30
Roma y las provincias: modelo y difusión I Editoras Trinidad Nogales Isabel Rodà

Georgia Aristodemou-Modelo y Difusion

Embed Size (px)

Citation preview

Page 1: Georgia Aristodemou-Modelo y Difusion

Roma y las provincias:modelo y difusión

I

I

EditorasTrinidad Nogales

Isabel Rodà

Rom

a y

las

prov

inci

as: m

odel

o y

difu

sión

Editor

as:

Trin

idad

Nog

ales

- Isa

bel R

odà

HISPANIAANTIGUA

SerieArqueológica

HISPANIA ANTIGUA

Collana diretta da

Julián GonzálezUniversidad de Sevilla

Serie Histórica 1. Eustaquio Sánchez Salor Historiografía latino-cristiana. Principios,

contenido, forma.

2. Julián González Epigrafía Jurídica de la Bética.

3. AA.VV. El Cardenal Margarit i l’Europa

quatrecentista.

4. Julián González- Pilar Pavón Torrejón Adriano emperador de Roma.

5. Julián González- Pilar Pavón Torrejón Andalucía romana y visigoda. Ordenación y

vertebración del territorio.

Serie Arqueológica

1. Trinidad Nogales- Julián González Culto Imperial: Política y Poder.

2. Trinidad Nogales- José Beltrán Marmora Hispana: explotación y uso de los

materiales pétreos en la Hispania Romana.

3. Trinidad Nogales- Isabel Rodà Roma y las provincias: modelo y difusión.

En Mayo de 2009 se celebraba en Mérida el XI Coloquio Internacional de Arte Romano Provincial, bajo el lema “Roma y las provincias: modelo y difusión”. Era la primera vez que la Península Ibérica acogía este tipo de Coloquios. Se unieron en el esfuerzo el Departamento de Investigación del Museo Nacional de Arte Romano (MNAR-Ministerio de Cultura) y el Instituto Catalán de Arqueología Clásica (ICAC-Generalitat de Catalunya).

Hubo una masiva respuesta internacional, y especialmente de los investigadores hispanos, portugueses y españoles. El XI Coloquio discurrió en un agradable y productivo ambiente científi co, y las sesiones académicas se completaron con unas actividades complementarias en el marco del Peristilo del Teatro Romano de Augusta Emerita, el Museo Nacional de Arte Romano y varios edifi cios históricos emeritenses. Tras las sesiones científi cas se visitaron dos ejemplos del patrimonio hispano, las ciudades Patrimonio de la Humanidad de Evora (Portugal) e Itálica (Sevilla).

Se culmina el objetivo fi nal: lograr que la ciencia quede plasmada en unos volúmenes monográfi cos que sirvan para el futuro de herramienta imprescindible de estudio. Dos volúmenes que recogen el papel de Roma en los territorios provinciales y viceversa, el notable protagonismo que las provincias jugaron en el concierto del Imperio.

Dado el elevado número de participaciones, se han editado dos volúmenes, que responden a las divisiones territoriales; el primero, se ocupa de las provincias no hispanas, dejando el segundo para la Península Ibérica y los trabajos presentados en formato poster. Todos los artículos se han procurado cuidar al máximo, aunque sólo sus autores son responsables de los contenidos de sus textos y de sus imágenes. Agradecemos a todas las entidades y participantes su compromiso, sus ágiles respuestas a los plazos establecidos y su interés en que esta empresa, de todos, llegara a buen fi nal.

JUNTA DE EXTREMADURAVicepresidencia Segunda, Consejería de Economía,

Comercio e Innovación

Con el apoyo de:

Page 2: Georgia Aristodemou-Modelo y Difusion
Page 3: Georgia Aristodemou-Modelo y Difusion
Page 4: Georgia Aristodemou-Modelo y Difusion

Edición del volumen:Trinidad NogalesIsabel Rodà

Coordinación editorial:María José Pérez del Castillo

Diseño y maquetación: Ceferino López

Proyecto PRI06B286Foros Romanos de Extremadura. Análisis y Difusión del Patrimonio Extremeño.Vicepresidencia Segunda y Consejería de Economía, Comercio e Innovación de la Junta de Extremadura.

Proyecto PRI09A140Arte Romano en Extremadura I. Creación de modelos en el occidente hispano. Vicepresidencia Segunda y Consejería de Economía, Comercio e Innovación de la Junta de Extremadura.

Proyecto HAR2009-08727 Programas decorativos en Lusitania romana: origen y evolución. Ministerio de Ciencia e Innovación.

GRUPO DE ESTUDIOS DEL MUNDO ANTIGUO HUM-016

Proyecto HAR2008-04600Explotación, uso e intercambio de materias primas inorgánicas en el norte de Hispania y los puertos de Roma.Ministerio de Ciencia e Innovación. Proyecto HAR2009-10798Antiguo o moderno. Encuadre de la escultura de estilo clásico en su periodo correspondiente.Ministerio de Ciencia e Innovación.

XI COLOQUIO INTERNACIONAL DE ARTE ROMANO PROVINCIALInstituciones Organizadoras:

Instituciones Colaboradoras:

Hispania Antigua, collana diretta da Julián González, Universidad de Sevilla - Departamento de Filología Griega y Latina.

Roma y las provincias: modelo y difusión.(Hispania Antigua, Serie Arqueológica, 3)

ISBN 978-88-8265-602-7

Copyright 2011 © “L´ERMA” di BRETSCHNEIDER Via Cassiodoro, 19 – 00193 Romahttp://www.lerma.it

Tutti diritti riservati. É vietata la riproduzione di testi e illustrazioni senza il permesso scrittto dell´Editore.Los textos e ilustraciones de este volumen son responsabilidad de sus respectivos autores.

Impresión: Artes Gráficas Rejas (Mérida).Fotografía cubierta: Cabeza velada de Augusto. Museo Nacional de Arte Romano. Fotografía: Ceferino López.

Page 5: Georgia Aristodemou-Modelo y Difusion

Roma y las provincias:modelo y difusión

Trinidad NogalesIsabel RodàEditoras

Vol. I

Page 6: Georgia Aristodemou-Modelo y Difusion
Page 7: Georgia Aristodemou-Modelo y Difusion

Índice

Page 8: Georgia Aristodemou-Modelo y Difusion
Page 9: Georgia Aristodemou-Modelo y Difusion

VOLUMEN I

17 Presentación

CONFERENCIA DE INAUGURACIÓN

23 Pilar león-castro alonso: Arte romano provincial: nuevo enfoque y valoración.

ITALIA, REGIO X

43 lucrezia ungaro: Il cantiere del Foro di Augusto, luogo di sperimentazione e modello formale.

63 antonioMonterroso: Dos imágenes simbólicas. Las estatuas de las puertas regias de los teatros de Marcelo y Arles.

71 Paolo Barresi: La “colonna coclide” di Catania: una testimonianza delle officine marmorarie neoattiche in Sicilia.

79 danieleMalfitanay carMela franco: “Archeologia dell’artigianato” nella provincia Sicilia: Nuove prospettive di indagine dal “Roman Sicily Project: ceramics and trade ”.

93 Paolo casari: Iuppiter Ammon e Medusa nella decorazione architettonica forense dell’Adriatico nordorientale.

101 fulviaciliBerto: Viri togati: forme di auto-rappresentazione delle élites locali ad Aquileia.

111 erwin PochMarski: Die girlandentragenden Eroten vom Forum in Aquileia. Reliefs zwischen der stadtrömischen und der provinzialrömischen Kunst.

121 vesnagirardiJurkić: Statues of Roman Emperors in Pula, Croatia.

129 kristinadžin: Architectural Decoration of the Capitoline Temples in the Roman Colony Iulia Pola and the Municipality of Nesactium.

137 alka starac: Roman sculpture in Pula: the first results of petrographical analysies.

ORIENS

149 georgiaa.aristodeMou: Sculptured decoration of monumental nymphaea at the eastern provinces of the Roman Empire.

161 ilonaskuPinska-lovset: The Roman Period Funerary Portraiture in Provincia Syria. A Question of Social Functionality.

169 filiPPoMasino y giorgiosoBrà: A monumental altar from the Hadrianic age at Hierapolis in Phrygia.

Page 10: Georgia Aristodemou-Modelo y Difusion

183 eManueleM. ciaMPini: Riflessi imperiali in Sudan: i complessi palatini del Gebel Barkal (Napata).

GALLIAE

193 alainBadie,Jean-charlesMoretti,eMManuellerosso y doMiniquetardy: L’ornementation de la frons scaenae du théâtre d’Orange: L’élévation de la zone centrale.

203 dJaMilafellague y renaudroBert: La frise ornée sur l’une des arcades du forum de Vienne: des représentations du dieu taurin à l’époque julio-claudienne.

213 MelanieJonasch: Broterwerb und Weinkonsum. Zur Prominenz des Bechers auf den Grabstelen des römerzeitlichen Burgund.

223 MariannetaBaczek: Mythologische Themen an Grabdenkmälern der Gallia Belgica.

233 Maria-PiadarBlade-audoin: Remarques préliminaires à l’étude des sculptures du sanctuaire gallo-romain de Titelberg (Luxembourg).

241 Markustrunk: Ein neues Relief mit Kampfszenen aus Trier.

251 hannelore rose: Typologie und Realität – Zwei Aspekte römischer Kunst, aufgezeigt am Beispiel der Grabreliefs aus Metz.

GERMANIA

263 titusa.s.M.Panhuysen: The Maastricht gigantomachy capital and its models.

