AJA OPEN ACCESS: MUSEUM REVIEW www.ajaonline.org

New Light on a Master Bronze from Etruria

By Beth Cohen*

The Chimaera of , J. Paul Getty Museum nearby must document the coup de grâce of a at the Getty Villa, Malibu, 16 July 2009–8 now-lost spear. February 2010, curated by Claire L. Lyons In Greek myth, the fire-breathing Chimaera, and Seth D. Pevnick. offspring of Typhon and Echidna, was slain by the Corinthian hero Bellerophon, mounted The Chimaera of Arezzo, edited by Mario on the winged horse Pegasus (e.g., Hes. Theog. Iozzo, in collaboration with G. Carlotta 319–25). This bronze statue is presumed to Cianferoni, Claire L. Lyons, and Seth D. have been part of a sculptural Bellerophon Pevnick. Pp. 51, b&w figs. 12, color figs. 50. group, but, when it was found outside the Edizioni Polistampa, Florence 2009. €8; $15. Porta San Lorentino at the Tuscan town of ISBN 978-88-596-0628-4 (paper). Arezzo—ancient Etruscan Arretium—in 1553, no other monumental sculpture was recorded, though it was part of a deposit including small The large bronze statue—more than 4 ft. bronzes.3 Cosimo I de’ Medici (1519–1574), the long—known as the Chimaera of Arezzo de- self-proclaimed Duke of Etruria, ordered this picts a fantastic compound animal from Greek impressive trove whisked off to his own collec- mythology visualized as a lion with a goat’s tion in Florence. After cleaning by the duke and head (or protome) emerging from its back and the artist Benvenuto Cellini, the bronze statue a serpent for a tail (figs. 1, 2).1 This statue of ca. was displayed in the Palazzo Vecchio, the city’s 400 B.C.E. shows the creature under attack: the historic town hall employed by Cosimo as a Chimaera, roaring menacingly, draws back- residence. Since the Chimaera was found with ward on his haunches as if to spring, with the the snake tail broken off (a then-preserved tail lion’s claws bared and now-lost eyes originally section was never attached), despite its goat’s fixed on an attacker. Walking around the statue head, this statue was initially believed to rep- or viewing it in QuickTime on the exhibition’s resent a lion. Giorgio Vasari (1511–1574)—the permanent Web site2 reveals that the goat Florentine courtier, painter, architect of the head has flopped over, mortally wounded, as Uffizi, and author ofThe Lives of Artists, who thick droplets of blood gush from both sides was himself from Arezzo—took special inter- of the neck. The lean and sinewy lion’s body est in the Arretine treasure, and he published has also been wounded: blood spurts from the antiquarian verdict that the bronze statue the left (rear) rump, and the small, round hole depicted the Chimaera.4 The inscription “TIN- July 2010 (114.3)

* I would like to thank Claire L. Lyons, Carol 2 http://www.getty.edu/art/exhibitions/chimaera/. Wight, and Mario Iozzo for their assistance. Teaching 3 Del Vita 1910; Colonna 1985, 172, fig. 21 (“F” on in the University of Rochester in Italy’s program in plan); 173–74, no. 10.1. Arezzo during 1994 provided a valuable opportunity 4 See Pallottino 1977, 4, quote no. 2 (Vasari, Ragion- to investigate artworks associated with the town. amente terzo); see also for the Chimaera’s discovery, 1 Iozzo 2009, 4 (fig.), 10 (fig.), 29–35, figs. A–E; 49, inscription and display, 4, quote no. 1 (Vasari, Proe- no. 1 (Florence, Museo Archeologico Nazionale, inv. mio delle Vitae, Origine delle arti di disegno: IV. Presso gli

