Editor Dorothy Price, University of Bristol Deputy Editor Jeanne Nuechterlein, University of York Reviews Editor Margit Thøfner, University of East Anglia Managing Editor Samuel Bibby, Association for Art History Editorial Board Rosalind P. Blakesley, University of Cambridge Lucy Bradnock, University of Nottingham Richard Checketts, University of Leeds Patrizia Di Bello, Birkbeck, University of London Rosie Dias, University of Warwick Catherine Grant, Goldsmiths, University of London Geraldine A. Johnson, University of Oxford Debbie Lewer, University of Glasgow Emanuele Lugli, University of York Marsha Meskimmon, Loughborough University Tom Nickson, Courtauld Institute of Art Sam Rose, University of St Andrews Michael Squire, King’s College London Richard Taws, University College London Francesco Ventrella, University of Sussex International Advisory Board Julia Bryan-Wilson, University of California, Berkeley Huey Copeland, Northwestern University Paul Duro, University of Rochester Darby English, University of Chicago Christopher P. Heuer, University of Rochester Amelia Jones, University of Southern California Joan Kee, University of Michigan Meredith Martin, New York University Gwendolyn DuBois Shaw, University of Pennsylvania Bronwen Wilson, University of California, Los Angeles John Wiley & Sons Ltd Oxford, UK and Boston, USA ISSN 0141-6790 (Print) ISSN 1467-8365 (Online) © Association for Art History 2018 Aims and Scope Art History is an international forum for peer-reviewed scholarship and innovative research. Founded in 1978, the journal publishes essays, critical reviews, and special issues that engage with path-breaking new developments and critical debate in current art-historical practice. Art History covers all kinds of art and visual culture across all time periods and geographical areas.The journal welcomes contributions from the full spectrum of methodological perspectives, and is a forum for a wide range of historical, critical, historiographical and theoretical forms of writing. 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For more information and online membership forms visit www.forarthistory. org.uk or contact: Association for Art History, 70 Cowcross Street, Clerkenwell, London, EC1M 6EJ, UK.Tel: + 44 (0)207 490 3211; Email: info@forarthistory. org.uk. 41 | 3 | June 2018 The Embodied Object in Classical Antiquity Edited by Milette Gaifman, Verity Platt and Michael Squire 398 Abstracts and Authors’ Biographies 402 Introduction: From Grecian Urn to Embodied Object Milette Gaifman and Verity Platt 420 Candelabrus and Trimalchio: Embodied Histories of Roman Lampstands and their Slaves Ruth Bielfeldt 444 The Greek Libation Bowl as Embodied Object Milette Gaifman 466 Amber, Oil and Fire: Greek Sculpture beyond Bodies Richard Neer 492 Orphaned Objects: The Phenomenology of the Incomplete in Pliny’s Natural History Verity Platt 518 Embodying the Dead on Classical Attic Grave-Stelai Michael Squire 546 The Embodied Object: Recensions of the Dead on Roman Sarcophagi Jaś Elsner 566 Doubting Thomas and the Matter of Embodiment on Early Christian Sarcophagi Patrick R. Crowley Cover: Detail of bronze frontlet for a horse, with eyes of amber and ivory, from south Italy, c. 480 BCE. 45 × 17.2 cm. Malibu, CA: J. Paul Getty Museum (83. AC.7.1). Photo: Getty Open Content Program. © Association for Art History 2018 397 Abstracts & Authors’ Biographies Introduction: From Grecian Candelabrus and Trimalchio: Urn to Embodied Object Embodied Histories of Milette Gaifman and Verity Platt Roman Lampstands and This essay introduces the theme of the ‘embodied their Slaves object’. The concept describes artefacts which assume, Ruth Bielfeldt interact with, substitute for and/or become parts or extensions of human bodies. In doing so, it puts recent work in cognitive archaeology, material culture studies and Actor-Network-Theory into conversation with a longer tradition of phenomenological approaches to art history. To demonstrate how Graeco-Roman artefacts might be understood as ‘embodied’, the authors focus on a fifth-century BCE bronze water-jar with a handle shaped as a female figure. When considered in its original religious context and as a handled container, the vessel’s vitality, agency, and close relationship to the bodies of its users and beholders are made more manifest. Drawing on the essays in this special issue of Art History, the introduction explains how the concept of the ‘embodied object’ applies to classical antiquity in particular, where one can trace the philosophical roots for conceiving of inert things as possessing or interacting with bodies. At the same time, it argues that a concern with questions of embodiment pertains to arthistorical research across all cultures and periods. Milette Gaifman is Associate Professor of Greek Art and Archaeology at Yale University. Verity Platt is Professor of Classics and History of Art at Cornell University. This essay uses the term ‘embodied’ to define material things that engage people in a physical way and, in doing so, that prompt them to reflect on the bodily conditions of human existence, and on the social and cultural meanings of human practices. As both immediate physical experiences and culturally and socially shaped encounters, past interactions between humans and objects pose a twofold interpretive challenge to the historian of material culture, and thus call for an integrated phenomenological and hermeneutical