A Quaint & Curious Volume: Essays in Honor of John J. Dobbins

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John J. Dobbins, Professor of Roman Art and Archaeology, taught at the University of Virginia in the Department of Art from 1978 until his retirement in 2019. His legacy of research and pedagogy is explored in A Quaint & Curious Volume: Essays in Honor of John J. Dobbins. Professor Dobbins’ research in the field of Roman art and archaeology spans the geographical and chronological limits of the Roman Empire, from Pompeii to Syria, and Etruria to Spain. This volume demonstrates some of his wide-reaching interests, expressed through the research of his former graduate students. Several essays examine the city of Pompeii and cover the topics of masonry analysis, re-examinations of streets and drains, and analyses of the heating capacity of baths in Pompeii. Beyond Pompeii, the archaeological remains of bakeries are employed to elucidate labor specialization in the Late Roman period across the Mediterranean basin. Collaborations between Professor Dobbins and his former students are also explored, including a pioneering online numismatic database and close examination of sculpture and mosaics, including expressions of identity and patronage through case studies of the Ara Pacis and mosaics at Antioch-on-the-Orontes. 'A Quaint & Curious Volume' not only demonstrates John Dobbins’ scholarly legacy, but also presents new readings of archaeological data and art, illustrating the impact that one professor can have on the wider field of Roman art and archaeology through the continuing work of his students. Cover Title Page Copyright Page Contents Page Preface: J.J. Dobbins e il Foro di Pompei Preface: J.J. Dobbins and the Forum of Pompeii Introduction: John Dobbins as Archaeologist, Teacher, and Mentor Dylan K. Rogers and Claire J. Weiss Figure 1: John and team in Syria, 1975. (Courtesy K. Dobbins) Figure 2: John’s 1974 passport photo. (Courtesy ASCSA Archives) Figure 3: Corinth Excavation Team at Hill House, Spring 1975. Top row (left-right): Robin Rhodes, John Dobbins, Donald Baronowski, Rob Guy; Charles K. Williams, II (in red); bottom row (left-right): Cynthia Patterson, Stella Bouzaki, Nancy Bookidis, Joan Figure 4: John (at center) pickaxing at La Befa, 1980. (Courtesy K. Dobbins) Figure 5: Digital model of House of the Drinking Contest. (Courtesy E. Gruber) Figure 6: Dobbins observing the University of Virginia wrestling team, in order to understand how Euphronios depicted a similar move on a red-figure krater, 2018. (Courtesy S. Suchak, University of Virginia Communications) Figure 7: John cutting into Rome’s birthday cake, capite velato, 2016. (Photograph by C.J. Weiss) Figure 9: John teaching about the modern reconstructions of the upper walls of the Sanctuary of the Genius of Augustus, 2010. (Photograph by S. Pearson) Figure 8: John hands a trowel to undergraduate student, Abigail Staub, during fieldwork in Pompeii in 2019. (Photograph by J. Dunkelbarger) Figure 10: John partaking in less formal discussions over a 4th of July barbecue dinner hosted by the Via Consolare Project in 2016 at Camping Zeus, Pompeii. (Photograph by C.J. Weiss) Figure 11: Dobbins’ 2019 retirement symposium participants, from left to right: back row K. Cole, E. Molacek, C. Weiss, J. Benton, D. Rogers, D. Weiss, B. Gorham, S. Gavel; front row S. Layton Kim, I. Miliaresis, S. Tenant, J. Dunkelbarger, J. Dobbins, E. Masonry Analysis at Pompeii: The Maturation of