Crossing Those Hills

I spent several minutes just staring at them (and trying to convince them to bite my fingers.) When my sister’s violin lesson ended, her teacher came out to the yard and explained that these goldfish were the same small creatures that were often unfortunately sold in plastic bags at state fairs. They were only about two inches long apiece, when she bought them and put them in the new, empty pond. In essence, they were like every goldfish I had seen before, but they had been given a much larger, much richer environment in which to flourish. As a result, they had grown into some of the most remarkable, vibrant creatures my twelve-year-old self had ever met with. All because of a pond. 

The Horizon

The Lady of Elche (Dama de Elche). Culture: Iberian. Findspot: La Alcudia, Elche, Alicante, Spain. Date: 5th-4th century BC. Material: Limestone (fossiliferous biocalcarenite); H. 56 cm, W. 45 cm, D. 37 cm, Wt. 65 kg. Collection: National Archaeological Museum of Spain, Madrid.

On August 4, 1897, on the La Alcudia hill south of Elche, farm laborer Manuel Campello Esclápez struck a large stone with his pickaxe while working the fields. When he turned the stone over, he found a face; the locals immediately dubbed her the Reina Mora (Moorish Queen). About ten days later, city archivist Pedro Ibarra announced the discovery; meanwhile, French archaeologist Pierre Paris, who had arrived in Elche at Ibarra’s invitation, purchased the bust on behalf of the Louvre Museum for a mere 4,000 francs. The bust was displayed at the Louvre for over 40 years. When World War II broke out, it was relocated to the city of Montauban, near Toulouse, for safekeeping. In 1941, following negotiations between the Vichy French government and the Franco regime, it was returned to Spain on an armored train. It was initially exhibited at the Prado Museum, and since 1971, it’s been on display at the National Archaeological Museum of Spain in Madrid.

Let’s examine the bust.

This idealized arrangement of facial features reflects the common sculptural tradition of the Mediterranean world in the 4th century BC; however, there isn’t a fully classical Greek face here, nor a typical Phoenician portrait from the Eastern Mediterranean. The Iberian artist created a unique synthesis between the two. On the back of the bust, there’s an oval cavity measuring 18 cm wide and 16 cm deep. The function of this cavity was debated for years: was it an oracle device, a structural hole to secure the sculpture to a surface, or a funerary receptacle holding cremation ashes? A 2011 study led by María Pilar de Luxán of the Spanish National Research Council (CSIC) definitively answered this question. Through electron microscopy and X-ray dispersive spectrometry analysis, particles of phosphorus and calcium from human bone and tooth ash were detected in the plaster layer on the cavity’s inner surface.

Consequently, this bust also served as a funerary urn (urna cineraria); the ashes of the cremated individual were placed inside.

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