Der Glaube an die Wissenschaft bestimmt unsere Zeit. Neue und neueste Forschungen scheinen die be... more Der Glaube an die Wissenschaft bestimmt unsere Zeit. Neue und neueste Forschungen scheinen die besten zu sein. Doch gerade in den Geschichtswissenschaften ist bisweilen das Gegenteil der Fall. Im Laufe der Jahrhunderte konnten wichtige Erkenntnisse verlorengehen, wie am Beispiel des antiken griechischen Apollonheiligtums von Didyma (Westtürkei) gezeigt werden kann. Seit dem 15. Jahrhundert besuchten es dutzende Reisende und Wissenschaftler. Das erneute Lesen ihrer Berichte fördert Unbekanntes zutage und löst manches Rätsel.
Ancient Architectural Restoration in the Greek World (edited by J. V. Broeck-Parant and T. Ismaelli), 2021
Assembly marks were used in Greek architecture for new constructions and the transfer of groups o... more Assembly marks were used in Greek architecture for new constructions and the transfer of groups of elements or even entire buildings, but also during restoration. Therefore, it is useful to investigate the specific function of assembly marks during repairs and restorations. First of all, assembly marks on architectural elements are helpful to identify the parts of a building which were repaired and to distinguish between the reused elements and the new ones. Furthermore, the form of the Greek letters, mostly used for assembly marks, facilitates the dating of the restoration phases. In the best-preserved cases, assembly marks shed light on the history of a building. In order to show the potentiality of the assembly marks, this paper analyses the Altar of the Chians at Delphi, the Hellenistic Naiskos of Didyma and the Rotunda of Arsinoe at Samothrace.
ZURÜCK ZUM SPASS FESTSCHRIFT FÜR ANDREAS E. FURTWÄNGLER SUPPLEMENT, 2009
Reiseerlebnisse auf der Fahrt von Deutschland nach Didyma 2005 mit dem ehemaligen Grabungsleiter ... more Reiseerlebnisse auf der Fahrt von Deutschland nach Didyma 2005 mit dem ehemaligen Grabungsleiter Andreas E. Furtwängler.
Le sanctuaire de Claros et son oracle; édité par Jean-Charles Moretti avec la collaboration de Liliane Rabatel, 2014
Mainly used in Greek architecture for building in stone, assembly marks played an important role ... more Mainly used in Greek architecture for building in stone, assembly marks played an important role in guiding the implementation of blocks in the correct order. These marks usually consisted of ordinal numbers engraved on cut stones to mark contiguous elements. The numbers were mostly Greek letters, and it is sometimes possible to identify successive numbers in neighboring blocks. Assembly marks were used in ancient architecture for new construction, for repairs, or for repurposing groups of elements or even entire buildings. Present in nearly all Greek sites, assembly marks are also found at Claros, on at least five buildings including the Hellenistic Temple of Apollo, the two Hellenistic altars of Artemis and Apollo, the monument foundation in conglomerate, and the Exedra of Heracleides. Assembly marks on the column drums of the Temple of Apollo were etched during its construction and help determine both the number of drums that composed a column and the height of the column. By contrast, assembly marks on the four buildings east of the sanctuary were used to guide masons tasked with their second assembly. New altars to Apollo and Artemis were constructed during the third and second centuries B.C.E. and then dismantled, enhanced, and reinstalled in the same place at the end of the second century B.C.E. Such enhancement is not unusual at Claros, as evidenced by the archaic and classical altars of Apollo and Artemis. On several occasions over the centuries, these altars were raised to prevent them from disappearing in the sediments of the river Ales. The conglomerate foundation, which is the base of a votive monument, was transplanted from an unknown site to its current location at the end of the second century B.C.E. The Exedra of Heracleides was also relocated, but probably later, perhaps in the middle of the first century C.E. Moving votive monuments, accompanied by burning a new dedication, was a common practice in ancient sanctuaries. The construction of new buildings or large spaces frequently accompanied changes of this type. Such was the case at Claros, where they enlarged the sacrificial area between the temples and the altars of Apollo and Artemis to install stone blocks with bronze rings to accommodate the sacrifice of 100 cattle known as the hecatomb.
L’ARCHITECTURE MONUMENTALE GRECQUE AU IIIe SIÈCLE A.C.;textes réunis et édités par Jacques des Courtils, 2015
The first ancient buildings completely labeled with assembly marks belong to the 3rd c. a.C. One ... more The first ancient buildings completely labeled with assembly marks belong to the 3rd c. a.C. One was presumably the Meter temple from Mamurt Kale near Pergamon, and a second surely the stoa of Philip at Delos. Earlier examples might have existed in the Classical period. But primarily the Meter temple and Philip’s stoa attest to the labeling of each block of the superstructure on Greek building sites. With the simple method of labeling the blocks with numbers, one group of masons could prefabricate blocks on the site, and other groups could accomplish subsequent steps like transporting, lifting, fitting, and finally dressing and painting. This is also evidence for the “division of labor” in Greek architectural engineering.
ZURÜCK ZUM GEGENSTAND, FESTSCHRIFT FÜR ANDREAS E. FURTWÄNGLER, 2009
Die Götter der Ostterrasse blicken zur Sommersonnenwende genau in Richtung Sonnenaufgang, während... more Die Götter der Ostterrasse blicken zur Sommersonnenwende genau in Richtung Sonnenaufgang, während zur Wintersonnenwende die Götter der Westterrasse in Richtung Sonnenuntergang schauen. Die Orientierung der kolossalen Sitzfiguren beider Terrassen ist exakt auf diese zwei Ereignisse des Sonnenjahres fixiert. Feststehend ist ebenso der Aufgang des Regulus über der Achse des Altars der Ostterrasse. Sein Aufsteigen kann jedoch nur von September bis Mitte Januar beobachtet werden. Die bisherige Forschung fand keine Antwort auf die Frage, warum die Bauten so ausgerichtet sind. Entscheidend ist, dass sich unter den insgesamt zehn Götterkolossen zwei befinden, die den König Antiochos I. selbst darstellen. In der Inschrift, die auf der Rückseite der Sitzfiguren angebracht ist, ordnet er an, dass ihm und den Göttern an zwei Terminen im Jahr besonders zu huldigen sei: An seinem Geburtstag im Winter und an seinem Krönungstag im Sommer. Für jedes der beiden Feste hatte jeder Gott eine Kultstatue. Antiochos ging folglich beim Entwerfen nach der Gleichung vor: zwei Feste = zwei Kultstatuen.
