#chiusi

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.

Potnia Theron, kyathos handle, end of the 7th century or start of the 6th century BCE. Etruscan. Chisui National Museum, Italy, inventory 1378. From Valentini 1969.

Tonight we’re going to look at a very interesting image of Potnia Theron, an ancient fertility goddess. The image is from the handle a kyathos, an ancient ladle for scooping wine, and was made during the end of the 7th century or start of the 6th century BCE.

The figure wears a polos on her head, a headdress similar to the calathos which the Scythian snake leg goddess often wears. Two birds, likely owls, are hovering near her shoulders. To be honest, I'm having a hard time seeing the birds, but here's a larger drawing:

Potnia Theron, kyathos handle, an ancient ladle for scooping wine. End of the 7th century or start of the 6th century BCE. Etruscan, Chiusi National Museum. Rupp 2004.

Several academics noted her similarity to the Scythian snake legged goddess, as her lower body ends in a similar curling design. I’m also curious about her headgear, because to my eyes, it looks similar to what the Scythian goddess wears (and both headdresses resemble baskets, honestly.)

Here's another similar Etruscan image, and here’s some other examples. 

Sources 

Rupp Jr., Wayne L. "The Vegetal Goddess in the Tomb of the Typhon." Etruscan Studies: Journal of the Etruscan Foundation 10 (2004): 211-19.

Valentini, G. 1969. “Il motivo della potrai Theron sui vasi di bucchero.” StEtr 37: 413-42.

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.

Sarcophagus of Seianti Hanunia Tiesnasa

Etruscan

About 150-130 BCE

Poggio Cantarello, near Chiusi

British Museum

...che qualcuno di voi mi chiedeva aggiornamenti sui miei vivari chiusi e autosufficienti. Così mi sono deciso:

Dopo venti mesi dalla chiusura del vivario di destra (e poco meno per quello di sinistra), siamo a questo punto. La vita all’interno prosegue tranquilla, seppur con pochissime e piccolissime tracce visibili di animali. Ma le piante crescono rigogliose, anche nel vivario più giovane e più povero, che avevo assemblato con gli scarti del primo, e dove le piantine sono spuntate solo da pochi mesi.

Sta bastando semplicemente illuminarle con una lampadina LED durante il giorno (sfruttando, tra l'altro, i miei pannelli fotovoltaici) per mantenere vivi i due piccoli ecosistemi da scrivania.

La natura trova facilmente un equilibrio se la lasciamo tranquilla, anche nelle situazioni più strane.

Qui qualche dettaglio del primo vivario, che ho chiamato Artù (è una lunga storia):

E qui un paio del secondo (si accettano suggerimenti per il nome):

“Ti immaginavo da bambina che correvi con me

E adesso guardaci qui veramente

Ti immaginavo così bella, esattamente come sei

Che dici mentre la tua mano mi stringe

Andiamo ovunque, ovunque, ovunque vuoi”