or I Square. = unknown mus. spoliated Square.695 m 0. n. or I Square. n.For example.25 m 1. in situ 10. mus. or Square..p.585 m diam. molded base Hexagonal. While none of the sculptures can be securely associated with any of the bases discovered in the hall. 0.192. mus.49 m n.32 m 1.60 m the statues and some.598 m diam.53 m 0. n.51m 0. mus. 0.60 m 0. spoliated Square. This may be a coincidence of survival. not seen corner of hall In front of P? Round 0. H nOAIE To Caracalla unk. H.58 m 0.85 on Tue. molded base Square. 1.32 m unk. and 34 inscribedbasesfrom late antiqueAphrodisias.p. M.p.46 m Width 0. 7. at the western entrance and 47 While it is common to discoverstatuesand statuebases it is exceedinglyrareto disfrom the samesculptural display.25 more in the center of the hall in the area bounded by pilaster H and columns I. Depth 0. in situ 3. plainly carved South of G.50 m 1. of the statue bases were dislodged from their original display contexts. in situ 5.51m 0. the sculptures are clearly associated with the North Hall and were once displayed within the hall itself. 14. but not all.52 m 1. though architectural debris was scattered throughout the hall. H 11OAIS To Carbonius Disturbed context Square 16. = not preserved. H.59 m 0. Evidence that the finds preserve a largely in situ sculptural display comes from the fact that. 161).p. 0. plainly carved Square.n.90 m 0. 0. scalloped base Square.695 m 0. Note: South of G. mus. mus. mus.42 m 1.545 m 0.60 m 0.2003] ROMAN MARBLESCULPTURESFROM GERASA 425 Table 2. coverstatuesthatmaybe securelyassociatedwith specificinscribedstatuebases.53 m unk. molded base Height 1. in situ 8.46 m 1.31m 1.p. Thus. H nOAIS Hermaphrodite In front of P? Round 15.72 m 0.665 m 0.49 m 0. H nOAIZ 12.50 m unk. This content downloaded from 62. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . in situ 2.09 m n. 1.56 m 0. In addition. H. H nOAIE 11. unk. spoliated Square. 6. of the 25 statues. in situ 4.p. pp. 7. Firmer dates for the installation of the display. The inscribed statue bases also preserve important information about the patrons and honorees of the display.as do two otherbasessubsequently documentedbyotherscholars. the latest datable evidence for construction and sculptural dedication in the North Hall) would have been most likely to understand fully the intended artistic. Anotherinscribedbase is said to come fromthe samesectoras statuebase 15 (Gatier1996." Also on his left. 7. 3).theyprovidesome evidencethatthe sculptural programmusthavebeen more extensive. the visitor might have observed a statue (base 5) dedicated by its patron to the "motherland. fig. 15. This content downloaded from 62. visiting in the early third century A. we glean important information regarding the possible dates of sculptural dedication. Although individual visitors no doubt perceived the display differently. the meaning of the sculptural installation.Becausenone of the statuesaresecurelyassociated with any of the basesand becausewe have so little secure evidence for the precise placement of statuesin the hall. FRIEDLAND [AJA107 the bases must be considered together. important display 49 For the purposesof the reconstructionof the sculptural AidaNaghawi translations program. 4) .48At some point in time before the North Hall went out of use.the excavator. constructed through this association. Finally.426 ELISE A. One. I present only one possiblereconstruction. particularly cornerof the hall. they are not included in the number published here. manyother fragmentsclearlybelonging to statuebaseswere discovered in the southwestern duringexcavation.85 on Tue. this visitormight a screen of columns. builtinto a shop in the centralmarketof Gerasa. 54 Found on the stylobateof the North Hall between column E and pilasterF. unlike the other two. and the history of Gerasa itself. perhaps displayed far left at C. 430).but for now the presentevidenceprovidesan window onto sculptural in themiddleempire. social.is inscribed. table 3).As it could not be determinedhow manystatuebases these fragmentsrepresented.52 When approaching the western entrance of the North Hall. the pieces were displayed together. 1-23. Base5 is largeroverall column D. an experiential approach is used here to allow us to view the hall and its display as one piece of the broader ur48 The followingreconstruction of the sculptural installation isbasedon the datasetandapproximate stratigraphy provided In additionto permissionto byAidaNaghawi. 9. cat.scalloped base (6) whose statue was dedicated by an equestrian. p. and. this method of presentingthe evidenceseems appropriate.Alternative placementof statuesis recordedin footnotes. suppliedme withworking of the inscriptions andgaveme permission to discuss onlytheir If we walk through the North ban image of Gerasa.evidence for the subject matter of the displaycomes from both the statues themselves and the inscriptions on several bases (14. imperial-style bath building of the middle empire. and their meaning was. somewhere west of C. The visitor might have noted the overall uniformity of the The Display: Evidence and Reconstruction Gatieris publishingthese inscriptions content.In additionto the statuebasespresentedhere.their dimenthatwaslifesionsshowthatallweremade to supportstatuary size or slightlylarger. currentlocationsof all of the statuebasesand gaveme permissionto study anddiscuss themin myinterpretation of the sculpturalprogram.49 The arrangement of these different subjects in relation to one another and that of the overall installation can be interpreted from the relativefindspots of the statuaryand the bases..D. The excavationsof the North Hall. 9.50 To provide a more vivid reconstruction of the sculptural display of the North Hall. very likely a member of the local elite. 13) in front of On his right. 4. pp. 53 Bases5. as the two groups of evidence are inseparable contextually. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions .e. a local elite male. 414-5) and the bases (below. and pilasterF respectively. or at least parts of it. 12.Moreover.54 On the at F.whichwouldhaverequiredfootshapedcuttingsinstead. 415) and those on bases 15 and 16 (below. 51Favrol996.51 Hall viewing the sculptural display as an elite male Gerasene would have seen it during the course of a regular visit to the baths in the early third century A.All but two of the baseswith preserved forclamps of cuttings withsomearrangement topswereworked to secure the plinths of statues. she also providedme with the studyand publishthe statuary. that on the front of the statue of the Apollo or Muse (above. (i. are derived from inscriptions. wassignedby Antoninuswho alsosignedthe statuebaseof Apolloor a Muse (Donderer2001. Like the nine unidentifiablefragmentsof sculptedmarble. possible dates for the erection of the sculptural display are suggested by the style of some of the statuary(above. he might have noted a hexagonally-shaped.204. revealed important evidence that provides a window onto the sculptural decoration of a single hall in a provincial. then. and 16). p.and one largebasewasnoted in the eastern baulk.53 a nonhave seen the marble togatus (fig. 52 In the followingsection.D. Future workin the NorthHallwouldclarify andaddto the conclusionsbelow. in part. Pierre-Louis dela as partof a largermultivolumeworkentitled Inscriptions Jordaine. the history of the use of the North Hall. imperial portrait. and 9 werefound in situin front of pilasterC. this visitor would have encountered an array of statuarydisplayed on more or less matching square molded bases (5.53). 429-31).These cuttingsindicate that wascomposedof marble the entiresculptural statuary program as opposed to bronzepieces. and cultural messages of this display. 50 All of the statue bases excavatedin the North Hall are limestoneas the other arcarvedof the same pinkish-orange chitecturalelements of the building.see cat.192. As will be discussed below. though the North Hall may have been a secondary context for both. (figs. Evidence for Installationof SculpturalDedications in the North Hall of the EastBaths.A. outside Hall. 4) Statue base 4 Statue base 10 Mid2ndc.85 on Tue. in front of P? Southernwall. or I Northernwall. 138-192? Non-imperial portrait of equestrian Satyr Apollo or Muse Apollo or Dionysos Ca.D. 3) Fragment of a thigh Apollo/Dionysos (cat. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions .204. in front of P? Disturbedcontext Evidence Statue base 6 Date Middleempire? Subject Matter Patron Equestrian Honoree Statue base 5 Middleempire? Motherland Statue base 7 Middleempire? Statue base 9 Middleempire? Statue base 8 Middleempire? Togatus (cat. 211-217 Portrait of Governor Portrait of Caracalla H 11OAIZ H FIOAIZ Governor H nOAIE Caracalla molded bases and concluded that the statues just outside the western entrance (except for that atop the hexagonal base) were dedicated as a group. inside Hall. in front of statue base 11 Center of Hall Center of Hall Center of Hall South entrance. in front of column O Southernwall. in front of column E West entrance.D. in front of column N? South entrance. in front of column F West entrance. The visitor certainlywould have noted the This content downloaded from 62. in front of column M South entrance. inside Hall. west of pilaster C West entrance. or I North entrance. in front of pilaster Q North entrance. 150-200 Lateperiod b/c spoliated? Late period b/c spoliated? Lateperiod b/c spoliated? Hermaphrodite A.D. in front of column M? South entrance. on stylobate Northwestcorner. 4) was from an earlier period than his own. in front of column D West entrance. H.A. outside Hall. 2) Statue base 1 Statue base 2 Statue base 3 Statue base 14 Statue base 15 Statue base 16 A. 4. Non-imperial portrait H I1OAIZ Statue base 11 H nOAIZ Statue base 12 H IIOAIE Lowerportion of Togate Man (cat.2003] ROMAN MARBLE SCULPTURES FROM GERASA Table 3. 5) Satyr(cat. or I North entrance.192. inside Hall. Gerasa 427 Location West entrance. This visitor might also have noticed that the togatus (fig. 177-188? AD. in front of pilasterG. 1) Apollo/Muse (cat. outside Hall. H. outside Hall. inside Hall. H. cat. in front of pilasterG. in front of pilaster C West entrance. in front of column G.D. D.D. filled with imported marble statues. 14). perhapsdisplayedon base 8. as opposed to the more common Greek himation and tunic. 12. 59 GandH and Thisdisplay wasinstalledin frontof pilasters columnI. our visitor would have realized that this was a luxuriously decorated room.5 m south of pilasterH. ratherthan outside the hall atop base 9.204. found eastand squarely in front of column E.55 third century A.59 Here. FRIEDLAND [AJA107 Fig. 5.65 m south of Q. cat. 4. 179).64. cat. cat. each inscribed only with H 58 Though base 4 wasfound 2. the visitor might glimpse a row of statues screening the inner side of this entrance (base 8).57 Once inside the hall.85 on Tue. 3). the visitor would have been drawn to his left by a single statue at Q (base 4)58and by another sculptural display cloaking the inner sides of the short screen wall east of the northwesternentrance. "thevariousnew forms of the late toga can be seen aswaysof definingfurther. thisinstallation wasprobablyerected in front of pilasterQ. 55 Smith 1998.56Before even entering the North Hall. The dimensionsof thisbase arein no wayconsistentwiththe otherplainly carvedbasesdisplayedalong this northernside of the hall. cat. 11.62all displayedatop relatively similar. paid for (at least in part) by well-to-do individuals of Gerasa. with Caracalla'sgrant of citizenship to all freeborn persons throughout the empire.192. 3. fig. still signaled elite status and participation in Roman politics. Statuebase8. 56While "old-style togascontinued to be worn"in the third centuryA.higherranksor officeswithin the largergroup of possibletoga-wearers" (Smith1999. 60 The lowerportion of a togatus (fig. 5). the visitormight have seen a togate equestrian (fig. This content downloaded from 62. cat.61and the statue of Apollo or a Muse (fig. Upon passing through the western entrance of the North Hall. (ChrysanthosKanellopoulos) costume of this statue. maybe evidencefor such an installation.. In fact. Reconstruction drawingof the North Hall with statue bases. then. because dress was used to Even in the early signal social and political identity. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . 61 Found 5. 62 Found in the middle of the hall south of and between pilasterH and columnI. I).proconsuls.plainly carved. the new toga seems to havebeen worn largelyby senators. the toga. 179).consuls.who had connections to Roman cultural and political spheres. 12. 5.It is also possible that the visitormight have encountered the togatus (fig. 1.60the marble satyr (fig.428 ELISE A.4) here. 5) wasfound nearpilasterH. unmolded statue bases (10.and consulares (Smith1999. 