a Stratigraphic Method Eric Poehler Figure 1: Map of Fiorelli’s Pompeii. (Courtesy Pompeii Bibliography and Mapping Project) Figure 2: Map of Fiorelli’s material types: Sarno stone (yellow), Nocera tuff (green). (After Fiorelli 1873, tav. IIII) Figure 3: Detail of masonry of Macellum’s north entrance, interior (VII.ix.19). (After Martini 1997, ‘Images of the Macellum’, ‘North Macellum’, ‘jjd-03’) Figure 4: Image map of the Eumachia Building. (After Dobbins 1994b, ‘The Eumachia Building’) Figure 5: CAD model of the Macellum, south wall exterior. (After Dobbins 1996a, ‘View 5’) Figure 6: Plan of Macellum. (After Dobbins 1994, fig. 38) Figure 7: Drawing of stratigraphic units identified on south face (WF 1003) of Quadriporticus, western exterior wall. (Courtesy Pompeii Quadriporticus Project) Disentangling the via del Foro Colonnade at Pompeii Claire J. Weiss Figure 1: Plan of the via del Foro and surrounding area of Pompeii. (Illustration by C.J. Weiss) Figure 2: The so-called ‘Porticus Tulliana’ (via del Foro colonnade) between the Temple of Fortuna Augusta to its north and Pompeii’s forum to its south. (Photograph by C.J. Weiss) Figure 3: View of the Temple of Fortuna Augusta. First two columnar elements of via del Foro colonnade are visible at the extreme right of the image field. (After MB 4, tav. X) Figure 4: Cippus (at the center of the frame) marking out the area privata for M. Tullius behind, located between the Temple of Fortuna Augusta to the left and the shops associated with the via del Foro colonnade to the right. (Photograph by J. Dunkelbarg Figure 5: Western third of insula VII.iv, including the properties to the east of the colonnade purportedly owned by Marcus Tullius. Details include the Casa della Parete nera (in red) and Casa delle Forme di Creta (in dark blue) and their party wall zig- Figure 6: Location of Arthur’s excavations (red line) down the angiportus, through doorway VII.iv.8, and turning south along the sidewalk. (After Arthur 1999) Figure 7: via del Foro Pillars numbered P.01-P.10 from north to south and measurements for spacing of the features. (Illustration by C.J. Weiss) Figure 8: The via del Foro colonnade elements and mortar/construction details for each pillar-column, as labeled. Note that the first two mortar/brick images are details of the cylindrical column portion (P.01) and the western rectilinear pillar portion ( Figure 9: P.01, the northernmost columnar element of the via del Foro colonnade, comprising a cylindrical column with rectilinear portions added to create an L-shaped pillar, with upright orthostates protecting the outer faces. (Photograph by C.J. Weiss) Figure 10: P.07, the pillar-column with a rectangular pedestal and more ornate purpose-made brick base. (Photograph by C.J. Weiss) Figure 11: Plaster applied to P.08 that overlies the curbstones. (Photograph by J.S. Dunkelbarger) Figure 12: Opus incertum foundations visible below P.01-P.04, indicated with arrows. (Photograph by C.J. Weiss) Figure 13: Evidence for the curbstones having been shaped to fit around no-longer-present cylindrical columns just visible below the later constructions of P.02-P.07, and the fully worked curbstones curbing around P.08 for reference. (Photographs and illu Figure 14: The southwest corner of insula VII.iv, showing both the low tuff curbstones and the regular brick quoining of the shops at doorways 12-15. (Photograph by C.J. Weiss) Drain Outlets and the Pompeian Street: Evidence and Meaning Janet S. Dunkelbarger Figure 