An underground shrine at Paestum

By PELLEGRINO CLAUDIO SESTIERI Director of Antiquities, Paestum AN UNDERGROUND SHRINE AT PAEST UM z . | | LE ees — ———____53,08 —o | ase SESUERI, PC. | 18,00 1. Plan and section of the sacred precinct at Paestum enclosing the underground shrine. AN, AACHEN pP. aa _&2

AN UNDERGROUND SHRINE AT PAESTUM Author(s): PELLEGRINO CLAUDIO SESTIERl Source: Archaeology, Vol. 9, No. 1 (MARCH 1956), pp. 22-33 Published by: Archaeological Institute of America Stable URL: http://www.jstor.org/stable/41663348 . Accessed: 02/09/2013 09:48 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . Archaeological Institute of America is collaborating with JSTOR to digitize, preserve and extend access to Archaeology. http://www.jstor.org This content downloaded from 192.87.31.20 on Mon, 2 Sep 2013 09:48:37 AM All use subject to JSTOR Terms and Conditions

By PELLEGRINO CLAUDIO SESTIERI Director of Antiquities, Paestum AN UNDERGROUND SHRINE AT PAESTUM S5'——S4 9 'S 4 1. Plan and section of the sacred precinct at Paestum enclosing the underground shrine.

e More than a year ago Dr. Sestieri gave us a general account of ancient Poseidonia, a Greek city in central Italy now called Paestum, and of the excavations going on there (ARCHAEOLOGY 7 [1954] 206-213). Since then he has been working steadily at the site and his efforts have been richly rewarded by the discovery of the amazing subterranean shrine he describes for us here. Extraordinarily well preserved and with many unique features, it is one of the most interesting finds of recent years. O, THE RIGHT of the ancient road which leads from the base of the four walls; this is repeated above on the the forum of Poseidonia to the Temple of Athena (fortwo long sides and on the short west side, where it folmerly called the Temple of Ceres) was discovered in lows the lines of the gable. The floor is composed of four July 1954 a quadrangular enclosure (Figure 1). This limestone blocks. enclosure, 130 meters (143 yards) distant from the The first thing which one notices is that the whole of temple, is made of squared blocks of local limestone the interior, walls and roof slabs, is covered with a thin resting on two courses of similar foundation blocks. layer of white plaster. The only exception is the middle Upon these stood a row of vertical slabs, of which three blocks of the eastern side, and it is clear that here an were still in place on the north side, while others had fallen nearby. As we dug within the enclosure, there began to appear, near the south and west sides, a gabled roof covered with clay tiles (Figures 2, 3). At first this seemed like the covering of a very large tomb. As we continued to dig, we saw that the roof belonged to a small rectangular building which abutted against the rock on three sides (Figure 4); only on the east side, where the rock had been cut away, could the total height of the wall (2.25 meters, or nearly 8 feet) be seen. This wall is made of limestone blocks in courses. The foundation projects slightly. The three blocks of the top row form a triangle supporting the gable which is made of two slabs resting obliquely against each other. The gabled roof is formed of two rows of limestone slabs, in turn covered with large clay tiles, ten on each side. These were bonded to the slabs with mortar made of clay and ashes. The top of the roof is one meter below the present ground level and ten centimeters below the row of blocks of the enclosure on which the vertical slabs were placed; therefore it was below the ancient ground level. opening was left for depositing offerings before the building was finally closed. From outside one can see, beside each of the central blocks, depressions which must have served for the points of crowbars used to fit the blocks in place. The roof slabs were supported by two longitudinal wooden beams. The positions of these beams are indicated by unplastered strips of ceiling each 21 centimeters wide and, on the end walls, by holes into which they fitted. Evidently the beams were also plastered. But these were not the only roof supports; at the middle of each beam stood a vertical post; on the pavement are depressions in which these rested. Between these depressions, in the center of the floor, is a kind of bench made of two pairs of blocks, one pair on top of the other. The bench is 54 cm. high, 68 cm. wide and 92 cm. long. Upon this were fragments of five iron rods, their ends fallen on the ground. Beneath some of these fragments were still attached remains of thin wooden tablets, and on top of them bits of an iron net (Figure 5) made of interlaced strips (rather like that found on the bed in the Regolini-Galassi tomb at Cerveteri). Upon this Excavation has demonstrated that the enclosure was a sacred precinct (temenos) and therefore the construction net was preserved a small portion of a very thick cloth within must have been sacred in character. This is evident also from the fact that the building had no opening and the interior consequently was inaccessible. Since all be made of metal, but woolen fibers can be recognized the roof blocks and tiles were broken we were able to remove some of these and penetrate inside. The interior proved to be a rectangular‘room with a plinth around plastered walls and ceiling, and particularly the gabled (Figure 6) which, because of salts and rust, appears to in it. We have, therefore, a bed with a woolen coverlet. This assemblage, with the bed in the middle, the white roof, reminds us of gabled tombs at Paestum. The resemblance to a tomb became more evident because of

