Spiliotaki (ancient Elaious) in the Argolid: Observations on coroplastic artifacts from the Deposit of the Sanctuary of Demeter and Kore
p. 179-191
Résumés
La zone rurale de Spiliotaki est située dans l’une des vallées de l’arrière-pays argien au sud de Lerna (moderne Myloi) et au sud-ouest de Kiveri. Elle correspond au territoire de l’ancienne komé argienne d’Elaious, qui est brièvement mentionnée, dans la description du travail d’Héraclès avec l’hydre de Lerne. L’emplacement précis de la komé a été identifié par L. Ross (Reisen und Reiserouten durch Griechenland, Berlin, 1841), qui a également retracé une ancienne route menant de la komé à la zone de Kiveri.
Dans les années 1960, des fouilles dans l’espace de la komé ont livré les restes d’un sanctuaire à Déméter et Koré, et une partie d’un gisement avec de nombreux ex-voto du VIIe/VIe au IVe/IIIe s. av. J.-C. tels que des figurines en terre cuite, des vases, objets en bronze, etc.
Cet article se concentre sur les objets de terre cuite de l’époque archaïque découverts dans le dépôt du sanctuaire. Les nombreuses offrandes votives qui peuvent être classées en types et en thèmes variés, représentent la production coroplathique argienne commune que l’on trouve aussi dans d’autres sanctuaires de la région. Des détails techniques indiquent la manière dont ces objets ont été fabriqués ainsi que les compétences et la capacité du coroplathe argien à reproduire les thèmes préférés.
The rural area of Spiliotaki is located in one of the valleys of the Argive hinterland to the south of Lerna (modern Myloi) and southwest of Kiveri. It corresponds to the territory of the ancient Argive kome of Elaious, which is briefly mentioned, in the description of the labour of Hercules with the Lernaian Hydra. The kome’s precise location was identified by L. Ross (Reisen und Reiserouten durch Griechenland, Berlin 1841), who also traced an ancient road leading from the kome to the area of Kiveri.
In the 1960s’ excavations in the area of the kome yielded the remains of a Sanctuary to Demeter and Kore, and part of a deposit with numerous votive offerings of the 7th/6th to the 4th /3th centuries BC such as terracotta figurines, vases, bronze objects, etc.
This paper focuses on the coroplastic artifacts of the Archaic period found in the sanctuary’s deposit. The numerous votive offerings that can be classified in types and various thematic categories, represent the common argive coroplastic production that is also found in other sanctuaries of the region. Technical details indicate the manner these objects were manufactured as well as the argive koroplathos’ skills and ability to reproduce favorite themes.
Entrées d’index
Mots-clés : figurines de terre cuite, archaïsme, Argos, atelier argien, Spiliotaki, komé argienne, Déméter et Koré
Keywords : terracotta figurines, Archaic, Argos, Argive workshop, Spiliotaki, Argive kome, Demeter and Kore
Dédicace
In memoriam
Eleni (Nena) Zoitopoulou – Fossey and Eirene Psarra
Remerciements
My warmest thanks goes to my colleagues Dr Alkistis Papadimitriou, Director of the Ephorate of Antiquities in the Argolid, for facilitating my study of the numerous finds from Spiliotaki; to Dr Evangelia Pappi, archaeologist in the Ephorate, I owe the constructive discussion about the activity of the Argive workshop during the transitional period from the Geometric to the Archaic times. My sincere gratitude goes to two senior colleagues which have spent much of their career in the Ephorate of the Argolid; to Dr Charalampos Kritzas, Honorary Director of the Epigraphic Museum, for his willingness to share with me information on the text from the bronze inscribed sheet found at Spiliotaki. In addition, his consent for me to study terracotta figurines of the Archaic, Classical and Hellenistic times from salvage excavations he supervised in Argos, provided a wider scope to the current study. I am also obliged to Dr Anastasia Panagiotopoulou, Honourary Director of Antiquities, who shared with me her knowledge on similar finds from excavation she had carried out in Argos. Conservation of the material was carried out by Fotis Dimakis. The figurines were photographed by the author with the assistance of Evagellos Giannopoulos, who kindly cares and maintains in good order the storerooms of the Archaeological Museum of Argos. I would like to thank them all.
Texte intégral
Introduction
1Ancient Elaious (modern Spiliotaki), one of the most important Argive komai, lays in the southern part of the Argive chora in a location of strategic and political importance as it neighbours northernThyreatis. The kome initially became known under abrupt circumstances during the 1960s. In the following years, salvage excavations conducted by the Ephorate of Antiquities of the Argolid (former D’ EPCA) and a search through the Ephorate’s administrative and scientific archive, have added significantly to our knowledge of the kome. Publications so far include studies on the kome’surban landscape (sanctuaries, the settlement, cemeteries, roads) occasionally with specific finds being pointed out and discussed more thoroughly1.
2The finds presented and discussed in the current paper, comprise a small part of a deposit that came to the light during construction works for a rural road leading to a modern farmhouse in the area of Spiliotaki. The way the deposit was surfaced, deprived us of scientific information as well as of coroplastic artifacts of significant quality. In the face of its partial recovery, the deposit contained votive offerings of historic times (late 7th/6th through to 4th/3rd c. BC)2. Remarkable terracotta figurines of Argive manufacture, miniature vases, inscribed black-painted sherds, loomweights, lamps, an inscribed bronze sheet with reference to syssitia taking place at the sanctuary (5th c. BC)3, bronze objects as well as a stone relief depicting an enthroned deity in the type of “polykleitian Hera” (mid 5th c. BC)4, contribute to our understanding of the sanctuary’s identity. The partial conservation of the material uncovered has highlighted some interesting examples among which animal figurines, a small number of horsemen, symbolic objects (liknon, votive trays, terracotta fruits), etc. The archeological evidence (architectural remains and content of the deposit) points to a sanctuary where two female deities were jointly venerated; these are Demeter and Kore. Around this sanctuary, which echoes the long course of formation of the Argive polis, the kome of Elaious is established and develops5. The conclusion of the study of the entire deposit shall highlight aspects of this cultic coexistence that in combination with the particularities of each deity, form their summoning epithets6.
1. The figurines
3A large number (approximately 2000 fragments) of terracotta figurines are identified among the finds. These represent all sorts of known techniques (handmade, moulded, mixed) used by the Argive coroplasts. Observations on the clay’s fabric of both the figurines and the pottery, in relation to other votive contexts, underline the “cooperation” of potters and coroplasts that has been documented in Argos7 and is noted in other areas of the Greek Mainland too8. But here I shall focus on a small number (14) of coroplastic artifacts dated to the archaic period9.
4These are seated, board-shaped body, polos-wearing, bird-face figurines, with attached eyes and a clay band on their breast. They belong to the simplest and commonest type of figurines of the Argive figurine production. They can easily be identified by their manufacture (handmade, mixed technique), their typological/morphological features (standing, seated, board-shaped body) as well as the characteristic fabric of the Argive clay with its grayish core. As soon as the raw material (clay) is adequately prepared10, the koroplathos shapes a flat clay board by hand and wooden or bone tools. In this way board-shaped figurines of common size are effortlessly manufactured, while the overall preparation of the firing process is facilitated by calculating the capacity of the kiln in figurines11 often placed next to miniature vases12. The modest shaping of the band (no. 275, fig. 1 and no. 322, fig. 2), gradually becomes more elaborate as the tight waist is being formed, a sort of liminal point from the upper to the lower half of the figurine. Then the thick neck, a bird-face head topped with polos, the pellet eyes and single clay band along the breast are added, elements that characterize and make Group ΣΠ/Ι to stand out. The detachment of the breast band during the firing process, due to the unsuccessful attachment on the figurines, reveals the grayish core of the clay, characteristic of the Argive production. In most examples the edges of the band exceed the height of the figurine’s shoulders13 (no. 324, fig. 3) and finish on the figurine’s back (no. 66, fig. 4). In some cases, the band seems to be rather loose dropping down to figure’s waist, while some figurines bear clay pellets on their shoulders that resemble metal discoid pin heads.
Fig. 1 – Figurine no. 275

