entities stand as crystallizations of a distinctly Aegean manner of animalian compositeness that is highly intuitive in its integration. These entities – the boar’s tusk helmet, ox-hide shield and ikrion (ship cabin) – embody this dynamic in an arrant fashion, since, while each is prominently animalian and bodily, they do not themselves take the shapes of animal physiques. Instead, they brought novel, conventional object-forms to animalian presences in the Aegean. By not standing as animals themselves, they starkly draw out the potent relational dynamics that could be realized between creatures, and between creatures and things. Discussion ultimately concerns the added complexity introduced to the statuses of these entities when rendered in movable representational media like glyptic and painted ceramics; particular attention comes to their frequent rendering in series. While seriation is often read as simplifying something’s status to the merely ornamental, I argue, instead, that articulation of shields, helmets and ikria in series imbued them with a peculiar, complex dynamism.

In 1998 the author published a fragment of the lost frescoes by Gentile da Fabriano, a frieze with foliated scrolls, surviving at the top of the right wall of the Lateran Basilica, at the end of the nave towards the main altar. In that paper he reconsidered all the documentary sources for the mural paintings undertaken by Gentile and Pisanello in the Basilica and argued the idea that the cycle was projected for both walls, devoted to the life of St John Baptist and St John the Divine, but uncompleted by Pisanello himself. The Veronese painter worked probably until the eighth story (eleventh, according to other scholars) of the St. John Baptist cycle. This chapter considers three other erratic fragments, relatable to the lost mural cycle: the so-called head of David of the Biblioteca Apostolica Vaticana, the remains of a colossal head in the south-east corner of the Lateran Closter, considered by Bramante according a fanciful tradition, and the female head in the Museo Nazionale di palazzo Venezia, by Pisanello. The latter piece is examined as a new iconographic context in the St John the Baptist cycle.