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This book is the first comprehensive treatment in any language of the most consequential work of art ever to be executed in Russia-the equestrian monument to Peter the Great, orThe Bronze Horseman,as it has come to be known since it appeared in Alexander Pushkin's poem bearing that title. The author deals with the cultural setting that prepared the ground for the monument and provides life stories of those who were involved in its creation: the sculptors Etienne-Maurice Falconet and Marie-Anne Collot, the engineer Marin Carburi, the diplomat Dmitry Golitsyn, and Catherine's \"commissar\" for culture, Ivan Betskoi. He also touches upon the extraordinary resonance of the monument in Russian culture, which, since the unveiling in 1782, has become the icon of St. Petersburg and has alimented the so-called \"St. Petersburg theme\" in Russian letters, familiar from the works of such writers as Pushkin, Dostoevsky, Gogol, and Bely.

In 1928, and again in 1937, parts of a large-scale bronze horse and nearly complete jockey were recovered from the sea off Cape Artemision in Greece, where they had gone down in a shipwreck. These original Hellenistic sculptures, known together as the \"Horse and Jockey Group from Artemision,\" are among the very few surviving bronze sculptures from antiquity. Seán Hemingway has been allowed by the National Museum in Athens to investigate the horse and jockey statuary group as no one ever has before, and in this book, combining archaeological and art historical methods of investigation, he provides the first in-depth study of this rare and beautiful monument. New technical analyses of the statues by Helen Andreopoulou-Mangou form an appendix to the volume.Hemingway begins with an introduction to Hellenistic bronze statuary and what we know about this extraordinary class of ancient sculpture. He then recounts with riveting detail the discovery and painstaking restoration of the statue group, describing the technique of its creation and carefully reviewing scholarly knowledge and speculation about it. He also provides a valuable compendium of what is known about ancient Greek horse racing, the most prestigious and splendid of all Greek sports. After a full consideration of all the available evidence, he speculates further about the work's original meaning and function. His study provides a glimpse of the excellence achieved by Hellenistic bronze sculptors, and it will become the definitive resource on this unique sculpture from ancient Greece.

The role of 3D virtual reconstruction of lost heritage artefacts is acquiring ever-greater importance, as a support for archaeological research and art history studies, as well as a vehicle for the cultural and evocative involvement of the end-user. The main risk of virtual reconstruction is the lack of a faithful restitution but, conversely, very often the artefact conservation state does not allow a complete 3D reconstruction. Therefore, 2D sources, both textual and iconographic, represent a precious integration and completion of the existing 3D sources. This paper proposes an operating systematic workflow to integrate retrieved 2D and 3D sources and assess their compatibility for the virtual reconstruction of lost heritage artefacts using and integrating 3D survey and digital modelling. As a case study, we virtually reconstructed the lost equestrian monument of Duke Francesco III d'Este, 7 m high, built in 1774 in Modena, Italy, by the sculptor Giovanni Antonio Cybei and completely destroyed a little over 20 years later during the revolutionary uprisings. Following the proposed workflow, we integrate data coming from: a still preserved preparatory stucco model, paintings and engravings showing the missing details of the 3D model, a series of urban views returning the proportion and positioning of the monument (statue, pedestal and base), a fragment of the right foot providing the statue size and the appearance of the original white Carrara marble. The final 3D digital model shows a faithful correspondence to the 2D sources and guarantees an effective user’s fruition thanks to dedicated virtual applications. Besides the scientific and cultural goal, we highlight the evocative role of this work, which has contributed to the restitution of a monument that is unknown to most citizens and visitors.

Roller discusses exemplarity in Roman culture. He demonstrates that exemplary discourse describes an actual Roman way of confronting the past, of giving it value and purpose. He also examines two exemplary figures, as they appear in narratives and other forms from the middle Republic onward: Horatius Cocles and Cloelia.

In his 1963 biography of Austen Henry Layard, Gordon Waterfield acknowledged the problem of dealing with so protean an individual. His title, \"Layard of Nineveh,\" endorsed the general association of his subject in the public mind with archaeological excavations in what is today Iraq. Layard's life seems to have been a long balancing act between politics and diplomacy and art, ancient and modern. The aim of this article is to chart Layard's relationship with the sculptor Carlo Marochetti, in the hope that this may throw light not only on the causes of Marochetti's declining reputation in the 1860s, but also on the direction which his art was taking in this final years. [Abridged Publication Abstract]

The statue landscape of Hellenistic cities and sanctuaries was constantly changing, but the process of the gradual accrual of statues is customarily elided on site plans, which tend to show—if they represent statue bases at all—the final phase of this long and complex process. Investigating the way statue landscapes developed over time can provide a better understanding of the political, social, and spatial dynamics at play in portrait dedication. This article takes as a case study for such an approach the portrait statue monuments set up along the dromos of the Sanctuary of Apollo on Delos. Our aim is to unpack the processual dimension of this statuary display by representing this process visually through phase plans and a three-dimensional model of the dromos made in Trimble SketchUp. Parsing into phases the gradual accumulation of statues along the dromos reveals the historical dimension of statue dedication and exposes the tensions between individual and group identity that could be negotiated visually through the location, material, and size of a portrait monument. Finally, we argue that imaginative reconstruction can help us think through the implications of display context for sculptural style: the ever-increasing number of portrait statues in the Late Hellenistic period may have been a driving force behind the stylistic changes that occurred in Late Hellenistic portraiture. A short video presenting our Trimble SketchUp model of the dromos of the Sanctuary of Apollo on Delos can be found under this article’s abstract onAJA Online, along with a free, downloadable table version of the appendix.

The study focuses on the monumental Baroque altar (1733–1735) in St. Martin’s Cathedral in Bratislava, created by one of the most important sculptors of the Austrian High Baroque, Georg Raphael Donner. Although only the central sculpture of St. Martin on horseback has been preserved in the church, historical visual sources help reconstruct its original appearance. The altar’s volute canopy with a large model of the Hungarian royal crown has traditionally been linked to the church’s coronation function, but is here reinterpreted as a symbolic representation of the \"invisible Crown\" – the politically conceived Hungarian Land. Donner’s innovative depiction of St. Martin as a Hungarian hussar combines political, religious, and national symbolism. The dynamic rearing horse suggests influence from classical dressage, possibly inspired by François Robichon de la Guérinière’s École de cavalerie. The composition’s torso movement also appears to reference Rubens’ painting of the dying Roman consul Decius Mus.

The Bartolomeo Colleoni monument suffered for years damage from the local climate. The process of restoring the Colleoni equestrian statue, started in 2003, allowed to understand how the bronze statue was originally cast and manufactured and the techniques used in its construction. During this process a relevant crack on the right foreleg was investigated in correspondence of the cast-on joining the right foreleg to the front portion of the horse body. The crack was investigated experimentally by Fiber Bragg Grating (FBG) sensors, avoiding any modelling because of the very complex structure of the statue. An array of FBG sensors connected in series was glued on the crack with the aim of capturing live information about the effect of applying stress on the crack opening. The monitoring system was successfully tested during repositioning of the RIDER on the horse and is available for long term inspection of the crack opening evolution.