Metropolitan Museum II
Folder: Metropolitan Museum of Art
Metropolitan Museum of Art Set II includes: Greek & Roman (Bronze Age Greece, Geometric, Etruscan, and Cypriot Art only) The Metropolitan Museum of Art, often referred to simply as The Met, is one of the world's largest and most important art museums. It is located on the eastern edge of Central Park in Manhattan, New York City, United States. The Met also maintains "The Cloisters", which featur…
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Limestone Funerary Stele Surmounted by Sphinxes in…
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Title: Limestone funerary stele (shaft) surmounted by two sphinxes
Medium; Technique: Limestone
Culture: Cypriot
Period: Classical
Date: last quarter of the 5th century B.C.
Dimensions: Overall: 34 3/4 x 26 15/16in. (88.2 x 68.5cm)
Classification: Stone Sculpture
Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76
Accession Number: 74.51.2499
On View
Description:
Elegant sphinxes are positioned back-to-back with their heads turned so that they could be seen in three-quarters perspective. The calm beauty of the creature's head, the form of the palmettes, and the egg and dart molding that decorates the base of the platform are typical of Greek art of the fifth century B.C.
Text from: www.metmuseum.org/Works_of_Art/collection_database/greek_...
Etruscan Bronze Chariot in the Metropolitan Museum…
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Chariot, late 6th century B.C.
Etruscan; From Monteleone, Italy
Bronze; H. 51 1/2 in. (130.8 cm)
Rogers Fund, 1903 (03.23.1)
Although chariots are frequently represented in all forms of ancient art, they were no longer used in warfare by the sixth century B.C.; rather, the scenes in which they appear refer to an earlier, mythological period. This chariot was found in a tomb in Monteleone, Italy, and probably saw little actual use before it was buried with its owner. It is exceptional for its state of preservation and exquisite hammered relief decoration. The pole of the chariot issues from the head of a boar and ends in the head of a beaked bird. The principle subjects on the three parts of the chariot box refer to the life of a hero, most likely Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.
Text from: www.metmuseum.org/toah/ho/04/eust/hod_03.23.1.htm
Detail of the Etruscan Bronze Chariot in the Metro…
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Chariot, late 6th century B.C.
Etruscan; From Monteleone, Italy
Bronze; H. 51 1/2 in. (130.8 cm)
Rogers Fund, 1903 (03.23.1)
Although chariots are frequently represented in all forms of ancient art, they were no longer used in warfare by the sixth century B.C.; rather, the scenes in which they appear refer to an earlier, mythological period. This chariot was found in a tomb in Monteleone, Italy, and probably saw little actual use before it was buried with its owner. It is exceptional for its state of preservation and exquisite hammered relief decoration. The pole of the chariot issues from the head of a boar and ends in the head of a beaked bird. The principle subjects on the three parts of the chariot box refer to the life of a hero, most likely Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.
Text from: www.metmuseum.org/toah/ho/04/eust/hod_03.23.1.htm
Detail of the Etruscan Bronze Chariot in the Metro…
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Chariot, late 6th century B.C.
Etruscan; From Monteleone, Italy
Bronze; H. 51 1/2 in. (130.8 cm)
Rogers Fund, 1903 (03.23.1)
Although chariots are frequently represented in all forms of ancient art, they were no longer used in warfare by the sixth century B.C.; rather, the scenes in which they appear refer to an earlier, mythological period. This chariot was found in a tomb in Monteleone, Italy, and probably saw little actual use before it was buried with its owner. It is exceptional for its state of preservation and exquisite hammered relief decoration. The pole of the chariot issues from the head of a boar and ends in the head of a beaked bird. The principle subjects on the three parts of the chariot box refer to the life of a hero, most likely Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.
Text from: www.metmuseum.org/toah/ho/04/eust/hod_03.23.1.htm
Detail of the Etruscan Bronze Chariot in the Metro…
| |
|
Chariot, late 6th century B.C.
Etruscan; From Monteleone, Italy
Bronze; H. 51 1/2 in. (130.8 cm)
Rogers Fund, 1903 (03.23.1)
Although chariots are frequently represented in all forms of ancient art, they were no longer used in warfare by the sixth century B.C.; rather, the scenes in which they appear refer to an earlier, mythological period. This chariot was found in a tomb in Monteleone, Italy, and probably saw little actual use before it was buried with its owner. It is exceptional for its state of preservation and exquisite hammered relief decoration. The pole of the chariot issues from the head of a boar and ends in the head of a beaked bird. The principle subjects on the three parts of the chariot box refer to the life of a hero, most likely Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.
Text from: www.metmuseum.org/toah/ho/04/eust/hod_03.23.1.htm
Detail of the Etruscan Bronze Chariot in the Metro…
| |
|
Chariot, late 6th century B.C.
Etruscan; From Monteleone, Italy
Bronze; H. 51 1/2 in. (130.8 cm)
Rogers Fund, 1903 (03.23.1)
Although chariots are frequently represented in all forms of ancient art, they were no longer used in warfare by the sixth century B.C.; rather, the scenes in which they appear refer to an earlier, mythological period. This chariot was found in a tomb in Monteleone, Italy, and probably saw little actual use before it was buried with its owner. It is exceptional for its state of preservation and exquisite hammered relief decoration. The pole of the chariot issues from the head of a boar and ends in the head of a beaked bird. The principle subjects on the three parts of the chariot box refer to the life of a hero, most likely Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.
Text from: www.metmuseum.org/toah/ho/04/eust/hod_03.23.1.htm
Detail of the Etruscan Bronze Chariot in the Metro…
| |
|
Chariot, late 6th century B.C.
Etruscan; From Monteleone, Italy
Bronze; H. 51 1/2 in. (130.8 cm)
Rogers Fund, 1903 (03.23.1)
Although chariots are frequently represented in all forms of ancient art, they were no longer used in warfare by the sixth century B.C.; rather, the scenes in which they appear refer to an earlier, mythological period. This chariot was found in a tomb in Monteleone, Italy, and probably saw little actual use before it was buried with its owner. It is exceptional for its state of preservation and exquisite hammered relief decoration. The pole of the chariot issues from the head of a boar and ends in the head of a beaked bird. The principle subjects on the three parts of the chariot box refer to the life of a hero, most likely Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.
Text from: www.metmuseum.org/toah/ho/04/eust/hod_03.23.1.htm
Detail of the Etruscan Bronze Chariot in the Metro…
| |
|
Chariot, late 6th century B.C.
Etruscan; From Monteleone, Italy
Bronze; H. 51 1/2 in. (130.8 cm)
Rogers Fund, 1903 (03.23.1)
Although chariots are frequently represented in all forms of ancient art, they were no longer used in warfare by the sixth century B.C.; rather, the scenes in which they appear refer to an earlier, mythological period. This chariot was found in a tomb in Monteleone, Italy, and probably saw little actual use before it was buried with its owner. It is exceptional for its state of preservation and exquisite hammered relief decoration. The pole of the chariot issues from the head of a boar and ends in the head of a beaked bird. The principle subjects on the three parts of the chariot box refer to the life of a hero, most likely Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.
Text from: www.metmuseum.org/toah/ho/04/eust/hod_03.23.1.htm
Detail of the Front of the Etruscan Bronze Chariot…
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Chariot, late 6th century B.C.
Etruscan; From Monteleone, Italy
Bronze; H. 51 1/2 in. (130.8 cm)
Rogers Fund, 1903 (03.23.1)
Although chariots are frequently represented in all forms of ancient art, they were no longer used in warfare by the sixth century B.C.; rather, the scenes in which they appear refer to an earlier, mythological period. This chariot was found in a tomb in Monteleone, Italy, and probably saw little actual use before it was buried with its owner. It is exceptional for its state of preservation and exquisite hammered relief decoration. The pole of the chariot issues from the head of a boar and ends in the head of a beaked bird. The principle subjects on the three parts of the chariot box refer to the life of a hero, most likely Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.
Text from: www.metmuseum.org/toah/ho/04/eust/hod_03.23.1.htm
Detail of the Reliefs on the Side of the Etruscan…
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|
Chariot, late 6th century B.C.
Etruscan; From Monteleone, Italy
Bronze; H. 51 1/2 in. (130.8 cm)
Rogers Fund, 1903 (03.23.1)
Although chariots are frequently represented in all forms of ancient art, they were no longer used in warfare by the sixth century B.C.; rather, the scenes in which they appear refer to an earlier, mythological period. This chariot was found in a tomb in Monteleone, Italy, and probably saw little actual use before it was buried with its owner. It is exceptional for its state of preservation and exquisite hammered relief decoration. The pole of the chariot issues from the head of a boar and ends in the head of a beaked bird. The principle subjects on the three parts of the chariot box refer to the life of a hero, most likely Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.
Text from: www.metmuseum.org/toah/ho/04/eust/hod_03.23.1.htm
Detail of the Reliefs on the Side of the Etruscan…
| |
|
Chariot, late 6th century B.C.
Etruscan; From Monteleone, Italy
Bronze; H. 51 1/2 in. (130.8 cm)
Rogers Fund, 1903 (03.23.1)
Although chariots are frequently represented in all forms of ancient art, they were no longer used in warfare by the sixth century B.C.; rather, the scenes in which they appear refer to an earlier, mythological period. This chariot was found in a tomb in Monteleone, Italy, and probably saw little actual use before it was buried with its owner. It is exceptional for its state of preservation and exquisite hammered relief decoration. The pole of the chariot issues from the head of a boar and ends in the head of a beaked bird. The principle subjects on the three parts of the chariot box refer to the life of a hero, most likely Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.
Text from: www.metmuseum.org/toah/ho/04/eust/hod_03.23.1.htm
Fragment of an Etruscan Nenfro Tomb Slab in the Me…
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Fragment of a nenfro tomb-slab
Etruscan, probably Tarquinian, ca. 600-550 BC
Accession # 61.11.17
This is the lower-left corner of a much larger stone slab that probably originally depicted three vertical rows of square panels, each with an animal or figure, separated by plain stepped patterns. The entire slab, which measured about three feet by seven feet, once may have formed part of an enclosure for a tomb. A few vestiges of red color show that the stag on this fragment was once painted. A number of related examples come from Tarquinia, a city famous for its subterranean frescoed tombs.
Text from the Metropolitan Museum of Art label.
Fragment of a Nenfro Tomb Slab in the Metropolitan…
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Fragment of a nenfro tomb-slab
Etruscan, probably Tarquinian, ca. 600-550 BC
Accession # 61.11.17
This is the lower-left corner of a much larger stone slab that probably originally depicted three vertical rows of square panels, each with an animal or figure, separated by plain stepped patterns. The entire slab, which measured about three feet by seven feet, once may have formed part of an enclosure for a tomb. A few vestiges of red color show that the stag on this fragment was once painted. A number of related examples come from Tarquinia, a city famous for its subterranean frescoed tombs.
Text from the Metropolitan Museum of Art label.
Tufa Head of a Sphinx or Siren in the Metropolitan…
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Tufa head of a sphinx or siren
Etruscan, probably Vulcian, ca. 550-525 BC
Accession # 24.97.10
This large head, made of volcanic stone, probably represents a sphinx or siren. Statues of both mythical creatures, usually depicted by the ancients with human female heads and winged animal or bird bodies, were often placed as guardians at the entrances to Etruscan tombs. The large winged lion on display in this gallery is a better preserved example of the same type of stone sculpture. The style of this female head, with its almond-shaped eyes, Archaic smile, and wig-like hair arrangement is strongly reminiscent of Greek, especially Ionian examples. A number of related sculptures, all associated with ancient tombs at Vulci, are in other collections. One of the closest parallels for the Museum's head is in the Ny Carlsberg Glyptotek, Copenhagen.
Text from the Metropolitan Museum of Art label.
Etruscan Tufa Head of a Sphinx or Siren in the Met…
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Tufa head of a sphinx or siren
Etruscan, probably Vulcian, ca. 550-525 BC
Accession # 24.97.10
This large head, made of volcanic stone, probably represents a sphinx or siren. Statues of both mythical creatures, usually depicted by the ancients with human female heads and winged animal or bird bodies, were often placed as guardians at the entrances to Etruscan tombs. The large winged lion on display in this gallery is a better preserved example of the same type of stone sculpture. The style of this female head, with its almond-shaped eyes, Archaic smile, and wig-like hair arrangement is strongly reminiscent of Greek, especially Ionian examples. A number of related sculptures, all associated with ancient tombs at Vulci, are in other collections. One of the closest parallels for the Museum's head is in the Ny Carlsberg Glyptotek, Copenhagen.
Text from the Metropolitan Museum of Art label.
Etruscan Tufa Head of a Sphinx or Siren in the Met…
| |
|
Tufa head of a sphinx or siren
Etruscan, probably Vulcian, ca. 550-525 BC
Accession # 24.97.10
This large head, made of volcanic stone, probably represents a sphinx or siren. Statues of both mythical creatures, usually depicted by the ancients with human female heads and winged animal or bird bodies, were often placed as guardians at the entrances to Etruscan tombs. The large winged lion on display in this gallery is a better preserved example of the same type of stone sculpture. The style of this female head, with its almond-shaped eyes, Archaic smile, and wig-like hair arrangement is strongly reminiscent of Greek, especially Ionian examples. A number of related sculptures, all associated with ancient tombs at Vulci, are in other collections. One of the closest parallels for the Museum's head is in the Ny Carlsberg Glyptotek, Copenhagen.
Text from the Metropolitan Museum of Art label.
Nenfro Statue of a Winged Lion in the Metropolitan…
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Nenfro statue of a winged lion
Etruscan, ca. 550 BC
Accession # 60.11.1
Several statues of this type, made from nenfro, a kind of volcanic stone used extensively at Vulci, depict winged lions and sphinxes. These were set up to protect the entrances to subterranean chamber tombs covered by a tumulus (earthen mound). They often appear in pairs and represent the Etruscan response to a long tradition of guardian figures stretching back to ancient Egypt and the Near East.
Text from the Metropolitan Museum of Art label.
Nenfro Statue of a Winged Lion in the Metropolitan…
| |
|
Nenfro statue of a winged lion
Etruscan, ca. 550 BC
Accession # 60.11.1
Several statues of this type, made from nenfro, a kind of volcanic stone used extensively at Vulci, depict winged lions and sphinxes. These were set up to protect the entrances to subterranean chamber tombs covered by a tumulus (earthen mound). They often appear in pairs and represent the Etruscan response to a long tradition of guardian figures stretching back to ancient Egypt and the Near East.
Text from the Metropolitan Museum of Art label.
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