Afterlives by ACC Art Books

SCA_MetAfterlives_Interior_MECH.indd 4

02/12/2021 23:09

CONTENTS

Director’s Foreword

Acknowledgments

Map

INTRODUCTION

I. THE ARCHAIC PERIOD

Funerary Ritual in the Visual Record • Funerary Monuments of the Archaic Period

II. THE CLASSICAL PERIOD

White-Ground Lekythoi • Private Funerary Monuments • Funerary Monuments of the Classical Period • Three Akroteria from Inscribed Grave Stelai

III. THE HELLENISTIC PERIOD

117

Taranto • Sculptures and Fragments from Free-Standing Tarentine Funerary Monuments • Vases from Canosan Tombs in Daunia • Funerary Vases from Centuripe, Sicily • Lucanian Warrior Graves • Grave Stelai and Funerary Vases from Alexandria • Painted Grave Stelai from Alexandria • Hadra Vases from Alexandria • Hellenistic Funerary Stele from Asia Minor

SCA_MetAfterlives_Interior_MECH.indd 5

CONCLUSION

177

Bibliography

182

Concordance

186

Index of Names Inscribed on Works

186

Index

187

Credits and Copyright

192

02/12/2021 23:09

SCA_MetAfterlives_Interior_MECH.indd 6

07/12/2021 11:16

DIRECTOR’S FOREWORD

“Go, children of the Hellenes, free your country, free your children, your wives, the seats of your ancestral gods, the tombs of your forefathers: all is at stake.” These much-quoted lines in Aeschylus’s play The Persians (472 B.C.)—the shout of the Greeks before engaging the Persian fleet in the straits of Salamis in 480 B.C.—encapsulate what the Greeks valued most: their country, their family, their gods, and their dead. Greek art illustrates this reverence for the deceased most readily in the monuments erected over their graves. Funerary monuments were visual expressions of mourning that provided the opportunity for the living to commemorate and communicate with the dead. Often showing the deceased as they were in life, these evocative works preserved the memory of the departed for future generations. The Metropolitan Museum of Art has one of the finest collections of ancient Greek funerary monuments outside of Greece. Its importance was firmly established by Gisela M. A. Richter’s 1944 publication Archaic Attic Gravestones, in which she used the Museum’s collection to study the history and development of early Attic grave stelai. It was during Miss Richter’s tenure at The Met, from her appointment as assistant in the Classical Department in 1906 to that of full curator in 1925, a position she held until 1948, that the Museum acquired the majority of its ancient Greek funerary monuments. These works, many of which are featured here, represent some of the greatest masterpieces in The Met’s collection of Greek and Roman art. This publication is the first study in almost seventy years to be devoted exclusively to The Met’s ancient Greek funerary monuments. It presents more

than fifty outstanding examples over the course of Greek history from the Archaic through the Hellenistic periods and situates them in the context of their time and their function. Moreover, the publication brings us closer to an understanding of the everyday rituals with which they were associated. This more personal consideration of Greek funerary monuments was written for a broad audience, but it contains insights that will also appeal to specialists. Indeed, this handbook will help museum visitors to engage with both ancient art and contemporary scholarship. It is a great pleasure, therefore, to introduce this richly illustrated volume by Paul Zanker, former Dietrich von Bothmer Distinguished Research Scholar in the Department of Greek and Roman Art. Although he is a world-renowned scholar of Roman art, the author started out with a particular interest in Greek sculpture. In fact, much of his work on Roman sculpture looks at the reception and reinterpretation of its Greek antecedents. In this book, Zanker comes full circle, bringing fresh observations based on a lifetime’s work of thinking about and looking at ancient sculpture. This publication was made possible through the financial support of The Prospect Hill Foundation and the gift of an anonymous donor in memory of the friends of the Greek and Roman Department who died in 2020. We remain deeply grateful for their ongoing commitment to advancing scholarship about Greek and Roman art at The Met. Max Hollein Marina Kellen French Director The Metropolitan Museum of Art