American Journal of Archaeology American 10.3764/ajaonline1143.Cohen DOI: of America Institute © 2010 Archaeological Copyright no. 1). Etruschi). 2 American Journal of Archaeology Online Museum Review Toscana–Museo Archeologico Nazionale,Firenze). Museo Archeologico Nazionale,inv. no.1(E.M.Rosenbery; ©SoprintendenzaperiBeni Archeologici della Fig. 2.RearviewofEtruscan bronze statueoftheChimaera,from Arezzo, lgth.129cm,ca.400B.C.E.Florence, and fingerrings(E.M.Rosenbery). Fig. 1. Installationviewof the exhibition: right , the Chimaera of Arezzo; left , cases with ancient vases, gems, 3 American Journal of Archaeology Online Museum Review SCVIL,” inretrograde letters onthestatue’s upon thestatueratherthanonabase). inscription’s typicallyEtruscan archaic placement Ar co.2;seealsoBonfante2006,15–16, 18–19(forthe for theexhibition. Augmenting eightcarefully of Los Angeles havealsoprovided support di CulturaandtheItalianConsulateGeneral della Toscana inFlorence. TheIstitutoItaliana and theSoprintendenzaperiBeni Archeologici of theMinistero periBeniele Attività Culturali English-language versionsundertheauspices It hasbeenpublishedinbothItalian-and pertinent bibliographicalcitationsthroughout. (29 ondisplayplusonealternate)andincludes catalogue endswithachecklistof30objects myth,andEtruscan context. The statue, itsmodernhistoryandinfluence, this smallexhibition:theChimaeraasabronze diverse themesmasterfullyencapsulatedin the GettyandItaly. Briefchaptersdiscussthe and itsgoalsthecollaborationbetween ductory notespresent the Florentine museum panied byahandsomeslendercatalogue.Intro Collection toItaly. 40 antiquitiesfrom theGetty Museum’sVilla Trust commitmenttoreturn afterthelatter’s ian MinistryofCulture and theJ.PaulGetty of theseparateagreement betweentheItal and ,is one positiveramification loan exhibitionsofancientbronze statuary Their collaboration,whichwillincludelarge Florence’s National Archaeological Museum. of anongoinginternationalassociationwith of thesplendidGettyVilla, isthefirstfruit exhibition, whichoccupiesasinglegallery J. Paul Getty Museum’s intriguing boutique museum. and in1870,toFlorence’s newarchaeological century, theChimaerawasmovedtoUffizi (She-Wolf) thatsymbolizedRome. pete politicallywiththerenowned bronze Chimaera gaveFlorence anantiquitytocom of great artinTuscany; moreover, theEtruscan This importantconclusionlocatedtheinception that the never seemstohavebeentheslightestdoubt derstood. Inthe16thcentury, however, “there wielding sky god to theEtruscans’ maindeity, thethunderbolt- right foreleg—now knowntobeadedication 6 5 The ChimaeraofArezzo Focusing onthisvenerablemasterpiece,the Gáldy 2009, 124; see also Pallottino 1977; Gáldy Gáldy 2009,124; see alsoPallottino1977;Gáldy Maras 2009, 32–3, 92, 187, 194–95, 223–24, no. Maras 2009,32–3,92,187,194–95, 223–24,no. 8 wasanEtruscan antiquity.” 5 —could not yet beun exhibitionisaccom 7 In the 18th Inthe18th Lupa - - - - - 6

1). TheItalianloanisarrestingly setonatall, est knownreference totheChimaera(seefig. Homer’s is emblazonedwithtranslatedlinesfrom the colorofRoman Arretine Ware), which against a reddish-orange backdrop (recalling black-patinated bronze statuesilhouetted and wallframes—thevisitorencountersthe of grayandbeige,pluscharcoal-colored cases a generalcolorschemefeaturingmutedtones gallery (fig.3). copies of the cataloguerest onabenchinthe has nobrochure oraudioguide,reference Institute inLos Angeles. Whiletheexhibition from theResearch LibraryoftheGettyResearch Museum’s own Malibu Villa Collection and alternate) have been drawn from the Getty museums, 15oftheworksondisplay(and loans mostlyfrom severalItalianand American selected loansfrom Florence andsixindividual 2006. model was cast. The label suggests further that creature’s rightforeleg before the sculptor’s dedication to Tinia, which was written on the in contradistinctiontotheinscribedEtruscan from MagnaGraecia;theseGreek tiesstand like mane)andwithlion’s-headwaterspouts century B.C.E.(noteesp.itsstylized,flame lions shownin Athenian artofthelatefifth head considerstheChimaera’sassociationwith “Style andWorkmanship,” theplacard atthe Etruscan religious sanctuary. Undertherubric and itsintendedfunctionasanoffering inan fangs and inlaid eyes in different materials, in style,whichwasoriginallyoutfittedwith tity asanEtruscan hollow-castbronze, classical statue’s Greek mythological depiction,itsiden placard on the front discusses the Chimaera them tolookattheworkfrom allsides.The aspects oftheChimaera Arezzo andinvite statue, succinctlyintroduce visitorstomajor side oftherectangular guard railaround the corridor oftheFlorence museum. home in the window-lined Etruscan bronze differs markedlyfrom thestatue’straditional sides. TheGettyMuseum’sdramaticdisplay ing spotlightsfordetailedviewingfrom all charcoal-colored baseandperfectlylitbyceil 9 8 7 Upon entering the exhibition gallery—with Upon enteringtheexhibitiongallery—with Four angledplacards, one centered oneach Cristofani 1979,4–5,8,fig.8. Iozzo 2009,28. Gáldy 2009,124,132. Iliad (6.179–83)containingtheearli 9

