This study makes a pair with the author's “Framing the Gift: The Politics of the Siphnian Treasury at Delphi,” Classical Antiquity 20 : 273–336. Like that essay, it argues that the function of a treasury is to provide a civic frame for ostentatious dedications by wealthy citizens: in effect, to “nationalize” votives. In this sense, the Athenian Treasury is a material trace, or fossil, of city politics in the 480s. The article tracks this function through the monument's iconography; its use (...) of marble from the medizing island of Paros; its relation to the “Alkmeonid” temple of Apollo; and the responses it evoked at Delphi and in Athens. Special attention is given to the methodological problem of finding meaning in non-iconic or non-representational features, such as building materials. The article concludes with a new reading of Pindar's sixth Pythian, for Megakles of Athens, which neatly encapsulates what was at stake in this building project. (shrink)

Roman writing of the late Republic and early Empire, especially historiography, is filled with exempla, stories of the past meant to serve as models for contemporary and future behavior. This period also witnessed the rise of an encyclopedic mode of composition among Latin authors, which purported to collect and organize the totality of knowledge in a given field. The following essay proposes that exemplarity and encyclopedism were not just literary devices, but deep organizational principles throughout Roman culture. It seeks to (...) show how they were operative in the visual arts in the first century BCE, focusing especially on a frieze depicting the baking process on the tomb of Marcus Vergilius Eurysaces in Rome. By approaching a monument like the frieze of Eurysaces through such principles we may better articulate both visual and thematic relationships across a variety of genres within the broader Roman image world. (shrink)

This paper considers Pindar's diverse appropriations of elements of the sacred topography of Aegina for different purposes in epinikia composed for Aeginetan victors. It focuses on poems likely performed in the vicinity of the Aiakeion for their different mobilizations of a monument that we know from Pausanias stood beside the Aiakeion—the tomb of Phokos, an earth mound topped with the “rough stone” that killed him. The more speculative final part of the paper suggests that it may also be possible to (...) track a coherent ideology attached to the island's sacred topography across several Aeginetan odes, thereby detecting a broader structural unity that accompanies and frames the different individual appropriations of different poems. This part starts from Pausanias’ mythic narrative of the exemplary justice of Aiakos banishing his own son Telamon as the aetiology for a distinctive Aeginetan justice system inscribed in a whole set of man-made monuments that ring the island with concentric circles of rough stones. (shrink)