273 alfred schäfer: Votivbleche aus Blei, Silber und Gold. Überregionale Verbreitung und lokale Formensprache.

279 uteklatt: Barbarendarstellungen im Norden des Römischen Reichs. Ein Motiv zwischen öffentlichem Herrschaftsanspruch und dem Repräsentationsbedürfnis Einzelner.

DALMATIA, NORICVM, PANNONIA, MOESIA, THRACIA

291 MirJana sanader: Neue Überlegungen über eine Statue aus Aequum in Dalmatien.

297 Brunanardelli: Il modello della capitale e la produzione glittica in Dalmatia.

305 JasnaJeličić-radonić: Venus Victrix in the Salona Urbs Orientalis.

313 ManfredhainzMann: Die norische Grabstele aus Lebing (Steiermark) und ihre chronologische Einordnung.

323 ante rendić-Miočević: Marble Altars of Cautes and Cautopates from the surroundings of Čakovec in Northwest Croatia.

337 MoJcavoMergoJkovič: Shapes of roman architectonic elements from Poetovio.

Page 11: Georgia Aristodemou-Modelo y Difusion

345 ivanžižek: The Roman Ceramic Arts from Poetovio.

351 MariJaBuzov: The stone monuments from Siscia.

359 ivanaPoPović: Gemma Augustea and Late Antique Marble Relief from Vicinity of Sirmium.

365 annaMáriar.facsády: Statuettes et reliefs de Venus à Aquincum, Budapest.

373 Piotrdyczek: The “odd adventures” of Maximinus Thrax in Novae.

385 aleksandranikoloska: The iconography of Magna Mater on the monuments from the Republic of Croatia.

395 consueloManetta: Sistemi decorativi delle tombe dipinte di età tardo antica e paleocristiana della Bulgaria: una proposta di classificazione tipologica.

DACIA, DARDANIA, GRAECIA

409 exhlale doBruna-salihu: Coiffure of women on the stone monuments in Dardania.

419 MargheritaBonannoaravantinos: Trofei di età romana della Beozia: una base da Livadeià.

429 iPhigeneialeventi: Roman Sculptures from the Sea off the Island of Kythnos, Greece.

AFRICA, AEGYPTVS

439 MatthewM.Mccarty: Beyond models and diffusion, centres and peripheries: religious art in Roman Africa.

449 JoséraMónaJasánchez: Uso político de la religión: estelas de ofrenda del “faraón” Augusto.

463 MyriaMwissa: Embellishing Rome: Imperial consumption of Egypt’s granite Obelisks.

VARIA

473 annarena aMBrogi: Ricezione in ambito periferico e provinciale dei modelli urbani: il caso dei labra marmorei.

485 MihaiBărBulescu: Libera dans les provinces romaines. Une divinité et plusieurs models iconographiques.

495 MichaelJ.klein: Altares en Roma, en Italia y en las provincias. La decoración figurativa de los pulvinos.

503 clairek. lindgren: Meanings and Implications in Changing Depictions of Aphrodite/Venus.

Page 12: Georgia Aristodemou-Modelo y Difusion

511 teodoraolteanu: Aportaciones sobre el prototipo de la Victoria de la Curia Iulia.

519 Beatrice PalMa venetucci: Un modello celebre: le Cariatidi dell’Eretteo a Roma tra spazio pubblico e privato, loro diffusione in Spagna.

531 annaPaule: Some fragments of Roman equestrian bronze statues: an overview about their origin and diffusion.

541 MarÍaisaBelrodrÍguezlóPez: Iconografía de Océano en el Imperio Romano: el modelo metropolitano y sus interpretaciones provinciales.

551 alBertosevillaconde: Difusión de los modelos clásicos en la iconografía del poder a través de la Historia.

559 faBrizio slavazzi: Circolazione di tipi scultorei fra Roma e le province: su alcune copie di opere di età classica e sul loro “monopolio”.

567 Monika verzár-Bass: Acheloos associato a Juppiter Ammon nell’edilizia pubblica romana.

VOLUMEN II

HISPANIAE

HISPANIA: BAETICA

595 anaruizy desideriovaquerizo: Topografía y espacios funerarios en Baetica: matices provinciales.

605 lourdesroldángóMez: Esculturas romanas de Carteia (San Roque, Cádiz). Las excavaciones de Julio Martínez Santa-Olalla en los años cincuenta.

617 Mercedesoria segura: Un nuevo taller hispalense de lucernas. Modelos y difusión en ámbito provincial.

627 isaBellóPezgarcÍa: Miscelánea de piezas “inéditas” del taller de Vrso (Osuna, Sevilla).

635 ireneMañasroMero: La creación de la escuela musivaria del Guadalquivir: modelos itálicos e interpretación regional.

HISPANIA: LVSITANIA

645 PedroMateos,antonioPeña,arMinstylow y ángelventura: Novedades arquitectónicas y epigráficas sobre el recinto de culto imperial provincial de la Lusitania.

653 trinidadnogalesBasarrate: Plástica romana emeritense en el contexto de Hispania: modelos y difusión.

Page 13: Georgia Aristodemou-Modelo y Difusion

671 luÍsdasilvafernandes: Placas funerarias decoradas del conuentus Emeritensis. Rutas de difusión de un modelo.

681 virgÍlio hiPólito correia: Metropolitan artistic models in Lusitania: the examples of the domestic architecture of Conimbriga (Portugal).

693 Joséesteves y luÍsJorgegonçalves: The sculptors’ technical mastery: two examples in sculptures of Myrtilis and of Conimbriga.

699 filoMena liMão: Los Capiteles de Beja (Pax Julia) y Mértola (Myrtilis): expresión de la adaptación de modelos romanos en el sur de Lusitania en el contexto romano de la Antigüedad Tardía (siglos III y IV).

707 linotavaresdias: Urbanization and architecture on the outskirts of the Roman Empire.

715 Jesúsacero Pérez y antonio Pizzo: Puentes Romanos de Lusitania: Arte y Técnica.

727 antónio carvalho y Jorge freire: Cascais y la Ruta del Atlántico. El establecimiento de un puerto de abrigo en la costa de Cascais. Una primera propuesta.

HISPANIA: TARRACONENSIS

739 JoséMarÍaBlázquezMartÍnez y MarÍa PazgarcÍa-gelaBert Pérez: Arte hispano romano en el noroeste de la Península Ibérica.

753 José Manuel costa garcÍa: Revisitando los asentamientos militares en la antigua Galicia, ¿centros de producción o de consumo artístico?

763 aureliaBalseirogarcÍa y Mªofeliacarnerovázquez: Muestras escultóricas del arte provincial romano en el Museo Provincial de Lugo.

771 santiagoMartÍnezcaBallero: El Foro romano de Termes (Hispania Citerior). Proceso de municipalización y difusión local de modelos arquitectónicos.

787 cesáreo Pérezgonzález, eMilio illarreguigóMez y PaBloarriBas loBo: Nuevos hallazgos de estatuaria en Tiermes.

797 oliviav.reyeshernando y cesáreo Pérezgonzález: Cauca: arquitectura monumental tardoantigua.

807 seBastián rascón Marqués y ana lucÍa sánchez Montes: Modelos arquitectónicos de basílicas y edificios administrativos en el interior de España. Reflexiones a partir de la ciudad romana de Complutum.

817 MªángelesgutierrezBeheMerid: La interpretación de los modelos urbanos en la ciudad de Clunia.

829 carMenMarcks-JacoBs: Zur Ikonographie einer Kitharaspielerin aus Segobriga.

Page 14: Georgia Aristodemou-Modelo y Difusion

839 JavierandreuPintado,MarÍalasuénalegre,ireneMañasroMero y ángela.Jordánlorenzo: Novedades de arte romano provincial en territorio vascón: un mosaico marino inédito procedente de Campo Real/Fillera (Sos del Rey Católico/Sangüesa).

851 Javierá.doMingo,anagarrido y ricardo Mar: Talleres y modelos decorativos en la arquitectura pública del noreste de la Tarraconense en torno al cambio de era: el caso de Barcino, Tarraco y Auso.

863 MarclaMuà,davidvivó,ricardoMar y JoaquÍnruizdearBulo: La fachada oriental de la basílica forense de Tarraco. El monumento de los cautivos y el chalcidicum de culto imperial.

873 JosePMariaMaciassolé,andreuMuñozMelgar,inMateixellnavarro y JoanMenchon Bes: Nuevos elementos escultóricos del recinto de culto del Concilium Provinciae Hispaniae Citerioris (Tarraco, Hispania Citerior).

887 JordilóPezvilar,lluÍsPiñolMasgoret y vÍctorrevillacalvo: Modelos itálicos y artesanado provincial: las lastras Campana de Tarraco y su territorio.

897 Montserratclaveria: Recepción de modelos y creaciones locales en el relieve funerario del nordeste hispano.

907 roMana erice lacaBe: Sobre la iconografía de las Musas en Hispania: un pequeño aplique de bronce procedente de Bulbuente (Zaragoza).

917 José Miguel noguera celdrán, MarÍa José Madrid Balanza y alicia fernández dÍaz: Nuevas pinturas murales en Carthago Noua (Cartagena. Hispania Citerior): los ciclos antoninianos del Edificio del atrio.

927 santiagoMoreno,Margarita orfila,Mª esther chávez y Miguel ángelcau: Las áreas residenciales de Pollentia (Alcudia, Mallorca) y sus materiales figurados en soportes plásticos.

VARIA HISPANICA

939 zeyneP aktüre: Theatre-construction in the cultural milieu of the Roman provinces of the Iberian Peninsula: precedents and antecedents.