66 The visitor would have recognized both mythological figures as statuary appropriate for a bath (see below).68a governor of Arabiawho probably held office in the second quarter of the second century A.and the date of A. 64 instalHere. 3) discussGaiusCarbonius 69 Though this base wasfound at a "higherlevel"than the restof the material.r\ noAic. and 3) were similar. 177-188 remainsconjectural. cat. noting thatthe letter formsof the Gerasa inscriptionalsodate the dedicationto the second half of the second centuryA. Severusis a common name.204. the visitormayhaveseen a rowof sculptural in front of columnsM (base 1) . 5.5) . cat. xov eauxfjc. the visitor would have recognized that the city erected these sculptures to connect Gerasa to the local Roman presence in Arabia (the governor) and to tie the city and perhaps the bath complex to the emperor himself. 2). so there is no reasonto associateCarbonius ticularSeverus. 161-2). 177-180.D.andgovernor(ibid. The visitor might have read the inscription on the statue base of Gaius Carbonius Statilius Severus Hadrianus (15).fig. the visitor would have encountered two other installations. because they are architrave blocks that were recut to serve as statue bases (fig.D. the visitorwould have recognized the satyr (fig. outside and inside the hall respectively. at some unknown location in the hall. but massive. however. The satyr(fig.she did not recordwhichof thesebaseswas found in front of which column. 67 These baseshave unfinishedbacks.Therefore he might have concluded that these three statues constituted another group.85 on Tue. if one or both of them were not erected in the installationat the northernentranceof the hall. then. 15).67 Finally. and even pilasterP (one of the two round bases. The visitorwould again (ratherthan by individuals) have noted the distinctlyRoman dress of the togate portraitof the equestrian(fig. the visitor would have encountered yet another sculptural display screening the passagewayin the southern wall. 2. Gaius on the statuebase as a imcaiKoq. which can be takento mean consularis. the visitor might have seen an Apollo or and a herDionysos (fig. 1. the visitor would have easily recognized the portrait of Caracalla.and greaterthan0. Because thisinscription wasdiscovered andpublished after theirwork. 133 These three baseswerefound in situ in front of pilasters GandH and columnI.thus not in situ.therearesmall. for the I havechosen to reconstruct purposesof thisreconstruction. 11.and is the only portion of the name remaining for the governormentioned on the Umm eljimal inscripwiththispartion.192. the next outsidejust south of the hall.Some are carvedof reused architrave blocks. 4 In addition. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . 51Carbonius Statilius Severus Hadrianus isrecorded 2. 3) as statuaryappropriatefor a Roman bath.Statuebasesmade from reusedarchitectural fragments are common in the laterempire.: 'Aya0flT<3Xn Fdiov Kap{36viov STcaeiAiovZsoufjpov 'ASpiavov unaxiKOv.one within the hall.the base of theJulian-Theodosius monumentatAphrodisias is madeof "two re-cutcolumnbasesand a reusedshortcylindrical pillar" (Smith 1999. the visitor might have concluded that these statues constituted yet another group.64In this display.as is evident from the lewis device socketsleftin theirtops (bases1 and 3) and the partially carved on their backs (base 1) (fig. The visitor might also have noticed that this togatus was from an earlier period than his own. perhaps at P.D. the visitormayhaveseen a series of installationsalternating. because our visitor lived during this emperor's reign. O lationsarrayed (base3). 1.69 From these two portraits.65 maphrodite (base 14).kcu Tiufjq 8V8K8V.D. h5 This statuewasfound in the southeasterncorner of the hall among column shaftsand mayhave originallybeen displayedatopbase 1. cat. where the urban masses pursued bodily pleasures (signified by Dionysos and his consorts. perhaps at M. probably addedfor the attachmentof the plinth of a statue.erected atop a plain. Gatier identifiesthis governoras the Severusmentioned tentatively on an inscriptionfrom Umm el-Jimal and dated by the mention of imperialreignsto A. Turning to the south to cross the hall and proceed through its southern exit into the main bathing block of the East Baths.035m wide. 3.wasfound here) .3) mighthavebeen displayedhere. 68 The inscriptionhas been publishedby Gatier(1996. and dedicatoryinscription. the statueof the hermaphroditehere. cat. euvoiac. this one dedicated by the city of Gerasa .63 The visitormight well have observed that the three bases matched more or less in style. however. He might also have noted that three of the four bases (1. 1) and/or the Apollo or Muse (fig. 15). Thisinscribedbase introducesthispreviously unknowngovernorofArabia. For example. 1) and the Apollo or Muse (fig. N (base2) .bases2 and 1 werefound fallen between columns.or 12.euepyexnv.neither Sartre(1982) nor Bowersock(1983.0325 m on a side). Thus.045 m deep) . and one that looked very different from the molded bases at the western entrance and the plainly carved bases across the hall. at the fasciae center of statuebase 3 is a rectangularsocket (0. cat.squaresockets(0.the excavator believesthatit wasassociated with the displayin the North Hall. size. ti6 isnot certain whichof the tworound Thoughtheexcavator bases (14 or 15) wasdiscoveredin front of pilasterP. At three of the fourcornersof thisbase. 160Statilius Severus Hadrianus. In fact.2. 14 or 15. the satyrs)as well as cultural and intellectual activities (embodied by both Apollo and the Muses).base 3 wasfound in situin front of column O. This content downloaded from 62. 0.).2003] ROMAN MARBLESCULPTURESFROM GERASA 429 IIOA IE. which was erected by the city (H 1TOAIS). 5) and alsowould have noted that this local individual was important enough to have been honored by the city via this sculptural dedication. ex-consul. Becausethe excavator did not number bases10.12 m long. square base (16) and dedicated by the city (H nOAIZ). In addition. Alternately.for example. 3. cat. because none of the bases securely associated with this area of the hall have inscriptions and because the one sculpture found here is not datable stylistically. 3. which was found at a higher level but is thought to have been displayed somewhere within the hall. with their "strongly projecting moulded plinths above and below the shaft that gave the whole pedestal a tall but stronglywaisted outline. The installation at the southern entrance is difficult to date. and Messages At least three distinct sculptural installations were displayed in the North Hall: group I at the western entrance (displayed on the molded bases).85 on Tue. It is not entirely clear that the three installations correspond to the dates of construction of the North Hall. the style of the bases..430 ELISE A. one round base (14) near pilaster P. the patrons of the statues. This content downloaded from 62. based on the stylistic date of the togatus (fig. this hodge-podge affect does not necessarily mean that the statuarywas dedicated at widely different times.."70 The only datable evidence from the installation on the northern wall is the lower portion of the togatus. and group III at the southern entrance (displayed on . If the Apollo or Muse (fig. Dates for these three installations. cat. and the massive inscribed base for Caracalla'sstatue (16). Patrons. pedestals of various were interspersed throughout the room and shapes found in disturbed contexts: the hexagonal base (6) west of pilaster C. Honorees.204. nor does it preclude an overall plan for the sculptural installation..D. the base with the dedication to Caracalla dates to the early third century A. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . and the inscriptions. It is these variously shaped bases found not in situ and throughout the room that carry the majorityof the inscribed dedications and certainly the most detailed ones.D. 4. cat. 150-200. or the subjects. 3) was displayed here. the inscription on its base provides yet more evidence for this date of A. a second round base (15) perhaps found near pilaster P. a date that matches that of the pilaster 70Smith 1999. group II screening the low walls just east of the northern entrance (displayed on plain bases). this group may date to the second half of the second century A. though we do not know where it was found within the hall. Statue base 8. The display outside the western entrance may date to the middle of the second century A. an example of a molded base from Group I The Display: Chronology of Dedication. though not definitive. however. 171.D. 71Smith 1999. FRIEDLAND [AJA107 Fig. 13. 4) and the style of the four molded bases. the dates of sculptural elaboration of the North Hall.192.71 Finally. which may date stylisticallyto the second half of second century A.e. the second century A.).D.D. which are typical of those of the middle empire (i. or later. sometime between 211 and 217.Based on the common use of spolia for statue bases during the later empire. the honorees. 165. In addition to bases made of spoliated architraves) inscribed four oversized these. are suggested by the style of the statues.D. Arrangement. Fig. with only one dedication that must be dated to the early third century A. Statuebase 10. and later. Statue base 1. it would have required a building with statuaryand statue bases available for denuding.D.This scenario seems less probable. and is more comIn the mon in the fourth century A. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . the statue base of Caracalla. an example of a plain base from GroupII The bulk of capitals that once elaborated the hall. 322. Construction. 129-1 30).D.85 on Tue. however.D. and appointed with reused statue bases and statuary. 73This trend was continued well into the Severan period.D. for two reasons. the practice of reusing statuary does not come into vogue until the middle or late third century A. the city of Gerasa paid for all of the dedications erected inside the North Hall for which we have evidence of patronage (bases 10-12 and 14-16)..D. of a major public building like the East Baths and the dedication of public statuarylike that found in the North Hall correspond to the increasing urbanization known to have taken place 72 These capitals areclearlyassociated withthe hall.204. that the building and sculptural installation were created in the second half of the second century A. dates to the middle to late second century A. In both the second and third centuries A.D. see Boatwright 74 See Smith 1999. Although this later dedication. the North Hall could have been constructed in the second half of the second century A. Alternately.Yegiil 1992. the patronage. honorees. comes from a disturbed context. journey. during the second century. 160.D.74 following discussion. and subject matter of the sculptural installation are analyzed within the chronological framework of the more likely of these two options.192. particularlybecause its date coincides with the architectural embellishment of the building. 15. and renovated in the early third century A.because scattered theywerediscovered throughoutthe hallon itsfloor. and renovated in the early third century A. First.D. 14. Two interpretations of the chronology of the construction and sculptural elaboration of the North Hall are therefore plausible..72 the evidence for sculptural dedications in the North Hall. Second. an example of a base made of a block from GroupIII spoliated architrave 73 On Hadrian's 2000. First. then. The only evidence for privatepatronage comes from two Fig. 11. by refurbishing the pilaster and column capitals and erecting the dedication to the emperor Caracalla. or 12.D. it must be taken into account in any discussion of the sculptural installation. This content downloaded from 62.2003] ROMAN MARBLESCULPTURES FROM GERASA 431 in Roman Arabia following Hadrian's journey through the Near East (which included a stop at Gerasa in A. the North Hall could have been built in the early third century A.D.D. arrangement. since "satyrs occur much more often than the god [Dionysos] himself. This difference in patronage. especially onward. 82 The followinganalysis is basedon the twomost synthetic and recent analysesof sculptural programsin bath buildings (Manderscheid1981. 85 Marvin1983. but in its patronage. fewsecureconclusions arepossible aboutwhich sculpturaltypeswere displayedin which rooms of the baths.84 in the North Hall is expected. subjects 377 n.perhapsbecausefewsculptural from assemblages bathsin Egyptor the RomanNear Easthavebeen published. nos. 12. percentages for the frequencyof appearanceof differentsubjectsin bathbuildings in general. 