Terracotta Models of Sandaled Feet: Votives from the Sanctuary of Demeter and Kore on Acrocorinth
Sonia Klinger
Hesperia: The Journal of the American School of Classical Studies at Athens
Vol. 87, No. 3 (July-September 2018), pp. 429-449
https://www.jstor.org/stable/10.2972/hesperia.87.3.0429?seq=1#page_scan_tab_contents
The excavation of the sanctuary of Demeter and Kore at Acrocorinth uncovered terracotta sculptures, figurines, amps, offering trays, lead curse tablets, marble sculptures and coins.
This article presents four previously unpublished terracotta models of sandaled feet from the Sanctuary of Demeter and Kore on Acrocorinth. Dated to the late 6th or early 5th century B.C., they are attributed to a local Corinthian workshop, most probably the Potters' Quarter, where three other similar models were produced. Evidence deriving from the sanctuary's other offerings, and from study of footwear in ancient texts and art, suggests that their main association is with female journeys connected to nuptial symbolism. This interpretation also allows me to propose that the models are a type of bridal sandal (nymphides), the first attested in Corinth and the first associated with an Archaic sanctuary.
THE SANCTUARY OF DEMETER AND KORE ON
ACROCORINTH
PRELIMINARY REPORT II: 1964-1965
(PLATES 87-99) RONALD S. STROUD
p 300 In addition to several more cult rooms, similar to those exposed in the two earlier campaigns, the new excavations have produced the remains of a small temple; a rockcut theatral area, used probably for ritual performances; two dining rooms, one of which is large and solidly constructed; a number of sacrificial pits and votive deposits; a boundary stone in situ marking the limits of the sacred ground; and evidence of a few structures of Roman date, one of them perhaps a small stoa. A vivid impression of the popularity of the cult of Demeter and the manner in which her worship was conducted on this site may be gained from the large quantities of votive offerings that filled almost every area and layer of earth in the excavation. Pottery, terracotta figurines, miniature cakes and fruit, toys, large-scale terracotta sculpture, and assorted metal objects formed the staple votive repertoire. There was also plentiful evidence of animal sacrifices in the form of ashes and charred bones, most of which belonged to small pigs. New evidence for the identification of the site was provided by many more characteristic cult objects and by inscriptions which show clearly that we have located the shrine of Demeter that was briefly noted by Pausanias (II, 4, 6) during his ascent of Acrocorinth.
p 301 Much more Protocorinthian pottery was recovered in 1964-65 and the addition of some late Geometric sherds, which represent our earliest finds, shows that activity in the area of the sanctuary dates back into the eighth century B.c.2The sixth, fifth and fourth centuries B.C. are represented by the greatest concentration of objects, both votive and domestic, and by intensive building activity.Virtually all of these objects are of local origin and modest value, but their sheer numbers attest the high regard in which the cult was held by the common people of Corinth during the classical period. As expected, the votives fall off sharply in numbers in the third and second centuries B.C.
p 302 Among the terracotta figurines from the most recent excavations, standing female types holding either a pig and a torch or only a pig continued to turn up in considerable numbers. The same is true of the terracotta pigs. Miniature offering trays with three separate, circular receptacles on the floor, perhaps related to the kernos, also appeared in almost every basket of pottery from the archaic and classical levels, and the minature liknons, or sacred winnowing baskets, were again numerous.
New evidence for the proposed identification is provided by three fragmentary Corinthian plates of the fifth century B.C. which exhibit scenes probably to be associated with Demeter and Persephone. All are painted in the crude outline technique, without incision, used in a series of cups and plates which has been studied by S. Wide and A. D. Ure.' The first plate shows only the upper part of a female figure facing left in profile and brandishing in her outstretched left hand a flaming torch and a stalk of grain, two familiar attributes of the goddesses of the harvest and the mysteries (C-64-219; P1. 87, b). A smaller fragment from another plate preserves on its floor the lower part of a female head in profile to left with a seed-pod of the poppy flower being held close to her mouth8 (C-64-208; P1. 87, c). On the third plate, only about half of which is preserved, the head and shoulders of a goddess facing left in profile are painted in a style so similar to the piece with the poppy seed-pod as to suggest that these two plates are the work of the same artist (C-64-225;
8 For the poppy seed-pod as an attribute of Demeter see R.E., XV, Part 2, cols. 2445-2446, s.v. Mohn.P1. 87, d). The figure wears a tall crown and her jewelry consists of a single-strand necklace with small pendant discs and a spiral bracelet on the right wrist which terminates at both ends in a serpent's head. The robe, which covers also her shoulders and upper arms, appears at first glance to resemble an aegis, but closer examination shows that it consists rather of an overlapping scale-pattern with each scale decorated by a dot. The goddess holds in her right hand an object of uncertain identity.
