Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Μ. Ασία

1. Location and Architectural Description

The Pollio Monument (no. 28) was built as a heroon for C. Sextilius Pollio by his adopted son, C. Offillius Proculus.¹ It is located on the west side of the Public Agora (no. 18), opposite the square which had been created in front of the temple of Domitian (no. 30), and dates from the reign of Augustus (31 BC-14 AD).² As the excavations later revealed, the Pollio monument was extended and incorporated into the so-called Fountain of Domitian, during the building programme of the so-called terrace of Domitian in 93 AD. The initial single-room building of Pollio formed the north wing of a larger complex with three fountain constructions: a) a small fountain in the western section, b) a U- shaped structure with basins built over the preexisting honorary building, the so-called Nymphaeum of Pollio, and c) the semi-circular fountain of Domitian in the south section.

2. The Pollio monument and the western fountain

In front of the west retaining wall of the Upper Agora in Ephesus and south of the western chalcidicum of the Basilica there is a base of a building measuring 8.00x6.50 m. and 6.40 m. in height.³ Its core was constructed of rubble masonry.⁴ This edifice was initially constructed as a honorary building.⁵ Externally the wall was covered with lime plaster and was faced with marble slabs, built in the pseudo-isodomic style. At the centre of the western wall there was a small niche (1.81 m. wide), framed by pilasters. This was the façade’s only architectural decoration.

The discovery of five marble slabs which come from the parapet and can not be placed either on the fountain of Domitian or the nymphaeum of Pollio, led to the conclusion that they came from the façade of a basin and were placed on the western side of the Pollio Monument.⁶ The water basin measured 3.50x1.20 m., while the marble-faced wall of the Pollio monument functioned as the rear retaining wall of the basin.⁷ No traces of the water supply system survive, however, the water pipe which Pollio funded is located exactly next to the Pollio monument. It is not unreasonable to suppose that the fountain formed the end of the aqueduct.

Two inscriptions in Latin and Greek are of particular interest. From these finds we learn that the donor and commissioner of the edifice was C. Offillius Proculus, adopted son of C. Sextilius Pollio.⁸ The reference to C. Sextilius Pollio, curator of a water-supply network funded by Augustus and Tiberius, clarifies the issue of the monument’s date.⁹

These inscriptions are in the western pseudo-isodomic façade wall, flanking the arch, which led to the niche.¹⁰ The Latin (founding) inscription, which mentions the name of C. Sextilius Pollio, is located high up at the beginning of the arch, it has a height of 2 rows and occupied a length equal with three stones, on the left hand side. The Greek inscription was lower on the orthostates and on both sides of the pillars which flank the arch. On the monument, Sextilius Pollio is the honoured individual and his adopted son is the commissioner; their names therefore are placed higher for obvious reasons.

The hypothesis that the water cistern dates from the monument’s first building phase, i.e. the reign of Augustus, has been voiced, although other scholars support that the slabs of the basin were used as architectural members in second use (spolia) and date the fountain to a period of renovation of the Pollio monument after the reign of Nero.¹¹

3. The Nymphaeum of Pollio

3.1. Architectural Description

Over the earlier honorary building of Pollio, at the northwestern corner of the Public Agora, is another structure with water cisterns.¹² It is adjacent to the aforementioned west fountain, forming a unified architectural synthesis. Its identification as a fountain building was based on the hydraulic system located within it. The foundations of the enclosure and the architectural components led to its dating during the Flavian period (69-96 AD) or the reign of Trajan (98-117 AD).

This fountain building's ground-plan was U-shaped. It was built on the Pollio monument and faced towards the square of the state agora. It was a richly decorated and a particularly lavish edifice. It stands on a pedestal 1.10 m. in height, faced with marble slabs. On each of the three walls there were two square pilasters, which carried anta capitals of Corinthian order, while in front of each pilaster there were two columns. Thus, an aedicula was formed on each side which was crowned by an entablature with three-fasciae architrave and a relief frieze.¹³ In these aediculae niches were formed for the placement of sculptural decoration. In front of each aedicula there was a rectangular basin.