- - - - 4 American Journal of Archaeology Online Museum Review B.C.E.). reconsideration ofthelocationitsfabricin Chimaera statueafresh inMalibuinvitesabrief the statue’sinternalconstruction. have beenreproduced larger, showrepairs and radiographs onthislastplacard, whichshould it is a restoration.) Interesting false-color x- detail, donotread farenoughtolearnthat 1785. (Mostvisitors,transfixedbythis“cool” with thesnake’sheadbitinggoat’shornin lower legstothemodernrestoration ofitstail ment ofitsoriginalancientleftfront andrear from itsdiscoveryin Arezzo andthereattach discusses the statue’s early modern history, on Pegasus.Thelastplacard, atthetailend, group alsocontainingastatue ofBellerophon statue’s iconographiccontextinasculptural back flank deals with visual evidence for the bronze casting.”Theplacard ontheChimaera’s metal-workers famedfortheirexpertisein Southern ItalianpeninsulaaswellEtruscan artistic ambienceoftheGreek coloniesinthe shop thatincludedcraftsmenimmersedinthe the Chimaerastatue“wascreated inawork ground Fig. 3.Installationviewoftheexhibition’srightside: western afterlife(E.M.Rosenbery). 16th–18th-century illustratedbooks,anengraving,andamanuscriptdocumentingtheChimaeraof Arezzo’s 10 The thrillingopportunitytoseethebronze E.g., Cristofani1985,290–91,no. 114 (450–430 , benchwithcatalogues; center background , wall-mountedcasewithancientcoins; - - left background Graecia, perhaps atTaranto. attributed toaGreek workshopofMagna looking temperapaintingsoughtindeedbe this “Etruscan” alabaster sarcophagus’ Greek- through comparativetechnicalanalysis,that quinia, Brecoulaki demonstrateddefinitively, Etruscan womanRamthaHuzcnai,from Tar B.C.E. Amazonomachy sarcophagus ofthe before theclassicalChimaera. tradition oflarge bronze (animal)sculpture canon erasesthesupposedlyearlierEtruscan is inclinedtoagree. Removingthe tion offurtherscientificevidence,this reviewer cording toancientpractice. piece likeachurch bellrather thaninparts,ac it isamedievalworkofca.700C.E.castinone statue, Carruba (controversially) suggested that has been questioned. In 2006, after cleaning the master bronze oftheearly fifthcenturyB.C.E., Lupa of twoother“Etruscan” monuments. light of notablefindings from recent analyses 12 11 Second, in a 2001 study of the fourth-century Second, in a 2001studyofthefourth-century First, theantiquityofRome’s venerable Carruba 2006,13–48. Brecoulaki 2001,21–34,41–2(table). , presumed tobeanarchaic Etruscan , casewithEtruscan smallbronzes; 12 11 Thus, an Etruscan Thus,anEtruscan Pendingpublica right background Lupa middle from the - , 10 - - -

5 American Journal of Archaeology Online Museum Review family procured ahigh-qualityGreek monu exhibition focus, wasincludedintheGettyVilla’s Carruba 2006,50–2,no.1.Bronze technique,notan Graecia. workshop atOlympia influenced thosefrom Magna ing toCristofani(1991),awaterspout from Pheidias’ 223. Maggiani 1990,58–9(withreferences); Maras2009, southern Etruria (anda Chiusineworkshop),see For theassociation ofitsinscription’sepigraphywith by Etruscans from fineGreek artisansinMagna sarcophagus, mightindeedbeapieceacquired dedication, liketheTarquinia Amazonomachy now seriously consider whether this Arretine any otherEtruscan large bronze, andweshould Chimaera is,infact,more Greek-looking than Etruscan bronze (animal) statuary. But the at theheadoftraditionmonumental sical Greek-looking Chimaera nowmuststand Without an earlier Graecia carryingoutEtruscan commissions. it wasmadeinaGreek workshop ofMagna from Metaponto, specifically suggested that the Chimaera’srelationship with waterspouts most significantly, Orlandini, who pointed out held thisstatuetodisplayGreek workmanship: made byEtruscans. Somescholarshavelong it need not signifythat the bronze statue was conceived as an Etruscan religious dedication, on itsforeleg indicatesthat theChimaerawas Etruscan inscriptionrendered before casting tion isparticularlyappropriate now. Whilethe nature. insistence upon the bronze statue’s Etruscan its beingaGreek-mainland importtoVasarian which cannotbeitemizedhere butrangefrom scholarly opinionsabouttheChimaera’sorigin, cant effort toriseabovethemire ofconflicting This complexcollaborativescenarioisasignifi cast byEtruscan bronzeworkers (inLatium). milieu ofMagnaGraecia(esp.Metaponto)was or Italiote)artisanstrainedintheGreek artistic which asculpturalmodelfashionedby(Greek production isattributedtoaworkshopin terpiece ofEtruscan bronze sculpture, whose current view, present the Chimaera as a mas attempting tofurnishvisitorswithacogent, working inaclassicalGreek idiom. Etruscan (orothercentralItalian)masters ment from SouthItalyratherthanpatronizing 16 15 14 13 The Malibu exhibition (and its catalogue), The Malibuexhibition(anditscatalogue), Iozzo 2009,34–6;cf.Maggiani1990. E.g., Cristofani 1985, 295–97 (with summation). E.g., Cristofani 1985, 295–97 (with summation). Guidi andPierdominici 1992;Pecchioli Orlandini 1983,457–58,figs.483–85. Accord 14 Butperhaps analternative sugges Lupa , thefashionably clas 13 15 ------

