DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.37251#0249
SALA DEI MONUMENTI ARCAICI 5, 6
213
Attic art especiaHy on vases after the Persian Wars. (Cf the latest of
the statues on the Acropolis, no. 688.) Both feet are Hat on the
ground and are shod with sandals, the straps of which were added in
colour. The hair, which fails in thick masses at the side of the temples,
is wrapped up in a
The style of the drapery shows a combination of convention (e. g. in
the lower edge of the skirt) with naturalism (e. g. in the folds on r.
shoulder and upper arm) which agrees well with a date in the second quarter
of the fifth century. There are other touches of naturalism such as the
Wing of Venus' on the neck. At the same time, the absence of any
attempt to foreshorten the body or the head shows that the relief is of
early transitional date. The style appears non-Attic, witness the eye in
full view, oval with heavy lids, the straight mouth and heavy chin. These
features are best paralleled in Ionian reliefs. The foreshortening of foot
and hand, held at one time to be peculiar to the so-called North Greek
school, is a trait common among Ionian sculptors at this time, and due in
a measure to the influence of painting; cf. Brunn, AAzzzz? NzArz/Azz, ii,
p. 184.
Furtwangler (6W/. Introd., p. 6) reckons this -sAA among
a group in which he sees specifically Ionian traits. These Wtzq in his
view, are distinguished by the marble, which is Parian, and by their shape,
which is that of a tall narrow panel containing only the single figure of
the dead, invariably shown standing, and—when it exists—by an zz^ro-
Arzozz in the shape of an Ionian palmette: notable examples are the VV<2<?
of Alxenor of Naxos and his dog (Reinach, AVz'^y, ii, 373. 3), the similar
.sAA in Naples (Gz/z'<Az, p. 32, fig. g), the jAAzz' of Larissa (Reinach,
WVzz/y, ii, 373. g) and of Carystos (Reinach, AWzl/y, ii, 40. 1) among
those of men, and the j-AA of a girl in Venice (CcA. &z<5czzr<?yj Introd.,
p. 7, with fig.). More recently an attempt has been made (_/. AA. A. xlii
(1922), p. 248) to attribute this monument (together with other works
of Ionian art, e.g. the Ludovisi Throne) to Ionian sculptors working in or
supplying sculpture to S. Italy in general, and Locri Epizephyrii in
particular.
Found on the Esquiline in the former Villa Palombara.
Z?%A. bfzw. x (1882), p. 244, no. 1; Furtwangler, CAA. (1882), Fr. ed.,
TzzAcA., p. y ; Ghirardini, Z7zzA. Wzzz. xi (1883), pp. 144-72, pis. XIII, XIV; Koepp,
Ac'7zz. AfzA. i (1886), p. 126 ; Bruckner, Oz*7zaw<?7zZ zz. AW??; aW zzZZzV^gzz
(1886), p. 60, no. 7; Brunn-Bruckmann, pi. 417^; Reinach, AWA/r (1904), hi, P- 210,
no. 1 ; F. Studniczka in yg/AY. xxvi (1911), p. 174, fig. 77 ; Bocconi, p. 220, fig. 2 ;
H. Schrader, xvi (1913), p. 11 f., fig. 3 ; Winter, VzzzzjZ^^rzA. z'zz Z7z7&?7z.*
A/Az'Azzzz, Heft 8, 9, p. 239. 1 ; HelbigS, no. 974.
Alin. 27200; M. 6801.
6. FRAGMENT OF A FRIEZE (pi. 86).
H. .24 m., L. -393 m. Terra-cotta. Unrestored. Put together from nine
fragments, and forming the greater part of one slab of a frieze which was attached to
its background by nails or pegs at intervals. The terra-cotta is from a mould; it is
too much corroded for traces of re-touching to be visible.
The subject is a procession of chariots of which two are shown on
this slab. Each chariot is drawn by two horses, but of the second horse,
which originally must have been mostly added in colour, only the legs are
discernible. Each contains two persons. In the first chariot the driver,
213
Attic art especiaHy on vases after the Persian Wars. (Cf the latest of
the statues on the Acropolis, no. 688.) Both feet are Hat on the
ground and are shod with sandals, the straps of which were added in
colour. The hair, which fails in thick masses at the side of the temples,
is wrapped up in a
The style of the drapery shows a combination of convention (e. g. in
the lower edge of the skirt) with naturalism (e. g. in the folds on r.
shoulder and upper arm) which agrees well with a date in the second quarter
of the fifth century. There are other touches of naturalism such as the
Wing of Venus' on the neck. At the same time, the absence of any
attempt to foreshorten the body or the head shows that the relief is of
early transitional date. The style appears non-Attic, witness the eye in
full view, oval with heavy lids, the straight mouth and heavy chin. These
features are best paralleled in Ionian reliefs. The foreshortening of foot
and hand, held at one time to be peculiar to the so-called North Greek
school, is a trait common among Ionian sculptors at this time, and due in
a measure to the influence of painting; cf. Brunn, AAzzzz? NzArz/Azz, ii,
p. 184.
Furtwangler (6W/. Introd., p. 6) reckons this -sAA among
a group in which he sees specifically Ionian traits. These Wtzq in his
view, are distinguished by the marble, which is Parian, and by their shape,
which is that of a tall narrow panel containing only the single figure of
the dead, invariably shown standing, and—when it exists—by an zz^ro-
Arzozz in the shape of an Ionian palmette: notable examples are the VV<2<?
of Alxenor of Naxos and his dog (Reinach, AVz'^y, ii, 373. 3), the similar
.sAA in Naples (Gz/z'<Az, p. 32, fig. g), the jAAzz' of Larissa (Reinach,
WVzz/y, ii, 373. g) and of Carystos (Reinach, AWzl/y, ii, 40. 1) among
those of men, and the j-AA of a girl in Venice (CcA. &z<5czzr<?yj Introd.,
p. 7, with fig.). More recently an attempt has been made (_/. AA. A. xlii
(1922), p. 248) to attribute this monument (together with other works
of Ionian art, e.g. the Ludovisi Throne) to Ionian sculptors working in or
supplying sculpture to S. Italy in general, and Locri Epizephyrii in
particular.
Found on the Esquiline in the former Villa Palombara.
Z?%A. bfzw. x (1882), p. 244, no. 1; Furtwangler, CAA. (1882), Fr. ed.,
TzzAcA., p. y ; Ghirardini, Z7zzA. Wzzz. xi (1883), pp. 144-72, pis. XIII, XIV; Koepp,
Ac'7zz. AfzA. i (1886), p. 126 ; Bruckner, Oz*7zaw<?7zZ zz. AW??; aW zzZZzV^gzz
(1886), p. 60, no. 7; Brunn-Bruckmann, pi. 417^; Reinach, AWA/r (1904), hi, P- 210,
no. 1 ; F. Studniczka in yg/AY. xxvi (1911), p. 174, fig. 77 ; Bocconi, p. 220, fig. 2 ;
H. Schrader, xvi (1913), p. 11 f., fig. 3 ; Winter, VzzzzjZ^^rzA. z'zz Z7z7&?7z.*
A/Az'Azzzz, Heft 8, 9, p. 239. 1 ; HelbigS, no. 974.
Alin. 27200; M. 6801.
6. FRAGMENT OF A FRIEZE (pi. 86).
H. .24 m., L. -393 m. Terra-cotta. Unrestored. Put together from nine
fragments, and forming the greater part of one slab of a frieze which was attached to
its background by nails or pegs at intervals. The terra-cotta is from a mould; it is
too much corroded for traces of re-touching to be visible.
The subject is a procession of chariots of which two are shown on
this slab. Each chariot is drawn by two horses, but of the second horse,
which originally must have been mostly added in colour, only the legs are
discernible. Each contains two persons. In the first chariot the driver,