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3. The precinct wall and the tiled roof of the underground shrine, during excavation. In the background is the Temple of Athena. PAE S T U M continued 5. A fragment of the iron bed-net found in the shrine. 4. The shrine, front view, with the precinct wall behind. The author stands immediately behind the building.

6. Remains of the woolen textile found on the bed-net. the nature and placement of the objects deposited in the rary. The rounded and decorated shoulder of the first room. south walls stood eight hydria (Figures 8-10) joins the body in an elegant curve. bronze vases—four on each side—two amphoras and The most interesting elements are the handles. The versix hydrias (Figure 7). In the northeast corner was a tical one is a band with rows of beading, ending at the huge Attic black-figured amphora. This vase was empty, bottom in a palmette with volutes between two sphinxes but the bronze vases were found to contain yellow honey, whose wings curve inward. At the top of the handle, still soft and smelling strongly of wax. They had been between two roundels, is a very fine lion’s head facing sealed with corks. One of these—a simple disk, now toward the inside of the vase. The mane, which is parted into four sections, is treated with particular care; on each Along the north blackened and is entirely preserved. Let us now examine the eight bronze vases. We can pointed lock the hairs are subtly incised. The same treatdivide them, according to form and style, into three ment appears on the handles of the great krater found at groups, the first including two fairly similar hydrias, the second, three nearly identical hydrias, and the third, one Vix, in France. The horizontal handles end on each side in a double lion protome. The front paws reach outhydria and the two amphoras. ward in front of the muzzles. The open mouths, as well as the deep incisions around the mouths and the indications of muscles on the paws, give these protomes a par- THE First Group: These two hydrias, although a little different in form—the first, less rigid and a little bigger in the body, is of a slightly more ancient type—are of substantially the same style and are certainly contempoticularly Oriental character. The form of the second hydria (Figures 11, 12) is a little more rigid, the ornaments on lip and base are 7. Five of the eight bronze vases found in the shrine.

PAE S T U M continued 8. Bronze hydria of Group I, height 45 cm. Note the delicate incised decoration on the shoulder, the elaborate repoussé ornament on the rim, and the two rows of tongue pattern on the base. 9. Detail of the hydria in Figure 8, showing the palmettes which are lightly incised on the ends of the roundels which terminate the handles.