81 discoveredin the North Hall repNone of the sculptures resent the third major categoryof statuaryerected in bath complexes:athletesand other mythologicalgroups. a trend commensurate with the Greek identity of Gerasa noted above and found throughout its corpus of inscriptions."76 tions are in Greek.378.278. This content downloaded from 62. though not mentioned as a common subject by Manderscheid.85 on Tue. then. The fact that the only other honoree preserved. installationis fairlycommon for a bath building. 80 Manderscheid1981. debath topoi thatwere installedin major pictstraditional bath buildings throughout the Roman empire.78was added to the sculptural program in the early third century suggests that perhaps the focus and main honoree of the sculptural display was altered in this period (see below). suggest that although some members of the local elite sponsored individual sculptural dedications at one of the main entrances to the North Hall. The arrangement of the middle to late secondcenturyA.86 A hermaphrodite is also mentioned standing in a bath in one of the epigrams on baths from Book 9 of the Anthologia Palatina(783). and this dedication is erected outside of the hall. The inscriptions on the statue bases. See belowfor discussionand referencesregardingsculptural finds in bathsin the Near East.see Bowsher1992.77If in fact the statue of Gaius Carbonius Statilius Severus Hadrianus (base 15) was erected in the second century.204.as can be seen in the frigidariumof the baths at Lepcis Magna.379.D.87 75 For the civic organizationand autonomy of the city of A. the reinstallation duringlaterperiods of buildinguse. For the portion of the installation erected during the second century A. fig. the Bathsof Caracalla in Rome. 77 Thisinscriptionis unpublished. 47. which has a comparable installation of sculptureson statuebases situatedin front of large The melange of mythologisquare column bases.28. 501. fromthe middleof the second century Gerasa.are found in severalbaths including the Zeuxippos Baths in Constantinople. the mythological sculptures found in the North Hall constitute two of the six subjectsmost commonly represented in baths: Dionysos and his retinue (found by Manderscheidto be the most comThe dedication of a satyr mon) and Apollo/Muses. for the hermaphroditein the Bathsof Caracalla and the twoin the WestBathsat Cherchel. because of the lack of secure find- of statuary spotsof pieces.According to Manderscheid(1981.D. 78 Thisinscriptionis unpublished.377-8 andnotes). the emperor Caracalla (base 16). 185).79 The sculptureswere displayedon bases largely arrayedagainst walls and screening passageways. 28).D.and AsiaMinor.432 ELISE A. 12. FRIEDLAND [AJA107 donations that were discovered on the outside of the hall at the western entrance: one by the equestrian (base 6) and the other by a donor who dedicated his or her monument to the "motherland" (base 5).80 cal figures and non-imperialportraits81 dedicated in the North Hall during the second century A. Thus. this group playsan ancillary of baths.83 Furthermore. 83 Manderscheid1981. and thevaried/disputedidentifications of roomfunctions.. of the six or seven known subjectsfrom the second-century dedication. not only in the style of its sculpturalbases. critiques Marvin notesthat"thesampleavailable from todayof sculptures bathsis simplynot good enough to permitthe kindsof statisticalmanipulations to whichManderscheid it"(1981. 76Faran1999.Marvin1983) and takes into account of Manderscheid Marvin's (seeesp.see Bassett1996. the city of Gerasa erected most of the sculptural decoration within the hall itself. especially since extensive sculptural decoration is expected in a basilicalstructuresuch as the North Hall. however. 149.and thusthe absence rolein the decorative programs of such subjects wouldnot be unusual. 521. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions .D. 87Dunbabin 1989. and indeed. the only certain honoree is "the motherland" of one of the patrons (base 5). Few honorees are preserved. it seemsusefulto considerManderscheid's However. then at least a portion of the installation inside the hall must also have honored the Roman administrative presence of the later second century A. and the WestBathsat Cherchel. cat. 28. a number that parallelsManderscheid's conclusion that over half of the sculptures found in bath buildings represent these subjects.see Manderscheid 1981. 84Manderscheidl981. the sculptural group outside of the western entrance differs from the two inside the hall. city councils were "byfar the most active arm of the local authorities in All of the dedicacarryingout bath benefactions. 520."85 Hermaphrodites.82 For example. this type of civic patronage was common.D.192. 79 Marvin1983. 86 For the hermaphroditein the Baths of Zeuxippos. seems less tied to chronology than to location.75 According to Fagan.Itisimportant to note fromthe outset thatManderscheid's studyencompassesonlybathcomplexes in a portionof the West (Italyand NorthAfrica) . Greece. four represent gods or their entourages. 2003] ROMAN MARBLESCULPTURESFROM GERASA 433 In the second century A. For a catalogueof 175 bathsin the RomanNear second. y4Mazor 1999 (for statuesfound in the WestWing of the EasternBaths). a lower part of a draped statue. 352. the addition of a portrait of Caracalla by the city of Gerasa in the early third century A. andthe BathsatHammatGader. Skupinska-L0vset 1999.D.65.91In addition to private portraits. 92 Manderscheid1981.. Of the bathsReevescatalogues. three complexes in the Roman Near East. more than one quarterrepresentedthe emthese portraits. 4. which the two togate men found in the hall seem most likely to represent. 122. except one cuirassed figure.C. Bath C at Antioch (Nielsen 1990. of these plexeswherestatuary publications and havenot consideredthe statues pieces havebeen cursory withintheirarchitectural contextsor asprogrammatic installations.D. a portrait of his wife Otacilia. Though the group is still in the process of being studied and published. indicating a notable lack of privateportraiture. since togate figures are rare in this period in the Eastern empire. Such statues were erected largely for honorific purposes and did not necessarily indicate any official patronage of the bath buildings or their sculptural decorations. as yet. It is important to place the North Hall's sculptural installation in its regional context by comparing the room's display to those from other major bath In fact. 231. and the lower portion of a draped female made of bluish marble and reused in the foundations of the basin. 95Friedland 1997.89 still to be discovered in the unexcavated eastern portion of the hall).she classifiesonly three as imperial: the WesternBathhouseat Beth Shean/Scythopolis. n. all represent mythological figures. the patrons of these two togate portraits were eager to be represented as Roman citizens (signaled by the toga) and in the garment of Roman state government (law required men to don the toga when conducting state business). 93 bath complexes few other imperial-type Unfortunately.fragments of marble statuarywere discovered.fewerstillhave and. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions .97 At Philippopolis/Shahba. were occasionally dedicated in bath buildings. mostly around the piscina.see Stone 1994. In contrast to the group at Gerasa. the North Hall displayed a relativelylarge number of portraitsin comparison to Manderscheid'sfindings that nearly one At quarter of sculptures in baths were portraits. The largest and best-preserved group of statuary from a bath complex in the Near East was found recently at Beth Shean/Scythopolis in the Eastern Bathhouse. including a portrait of Philip the Arab.85 on Tue. 45). if a togate man said to come from the East Baths and now on display in Amman was originally disand if there are other portraits played in this hall. fully analyzed and published.toA. 97-9.88 least two of the six or seven statues were portraits (the two togate statues) and possibly more (if the portraitof the governor is not the same as the togatus (fig. such as consuls or proconsuls.92 THE REGIONAL AND URBAN CONTEXT The sculptural display of common bath topoi in the North Hall is comparable to installations in bath buildings around the empire.192. 28. Faran 1999.Tsafrir and Foerster1997. large numbers of sculptures of white marble dated to the third century A.only 34 of the baths in her catalogue overlapwith those published in Nielsen 1990. 96Bounni1971. it is particularly strikingthat these privateportraitswear the toga rather than the Greek himation and tunic.95 In the baths at Palmyra. 278. its Near Eastern context and 88 Manderscheid of 1981.D.the Bathsat Hammat Gader. havebeen excavatedin the RomanNearEast.There areno significant findsfrom the Westsculptural ern Bathhouseat Beth Shean/Scythopolis. were found. but two features make it unusual: first. 4) and was erected during this period. a portrait of their son.while privateportraits than one fifth of those displayedin the bathssampled.D. the Bathsat Philippopolis(Nielsen1990. cat. and the EastBathsat Gerasa. but none of these are.the West BathsatGerasa.204. 91 Forthe lawsregardingrequireddress. preserved portionsof theirsculptural hasbeen recovered.a phenomenon common in the sculptural corpus of Palestine.17. 89 Weber 1990. representations of public personages. no togate figures were discovered in the Eastern Bathhouse at Beth Shean. To thisgroup BathsatAlexandria(Nielsen maybe added the Komal-Dikka 1990. a private portrait of one Septimius Severus Stervinus was said to have been recovered there. 97 Syrie. which is thought to depict one of the emperors of the second half of the second century A. Accordingto Manderscheid. 35). This content downloaded from 62. or the Kom al-Dikka Bathsat Alexandria. 129 (forfragments once the bathbuildingwentout of depositedin the caldarium use).Bath C at Antioch. l0Smith 1998.94 have been discovered in various halls and strata of the excavations of the Eastern Bathhouse at Beth Shean. as they were in other major public venues like fora and basilicas. 171.750. a large fragment of a Venus.see Reeves 1996. Though Reevesis carefulnot to claimthat her catalogueis exhaustive. a headless Apollo. it will provide an important comparandum for the North Hall Of the 13 life-size or larger pieces that sculptures.90Thus. 89.93 sites preserve comparable assemblages. chiefly in annexes of the baths. including a Severan cuirassed statue.for comprograms. was a common means of recording and honoring local benefactors in the provinces. As noted above. Philip II. The dedication of portraits of prominent local citizens.96In addition. accountedfor less peror or his family. and a lower portion Eastdatingfromthe fourthcentury B. 35.appendixB.D.46) . 107 Millar1990. us (Welles1938. 591.85 on Tue.103 motivationsfor Gerasa'sdedication of a portraithonoring Caracallacome to mind.Yeiml 1992. possibly including Gerasa. 152.and Mar- case. furthermore. and Four possible MarcusAurelius (honored by five). 55." Another statue. 103For the dedicationshonoringTrajan. who visited the city (honored by six).98The group from Philippopolis/Shahba seems to be the only sculpturalgroup in the Near East to preserve the display of multiple imperial portraits including a portrait head of an emperor.192. Hippo Regius to the memory scholar has proposed that these baths were a replica of the emperor's larger baths at Rome. nos. it is unclear whether the two inscriptionsfrom Gerasa refer to colonial status (they are somewhat restored). This relatively large number of portraits. This content downloaded from 62.434 ELISE A.D. however. it is possible that the emperor paid for the constructionor renovationof the North This hypothesis is Hall or the entire East Baths. long before the North Hall was excavated. FRIEDLAND [AJA107 of a draped woman.that the construction of the East Baths could have been funded by Caracalla. especially with the other evidence for Caracalla'sdedication of his massive baths at Rome and also of a provincialbath complex at Hippo Regius (noted above). SmithII for suggestingthis connection. a link through Alexander the As noted above. tion that Gerasawas ever elevated to colony status. that they advertised firm concus Aurelius. 100Manderscheid 1981. then. n.204. 154. 204. n. a third possible explanation for the city's honor of Caracalla. and it was in the third century A. Second. 110 1 thankAndrewM. emperors. 57.109 It seems more fruitful. to consider a fourth and final possible connection between Gerasa and Caracalla. n. suggested. Three of these are located in North Africa.Caracallahas long been associated with Gerasa based on two inscriptions of the third century A. cat.102 the Gerasenes alongside only Trajan. 14. 191. 