Journal - Comune di Monteleone di Spoleto

62. This began with Furtwängler 1905, p. 5.
63. emiliozzi 1991. i am grateful to larissa Bonfante and Francesco
roncalli, curators of the exhibition and editors of the catalogue, for
having offered me the opportunity. The content was repeated in
emiliozzi 1997d.
64. Carlos a. Picón graciously allowed me access, and Joan r. mertens
provided valuable assistance. Permission was given to the curators
of the exhibition and editors of the catalogue by director Philippe
de montebello.
65. de montebello 2007.
66. emiliozzi 1997a, 1997d, 1997e, 1997f, and afterward emiliozzi 2006.
67. The anonymous author of the article in Scientific American 1903
(p. 386) noted, “Such is the delicacy of its workmanship that the
vehicle could hardly have been used as a war chariot. Perhaps it
was an ex voto, or a ceremonial chariot used by its noble owner
on rare occasions.”
68. Scientific American 1903, p. 386; Brendel 1978, p. 151; Boitani
1985b, p. 220, and Colonna 1996b, p. 177, for the Castro Chariot;
maggiani 2003, p. 165.
69. For generic iconography see Furtwängler 1905 and 1913, richter
1915, and later leach 1991; for Herakles, see Barnabei 1904; and
for achilles, see ducati 1909.
70. Simon 1966.
71. Camporeale 1964, pp. 445 – 48; Brommer 1965; Banti 1966; Jucker
1966; Schefold 1967, p. 321.
72. For example, Brendel 1978, pp. 145ff.; leach 1991; and mehren
2002, p. 47.
73. lowenstam 2008, p. 134.
74. This series of black and white photographs was made on January
24, 1933. There were no color photographs until those made in
1990 for my research and included, in part, in emiliozzi 1997d.
75. See Haynes 1958 and then Brown 1960, Jucker 1967, Schefold
1967, Zazoff 1968, and Hus 1975, all cited in the Publication
History of the Chariot on page 121.
76. See Torelli 1981a and 1985. it is astonishing to read that “objects
found in orvieto, like the disk with a Gorgon at the museo Faina,
or which come from within the sphere of orvietan influence, like
the chariot fronts from Todi and monteleone di Spoleto or the
sheets from Bomarzo, represent a taste in which the underlying
ionic tradition is expressed in forms that are sometimes provincial
and sometimes uncertain, pointing to the limits of the local culture
and suggestions of the metal working skills of the coastal cities
translated into simplified forms that are rounded and unarticulated,
and on which the often casual surface decoration calls on a memory
of more ancient and inorganic examples” (Torelli 1985, p. 108).
77. emiliozzi 1991, 1996a, and 1997d.
78. For information on Furtwängler, see Flashar 2003. For a reexamination,
see Bonamici 1997.
79. Höckmann (2005) reaffirms its etruscan manufacture, although
with respect to her 1982 publication she adds the debt owed to eastern
Greece both in terms of style and the high relief technique. in this
context, she suggests that etruscan and eastern Greek artists worked
together temporarily in etruria and thus influenced each other.
noTeS To SeCTion ii (PaGeS 29–38)
1. Colonna 1970; Woytowitsch 1978, p. 40, no. 36, pl. 4; Boitani
1985a, 1985b, 1986, and 1987; Höckmann 1982, pp. 120 – 21;
Boitani and aureli 1988, pp. 127 – 28; emiliozzi 1991, pp. 107 – 9,
115 – 16; Boitani 1997. For the tomb (found plundered) and the
remains of its rich treasure, see Sgubini moretti and de lucia Brolli
2003, pp. 380 – 83, figs. 27 – 39 (with bibliography and an up-todate
archaeological assessment, especially on the princely complex
of the Tomb of the Bronzes). These two authors have
suggested that the high-ranking person buried there may have
been a woman. according to some, the site of present-day Castro
may cor respond to ancient Statonia, which is recorded in ancient
sources (discussed in Bonamici 1990), although Stanco (1994) disagrees.
a summary of historical and archaeological information
about this ancient etruscan center is offered in Bonamici 1990
(with bibliography, including the literature on the chariot and the
pair of horses buried there).