tyrant ofCorinth,hishomecity. Proetus’ wife, King Proetus atTiryns aftermurdering the lerophon myth. silhouette oftheChimaera,introduces theBel on anorangerectangle toppedbyaminiature Mediterranean world. A walltext,appliquéd and the myth’s dissemination throughout the is concernedwithearlyartisticdepictions lery clockwise(seefig.1).Theopeningsection display ofsmallerobjectsbytouringthegal visitor besttakesintheexquisitesupporting the ever-fascinating Chimaeraof Arezzo, the artworks tofulfilltheirsocioreligious needs. as ambitiouspurchasers andcommissionersof fully—not onlyasterrificartmakersbutalso event, theEtruscans oughttobeappreciated not befoundinthebronze casting. early modern times,a definitive answermay was workedoverforseveralcenturiesduring Graecia. Sincethisassuredly ancientbronze of Fine Arts, inv. no.95.10 [attributedtothe Chigi cles [ 16, 26n.3,43(oninfluencefrom lostplaysbySopho co Nazionale,inv. no.82263);seealsoIozzo2009,14– Pisticci-Amykos Group; Naples,Museo Archeologi LIMC 2009. Lives oftheChimaera Arezzo,” 4–5 December symposium “Myth, Allegory, Emblem:TheMany vessel forperfumedoilisoftenillustratedin Fine Arts, Boston(seefig.1,left). 6.8 cm)ofca.650B.C.E.from theMuseumof Chimaera ontheProtocorinthian aryballos(ht. Greek representations ofBellerophon andthe bride andalsohiskingdom. lerophon was given the king’s daughter as a Pegasus. As areward (afterfurthertrials),Bel accomplished thisfeatuponthewingedhorse to killthefire-breathing Chimaera.Thehero certain Bellerophon would die,ordered him production of Athenian tragedy. may have been inspired by a South Italian of Panathenaicshapeca.420B.C.E.,which appears onaLucanianred-figure amphora that hebekilled.Thisportionofthehero’s story King IobatesofLycia withsealedinstructions himself, theking sent him to (his father-in-law) seduced her. RatherthankillBellerophon Stheneboea, claimedfalselythatBellerophon 19 18 17 In theMalibuexhibition,aftercircling It isapleasure toseeone oftheearliest Iozzo 2009, 14, fig. 2; 49, no. 4 (Boston, Museum Iozzo 2009,14,fig.2;49,no.4(Boston, Museum Iozzo 2009, 17, fig. 8; 49, no. 3 (attributed to the Iozzo 2009,17,fig.8;49,no.3(attributedtothe LIMC Iobates 3:259–69,pls.209–17,s.v. “Chimaira.” 3:249–59,pls.197–209,s.v. “Chimaira”; ] andEuripides[ 17 Thehero soughtrefuge with Beller ., Sthen 18 King Iobates, King Iobates, 19 .]). This tiny Thistiny 16 Inany - - - - - 6 American Journal of Archaeology Online Museum Review publications bytherollout drawing,which C. CarlosMuseum, inv. no.2009.8.1). Italian goldboxbezelring,inv. no.88.AM.104). carnelian scarab,inv. no.81.AN.76.183),10(South scaraboid gem,inv. no.81.AN.76.49),7(Etruscan now blackonaccountof(early)modern patination. been employedtoinlaythebronze Chimaera’sblood, by Iozzo(pers.comm.2009).Coppermightalsohave Group]). century untiltheirdefeatandabsorptionbythe Greece, thrived in from the eighth art, influencedbytheancientNearEastand ancient peoplewhoseculture andrichnarrative its attackerapproaching from theright. suggest an oppositional fight composition, with and slightlyturnedtoitsright,mightinstead with itsforward-looking lion’s headtiltedup However, theright-facingChimaeraof Arezzo, attacker, evidentlybecamecanonicalinItaly. lion’s headtwistsupandaround toward the the rightdirectly abovethe Chimaera,whose sition, showingthehero on Pegasusflyingto blocking asidedoorway. Thisverticalcompo of its Bellerophon composition on a scrim material through aphotographic enlargement of ca.400B.C.E. can carnelianandgoldscarabring(lgth.3.1cm) hanging onthewallnearby.) A strikingEtrus is aidedbymuch-usedmagnifyingglasses evident enjoyment of these intaglio miniatures Other. (Exhibitionvisitors’examinationand myth, inwhichaGreek hero slaughtersthe the widespread distribution of the Chimaera ment the ongoing role of small luxury items in mounted caseofthearyballos(fig.1,left),docu Villa Collection, manufacture, from theGettyMuseum’sown of classicalGreek, Etruscan, andSouthItalian statue’s openjaws. might originallyhaveissuedfrom thebronze tongue butred flames(executedincopper) this Protocorinthian Chimaera,notmerely a above thegroundline, isshownasflying.Like attack, ismountedonPegasus,who,hovering from righttoleft,withhisspearpoisedfor is fullyformed;thehero, notablyadvancing the tripartitecompoundanimalbreathing fire already appearinthisorientalizingdepiction: actual work.Enduringiconographicfeatures here isprintedonthelabeltoelucidate 22 21 20 A walltextintroduces theEtruscans as an Gems andfingerrings,includingseveral Iozzo 2009, 19, fig. 15; 49, no. 9 (Atlanta, Michael Iozzo 2009,19,fig.15;49,no.9(Atlanta, Michael This possibility was suggested, in conversation, This possibility was suggested, in conversation, E.g., Iozzo 2009, 49,no. 6 (Greek chalcedony 21 22 whichshare thepetitewall- subtly functions as didactic subtlyfunctionsasdidactic 20 - - - B.C.E. madebytheFaliscans, olla (storagejar)from Orvieto ofca.700–650 (see fig. 1, center background)—is an in its own case on the adjacent rear gallery wall for theexhibition. on thenearbywallpanelindicatessitesrelevant Italy. A usefulmapoftheMediterraneanworld Lydians colonizedpartsofnorthernandcentral Herodotus’ (1.94)controversial assertionthat takes placein Anatolia (Lycia) bringstomind the popularity inEtruria of a Greek myth that which supporttheircontinuityinItaly. cal findsfrom theirnecropoleis andtemples, of thispeoplethrough extensivearchaeologi cans, thewalltextemphasizesourknowledge Following thecurrent approach totheEtrus tongue writteninamodifiedGreek alphabet.” pletely understood, Their language, whichcanbe read, if not com Romans duringthelastfewcenturiesB.C.E. no. 77261(Iozzo2009, 47,fig.42). Archeologico Nazionale,inv. no.72748). Etruscans asimmigrants,seeBriquel2000. ‘deciphered.’” “inscriptions canberead, andsotheyneednotbe phered,” Bonfante(2006,9)argues thatEtruscan and Bellerophon isstillinsitutheTomb ofthe depiction possiblyshowing both theChimaera head emerging from itsback. left end,onethatlookslikealionwithgoat’s facing procession ofbeasts,including,atthe pulviscolo of the Lictor at , which depicts in gold leechfibula(lgth.15.6cm)from the Tomb chaeological Museum—theimposingEtruscan es—among loansfrom Florence’s National Ar of theseventhcenturyB.C.E.inItaly, onemiss the ChimaeraduringOrientalizingperiod simply ahunter. be Bellerophon or, asCamporeale suggested, and might be the Chimaera. The man might with agoat’sheadprojecting from itsback right, whichappearstohavealion’sbody he pursuesfrom therear thecreature atthe man withaspearstandingamidseveralbeasts; line drawingonthelabel,depictsahelmeted north ofRome.Itsinciseddesign,shownina boring theEtruscans wholivedincentralItaly 27 26 25 24 23 The exhibition’s earliest object—displayed The exhibition’searliestobject—displayed In consideringpossiblerepresentations of Camporeale 1977. Iozzo 2009,13,fig.1;50,no.14(Florence, Museo Florence, Museo Archeologico Nazionale, inv. While thewalltextemploysword “deci On earlier approaches, including considering granulationonitscatchplatearight- 26

