Roman Portrait Statuary from Aphrodisias (Aphrodisias II) by R. R. R. Smith, Sheila Dillon, Christopher H. Hallett, Julia Lenaghan, Julie Van Voorhis

218 PHOENIX not give it the attention it deserves as an important precursor to hellenistic hydraulic engineering.10 The material,both text(464 pp.) and images (429figs.), is includedina singlevolume; consequently, quality is sacrificed to quantity. Plans of sanctuaries, for example, have been reduced to such a small scale that it is difficult to identify and evaluate individual plans of monuments such as the temple of Asklepios, the temple of Zeus at Dodona, and the Metroon atOlympia (6,figs.108, 77, and 15).The qualityof theblack andwhite photos alsovariesas indicated by theimageofLabraynda,fig.53,while infig.180 itisdifficult to identify the leaf capital in the Stoa ofAttalos. Two volumes, one for the text and a second for the images, would have complemented thiswork. These editorial observations in no way diminish the value of this text as an important starting point for the study of hellenistic architecture for both students and scholars alike. This project is, indeed, an admirable undertaking, for it covers architectural developments over a span of more than three centuries in a very broad geographical area where diverse cultures contributed to the development of hellenistic architectural forms. Given the broad scope of this study, the author was faced with various challenges concerning the selection of sites, monuments, and bibliographical sources which on account of publication procedures may not have been up to date, a point that he raises in his preface. Winters response to these challenges, however, highlights the significance of his work and ranks it as an important addition to every classical library. University of New Brunswick Maria Papaioannou Roman Portrait Statuary from Aphrodisias (Aphrodisias II). By R. R. R. Smith, with Sheila Dillon, Christopher H. Hallett, Julia Lenaghan, and Julie Van Voorhis. Mainz: Philipp von Zabern. 2006. Pp. xiv, 338, 163 pis., and 27 %s. With interest piqued by season reports, certain focused studies, and the sculpture galleries of the museum at Aphrodisias, the scholarly community has eagerly awaited a comprehensive study of portraiture from this rich site. Roman Portrait Statuary from Aphrodisias, written by a team led by R. R. R. Smith, more than satisfies this pent-up curiosity. Not only do the authors present 221 numbered portraits and fragments, nine reliefs, and thirteen sarcophagi, a wealth of information in itself, but they engage and interpret this assemblage inmanifold ways, making the volume overall farmore valuable than the sum of its parts. The interpretive chapters and introductions seize the enormous potential inherent in this corpus of well-preserved and well-provenanced finds; they are the most valuable contribution of the book. These essays offer broad conclusions and interpretations about the Aphrodisias material while also setting the material into various broader contexts, always with new ideas. Moreover, the prefatory discussions introducing different genres of statuary (such as togate figures, cuirassed figures, etc.) serve as an excellent orientation to the scholarship, vocabulary, and issues of each genre. I will highlight some of the more interesting and provocative elements within these essays, then consider selected individual statues. 10 H.J. Kienast, Die Wasserleitung desEupalinos auf Santos, SamosXIX (Bonn 1995). BOOK REVIEWS/COMPTES RENDUS 219 At the outset, the authors tell us that "the purpose of this volume is to present the full range of the surviving statuary in its local setting and to interpret it as part of the history of portrait and statue use by the eastern elite of the Roman period" (4). Aspects of this local contextualization include consideration of local history, locations of dedications, costume, hairstyles, manufacturing habits and changes, and the abundant harvest of inscribed statue bases. This contextual approach brings many results. Thus, in the period under question (the late-first century b.c. through the mid-/late-third century a.d.), statuary dedications are predominantly to local notables (perhaps to emphasize this finding, most of the imperial portraits are found towards the end of the catalogue). The himation on one statue type is now shown to be an element of priestly costume that goes along with a tall crown (154-156); thustheother types ofhimation statues may infact likewiseshow somekind of religious office rather than simple civic garb. Discussion of active and non-active poses for draped female figures is an interesting element...

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