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aCKnoWledGmenTS i would first like to thank Philippe de montebello, <strong>di</strong>rector emeritus of The metropolitan museum of art, and Carlos a. Picón, Curator in Charge of the department of Greek and roman art, for affor<strong>di</strong>ng me the opportunity of gui<strong>di</strong>ng the <strong>di</strong>sassembly and reconstruction of the monteleone chariot. mr. de montebello was also instrumental in organizing with adriano maggiani, then <strong>di</strong>rector of the istituto <strong>di</strong> Stu<strong>di</strong> sulle Civiltà italiche e del me<strong>di</strong>terraneo antico, the details of my collaboration with the metropolitan for this project. To Carlos Picón i owe gratitude for his support and the generosity with which he made his department’s staff and its resources available to me during a period of more than five years. Joan r. mertens has taken an interest in my work since i first visited the chariot in 1989, and she has provided considerable help in various forms during the reconstruction of the chariot and the preparation of this article. my thanks go to those who have served as <strong>di</strong>rector of the istituto <strong>di</strong> Stu<strong>di</strong> sulle Civiltà italiche e del me<strong>di</strong>terraneo antico of the Consiglio nazionale delle ricerche in italy since my study of the monteleone chariot began: the late mauro Cristofani, adriano maggiani, Francesco roncalli <strong>di</strong> montorio, Paolo Xella, and Paola Santoro, the present <strong>di</strong>rector. They encouraged my work, making it part of the institute’s broader research Project on ancient Sabina. i am grateful to the Soprintendenza per i Beni archeologici per la Toscana, the Soprintendenza per i Beni archeo logici per l’umbria, the Soprintendenza per i Beni archeologici per l’etruria meri<strong>di</strong>onale, the museo Gregoriano etrusco at the Vatican museums, and the archivio Centrale dello Stato for giving me access to many objects and documents pertinent to my investigations. i join The metropolitan museum of art in expressing our appreciation to The Vannozzi monteleone Chariot Fund for contributing to this publication. in the department of Greek and roman art of the metropolitan i am indebted to William m. Gagen, Collections manager, who facilitated every aspect of moving the chariot and every logistical detail; Fred a. Caruso, Collections Specialist, who was of particular help when the chariot was being assembled; John F. morariu Jr., Supervising departmental Technician; and Jennifer Slocum Soupios, Principal departmental Technician; matthew noiseux, assis tant administrator, who patiently organized all the arrangements pertaining to my trips to new York; and mark C. Santangelo, associate museum librarian, The onassis library for Hellenic and roman art, who facilitated my use of the department library. also at the metropolitan my thanks go to lawrence Becker, Sherman Fairchild Conservator in Charge, objects Conservation, and James H. Frantz, research Scientist, department of Scientific research, for their oversight of the chariot’s conservation; to richard e. Stone, Conservator emeritus, objects Conservation, for his willingness to <strong>di</strong>scuss the many questions posed by the object; and to dorothy H. abramitis, Conservator, objects Conservation, who resolved many inquiries of a technical nature. my special admiration goes to Kendra roth, Conservator, objects Conservation, who <strong>di</strong>d most of the work on the chariot and also contributed the descriptions of bronze corrosion in the catalogue entries. in her rea<strong>di</strong>ness to provide information as well as to <strong>di</strong>scuss and clarify questions she proved a superb colleague. Frederick J. Sager, Senior Conservation Preparator, was meticulous in fashioning the substructure of the chariot following my drawings, and the late John Canonico, Conservator, provided help in many situations. Hermes Knauer, armorer in the department of arms and armor, contributed his exceptional expertise in removing the ancient pieces of the chariot from its modern mount. Peter Zeray, Photographer in The Photograph Stu<strong>di</strong>o, is responsible for the superb documentation of the chariot—the in<strong>di</strong>vidual pieces when it was taken apart and the whole when it was reassembled. i thank marco leona, david H. Koch Scientist in Charge, and mark Wypyski, research Scientist, department of Scientific research, for their role in the metal analysis, as well as anibal rodriguez, Senior museum Tech ni cian, <strong>di</strong>vision of anthropology, american museum of natural History, new York, for the analysis of the ivory. Special thanks go to the e<strong>di</strong>torial Board of the Met- ropolitan Museum <strong>Journal</strong> for accepting my manuscript for publication and to the staff of the e<strong>di</strong>torial department whose exceptional skill brought it into being: Sue Potter, e<strong>di</strong>tor of the <strong>Journal</strong>, and alexandra Bonfante-Warren, for their particular e<strong>di</strong>torial care and expertise; elizabeth Zechella, e<strong>di</strong>tor; Bruce Campbell, designer; douglas malicki, production manager; and Jean Wagner and amelia Kutschbach, bibliographers. among the colleagues who have enriched my knowledge in various ways i thank larissa Bonfante, marina martelli Cristofani, laura ambrosini, maurizio Sannibale, mafalda Cipollone, mary B. moore, Sidney Goldstein, Françoise Gaultier, Jette Christiansen, and Ju<strong>di</strong>th Swaddling. my special thanks go to Clau<strong>di</strong>a Grasso and lawrence Jenkens for their care in translating my italian text, dalia lamura for her professionalism in producing the new drawings of the chariot, and eleonora Stella for helping to compile the list of authors cited in the article. The <strong>Monteleone</strong> Chariot: Acknowledgments 107
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M e t r o p o l i ta n M u s e u M
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M e t r o p o l i ta n MuseuM Journ
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Contents The etruscan Chariot from
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M e t r o p o l i ta n MuseuM Journ
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i.2-i.4 The monteleone chariot afte
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i.5. diagram of the monteleone char
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i.7 The monteleone chariot after re
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16 i.9 The site of monteleone di Sp
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i.10 Plan of the gravesite of the m
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i.18 Pieces of the chariot and othe
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22 in that city he promptly cabled
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i.24 The monteleone chariot during
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26 i.28 detail of the monteleone ch
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28 among surviving works of ancient
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ii.2 The plaster cast used to encas
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32 a b c ii.8 Bronze decoration on
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ii.11 Substructure of parade chario
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ii.15 reconstruction of the shock-a
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38 century B.C. it seems that the s
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40 inserted the tenons of a curved
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iii.3 The box of the monteleone cha
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iii.4 montage of photographs showin
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iii.6 diagrams of the central panel
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48 fied the female figure as earth,
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50 outside wheel of achilles’s ch
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iii.15 iii.16 iii.17 details of the
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iii.29 details of the toolmarks on
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- Page 88 and 89: 88 V.52 Frieze on proper right side
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- Page 118 and 119: 118 39. Serra ridgway 2001, p. 352.
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