23 is“anon-Indo-European 25 27 apeopleneigh Another early early Another 24 Yet, ------7 American Journal of Archaeology Online Museum Review Bulls at ofca.540–530B.C.E.,painted ally obscured by shadow (Iozzo 2009, 29, 30, fig. A1). genitalia. at least,Chimaeraswithmanesbut withoutvisible also represented ( in depictionsoflionesses. see lung Ludwig,inv. no.Zü399).ForthemaleChimaera, 50, no.11 (Basel, Antikenmuseum BaselundSamm- to havea“shaggybelly,” followingStibbe’s spurts from thewound.This Chimaeraissaid fearsome creature inthebelly, and red blood phon, advancingina the Chimaera.Here, adismounted Bellero Pegasus, rearing onhishind legs,confronts tion onthelarge tondoinside thisSpartancup, Boreads Painter(fig.4). Laconian black-figure cup attributedtothe entrance tolure museum visitors:anarchaic placed in the corridor outside the exhibition’s be relevant foraGettyobject strategically goat ( probably derivesfrom theGreek word forshe- as female.Thiscreature’s name,furthermore, describing theChimaerakilledbyBellerophon lines( displayed beneathHomer’s installation—the maleChimaeraof Arezzo fies aseemingdiscrepancy intheexhibition’s were envisionedinantiquity; Chimaeras ofbothfemaleandmalegender breathing fire. Thiswelcomevaseatteststhat lion cub.Ontheback,amaleChimaeralurks, a lioness’four)onherunderside, lion’s maneandninemammae(insteadof fantastic animal,whoisendowedwithamale Italy. case]) istheonlyEuropean loanfrom outside middleground [leftmostvaseinfreestanding Chimaera depictedoneachside(seefig.1,left of theLaTolfa Group from ca.525B.C.E.witha Etruscan princes.” heroic subjectof Anatolian originbelovedby “the mythofBellerophon andtheChimaera,a at . Inthiscontext,Steingräberrefers to the Greek mythof Achilles ambushingTroilus on thegableofwalluniquelydepicting 31 30 29 28 LIMC 33 32 The issueoftheChimaera’sgendermay Basel’s Etruscan black-figure neckamphora Iozzo 2009,18,fig.12(reverse: femaleChimaera); Steingräber 2006,91. See Brown (1960,166)onunnaturalisticfeatures Sexually neutralChimaeraswere supposedly In photographs,thestatue’sgenitals are gener Iozzo 2009,16,fig.7;49,no.2 (Malibu,J. 29 chimaira Onthefront, afemaleversionofthe 3:pl.213(fig.ChimaerainEtruria 38 [right]). ). LIMC 28 3:257,s.v. “Chimaira”)—or, knielauf 33 Inaheraldiccomposi pose,spearsthe 31 itthusclari Il 30 . 6.179–83) . 6.179–83) nursesa 32 is is - - - - inv. no.85.AE.121.1. Malibu, Villa CollectionoftheJ.PaulGettyMuseum, 18.5 cm, ca. 565 B.C.E. Attributed to the Boreads Painter. lerophon, and the Chimaera, diam. (withouthandles) Fig. 4.Laconianblack-figure cupwithPegasus,Bel Vilucchi andZamarchi Grassi2001,64,no.3. Museo Archeologico Nazionale, inv. no.555);see also Vilucchi andZamarchi Grassi2001,63,no.2. Museo Archeologico Nazionale, inv. no.4);seealso Vilucchi andZamarchi Grassi2001,62,no.1. Museo Archeologico Nazionale,inv. no.15);seealso AE.121). Paul GettyMuseum,Villa Collection,inv. no.85. display inthe Etruscan bronze corridor ofthe of ca.400–300B.C.E. also arearing wounded griffin (ht.14.3cm) (ht. 29cm)ofca.325–300B.C.E.; of ca. 300–200 B.C.E.; ing aphiale(ht.29.8cm),interpreted asTinia, November 1553:acrowned malefigure hold unearthed withtheChimaeraat Arezzo on15 several statuettesthatappeartohavebeen containing Etruscan small bronzes includes its “life”afterantiquity(seefig.3). A vitrine Chimaera statue’s16th-centurydiscoveryand female Chimaera. teats commonlyshownontheundersideofa of thelongrow ofmammae withprominent detail isinsteadamisunderstoodrendition hair onthebelly.” description ofitwith“meticulouslyincised 38 37 36 35 34 The rightsideofthegalleryfocuseson E.g., supran.29. Stibbe 1991,5. Iozzo 2009,23,fig.22;50,no. 18 (Florence, Iozzo 2009,22,fig.20;50,no.17(Florence, Iozzo 2009,22,fig.21;50,no.16(Florence, 35 34 36 However, perhaps this 38 a youth holding a phiale Unlikethetraditional 37 andprobably - -

