1-2 of 2 results  for:

  • 300 BCE–CE 500 x
  • Sculpture and Carving x
Clear all

Article

Mark D. Fullerton

(fl ?2nd century bc).

Greek sculptor and metalworker. His signature occurs on a bronze archaistic herm (Tunis, Mus. N. Bardo) from the Mahdia shipwreck that supported a statue of a winged youth identified as Eros or as Agon, the personification of athletic contests. Though the lettering of the inscription suits a date in the 3rd century bc, the eclectic classicizing features of the youth and the one-sidedness of the group favour a century later, when ‘Boethos of Chalkedon’ signed the bases of a portrait of Antiochos IV (reg 175–164 bc) on Delos and of a portrait at Lindos (c. 184 bc; see Marcadé, p. 28). This Boethos was probably also the famous engraver mentioned by Pliny (Natural History XXXIII.lv.155) and Cicero (Against Verres IV.xiv.32), and the sculptor of a bronze group of a Boy Strangling a Goose (Pliny: Natural History XXXIV.xix.84). This work is probably reproduced by various Roman copies (e.g. Rome, Mus. Capitolino; ...

Article

In its most general sense, spolia (pl., from Lat. spolium: ‘plunder’) denotes all artifacts re-employed in secondary contexts, from building blocks reused in a wall to pagan gems mounted on a Christian reliquary. It is a matter of debate whether this broad application of the term is justified, or whether it should be restricted to the relatively small subset of reused objects that were taken or ‘stripped’ (like spoils) from their original context, rather than found, purchased, inherited or otherwise acquired by non-violent means. It is likewise debated when the use of spolia should be considered meaningful, if at all. Arnold Esch defined five possible motives for using spolia: convenience, profanation, Christianization, political legitimation and aesthetic attraction. Michael Greenhalgh has argued for reducing the motives to three (at least with regard to marble): pragmatism, aesthetics and ideology; while Finbarr Barry Flood cautioned against reductive interpretations generated by any taxonomy, insisting that reused objects are mutable in meaning and capable of multiple interpretations during their life cycle....