Horseman at Maria-Theresia-Platz in Vienna. The sculptural masterpiece in marble was created by Theodor Friedl. The statue from 1892 shows a Germanic man trying to tame a rearing horse.

The motif of the horseman or horse tamers has often been depicted in sculpture. Examples from the Roman period are the Dioscuri on Capitol Square and the Dioscuri Fountain on Quirinal Square in Rome.

As you can see on the picture, the shooting was quite difficult because of the nearby tree. In the background the Natural History Museum. 
![](https://wien.noe-3d.at/SF/rossbaendiger.jpg)

Rossbändiger

The relief depicts Ladislaus I of Hungary, known in Hungary as Szent László király. The medieval king is depicted as a fighting horseman: sitting on a horse, he holds a raised battle axe as if he were in the midst of combat. The dynamic form of the relief reinforces the impression of movement and battle. Above the scene stands an angel with outstretched wings, referring to the king's sainthood, as Ladislaus was later canonized by the Church. Below the relief is the inscription “Szent László király.”

The depiction refers to a well-known legend from his life. During a battle against the Cumans, Ladislaus pursued a warrior who had kidnapped a Hungarian woman. He caught up with him on horseback, defeated him in single combat, and rescued the captive. This scene became a popular motif in Hungarian art in the Middle Ages.

König Ladislaus I.

Unfortunately, this model has not turned out well as the photos must have had to have been shot at distance,  from the walkway.

It shows the image of 'a great horse, horseman and squire.'  It is one of many middle to late Iron-Age engravings on the rock - fighting warriors, dogs, deer, footprints, five pointed stars and other symbols.  

The horse was an important status symbol during the Iron Age.  This small grouping may also underline the clear distinction of social roles between the horseman (perhaps a local 'prince') armed with a shield & spear, and the squire, who holds the rider's second spear and leads the horse on foot.

This is quite a well known little cameo from the rock art of Valcamonica.  I've got to admit that I find it a little comical as the animal seems to closely resemble a pantomome horse.  Hopefully, on my next visit to Valcamonica I will manage to obtain a better sequence of photographs on of it.

Valcamonica, Foppe di Nadro - Rock 27

Dunblane Cathedral’s cross-slab is a fully ornamented stone carved on both faces, now displayed at the west end of the North Aisle after being found beneath a staircase in the Lady Chapel/Chapter House. It stands just over 6 feet high and is usually dated to the 10th century.

Although often described as a late Pictish sculpture, its date places it in a period of major cultural change. By around AD 900, older Pictish identity was giving way to the new Gaelic-speaking kingdom of Alba, so the stone may be better understood in that context rather than as purely “Pictish”.

The carvings were described in detail by John Romilly Allen in 1881 and later reproduced in The Early Christian Monuments of Scotland (with Joseph Anderson). The rear face includes a dense decorative panel featuring paired beasts, spirals, key-patterns, raised bosses, a small cross, a horseman with spear and hound, a circular disc with cruciform design, and a standing man with staff.

Dunblane 'Pictish' Cross Slab

This rock is in a small, boggy area with a number of small pools within basins in the rock surface created by the same glacial action that has smoothed the rock surface.

The engraved area is characterised by the isolated figure of a hut and of an inscription in the local pre-Roman alphabet.  These two elements, placed at the same height frame several figures: armed humans, sometimes in sigle combat, horsemen,horses, a bird, unidentifiable signs.  Noteworthy due to its rarity in Valcamonica art, is the duel between a horseman and a foot warrior armed with a large shield with a central boss (top centre).

The inscription, whose letters derive from the north-Etruscan alphabet, can be dated to between the fifth & first century BC.  The numerous human figures, partially overlapping, show examples of various Iron Age stylistic variations - accurate, Etruscan influenced figures from the VI to V century BC, to schematic, square-bodied figures with a fairly rigid posture from the final phases of the Iron Age.

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