The Cesnola Collection of Cypriot Art: Terracottas

286 Pages·2016·18.5 MB·english

by  Vassos Karageorghis

THE CESNOLA COLLECTION
OF CYPRIOT ART
Terracottas
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THE CESNOLA
COLLECTION OF
CYPRIOT ART
TERRACOTTAS
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THE CESNOLA
COLLECTION OF
CYPRIOT ART
TERRACOTTAS
Vassos Karageorghis, Gloria S. Merker,
and Joan R. Mertens
The Metropolitan Museum of Art, New York
Print- On- Demand Edition Distributed by Yale University Press, New Haven and London
contents
6 director’s foreword Philippe de Montebello
7 director’s foreword Thomas P. Campbell
9 preface Carlos A. Picón
10 acknowledgments Vassos Karageorghis, Gloria S. Merker, and Joan R. Mertens
note to the reader
11
12 introduction Vassos Karageorghis
14 catalogue Vassos Karageorghis and Gloria S. Merker
16 Early–Late Cypriot Figurines (Cat. 1–24)
29 Early–Late Cypriot Spindle- whorls (Cat. 25–56)
37 Cypro- Geometric Figurines and Models (Cat. 57–61)
41 Cypro- Archaic Large- and Medium- scale Terracotta Sculpture (Cat. 62–79)
50 Cypro- Archaic Chariot Groups (Cat. 80–84)
53 Cypro- Archaic Carts and Boats (Cat. 85–93)
58 Cypro- Archaic Horse-a nd- Rider and Horse Figurines (Cat. 94–115)
70 Cypro- Archaic Figural Groups (Cat. 116–119)
73 Cypro- Archaic Male Figurines (Cat. 120–156)
93 Cypro- Archaic Female Figurines (Cat. 157–226)
133 Cypro- Archaic Figurines of Uncertain Gender, Probably Female (Cat. 227–232)
137 Cypro- Archaic Masks and Protomes (Cat. 233–245)
144 Cypro- Archaic Animal Figurines (Cat. 246–256)
149 Cypro- Archaic Models (Cat. 257–267)
155 Cypro- Classical Large- and Medium-s cale Terracotta Sculpture (Cat. 268–275)
161 Cypro- Classical and Hellenistic Charioteers, Horses, and Horse- and- Rider Figurines (Cat. 276–302)
178 Cypro- Classical Figurines of Deities (Cat. 303–317)
188 Cypro- Classical Male Figurines (Cat. 318–319)
189 Cypro- Classical Female Figurines (Cat. 320–326)
194 Cypro- Classical and Hellenistic Figurines of Youths and Children (Cat. 327–331)
198 Hellenistic Large- and Medium-s cale Terracotta Sculpture (Cat. 332–342)
205 Hellenistic Figurines of Deities, Satyrs, and Silenoi (Cat. 343–358)
214 Hellenistic Male Figurine (Cat. 359)
215 Hellenistic Female Figurines (Cat. 360–381)
227 Hellenistic Figurines of Youths and Children (Cat. 382–394)
234 Late Classical and Hellenistic Theatrical Types and Grotesques (Cat. 395–403)
238 Hellenistic Reliefs (Cat. 404–406)
240 Hellenistic Animal Figurines (Cat. 407–408)
241 Non- Cypriot Figurines (Cat. 409–423)
250 commentaries
252 1. Early–Late Cypriot Figurines (Cat. 1–24)
253 2. Early–Late Cypriot Spindle- whorls (Cat. 25–56)
254 3. Cypro- Archaic Large- and Medium- scale Terracotta Sculpture (Cat. 62–79)
255 4. Cypro- Archaic Chariot Groups (Cat. 80–84)
255 5. Cypro- Archaic Carts and Boats (Cat. 85–93)
256 6. Cypro-A rchaic Horse- and- Rider and Horse Figurines (Cat. 94–115)
257 7. Cypro- Archaic Male Figurines (Cat. 120–156)
258 8. Cypro- Archaic Female Figurines (Cat. 157–226)
260 9. Cypro-A rchaic Masks and Protomes (Cat. 233–245)
260 10. Cypro- Archaic Animal Figurines (Cat. 246–256)
261 11. Cypro- Classical and Hellenistic Large- and Medium-s cale Terracotta Sculpture (Cat. 268–275 and 332–342)
262 12. Cypro- Classical and Hellenistic Charioteers, Horses, and Horse- and- Rider Figurines (Cat. 276–302)
263 13. Cypro-C lassical and Hellenistic Deities (Cat. 303–317 and 343–358)
264 14. Cypro- Classical and Hellenistic Female Figurines (Cat. 320–326 and 360–381)
265 15. Cypro- Classical and Hellenistic Figurines of Youths and Children (Cat. 327–331 and 382–394)
266 Maps of Cyprus
268 Glossary
274 Chronology
276 Concordance
279 Bibliography of works cited
Online edition: www.metmuseum.org/art/metpublications/The_Cesnola_Collection_of_Cypriot_Terracottas
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Director’s Foreword
The tradition of scholarly book publishing at The Metropolitan tion, and undertake a comprehensive scholarly presentation of
Museum of Art is long, distinguished, and richly varied. With our holdings. Thanks to his tireless efforts and many generous
The Cesnola Collection: Terracottas, a comprehensive collection supporters, we have realized the first two initiatives and here
catalogue has, for the first time at the Met, been produced in launch the third. Throughout his archaeological career, Dr.
electronic form. It may seem inappropriate for material of consid- Karageorghis has embraced the diffusion of knowledge through
erable antiquity to be published in so contemporary a medium. In publications. He was immediately ready to work with the Met to
fact, the CD- ROM allows the objects to be studied and enjoyed produce a CD- ROM, with text and illustrations meeting our
from a diversity of hitherto unavailable perspectives, thanks to curatorial, editorial, and photographic standards, and with appre-
the possibilities for searching, sorting, and displaying. ciably greater access to a wide audience than a printed publica-
The Cesnola Collection of antiquities was assembled on tion. Dr. Karageorghis has assured the continuation of the project
Cyprus by Luigi Palma di Cesnola, who sold it to the Museum in by securing funding from the J. F. Costopoulos Foundation, the