3.2. Sculptural decoration

It has been speculated that in the niches formed above the water cisterns, the statues of the river deities Marnas¹⁴ and Claseas¹⁵ had been placed, fragments of which were found on the monument’s western wall. These statues possibly flanked the figure of the enthroned Zeus of Olympia type.¹⁶ It is not known whether the torso of Androclos, hero-founder of Ephesus, and the torso of Aphrodite¹⁷ come from this area. Aphrodite is depicted semi-naked. The himation covers the back part of the body (back and buttocks). One end of the himation unfolds under the left armpit, while the other passes in front of the thighs leaving the front part of the body from the neck to under the groin naked. The torso is bent and the movement is intense. It follows Hellenistic models.

4. The Fountain of Domitian

4.1. Architectural Description

It belongs to the type of semicircular nymphaea.¹⁸ It faces the so-called Domitian Square. The semicircular basin and rectilinear façade stand on a three stepped crepidoma, 0.70 m. high.¹⁹ The basin had a diameter of 6.28 m., was 3.45 m. deep and is preserved to a height of 5.58 m. Parts of the reddish hydraulic mortar (opus Signinum) are preserved on the floor and on the walls of the basin. Above the basin is a semi-circular pedestal with narrower edges (0.70 m. deep) and wider center (1.30 m. deep).²⁰ The pedestal, which was destined for the placement of statues, follows the curve of the basin’s rounded wall. An impressive group statue, which represents the episode of the blinding of the Cyclop Polyphemus by Odysseus and his companions, was placed on this pedestal.

The front part of the basin was closed by a parapet, 9.52 m. long, which was formed by vertically placed orthostates (1.67 m. high). These orthostates stand on a toichobates which ended in a reverse cyma. The two orthostates of the left-hand side edge were found in situ, while two others were unearthed during the excavations.²¹

The vaulted cistern is an unusual architectural element for this era in Asia Minor.²² On the parapet of the basin the elements of the monument’s façade are erected, i.e. the four marble pillars and the arch. Two of the marble pillars bear Corinthian order capitals with sculptural decoration comprising of female heads which stem from acanthus leaves. From these capitals begins the façade’s arch. On either side of the central pillars there were two more pillars with Corinthian capitals²³ which were taller than the central ones, reaching the height of the arch’s keystone. The shafts of the columns which flank the arch bear lavish floral decoration rendered by the use of the drill which creates intense shading. It is formed by tendrils covering the entire height of the column and by acanthus leaves which turn inwards.²⁴ These columns supported the roof which was made in opus caementicum and was faced with marble. The roof covered the interior giving the vaulted construction the impression of a cave.²⁵

The arch itself was 3.06 m. in height, had an opening of 1.81 m., and a depth of 1.10 m.²⁶ It is formed by voussoirs decorated with a three-fasciae ornament.²⁷ The fasciae were separated by an astragal. The arch’s keystone was decorated with a female head. It is possible that above the arch there was a triangular pediment.

4.2. Inscriptions

During the excavations two founding inscriptions were discovered. One mentions that the fountain was dedicated to Artemis Ephesia and the Emperor Domitian.²⁸ The other records the name of the donor (P. Calvisius Ruso), proconsul of Asia, who also funded the water supply network.²⁹ The mention of the donor’s name allows the semi-circular fountain to be dated to 93 AD.³⁰

4.3. Sculptural decoration

The majority of the surviving sculptural fragments come from this monument. They possibly fell off the middle niche (after a fire) into the water cistern and remained there for several years. The traces of their exposure to water are evident on the surface of the marble. Because of these damages it is not possible for these statues to be fully restored, but it appears that it was a group of nine figures,³¹ thought to depict the episode of the blinding of the Polyphemus by Odysseus and his companions.

The following figures can be recognised: Odysseus, offering a cup of wine,³² a companion holding the wineskin with the wine used to get the Cyclop drunk,³³ two of the companions holding the pole used to blind Polyphemus,³⁴ yet another sharpening the end of the pole. The depiction represents the preparation for the blinding, not the act itself. There are also two figures of dead companions.³⁵ Polyphemus is the only larger-than-life-size figure (almost twice than the other figures).³⁶

The group is designed to be seen from one side. The centre is dominated by the figure of Polyphemus, flanked by the figures of the companions depicted in movement, while at the sides are Odysseus’ dead companions which do not, however, bear the traces of mutilation mentioned by Homer. In 1976 the statues were placed in a specially constructed niche in the Museum of Ephesus, on a semi-circular pedestal. They were erected without their plinth and were assembled with rods. The figure of Polyphemus was rendered in contour, as was the wooden pole.³⁷

In 1977, B. Andreae presented a hypothetical reconstruction placing Polyphemus at the centre and on either side of him two groups of three figures.³⁸ In the centre was the colossal figure of the Cyclop, about to devour one of Odysseus’ companions. To the left and right of the Cyclop are Odysseus and his companions. More specifically, on the left is Odysseus and the companions carrying the wineskin and the cup for the wine, in the front and below are the two dead companions, while on the right those preparing the pole for the Cyclop’s blinding. The composition culminates in the centre and decreases at the sides. Thus the scholars support that the group once formed part of a tympanum.

