- Adriana Emiliozzi –
Figure 41.28 Chariot-racing depicted on a funerary stone relief of Chiusi. From Thuillier 1993, Fig. 7.
Figure 41.29 Chariot-racing painted on a black-fi gure amphora by the Micali Painter. Copenhagen,
Ny Carlsberg Glyptothek. From Rome 1988, pl. 4.NOTES1 Emiliozzi 1997,pl. I, 1–2; Martelli 2001, pp. 2–7, Figs. 2–3. Until recently I knew only the
side of the vase with the chariot, from which seemed to be the familiar iconography of the
warrior who rides on the wagon to go to the place of battle. The view of the opposite side (Fig.
41.1) now shows that it is rather the arrival at the battlefi eld, where the warrior will fi ght on
foot after completing its panoply.
2 Bartoloni and Grottanelli 1984; Galeotti 1986–88.
3 See Emiliozzi 1996, 1999; Cygielman and Pagnini 2005; Emiliozzi 2006a, 2006bA; A.
Emiliozzi, in Emiliozzi, Moscati and Santoro 2007, pp. 150–154; De Marinis and Palermo
2008; Emiliozzi 2010, 2011.
4 During the recent works and studies for a new reconstruction of the vehicles from the
Regolini-Galassi Tomb at Cerveteri (Pareti 1947), I came to understand that the four-
wheeled wagon does not really exist: it must be rebuilt as a two-wheeled vehicle, with the
long rectangular platform balanced on the axle and encased between removable side walls,
decorated with bronze sheets. Normally, it could be used without sides as a wagon for the
transport of luggage and household goods, not of people. During its last funeral ceremony it
was used, complete with side walls, for the transport of the dead. A similar situation should
occur for the princely carriage from the tomb of Monte Michele at Veii (published by Boitani
1983), which should be launched to a new and accurate study.