Lady of Elche | |
---|---|
Dama de Elche | |
Type | Bust |
Material | Limestone |
Height | 56 cm (22 in) |
Width | 45 cm (18 in) |
Depth | 37 cm (15 in) |
Weight | 65.08 kg (143.5 lb) |
Discovered | 1897 La Alcudia, Elche |
Discovered by | Manuel Campello Esclápez |
Place | National Archaeological Museum |
Culture | Iberians |
The Lady of Elche (Spanish : Dama de Elche, Valencian: Dama d'Elx) is a limestone [1] bust that was discovered in 1897, at La Alcudia, an archaeological site on a private estate two kilometers south of Elche, Spain. It is now exhibited in the National Archaeological Museum of Spain in Madrid.
It is generally known as an Iberian artifact from the 4th century BC, although the artisanship suggests strong Hellenistic influences. [2] According to The Encyclopedia of Religion, the Lady of Elche is believed to have a direct association with Tanit, the goddess of Carthage, who was worshiped by the Punic-Iberians. [3]
The bust, originally colored, represents a woman wearing an elaborate headdress and large wheel-like coils (known as rodetes) on each side of the face. [4] The opening in the rear of the sculpture indicates it may have been used as a funerary urn. [5]
Other artifacts associated with Iberian culture are the Lady of Guardamar —which has similar wheel-like rodetes and necklaces—and the Lady of Baza . While the Lady of Elche is a bust, there are indications that it was part of a seated statue, similar to the Lady of Baza (with which it shares similar necklace pendants) or a standing one like the Gran Dama Oferente from Cerro de los Santos (Montealegre del Castillo, Albacete).[ citation needed ]
These three figures and the Bicha of Balazote are exhibited in the same Iberian art hall in the National Archaeological Museum of Spain in Madrid.
The sculpture was found on 4 August 1897, by a young worker, Manuel Campello Esclapez. The popular version of the story differs from the official report by Pere Ibarra (the local keeper of the records) which stated that Antonio Maciá found the bust. Ibarra's version of the discovery story, was that farm workers clearing the southeast slope of La Alcudia for agricultural purposes, discovered the sculpture. The bust was quickly nicknamed "Reina Mora" or "Moorish Queen" by locals. [1]
An archaeological site is now located where the bust of Elche was discovered. Evidence has been found there of an Iberian-Punic settlement, a Roman sewer, walls and Roman houses, and mosaics. One mosaic shows an effigy of Saint Abdon, belonging to a Christian basilica of the 5th century. The latter archaeological evidence is supported by the codices of the councils of Toledo where it discusses an audience with bishops from Illici (Elche).
Dr. Campello, owner of the farm, was married to Asunción Ibarra, daughter of Aureliano Ibarra Manzoni, a 19th century humanist and amateur archeologist. Ibarra Manzoni had found a number of objects and Iberian vestiges on his own farmland and in other places in the municipality of Elche. He built up a valuable collection, which he bequeathed to his daughter Asunción. He provided instructions that she make the necessary arrangements for the collection to be offered for sale to the Real Academia de la Historia after her death, to be located finally at the National Archaeological Museum. The will specified that the collection be sold in its entirety. The family placed the Lady on their balcony so that it could be viewed by all of the residents of Elche. [1]
Don Pedro Ibarra invited French archaeologist Pierre Paris to his home to see the Mystery Play of Elche . When the archaeologist saw the Iberian bust, he recognized its worth and notified the Louvre in Paris. The Louvre offered a large sum of money for the time: 4,000 francs, and purchased the sculpture within a few weeks of its discovery. Despite opposition from Doña Asunción, the Iberian bust was sold. On 30 August 1897, the sculpture was sent to the Louvre.
For 40 years, the Lady of Elche was exhibited at the Louvre. After the start of World War II in 1939, as a precaution, the sculpture was transferred for safe-keeping to the castle of Montauban near Toulouse. [1] The Vichy government negotiated the statue's return to Spain with Franco's government. In 1941, it was returned through an exchange of works, which also included the Immaculate Conception of the Venerable Ones by Murillo, the twin sphinxes of El Salobral and several pieces of the Treasure of Guarrazar, and the Iberian sculptures of Osuna. In return, Spain transferred to France a portrait of Mariana of Austria by Velázquez (the Prado kept another existing version of the portrait, which was considered of superior quality) [1] and a Portrait of Antonio de Covarrubias by El Greco. [6] Since 1941, the Lady of Elche has been officially owned by the Museo del Prado (catalog number E433).
The discovery of the Lady of Elche initiated a popular interest in pre-Roman Iberian culture. She appeared on a 1948 Spanish one-peseta banknote and was mentioned in William Gaddis's The Recognitions (1955).
In 1971, it was transferred from the Prado to the National Archaeological Museum of Spain, [7] where it is currently exhibited.
In 1965, the Lady of Elche returned briefly to Elche, on the occasion of the seventh centenary of Mystery Play of Elche .