1: Plan of the Casa del Granduca (VII.4.56), illustrating its water features and organization of drainage systems. Piped water supply is indicated with a dashed line. Drainage channels indicated by solid, parallel lines. (Drawing by D. Weiss, after Figure 2: Map of Pompeii, with streets included in the survey denoted in white, and those excluded denoted in red. (Map by C.J. Weiss) Figure 3: Example of curbstone drain outlet (from shop VII.2.40) with clear path from the threshold and through the sidewalk to the curbstone. (Photograph by J.S. Dunkelbarger) Figure 4: The 14 drain outlet shapes: (a) Circular (VI.vi.1, 9m north of 13); (b) Ovoid (VI.ix.6); (c) Gap (VII.xi.15); (d) Rectangular (VI.viii.16); (e) Trapezoid (VI.xv.5/6); (f) Rounded Triangle (concave) (IX.xiv.4); (g) Rounded Triangle (convex) (VI.v Figure 5: Wall drain outlet example, located approximately 9 meters east of doorway no. VII.12.26, demonstrating a wall drain outlet with an associated ‘Gap’ curbstone drain outlet. (Photograph by J.S. Dunkelbarger) Figure 6: Map of drain outlet locations. Drain outlets are indicated by blue points. (Map by J.S. Dunkelbarger) Figure 7: Two examples of curbstone drain outlets. On the left, a drain outlet at a junction point of two curbstones. On the right, a drain outlet carved entirely through a curbstone. (Photographs by J.S. Dunkelbarger) Table 1: Curbstone drain outlet shapes in Pompeii and the frequency of these shapes depending on the curbstone material(s). Please note the following: ‘Cannot determine (material)’ means that the material could not be determined based on photographs or in Table 2: Property types in Pompeii (Eschebach and Müller-Trollius 1993), compared to the frequency of drain outlets by property type. Figure 8: Point density map of the drain outlet locations. Cold and hot spots are identified by blue-green colors and yellow-red colors, respectively. (Map by J.S. Dunkelbarger) Heating the Stabian Baths at Pompeii Ismini Miliaresis Figure 1: Plan of the Stabian Baths at Pompeii: (A) main entrance; (B) palaestra; (C) natatio; (D, E) basins; (F) locker room?; (G) passage bay; (H, I, J) slave quarters?; (K) frigidarium; (L) apodyterium; (M) tepidarium; (N) caldarium; (O) praefurnia; (P Figure 2: View to the southwest wall, with pilae visible on the floor and the labrum in situ along the wall. Men’s caldarium, Stabian Baths, Pompeii. Photograph taken in 1895 by William Henry Goodyear. (Courtesy Brooklyn Museum Archives, Goodyear Archival Figure 3: Tegulae mammatae still attached to wall. Women’s tepidarium, Stabian Baths, Pompeii. (Photograph by I. Miliaresis) Figure 4: Labrum and mosaic floor. Women’s caldarium, Stabian Baths, Pompeii. (© Mentnafunangann, Wikimedia Commons, CC BY-SA 3.0) Figure 5: Pool basin and tegulae mammatae on walls (to the right of the image field). Women’s caldarium, Stabian Baths, Pompeii. (© Mentnafunangann, Wikimedia Commons, CC BY-SA 3.0) Figure 6: Opening of the testudo device in pool basin. Women’s caldarium, Stabian Baths, Pompeii. (After PPM 6.1, 214, fig. 118) Figure 7: Opening in the apsidal area and the remains of the labrum. Men’s caldarium, Stabian Baths, Pompeii. (© Lienyuan Lee, Wikimedia Commons, CC BY-SA 3.0) Figure 8: Hypocaust and pool basin. Men’s caldarium, Stabian Baths, Pompeii. (Photograph by I. Miliaresis) Figure 9: Hypocaust and pool basin. Men’s tepidarium, Stabian Baths, Pompeii. (© S.T. DeSimone, Wikimedia Commons, CC BY-SA 3.0) Table 1: Study Set 1 Results Table 2: Study Set 