SCA_MetAfterlives_Interior_MECH.indd 7

02/12/2021 23:09

SCA_MetAfterlives_Interior_MECH.indd 12

02/12/2021 23:09

INTRODUCTION

The Metropolitan Museum of Art possesses an extensive collection of funerary monuments and grave offerings of all imaginable types. These span the entire Mediterranean world and represent all periods of Greek and Roman art. For the Archaic and Classical periods of Greek art (ca. 8th–late 4th century B.C.), The Met’s holdings of original works of art are the most comprehensive in the United States. Though the majority of objects comes from funerary contexts, the collection also includes votive offerings from sanctuaries. For visitors to The Met, those monuments and other objects whose original function was as memorials to the dead offer an opportunity to draw comparisons among them and, in so doing, to form a clearer picture of the major cultural differences among various ancient societies. At the same time, visitors will inevitably be led to reflect on their own relationships to deceased friends and family members and, indeed, on their own mortality. From the wealth of Archaic and Classical Greek grave monuments and sculptures in The Met’s

collection (ca. 700–300 B.C.), this book presents a selection of the most important and representative examples. We have also included a variety of monuments and grave goods of the Hellenistic period (ca. 300–150 B.C.), organized according to the regions and cities where they were produced. Each object is not only described and explicated but also placed within its context of use in everyday life. In addition, each of the book’s three sections begins with a more detailed introduction that gives the reader some historical background, as well as an understanding of relevant funerary rituals and burial customs. It is important to appreciate the degree to which these varied customs and rituals depended upon the social status of the deceased. The establishment of a stone monument was but the last act in the cult of the dead and, as such, could have taken place long after the burial and the various rituals that preceded and followed it. For this reason, we offer a succinct overview of these rituals for each period, drawing upon the evidence of vase paintings and other objects on which the practices are depicted.

OPPOSITE: Grave stele with a family group (detail) (cat. 18)

SCA_MetAfterlives_Interior_MECH.indd 13

02/12/2021 23:09

SCA_MetAfterlives_Interior_MECH.indd 14

02/12/2021 23:10

CHAPTER 1 THE ARCHAIC PERIOD

FUNERARY RITUAL IN THE VISUAL RECORD The death of a family member had a major impact on the life of a household and required all of its members to observe and carry out a set of prescribed rituals. Soon after death, the corpse was washed by the female members of the family and then ceremonially raised up on a bier inside the house or in a courtyard. This first stage was known as the prothesis. A shroud (pharos) was placed on the body, the head nestled on a cushion, and the mouth bound shut. Then the family members gathered around the bier began the act of ritual mourning. In the eighth and seventh centuries B.C., this ritual seems to have been at its most extreme, with the women beating their breasts and tearing their cheeks and clothing. In Book 23 of the Iliad, Homer describes the burial of the hero Patroklos after his death at Troy. It is a most extravagant funeral, with all the ritual honors and processions, as well as chariot races and other funeral games; it is said to have lasted for seventeen days.

Naturally, not all of this ritual is depicted in detail on the earliest ceramic vases, but we do find the prothesis shown on kraters (deep bowls) and amphorae of the Late Geometric period. These big pots were set up as grave markers, and a hole in the bottom allowed for liquid offerings to be poured directly into the tomb. The Metropolitan Museum possesses two such kraters, probably found in Athens, with depictions of a largescale prothesis of this type. The smaller but better preserved of the two kraters has a tall mouth decorated with a meander frieze (fig. 1).1 Below it, we see the principal scene spread out on a broad panel between the two handles. In the center, the deceased—who is presumably male and apparently nude—lies on a tall bier. The precious shroud with checkerboard pattern in which his body would be wrapped is unfurled above him for all the observers to admire. His head rests on a cushion, and a large, single dot represents his eye, as on all the other figures. Those on and around the bier are the members of the deceased’s family, their size varying according to their placement in the scene. At the left

OPPOSITE: Grave stele with a capital and a finial in the form of a sphinx (detail) (cat. 5)

SCA_MetAfterlives_Interior_MECH.indd 15

02/12/2021 23:10

FIG. 1. Krater. Greek, Attic, Geometric, ca. 750–735 B.C. Terracotta, H. 42⅝ in. (108.3 cm). Rogers Fund, 1914 (14.130.14)

