Herodes Atticus, more than a name

Herodes Atticus is best known for his theater at the foot of Athens’ Acropolis. For most people, it is only a name to define this historic monument, forgetting who he was and what he achieved in life.

Herodes Atticus was born in Marathon, Greece, into a family of Athenian descent in 101 AD. He is known as an Athenian rhetorician and a Roman senator, spending time between Greece and Italy.

 

He was exceptionally wealthy and moved in the highest social circles. Emperor Hadrian, for instance, appointed him Prefect of the free cities in the Roman Province of Asia in 125 AD. A good year later, he was elected archon (high magistrate) of Athens. And in 140 AD, Emperor Antoninus Pius invited him to Rome to educate his adopted sons, the future Emperors Marcus Aurelius and Lucius Verus. As a Roman citizen, he was appointed Consul of Rome in 143 AD.

 
When he was 40 years old, he married Appia Annia Regilla, a 14-year-old aristocrat related to the family of Antoninus Pius’ wife.
 
Herodes Atticus was a philanthropic magnate and patron of many public works. What comes immediately to mind is the theater in Athens, which he financed in 161 AD to honor his wife, Regilla. Watching a Greek play performed within these walls or attending a popular or classical concert is a gratifying experience!

However, thousands and perhaps even millions of visitors have left their marks on the white marble construction. It calls for an extensive restoration and conservation process that is expected to take at least three years. During that time, the summer Athens Epidaurus Festival will be relocated elsewhere.

 
The overall deterioration consists of cracks in the Pentelic marble due to the variations in temperature and rainwater infiltration. Another problem is the plants that root in crevices and hold water. The theater had been destroyed in 267 AD and was in ruins until the 1950s, when the seating area and orchestra were restored. These repairs are now in dire need of improvement and require a comprehensive conservation plan.
 
The list of buildings Herodes Atticus funded is quite extensive. The ancient Panathenaic Stadium in Athens,  with a capacity of 50,000 seats, for instance, was one of his projects executed in 144 AD. Elsewhere in Greece, we owe him the Theater of Corinth, the Stadium of Delphi, the Baths of Thermopylae, and a splendid Nymphaeum in Olympia.
 
I was very surprised to read Herodes Atticus' name and his wife’s in Olympia. The Nymphaeum stands at the entrance to the Stadium. The two-story-high back wall was filled with statues of Herodes Atticus and several Roman Emperors like Antoninus Pius, Hadrian, Marcus Aurelius, and their family members. 

Most statues have been moved to the Museum of Olympia. Among them, I noticed Athenais, one of Herodes Atticus’ daughters. She married Lucius Vibullius Rufus, and the couple had six children, but only three survived to adulthood. The eldest daughter, Elpinice, was born in 142 AD and died in 165 AD. The son, Atticus Bradua, was born in 145 AD and was the only child to survive his father. Herodes Atticus was heavily disappointed by his son and left him nothing after his death.

 
Also exhibited in Olympia’s Museum is a life-size bull, which carries an inscription left by Regilla reading: "Regilla, priestess of Demeter offers the water and appendices to Zeus." This brings history to life!
 
Outside Greece, aqueducts donated by Herodes Atticus can be found in Canusium, Puglia region in Italy, and in Alexandria Troas, Asia Minor. In my blog post of February 2024, I mentioned the Baths and Gymnasium of Alexandria Troas built by Herodes Atticus in 135 AD. They were surrounded by vaulted corridors with marble walls, and water was delivered thanks to the aqueducts on the northeast side of town. Most of the building remained intact until it was destroyed by the severe earthquake in the winter of 1809-1810.
 

At the National Archaeological Museum in Athens, I encountered a statue of Polydeukes, also Vibullius Polydeukion, the adopted son of Herodes Atticus, dated to circa 150 AD. Wikipedia, however, mentions the boy as his pupil and lover in a relation resembling that of Hadrian and Antinous. Polydeukes died around 173-174 AD. His loss greatly affected Atticus, who built a Heroon in his memory.

