Kiki had last seen Zen several months ago. They’d crossed paths in Town, Kiki there for her second Season and Zen trailing in his brother’s wake. They stood up together for a few balls, scaring off each other’s potential dance partners and discussing sport. Zen, as usual, was jealous of her accomplishments. “You ride to hounds, you drive to an inch, and you always beat me at fencing. You’re such a Corinthian, Kiki. Just about the perfect man.” It shouldn’t have given her such ideas.
1 Corinthians 3:19-20 For the wisdom of this world is folly with God. For it is written, “He catches the wise in their craftiness,” and again, “The Lord knows the thoughts of the wise, that they are futile.”
The theatre at Hierapolis was built in the second century AD under the Roman Emperor Hadrian during a period of extensive rebuilding following a devastating earthquake in 60 AD. It was later renovated under Septimus Severus (193-211 AD). At this time, the scaenae frons was modified and decorated with elaborate limestone and marble carvings. Although the exterior is relatively unassuming as viewed from the front, the interior contains one of Anatolia’s most complete and best-preserved collection of Greco-Roman theatre decorations. In 343 AD the scaenae was renovated and the orchestra was altered so that it could hold aquatic displays. In the later years of the Roman Empire the orchestra was converted into a cellar. Renovation work since 1977 has restored many of the arches and a portion of the stage floor. Prior to this date, the stage as well as its arched support system lay in ruins. Recent archaeological evidence shows that the theatre was in use through the 5th and into the 6th century AD. In 532 AD the scaenae, which had been weakened by seismic activity, was repaired.
A very rare ancient Greek Apulo-Corinthian helmet, damaged and adapted for dedication in ancient times, dating to the 5th century BC.
Helmets of this type originated in modern-day south Italy. They were hammered from a single sheet of bronze and consist of a shallow dome, large neck-flange at the back, very close or fused cheekpieces, closely set “eye holes” and a central nosepiece. Such stylized helmets were made to be worn on the top of the head, as a cap, with a chinstrap holding it in place.
Extraordinarily, the frontal opening of this piece has been entirely obscured in ancient times, with ominously placed bronze bars that seem to anonymize or neutralize the helmet. The modification of ancient helmets and weapons is known from antiquity, at sites such as Olympia, and was usually performed as part of an act of dedication, most often at a temple as a votive gift to the gods. It is probable that this helmet was damaged in battle, perhaps by an impact to the rear, then taken by the victor and modified for dedication to the gods.
The vast plane between Frontinus Street, and the slopes of the mountains to the east, was transformed in the course of the 2nd century CE, into a large square, which has been identified as the commercial Agora of Hierapolis. The Agora is about 170m wide and 280m long, and is surrounded on the northern, western and southern sides by marble porticos (stoai) with an Ionic façade and an internal row of Corinthian columns. On the eastern side you find instead the monumental stoa-basilica, built on a marble staircase 4m high. This monument dominated the square. The stoa-basilica had a façade with two superimposed orders and a portico with squared-sectioned pillars upon which leaned, superiorly grooved half-columns with ionic capitals and bases. The capitals had bearded masks carved on the lateral faces. The upper floor had a row of half-columned pillars made of reddish crushed stone with Corinthian capitals in white marble. The entrance to the stoa-basilica is a propylon, which had an arched entrance flanked by two features that projected over the staircase. The arches are supported by sphinxes on capitals, which themselves take the form of bulls attacked by lions.
In the form of a man standing with his right arm held to his side and left hand resting on the crown of his head, and wearing high laced boots and short fringed kilt, his triangular face with short beard, wide straight mouth, short slightly upturned nose, and slightly bulging eyes with incised eyebrows his short hair falling from the circular aperture in straight grooved strands, the details incised and painted in red. 6.9 inches high (17.5 cm)