9764. MONUMENTS OF HIPPODROME AND MUSICAL VICTORS. 
treasures of the Metropolitan Museum in New York.! ‘This is a war- 
chariot of the beginning of the sixth century B.C., the only complete 
ancient bronze chariot now known. ‘The restored frame of wood is 
sheathed with thin bronze plates richly ornamented with reliefs 
in repoussé. Because of its form and its relationship to chariots 
appearing on archaic Jonic monuments of Asia Minor, for example, 
on the reliefs of sarcophagi from Klazomenai, and because of the 
strong resemblance between its decorative designs and those of 
archaic Italian monuments of Ionicizing style, Furtwaengler has 
classed it as the product of Ionic Greek art. Professor Chase, on 
the other hand, finds these decorations pure Etruscan in character, 
comparing them with the reliefs on three bronze tripods in the posses- 
sion of Mr. James Loeb, which are dated some half a century later.? In 
any case this chariot is “das glaenzendste, vollstaendigste’ archaic 
metal work yet recovered. In the British Museum there are consid- 
erable remnants of the chariot-group of King Mausolos and his wife 
Artemisia, which once stood on the apex of the Mausoleion at Halikar- 
nassos, the work, according to Pliny,° of Pythis (or Pytheos), the archi- 
tect and historian of the tomb.* Besides the figures of the royal pair, 
we have the head of one horse, the hinder half of another, fragments 
of still others, and one wheel of the chariot.® 
CHARIOT-GROUPS AT OLYMPIA. 
Great artists were engaged to set up chariot-groups at Olympia and 
elsewhere. Many of the guadrigae and bigae mentioned by Pliny as 
the works of sculptors and painters must have been agonistic offerings.® 
Aeginetan sculptors were especially in favor at Olympia. Thus Onatas, 
in conjunction with the Athenian Kalamis, made a group for King 
Hiero,’ and Glaukias made another for Hiero’s brother Gelo;® Simon 
made an equestrian group for Phormis,® and Philotimos made a statue 
for the horse-racer Xenombrotos of Kos.!° The oldest dedication by 
a chariot victor at Olympia was the votive offering of Miltiades, the 
son of Kypselos, of Athens, which consisted of an ivory horn of Amal- 
1B. B., 586-7 and figs. 1-14 (text by Furtwaengler); Richter, Greek, Etruscan, and Roman 
Bronzes in the Metropolitan Museum, 1915, pp. 17 f., no. 40, and figs.; P. Ducati, Jh. oest. arch. 
Inst., XII, 1909, pp. 74 f.; J. Offord, R. Arch., Sér. IV, III, 1904, pp. 305-7 and Pls. VII-IX, 
etc. Closely allied in style to its decorative designs are fragments of another chariot found at 
Perugia and now distributed among the Perugia, Munich, and British Museums: Petersen, 4. M., 
X, 1894, pp. 253 f.; B. B., 588-589. Cf. also fragments of similar technique from Capua: 
Froehner, Cat. de la Collection Dutuit, 1897-1901, II, p. 199, no. 250, and Pls. 190-195. 
2A. J. A., XII, 1908, pp. 312 f., with plates and figures. 
tH, Ns SAV, 1s 4Vitruv., de Arch., VII (Praef.), §§ 12-13. 
See B. M. Sculpt., II, nos. 1000-1005 and Pl. XVI; for discussion of the group, J. H. S., XXX, 
1910, pp. 133-162 (J. B. K. Preedy). 
SE. g., XXXIV, 71 (Calamis et alias quadrigas bigasque fecit se impari, equis sine aemulo ex- 
pressis); XXXV, 99 (Aristides . . . pinxit et currentes quadrigas); XXXIV, 78 (Euphranor); 
64 (Lysippus . . . fecit et quadrigas multorum generum); 66 (Euthykrates); 80 (Pyromachos); 
88 (Menogenes); 86 (Aristodemos). 
™P., VI, 12.1; to be mentioned infra, p.279.  8P., VI,9.4-5. 9P., V, 27.2. 1°P., VI, 14.12. 