CHAPTER 1

SCA_MetAfterlives_Interior_MECH.indd 16

02/12/2021 23:10

FIG. 2. Krater. Greek, Attic, Geometric, ca. 725 B.C. Terracotta, H. 51⅜ in. (130.5 cm). Rogers Fund, 1914 (14.130.15)

beside the bier, a woman who sits on a chair with a footstool holding a child on her lap is singled out— surely the mother or wife of the deceased. On the opposite side stands a second woman, and both hold out a branch toward the corpse. We can make out a small figure holding a child by the hand and standing on the bier beside the feet of the deceased. This must be another close relative. Numerous mourners stand in rows on either side of the bier. Judging by their gesture of tearing their hair, they must be female. The hoard of mourners continues underneath the handles, which are in the shape of bulls’ heads. The upper bodies of these women have a striped pattern, and one can clearly make out the long hair falling over the nape of the neck. The painter has filled all the spaces between the figures with abstract ornaments or small animals that have no connection with the principal subject, as is typical of the horror vacui style of Geometric vases. This includes the two goats and the birds beneath the bier. Beneath the principal frieze and separated from it by bands of ornament is a second frieze, this time running around the entire pot. It is composed of a solemn procession of warriors in honor of the deceased,

marching behind their battle chariots. The charioteers, holding long reins, each drive three horses. The vehicles have a single axle, but because the painter could not show the second wheel receding behind the first, they appear side by side. It is clear that he was not concerned with making the scene unfold in a specific sequence, since the armed warriors—sometimes one, sometimes several—march behind each chariot, as if they, too, were part of an ornamental frieze. Each warrior wears a crested helmet and carries two spears and a sword on a belt. Most also carry a “Boeotian” shield consisting of two half-moon shaped elements above and below. The chariot procession is to be understood as honoring the deceased, even if it did not actually take place in this manner, and it is meant to liken him to the heroes of epic, as we shall also observe on later vases and funerary monuments. We may leave aside an account of the ornament, which is especially fine on the reverse side of the vase, and instead turn our attention to the second krater, larger but less well preserved than the first and probably found in the same archaeological context (fig. 2).2 Here, the deceased, stretched out on his bier, is clearly identifiable as a warrior by his crested helmet. Two

THE ARCHAIC PERIOD

SCA_MetAfterlives_Interior_MECH.indd 17

02/12/2021 23:10

SCA_MetAfterlives_Interior_MECH.indd 46

02/12/2021 23:19

CHAPTER 2 THE CLASSICAL PERIOD

Let us first take a look back at sixth-century Athens. By about 575 B.C., Solon, who would later be counted among the Seven Sages of Greece, succeeded in implementing a new constitution that would be binding for Athens and Attica—that is to say, for all freeborn Athenian males but not for women, foreigners, or enslaved people (see p. 21). He put an end to the practice of debt bondage and divided the populace into four property classes according to income, reserving access to magistracies to the highest class (a system characterized by the philosopher Aristotle as a timocracy). While this guaranteed that the old aristocracy would continue to wield the most power, it meant that the other classes had a role to play in the community (even with much-reduced access to public offices) and therefore took on a share of responsibility. During the tyranny of Peisistratos and his sons in the years 546/5–510 B.C., the Solonian constitution remained in effect, even as aristocratic influence was gradually suppressed. After the fall of Hippias, the last of the Peisistratid tyrants, Kleisthenes, a member of the old aristocratic clan

of the Alkmeonidai, returned from exile and extended Solon’s reforms, even as he introduced a sweeping new system that granted political equality to all citizens. His political reorganization of Attica reduced the power of those families that controlled large tracts of land in the Attic countryside. But it was only after the Persian Wars of 490 and 481–479 B.C. that the dominance of the aristocracy was definitively broken, in the years about 460 B.C., thereby putting power in the hands of the people, i.e., full citizens. At about the same time, Athens acquired a relatively short-lived hegemony over the members of a naval alliance in the Aegean known as the Delian League. In 431 B.C., the Peloponnesian War broke out, dragging on until 404 B.C. and ending with Athens’s utter defeat and loss of power. This tremendous political upheaval and series of catastrophes brought about fundamental changes in attitudes toward death and toward the kinds of monuments set up to honor the dead. While the funerary monuments of the Archaic period were almost exclusively those of the aristocracy—kouroi, korai,

OPPOSITE: Fragment of a grave stele of a woman (detail) (cat. 16)