simpler. The vertical handle is a superb piece of sculpof a youth bending backward, resting his feet on a palture: a lion, erect on his hind legs, rests his front paws mette and his hands on the rim. This vase also has two and miuzzle on the rim of the vase as if wishing to quench rams below and two lions above. Jugs with handles bearhis thirst with the liquid it contained. The taut body is ing the same animals and a palmette, but without the femasterfully male head, have been found in Campania, but these are rendered, with elegant limbs and spare flanks. Nevertheless, the powerful muscular mass of the provincial, probably imitations of prototypes from Magna haunches, the hind legs and the strong paws is empha- Graecia. The vertical handle with a female bust is desized. The mane, although lacking incised details, is well rived rendered. The lion’s hind feet rest on a palmette, to famous example, dating from the early sixth century B.c., typologically from Laconian hydrias; the most whose volutes are fastened two serpents; two more seris in a private collection at Darmstadt, Germany. The pents with flat triangular heads and long dragon beards handles of this vase are simple: at the bottom of the emerge from under the forepaws. The horizontal handles vertical one there is only a female head. On the Paestum are similar to those of the first hydria, but end in two hydrias, as on those of Sala Consilina and Randazzo, the pairs of equine protomes, with their front legs bent. new element is the horizontal placement of the animal The manes are rather long, with a tuft falling forward figures above and below. This is the only feature which between the ears and eyes. Similar treatment is found remains in the provincial Campanian vases. on the krater of Vix and also on bronze figures from like the tripod of Metapontum and the THE THIRD GROUP, consisting of one hydria and two horseman of Grumentum, which are attributed to Taramphoras, is clearly different from the other two. The entine art. hydria (Figures 14, 15) has an oval body and a South Italy, flat, slightly oblique shoulder. On the narrow lip is a band THE SECOND GROUP (Figure 13) includes three hydrias of beads separated by bars, and below is an incised band; which, although presenting slight differences in detail, the rather high base has a series of incised lines which can be considered identical. Their form resembles that were intended as a simplified tongue pattern. The verof the second hydria of Group I but with the shoulder tical handle has a median band of bead and reel; the slightly more rigid. The decoration on handles, rim and palmette at the bottom has volutes ending in serpent base is very elaborate. The vertical handles end below in heads. a woman's head which seems to rise from the volutes of rendered. On the upper part of the handle is incised a Above are two lion protomes, rather sketchily a palmette. On each side is the figure of a ram; at the palmette. The whole ensemble is schematic and rather top of the handles are two young lions. The female head rough in quality. The horizontal handles are also decis very delicate and accurate in detail. The rams, too, are orated with a median band of bead and reel; the attachstriking because of the delicate workmanship. No less ments are in the form of two hands, not very finely care is given the figures of the lions, which are parworked. The first amphora (Figure 16) ticularly remarkable because of the perfect rendering of form as the hydria and the same decoration on rim, neck details. Their elegant manes, with locks defined by subtle and base. It differs only in the handles. These are crossed incisions, form a kind of collar and hang down the back obliquely by four cords in relief. The attachment at the like a cloak. The horizontal handles, with a median band top is in the form of two volutes almost touching; at of bead and reel, have roundels with incised palmettes, the bottom is a palmette with volutes ending in two has the same like those on the first hydria of Group I. The handles flat serpent heads, rather like those of the hydria. The end in palmettes on each of which is the head of a bird small amphora (Figure 17) with a long beak, probably a water bird. monious in form than the two vases just described. The is more elegant and har- To these three vases we can compare examples from foot is rather high and decorated with concave tongues; South Italy, especially the hydria of Sala Consilina, which the lip, as in the other vases of this group, barely projects is identical in form, in accessory ornament and in the from the neck. The handles have a ridge in the middle handle decoration; in this example, however, the lions and slightly raised borders; the lower attachment is a are less finely worked. Very similar, too, is the hydria of flat palmette lightly incised. Above, each handle ter- Randazzo, in Sicily, which has the handle in the form minates in two little closed hands which have a space

PAESTUM 12. Detail of the hydria in Figure 11. continued

13. Bronze hydria of Group II, with figures of lions of and rams. The hydrias this group, all practically identical, measure 42 cm., 42.5 cm. and 44 cm. The incidental decoration consists of large dots in relief, above darts, on the rim, and of concave tongues on the base. On the woman’s head note the hair, which has lightly incised waves on the forehead and four pointed tresses in front. The rams have both front and hind legs bent under their bodies and their muzzles turned outward. PAE S T U M continued left between the fingers and palm, probably for a cord, so as to enable one to hold the vase with one hand. The bronze vases found in the shrine constitute an imposing group. The first five are homogeneous and present characteristics common to many products coming from South Italy or from Sicily (Randazzo). The question of their origin deserves more study but at present it seems logical to assume that the five hydrias of Groups I and II were made in a colony of Magna Graecia. The vases of the third group, less fine but with handles showing imitative elements, were probably made at Poseidonia itself, and almost certainly in a single workshop. Chronologically, the whole group can be assigned to the period between 530 and 510 B.c. This dating is confirmed by the presence in the shrine of an Attic black-figured amphora (Figure 18), perfectly intact. This superb example of Archaic Attic vase painting shows on one side the introduction of Herakles to Olympos: the hero carries his club but he wears a chiton and himation instead of the traditional lion’s skin. He has already taken his place on a chariot. Behind him Athena, wearing a high-crested helmet, is preparing to act as charioteer. Beside the chariot stand Apollo and Hermes, the latter distinguished by the petasos and caduceus. In front of the horses is Artemis; she is identified only by a little fawn with very long ears. On the