318-9. The portrait of Caracallafrom the North Hall. 109 Kraelin^1938. Such a conclusion would have pleased Kraeling.101 Finally. the home province of the Severan dynasty. pl. found at the These two inscriptions are read by some as site. 1992. in Caracalla's tutio antoniniana made him particularlyworthy of adulation. or even whether they refer to the city of Gerasain particular(the name of the cityis not mentioned in either. who.renovate. 108 Millar1990.At the Large Baths in Madaurus a statue base preserves a dedication to Caracalla. in at Gerasa. 171) notes thatitwasfarmore commonfor 104Fagan emperorsto restore. is not the only honor paid to Caracalla all refer to Caracalcertain that it is not they Though Aurelius to Marcus if other dedications the four la. an over life-size head of Caracalla. Thus. "Manderscheid 1981.100 at Baths North calla himself dedicated the Large one and of his father. wasfor them to build these structures 105Welles 1938. 454.104 not entirely implausible. 47. 55. First.105 evidence for the fact that Gerasawas granted colony Antoniniana Aurelia status. though not always. Why would Caracallabe featured in a major imperial-typebath complex in the Arabiancity of Gerasa? The North Hall adds a new example to a group of at least four other bath complexes in the Roman provinces that honored Caracallaor were connected to him. and therefore must have been granted this status by the As Millar points out. the city of Gerasadeclared Great. admittedly. 98 287. (1999. 230-1. so that only their reused fmdspots on the site associate these inscriptions with GeraIt is. the dedication of the so-called Marble Court in the Bath-GymnasiumComplex at Sardis may be related to Caracalla'sjourney through the East. mention of the accompanying of Otaciliaand Philip portraits Minor. Hadrian. emperor Caracallahimself. if not qualified.was found in the CaraForum Baths at Thubursicum Numidarum.adopted the name Colonia Antoniniaewhich the carries (one inscription adjective has been interpreted as referring to Gerasa). the city could simply have been honoring the current emperor.107 The city never produced colonial coins.see Baity1990. which might have included a stop at Sardis.referto other suchasAntoninus Marcus andElagabalPius. 590-1). however. Thus each of these locales.110 Alexander the Great its founder.l). Caracalla's titlesare somewhatambiguousand can. 179.who founded Roman Arabia (honored by seven dedications).D. Aurelius.tempting to hypothesize that sa). 222. fact.There is.or adornbathsfor citiesthanit exnihilo.106 to support the noevidence is little there however.see the index of Welles (1938. cat. 58. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . 101Yegul 102 Welles 1938. nos. makes the Philippopolis/Shahba group an important comparandum for the North Hall sculptural installations. Foran articleon the head of Philipand Syrie. the dedication of a portrait of Caracallain the North Hall is noteworthy in contrast with the absence of imperial portraits in other baths in the Roman Near East. Such largess usually came in consort with an imperialvisit.108 the discovery of the dedication to Caracallain the North Hall adds plausibility to this tenuous argument. 155. his declarationof the constiand. in his 1938 voluminous work on the historical topography of the site. 106Kraelinff 1938. has some connection to Caracalla. 204. Hadrian. 460. Antoninus found at Gerasaall do represent the Sevethen Caracallaranks in the eyes of ran emperor. The display appears to have been installed in several groups that screened major entrances and exits of the hall. in some areas. and political relationship between local Semitic. social customs.192. the elite of the city represented themselves as distinctively Roman and as viable members of the Roman political realm. erecting portraits of the Hellenistic ruler in Rome. these patrons depicted themselves to the local inhabitants of Gerasa as exceptionally influential and empow112Levick 1969. infiltrated. Caracallatoo professed connections to Alexander: the Severan ruler fancied himself the later embodiment of the greathero. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . these portraits of private individuals offer an important key to understanding this assemblage within the broader framework of Romanization. ed with quarries in Greece (Thasos.and bath buildingsmade clear the new cultural presence. how did Roman rule of this region alter the Semitic and Hellenized sociopolitical terrain?One of the most interesting and long-studied questions of the Roman Near East is the cultural.and particularlythe political landscape of the Near East? This study of five marble sculptures discovered in the North Hall of the East Baths at Gerasa has addressed some of these questions by placing the sculptures in their artistic. Thus.D. religion. the ancient Near Eastwas a place on the culturaledge. however. when emperors were lavishing attention. beginning in the sixth century B. 214 by Philippopolis in Thrace depict Caracallaas Alexander in honor of the emperor'svisit to the Pythiangames. These sculptures were dedicated primarily in the middle to late second century A. urban. and especially following the conquest of Alexander the Great.theaters. perhaps he did visitthe city in order to stayon his hero's course. Current evidence suggests that the North Hall was built in the second century A.D. The North Hall is identified as a basilical hall within the East Baths. If. which are associated with Krencker's small imperial type. When considered in their eastern context. CONCLUSION From the perspective of the Roman world. and imperial contexts. a region originally characterizedby Semitic religious and literarytraditionsand.this region was drawninto the Classical realm. Admittedly. (the date for which we have the latest datable dedication in the hall) revealsimportant information about the sculptural decoration of baths in general and the messages of this installation in particular. This chronology of sculptural dedication seems to suggest new dates for the construction and use of the North Hall and perhaps the East Baths. But. Despite its previous insular character. such as a satyr.by aniconic art. a hermaphrodite.D. and incidentally. the sculptures decorated a major social hall within a specifically Roman type of bath building built throughout the empire. Millar1964.during this period parts of the Near East adopted. Because the two second-centuryA. the construction of colonnaded streets. employingmilitarygear and cups thought to have been used by Alexander. a Muse (perhaps). and a portrait of a governor of the province.C. 215. architectural. Greek language. visits. several portraits of non-imperial individuals. as some have suggested. portraitswear the toga as opposed to the much more common local himation and tunic.7-9. but then renovated in the early third century.112 any swaywith the Severan emperor. Greek. Caracallawas indeed imitating Alexander the Great's route through the and if the Gerasene foundation legend held East. in order to compete with earlier Roman emperors (like Trajanand Hadrian) who had won significantcivic attention at Gerasa. social. In this provincial group. but it also includes individual dedications interspersed throughout the hall.. This content downloaded from 62. Thus the North Hall and perhaps the East Baths were built during a period of heightened urbanization in the Roman Near East. At the same time. but more so by the city itself. How did this infiltration of Roman culture occur?Whydid it occur in some areasbut not in others?How did it alter the social. colonized.Apollo.C. with one dedication to the emperor Caracallasecurely dated to the early third century A. social.D. and Roman traditions. The sculptural installation as it would have appeared in the early third century A. and raisinga Macedonian phalanx. cultural. (not in the third century as proposed by Kraeling and accepted by others).nymphaea. With the Roman annexation of the region beginning in 64/63 B. Dionysos. and even art and architecture. with varyingdegrees of intensity. regional..D.111 This connection is not only borne out in the literary sources. and largess on these provinces.2003] ROMAN MARBLESCULPTURESFROM GERASA 435 nections with the Macedonian ruler.D. culture. The subjects of the second-century installation include typical bath topoi. but in the numismatic record as well: coins struck in A. and altered by people from the Greek and Hellenistic worlds. we see the dedication of statuaryby members of the local elite. 78. The imported marble of the North Hall sculptures is associatmCass.Dio£^. in particular) and in Asia Minor. 440-5.204. thus establishing clear connections between the easternmost province of Arabia and both more central and marble-rich provinces of the empire.85 on Tue. ART DEPARTMENTAND PROGRAMIN CLASSICALSTUDIES ROLLINS COLLEGE 1 OOOHOLT AVENUE. the city of Gerasacultivated a firm connection with the Roman administrativepresence (the governor) and then with the Roman emperor both for the prestige of their city and of its local aristocracy.. may or maynot be related to a special relationship between Gerasaand this Severan ruler. and historicalcontexts. by the second half of the second century A. These sculptures demonstrate. where it ends in a narrowpoint above the now-missingnavel.192.which reinforced the social hierarchy of these cities in terms of personal status." the demonstrates installation also al importance of as material d'art of such the study culture.the remaining right shoulder curves forward. as though it were made of thick. 0. H.39-40). A narrowgarmentcoversthe right breast. shows that the local elite who ran the city utilized these sculptures as tools to declare their direct connections to the Roman emperor.famed for his imitation of Alexander (also the city's legendary founder) . Light reddishbrown stains cover majorityof back. youthful breasts topped with knob-like. The addition of the dedication to Caracallain the earlythird centuryA. The garment is rendered as smooth and flat with wide folds. White marble. glittering crystals. 1thankThomasWeberfor of hisrecently withme the galleys published sharing graciously (Weber2002). pointing at the nipple. as can be seen throughthe frequentpresenceof emperorsin thisregionand the increasein the grantingof colony statusto cities (Millar 1990. that at least to some degree. artistic.and ripples of the muscles above both sides of the rib cage. there are two short. by their wealth.113 The sculptural program of the North Hall sends three important messages about this Arabian city. The left clavicle is rendered in greater dimension and on a sharper diagonal than that on the right. the elite of Gerasa engaged in euergetistic acts. round nipples that point outward.5 m south of pilaster H within North Hall. First. also to the left of the central axis of the torso. 0. parallel drill channels that follow the curve of the torso. and by their associations with the Roman administration.EDU Appendix: Catalogue of the Sculptures from the North Hall of the EastBaths. a deep depression for the sternum.social. Through contextual study of this material. Broken through neck and mid-torso above navel. a position emphasized by the gathered mass of draperyatop it. weighty material. a 113 Firsthand betweencitiesand emperorsare relationships knownto have intensifiedin the RomanNear Eastfrom the Severanperiod to the mid third centuryA. and cultural arenas of the Roman empire.D. vertical ridges stretched to the left and the Adam's apple bulging in between.D.. On the left side of the torso. Damage to left nipple. this dedication to the emperor by the city. Upper torso of a satyr (NEB. 0. medium. Gerasa114 1. objets created and used within specific geographic. then down the central axis of the torso. Towardthe front of this underarm between the torso and now-missingupper arm. This piece preserves the upper torso of a mostly nude. reconstructed scale: life-size to slightly under life-size. male youth.Finally.204. with several folds encircling the breast and two lying directly atop it.47 m.running diagonallyfrom atop the right shoulder across the right side to below the sternum.85 on Tue. full.3) (fig. social.alongside the dedication to the governor of Arabiaand the two togate portraitsof privateindividuals. Multiple hairline cracks radiate through piece. 10.436 ELISE A. Whatever the impetus for its erection. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . therefore. FRIEDLAND [AJA107 ered. 114 The following catalogue is an updated version of that whichappearedin Friedland 2001. by their euergetism. political. Though the piece lacksboth arms. position. This content downloaded from 62. W. The torso of the youth is fully modeled to show a varietyof anatomical details: the central axis of the figure.2676 WINTER PARK. portions of garment atop right shoulder and along central axis of body. modern scholars can gain important insights into cultural change in the Roman world. they imported marble statuary to their remote eastern city to communicate messages of their participation in the broader political. The neck is highly modeled with muscles shown as two strong.D. is rendered as a deep depression. 1) Found 5.the local Gerasenes not only adopted the Roman cultural institution of bathing and its associated monumental architecture. FLORIDA 32789 EFRIEDLAND@ROLLINS. the elite of the originally Greek The sculpturcity of Gerasaaspired to be "Roman. D. Front of torso pitted and abraded overall. chronological. Second.architectural. and influence. The right underarm is represented by an expanse of nude flesh with a concave center. The garment emphasizes the figure's right breast. The area between the clavicles.17 m. as did other elite in major urban centers throughout the Roman Near East.44 m. the appendixof whichpreHabilitationsschrift sentsbriefcatalogueentriesof allthe marblesculpturediscovered inJordan. C.89 m. The smooth. as is indicated by the position of the underarm. 212. Though other marble representations of various types of satyrs have been found throughout the Roman Near East. 117Friedland 1997. reconstructed scale: larger than life-size. The arrangement of the nebris on the right side of the torso alone makes it difficult to discern how the garment was secured to the figure. as in one version in the Palazzo Doria. which is rendered in higher relief and on a steeper diagonal than that on the right. Alternately. its full gesture may be reconstructed with the left arm bent at the elbow and extended forward to hold a phiale. none are of this type. youthful. Comparanda. D.85 on Tue. the nebris is a common attribute of the satyr and may have been added to a replica of this type occasionally. adjacent to the side of the body until its middle. White marble. 0. it is difficult to determine what the figure may have held. 114. Because the majority of both arms is missing.1130. Greece. 2) Found in the southeastern corner of North Hall among column shafts. 1999. there is a slightly raised. This feature does not seem to be representational or functional. 0. Surface of pubic region abraded. and occasionally satyrs. W. now abraded. the thick faun-skin worn by Dionysos. face.2003] ROMAN MARBLE SCULPTURES FROM GERASA 437 short. though its pointed end may have heightened the sexuality of the figure by directing the viewer's attention to the figure's genitalia. and the arc in the upper portion of the axis of the torso. no. though the unique arrangement of the nebris may indicate workshop associations.192. 146-7. but of some denser material such as animal hide. the modeling and drapery established on the front are continued on the back. Pit- 115 L/MC8. perhaps a version of the "Pouring Satyr" type.A-11.Fuchs 1969. The right arm was held up and was rotated so that the elbow faced the front rather than the side. full.Fiche27. R£construction The head was turned sharply to the left. oval-shaped area of marble.085 m wide). protruding nipples.065 m high x 0.117 2. The entire surface of the torso is smoothed and polished. Though this pelt preserves no evidence of the animal itself. worked flange of marble along the front of the broken arm and the V-shape of the break on the left side of the torso. glittering crystals. Though the back of the piece is not as fully worked as the front. and gesture associate this piece with several Praxitelean sculptural types. Sculptural Type The almost complete nudity. It may represent later recarving. that preserves the lower portions of small point-chisel marks (0. across the spine at mid-torso.4) (fig. Date. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . medium. Broken through middle of torso and thighs. as indicated by the raised. 0. Lower torso and thighs of Apollo or Dionysos (NEB. originally created by Praxiteles around 360 B. the left clavicle. The garment worn by this figure is a nebris. it is difficult to identify any comparanda for it or assign a date to it. arced drill channel separates the torso from the remaining ridge of the left arm. flat folds indicate that this garment is not made of cloth. or hoofs often depicted on these skins.41 m. Based on the nebris and the lack of side-locks commonly worn by Dionysos and Apollo. 50-1. Modeling indicates the depression of the spine and rounded shoulder blades. Isotopic analysis of marble samples taken from the sculpture show that the marble of this piece was quarried in Cape Vathy/Thasos.115Though none of the 24 replicas of this type listed by P. as is evident from several anatomical features: the position of the neck muscles and Adam's apple. This content downloaded from 62. 116DAIR. nor does it seem to be part of the original piece. and WorkshopAssociation Because so little of this piece is preserved. The left upper arm was held alongside the torso. One short fold arcs straight over the shoulder and disappears beneath three broader folds that flow diagonally across the back from the top of the right shoulder. H. the left arm may have been bent at the elbow and resting atop a tree stump. and to the left side of the lower back. The narrow garment continues across the back. Gercke in his Satyrn des Praxiteleswear a nebris. if anything. becoming broader.31 m. 1-21. 9-13. Missing genitalia.Gercke 1968. that on the right slightly broader and flatter than that on the left. the piece may be identified as a satyr. the heavy texture and broad. Silenos. male breasts with rounded. At the top of the spine and on either side of it (though more so on the right) . polished surface of the skin and minimal use of the drill found on this piece are commensurate with the technical characteristics of sculptural workshops of northern imperial Greece. The piece was meant to be seen from the front and sides. such as the ears.116If this piece is a variant of the "Pouring Satyr" type. Corso 1988. and the original seems to have been created in part to display the nubile features via the nude torso.204. Maenads. Silenoi no. The right leg extends down and inward under the body. tiny drill hole pierces the center of this broken area. the one on the right deeper than that on the left. On both sides. right leg based on the position of the right leg directly under the central axis of the body. and two chisel lines delineate the sides of the pubes from the lower abdomen and upper thighs.85 on Tue. and the elongated left buttock. The sides and back of the figure are as fully carved and polished as the front. which lay on the right and left inner thighs. A single. so that it is almost aligned with the central axis of the figure. roughly-horizontalbridge of marble (0. and the position of the support on the outer hip of the free leg. whose right side is more three-dimensional and held higher than the left. dubbed "sexy This content downloaded from 62. It may have been displayedwhere it could be viewed from all sides. modeling indicates the lower portion of the rib cage. the left thigh is modeled as broad and flat with an almost square side. a gentle depression indicates the central axis of the body.438 ELISE A. an elongated. Tooth chisel marks were left around this raised ridge and on the flesh surrounding the broken area. a large. From this triangulararea. dark brown accretions cover upper back and bottom of buttocks. Light reddish-brownstains cover front. The genitalia are missing. In particular. lower abdomen. The lower back is swayed. the position of the genitalia on the inner side of the right leg. SculpturalType This figure may be identified as Apollo or Dionysos based on its nudity. one above and one below. shallow. and inner right thigh. the tensed muscles of the right buttock. area below pelvic girdle on right. The left leg must have been bent and extended toward the front.21 m high x 0.025 m wide). forks at mid-torso into two horizontal ridges that outline the bottom of the ribs. oval-shaped. created by two wide. connects the left side of the genitalia to the inner side of the left thigh. perhaps in the center of a room rather than up against a wall or in a niche. The right buttock protrudes more toward the back and is more rounded and compact than the left buttock. a small ripple indicates the top of the pubes. In comparison.07 m from the end of the pelvic girdle. A narrow drill channel separates the buttocks. The active. muscular man. A raised broken ridge surrounds the edges of this oval-shaped area. A small. The legs are held tightly together until just above the middle of the thighs. On the left side of the figure. the waist is more sharplyindented than on the left. The drill channel that separates the buttocks continues to divide the legs. extending 0. The center of the torso swells to show the muscles beneath the ribs and the upper abdomen. At the lower point of the pelvic girdle.12 m wide) runs from the hip down the side of the left buttock and onto the upper thigh. which indicates the spine. somewhat developed musculature. FRIEDLAND [AJA107 ting on torso on either side of navel. The drill hole at the center of the pubic region was for the insertion of a separatelycarved penis.204. In contrast to the right. A depression down the middle of the back. the rounded upper thigh. as indicated by the extension of the upper left thigh toward the viewer. The back of the figure is also highly modeled. a common technique. pelvic girdle. possibly crossing the right leg. toward the viewer. lack of pubic hair. slightly raised. rendering of the groin. which is punctuated by the navel. broken area with an oval-shapedend spills onto the inner side of the right thigh. drilled areas. This piece is the only sculpture from the North Hall group that is fully modeled and polished on all sides. and the diagonal of the pelvic girdle. Reconstruction The figure stood with its weight on a straight. The torso is heavily modeled. This piece preserves the lower torso and upper thighs of a nude. broken area (0. The back edge of this broken area is flush with the back of the left leg. Surface broken awayon front and sides of both thighs and on back of right thigh above break.192. the preserved portion of the left thigh extends forward. and the bulging muscles at the middle of the inner. The uppermost portion of the triangular pubic area and a small area along the left side are well preserved and polished with no indication of pubic hair. The torso is finished by a broad. Because there are not other breaks on the torso or legs that would indicate attachment points for arms or drapery. On the right side. right thigh.the soft rendering of the groin and lack of pubic hair associate this figure with depictions of youthful males. with two depressions on either side of the spine. leaving a triangular-shapedbroken surface between the upper thighs. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . Along the middle of the torso. The broken areas below this drill hole are remnants of the figure's testicles.it is impossible to reconstruct the figure's gesture. The left buttock is broad and elongated and extends below the right buttock and on a slight diagonal towardthe left. tensed muscles of the right hip and leg are indicated by a concave depression on the right hip and upper buttock. The thighs and buttocks are also modeled to indicate the bulk of the figure. 15-6. 651 and LIMC of Heraklesare depictedwith the majority of representations pubichair.Whilethe Herakles" is often shown without pubic hair (LIMC "Young 4.and Adonis were all represented as such. right side of the body. 50-1.209. Heraklesno. and back right corner. 54. a sculptural type originallythought to have been created in the middle of the fourth centuryB. in contrastto athletic types (such as the Doryphoros and the Diadoumenos) and depictions of mature or especially masculine deities (such as Zeus.119 large. cement-like substance overall. andthe Diadoumenosareallshownwithpubichair.2) (fig. 131Friedland 1997.444-5. Comparanda. Apollo (occasionally). for a discussionof the lack of pubic hair in these types. 5. no.and the Dioskouroi). 7. the lower edge of the garment is pulled back to reveal the front of an unshod foot. The foot. 159-60. 122. Apollon/Apollo no. W.. such as the Richelieu Type. Broken through lower portion of figure.497. H.120 er related Apollo types such as the Apollo Kitharode121 and the combination of the Apollo Lykeios and Apollo Kitharode.193-4. 4.192. Dionysosno. X. 161. 