SCA_MetAfterlives_Interior_MECH.indd 47

02/12/2021 23:19

FIG. 9. Lekythos (oil flask). Greek, Attic, Classical, ca. 450 B.C. Terracotta, H. 12½ in. (31.8 cm). Rogers Fund, 1907 (07.286.40)

and elaborate stelai carved in relief—these disappear almost entirely during the first two decades of the fifth century and give way to new funerary traditions. In particular, those who fell in battle fighting for Athens, men from every stratum of society, were buried in a separate area reserved for them. This, in turn, resulted

in wide-ranging changes in the entire culture of burial practices and funerary monuments. From this point on, those who had died in battle were honored with burial in the special area outside the Dipylon Gate, known as the demosion sema (public cemetery), and received cult worship as heroes. After

CHAPTER 2

SCA_MetAfterlives_Interior_MECH.indd 48

02/12/2021 23:20

the Battle of Marathon against the Persians in 490 B.C., the Athenian dead had been buried at the site of the battle, as was the earlier custom. But starting at some point after the Persian Wars, the war dead were buried in honorific graves in the demosion sema. On these occasions, one of the magistrates of the city was chosen to speak. When those who fell in the first year of the Peloponnesian War (431/30 B.C.) were buried, the choice fell to Pericles, who had held the office of strategos (general) for fifteen years. The famous speech that he delivered on this occasion is reported by the historian Thucydides (2.34–46), along with an account of the funerary ritual that preceded the speech. For the families of those who received the distinction of a burial at public expense for their loved ones, this was, of course, a great honor, but it also represented a break from earlier tradition. The prothesis (laying out of the dead) and other rituals that had previously taken place at home were now held in public, probably in the Athenian Agora. Owing to the new order, families no longer had the right to set up grave stelai or other kinds of monuments for themselves and their members at the grave site. The ritual mourning at the house and the funeral itself had to be kept to a minimum. We do not know all the details of the new regulations, but the outcome is clear: in Attica, between about 480 and the end of the 430s B.C., no stone grave monuments were erected, since this was forbidden. This was not the case in other Greek cities, however, and some examples from elsewhere in Greece are now in the collection of the Metropolitan Museum.

WHITE-GROUND LEKYTHOI In the absence of funerary monuments in Athens during this period, we look to images on pottery. Found almost exclusively in Athens and Attica, the white-ground lekythos (oil flask) becomes popular from about 470 B.C. These vases could be placed in the tomb as grave gifts or placed as offerings on the tombs of those recently buried. Their original function was to make libations of oil as part of the funerary ritual at the tomb. The images depicted on them give these vases an additional dimension as display objects. In one sense, they take the place of the marble stelai that were no longer allowed, or, rather, they recall the stelai. Polychrome decoration on a white ground was really only suitable for deposition

in or on the tomb, since the pigment was applied after firing and would have quickly disappeared during regular use. In addition to the laying out of the corpse on a bier (prothesis), some of the most beautifully preserved white lekythoi present subjects that had never been seen before in Greek art. Here, we shall limit ourselves to scenes that relate to funerary ritual and focus on lekythoi that are on display in the Metropolitan Museum. The prothesis in the private home became a comparatively rare subject over the course of the fifth century. In accordance with the new regulations, the mourners are limited to just a few women, who stand around the corpse on its bier. On one example in The Met (fig. 9), there are just three women mourning over a man who looks to be quite young.1 The distraught woman standing at the head of the couch, with her hair cut short and a dark mantle pulled up over her head, is probably his mother. In her grief, she looks down at the youth’s head, resting her own head helplessly in her hands. The other two women, performing the traditional gesture of tearing their hair, are probably the sisters of the deceased. They look at the older woman, full of compassion and grief. Depictions of the visit to the tomb include the preliminary preparations that take place at the house. A popular type of scene, though not represented in The Met’s collection, shows the women with big baskets filled with wreaths and lekythoi, setting out for the grave.2 A vase in The Met shows a later moment, with the grave gifts already set out on the steps of a simple stele (fig. 10).3 In addition to several lekythoi, one can make out a drinking cup and some wreaths. Of the two visitors to the tomb, the woman approaching from the right holds a small oil flask (alabastron) in one hand and a basket with more offerings in the other. Opposite her stands a nude young man. He holds out a spear in one hand and from his wrist hangs another oil vessel, an aryballos, of the kind used by athletes. He represents the deceased whose tomb this is, a vision of him in spirit, visible to both the woman and to us, the viewers of the vase. On another lekythos of about the same date (ca. 440 B.C.), a young man in a red cloak stands at left beside the stele (fig. 11).4 Again, the deceased appears to him, perhaps his little brother; he looks alive as he reaches out to touch the monument. A most interesting and unusual element is the tiny figure fluttering about