New Approaches to the Temple of Zeus at Olympia, Proceedings of the First Olympia-Seminar 8th-10th May 2014, Edited by András Patay-Horváth, 2015
Most of the extant assembly marks on architectural elements of the temple of Zeus were used for r... more Most of the extant assembly marks on architectural elements of the temple of Zeus were used for repairs. These marks usually consisted of single Greek letters engraved on cut stones to number contiguous elements. The most famous numbers are the letters alpha and gamma on two metopes with depictions of Herakles. They were probably applied during a restoration of the 4th c. BC and helped determine the original position of these two metopes. More assembly marks are found on some lionhead watersprouts. These marks derive from several repair phases including Roman imperial times as well. The same can be concluded about the assembly marks on dozens of marble roof tiles. In contrast to the known researches they derive not from the new construction of the temple, but from different later repair phases. In order to date them better was the investigation of the letter forms of the assembly marks and the kind of the used marble helpful. Hence the assembly marks contribute to date the repair phases of the temple of Zeus more precisely.
KuBA 2/2012, Kölner und Bonner Archaeologica, 2012
The theatre of the sanctuary of Apollo in Didyma was excavated in 2010 and 2011. It was built in ... more The theatre of the sanctuary of Apollo in Didyma was excavated in 2010 and 2011. It was built in the 2nd half of the 1st c. AD and enlarged 50 years later under the emperor Hadrian.
Koldewey-Gesellschaft, Bericht über die 48. TAGUNG FÜR AUS GRABUNGSWISSENSCHAFT UND BAUFORSCHUNG vom 28. Mai bis 1. Juni 2014 in Erfurt, 2015
Fragments of a second small Hellenistic temple discovered in Didyma years ago have been reinvesti... more Fragments of a second small Hellenistic temple discovered in Didyma years ago have been reinvestigated and testify the existence of a replication of the well known Hellenistic Naiskos inside Apollo’s great temple. Construction drawings at the West wall of the Sekos correspond with these fragments and falsify the common opinion the well known Naiskos for Apollon was designed here. Since the West wall was finished not before 250 BC this was a striking fact for the dating of the Naiskos which can be reconsidered now.
BAUTECHNIK IM ANTIKEN UND VORANTIKEN KLEINASIEN Internationale Konferenz 13.-16. Juni 2007 in Istanbul, 2009
Allein auf Bauteilen des hellenistischen Naiskos von Didyma konnten während jüngster Forschungen ... more Allein auf Bauteilen des hellenistischen Naiskos von Didyma konnten während jüngster Forschungen drei verschiedene Arten von Versatzmarken festgestellt werden. Zum einen fanden sich auf seinem westlichen Fundament einige, die aus dem 3. Jh. v. Chr. stammen. Die Stoßfugen sind dort mit aufeinanderfolgenden Buchstaben markiert. Jeweils ein und derselbe Buchstabe befindet sich rechts und links einer jeden Stoßfuge. Somit liegt ein Beispiel für die sog. Fugenzählung vor. Diese und weitere während der Grabung 2005 gemachte Entdeckungen weisen daraufhin, dass Teile des Naiskosfundaments wiederverwendet sind. Weiterhin wurden im 3. Jh. v. Chr. auf Säulentrommeln des Naiskos Versatzmarken angebracht, die seine vier Säulen von eins bis vier durchnummerieren. Die Merkmale dieser Versatzmarken betonen klar den Zweck des Neubaus, da sie auf den Unterlagern der Trommeln eingehauen sind. Diese Art von Versatzmarken kann mit Säulenzählung bezeichnet werden. Die größte Menge und Vielfalt von Versatzmarken konnte schließlich am Oberbau des Naiskos beobachtet werden. Beinahe jedes Werkstück ist mit ein bis drei solcher Zeichen versehen, die die horizontale und die vertikale Lage der Teile am Bau kennzeichnen. Auch dort findet sich die Fugenzählung. Außerdem werden die einzelnen Wandschichten durchnummeriert, d. h. ein Beispiel für die sog. Schichtzählung liegt vor. Die Gestalt der Versatzmarken lässt sich anhand paläografischer Merkmale in die späte Kaiserzeit datieren. Womöglich dienten sie dazu, den Wiederaufbau des Naiskos anzuleiten, da er in dieser Zeit zum ersten Mal abgerissen wurde. Diese Geschehnisse könnten im Zusammenhang mit dem Gotensturm von 262/63 n. Chr. stehen.
A recently found oracle inscription from the Temple of Apollo at Didyma relates to the cult of th... more A recently found oracle inscription from the Temple of Apollo at Didyma relates to the cult of the Horae. It dates from the 3rd century A. D. and is located on an ashlar in the wall of an unknown building. The supplicant at the oracle, whose name was Agathon, at that time held the offi ce of prophet. His question was whether hymns should be sung at the altar of the Horae or whether silence was preferred. In the answer, which is preserved in full, Apollo pronounces that the Horae are to be worshipped with song and dance. The oracle closes with a promise of fame for the prophet if his offerings are conducted with holy diligence. Hence it may be said that the question put to the oracle related to procedure during the votive ceremony. The inscription is further evidence of a trend in the Imperial era whereby the oracle of Didyma would respond to private enquiries which touched on a problem of ritual. The cult of the Horae has been established beyond doubt at very few sites; previously such a cult was not known at the Didymaion either.
At Didyma in 2004, find-assemblages from the middle and late Byzantine era were uncovered in two ... more At Didyma in 2004, find-assemblages from the middle and late Byzantine era were uncovered in two test excavations. At the south-west corner of the Temple of Apollo, in Section B North, the stone weight of an oil press and the remains of two walls were exposed, as was a further wall in Section A North. The stone weight from B North belonged to an olive oil production complex dating from the 13th century. Grooves cut into the surface of the stone weight indicate that a wooden screw was originally attached to it. The screw in turn was connected to a lever that was anchored in a wall which no longer survives but stood on the lowest krepis step of the Temple of Apollo. The press bed is still in situ, following a straight line from the stone weight to the krepis. Next to it, the Mahltasse and the grinding stone of an oil mill – necessary for the production of olive oil along with the oil press – were found in earlier excavations. On the basis of the Byzantine glazed ceramics found at the site, the first phase of the complex can be dated to the 2nd half of the 12th century, the second phase to the 13th century.
In front of the east facade of the Temple of Apollo at Didyma, no altar has ever been found that ... more In front of the east facade of the Temple of Apollo at Didyma, no altar has ever been found that corresponds to the monumental Hellenistic building in terms of size, quality and dating. Textual and pictorial sources provide evidence of a sacrificial altar that consisted of blood and ashes. Moreover, the sanctuary’s topography as well as Greek sacrificial practice attest that the altar of Apollo can only have stood in the forecourt east of the temple. There, in the first excavations, a circular structure was discovered and was interpreted as an edifice enclosing the blood-and-ash altar. Just a short time later, doubts were voiced about this interpretation, and they partly persist to this day; hence the question of the altar at Didyma has apparently remained unanswered. Analysis of all the sources reveals, however, that the late Archaic circular structure accommodated a blood-and-ash altar presumably until the end of antiquity. Consequently an early form of altar was retained at Didyma throughout antiquity, and no direct parallel can be found for it anywhere else. The antiquated altar, completely unsuited to the immense Hellenistic building, in the end probably served to enhance the credibility of the oracle of Apollo.