3) Found in middle of North Hall.761. Dionysosno.130also with the support attached to the weight leg.35 m. Areas of grayish.155.. polished surface of the skin and extremely minimal use of the drill found on this piece are commensurate with the technical characteristicsof sculptural workshops of northern imperial Greece. Harpokrates Ganymedes4 and 124. perhaps by Praxiteles. edge of left corner of drapery. LIMC2. D. Israeli1992. the Gerasafigure is most likely to have represented a version of the Apollo or Dionysos Lykeios.124 and the Terme Type. 129Jidejian 130Foerster and Tsafrir1990. Alexandras2a. Herakles.Damage to front of rocky base. oval-shapedbroken area on the outer side of the left hip suggests that this Gerasa piece may be more specifically identified as Apollo or Dionysos.126 Sculptural types of Paris feature an entirely different type of support that runs the entire length of the free. 125. Apollon no. This area was once an attachment point for a support. the supports attach at points much lower than that common on these Apollo and Dionysos types. Eros 77. 52-4.for a discussionof the renderingof the groin. Harpokrates. Missing front right corner fold of drapery. 123 LIMC3.122 the Dionysos Lykeios123 and other Dionysos types related to it.Whitish-pinkaccretions cover top break. 1999. upper left corner of inscription. 100. The smooth. 196. On the left side of the piece. 78a.three middle toes on left foot. medium. Eros. Ganymede. Dark gray accretions cover back break. 126 See LIMC 3. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . Zeus. 4. 79b. Date.418. 0.2003] ROMAN MARBLESCULPTURESFROM GERASA 439 boys"in one recent study of these types. is the only sculptural representation of this deity found in Palestine related to the North Hall piece. White marble. 9-13. 125 LIMC3. 67 and L/MC2.17 m high). often either tree trunks or tripods attached at the hip as on the Gerasa piece. 120 LIMC2. see 255-6.Traces of red pigment on top of first row of letters in inscription.131 3. 74.758. on the sculptural types of Eros. 222. Hermes. no. 1-4. 121 L/MC2. 47. Greece.Poseidon. pl.Hermes.C. This content downloaded from 62. Fischer1998. 200a. PoseiThe don. 581). 1957. 0. 183a-b. Related representa118 Bartman2002. n. 128 Crowfootet al.379-80. This piece preservesthe lower portion of a draped figure standing atop a high base (0.LIMC 127 See LIMC1. 183. though those of Dionysos are more numerous. 221. and along diagonal line on left side of front of base. 124 LIMC3. 39. Base of statue of Apollo or a Muse with a sculptor's signature (NEB.386-7. and Harpokratesthat feature supports. above ankles. pls. LIMC 4.theDioskouroi.d. along left side of inscription area. glittering crystals.the Apollo Lykeios. Dionysosno. In contrast. which is turned outward toward the left and extends to the edge of the base. There are few sculpturaltypes that feature supports attached to their free legs and at this specific a varietyof othpoint. reconstructed scale: life-size. 211-2.127 Thus. it is difficult to associate this piece with a specific sculptural workshop or assign a date to it. pl. 119 theDoryphoros.129 A colossal Dionysos from Beth Shean.85 on Tue. Apollonno. Heraklesno.211. 0.435-6. Isotopic analysis of marble samples taken from the sculpture show that the marble for this piece was quarried at Cape Vathy/Thasos.118 Dionysos.36 m.Apollon/Apollo no. marble representations of both Apollo and Dionysos are found throughout the Roman Near East.125 all sport supports on their free legs. Because little of this sculpture is preserved and there are few iconographic or technical features on its remaining portions. however. 122 LIMC2. Apollon nos.436. south of and between pilaster H and column I. majorityof back of base.861-3. Three-dimensional. and WorkshopAssociation tions of Apollo include an Apollo from the Precinct of Kore at Samaria-Sebaste now in the Jordan Archaeological Museum128 (although the support is attached to the weight leg) and two Apollo Kitharodes from Beirut. Paris.51 m. Ganymede.204.see 263. and in left three-quartersview. and the remaining portion of the back are rendered as flat. The draperyclings to the foot to indicate its shape. and its posture. while at the center. 352. turned outward.133 nymphs are most often shown with one leg lifted 132Donderer 2001. the garment fans outward and forward to create an inverted. 178. It is framed by thick. Overall. Though the front of the base is unevenly carved.105 m wide x 0. At the back on the left. The inverted V-shape of the drapery and movement at the curved corners may indicate that the figure was striding forward. From here. a thick.192. highly polished.15 m wide. the gown cascades onto the top of the base. flat folds are delineated with chisel lines on the left face of this inverted V. The fifth line of this area has been extended to the right so that the inscription space is 0. is smoothed and highly polished. Several folds are roughly indicated on the preserved portion of the back. the missing portion can only have represented drapery. This piece was meant to be seen from the front. it is clear that the figure was standing. The figure may have stood with its weight on a concealed right leg and trailed its free. not a seat or throne. and the edges of the drapery are preserved flush with the back of the piece. FRIEDLAND [AJA107 whose toes are delineated with drill channels and whose toenails are created by chisel lines. since it recedes from the center of the inscribed area but sweeps forward on either side of it. 438. its floor-length drapery. which contains five lines of an inscription whose letters become larger with each succeeding line (letter height: 0. in left profile. In the middle of both the right and left sides of the base. To the left of center. even surfaces with squared edges. also preserves a rectangular shape. The two sockets on either side may have been meant to facilitate anchoring the statue to the walls of a niche. Centered on the front of the base. atop a rocky outcrop.892. 133 L/MC8. and decorated with a narrow. left leg to the side. so that the right foot is concealed.Weber 1990. while only one fold is shown on the right. Therefore.204. Drill channels create deep folds that separate the foot from the garment and the base.chiseled band along its lower edge.440 ELISE A. sides.025 m) . The preserved portion of the garment is smoothed. rounded stones. On the right side of the piece.0175-0. The bottom of the base. not sitting. frames and emphasizes the inscription. although it is not completely centered. The stones on the right are more evenly shaped and arranged than those on the left.125 m high). At the front. a vertical chisel line runs down the preserved portion of the drapery to meet the base approximately0. its unshod left foot. although the letters in the extended band are smaller than those on the main area and not carved perfectly horizontally. the gown is carved unrealistically into a squared corner. slightly raised inscription area (0. V-shaped plane with its front corners composed of gathered folds. a technical feature which coincides with the lesser degree of finish and the square shape of the back of this piece. While the standing nymph type is often depicted atop a rocky landscape. 2a. Toward the front of the right side. irregularly shaped sockets (0. the bottom of the garment falls to the outer edge of the base covering its top entirely. the Alexandrian.03 m wide). the underside of the base is not broken. 1392. made [this sculpture] himself. The inverted V of drapery. which was worked with a point chisel. three-dimensional fold runs vertically to the base. This content downloaded from 62. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . SEG40 (1990). because the complete dimensions of the base are preserved. gathered folds.The front of the base is inscribed with five lines of Greek text that read: ANTINEI NOSANTI OSOYAAE ZANAPEYE OAYTOSEnOIEI or "Antoneinos. The base is carved with a flat chisel to represent a rocky outcrop composed of multiple. Sculptural Type This figure may be identified as a representation of either a Muse or an Apollo based on the rocky outcrop. no. its top (in front of the drapery).85 on Tue.185 m back from the front of the piece. the flow of the draperypreservesthe narrow. no. The exact posture of the figure is more difficult to reconstructbecause of the absence of the right foot and leg. son of Antiochos. Three broad. there is a rectangular. several interlocking diagonal folds create a wrinkled effect. there are single.025 m deep x 0."132 Reconstruction Although the back of the piece is broken.rectangularshape of the original block of marble from which this piece was carved. which are more elongated and amorphous. The symmetry of the lower portion of the drapery makes it unlikely that one foot was lifted up higher than the other. which cascade down vertically and end in swirlingfolds. 867-8. 300f. however. 34. 43.D.. 135 LIMC 7. are particularlyimportant.it is also comparable to several Apollos. and WorkshopAssociation This piece is most comparable in iconography and composition to a Dancing Muse standing atop a rocky outcrop from the Baths of Faustina at Milebut the Miletos Muse stands with her weight tos. Apollon no. because she is hunting.1045. because sculptor's signatures. Despite this iconographic similarity. 31.outturned. like the Muse from Miletos. this Artemistype is alwaysdepicted with her chiton hiked up aboveher knees (ratherthan flowing to the ground as in the Gerasapiece) . are datable to roughly the second half of the second century A.135 Though the Gerasapiece may not move so vigorously.Mousainos. Date. but also the letter forms and content of the inscription. no.could this signature.192. relativelyfew sculptural depictions of Apollo have been found in the Roman Near East. and training of the While it seems sculptor of this East Baths piece. 136 LIMC 2. 360.2003] ROMAN MARBLESCULPTURESFROM GERASA 441 up. comparable to those on the Gerasa piece. epsilon. resting on a raised rockyarea. 141Friedland 1997. 276).Apollon no. 139 The sculptor's signature can be dated from the mid to the late second century A. and both have only one. fig. both of whicharevictorlists (Welles1938.becausein both inscriptions Alexandria takeson the which wasnever adopted by Alexandria epithet of Hadrianus. 198-9. no.137 her left leg and stridesforwardto lean on a slighton ly upraised right leg. most notably the Apollo Kitharode.134 the stance of the Gerasafigure is most comparable to several Muse types (especially the Dancing Muse). The long chitons of these Apollos swirl around their feet in omega-folds. 175-200. 178.204.142 tells us that he is an Alexandrian. 214-220. 182-3. zeta. sigma.D.141 This piece. son of Antiochos. exposed. n. 138Frova 1966.136 Comparanda. no. this inscribed statue broaches interesting questions about the identity. This content downloaded from 62. The iconographic similarities between the Gerasa Apollo/Muse and the Muse from the Baths of Faustina at Miletus suggest that. 451-2. 175. on the basis of its letter forms and the name of the sculptor. 9-13. however.D. 142Donderer 2001.. who strides forward on one foot. however. 35h). 50-1. 193 and 194). 140 Welles 1938. based not only on the sculptural comparanda. Both figures stand atop rocky bases.only twoothersmentionAlexandrians. associates this craftsman with the period sometime during or soon after the reign of the Antonine emperors. pl. (Welles1938. who stand with their weight on one concealed foot. an integral atedwitha rockyoutcrop (L/MC2. L/MC2.have been recorded from this region. leaving the other foot outturned and trailing to the side. again providing a date of the mid to late second century A. perial East. 363. signature is unusual145 be some sort of advertisement? Indeed.nos. 5. 445).143 clear that the term "Alexandrian" refers to the sculptor's ethnicity.140The name of the sculptor. then. along with another statue base inscribed by the same sculptor and today built into the central market of Jerash. 1 thankThomasWeberfor calling my attentionto the inscribedstatuebase in the marketof Jerashand to this publicationof it. 14. with only one draped female from the theater at Caesarea Maritimapossibly identified as a muse. the Gerasa piece may be dated to A. Greece. while the other foot emerges from the drapery. 1999.138 This piece may be dated to the mid to late second century A. sponds to the Gerasa piece in posture. Antoninos son of Antiochos. 145 Donderer 2001.there is some confusion aboutwhetherthe termAlexandrianrefersto the city in Egypt.particularly ArtemisRospigliositype (LIMC 2. workshop affiliations. Two Aphrodite types. 247. 42. Even fewer representationsof Muses.Aphroditenos. 178.144 does it also refer to his place of artistic training? The addition of "himself to the . As noted above. 171a. Althoughone Athena/Minervatypeis associno. but neither one correInstead. based on comparison with the letter forms of other inscriptions from Gerasa that are internally dated. both wear long chitons that end in swirling folds around their feet. and upsilon. 