 
Herodes Atticus lived to be 76 years old in 177 AD. Regilla had died in 160 AD, after being brutally kicked in the abdomen while eight months pregnant.  Her brother accused Herodes Atticus of having ordered one of his freedmen to beat her to death. At the trial that ensued, Herodes Atticus was acquitted by Emperor Marcus Aurelius, his former tutor.
 
I’m sure we’ll look at the Theater of Herodes Atticus with different eyes next time we walk through Athens.

The bronzes from Bubon’s Sebasteion

Illegal digs are inevitable and Turkey with its countless antique sites is no exception. A beautiful bronze head of an unknown young man displayed at the Getty Villa has recently been identified as stolen or illegally excavated, and it is heartwarming to hear that it will be returned to Turkey. 

The Getty Museum in Malibu, California, acquired the head in 1971 and it could be established that it belonged to a now-lost life-size figure. It is marked with the letter alpha (the Greek A) at the bottom of the neck. The inlaid eyes, which always add so much character to a face, are missing. 

Dated to the period between 100 BC and 100 AD, the statue's provenance was not documented, although scholars now link it to the archaeological site of Bubon in ancient Lycia. Since the late 1960s, several bronzes have been smuggled out of Turkey from that area. Most depicted Roman emperors and their families but the head at Getty has yet to be identified. 

In October 2023, the New York Times published an article on these bronzes from illegal digs that have been scattered around the world to various private homes and museums. 

By 1967 the looting became apparent and slowly stopped as the Turkish police found a headless bronze torso hidden in the woods near Bubon. This site turned out to be the main source for this unique collection and authorities are determined to track the looters down. 

Bubon has not been systematically excavated and all that remains are a small theater and stadium, as well as an Acropolis. The main building may have been a shrine or Sebasteion, where several bronze statues stood around a U-shaped courtyard that was probably roofed. The Sebasteion may have been started by Nero and his wife Poppea Sabina. His example was followed by eleven emperors and three empresses, the last being Gallienus, who ruled till 268 AD. In the following decades, Bubon suffered from repeated earthquakes which buried and saved the Sebasteion. 

Scholars and experts aim to restitute the group of statues, which represented an important binding factor between the citizens to the power of faraway Rome. 

In the end, the villagers themselves, now in their 60s and 70s, provided the most precious information. They described the statues and their posture and remembered how they were sold. Their plinths with the names of the emperors in Greek are still in situ. 

Lucius Verus apparently stood next to Marcus Aurelius, his adoptive brother and co-ruler. His headless statue may be at The Cleveland Museum of Art and his Bubon origin is now under investigation. 

Septimius Severus was accompanied by his wife and sons, Caracalla and Geta. His headless statue was on loan at the Metropolitan Museum of Art in New York and has been turned over to the authorities for repatriation. Some experts believe the missing head is kept at the Carlsberg Glyptotek in Copenhagen, Denmark. The head of Caracalla has been seized from the Met and his torso is probably in the hands of a Greek collector. Emperor Valerian stood nearby and his torso is now exhibited at the Museum of Burdur, Turkey. Commodus also had a plinth of his own.

In due time, more emperors will be reconciled with their names on the pedestals and more effigies or body parts will be returned to their rightful spot in Turkey. 

[Top picture from Getty Museum. Lucius Verus is mine taken at the MANN]

Museum of Tripoli, Libya

There are several reasons to write about the Archaeological Museum of Tripoli. It is one of those ‘must-see’ places that sadly are off the beaten track for the average tourist, especially since Gaddafi has been eliminated and the country has not regained its stability. 

I was privileged to visit this wonderful collection just before the outbreak of the Arab Spring, unaware of the quantity and high quality of artwork that awaited me. It must be said that I discovered these treasures on my first day in Libya, and, as always, I should have returned after my tour of the archaeological sites as well. 

Anyway, I took in as much as I could, fully aware that the best pieces from any excavation made their way to the museum in the country’s capital. Tripoli was no exception. 

The bulk of the collection comes from Leptis Magna, second to Rome (see: An introduction to Leptis Magna in Libya). 