Epiphaneia. A Festschrift for Prof. Dr. Nuran Şahin from her Colleagues, Friends and Former Students. Ege Üniversitesi Yayınları. Edebiyat Fakültesi Yayın, 2018
Inscribed representations of gods and heroes in ancient greek architectural sculpture
Did the an... more Inscribed representations of gods and heroes in ancient greek architectural sculpture
Did the ancient Greeks know their myths well? Probably they did, but were they able to identify the mythological figures on different representations without problems? Or was it necessary to inscribe the figures with their names additionally to their attributes? In order to find answers to these questions it can be helpful to read the ancient literary sources, but also to have a look at the archaeological testimonies, for example vases like the François vase with name inscriptions for each figure. But how is it with representations on architectural scultpure like pediments or friezes? Here are fewer examples extant: better known are the friezes of the Siphnier treasury in Delphi or of the Great Altar in Pergamon. But there are more of them, mostly less known. In the planned article I will gather inscribed representations of gods and heroes from different places. So it can be seen that more existed than most of the researchers know. Moreover I will try to find answers to the questions above with these results.
At the extra-urban sanctuary of Didyma in Turkey, excavations have been under way since 2009, con... more At the extra-urban sanctuary of Didyma in Turkey, excavations have been under way since 2009, conducted by research group »Kulte im Kult« of the North Rhine-Westphalian Academy of Sciences. Since 2012, architectural members from a Hellenistic temple have been systematically documented. Analysis of them has already revealed that they belonged to a building that repeated the ornament system of the Apollo naiskos on a slightly larger scale but was nevertheless not identical to it. Adjoining the probably ancient foundations of the present-day mosque, a Hellenistic strip foundation for a further cult building at the sanctuary was exposed in 2013. Further excavations are necessary for an exact determination of the cult building. During excavations south of the Temple of Apollo in 2010 and 2011, the ruins of a theatre with a Greek plan were exposed. It was dated to the Imperial period on the basis of the archaeological record. The theatre is not mentioned explicitly in written sources, but it is now possible to localize the venue for the artistic contests that
written sources say were held at the sanctuary. In 2013, south-east of the ancient site, the remains of a Christian chapel built upon ancient foundations were excavated. This initiated a reappraisal of the remaining churches from the Byzantine and early modern era.
Publikation zum Geopark Schieferland, Blankenhainer Berichte Band 29, 2022
Nachdem man am Ende des 19. Jahrhunderts auf dem Gebiet des heutigen „Geopark Schieferland“ reich... more Nachdem man am Ende des 19. Jahrhunderts auf dem Gebiet des heutigen „Geopark Schieferland“ reiche Marmorvorkommen entdeckt hatte, wurde in Saalburg an der Saale 1888 ein Marmorwerk eingerichtet. Im damaligen Deutschen Kaiserreich, in der Weimarer Republik, im Dritten Reich und in der DDR stattete das Werk viele repräsentative Gebäude mit Marmor aus. Dabei kam oftmals „Saalburger Marmor“ zum Einsatz, bei dem es sich eigentlich um schneid-, schleif- und polierfähigen Kalkstein handelt. In dem Buch werden die Geologie des Saalburger Marmors, die Geschichte des Saalburger Marmorwerkes und die abgebauten Marmorsorten sowie ihre Brüche und ihre Verwendung abgehandelt. Karten und zahlreiche Abbildungen veranschaulichen die Darstellungen. Überdies werden Hinweise gegeben, wie die teilweise heute noch zugänglichen, geologisch wertvollen Abbaugebiete erreicht werden können. In seiner etwa hundertjährigen Blütezeit leisteten die Arbeiter des Saalburger Marmorwerkes Bedeutendes. Die Zeugnisse ihres Wirkens können an Bauten in Deutschland (besonders in Berlin) und weltweit besichtigt werden. Das Buch kündet von der einstigen Beliebtheit des Saalburger Marmors und dem weltbekannten Können der Mitarbeiter des Saalburger Marmorwerkes.
The exploration of Didyma began during the Renaissance, since then many travellers have arrived t... more The exploration of Didyma began during the Renaissance, since then many travellers have arrived to visit and examine the ruin of the world’s largest temple dedicated to Apollo. The excavations continue to this very day and have brought to light more buildings within the last number of years; for example the theatre and the temple of Artemis. Ulf Weber collaborated on the research of the sanctuary of Apollo for many years. Now, for the first time he presents all of the most distinguished and important scholars reaching Didyma since the fifteenth century. During the writing process several new discoveries of the history of research were yielded and even some additional material on the sanctuary of Apollo itself. Various unpublished drawings and photos are included. The history of research is presented chronologically in which the buildings, history and religion of Didyma are deeply embedded. In doing so, the author describes the current state of research of the German excavations. Many, partly amusing, episodes of those travellers and scientists involved bring this significant piece of culture and research history to life.
Der Glaube an die Wissenschaft bestimmt unsere Zeit. Neue und neueste Forschungen scheinen die be... more Der Glaube an die Wissenschaft bestimmt unsere Zeit. Neue und neueste Forschungen scheinen die besten zu sein. Doch gerade in den Geschichtswissenschaften ist bisweilen das Gegenteil der Fall. Im Laufe der Jahrhunderte konnten wichtige Erkenntnisse verlorengehen, wie am Beispiel des antiken griechischen Apollonheiligtums von Didyma (Westtürkei) gezeigt werden kann. Seit dem 15. Jahrhundert besuchten es dutzende Reisende und Wissenschaftler. Das erneute Lesen ihrer Berichte fördert Unbekanntes zutage und löst manches Rätsel.
Ancient Architectural Restoration in the Greek World (edited by J. V. Broeck-Parant and T. Ismaelli), 2021
Assembly marks were used in Greek architecture for new constructions and the transfer of groups o... more Assembly marks were used in Greek architecture for new constructions and the transfer of groups of elements or even entire buildings, but also during restoration. Therefore, it is useful to investigate the specific function of assembly marks during repairs and restorations. First of all, assembly marks on architectural elements are helpful to identify the parts of a building which were repaired and to distinguish between the reused elements and the new ones. Furthermore, the form of the Greek letters, mostly used for assembly marks, facilitates the dating of the restoration phases. In the best-preserved cases, assembly marks shed light on the history of a building. In order to show the potentiality of the assembly marks, this paper analyses the Altar of the Chians at Delphi, the Hellenistic Naiskos of Didyma and the Rotunda of Arsinoe at Samothrace.
ZURÜCK ZUM SPASS FESTSCHRIFT FÜR ANDREAS E. FURTWÄNGLER SUPPLEMENT, 2009
Reiseerlebnisse auf der Fahrt von Deutschland nach Didyma 2005 mit dem ehemaligen Grabungsleiter ... more Reiseerlebnisse auf der Fahrt von Deutschland nach Didyma 2005 mit dem ehemaligen Grabungsleiter Andreas E. Furtwängler.