375. rather than standing with both feet atop flat. Isotopic analysis of marble samples taken from the sculpture show that the marble of this piece was quarried in Cape Vathy/Thasos. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . feature of this type is that the figure is seated. particularlythat of the alpha. polished surface of the skin and minimal use of the drill found on this piece are commensurate with the technical characteristicsof sculptural workshops of northern imperial Greece. 137 L/MC7.1094.1012. unshod foot.it is difficult to associate this piece with a specific sculptural workshop. the "Nymph" type and the "Aphroditeon a rockyseat. pl."are associated with rocky outcrops. 143 Of the many inscriptionsrecoveredfrom Gerasa. Occasionally in the vaisdepictedstandingatopa rockyoutcrop. rocky ground as in the Gerasa piece. Aphrodite nos.203.74.808-9.92-3. Mousa. are exceedingly rare in the imBecause Antoninos. because not enough of its style and technical features remain. adAewptum 144 Donderer 2001. 135.85 on Tue. rather than Artemis/Minerstandingasin the Gerasa piece. The smooth. 139Manderscheid 1981.D. 219.D. The shapes of the letters. except for those from Aphrodisias. the longdebated existence of a so-called Alexandrian school 134 LIMC 2. no. 646-7. and his free. the Uthat rests slightly above the figure's shaped umbo. 0. On the front. was left at the nape of the neck (0.g. 4) Found between column E and pilaster F on the stylobate in North Hall. carved only with a point chisel. left leg bent slightly at the knee. One unbroken fold rises up to frame the right side and back of the neck. roughly triangular knot. The folds of the sinus sweep up diagonally. the drapery lies flat to emphasize the bent leg. Broken through neck. 4. E. The figure's chiastic pose provides balance. McKenzie1996. The left arm is also held against the torso but is bent at a 90° angle so that the forearm extends out toward the viewer and slightly to the left. from just below the right knee. White marble. This content downloaded from 62. Furthermore. On the right three-quartersof the back.148 ars have argued that stylistic evidence points to Alexandrian sculptors' carving marble statuary for Important questions remain. the base of a square strut is preserved (0. The left neck muscle and clavicle are rendered in higher dimension than those on the right. 146 For the continued debate about the difficultiesin using Alexandrianartas a viablecategoryof stylein the Hellenistic andRomanperiods.running from the top of the right hip to left shoulder.PaulGetty Museum1996. The figure holds his right arm along his side. The neck is carefully modeled to show the depression between the clavicles to the right of the central axis of the figure. which is highly polished. 0. 147Lyttelton 148 Donderer 2001. D.065 m high x 0. The balteus is punctuated by a large.149 however. reconstructed scale: life-size. his right hip thrust outward. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions .147 Still. further work remains to be done on the elusive identity of all of the sculptors who carved the marble statues found from Alexandria to Palmyraand what role. Ephesos. broad. Below the bottom of the left wrist (0.Empereur1998. right side of toga. drapery on left side of back and buttocks. and Blagg 1990. flow downward. H. The tunic features a V-shaped neckline. 124. approx. if any.085 m) and parallel to it. Togatus(NEB. and are slung over the left arm and shoulder. The figure stands with his weight on his right leg.5) (fig. though the posture and gesture of the figure and the patterns of the drapery are decidedly asymmetrical. extending it awayfrom the torso at the middle of lower arm. Damage to edges of folds throughout. left and right wrists. The drapery flows evenly over the left crosses the shoulder with no breaks. back of left arm.33 m. particularly in regard to purported Alexandrian influences on the architecture and relief sculpture at Petra. worked only with a chisel. the large umbo at the center of the torso forms a focal point. This piece preservesa male figure wearing a toga. The back of the piece is not as fully carved as the front and sides. 100. flat folds.05 m high x 0. 1. seeBonacasa andDiVita1995J.04 m deep). patrons in Arabia. The majority of the piece is covered by a longsleeved tunic and heavy toga whose folds are highly polished and created by deep drill channels. Reddish-brown and dark gray stains on drapery cover front of torso.30 m. Small fragment of drapery attached at lower right arm. A square mass of marble.lbQ navel. 150Goette 1990. glitteringcrystals. Atop the left lower thigh and knee. the so-called Alexandrian school played in creating the host of marble statues that enlivened the urban centers of the Roman Near East.85 on Tue. 125. medium to large. right side of the chest.204.08 m wide x 0.. shoulder blades.146Moreover. this connection needs to be studied and documented further where three-dimensional Roman marble statuary is concerned. punctuated at its center by a similarlyshaped fold on the center of the chest. or Corinth?From what quarries did these purported Alexandrian sculptors get white marble? Altogether.63 m. W. FRIEDLAND [AJA107 makes it tempting to take this reference as evidence for regional marble sculptors. 149 Weber and Wenning 1997. Anatomy is revealed only at the base of the neck. Black and yellowish-white accretions cover neck strut. what technical or stylistic features are unique to these purported Alexandrian sculptors?Were the sculpting traditions of these purported Alexandrian sculptors indigenous or were they trained in any of the other major workshops such as the marble centers at Aphrodisias. a rectangular depression is carved between the folds of the toga that flow over both sides of the arm. some scholars emphasize the impact of Alexandria on Arabia.442 ELISE A. Heavy.192. Beneath the now-broken left wrist. trained in the Graeco-Roman tradition. For example. gathered folds of the toga curve up over the right shoulder and cascade down along the outside of the right arm. heavy folds run diagonally toward the center of the figure. arcing slightly to indicate the breast. A wide balteus torso of the figure diagonally.045 m wide). and calves. 4. Although a recent epigraphic study of Alexandrian sculptors' signatures shows that this signature and the related one in the central market at Jerash are the only two signatures of Alexandrian sculptors several scholknown from the Roman Near East. 154 Also.159 other fragmentary togate figure has been found at Petra. the bottom of which was secured by the square strut carved beneath the now-broken left wrist. Bb 60. a single. Bb 58) and a draped man displayedin the Vatican (Goette 1990.and depth of the folds of the toga and the position and shape of the umbo.D. Three togati have been found at Gerasa: two discovered in the East Baths in 1984. up and across the chest. toga-clad statues are uncommon throughout the imperial east after the first century A. cat. This sculpturaltype was used to depict both nonimperial and imperial portraits. 160 Weber and Wennins 1997. the depression between the clavicles is positioned slightly to the right of the central axis of the figure. from beneath the right arm.6. Bb82).151 ment of this type maybe traced through the arrangement. Sculptural Type viving imperial portraiture discovered in the eastern Mediterranean has shown that togate representations of the emperor or members of the imperial familywere rare in comparison to nude or cuirassed and imperial portraits were fairrepresentations. which are published here. manifests the to himation. 155Manderscheid 1981. In particular. 133. which is strikingly comparable to this piece and is now on display in the AnJordan Archaeological Museum in Amman. the Vshaped neck-line of the toga is skewed toward the right. Comparable togate statues allow a reconstruction of the now-missing hands and suggest what the figure may have held in each. 90a.94. it is difficult to determine A surveyof the surwhom this portrait portrayed. the life-size scale ly rare in bath complexes. In the left hand. next. cat. 157Kleiner 1992. Date. 3-4. the figure probably held a scroll. 154 Rose 1997. The piece is alsocomparable a private fromItaly: works to several togatusfromthe House of The arrangement of the drapery on this statue may be compared to pieces dated to the Hadrianic or early Antonine period (mid second century and A.157 diagnostic: first. With his right hand.192. 161Colledge This content downloaded from 62. quantity. slightly awayfrom the right side of his body. 158 Smith 1998. pl. and from both sides.153 151 Goette 1990. Finds of togate figures are unusual in the Roman East. which arcsjust below the right knee.5. 112. 29. 156Goette 1990. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions .204. 133. 309. n. 113-7.D. 352. 19.85 on Tue. and arcing around the right leg. and WorkshopAssociation This statue is an example of a Roman imperial sculptural type depicting men wearing togas with an arrangement of the toga that U-shaped umbines. is a technique for modeling drapery common to the Antonine period. 35-6. which are created by contrasting deeply drilled channels with flatter or slightlyridged areas of drapery. Bb 89. 124-5.161 Both isotopic analyses and technical features associate this piece with the sculptural workshops of Asia Minor.7. In fact. the figure may have gathered the folds of the sinus and pulled them outward.310. and second. This piece was meant to be viewed from the front..65. From beneath this fold.C.the sculpting of the folds of the umbo.fig. 94. 135. Comparanda. running in a straightdiagonal. pl. 128. 153 Rose 1997. in three-quartersview. 1976. Reconstruction The figure must have turned his head slightly towardthe right for four reasons:first.158 Roman citizenship. cat. 91-2. in contrast Greek himation and tunic.): three privateportraitsfrom Asia Minor156 the figure on the right (Hadrian?) of the so-called Adoption Scene from the Great Antonine Altar at Two details of the toga are particularly Ephesos. the length of the sinus. third. broad fold falls straight down.160Two togate figures were discovered at Palmyra and are now on display in the National Museum in Damascus. On the left quarter of the back.152Because the piece lacks its head and any associated inscription that might have revealed the identity of the individual represented. 113.the block of marble at the nape of the neck is deeper on the right than on the left. 134. The lack of breaks in the drapery around the figure's neck suggest that the figure did not pull his toga up over his head (capitevelato) and thus was not meant to communicate pietas. the left neck muscle and clavicle are rendered in higher dimension than those on the right.155 and the high probabilitythat the figure held a scroll in his left hand make it likely that this piece depicted a non-imperial personage. converging around the back of the knee. 279.2003] ROMAN MARBLESCULPTURESFROM GERASA 443 curving toward the right. the position of the balteus and umbo. and over the top of the left shoulder. pls. several arced folds curve under the bent left elbow and flow to the front of the piece.and finally. when they are outnumbered by figures in The toga. and another found in 1940 in the vicinity of the East Baths. Isotopic analyses suggest that the piece the Augustalesat Ostia (Goette 1990. 159 Weber 1990. 152 Rose 1997. appears first in the beginning of the last decades of The chronological developthe first century B. 163 5. medium.28 m deep). whose folds are highly polished and delineated by drill 162Friedland 1997. This piece preserves the lower third of a draped figure standing atop a rectangular plinth (0. and along drill channels between drapery folds.while those on the calf are concentric.08 m high x 0. so that they form interlocking arcs.Utica. On the left side. wereeitherimported pretedas evidencethatthese sculptures The fromAsiaMinoror createdbyitinerantAsiaticsculptors. runs across the right knee. These five scrolls are banded together by a thin fillet (0.01 m wide). 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . 0. Fragments of left-most scroll and portion of folds on back attached separately. Missing right ankle and foot. broad flap folded across its middle. and two from the back. 87-8. The foot is shod in a simple. Braemer1990.Miletus. The figure stands with a bent right leg. 189-95). above the bottom of the case a thin. right ankle.The most well-known group comes from the NorthAfricansitesof Carthage. Light-brown. upper portion of three scrolls. The support is carved to represent a rounded scroll-caseor capsa. 