The first statues I see are two magnificent Roman copies of Praxiteles’ originals from the 4th century BC. One is the Diadumenos, a young athlete who is tying the ribbon of victory around his head. The other is Apollo-Antinous, hinting at Dionysus, combining the body of Apollo with the head of Antinous, the lover of Emperor Hadrian. Both life-size marbles were recovered from the Baths of Hadrian in Leptis Magna. The arched vaults of these baths from the 2nd century AD have simply collapsed, burying and saving their precious statues in the process. 

Stealing the show is the marble Apollo playing the lyre. He is a little taller than life-size and as true to life as imaginable. Apollo’s delicate hands and fingers seem to strike the strings as he holds his instrument with his left hand and the plectrum in his right. The lyre is intact, except for the strings, and it is a unique opportunity to have a close-up look. His eyes, whose traces of paint make them alive, stare melancholically into the distance. They are a vivid reminder of all the painted statues in antiquity. Apollo’s body is truly worthy of a god. 

The elegant Muse Calliope is sitting nearby, listening carefully to his tune. More remarkable statues gather around Apollo. An unspecified sea goddess is looking up to him, and Mars is standing in a niche behind him. The slender Isis is wearing a diadem, and Venus is very similar to other copies of the famous Aphrodite of Cnidos (see: Was Alexander the Great aware of Cnidos?). Hadrian definitely had an outspoken taste for beauty! 

Another large group of statues and busts is brought together from the theater of Leptis Magna, consisting mainly of Roman emperors: Augustus, Tiberius, Claudius, Marcus Aurelius, Lucius Verus, etc. Even Augustus' wife, Livia and granddaughter, Agrippina the Elder, are present. Upstairs, in the Mezzanine, there is a statue of Faustina, the wife of Marcus Aurelius. 

Inside the theater of Leptis Magna stood a small temple dedicated to Ceres-Augusta, goddess of the harvest – our word for cereal derives from the name Ceres. A seated statue of this goddess also found its way to the museum. 

The goddess Cybele, with the many breasts (or whatever they represent) as worshiped in Ephesos, was unearthed in the sanctuary of the amphitheater. A Roman copy of a Greek original Diana/ Artemis, as displayed at the Louvre in Paris and the Archaeological Museum of Antalya, is also exhibited. 

The Ancient Forum of Leptis Magna yielded a rather damaged Dionysus with satyr and panther, and a headless Lady Fortuna wearing a beautifully draped tunic. 

The museum’s impressive main hall also displays four delicate mosaics from a private villa in Leptis Magna. It dates from the 2nd century AD and depicts scenes of daily life in and around the Nile – hence its name, Villa of the Nile. 

Upstairs, a special room holds the original reliefs of the Arch of Septimius Severus (see: A solid gold bust of Septimius Severus), proof of the political loyalty of the inhabitants of Leptis Magna in the 3rd century. The relief of Septimius Severus standing between his two sons, Caracalla and Geta, was meant to express the good harmony inside the imperial family. Here is also a statue of Caracalla as a child. 

The Cyrene Room has a wooden scale model of the Agora, which, unfortunately, is meaningless unless one has visited the site. Nearby are faceless goddesses believed to represent Persephone from the necropolis of Cyrene. Also, a rare Minerva wearing the Aegis tied to her waist as opposed to her Greek version, Athena, who wears it around her shoulders. She also holds her owl and carries the spear and shield. The statue is carefully carved in pure Greek tradition. 

The Archaeological Museum of Tripoli has a rich collection of mosaics from the 2nd century AD. Many villas were built along the Mediterranean coast by wealthy landowners who loved to show off. One such example is the Roman Villa of Zliten, some 200 km east of Tripoli. It yielded a large floor mosaic executed in a wonderful combination of opus sectile and clearly outlined opus vermiculatum. The central panel is filled with different sorts of fish, and the border with less peaceful scenes of gladiator fights. From the same villa comes the floor mosaic representing the Four Seasons. Tajura is located closer to Tripoli, where another Roman villa from the 2nd century AD has been spotted. A large mosaic with geometric figures and the head of the sea god, Amfitritus, in its center has been removed from the Villa of the Nereids. 

Unfortunately, I did not visit any of these villas since they were usually closed to preserve them. Under the present chaotic regime, I wonder how many of these precious villas have survived the revolt and looting in the wake of Gaddafi’s execution. 

