Bretschneider Online Periodici
Rivista di Archeologia - Bretschneider Periodici Online
ISSN 0392-0895


2014 - Vol. XXXVIII

- Pubblicato nel 2015
- 177 pagine di testo, numerore illustrazioni
- 41 tavole B/N



Translated symbols. Indus Reminiscences in a carved Chlorite Artefact of the Halil Rud Civilization
[pagg. 7-18]
The paper presents an exceptional artefact of the Halil Rud or Marhashi Civilization, a stone plaque (apparently made of chlorite) carefully carved with figures originally inlaid with semiprecious materials. This sculpture is the result of a unique process of selection and transformation of some specific motifs of the Indus Civilization. The iconography includes a standing female zebu attacked on the hump by a beast of prey, while its calf suckles from below. In front of the animals stands a large pedestalled cup. The general scene, including the female zebu and the pedestalled cup, is a literal citation of the basic compositional model of the famous unicorn represented along with the so-called ritual filter on the steatite stamp seals of the Indus Civilization. On the other hand, it shows an impressive series of inversions respect to the Indus prototype, possibly due to the ‘translation’ of the original system of values by the means of local symbols.


Il ‘vasaio geloso’. Riflessioni intorno al Kerameus nel VI sec. a.C.
[pagg. 19-36]
Since the 1970s many scholars tried to investigate the role of craftsmen in the Greek society and the perception of the Greeks for their artisans. Therefore, though far from being clarified, this topic lost the scholars’ attention. The term kerameus, used to designate the specific work of the potter, rarely recurs in the Greek epigraphic corpus. It seems to have made its appearence during the Sixth Century B.C., to be associated with other evident traces among which are spots of tools. The scope of this paper is to review the first occurrencies of the term kerameus, in both the literary and epigraphic sources, and to analyse the epigraphic sources in relation to the archaeological context of recovery.


Semata marmorei con leoni da Pisa
[pagg. 37-56]
The exploitation of the Apuan marble quarries for sculptures by the Etruscans, from the Archaic until Hellenistic Age, is today widely recognized by the archaeological research. A complex of fragments, some of them little known or unpublished, discovered at La Figuretta near Pisa in 1987, is here discussed. These artifacts document a special kind of funerary sema consisting of one base decorated with seated rampant lions and a superposed cippus, attested so far by only two other specimens: the marble piece of the Bardini Museum in Florence and the Cippus carved in sandstone from Settimello (Fiesole). The decoration of the basis (or bases) from La Figuretta shows images of Sirens. The style of the lions and of these figures allows a dating in the last three decades of the VI cent. B.C. We can assume that in Pisa a ‘bottega’ of marble workers was active at the end of the archaic age, and that were working here also some Greek sculptors, maybe from the Anatolian coast.


Garments for a goddess? Apropos of an inscribed loom weight from segesta
[pagg. 57-73]
The present paper discusses a loom weight with a Greek inscription, recently discovered during the study of the loom weights from Grotta Vanella at Segesta. Following the re-examination of the material culture remains the authors 1) describe the context from which the weight was recovered, 2) discuss the typology, decoration and function of the tool, and 3) hypothesize the type and quality of cloth produced thanks to experimental analysis. The available epigraphic and linguistic evidence shows that the inscription fits well into the general pattern of the pottery “graffiti” from the same cave, suggesting that they were either written by the same hand, or belong to the same writing tradition. Given the above premises the inscription should be attributed to the sacred area of Monte Barbaro. Despite our very limited knowledge of the Elymian language, the inscription is undoubtedly votive. This new inscription is important for the reconstruction of the Elymian language because it confirms some data already suggested from the study of other Elymian documents.


Un ritratto di Tolomeo III Evergete dal Museo Nazionale di Oslo: una nuova evidenza relativa al Basileus Ptolemaios
[pagg. 75-80]
This paper describes the unpublished portrait of a young man from Asia Minor (?) at present in the collections of Oslo National Museum, and proposes its identification. According to many physiognomic elements, and a detailed care in the manufacturing of the eyes, mouth, etc., the head can be considered a real portrait more than an idealized figure. According to both coinage representations and Ptolemaic royal portraits tradition it should be identified as that of Ptolemy III Euergetes (246-222 BC). There are elements suggesting that the portrait was made during the third century BC in Alexandria as a part of Ptolemäergalerie, judging from the powerful character of the image. We can suggest that the Oslo head was part of a dynastic statuary group from a public or private unknown building in Asia Minor.


The arch at Pavia (Ticinum)
[pagg. 81-85]
The scope of this paper is to examine the chronology of the dedications on the Roman arch of Ticinum, and demonstrate that four (Nero, son of Germanicus, Drusus, son of Tiberius, Drusus, son of Germanicus, and Claudius) had been added after the construction of the monument, in 7/8 A.D., after the death of Germanicus (19 A.D.).


Monumenti altinati da Torcello: la documentazione archeologica
[pagg. 87-92]
The physiognomy of preroman Altino remarkably changed in the last twenty years. The archaeological excavations of the sanctuary of the god Altino allowed to post-date to the origin of the city to the end of Bronze Age, between the XIth and Xth century B.C. The typologic study of what has been found, particularly bronze and pottery objects discovered in many countries, confirm that many preroman items exposed in the Torcello Museum come from Altino. The present paper also takes into consideration a group of roman monuments probably coming from Altino, as can be argued by archive documents or stylistic comparisons.


