The defined typologies are presented as the result of the findings in the previous two chapters. In this overview, the chronological development and relation of the figurines to each other is described. There are four groups, 1‑4, which describe the locally produced figurines, followed by group 5 with several imported objects, which were found at Agrigento, and the last group, group 6, which concerns other figurine categories that were produced locally. For a number of notable iconographic features (the presence or form of arms, chair, polos, pectorals, and fibulae), the percentages of incidence are calculated in order to give an overview of the development within the group and over a longer period of time. In the chapter on iconography, the details and possible external influences on these features are described. Technical aspects of moulding and other methods that could indicate a chronological development or even a specific workshop in Akragas are connected to the iconographic characteristics. This aims to provide insight into the coroplastic development and the numbers of figurines produced at Akragas from about the second half of the sixth to the first half of the fifth century BCE.
Each group table presents several subgroups, mainly based on iconographic features. Sometimes these subgroups are contemporary, sometimes ordered chronologically. The table presents the individual catalogue numbers of the figurines, the total number of objects and of unique mould series. Figurines’ numbers in the tables are separated by a comma if they are from the same series. When they are from the same mould generation, a hyphen is used for continuing numbers. A semi‑colon indicates that figurines are not related by mould series. The division into groups is presented in chronological order. The combined results follow up on the production, the cultural influences or intensification of such contacts. An explanation for the choices of the coroplasts might be found in cultural identity, economic relations, and social exchanges.
Group 1
The first group of the locally produced figurines is a large group of in total 55 figurines, of which 38 are from unique mould series, divided into four subgroups (table 4.1). These figurines form the earliest completely mould‑made figurines in a particular local style. This
Group
name Concerning numbers Total number of objects unique mould Number of series
Time-range
1a 8; 9; 10; 11; 12; 13; 14; 15‑17; 19; 20; 18; 64; 63 15 13 Last quarter or decade of the 6th century BCE
1b 22; 23; 24; 25; 26; 27; 28; 29; 30; 31‑32; 33; 34‑35 14 12 Last decade of the 6th century BCE
1c 37; 36; 38‑39, 40; 41‑47 12 4 Last decade of the 6th century BCE
1d 48; 49‑53; 54, 55; 56‑57, 58, 59, 60; 61 14 8 Last decade of the 6th century BCE
Table 4.1: Overview of object in group 1.
style is characterised in the first place by the shape of the body, which is particularly block‑like and has a characteristic leaning pose. The subdivisions mark the gradual changes and additions. Some of these characteristics continue in later‑ dated figurines but found their origin in this group from the last quarter of the sixth century BCE.
The first subgroups, 1a and 1b, are of plain‑bodied figurines. Some of them have no visible garment nor chair, feet, pendants, fibulae, or polos. However, it is the shape of the body, which is characteristic: a rectangular, but not very deep, block forms the lower part of the body and serves also to keep the figurine upright. The sloping upper part, as if bending at the knees, suggests a seated or leaning back position. All the figurines in group 1a are without a visible seat, while those in 1b and 1c, are seated on a variety of benches and chairs. The figurines of 1d share the same pose but are adorned with pectoral pendants. The addition of a chair or pectoral band and pendants in group 1c and 1d did not change the basic shape and pose. They share not just their appearance but mark the swift development towards a deeper, more three‑dimensional mould, more purified clay, finer details applied in the mould, and subtle handmade additions.
Group 1a
This group together with 1b forms the oldest dated figurines in the local tradition, characterised by the block‑like body, a shape derived directly from its wooden predecessors.746 Within these groups, the figurines are
ordered chronologically. Of 1a, some figurines are very, 15 in total from 13 different mould series. The first figurine,
8, has an irregularly shaped body, while numbers, 9, 10, 11, 12 have straighter lines and smoother surfaces. The coroplasts might have gained experience over time. The bodies are plain, usually just dressed in the rectangular apron or ependytes. The outline of this garment on the front on each side, close to the edge, except for 8 and 64, marks the geometrical shapes and straight lines. Only at the shoulder and the knees, the edges are softened and a more rounded shape points to a natural body and seated pose. The impression is of a seated figure. It is as if the ependytes, which must have been a thick and heavy garment is draped over a frame, hanging down from the shoulders and only pushed forward at the height of the knees. Only 18, 63 and 64 reveal how such a garment could have been attached to the body: with large objects, that could be called fibulae, because they keep the dress in place. The round fibulae on 63 are clearer than the irregularly shape 64, which also lacks the ependytes. 64, however, has a line at the neck, that could be seen as the
746 For that reason, purely technically speaking, 85 and 86 would have belonged to this group, except that their dress and the shape of the body is significantly different from those of group 1a.
upper hem of the ependytes. Another indication of the human body that is covered by the ependytes is the feet, visible from under the garment. On 11, there is just the suggestion of these feet, while on 12 and 19 they are placed clearly on a small base that could be seen as a footstool. The ependytes is arching over it, leaving just the front of the feet visible. On the sides of the footstool, the garment continues and reaches the ground.