8 American Journal of Archaeology Online Museum Review Florence museum,theexhibitionimportantly 840005B). Research Library, GettyResearch Institute, inv. no. 89-F16). Research Library, GettyResearch Institute, inv. no. Museo Archeologico Nazionale,inv. no.35694). Museo Archeologico Nazionale,inv. no.35703). no. 2000.PR.33). Library, GettyResearch Institute,Los Angeles, inv. right background), the Palazzo Vecchio 3, and the Uffizi (see fig. of Florence’s Piazzadella Signoria,showing newly frescoed hallofMedici PopeLeoX. and inshowcasingtheChimaerathere inhis designed forCosimoIinthePalazzoVecchio bronzes displayedinthe tion, wasinstrumental inhavingthe Arretine who published the bronze statue’s identifica ing thebronze statueasa Chimaera. collection aided scholars in correctly interpret placard pointsoutthatcoins intheMedici on PegasuskillingtheChimaera. shows the entire motif of Bellerophon mounted C.E.)—the onlyRomanworkondisplay— collection. picting aChimaerathatwasinCosimo’sown silver staterofSicyonfrom ca.380B.C.E.de tains severalancientcoins,includingaGreek of Etruria.” decorated Bandinelli, by NicolòdellaCasaafteradrawingBaccio here through an engraved portrait from 1544 to hisconquered foes.”CosimoIisdocumented his dominion ‘over all the chimaeras,’ referring considered theChimaerastatue“asymbolof As discussedinawalltext,theMediciruler stallation intheUffizi(seefig.3,background). acquisition byCosimoItoits18th-centuryin the Chimaera’searlymodernhistory, from its man conflict. century B.C.E., votive depositprobably datingtothesecond emphasizes thattheChimaerabelongedtoa 46 45 44 43 42 41 40 39 An 18th-centuryengravingwitha The followingtinywall-mountedcasecon The displayalongtherightwalldetails Supra n.4;seealsoGáldy2009,63, 84,124. Gáldy 2006,111. Turfa 2006,92,106,108n.18. Iozzo 2009, 23, fig.24; 51,no.27 (Los Angeles, Iozzo 2009, 21, fig.18; 51,no.25 (Los Angeles, Iozzo 2009,21,fig.19;50–1,no.21(Research Iozzo 2009,24,fig.27;51,no.23(Florence, Iozzo 2009,24,fig.26;51,no.22(Florence, 41 al’antica 40 A coinfrom Corinth(27B.C.E.–14 in which he is depicted with armor inwhichheisdepictedwitharmor 39 atimeofEtruscan andRo , most suitable for the “Duke 45 drawsvisitorstoward the scrittoio 42 (study)he The label Thelabel 43 Vasari, veduta 44 ------

