THE METROPOLITAN MUSEUM OF ART

ETRUSCAN TERRACOTTA WARRIORS

IN THE METROPOLITAN MUSEUM OF ART BY GISELA M. A. RICHTER

Published occasionally by THE METROPOLITAN MUSEUM OF ART ' Fifth Avenue & 82d St • N. Y.

ETRUSCAN TERRACOTTA WARRIORS

IN THE METROPOLITAN MUSEUM OF ART

ETRUSCAN TERRACOTTA WARRIORS

IN THE METROPOLITAN MUSEUM OF ART

BY GISELA M. A. RICHTER % * *

WITH A REPORT ON STRUCTURE AND TECHNIQUE BY CHARLES F. BINNS

Papers • No. 6

THE METROPOLITAN MUSEUM OF ART NEW YORK • 1937 Copyright by The Metropolitan Museum of Art 1937

CO en CO T— ETRUSCAN TERRACOTTA WARRIORS

THE DISCOVERY of the Apollo of Veii conqueror. They reflect the dauntless spirit of in 19161 was hailed as confirming in spectac­ Etruria at the time of her greatest military ular fashion the tradition of Etruria as a great strength. center for monumental sculpture in terra­ And in another way these statues enlarge cotta. The frequent mention by Latin writers the experience given us by the group of the of terracotta statues in Etruria in terms of Veii Apollo. They present us with new exam­ wonder and admiration was shown to have ples of polychrome terracotta statues on a large been founded on fact, not fancy. More re­ scale. Before the Apollo was found, our knowl­ cently our knowledge of such Etruscan sculp­ edge of such sculpture had been confined to tures has been greatly enlarged by the three temple revetments, to a few fragments of warriors acquired by the Metropolitan Mu­ larger figures, and to life-size reclining figures seum, which have given us a new vision of on sarcophagi (see p. 11). But in our warriors Etruria in the late archaic period. They show we have further large, well-preserved, stand­ us more forcibly than anything has heretofore ing statues, boldly modeled in the round and her triumphant strength during her prime. still resplendent in their original colors. And For at the end of the sixth and the beginning one example is of colossal scale. We read with of the fifth century — the approximate period new appreciation Pliny's estimate of Etruscan of these sculptures — Etruria was at the acme terracottas: "These were the most magnificent of her power. Her kings, the Tarquins, had statues known in those days. . . . The admira­ been rulers of Rome,2 her empire extended ble execution of these figures, their artistic from the Alps to southern Campania,3 her merits, and their durability make them more ships were feared at sea. Soon afterwards came worthy of honour than gold."5 clashes with Rome (about 485 - 475 B.C.), the As was pointed out in a preliminary report defeat at Cumae by the Syracusans (474), the in the Metropolitan Museum Bulletin, our invasion by the Gauls (about 400). Slowly the (1) Cf. the splendid publication of this statue and the power of Etruria crumbled, her territory con­ fragments belonging to the same group by G. Q. Giglioli, tracted, her art degenerated. After another Antike Denkmaeler, in (Berlin, 1926), pp. 53 ff., pis. 45-55; also idem, Rassegna d'arte, vn (1920), pp. 33 ff., two centuries Etruria — as an independent and Notizie degli scavi di antichitd, comunicate alia R. state with an individual culture — existed no Accademia deiLincei, 1919, pp. 13-37, P's- 1_7- more; she had become merged into the Roman (2) H. Last, in The Cambridge Ancient History, VII (Cambridge, 1928), pp. 388 ff., 398. federation. But at the time of the Veii Apollo (3) Livy 1.11. 5: "The renown of their name filled the and of our warriors Etruria was the greatest whole length of Italy from the Alps to the Italian strait." power in Italy. She was strong and gay and tri­ (Quoted by D. Randall-Maclver.) (4) Cf. the good photographic views in F. Weege, umphant. Her exuberant spirits are reflected Etruskische Malerei (Halle, 1921) and the colored repro­ in the dances and banquet scenes of the tombs ductions in P. Duell, "La Tomba del Triclinio at Tar­ at Tarquinia.4 In our warriors we become ac­ quinia," Memoirs of the American Academy in Rome, vi (1927), pp. 1 ff. quainted with a different temper — that of the (5) N.H. xxxv. 157-158 (tr. Jex-Blake). terracotta sculptures, though not put on ex­ and elongated — and a colossal head from a hibition until 1933, were purchased many third statue. We shall begin our description years ago (in 1915, 1916, and 1921). The with the heroic-size statue, then pass on to the credit for their acquisition belongs to the late closely related colossal head, and lastly deal John Marshall, by whose good offices they with the life-size statue.6 were obtained in Paris, and the late Edward Robinson, who directed the Museum and the (6) I have had the advantage of discussing various Classical Department at the time. The sculp­ problems presented by these statues — especially their chronology — with several of my colleagues. I want to tures consist of two statues of warriors — one acknowledge particularly the help given me by Valentin of heroic size and stocky, the other life-size Miiller. STATUE OF A WARRIOR OF HEROIC SIZE

(PLATES I-XIV)

A LONG-HAIRED warrior, bearded but i/2 in. (1.3 cm.) in diameter, for the fastening without mustache, is represented lunging for­ of the shield, which was held horizontally. ward, his body turned toward the right, the The weapon in the right hand was probably left arm outstretched to hold a shield, the a sword, with the blade projecting backward3; other raised for attack.1 His hair is arranged had it been a spear, the clenched hand would in three groups of wavy locks, six in the mid­ have been held with the opening parallel to dle, four on either side; one group is brought the direction of the body, as it is in the bronze over to the front. He wears a cuirass over a statuette of a warrior from Dodona (see p. 10; tight-fitting, foldless chiton, greaves, and a pi. in B). Other, less likely, possibilities are a Corinthian helmet with an enormous crest. thunderbolt4 and an ax.5 The shield (which was perhaps of bronze or The effect of the figure is greatly enhanced wood and either round or of the so-called by its polychrome decoration. The whole sur­ Boeotian type2; see pi. in A) is missing. Only face is covered with a brownish black coating, the center strap and attachment, which were evidently a fusible slip clay which in the firing made in one piece with the arm, are preserved; has become a semiglaze; it is finely crazed all on the attachment are two round holes, about over and has a sheen.6 Over this have been ap-