951 Beatricecacciotti: Riflessi della metropoli nella diffusione dei culti misterici nella Hispania romana.

963 luis Baena delalcázar: La tradición clásica en las matronas sedentes de Hispania.

971 Pilar fernández uriel,Marta Bailón garcÍa y teresa esPinosa: Análisis histórico e iconográfico de Fortuna Dea en los lararios provinciales hispanos.

981 crucesBlázquezcerrato: Paralelismos y divergencias entre la amonedación hispana provincial y la metropolitana.

Page 15: Georgia Aristodemou-Modelo y Difusion

CONFERENCIA DE CLAUSURA

991 eugenio la rocca: Il foro di Augusto e le province dell’Impero.

POSTERS

1013 JavierandrésPérez: Roma Aeterna. Concepto, iconografía y difusión en las provincias del Imperio.

1019 MacarenaBustaManteálvarez,eulaliagiJóngaBriel y anaMarÍaolMedograJera: A new terracotta mould in Augusta Emerita.

1025 oliviachávarriureta: El culto de Minerva en Hispania: custos urbis de Roma y las provincias.

1031 estherchecagóMez: Vidrio romano en Polonia.

1035 raMoncoll e isaBelrodà: Ulises en un plato de africana C hallado en Premià de Dalt (Barcelona).

1039 christine ertel: Architekturkopien und Imagines clipeatae im Dienste des Kaiserkults.

1047 franciscoJavierherasMora y antonioPeñaJurado: Un taller de reciclado de mármoles en Mérida. Su valoración histórica a través de los “residuos” de talla.

1053 esPeranzaMartÍnhernández: Nuevas formas cerámicas y talleres militares del noroeste de la Península Ibérica. El caso de León y Lancia.

1061 PilarMerchán, santiago salaManca, antonioadán y trinidadnogales: 3D digitalization of large sculptural pieces. Restitution of Aeneas Group.

1067 ruiMorais: Dos bronces de entidades tutelares de la ciudad romana de Bracara Augusta.

1075 angelaPalMentieri: La necropoli romana monumentale di Abella. Diffusione del tipo di tomba ‘a Conocchia’ in Campania.

1081 reBecacarlotarecioMartÍn: Deconstruyendo a Diana, una escultura romana en el Museo Cerralbo.

1087 claudinaroMeroMayorga: Iconografía mitraica en Hispania: semejanzas y diferencias con los modelos de la metrópolis.

1091 analucÍasánchezMontes: Una introducción a la pintura mural romana de la Casa de los Grifos. Complutum. Alcalá de Henares, Madrid.

1095 Begoñasolerhuertas y JoséMiguelnogueraceldrán: Urban development and monumentalisation in the roman colony Vrbs Iulia Nova Karthago (Cartagena, Hispania Citerior).

Page 16: Georgia Aristodemou-Modelo y Difusion
Page 17: Georgia Aristodemou-Modelo y Difusion

— 149 —

sculPtured decoration of MonuMental nyMPhaea at theeasternProvincesoftheroManeMPire1

Georgia A. Aristodemou

Monumental fountain structures, built by emperors and wealthy patrons in cities throughout the Roman Empire, have always been striking features of the roman architecture. They were designed either as a large basin of water or as an elaborate multi-storied edifice with a columnar façade in the mode of a theatrical scaenae frons, sometimes with projecting side wings equipped with pavilions2. These imposing edifices were centrally located and functioned as landmarks in major cities of the roman East3. They housed sculptural assemblages that often interacted with the flowing water to create innovative kinetic displays, carefully arranged to highlight the prestige of the benefactor and the local community4.

This paper’s purpose was to approach some issues, such as the definition of the term fountain figure, its position and function in the monument, the selection and in some cases the interpretation of the sculptural display programs.

Fountain Figures. A sculpted figure is characterized as a Fountain Figure when it bears visible technical features (e.g. a water pipe channel) in order to function as a spout, and at the same time it has been excavated at a nymphaeum5. A reclining river god from the Hydrecdocheion of C. Laecanius Bassus in Ephesus6, a seated female figure holding a spouting bird from the Miletus Nymphaeum7 or an

1 This paper derives from the author’s PhD Diss. completed at the Aristotle University of Thessaloniki (Greece). It is based on the study of ca. 400 sculpture finds from fountain structures of the eastern roman provinces. I express sincere appreciation to my Professor, Th. Stefanidou-Tiveriou, for she had the profound insight to construct the perfect lay out of a project among a confused flow of ideas in my mind.2 For a discussion on the architectonic forms and typology of roman nymphaea, see Neuerburg (1960); Letzner 1990, 17-216; Gros 1996, 418-444; Ginouvès 1998, 92-100; Agusta-Boularot 2001; Dorl-Klingenschmid 2001, 21-61; Longfellow 2005, 334-342. Aristodemou 2008, 15-28. See also, Parra, M. C., (1976): “Per la definizione del rapporto fra teatri e ninfei”, StClOr 25: 89-118; Burrell, B. (2006): “False Front: Separating the Aediculated Fassade form the Imperial Cult in Roman Asia Minor”, AJA 110: 437-469.

3 Dorl-Klingenschmid 2001,149-150; Bauer 1996, 392; Uğurlu 2004, 29-33. 4 Berg, D. (1994): “Fountains and Artistic Water Displays in Classical Antiquity. Origins and Development from 700 to 30 B.C.” Arch.Thesis, University of Texas at Austin.5 Aristodemou 2008, 88-93. Previous studies on fountain figures: Curtius 1876; Lange 1920; Kapossy 1969; Kent Hill 1974, 107-108; Kent Hill 1981, 84ff; Söldner 1986, 295-298; Glaser 1987, 103-113; Fuchs 1987, 141-143; Letzner 1990, 258-262.6 Ephesus, Archaeological Museum, Inv. Nr.1/36/72: Eichler 1963, 58; Kapossy 1969, 23; Fleischer 1972-75, 422. Aurenhammer 1990,104, cat.no.85, pl.60b; Klementa 1993,146, cat.no.V1.7 Constantinople, Archaeological Museum, Inv.Nr.2006: Hülsen 1919, 55, nr.1, fig.1; LIMC II (1984) 94 nr.891, sv. Aphrodite (A. Delivorias).

Abstract

Monumental nymphaea are centrally located in major cities of the roman East and are usually financed by the Emperor or wealthy patrons. Their sculptural assemblages consist of mythological figures, genre sculpture and portraits interpreted in relation to water: some figures connect to water directly (Poseidon, water deities), others associate with water indirectly, through their deeds (Dionysus, Apollo, Heracles), while others reflect local myths and cults. Imperial and private portraiture underline the imperial power and the prestige of local Elite. Monumental nymphaea advertise the city’s prosperity while their decoration forms the medium to reconstruct their essential role in a roman city.

Page 18: Georgia Aristodemou-Modelo y Difusion

Sculptured decoration of monumental nymphaea at the eastern provinces of the Roman Empire

— 150 —

Aphrodite statue of the Pudica type from the Philadepheia (Amman) Nymphaeum8 are only three of the numerous examples. Any sculpture with a visible water outlet, ascertaining a spouting function, even without a confirmed provenance is also considered a fountain figure. Such sculptures are a seated Nymph (or Muse?) form Messene9, a sleeping river God from Thasos10 (Fig. 1), or a standing young man holding a water vessel from Thessaloniki11. Statuary groups found inside the water basin debris during a nymphaeum excavation, even without preserving a spouting hole, or statues placed at the upper floors of a multi storey nymphaeum-where they almost never functioned as spouts- are also characterized as fountain figures12.

Technical Features. Fountain figures can be distinguished into two main groups, according to their involvement to the water flow. The main differentiation lies on whether the figure remains intact or it has been perforated.

When there is no direct intervention to the statue itself, water flows from a pipe channel drilled at the plinth or base of the standing, seated or reclining figure13. Among these figures are seated Pans playing the syrinx, seated Nymphs, reclining river Gods, sleeping Erotes14. (Fig. 2) In some cases water streams out from a hole at the statue’s support, which is formed as a tree trunk, an animal or a fish15. (Fig. 3)

8 Amman, Archaeological Museum, No Inv.Nr.: Weber 2002, 512 cat.no D14, pl.155C-E; Riedl 2003, 264, 484 cat.no PH.1.9 Mavromati, Messene (Archaeological Museum Magazine), Inv.Nr.:76: Xagorari-Gleißner 2002, 75-80, fig.1-5.10 Thasos, Archeological Museum, Inv. Nr.�100: Thouvenot, R. (1974/75): “Divinité des eaux”, Thasos, Archeological Museum, Inv. Nr.�100: Thouvenot, R. (1974/75): “Divinité des eaux”, : Thouvenot, R. (1974/75): “Divinité des eaux”, Thouvenot, R. (1974/75): “Divinité des eaux”, BAParis X/XI: 96, fig.2; Klementa 1990, 153, cat.no.V 6; Aristodemou 2008, cat.no.78, pl.12.8.11 Thessaloniki, Archeological Museum, Inv. Nr.895: Despinis et al. 1997, 126-128, cat.no.98, fig. 273-277 (Stephanidou-Tiveriou); Aristodemou 2008, cat.no.81, pl.13.2.12 Kapossy 1969, 10, 57; Kent Hill 1981, 84; Dorl-Klingenschmid 2001, 92, 94; Aristodemou 2008, 88. Kapossy 1969, 10, 57; Kent Hill 1981, 84; Dorl-Klingenschmid 2001, 92, 94; Aristodemou 2008, 88.Aristodemou 2008, 88. 2008, 88.13 Kapossy 1969, 55. Kent Hill 1981, 84-85; Aristodemou 2008, 90-91. Kapossy 1969, 55. Kent Hill 1981, 84-85; Aristodemou 2008, 90-91.Kent Hill 1981, 84-85; Aristodemou 2008, 90-91. 2008, 90-91.14 Aristodemou 2008, 113, 124, 126, 127, 142, 157. For instance, see 1) Aristodemou 2008, 113, 124, 126, 127, 142, 157. For instance, see 1) Aristodemou 2008, 113, 124, 126, 127, 142, 157. For instance, see 1) Pan with a syrinx, Corinth, Archaeological Museum, Inv.Nr.S23853: Robinson 2001, 374-377, fig.8.8.; 2) Sleeping Eros, Delphi, Archaeological Museum, No Inv.Nr.: Marcadé, J. (1993): “Éros endormi à Delphes” In Études de sculpture et d’iconographie antiques, Scripta Varia, 1941-1991, 475-484, fig.1-3. 3.) Reclining river God, Ephesus, Constantinople, Archaeological Museum, Inv.Nr.E.4281: Klementa 1993, cat.noV3, pl.30.59, 31.62.