These three plates belong to a class of small vases of Corinthian origin in which scenes relating to the worship of Demeter and Kore are very common. The " masterpiece" of the group is an intact plate from Corinth, now in the National Museum at Athens, which shows Demeter seated on an elaborately decorated throne holding a torch, stalks of grain, and poppy seed-pods, and facing a rock altar which has a fig on top of it.9 The goddess on this plate so closely resembles the figure on the third of our examples that it is perhaps not too unreasonable to identify the latter also as Demeter. The occurrence of at least three plates of this type, with their appropriate representations, as dedications in the sanctuary on Acrocorinth strengthens the proposed identification
p 304
Finds from the rest of the room include numerous votive pots, terracotta figurines, iron knife blades, and assorted metal and bone votive objects, including 25 astragaloi.
p 306 In a sanctuary of Demeter and Kore perhaps the most natural interpretation of an area designed for a small group of people to view some action taking place in a limited space is that it played some part in the mysteries of the goddesses. A select group of initiates could easily have been gathered together in this small hollow on the bedrock in order to be shown the sacred objects and to witness mysterious rites which could have been performed against the backdrop of the wall of the small temple. The theatral area seems to have been designed for an intimate ceremony of this nature. The secrecy which was essential on such occasions may have been achieved by rigidly restricting admission to this part of the sanctuary, or even to the entire temenos, on the appropriate days of the festival. Curious non-initiates who may have tried to watch the proceedings from the steep rocks to the south outside the sanctuary could have been thwarted by a screen wall set into one of the long east-west cuttings in the rock above=the seats or even by temporary barriers.
p312 With the vases was the most important piece in the deposit, a well-preserved carnelian scaraboid amulet (MF 12156; P1. 88, c). On the flat surface, within a border of two thin lines with crosshatching, is a winged bull in intaglio with his head turned back over his shoulder. The pointed horn is held high and the details of the arching wing, the brisket, and the head are delicately rendered. The amulet and the miniature pots seem clearly to have formed a small votive deposit which was placed in the pit and carefully buried in the ground. As in the case of Pit A, the deposit is much smaller than we might expect to find in a structure of this size and depth. Perhaps the strange grave-like pits served some other function in the sanctuary for a number of years and at the time when they were filled in and covered over, a small votive offering was made in them. To judge from the deposit just described, Pit E would seem to have been filled in early in the fifth century B.C.
p 315 BANQUET HALL To the northwest of the n -shaped Foundation lies an interesting, and most productive, stuccoed building which yielded over fifty baskets of pottery, seven bronze coins and twenty-two inventoried objects. Among these are five stamped amphora handles, part of an inscribed terracotta pinax, and a sima fragment of late fourth century B.C. date, decorated with acanthus scrolls.
p323 Some of the finest work in the terracotta figurines is to be seen in the female types of the fourth century, especially in the rendering of the heads. Elaborate coiffures are popular; facial features are delicately indicated, the head frequently being tilted at an angle (P1. 94, a-e).22 Most of these women assume sedate poses and wear elaborate drapery. Some reach considerable size like the large figure on Plate 94, d, which is preserved to a height of 0.275 m. (MF 11786). On a level with the female heads for the careful execution and expression of the facial features is the head of a bearded man illustrated on Plate 94, f (MF 12164). He wears a low polos which probably indicates his hieratic rank. A number of other subjects are represented among the terracotta figurines, one of the most important of whhich is the comic or grotesque. This element is frequently present in the terracotta dedications at sanctuaries of Demeter and is no doubt closely related to the tales of the wanderings of Demeter and the attempts, like that of Iambe or Baubo, to cheer her up.23 Several figurines in this category have been found in our excavations. Although very poorly preserved, one piece of particular interest in this context is the figurine shown on Plate 94, h, a fat, bearded Papposilenos who holds the baby Dionysos on his left shoulder.24 The baby's head is missing but he is reaching up to the ear of the old man with his right hand.Another silenos with a grossly misshapen face, obese body, and prominent phallos is painted bright red and clasps his hands across his belly (P1. 94, g).25 Silenos is also represented on a mouldmade mask, ca. 0.10 m. high, which is brightly painted (MF 11779; P1. 95, a). His mouth is cut out and around it grow a long, wavy moustache and beard. He wears around his head a thick wreath with a cluster of grapes, or perhaps ivy berries, over the right ear. On Plate 95, b is shown one of the comic figurines, an intact, standing female dressed in a chiton and himation which cover all of her body except the face. She holds her draped right arm across the lower part of her face and her left hand is at the side of her rounded, protruding abdomen. M. Bieber 23 has suggested that this protrusion is the result of padding rather than pregnancy, and T. B. L. Webster 27 has seen in figurines of this type a forerunner of the Second False Virgin of the New Comedy masks as described by Pollux.