(© Ephorate of Antiquities of the Argolid/photo by the author).
Fig. 2 – Figurine no. 322

(© Ephorate of Antiquities of the Argolid/photo by the author).
Fig. 3 – Figurine no. 324

(© Ephorate of Antiquities of the Argolid/photo by the author).
Fig. 4 – Figurine no. 66

(© Ephorate of Antiquities of the Argolid/photo by the author).
5Αs result of the figurines handmade manufacture, none resembles completely the other. However, the rather sophisticated form of some figurines, suggests that the koroplathos deliberately tried for his production to stand out from what was considered to be the norm. Often more technical observations can be made on the broken surfaces of the figurine’s body (no. 1971, 1972, fig. 5). Aside from the aforementioned rudimentary shaping of the waist during the first stage of making the core of the figurine, additional effort is then undertaken for making it to look like more natural. For this purpose, if the thickness/size of the core band is not considered to be adequate for the expected result, additional clay patches are attached. This is clearly noted in figurine no. 1971 (fig. 5, left) where a thin layer of fine clay covers two smaller clay pieces that have been attached together, in order to give shape to a 4,7 x 1,5cm body. Small inclusions have caused holes during the firing process. This is the upper part of the thighs where the figure’s dress – not preserved, was then placed. Two clay piecesare added to the back side of the figurine for support, as it is clearly noted by their preserved parts. In figurine no. 1972 (fig. 5, right) the koroplathos creates an elliptic outline 3,7 x 1,9cm for the as naturalistic as possible recreation of a fine waist. In this manner the board-shaped body figurines of the Argive workshop tend to receive substantial anthropomorphic characteristics. A rare example comes from Asine where instead of two abstract clay pieces supporting the figurine, these are formed as proper human legs14.
Fig. 5 – Figurines no. 1971 and no. 1972

