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The J. Paul Getty Museum Journal Volume 5 1977

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The J. Paul Getty Museum Journal Volume 5 1977 THE J. PAUL GETTY MUSEUM JOURNAL VOLUME 5 1977 The J. Paul Getty Museum Malibu, California Volume 5 Jití Freí, Editor Published by the J. Paul Getty Museum, Malibu, California © 1978 The J. Paul Getty Museum All rights reserved ISBN 0-89236-000-3 Produced in Chicago by Ares Publishers, Inc. Abbreviation: Getty MJ This issue includes for the first time contributions dealing with conservation and related matters; thus, it is an appropriate tribute to the memory of David Rinne, who headed the conservation of antiquities in the J. Paul Getty Museum from the Fall of 1973 to the end of 1976. The Editor wishes to thank Summa Galleries Inc. of Beverly Hills for a grant in Mr. Rinne's memory which allowed us to expand this volume. A note on Mr. Rinne's conservation of ancient marbles will appear in Volume 7. Most of the photographs of the pieces in the J. Paul Getty Museum were taken by Donald A. Hull, the Museum photographer. For a forthcoming issue the curators of the Museum are preparing contributions on J. Paul Getty, our late founder, as a collector. Editor D M DAVID RINNE CVIVS ARS MONVMENTA GETTIANA RESTITVIT VIXIT ANN XXXV AB AMICIS DEFLETVS CONTENTS GREEK AND ROMAN SCULPTURE PAINTINGS E in Metopenkopfvom Parthenon, M. Weber 5 Two Newly Discovered Ceiling Paintings by B.B. Fredericksen Ein Junglingshopf in Matibu, F. Brommer 13 Simon Vouet, 95 J. Freí 17 Seven Paintings from the Fesch Collection, A Youth from the Parthenon?, M. Wynne 101 Ein Grossgriechischer Ahrolith imJ. Paul G. Olbrich 21 Metamorphoses of the Grimani "Vitellius", Getty Museum, S. Bailey 105 L.S. Fauvel e il c.d. Trono Elgin, L. Beschi 33 Aristóteles, The Son ofOpsiades and Poly strate, Al .N. Oikonomides 41 CONNOISSEURSHIP, TECHNOLOGY, The Heroic Graeco-Roman Zeus from the Villa CONSERVATION d'Esté and Marbury Hall, C.C. Vermeule 43 M. Del Chiaro 45 A Wild Goat-Style Oinochoe in Malibu, Archaic Etruscan Stone Sculpture, C.H. Greenewalt, Jr. 123 Caesar, J. Freí 55 Handles of Greek Vases, T. Schreiber 133 A Flavian Relief Portrait in the J. Paul Getty Museum, J. Pollini 63 Conservation of a Hellenistic Wail-Painting in Thrace, Z. Barov 145 Chemical Analysis of Marble Sculptures, ANTIQUITIES L. Sangermano, G.E. Miller, D.L. Bunker 149 C. Mancusi-Ungaro, Cycladic Figurines in the J. Paul Getty Museum, Adoration of the Magi, H. Georgiou 67 P. Pinaquy 155 A Gorgon Antefix from Gela in theJ. Paul Getty Museum, B. Wohl 75 ADDITIONAL ANTIQUITIES Un bol en argent à Malibu, L. Byvanck-Quarles van Ufford 79 Heraklit in Ephesos, J. Freí, G. Schwarz 161 A New Mithraic Tauroctony, Al.N. Oikonomides 85 A Late Minoan Stone Vase, H. Georgiou 175 A Papyrus Letter about Epicurean Philosophy Une mosaïque gallo-romaine au Musée Books, J.G. Keenan 91 J. Paul Getty, H. Lavagne 177 Abb. 1 Kopf in Malibu (nach Gipsabguss) Hauptansicht Abb. 2 Kopf, Abb. 1, en face (nach Gipsabguss) EIN METOPENKOPF VOM PARTHENON? Angstvolle Spannung beherrscht diesen unterlebens- Gestraffte Muskeln ziehen die betont plastischen grossen Kopf eines knabenhaften Jiinglings1 (Abb. Oberlider bis auf die Brauenbôgen hoch, trennen fast 1-2). Die Asymmetrien des wohlgerundeten Schádels die weichen, kindlich-vollen Lippen voneinander und und die in der Augen- und Mundpartie und dazu die buckeln die Stirn kraftig, zeichnen sich weiterhin als bewegten Nackenmuskeln lassen erkennen, dass der Falten in die Wangen und um die Flugel der verlorenen Kopf zur rechten Korperseite gewendet war. Nase ein. Abkurzungen: Basel danke ich herzlich fur hilfreiche Gesprache über diesen Kopf in der Skulpturhalle und seine Ermunterung, diesen Aufsatz abzufassen. Brommer F. Brommer, Die Metopen des Parthenon. Katalog und Untersuchung (Mainz 1967). 1) J. Paul Getty Museum, 75.AA.47. Pentelischer Marmor; eine Rodenwaldt G. Rodenwaldt, Kópfe von den Sudmetopen des charakteristische Ader in der linken Gesichtshàlfte. Der Kopf ist Parthenon. Abhandlung der Deutschen Akademie der Wissen- unterhalb vom Kinn abgebrochen; ein Teil des Nackens ist erhalten; schaften zu Berlin, Phil.Hist.Klasse, Jahrgang 1945/46 Nr. 7 die Nase fehlt. Abgesehen von Bestossungen im Gesicht, an den (Berlin 1948). Augenlidern und Lippen ist die Oberflaeche weitgehend intakt und nicht verwittert. Auf der Mitte des Schádels ist ein kleines rundes J. Freí danke ich sehr fuer die grosszügige Erlaubnis, dieses Loch, vermutlich fuer einen Meniskos (s.note 24). H'ohe Kinn- kostbare griechische Original hier publizieren zu durfen.-E. Berger in Scheitel 17.5 cm. 5 Abb. 3 Kopf, Abb. 1, richtes Profil (nach Gipsabguss) Abb. 4 Kopf, Abb. 1 Schaedel von oben (nach Gipsabguss) Die konzentrierte Anspannung teilt sich als weich verschliffene Bewegung auf der jugendlich-straffen Haut mit, deren samtigen Charakter der nicht bis zum Politurhaften geglàttete Marmor wiedergibt. Das noch fast kindlich runde Gesicht umschliesst eine gleichmassig-voluminóse Haarkappe, die die Ohren frei lâsst und ais federnde Hülle den schón gewôlbten Schàdel betont (Abb. 3-4). Die rauhe, skizzenhafte Oberflache erfasst die stoffliche Erschei- nung des Haares. Die Unterschiede von Haut und Haar sind in der abgestuften Behandlung der Oberflache in Stein übertragen. Diese auswâhlende und subordinie- rende Formung akzentuiert den Bildgehalt. Die beweg- ten Gesichtszüge spiegeln einen seelischen Zustand so glaubhaft, dass dieses Bild in einem hôheren Sinn naturwahr erscheint. Der knabenhafte Jünglingskopf ist ein Meisterwerk der hohen Klassik. Kopfhaltung und die bewegten Gesichtszüge bestim- men den Kopf als ein Fragment aus einer Gruppe; genauer, als Teil einer Kampfgruppe. Die flüchtigere Behandlung des Haares am Hinter- Abb. 5 Kopf, Abb. 1, Rueckansicht (nach Gipsabguss) kopf (Abb. 5) weist auf ein Hochrelief, von dessen Grund der Kopf frei war. 6 Abb. 6 Jùnglingskopf, Akropolis Museum 699. Foto DAI A 7 Abb. 7 Parthcnon-Südmetopc III, British Museum, Foto Hirmer 561.0116 Abb. 8 Parthenon-Sudmetope V, British Museum. Foto British Museum. Abb. 9 Parthenon-Sudmetope XXVII, British Museum, Foto Hirmer Abb. 10 Parthenon-Sudmetope XXVIII, 561.0118. British Museum, Foto Hirmer 561.0119. Pentelischer Marmor, die Grosse des Kopfes2 und die S VI: Lapithenkopf in Athen, Akropolis Museum 6511 (ex Athen, Ikonographie lassen fragen, ob dieser hochklassische Nat.Mus. 3258) H8he 17,5 cm nach K. Kuruniotis, ArchEph 1913, Reliefkopf zu einem Lapithen von den Sudmetopen des 200 Abb. 7; nach M. S. Brouskari, Musée de l'Acropole (Edition de Parthenon gehort? la Banque Commerciale de Grèce, Athènes 1974) 158 Abb. 269, Hôhe 16,5 cm. Ich habe 1976 im Akropolismuseum aïs HÇhe (Kinn-Scheitel) 17 cm gemessen. 2) Zu den Massen der Metopenfiguren zusammenfassend Brommer S VII: Lapithenkopf in Paris, Louvre 737, Hôhe 18 cm; 169,-Die Grosse des Kopfes entspricht derjenigen anderer Sudmeto- Encyclopédie photographique de l'art, Tome III (Paris 1938) 162 B; penkoepfe, z.B.: Ch. Waldstein, JHS 3 (1882) 229 Taf. 23 gibt aïs Hôhe 17 cm; ich SI: Parthenon; Lapithenkopf Hohe 17,5 cm. (gemessen am Gips habe am Gips in Basel, Skulpturhalle, 18 cm gemessen.-Kentaurkopf m Basel, Skulpturhalle); Brommer 71 f. Taf. 155. in London, Brit.Mus. Hôhe 22 cm; Brommer 86 Taf. 189. 8 3 spitze hinein regiert ein starker Kraftstrom die ktihne Die erhaltenen Jünglingskopfe der Metopen sind Gestalt. sehr unterschiedlich geformt. Allenfalls der Kopf von S 4 Nach unserer Kenntnis von der Stilentwicklung ist die XVI steht unserem Kopf nah. Seine korrodierte Metope S V die fortschrittlichere16. Der Jiinglingskopf Oberfláche lâsst aber nur noch sehen, dass die gleicht in der plastischen Bewegung seiner von verzerrte Physiognomic ebenfalls durch plastische Entsetzen geprâgten Gesichtszüge der subtilen Model- Verschiebungen der Gesichtszüge erreicht ist. Unser 17 5 lierung des máchtigen Kentaurleibes . Das spricht Kopf stimmt zwar mit dem Lapithenkopf S VII im fur seine Verbindung mit der Metope S V. Louvre darin uberein, wie an der linken Schlâfe der Kann man diese Zuweisung welter erhârten? Ubergang von glatter Haut zu rauher Haardecke Der von Carrey nicht gezeichnete Kopf des Kentaurn gestaltet ist, und gleichartig ist auch der Ansatz des 6 ist seit langem in einem Fragment eines Bártigen in Stirnhaares bel dem Kentaur S XXX . Diese handwerk- Würzburg (Abb. 11-12) identifiziert18. Die beiden Kôpfe liche Einzelheit besagt aber noch nicht, dass der Kopf stimmen áusserlich darin überein, dass ihre antiken zu den Metopen gehôrt, denn ein Jiinglingskopf aus parischem Marmor von der Akropolis7, der wegen des Materials nicht zu den Metopen gehbren kann, hat einen ganz ahnlichen Ubergang von Haut zu Haar (Abb. 6). 3) Brommer 71 - 129 Taf. 155 - 239. - Die Zeichnungen der Konnen wir trotzdem unseren Kopf einer Südme- Sudmetopen von J. Carrey (1674-78) bei Brommer Taf. 149 - 152. tope zuweisen? Auf Grund der Kopfwendung nach Bei Carrey fehlen Jünglingskopfe an folgenden Metopen: II. III. VI. rechts kamen die schon bei Carrey8 fehlenden Lapithen- XIII. XVII, XXIII. XXVI. kopfe der Metopen S III9 oder S V10 in Betracht; die Der bei Carrey fehlende Lapithenkopf VI wurde 1920 von F. Metope S XI11 ist eher auszuschliessen: der Jünglings- Studniczka identifiziert: Brommer 85 Taf. 184. Heute fehlen Jünglingskopfe an folgenden Metopen: (die auch bei kopf erscheint bei Carey stark aufwârts gedreht; Carrey fehlenden kennzeichnen rômische Ziffern) 2. III. V. 8. 11? ausserdem passt die drohende Haltung des schwertfuh- XIII. 14. 15. XVII. XXIII. 24. XXVI. 27. renden Jiinglings nicht recht zur angsterfullten Miene Erhaltene Jünglingskopfe (in Klammern Taf. bei Brommer): I unseres Kopfes12. Von den beiden Lapithen, die wir in (161), 4 (176). 6 (184). 7 (189,2) 9. (1%). 11? (241,2,3). 16 (204). 30 die engere Wahl ziehen, kennen wir im Original nur (229). 31 (234). 13 4) Brommer 100 Nr. 1 Taf. 204,3.-Der bártige Kopf im Vatikan, den Kôrper von S III . Brommer 101 Taf. 205 (note 2) wird allgemein als Kopf seines An den beiden erhaltenen Kentaurleibern konnen wir Gegners angesprochen; E.
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