The head of 8 is relatively large compared to the others. The face common in this group is quite fleshy and has pronounced cheeks and a big chin. Deep dimples next to a small mouth and high cheekbones strengthen the impression of a smile. The nose is also sizeable and often has a particularly large bridge. Large eyes make the forehead small, especially with the high arching eyebrows, which make the eyes look even bigger. A particularly round face is common in this group (12, 14, 15‑17). The hairstyle is divided into two parts, the fringe, which runs on the forehead as a band from ear to ear, and hair on the sides of the neck and face. Both fringe and hair seem to be pushed forward by the headgear. The bulging hair that seems to reach the shoulder or fall over it to the back is typical of this group. The fringe is smooth or divided into bulbs (9, 12, 14, and 20). On
15‑17 it seems to be parted in the middle. This fringe is often substantial and stays visible, while a veil or polos is worn on top. Together with the rim of the polos, they mark and draw attention to the face . The veil, often thick, creates an extra rim as well. These shapes are reminiscent of an aureole or halo for a saint. The fringe is usually detailed, while the parts of the hair next to the sides of the head and neck are rather simple, often slightly bulging, but usually smooth. Both parts of the hair frame the face. To be more specific on the date: the increasing details and neat working might indicate a chronological order. The first part of group 1a, up to figurine 12 might be dated around the last quarter of the sixth century BCE. From 19 onwards, the appearance of the polos indicates a next step, for which they might be dated around five years later, as they appear otherwise similar, with a very simple body.
Group 1b
This group is mostly contemporary with group 1a. The figurines presented are also simple‑bodied, but have a visible seat. Concerning the body and its adornment, the same developments take place as in group 1a, but with some new alterations in the iconography. The first figurines, 22,
23, 24 and 25, have no clear indication of dress. Yet the shape of their bodies is geometrical and in straight lines like the figurines described above in group 1a. 28 wears a garment that is just visible from the feet sticking out from under it. On 29, 30, 31, 32, 34 and 35, the ependytes is clearly depicted as an upper garment, reaching the ankles and laid on top of a longer undergarment. 28, 30 and 34
The faces, except for 33, are more oval than the rounded faces of group 1a. The hairstyle is similar, however, a smooth or bulb fringe. The hairstyle on the sides of the neck is bulges slightly only on 34. On 33, this part of the hair has bulbs or horizontal lines.
There is a large variation in seats, such a benches, narrow (22, 26) or wide (25), straight (23, 25, 29) or curving upwards (27, 28, 34), with a diagonal (23), straight (28, 33) or a roundly curved front (25, 27, 29, 34, 35). The wide benches sometimes have a wide back (33, 34, 35). Some combine features such as having a straight front on the left and the curved one on the right (30). This variation is explained by the manufacturing technique; the seats, if wide, were handmade. Smaller ones, like the chair with the round ‘armrests’, could be moulded (31, 32). The order here is that of increasing detail and additional aesthetic refinement, such as the shape of the sides of the throne (34, 35). The last objects in this group, 34 and 35 are similar in their iconography, but the second is much more finely detailed. Again, the details of adornment might indicate where they should be placed chrono‑logically.
Many heads are missing, but the surviving ones all still wear a polos (23, 24, 33 and 34). It seems that the majority of the figurines, which are dated slightly later, wear a polos.
8‑18 do not, but after them, where it is possible to observe, all figurines except 58 have a polos. The polos itself is usually quite low and has a rim. 34 has a particularly tall and flaring polos. This part of the group can be dated to the last decade of the sixth century The polos had become standardised, while the seat, which was developed in the same period, did not become a standard feature.
Group 1c
This part of group 1 consists of twelve figurines, from only four mould series. They have much in common iconographically and technically, but their size indicates that a large part dates from some years later in the sixth century BCE. Disregarding the shrinkage in later generations, they share their appearance: they are seated on a wide bench and have a particularly short body and a relatively small head. This group continues through just one iconographic development shared with the previous groups: the dress, which is indicated on 37, but not marked on 36. These two objects are very similar: their shoulders are wide and their heavy short body gives a heavy impression. The disc fibulae are large while the polos is low and wide. Both figurines are seated on a wide bench. This iconographic scheme continues through the other figurines of group 1c.