15 Standing Standing Satyr once holding a flute, Kisamos, Archaeological Museum Inv.Nr.694: Aristodemou 2008, cat.no.372, pl.50.3.

Fig. 1. Sleeping river God. Thasos, Arch. Museum, Inv.Nr.�100. Photo: Courtesy of the IH´ Ephorate of Kavala.

Page 19: Georgia Aristodemou-Modelo y Difusion

— 151 —

georgia a. aristoDeMou

In cases of human or mythological figures (e.g. children, Nymphs, Silens, Satyrs, Erotes) holding animals, birds and fishes, water vessels, wine-skins, or sea-shells, the water flows from a tube running through the animal or the object held by the standing, seated or reclining figure16. In the complexes of the battle between Hercules and the Nemean Lion water runs through the beast’s mouth17. (Fig. 4)

When the figure itself is organically involved with the flow of water the torso is perforated by a pipe, e.g. a child figure from Antioch-on-the-Orontes18. As a result, water spouts from a natural body opening, e.g. mouth, breast or genitals19. Nymphs holding shells constitute a significant group of statues whose torso is horizontally penetrated by a pipe at the lower abdominal20. As a result, the water spouts at a large shell held by the figure at the level of the pudenda (Fig. 5).

16 Aristodemou 2008,91. For instance, see 1) Aristodemou 2008,91. For instance, see 1) 2008,91. For instance, see 1) Crouching Silen,Athens, National Museum, Inv.Nr.7053: Stephanidou-Tiveriou, Th., (1995): “Σιληνός Καθεύδων”, ArchEph: 67-70, πίν.30b-33b. 2) Satyr holding a wine skin, Herakleion, Archaeological Museum, Inv.Nr.46: Aristodemou 2008, cat.no371, pl.50.2.17 Aristodemou 2008, 205-207. For instance see, Isthmia, Archaeological Museum, Inv.Nr. ΙS 405: Sturgeon 1987, 117 cat.no 30, pl.52, 53a.18 Art Museum, PrinstonUniversity, Inv.Nr 2000-38: Michael Padgett J., Ed, (2001): Roman Sculpture in the Art Museum Princeton University, Art Museum, PrinstonUniversity, Inv.Nr 2000-38: Michael Padgett J., Ed, (2001): Roman Sculpture in the Art Museum Princeton University, Art Museum, PrinstonUniversity, Inv.Nr 2000-38: Michael Padgett J., Ed, (2001): Roman Sculpture in the Art Museum Princeton University, , PrinstonUniversity, Inv.Nr 2000-38: Michael Padgett J., Ed, (2001): Roman Sculpture in the Art Museum Princeton University, PrinstonUniversity, Inv.Nr 2000-38: Michael Padgett J., Ed, (2001): Roman Sculpture in the Art Museum Princeton University, onUniversity, Inv.Nr 2000-38: Michael Padgett J., Ed, (2001): Roman Sculpture in the Art Museum Princeton University, University, Inv.Nr 2000-38: Michael Padgett J., Ed, (2001): Roman Sculpture in the Art Museum Princeton University, Inv.Nr 2000-38: Michael Padgett J., Ed, (2001): Roman Sculpture in the Art Museum Princeton University, Inv.Nr 2000-38: Michael Padgett J., Ed, (2001): Roman Sculpture in the Art Museum Princeton University, 2000-38: Michael Padgett J., Ed, (2001): Roman Sculpture in the Art Museum Princeton University, Museum Princeton University, 224-225 cat.no74.19 Kapossy 1969, 54; Kent Hill 1981, 90-91; Aristodemou 2008, 92. 20 Kapossy 1969, 54-55; Aristodemou 2008, 92, 149. Kapossy 1969, 54-55; Aristodemou 2008, 92, 149.Aristodemou 2008, 92, 149. 2008, 92, 149.

Fig. 2. Sleeping Eros. Delphi, Arch. Museum, Inv.Nr. Photo: G. Aristodemou.

Fig. 3. Standing Satyr. Kisamos, Arch. Museum, Inv.Nr.694. Photo: Courtesy of the KE´ Ephorate of Chania.

Page 20: Georgia Aristodemou-Modelo y Difusion

Sculptured decoration of monumental nymphaea at the eastern provinces of the Roman Empire

— 152 —

Some sculptures have been converted into fountain figures at a later phase21. In such cases water often spouts awkwardly, as shown in a child figure holding a rabbit from Isthmia22. A group depicting the blinding of Polyphemus is remarkable23. Dated at the 1st century A.D. it was reused in the Domitian Fountain in Ephesus after having been converted to function as a spout and to decorate a fountain structure of a later date24.

Reconstruction. Reconstructing the original position of a sculpture in a monument’s façade is a challenging process. A general difficulty is that most monumental nymphaea preserve only a small part of their original sculpture assemblage25. Moreover and although find-spot data is preserved for many examples, the original settings are often difficult to establish, as many of these where found in

21 Aristodemou 2008, 92-93. Aristodemou 2008, 92-93.Aristodemou 2008, 92-93. 2008, 92-93.22 Isthmia, Archaeological Museum, Inv. Nr. IS 136: Sturgeon 1987, 116 cat.no.26, pl.54c, f.23 Ephesus, Archaeological Museum. Inv. Nr.1093, 1557, 1558, 1559, 1560, 1561, 1562, 14/38/72: Andreae 1977, 1-11; Andreae 1982, 69-90; Andreae 1985; Aurenhammer 1990, 168-177 cat.no.147.1-19, pl.102-109; Alvino 1996, 200-209; Andreae 1999a,162-177; Andreae 1999b,531-533; Longfellow 2005, 97-102.24 The reuse of sculpture and architectural elements in civic monuments is well documented in late antiquity. The Fountain of Domitian provides visual connection with the classical past and monumentalizes the governor’s connections with the emperor in Rome, Longfellow, B. (2009): “The Reuse of Statues in Ancient Roman Fountains”. A Public Lecture given at Creighton Univercity (27 March 2009). Also, Auinger and Rathmayr (2007). 25 Richards 2008, 270. Richards 2008, 270.

Fig. 4. Heracles and the Nemean Lion. Isthmia, Arch. Museum, Inv.Nr.IS405. Photo: Sturgeon 1987, pl. 52.

Fig. 5. Nymph holding see-shell. Corinth, Arch. Museum, Inv.Nr.2063. Photo: G. Aristodemou.

Page 21: Georgia Aristodemou-Modelo y Difusion

— 153 —

georgia a. aristoDeMou

late, or poorly understood contexts, or they lack technical features, e.g. pipe holes, that would help restore the figure’s position at the monument26. Sometimes the monument itself presents us with helpful information. For example, the niches of the so called Πα Nymphaeum in Nikopolis (Epirus) preserve the square shaped holes which indicate the exact spots where the fountain statues once stood27. Although there is no evidence of the monument’s sculptural assemblage, the architectural remains provide proof of their existence.

Three equally important and indicative factors are a sculpture’s finding spot, its iconography and its function28. According to B. Kapossy, the higher a figure stands in the hierarchy of the Olympian Gods the lesser is connected with the water function29. This hierarchy can by observed in the display program of a nymphaeum since the most important figures tend to be placed at the upper floors. Furthermore, it is usually considered that sculpture depicting water related themes are normally placed in contact to the water of the basin below. Water spouting statues are usually placed at the lower floor, so that the water from the shell, the vessel or the wine-skin held by the figure runs directly into the basin below30. The same also holds for the seated and reclining figures. In this way the figure correlates to the monument visually, organically as well as thematically. A statue’s preservation state is also suggestive, since a well preserved statue assumingly stood at a lower storey and, respectively, a statue broken in many pieces had most possibly fallen from above.

The Miletus Nymphaeum, a three-storied lavishing monument, presents a typical arrangement of sculpture in a roman monumental nymphaeum31. Based on the archaeological data, the excavators proposed that seated, reclining and water related (by function or subject) figures stood at the first floor in order to have direct connection with water. It is not a coincidence that exactly these sculptures are the best preserved among the others found at the monument. At the second and third floor, excavators placed figures of local Gods and heroes, as well as the imperial and private portraits. Exactly these statues were broken in many pieces, indicating that they had fallen from a high altitude.