Le sanctuaire de Claros et son oracle; édité par Jean-Charles Moretti avec la collaboration de Liliane Rabatel, 2014
Mainly used in Greek architecture for building in stone, assembly marks played an important role ... more Mainly used in Greek architecture for building in stone, assembly marks played an important role in guiding the implementation of blocks in the correct order. These marks usually consisted of ordinal numbers engraved on cut stones to mark contiguous elements. The numbers were mostly Greek letters, and it is sometimes possible to identify successive numbers in neighboring blocks. Assembly marks were used in ancient architecture for new construction, for repairs, or for repurposing groups of elements or even entire buildings. Present in nearly all Greek sites, assembly marks are also found at Claros, on at least five buildings including the Hellenistic Temple of Apollo, the two Hellenistic altars of Artemis and Apollo, the monument foundation in conglomerate, and the Exedra of Heracleides. Assembly marks on the column drums of the Temple of Apollo were etched during its construction and help determine both the number of drums that composed a column and the height of the column. By contrast, assembly marks on the four buildings east of the sanctuary were used to guide masons tasked with their second assembly. New altars to Apollo and Artemis were constructed during the third and second centuries B.C.E. and then dismantled, enhanced, and reinstalled in the same place at the end of the second century B.C.E. Such enhancement is not unusual at Claros, as evidenced by the archaic and classical altars of Apollo and Artemis. On several occasions over the centuries, these altars were raised to prevent them from disappearing in the sediments of the river Ales. The conglomerate foundation, which is the base of a votive monument, was transplanted from an unknown site to its current location at the end of the second century B.C.E. The Exedra of Heracleides was also relocated, but probably later, perhaps in the middle of the first century C.E. Moving votive monuments, accompanied by burning a new dedication, was a common practice in ancient sanctuaries. The construction of new buildings or large spaces frequently accompanied changes of this type. Such was the case at Claros, where they enlarged the sacrificial area between the temples and the altars of Apollo and Artemis to install stone blocks with bronze rings to accommodate the sacrifice of 100 cattle known as the hecatomb.
L’ARCHITECTURE MONUMENTALE GRECQUE AU IIIe SIÈCLE A.C.;textes réunis et édités par Jacques des Courtils, 2015
The first ancient buildings completely labeled with assembly marks belong to the 3rd c. a.C. One ... more The first ancient buildings completely labeled with assembly marks belong to the 3rd c. a.C. One was presumably the Meter temple from Mamurt Kale near Pergamon, and a second surely the stoa of Philip at Delos. Earlier examples might have existed in the Classical period. But primarily the Meter temple and Philip’s stoa attest to the labeling of each block of the superstructure on Greek building sites. With the simple method of labeling the blocks with numbers, one group of masons could prefabricate blocks on the site, and other groups could accomplish subsequent steps like transporting, lifting, fitting, and finally dressing and painting. This is also evidence for the “division of labor” in Greek architectural engineering.
ZURÜCK ZUM GEGENSTAND, FESTSCHRIFT FÜR ANDREAS E. FURTWÄNGLER, 2009
Die Götter der Ostterrasse blicken zur Sommersonnenwende genau in Richtung Sonnenaufgang, während... more Die Götter der Ostterrasse blicken zur Sommersonnenwende genau in Richtung Sonnenaufgang, während zur Wintersonnenwende die Götter der Westterrasse in Richtung Sonnenuntergang schauen. Die Orientierung der kolossalen Sitzfiguren beider Terrassen ist exakt auf diese zwei Ereignisse des Sonnenjahres fixiert. Feststehend ist ebenso der Aufgang des Regulus über der Achse des Altars der Ostterrasse. Sein Aufsteigen kann jedoch nur von September bis Mitte Januar beobachtet werden. Die bisherige Forschung fand keine Antwort auf die Frage, warum die Bauten so ausgerichtet sind. Entscheidend ist, dass sich unter den insgesamt zehn Götterkolossen zwei befinden, die den König Antiochos I. selbst darstellen. In der Inschrift, die auf der Rückseite der Sitzfiguren angebracht ist, ordnet er an, dass ihm und den Göttern an zwei Terminen im Jahr besonders zu huldigen sei: An seinem Geburtstag im Winter und an seinem Krönungstag im Sommer. Für jedes der beiden Feste hatte jeder Gott eine Kultstatue. Antiochos ging folglich beim Entwerfen nach der Gleichung vor: zwei Feste = zwei Kultstatuen.
New Approaches to the Temple of Zeus at Olympia, Proceedings of the First Olympia-Seminar 8th-10th May 2014, Edited by András Patay-Horváth, 2015
Most of the extant assembly marks on architectural elements of the temple of Zeus were used for r... more Most of the extant assembly marks on architectural elements of the temple of Zeus were used for repairs. These marks usually consisted of single Greek letters engraved on cut stones to number contiguous elements. The most famous numbers are the letters alpha and gamma on two metopes with depictions of Herakles. They were probably applied during a restoration of the 4th c. BC and helped determine the original position of these two metopes. More assembly marks are found on some lionhead watersprouts. These marks derive from several repair phases including Roman imperial times as well. The same can be concluded about the assembly marks on dozens of marble roof tiles. In contrast to the known researches they derive not from the new construction of the temple, but from different later repair phases. In order to date them better was the investigation of the letter forms of the assembly marks and the kind of the used marble helpful. Hence the assembly marks contribute to date the repair phases of the temple of Zeus more precisely.
KuBA 2/2012, Kölner und Bonner Archaeologica, 2012
The theatre of the sanctuary of Apollo in Didyma was excavated in 2010 and 2011. It was built in ... more The theatre of the sanctuary of Apollo in Didyma was excavated in 2010 and 2011. It was built in the 2nd half of the 1st c. AD and enlarged 50 years later under the emperor Hadrian.
Koldewey-Gesellschaft, Bericht über die 48. TAGUNG FÜR AUS GRABUNGSWISSENSCHAFT UND BAUFORSCHUNG vom 28. Mai bis 1. Juni 2014 in Erfurt, 2015
Fragments of a second small Hellenistic temple discovered in Didyma years ago have been reinvesti... more Fragments of a second small Hellenistic temple discovered in Didyma years ago have been reinvestigated and testify the existence of a replication of the well known Hellenistic Naiskos inside Apollo’s great temple. Construction drawings at the West wall of the Sekos correspond with these fragments and falsify the common opinion the well known Naiskos for Apollon was designed here. Since the West wall was finished not before 250 BC this was a striking fact for the dating of the Naiskos which can be reconsidered now.