The clearly protruding line between the fibulae on 36
might be the earliest appearance of the pectoral band on Akragantine figurines. 38 is the first to have a double band on the chest. The bands are clearly held by the fibulae. In this part of the group, all figurines have fibulae. They form
together with the polos the first steps in the adornment of the figurines. However, in the next part of the group, 1d, there are some exceptions. In general, however, the fibulae seem to precede the pendants, together with the pectoral band. They are usually disc‑shaped fibulae or marked as rounded or oval shapes. Only in part 1d is there variation from the standard.
In part 1c all figurines also all wear the polos. It is clear that this is a development towards a more detailed rendering. The polos has become a standard feature. While 36 and 37 had a simple wide bench, the bench in
38‑40 has the ‘ears’ and with figurines from the same mould series (41‑47), these ‘ears’ are sometimes decorated with a disc, particularly clearly on 42. The hairstyle seems to develop from a smooth fringe towards one with bulbs and the hair on the sides of the neck of 41‑47 is indicated with horizontal lines. In the facial expression, with their chubby cheeks, sizeable nose, small – often scarcely visible – mouth and protruding chin, they reveal a very strong similarity to 36 and 37. The last indication that 38‑47
were developed from these or similar figurines is their small size. The nearly complete 37 measures more than 20cm while 38‑48 range between 12.6 and 14.2cm high. As a result, these fourth‑fifth generation figurines could be dated later with certainty. It is, however, impossible to know whether the old moulds were used and precisely how much later they are. Considering the intensive use of moulds and the vulnerability of the material, they would not have lasted over a decade if in use. A significant novelty in this group is the appearance of a column‑shaped lower body, particularly visible on the back. This convex‑ shaped rear enables the figurine to stay upright and is more natural than the earlier block‑based body. Based on those specifications they are therefore dated towards the end of the century and made by the same workshop, the ‘Workshop of the Convex Back Side.’747
Group 1d
The final part of group 1, comprises 14 figurines, among which are 9 unique mould series. This group shows the first pectoral pendants. They occur in triple form, except 60
and 61, and often in a strict symmetry: if different shapes are shown, the pendant in the middle is the different one. There are four variants of the triple pectoral pendants: 1. All discs, often similar in shape and just slightly smaller
than the fibulae, as on 58, but also appearing without the disc‑shaped fibulae, 54, 55 and 56‑57.
2. A pointed pendant, flanked by discs, only 48. 3. A disc flanked by crescents, 49‑51.
4. A crescent flanked by discs, 59.
On this last sort, the double discs flanking the crescent are a variation (60). The intention of keeping the adornments sym‑ metrical and giving the middle object a different shape kept the total number of pendants odd. The next step in the de‑ velopment partly broke with this rule, in the first place with the addition of a higher number of smaller pendants. The last figurine in this group (61), shows, on the one hand, the five pendants, similar to 60, but on the other hand, the disc is replaced with an ovoid shape and several rows of pectoral pendants lessen the strong symmetry of earlier figurines.
The correlation between fibulae and pectoral bands was noted above. The band is usually clearly visible in this group, but on 54, 55, 56‑57, 59 and 61 the fibulae are absent. This makes clear that the pectoral pendants hang from a band. Whether this band, which was an aesthetic part of the iconography in itself in group 1c, was always attached or needed to be fixed to the dress by fibulae remains unclear. Real fibulae, found in high numbers on Sicily as well748 have
a very different shape. The discs might have had rather an aesthetic than a practical function. On 49‑51, they are shaped like rosettes and the pectoral band curves down slightly in the middle as if the disc is heavier. On 60, the fibula is small and seem to repeat the shape of the discs.
With just one exception (58), the figurines wear a polos. There is also only one figurine with a bench (48). The body is still shaped in the same way, but the feet are always there, sticking out from under the long garment. This omnipresence shows that it has become fixed in the iconographic scheme and a standard for all newly produced figurines.
Some of the figurines in this group (49‑53), as well as some individual objects in group 1a, share a particular detail. The sides on the back of the figurine are cut away
748 See section II.6.f.
to give it a less angled, more column‑shaped appearance. This fits in the development in which the rear of the figurine was made convex.749
The rounded faces with the small mouth and chubby cheeks that were noted in 1c and earlier on 19, for example, continue here on 49‑53. Though the larger polos and divided hair change the impression slightly, the facial features are the same on 56‑57. The eyes can be particularly large, as on 54 and 58. The figurines in this group can also be dated to the end of the sixth century BCE. The last object of this group, 61, marks the transition to the fifth century BCE with its extension of the pectoral bands.