Iconography. The sculptured decoration of a monumental nymphaeum derives from a large repertoire of decorative themes, known from the majority of public roman edifices32: 1) Idealistic-mythological figures. This group includes Olympian and local Gods, minor deities and mythological figures related to water and nature33. 2) Genre sculpture and animal figures34. Among them are child figures and everyday people (e.g. fishermen, shepherds, elders). 3) Imperial and private portraits. This group consists of honorific statues of the Emperor and his family members, as well as portraits of Roman and local office-holders, priests, military commanders and local aristocrats35. These individuals have usually been financially involved to the construction or the embellishment of the monument.

26 Aristodemou 2008, 3, 93-95. Aristodemou 2008, 3, 93-95. Aristodemou 2008, 3, 93-95. 2008, 3, 93-95. 27 Walker 1979, 140; Zahos, K. and Georgiou, A. (1997): “Ν��ός Π���ε�ας”, Walker 1979, 140; Zahos, K. and Georgiou, A. (1997): “Ν��ός Π���ε�ας”, Ν��ός Π���ε�ας”, Π���ε�ας”, Π���ε�ας”, ”, , ΑΔ 52: 576-600; Chrysostomou and Kephallonitou 2001, 29-33, fig.22-25; Longfellow 2005, 174-180.28 Letzner 1990, 260; Aristodemou 2008, 95. Letzner 1990, 260; Aristodemou 2008, 95. Aristodemou 2008, 95. 29 Kapossy 1969, 83. Kapossy 1969, 83.30 Fleischer 1982, 124; Aristodemou 2008, 94. Fleischer 1982, 124; Aristodemou 2008, 94.Aristodemou 2008, 94. 2008, 94.31 Hülsen 1919; Koster, R. (2004): Die Bauornamentik der frühen und Mittleren kaiserzeit In Milet, V: Die Baurornamentik von Milet, 1, 65-Hülsen 1919; Koster, R. (2004): Die Bauornamentik der frühen und Mittleren kaiserzeit In Milet, V: Die Baurornamentik von Milet, 1, 65-; Koster, R. (2004): Die Bauornamentik der frühen und Mittleren kaiserzeit In Milet, V: Die Baurornamentik von Milet, 1, 65-77. Berlin-New York: W. de Gruyter; Aristodemou 2008, 413-414. Also, R. Bol Skulpturen der römischen Kaiserzeit aus Milet, in Funde aus Milet, V,2 (forthcoming). 32 For the sculptural decoration of theaters, see Schwingenstein 1977 and Can Özren 1996; for sculptured decoration in roman thermae, see For the sculptural decoration of theaters, see Schwingenstein 1977 and Can Özren 1996; for sculptured decoration in roman thermae, see For the sculptural decoration of theaters, see Schwingenstein 1977 and Can Özren 1996; for sculptured decoration in roman thermae, see he sculptural decoration of theaters, see Schwingenstein 1977 and Can Özren 1996; for sculptured decoration in roman thermae, see Schwingenstein 1977 and Can Özren 1996; for sculptured decoration in roman thermae, see ; for sculptured decoration in roman thermae, see for sculptured decoration in roman thermae, see Manderscheid 1981; for sculptured decoration in Italian roman villas, see Neudecker 1988. On the Purpose and Setting of Graeco-Roman Art in Italy and the Greek Imperial East, see Vermeule 1977; for the Setting of Greek Sculptures and Garden Sculpture, see Ridgway 1971, Ridgway 1981 and Kent Hill 1981.33 Kapossy 1969, 12-40; Aristodemou 2008, 104-232; On water deities, Becatti, G. 1970/71): “Ninfe e divinità marine. Richerche mitologiche Kapossy 1969, 12-40; Aristodemou 2008, 104-232; On water deities, Becatti, G. 1970/71): “Ninfe e divinità marine. Richerche mitologiche , 12-40; Aristodemou 2008, 104-232; On water deities, Becatti, G. 1970/71): “Ninfe e divinità marine. Richerche mitologiche Aristodemou 2008, 104-232; On water deities, Becatti, G. 1970/71): “Ninfe e divinità marine. Richerche mitologiche Richerche mitologiche iconografiche e stilistiche”, St.Misc. 17: 17-58; Lattimore, St. (1976): The Marine Thiasos in Greek Sculpture (Monumenta Archaeologica, 9); Amedick 2007.34 Kapossy 1969, 41-45, 48-53; Aristodemou 2008, 233-242; Recently on genre sculpture, Kunze 1999; Kunze 2002.35 Kapossy 1969, 46-47; Aristodemou 2008, 251-300; Kapossy 1969, 46-47; Aristodemou 2008, 251-300;Aristodemou 2008, 251-300; For roman portraits in context, Smith 1998; Eule 2001; Fejfer 2008.

Page 22: Georgia Aristodemou-Modelo y Difusion

Sculptured decoration of monumental nymphaea at the eastern provinces of the Roman Empire

— 154 —

Interpretation. The decorative program of a roman nymphaeum can be understood through the interactive relation between sculpture and water. Gods like Poseidon and Aphrodite, mythological figures and water deities like river Gods and Nymphs, or even ordinary people, like fishermen, are directly connected to water because of their watery habitat36. Many of these function as water spouts. However, the majority of figures associate with water indirectly, through their duties and deeds37. Such figures are Dionysus and Apollo and their Thiasoi, Erotes, Olympian Gods (Zeus, Hermes), healing Gods (Asclepius, Hygeia), Eastern Gods (e.g. Isis), heroes (e.g. Heracles). There are also figures whose presence at the monument is interpreted through local myths and cults38. These consist of major or minor Olympian and local gods, heroes and mythical city-founders, whose connection to the city is equally important to their connection with water and they are usually mentioned at the monument’s inscription39. Their presence at the sculptural display program of a nymphaeum expresses the city’s gratitude for the divine protection and stresses the belief that local gods support and sustain not only the imperial family but the citizens too, providing them with all the necessary goods for a prosper life. Additionally, statues of local gods at nymphaea financed by local benefactors underline the city’s confidence and power40.

Imperial and private portraiture follow an almost standardized typology in order to reflect the imperial power and the prestige of local Elite41. Male statues are portrayed in divine or heroic nudity, wearing cuirass, himation, toga or chlamys. The vast majority of the female statues wares chiton and himation, following, more or less closely, figure schemes derived from late classical and Hellenistic statue types (Large and Small Herculaneum Women, Pudicitiae, etc.)42. The figure types were chosen according to the different poses and actions they embodied43.

Display Programs. Sculptures adorning the monumental façades of roman nymphaea deploy according pre-scheduled iconographical programs, which differ between regions and monuments. Each nymphaeum is unique because its construction and embellishment are a combination of various important factors: the wealth and the intentions of the patron, his educational and cultural background, the capability of the architect, along with the local historical, cultural and geomorphologic particularities.

Different decorative programs reflect different purposes: Some nymphaea are targeted on the glorification of the Emperor44. Most of them are financed by the Emperor himself. His image is placed at the most prominent place at the monument, or is visually connected with the flow of water. The Nymphaeum in Argos (Greece) was financed by the emperor Hadrian45. His colossal statue, financed by the city for the imperial visit of 124 A.D., depicts Hadrian in a glorified nudity46. The water flew from a hole at the wall

36 Kapossy 1969, 70; Aristodemou 2008, 303-332. Kapossy 1969, 70; Aristodemou 2008, 303-332.Kapossy 1969, 70; Aristodemou 2008, 303-332. 1969, 70; Aristodemou 2008, 303-332.37 Kapossy 1969, 71; Aristodemou 2008, 326-372. Kapossy 1969, 71; Aristodemou 2008, 326-372.Kapossy 1969, 71; Aristodemou 2008, 326-372. 1969, 71; Aristodemou 2008, 326-372.1; Aristodemou 2008, 326-372.; Aristodemou 2008, 326-372.38 Aristodemou 2008, 372-384. See also Robinson, B. A. (2001): “Fountains and the Culture of Water at Roman Corinth”. Ph.D., University of Pennsylvania, about the connection between fountains and the formation of cultural identity at Roman Corinth.39 The Nymphaeum of Herodes Atticus in Olympia is dedicated to Zeus: Bol 1984,109 cat.no.1, pl.2.3. The Trajanic Nymphaeum in Ephesus is dedicated to the Ephesian Artemis, just as the majority of the ephesian nymphaea: IvE II, nr.424 (also, IvE II, nr.424A, nr.413, nr.414). The South Nymphaeum [F2] in Perge is dedicated to Artemis Pergaia: ΙΚ Perge I, α�.195-196.40 The same applies for the majority of civic edifi ces fi nanced by locals. For the civic pride and patriotism see Macro 1980, 682-684. The same applies for the majority of civic edifices financed by locals. For the civic pride and patriotism see Macro 1980, 682-684.41 As demonstrated at Aristodemou (2008: 433) at least 111 fi gures are recognized as portraits (imperial and private), which rises almost at the As demonstrated at Aristodemou (2008: 433) at least 111 fi gures are recognized as portraits (imperial and private), which rises almost at the t least 111 figures are recognized as portraits (imperial and private), which rises almost at the ¼ percentage of the total amount of the 400 sculpture studied. According to the statistics private portraits in the eastern nymphaea outnumber the imperial.42 Aristodemou 2008, 384-403. Aristodemou 2008, 384-403.43 Stewart 2003, 79-175. Stewart 2003, 79-175. 44 Longfellow 2005, 88-140; Aristodemou 2008, 403-410. Longfellow 2005, 88-140; Aristodemou 2008, 403-410. 45 Vollgraff, W. (1944-45): “Inscriptions d’Argos”, BCH 68-69: 397-400 cat.n Vollgraff, W. (1944-45): “Inscriptions d’Argos”, BCH 68-69: 397-400 cat.nVollgraff, W. (1944-45): “Inscriptions d’Argos”, BCH 68-69: 397-400 cat.ncat.no.7; Maderna 1988, 220; Glaser 1983, 89 cat.no.60, fig.164-167; Walker 1987, 64, pl.VI.a; Longfellow 2005, 150-159; Aristodemou 2008, 439.46 Vollgraff 1958, 550-555, fig.25-27; Marcadé-Raftopoulou 1963, 49 cat.no.53, fig.16-18; Walker 1979, 100, 105, fig.30; Niemeyer 1968, 35, 111 cat.no.113; Maderna 1988, 220, cat.no UD8, pl.25.1; Papazapheiriou 2004, 134, 279-280, cat.no.ΓΗ8, pl.28; Aristodemou 2008, 439, cat.no.9, pl.2.3.