From Ghirza, a Roman fortress near Misrata, an entire Mausoleum from the 4th century AD has been moved to the entrance hall of the museum. It has a strange mixture of different styles that can hardly be defined. 

It is, of course, preferable to leave such constructions and the precious statues and mosaics in situ, but in case of political unrest and war, the artifacts are generally better protected inside the walls of a museum. It so happens that the Archaeological Museum of Tripoli is housed inside the so-called Red Castle of Tripoli. In 2011, following the outbreak of the Libyan Civil War, the museum was closed, but rebels managed to break into the museum and steal a few of Gaddafi’s belongings that were kept in a special room. Previously, the most valuable artifacts had been moved to a safer location. As of 2020, the museum is still closed.

Hello? Dr. Galen?

The physician Claudius Galenus, better known as Galen of Pergamon, was the most famous doctor in the Roman world of the 2^nd century AD and probably the most famous of antiquity.

He was born in Pergamon, where he studied, and he completed his education in Smyrna (modern Izmir), Corinth, and Alexandria. He learned his skills in his natal city while serving as an apprentice at the sanctuary of Asclepius. His main clientele was the gladiators, and through this work, he gained much experience in treating wounds of all kinds. This led to an unrivaled knowledge of human anatomy, physiology, and neurology. His fame was such that it reached even the imperial court of Rome. He moved to that city in 161 AD, where he became the personal physician of the emperors Marcus Aurelius, Lucius Verus, and Commodus. By that time, he had specialized in anatomy, physiology, pathology, pharmacology, and neurology, but he was also well-versed in philosophy and logic.

The influence of Dr. Galen lasted for many centuries as his works were translated first into Arabic and later into Latin. His comprehension of the anatomy and physiology of the human body was not surpassed till the 17th century. He borrowed his philosophy from Plato, Aristotle, and Epicurus and wrote an analysis of dreams seventeen centuries before Sigmund Freud. Renowned Islamic physicians, pharmacologists, and botanists heavily leaned on Galen’s studies. Over the centuries, many scholars translated his books, reviving his vast field of knowledge that was, by the 11th-12th century, taught at the newly founded European universities like Oxford, Paris, and Bologna.

 

It is evident that after almost two thousand years, Galen’s legacy has been disseminated among monasteries, madrassas, museums, universities, and private collectors worldwide. This makes it difficult to get a complete list of his works and almost impossible to know to what extent our books are complete. Lady Fortuna plays a vital role in such matters, and from time to time, new works or hitherto unknown passages are discovered.

Papyri and parchments were expensive commodities in antiquity, and in the Middle Ages, thrifty monks searching for writing support for their prayers effectively reused old parchment. They scraped off the ancient manuscripts to overwrite them with their Christian psalms and hymns perpendicularly to the initial writing. This process is called Palimpsest.

[Picture from SLAC National Accelerator Laboratory by Farrin Abbott]

One such Palimpsest surfaced in Germany at the beginning of the 1900s. Its origin has been traced back to the Monastery of St Catherine on the Sinai Peninsula. Close examination with special X-ray imaging revealed an underlying text in Syriac from the 6th century, constituting the most complete surviving copy of an original book by Galen. This text was erased and written over in the 11th century. 

Thanks to modern imaging and digital processing techniques, scientists and scholars have uncovered and studied the Roman physician’s original text over the past decade. Eventually, this precious evidence will be added to the existing high-resolution images made available online by the Schoenberg Institute for Manuscript Studies at the University of Pennsylvania Libraries. This institution is collecting leaves from the same Syriac manuscript that made their way to different locations, such as the libraries at Harvard University, Paris, and the Vatican, to name just a few. 

The intention is to digitally reconstruct Galen’s book. This is a long-term project, considering it takes about ten hours to scan one single page. Only when these complex scans are completed will the research team be able to start analyzing the words and thoughts of this great physician to fit them in the context of the pages that are kept elsewhere.

Details on this time-consuming research can be found in the article “Hidden Medical Text Read for the First Time in a Thousand Years” by Amanda Solliday."