(1) Ace. no. 21.195. Kennedy Fund. H. (without (2) Both forms of shield appear on our Etruscan plinth): with crest 8 ft. 14 in. (2.445 m-)> without crest bronze chariot; cf. G. M. A. Richter, Greek, Etruscan, and 6 ft. 7S,£ in. (2.026 m.); h. of head 1 ft. 1 3/16 in. (.335 m.); Roman Bronzes (The Metropolitan Museum of Art) h. of head with neck 1 ft. 53^ in. (.441 m.); distance from (New York, 1915), p. 20, no. 40. eye to chin 8s/ in. (.22 m.); thickness of plinth 2 to 3 in. 8 (3) For figures wielding swords in approximately this (5.1 to 7.6 cm.). The provenance is said to have been cen­ position cf. e. g. the Athena on the Caeretan hydria in the tral Italy. Louvre (A. B. Cook, Zeus, 11 [Cambridge, 1925], pi. xxx), The statue has been reconstructed from 78 pieces (see the warrior on our Etruscan amphora ace. no. 10.210.9 pi. xiv), but this number includes the parts of the plinth (Case 9 of the Etruscan Gallery), and the warriors on late and of the crest; the figure itself was in only 10 pieces — Etruscan urns (e.g. our ace. nos. G.R. 1037, 1038 [Pedes­ the head, the torso including both thighs, the arms, the tals 28 and 30 of the Etruscan Gallery], and G. Korte, / left shoulder, the left hand, the legs from knee to ankle, Rilievi delle urne etrusche [Rome and Berlin, 1896], 11, and the feet. The net weight of the fragments was close pi. LXXIV, 2). Perhaps in the case of our warrior the sword to 800 pounds. The only missing parts are the tip of the was curved like that of the warrior from the akroterion of left thumb and slivers at the junctures of the fragments; Sassi Caduti (Falerii) (cf. A. della Seta, Museo di Villa the latter have been added in plaster and colored. The Giulia [Rome, 1918], 1, pi. xxxiv)—:a figure which has brass support between the legs is, of course, modern. The many points of contact with ours. plinth — what is left of it — has been embedded in a modern cement base. (4) Cf. Cook. loc. cit.; and p. 9 below. Described and illustrated in Bulletin of The Metropoli­ (5) Cf. the warrior on the stele from Vetulonia (P. tan Museum of Art, xxvm (1933), pp. 29 f., fig. 4; J. Ducati, Storia dell' arte etrusca [Florence, 1927], n, pi. 61, Pijoan, Summa artis, v (1934), pp. 58 f., fig. 64. Mentioned no. 190), and the deity on our Pontic vase ace. no. in H. McClees, The Daily Life of the Greeks and Romans 06.1021.46 (Case 11 of the Etruscan Gallery). (New York, 1933), p. 81; D. M. Robinson, American Jour­ nal of Archaeology, xxxvm (1934), p. 501, note 1 (con­ (6) The sheen is clearly not due to polishing — as in tinued on p. 503); and A Guide to the Collections: Part I, the early Faliscan ware (cf. the examples in Case 1 of the Ancient and Oriental Art (The Metropolitan Museum of Etruscan Gallery) — for here there are no marks going in Art) (New York, 1937), p. 40. different directions. plied a dull red pigment for the armor and smooth skin make an effective contrast with plinth and a white clay engobe for the chiton the dull red armor and the ivory white chiton. and for the whites of the eyes. A wealth of dec­ The whole is a striking illustration of how orative motives appear on the armor and on much color can add to the impressiveness of the chiton, painted in white, red, and black.7 sculpture. The eyeball is painted white to form a contrast It is noteworthy that the proportions of the with the black iris, which is bordered by an in­ figure are obviously incorrect from the nat­ cised circle (drawn with a compass); iris and uralistic standpoint. The thighs are unduly pupil are separated by a red ring bordered by short and thick, and the left arm is dispropor­ incised circles. Crest of helmet, hair, and tionately large (but we must remember that beard are modeled in wavy ridges (the beard it was originally mostly covered by the shield; on both upper and lower sides). The slightly see pi. HI A). The suggestion has been made glossy surfaces of these ridges and of the that these abnormal proportions were calcu­ lated for the particular point of view from (7) Cuirass: on breastplate, enclosed palmette with which the statue was originally seen. It is hard scrolls, and spirals (white edged with black on one side); on backplate, spirals (white edged with black on one to imagine what this was. The figure could not side); round the neck, long tongues (white edged with have been put at a great height, as the cheek- black on one side) bounded by lines (white edged with pieces of the helmet would then have partly black on both sides) and dots (black); round the lower edge, short tongues (white edged with black on one side); obscured the eyes. It is more likely, therefore, round the armholes, lines (white edged with black on that the abnormally stocky proportions are sim­ both sides); on shoulders and down sides, to indicate ply due to Etruscan workmanship (see p. 11). juncture of breastplate and backplate, lines (white edged with black on both sides); on shoulders and down both A detailed report on the technique of the sides, double palmettes (white) for the hinge shanks. statue by the late Charles F. Binns, the dis­ Helmet: round the edge of nasal, ocularia, and cheek- pieces, line (white edged with black on one side); at outer tinguished potter, is given on page 12. Here it corner of each ocularium, palmette (white edged with need only be said that the statue is as great an black on one side); on each side of crest support, checkers achievement from the technical point of view (black) surmounted by "two-decker" meander pattern (see p. 12) (white edged with black on both sides), the as from the artistic. The evidence shows that it whole bordered on all four sides by waves (white) and a was built free hand from the bottom up and line (black); on front of crest support, double meanders stood on its two widely separated legs without (white edged with black on one side) enclosed by a line (white edged with black on one side). any other support; that when completed it Greaves: round the edges, line (white edged with black weighed nearly half a ton; and that this enor­ on one side); on each kneecap, enclosed inverted palmette mous figure was fired all in one piece — in­ with scrolls (white edged with black on one side). Chiton: below cuirass, a broad band consisting of cluding even the left arm, which is stretched palmettes (petals alternately black and red, scrolls black), out to its full length. No modern potter has interlocking meanders (black), waves (red), and lines dared to attempt such a feat. At least, the only (red and black); round the armholes, waves (red). The chiton stands out in relief at its lower edge, but at the comparable terracotta figures produced in armholes it is merely painted on the black body. America in our day — the pedimental group (8) Cf. American Architect, CXLIII (July, 1933), pp. by C. Paul Jennewein in Philadelphia8 — are 63 ff.; J. S. Hanofee, Art and Archaeology, xxxiv (1933), pp. 299 ff. each made and fired in a number of pieces — (9) "Head - torso - legs - feet - two pieces of drapery the central Zeus, which is about 12 feet (3.657 - two hands." (So a letter from Mr. Jennewein informs m.) high, in as many as eight.9 Clearly our war­ me.) The joints were painted with mortar colored to match the glaze. rior was not an experimental piece of work. 8 Only by long experience could a sculptor-pot­ was presumably dedicated to Mars, the god of ter have attained such masterly skill.10 war, since that deity is known to have been Whom did our warrior represent? Was he a worshiped in Etruria15 (chiefly in sanctuaries god or a mortal? Was he part of a group of outside the city walls — to defend from outside contestants, a figure from a pediment, or an attack and yet not stir up strife within the independent statue? In trying to answer these community18). Or possibly the sanctuary was questions we are handicapped by lack of pre­ of Zeus Areios, since Zeus with helmet and cise knowledge concerning the site where the shield wielding a thunderbolt17 or a sword in statue was found. Our answers, therefore, can his raised right hand appears on