4.4. The issue of the group’s origin

B. Andreae places particular emphasis on this unusual, for a fountain building, decoration. The epic episode of the blinding of Polyphemus, particularly popular from the Hellenistic period onwards, is often repeated in sculpture. Although it is a unique theme for the decoration of nymphaea in Asia Minor, it is often seen in opulent imperial villas, particularly during the reign of Emperor Domitian.³⁹

A brief observation shows that there is a time distance between the construction of the Fountain of Domitian and the creation of the statue group. Scholars agree that this sculpture dates to the decade 40/30 BC and originates from another monument.⁴⁰

The statues date to the Late Hellenistic period. They present great stylistic similarities with the statues from the monunent of C. Memmius.⁴¹ There is a time difference between the safely dated fountain of Domitian and the statue group of at least 120-130 years, which means that it was placed on the monument at a second phase, moved from some other monument. Moreover, it is also obvious that the openings for the insertion of water pipes observed in the statues’ torsos occurred at a later date and hastily when the group was used as a fountain statuary.⁴²

The only building which agrees in date and dimensions is the temple of Isis in the interior of the state agora built by Mark Antony.⁴³ It is known that Mark Antony was worshipped in Ephesus as the new Dionysus⁴⁴ and the subject of the composition agrees completely with the Dionysian cycle. The wine offered to the Cyclop is the linchpin. This hypothesis is further strengthened by the fact that the same composition adorned the nymphaeum at the villa of Claudius, in the town of Baia, where a statue of Dionysus was also found.⁴⁵

D. Lenz supported that the statues which formed the composition of the blinding of Polyphemus come from two different statue groups and supports this hypothesis on iconographic and stylistic comparisons.⁴⁶ He pays particular attention to the figure of the dead Greek which bears a sword wound and symptoms of death by tetanus. His anatomic characteristics, especially his moustache, are reminiscent of a Galatian not a Greek. This, in combination with the muscular form and the known passion of Pergamum figures supports the hypothesis that the statue did not belong initially to the blinding of the Cyclop’s group, but to a statue group which depicted a battle scene with Galatians.⁴⁷ The similarities between the muscular form of the Greek holding the cup and the similarities in clothing (both wear only a chlamys) led Lenz to conclude that these figures were added to the blinding of Polyphemus group later, when it was placed on the fountain of Domitian.⁴⁸ Moreover, Lenz believes that the statues were designed to be seen from the height of the viewer. He does not therefore agree with their placement on a pediment but places them in the open air, possibly in the courtyard of a villa, or in the interior of a natural or artificial cave, following the model of Sperloga or Baia.⁴⁹

An inscription on a column shaft of the upper floor sets the date in the 2^nd century AD, while on the lower section of another column mentions the name of the archpriest of Asia, Tiberius Claudius Aristion. He completed the library of Celsus and built the two nymphaea of Trajan in Ephesus, making his presence generally felt in the town during the second quarter of the 2^nd century AD through an extensive building program.⁵⁰

5. History of Research

Excavations took place under F. Miltner.⁵¹ The monument’s reconstruction drawing was made by A. Bammer.⁵² The architectural components discovered during the Austrian excavations come from the earlier Pollio monument and from the later, larger fountain building dated to the reign of Domitian.

1. C. Sextilius Pollio was the curator of the water supply network for the transportation of “Aqua Throessitica” funded by Augustus and Tiberius, see Keil, J., “Drei neue Inschriften aus Ephesos”, ÖJh 35 (1943), p. 103 ff.

2. Andreae, B., Odysseus. Mythos und Erinnerung (Mainz 1999), p. 162.

3. Dorl-Koingenschmid, C., Prunkbrunnen in kleinasiatischen Städten. Funktion im Kontext (München 2001), p. 184, no. 21, fig. 110.