p325 Almost all of the numerous fragments of terracotta sculpture from the theatral area appear to belong to standing male figures who wear a himation over the left shoulder. This uniformity in iconography and the occurrence of the figures in a sanctuary that seems to have been so popular with female worshippers suggest that the statues do not represent male devotees. It seems more likely that the young man who is represented had some religious reason for being so honored in the shrine of Demeter and Persephone. It would be appropriate to see in these statues a male figure closely related to the goddesses in both legend and religious practice. Hadesseems excluded by the youthfulness of most of the statues, but the young Dionysos or perhaps Triptolemos would be suitable candidates. No obvious attributes which would settle the identification have yet been recognized among the many fragments of these male statues.
METAL OBJECTS Very few objects in this category are well preserved. Many small fragments of bronze, iron, and lead were found throughout the site, some of them from votive objects, others from utensils such as knife blades and iron roasting spits. One of the better bronze dedications from the last two seasons is a small bull standing free without a base 3 (P1. 98, a).Another metal object of interest is the lead scallop shell illustrated on Plate 98, b (MF 11848). The manner in which the grooves are rendered suggests that this object may have been made in a mould which was taken from a real scallop shell.8"
31 The active participation of Dionysos in the mysteries of the Eleusinian goddess has been a matter for vigorous debate and cannot be discussed here. For a lengthy negative examination of the evidence pertaining to Eleusis, see G. E. Mylonas, 'ApX. 'TO., 1960, pp. 68-118. Dionysos and Demeter did share mysteries, however, at Lerna; for the evidence see M. P. Nilsson, Geschichte der griechischen Religion, II2, Munich, 1961, p. 354. It is also a reasonable inference from several terracotta figurines depicting the god, and perhaps from the terracotta pinax published infra p. 329, that he was worshipped in the sanctuary on Acrocorinth together with Demeter and Kore. Formal proof that he actually participated in the mysteries celebrated there may never be forthcoming. If the terracotta statues could be firmly identified as representing Dionysos, we would be as close to proof as we may ever hope to be in a site as notoriously devoid of inscriptions as Corinth, for the figures stood in the theatral area where the mystery ritual was probably performed.
http://www.ascsa.edu.gr/pdf/uploads/hesperia/147599.pdf
p 300 In addition to several more cult rooms, similar to those exposed in the two earlier campaigns, the new excavations have produced the remains of a small temple; a rockcut theatral area, used probably for ritual performances; two dining rooms, one of which is large and solidly constructed; a number of sacrificial pits and votive deposits; a boundary stone in situ marking the limits of the sacred ground; and evidence of a few structures of Roman date, one of them perhaps a small stoa. A vivid impression of the popularity of the cult of Demeter and the manner in which her worship was conducted on this site may be gained from the large quantities of votive offerings that filled almost every area and layer of earth in the excavation. Pottery, terracotta figurines, miniature cakes and fruit, toys, large-scale terracotta sculpture, and assorted metal objects formed the staple votive repertoire. There was also plentiful evidence of animal sacrifices in the form of ashes and charred bones, most of which belonged to small pigs. New evidence for the identification of the site was provided by many more characteristic cult objects and by inscriptions which show clearly that we have located the shrine of Demeter that was briefly noted by Pausanias (II, 4, 6) during his ascent of Acrocorinth.
p 301 Much more Protocorinthian pottery was recovered in 1964-65 and the addition of some late Geometric sherds, which represent our earliest finds, shows that activity in the area of the sanctuary dates back into the eighth century B.c.2The sixth, fifth and fourth centuries B.C. are represented by the greatest concentration of objects, both votive and domestic, and by intensive building activity.Virtually all of these objects are of local origin and modest value, but their sheer numbers attest the high regard in which the cult was held by the common people of Corinth during the classical period. As expected, the votives fall off sharply in numbers in the third and second centuries B.C.
p 302 Among the terracotta figurines from the most recent excavations, standing female types holding either a pig and a torch or only a pig continued to turn up in considerable numbers. The same is true of the terracotta pigs. Miniature offering trays with three separate, circular receptacles on the floor, perhaps related to the kernos, also appeared in almost every basket of pottery from the archaic and classical levels, and the minature liknons, or sacred winnowing baskets, were again numerous.