1872. He later served as the institution’s first director between A.G. Leventis Foundation, and the Alexander S. Onassis Public
1879 and 1904. During his tenure Cesnola published A Descriptive Benefit Foundation. This CD- ROM is also made possible by the
Atlas of the Cesnola Collection of Cypriote Antiquities in The Museum’s Adelaide Milton de Groot Fund, in memory of the de
Metropolitan Museum of Art, New York (1885–1903), three folio Groot and Hawley families.
volumes most notable for the photographic documentation. This The objects in the Cesnola Collection reflect the artistic
initial publication was followed in 1914 by John L. Myres’ interaction of cultures in the Eastern Mediterranean from prehis-
Handbook of the Cesnola Collection of Antiquities from Cyprus. toric to Roman times, a span of two and a half millennia. Men and
Conceived as the scholarly complement to the Atlas, the Handbook women, gods and goddesses, animals, and objects of daily life
defines the chronological and typological categories to which come alive in the direct, extraordinarily spontaneous terracottas.
each piece belongs. These two works have remained the primary Our hope is to convey their message ever more effectively.
reference tools for the approximately six thousand pieces in the
Museum today. Philippe de Montebello
In the mid-1990s, Dr. Vassos Karageorghis, Cypriot cultural Director
ambassador extraordinaire, began a collaboration with the Museum The Metropolitan Museum of Art
to reinstall the Cesnola Collection, publish a popular introduc- 2004
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Director’s Foreword
The rapid evolution of electronic media has rendered obsolete
the CD- ROM technology used for the catalogue of terracotta
sculpture of the Cesnola Collection published in 2004. The same
electronic evolution, however, has made possible the conversion
of this work into a new format and its subsequent integration onto
MetPublications, the Met’s online publications platform. The
present catalogue is identical to its predecessor in content except
for the selective substitution of new photography. It follows the
design established by The Cesnola Collection of Cypriot Art: Stone
Sculpture (2014; first revised edition, 2015), by Antoine Hermary
and Joan R. Mertens, which can also be found on MetPublications,
and features the same capabilities for searching, printing, intro-
ducing periodic additions and corrections, and producing print-
on- demand books.
The funding originally provided by the J. F. Costopoulos
Foundation, the A. G. Leventis Foundation, and the Alexander S.
Onassis Public Benefit Foundation has generously supported the
conversion.
It is exceedingly gratifying that major segments of the Museum’s
collections and fundamental research on them can continue to be
made available to an increasingly extensive audience.
Thomas P. Campbell
Director
The Metropolitan Museum of Art
2016
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Preface
The opening in April 2000 of four permanent galleries devoted to determination that he brought to bear on the installation of the
the Cesnola Collection of antiquities from Cyprus was accompa- permanent galleries, and I am indebted to him for his continued
nied by the publication of an illustrated handbook, Ancient Art vital contributions. He set the publication in motion by preparing
from Cyprus: The Cesnola Collection. This volume comprises texts for the terracottas and pottery and by identifying authors for
almost five hundred highlights from the Museum’s vast holdings most of the remaining material. His inexhaustible energy and his
in Cypriot art and serves as an introduction to a representative openness to new forms of publication allowing for a flexible pre-
portion of the Cesnola Collection now on permanent public dis- sentation of the material were fundamental to the development
play. As part of the Museum’s continuing commitment to publish of the CD- ROM. Gloria S. Merker gave us the benefit of her
the Cesnola Collection in its entirety—including those works that great expertise with terracottas, particularly of the Classical and
will become part of new study galleries scheduled to open in about Hellenistic periods. She wrote entries and commentaries, edited
three years’ time—the Metropolitan will develop a series of CD- texts, kept the material organized, proofread, and in many other
ROMs, organized by medium, that will present the complete essential ways prepared a traditional manuscript for an innovative
works of the collection and provide scholars with a powerful set publishing venture. Joan R. Mertens, Curator, Department of
of electronic tools with which to study these works. The Cesnola Greek and Roman Art, coordinated every aspect of this substan-
Collection: Terracottas, the first part in the series, will be followed tial and comprehensive presentation.
by others on sculpture, pottery, bronzes, jewelry, and glass.
I am profoundly grateful to the three authors of The Cesnola Carlos A. Picón
Collection: Terracottas. Vassos Karageorghis, the Museum’s con- Curator in Charge
sultant on the reinstallation and publication of our Cypriot col- Department of Greek and Roman Art
lection, spearheaded the project with the same efficiency and 2004
opposite: cat. 14
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