By Patricia S. Lulof, Carlo Rescigno
In historic Italy, temples have been embellished with full-figure architectural terracotta pictures equivalent to acroteria, statuary teams and excessive reliefs. those terracottas often convey complicated scenes of gods and heroes, mythical battles and legendary animals, in addition to huge volutes and palmettes. The fourth version of the Deliciae Fictiles meetings concerned about this particular type of regularly home made terracotta roof ornament from Etruria and significant Italy, Campania, Magna Graecia and Sicily. the amount comprises sixty contributions, publishing new fabric, new findings and lots of new reconstructions of this hugely infrequent fabric from all over the place Italy from the Archaic interval into the Hellenistic instances. an enormous bibliography and over 700 illustrations, lots of which in color, offer reference fabric for students and scholars of archaeology, historical structure and strategy, paintings heritage and iconography.
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Extra info for Deliciae Fictiles IV: Architectural Terracottas in Ancient Italy. Images of Gods, Monsters and Heroes
Regardless of how we choose to reconstruct the groups displayed, the individual statues are interacting with each other rather than with the spectators who approach the building from the side or towards the front. The examples from Satricum and Veii may be used to suggest the reconstruction of akroterial statues where the actual evidence is less well preserved, as in the Doric temple at Pompeii. Here the group of some thirty small fragments, published recently by Patricia Lulof,12 may belong to a line of akroterial 18 Ingrid Edlund-Berry Fig.
Ridgepole statues from Satricum (from Lulof 1993, 285, fig. 19). 7 Statue Bases and Plinths In addition to a careful analysis of the fabric and modeling, the presence of a base or attachment to a plinth or tile constitutes the most critical feature in identifying akroterial statues. As indicated in Nancy Winter’s paper in this volume, the types of bases or plinths vary with time and location, and are essential for identifying the location of akroterial statues, whether they were placed as central or lateral akroteria, or along the ridge.
This last layer full of the Dionysian overtones may provide a clue to understanding the political, cultural and historical setting of this building. The roughly contemporary temple of Ceres, Liber, and Libera in Rome inaugurated in 493 BC may have reflected the cult of a typical Sicilian triad, that of Dionysos, Demeter and Persephone. Syracuse and Gela were famous terracotta production centres, at the time booming with building activity. Damophilos and Gorgasos could have been enticed by this activity to join terracotta workshops at Syracuse or Gela before they were commissioned by Rome25.