THE CLASSICAL PERIOD

SCA_MetAfterlives_Interior_MECH.indd 49

21/12/2021 17:36

SCA_MetAfterlives_Interior_MECH.indd 116

02/12/2021 23:26

CHAPTER 3 THE HELLENISTIC PERIOD

In the previous chapter, we became acquainted with a few of the lavish funerary precincts in the Kerameikos Cemetery that belonged to wealthy Athenian families, along with some examples in the Metropolitan Museum’s collection of the kinds of tomb monuments set up by members of this affluent class. The great expenditures entailed reveal how Athenian society at this time was driven by competition for private wealth, even as the city enjoyed a democratic constitution and was continually at war. Once the Macedonian king Philip II (r. 359–336 B.C.) had defeated the Athenians and their allies by 338 B.C., he and his son Alexander the Great (r. 336–323 B.C.) allowed the democracy at Athens to continue with few restrictions, in part owing to their admiration for the city’s past greatness. It was in these same years that the statesman Lykourgos introduced a number of programmatic innovations that emphasized Athens’s cultural values and achievements. This laid the foundation for the city’s future role as a center of the philosophical

schools, science, and the visual arts known throughout the ancient world. After the death of Alexander, Athens and other Greek cities rose up in revolt from Macedonian rule once again. With the final defeat of the Greeks, the general and successor to the Macedonian throne Kassander (ca. 355–297 B.C., r. 305–297 B.C.) appointed the statesman and philosopher Demetrios of Phaleron as regent of Athens, in charge of the city’s administration. The extent of the city was strictly limited, and a Macedonian garrison based at the city’s harbor, Piraeus, kept a close watch. Nevertheless, Demetrios’ ten-year regency (317– 307 B.C.) was considered a great success. As an adherent of the political theories of Aristotle, he especially promoted the interests of the middle classes. His policy of reining in any kind of luxury deployed by the wealthy aristocracy to promote their own public image included strict limits on extravagant funerals and all manner of monumental tombs. This policy soon led to the definitive end of the Attic funerary monument.

OPPOSITE: Vase with lid (detail) (cat. 46)

117

SCA_MetAfterlives_Interior_MECH.indd 117

21/12/2021 17:36

FIG. 33. Plaque with glass inlay. Greek, South Italian, Tarentine, Hellenistic, late 4th century B.C. Terracotta, L. 511/16 in. (14.5 cm). Purchase, Sandra Brue Gift, 1998 (1998.210.1)

By this time, such monuments had already become comparatively rare outside Attica as well. Yet, burial practices involving different types of monuments continued in various other parts of the Greek world, notably the tombs of the Macedonian royalty, known from relatively recent excavations. The significant group of Hellenistic funerary monuments now in the collections of the Metropolitan Museum come from Greek colonies in South Italy and Sicily. In their oftenfragmentary condition, they do not always give a representative sample of such monuments. For this reason, the reader will find here more extensive introductions to each individual section, even when the objects presented are few. In the city of Taras (modern Taranto), originally a colony of Sparta, the custom of making grave monuments in the form of Greek style aediculae (small

118

shrines), some of them quite substantial, continued into the first half of the third century B.C., in spite of the continuous hostile encounters with the indigenous Italic peoples in the vicinity. The practice died out only very gradually over the course of this century, especially after the conquest of the city by the Romans in 272 B.C. In the town of Canosa, in Apulia, whose population belonged to one branch of the peoples known as Daunians, as well as in Centuripe, in Sicily, large, impressive vases were placed in the tomb as grave gifts. These vases combine traditional, indigenous shapes with paintings and other decorative elements that are purely Greek in character. A very different type of monument is represented by the fragment of a clay funerary casket for a warrior (cat. 50) from Poseidonia (modern Paestum). It gives us insight into the burial practices of one of the ancient Italic peoples.

CHAPTER 3

SCA_MetAfterlives_Interior_MECH.indd 118

02/12/2021 23:26

DETAIL OF FIG. 34

The Museum also possesses a few examples of painted grave stelai from Hellenistic Alexandria, Egypt. These present an entirely new and often gripping impression of ideas about death and the fate of the individual among the Greek community there. We also consider the so-called Hadra Vases, the majority of which was produced on the island of Crete. Many were exported to Alexandria, where they were used as funerary urns by members of the immigrant Greek population.