of antiquities at the Getty Villa, who earlier had of Claire L.Lyons, theGettyMuseum’scurator lio’s subject,weare indebted totheeagleeyes Etruscan writing.Forthediscoveryoffo of theChimaera—filtered through afocuson may containtheearliestpreserved portrayal inscription. Datedto1582,thismanuscript bronze Chimaera with its retrograde Etruscan (see fig.5,right) records therightforeleg ofthe Chacón’s pen-and-inkdrawingontherecto corresponding lettersinLatin.Significantly, written inaverticalcolumntotherightof page (seefig.5,left),theEtruscan alphabetis worked onancientepigraphy. Onthefacing ish DominicanscholaractiveinRomewho It isby Alfonso Chacón(1540–1599),aSpan justifies the loan of the Chimaera of Arezzo. the GettyResearch Institute(fig.5), unpublished 16th-centurymanuscriptfrom the ancientbronze statue.One,apreviously display tablefeaturingwesterndepictionsof 6.200–2; Pind. 723.33v). Los Angeles, J.PaulGettyMuseum,inv. no.84.ML. 17; 51,no.30(MasterofSirJohnFastolf [1430–1440]: Paul Getty Museum, inv. no. 83.ML.101.92); 20, fig. the EgertonMaster[1405–1420];Los Angeles, J. been consignedtothecatalogue. “object” nexttothebronze Chimaera;itshouldhave oddly placedreproduction istheexhibition’slargest Syria, in2003.Unfortunately, thismisleadingand man Bellerophon mosaicexcavatedatPalmyra, photographic facsimileofathird-century C.E.Ro was hated by the gods. he wasthrown, felltoearth, becamelame,and Attempting toflyMt.OlympusonPegasus, maera, Bellerophon’s story did not end happily. horse, haswings. in addition,nowthedragon,ratherthan monster isreptilian rather thanfeline.” And, ground). in succession(seefig.3,casetherightfore 15th-century French illuminated manuscripts dragon hasbeenillustratedbytwocharming knight mountedonawhitehorseslaying St. George. phon andtheChimaerainiconographyof concerned withthewesternafterlifeofBellero worked attheGettyResearch Institute. 49 48 47 Despite hisheroic actof killingtheChi The exhibition’sthought-provoking finaleis Iozzo 2009, 20, fig. 16; 51, no. 29 (Follower of Iozzo 2009,20,fig.16;51,no.29(Followerof E.g., Eur. The display’spenultimatespotcontainsa 48 Yet, asthelabelpointsout,“here the 47 Thisrelated motifoftheChristian Ol Beller . 13.131–32; . frr. 311N 49 The winged horse was The winged horse was Isthm 2 –312N . 7.60–8. 2 ; Hom. 46 alone Il ------.