approach. A case study from Roman antiquity concerns the embodied relationship between slaves and household artefacts, as illustrated by a key passage in Petronius’s Cena Trimalchionis, in which the ex-slave Trimalchio recalls his manipulation of a light instrument (candelabrus) for personal physical use. This anecdote is supplemented by discussion of the series of ephebes from Pompeii, classicizing bronze statues made to be converted into domestic tray-bearers, and as such artworks that reflect the ongoing process of cultural domestication by their Roman users. Read in light of such material object at work, the anecdote is seen as an important testimony of Roman embodied practices. Ruth Bielfeldt is Professor of Classical Archaeology at the Ludwig-MaximiliansUniversität, Munich. She is the author of Orestes auf Römischen Sarkophagen (Dietrich Reimer Verlag Berlin, 2005), and the editor of Ding und Mensch in der Antike: Gegenwart und Vergegenwärtigung (Universitätsverlag Winter Heidelberg, 2014). Most recently she has published on the cultural life of things in antiquity, with particular focus on the phenomenology and meaning of Roman light and lighting instruments. © Association for Art History 2018 398 The Greek Libation Bowl as Embodied Object Milette Gaifman Amber, Oil and Fire: Greek Sculpture beyond Bodies Richard Neer This essay considers various ways in which the Greek libation bowl, the phiale – a type of vessel used in classical antiquity for the intentional pouring of liquids in religious rituals – can be described as an embodied object. First, the examination of the handling of the phiale reveals its unique relationship to the hand, particularly how its lack of handles and distinctive middle-mound, known as the omphalos or mesomphalos, renders it analogous to a prosthetic. Then, the implications of this observation are explored in a range of ancient contexts. As a dedication to the gods, the phiale could imply the performance of libations by its dedicator, and when given upon a slave’s manumission, it marked the attainment of personhood. When portrayed in the hands of deities, the bowl could suggest the possibility of divine participation in rituals. Finally, at the tomb, it could give physical form to sentiments of grief, and even to sounds. This essay is about works of sculpture that either exceed or fail to attain ‘embodiment’ or ‘objecthood’. Specifically, it examines Archaic Greek works that were made of, or incorporated, fire. It has three parts. The first sketches two keywords – wonder (thauma) and grace (charis) – that identify the work of art in terms of a constitutive relation to beholders. The second is about amber, which the Greeks understood to be congealed fire. Three case studies – a pendant in the form of a maiden, a frontlet for a horse and an ivory lyre – show how amber could be ‘wonderful’ by virtue of its fiery lustre. The third section connects a class of marble lamps bearing human protomes to Homer’s account of heroes with jets of flame emerging from their heads. Here fire is at once literally present and part of the depictive content of the work: a juxtaposition that was quintessentially ‘wonderful’. Milette Gaifman is Associate Professor of Greek Art and Archaeology, jointly appointed in the Departments of Classics and History of Art at Yale University. She is the author of Aniconism in Greek Antiquity (Oxford University Press, 2012) and The Art of Libation in Classical Athens (Yale University Press, 2018), and editor (with Mikael Aktor) of Exploring Aniconism, a thematic issue of Religion (Summer/Fall 2017). © Association for Art History 2018 Richard Neer is William B. Ogden Distinguished Service Professor of Art History, Cinema & Media Studies and the College at the University of Chicago. From 2010 to 2018 he was Executive Editor of Critical Enquiry. Starting in 2019, he will be Director of the Franke Institute for the Humanities at the University of Chicago. His book Pindar’s Sites: Song and Space in Classical Greece, co-authored with Leslie Kurke, is forthcoming from John Hopkins University Press. 399 Orphaned Objects: The Phenomenology of the Incomplete in Pliny’s Natural History Verity Platt In his Natural History, Pliny the Elder refers to a series of paintings left unfinished at the artist’s death. These inperfectae tabulae are ‘held in greater admiration than their completed works’, for they display not only the final traces of each artist’s hand, but also his ‘very thoughts’. While Pliny’s comments have influenced notions of the non finito, less attention has been paid to their significance for his broader ethical and intellectual project. This essay attends to the facture and materiality of the objects that Pliny celebrates, as well as the subjects that they depict. Whilst conventional works are celebrated for their illusionism, the unfinished object offers a different model of viewing, in which the workings of ars are revealed by means of the traces of the artist’s body. Suspended in a state of coming-into-being, the inperfecta tabula invites both a temporal retracing of its own creation, and a connoisseurial fantasy of its imagined completion. Repeatedly returning to themes of parental loss, death, and aborted creativity, the discourse of the unfinished painting evokes cultural and biological bonds between parents and children that parallel the corporeal connection between the artist and his work. Verity Platt is