Kornmarkt, Trier’de (Augusta Treverorum) Bulunan Leda Mozaiğini Yeniden Ziyaret Etmek

Year 2022, Issue: 15, 225 - 250, 09.11.2022

Luz Neira

https://doi.org/10.26658/jmr.1143749

Cited By: 1

Abstract

Revisiting the Leda Mosaic Found at Kornmarkt, Trier (Augusta Treverorum)

Abstract

This article aims to review the representations of the exceptional mosaic found in the vicinity of the Kornmarkt in Trier, which, since its discovery, has been subject to different interpretations.
Undoubtedly, the unique character and the inexplicable, at least in appearance, conjugation of the two main scenes, with various inscriptions, in the two large concave octagons that stand out in the geometric scheme of the field, that is, a scene perhaps of sleight of hand and another of mythological inspiration with the birth of Helena, have given rise to theories, among others, as opposite as the representation of a mystery cult and, in the completely opposite sense, another that identifies it as an expression of the mockery of traditional cults from the most critical Christian sectors of Augusta Treverorum.
In this paper, however, the analysis of the figures contained in the geometric compartments in the shape of a circle and a spindle, with servants and saltatrices, who are also identified by epigraphs with their own names, sheds light on the interpretation of the mosaic. In this regard, the consideration of some parallels for the figures of servants and saltatrices, as well as information from literary sources and the context of the ancient Augusta Treverorum in which the mosaic was commissioned are equally revealing when drawing our conclusions. on the identification of a banquet, including the entertainments of the comissatio.