a Caeretan be but tentative. The Apollo of Veii, the only hydria in the Louvre.18 In either case we have really comparable piece now extant, was ap­ here a representation of a god of war — and un­ parently part of a votive group of four fig­ doubtedly the most imposing conception of ures.11 In the case of our warrior, however, we such a deity which has survived from antiquity. have no pieces of other figures which could have been grouped with it, so we cannot — (10) The technique of the Veii Apollo is similar to but not identical with that of our statue. The material is also without more evidence — assume a second a mixture of clay and other particles, and the statue was contestant. Moreover, a piece of the front fired in one piece. But the Apollo has a large decorated 12 shaft as a support placed conspicuously between the legs edge of the plinth is preserved (see pi. vin B), and is therefore technically not so remarkable an achieve­ indicating that our figure did not share its ment as our warrior. Moreover, it has several large vent- plinth with an opposing warrior. Nor can the holes (whereas in our warrior there is only one small hole, 13 at the top of the helmet [see pi. xm B]), and there were statue have formed part of a pediment, for apparently no strengthening walls built inside the body in that case the shield which was held on the (cf. Giglioli, Antike Denkmaeler, m, p. 55). left arm would have been placed vertically (as (11) Ibid., pp. 53 ff. (12) The front edges of the modern cement base and in the Aigina warriors), not horizontally (see of the pedestal have not been aligned with it. p. 7 and pi. m). Furthermore, the back of the (13) Quite apart from the fact that we have apparently statue is as carefully executed and decorated as no evidence for statues on pediments in archaic Etruscan temples (cf. Giglioli, Antike Denkmaeler, m, p. 60). the front, and — what is more important — the (14) Cf. C. Karousos, Deltion, xm (1930-31), pp. 55 ff. surface is in a uniform state of preservation, (15) On the worship of Mars in Etruria cf. L. R. Tay­ indicating a similar exposure front and back. lor, Local Cults in Etruria (Rome, 1923). The Etruscan name Maris occurs in an inscription on a lead disk found Single striding warriors were common subjects at Magliano in the Museo archeologico, Florence (cf. in late archaic art, as we know from the con­ L. A. Milani, Monumenti antichi pubblicati per cura della siderable numbers of bronze statuettes that R. Accademia dei Lincei, 11 [Milan, 1893], cols. 37 ff.; P. 14 Ducati, Etruria antica [Turin, etc., 1925], 1, pp. 63 f.) and have survived. It seems reasonable, therefore, on the bronze liver from Piacenza (cf. Korte, Mitteilungen to conclude that our statue was complete in it­ des deutschen archaologischen Instituts, Romiscke Ab- self. The comparatively good preservation of teilung, xx [1905], p. 363). (16) Vitruvius 1.7.1. the surface, with its delicate painted orna­ (17) Mars too could be represented with the thunder­ ments, points to indoor protection, very likely bolt, for he was one of the eight Etruscan deities who m a sanctuary, for no large figures have been wielded the lightning (cf. Pliny N.H. 11.53, 138; Servius, Commentaries on the Aeneid 1.42 and vin.429; Ducati, found in the many extant tombs. Since the Etruria antica, 1, p. 120; W. Deecke, Etruskische For- statue is not frontal, it was hardly a cult image; schungen, iv [Stuttgart, 1880], p. 35; K. O. Miiller, Die more probably it was a votive offering, like the Etrusker [Stuttgart, 1877], 11, p. 46, note 22, p. 57). (18) Cook, loc. cit. I owe this suggestion to Mrs. George Apollo of Veii. The shrine in which it stood Elderkin. The style of the statue points to a date a lit­ the outfit21 but also in the position of the tle before or a little after 500 B.C.19 The pose, shield and in such details as the locks of hair the simplified modeling, the angular lips, falling forward over one shoulder (see pi. in). hands, feet, the stylization of hair and crest — Moreover, the type of palmette used in the all are characteristic of Greek sculpture of that decorations — with the side petals rounded at time. It is the period of the west pediment of the tips and slightly dipping, the center petal the temple of Aphaia at Aigina, before that of sometimes pointed (see pi. ix c) — can be par­ the east pediment or of the Tyrannicides alleled on vases of around 500 B.C. (cf. works (477-476). An especially close analogy is by Sosias, Euphronios, the Tyszkievicz Paint­ 22 furnished by the warrior from Dodona20 er, early Douris, etc. ); and the motive of a (dated in the late sixth century), which corre­ scroll enclosing a single palmette was espe­ sponds not only in the general stance and in cially popular at that time. If we compare our warrior with Etruscan frescoes we shall find a (19) That is, about the same period as the group of closer relation to those of the Tomba delle the Veii Apollo. A useful clue for the dating of this group Leonesse (dated about 510) than to those of is furnished by the rendering of the drapery, which corre­ sponds to that current in Greek art in the last decade or the Tomba del Triclinio (dated about 480 - 23 so of the sixth century; each group of folds is stacked 470). symmetrically, in two directions, toward a central pleat and is divided from the next group by curving lines (cf. It is true of course that the Greek archaic Giglioli, Antike Denkmaeler, m, p. 58, fig. 6, and p. 62, style lingered on in Etruria, at least in bronzes, fig. 11). until after the middle of the fifth century B.C.24 (20) R. Kekule von Stradonitz and H. Winnefeld, and that therefore it is hazardous to assign ex­ Bronzen aus Dodona in den koniglichen Museen zu Ber­ lin (Berlin, 1909), pp. 13 f., pi. 11. act dates to late archaic Etruscan works. But in (21) The chiton of the Dodona statuette is arranged the case of our warrior the assignment seems in folds stacked symmetrically toward a broad central pleat; in our statue the chiton is foldless, as it is in the war­ justified, for not only is the style consistently riors on the Etruscan chariot (Richter, Bronzes, no. 40). of the period of about 500 B.C, but that date (22) Cf. P. Jacobsthal, Ornamente griechischer Vasen is rendered likely by considerations of history (Berlin, 1927), pis. 62, 78; E. Pfuhl, Malerei und Zeich- nung (Munich, 1923), in, pis. 123, 137. But Dr. Jacobsthal (see p. 5) and by the fact that Etruscan terra­ warns me that "palmettes are a bad thermometer of style." cotta sculpture was famous at this very period (23) Cf. Weege, Etruskische Malerei, pis. 3-10 (Leo- (see p. 11). nesse), 27-39 (Triclinio). For the dating of these tombs, cf. F. Messerschmidt, Beitrage zur Chronologie der etruski- Although our statue has many points of con­ schen Wandmalerei (Ohlau, 1926), pp. 36, 52. tact with Greek works, the impression as a (24) Cf. e.g. S. Aurigemma, // Museo di Spina (Fer- whole is not Greek. The serene spirit of the rara, 1935)>PP- 166 ff. (25) Cf. e.g. E. D. Van Buren, Greek Fictile Revet­ Aigina and Dodona warriors has been trans­ ments in the Archaic Period (London, 1926) and Archaic formed into a more exuberant, more vehe­ Fictile Revetments in Sicily and Magna Graecia (London, ment conception. That the statue is Etruscan 1923); F. Poulsen and K. Rhomaios, Erster vorldufiger Bericht uber die danisch-griechischen Ausgrabungen von there can indeed be no doubt. Although poly- Kalydon (Copenhagen, 1927), pis. XXV-XL; I. Thallon- chromed terracotta was occasionally used for Hill and L. S. King, Decorated Architectural Terracottas sculpture in Greece and South Italy,25 in (Corinth, iv, part 1) (Cambridge, 1929). 26 (26) We must remember that marble was scarce in Etruria it was the material par excellence. Italy until the Carrara quarries were worked, in Roman The wealth of such sculpture in the Villa Giu- times. lia Museum in Rome27 bears eloquent testi­ (27) Cf. Delia Seta, op. cit.; Van Buren, Figurative Terra-cotta Revetments in Etruria and Latium . . . mony to its popularity — not only for temple

10 revetments but also for life-size statues. The standable in Etruria, where a lack of feeling wonderful group from Veii,28 the fragments for true proportions was not unusual even in of large statues from the temple of Satricum,29 the late archaic period.36 Thus the dancing and the reclining figures on sarcophagi30 have youth in the Tomba delle Leonesse in Tar- shown us the pinnacle of achievement which quinia37 — who is not far removed in date Etruria reached along those lines. Moreover, from our warrior38 — also has very thick, short we have important literary evidence for the thighs. The custom of wearing a beard with­ vogue of terracotta sculptures in Etruria. We out a mustache was current in Etruria at this learn from Pliny that the art of modeling in time39 but not in Greece, though it had been clay was early introduced into Etruria and de­ current there in the early archaic period.40 31 veloped during several generations ; and that (London, 1921); G. Q. Giglioli, L'Arte etrusca (Milan, an Etruscan sculptor named Vulca was sum­ 1935), pis. CLIX-CC. (28) Giglioli, Antike Denkmaeler, HI, pp. 53 ff., pis. moned by Tarquinius Priscus from Veii to 45-55, and Rassegna d'arte, vii (1920), pp. 33 ff. Rome, where he made a statue of Jupiter for (29) Delia Seta, op. cit., pp. 275 ff., pi. L", and the the temple on the Capitol32 (509 B.C.) and a references there cited. 33 (30) One from Cervetri in the Villa Giulia Museum Hercules, both in clay. Evidently the colos­ (Delia Seta, op. cit., pis. xxxn, xxxm), the other in the sal size of some of these statues had become Louvre (Monumenti inediti pubblicati dall' Instituto di legendary in Roman times. Plutarch tells a re­ corrispondenza archeologica, VI-VII [Rome, 1857-1863], pi. LIX). markable story of a terracotta group from (31) N.H. xxxv.i52: "According to some authorities Veii: "When Tarquin was still king, and had clay modelling was first introduced in Samos by Rhoikos all but completed the temple of Jupiter Capi- and Theodoros, long before the expulsion of the Bacchi- adai from Corinth, and when Damaratos fled from that tolinus ... he commissioned certain Tuscan city to Etruria, where his son Tarquinius, afterwards king craftsmen of Veii to place upon its roof a char­ of Rome, was born, he was accompanied by three potters, iot of terra cotta. Soon after this he was driven Eucheir, Diopos, and Eugrammos, who introduced the art of modelling into Italy" (tr. Jex-Blake). from his throne. The Tuscans, however, mod­ (32) Small fragments of the terracotta decoration of elled the chariot and put it in a furnace for this temple have survived (cf. W. Helbig, Fuhrer durch firing, but the clay did not contract and shrink die offentlichen Sammlungen klassischer Altertiimer in Rom [3rd ed., edited by W. Amelung, E. Reisch, and F. in the fire, as it usually does, when its moisture Weege], 1 [Leipzig, 1912], p. 576, no. 1009). evaporates. Instead of this, it expanded and (33) N.H.xxxv.157. swelled and took on such size, strength, and (34) Publicola xm. 1-2 (tr. Perrin). (35) Pliny N.H. xxxiv.34. hardness, that it could with difficulty be re­ (36) On the "mangelndes Proportionsgefiihl" in Etru­ moved, even after the roof of the furnace had ria cf. Messerschmidt, op. cit., p. 11. been taken off and its sides torn away."34 The (37) Weege, op. cit., pi. 4. (38) The tomb is dated about 510 B.C. — correctly, I extent to which the art of sculpture — in ter­ think — by Messerschmidt, op. cit., pp. 36, 58. racotta and bronze — was practiced in Etruria (39) Cf. some of the figures on Etruscan tomb paint­ ings (e.g. Ducati, Storia, 11, pi. 81, no. 231) and the reclin­ can be gauged from the fact that Rome was ing men on the sarcophagi in Rome and Paris (ibid., pi- accused of having taken the city of Volsinii for 92, no. 251, and G. M. A. Richter, Ancient Furniture: a the sake of its two thousand statues.35 History of Greek, Etruscan, and Roman Furniture [Ox­ ford, 1926], figs. 261, 262). To Etruria also point certain features of our (40) Cf. H. Koch, Mitteilungen des deutschen archa- figure which are more familiar in Italy than ologischen Instituts, Athenische Abteilung, xxxix (1914)- p. 244. E. Saglio in Daremberg-Saglio, Dictionnaire des in Greece. For instance, the curious propor­ antiquites grecques et romaines .... s.v. Barba, p. 667, tions of the thighs and arms are more under­ note 4, mentions as a late archaic Greek figure with beard

II The wave pattern which is used on the chiton Damophilus and Gorgasus — as distinguished and the crest support was exceedingly popular workers in terracotta, who decorated the in Italy in both archaic and later times,41 temple of Ceres in Rome in 493 B.C. The con­ whereas in Greece it is not so familiar, at least stant trade relations between Etruria and not in the archaic period.42 The "two-decker" Greece at this time and the nearness of the meander pattern used on the crest support is Greek colonies in southern Italy which bor­ different from the Greek varieties. dered on Etruscan Campania made direct Etruscan, therefore, undoubtedly our statue Greek influence inevitable. In other words, is — though clearly made under strong Greek Greece — by her close contact with Italy at influence, more so than the Veii group, for it this time — helped Etruria to reach the high- has the precision of modeling, the sharply de­ water mark of her art. fined forms, the high finish, which are char­ but no mustache the Hermes in the relief of Hermes and acteristic of archaic Greek art. the Nymphs in the Louvre; however, a close examination So we have here a figure Etruscan in spirit, shows traces of a mustache. (41) Cf. the instances on our Etruscan chariot (Rich- material, technique, and in certain details, ter, Bronzes, no. 40); in Etruscan tomb paintings (in the but one that shows again how potent was Tombe del Triclinio, del Tifone, degli Scudi, del' Oreo, Greek influence in Etruria in archaic times. It del Letto funebre, and at Ardea); on Etruscan and South Italian pottery — e.g. our ace. nos. 19.192.76 (Case 12, indicates — as do some of the frescoes in Tar- Etruscan Gallery), G.R. 614 (Case 24, Etruscan Gallery), quinia — that an Etruscan of the late sixth or and several vases in Case 29, Gallery K 103; on friezes — e.g. our ace. no. 14.105.8 (west wall, Etruscan Gallery). early fifth century could be steeped in the (42) Thus the instances cited by Robinson, A. J. A., Greek tradition and yet produce works that xxxvii (1934), p. 501, note 1, are all postarchaic. The pat­ are essentially Etruscan in spirit and taste. We tern becomes common in late red-figured Athenian vases may remember in this connection that Pliny43 (cf. W. Hahland, Vasen um Meidias [Bilder Griechischer Vasen\ [Berlin, 1930], pis. 9 b, 22 b). mentions two artists with Greek names — (43) N.H. xxxv. 154.

REPORT on the Structure and Technique of a Statue of an Etruscan Warrior, by Charles F. Binns1

I. THE COMPOSITION OF THE MATERIAL cause it is evidently crushed pottery. The color is red, sometimes pale, sometimes bright, quite The material is an artificial mixture of (a) different from the color of the clay body. In plastic clay, (b) sand, and (c) grog. appearance the grog fragments closely ap­ (a) The clay is fine in grain and rather dark proach the Greek ware of the period. brown in color after firing. It constitutes about The whole blend seems to have been passed half the entire mass. through a sieve of 14 or 16 mesh (to the inch). (b) The sand is of varied size: some of the (1) This report is the result of two detailed examina­ grains are a full millimeter in diameter, and tions made by Mr. Binns, in 1921 and in 1929, and incor­ porates certain additional observations made by Maude from this the size graduates to fine dust. Robinson, who was called into consultation while the (c) The grog is an interesting feature be­ statue was in fragments.

12 The sand and grog were purposely mixed side the right knee a few rolls are plainly seen with the clay to provide porosity in the clay (pi. xi D). The building then continued, a mass, to diminish the shrinkage, and to avoid cylinder of small diameter being constructed the distortion to which a plastic clay is subject first and the walls gradually built up as the during the process of drying. clay stiffened (see pi. xi E). An abundance of The whole work is built up and modeled soft clay was smeared over the inside of the from the mixed body referred to. It would joints in order to unite the rolls of clay firmly seem logical to assume that the whole figure as the building progressed (see pi. xi F). was first thrown up roughly and that on this The torso was evidently built up in a simi­ core the finished modeling was developed. We lar way with wads of clay. At the neck some of can still see several instances where the initial these are visible, and they are much larger work had become so hard that the new clay did than those used in the legs. Inside the body, at not perfectly adhere (see pis. xi A, D, XII A, either side of the neck, two stout walls were C, D). Over the whole figure was laid, probably built in, extending from back to front, for with a brush, a coating consisting of a clay, additional support of the head (see pi. x B). perhaps made fusible artificially, which con­ At the crotch there is a large emplacement of stitutes a semiglaze. This coating has shrunk soft clay used to strengthen the joint (see pi. in the fire, and thus a multitude of small x c). The finger marks of the workman are cracks, or checks, appear, covering the surface plainly visible, and the clay has cracked in dry­ as a network. ing, showing that it was added in a soft condi­ tion. II. THE METHOD OF CONSTRUCTION The arms were undoubtedly constructed as A small-size model was probably prepared separate pieces. In the first place they could to a measured scale, as the position of the feet not have been built on so as to sustain their had to be accurately determined at the first. own weight, and in the second place there is a In all likelihood the figure was erected upon a sharp change in the size of the bore where each foundation of arches which would form the juncture has been made. Probably they were floor of the kiln. The ground over the arches at first supported by a crossbar which passed was beaten hard and sprinkled with coarse through the shoulders. When the modeling sand (see pi. x A). A large slab of clay (the was finished this rod could be withdrawn and exact size cannot be determined because much the hole sealed with a small piece of clay. It of it is lost) was pressed out and made level. may be noted in this connection that the hole Upon the underside of the slab the finger is not in the center of the upper arm but very marks of a workman may be seen. The slab was near the lower surface (see pi. xn A, C). This put together piecemeal rather than beaten out suggests that the sculptor saw need to alter the from a single ball, and the joins of the several position of the arm, which he did by removing pieces are plainly visible on the underside. a layer of clay from the lower side and adding Upon this slab the feet (pi. xi A, B) and lower proportionately to the upper. parts of the leg were set and roughly modeled, At the fracture of the left arm from the torso being built up solid to the knee (see pi. xi c). the laminations of the material can be clearly At about the knee joint the building pro­ seen (pi. xn B, D), and it is apparent that at ceeded by the use of rolls or wads of clay. In­ certain stages the clay became too hard to per-

13 mit the new material to unite with it properly. have cracked in the same way as the undercoat. The hands are evidently solid, the inside hole Where the application is thin the color has of the left arm suddenly terminating at the been influenced by the dark coating beneath. wrist (see pi. xm A). (The left hand weighed Over the red are decorative motives painted nearly 12 pounds.) It is probable that the con­ in black and white. The tunic is coated with a struction involved the use of rather elaborate white clay engobe and richly decorated in temporary framework, for the figure in the black and red. The black seems to be the same clay state was 20 or 30 per cent heavier than material as that used for covering the statue. it is now. All these treatments were applied before The torso having been built up to the neck, firing. a conical depression was made for the recep­ tion of the head (see pi. xm c). Evidently this III. THE FIRING socket was allowed to become rather hard be­ The only possible theory for the firing proc­ fore the building of the head was begun, be­ ess is that the kiln was built round the figure. cause the fracture has taken place at this point That the feet were placed upon a platform of and the conformation of the soft clay to the clay set upon a bed of sand, points clearly to a hard clay beneath is quite clear (see pi. xm preparation for firing from the very begin­ D). The head was built up as a hollow ball ning. Furthermore, it would have been im­ roughly oval in shape. At the top a peg was possible to move the figure while in the un- inserted as the material was brought together burned condition. Perhaps a brick wall was to form the crown. When the modeling was built to enclose the work and it was contrived finished, this peg was withdrawn so as to leave that the arms should derive support from this. a venthole to facilitate evaporation (see pi. In the palm of the left hand is an elliptical xm B). This hole is less than 1 inch (2.4 cm.) opening about % inch (1.9 cm.) by y% inch in diameter, and it is the only opening to the (1.3 cm.) which might have carried a support. air in the whole statue. The insides of both fists are unglazed, and The crest rises in a sweeping curve to the these would have been natural places for such height of 15 inches (38.1 cm.) and falls to a supports. Outside this brick container, or point below the waist, where it is attached to muffle, the kiln proper would have been built, the body. This fact alone proves that the with the arches already postulated for flues. whole figure was made in one piece. The firing is curiously uniform throughout. The whole work is executed with the utmost The lower part of the figure is slightly denser freedom. There is no inner armature, nor was than the upper, but as the material is rather any mold used. sensitive to temperature changes it is evident After the completion of the modeling the that there was not more than 200 C. difference entire figure was covered with the coating between the top and the bottom. The tem­ mentioned above. Over this, to indicate the perature of the firing was about 9600 C. This armor — and also on the plinth — is a red pig­ is an interesting fact, as it corresponds to the ment, probably a red ocher wash. This red temperature of firing Greek vases. To obtain shows no checking in its own substance, but this remarkably uniform heat treatment the the checking of the brown appears through it. firing must have been maintained during a If it had been a clay slip it would probably long period, possibly for months.

14 HEAD OF A COLOSSAL WARRIOR

(PLATES XV-XVIII)

A COLOSSAL terracotta head, bearded the crown is a round hole, doubtless to allow but without mustache, is represented wearing for evaporation during firing. a Corinthian helmet.1 The broken edges at The surface of the head, like that of the the bottom of the neck and of the crest pre­ statue, is covered with a brownish black coat­ sumably indicate that the head formed part of ing, finely crazed all over; a red pigment is a colossal statue of a warrior — over twice the applied to the helmet and crest support; and scale of the statue just described. The style of a white engobe is used for parts of the eyes3 the two works is so similar that we may assume and for most of the ornaments. The chief or­ that they are products of the same artist. They nament consists of large white rays boldly are certainly works of the same period, and painted over all but the top surface of the much that was said regarding the heroic-size crest. The crest itself is recessed from the crest statue and its historical background applies support, which is decorated with a wave pat­ also to this head. tern in black edged with white and a black In stance the colossal warrior must have dif­ band running along the upper edge. The front fered from the heroic-size one, for the muscles of the crest support is undecorated but is of the neck and the fact that the underside of worked in two planes. Round the edge of the the beard is not modeled indicate that the pose nasal, ocularia, and cheekpieces run two white was frontal. Further differences are that the lines; the outer one is wide and is decorated crest and crest support of the colossal head are with black dots and double bars, the inner smaller in proportion to the bowl of the hel­ one is edged with black on one side. At the met, that no hair shows below the helmet, that (1) Ace. no. 16.117. Rogers Fund. H. with crest 4 ft. the crest is not modeled, and that the decora­ 7 in. (1.397 m-)> n- without crest 3 ft. 1 3/16 in. (.945 m.), h. tive motives on crest and crest support are of crest 1 ft. 434 in. (.426 m.), distance from eye to chin larger and simpler. 1 ft. 11 in. (.584 m.), circumference of crest 7 ft. 8 in. (2.337 m-)' distance from crown to tip of beard 3 ft. 3% The material is the same in both works — a in. (1.012 m.). mixture of sand, grog, and clay — and so is the The head has been reconstructed from many fragments, technique. Evidently the colossal figure, like but the only restorations are slivers at the junctures (in­ cluding part of the left eye). Parts of the decorative pat­ the other, was not molded but was modeled terns have disappeared, especially on the right side of the free hand, from the bottom up. The wall of crest support. the head2 varies in thickness from about 31^ Mentioned in M.M.A. Bulletin, xxvm (1933), p- 29; M.M.A. Guide (1937 ed.), 1, p. 40. inches (8.9 cm.) — at the crown and at the (2) The information regarding the interior of the base of the neck — to about 14 inch (.6 cm.) — head is derived from notes made at the Museum in 1916, just below the crown and near the eyes. The when the head was in fragments. The reconstruction of the head had been completed before Mr. Binns made interior shows many fingerprints, in one case his analysis of the heroic-size statue (see p. 12). The re­ the impression of an entire hand. There are construction of the life-size warrior (see p. 17) had also been finished before 1921. remains of three vertical strengthening walls. (3) The eyes are white except for the pupils and the The nose and lips are solid. In the center of circle outlining the iris, which are black.

15 corners of the ocularia and at the lower junc­ can colossi survived to Pliny's time: "In Italy tures of the cheekpiece and neckguard are too colossal statues have been made; we have white palmettes. before our eyes the Etruscan Apollo .. . which The ornaments on crest and crest support measures fifty feet from its toe."4 were doubtless made bold and simple so as to The huge size of the figure to which our be effective at the great height at which they head belonged and the fact that it was frontal were to be seen. For to judge from the size of suggest that it was a cult statue. It presumably the head the entire figure must have been stood in the same sanctuary in which the about 23 feet (7.01 m.) high if we assume that heroic-size warrior was set up as a votive offer­ it was standing, about 17I/2 feet (5.333 m.) if ing, for they are said to have been found to­ it was seated. No wonder that centuries later gether. Similarly, of the many fragments of there were still stories current of Etruscan terracotta statues found in the temple of Satri- sculptures which had expanded to a huge size cum (see p. 11) some were evidently cult fig­ in the kiln (see p. 11)! Some of these Etrus- ures, others votive offerings.5 A polychrome terracotta Mars about twenty feet high stand­ (4) N.H. xxxiv.43. The context, however, indicates ing in the dim light of an Etruscan temple that this particular statue was of bronze. (5) Delia Seta, Museo di Villa Giulia, 1, p. 275. must indeed have been an impressive sight.

16 STATUE OF A LIFE-SIZE WARRIOR

(PLATES xix-xxiv)

A WARRIOR, thin and elongated, is holes, and bottom. Across each shoulder is a represented in a frontal, striding pose.1 He is groove to indicate the joins of the breast- and bearded but without mustache and wears an backplates. On the insides of the greaves, Attic helmet with upturned cheekpieces, two marking the calves, are spirals in relief. chitons, a cuirass, and greaves. On the left arm As in the case of the stocky warrior, a wealth he probably carried a shield and the missing of ornament is painted in white, red, and right arm must have wielded a spear. black. The helmet has the following motives: The material is again a mixture of clay, round the edge of the cheekpieces, a black line grog, and sand, and the statue was apparently and a row of black dots; round the edge of the also modeled free hand, from the bottom up. nasal and brow plate, a black line; round the The legs are solid up to the knees, the thighs edge of the neckguard, two black lines and a and the trunk are hollow, the arm is solid, and row of black dots; on the crest support, me­ the neck has a hollow about 2 inches (5.1 cm.) anders in black and white, bounded top and in diameter. The wall of the trunk varies in bottom by two black lines, and a row of dots at thickness from 11/£ inches (3.8 cm.) to as little the base; on the crest, radiating black lines. as 14 inch (.6 cm.), on the left side. Evidently Round each armhole and round the bottom after the statue had been built, the workman edge of the cuirass are one or two black lines scraped down the left side for some reason, not and a row of black dots. Immediately below realizing how precariously thin he thereby the cuirass there is a broad band (the bottom made the wall. During transportation in the of one chiton) composed of rows of interlock­ Museum (prior to being placed on exhibition ing meanders, checkers, lines, dots, and ro­ in 1933) the statue developed a crack on this settes (see pi. xxiv); the band is interrupted at side. It was opened, and the weakness in con­ each hip by a short vertical stripe about 1 \/± struction was detected — after more than two inches wide terminating in an inverted pal­ thousand years. No traces were observed of mette. Below the broad band, and slightly re- interior strengthening walls such as were used in the two other sculptures. (1) Ace. no. 15.164. Rogers Fund. H. (without plinth): with crest 6 ft. 7^4 in. (2.025 m.), without crest 6 ft. B/8 in. The whole surface is covered with a brown­ (1.844 m-); distance from crown to chin 10 in. (.254 m.); ish coating, and over it have been applied a red distance from eye to chin 6 1/16 in. (.154 m.); thickness of plinth 1 3/16 to 1% in. (3 to 4.7 cm.). pigment to differentiate the armor and a white The statue was broken in about 20 pieces and has been engobe on crest, beard, and chitons. The hair put together with a few insignificant restorations (includ­ of the beard is indicated by wavy black lines. ing the upper part of the left cheekpiece), which have been made in plaster and colored. The most important The eyeballs are white, with a large black dot missing parts are the right arm, the front part of the for the iris. The lips have traces of a brilliant right foot, the end of the crest, and most of the plinth. red. On the cuirass, front and back, are spirals Described and illustrated in M.M.A. Bulletin, xxvm (1933), pp. 29 f., fig. 3; Pijoan, Summa artis, v (1934), in relief marking breasts and shoulder blades; pp. 58 f., fig. 65. Mentioned in M.M.A. Guide (1937 ed.), a double ridge marks its edge at neck, arm- 1, p. 40.