On 19 January 2006, the Minister of Culture of Spain, Carmen Calvo, issued a decision to temporarily lease the Lady to its hometown. From 18 May 2006 to 1 November 2006, the Lady of Elche presided over the inauguration of the Museum of Archaeology and History of Elche (in the Palace of Altamira) and the exhibition From Ilici to Elx, 2500 Years of History that took place in different locations in the city. It was represented by an exact replica afterwards. [8] [9]
The bust was first accused of being a forgery in 1906, in an essay called "Las esculturas del Cerro de los Santos, cuestión de autenticidad" by archeologist José Ramón Mélida.[ citation needed ]
In 1995, art historian John F. Moffitt (1940–2008) [10] published Art Forgery: The Case of the Lady of Elche (University Press of Florida) in which he contended that the statue was a forgery, citing its stylistic differences from ancient Iberian prototypes. [11] Moffitt suggested that the sculpture could be the work of well-known forger Francisco Pallas y Puig (1859–1926), commissioned by the landowner, Manuel Campello Antón (1833–1904) [12] to coincide with a visit from French archaeologist Pierre Paris, who purchased the sculpture for the Louvre. [13] [14] Moffitt discussed the sculpture in the context of a "golden age" of forgery [15] in the nineteenth and early twentieth century, which followed a growing cultural interest in collecting art and artifacts. [11] [16]
Experts in Spanish archaeology have rejected Moffitt's theory and accept the Lady of Elche as a genuine ancient Iberian work. Antonio Uriarte of the University of Madrid has stated: "Decade by decade, research has reinforced the coherence of the Lady within the corpus of Iberian sculpture. The Lady was found more than a century ago, and many of its features, not then understood, have been confirmed by subsequent finds. For example, the use of paint in Iberian sculpture was unknown when the Lady appeared." [17] A Spanish National Research Council (CSIC) study on the Lady of Elche's micropigmentation published in 2005 concluded that the trace pigments on the statue were consistent with ancient materials and that no modern pigments had been found. [18]
Throughout the 20th century, other similar iberian busts were discovered in the southeast of Spain, such as the Lady of Baza, the Lady of Caudete, the Lady of Guardamar or the Lady of Cerro de los Santos.
In 2011, María Pilar de Luxán, [19] the author of the 2005 study, analyzed microparticles within the back hole of the Lady of Elche, utilizing electron microscopy and X-ray dispersive spectrometry. Luxán deduced that the particles belonged to the ashes of human bones and that they compared with those of the Iberian period. She concluded that the statue was used as a funerary urn in the Iberian period, thus guaranteeing its antiquity and confirming the hypothesis about its function.
In 2017, Sonia Gutiérrez Llore, chair of the Department of Archaeology at the University of Alicante and director of the University's Institute of Investigation in Archaeology and Historical Heritage-INAPH, [20] wrote about the many discrepancies in the narrative surrounding the sculpture's origin as it evolved into an idealized national symbol. [21] "A story has been built around the Lady that has avoided the obvious uncertainties, if not true contradictions," Gutiérrez Llore said, "but that by dint of being transmitted to future generations has ended up becoming the dominant historical memory, considered truthful, traditional and unquestionable." [22]
The Lady of Elche stands as a statue representing Phoenicia as one of the seafaring nations at the Alexander Hamilton Custom House facade.
French artist James Tissot based figures in several of his turn-of-the-century paintings on the Lady of Elche. [23]
A large prominent sculpture "La Dama Ibérica" [24] based on the Lady of Elche and created by the Spanish sculptor Manolo Valdés in 2007 overlooks a major intersection in the downtown region of Valencia, Spain.
Tourism in Spain is a major contributor to national economic life, contributing to about 12.4% of Spain's GDP. Ever since the 1960s and 1970s, the country has been a popular destination for summer holidays, especially with large numbers of tourists from the United Kingdom, Ireland, France, Germany, Italy, the Benelux, and the United States, among others. Accordingly, Spain's foreign tourist industry has grown into the second-biggest in the world.
Elche (, Spanish:[ˈeltʃe]; Valencian: Elx,, , Valencian:[ˈɛʎtʃ] is a city and municipality of Spain, belonging to the province of Alicante, in the Valencian Community. According to 2024's data, Elche has a population of 234.8K inhabitants, making it the third most populated municipality in the region and the 20th largest Spanish municipality. It is part of the comarca of Baix Vinalopó.
The Museo del Prado, officially known as Museo Nacional del Prado, is the main Spanish national art museum, located in central Madrid. It houses collections of European art, dating from the 12th century to the early 20th century, based on the former Spanish royal collection, and the single best collection of Spanish art. Founded as a museum of paintings and sculpture in 1819, it also contains important collections of other types of works. The numerous works by Francisco Goya, the single most extensively represented artist, as well as by Hieronymus Bosch, El Greco, Peter Paul Rubens, Titian, and Diego Velázquez, are some of the highlights of the collection. Velázquez and his keen eye and sensibility were also responsible for bringing much of the museum's fine collection of Italian masters to Spain, now one of the largest outside of Italy.