Page 23: Georgia Aristodemou-Modelo y Difusion

— 155 —

georgia a. aristoDeMou

creating the illusion that it was running through the Emperor’s raised right hand. The Trajan’s Nymphaeum in Ephesus was financed by the priest Ti. Claudius Aristion around 102-114 A.D. and was dedicated to Ephesus, Artemis and the Emperor Trajan47. The primary water outlet was located underneath the colossal statue of the Emperor Trajan, which was housed at the central niche of the nymphaeum. In both nymphaea the Emperor’s image works as a symbol of power. He who controls the water, controls the life of his subjects48.

Other nymphaea present the Emperor in a prominent place at their façade, however the significance of local Gods is now highly emphasized. At the North Nymphaeum (F3) of Perge the Emperor Hadrian is represented by two statues, a naked and a cuirassed one49. Yet, the dominating presence of the reclining River God Kestrus is here undisputable50. His statue, placed at the very centre of the monument, is organically connected with the flow of water. This is a visual statement that Perge is a robust city with citizens depending only on their natural sources, hence, the river Kestrus51.

Fewer nymphaea, like the Three Basin Nymphaeum in Side or the Nymphaeum of C. Laecanius Bassus in Ephesus, are restricted to mythological subjects, probably alluding local cults, however presenting us with difficulties on detecting specific statements or intentions52.

Certain nymphaea accentuate the role of the local Elite. The two-storied nymphaeum of Herodes Atticus in Olympia was built in ca. 153 A.D. by Herodes Atticus in the memory of his wife Regilla53. The bronze river God Alpheios in animal form, dominates the central water basin, stating that he supplies Olympia with his water. Two statues of Zeus, the patron god of the Altis, are placed at the centre of each floor54. The statues of the imperial family deploy along the niches of the lower 1st floor, while the statues of the family of Herodes Atticus are placed at the prominent 2nd floor, surprisingly standing not only above the imperial statues, but next to the Father of the Gods. It is impressive how powerful Herodes’ family consider themselves to act in a so provocative manner55. This reveals the prominent position of local aristocrats in the political and social structure of the roman society. As a result they dare to place themselves next to their Emperor and moreover, next to their Gods.

Monumental nymphaea were financed by Emperors and wealthy patrons56. Financing the construction of a nymphaeum and (or) its decoration is a politically motivated action. As an imperial benefaction, nymphaea proclaim the imperial power, virtue and culture. As objects of private patronage they signaled the donor’s wealth, fame and connections to the imperial regime57.

47 IvE, II, nr.424. Scherrer 2000, 116; Halfmann 2001, 65 -68; Dorl-Klingenschmid 2001,97, 188-189 cat.no.26; Uğurlu 2004, 63. Longfellow 2005, 107-125. Quatember 2006, 73-77; Auinger and Rathmayr 2007, 250; Ti. Claudius Aristion: Pliny the Younger, Ep. 6, 31, 3; Cramme 2001, 146-150; Quatember, U. (2005): Ti. Claudius Aristion und seine Bauten in Ephesos, Forum Archaeologiae 35/VI (http://farch.net).48 Winter 1996, 184; Longfellow 2005, 117. Winter 1996, 184; Longfellow 2005, 117.49 Antalya, Archaeological Museum,Inv.Nr.A3861�3863 and A3730: Inan-Rosenbaum 1979, 95-98, cat.n Antalya, Archaeological Museum,Inv.Nr.A3861�3863 and A3730: Inan-Rosenbaum 1979, 95-98, cat.nAntalya, Archaeological Museum,Inv.Nr.A3861�3863 and A3730: Inan-Rosenbaum 1979, 95-98, cat.n: Inan-Rosenbaum 1979, 95-98, cat.no.45-46, pl.38-40; Maderna 1988, 203, cat.no.D9; Evers 1994, 82-83, cat.no.6-7; Papazapheiriou 2004, 269, cat.no KM 5, pl.23.50 Perge, North Nymphaeum (F3) Perge, North Nymphaeum (F3) in situ: LIMC VI (1992) 39 nr.6, s.v.Kestros (H. A. Cahn); Longfellow 2005, 200-203.51 The statue of Kestrus is here accompanied by two female portrait statues, most possibly of the two female patrons: Antalya, Archaeological Museum, Inv.Nr.A3865 and A3864: Inan 1974, 652 cat.no.4-5, pl.202-203; Alexandridis 2004, 239, cat.no.15-16; Aristodemou 2008, cat.no.253-254, pl.37.7-8.52 Side, Three Basin Nymphaeum: Dorl-Klingenschmid 2001, 242, cat.no.105; Hydrekdocheion of C. Laecanius Bassus: Dorl-Klingenschmid 2001, 186, cat.no.24; Jung 2006,79-86; Auinger and Rathmayr 2007, 252. 53 Bol 1984.54 One naked as One naked as naked as Zeus Katachnonios and one in the type of Dresden Zeus: Olympia, Archaeological Museum, Inv.Nr.�170 and �108: Bol 1984, 28-30, 187-193 cat.no.48-49, pl.59-63; LIMC VIII (1997) 350 nr.282, s.v. Zeus (P. Karanastassi) and 326 nr.78b, s.v. Zeus (M. Tiverios); Aristodemou 2008, 187-188, cat.no.41-42, pl.7.2-3. 55 For the family of Herodes Atticus, see Tobin, J. (1997): For the family of Herodes Atticus, see Tobin, J. (1997):For the family of Herodes Atticus, see Tobin, J. (1997):, J. (1997):J. (1997):. (1997): Herodes Attikos and the City of Athens: Patronage and Conflict under the Antonines (Archaia Hellas, 4), Amsterdam: Gieben.56 For the patronage issue, see also For the patronage issue, see also For the patronage issue, see also Gauthier 1985; Winter 1996; Ando, Cl. (2000): Imperial Ideology and Provincial Loyalty in the Roman Empire. Berkeley: University of California Press; Cramme 2001; Halfmann 2001, 1-10; Eilers 2002. Longfellow 2005; Thomas 2007, 71-90.57 Wealthy local families used monumental architecture to compete for social prestige and serve their political ambitions: Häusle, H. (1980): Wealthy local families used monumental architecture to compete for social prestige and serve their political ambitions: Häusle, H. (1980): Wealthy local families used monumental architecture to compete for social prestige and serve their political ambitions: Häusle, H. (1980): Häusle, H. (1980):

Page 24: Georgia Aristodemou-Modelo y Difusion

Sculptured decoration of monumental nymphaea at the eastern provinces of the Roman Empire

— 156 —

Obviously, fountain figures do not cover practical needs. A nymphaeum’s water supply is ensured by the city’s water distribution network58. However, the selection of the iconographical subject, the involvement of the figure with the water flow and its placement at the monuments façade, underline the organic relationship between the building, sculpture and water. The artistic composure that derives from this interaction exceeds the monument’s architectural context and connects it with the natural environment or the cityscape where the monument belongs59. Monumental nymphaea and their decorative programs are a reflection of a city’s image and transmit specific messages throughout the roman world60. Their study tries to reconstruct the social, political as well as cultural role that they held in the Eastern Roman Provinces.

BiBliograPhy

aristodeMou, G. (2008): “Ο Γλυπτός διάκ�σ��ς νυ�φαίων και κ�ηνών στ� ανατ�λικό τ�ή�α της Ρω�αϊκής αυτ�κ�ατ��ίας”. Ph.D. Diss, Aristotle University of Thessaloniki.

agusta-Boularot, S. (2001): “Fontaines et fontaines monumentales en Grèce de la conquête romaine à l’époque flavienne: permanence ou renouveau architectural?”, BCH, Suppl. 39: 167-236.

alexandridis, A. (2004): Die Frauen des römischen Kaiserhauses. Eine Untersuchung ihrer bildlichen Darstellung von Livia bis Julia Domna. Mainz: Philipp von Zabern.

aMedick, R. (2007): “Stein und Wasser. Römische Skulpturen von Meerwesen und Wassergottheiten”, in ΜΟΥΣΕΙΟΝ. Beiträge zur antiken Plastik. Festschrift zu Ehren von Peter C. Bol, edited by H.v. Steuben, G. Lahusen, H. Kotsidu, 423-433. Bibliopolis, Möhneese.

andreae, B. (1977): “Vorschlag für eine Rekonstruktion der Polyphemgruppe von Ephesos”, in Festschrift für F. Brommer, edited by U. Hockmann and A.Krug, 1-11. Mainz: Philipp von Zabern.

andreae, B. (1982): Odysseus. Archäologie des europäischen Menschenbildes. Frankfurt: Societäts Verag.

andreae, B. (1985): “Die Polyphem-Gruppe von Ephesos”, in Lebendige Altertumswissenschaft: Festgabe zur Vollendung des 70. Lebensjahres von Hermann Vetters, edited by M. Kandler, 209-211. Wien: A. Holzhausen.

andreae, B. (1999a): Odysseus. Mythos und Erinnerung. Kurze Anleitung. Rom, 22.Feb-2.Sept. Katalog Rom, München 99/00. Mainz: Philipp von Zabern.

andreae, B. (1999b): “Ιst die Hypothese von Polyphem Giebel in Ephesos bereits falsifiziert?”, in 100 Jahre Österreichische Forschungen in Ephesos. Akten des Symposions (Wien, 1995), edited by H. Friesinger-F. Krinzinger, 531-533. Wien: Bohlau.

auinger, J., rathMayr, E. (2007): “Zur spätantiken Ausstattung der Thermen und Nymphäen in Ephesos”, in Statuen in der Spätantike edited by A. F. Bauer and Ch.Witschel, 237–269. Wiesbaden: Reichert Verlag.