4. Bammer, A., “Das Denkmal des C. Sextilius Pollio in Ephesos”, ÖJh 51, (1976-1977), p. 85, fig. 3 (monument’s ground plan and view of western wall).

5. Miltner, F., “Vorläufiger Bericht über die Ausgrabungen in Ephesos”, ÖJh 45 (1960), p. 31.

6. The northern slab, which is in direct contact with the memorial building, was found in its initial position. Dowel openings and traces of anathyrosis show the position of the south slab and inform us about the width of the cistern. Dorl-Klingenschmid, C., Prunkbrunnen in kleinasiatischen Städten. Funktion im Kontext (München 2001), p. 184, no. 21, fig. 110; Thür, H. (ed.), “'...und verschönerte die Stadt...' Ein ephesischer Priester des Kaiserkultes in seinem Umfeld”, ÖAI Sonderschriften 27 (Wien 1997), p. 71 ff.

7. Dorl-Klingenschmid, C., Prunkbrunnen in kleinasiatischen Städten. Funktion im Kontext (München 2001), p. 184.

8. Börker, C. – Merkelbach, R. – Engelmann, H. – Knibbe, D., Die Inschriften von Ephesos II, Nr 101-599 (IK 12, Bonn 1979), no. 405, p. 133-135.

9. Keil, J., “Drei neue Inschriften aus Ephesos”, ÖJh 35 (1943), p. 103 ff.

10. Bammer, A., “Das Denkmal des C. Sextilius Pollio in Ephesos”, ÖJh 51, (1976-1977), p. 80, fig. 3 (reconstruction of façade).

11. Bammer, A., “Das Denkmal des C. Sextilius Pollio in Ephesos”, ÖJh 51 (1976-1977), p. 86.

12. Dorl-Klingenschmid, C., Prunkbrunnen in kleinasiatischen Städten. Funktion im Kontext (München 2001), p. 189-190, no. 27, fig. 60, 116.

13. The architrave is formed by three fasciae and is made of the same piece of marble as the relief frieze. Between the two there is a reverse cyma. The frieze is decorated with two types of floral decoration, according to where it was situated within the building. One type bore a fascia, a lesbian cyma without astragal, and a zone of tendrill with rosettes in the center of each spiral, while its ends were closed by acanthus leaves. The other type was placed in the corners and was decorated with a lesbian cyma and a floral motif of acanthus calyx from where stemmed large leaves which extended to the ends. Above the architrave and the frieze, the receding entablature was completed with the cornice, with a total height of 0,45 m. It was formed by the sima decorated with alternating leaves, followed by a reverse cyma, fascia and consoles. The consoles (tooth-shaped rectangular sections below the fascia) framed by an Ionic cyma, were decorated with a large acanthus leaf and rosettes in between them. Under the consoles there are the dentils. Bammer, A., “Elemente flavisch-trajanischer Architekturfassaden aus Ephesos”, OJh 52 (1978-1980), p. 70-73, fig. 2-3, 4-5.

14. Ephesus, Arch. Museum, no. 1556. Marble statue, larger-than-life-size, reconstructed from 27 fragments. It depicts a young naked male figure with long, curly hair, leaning against a rock-like plinth. He is supported by his left arm which bears a small round shield, while his right hand rests on the right knee. In his left hand he holds a short sword. Miltner dated it during the Flavian dynasty. Fleischer placed it, because of the polishing and the use of the drill, during the 2^nd century AD. It is possibly a fountain statue from the fountain (donation) of Domitian (93 AD). See Strocka, V.M., “Zeus, Marmas und Klaseas, Ephesische Brunnenfiguren von 93 n. Chr”, in Başgelen, N. (ed.), Festschrift für J. Inan (1989), p. 78, fig. 1-5; Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 139-140, no. 117, fig. 83a-c; LIMC VI (1992), p. 361, no. 2, in entry “Marnas I” (Strocka, V.M.).

15. Ephesus, Arch. Museum. Fragments of the left leg of a colossal figure, depicted reclining – possibly the river Claseas. Strocka, V.M., “Zeus, Marmas und Klaseas, Ephesische Brunnenfiguren von 93 n. Chr”, in Başgelen, Ν. (ed.), Festschrift für J. Inan (1989), p. 81-84; LIMC VΙ (1992), p. 64, no. 2, in entry “Kladeos-Klaseas” (C. Weiss); Andreae, B., Odysseus. Mythos und Erinnerung (Mainz 1999), p. 162.

