Csornay Boldizsár - Hubai Péter szerk.: A Szépművészeti Múzeum közleményei 96. (Budapest, 2002)

THOMAS SCHÄFER: Römisches Relief mit Tensa

Le Dt er. ct'Aljuzh^, Abb. 10: tensa-Reheï, nach Montfaucon ZUR NACHANTIKEN GESCHICHTE Das tensa-Relief ist kein gänzlich unbekanntes Denkmal; es begegnet erstmalig in dem von dem gelehrten Benediktinermönch Bernard de Montfaucon verfassten Sammelwerk L' Antiquité expliquée et representee en figures, das zunächst 1717 und dann in einer zweiten, weiter verbreiteten Auflage um 1722 erschienen ist (Abb. 10).

4 4 Montfaucon, B. de, L' Antiquité expliquée et représentée en figures, seconde édition IV 2, Paris 1722, 163 Taf. CIV, 1 mit französischem und lateinischem Text (Rechtschreibung und Heraushebungen des Originaltextes sind im folgenden Zitat beibehalten worden): Tabula sequens ex anaglypho hortorum Ducis Alcalaei, qui Hispali habentur, expressa est, in quibus hortis multa alia anaglypha Roma istuc translata, quae in variis huius operis partibus pro argumenti ratione positafuere. Equi quatuor, temporum iniuria labefactati, bicornem lunam pectore gestant, quod genus ornamenti iam saepe vidimus. Thensa quadrata est; anterior facies angulari fastigio ornatw; cui imminet aquila: sub fastigio Aeneas Anchisem patrem humeris gestans, Ascanium puerum manu ducit: in alio Thensae latere miles tropaeum hastamque tenet. Qui triumphaturus est, lauro coronatus laurique ramum in altera manu, alteraque volumen tenens, nondum in currum conscendit; alter a latere triumphatoris laureatus item est. - Wenige Jahre später erschien die englische Ausgabe: Antiquity explained (1722, Nachdr. 1976), 102f. Taf. XXXIV, 3: Another Image represents a Triumph taken from a Bas-Relief in the Duke of A/ca/a's Garden at Seville: This BasRelief, with many other very considerable ones, which we shall give in the Course of this Work, were carried thither from Rome. The four Horses, which have been very much injur'd by Time, have each of them a half Moon upon his Breast, a very common Ornament, as we have often seen already. The triumphal Chariot is square, and the Front adorn'd with a Pediment, on which is an Eagel: Under the Pediment is represented Aeneas carrying his Father Anchises upon his Back, and holding young Ascanius [103] in his Hand. On the other Side of the Chariot is represented a Soldier holding a Trophy and a Pike. The Triumpher, who is crown'd, and holds a Branch of Laurel in one Hand, and a Scroll in the other, is not mounted upon the Chariot. Another who accompanies him, is crown'd with Laurel like himself.