New research on the sculptural decoration of the Theater in Hierapolis of Phrygia

Abstract

The theatre-building was a focal point of the social life in the ancient city. In the Graeco-Roman world the cases in which it is possible to reconstruct the whole visual system that characterized this central urban monument are rare. Even in the cities of the Roman provinces, the theatre maintained the importance of a place of identity and of cultural memory for the local communities and at the same time for the multiple realities of the provincial centres. To understand the phenomenon of sculpture in context the theater of Hierapolis is one of the most important monuments of Asia Minor of the Imperial age.
The importance of theatre of Hierapolis is determined not only by its exceptional state of conservation, but also by the number of architectural blocks and sculptural items, as well as by the important epigraphic dossier of the dedications. The theater has been the core of the scientific activities of the Italian Archaeological Mission since the beginning. Over the decades, systematic excavations have led to the complete discovery of the cavea and the scenic building, as well as all the elements of the architectural and statuary decoration. At the same time, a painstaking investigation was undertaken for the reconstruction of the complex architecture of the Severan façade, which was composed of three orders and was characterized by an articulated architectural design. This research was completed under the direction of Francesco D'Andria thanks the detailed studies of Giorgio Sobrà and Filippo Masino, which offered the scientific basis for the anastylosis project. The reconstruction of the first order, as we see here in the slide, allows in turn to visualize the connection between architecture and Skulpturausstattung.
Important studies focused mainly on the famous reliefs that decorate the podiums and versurae of the first order. Francesco D'Andria and Tullia Ritti have exhaustively published the sculpted slabs reproducing the myths connected to Apollo and Artemis; the so-called Severan frieze above the porta regia was studied by Valentina di Napoli. The two friezes, which were placed in the second order, with the scenes of the Rape of Persephone and the triumph of Dionysus and Ariadne remain unpublished. The free-standing statues of the scenic fassade have been published by Giogio Bejor; in some recent research I undertook some new investigation, also in cooperation with the CNR Institute of Florence, for archeometric analyzes on ancient polychrome. Challenging new investigations were performed in the frame of the multidisciplinary Marmora Phrygiae Project 2013-2016, which was aimed at the reconstruction of the Hierapolis marble supply system. The research perspectives focused on the organization of building sites and craft traditions, as well as technology of marble construction and the economy of construction. With integrated approaches it was possible to address issues related to the construction of the theater, the materials used and the stonemasons involved. Archaeometric analyzes were carried out on a large number of samples from all three orders of the fassade. These new results have challenged interpretations of the past, in particular those concerning the role postulated for the Docimian and Aphrodisian workers. In previous studies, in fact, the Docimian marble quoted in the inscription of the dedication, which is inscribed on the architrave of the first order, had suggested that along with the marble also the artisans of Docimium were involved. Likewise, on the basis of stylistic features of the capitals and pillars it was supposed that stonemasons from Aphrodisias were also involved, this hypothesis was supported also by incomplete archaeometric analyzes. Results of Marmora Phrygiae Project demonstrated that the marble used for architecture was locally quarried (Mermer-Tepe, Hierapolis Goek-Dere, Thiounta), Docimian marble is used only for few architectural elements, like the two central columns and the wall cladding slabs.
The new research on the identification of the artisans cannot be based simply on the origin of the marble material. Iconographic culture, technical features, formal language will provide decisive data to understand the origin and formation of the workers involved in the theatre construction.

