STOBI IN THE LIGHT OF
ANCIENT SCULPTURE

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The great number of ancient sculptures discovered at the confluence of the Erigon and the Axios during the past few decades has increased contemporary understanding not only of Stobi's social and economic level of development, but especially of this important town's cultural progress. While the luxuriant palaces and great basilicas yield a picture of Stobi during the latter part of the ancient period, the sculptures, more than any other discoveries, reveal the town from the late tIellenistic period through the era of the Roman Empire.
The ancient sculptures of Stobi are important not only for their artistic vaue, but as a reflection of key events and especially of the religion of the town as well. High quality works of art, either imported or made by local artisans, indicate cultivated tastes and rights to lrivate property. Geographical position availed Macedonia and Paeonia as well to the cultural sphere of Greek civilization very early on. With the strengthening and expansion of the Macedonian state, especially in the 4th century B.C., the Vardar River Valley became a natural thoroughfare over which the cultural currents, from the south passed, gradually affecting sculptura,1 creativity. Miodrag Grbid points out, and rightly so, that during the Hellenistic period Macedonia was a cultural unit of Greece, a link made manifest by imported sculptures and especially by comparable craftsmanship with which the local artisans sculpted their own marble} There was at least one such workshop in Stobi. And later, when Macedonia became a part of the Roman Empire, this Hellenistic tradition continued to thrive.
However, the duration of the town's existence, as evidenced by history, seems to be quite brief for Hellenization to have laid such deep
roots. Djordje Mano-Zissi states: "It seems to me improbable that a mere half century of Macedonian control was sufficient to Hellenize Stobi to such an extent that its residents would continue to use the Greek language and way of life even under Roman administration. We might have expected such Hellenization to have required as much as three centuries, perhaps between the 5th and the mid-2nd centuries B. C.''2
The early period of the town's existence is illustrated by the beautiful busts of Apollo and Artemis, works that were certainly imported? Another very important find in Stobi, and also imported, is the archaistic relief of Pan with Nymphs (very similar to. the one in the Louvre), attributed to the neo-Attic School ef the 1st century B. C.4 The tine these works were imported to Stobi is still a large question.
Among the older sculptures, the bronze statues of Satyr Players are works of astonishing quality. Regardless of the fact they were not made in Sto.bi, their presence there is o great importance. Without going into detail about their origins, we would just like to mention that these works demonstrate Stobi's link with Mediterranean countries.
During the late Hellenistic period and subsequent Roman rule, numerous copies known as: the Large and Small Herculaneum Woman appeared in the ancient world. These were prototypes connected with Praxitelian creativity.6 This type of woman, draped with a dignified demeanor and modest facial expression, corresponds to the conception of the Roman Lady (Matrona). Many famous women had busts of themselves made in this style.7 The several statues of this kind found in Macedonia evidences the popularity of the fashion in this region." The upper part of the draped female statue, called the Roman Darona, although in somewhat smaller proportion, belongs to the Large Herculaneum Woman? One statue of a Large Herculaneum Woman found near Titov Veles should be
associated with Stobi. A statue of a young girl, discovered recently very near Stobi et Rosoman, represents the typical Small Herculaneum Woman. This is the only statue of this type found in Macedonia with the head still intact (Fig. 1).
The statue has been broken in the middle. The left hand, which supported the himation, is missing. The folds of the mantle have been damaged, especially on the left side where they were most exposed. The head also suffered some damage: the tip of the nose, a part of the left cheek, and the mouth. The statue is sanding on the left leg, while the right is bent at the knee and set to the side. It wears a long chiton extending down to the feet with the himation draped over t. The pose of the statue is relaxed, and the gesture of the right hand is stopped at the left shoulder as if throwing the himation over the shoulder. It represents a young girl with an oval face and a calm expression. The broad base of the nose passes into the eyebrows, emphasized by gentle curves. Almond shaped eyes without marked pupils are framed by the eyelids. The preserved part of the mouth shows expressed plasticity. The cheeks are flat with unexpressed details. The hair was fashioned in gentle, nearly parallel waves with a part in the middle, and a thick braid falls down onto the back. Two short, gently curved locks are pushed over the temples.
Although these statues' are stereotype copies of statues of insuperable artistic value, they nevertheless reflect the exquisite skill of local craftsmen and their attempt to follow the trends of the time.
The beautiful head of a girl, probably fashioned after a classical model, cannot be taken as a portrait. The idealism expressed is far too high.
The statue of a Palliatus, on the other hand, is indeed a portrait, dating back to the 3rd century (Fig. 8). This impressive portrait fully expresses realism combined with the new stylistic tendencies, reflecting the essence of Roman portrait art from the 3rd century. Here we find a fine example of Roman mannerisms as seen in the hair, Greek classicism in the curly beard, combined with the expressive look of the eyes.
From this short survey of the ancient sculptures discovered in Stobi, we can conclude that we can trace the continuity of general development of these ancient sculptures, though new finds will obviously fill in some of the missing detail.
Generally speaking, the sculptures of Stobi date from the late Hellenistic period through to the end of the 3rd century A. C. The earlier works were no doubt of foreign origin. The first two centuries A. C., especially the 2nd century, marked significant advancement in the art of sculpture, not only in the increase of the number of works, but in the upgrading of quality as well. The Greek tradition prevailed during this period, but the new Roman influences can also be seen. By the 3rd century, the work becomes stylized Roman artistry as represented by deity and especially portrait statues. However, as mentioned before the realistic individual portrait, one of the highest achievements of Roman art, did not reach full expression in Stobi.
There is no doubt that Stobi was a highly developed and pro.sperous town during Roman rule. As Miodrag Grbi points out, during this time the Vardar River Valley was nurturing local sculptural activity of which Stobi was at the hub. As one of the most developed towns in this part of Macedonia, Stobi made available pmme conditions for such work. There is no doubt foreign artists from larger art centers came to Stobi nd worked hand in hand with the local masters.
As a final note, we should mention that the abundant beds of marble found near Stobi in Mrzen-Oreovo and in Pletvar enabled Stobi to be such a successful center of sculpture.

     VIKTORIJA SOKOLOVSKA

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