BAUTECHNIK IM ANTIKEN UND VORANTIKEN KLEINASIEN Internationale Konferenz 13.-16. Juni 2007 in Istanbul, 2009
Allein auf Bauteilen des hellenistischen Naiskos von Didyma konnten während jüngster Forschungen ... more Allein auf Bauteilen des hellenistischen Naiskos von Didyma konnten während jüngster Forschungen drei verschiedene Arten von Versatzmarken festgestellt werden. Zum einen fanden sich auf seinem westlichen Fundament einige, die aus dem 3. Jh. v. Chr. stammen. Die Stoßfugen sind dort mit aufeinanderfolgenden Buchstaben markiert. Jeweils ein und derselbe Buchstabe befindet sich rechts und links einer jeden Stoßfuge. Somit liegt ein Beispiel für die sog. Fugenzählung vor. Diese und weitere während der Grabung 2005 gemachte Entdeckungen weisen daraufhin, dass Teile des Naiskosfundaments wiederverwendet sind. Weiterhin wurden im 3. Jh. v. Chr. auf Säulentrommeln des Naiskos Versatzmarken angebracht, die seine vier Säulen von eins bis vier durchnummerieren. Die Merkmale dieser Versatzmarken betonen klar den Zweck des Neubaus, da sie auf den Unterlagern der Trommeln eingehauen sind. Diese Art von Versatzmarken kann mit Säulenzählung bezeichnet werden. Die größte Menge und Vielfalt von Versatzmarken konnte schließlich am Oberbau des Naiskos beobachtet werden. Beinahe jedes Werkstück ist mit ein bis drei solcher Zeichen versehen, die die horizontale und die vertikale Lage der Teile am Bau kennzeichnen. Auch dort findet sich die Fugenzählung. Außerdem werden die einzelnen Wandschichten durchnummeriert, d. h. ein Beispiel für die sog. Schichtzählung liegt vor. Die Gestalt der Versatzmarken lässt sich anhand paläografischer Merkmale in die späte Kaiserzeit datieren. Womöglich dienten sie dazu, den Wiederaufbau des Naiskos anzuleiten, da er in dieser Zeit zum ersten Mal abgerissen wurde. Diese Geschehnisse könnten im Zusammenhang mit dem Gotensturm von 262/63 n. Chr. stehen.
A recently found oracle inscription from the Temple of Apollo at Didyma relates to the cult of th... more A recently found oracle inscription from the Temple of Apollo at Didyma relates to the cult of the Horae. It dates from the 3rd century A. D. and is located on an ashlar in the wall of an unknown building. The supplicant at the oracle, whose name was Agathon, at that time held the offi ce of prophet. His question was whether hymns should be sung at the altar of the Horae or whether silence was preferred. In the answer, which is preserved in full, Apollo pronounces that the Horae are to be worshipped with song and dance. The oracle closes with a promise of fame for the prophet if his offerings are conducted with holy diligence. Hence it may be said that the question put to the oracle related to procedure during the votive ceremony. The inscription is further evidence of a trend in the Imperial era whereby the oracle of Didyma would respond to private enquiries which touched on a problem of ritual. The cult of the Horae has been established beyond doubt at very few sites; previously such a cult was not known at the Didymaion either.
At Didyma in 2004, find-assemblages from the middle and late Byzantine era were uncovered in two ... more At Didyma in 2004, find-assemblages from the middle and late Byzantine era were uncovered in two test excavations. At the south-west corner of the Temple of Apollo, in Section B North, the stone weight of an oil press and the remains of two walls were exposed, as was a further wall in Section A North. The stone weight from B North belonged to an olive oil production complex dating from the 13th century. Grooves cut into the surface of the stone weight indicate that a wooden screw was originally attached to it. The screw in turn was connected to a lever that was anchored in a wall which no longer survives but stood on the lowest krepis step of the Temple of Apollo. The press bed is still in situ, following a straight line from the stone weight to the krepis. Next to it, the Mahltasse and the grinding stone of an oil mill – necessary for the production of olive oil along with the oil press – were found in earlier excavations. On the basis of the Byzantine glazed ceramics found at the site, the first phase of the complex can be dated to the 2nd half of the 12th century, the second phase to the 13th century.
In front of the east facade of the Temple of Apollo at Didyma, no altar has ever been found that ... more In front of the east facade of the Temple of Apollo at Didyma, no altar has ever been found that corresponds to the monumental Hellenistic building in terms of size, quality and dating. Textual and pictorial sources provide evidence of a sacrificial altar that consisted of blood and ashes. Moreover, the sanctuary’s topography as well as Greek sacrificial practice attest that the altar of Apollo can only have stood in the forecourt east of the temple. There, in the first excavations, a circular structure was discovered and was interpreted as an edifice enclosing the blood-and-ash altar. Just a short time later, doubts were voiced about this interpretation, and they partly persist to this day; hence the question of the altar at Didyma has apparently remained unanswered. Analysis of all the sources reveals, however, that the late Archaic circular structure accommodated a blood-and-ash altar presumably until the end of antiquity. Consequently an early form of altar was retained at Didyma throughout antiquity, and no direct parallel can be found for it anywhere else. The antiquated altar, completely unsuited to the immense Hellenistic building, in the end probably served to enhance the credibility of the oracle of Apollo.
Epiphaneia. A Festschrift for Prof. Dr. Nuran Şahin from her Colleagues, Friends and Former Students. Ege Üniversitesi Yayınları. Edebiyat Fakültesi Yayın, 2018
Inscribed representations of gods and heroes in ancient greek architectural sculpture
Did the an... more Inscribed representations of gods and heroes in ancient greek architectural sculpture
Did the ancient Greeks know their myths well? Probably they did, but were they able to identify the mythological figures on different representations without problems? Or was it necessary to inscribe the figures with their names additionally to their attributes? In order to find answers to these questions it can be helpful to read the ancient literary sources, but also to have a look at the archaeological testimonies, for example vases like the François vase with name inscriptions for each figure. But how is it with representations on architectural scultpure like pediments or friezes? Here are fewer examples extant: better known are the friezes of the Siphnier treasury in Delphi or of the Great Altar in Pergamon. But there are more of them, mostly less known. In the planned article I will gather inscribed representations of gods and heroes from different places. So it can be seen that more existed than most of the researchers know. Moreover I will try to find answers to the questions above with these results.
At the extra-urban sanctuary of Didyma in Turkey, excavations have been under way since 2009, con... more At the extra-urban sanctuary of Didyma in Turkey, excavations have been under way since 2009, conducted by research group »Kulte im Kult« of the North Rhine-Westphalian Academy of Sciences. Since 2012, architectural members from a Hellenistic temple have been systematically documented. Analysis of them has already revealed that they belonged to a building that repeated the ornament system of the Apollo naiskos on a slightly larger scale but was nevertheless not identical to it. Adjoining the probably ancient foundations of the present-day mosque, a Hellenistic strip foundation for a further cult building at the sanctuary was exposed in 2013. Further excavations are necessary for an exact determination of the cult building. During excavations south of the Temple of Apollo in 2010 and 2011, the ruins of a theatre with a Greek plan were exposed. It was dated to the Imperial period on the basis of the archaeological record. The theatre is not mentioned explicitly in written sources, but it is now possible to localize the venue for the artistic contests that
written sources say were held at the sanctuary. In 2013, south-east of the ancient site, the remains of a Christian chapel built upon ancient foundations were excavated. This initiated a reappraisal of the remaining churches from the Byzantine and early modern era.
