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Salutaris' Ritual Procession: A Cognitive Experience

Explore the sensory and cognitive aspects of Roman religious rituals through the lens of Abigail Graham's study on a unique historic procession at Ephesos. Delve deep into the theoretical implications and sensory perceptions involved in staging religious rituals. Witness the interplay between claim vs. reality in monuments and rituals, as Chaniotis elucidates the aesthetic, performative, and emotional dimensions of such events. Uncover the intricate details of Gaius Vibius Salutaris' foundation and the grand procession it entailed. Join us on a journey through ancient Ephesos and immerse yourself in the vibrant cultural tapestry of Roman religious practices. Gain new insights into the intersection of performance culture, emotions, and sensory experiences in this engaging exploration.

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Salutaris' Ritual Procession: A Cognitive Experience

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  1. Nobody’s gonna rain on my Parade…Reading Salutaris’ Ritual Procession at Ephesosas a Cognitive Experience. Theoretical Roman Archaeology Conference Session 11-14th April 2019, University of Kent Sensory & Cognitive Approaches to Roman Religious Ritual(s) Abigail.graham@warwick.ac.uk

  2. Senses & Emotions in performance culture: Ain’t nobody gonna rain on my parade Don’t tell me not to live, just sit and putter, Life’s candy and the sun’s a ball of butter Don’t bring around a cloud to rain on my parade… Don’t tell me not to fly I’ve simply got to, If someone takes a spill, it’s me and not you, Who told you you’re allowed to rain on my parade I’ll march my band out, I’ll beat my drum And if I’m fanned out, your turn to bat, sir At least I didn’t fake it, hat sir, I guess I didn’t make it, but whether I’m the rose of sweet perfection Or a freckle on the nose of life’s complexion … Nobody is ever gonna rain on my parade.

  3. Claim vs. Reality in Monuments & Rituals “Staging of rituals takes aesthetics, order and performance into consideration. Theatricality is particular aspect of staging: in which groups construct an image that is at least partly deceiving, either a contrast to reality, or an exaggeration (distorting) reality..inan effort to gain control of emotions.. provoking specific reactions”. Chaniotis (2013) 173.

  4. Intro. Who Was Gaius VibiusSalutaris? • Roman citizen and member of the Equestrian order (Cursus is summarised: I. Eph 27 ll. 14-17) • Father was known, probably owned interest earning estates near/ in Ephesos • Friends in high places: • Proconsul (103/4) C. AquilliusProculus • Legate pro praetor P. AfraniusFlavianus (103/104) • L. NoniusCalpurinusTorquatusAsprenas (procos 107/108) (I. Eph 3027 ) • Marcus ArruntiusClaudianus (I. Eph620)

  5. Salutaris’ Foundation: A Summary • A series of statues (9 apeikonismato be made& carried with(at least*20 other statues (eikones) of imperial/civic entities. • These statues were to be carried in a procession from the Artemision to the theatre for assemblies, religious festivals and sporting events (and then returned) • A lottery took place on Artemis birthday at the Artemison, where various civic entities could win cash prizes.

  6. Part I. Fact or Fiction “Religious festivals may aim to the virtual communication between humans and superhuman beings, but above all, they are a communication between real people, between agents and spectators.” Chaniotis (2013), 170. Salutaris Procession… according to the text: • The procession will travel from the Artemision to the theatre (ca. 2 km) on festival days & assembly meetings = 35 minutes in duration; 2 times a month. • This will include a number of civic groups, the neopoioi & the ephebes. (all 250 of the them?), who will carry the statuettes “with due dignity”. • This foundation will be valid forever. It will never be changed, altered, invalidated, by anyone. Ever. Fine of 50,000 denarii to anyone who tries.

  7. Location of the Theatre Koressos Gate Road to Artemision Road to the Harbor South Parodos Triodos Road to Ortygia Embolos Road to State Agora Magnesian Gate