17 cessed from it, is a narrow one (the edge of in art at work in Etruria — the Greek and the the second chiton) decorated with hatched tri­ Italic. The considerable charm of our thin angles. That the broad band is the lower part warrior shows that the Italic contribution was of a chiton and not an extension of the cuirass important. But to realize that even in this fig­ is shown by the similar vertical stripes ending ure Greek influence played a large part we in palmettes which appear on chitons worn by need only compare it with such a work as the figures on the Etruscan chariot.2 At the back strange limestone warrior recently found at of the neck and round the armholes some Capestrano,4 in the province of Aquila. The white appears, perhaps to represent the edges artist of the Capestrano warrior surely had of one or the other chiton. never seen a Greek work. In construction, type The elongated proportions, the thin limbs, of face, outfit, his figure is purely Italic — far and the perpendicular trunk contrast strik­ removed from the Greek world. ingly with the stocky, rounded forms and with The date of our thin warrior is perhaps a the forward inclination of the other figure. little later than that of the other two. The eyes They recall rather the bronze statuettes of still have uniformly protruding lids, but the Italic warriors.3 Perhaps there was an Italian style as a whole is no longer truly archaic. The tradition — which now eludes us — to account modeling is not so precise, the sharp edges for the unusual proportions. At all events, the have disappeared (contrast especially the artist of this statue is further removed from structure of the mouth). Stylistically we have the Greek tradition than was the sculptor of reached the stage of the kore dedicated by the heroic-size statue and the colossal head. He Euthydikos and of the Blond Boy but not yet uses Greek types of armor and Greek orna­ that of the Tyrannicides. The type of palmette ments, but his conception of form is native. (see pi. xxiv), with petals rounded at the tips Indeed the two warriors exemplify in a most and fairly far apart and with side petals slight­ interesting manner the two chief tendencies ly dipping, occurs throughout the first quar­ ter of the fifth century. We may therefore ten­ (2) Richter, Bronzes, no. 40, drawing opp. p. 22. One tatively assign our statue to the first or second of the figures is a charioteer without a cuirass. Stephen V. Grancsay, Curator of Arms and Armor in this Museum, decade of the fifth century B.C, remembering, tells me that in mediaeval times two garments were fre­ however, that it is hard to date precisely a quently worn beneath the cuirass, whereas there is no work such as this statue which stands some­ known instance of a band as an extension of a cuirass. The interpretation of the outfit here suggested would also ap­ what outside the Greek tradition. ply to the Italic statuettes of warriors (cf. note 3 below). The statue is said to have been found on the (3) E.g. our examples in Case 11 of the Etruscan Gal­ lery and those published by G. Bendinelli, Monumenli same site as the other two warriors; so we may antichi pubblicati per cura della R. Accademia dei Lincei, assume that it was, like the one of heroic size, xxvi (1920), cols. 224 ff. a votive offering. (4) Illustrated London News, vol. 186 (1935), pp. 222 f.; G. Moretti, II guerriero italico di Capestrano (R. Together our three sculptures, if our in­ Istituto d'archeologia e storia dell' arte. Opere d'arte, fasc. terpretations are correct, give us a new con­ vi) (Rome, 1936). ception of an Etruscan sanctuary5 — a temple (5) On Etruscan temples in general cf. the excellent monograph by A. K. Lake, "The Archaeological Evidence large enough to house a colossal statue and for the 'Tuscan Temple,' " in Memoirs of the American enriched by impressive dedications. The role Academy in Rome, xn (1935), pp. 89 ff. The width of the temple at Veii is given as 18.50 m. (over 60 ft.) by Giglioli, of early Italy in religion and art is seen in a Notizie degli scavi, 1919, p. 35. new light.

18 PLATES

STATUE OF A WARRIOR OF HEROIC SIZE PLATE II

BACK VIEW OF HEROIC-SIZE WARRIOR PLATE III

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CLOSE-UP OF HEAD OF HEROIC-SIZE WARRIOR IN PROFILE TO RIGHT PLATE VII

CLOSE-UP OF HEAD OF HEROIC-SIZE WARRIOR IN FULL FRONT VIEW PLATE VIII

A. Right Hand B. Left Foot and Front Edge of Original Plinth

C. Left Foot

DETAILS OF HEROIC-SIZE WARRIOR PLATE IX

A. Palmetto on Right Greave at Knee B. Palmettes and Tongues on Cuirass and Waves on Chiton

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C. Decorative Band on Chiton

DETAILS OF ORNAMENT ON OUTFIT OF HEROIC-SIZE WARRIOR PLATE X

A. Underside of Plinth

B. Interior of the Torso, Showing One of the Braces

C. Bottom of the Torso Showing Where the Legs Were Joined and the Crotch Smeared with Fine Clay

DEI AILS OF HEROIC-SIZE WARRIOR ILLUSTRATING TECHNIQUE PLATE XI

A. Left Foot and Plinth B. Right Foot and Plinth

C. Legs, Showing Fracture at Ankles D. Right Leg from Knee Down

E. Left Thigh F. Right Thigh

FRAGMENTS OF HEROIC-SIZE WARRIOR ILLUSTRATING TECHNIQUE PLATE XII PLATE XIII

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HEAD OF COLOSSAL WARRIOR PLATE XVI

COLOSSAL HEAD IN THREE-QUARTER FRONT VIEW PLATE XVII

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CLOSE-UP OF COLOSSAL HEAD PLATE XIX

STATUE OF A WARRIOR OF LIFE SIZE PLATE XX

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CLOSE-UP OF HEAD OF LIFE-SIZE WARRIOR IN PROFILE TO RIGHT PLATE XXIII

CLOSE-UP OF HEAD OF LIFE-SIZE WARRIOR IN FULL FRONT VIEW PLATE XXIV

M1AA AAAAMAAAAAAi DECORATIVE BAND ON CHITON OF LIFE-SIZE WARRIOR Of this monograph issued as PAPERS NO. 6 500 copies were printed July, 1937, by the Plantin Press