2 Results Table 3: Total Quantities Consumed Annually Figure 10: Window openings. Tepidarium (Room 18), Forum Baths, Ostia. (Photograph by I. Miliaresis) Appendix 1: Dimensions of the Walls Appendix 2: Dimensions of Floors Appendix 3: Thickness of Wall Materials in meters Appendix 5: Ceiling Properties Appendix 4: Thickness of Floor Materials in meters Pistore Panem Petimus: Specialization in the Late-Roman Baking Industry Jared Benton Figure 1: Water mill on the Janiculum hill in Rome. (Adapted from Wilson 2000, figs. 1, 4, and 5) Figure 2: Bakery at VII.ii.22 in Pompeii, viewed from the vicolo Storto. (Photograph by J. Benton) Figure 3: Millstone iconography, which show a donkey-driven mill on a gem (left) and an animal-driven mill on a circular marble plaque that acted as a shop sign (right). Both from Pompeii, and both are now lost. (After Blümmer 1912, figs. 20 and 21) Figure 4: Bakeries without millstones on the via degli Augustali in Pompeii (VII.12.1-2, 37, VII.12.7, VII.12.11, and VII.12.13). (Plan by J. Benton) Figure 5: Maison aux Basin Tréflé at Volubilis. (Plan by J. Huemoeller) Figure 6: One-room bakeries: (A) bakery near the House of the Birds in Italica; (B) I 3, 5 at Ostia; (C) I 17, 1 at Ostia. (Plans by J. Benton) Figure 7: One of two sixth-century ovens. Church Complex, Cosa. (Courtesy E. Fentress; appears in Fentress 2004, pl. 18). The Fralin Numismatic Collection: Ten Years Later Ethan Gruber Figure 1: Augustus 481 in OCRE, illustrated with one coin from the Fralin Museum of Art. (Courtesy http://numismatics.org/ocre/id/ric.1(2).aug.481) Figure 2: A depiction of the circulation of antoniniani: blue illustrates the mints that produced the denomination, with green and red representing individual finds and hoards, respectively. (Courtesy http://nomisma.org/id/antoninianus) Figure 3: An example of a zoomable image according to the IIIF standard. (Courtesy http://numismatics.org/pco/id/cpe.1_1.59) Figure 4: A Ptolemaic coin from the Fralin as seen in the modern Numishare interface. (Courtesy http://coins.lib.virginia.edu/id/1990.18.9) Dynamic Identity: Dynamis on the Ara Pacis Augustae R. Benjamin Gorham Figure 1: Drawing of the south processional frieze of the Ara Pacis. Individuals include: (1) Augustus; (2) Agrippa; (3) ‘eastern child’; (4) Dynamis; (5) Antonia; (6) Germanicus; (7) Drusus. (Drawing by C.J. Weiss and D. Weiss) Figure 2: Detail of Agrippa, Dynamis, and the ‘eastern child’, amongst other individuals. South processional frieze, Ara Pacis. (Courtesy Cologne Digital Archaeology Laboratory, photograph by B. Malter; https://arachne.dainst.org/entity/6580610) Figure 3: Detail of Gaius Caesar. North processional frieze, Ara Pacis. (Photograph by R.B. Gorham) Figure 4: Detail of the ‘eastern queen’ (Dynamis of Bosporus). South processional frieze, Ara Pacis. (Courtesy Cologne Digital Archaeology Laboratory, photograph by B. Malter; https://arachne.dainst.org/entity/3099605) Figure 5: Bronze bust of Dynamis. Found at the Panticapaeum Necropolis (Crimea, in the environs of Kerch). Second quarter of the first century AD. State Hermitage Museum, Inv. ΠΑΗ.