(© Ephorate of Antiquities of the Argolid/photo by the author).
6The seated figurines of Group ΣΠ/I are dressed in a long garment. Where this is preserved, small clay pieces are attached on the interior of the garment’s edge, slightly protruding, in order to resemble the figure’s feet.15 In the fragment of figurine no. 1973 (fig. 6), the garment is shaped by a rectangular band of clay 4,5 x 0,4cm with rounded border. The waist is small and tight. The edge of the garment ends sharply on each side. Along with the triangular protrusions resembling human feet, it gives the impression of a wavy finish and lightens the rectangular shape of the garment. Traces of smoothing the surface with a tool (spatula), white slip residues, and fingerprints of the maker’s thumb and index finger are noticed at the point where the feet are attached. However, based on the fragment’s profile it is possible to suggest that a terracotta plaque was perhaps initially intended to be made, rather than a terracotta figurine. Then, for reasons eluding us, instead of a terracotta plaque, a proper seated figurine took shape and was stabilized by the attachment of two cylindrical protrusions on the back side.
Fig. 6 – Figurine no. 1973, frontal side

(© Ephorate of Antiquities of the Argolid/photo by the author).
7The typological similarity of the aforementioned Group ΣΠ/Ι with Group ΣΠ emphasizes the longevity of the “main Argive type” that was frequently supplemented by (additional) ornamental characteristics. In Group ΣΠ/ΙΙ the breast band persists and is comprised by two smooth ribbons16. The long hair in the form of thick locks either frames the neck or is added with small amounts of clay at the back of the head. The polos is often wide open, ending in pointed tips, and resembles a wide band (stephane) raised on the frontal side of the figurine with an attached discoid ornament (pin)17, or a stylized flower which is repeated on either side of the head18 (no. 19, 59, fig. 7-8,). Group ΣΠ/II figurines, especially those with discoid pins on their shoulders, are lavishly ornamented (no. 1839, fig. 9). Upper limbs are not the usual stumps19, as the maker now creates an intriguing detail that resembles a hand as if it holds something. This rather simple to conceive and recreate technical detail, “blows life” to the figurines by making them vivid with the addition of modest movement, and causes thoughts about the mindset behind the implementation of such a feature.
Fig. 7 – Figurine no. 19

(© Ephorate of Antiquities of the Argolid/photo by the author).
Fig. 8 – Figurine no. 59

(© Ephorate of Antiquities of the Argolid/photo by the author).
Fig. 9 – Figurine no. 1839

(© Ephorate of Antiquities of the Argolid/photo by the author).
8The combination of a moulded face with a handmade torso and the attached plastic decoration (jewellery, hair, polos, seat) are the main features of the figurines in Group ΣΠ/ΙΙΙ, examples of which we will briefly discuss immediately below. The clear or blurry facial characteristics are due to what degree the mould they came from had already been used. The poorly preserved facial features of the enthroned, rather than simply seated, figurine no. 399 (fig. 10)20, is mitigated by the artistic elaboration of the other elements. Remains of white slip and pinkish color are observed. Hair, jewelry, garment, seat help to create an imposing effect. The oval face is surrounded by partially stylized hair and a ring-shaped polos. The hair ends in sigmoid locks that nearly cover the arms21, indicating the order they were placed on the figurine. In this manner the omphaloid pins holding the garment on the shoulders was ensured22. Attached clay pieces are employed as round earrings, the quadruple necklace with a pendant (isthmion23), and the round omphaloid tips of the arm-support. The separate sheet of clay used to denote the upper part of the garment (peplos) is particularly imposing. Rectangular in shape it represents the overfall of a garment that is, perhaps, supposed to be made of a rather delicate textile letting the figure’s attached breast to emerge from underneath24. Hands are placed on the tall handmade throne’s arm-supports.
Fig. 10 – Figurine no. 399