16. Ephesus, Arch. Museum, no. 1055 (exc. no. 58/263). Larger-than-life-size head, from a statue of enthroned Olympian Zeus. Strocka, V.M., “Zeus, Marmas und Klaseas, Ephesische Brunnenfiguren von 93 n. Chr”, in Başgelen, N. (ed.), Festschrift für J. Inan (1989), p. 77-92, fig. 40.6-7; Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 22-23, no. 1, fig. 1a-c; LIMC VΙΙΙ (1997), p. 353, no. 320, in entry “Zeus” (P. Karanastassi).

17. Miltner, F., “Vorläufiger Bericht über die Ausgrabungen in Ephesos”, ÖJh 45 (1960), p. 40 ff., fig. 26.

18. About semi-circular nymphaea: Neuerburg, N., “L’architettura delle fontane e dei ninfei nell’Italia antica”, MemAccNapoli 5 (1965), p. 53 ff. ΕΑΑ V (1963), 505, in entry “Ninfei e Fontane” (S. Meschini), p. 510; Gagniers des, J. –Devambez, P. – Kahil, L. – Ginouves, R., “Laodicee du Lycos. Le Nymphee”, Campagnes 1961-1963 (1969), p. 143-152, 161; Settis, S., “Esedra” e “Ninfeo”, ANRW 1.4 (1973), p. 661 ff. Aupert, P., Le nymphee de Tipasa et les nymphees et “septizonia” nord-africaines (1974) (Collection de l'Ecole francaise de Rome 16), p. 114 ff. Glaser, F., Antike Brunnenbauten (KPHNAI) in Griechenland (Wien 1983), p. 163-164; Walker, S., The Architectural Development of Roman Nymphaea in Greece (unpublished thesis, 1979), p. 60 ff. Letzner, W., Romische Brunnen und Nymphaea in der Westlichen Reichshalfte (Munster 1990), p. 141-143 (type VI). Ginouves, R. et.al., Dictionnaire Methodique de l’Architecture Grecque et Romaine, III: Espaces Architecturaux, Batiments et Ensembles (1998), p. 98, n. 84-88; Dorl-Klingenschmid, C., Prunkbrunnen in kleinasiatischen Stadten. Funktion im Kontext (Munchen 2001), p. 19, n. 62, 39-50.

19. Longfellow, B., Imperial Patronage and Urban Display of Roman Monumental Fountains and Nymphaea (Michigan 2005), p. 93, fig. 4.3a-b.

20. For the reconstruction of the nymphaeum's interior, see Andreae, B., Odysseus. Mythos und Erinnerung (Mainz 1999), p. 162- 177.

21. Approx. 15 cm. under the crown of one of the orthostates, which was not found in situ , there is an opening possibly for the placement of a water spout.

22. Longfellow, B., Imperial Patronage and Urban Display of Roman Monumental Fountains and Nymphaea (Michigan 2005), p. 94.

23. Bammer, A., “Elemente flavisch-trajanischer Architekturfassaden aus Ephesos”, ÖJh 52 (1978-80), p. 74, fig. 8.

24. Bammer, A., “Elemente flavisch-trajanischer Architekturfassaden aus Ephesos”, ÖJh 52, (1978-1980), p. 75, fig. 8-9.

25. Dorl-Klingenschmid, C., Prunkbrunnen in kleinasiatischen Städten. Funktion im Kontext (München 2001), p. 185.

26. Bammer, A., “Das Denkmal des C. Sextilius Pollio in Ephesos”, ÖJh 51 (1976-77), p.92.

27. Bammer, A., “Elemente flavisch-trajanischer Architekturfassaden aus Ephesos”, ÖJh 52, (1978-80), p. 75, fig. 8-9.

28. Börker, C. – Merkelbach, R. – Engelmann, H. – Knibbe, D., Die Inschriften von Ephesos II, Nr 101-599 (IK 12, Bonn 1979), no. 413, p. 139-140; Miltner, F., “Vorläufiger Bericht über die Ausgrabungen in Ephesos”, ÖJh 45 (1960), p. 32; Cramme, St., Die Bedeutung des Euergetismus für die Finanzierung städtischer Aufgaben in der Provinz Asia (2001), p. 142 ff. Dorl-Klingenschmid, C., Prunkbrunnen in kleinasiatischen Städten. Funktion im Kontext (München 2001), p. 185.

