Journal - Comune di Monteleone di Spoleto

Recommendations

Info

iii.4 montage of photographs showing all the revetments on the box of the monteleone chariot 44 hand, and the front panel and the chariot’s curved chassis, on the other. on each side the joint between the panels consists of four elements executed individually and combined to create a single unit (see Figures iii.3, iii.4): a naked youth (cats. 3c, 4c), a disk over his head (cats. 5, 6), a lion protome under his feet (cats. 7, 8), and a strip attaching the central panel to the chassis and terminating in a small crouching lion alongside the lion protome (cats. 9, 10). i believe the design must have included a mirror image — a second crouching lion — on the other side of the lion protome (see Figure iii.8). The second crouching lion must have been placed on the side frieze panels where there is a plain surface. i suggest that this second lion was executed in ivory and then glued onto the bronze sheet. during the life of the chariot, the ivory lion was replaced with a bronze ram, which must originally have been placed elsewhere on the chariot (see cats. 13, 14, and Section iii.d). although they were executed by another craftsman, the side friezes seem therefore to have been integral to the fig
ural design from its inception. The representation on the proper right frieze (cat. 11) shows a centaur, a winged figure, and a youth with one arm around a recumbent panther. The front part of the centaur is human and wears a garment like those in Greek depictions of Chiron or Pholos, which differentiates him from common centaurs. 15 Furthermore, he sits on a stool and looks as though he is watching the youth who has caught the panther. The composition suggests that the artist strove to capture the moment when the winged figure flew into the center of the scene. The winged figure’s ankle bracelet and especially the object that hangs from her right shoulder identify her and thus explain the episode. This object, not previously remarked, is iris’s writing tablet. 16 it may also support Hampe and Simon’s hypothesis that the master artist of the monteleone chariot chose the moment when at Zeus’s command the divine messenger goes to mount Pelion to terminate Chiron’s education of the young achilles, announcing that it is time to set off for the war against Troy. 17 This detail may be the key to the entire iconographic program and thus to the identification of the protagonist. achilles’s childhood, relegated to the minor frieze, is the prologue to the drama that will unfold in three acts on the main panels: the hero receiving his new armor, forged by Hephaistos, from his mother, Thetis; the hero vanquishing memnon over the body of antilochos; and, finally, the hero gaining apotheosis. as mauro Cristofani has brilliantly noted, the program thus satisfied the wishes of the person who commissioned the chariot by comparing the patron to the hero par excellence while highlighting the values of a paideia marked by physical training. 18 Given this context, what is the symbolic significance of the animals depicted in the figural decoration, where they appear both on their own and interacting? at present twelve predators can be seen. lions appear eight times (there may originally have been ten; see Figure iii.8b), attacking in only two cases. Birds of prey are depicted four times, twice attacking. Panthers appear three times, never in a posture of attack and once defeated. There is one attacking boar. There are four defeated animals: a fawn attacked by a boar and birds of prey, a deer and a bull attacked by a lion, and a hare bagged by the centaur. There are three rams that are neither predators nor prey; indeed, the protome of one of them crowns the protagonist’s helmet. it is widely held that the attacking lions here symbolize the victorious hero in combat, and i agree. The possible significance of the other lions occurring on different parts of the vehicle has not been studied in sufficient detail, however. 19 The feline heads at the ends of the neck-yoke that iii.5 Boar protome that sheathed the system of straps attaching the draft pole to the floor frame at the front of the monteleone chariot (see cat. 2a, Figures iii.2–iii.4) The Monteleone Chariot III: Construction and Decoration 45