(© Ephorate of Antiquities of the Argolid/photo by the author).
9In the same Group belongs figurine no. 401 (fig. 11). The upper part of a seated figure is preserved at 13,6 cm height, presumably in half the original size.25 It is made of reddish clay with gray core, while traces of white slip and paint are noted. The head is made by mould which has included part of the stylized hair covering the conspicuously triangular forehead. The face is dominated by the wide cheekbones, the pointed chin and the half-open mouth with thick lips. The elevated eyebrows are rendered as a continuation of the nose line and emphasize the almond-shaped eyes. Large round earrings are attached and protrude from the head’s outline. Handmade sigmoid locks with deep grooves are attached to the mould-made part of the hair. They drop sideways on the figure’s shoulders. As in the previous figurine, the attached breasts can be noticed underneath a separate sheet of clay that represents the overfall. Pins on the shoulders – placed before attaching the hair locks, hold the loose garment in place. With three deep grooves and their pointed tip they resemble flowers26, just like the reversed one hanging from the figure’s necklace. The latter is formed by four relatively straight thin strips of clay spreading from the neck downwards, crossed over by two semicircular ones on the breast, one of which is rather thick and twisted possibly in order to resemble a chain.
Fig. 11 – Figurine no. 401, front

(© Ephorate of Antiquities of the Argolid/photo by the author).
10On the reverse side the outline of the figure’s body with the tight waist, the tips of the necklace and parts of the throne are noticed (fig. 12). Part of the horizontal backrest is preserved at shoulder height. Two small oblique gradients indicate the place where strips related to the throne were attached and their parts can still be seen closer to the figure’s waist.
Fig. 12 – Figurine no. 401, reverse

(© Ephorate of Antiquities of the Argolid/photo by the author).
11Minor deviations from the norm are observed in fragment no. 402 (fig. 13). It is preserved at a height of 14,5 cm and has been manufactured in the same manner with the previous one, in the mixed technique. Variations noted on the figurines of this Group such as round face, blurry eyes, solid chin and small mouth are related to the use of different moulds. The forehead is framed by a double row of button-shaped locks. The first goes to the ears which are ornamented with earrings. The second one reaches the small pins, which are similar to those of figurine no. 401. On the head the handmade tall polos with the attached wide leaves emphasizes the frontal posture of the figure. In the neck, a wide strip clay made by hand and engraving holds a round periapton. Two bands follow with the upper one in the form of a chain27. The modeled breast is noticed under the wide overfall. The figurine’s back side (fig. 14) resembles that of figurine no. 401. As can be inferred by the cavities at the points of joint, the end of the backrest which is made by a convex and wider clay strip, is the only thing that slightly differs.
Fig. 13 – Figurine no. 402, front

(© Ephorate of Antiquities of the Argolid/photo by the author).
Fig. 14 – Figurine no. 402, reverse

(© Ephorate of Antiquities of the Argolid/photo by the author).
12Figurine no. 403 (fig. 15) is 12,4cm tall and typologically fits in to this Group. The whitish slip has penetrated the garment and is clearly visible on the breast. The head bends slightly forward. Short, thick neck. The hair locks follow the neck and the shoulders forming a curved outline more evident on the back of the figurine. Hair stylized, split in the middle. The figure has round earrings and a tall polos with large wide leaves, concave on the upper surface28. Oval face, small round chin, nose in line with the eyebrows. Decoration on the breast is similar to that on the previously discussed figurines. However, the periapton is split it in to two parts by engraving. A small pin is preserved on the right shoulder holding the garment in place. The figure’s breast is highlighted underneath. There is some sophistication in the manufacture of the left hand. From the folded and schematically rendered fingers the thumb is drawn out forming a small cavity. At the rear of the figurine (fig. 16) a separate, almost cylindrical pieceof clay corresponds to the end of the horizontal backrest of the throne.
Fig. 15 – Figurine no. 403, front

(© Ephorate of Antiquities of the Argolid/photo by the author).
Fig. 16 – Figurine no. 403, reverse

(© Ephorate of Antiquities of the Argolid/photo by the author).
13Figurine fragment no. 406 is preserved to the clavicle (fig. 17). Mostly moulded, rather than handmade, it is made of reddish, well-fired homogeneous clay with traces of whitish slip. Face fleshy, leans slightly forward. The small boldly triangular forehead is framed by stylized hair split in the middle. Round chin, half-open mouth, thick lips, almond-shaped eyes, with highlighted eyelids, and slightly tapered one edge of upper eyelid. The left eye is not distinguishable because of the mould’s damage or the unfortunate impression of clay at that point. Traces of a thin diagonal strip (himantas) are preserved next to the left clavicle29. The figure’s moulded face is framed by handmade sigmoid locks going down to the shoulders. Round earrings end in a triangular jewel, better preserved on the right ear. The head is crowned by a plastic ring (wreath?) and a handmade tall polos with leaves30. A necklace with three thin bands and a pendant (isthmion) in the middle, is attached around the neck. Part of the hairdressing continues to the backside of the figurine with the addition of a large wide strip of clay (fig. 18).
Fig. 17 – Figurine no. 406, front

