Goddesses of Akragas: A Study of Terracotta Votive Figurines from Sicily

List of figures with references
Akragantine figurines and their context
	I.1 Introduction
	I.2 State of research
		I.2.a Identifying the figurine and the dedicants
		I.2.b Proving literature right by the archaeological material
			I.2.b.i Cult transfer and a prototype reconstruction
		I.2.c Athena Lindia? Rhodian and Sicilian figurines compared
		I.2.d Other views on identification and origin
		I.2.e Oikist cult and cultural identity formation
		I.2.f Intermarriage and gender
	I.3 Aims and research questions
	I.4 Method and archaeological theory
	I.5 Research structure
	I.6 Greek historiography on Sicily – some general remarks
		I.6.a Mythical past
		I.6.b Political setting
			I.6.b.i The perception of ancient authors
			I.6.b.ii Sicily in the account of Thucydides
			I.6.b.iii The foundation of Gelas and Akragas
			I.6.b.iii.1 Gelas
			I.6.b.iii.2 Herodotus on Gelas
			I.6.b.iii.3 Akragas
			I.6.b.iii.4 Herodotus on Theron of Akragas
		I.6.c Social and economic setting
			I.6.c.i Diversity among the inhabitants of Sicily
			I.6.c.ii Phoenicians
			I.6.c.iii Prosperity of Akragas
		I.6.d Religious setting
			I.6.d.i Demeter and Persephone on Sicily
			I.6.d.ii Temple building and politics
		I.6.e Conclusions on the ancient literary sources
Iconography of the figurines
	II.1 Introduction
	II.2 Aims
	II.3 Method
	II.4 The body
		II.4.a The local tradition
			I.4.a.i Arms and feet
		II.4.b Imported and imitated images
		II.4.c Upright
		II.4.d From wood to terracotta
		II.4.e An aniconic tradition
		II.4.f Gender
		II.4.g Practical implications of the figurines’ form
		II.4.h The form of the figurines and their role as votives
	II.5 Head and face
		II.5.a General shape and expression of the face
		II.5.b A personal expression
		II.5.c Cultural influences
			II.5.c.i Noses
			II.5.c.ii Mouth and chin
			II.5.c.iii Eyes
			II.5.c.iv Ears
			II.5.c.v Hair
		II.5.d Gender
	II.6 Dress and personal adornment
		II.6.a The apron
		II.6.b Non-Sicilian garments
			II.6.b.i The undergarment
		II.6.c Cultic dress
		II.6.d Footwear
		II.6.e Headgear
			II.6.e.i Veil
			II.6.e.ii Polos
			II.6.e.iii The meaning of the polos and veil
			II.6.e.iii The headdress as an indication of marital status
		II.6.f Fibulae
			II.6.f.i Interpretation and comparison with real-life objects
		II.6.g Pectoral bands and pendants
			II.6.g.i Akragantine pendants
			II.6.h.ii Linked to the locals: pectoral bands
			II.6.h.iii Discs and crescents
			II.6.h.iv Figurative pendants
			II.6.h.v Other beads and pendants with their real-life counterparts from other sites
			II.6.h.vi Comparison with other cultures
			II.6.h.vii Cultural exchange
			II.6.h.viii Function and meaning
		II.6.h Other jewellery
			II.6.h.i Ear studs and earrings
			II.6.h.ii Bracelets
			II.6.h.iii Necklaces and hairbands
			II.6.h.iv Comparison with korai jewellery
		II.6.i Gender, identity and the display of wealth
	II.7 Furniture
		II.7.a From bench to throne
			II.7.a.i The footstool
		II.7.b The origin of the represented chair shapes
			II.7.b.i Greek chairs: thronos and klismos
			II.7.b.ii Thrones and lions
			II.7.b.iii An enthroned couple
		II.7.c Gender and identity
	II.8 Conclusions
The technology of Akragantine figurines
	III.1 Introduction
	III.2 Aims of technical research
	III.3 Method: An archaeological experiment with analogue reconstruction
	III.4 Interpretation and the chaîne opératoire approach
	III.5 The general production process
		III.5.a Object categories
		III.5.b Solid objects and plaques
		III.5.c Description of the steps in the production process
	III.6 The coroplastic experiment
	III.7 Results of the experiment and comparison with features of the original objects
		III.7.a Step 1: The clays used in Akragas
		III.7.b Steps 2 and 3: Choice of patrix and creating the matrix
		III.7.c Step 4: Aspects of the shaping process and related items
			III.7.c.i Making the front of the figurine
			III.7.c.ii Making the back of the figurine
			III.7.c.iii Making an extra rim
			III.7.c.iv Drying and deformation
			III.7.c.v The derivative mould
			III.7.c.vi Time management and additions
			III.7.c.vii Retouching and tools
	III.8 The production of other types of objects
	III.9 Interpretation and discussion
		III.9.a Implications of the introduction of the moulding technique
	III.10 Identification of coroplastic workshops by different techniques
		III.10.a The Workshop of the White Clay
		III.10.b The Workshop of the Convex Back
		III.10.c The Workshop of Straight Reworking
		III.10.d The Workshop of the Chubby Faces and the One Pendant Necklace
		III.10.e The skills of the coroplast
	III.11 The coroplastic exchange between Sicilian towns
		III.11.a Terracotta production at the kerameikos of Selinous and workshops in Akragas
	III.12 Conclusions
Technically and iconographically defined typology
	Group 1
	Group 2
	Group 3
	Group 4
	Group 5
	Group 6
	Chronological overview of the groups
Conclusion
	V.1 Concerning literary sources
	V.2 Concerning iconography
	V.3 Concerning production techniques
	V.4 Concerning meaning and use
Bibliography
Catalogue
	How to use the catalogue
	Overview of the locations and contexts of findspots for figurines
	Abbreviations/references for museum collections with figurines from Akragas:
	Type A: Argive Type (no.1‑2)
	Type B: Face-moulded figurines (no.3‑7)
	Type C: block-like figurines (no.8‑64)
	Type D: Some characteristic faces and standing figurines (65‑70)
	Type E: Imported figurines with rounded shapes, and objects inspired by them (71‑76)
	Type F: Exceptional objects (77‑86)
	Type G: Standing group (87‑97)
	Type H: A variety of pendants (98‑106)
	Type I: The same head, a different body (107‑114)
	Type J: A patterned polos (115‑137)
	Type K: The outlined-throne throne group and some similar figurines (no.138‑153)
	Type L: other polos-wearing heads (154‑170)
	Type M: The chubby face (171‑184)
	Type N: A new hairstyle and widened polos (185‑197)
	Type O: Seated on the left shoulder (198‑200)
	Type P: Earrings (201‑202)
Index
Abstracts
Curriculum Vitae
Acknowledgements
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