Publikation zum Geopark Schieferland, Blankenhainer Berichte Band 29, 2022
Nachdem man am Ende des 19. Jahrhunderts auf dem Gebiet des heutigen „Geopark Schieferland“ reich... more Nachdem man am Ende des 19. Jahrhunderts auf dem Gebiet des heutigen „Geopark Schieferland“ reiche Marmorvorkommen entdeckt hatte, wurde in Saalburg an der Saale 1888 ein Marmorwerk eingerichtet. Im damaligen Deutschen Kaiserreich, in der Weimarer Republik, im Dritten Reich und in der DDR stattete das Werk viele repräsentative Gebäude mit Marmor aus. Dabei kam oftmals „Saalburger Marmor“ zum Einsatz, bei dem es sich eigentlich um schneid-, schleif- und polierfähigen Kalkstein handelt. In dem Buch werden die Geologie des Saalburger Marmors, die Geschichte des Saalburger Marmorwerkes und die abgebauten Marmorsorten sowie ihre Brüche und ihre Verwendung abgehandelt. Karten und zahlreiche Abbildungen veranschaulichen die Darstellungen. Überdies werden Hinweise gegeben, wie die teilweise heute noch zugänglichen, geologisch wertvollen Abbaugebiete erreicht werden können. In seiner etwa hundertjährigen Blütezeit leisteten die Arbeiter des Saalburger Marmorwerkes Bedeutendes. Die Zeugnisse ihres Wirkens können an Bauten in Deutschland (besonders in Berlin) und weltweit besichtigt werden. Das Buch kündet von der einstigen Beliebtheit des Saalburger Marmors und dem weltbekannten Können der Mitarbeiter des Saalburger Marmorwerkes.
The exploration of Didyma began during the Renaissance, since then many travellers have arrived t... more The exploration of Didyma began during the Renaissance, since then many travellers have arrived to visit and examine the ruin of the world’s largest temple dedicated to Apollo. The excavations continue to this very day and have brought to light more buildings within the last number of years; for example the theatre and the temple of Artemis. Ulf Weber collaborated on the research of the sanctuary of Apollo for many years. Now, for the first time he presents all of the most distinguished and important scholars reaching Didyma since the fifteenth century. During the writing process several new discoveries of the history of research were yielded and even some additional material on the sanctuary of Apollo itself. Various unpublished drawings and photos are included. The history of research is presented chronologically in which the buildings, history and religion of Didyma are deeply embedded. In doing so, the author describes the current state of research of the German excavations. Many, partly amusing, episodes of those travellers and scientists involved bring this significant piece of culture and research history to life.
Die antiken Griechen errichteten viele bis heute faszinierende Bauwerke wie den Parthenon auf der... more Die antiken Griechen errichteten viele bis heute faszinierende Bauwerke wie den Parthenon auf der Athener Akropolis. Sie verfügten über ein hoch entwickeltes Bauwesen, das unter anderem auf der Verwendung von sogenannten Versatzmarken beruhte. Diese Marken bestanden meist aus griechischen Buchstaben, die zur Nummerierung zusammengehöriger Bauteile dienten. Bis heute können die eingemeißelten Markierungen auf vielen antiken Werksteinbauten festgestellt werden. Bisher wurde den Versatzmarken wenig Aufmerksamkeit geschenkt, ihre umfassende Analyse war lange ein Desiderat der antiken Bauforschung. Ulf Weber widmet sich daher in seiner Studie den Versatzmarken der wichtigsten Bauwerke des griechischen Festlandes, der ägäischen Inseln und des westlichen Kleinasien. Dabei entstammen die ältesten Versatzmarken dem Anfang des 6. Jahrhunderts v. Chr., die jüngsten dem Ende des 3. Jahrhunderts n.Chr. Die Untersuchung der unterschiedlichen Versatzmarkenanwendung ermöglicht es zu bestimmen, ob die Marken vom Neubau oder von einer Wiederverwendung stammen, woraus sich neue Erkenntnisse zur Geschichte der einzelnen Gebäude ergeben. Zudem werden im Laufe der Jahrhunderte Veränderungen sowohl im Gebrauch von Versatzmarken als auch in der Verwendung von Zahlen bei den antiken Griechen deutlich. Zusammen mit neuen Erkenntnissen zur Bauorganisation werden die Ergebnisse dieser Untersuchung in einem handbuchartigen Werk vorgestellt, das die Deutung neuer Funde von Versatzmarken erleichtert und der Erschließung antiker Werksteinbauten einen zu lange vernachlässigten Aspekt hinzufügt.
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the monument foundation in conglomerate, and the Exedra of Heracleides. Assembly marks on the column drums of the Temple of Apollo were etched during its construction and help determine both the number of drums that composed a column and the height of the column. By contrast, assembly marks on the four buildings east of the sanctuary were used to guide masons tasked with their second assembly. New altars to Apollo and Artemis were constructed during the
third and second centuries B.C.E. and then dismantled, enhanced, and reinstalled in the same place at the end of the second century B.C.E. Such enhancement is
not unusual at Claros, as evidenced by the archaic and classical altars of Apollo and Artemis. On several occasions over the centuries, these altars were raised to
prevent them from disappearing in the sediments of the river Ales. The conglomerate foundation, which is the base of a votive monument, was transplanted from an unknown site to its current location at the end of the second century B.C.E. The Exedra of Heracleides was also relocated, but probably later, perhaps in the middle of the first century C.E. Moving votive monuments,
accompanied by burning a new dedication, was a common practice in ancient sanctuaries. The construction of new buildings or large spaces frequently accompanied changes of this type. Such was the case at Claros, where they enlarged the sacrificial area between the temples and the altars of Apollo and Artemis to install stone blocks with bronze rings to accommodate the sacrifice of 100 cattle known
as the hecatomb.
With the simple method of labeling the blocks with numbers, one group of masons could prefabricate blocks on the site, and other groups could accomplish subsequent steps like transporting, lifting, fitting, and finally dressing and painting. This is also evidence for the “division of labor” in Greek architectural engineering.
schauen. Die Orientierung der kolossalen Sitzfiguren
beider Terrassen ist exakt auf diese zwei Ereignisse des Sonnenjahres fixiert. Feststehend ist ebenso der Aufgang des Regulus über der Achse des Altars der Ostterrasse. Sein Aufsteigen kann jedoch nur von September bis Mitte Januar beobachtet werden. Die bisherige Forschung fand keine Antwort auf die Frage, warum die Bauten so ausgerichtet sind.