(© Ephorate of Antiquities of the Argolid/photo by the author).
Fig. 18 – Figurine no. 406, reverse

(© Ephorate of Antiquities of the Argolid/photo by the author).
2. Discussion
14The clay of the above mentioned figurines is brown, reddish or orange-red with dark gray core, and calcium inclusions ranging in quantity from just a few to many. Firing process seems to have been well-controlled and complete.White or whitish slip with scarce traces of paint is often preserved on the figurines’ skin.
15The figurine Groups ΣΠ/Ι –ΣΠ/ΙΙthat have been selected for the aim of the current paper from the deposit of the Demeter and Kore sanctuary at Spiliotaki, where the Argive kome of Elaiousis located, comprise by handmade figurines. They all represent the well-known Argive type of board-shaped bird-face figurines with attached discoid eyes and a clay band on their breast31. Systematic research in Argos, birthplace of the type, as well as in other sites in the region of the Argolid have brought to light a vast number of figurines of the type that rise to hundreds32. As indicated by a mould of the type found among products of a coroplastic workshop dating to the Hellenistic times33, the Argive type of board-shaped body bird-face figurines was apparently so emblematic that survived among generations, demonstrating remarkable longevity and continuity in time even in a limited scale. Many figurines come from two prominent sanctuaries of the region, the Argive Heraion and the sanctuary at Tiryns, and their extensive study led to their labeling as the so-called "Tirynthian Argive" type figurines34, a type frequently attested in cultic contexts of the northeastern Peloponnese35.
16The Argive type’s quantitative predominance in votive contexts – in relation to other types of anathemata, indicates their significance to the devotee as they combine religious piety, emotion and symbolic representation of the venerated deity/deities36, with a particular relation to cults of female gender (Hera37, Demeter). However, handmade figurines of Groups ΣΠ/II have been found in sanctuaries where the main deity can be identified as male or female38, in workshop contexts39, and in graves40; the fact that these figurines are also represented as burial offerings is a clear statement to postmortem beliefs, and stresses their complex symbolism acquired according to the message they were intended to convey41.
17The majority of the figurines ΣΠ/Ι-ΣΠ/ΙΙ found in the deposit at Spiliotaki represents seated figures of the Argive Heraion Group II42 and Asine’s Group A43. The seat, compact, separate or just a support, highlights further the intended result by ensuring stability to the figurine as well as adding to the overall symbolism44. Sometimes the careless attachment of a ring-shaped polos or a low cylindrical hairdressing distorts facial details45. An attempt to interpret the clay band attached on the breast, inevitably recalls elements from the female toiletry.46 When this band is supplemented by two thinner strips of clay, one of which may be twisted, the overall picture is enriched further by the presence of a necklace with a pendant (isthmion). The plastic decoration is competed by discoid- or fruit-shaped jewellery on either side47. An attached piece of clay or a wide triangular strip usually represents the hair. Elaborate haircuts are made of spiral locks distributed on either side of the forehead, and probably denote a female figure of relatively young age48.