“Das Denkmal als Garant des Nachruhms: Beiträge zur Geschichte und Thematik eines Motivs in lateinischen Inschriften” (Zetemata 75), München: Beck; Dorl-Klingenschmid 2001, 120-121Schorndorfer 1997, 8; Thomas 2007, 76. Aristodemou 2008, 52-59.58 Recently, Richard 2008. Recently, Richard 2008. Recently, Richard 2008. Richard 2008. 59 Segal 1997; Richard 2010.60 Chi 2002; Dorl-Klingenschmid 2006, 381-386. Chi 2002; Dorl-Klingenschmid 2006, 381-386.Dorl-Klingenschmid 2006, 381-386.Klingenschmid 2006, 381-386.

Page 25: Georgia Aristodemou-Modelo y Difusion

— 157 —

georgia a. aristoDeMou

aurenhaMMer, M. (1990): Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos, X/1. Wien: Verlag der ÖAW.

Bauer, F. A. (1996): Stadt, Platz und Denkmal in der Spätantike. Untersuchungen zur Ausstattung des öffentlichen Raums in den spätantiken Städten Rom, Konstantinopel und Ephesos. Mainz: Philipp von Zabern.

Bol, R. (1984): Das Statuenprogramm des Herodes-Atticus Nymphaeums. Olympische Forschungen, Band XV. Berlin: Walter de Gruyter.

can özren, A. (1996): “Die Skulpturenausstattung kaiserzeitlicher Theater in der Provinz Asia, am Beispiel der Theater in Aphrodisias, Ephesos und Hierapolis”, Thetis 3: 99-128.

chi, J. (2002): “Studies in the Programmatic Statuary of Roman Asia Minor”. Ph.D. Diss., NY University.

craMMe, st. (2001): “Die Bedeutung des Euergetismus für die Finanzierung städtischer Aufgaben in der Provinz Asia”. Ph.D.diss., Köln University.

curtius, E. (1876): Die Plastik der Hellenen an Quellen und Brunnen. Abhandlungen der Akademie der Wissenschaften. Berlin: Dümmler in Comm.

desPinis,g., stefanidou-tiveriou,th.,voutiras, eM. (eds.) (1997): Catalogue of Sculpture in the Archaeological Museum of Thessaloniki, Ι. Thessaloniki: National Bank Cultural Foundation.

dorl-klingenschMidt,cl. (2001): Prunkbrunnen in kleinasiatischen Städten. Funktion im Kontext. Bayerische Akademie der Wissenschaften. Studien zur antiken Stadt, Band 7. München: Dr. Friedrich Pfeil.

dorl-klingenschMidt,cl. (2006): “Brunnenbauten als Medium der interkommunalen Wettbewerbs”, in Cura Aquarum in Ephesos. Proceedings of the 12th International Congress on the History of Water Management and Hydraulic Engineering in the Mediterranean Region, DWhG, 12 (Selçuk, 2- 10 October 2004), edited by G. Wiplinger, 381-386. BABesch Suppl. 42, (Leuven).

eichler, F. (1963): “Die Österreichische Ausgrabungen in Ephesos im Jahre 1962”, Anz.Wien 100: 45-59.

eilers,cl.(2002): Roman patrons of Greek cities. Oxford: Oxford University Press.

eule, J. c. (2001): Hellenistische Bürgerinnen aus Kleinasien: Weibliche Gewandstatuen in ihrem antiken Kontext. Istanbul: Tarih, Arkeoloji, Sanat ve Kültür Mirasini Koruma Vakfi.

evers,C. (1994): Les Portraits d’Hadrien. Typologie et ateliers. Collection des Mémoires de la Classe des Beaux-Arts in -8°. 3e série, tome VII. Bruxelles: Academie Royale de Belgique.

feJfer, J. (2008): Roman Portraits in Context. Berlin, New York: Walter de Gruyter.

fleischer, R. (1972-75): “Grabungen in Ephesos von 1960 - 1969 bzw. 1970. Skulpturenfunde”, ÖJh 50, Beiblatt: 421-434.

fleisher, R. (1982): “Zwei eklektische Statuen aus Ephesos”, in Pro Arte Antiqua, Festschrift für Hedwig Kenner, I, 123-129. Denkschriften (Österreichische Akademie der Wissenschaften. Philosophisch-Historische Klasse), Band 18. Wien: Verlag der ÖAW.

fuchs, M. (1987): Untersuchungen zur Ausstattung römischer Theater. Mainz: Philipp von Zabern.

Page 26: Georgia Aristodemou-Modelo y Difusion

Sculptured decoration of monumental nymphaea at the eastern provinces of the Roman Empire

— 158 —

gauthier, P. (1985): “Les cités grecques et leurs bienfaiteurs (IVe-Ier s. av. J.-C.). Contribution à l’histoire des institutions”, BCH, Suppl.12.

ginouvés, R., (ed.) (1998): “Architecture de l´eau”, in Dictionnaire Méthodique de l’Architecture Grecque et Romaine, Tome III : Espaces Architecturaux, Bâtiments et Ensembles, 92-100. Rome: Ecole française de Rome.

glaser, F. (1983): Antike Brunnenbauten (KPHNAI) in Griechenland. Denkschriften (Österreichische Akademie der Wissenschaften. Philosophisch-Historische Klasse), Band 161. Wien: Verlag der ÖAW.

glaser, F. (1987): “Brunnen und Nymphäen”, in Die Wasserversorgung antiker Städte, Band 2. Pergamon. Recht/Verwaltung; Brunnen/Nymphäen; Bauelemente, edited by Frontinus-Gesellschaft, 103-131. Mainz: Philipp von Zabern.

gros, P. (1996): L’Architecture Romaine du début du IIIe siècle av.J.-C. à la fin du Haut-Empire, Tome 1, Les Monuments Publics. 418-444.

halfMann, H. (2001): “Städtebau und Bauherren im römischen Kleinasien. Ein Vergleich zwischen Pergamon und Ephesos”. Ist.Mit.,Beiheft, 43. Tübingen: Ernst Wasmuth Verlag.

inan, J. (1974): “Neue Porträtstatuen aus Perge”, in Mélanges A. M. Mansel , II, edited by E. Akurgal et al., 643-661. Ankara: Türk Tarih Hurumu Basimevi.

inan,J.,alföldi-rosenBauM, E. (1979): Römische und frühbyzantinische Porträtplastik aus der Türkei. Neue Funde. Mainz: Philipp von Zabern.

Jung, K. (2006): “Das Hydrekdocheion des Gaius Laecanius Bassus in Ephesos”, in Cura Aquarum in Ephesos. Proceedings of the 12th International Congress on the History of Water Management and Hydraulic Engineering in the Mediterranean Region, 12., edited by G. Wiplinger , 79-86. BABesch Suppl. 42, (Leuven).

kaPossy, B. (1969): Brunnenfiguren der hellenistischen und römischen Zeit. Zürich: Juris-Verlag.

kenthill, D. (1974): “Nymphs and Fountains”, AntK 17: 107-108.

kenthill, D. (1981): “Some sculpture from Roman Domestic Gardens”, in Ancient Roman Gardens, edited by E. B. MacDougall and W. F. Jashemski , 81-94. Washington D.C.

kleMenta, S. (1993): Gelagerte Flussgötter des Späthellenismus und der römischen Kaiserzeit. Köln/Weimar/Wien: Böhlau Verlag.

kunze,ch. (1999): “Verkannte Götterfreunde. Zu Deutung und Funktion hellenistischer Genreskulpturen”, RM 106: 43-82.

kunze,ch. (2002): Zum Greifen Nah. Stilphänomene in der hellenistischen Skulptur und ihre inhaltliche Interpretation. München: Biring & Brinkmann.

lange, E. (1920): “Die Entwicklung der antiken Brunnenplastik”. Ph.D. diss. Göttingen University.

letzner, W. (1990): Römische Brunnen und Nymphaea in der westlichen Reichshälfte. München: Charybdis.

linfert, A. (1976): Kunstzentren hellenistischer Zeit: Studien an weiblichen Gewandfiguren. Wiesbaden: Steiner.

Page 27: Georgia Aristodemou-Modelo y Difusion

— 159 —

georgia a. aristoDeMou

longfellow, B. (2005): “Imperial Patronage and Urban Display of Roman Monumental Fountains and Nymphaea”. Ph.D. diss., Michigan University.

Macro, A. D. (1980): “The Cities of Asia Minor under the Roman Imperium”. ANRW, II.7.2: 658-697.