Monumenti altinati da Torcello. 1. L’urna cineraria di Cusonia Posilla
[pagg. 93-106]
This article focuses on an inscribed funerary urn kept in the deposits of the Kunsthistorisches Museum in Vienna. The monument was first seen at Torcello, in the northern Venetian lagoon, in the second half of the 15th century and is likely to come from the nearby Roman site of Altinum. This is confirmed by stylistic analysis, as well as by the epigraphic evidence. It is one of the few limestone urns from this region for which both the square base and the half-round lid (topped by a small reclining dog) are preserved. The inscription records that the monument was erected by order of a woman, named Cusonia Posilla (daughter of Marcus Cusonius), for herself, her mother Passena Enoclia (daughter of Ostus), and a freedwoman simply named Cusonia. Onomastic analysis reveals a complex geographic background for these individuals. While most names appear to be of local (either Venetic or Celtic) origin, the Passeni (or Passieni) are mainly attested in central Italy (Umbria and Rome). The overall features of the urn suggest a date in the Augustan/Tiberian period. The second part of the article reconstructs the stages of the long journey that brought the object to its current location. After being seen in the bishop’s palace at Torcello in the last decades of the 15th century, the urn reappears in Venice in the early 18th century. At that time it belonged to the patrician family of the Gussoni, who claimed to descend from the Roman Cusonii. At the end of the 18th century the monument was acquired by Tommaso Obizzi for his antiquarian collection in the celebrated Cataio castle in the Euganean hills. In the 19th century the building came into possession of the Habsburgs, who eventually transferred the funerary urn to Vienna, along with the greater part of the treasures formerly owned by the Obizzi.


La «Collezione Fagan», le sculture di Tindari e la nascita del Museo dell’Università di Palermo
[pagg. 109-127]
The purchase of the «Fagan’s marbles» (1819) was a turning point in the birth of the Archaeological Museum of Palermo (Museo dell’Università) not so much because of its intrinsic value, but because the debate fostered in Sicily by the «Fagan affair» articulated the need for a more effective system for preservation of cultural heritage. A systematic review of the archival documents and 19th century literature, and of the statues and inscriptions said to be from the Fagan collection, from Fagan’s own excavations at Tyndaris (1809), and generically from Tyndaris, allows us to identify the ancient marbles found in Tyndaris both by Fagan and in other circumstances (later scattered and confused), and their findspot. It is a large ensemble of Roman statues (many of which in a fragmentary state) and honorary inscriptions, some of which already known in 18th century and moved between 1815-1820 to the new Museo dell’Università, that in the same time received also the «Fagan’s marbles». These latter are all of the same origin (except for five reliefs from Greece, among which is a fragment of the Parthenon frieze), like a few pieces collected by the Barone Sciacca della Scala at Tyndaris, and others which were found there near the «Basilica» in mid 20th century excavations (stored in the local Antiquarium). The ancient reports, and especially the short report written by R. Fagan himself, confirm that the sculptures and the inscriptions were, indeed, discovered in the porticoed complex adjoining the ‘Basilica’ (probably functioning as a monumental entrance hall) where an imperial statue group was displayed, the largest one known so far from Sicily.


Sui gessi nell’Ottocento. I Galati di Venezia
[pagg. 129-139]
This paper retraces the story of the plaster casts of the three sculptures of the so-called Pergamene «Little Barbarians » preserved at the National Archaeological Museum of Venice. Commissioned in 1865 by Heinrich Brunn, the director of the German Institute of Archaeology, they were made in Venice by Eugenio Tombola thanks to Giuseppe Valentinelli, the librarian of the Marciana library. The article examines in detail the letters from Brunn to Valentinelli and the official files concerning the process of execution of the plaster casts, paying special attention to those at present stored in European Museums.


I disegni “egiziani ” inediti di Girolamo Segato (1792-1836)
[pagg. 141-152]
This paper deals with new discoveries about Girolamo Segato, a XIXth century traveller from Belluno. Unpublished drawings regarding his life in Egypt (1818-1823) are presented for the first time. They come from unpublished manuscripts kept in the Libraries of Lucca and Siena. Their importance resides both in the opportunity of: 1) studying artistic techniques and new details, 2) comparing lost sketches and drafts with their final version.

Iasos e il suo territorio. Atti del convegno internazionale per i cinquanta anni della Missione Archeologica Italiana (Istanbul, 26-28 febbraio 2011),

a cura di D. Baldoni, F. Berti, M. Giuman, Roma 2013 (F. Curti) [pagg. 155-158]

Kroton. Studi e ricerche sulla polis achea e il suo territorio. Atti e Memorie della Società Magna Grecia,

Quarta Serie V, 2011-2013), a cura di R. Spadea, Roma 2014 (M. R. Luberto) [pagg. 158-161]

Sacrum Facere. Atti del II Seminario di Archeologia del Sacro, Contaminazioni: forme di contatto, traduzione e mediazione nei sacra del mondo greco e romano (Trieste, 19-20 aprile 2013),
a cura di F. Fontana ed E. Murgia, Trieste 2014 (G. Bandelli) [pagg. 161-165]

Medma. Colonia di Locri Epizefiri

G. Lacquaniti, Tropea 2014 (A. Cannataro) [pagg. 165-167]

La necropoli occidentale di Castiglione di Ragusa (Sicilia): Scavi 1969-1971

L. Mercuri, «Monumenti Antichi» 69, s.m. 14, Roma 2012 (L. Agostiniani) [pagg. 168-170]

L’Occident Grec de Marseille à Mégara Hyblaea

S. Bouffier, A. Hermary edd. (éditions errance- Centre Camille Jullian) Aix en Provence 2013 (M. Albertocchi) [pagg. 170-172]

Memorie dal passato di Iulia Concordia. Un percorso attraverso le forme del riuso e del reimpiego dell’antico

E. Pettenò, F. Rinaldi, Fondazione Antonio Colluto - Portogruaro 2011 (L. Sperti) [pagg. 173-175]

I Longobardi del Sud

a cura di Giuseppe Roma, Roma 2010 (S. Gelichi) [pagg. 176-177]