other side of the vase are Dionysos and Hermes, the some of the black-glazed cup fragments and on others former crowned with vine leaves and carrying a drinking of Ionic style decorated with stripes is incised the Greek horn and two long branches. Hermes has a pointed cap letter M; on an amphoriskos (small amphora), Ionic but no caduceus. Between the two gods is a splendid in style but locally made, is incised the following infigure of a long-horned goat. Behind each god are a scription in Archaic Greek characters: satyr and a maenad in lively dance. The freshness of the “I am sacred to the Nymph.” scene, its rhythm and harmony, make it artistically the main side of the vase, whereas the other side is more im- The building was clearly sacred, and because of its portant in content. But on both the design is equally exresemblance to a tomb must be considered as an undercellent and clearly the work of the same artist. He comground shrine. The vases contained in it have a feminine bines with delicacy of line the use of polychromy (white character; they are like those which women used for and violet) and of incision to indicate details and ornadrawing water, and at Paestum such vases are found only ments. His style, influenced by the work of Exekias, is in women’s graves. Naturally an underground sanctuary very close to that of Andokides. It is quite possible that could be dedicated only to a divinity of the underworld. the vase was selected for an offering in this sanctuary The presence of the bed and the absence of an image because of its two subjects: the apotheosis of Herakles, signify that in the shrine, invisible and inaccessible to with the suggestion of resurrection; and the thiasos, human beings, the divinity was considered as actually which symbolizes the beatitude of the Elysian fields. This present. The honey in the bronze vases symbolizes imis apparently the reason for the presence of the figure of mortality and recalls ambrosia, the food of the gods. Hermes, who here appears in the character of psycho pom- Honey was offered to rustic divinities as well as to subpos, guide of souls. terranean gods. According to the ancient Greek mystery religions a divinity of the dead was protector of fertility and fecundity as well; these religions were \X7E EXCAVATED the ground around the building basically agrarian. The divinity dies to rise again, symdown to bed rock; in it were many fragments of bolizing nature’s yearly cycle: six months of the year Archaic pottery—Attic, Ionic and some Corinthian. On Persephone is in Hades and six months on earth. In-

scriptions incised on pottery fragments found within the temenos help to identify the divinity of the shrine. The M is frequently found; elsewhere it occurs on a little vase from the deposit in the so-called Basilica, now identified as a temple of Hera, the mother goddess par excellence, the divine wife who presided over deaths and births. To her was sacred the pomegranate, symbol of fecundity and resurrection, and terracotta statuettes in her image are found in many tombs at Paestum. Her agrarian character is also clear from figurines found both at Poseidonia and at the sanctuary of Foce Sele, which show a nude female bust rising from a tuft of leaves— a clear representation of fertility. On top of the figure is a lily, also a symbol of fertility, which was used for incense. The M probably stands for MHTHP (mother), since Hera was the mother goddess. And because she was the divine wife it is likely that the dedication to the 17. The small bronze amphora, height 36.7 cm., of Group III.

nymph, mentioned above, does not refer to a nymph in general but to ze Nymph in the original meaning of the word—that is, to the Bride, Hera, Bride and Mother, Goddess of the dead and of fertility, who assures the faithful of resurrection to eternal life. The subterranean shrine is perfectly suited to such a concept of the divinity. Completely concealed from human sight, it could be considered as the sacred heart of the city, the most holy spot in the sanctuary of the powerful and most ancient goddess. The bed may have symbolized the “Iepos Tápos, the sacred marriage celebrated in the underworld between Hades and Persephone. Here the goddess Hera, in one of her aspects, served as a substitute. The resemblance of the shrine to a tomb is explained by the identification of Hera with Persephone as goddess of the dead, a function shared with the indigenous divinity who had been worshiped before the incoming Greeks substituted Hera. î ei Di Wie ea ek Li À e? <a des ¿e È “N à dé es 18. The black-figured Attic amphora found in the shrine. On the side shown at the left is the introduction of Herakles to Olympos; above is a group with Dionysos and Hermes.