29. Börker, C. – Merkelbach, R. – Engelmann, H. – Knibbe, D., Die Inschriften von Ephesos II, Nr 101-599 (IK 12, Bonn 1979), no. 419, p. 143; Miltner, F., “Vorläufiger Bericht über die Ausgrabungen in Ephesos”, ÖJh 45, (1960), p. 35; Dorl-Klingenschmid, C., Prunkbrunnen in kleinasiatischen Städten. Funktion im Kontext (München 2001), p. 185.

30. Kreiler, B., Die Statthalter Kleinasiens unter den Flaviern (München 1975), p. 57 ff. Longfellow, B., Imperial Patronage and Urban Display of Roman Monumental Fountains and Nymphaea (Michigan 2005), p. 91-92.

31. Miltner, F., “Vorläufiger Bericht über die Ausgrabungen in Ephesos”, ÖJh 45 (1960), p. 37.

32. Ephesus, Arch. Museum, no. 1559 (excavation index 794/58). It depicts Odysseus offering wine to Polyphemos. He wears chiton and himation. Traces of a water faucet are recognized on the left shoulder. Andreae, B., “Vorschlag für eine Rekonstruktion der Polyphemgruppe von Ephesos”, in Festschrift für F. Brommer (Mainz 1977), p. 4, 8, no. 3, fig. 1, 3; Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 168, no. 147.1, fig. 103a. LIMC VΙ (1992), p. 956, no. 85, in entry “Odysseus” (O. Touchefeu-Meynier).

33. Ephesus, Arch. Museum, no. 1557 (excavation index 384/58.755/58.764/58). Male figure with its coalescent plinth, trying to carry a massive wine skin. He wears a short chiton which leaves the right shoulder uncovered. On the back part of the wineskin are openings used as water spouts. Andreae, B., “Vorschlag fur eine Rekonstruktion der Polyphemgruppe von Ephesos”, in Festschrift fur F. Brommer (Mainz 1977), p. 4, 8 no. 1, fig. 1, 2; Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 ( Wien 1990), p. 168, no. 147.2, fig. 103b.

34. Ephesus, Arch. Museum, no. 1558. Male figure holding a large wooden pole, supported by the right thigh. In the back part are openings used as water spouts. Andreae, B., “Vorschlag für eine Rekonstruktion der Polyphemgruppe von Ephesos”, in Festschrift für F. Brommer (Mainz 1977), p. 4, 7, 8, no. 9, fig. 3, 4; Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 169, no. 147.3, fig.103c.

35. Ephesus, Arch. Museum, no. 1561 ( index 758/58). On a semi-circular plinth is represented the figure of a dying Greek (according to the dying Galatian type). He is depicted naked, wearing only the chlamys clasped at the right shoulder. The head, with half-opened lips leans backwards and to the side. The lifeless right hand rests on the plinth and the left hand lies on the stomach area. Andreae, B., “Vorschlag für eine Rekonstruktion der Polyphemgruppe von Ephesos”, in Festschrift für F. Brommer (Mainz 1977), p. 3, 7-8, no. 7, fig. 2-3; Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 169, no. 147.5, fig. 104a-b. Ephesus, Arch. Museum, no. 1562 (excavation index 757/58). On a plinth is depicted another figure of a dead Greek. The head hangs lifeless off the edge of the plinth. The arms lie next to the body. Andreae, B., “Vorschlag für eine Rekonstruktion der Polyphemgruppe von Ephesos”, in Festschrift für F. Brommer (Mainz 1977), p. 3, 8, no. 4, fig. 2.1-2; Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 169 ff., no. 147.6, fig. 105a-b.

36. Ephesus, Arch. Museum, no. DOM 65/2 (head) / no. 1093 (excavation index 768/58) (thigh, where lies the body of a Greek). Larger-than-life-size, depicted seated. On the thigh lies the body of a dead Greek, slaughtered by Polyphemus. Andreae, B., “Vorschlag für eine Rekonstruktion der Polyphemgruppe von Ephesos”, in Festschrift für F. Brommer (Mainz 1977), p. 2, no. 5.6, pl. 1.4 (Polyphemus’ thigh with dead figure), p. 8, no. 5 (head). Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 171, no. 147.19, pl. 109a-b (head), p. 171, no. 147.15.18, pl. 109a,c-d.

37. Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 174-175, note 17 and fig. 102b. Andreae, B., “Vorschlag für eine Rekonstruktion der Polyphemgruppe von Ephesos”, in Festschrift für F. Brommer (Mainz 1977), p. 3-5; Andreae, B., “Odysseus. Mythos und Erinnerung” (Mainz 1999), p. 72-75; Andreae, B., Odysseus. Archäologie des europäischen Menschenbildes (Frankfurt 1982), p. 69-90.

38. Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 175.

39. In the nymphaeum at the villa of Colle Casarano (Late Republican period), in Tortoreto (2^nd-1^st century BC), in the cave of Tiberius in Sperlonga, in the nymphaeum of the triclinium in Claudius’ villa in Baia, in the Domus Aurea of Νero, in the Bergantino nymphaeum of the villa of Emperor Domitian in Castelgandolfo, in the Serapeion of Hadrian’s villa in Tivoli, in the fountain of Domitian in the Pollio monument. Longfellow, B., Imperial Patronage and Urban Display of Roman Monumental Fountains and Nymphaea (Michigan 2005), p. 102.

40. For hypothesis of a possible initial origin, Andreae, B., Odysseus. Mythos und Erinnerung (Mainz 1999), p. 174.

41. They may even belong to the same workshop, see Andreae, B., Odysseus. Mythos und Erinnerung (Mainz 1999), p. 171.

42. Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 176, note 37.

43. Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 175, note 31; Andreae, B., Odysseus. Mythos und Erinnerung. Kurze Anleitung. Rom, 22.Feb-2.Sept. (Mainz 1999), p. 84-85; Longfellow, B., Imperial Patronage and Urban Display of Roman Monumental Fountains and Nymphaea (Michigan 2005), p. 99.

44. Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 176, n. 33.

45. Aurenhammer, M., Die Skulpturen von Ephesos, Idealplastik I. Forschungen in Ephesos X/1 (Wien 1990), p. 176, note 35. For Claudius’ villa in Baia: Andreae, B., “L’Imperatore Claudio a Baia”, in Giuliana Tocco Sciarelli (ed.), Baia. Il Ninfeo imperiale sommerso di punta Epitaffio (1983) p. 67-71. Also, Andreae, B., “Il Ninfeo di Punta dell’Epitaffio a Baia”, in Stucchi, S. – Bonano, M. (ed.), Giornate di Studio in onore di A. Adriani, Roma 26-27 novembre 1984, Studi Miscellanei. XXVIII (Roma 1991), p. 237-265.

46. Lenz, D., “Ein Gallier unter den Gefährten des Odysseus. Zur Polyphemgruppe aus dem Pollio-Nymphaeum in Ephesos”, IstMitt 48 (1998), p. 237-248.

47. Lenz, D., “Ein Gallier unter den Gefährten des Odysseus. Zur Polyphemgruppe aus dem Pollio-Nymphaeum in Ephesos”, IstMitt 48 (1998), p. 239-240.

48. Longfellow, B., Imperial Patronage and Urban Display of Roman Monumental Fountains and Nymphaea (Michigan 2005), p. 100.

49. Lenz, D., “Ein Gallier unter den Gefährten des Odysseus. Zur Polyphemgruppe aus dem Pollio-Nymphaeum in Ephesos”, IstMitt 48 (1998), p. 248.

50. και] / αρχιερέως της Ασίας Τιβ[ερ]ίου / Κλαυδίου Αριστίωνος, see Miltner, F., “Vorläufiger Bericht über die Ausgrabungen in Ephesos”, ÖJh 45 (1960), p. 40; Keil, J., “Vorläufiger Bericht über die Ausgrabungen in Ephesos”, ÖJh 23 (1926), p. 270 ff.

51. Miltner, F., “Vorläufiger Bericht über die Ausgrabungen in Ephesos”, ÖJh 43 (1956/1958), p. 48; Miltner, F., “Vorläufiger Bericht über die Ausgrabungen in Ephesos”, ÖJh 45 (1960), p. 28 ff.

52. Bammer, A., “Das Denkmal des C. Sextilius Pollio in Ephesos”, ÖJh 51 (1976-1977), p. 77-92; Bammer, A., “Elemente flavisch-trajanischer Architekturfassaden aus Ephesos”, ÖJh 52 (1978-80), p. 67-90.