New evidence for the proposed identification is provided by three fragmentary Corinthian plates of the fifth century B.C. which exhibit scenes probably to be associated with Demeter and Persephone. All are painted in the crude outline technique, without incision, used in a series of cups and plates which has been studied by S. Wide and A. D. Ure.' The first plate shows only the upper part of a female figure facing left in profile and brandishing in her outstretched left hand a flaming torch and a stalk of grain, two familiar attributes of the goddesses of the harvest and the mysteries (C-64-219; P1. 87, b). A smaller fragment from another plate preserves on its floor the lower part of a female head in profile to left with a seed-pod of the poppy flower being held close to her mouth8 (C-64-208; P1. 87, c). On the third plate, only about half of which is preserved, the head and shoulders of a goddess facing left in profile are painted in a style so similar to the piece with the poppy seed-pod as to suggest that these two plates are the work of the same artist (C-64-225;
8 For the poppy seed-pod as an attribute of Demeter see R.E., XV, Part 2, cols. 2445-2446, s.v. Mohn.P1. 87, d). The figure wears a tall crown and her jewelry consists of a single-strand necklace with small pendant discs and a spiral bracelet on the right wrist which terminates at both ends in a serpent's head. The robe, which covers also her shoulders and upper arms, appears at first glance to resemble an aegis, but closer examination shows that it consists rather of an overlapping scale-pattern with each scale decorated by a dot. The goddess holds in her right hand an object of uncertain identity.
These three plates belong to a class of small vases of Corinthian origin in which scenes relating to the worship of Demeter and Kore are very common. The " masterpiece" of the group is an intact plate from Corinth, now in the National Museum at Athens, which shows Demeter seated on an elaborately decorated throne holding a torch, stalks of grain, and poppy seed-pods, and facing a rock altar which has a fig on top of it.9 The goddess on this plate so closely resembles the figure on the third of our examples that it is perhaps not too unreasonable to identify the latter also as Demeter. The occurrence of at least three plates of this type, with their appropriate representations, as dedications in the sanctuary on Acrocorinth strengthens the proposed identification
p 304
Finds from the rest of the room include numerous votive pots, terracotta figurines, iron knife blades, and assorted metal and bone votive objects, including 25 astragaloi.
p 306 In a sanctuary of Demeter and Kore perhaps the most natural interpretation of an area designed for a small group of people to view some action taking place in a limited space is that it played some part in the mysteries of the goddesses. A select group of initiates could easily have been gathered together in this small hollow on the bedrock in order to be shown the sacred objects and to witness mysterious rites which could have been performed against the backdrop of the wall of the small temple. The theatral area seems to have been designed for an intimate ceremony of this nature. The secrecy which was essential on such occasions may have been achieved by rigidly restricting admission to this part of the sanctuary, or even to the entire temenos, on the appropriate days of the festival. Curious non-initiates who may have tried to watch the proceedings from the steep rocks to the south outside the sanctuary could have been thwarted by a screen wall set into one of the long east-west cuttings in the rock above=the seats or even by temporary barriers.
p312 With the vases was the most important piece in the deposit, a well-preserved carnelian scaraboid amulet (MF 12156; P1. 88, c). On the flat surface, within a border of two thin lines with crosshatching, is a winged bull in intaglio with his head turned back over his shoulder. The pointed horn is held high and the details of the arching wing, the brisket, and the head are delicately rendered. The amulet and the miniature pots seem clearly to have formed a small votive deposit which was placed in the pit and carefully buried in the ground. As in the case of Pit A, the deposit is much smaller than we might expect to find in a structure of this size and depth. Perhaps the strange grave-like pits served some other function in the sanctuary for a number of years and at the time when they were filled in and covered over, a small votive offering was made in them. To judge from the deposit just described, Pit E would seem to have been filled in early in the fifth century B.C.
p 315 BANQUET HALL To the northwest of the n -shaped Foundation lies an interesting, and most productive, stuccoed building which yielded over fifty baskets of pottery, seven bronze coins and twenty-two inventoried objects. Among these are five stamped amphora handles, part of an inscribed terracotta pinax, and a sima fragment of late fourth century B.C. date, decorated with acanthus scrolls.