2. Tests done on a sample taken from one of the two hubs showed
traces of oak (Boitani and aureli 1988, p. 127).
3. Boitani 1987, figs. 3, 7 – 14; Boitani and aureli 1988, pls. liiia,b, liVc.
4. The chariot was reconstructed for the exhibitions held at the
museo archeologico nazionale in Florence and the Palazzo dei
Priori in Viterbo in 1985 and 1986 (see Boitani 1985a and 1986).
one wheel was excluded from the reconstruction, although its
parts — a wooden hub with its bronze revetment (Figure ii.4) and
the wooden remains of its spokes and rim with an iron band —
were and continued to be displayed in a separate case.
5. The cast was exhibited at the museo nazionale etrusco di Villa
Giulia in rome together with the chariot before it was transferred
to the museo archeologico nazionale in Viterbo in march 2005.
6. The box measures 80 by 47 centimeters. its length, reconstructed
at 68 centimeters, should be at least 5 centimeters longer with the
addition of the rear finials of the wooden frame, the impressions of
which were not seen during its recovery (see Section ii.a).
7. For the separate sheets of revetment, see Feruglio 1997. For a correct
reconstruction, see emiliozzi 1997f. For the vast bibliography
on the burial complex from which the chariots come, see Bruni
2002, pp. 21 – 23.
8. emiliozzi 1997a, p. 102, fig. 7; Camerin and emiliozzi 1997,
no. 253. on the roman antiquarian alfredo Barsanti, see Pollak
1994, pp. 141 – 42. The sheets are now in rome at the museo
nazionale etrusco di Villa Giulia (17375 – 77, 17379).
9. There is agreement about a date of about 520 B.C.; see Höckmann
1982, pp. 120ff.; martelli Cristofani 1988, p. 23; Colonna 1997,
p. 20; and Boitani 1997. The chronology of the tomb in which the
chariot was found is based on the objects found in it (for a bibliography,
see note 1 above), which include the imported lydion
(martelli Cristofani 1978, p. 183, no. 13).
10. emiliozzi 1997a, pp. 100 – 101, fig. 3; emiliozzi 1997b, p. 147,
pl. iV.1, fig. 13. The term “war chariot” here denotes a fast chariot
used both for long journeys over roads and for quick maneuvers in
events like hunting tournaments. War chariots were used in a
military context only to transport high-ranking warriors to and
from the battlefield, since the terrain of the italian peninsula did
not permit a chariot to be used as a mobile platform during battle.
The same was true in Greece, where chariots were never used in
battle (see Crouwel 1981, pp. 119 – 45, and 1992, pp. 53 – 65), but
not in egypt and the ancient near east (see littauer 1972; Crouwel
1981, pp. 119 – 45; Spruytte 1993; and littauer and Crouwel 1997
for a summary).
11. emiliozzi 1997d, fig. 4 (monteleone), and 1997f, fig. 1 (Castel San
mariano). The presence of identical flooring in the graphic reconstruction
published in Boitani 1997 was my suggestion, and i offer
it again in the updated diagram (Figure ii.10).
12. The chariots known from representations from mainland Greece
from the seventh century B.C. on have a different traction system
and are in fact vehicles with wider flooring, intended to accommodate
two passengers standing side by side. The different structures
seem connected to different manners of harnessing the
team — a neck yoke and shoulder traction in the etruscan-italic
chariots and a dorsal yoke and breast traction in the chariots from
mainland Greece. For a summary of this argument, expanded to
include the civilizations of the ancient near east, see Spruytte
1997 (with bibliography).
13. emiliozzi 1996b; Camerin and emiliozzi 1997, no. 19; emiliozzi
1997a, p. 96, fig. 1.
The Monteleone Chariot: Notes to Section II 113