Maderna, C. (1988): Juppiter, Diomedes und Merkur als Vorbilder für Römische Bildnisstatuen. Untersuchungen zum römischen statuarischen Idealporträt. Heidelberg: Verlag Archäologie und Geschichte.

Manderscheid, H. (1981): Die Skulpturenausstattung der kaiserzeitlichen Thermenanlagen. Monumenta Artis Romanae, XV, Berlin. Wiesbaden: Reichert Verlag.

Marcadé,J.,raftoPoulou, E. (1963): “Sculptures argiennes (II)”, BCH 87: 33-187.

hülsen, J. (ed.) (1919): Das Nymphaeum. Milet. Ergebnisse der Ausgrabungen und Untersuchungen seit dem Jahre 1899, Band I, Heft 5. Berlin, Leipzig: W. de Gruyter.

neudecker, R. (1988): Die Skulpturenausstattung römischer Villen in Italien. Mainz: Philipp von Zabern.

neuerBurg, N. (1960): The architecture of fountains and nymphaea in ancient Italy. Ph.Diss. New York University.

chrysostoMou,P.,kePhallonitou, F. (2001): Νικόπολις. Ministry of Culture. Athens: Archeological Receipts Fund.

nieMeyer, H. G. (1968): Studien zur statuarischen Darstellung der römischen Kaiser. (Monumenta Artis Romanae, VII). Berlin. Wiesbaden: Dr. Ludwig Reichert Verlag.

PaPazaPheiriou, G. (2004): “Οι ιδεαλιστικ�ς απεικ�νίσεις των Ρω�αίων αυτ�κ�ατό�ων”. Ph.D. diss., Aristotle University of Thessaloniki.

quateMBer, U. (2006): “The Water Management and Delivery System of the Nymphaeum Traiani at Ephesus”, in Cura Aquarum in Ephesos. Proceedings of the 12th International Congress on the History of Water Management and Hydraulic Engineering in the Mediterranean Region, 12., edited by G. Wiplinger, 73-77, BABesch Suppl. 42, (Leuven).

ridgway, B. S. (1971): “The Setting of Greek Sculptures”, Hesperia 40: 336-356.

ridgway, B. S. (1981): “Greek Antecedents of Garden Sculpture”, in Dumbarton Oaks Colloquium of the history of Garden Architecture VII, edited by W. F. Jashemski and E. B. Macdougall (1979) 7-28, pl.Ι-ΧΙΙ.

richard, J. (2008): “Roman Nymphaea and Monumental Fountains in the Levant: Water Supply vs. Urban Aesthetics?”, in Cura Aquarum in Jordanien. Proceedings of the 13th International Conference on the History of Water Management and Hydraulic Engineering in the Mediterranean Region, 13 (Petra / Amman, 31 March – 09 April 2007), edited by Ohlig, C., 263-284. Siegburg (Germany): DWhG.

richard, J. (2010): The ‘Nymphaea’ of the Roman East as Testimonies of the Religious and Social Life, and of Urban Representation and Characterization in the Eastern Roman Provinces. (SEMA, 10). Turnhout (Belgium): Brepols. Forthcoming.

riedl, N. (2003): “Gottheiten und Kulte in der Dekapolis. Deities and cults in the Decapolis”. Ph.D. diss., Freien Universität Berlin.

scherrer, P., (ed) (2000): Ephesus. The New Guide. Translated by L. Bier and G. M. Luxon.

Page 28: Georgia Aristodemou-Modelo y Difusion

Sculptured decoration of monumental nymphaea at the eastern provinces of the Roman Empire

— 160 —

schorndorfer, S. (1997): Öffentliche Bauten hadrianischer Zeit in Kleinasien. München: Lit Verlag.

schwingestein, C. (1977): Die Figurenausstattung des griechischen Theatergebäudes. Münchener archäologische Studien, Band 8. München: Fink.

segal, A. (1997): From Function to Monument. Urban Landscapes of Roman Palestine, Syria, and Provincia Arabia, (Oxbow Monographs, 66), Oxford.

sμιτη, R. R. R. (1998): “Cultural Choice and Political Identity in Honorific Portrait Statues in the Greek East in the Second Century A.D.”, JRS 88: 56-93.

söldner, M. (1986):Untersuchungen zu liegenden Eroten in der hellenistischen und römischen Kunst. Frankfurt am Main: P. Lang.

stewart, P. (2003): Statues in Roman Society. Representation and Response. Oxford: Oxford University Press.

sturgeon, M. C. (1987): Sculpture I: 1952-1967 (Isthmia, IV). Princeton: ASCSA publication.

thoMas, E. (2007): Monumentality and the Roman Empire; Architecture in the Antonine Age. Oxford: Oxford University Press.

uğurlu, n.B. (2004): “The Roman Nymphaea in the cities of Asia Minor: Function in Context”. M.Sc. Thesis, Ankara, Middle East Technical University.

verMeule III, C. C. (1977): Greek Sculpture and Roman Taste. The Purpose and Setting of Graeco-Roman Art in Italy and the Greek Imperial East. Michigan: Ann Arbor.

vollgraff, W. (1958): “Fouilles et sondages sur le flanc oriental de la Larissa à Argos”, BCH 82 : 516-570.

walker, S. (1979): “The Architectural Development of Roman Nymphaea in Greece”. Ph.D. diss., University of London.

walker,s.(ed.) (1987): “Roman nymphaea in the Greek world”, in Roman architecture in the Greek world. [Eighth Research Seminar, London 22nd March 1985], 60-71.

weBer, th. (2002): Gadara–Umm Qēs I. Gadara Decapolitana. Untersuchungen zur Topographie, Geschichte, Architektur und Bildenden Kunst einer »Polis Hellenis« im Ostjordanland (ADPV, 30), Wiesbaden: Otto Harrassowitz Verlag.

winter, E. (1996): Staatliche Baupolitik und Baufürsorge in den römischen Provinzen des kaiserzeitlichen Kleinasien (Asia Minor Studien 20), Bonn: R. Habelt GmbH.

xagorari-gleissner, M. (2002): “Tyche, Muse oder Nymphe? Brunnenfiguren aus Messene”, Thetis 9: 75-80.

Page 29: Georgia Aristodemou-Modelo y Difusion
Page 30: Georgia Aristodemou-Modelo y Difusion

Roma y las provincias:modelo y difusión

I

I

EditorasTrinidad Nogales

Isabel Rodà

Rom

a y

las

prov

inci

as: m

odel

o y

difu

sión

Editor

as:

Trin

idad

Nog

ales

- Isa

bel R

odà

HISPANIAANTIGUA

SerieArqueológica

HISPANIA ANTIGUA

Collana diretta da

Julián GonzálezUniversidad de Sevilla

Serie Histórica 1. Eustaquio Sánchez Salor Historiografía latino-cristiana. Principios,

contenido, forma.

2. Julián González Epigrafía Jurídica de la Bética.

3. AA.VV. El Cardenal Margarit i l’Europa

quatrecentista.

4. Julián González- Pilar Pavón Torrejón Adriano emperador de Roma.

5. Julián González- Pilar Pavón Torrejón Andalucía romana y visigoda. Ordenación y

vertebración del territorio.

Serie Arqueológica

1. Trinidad Nogales- Julián González Culto Imperial: Política y Poder.

2. Trinidad Nogales- José Beltrán Marmora Hispana: explotación y uso de los

materiales pétreos en la Hispania Romana.

3. Trinidad Nogales- Isabel Rodà Roma y las provincias: modelo y difusión.

En Mayo de 2009 se celebraba en Mérida el XI Coloquio Internacional de Arte Romano Provincial, bajo el lema “Roma y las provincias: modelo y difusión”. Era la primera vez que la Península Ibérica acogía este tipo de Coloquios. Se unieron en el esfuerzo el Departamento de Investigación del Museo Nacional de Arte Romano (MNAR-Ministerio de Cultura) y el Instituto Catalán de Arqueología Clásica (ICAC-Generalitat de Catalunya).

Hubo una masiva respuesta internacional, y especialmente de los investigadores hispanos, portugueses y españoles. El XI Coloquio discurrió en un agradable y productivo ambiente científi co, y las sesiones académicas se completaron con unas actividades complementarias en el marco del Peristilo del Teatro Romano de Augusta Emerita, el Museo Nacional de Arte Romano y varios edifi cios históricos emeritenses. Tras las sesiones científi cas se visitaron dos ejemplos del patrimonio hispano, las ciudades Patrimonio de la Humanidad de Evora (Portugal) e Itálica (Sevilla).

Se culmina el objetivo fi nal: lograr que la ciencia quede plasmada en unos volúmenes monográfi cos que sirvan para el futuro de herramienta imprescindible de estudio. Dos volúmenes que recogen el papel de Roma en los territorios provinciales y viceversa, el notable protagonismo que las provincias jugaron en el concierto del Imperio.

Dado el elevado número de participaciones, se han editado dos volúmenes, que responden a las divisiones territoriales; el primero, se ocupa de las provincias no hispanas, dejando el segundo para la Península Ibérica y los trabajos presentados en formato poster. Todos los artículos se han procurado cuidar al máximo, aunque sólo sus autores son responsables de los contenidos de sus textos y de sus imágenes. Agradecemos a todas las entidades y participantes su compromiso, sus ágiles respuestas a los plazos establecidos y su interés en que esta empresa, de todos, llegara a buen fi nal.

JUNTA DE EXTREMADURAVicepresidencia Segunda, Consejería de Economía,

Comercio e Innovación

Con el apoyo de: