Bretschneider Online Periodici
Rivista di Archeologia - Bretschneider Periodici Online
ISSN 0392-0895


2013 - Vol. XXXVII

- Pubblicato nel 2014
- 191 pagine di testo, numerore illustrazioni
- 35 tavole B/N



La danza corale nei manufatti della più antica Età del Ferro dell’area centro-tirrenica
[pagg. 5-15]
Dance scenes, incised on clay materials of the earliest phase of the Iron Age from various centres of the Middle- Tyrrhenian area, are few and are one of the first forms of rupture with the abstract Geometric decorative repertoire. The representations show a choral dance that is a characteristic manifestation of pre-urban civilizations. The participants can be all male dancers or all female dancers or female and male dancers together. Their movement is slow, rhythmic, without spontaneous gestures, but it is also a performance. The artifacts, found in tombs, lead one to hypothesize a connection between this performance and funeral ceremonies, although some of the artifacts, for example the small pitchers, could have first been used in non-funerary ceremonies. The rarity of the subject in the figurative production, and the wealth of the grave gifts among which this subject appears, establish a close link between the dance and the wealthy class. In this way, the specific theme becomes a status symbol.


Appunti sulle anfore di Trevignano, tra Veio e Cerveteri
[pagg. 17-39]
An attempt is made to read the two amphorae from Trevignano within the framework of an orientalizing ‘Aegean lane’, in one of the most fertile periods for Mediterranean international exchanges between East Greek world, Cyclades, Crete, continental Greece, Western colonies and Etruria.


A proposito del cratere di Kleitias
[pagg. 41-46]
The publication of a volume including the papers of a conference held in Florence and a full photographic documentation of the François Vase gave an opportunity to present some new observations on the mythological cycle depicted on this masterpiece, painted by Kleitias.


Sulla cronologia e l’interpretazione del fregio orientale dell’Hephaisteion
[pagg. 47-65]
In this paper the author reconsiders the problems relating to the chronology and the interpretation of the oriental frieze of the Hephaisteion in the Agora of Athens. First, there is a careful reconsideration of the relative disposition of the architectural members. Then elements of absolute chronology are added to place the beginning of the building in the years around 465 BC, with an interruption of the building process due to the diversion of the funds of the sanctuary of Hephaistos to the Periklean building program on the Akropolis. The chronology of the friezes was established in the 1960s, and a new interpretation is proposed, in close relation with the Kimonian circle and celebrating Kimon’s family and victories.


Retrieving the Style of Cephisodotus the Younger
[pagg. 67-80]
The scope of this paper is to reconstruct the artistic itinerary of Cephisodotus the Younger, Praxiteles’ elder son. It is likely that Cephisodotus’ early activity was still very indebted to the styles of his renowned father. However he progressively disengaged from the Praxitelean formal heritage in order to express the value of realism as well as the sense of space. Thus his last creation, which can be appreciated from a visual point of view – the portrait of Menander – is no longer inside the Praxitelean tradition but appears to be coherent with a realistic and three-dimensional concept of the statuary art.


Su una statua di vecchio pastore al Museo di Antichità di Torino
[pagg. 81-85]
The Archaeological Museum of Turin (Museo di Antichità) keeps a torso of an old peasant wearing a short tunic and carrying a little animal (a lamb?) in a bag. It is a genre figure in the tradition of late Hellenistic statue types featuring old and derelict labourers. The same exaggerated realism can be found also in a head of an elderly man preserved in the same Museum, so far unpublished, which I suggest to identify as the original head of the torso. Not only is this proposal supported by stylistic features (the head is characterized as “low” and “rustic” by the deformity and the stark realism of the face), but also by size correspondence.


Una statua di Artemide a Montebelluna (TV)
[pagg. 87-97]
In 2009 a marble statue of Artemis/Diana was unearthed near Montebelluna (Treviso, northern Italy) in a field where scattered remains of a Roman villa were found. The statue is 1.30 m high. The head and left arm are worked in separate pieces, and the marble is supposed to be from a Greek source, possibly the island of Paros. The goddess is represented standing, holding a spear in her left hand, and an animal skin in the right one. The type is very close to an Artemis represented in two candelabra bases in Rome, attributed to the last decades of the Republican period. In spite of the poor state of conservation, the rendering of the drapery shows uncommon workmanship. The statue is probably a work of a Greek sculptor. According to the coiffure and the style can be attributed to the early Augustan age. The archaeological context is poorly documented. The sculpture might have been displayed in the garden of a villa rustica, as shown by similar examples from Pompeji and other sites.


Nuovi dati e nuove ipotesi sulla pianificazione urbana di Aquileia
[pagg. 99-114]
During the last few decades, a range of studies has focused from different perspectives on Aquileia’s town planning. Recent excavations carried out since 2009 by the University of Padua at the so called “fondi ex Cossar” area have provided this research topic with fresh evidence. The excavated site is a residential block between two parallel streets. It is located in the south-eastern part of the city, within the Republican city-walls. The excavation has led to the discovery – for the first time in Aquileia – of an “atrium house”. This house occupies a lot which was on one side bordered by a wall, which subdivided longitudinally the whole block. Based on the lot area of 1/3 × 1 actus measured on the ground, we suggest that the whole block – measuring 4 × 2 actus – was regularly made up of 24 small building lots on the same surface. The excavation area at via Testoni in Bologna provides us with an interesting comparison. This new evidence improves previous reconstructions of Aquileia’s town planning as well as broadens research questions on town planning in Northern Italy’s coloniae Latinae during the early 2nd century BC.


Mariano Fortuny e la Grecia. Il ‘delphos’ e lo ‘scialle Knossos’ a confronto: dall’austerità classica alla seduzione minoica
[pagg. 115-122]
This paper deals with reception of ancient Greece in the textile production of Mariano Fortuny y Madrazo, who was an important representative of Italian fashion in the first half of the 20th century. It focuses on his most famous creations, that are the Delphos gown and the Knossos scarf, in order to compare the different nature of his inspirations. Indeed, for the Delphos gown he was inspired by the famous Charioteer of Delphi and the well-known Archaic Greek korai, which came to light during systematic excavations carried out in Greece during the second half of the 19th century. The Knossos scarf, created from 1906 to 1928, was instead printed with floral and marine motifs inspired to Minoan Crete. The former represents Fortuny’s interpretation of Greek art and woman, the latter represents Fortuny’s understanding of Minoan art and woman.
In this paper it will be argued that Fortuny’s Delphos gown is a simple and undecorated dress which, although following the feminine silhoutte, reflects the idea of austerity and strictness that the archaeologists of the beginning of the 20th century attributed to the Greek woman represented on the Archaic korai. In contrast, the woman wearing Fortuny’s Knossos scarves appears to be a mixture of mystical and sensual, as well reported by the archaeologists and art historians of the early 20 th century that brought to light the Minoan civilization. If the woman wearing the Delphos gown recalls a severe femininity, inspired to Classicism, the woman wearing the Knossos scarf instead expresses a new femininity, intensely infused with a scent of seduction imported from the Orient, and well represented by the American pioneer dancer Ruth Saint Denis.


Un monumento enigmatico: l’urna della collezione Vagnonville al Museo Archeologico di Firenze
[pagg. 125-135]
The cinerary urn, olim Lunghini Collection of Sarteano, is one of the more intriguing monuments produced in Chiusi. It was carved during the Porsenna age in the local limestone, called “pietra fetida”. The scientific literature considered this artifact as a modern forgery. The recent restoration, conducted by F. Cecchi, allowed to verify its authenticity.
In the first part of this paper, G. Paolucci describes the history of the monument, from its discovery to the acquisition by the Museo Archeologico di Firenze with the Vagnonville collection. In the second one, A. Maccari examines the iconographical scheme and the style.


La navis marmorum di età romana ‘Punta Scifo D’ (Crotone). Risultati preliminari della prima campagna di indagini subacquee
[pagg. 137-165]
The shipwreck, called Punta Scifo D, was discovered in 1986 in the bay of Scifo, south of Crotone, in Italy. In 1987, the local Soprintendenza contracted the Aquarius company to make a preliminary excavation and a plan of the site which is composed by 54 large blocks and slabs of white marble. A brief investigation organized, in 2011, by the Università Ca’ Foscari of V enice and directed by C. Beltrame and S. Medaglia, has allowed to make a precise photomosaic of the cargo, to document and sample the blocks and to study the pottery of the galley recovered in 1987. Lazzarini ’s analysis has demonstrated that the ship carried Proconnesian and Docimean marble. A preliminary study of the pottery allows to propose a dating in the II cent. A.D. Initial studies, made by the naval engineer S. Parizzi, have concluded that the ship was about 40 m long and 14 m wide. The only piece of wood recovered in 1987 has been re-interpreted as a fragment of wale which shows a double order of mortise and tenon joints. In summary, the preliminary study describes a cargo of almost 340 tonnes which would be the biggest of the Mediterranean.

Ελουθία Χαριστήιον. Το Ιερό Σπήλαιο της Ειλειθύιας στον Τσούτσουρο, Ηράκλειο, Δήμος Μινώα Πεδιάδας

A. Kanta, K. Δαβαρασ (R. M. Anzalone, G. Baldacci) [pagg. 169-172]

Ceramica attica a figure nere nel Museo Archeologico Nazionale di Tarquinia. I.1. La Collezione Bruschi Falgari

D. Nati (Orazio Paoletti) [pagg. 173-175]

Il significato delle immagini. Numismatica, arte, filologia, storia. Atti del secondo incontro internazionale di studio del Lexicon Iconographicum Numismaticae (Genova, 10-12 novembre 2005)

A cura di R. Pera (T. Lucchelli) [pagg. 175-178]

Il mosaico di Castel Porziano

M. N. Pagliardi, M. Magnani Cianetti (M. Michelucci) [pagg. 179-182]

Excavations at Zeugma, Conducted by Oxford Archaeology, I-III

edited by W. Aylward, Los Altos (L. Sperti) [pagg. 183-185]

Nogara. Archeologia e storia di un villaggio medievale (scavi 2003-2008)

A cura di F. Saggioro (E. Grandi) [pagg. 185-188]

Arezzo nel Medioevo

A cura di G. Cherubini, F. Franceschi, A. Barlucchi, G. Firpo (S. Gelichi) [pagg. 188-190]

Elenco dei libri ricevuti / Books received
[pag. 191]