18In the better preserved figurines, the aforementioned morphological characteristics are combined with a long garment, allowing for the lower limbs to just protrude around the edge49. These are sometimes illustrated in white50 making them to look like “closed shoes”, and in examples where additional colours are preserved the overall result is rather impressive51. They dominate in cultic deposits (Argos, Asine, Epidauros, Heraion, Mycenae, Prosymna, Tiryns) and become particularly common in the late 7th c. BC. By the early 6th c. BC, matt-painted colours (brown, red52, pinkish, light blue53, turquoise54) on whitish calcareous slip of varying thickness55, replaced the lustrous ones56, a technique that was also used for vases in the same period. According to evidence from other regions (Corinthia57, Attica58, Boeotia59 etc) Argive figurines were mainly imported during the 6th c. BC60. Βy the late 6th c. BC coroplastic workshops from Laconia (Sparta) and Arcadia (Tegea) adopt features of the Argive workshop into their local production61. Achaia, where the cult of Demeter Mysia, Panachaia and Poteriophoros is rather dominant, can also be added to the argive bird-face figurines sphere of influence62.
19Figurines resembling those of Group ΣΠ/ΙΙΙ are found in Tiryns63 and Argos64. The preserved size of the figurines of Group ΣΠ/ΙΙΙ (12,4 to 15,5cm high) recalls finds of similar size from Tiryns. Among the finds in our deposit there are also many fragmented figurines, parts of arm-supports and thrones, stools and fragments of seated figurines of GroupΣΠ/ΙΙΙ. In spite of their fragmented state of preservation their morphological – typological characteristics, the clay, the mixed technique in the reproduction of the hairdressing65, the making of individual elements, the lavish ornamentation, the method of applied locks, the modeling breasts, the overfall of the garment, and their size, point towards a common production center that can be identified as that of Argos. Parts of the imposing throne resolve technical issues related to the secure support of the figurines; a plastic strip representing the horizontal upper part of the throne, is attached close to the shoulders, and supports the figurine at the point where the thick neck meets the rest of the body. By using the mould in order to create the faces of the figurines, the effortless reproduction of common facial characteristics is facilitated. Thus, influences from sculpture66, emphasize their role as anathemata into a proper cultic context. Compared with their closest parallels from Tiryns, they date to the 2nd half of the 6th c. BC – early 5th c. BC.67 Their decorative elements display their influence from Jenkins’ Class F, "Ornate Style", and Class G.
20The way the garment’s (peplos) overfall is produced demonstrates the koroplathos’ care and caution for the final result. Even in the modest examples, width is added to the seated female figure in order to create a contrast with her tight waist. The impression created by the flat quadrilateral shape of the figurine is mitigated by the rendering of ripple and transparency revealing anatomical details. These visual media add volume and a sense of grooming, and balance in harmony with the naked body evident on the back side. The state cult of the polis of Argos68, and especially that of Demeter, is represented in the anathemata from the deposit at Spiliotaki, and the figurines of Group ΣΠ/ΙΙΙ in particular.
21Last but not least, the following observation should be briefly addressed here. As mentioned above, some of the figurines from the deposit display a particularly noticeable characteristic that appears under the garment’s overfall; a narrow clay strip (himantas) is attached diagonally along the breast, and drops from the left or the right shoulder. It is ornamented with what can be identified as a stylized knot or a small round jewel69, a form that effortlessly attracts the eye. It is a knot-shaped apotropaic amulet (provaskanion)70 that has been attached on a strip, embellishing the figurine with the devotee’s personal identity, wishes and beliefs. Sometimes the amulet appears as a double knot on a horizontal clay strip placed above the garment71. In any case the amulet is a means to address and “approach” the divine72, whilst seeking to fulfill humane endeavors. This divine entity is here identified as a double; Demeter and Kore, are both symbolically present in the finds from the deposit under study, a presence emphasized by the double sekos of the small temple at ancient Elaious.
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Notes de bas de page
1Banaka-Dimaki 1999, 91-98. Fusco 2015-2016, 112 note 55.
