#cerveteri

MAENAD's HEAD: Etruscan Antefix from Cerveteri ‘Painted terracotta antefix moulded with the head of a maenad in a shell-like frame.’ [Txt ©BM] Terracotta About 400-300 BC Inv. 1893,0628.2 Featured in the ANTIQVVS Magazine Autumn 2024 Issue

The British Museum, London | BM [First fl., Room 71 'Etruscan World']

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BM | Michael Svetbird phs ©MSP/Antiqvvs | 17|08|24 5000X4200 600 The photographed object is collection item of BM [Non-commercial fair use | No AI training | Author rights apply | Sorry for the watermarks]

Etruscan Bronze Sculpture

Etruscan bronze sculptures rank among ancient Italy’s most captivating artworks. Despite bronze being valuable and often recycled, remarkable pieces like the Chimera of Arezzo and Mars of Todi still exist today. These sculptures highlight the artistic skill and cultural importance of the Etruscans, Italy’s first great civilization.

Key Facts

The Etruscans began producing bronze goods during the Villanovan period (1100-750 BCE).

Their bronze work ranged from everyday objects to intricate figure sculptures.

Famous surviving sculptures include the Chimera of Arezzo and Mars of Todi.

Bronze was prized in antiquity and often melted down, making surviving sculptures rare.

These artworks demonstrate the advanced metalworking and artistic skills of the Etruscans.

Historical Context

The Etruscans thrived in ancient Italy before the rise of Rome, influencing Italian culture, art, and religion. Their Villanovan roots show early metalworking traditions that evolved into sophisticated bronze sculptures. These masterpieces were created during a time when bronze was the dominant material for art and tools.

Historical Significance

Etruscan bronze sculptures provide vital insight into a civilization that laid the groundwork for Roman culture. Their survival helps historians understand ancient Italian metalwork and religious symbolism. As some of the few original artifacts from Italy’s early history, these bronzes enrich our knowledge of pre-Roman art and society.

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Arquitectura etrusca

La arquitectura de la civilización etrusca, la cual floreció en la Italia central entre los siglos VIII y III a.C., ha quedado borrada en gran medida tanto por los conquistadores romanos como por el paso del tiempo, pero la propia influencia de los etruscos sobre la arquitectura romana y la impresión que sus edificaciones causaron en escritores posteriores ofrecen pistas tentadoras sobre lo que falta. Los modelos de cerámica, las pinturas en tumbas y las excavaciones en sitios tales como Tarquinia, Vulci, Veii, y Cerveteri han revelado evidencia tangible de que los arquitectos etruscos eran tanto innovadores como ambiciosos. La columna toscana, la puerta arqueada, la villa privada con atrio y los templos a gran escala sobre impresionantes plataformas elevadas con extravagantes decoraciones en terracota, son solo algunas de las innovaciones que copiarían y adaptarían sus sucesores culturales en Italia.

Necropoli della Banditaccia, Cerveteri

La necropoli della Banditaccia è una area funebre etrusca, afferente all'antica città di Caere, situata su un'altura tufacea a nord-ovest di Cerveteri, in provincia di Roma

La necropoli che si estende per circa 20 ettari, una delle più estese al mondo, ed è attraversata da una 'via sepolcrale lunga 2 chilometri, conserva centinaia di tumuli, dai più antichi del periodo villanoviano (IX secolo a.C.) alle più "recenti" del periodo ellenistico (II secolo a.C.); si stima che nell'area si trovino oltre 20.000 tombe a camera.

La sua origine va ricercata in un nucleo di tombe villanoviane nella località Cava della Pozzolana, e il nome "Banditaccia" deriva dal fatto che dalla fine dell'Ottocento la zona viene "bandita", cioè affittata tramite bando, dai proprietari terrieri di Cerveteri a favore della popolazione locale.

Le sepolture più antiche sono villanoviane (dal IX secolo a.C. all'VIII secolo a.C.), e sono caratterizzate dalla forma a pozzetto, dove venivano custodite le ceneri del defunto, o dalle fosse per l'inumazione.

Mi-mai, mon cousin Olivier et sa compagne franco-américaine Bonnie, sont venus me voir. D'où une visite obligatoire au Louvre-Lens :

homme barbu - Chypre, époque achéménide, 450 av. J-C.

bracelet en or - Amrit, Syrie, 400-300 av. J-C.

molosse - Memphis, Basse Epoque, 664-332 av. J-C.

antéfixe - Caere (Cerveteri), Etrurie, 500 av. J-C

coupe à procession dionysiaque - Grèce, 540 av. J-C.

stèle votive de Arish fils de Himilk à Tanit et Ba'al Hammon - Carthage, 814-1 av. J-C.

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