The Lady of Baza is a famous example of Iberian sculpture by the Bastetani. It is a limestone female figure with traces of painted detail in a stuccoed surface. It is held in Spain's National Archaeological Museum.
A bust is a sculpted or cast representation of the upper part of the human body, depicting a person's head and neck, and a variable portion of the chest and shoulders. The piece is normally supported by a plinth. The bust is generally a portrait intended to record the appearance of an individual, but may sometimes represent a type. They may be of any medium used for sculpture, such as marble, bronze, terracotta, plaster, wax or wood.
The Costa Blanca is over 200 kilometres (120 mi) of Mediterranean coastline in the Alicante province, on the southeastern coast of Spain. It extends from the town of Dénia in the north, beyond which lies the Costa de Valencia, to Pilar de la Horadada in the south, beyond which lies the Costa Cálida.
Contestani is an ethnonym of Roman Spain of the imperial period. It appears chiefly in the Greco-Roman writers Pliny the Elder, 1st century, and Claudius Ptolemy, 2nd century. Pliny might be considered the more creditable, as he was for a time procurator of the official Hispania Tarraconensis, a province of the Roman Empire encompassing all the north and all the east of the Iberian Peninsula.
Hellín is a city and municipality of Spain located in the province of Albacete, Castilla–La Mancha. The municipality spans across a total area of 781.66 km2. As of 1 January 2020, it has a population of 30,200, which makes it the second largest municipality in the province. It belongs to the comarca of Campos de Hellín.
The National Archaeological Museum is a archaeology museum in Madrid, Spain. It is located on Calle de Serrano beside the Plaza de Colón, sharing its building with the National Library of Spain. It is one of the National Museums of Spain and it is attached to the Ministry of Culture.
Mateo Cerezo, sometimes referred to as The Younger was a Spanish Baroque painter; known primarily for religious works and still-lifes.
Lady of Cerro de los Santos, also known as Gran Dama Oferente, is an Iberian sculpture from the 2nd century BCE, that is now in National Archaeological Museum in Madrid.
Lady of Guardamar, is a limestone female bust, 50 centimetres (20 in) high, dated c. 400-370 BC, that was discovered in fragments in the Phoenician archaeological site of Cabezo Lucero in Guardamar del Segura in Alicante province, Spain, on September 22, 1987.
Iberian sculpture, a subset of Iberian art, describes the various sculptural styles developed by the Iberians from the Bronze Age up to the Roman conquest. For this reason it is sometimes described as Pre-Roman Iberian sculpture.
Galera is a municipality in the comarca of Huéscar, province of Granada, autonomous community of Andalusia, Spain. It is situated in a sparsely populated area roughly 150 kilometres (93 mi) from the provincial capital, Granada.
Cerro de los Santos is an Iberian religious sanctuary built in the 4th century BCE, during the Iberian period, with evidence of continued use into the Roman period. The site lies in southeastern Spain near an ancient road. Little remains of the original structures at the site. Nineteenth century excavations documented some features of a temple but only an outline now remains. The site is known for its many votive sculptures, numbering about 300. Most of the sculptures depict women including the most notable find, the Dama del Cerro de los Santos. In addition to the women, statues of men, possibly dating from a later period, and a few statues of animals have also been found.
Lady in a Fur Wrap is an oil painting now generally attributed to Alonso Sánchez Coello, dated to 1577-1579 and now held at the Pollok House in Glasgow.
Andres Rossi was a Spanish artist. He worked as a painter, draughtsman, print maker, sculptor and writer in Madrid and Seville.
The Immaculate Conception of Los Venerables or The Immaculate Conception of Soult is an oil painting by the Spanish artist Bartolomé Esteban Murillo. It was painted c. 1678 and measures 274 cm × 190 cm. Looted by Marshal Jean-de-Dieu Soult in 1813 and taken to France, it was bought by the Louvre in 1852. It has been held by the Museo del Prado, Madrid, since 1941.
The Pontevedra Museum is a museum in the Galician city of Pontevedra in Spain. It was founded by the Provincial Deputation of Pontevedra on 30 December 1927 and has six buildings for its exhibitions. It has permanent and temporary exhibition rooms. The museum's collections are multidisciplinary, classified into rooms for painting, sculpture, archaeology, decorative arts, engraving and ethnography.
The Tolmo de Minateda is an archaeological site located in Hellín excavated since 1988 by a joint team from the University of Alicante and the Albacete Provincial Museum, directed by Jose Antonio Simarro, Sol colita, Blanca Gamo and Pablo Cánovas, with funding and authorization from the Junta of Communities of Castilla–La Mancha.
Tissot modeled her exotic headgear, including two ear-wheels, on a famous bust, the Lady of Elche, found in Elche, Spain, in 1897. Archaeologists of the day cited Near Eastern parallels for some of the bust's characteristics and called the style Greco-Phoenician, leading Tissot to assume that the headgear represented a typical fashion for biblical women.