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Oval cista with Amazonomachy. Vulci, 340 - 300 B.C., bronze. Gregorian Etruscan Museum. (x)
[image description: small bronze container with feet described above. the sculpted handle on the lid depicts a man and a woman on the backs of two geese. the sides of the container are elaborately embossed. the side visible in the image is decorated with a frieze of armed Amazons and delicate floral patterns. end id.]
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Sarcophagus. Tuscania, necropolis of Carcarello, Vipinana tomb. 310 - 300 B.C., tufa. Gregorian Etruscan Museum.
“The deceased is depicted reclining, wearing a convivial crown, and with a phial (a cup for libations) on the right. The scene on the front of the casket is set in a natural environment, as indicated by the stony ground. Artemis and Apollo are seated at the extremities, winged and armed with bows; apparently calm, they are massacring the twelve children of Niobe, here represented by just three boys and three young girls, alongside the mother and the elderly teacher, depicted in attitudes of desperation. On the short side on the right there is the destruction of the body of Hector, dragged by Achilles' chariot; on the left, there is instead the duel between a centaur and two Lapiths.
The lid offers a beautiful example of a typological portrait, adhering to the mid-Italic concept of portraiture, expressing the encounter between late-Classical models and the search for individualisation, introduced by Lysippos. The choice of mythical subjects for the case is clearly studied, with emphasis on the patrimony of ethical values, indicating that lack of respect for the latter incurs divine retribution. On account of these aspects of intellectual refinement, as well as for its stylistic characteristics, the sarcophagus may be ascribed to a high-level workshop in Tuscania or Tarquinia, where it would have been commissioned by a cultured patron; the Sarcophagus of the Poet may be attributed to the same workshop. (x)”
[id: photo of the sarcophagus described above, which has a portrait of the deceased reclining and holding a phial. the side of the sarcophagus visible in the image depicts the massacre of the children of Niobe by Artemis and Apollo. end id.]
Sarcophagus with polychrome relief. Cerveteri, Banditacci Necropolis, Tomb of the Sarcophagi. 400 - 375 B.C.; marble. Gregorian Etruscan Museum.
“On the lid the deceased is depicted reclining, cloaked, crowned, adorned with jewels and with a patera for libations; next to the head there is a folded liber linteus, a book written on a linen cloth, perhaps a sacred text. The seahorses on the tympanum allude to the journey into the Underworld by sea, while the two semi-reclining figures with a krater recall a symposium transposed into the hereafter. On the casket there is a funeral procession with the deceased depicted on a chariot with his wife, accompanied by musicians (playing the tibia, the lyre and the horn) and dancers, with a cloaked figure and a priest with a lituus (stick curved like a staff). It is one of the most ancient specimens in the Etruscan series. The iconography combines the novelty of the procession with themes of archaic tradition: the banquet, musicians, dance and the married couple in attendance.” (x)
[id: photo of the marble sarcophagus described above. on the lid, the deceased, a bearded man, lies with a book next to his head. the side of the sarcophagus is decorated with a depiction of a funeral procession. traces of brown pigment can be seen on the faces and arms of the figures in the procession. end id.]
Antefixes with the heads of a maenad and of Silenus. Cerveteri, Jacobini excavations, 1870. 4th century B.C., terracotta. Gregorian Etrusan Museum. (x)
[id: two photos of the antefixes described above. both antefixes have wide nimbuses decorated with alternating lotus flower palmettes on different color backgrounds: black for the maenad and red for silenus. the maenad is a pale woman wearing a diadem with rosettes and two large cluster-shaped earrings. silenus, wearing an ivy crown, has red skin, a long beard, wide-set eyes, furrowed brow, bared teeth, and large ears. end id]
Kantharos decorated with griffins attacking a deer. c. 325 - 300 B.C; terracotta. The Metropolitan Museum of Art.
“The subject of griffins attacking a deer has a long history and remained popular during the Hellenistic period throughout the Mediterranean area. It may be a symbol of the inevitability of death. The handles are ribbon-like and include so-called Herakles knots, a square knot symbolic of love and power in the ancient world. In the Roman Imperial period, Herakles knots were believed to heal wounds.” (x)
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Statue of a youth. Tarquinia. Late 4th - 3rd century B.C., bronze. Gregorian Etruscan Museum.
“The statue, originally fixed on a stone base, is missing the left arm and two fingers of the right hand; these latter were broken in ancient times. On the arm there is an incomplete Etruscan inscription mentioning a votive offering to Selvans and to Śuri, etymologically the “black”, a sort of underworld Apollo for the Etruscans. Votive offerings depicting seated children have been found in the ancient Etruscan shrines of Lake Trasimeno [cf. Graziani Putto], Vulci, and Cerveteri. On account of the mature appearance of the face, this bronze work has hypothetically been identified with the mythical Tagetes, the prophet-child with the wisdom of an elder, who prodigiously appeared from ground ploughed too deeply by a farmer in Tarquinia and who was the first to dictate to the principes Etruriae the disciplina etrusca, or rather the foundations of the Etruscan religion, subsequently codified in sacred books.
Considering the high quality of the statue and the fact that the bulla or amulet it wears was an attribute of high-ranking youths during puberty, it would in any case have been dedicated by an eminent personage to an urban shrine in ancient Tarquinia.” (x)
[id: photo of statue described above, which depicts a seated youth wearing an amulet and turning to look behind themselves. end id]
Mirror with Lasa, Hamphiare, and Aivas. First half of the 4th c. B.C.; bronze. The British Museum. (mirror / drawing)
“Dressed in a chiton and unrolling a scroll, she [Lasa] stands between two seated young warriors, whose attitudes express despondency. The names Hamphiare (Amphiaraos) and Aivas (Ajax) are written next to them and also inscribed on the scroll beneath the name of Lasa. Both heroes suffered an untimely death, and the suggestion that the Lasa on the mirror is meant to have announced their fate to them does not seem unjustified.” (Sybille Haynes, Etruscan Civilization: A Cultural History)
Askos in the form of a jackdaw adorned with a bulla. 4th c. BC; terracotta. The Metropolitan Museum of Art.