Page 1 and 2: M e t r o p o l i ta n M u s e u M
Page 3 and 4: M e t r o p o l i ta n MuseuM Journ
Page 5 and 6: Contents The etruscan Chariot from
Page 7: M e t r o p o l i ta n MuseuM Journ
Page 10 and 11: i.2-i.4 The monteleone chariot afte
Page 12 and 13: i.5. diagram of the monteleone char
Page 14 and 15: i.7 The monteleone chariot after re
Page 16 and 17: 16 i.9 The site of monteleone di Sp
Page 18 and 19: i.10 Plan of the gravesite of the m
Page 20 and 21: i.18 Pieces of the chariot and othe
Page 22 and 23: 22 in that city he promptly cabled
Page 24 and 25: i.24 The monteleone chariot during
Page 26 and 27: 26 i.28 detail of the monteleone ch
Page 28 and 29: 28 among surviving works of ancient
Page 30 and 31: ii.2 The plaster cast used to encas
Page 32 and 33: 32 a b c ii.8 Bronze decoration on
Page 34 and 35: ii.11 Substructure of parade chario
Page 36 and 37: ii.15 reconstruction of the shock-a
Page 38 and 39: 38 century B.C. it seems that the s
Page 40 and 41: 40 inserted the tenons of a curved
Page 42 and 43: iii.3 The box of the monteleone cha
Page 46 and 47: iii.6 diagrams of the central panel
Page 48 and 49: 48 fied the female figure as earth,
Page 50 and 51: 50 outside wheel of achilles’s ch
Page 52 and 53: iii.15 iii.16 iii.17 details of the
Page 54 and 55: iii.29 details of the toolmarks on
Page 56 and 57: iii.41 Toolmarks on the inner decor
Page 58 and 59: 58 attested from excavations) devel
Page 60 and 61: iii.43 aryballos in the form of an
Page 62 and 63: 62 that reached the metropolitan mu
Page 64 and 65: 64 6. The head of the eagle at the
Page 66 and 67: V.1 Central panel of the monteleone
Page 68 and 69: 68 V.4 Central panel, right profile
Page 70 and 71: V.8 Central panel, detail of the Bo
Page 72 and 73: V.11 Boar protome V.12 detail of th
Page 74 and 75: 74 V.19 Proper right tusk of the bo
Page 76 and 77: V.23 Proper right panel and related
Page 78 and 79: 78 V.26 edging of the proper right
Page 80 and 81: 80 V.30 Proper left panel and relat
Page 82 and 83: 82 V.33 edging of the proper left p
Page 84 and 85: V.37 right nailed boss, front V.38
Page 86 and 87: V.46 left lion head, front 86 V.47
Page 88 and 89: 88 V.52 Frieze on proper right side
Page 90 and 91: V.56 Frieze on proper left side, fr
Page 92 and 93: V.62 Bronze fragments as reconstruc
Page 94 and 95:
V.65 eagle head from the end of the
Page 96 and 97:
V.68 lion head from the proper left
Page 98 and 99:
V.74 Proper left wheel V.75 X-ray o
Page 100 and 101:
100 V.77 location of ivory fragment
Page 102 and 103:
102 for much of their length — an
Page 104 and 105:
104 V.86 Fragment of ivory decorati
Page 106 and 107:
106
Page 108 and 109:
108 aPPendiX: TranSCriPTion oF SiGn
Page 110 and 111:
110 minuti dettagli sulla disposizi
Page 112 and 113:
112 found in the nearby small valle
Page 114 and 115:
114 14. emiliozzi 1992, p. 102, fig
Page 116 and 117:
116 dall’uso [sic!] e sopravvive
Page 118 and 119:
118 39. Serra ridgway 2001, p. 352.
Page 120 and 121:
120 suggests that they were all mad
Page 122 and 123:
122 reFerenCeS Åkerström, Åke 19
Page 124 and 125:
124 1972 Buccheri a cilindretto di
Page 126 and 127:
126 emiliozzi, adriana 1991 “il C
Page 128 and 129:
128 laureti, Pasquale 1904 “la bi
Page 130 and 131:
130 Welt, vol. 1, part 1, Von den A
Page 132:
132 Bruwier, marie-Françoise Tilli
show all

Journal - Comune di Monteleone di Spoleto

Create successful ePaper yourself

Delete template?

Save as template?