The Sanctuary of Demeter at Pergamon

Introduction/Summary

The Sanctuary of Pergamon at Demeter was established around the third century BC, in Pergamon, the capital of the Attalid kingdom (283-133BCE). One of the largest and most well-preserved ancient sites, the sanctuary provided space for cultic rituals worshiping the ancient Greek goddess, Demeter; the celebration most commonly known in the Hellenistic period as the Thesmophoria. The Thesmophoria, an ancient three-day festival that honored the goddess Demeter, consisted of various cultic rituals mimicking Demeter’s withdrawal, mourning, and reunion in the Greek myth of Demeter and Persephone. The Sanctuary underwent various renovations, most notably by the founder of the Attalid dynasty, Philetarios around 270-260 BCE, and two generations later by Queen Apollonis wife of Attalos I, the first (named) Attalid king. Under the Roman empire, the sanctuary also went through structural developments, and in the Byzantine period, the site was transfigured into residential spaces.

Pergamon

Pergamon is an ancient city located in the area which is now known to be Bergama in the province of Izamir in Turkey. The city was founded before the fifth century BCE, however, the town gained importance during the Hellenistic period, mainly due to its occupation by the Attalid Dynasty. Under the Attalid Dynasty, Pergamon became an integral center for arts and culture, once housing some of the most well-known ancient monuments including The Pergamon Altar of Zeus. The ancient city is known and studied for its astonishing artwork, sculpture, and architecture, which set the precedent for Hellenistic artistry, and subsequently, art in classical antiquity as a whole.

Archaeological History and Scholarly Work

German archaeologist Wilhelm Dörpfeld first excavated The Sanctuary of Demeter at Pergamon in the early 1910s. In the time that Wilhelm Dörpfeld left the site, artifacts and materials integral to the true understanding of the sanctuary were gone, ultimately resulting in various gaps in historical and archaeological records. Further exploration and excavation of the site was completed in the 1960s by Carl Helmut Bohtz, yet, due to health complications, he was not able to fully record his findings. Archaeological complications as such, have led to a lack of scholarship and understanding of the Sanctuary.

In 2009 Cornelie Piok Zanon, a graduate student at the University of Pittsburgh wrote a dissertation entitled “The Sanctuary of Demeter at Pergamon: Architecture and Dynasty in the Early Attalid Capital.” Zanon’s work mainly examined the architecture of the sanctuary, specifically the precincts of Philtairos and Apollonis, and using new archaeological evidence, Zanon was able to present new assertions surrounding the dating of Apollonis’ dedications. The dissertation also attempted to provide context for architectural detail and explanations for certain spaces in the sanctuary. Zanon’s contributions to this under-researched ancient site have laid new foundations for further scholarly work.

Renovations and Dedications

There is little evidence on what exactly a pre-Attalid Pergamon looked like, therefore it is hard to illustrate the state of the Sanctuary upon Philetarios’s arrival. However, the pre-Attalid sanctuary was consisted only of simple walls and altars and was situated on a natural terrace. Philetarios’s renovations included a general enlargement of the space and the addition of an altar, a temple, and other forms of cultic adornments. Other additions included rows of spectator seating and areas for cultic washing, which would accommodate women involved in cultic ritual. Philetarios made several adjustments to the precinct in order to strengthen and fortify the city including the additions of two arsenals on the Northside and by building a wall that enclosed gaps.

He was ultimately responsible for designating a formal precinct for ritual activity, mainly the Thesmophoria. Following the death of their brother, Attalus, in an attempt to emphasize their family’s lineage, Philetarios and his brother Eumenes made dedications to Demeter on behalf of their mother. This dedication was made in the form of The Sanctuary of Philetairos. An inscription on the temple and altar read: “Philetairos and Eumenes [dedicate this] to Demeter on behalf of their mother Boa.” Such inscriptions also served to assert the prominence of the Attalid dynasty upon the sanctuary and the city at large. Philetarios’ desire to renovate and construct new sections of the sanctuary may reveal that investment in the cult of Demeter was essential to his advancement and acceptance as a leader.

Two generations later, Apollonis expanded the Sanctuary further with the addition of various buildings and stoas, however, did not disrupt any of the monuments built by Philetairos. This expansion ultimately led to the construction of the largest public space in Pergamon. Apollonis was also responsible for the enclosement of the sanctuary’s perimeter. Like Philetarios, Apollonis also made dedications to Demeter, yet in her own name rather than someone else’s. An inscription on the propylon reads, “Queen Apollonis [dedicates] the stoas and the chambers as a thank-offering to Demeter and Kore.”

While minimal renovations to the sanctuary were completed in the Augustan period, modifications were made in the Antoninus Pius period, as evidenced by the presence of new depictions of the altar on ancient coins (Pius and Faustina). Modifications included covering the altar and stoa in marble. These renovations as well as the Roman period temple are attributed to Gaius Claudius Selianos Aesimos, whose name appeared on various coins and inscriptions including one on the temple which reads, “To Demeter Karpophoros and to Kore, Daughter of Demeter, G. Claudius Selianos Aesimos built in pronaos, funding it from his own resources while he was in office as prytany.”