2Verdelis 1964, 121. Daux 1966, 791-792. Alexandridou 2013, 111.
3All the finds are stored in the Archaeological Museum of Argos. Ch. Kritzas has studied the inscribed bronze sheet.
4According to Verdelis 1964, 121. Lapatin 2002, 102, fig. 203-204.
5Foley 1988, 178, no. 25. Kritzas 2013, 291. Bruggemann 2015 210, Kritzas 2021, 106-107. During the past twenty years archaeological exploration in the area of Spiliotaki (location “Palaiochori-MONOPORI”) has brought to light considerable evidence for habitation in the Early Bronze Age.
6E.g., Demeteres (Petropoulos 2010, 168).
7Papaspiridi-Karouzou 1933-35, 48. Psarra 2006, 336, 338, 343. Banaka-Dimaki 2014, 63. Banaka - Dimaki 2020, 123.
8E.g. see Besques 1963, 26. Muller 1999, 284. Blondé and Picon 2007, 37-38. Muller 2014, 72-74. Muller 2017, 61.
9For terracotta figurines of the classical period from the deposit at Spiliotaki, see Alexandris 1965.
10Banaka-Dimaki 2014, 265-266.
11Banaka-Dimaki 2017, 114. On figurine no. 301, a small hole by one of the supports aims to ease the firing of the supports as these are relatively thicker than the rest of the figurine.
12Psarra 2006, 338.
13Verdelis 1964, pl. 121a (two figurines on the right). Wells 2002,107, fig. 13, no. 11.
14Wells 2002, 109, no. 20, 111 and 112, fig. 17, no. 20.
15Verdelis 1964, pl. 121α (two figurines on the right). Croissant 2009, 198, fig. 27.
16For figurines of the argive type with two clay strips on the breast see e.g. Waldstein 1905, 19, no. 36 -38, 20, no. 43, 47, 49, 55, 59. Frickenhaus 1912, 60-61, no. 1-4, pl. I. Jenkins 1931-32, 31. Daux 1959, 761 fig. 16 (first line, archaic figurines from Sondages 73). Papachristodoulou 1968, pl. 77d (end of 7th c. BC). Guggisberg 1988, 170, fig. 3 no. 2 and 228. Szabò 1994, 100-101, fig. 134. Barakari-Gleni and Peppa-Papaioannou 1999, pl. 4a (first line, two figurines on the left). Wells 2002, 112, fig. 17 no. 19. Croissant 2009, 185, 198 fig. 28-29. Banaka-Dimaki 2017, 114-115, fig. 7a-b.
17Peppa-Papaioannou 1985, 90, no. B180, pl. 25. Baumbach 2004, 71, fig. 3.43.
18Wells 2002, 109, fig. 16, no. 18.
19Banaka-Dimaki 2017, 110, 115 fig. 8b (EFA C 1729).
20Verdelis 1964, pl. 121 b (figurine on the right).
21Frickenhaus 1912, pl. II, no. 1-3; IV no. 1, 4.
22Frickenhaus 1912, pl. IV, no. 2, 4. Baumbach 2004, 71, fig. 3.44.
23On the meaning of the word as anything belonging to the neck or throat, see Hom. Od. 18.300. Schliemann 1886, 157, fig. 87 and 158, fig. 89. Frickenhaus 1912, pl. IV, no. 4. Peppa-Papaioannou 1985, 41, no. A94, pl. 23.
24Frickenhaus 1912, pl. II no. 2; pl. III, no. 2, 7-9: pl. IV, no. 1-4.
25Verdelis 1964, pl. 121 b (figurine on the left).
26Frickenhaus 1912, pl. III, no. 1, 7-8.
27Frickenhaus 1912, pl. ΙΙΙ, no. 5, 7-8.
28Frickenhaus 1912, pl. ΙΙΙ, no. 3, 7.
29Frickenhaus 1912, pl. ΙΙΙ no. 9 (left shoulder); IV no. 2 (right shoulder).
30Frickenhaus 1912, 121 ff., pl. ΙΙΙ no. 4, 9. Croissant 2009, 200 fig. 43 (Aphrodision). Papaspiridi-Karouzou 1933-35, 33, fig. 16 (470-460 BC, with corinthian influence).
31Peppa-Papaioannou 1985, 164-165. Guggisberg 1988, 170, fig. 3, no. 1 a-1 b. Psarra 2006, 340. Croissant 2009, 185 and 198 fig. 27. Touchais 2012, fig. 6. Banaka-Dimaki 2017, 114-116.
32Guggisberg 1988, 171 and notes 5 -7 (with references). Banaka-Dimaki 2000, 162-163: 2002a, 17-18: 2003, 22: 2004, 25 (Kourtaki). Psarra 2006, 341.
33Banaka-Dimaki 1997, 329, fig. 4. Banaka-Dimaki 2014, 166 no. 128, 246-247, pl. 66, 158. Banaka -Dimaki 2017, 114 note 38. Peppa-Papaioannou, Ieremias 2021, 93.
34Waldstein 1902, 44. Also Waldstein 1905, 4 ff.
35Payne and Dunbabin1940, 247, no. 257, 261, pl. 111 (2nd half of the 6th c. BC, or later). Barfoed 2013.
36Banaka-Dimaki 2009, 58.
37Waldstein 1905, 13-14. Peppa-Papaioannou 1985, 164. Alroth 1989, 32-33. Barakari-Gleni and Peppa-Papaioannou 1999, 64. Alexandridou 2013, 112. Barakari-Gleni 2014, 133; 2015, 422.
38Peppa-Papaioannou 1985, 164-165. Foley 1988, 105-106. Alexandridou 2013, 111.
39Guggisberg 1988, 171 and n. 5-7. Psarra 2006, 341.