p323 Some of the finest work in the terracotta figurines is to be seen in the female types of the fourth century, especially in the rendering of the heads. Elaborate coiffures are popular; facial features are delicately indicated, the head frequently being tilted at an angle (P1. 94, a-e).22 Most of these women assume sedate poses and wear elaborate drapery. Some reach considerable size like the large figure on Plate 94, d, which is preserved to a height of 0.275 m. (MF 11786). On a level with the female heads for the careful execution and expression of the facial features is the head of a bearded man illustrated on Plate 94, f (MF 12164). He wears a low polos which probably indicates his hieratic rank. A number of other subjects are represented among the terracotta figurines, one of the most important of whhich is the comic or grotesque. This element is frequently present in the terracotta dedications at sanctuaries of Demeter and is no doubt closely related to the tales of the wanderings of Demeter and the attempts, like that of Iambe or Baubo, to cheer her up.23 Several figurines in this category have been found in our excavations. Although very poorly preserved, one piece of particular interest in this context is the figurine shown on Plate 94, h, a fat, bearded Papposilenos who holds the baby Dionysos on his left shoulder.24 The baby's head is missing but he is reaching up to the ear of the old man with his right hand.Another silenos with a grossly misshapen face, obese body, and prominent phallos is painted bright red and clasps his hands across his belly (P1. 94, g).25 Silenos is also represented on a mouldmade mask, ca. 0.10 m. high, which is brightly painted (MF 11779; P1. 95, a). His mouth is cut out and around it grow a long, wavy moustache and beard. He wears around his head a thick wreath with a cluster of grapes, or perhaps ivy berries, over the right ear. On Plate 95, b is shown one of the comic figurines, an intact, standing female dressed in a chiton and himation which cover all of her body except the face. She holds her draped right arm across the lower part of her face and her left hand is at the side of her rounded, protruding abdomen. M. Bieber 23 has suggested that this protrusion is the result of padding rather than pregnancy, and T. B. L. Webster 27 has seen in figurines of this type a forerunner of the Second False Virgin of the New Comedy masks as described by Pollux.
p325 Almost all of the numerous fragments of terracotta sculpture from the theatral area appear to belong to standing male figures who wear a himation over the left shoulder. This uniformity in iconography and the occurrence of the figures in a sanctuary that seems to have been so popular with female worshippers suggest that the statues do not represent male devotees. It seems more likely that the young man who is represented had some religious reason for being so honored in the shrine of Demeter and Persephone. It would be appropriate to see in these statues a male figure closely related to the goddesses in both legend and religious practice. Hadesseems excluded by the youthfulness of most of the statues, but the young Dionysos or perhaps Triptolemos would be suitable candidates. No obvious attributes which would settle the identification have yet been recognized among the many fragments of these male statues.
METAL OBJECTS Very few objects in this category are well preserved. Many small fragments of bronze, iron, and lead were found throughout the site, some of them from votive objects, others from utensils such as knife blades and iron roasting spits. One of the better bronze dedications from the last two seasons is a small bull standing free without a base 3 (P1. 98, a).Another metal object of interest is the lead scallop shell illustrated on Plate 98, b (MF 11848). The manner in which the grooves are rendered suggests that this object may have been made in a mould which was taken from a real scallop shell.8"
31 The active participation of Dionysos in the mysteries of the Eleusinian goddess has been a matter for vigorous debate and cannot be discussed here. For a lengthy negative examination of the evidence pertaining to Eleusis, see G. E. Mylonas, 'ApX. 'TO., 1960, pp. 68-118. Dionysos and Demeter did share mysteries, however, at Lerna; for the evidence see M. P. Nilsson, Geschichte der griechischen Religion, II2, Munich, 1961, p. 354. It is also a reasonable inference from several terracotta figurines depicting the god, and perhaps from the terracotta pinax published infra p. 329, that he was worshipped in the sanctuary on Acrocorinth together with Demeter and Kore. Formal proof that he actually participated in the mysteries celebrated there may never be forthcoming. If the terracotta statues could be firmly identified as representing Dionysos, we would be as close to proof as we may ever hope to be in a site as notoriously devoid of inscriptions as Corinth, for the figures stood in the theatral area where the mystery ritual was probably performed.
http://www.ascsa.edu.gr/pdf/uploads/hesperia/147599.pdf
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