1984. adjacent to the five scrolls. 0. The other diagonal fold.32 m wide x 0. A wide. knees.075 m wide) and a equestor. especiallyon right half of scroll case. 3. Ridgway 1984. and at the bottom another wide border melds into the plinth.164 Much of the figure is sheathed in a toga. Severalscholarshave suggested weak thatneck struts weredesignedto protectthe structurally neckfrombreakage. 449-52.85 on Tue. reconstructed scale: life-size.andAphrodisias (forexamplesof portrait strutsfrom some of these cities. Broken horizontally through mid-thighs. cement-like incrustationscover right side of back. no. the roughly carvedblock of marble preserved at the base of the neck. FRIEDLAND [AJA107 was carved of marble from Marmara(Proconnesos) or Denizli.suchasthe limestoneportrait carved Cyreneor the basaltstatuesfrom Syria. three from the left side.but frequently pieces Pamphylia alsoon piecesfound in Nicomedia. Only two diagonal or arced folds are carved atop the left thigh above the knee. D. For the most part. along inner side of right leg.l) (fig.see Rosenbaum1960. Several smaller folds are carved on the outer side of the right leg.see those listedin the indices under "Neck-struts/Nackenstutze" in Inan and Rosenbaum 1966andInanandAlfoldi-Rosenbaum 1979). 1399).on the front a latch that crosses the width of this band ends in a square lock with a gammashaped key hole. fitted shoe. Two are visible from the front. right half and back of plinth. The highly polished drapery and flesh as well as emphatic and plentiful drill work in the draperyare characteristicof workshops of Asia Minor. Lower portion of a togatus (NEB. One fold wraps around the now-missing. The ridges on the right thigh are carved in opposing directions.56 m. that is. a calceus that has a thin sole (0. 13. the broad folds flow straight downward. though here they are carved in lower relief. 9-13. The occurrence of neck strutson pieces found elsewherein the empire is isolated and rare. Friedland1999. 52-7. 10. no. Becausethis NorthAfrican to the numerous groupisso smallin comparison examplesfrom AsiaMinor. the square neck strut.Epheheadswithneck sos.Several details of the smoothed case are rendered in low-relief on the front: a border that consists of two narrowbands framing a wider central band (0. so that it clings to the figure's anatomyto reveal thighs.maybe explainedeior as creationsof Asiaticsculptors theras the workof itinerant a technicalfeaturenotedon imported localsculptors imitating from Cyrenethathas a Asiaticworks(for a limestoneportrait neck strut.for a basaltsculpturefrom Der'ain the Hauranthathas a neck strut. Two-thirdsof the left foot emerges from beneath the drapery. and ThuburboMaius(Braemer1990.79 m. In contrast. and the right calf. Two gathered folds cut across the figure. flat fold runs straight down the left side of the body and ends atop the support. resting its weight on its left leg and leaning against a support adjacent to its left side. On the left side of the figure and between the legs. occurrence of neck strutsoutside Asia Minor on sculptures headsfrom in localstone. Five scrolls stand upright inside the case. curves up toward the left leg. ornamental element arcs between two knobs.Pergamon. then flows up the inner side of the left leg.ending in a zigzag pattern between the legs. The piece also preserves several technical features that associateit with the sculpturalworkshops of Asia Minor. This content downloaded from 62.192.39 m. folds of drapery on right side and below right knee. the sinus. 5) Found near pilaster H in North Hall. the right leg is covered with multiple arcshaped ridges that cling to the bent leg.444 ELISE A. (Ridgway duringtransport especially 88.Inan and Alfoldi-Rosenbaum 1979. W. Modern toothchisel markscover fold of draperybetween legs and area beneath right knee. Both borders continue onto the left side of the case. 609-10. is a technical feature most commonly associated with the workshops of Asia and Caria.04 m wide) encircles the top of the capsa.42. Orangish-brownincrustations on front.LepcisMagna. 163Inan and Rosenbaum1966.105 m long). creating diagonal axes. Neck strutsappearmore on from andPisidian Antioch.see Mendel 1914. 164Goette 1988. the remainder of the drapery is rendered as relatively flat. crosses the left leg at mid-calf. standing flat atop the plinth. a key dangles from a string that is looped around a small knob (string and key: 0. H. Left side of scroll case and areas on back of piece eroded. White marble. and is pulled up between the left leg and the support.162 Moreover. curves up between the legs. glittering crystals. 459-64.204. 190). 0. Cyrene.their neck strutsseem best inter- channels. " In The Ancient ArtofEmula71. pers.then curve outwardtowardthe right and around the side of the leg.449. cat. Hadrian and the Citiesof the RoBonacasa.175-98. Stone for this comparanda.W. et al.136. Les relations commercialeset culturellesde Carthage avec1' Orientromaina partirde documents scultees. The back of the piece is not as completely carved as the front. though the back scrolls stand at the same height as the others. Decapolis. comm.this statue may perhaps be compared to pieces dated to the Antonine period: two grave reliefs of couples from Ostia167 and the togate Roman on the LiberaliLike tas relief of the Panels of Marcus Aurelius. there is gatifromGreecepublishedbyHave-Nikolaus no examplecomparableto the Gerasa togatusin the arrangeof its drapery. supports for these togate figknights. "Eros's Flame:Imagesof SexyBoysin Bartman. Instead. 1971. "CivicOrganisationwithin the ARAM 4:265-81. Leiden: NederlandsInstituutvoor het NabiieOosten.169 are rare in the Roman East. Greece.1thank S. N. the majorityof the lower portion of the toga clings to the legs and reveals the man's anatomy beneath." Braemer. the Gerasadrapery is carved as "transparent" so that. On the left side of the ly carved. this statue is an example of a Roman imperial sculptural type depicting men wearing togas with Ushaped umbines. quantity. Weiss. Centenariodel museogreco-romano: Alessan1992: Atti del2. and Workshop Comparanda. 1990." 100:491-506. Even the zigzag fold that falls between the legs of this Gerasatogatus may be found on one of the two As noted above. in three-quartersview.4. Isotopic analysis of marble samples taken from the sculpture show that the marble for this piece was quarried at Cape Vathy/Thasos. Bounni.A. Ch. 23-27 novembre Annales archeologiques arabessyriennes 21:11 7-28.164-6. 2002.192. 168 Kleiner 1992.S. 1990. 136. it becomes clear that the lower half of the back of the case was not fully sculpted. pl.85 on Tue. "Historiae Sculptureand Tradition in the Bathsof Zeuxippos. it is not possible to reconstruct the position of the head and arms. "Unnouveaupanoramade Palmyre.R. broad fold is carved in greaterdimension with an elongated zigzagfold running down its center.Bbl 10. RomanIdeal Sculpture. 9 May2001." In ResurrectP. Goette. 165 Goette1988.C. 166 H. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . 1996. such togate figures grave reliefs. From the left profile. The calceus equestor indicates that this piece was most likely a portraitof an equestrian."Unportraitde Shahba-Philippopolis et l'iconographiede Philippe l'Arabe. though the draperyis completed by fulfolds.whilethe Gerasa togatusis comparable earlyNeronian example from Thessaloniki(Have-Nikolaus 1998.166 and "transparency" of its drapery. as on these three Antonine togati. 167 Goette1990.R.T.vanLoon. the drapery of the lower portion of a togatus from Gerasa has a sinus that extends to the knee. onaleitalo-egiziano.and "transparency" to a lateClaudian/ ple. 1995.1983. The piece was meant to be seen from the front. AJA Boatwright. but too few technical features survive to associate this piece with any particular sculptural workshop. On the right side. M.Goettefor thisreference. cat. Bowsher.and lacksthe zigzagfolds of the Gerasaexample. 259.23. HarBowersock. Ann Arbor:University of MichiganPress. diagonalfoldsin itssinus. 292. except for the two gathered folds of draperythat cross the figure's legs. Association Date. 249Antiquity.and H. provinces. a member of the social class of Roman As here. Works Cited Baity.however. SculpturalType Like the togatus discussed above (fig.For examment. Custos: Bassett. Alessandriae il mondoellenisticoromano:1.K. fig.165 ures often were sculpted in the form of a capsa filled with scrolls. This content downloaded from 62.chisel-worked the folds are broad and flat and flow vertically. M. Viewed from the left side. 5-15." G. Stone for this comparanda. AJoint Tribute manEmpire.Matthiae. tion:Studiesin ArtisticOriginality and Tradition from the Present to Classical edited by E.t..G.39) in the placementof the sinusat the knee and the clingingof the drapery to the lowerlegs to revealthe the togatus fromThessaloniki hasmanymore figure's anatomy. 1thankH. Bb 111. cat." In Carthage et son territoire dans Actes du TVe Vantiquite. cats.M.3-4. I thank S. 169 Goette 1990.204. The drapery of the Gerasapiece also lacks the voluminous and multiple folds of Trajanic and Hadrianic togate figures. and there are no close parallelsfor this piece in the published togati from the Eastern Based on the arrangement. this "shorthand" carving gives the capsa a gamma-shaped cross-section. edited by ing thePast. a large. Cambridge: vardUniversity Press. an attribute that announced the literate status and perhaps even the political position or aspirations of the person depicted. Between the legs.168 these togate figures. Reconstruction Because much of the upper portion of this piece is missing. 4. Rome:L'ERMA di Bretschneider. E. and from both sides. 23. 1992. to Adnan Bounni. Congresso internazidria.Bbl 11. In all of the to(1998). Princeton:PrincetonUniversity Press. quantity. J. Roman Arabia. colloqueinternational.2003] ROMAN MARBLESCULPTURESFROM GERASA 445 visible on the left side and back of the scrolls. 2000. The fragmentary nature of this piece makes it difficult to date. three extremelybroad folds flow downward. J. back. 4).pls.Gazda.muchmore three-dimensional drapery. Wagner and G. Studia Phoenicia 14.. 1990. zu denkaiserzeitliHave-Nikolaus.2nd ed. Weisgerber.: T.J."Stddeljb Friedland. Prassitele: opera. Bochum: Deutschen Bergbau-Museums." ARAM4:1-48. "A Statue of Dionysos as a Youth Recently Discovered at Beth-Shean.vol. et artisanat dans Empereur.E. Gatier. 1999. Herz. et al. "Palmyra Evidence from the Baths of Diocletian. fruhbyzantinischePortrdtplastik This content downloaded from 62. griechischer von Zabern. Chen.-F. 1988. E.A. 37.D. 1988. und man. JRASuppl.-P. 1969..vol.:Journal of Roman Archaeology. "Carrieres et sculptures en marbre aux epoques romaine et tardive. Vitae Fontiepigrafiche Corso.-B. Malibu. R. R." Dossiers d 'archeologie 173:30-9.R. J. 1998. 2001. Munich: HirmderGriechen. and E.H. H.J.85 on Tue. "Roman Marble Sculpture from the Levant: The Group from the Sanctuary of Pan at Caesarea Philippi (Panias).A.. Apropos de la culture grecque a GeraAroundArabia. J. edited by J. 1995. Bathing and Society.446 ELISE A."In RomanBathsand Bathing: Proceedings of theFirstInternational Conference on RomanBaths. FRIEDLAND [AJA107 Histoire et archeologie de l'Afrique du Nord 1. e letterarie.A.. 167-83... 1997.journal of Roman Archaeology." In Architecture and Architectural Sculpturein the Roman Empire. monuments in Gadara. ofLarge-Scale BuildingProjects in Imperial Rome.Paul Getty Museum.E. TheEconomy of theRomanEmpire: QuantitativeStudies. 1968." ADA/45:433-6. 1. Goette. 1980.Xenia 40. Jbischer. London: Archetype. ed.M. K. 108-20. Untersuchungen Mainz: Philipp chenTogastatuen Provenienz.D. 232-40." DM 3:17-26. Fuchs.Held at Bath. A."ADA/45:461-77. D. P.M."/<i/T03:401-64.England. 7-16. 1999. Maniatis. Scavidi Caesarea di Bretschneider.192. D. Pt. 1996. Tsafrir. 1998. "RomanBaths and Bathing. 1993.Cambridge: Cambridge University Press.R. 1979. . J. The UrbanImageof Augustan Rome. 1990.edited by G.:Journal of Roman Archaeology. DeLaine and D. 1977.L." JBC//101:471-511. Oxford: Oxford University Committee for Archaeology. Studien zu romischenTogadarsteliunvon Zabern. and Y. Rome: Istituto Italiano per il Medio ed Estremo Oriente.edited by K. London: Chatto Browning. Samaria-Sebaste 3. Alfoldi-Rosenbaum.Johnston.Freunden dargebracht undKollegen. Henig. N. "The Town Plan of Gerasa in AD 2000: A Revised Edition. 16 Apr 2013 03:59:29 AM All use subject to JSTOR Terms and Conditions . "The Architectural Impact of Rome in the East.A. and Y. zum 65. 37.1. et al.: Journal of Roman Archaeology. Herrmann. 1999. 1966. Die Skulptur er. W. "BaiarumGrata Voluptas: sures and Dangers of the Baths." In The Roman and ByzantineNear East. Colledge. . Herrmann. Bathingand Society. R. Braun." 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