TARANTO As is the case of so many early Greek colonies, the origins of the city of Taranto (Greek Taras) are not well attested and are sometimes beset with contradictions in our sources. The traditional version reports

that Taras was founded in the year 706 B.C. by a certain Phalanthos, and that it was the only Spartan colony at the time. An advantageous harbor insured continuous and close contact with the Greek motherland, as well as with other Greek colonies in South Italy and Sicily. But from early on, and well into the fourth century B.C., the city was hemmed in by the native Italic peoples in the region, especially the Messapians, and around 472 it even suffered an existential threat. Nevertheless, the city sided with Sparta in the protracted Peloponnesian War (431–404 B.C.) against Athens. In the fourth century, the Tarentines continued to be embroiled in skirmishes, especially with the neighboring Lucanians, but once again they were aided by their mother city, Sparta, in 343 B.C. By 290 B.C., the Romans had conquered the Samnites, and their armies drove further to the south. A last, desperate plea to Pyrrhos of Epiros (r. 318–272 B.C.)

THE HELLENISTIC PERIOD

SCA_MetAfterlives_Interior_MECH.indd 119

119

02/12/2021 23:26

FIG. 52. View of the western Street of the Tombs with funerary precincts (periboloi), Kerameikos Cemetery, Athens

178

SCA_MetAfterlives_Interior_MECH.indd 178

02/12/2021 23:34

were always standing and wearing a mantle (without undergarment) draped in the correct manner. This is also how such men would have appeared in public places in the city, though on the reliefs they are regularly shown reaching out a hand to their wives who sit before them. The wife, in contrast, appears as if in a domestic context. In this sense, the scenes are not depictions of everyday life, but rather they are abstract images that are intended to memorialize each individual in the role that he or she played in life. Thus, when a woman from an affluent family is depicted alone, she is typically shown engaging in a domestic activity, such as selecting an item of jewelry from a small box offered to her by a female servant. With few exceptions, there are no explicit signs of mourning, either on the part of the deceased or of their family members, though some observers have interpreted gestures such as the head lowered or an expression of quiet isolation as subtle indications of grief. In contrast to the large stelai, the more modest stelai, marble lekythoi, and loutrophoroi more often include overt gestures of mourning. All this suggests that the monuments and the imagery of the reliefs on display in Attic tomb plots reveal a level of complexity that goes far beyond the “realistic.” The majority of Athenians willingly complied with these rigid conventions, and the system of communal values was expressed in these reliefs. While the Metropolitan Museum’s holdings of Archaic and Classical grave monuments from Athens and Attica present a relatively coherent body of material, the same cannot be said for the Hellenistic period. The Museum’s collection consists largely of an assortment of varied gifts and bequests over the years, most originating in South Italy and Sicily, as well as in Alexandria—the recently founded Greek city from which the Ptolemaic kings ruled over Egypt. From the city of Taranto, founded as a Greek colony (Taras) in the Early Archaic period, the Museum possesses a number of funerary monuments of the late fourth and third centuries in the form of aediculae of different sizes. Figures carved in the round that once stood on a high socle in an aedicula reveal a clear derivation from Late Classical Attic grave reliefs. But at the same time, the practice of decorating the socle of the aedicula with a mythological frieze in relief is an innovation of the Tarentines.

CONCLUSION

SCA_MetAfterlives_Interior_MECH.indd 179

179

02/12/2021 23:34

CREDITS AND COPYRIGHT Published by Scala Arts Publishers, Inc. in association with The Metropolitan Museum of Art, New York This publication was made possible by The Prospect Hill Foundation and the gift of an anonymous donor in memory of the friends of the Department of Greek and Roman Art who died in 2020. For Scala: Director of Publications, Jennifer Norman Project managed by Gwen Roginsky Edited by Theresa Huntsman Designed by Julia Ma, Miko McGinty Inc Production by Tim Clarke Picture research by Ana-Sofia Meneses Typeset by Tina Henderson in Empirica and Tiempos Printed on 157gsm Gold East matt art Separations by Altaimage New York Printed and bound in China Front cover: Grave stele of a little girl (cat. 11). Greek, Classical, ca. 450–440 B.C. Back cover: Akroterion of a grave monument (cat. 33). Greek, Attic, Late Classical, ca. 320 B.C. Frontispiece: Fragment of a grave stele of a woman (cat. 19). Greek, Attic, Classical, mid-4th century B.C. Every effort has been made to acknowledge correct copyright of images where applicable. Any errors or omissions are unintentional and should be notified to the Publisher, who will arrange for corrections to appear in any reprints. Text, maps, and photography © 2021 The Metropolitan Museum of Art Compilation and design © 2021 Scala Arts Publishers, Inc. and The Metropolitan Museum of Art