40Aslamatzidou-Kostourou 1985, 193, pl. 80a (last quarter of the 6th c. BC). Peppa-Papaioannou 1985, 164.
41Banaka-Dimaki 2017, 114.
42Waldstein 1905, 4-5.
43Wells 2002, 107-108.
44For types of seat see for example: Cook 1953, 62 no. I 1, pl. 22. Peppa-Papaioannou 1985, 41 no. A95, pl. 24 (backrest with convex edge). Szabò 1994, 97, fig. 132 (Su 76b, tomb 212, genre scene, beginning of 6th c. BC). Barakari-Gleni, Peppa-Papaioannou 1999, pl. 4a (first line, two figurines on the left). Croissant 2009, 185, 198 fig. 32-33 (upright and low backrest). Ekroth 2013, 69 fig. 9. Banaka-Dimaki 2017, 116, fig. 9a-c (wide throne with low backrest, 6th c. BC).
45Guggisberg 1988, 170, fig. 3, no. 3 a -3 b. Psarra 2006, 340. Croissant 2009, 198 fig. 27.
46Schliemann 1886, 156. Perrot, Histoire de l’Art, VI, 750. Waldstein 1905, 11. Higgins 1954, 268, 269-270, no. 980-981, pl. 138 (7th-6th c. BC). Deshayes 1966, 226, pl. ΧΧΧΙΙ, 10-11; LIX, 4 (7th c. BC). Peppa-Papaioannou 1985, 41 no. Α95, pl. 24. Guggisberg 1988, 171. Papadopoulou-Kanelopoulou 1989, 108-109, no. 57, fig. 111 (7th c. BC). Demakopoulou 1990, 376 no. 368 (1st half of 6th c. BC). Bonias 1998, 72. Wells 2002, 110. Psarra 2006, 340. Wells 2002, 107 fig. 12-13, 108 fig. 14-17 (group Α, early archaic). Spathi 2007-2008, 163. Banaka-Dimaki 2017, 114-115.
47Archaeological Museum of Argos (EFA): figurines no. C 1728, C 1729. Waldstein 1905, pl. XLIII, no. 7-8 and 10; XLIV, no. 2-5; XLV, no. 11, 13. Peppa-Papaioannou 1985, 235, n. 273. Croissant 2009, 198, fig. 29. A rare if not unique example is a naked male figurine with a pendant, see Payne and Dunbabin 1940, 248 no. 267, pl. 111 (2nd half of 6th c. BC).
48Croissant 2009, 198, fig. 29. Ekroth 2013, 69 fig. 9, 72. A jewel (sphekoter)?
49Archaeological Museum of Argos (EFA): figurines no. C1497, C1498, C1499.
50Wells 2002, 108, fig. 15, no. 15.
51Peppa-Papaioannou 1985, 89 Β176, pl. 24.
52Papadopoulou-Kanelopoulou 1989, 108-109, no. 57, fig. 111 (7th c. BC).
53Papadopoulou-Kanelopoulou 1989, 108-109, no. 57, fig. 111 (7th c. BC).
54Wells 2002, 108, fig. 15 no. 17.
55Jenkins suggests that the thicker slip was borrowed from Ionia (Jenkins 1931-1932, 32 n. 1).
56Szabó 1994, 98, 100. Peppa-Papaioannou 2003, 196.
57Payne and Dunbabin 1940, 241. Jenkins 1931-1932, 33. Stillwell 1952, ii, 15. Biers 1971. Lorandou-Papantoniou 1999, 75. Barfoed 2013, 87-88.
58Palaiokrassa 1991, 54 and 105-106 no. Ε 22, pl. 14 b (2nd half of 6th c. BC).
59Jenkins 1931-1932, 32 n. 1. Szabó 1994, 97. Spathi 2007-2008, 162-163 (Aigina).
60Guggisberg 1988, 221.
61Jenkins 1931-1932, 23, 35. Higgins 1954, 268. Peppa-Papaioannou 1985, 164-165. Bonias 1998, 72. Karagiorga-Stathakopoulou 2006, 144. Nagel 2015. Karapanagiotou, Leventi 2015, 432.
62Paus. ΙΙ 18,3, on the wooden xoana of Demeter, Kore and Pluto. The cult of Demeter Mysia was spread in Achaia via Pelene, which maintained direct relations with Argos during the Mycenaean and historic times (Petropoulos 2010, 160-167). For the sanctuary in Argos (Kourtaki) see Banaka-Dimaki 2002a, 17-18; 2003, 22; 2004, 25. Also, Banaka-Dimaki 2020, 120.
63Frickenhaus 1912, 61-62, pl. III no. 7. Jantzen 1975, 172, 29. Alroth 1989, 32-34, fig. 13.
64Banaka-Dimaki 2002b, 113 and 115 fig. 15.
65Jenkins 1931-32, 27.
66For discussion see Jenkins 1931-32, 27. Guggisberg 1988, 222-223. Croissant 1992, 85-86. Rolley 2006, 358. Barakari-Gleni 2015, 421. Peppa-Papaioannou, Ieremias 2021, 94-97.
67Frickenhaus 1912, 61-62, pl. III no. 7. Alroth 1989, 34.
68Banaka-Dimaki 2020, 135-136.
69The same (himantas) appears on the left shoulder of figurines nos 408, 410, 422 from the deposit, while it can also be noted on the right shoulder (Verdelis 1964, pl. 121 α, figurine on the left).
70Nilsson 1955, I, 199. Zeva 2009, 35. Kritzas 2011.
71Psarra 2006, 341 fig. 7 (Argos). The single or double knot (herakleion amma) appears in votive clay wreaths of varying sizes. They were found in a rural sanctuary at Orchomenos and date to the 4th c. BC. (Aravantinos et al. 2014, 59 fig. 14).
72Alroth 1998, 218.
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