Keywords

Banquet, servants, saltatrices, prestidigitation, Helena’s birth

References

• Ashbrook-Harvey 1983 S. Ashbrook-Harvey, “Women in Early Syrian Christianity”, A. Cameron - A. Kuhrt (eds.), Images of Women in Antiquity, London, 288-298.
• Balty 1977 J. Balty, Mosaïques antiques de Syrie, Brussels.
• Balty 1995 J. Balty, Mosaïques antiques du Proche-Orient. Chronologie, iconographie, interpretation, Besançon.
• Becatti 1961 G. Becatti, Scavi de Ostia IV. Mosaici e pavimenti marmorei, Rome.
• Bertacchi 1994 L. Bertacchi, Basilica, museo e scavi (Aquileia), Rome.
• Berthier 1910 J. Berthier, L‘Eglise de Sainte-Sabine a Rome, Rome.
• Blake 1940 M. E. Blake, “Mosaics of the Late Empire in Rome and Vicinity”, MAAR 17, 81-130.
• Blanchard-Lemée et al. 1995 M. Blanchard-Lemée - G. Mermet - M. Ennaifer - H. Slim - L. Slim, Sols de l’Afrique romaine, Paris.
• Blázquez 1990 J. M. Blázquez, La sociedad del Bajo Imperio en la obra de Salviano de Marsella, Madrid.
• Binsfeld - Ghetta (eds.) 2019 A. Binsfeld – M. Ghetta (eds.), Ubi servi erant? Die Ikonographie von Sklaven und Freigelassenen in der römischen Kunst, Forschungen zur antiken Sklaverei 43, Stuttgart. Böhm 1998 G. Böhm, “Quid acetabulorum tinnitus? Bemerkungen zum Musikantinnen-Mosaik in Hama und zu einer Miniatur der sogenannten Wiener Genesis”, MSpätAByz 1, 47-73.
• Brandenburg 1964 H. Brandenburg, “Rezension von J. Moreau, The Trier Kornmarktmosaik (Colonia 1960)”, JAC 7, 149-155.
• Cagiano de Azevedo 1976 M. Cagiano de Azevedo, “Il palazzo di Elena di Troia a Treviri“, P. Ducrey - C. Bérard - C. Dunant - F. Burkhalter (eds.), Mélanges d’histoire ancienne et d‘archéologie offerts à P. Collart, Cahiers d’Archéologie romande de la Bibliothèque historique vaudoise, 5, Lausanne, 89-91.
• Chappell 1874 W. Chappell, The History of Music (Art and Sciences), From the Earliest Records to the Fall of the Roman Empire, Cambridge.
• Cimok 2000 F. Cimok (ed.), Antioch mosaics, A corpus, İstanbul.
• Cottet 2022 A. Cottet, “Cymbals playing in a Roman mosaic from Mariamin in Syria”, CLARA 9, 1-43.
• Dareggi 1993 G. Dareggi, “Scena de concerto in un interno: il mosaico tardo-antico di Mariamîn”, B. Brumana - G. Ciliberti (eds.), Musica e immagine. Tra iconografia e mondo dell’opera. Studi in onore di Massimo Bogianckino, Florence, 19-29.
• Dasen 2019 V. Dasen, “Saltimbanques et circulation de jeux”, Archimède. Revue Archéologie et Histoire Ancienne 6, 127-143.
• Duchesne-Guillemin 1975 M. Duchesne-Guillemin, “Étude complémentaire de la “Mosaïque au concert” de Hama et étude préliminaire d’une mosaïque inédite de Soueida”, Rend. Linc. Ser. 8, 30, 99-111. Dunbabin 1999 K. M. D. Dunbabin, Mosaics of the Greek and Roman World, Cambridge.
• Dunbabin 2003 K. M. D. Dunbabin, “The Waiting Servant in Later Roman Art”, AJPh 124, 3, 443-467.
• Dunbabin 2004 K. M. D. Dunbabin, “Problems in the Iconography of roman Mime”, C. Hugoniot - F. Hurlet - S. Milanezi (eds.), Le statut de l’acteur dans l’Antiquité grecque et romaine, Tours, 161-182.
• Dunbabin 2016 K. M. D. Dunbabin, Theatre and Spectacle in Art of the Roman Empire, Ithaca-London.
• Eiden 1950 H. Eiden, “Spätrömisches Figurenmosaik am Kornmarkt in Trier”, TrZ 19, 52-71.
• Étienne 1951 R. Étienne, “Dionysos et les quatre saisons sur une mosaïque de Volubilis (Maroc)”, Mélanges d‘archéologie et d‘histoire 63, 93-118.
