The Mute Stones Speak: The Story of Archaeology in ItalyMacKendrick, Paul Lachlan
History
The Mute Stones Speak: The Story of Archaeology in Italy
MacKendrick, Paul Lachlan
Italy -- Antiquities
The exploration was carried on under difficulties of several kinds. The
Italian budget for archaeology is notoriously inadequate; the cave was
subject to flooding from springs, and lashing by winter storms; and
it contained a dangerous quantity of ammunition and explosives stored
there in World War II. The first difficulty was temporarily overcome by
the generosity of the engineer in charge of the road-building nearby;
the second by installing three pumps and building a dike; the third by
keeping an ordnance expert constantly on duty.
[Illustration: FIG. 7.1 Sperlonga, Cave “of Tiberius.” (G. Iacopi, _I
ritrovamenti_, etc., Fig. 8)]
[Illustration: FIG. 7.2 Sperlonga, Cave “of Tiberius,” reconstruction.
(G. Iacopi, _op. cit._, Fig. 18)]
When the finds from the cave were first reported in the press, great
excitement was caused by the announcement--premature, as it turned
out--that among the fragments of sculpture were some resembling the
Laocoön group. The original Laocoön group had been described by Pliny
the Elder as carved out of a single block, probably with the sculptors’
names on the base, whereas the famous Vatican Laocoön is not monolithic
and is unsigned. Among the Sperlonga finds, on the other hand, were
fragments of a Greek inscription giving the names of the three Rhodian
sculptors mentioned by Pliny (but not in the precise form transcribed
by him: in the Sperlonga inscriptions, their fathers’ names are
recorded, in Pliny not), plus some colossal pieces (the central figure
would have been nineteen feet eight inches tall) including parts of
two snake-like monsters, presumably the serpents sent by Athena to
punish Laocoön and his sons for resisting the proposal to drag the
Wooden Horse within the walls of Troy. This great group, much larger,
earlier (according to Iacopi, on the somewhat doubtful evidence of the
letter-styles of the Greek inscription, which he would date in the
second or first century B.C.) than the Vatican version, and different
in conception, fits the pedestal in the middle of the circular pool.
Public-domain text, read in full here on John Shaqi.
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