A Greek hymn is selected among other examples in the corpus of Greek ‘magical’ papyri written in Egypt during the Roman Imperial time. Addressed to the Moon goddess in a plurality of forms and names, it draws a complex portrait of a powerful divinity for love affairs. The incantation weaves innovative denominations together with a poetic and ritual tradition in order to enact power. The poet realised a technical ‘tour de main’ to picture a many-faced goddess, tying heavenly and shining traits to the gloomiest and the deadliest, and entangling anthropomorphic characteristics to a patchwork of animal features. The poetic mastery over names and figures offers tools for the making of the divine inside the ritual performance, with the effect of rendering a vivid perception of the Moon goddess encompassing all her aspects.

This chapter discusses Hadrian’s taste in poetry (a preference for Ennius over Vergil; Antimachus over Homer); his own surviving poems, with discussion of some dedicatory and sepulchral epigrams, and with a proposal about the nature of the possibly polymetric Catachannae mentioned by the Augustan History; and poetry composed with an eye to his approval, like the Altar of the high equestrian official L. Iulius Vestinus (perhaps dateable precisely to 24 January AD 132) and the mysterious inscribed elegiacs from Baetica, signed by ‘Arrian the proconsul’, on a hunter’s proper offerings to Artemis.

By analyzing the topography of Selinous, a colonial foundation of the late seventh century BC, the chapter explores the way in which temple building and sacred architecture became subordinated to urban design. From the sixth century BC onward, Greek cult places and temples were increasingly seen as an expression of the urban rather than the natural landscape. This holds true for altars and temples at the center of cult places, but also for fountain houses that replaced or were built over natural fountains. The sacredness of a place was increasingly represented and communicated through monumental stone architecture. At the same time, the novel use of man-made images in Greek sanctuaries contributed to a radical change in which the presence of the gods was imagined and experienced. All this went along with a shift of power and agency from local groups to urban elites, who had the means to control the restructuring and reorganization of sacred landscapes. The violence of this shift is reflected in the iconography that tends to rationalize and sublimize violence against the non-Greek, non-urban, and non-male.

At the beginning of the sixth century BC, the Aphaia sanctuary on the island of Aegina underwent a radical transformation. What until then had been a local open-air cult place in the woody mountains of the western part of the island, where a female deity had been worshipped as early as the second millennium BC, became an architecturally structured sanctuary that conformed to the novel Doric architectural order. At the same time, a cult image made of ivory was set up in the newly built temple. The goddess, who had previously “shown herself” in the open grove that was associated with her presence, was now represented through a man-made image. In addition, a wall was built around the temple that separated the sacred precinct from the “profane” land outside the sanctuary. Around the same time, the island of Aegina became one of the most important trade centers in the Greek world. The book argues that the transformation of the Aphaia sanctuary on Aegina is typical of the larger area in which the Doric order emerged. This transformation was characterized by economic growth, urbanization, land reclamation, and colonization and prompted the Greeks to rethink their relationship with the gods who inhabited the land.

The sanctuary of Artemis on the island of Korkyra, modern Corfu, is presented as a case study of the relationship between the changing environment and the monumentalization of Greek sanctuaries through Doric stone architecture. Although the sculptural decoration of the Artemis temple, which is one of the earliest Doric temples known so far, is relatively well preserved, modern scholars disagree on the interpretation of the sculptures. The question of how the representations of Medusa and other mythological figures on the pediments and metopes related to the divinity worshipped in the sanctuary and to the local context are particularly controversial. However, as the chapter argues, the builders of the temple had no interest in highlighting this relationship in the first place. The temple and its sculptural decoration were meant to express Panhellenic values and standards rather than local traditions. Thus, the local elite of Korkyra presented themselves as part of a Panhellenic elite network. At the same time, the elite showed the local population that they were taking care of the religious landscape in an unstable and radically transformative situation.