AbstractsHistory

Through the ages the portrayal of man on horseback has provided the sculptor with the chall~nge to solve one of the most baffling compositional problems in Art. The problem involves the balancing of a vertical mass on a large horizontal one, which in its turn rests on slender supports. To add to the complexity, the natural gait of the horse is unsuitable for artistic reproduction and must be skilfully modified so as to look natural and be aesthetically acceptable. Further, horse and rider must form a unity, which reflects the character of the rider. In spite of the formidable technical, compositional and aesthetic problems associated with this type of sculpture, the monumental equestrian statue has always been a popular form for honouring heroes and sovereigns. The representation of man controlling the powerful majestic horse and at the same time looking down on his fellow men from his elevated position on the back of the horse, appealed to the depostic ruler as well as to the man on the street. The monumental equestrian statue had its origin in the sixth century B.C. in ancient Greece. Since then it has flourished in times of autocracy. The ancient Greeks solved most of the technical, compositional and aesthetic problems of the equestrian statue. The Romans inherited the tradition of erecting equestrian statues from the Greeks and made it the sole privilege of sovereigns. Solutions to technical and compositional problems were taken over directly from the Greeks. The Romans, however, preferred bronze as a medium instead of marble. In spite of the compositional freedom which the use of bronze gave the sculptors, the Romans preferred a rest fur figure showing a rider as triumphator. During the Middle Ages most of the Roman equestrian statues were destroyed, with the exception of a few. The Marcus Aurelius in Rome was mistaken for a statue of Emperor Constantine, the first Christian emperor, and it was spared. Since it showed a barbarian beneath the forelegs of the horse, the statue became symbolic of Christianity overcoming paganism. In this sense the equestrian statue acquired symbolic funerary implications. Stone was the favourite medium and the sculptors of the Middle Ages solved numerous problems associated with the creation of an equestrian statue in this medium. Bronze equestrian figures were neglected because the technical know-how of the Greeks and Romans had been lost. The Renaissance once more focussed the attention on the individual, thereby reviving the truly secular commemorative equestrian statue of Classic Antiquity. Technical, compositional and aesthetic secrets of Antiquity were gleaned from surviving equestrian statues and antique sources. Donatello revived the Roman tradition of monumental bronze equestrian statues with his Gattamelata, while Verrocchio created the first secular equestrian monument since Antiquity with his Colleoni equestrian monument. Although Leonardo's Sforza and Trivulzio equestrian statues have not survived, the solutions which he…