Entscheidend ist, dass sich unter den insgesamt
zehn Götterkolossen zwei befinden, die den König Antiochos I. selbst darstellen. In der Inschrift, die auf der
Rückseite der Sitzfiguren angebracht ist, ordnet er
an, dass ihm und den Göttern an zwei Terminen
im Jahr besonders zu huldigen sei: An seinem Geburtstag im Winter und an seinem Krönungstag
im Sommer. Für jedes der beiden Feste hatte jeder
Gott eine Kultstatue. Antiochos ging folglich beim
Entwerfen nach der Gleichung vor: zwei Feste =
zwei Kultstatuen.
werden. Zum einen fanden sich auf seinem westlichen Fundament einige, die aus dem 3. Jh. v. Chr. stammen. Die Stoßfugen sind dort mit aufeinanderfolgenden Buchstaben markiert. Jeweils ein und derselbe Buchstabe befindet sich rechts und links einer
jeden Stoßfuge. Somit liegt ein Beispiel für die sog. Fugenzählung vor. Diese und weitere während der Grabung 2005 gemachte Entdeckungen weisen daraufhin, dass Teile des Naiskosfundaments wiederverwendet sind. Weiterhin wurden im 3. Jh. v. Chr. auf Säulentrommeln des Naiskos Versatzmarken
angebracht, die seine vier Säulen von eins bis vier durchnummerieren. Die Merkmale dieser Versatzmarken betonen klar den Zweck des Neubaus, da sie auf den
Unterlagern der Trommeln eingehauen sind. Diese Art von Versatzmarken kann mit Säulenzählung bezeichnet werden. Die größte Menge und Vielfalt von Versatzmarken konnte schließlich am Oberbau
des Naiskos beobachtet werden. Beinahe jedes Werkstück ist mit ein bis drei solcher Zeichen versehen, die die horizontale und die vertikale Lage der Teile
am Bau kennzeichnen. Auch dort findet sich die Fugenzählung. Außerdem werden die einzelnen Wandschichten durchnummeriert, d. h. ein Beispiel für
die sog. Schichtzählung liegt vor. Die Gestalt der Versatzmarken lässt sich anhand paläografischer Merkmale in die späte Kaiserzeit datieren. Womöglich dienten sie dazu, den Wiederaufbau des Naiskos anzuleiten, da er in dieser Zeit zum ersten Mal abgerissen wurde. Diese Geschehnisse könnten im Zusammenhang mit dem Gotensturm von 262/63 n. Chr. stehen.
offi ce of prophet. His question was whether hymns should be sung at the altar of the Horae or whether silence was preferred. In the answer, which is preserved in full, Apollo pronounces that the Horae are to be worshipped with song and dance. The oracle closes with a promise of fame for the prophet if his offerings are conducted with holy diligence. Hence it may be said that the question put to the oracle related to procedure during the votive ceremony. The inscription is further evidence of a trend in the Imperial era whereby the oracle of Didyma would respond to private enquiries which touched on a problem of ritual. The cult of the Horae has been established beyond doubt at very few sites; previously such a cult was not known at the Didymaion either.
to the krepis. Next to it, the Mahltasse and the grinding stone of an oil mill – necessary for the production of olive oil along with the oil press – were found in earlier excavations. On the basis of the Byzantine glazed ceramics found at the site, the first phase of the complex can be dated to the 2nd half of the 12th century, the second phase to the 13th century.
Analysis of all the sources reveals, however, that the late Archaic circular structure accommodated a blood-and-ash altar presumably until the end of antiquity. Consequently an early form of altar was retained at Didyma throughout antiquity, and no direct parallel can be found for it anywhere else. The antiquated altar, completely unsuited to the immense Hellenistic building, in the end probably served to enhance the credibility of the oracle of Apollo.
Did the ancient Greeks know their myths well? Probably they did, but were they able to identify the mythological figures on different representations without problems? Or was it necessary to inscribe the figures with their names additionally to their attributes?
In order to find answers to these questions it can be helpful to read the ancient literary sources, but also to have a look at the archaeological testimonies, for example vases like the François vase with name inscriptions for each figure. But how is it with representations on architectural scultpure like pediments or friezes?
Here are fewer examples extant: better known are the friezes of the Siphnier treasury in Delphi or of the Great Altar in Pergamon. But there are more of them, mostly less known. In the planned article I will gather inscribed representations of gods and heroes from different places. So it can be seen that more existed than most of the researchers know. Moreover I will try to find answers to the questions above with these results.
written sources say were held at the sanctuary. In 2013, south-east of the ancient site, the remains of a Christian chapel built upon ancient foundations were excavated. This initiated a reappraisal of the remaining churches from the Byzantine and early modern era.
Books by Ulf Weber
In dem Buch werden die Geologie des Saalburger Marmors, die Geschichte des Saalburger Marmorwerkes und die abgebauten Marmorsorten sowie ihre Brüche und ihre Verwendung abgehandelt. Karten und zahlreiche Abbildungen veranschaulichen die Darstellungen. Überdies werden Hinweise gegeben, wie die teilweise heute noch zugänglichen, geologisch wertvollen Abbaugebiete erreicht werden können.
In seiner etwa hundertjährigen Blütezeit leisteten die Arbeiter des Saalburger Marmorwerkes Bedeutendes. Die Zeugnisse ihres Wirkens können an Bauten in Deutschland (besonders in Berlin) und weltweit besichtigt werden. Das Buch kündet von der einstigen Beliebtheit des Saalburger Marmors und dem weltbekannten Können der Mitarbeiter des Saalburger Marmorwerkes.
Ulf Weber collaborated on the research of the sanctuary of Apollo for many years. Now, for the first time he presents all of the most distinguished and important scholars reaching Didyma since the fifteenth century. During the writing process several new discoveries of the history of research were yielded and even some additional material on the sanctuary of Apollo itself. Various unpublished drawings and photos are included.
The history of research is presented chronologically in which the buildings, history and religion of Didyma are deeply embedded. In doing so, the author describes the current state of research of the German excavations.
Many, partly amusing, episodes of those travellers and scientists involved bring this significant piece of culture and research history to life.
the monument foundation in conglomerate, and the Exedra of Heracleides. Assembly marks on the column drums of the Temple of Apollo were etched during its construction and help determine both the number of drums that composed a column and the height of the column. By contrast, assembly marks on the four buildings east of the sanctuary were used to guide masons tasked with their second assembly. New altars to Apollo and Artemis were constructed during the
third and second centuries B.C.E. and then dismantled, enhanced, and reinstalled in the same place at the end of the second century B.C.E. Such enhancement is
not unusual at Claros, as evidenced by the archaic and classical altars of Apollo and Artemis. On several occasions over the centuries, these altars were raised to
prevent them from disappearing in the sediments of the river Ales. The conglomerate foundation, which is the base of a votive monument, was transplanted from an unknown site to its current location at the end of the second century B.C.E. The Exedra of Heracleides was also relocated, but probably later, perhaps in the middle of the first century C.E. Moving votive monuments,
accompanied by burning a new dedication, was a common practice in ancient sanctuaries. The construction of new buildings or large spaces frequently accompanied changes of this type. Such was the case at Claros, where they enlarged the sacrificial area between the temples and the altars of Apollo and Artemis to install stone blocks with bronze rings to accommodate the sacrifice of 100 cattle known
as the hecatomb.