Professor of Classics and History of Art at Cornell University. She is the author of Facing the Gods: Epiphany and Representation in Graeco-Roman Art, Literature and Religion (Cambridge University Press, 2011), and editor (with Michael Squire) of The Frame in Classical Art: A Cultural History (Cambridge University Press, 2017). © Association for Art History 2018 Embodying the Dead on Classical Attic Grave-Stelai Michael Squire This essay examines ‘the embodied object in classical antiquity’ in relation to Classical grave-stelai, produced in Athens between the late fifth and late fourth centuries BCE. Situated above family periboloi, stelai probe the problem of transforming bodily loss into physical manifestation: on one hand, they materialize questions about the ontology of the dead – about what the dead are, were, or have ceased to be; on the other, these objects mediate between the disembodied dead and the sensory bodies of the living. The essay begins by exploring Greek attitudes towards the dead, before attempting a brief survey of the history and scholarly historiography of Attic funerary memorials. It then homes in on some Classical examples, teasing out a number of recurring tropes. Fundamental to gravestelai, the essay argues, is the ‘interdimensional’ space of relief, existing between three-dimensional plasticity and two-dimensional surface. As present monuments to the absence of the deceased, Classical stelai frame the dead in an inherently ambiguous realm: the very medium of relief situates the figural subjects in a representational field related to but removed from the bodily dimensions of the living. Michael Squire is Reader in Classical Art at King’s College London, and has been a member of the Art History Editorial Board since 2014. He is the author of: Image and Text in Graeco-Roman Antiquity (Cambridge University Press, 2009); The Art of the Body: Antiquity and its Legacy (I. B. Tauris, 2011); and The Iliad in a Nutshell: Visualizing Epic on the Tabulae Iliacae (Oxford University Press, 2011). Recent edited volumes have discussed ancient sight (2016), the frames of classical art (2017, with Verity Platt), Lessing’s Laocoon (2017), the picture-poetry of Optatian (2017), Graeco-Roman ‘ornament’ (2018) and Hegelian aesthetics (2018). 400 The Embodied Object: Recensions of the Dead on Roman Sarcophagi Jaś Elsner Doubting Thomas and the Matter of Embodiment on Early Christian Sarcophagi Patrick R. Crowley The Roman sarcophagus uses the visual forms of consolatory celebration to frame the actual body of the deceased. Its rhetorics of eulogy are not merely performative but are directly existential, since its form and function are entirely dependent on the act of containing a corpse. In sarcophagi, the frequency of portraiture as a major element of decoration adds a further frisson to the question of embodiment. This essay touches on all forms of portraiture on Roman sarcophagi but focuses on three-dimensional reclining statues carved on lids – both fine finished portrait heads and so-called ‘unfinished’ or ‘blank’ and sometimes ‘pseudo-animate’ faces – in relation to their play with the thematic of embodiment, presence and absence. This essay examines how questions of evidence are brought to bear in the earliest iconography of Doubting Thomas in the Christian tradition. It is a significant and hardly coincidental fact that the very first depictions of this episode in the late fourth and early fifth centuries CE appear on Christian sarcophagi whose eponymous function as ‘flesh-eating’ containers of the dead makes them especially evocative objects that are well-suited to address matters of faith and flesh in Christian doctrine. Building on previous work that has located the origins of this iconography in the various ‘pathos formulas’ invented by Greek sculptors of the Classical period, and particularly in the figure of the Wounded Amazon, I explore how the evidentiary status of the wound fits within a broader grammar of visual and literary citations. In doing so, I emphasize significant distinctions between their tactile and optical renderings in stone and paint, and how these distinctions could be made to matter in philosophical theories of senseperception and theological definitions of flesh. Jaś Elsner is Professor of Late Antique Art at Oxford University, and Humfry Payne Senior Research Fellow in Classical Art at Corpus Christi College, Oxford. He is also Senior Research Keeper in the Empires of Faith Project on art and religion in late antiquity, at the British Museum. He has been a Visiting Professor in Art History at the University of Chicago since 2003, and since 2014 also at its Divinity School. Since 2009 he has been an Honorary Foreign Member of the American Academy of Arts and Sciences. In 2017 he was elected a Fellow of the British Academy. © Association for Art History 2018 Patrick R. Crowley is Assistant Professor of Art History and the College at the University of Chicago. His research explores theories of vision and concepts of the image in the ancient Roman world, as well as in the historical intersections among documentary photography, digital media, and the production of knowledge in classical archaeology. His research has been supported by the Getty Research Institute, the National Endowment for the Humanities, and the Mrs Giles Whiting Foundation. He is currently completing a book on ghosts in the art and visual culture of classical antiquity. 401