DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.37251#0081
SALA DEI TRIONFI 3, 4
49
A/gzz^/azzj (i8yo), p. 39, pi. iii. 3 ; Baumeister, ii, p. no8, 6g. 1305; A. Furtwangler,
A/tF. (1893), p. 34; Brunn-Bruckmann, 3 [6; L. C. Spaulding, GazzzzY/zzy zzz
p. 53k; Helbig% 93 y.
Alin. 6031; And. 1630; B. 16634 ! M. 3^75-
4. FRONT OF SARCOPHAGUS WITH THE FOUR SEASONS
(Pi- 17).
H. 1-04 m., L. 2.3Q m. Luna marble. Restored: nose and upper lip of figure
C, tip of nose of D. The 1. arm of A has been broken at elbow and reset.
The sarcophagus belongs both from its architecture and its subjects
to a well-known class, two other examples of which are in the Belvedere
of the Vatican (nos. 60 and 68: Amelung, Eh/. C<2/. ii, pp. 133, 166).
The composition here, as in the Vatican examples, falls into three distinct
parts: in the centre a richly decorated sepulchral chapel, and to r. and 1.
an <3<?<hzb%Az within which stands a group of two seasons.
The sepulchral chapel has a pediment supported by two columns
with spiral butings and fantastic composite capitals. In the held of the
pediment is a wreath with buttering ribbons. On the apex is an acanthus
leaf, at each corner a half palmette. Between the apex and each corner
reclines a marine being, a youth supporting his head with one hand and
resting the other on the frame of the palmette. His body ends in long
coils and a hsh's tail. These figures symbolize the mystic escort of the
dead across the river (h*<?%7zz/,y. The door of the building has two leaves,
that to the 1. being ajar (cf. on this motive Altmann, Grzz^a//^ zwzz.
Ahzz'^r^z'/, p. ig). Each leaf is divided into two larger and three narrower
panels; within each of the four large panels appears a genius of the
Seasons figured as a winged Cupid as follows: above on the 1. Summer
wearing a mantle on the 1. shoulder moves to r. and holds a bundle of
sheaves in his 1. hand. His r. hand and arm are broken but the hand once
held a sickle, the end of which is still visible. This figure is balanced on
the r. leaf by Winter, who likewise moves towards the centre, though he
looks back to the r. and his body faces frontally. He clasps a bundle of
reeds in his r. hand and holds in his 1. a couple of ducks, head downwards.
By his 1. leg is a basket of fruit. Below, on the 1. leaf is Autumn, with cloak
buttering behind him, piling up grapes into a basket. Opposite him, on
the r. leaf, is Spring carrying on his r. shoulder a long tray laden with two
baskets of bowers. At the top and bottom of these larger panels and
between them are narrower panels. The intermediate ones are adorned
with female faces framed in bowing hair and facing frontally, probably
Medusa masks; the others have lions' heads likewise placed frontally.
All these heads occupy the extreme ends of each panel, and are evidently
placed there as a/'p/ro^ao?, i. e. to ward off evil spirits from the tomb.
The 1. leaf of the folding door is strengthened along its inner rim by
a strip representing metal (presumably bronze) bxed with heavy studs.
On the r. of the sepulchral chapel is a statue of Fortune on a high circular
plinth, holding a steering-oar in her r. hand and a cornucopiae in her 1.
Above is a winged draped Victory facing the front, with wings extended
and upraised (head and arms lost). On the 1. on a similar plinth is
a male togate bgure, young and beardless, holding in his r. hand a ^<2/^%
over a burning altar, and in his 1. a cornucopiae, at the top of which
a pine-cone is clearly discernible ; he is presumably the ^zzz'zzy of the dead
1912
E
49
A/gzz^/azzj (i8yo), p. 39, pi. iii. 3 ; Baumeister, ii, p. no8, 6g. 1305; A. Furtwangler,
A/tF. (1893), p. 34; Brunn-Bruckmann, 3 [6; L. C. Spaulding, GazzzzY/zzy zzz
p. 53k; Helbig% 93 y.
Alin. 6031; And. 1630; B. 16634 ! M. 3^75-
4. FRONT OF SARCOPHAGUS WITH THE FOUR SEASONS
(Pi- 17).
H. 1-04 m., L. 2.3Q m. Luna marble. Restored: nose and upper lip of figure
C, tip of nose of D. The 1. arm of A has been broken at elbow and reset.
The sarcophagus belongs both from its architecture and its subjects
to a well-known class, two other examples of which are in the Belvedere
of the Vatican (nos. 60 and 68: Amelung, Eh/. C<2/. ii, pp. 133, 166).
The composition here, as in the Vatican examples, falls into three distinct
parts: in the centre a richly decorated sepulchral chapel, and to r. and 1.
an <3<?<hzb%Az within which stands a group of two seasons.
The sepulchral chapel has a pediment supported by two columns
with spiral butings and fantastic composite capitals. In the held of the
pediment is a wreath with buttering ribbons. On the apex is an acanthus
leaf, at each corner a half palmette. Between the apex and each corner
reclines a marine being, a youth supporting his head with one hand and
resting the other on the frame of the palmette. His body ends in long
coils and a hsh's tail. These figures symbolize the mystic escort of the
dead across the river (h*<?%7zz/,y. The door of the building has two leaves,
that to the 1. being ajar (cf. on this motive Altmann, Grzz^a//^ zwzz.
Ahzz'^r^z'/, p. ig). Each leaf is divided into two larger and three narrower
panels; within each of the four large panels appears a genius of the
Seasons figured as a winged Cupid as follows: above on the 1. Summer
wearing a mantle on the 1. shoulder moves to r. and holds a bundle of
sheaves in his 1. hand. His r. hand and arm are broken but the hand once
held a sickle, the end of which is still visible. This figure is balanced on
the r. leaf by Winter, who likewise moves towards the centre, though he
looks back to the r. and his body faces frontally. He clasps a bundle of
reeds in his r. hand and holds in his 1. a couple of ducks, head downwards.
By his 1. leg is a basket of fruit. Below, on the 1. leaf is Autumn, with cloak
buttering behind him, piling up grapes into a basket. Opposite him, on
the r. leaf, is Spring carrying on his r. shoulder a long tray laden with two
baskets of bowers. At the top and bottom of these larger panels and
between them are narrower panels. The intermediate ones are adorned
with female faces framed in bowing hair and facing frontally, probably
Medusa masks; the others have lions' heads likewise placed frontally.
All these heads occupy the extreme ends of each panel, and are evidently
placed there as a/'p/ro^ao?, i. e. to ward off evil spirits from the tomb.
The 1. leaf of the folding door is strengthened along its inner rim by
a strip representing metal (presumably bronze) bxed with heavy studs.
On the r. of the sepulchral chapel is a statue of Fortune on a high circular
plinth, holding a steering-oar in her r. hand and a cornucopiae in her 1.
Above is a winged draped Victory facing the front, with wings extended
and upraised (head and arms lost). On the 1. on a similar plinth is
a male togate bgure, young and beardless, holding in his r. hand a ^<2/^%
over a burning altar, and in his 1. a cornucopiae, at the top of which
a pine-cone is clearly discernible ; he is presumably the ^zzz'zzy of the dead
1912
E