While these inscriptions by members of the Attalid Dynasty (Philetairos and Apollonis) as well as Gaius Claudius Selianos Aesimos, may show an interest in piety and devotion, they simultaneously indicate an interest in the preservation of the Dynasty or of their names in general. In other words, inscriptions both demonstrate religious and cultic devotion as well as a desire to maintain status in years to come.

Demeter

Demeter is the Greek goddess of fertility, agriculture, and harvest, specifically of grain. She is the daughter of Rhea (Zeus’s sister) and Cronus. Her name is also often associated with motherhood as well as the cycle of life and death. Her association with maternity, in part, stems from an ancient myth involving Demeter’s daughter, Persephone, who, before her abduction, was referred to as Kore. Persephone, goddess of the underworld, is taken by Hades, the god of death and the underworld, abducted to be his wife. Infuriated by her daughter's kidnapping, Demeter ceases the growth and prosperity of grain until she is able to make an agreement with Hades. Ultimately, Demeter and Hades come to a compromise in which Persephone will reside in Hades’ house, in the underworld, for a third of the year, and with her mother in the world above for the remaining two thirds.

Rituals: Thesmophoria and the Eleusinian mysteries

Myths surrounding Demeter led to and served as inspiration for the creation of various rituals, including those celebrated at The Sanctuary of Demeter at Pergamon: The Thesmophoria and The Eleusinian Mysteries. It should be noted that the Thesmophoria is recognized as one of the oldest and well celebrated cultic festivals in Greek antiquity. Recognized in the Hellenistic period, the annual Thesmophoria centered around themes of growth, nurturing, fertility, and maternity. Through excavations and archaeological evidence, it can be assumed that cultic activity began at this site in the fourth century BCE. In an act of pilgrimage, women traveled to The Sanctuary of Demeter at Pergamon, often bringing along (and nursing) their infant children. The Thesmophoria was celebrated over three days and involved various events. On the first day, in order to emulate and honor the myth of Demeter and Persephone, piglets were often sacrificed into “offering pits,” reflecting the way Persephone was consumed by the earth. Dedicated to Demeter’s withdrawal, the first day was known as the Anodos, or the ascent, and involved the construction of a temporary encampment and festival preparations. The first day also consisted of an election in which two women would be selected as the archousai or magistrates of the festival. As to mimic Demeter’s mourning of her daughter, the second day of the Thesmophoria consisted of fasting, Nesteia, and ritual washing. Sitting near the well and on anaphrodisiac plants, women would wash their bodies. Following the sacrifice on the first day, on the third day, Kalligenia, the sacrificial remains would be transplanted and used to enrich land used for agriculture, celebrating the return of both Persephone and the fertility to the land, due to Demeter and Hades’ compromise. The festival would end with a large feast, prayers, and various festivities. Communal meals were extremely important to the rituals, as found in the cooking and eating tools found in excavations.

The Eleusinian mysteries continued various rituals of the Thesmophoria including the sacrificing of the piglets into an “offering pit”. The mysteries also continued the festival’s focus on growth and vitality, however, fixated more intently on life and death or, the afterlife. From the Hellenistic period to the time of Demetrius revival under Antoninus Pius, the festival’s priorities shifted from a focus on agrarian wealth to the preparation for a prosperous afterlife. Essentially, the sacrificial remains would not serve to enrich the land for agricultural purposes as they would in Hellenistic times, but rather, to enhance the earth and underworld beneath, somewhat of an offering to Hades himself. While the Thesmophoria displayed a group of women’s collective worship, the mysteries shaped the rituals to center around the individual, specifically concerning individual destiny and afterlife. Furthermore, the Thesmophoria's festivities were limited to women, and the mysteries allowed the participation of men and women of a certain stature. The Thesmophoria’s women patronage can be inferred from the excavation of votive terracotta objects of women worshippers. More changes in ritual practices from Thesmophoria to Eleusinian mysteries can be observed on reliefs located on the south stoa. Imagery typical to the Thesmophoria is present, however, the addition of depiction of two torches indicate new ritual practice, specifically a night time initiation.

References

“Alexander the Great.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed May 1, 2021.

“Demeter.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed May 1, 2021.

Hansen, Esther V. The Attalids of Pergamon, 14-25. Cornell University Press, 1971. Accessed April 30, 2021. http://www.jstor.org/stable/10.7591/j.cttq4444.9.

“History of the Kingdom of Pergamon.” YouTube. YouTube, January 23, 2019.

Johnston, Sarah Iles. "Demeter, Myths, and the Polyvalence of Festivals." History of Religions 52, no. 4 (2013): 370-401. Accessed April 30, 2021. doi:10.1086/669646.

Koester, Helmet “Chapter 11: The Sanctuary of Demeter at Pergamon: Cultic Space for Women and Its Eclipse,” Pergamon: Citadel of the Gods. (1998).

“Pergamum.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed May 1, 2021.

Tzanetou, Angeliki. "Something to Do with Demeter: Ritual and Performance in Aristophanes' Women at the Thesmophoria." The American Journal of Philology 123, no. 3 (2002): 329-67. Accessed April 30, 2021. http://www.jstor.org/stable/1561692.

Zanon, Cornelie Piok. “The Sanctuary of Demeter at Pergamon: Architecture and Dynasty in the Early Attalid Capital.” (2009). p. 283

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