• Fernández-Galiano 2010 D. Fernández Galiano, “El triunfo del amor: mosaico de Paris y Helena de Noheda (Cuenca)”, L. Neira (ed.), Mitología e Historia en los mosaicos romanos, Madrid, 111-136.
• Gavrili 2006 P. Gavrili, “The οξύβαφοι (oxyvaphi) / acetabula through pictorial and philological sources Οι οξύβαφοι / acetabula μέσα από εικονογραφικές και φιλολογικές πηγές — ΠερίληψιςThe οξύβαφοι (oxyvaphi) / acetabula through pictorial and philological sources”, Imago musicae. International Yearbook of Musical Iconography, XXI-XXII, 2004-2005, Lucca, 49-64.
• Gavrili 2010 P. Gavrili, “A New Approach to the Mosaic from Mariamin, Syria, with Female Musicians. Theatrical Performance or Private Banqueting Concert?”, [en] R. Eichmann - E. Hickmann- L. C. Koch (eds.), Studien zur Musikarchäologie VII, 9- 16.
• Gebhard 1996 E. R. Gebhard, “The Theater in the City”, W.J. Slater (ed.), Roman Theatre and Society, Ann Arbor, 113-128.
• Ghetta 2007 M. Ghetta, “Das Weiterleben der alten Kulte in Trier und Umgebung”, A. Demandt - J. Engemann (eds.), Konstantin der Große. Ausstellungskatalog, 220-227, Trier, Mainz.
• Ginsberg-Klar 1981 M. E. Ginsberg-Klar, “The Archaeology of Musical Instruments in Germany during the Roman Period”, WorldA 12, 3, Archaeology and Musical Instruments, 313-320.
• González Galera 2016 V. González Galera, “L’hydraulis en espectacles civils i militars: un matrimoni d’organistes d’Aquincum a CIL III, 10501 = CLE 489.”, Sylloge Epigraphica Barcinonensis (SEBarc) XIV, 109-117.
• Green 1991 R. P. H. Green, The Works of Ausonius, Oxford.
• Grégoire 1953 H. Grégoire, “La Nativité des Dioscures dans la mosaïque de la Johann Philippstrasse, à Trèves”, NouvClio 5, 454-457.
• Guidobaldi 1992 M. P. Guidobaldi, Musica e danza. Vita e costumi dei Romani antichi 13, Rome.
• Guzmán 2006 F. J. Guzmán, “El “historiador cautivo”: Amiano Marcelino frente a su auditorio senatorial romano”, Habis 37, 427-438.
• Hannick 1980 C. Hannick, “Christian Church, Music of the Early”, S. Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 4, London, 363–371.
• Harto 2016 M. L. Harto, “Amiano Marcelino y las Res gestae”, Emerita LXXXIV 1, 121-144.
• Hoffmann 1999 P. Hoffmann, Römische Mosaike im Rheinischen Landesmuseum Trier. Führer zur Dauerausstellung. Schriftenreihe des Rheinischen Landesmuseums Trier 16, Trier, 70.
• Hunter 2013 J. Hunter, Identity in mosaics of the north-western Roman provinces, https://www.academia.edu/6189616/Identity_in_mosaics_of_the_north_western_Roman_provinces, 1-31, figs. 16-18. Kiilerich 1998 B. Kiilerich, The Obelisk Base in Constantinople: Court Art and Imperial Ideology, Rome.
• Kiilerich 2011 B. Kiilerich, “The Mosaic of the Female Musicians from Mariamin”, ActaAArtHist XXII 8, 87-107.
• Kiilerich 2017 B. Kiilerich, “Mariamin Mosaic”, [en] P.C. Finney (ed.), The Eerdmans Encyclopedia of Early Christian Art and Archaeology, vol. II, 107.
• Kondoleon 1999 C. Kondoleon, “Timing Spectacles: Roman Domestic Art & Performances”, B. A. Bergmann - C. Kondoleon (eds.), The Art of Ancient Spectacle, Washington, 320-341.
• Kröner 1979 H.-O. Kröner, “Ausonius und Trier”, Trierer Beiträge 6, 10-18.
• Lancha 2011 J. Lancha, “Les athlètes en Gaule Narbonnaise et en Hispanie mosaïques et peintures murales de la seconde moitiè du IIe s. au IVe s.”, Nikepohoros 24, 127-170.
• Lancha – Le Roux 2017 J. Lancha - P. Le Roux, “MIMUS ZELOTIPI NUMTI. À propos de la mosaïque de Noheda (Villar de Domingo García, Cuenca)”, Conimbriga LVI, 199-216.