-1726a. (Image is used from www.hermitagemuseum.org, courtesy The State Her Figure 6: Gold stater, with diademed and draped bust of Dynamis (obverse), and star and crescent and the legend ΒΑΣΙΛΙΣΣΗ[Σ] ΔΥΝΑΜΕΩΣ (reverse). State Historical Museum, Inv. ГИМ 91639/13880 KP OH 447462 A-I-393. (Courtesy The State Historical Museum, Mos Figure 7: Figural groupings of biological family units. South processional frieze, Ara Pacis. (Photograph by R.B. Gorham) Figure 8: Mythological sacrifice panel on the west side of the Ara Pacis, showing either Aeneas or Numa. (© Miguel Hermoso Cuesta, Wikimedia Commons, CC BY-SA 3.0) Figure 9: Panel from east side of the Ara Pacis, showing a figure possibly representing Tellus, Pax, or Venus. (© Miguel Hermoso Cuesta, Wikimedia Commons, CC BY-SA 3.0) The Mosaics of the House of the Boat of Psyches: Reexamining Identity in Antioch Elizabeth M. Molacek and Dylan K. Rogers Figure 1: Map of Antioch and surrounding region. (CC BY-SA 4.0; generated in Antiquity À-la-carte application, Ancient World Mapping Center) Figure 2: William Gad Gabriel (right, supervisor of the Antioch mosaic crew) peels away the facing material of the Opora, Agora, and Oinos mosaic from room 8 after removal from the house on 24 August 1934. Standing next to Gabriel is Barbari Mahmud Isa, t Figure 3: Excavation photo from the northeast of the House of the Boat of Psyches, 1934. Princeton image 1540. (Courtesy Antioch Expedition Archives, Department of Art and Archaeology, Princeton University) Figure 4: Plan of the House of the Boat of Psyches. (After Kondoleon 2000b, fig. 5) Figure 5: View from the northeast of corridor (4) and nymphaeum (5), House of the Boat of Psyches, 1934. Image 1519. (Courtesy Antioch Expedition Archives, Department of Art and Archaeology, Princeton University) Figure 6: Nymphaeum basin, with eros riding a dolphin and fish swimming below, House of the Boat of Psyches. Princeton University Art Museum y1940-437a-e. (Photograph by L. Lieberman) Figure 8: View from northeast of room 1 to corridor (4) and nymphaeum (5). (Courtesy E. Gruber) Figure 7: Europa and the bull mosaic, room 1, House of the Boat of Psyches. Baltimore Museum of Art: Antioch Subscription Fund, BMA 1937.129. (Courtesy Baltimore Museum of Art, photograph by M. Hood) Figure 9: Okeanos and Tethys, room 1, House of the Boat of Psyches. Baltimore Museum of Art: Antioch Subscription Fund, BMA 1937.126. (Courtesy Baltimore Museum of Art, photograph by M. Hood) Figure 10: Pegasos and the nymphs, room 2, House of the Boat of Psyches. Hatay Archaeological Museum inv. 841. (© Dosseman, Wikimedia Commons, CC BY-SA 4.0) Figure 11: Boat of Psyches, room 3, House of the Boat of Psyches. Hatay Archaeological Museum inv. 846. Princeton image KS-8043. (Courtesy Antioch Expedition Archives, Department of Art and Archaeology, Princeton University. Photograph by G.E. Kidder Smit Figure 12: Lycurgus, room 3, House of the Boat of Psyches. Hatay Archaeological Museum inv. 844. Princeton image KS-8037. (Courtesy Antioch Expedition Archives, Department of Art and Archaeology, Princeton University. Photograph by G.E. Kidder Smith) Figure 13: Tethys and marine creatures, room 7, House of the Boat of Psyches. Baltimore Museum of Art: Antioch Subscription Fund, BMA 1937.118. (© Nrswanson, Wikimedia Commons, CC BY-SA 4.0) Figure 14: Opora, Agora, and Oinos, room 8, House of the Boat of Psyches. Baltimore Museum of Art: Antioch Subscription Fund, BMA 1937.127. (Courtesy Baltimore Museum of Art, photograph by M. Hood) Figure 15: Photograph of the personal office of Dylan K. Rogers. (Photograph by D.K. Rogers) Figure 16: Pegasos and nymphs mosaic. Now underneath Museum Hotel Antakya, Antakya, Turkey. (© Dosseman, Wikimedia Commons, CC BY-SA 4.0) Figure 17: Aristotle Onassis in his office, Athens, Greece, 1960s. (© Elios Patronikolas, Wikimedia Commons, CC BY-SA 4.0)