Photographs of works in The Metropolitan Museum of Art’s collection are by the Imaging Department unless otherwise noted, and are © The Metropolitan Museum of Art.

Additional information on the provenance and ownership histories of the works discussed in this book is available on the Museum’s website www.metmuseum.org.

Fig. 6: © Hellenic Ministry of Culture and Sports / Hellenic Organization of Cultural Resources, photograph by George Fafalis; Fig. 7: © Hellenic Ministry of Culture and Sports / Hellenic Organization of Cultural Resources, photograph by Irini Miari; Fig. 8: © Hellenic Ministry of Culture and Sports / Hellenic Organization of Cultural Resources, photograph by Sokratis Mavrommatis; Fig. 18: © Hellenic Ministry of Culture and Sports / Hellenic Organization of Cultural Resources, photograph by Sokratis Mavrommatis; Fig. 19: © bpk-Bildagentur, on behalf of Staatliche Museen Berlin, Antikensammlung. Photo by Jürgen Liepe; Fig. 20: © Hellenic Ministry of Culture and Sports / Hellenic Organization of Cultural Resources, photograph by Konstantinos Xenikakis; Fig. 21: © bpk-Bildagentur, on behalf of Staatliche Museen zu Berlin, Antikensammlung. Photo by Johannes Laurentius; Fig. 24: © Hellenic Ministry of Culture and Sports / Hellenic Organization of Cultural Resources, photograph by Michalis Zorgias; Fig. 25: © Hellenic Ministry of Culture and Sports – Archaeological Receipts Fund; Fig. 27: © Musée du Louvre, Dist. RMN-Grand Palais / Les frères Chuzeville / Art Resource, NY; Fig. 28: © 2021 Museum of Fine Arts, Boston; Fig. 38: By permission of the National Archaeological Museum of Taranto; Fig. 39: By permission from the Ministero della Cultura – Museo e Real Bosco di Capodimonte; Fig. 42: Concessione del Parco Archeologico di Morgantina e della Villa Romana del Casale di Piazza Armerina, Protocol number 381 of 27 April 2021 / photo courtesy the J. Paul Getty Museum, Villa Collection, Malibu, California; Fig. 43: Parco Archeologico di Paestum e Velia; Fig. 52: Alamy / photograph by Erin Babruik, 2010; Fig. 53: Photograph © Ethan Park and Ana-Sofia Meneses, 2021

Scala Arts Publishers, Inc. c/o CohnReznick LLP 1301 Avenue of the Americas, 10th floor New York, NY 10019 www.scalapublishers.com

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from Scala Arts Publishers, Inc. and The Metropolitan Museum of Art.

SCA_MetAfterlives_Interior_MECH.indd 192

The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028 metmuseum.org Distributed in the book trade by ACC Art Books 6 West 18th Street, Suite 4B New York, NY 10011 accartbooks.com Library of Congress Cataloguing-in-Publication Data Names: Metropolitan Museum of Art (New York, N.Y.), author. | Zanker, Paul. Title: Afterlives: Ancient Greek Funerary Monuments in The Metropolitan Museum of Art / Paul Zanker; translated by Alan Shapiro. Description: New York : In association with Scala Arts Publishers, Inc. : The Metropolitan Museum of Art, 2022. | Includes bibliographical references and index. Identifiers: LCCN 2021946818 | ISBN 9781785513848 (pbk.) Subjects: LCSH: Art, Greek—Catalogs. | Art—New York (State)—New York—Catalogs. | Metropolitan Museum of Art (New York, N.Y.)—Catalogs. Classification : LCC 2021946818 LC : record available at https://lccn.loc.gov/2021946818 ISBN 9781785513848 First printing 2021 10 9 8 7 6 5 4 3 2 1

21/12/2021 17:36