Full text

Hergestellt und aufgestellt. Produktionsdynamiken und Kontexte römischer Skulpturen im antiken
Mittelmeerraum
Internationale Tagung vom 25.–27. Februar 2019 an der Universität Graz
New research on the sculptural decoration of the Theater in Hierapolis of Phrygia
Marco Galli Sapienza University of Rome
(Massimo Limoncelli)

•The theatre-building was a focal point of the social life in the ancient city.
•In the Graeco-Roman world the cases in which it is possible to reconstruct the whole visual system that characterized this central urban monument are rare.
•(SLIDE) Even in the cities of the Roman provinces, the theatre maintained the importance of a place of identity and of cultural memory for the local
communities and at the same time for the multiple realities of the provincial centres.
•To understand the phenomenon of sculpture in context the theater of Hierapolis is one of the most important monuments of Asia Minor of the Imperial age.
•The importance of theatre of Hierapolis is determined not only by its exceptional state of conservation, but also by the number of architectural blocks and
sculptural items, as well as by the important epigraphic dossier of the dedications.
•(SLIDE) The theater has been the core of the scientific activities of the Italian Archaeological Mission since the beginning. Over the decades, systematic
excavations have led to the complete discovery of the cavea and the scenic building, as well as all the elements of the architectural and statuary decoration.
•(SLIDE) At the same time, a painstaking investigation was undertaken for the reconstruction of the complex architecture of the Severan façade, which was
composed of three orders and was characterized by an articulated architectural design.
•This research was completed under the direction of Francesco D'Andria thanks the detailed studies of Giorgio Sobrà and Filippo Masino, which offered the
scientific basis for the anastylosis project conducted between 2013-2016.
•(SLIDE) The reconstruction of the first order, as we see here in the slide, allows in turn to visualize the connection between architecture and
Skulpturausstattung.
•Important studies focused mainly on the famous reliefs that decorate the podiums and versurae of the first order.
•(SLIDE) Francesco D'Andria and Tullia Ritti have exhaustively published the sculpted slabs reproducing the myths connected to Apollo and Artemis; the so-
called Severan frieze above the porta regia was studied by Valentina di Napoli. The two friezes, which were placed in the second order, with the scenes of the
Rape of Persephone and the triumph of Dionysus and Ariadne remain unpublished.
•(SLIDE) The free-standing statues of the scenic fassade have been published by Giogio Bejor; in some recent research I undertook some new investigation, also
in cooperation with the CNR Institute of Florence, for archeometric analyzes on ancient polychrome.
•(SLIDE) Challenging new investigations were performed in the frame of the multidisciplinary Marmora Phrygiae Project 2013-2016, which was aimed at the
reconstruction of the Hierapolis marble supply system. The research perspectives focused on the organization of building sites and craft traditions, as well as
technology of marble construction and the economy of construction.
•With integrated approaches it was possible to address issues related to the construction of the theater, the materials used and the stonemasons involved.
Archaeometric analyzes were carried out on a large number of samples from all three orders of the fassade.
•(SLIDE) These new results have challenged interpretations of the past, in particular those concerning the role postulated for the Docimian and Aphrodisian
workers.
•In previous studies, in fact, the Docimian marble quoted in the inscription of the dedication, which is inscribed on the architrave of the first order, had suggested
that along with the marble also the artisans of Docimium were involved.
•Likewise, on the basis of stylistic features of the capitals and pillars it was supposed that stonemasons from Aphrodisias were also involved, this hypothesis was
supported also by incomplete archaeometric analyzes.
•Results of Marmora Phrygiae Project demonstrated that the marble used for architecture was locally quarried (Mermer-Tepe, Hierapolis Goek-Dere, Thiounta),
Docimian marble is used only for few architectural elements, like the two central columns and the wall cladding slabs.
•The new research on the identification of the artisans cannot be based simply on the origin of the marble material. Iconographic culture, technical features,
formal language will provide decisive data to understand the origin and formation of the workers involved in the theatre construction.

The celebration of the city games and the Severan family on the porta regia

Frieze Ar IV e

Artemis Apollo
Birth of Artemis Birth of Apollo
1) Planning: the adaptation of the selected themes to the architectural layout
Symmetry

2) Selection and adaptation of the iconographic prototypes
Glyptothec of Munich, sarcophagus 160-170 AD

3) Technical features and formal solutions
Figures in space, interactions of figures
Priestess Aphrodite and Adonis