Navershia_mechey_svyazannykh_s_krestovymi_pokhodami (1)

The Metropolitan Museum Journal is issued annually by The Metropolitan Museum of Art. Its purpose is to publish original research on works in the Museum’s collections and the areas of investigation they represent. Articles are contributed by members of the Museum staff and other art historians and specialists. Submissions should be addressed to:

James David Draper

Henry R. Kravis Curator

European Sculpture and Decorative Arts

The Metropolitan Museum of Art

1000 Fifth Avenue

New York, NY 10028

Manuscripts are reviewed by the Journal Editorial Board, composed of members of the curatorial and editorial departments. To be considered for the following year’s volume, an article must be submitted, complete including illustrations, by October 15. Once an article is accepted for publication, the author will have the opportunity to review it after it has been edited and again after it has been laid out in pages. The honorarium for publication

is $100, and each author receives a copy of the Journal volume in which his or her article appears.

Manuscripts should be submitted as Word !les. In addition to the text, the manuscript must include endnotes, captions for illustrations, and a 200-word abstract. Each part of the article should be in a separate !le except the endnotes, which should be linked to and appear at the end of the text !le.

For the style of bibliographic references in endnotes, authors are referred to The Metropolitan Museum of Art Guide

to Editorial Style and Procedures, which is available from the Museum’s Editorial Department upon request, and to The Chicago Manual of Style. Please provide a list of all bibliographic citations that includes, for each title: full name(s) of author or authors; title and subtitle of book

or article and periodical; place and date of publication; volume number, if any; and page, plate, and/or !gure number(s). For citations in notes, please use only the last name(s) of the author or authors and the date of publication (e.g., Jones 1953, p. 65; Smith and Harding 2006, pp. 7–10, !g. 23).

All photographs and drawings must be submitted with the manuscript, each identi!ed according to the list of captions, which should also include photograph credits. We require either high-resolution digital scans, glossy black-and-white photographs (preferably 8 x 10 with white borders) of good quality and in good condition, or"color transparencies (preferably 8 x 10 but 4 x 6

is also"acceptable). For digital images, TIFF !les are preferable to JPEGs. Files must be at least 300 dpi and, if applicable, in RGB color mode. On a photocopy or printout of each illustration please indicate the !gure number, the picture’s orientation, and any instructions for cropping. Reproductions of photographs or other illustrations in books should be accompanied by captions that include full bibliographic information. The author of each article is responsible for obtaining all photographic material and reproduction rights.

I . I N T R O D U C T I O N

The restoration and reconstruction of the Etruscan chariot from Monteleone di Spoleto (Figures I.1 –I.4) took place as part of the reinstallation of the galleries of Greek and Roman Art completed in 2007. In its new state, the chariot is illustrated in the book accompanying the reinstallation, Art of the Classical World in The Metropolitan Museum of Art: Greece, Cyprus, Etruria, Rome. My participation came about through an agreement between The Metropolitan Museum of Art and the Istituto di Studi sulle Civiltà Italiche e del Mediterraneo Antico (ISCIMA) of the Consiglio Nazionale delle Ricerche (CNR). Both institutions made possible my work on the chariot and this publication.

A. The scope of the article

The project in which I was involved was the reconstruction of the Monteleone chariot according to the recent scholarship on this speci!c type of ancient vehicle. The work on the chariot took place at the Metropolitan Museum, in collaboration with the Department of Objects Conservation and the Department of Greek and Roman Art at the Metropolitan Museum.

This article traces the circumstances of the discovery and acquisition of the Monteleone chariot, its !rst reconstruction, the typology of the vehicle, and the nature of its remarkable decoration from both the technical and iconographic points of view; further, this publication identi!es the craftsman who created it and the patron who commissioned it. I conclude with a comparison between the original chariot, as I understand it, and the reconstruction.

Several aspects of the Monteleone chariot are not discussed here. First of all, the grave goods are not addressed except in the discussion about the validity of its present structure.1 Second, this publication does not include the results of the technical scienti!c examination. Logically,

Metropolitan Museum Journal 46

© 2011 The Metropolitan Museum of Art, New York

such information would have had a place here, but since different kinds of work proceed at different paces, I decided not to postpone my part of a publication any longer. I do include the results of some metallographic analyses that support certain observations I present. Kendra Roth, conservator in the Department of Objects Conservation, also graciously allowed me to include technical information regarding the corrosion that had formed on the bronze revetment over time. In the catalogue (Section V) such information is reported in each entry under “Condition.” In Section III.C my remarks concerning the master craftsman and his assistants contain only certain observations; they do not fully address the repoussé work, the tracing and punching techniques, and the application of the ivory inlays. I hope that my observations will inspire further detailed studies by experts on these techniques and lead to future publications on how the chariot was made. Similarly, Sections II and V should facilitate further iconographic and stylistic analysis by more specialized scholars.

The reconstruction drawings of the chariot included here (Figures I.5, II.15, III.1, III.3, III.6–III.8, III.10) update the ones I used in previous publications.2 The updated drawings are the result of new information derived from disassembling the old restoration.

B. The chariot

The Monteleone chariot belongs to a two-wheeled type of vehicle in which the box is balanced on the axle, and the pole rises up to the two yoke arms that !t the necks of two draft horses (Figures I.2 –I.5). The substructure was completely revetted with bronze, from the nine-spoked wheels to the body, and from the pole to the yoke arms. No cast bronze was used. The revetment of the car itself, the animal elements covering the base and end of the draft pole (a boar forepart and an eagle head), and those on the two arms of the yoke (lion heads) are executed in repoussé work and decorated by incision.

I.1 Detail of the front panel of the Monteleone chariot during the recent reconstruction, before the pole was reattached. See also Figures I.2–I.4.