T. Ismaelli - G. Scardozzi (Hrsg.), Ancient Quarries and Building Sites in Asia Minor. Research on Hierapolis in Phrygia and other cities in south-western Anatolia: archaeology, archeometry, conservation, Bibliotheca Archaeologica 45 (Bari 2016) , 2016
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Books by Georg Plattner
Magnifici ritorni. Treasures of Aquileia from the Kunsthistorisches Museum in Vienna (Rome 2019)
Was den Schatz so wertvoll macht, ist jedoch nicht das Material, sondern die hohe Qualität der Verarbeitung, die exotische Schönheit einiger der Gefäße, vor allem aber die Tatsache, dass er eine einzigartige Quelle für die Erforschung von kulturellen Verbindungen zwischen der mediterranen Welt und den nomadischen Gesellschaften Eurasiens darstellt. Dazu hat das RGZM in Zusammenarbeit mit der Antikensammlung des Kunsthistorischen Museums 2010 in Wien eine Tagung veranstaltet, deren Ergebnisse in teils stark erweiterter Form hier vorgestellt werden. Die Artikel befassen sich mit allgemeinen Fragen zum gegenwärtigen Forschungsstand (Csanád Bálint), den Ergebnissen aus goldschmiedetechnischen Untersuchungen und Materialanalysen (Viktor Freiberger und Birgit Bühler), den möglichen Zusammenhängen zwischen dem Schatz und der sasanidischen Kultur (Ádám Bollók und Bruno Overlaet) und den Inschriften des Goldschatzes im byzantinischen Kontext (Stefan Albrecht).
Papers by Georg Plattner
Magnifici ritorni. Treasures of Aquileia from the Kunsthistorisches Museum in Vienna (Rome 2019)
Was den Schatz so wertvoll macht, ist jedoch nicht das Material, sondern die hohe Qualität der Verarbeitung, die exotische Schönheit einiger der Gefäße, vor allem aber die Tatsache, dass er eine einzigartige Quelle für die Erforschung von kulturellen Verbindungen zwischen der mediterranen Welt und den nomadischen Gesellschaften Eurasiens darstellt. Dazu hat das RGZM in Zusammenarbeit mit der Antikensammlung des Kunsthistorischen Museums 2010 in Wien eine Tagung veranstaltet, deren Ergebnisse in teils stark erweiterter Form hier vorgestellt werden. Die Artikel befassen sich mit allgemeinen Fragen zum gegenwärtigen Forschungsstand (Csanád Bálint), den Ergebnissen aus goldschmiedetechnischen Untersuchungen und Materialanalysen (Viktor Freiberger und Birgit Bühler), den möglichen Zusammenhängen zwischen dem Schatz und der sasanidischen Kultur (Ádám Bollók und Bruno Overlaet) und den Inschriften des Goldschatzes im byzantinischen Kontext (Stefan Albrecht).
were found in the ruins of the Harbor Baths. Vast parts of the marble architecture of the palaestra had
been destroyed by earthquake and fire, but 234 statue fragments of various sizes, buried beneath the
burnt roofing, were preserved. Most unusually, the base on which the statue was mounted was also
preserved.
Due to an agreement between the Ottoman sultan and the Austrian emperor, the statue and base
were taken to Vienna as a gift to the imperial collections. In Vienna, sculptor Wilhelm Sturm was
commissioned to restore the statue. Recognizing the similarity of the statuary type, Sturm based the
arrangement and composition of the athlete on the Apoxyomenos in the Uffizi in Florence. The Athlete
of Ephesos was put on display immediately, in the first show of finds from Ephesos in Vienna in 1901.
Since 1978, it has been part of the Ephesos Museum in the former Austrian Imperial Palace in Vienna.
Since the first publication of the statue in 1906, dating and art historical classification of the athlete
have been disputed. While it is widely accepted that the cast itself is Roman, some authors cite Greek
models from the Late Classical/Early Hellenistic period from the third and second centuries BC, while
others argue for a Roman work of eclecticism.
Sturm realized the reconstruction of the statue in 1897–98. He built an internal armature scaffold of
tinned iron, brass bars, and screws to mount the preserved fragments. These original parts underwent
several mechanical and chemical treatments, as was common at that time. Sturm used a magnesiumchloride
mortar as a filler and stabilizer. Even in the first exhibition, this hygroscopic material caused
problems of efflorescence due to temperature and humidity fluctuations.
In the ensuing eight decades, sculptors undertook two major interventions. In 1951, the position of
the right arm was corrected, and in 1977 a synthetic resin was added as a new filling material.
To dispel lingering doubts concerning the stability and strength of the interior scaffold or the
possibility of active corrosion on the original bronze fragments, the Kunsthistorisches Museum
together with the Getty Museum undertook scientific investigations to characterize and evaluate the
mortar chemically and structurally. A solid construction of aluminum square tubes with custom-fit
interior design was developed for transport.
Poster presentation on occasion of the 3. Heritage Science Austria Meeting
23. September 2022