DOI Page / Citation link:
https://doi.org/10.11588/diglit.46296#0158
1.10 Summary
157
vary among different authors, and it might well be that certain stories are shown that were not
handed down to us in written records.
In a clockwise Order, block 713R (pl. 311, 1) depicts a story similar to what Athenaios teils
us about the foundation of Ephesos: An oracle told the founder of the city - according to Strabo
and Pausanias Androklos, the son of the Athenian king - a fish and a wild boar would lead the
way and show him the place where he should build his Settlement. When the group went ashore,
fishermen were having a meal. They dropped a fish into the embers and subsequently a bush
caught fire. Thereby, a wild boar was startled, and the city of Ephesos was founded where the
leader of the colonists hunted it down. The wild boar in the top right corner of 713R, chased by
a man on a horse, allows us to identify this scene with certainty.
The other three scenes are harder to identify. 714R (pl. 311,2) probably shows Theseus and
Herakles Standing next to an altar, while the Amazons - according to historical tradition1106 - flee
from them, in the direction of the actual existing temple cella. Similarly, on block 715R (pl.
316, 1) the Amazons try to escape from Dionysos, this time to the left, again towards the direc-
tion of the temple interior. Most likely these directions refer to the actual position of the reliefs
on the building1107. The last block, 716R (pl. 316, 2) depicts an assembly of gods. Several of
them are difficult to identify because the do not carry attributes. We can only assume that all of
them had significance for the city and its religious life. At the same time, the group is witness
to the events on the other scenes.
In addition to the reliefs, decorative elements of the building also provide clues to the function
and use of the building. A female figure above the entrance to the cella with a nude upper body
emerges from a calyx, holding tendrils (pl. 285,2). This so-called Rankenfrau must be interpreted
differently in different contexts. In Ephesos, and in connection to the temple, she can probably
be identified as the personification of an aspect of Artemis as a vegetal goddess1108. This notion
is not only supported by the presence of the >Rankenfrau< in sanctuaries like the Temple of Arte-
mis in Magnesia on the Maeander or the Temple of Apollo in Didyma. She is also depicted on
the so-called ependytes, a part of the dress of the cult image of the Ephesian Artemis. The same
motif is also used in the center of the horizontal frieze on the entablature (030F. 041F. 090F)1109.
The keystone of the >Syrian arch< was decorated with a bust of Tyche (pl. 244, 1-2). She
represented the citizens of the city as well as the material and immaterial elements of the city1110.
Unfortunately, the decoration of the vertical Supports has only partly been preserved (pl.
176, 1-3). 027S shows olive twigs, 110S palm leaves as well as a chelys, a common type of
lyre1111. Both are typical prizes for artistic or athletic contests, which were held in Ephesos dur-
ing religious festivals1112.
1.10.1.4 Building Inscription and Benefactor
Inscriptions are the third group of sources that provide information on the function of the temple
on Curetes Street in antiquity. The building inscription on the architrave of the Street fagade teils
us about the intentions of the benefactor and his family (pl. 28)1113.
1106 Etym. Mag. s. v. ’Ecpeoog. Most recenty on the written sources see Fischer 2010, 18-22.
1107 Without noting the reference to the architecture Fleischer 1967, 55 assumed that the reliefs had been shortened,
eliminating the refiige of the Amazons from the scenes.
1108 See chap. 1.5.2.8.
1109 See chap. 1.5.2.5.
1110 See chap. 1.5.2.8.
1111 On these depictions see chap. 1.5.2.2.
1112 Generally on this topic, see Lehner 2004.
1113 For the original Greek text and its translation see chap. 1.2.1.
157
vary among different authors, and it might well be that certain stories are shown that were not
handed down to us in written records.
In a clockwise Order, block 713R (pl. 311, 1) depicts a story similar to what Athenaios teils
us about the foundation of Ephesos: An oracle told the founder of the city - according to Strabo
and Pausanias Androklos, the son of the Athenian king - a fish and a wild boar would lead the
way and show him the place where he should build his Settlement. When the group went ashore,
fishermen were having a meal. They dropped a fish into the embers and subsequently a bush
caught fire. Thereby, a wild boar was startled, and the city of Ephesos was founded where the
leader of the colonists hunted it down. The wild boar in the top right corner of 713R, chased by
a man on a horse, allows us to identify this scene with certainty.
The other three scenes are harder to identify. 714R (pl. 311,2) probably shows Theseus and
Herakles Standing next to an altar, while the Amazons - according to historical tradition1106 - flee
from them, in the direction of the actual existing temple cella. Similarly, on block 715R (pl.
316, 1) the Amazons try to escape from Dionysos, this time to the left, again towards the direc-
tion of the temple interior. Most likely these directions refer to the actual position of the reliefs
on the building1107. The last block, 716R (pl. 316, 2) depicts an assembly of gods. Several of
them are difficult to identify because the do not carry attributes. We can only assume that all of
them had significance for the city and its religious life. At the same time, the group is witness
to the events on the other scenes.
In addition to the reliefs, decorative elements of the building also provide clues to the function
and use of the building. A female figure above the entrance to the cella with a nude upper body
emerges from a calyx, holding tendrils (pl. 285,2). This so-called Rankenfrau must be interpreted
differently in different contexts. In Ephesos, and in connection to the temple, she can probably
be identified as the personification of an aspect of Artemis as a vegetal goddess1108. This notion
is not only supported by the presence of the >Rankenfrau< in sanctuaries like the Temple of Arte-
mis in Magnesia on the Maeander or the Temple of Apollo in Didyma. She is also depicted on
the so-called ependytes, a part of the dress of the cult image of the Ephesian Artemis. The same
motif is also used in the center of the horizontal frieze on the entablature (030F. 041F. 090F)1109.
The keystone of the >Syrian arch< was decorated with a bust of Tyche (pl. 244, 1-2). She
represented the citizens of the city as well as the material and immaterial elements of the city1110.
Unfortunately, the decoration of the vertical Supports has only partly been preserved (pl.
176, 1-3). 027S shows olive twigs, 110S palm leaves as well as a chelys, a common type of
lyre1111. Both are typical prizes for artistic or athletic contests, which were held in Ephesos dur-
ing religious festivals1112.
1.10.1.4 Building Inscription and Benefactor
Inscriptions are the third group of sources that provide information on the function of the temple
on Curetes Street in antiquity. The building inscription on the architrave of the Street fagade teils
us about the intentions of the benefactor and his family (pl. 28)1113.
1106 Etym. Mag. s. v. ’Ecpeoog. Most recenty on the written sources see Fischer 2010, 18-22.
1107 Without noting the reference to the architecture Fleischer 1967, 55 assumed that the reliefs had been shortened,
eliminating the refiige of the Amazons from the scenes.
1108 See chap. 1.5.2.8.
1109 See chap. 1.5.2.5.
1110 See chap. 1.5.2.8.
1111 On these depictions see chap. 1.5.2.2.
1112 Generally on this topic, see Lehner 2004.
1113 For the original Greek text and its translation see chap. 1.2.1.
