This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces.
The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. Next, several distinctly Italian elements are identified, such as the prevalence of garden sculpture and domestic sculpture used in religious context. This material has tended to be studied as separate from the Greek, in spite of the view that it was largely inspired by earlier Greek examples. The multicultural island of Delos is then analyzed. It has produced the largest corpus of domestic statues and is illustrative of both Greek and Roman architectural and decorative traditions. Following this, the final chapter tackles the thorny issue of these statues’ “meaning” in light of domestic religion, suggesting that their primary purpose was as display, announcing the wealth, taste and prestige of the homeowner.
This dissertation will fill an important gap in the scholarship on Hellenistic domestic decoration. This study will offer useful insights into how private sculpture was used for and viewed by the whole of the Hellenistic landscape and how, contrary to popular belief, the material functioned in much the same manner as public sculpture.