• Levi 1947 D. Levi, Antioch Mosaic Pavements, Princeton.
• Lledó 2010 J. L. Lledó, Mosaico romano de Noheda (Cuenca): Su descubrimiento, Madrid.
• Louis 1953 R. Louis, “Notes iconographiques sur la mosaïque de la naissance des Dioscures au Musée de Trèves”, Mémorial d’un voyage d’études de la Société Nationale des Antiquaires de France en Rhénanie, Paris, 222-224.
• Marcos Pérez 2000 J. M. Marcos Pérez, “La pasión del cisne. El mito de Leda y Zeus en sus fuentes y sus recreaciones”, Minerva 14, 203-231.
• Melini 2008 R. Melini, Suoni sotto la cenere. La musica nell’antica área vesubiana, Pompeii.
• Molholt 2005 R. Molholt, “Four Panels from the Geometric Mosaics of the House of Aion”, L. Becker - C. Kondoleon (eds.), The Arts of Antioch. Art Historical and Scientific Approaches to Roman Mosaics and a Catalogue of the Worcester Art Museum Antioch Collection, 222-227.
• Moreau 1960 J. Moreau, Das Trierer Kornmarktmosaik. Monumenta artis Romanae 2, Köln.
• Naerebout 2009 F. G. Naerebout, “Das Reich tanzt: dance in the Roman empire and its discontents”, O. Hekster - S. Schmidt-Hofner - C. Witschel (eds.), Ritual Dynamics and Religious Change in the Roman Empire, Leiden, 143-158.
• Neiiendam 1992 K. Neiiendam, The Art of Acting in Antiquity. Iconographical Studies in Classical, Hellenistic and Byzantine Theatre, Copenhagen.
• Neira 2011 L. Neira, “Sociedad e imagen en los mosaicos romanos. Desde la óptica interesada de las elites”, P. Fernandez Uriel - I. Rodriguez Lopez (eds.), Iconografia y sociedad en el Mediterráneo Antiguo, Salamanca, 387-410.
• Neira 2018 L. Neira, “Representaciones de agones o certamina graeca en los mosaicos romanos de la pars occidentalis”, J. M. Álvarez Martínez – L. Neira (coords.), Estudios sobre mosaicos romanos. Dimas Fernández Galiano in memoriam, Madrid, 281-312.
• Neira 2021 L. Neira, Música y danza a escena en el mundo romano (s. I a.C. – VI d.C.) Convivia y espectáculos, Madrid.
• Neira (in press) L. Neira, “A propósito de Noheda. Los mosaicos de las villae romanas tardoantiguas de Hispania como fuente documental para el estudio de las elites en la Antigüedad Tardía”, Iberica Selecta 1, Stuttgart.
• Neira – Rodríguez 2021 L. Neira – I. Rodríguez, “Reflections on Music Performance and Dancing in a Roman Mosaic Found on the Aventine “, JMR 14, 217-231.
• Nelis-Clément 2002 J. Nelis-Clément “Les métiers du cirque de Rome à Byzance, entre texte et image”, CahGlotz XIII, 265-309.
• Nogara 1910 B. Nogara, I mosaici antichi conservati nei palazzi pontifici del Vaticano e del Laterano, Milan.
• Parlasca 1951 K. Parlasca, “Das Trierer Mysterienmosaik und das ägyptische Ur-Ei”, TrZ 20, 118-119.
• Parlasca 1959 K. Parlasca, Die römischen Mosaiken aus Deutschland, Darmstadt.
• Parodo 2014 C. Parodo, “La fiesta y el tiempo. La representación de las festividades religiosas en los calendarios figurados romano-bizantinos”, L. Neira (ed.), Religiosidad, rituales y prácticas mágicas en los mosaicos romanos, Madrid, 23-44, 99-105, 119-120.
• Péché 1995 V. Péché, « Les tibiae, instruments de la scène romaine: l‘exemple de la comédie et de la pantomime », Ateliers 4, 71-91.
• Péché 2002 V. Péché, “Tibicinae, fidicinae, citharistriae, psaltriae: femmes musiciennes de la comédie romaine”, RBelgPhilHist 80, 1, 133-157.
• Perea 2004 S. Perea, “Extranjeras en Roma y en cualquier lugar: mujeres mimas y pantomimas, el teatro en la calle y en la fiesta de Flora”, Gerión Anejos 8, 11-43.