  8. Viewing Salutaris’ Foundation at Ephesos

  9. Reconstruction of the Foundation at the British Museum

  10. An Ephesian Tale by Xenophon of Ephesus A local festival for Artemis was underway, and from the city to her shrine, a distance of 7 stades, (2) all the local girls had to march sumptuously adorned, as did all the ephebes who were the same age as Habrocomes; he was about 16 and already enrolled in the ephebes, and he headed the procession. (3) For the spectacle there was a large crowd, both local and visiting, for it was custom at this assemblage to find husbands for girls and wives for the ephebes. (4) The procession marched along in file, first the sacred objects, torches, baskets and incense, followed by horses, dogs and hunting equipment, some of it martial, most of it peaceful<...> each girl was adorned as for a lover. (5) Heading the girls was Anthia, daughter of Megamedes and Euippe, locals, Anthia’s beauty was marvelous and far surpassed the other girls. She was 14, her body was blooming with shapeliness and the adornment of her dress enhanced her grace. (6) Her hair was blond, mostly loose, only a little of it braided and moving as the breezes took it. Her eyes were vivacious, bright like a beauty’s but forbidding like a chaste girl’s; her clothing was a belted purple tunic, knee length and falling loosely over the arms, and over it a fawnskin with a quiver attached, arrows <…>, javelins and dogs following behind (8) Often seeing her at the shrine, the Ephesians worshipped her as Artemis, as also at the sight of her on this occasion the crowd cheered; the opinions of the spectators were various, some in their astonishment declaring that she was a goddesss herself, others that she was someone fashioned by the goddess, but all of them prayed, bowed down and congratulated her parents and the universal cry among the spectators was “Anthia the beautiful”(9) As the crowd of girls passed by, no one said anything but “Anthia,” but as soon as Habrocomes followed with the ephebes, as lovely as the spectacle of the girls had been, they all forgot about them an turned their gaze him, stunned at the sight and shouting “Handsome Habrocomes, Peerless likeness of a handsome god” …”

  11. Map of Procession Path of Phylai Path of Ephebes

  12. State Agora: A Clear route??? Aqueduct and Fontain 102-112 Renovations in the Prytaneion Roger’s route red Traditional procession route: Green

  13. Building Projects @Ephesos AD 102-120: A monument to change Theatre: 102-112 More seating & entrances Library of G. Julius CelsusPolemeanus 110-120 (Roman Citizen, senator, cos AD 92 Two Fountains & Aqueduc t& terminus, oversaw Library: Tib. Cl. Aristio (Roman Citizen)Acc. Pliny (ca. 104) “PrincepsEphesiorum” Baths Varius (ca. 100) temple & latrines monumental gate.

  14. The Upper Embolos @ Ephesos

  15. The Lower Embolos: How Big were these projects???

  16. What happened when it did: ‘rain on the parade’at Ephesos.

  17. A Ponderous Matter: Statue or Statuette? Using Statue Weights from the text Artemis “apeikonismata” (silver) • Roman weight: 6 pounds= almost 2 kg The Roman Senate“eikones” (silver) • Roman weight: 4 pounds 2 ounces= 1.4 kg Ephesian Boule • Roman weight: 4 pounds and 9 grammes= 1.3kg Image of Plotina (Trajan’s wife) • Roman weight: 3 pounds= .98 kg FOR COMPARISON • Silver Berthouville Mercury Statue (incomplete), height 56.3 cm weight 2.78kg.

  18. Votive Statuettes: Bronze, Clay & Plastic Tanagra Figurine: 24.5 cm (Paestum); Steffi doll: 30 cm; H2o bottle: 20 cm Votives from Temple of Diana @ Nemi (Italy, now at British Museum) <26.67 cm 25. 4 cm>

  19. Viewing statuettes: Mosaic of Iphigenia & Orestes (Rome: MuseoCapitolino)

  20. Wall Painting of Iphigenia at Aulis (House of the Poet, Pompeii

  21. What does the Imagery of Statuettes reveal? • The objects in Salutaris’ procession, weighing ca. 1.5 kg, were more likely statuettes, not statues. • Their height based on known weights and depictions in Art was probably between 20-30cm. • These were not highly visible objects, esp when carried in a procession (single file?) • Focus of attention would have been on the carrier and the relationship between divine and mortals • The very act of bringing images into the city and holding them, was a way of both humanising the divine and lifting up those who carried them.

  22. The Theatre at Ephesos New Seating areas added under Domitian ca. AD 93 Vaulted Entrances AD 102-112 Statuette bases/ VIP seats Site of Foundation Inscription on South Wall

  23. I.Eph 29:Dedication to Artemis & the Teian tribe

  24. The power of language in a modern context…

  25. Modern Parades: St. Patrick’s Day: NYC 2016An event “for all Time”? Performed with “Due Dignity”?

  26. The utter unpredictability of performance: A Modern Performances at Ephesos Theatricality is not just for humans……. https://www.youtube.com/watch?v=H6N2qBiIRqI Library of Celsus reconstruction As a stage for the Dolphin show At Ephesos’ Adaland Water Park.

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