9 American Journal of Archaeology Online Museum Review as aprotome. Brecoulaki, H.2001. Bonfante, L.2006.“Etruscan Inscriptions andEtrus culture bymeansofaclassic iconofanimalart. own historicsurvivalandpassageintowestern fantastic animal,illuminatestheChimaera’s tion, devoted to the Bellerophon myth’sother Now theGettyMuseum’sinspiringexhibi displaying both his ancientform and identity. sus passed into post-Antique western imagery tion Equusinastronomical illustrations,Pega into aconstellation.Survivingastheconstella housed in Zeus’ stables and ultimately turned 50 funeraria dell’Italiapreromana (V–IIIsecoloa.C.). 9–26. Austin: UniversityofTexas Press. edited byN.T. DeGrummond andE.Simon, can Religion.”In 10028 NEW YORK NEW YORK, 425 EAST86THSTREET, APT. 4C 28 x41cm,1582.Los Angeles, Research Library, theGettyResearch Institute,inv. no.840005B. Etruscan alphabets; Fig. 5.Manuscriptwithpenandinkdrawingsby Alfonso Chacón(1540–1599): Yalouris 1977,20,28–9,figs.32,33,87–9,92,100,101, 103,108;theconstellationissometimesdepicted Works Cited L’esperienza delcolore nel The ReligionoftheEtruscans recto , rightforeleg oftheChimaera Arezzo withretrograde Etruscan inscription, la pittura la pittura 50 - - - - ,

Gáldy, A.M. 2006.“TheChimerafrom Arezzo and Del Vita, A. 1910.“Dove fu trovata la Chimera di ———. 1991.“Chimereide.” ———. 1985. Cristofani, M.1979.“Perunastoriadelcollezionismo Colonna, G.,ed.1985. 2006. Carruba, A.M. Camporeale, G.1977.“Bellerofonte ouncacciatore?” Brown, W.L. 1960. Briquel, D.2000.“TheOriginsoftheEtruscans: A ings of the XVIth International Congress of Classical Archaeology,Humanities. ProceedScience, and Art, Renaissance .” In Arezzo.” DeAgostini. Geografico bronzi.” archeologico nellaToscana granducale.I.Igrandi Electa andRegionToscana. Cilnio Mecenate,19maggio–20ottobre 1985 Sottochiesa diSanFrancesco,Museoarcheologico C. medievale Prospettiva endon Press. [Milan]: Bompiani. In Controversy HandedDownfrom Antiquity.” Naples: Electa. The Etruscans Prospettiva . :DeLuca. RM I bronzi degliEtruschi 9:55–8. 25:293–97. The EtruscanLion , editedbyM.Torelli, 43–51. La Lupa capitolina: Un bronzo 17:4–15. Santuari d’Etruria:Arezzo, facing page Prospettiva Common Ground: . Novara:Istituto , Latinand . Oxford: Clar 61:2–5. . Milan: . Milan: - - 10 American Journal of Archaeology Online Museum Review Pallottino, M.1977.“Vasari elaChimera.” Orlandini, P. 1983.“Leartifigurative.”In Maras, D.F. 2009. Maggiani, A. 1990.“Chimera.”In Guidi, G.F., and F. Pierdominici. 1992. “Le indagini ———. 2009. Archaeology, Boston,August23–26,2003 Scheiwiller. by G.PuglieseCarratelli,329–554.Milan:Libri Hellas: StoriaeciviltàdellaMagnaGrecia Etruschi 46.PisaandRome:F. Serra. iscrizioni etruschediculto. Florence: IlTorchio. Cilnio Mecenate,”19maggio–19luglio1990 mito: Arezzo, MuseoArcheologico Nazionale“Gaio Torchio. by F. NicosiaandM.Diana,119–21. Florence: Il microstrutturali.” In Cambridge: CambridgeScholarsPublishing. ties andArchaeology inSixteenth-CenturyFlorence 111–13. Oxford: Oxbow. by C.C.Mattusch, A.A. Donahue,and A. Brauer, Cosimo I de’Medici as Collector: Antiqui Il donovotivo:Glideieilsacro nelle La Chimerad’Arezzo BibliotecadiStudi La Chimeraeilsuo Prospettiva , edited , edited , edited , 53–61. Megale - .

Yalouris, N.1977. Vilucchi, S.,andP. Zamarchi Grassi,eds.2001. Turfa, J.M.2006.“Votive Offerings inEtruscan Steingräber, S. 2006. Stibbe, C.M.1991.“Bellerophon andtheChimairaon Pecchioli, R.1992.“Indaginiradiografiche.”In ed. [Westerham]: Westerham Press. oggi chi neltempo:Iritrovamenti diArezzo dal‘500ad Austin: UniversityofTexas Press. by N.T. De Grummond and E. Simon, 90–115. Religion.” In The J.PaulGettyMuseum. Painting 7. Malibu:TheJ.PaulGettyMuseum. M. True, 5–12.OccasionalPaperson Antiquities Vases in the J. Paul Getty Museum. a Lakonian Cup by the Boreads Painter.” In Diana, 89–93.Florence: Il Chimera d’Arezzo 8:4–6. . Arezzo: Provincia di Arezzo. Provincia . Arezzo: . Translated byR.Stockman.Los Angeles: The ReligionoftheEtruscans Pegasus: TheArtoftheLegend Abundance of Life: Etruscan Wall , editedbyF. NicosiaandM. Torchio. Vol. 5, edited by , edited Etrus . Rev. Greek La La -