• Perrot 1973 J. Perrot, “L’orgue de la mosaïque syrienne de Mariamîn”, Revue de Musicologie 59, 1, 99-105.
• Petrikovits 1950 H. v. Petrikovits, “Spätantikes Mosaik aus Trier”, FA 5, 500 Nr. 5712.
• Puchner 2002 W. Puchner, “Acting in the Byzantine theatre: evidence and problems”, P. Easterling - E. Hall (Eds.), Greek and Roman Actors, Cambridge, 304-324.
• Resta 2014 M. Resta, “Ὁ Χριστὸς ἀτιμότερος ὀρχηστοῦ φαίνηται παρ‘ὐμῖν. Il rapporto dei cristiani con la musica e la danza nella tarda antichità”, VeteraChr 51, 215-237.
• Robotti 2005 C. Robotti, “I mosaici del Museo Campano di Capua”, CMGR IX, 1171-1173.
• Rodríguez Gervais 1999 M. J. Rodríguez Gervais, “Agustín de Hipona contra los espectáculos públicos: ¿Creencia o concurrencia?”, Arys: Antigüedad, religiones y sociedades II, 263-273.
• Ruíz de Elvira 1974 A. Ruíz de Elvira, “Helena, Mito y epopeya”, CuadFilCl 6, 95-133.
• Salzman 1990 M. R. Salzman, On Roman Time, The Codex-Calendar of 354 and the Rhythms of Urban Life in Late Antiquity, Berkeley.
• Schwartz– Hatt 1987 J. Schwartz – J.-J. Hatt, “Une interprétation nouvelle de la mosaïque dite du Kornmarkt de Trèves”, BSNAFr 1985, 37-45.
• Simpson 2000 C. J. Simpson, “Musicians and the Arena: Dancers and the Hippodrome”, Latomus 59.3, 633-639.
• Städele 2008-2009 A. Städele, “Andegasus, ein Gallier auf dem Trierer Ledamosaik?”, TrZ 71/72, 343-357.
• Tedeschi 2019 G. Tedeschi, “Spettacoli popolari a roma dalla tarda repubblica alla prima età imperiale”, Andare a Teatro a Roma nel I sec. a.C., Milan. https://www.openstarts.units.it/handle/10077/15549.
• Thouvenot 1936 R. Thouvenot, “L‘art provincial en Maurétanie Tingitane: Les Mosaïques”, MEFRA 53, 1-9.
• Thouvenot 1948 R. Thouvenot, “Mosaïque dionysiaque trouvée à Maroc”, CRAI, 348-353.
• Uscatescu 2013 A. Uscatescu, “Visual Culture and paideia: The Triumph of the Theater; Revisiting the Late Antique Mosaic of Noheda”, AntTard 21, 375-400.
• Valero 2011 M. A. Valero, “Les images de “ludi” de la mosaïque de la “villa” romaine de Noheda (Villar de Domingo García- Cuenca)”, Nikephoros 24, 103-126.
• Valero 2013 M. A. Valero, “The Late-antique Villa at Noheda (Villar de Domingo García) near Cuenca and its Mosaics”, JRA 26, 307-330.
• Valero 2015 M. A. Valero, La villa romana de Noheda: la sala triclinar y sus mosaicos, Tesis doctoral, Universidad de Castilla La Mancha.
• Valero – Gómez Pallarès 2013 M. A. Valero – J. Gómez Pallarès, “El mimo del celoso adinerado: literatura y espectáculo en la uilla de Noheda (Cuenca)”, QuadUrbin 104, 2, 87-108
• Vesterinen 2007 M. Vesterinen, Dancing and Profesional Dancers in Roman Egypt, Helsinki.
• Webb 2002 R. Webb, “Female Entertainers in Late Antiquity”, P. Easterling - E. Hall (eds.), Greek and Roman Actors, Cambridge, 282-303.
• Weitzmann 1978 K. Weitzmann, Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century, New York.
• Westermann 1924 W. L. Westermann, “The Castanets Dancers of Arsinoe”, The JEA 19, 1, 134-144.
• Yacoub 1995 M. Yacoub, Splendeurs des Mosaïques de Tunisie, Tunis.
• Zaqzuq - Duchesne-Guillemin 1970 A. Zaqzuq – M. Duchesne-Guillemin, “La mosaïque de Mariamin (conservée au Musée de Hama)”, AAS 20, 93-125, figs. 1-28.
• Zimmermann 2003 B. Zimmermann, Die Wiener Genesis Im Rahmen der Antiken Buchmalerei: Ikonographie, Darstellung, Illustrationsverfahren und Aussageintention, Wiesbaden.