With the simple method of labeling the blocks with numbers, one group of masons could prefabricate blocks on the site, and other groups could accomplish subsequent steps like transporting, lifting, fitting, and finally dressing and painting. This is also evidence for the “division of labor” in Greek architectural engineering.
schauen. Die Orientierung der kolossalen Sitzfiguren
beider Terrassen ist exakt auf diese zwei Ereignisse des Sonnenjahres fixiert. Feststehend ist ebenso der Aufgang des Regulus über der Achse des Altars der Ostterrasse. Sein Aufsteigen kann jedoch nur von September bis Mitte Januar beobachtet werden. Die bisherige Forschung fand keine Antwort auf die Frage, warum die Bauten so ausgerichtet sind.
Entscheidend ist, dass sich unter den insgesamt
zehn Götterkolossen zwei befinden, die den König Antiochos I. selbst darstellen. In der Inschrift, die auf der
Rückseite der Sitzfiguren angebracht ist, ordnet er
an, dass ihm und den Göttern an zwei Terminen
im Jahr besonders zu huldigen sei: An seinem Geburtstag im Winter und an seinem Krönungstag
im Sommer. Für jedes der beiden Feste hatte jeder
Gott eine Kultstatue. Antiochos ging folglich beim
Entwerfen nach der Gleichung vor: zwei Feste =
zwei Kultstatuen.
werden. Zum einen fanden sich auf seinem westlichen Fundament einige, die aus dem 3. Jh. v. Chr. stammen. Die Stoßfugen sind dort mit aufeinanderfolgenden Buchstaben markiert. Jeweils ein und derselbe Buchstabe befindet sich rechts und links einer
jeden Stoßfuge. Somit liegt ein Beispiel für die sog. Fugenzählung vor. Diese und weitere während der Grabung 2005 gemachte Entdeckungen weisen daraufhin, dass Teile des Naiskosfundaments wiederverwendet sind. Weiterhin wurden im 3. Jh. v. Chr. auf Säulentrommeln des Naiskos Versatzmarken
angebracht, die seine vier Säulen von eins bis vier durchnummerieren. Die Merkmale dieser Versatzmarken betonen klar den Zweck des Neubaus, da sie auf den
Unterlagern der Trommeln eingehauen sind. Diese Art von Versatzmarken kann mit Säulenzählung bezeichnet werden. Die größte Menge und Vielfalt von Versatzmarken konnte schließlich am Oberbau
des Naiskos beobachtet werden. Beinahe jedes Werkstück ist mit ein bis drei solcher Zeichen versehen, die die horizontale und die vertikale Lage der Teile
am Bau kennzeichnen. Auch dort findet sich die Fugenzählung. Außerdem werden die einzelnen Wandschichten durchnummeriert, d. h. ein Beispiel für
die sog. Schichtzählung liegt vor. Die Gestalt der Versatzmarken lässt sich anhand paläografischer Merkmale in die späte Kaiserzeit datieren. Womöglich dienten sie dazu, den Wiederaufbau des Naiskos anzuleiten, da er in dieser Zeit zum ersten Mal abgerissen wurde. Diese Geschehnisse könnten im Zusammenhang mit dem Gotensturm von 262/63 n. Chr. stehen.
offi ce of prophet. His question was whether hymns should be sung at the altar of the Horae or whether silence was preferred. In the answer, which is preserved in full, Apollo pronounces that the Horae are to be worshipped with song and dance. The oracle closes with a promise of fame for the prophet if his offerings are conducted with holy diligence. Hence it may be said that the question put to the oracle related to procedure during the votive ceremony. The inscription is further evidence of a trend in the Imperial era whereby the oracle of Didyma would respond to private enquiries which touched on a problem of ritual. The cult of the Horae has been established beyond doubt at very few sites; previously such a cult was not known at the Didymaion either.
to the krepis. Next to it, the Mahltasse and the grinding stone of an oil mill – necessary for the production of olive oil along with the oil press – were found in earlier excavations. On the basis of the Byzantine glazed ceramics found at the site, the first phase of the complex can be dated to the 2nd half of the 12th century, the second phase to the 13th century.
Analysis of all the sources reveals, however, that the late Archaic circular structure accommodated a blood-and-ash altar presumably until the end of antiquity. Consequently an early form of altar was retained at Didyma throughout antiquity, and no direct parallel can be found for it anywhere else. The antiquated altar, completely unsuited to the immense Hellenistic building, in the end probably served to enhance the credibility of the oracle of Apollo.
Did the ancient Greeks know their myths well? Probably they did, but were they able to identify the mythological figures on different representations without problems? Or was it necessary to inscribe the figures with their names additionally to their attributes?
In order to find answers to these questions it can be helpful to read the ancient literary sources, but also to have a look at the archaeological testimonies, for example vases like the François vase with name inscriptions for each figure. But how is it with representations on architectural scultpure like pediments or friezes?
Here are fewer examples extant: better known are the friezes of the Siphnier treasury in Delphi or of the Great Altar in Pergamon. But there are more of them, mostly less known. In the planned article I will gather inscribed representations of gods and heroes from different places. So it can be seen that more existed than most of the researchers know. Moreover I will try to find answers to the questions above with these results.
written sources say were held at the sanctuary. In 2013, south-east of the ancient site, the remains of a Christian chapel built upon ancient foundations were excavated. This initiated a reappraisal of the remaining churches from the Byzantine and early modern era.
In dem Buch werden die Geologie des Saalburger Marmors, die Geschichte des Saalburger Marmorwerkes und die abgebauten Marmorsorten sowie ihre Brüche und ihre Verwendung abgehandelt. Karten und zahlreiche Abbildungen veranschaulichen die Darstellungen. Überdies werden Hinweise gegeben, wie die teilweise heute noch zugänglichen, geologisch wertvollen Abbaugebiete erreicht werden können.
In seiner etwa hundertjährigen Blütezeit leisteten die Arbeiter des Saalburger Marmorwerkes Bedeutendes. Die Zeugnisse ihres Wirkens können an Bauten in Deutschland (besonders in Berlin) und weltweit besichtigt werden. Das Buch kündet von der einstigen Beliebtheit des Saalburger Marmors und dem weltbekannten Können der Mitarbeiter des Saalburger Marmorwerkes.
Ulf Weber collaborated on the research of the sanctuary of Apollo for many years. Now, for the first time he presents all of the most distinguished and important scholars reaching Didyma since the fifteenth century. During the writing process several new discoveries of the history of research were yielded and even some additional material on the sanctuary of Apollo itself. Various unpublished drawings and photos are included.
The history of research is presented chronologically in which the buildings, history and religion of Didyma are deeply embedded. In doing so, the author describes the current state of research of the German excavations.
Many, partly amusing, episodes of those travellers and scientists involved bring this significant piece of culture and research history to life.