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Cinerary Urn: Reclining Young Man. 460-440 BC (Altes Museum Berlin)
In the second half of the 6th century BC, Chiusi in the Etruscan inland experienced a cultural prime. During that time, a distinct type of funerary monuments was created from the soft local limestone (pietra fetida)
The man (brown flesh tint, gilding on the wreath) is reclining for the banquet after the Greek fashion. He could be a participant at the funeral feast or at a banquet in the afterlife. The head isinserted into a hollow body open at the bottom and sealed the opening for the created bones.
Cinerary Urns from Chiusi (Altes Museum Berlin)
In the second half of the 6th century BC, Chiusi in the Etruscan inland experienced a cultural prime. During that time, a distinct type of funerary monuments was created from the soft local limestone (pietra fetida)
Cinerary Urn in the Shape of Chest. 520-500 BC. The urns are worked like pieces of furniture and painted red on the inside. They are modelled after wooden chests with ivory marquetry. The bas-relifs show scenes with funerary rites: banquets on the front side,dancers and the jorney to the underworld on the narrow sides.
Bronze chandelier with player of “crotali” from necropolis of Etruscan port city of Spina - at Museo Archeologico Nazionale di Ferrara.
Jewelry from necropolis of Etruscan port city of Spina - at Museo Archeologico Nazionale Di Ferrara.
Spina was an Etruscan port city, established by the end of the 8th century BCE. on the Adriatic at the ancient mouth of the Po, south of the lagoon which would become the site of Venice. The jewelery of Spina, dating mostly from the second half of the fifth and the middle of the fourth century BC, demonstrate the technical skill reached by the craftsmen of Etruria and centroitalica able to work not only gold and silver, but also amber and semiprecious stones, creating a new nad original language. The presence of gold artifacts, as true indicators of high social rank, is however relatively exceptional and almost always report to women.

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shiningjasmin
Fresco, “Tomb of priests”, Tarquinia, Italy.
The fresco shows a masked man called “phersu”. “Phersu” in Etruscan meant “mask”. The “phersu” was a man with a mask and had a dog. The “phersu” incited the dog against a hooded man; the hooded man had to defend himself from the dog, but could not see. Was a cruel game Etruscan that was made during the funeral rites.
VI century BC.
Egyptian Sheet gold finger and toe coverings, plus sandals, from the tomb of three minor wives of Thutmose III at Wady Gabbanat el-Qurud, circa 1479-1425 B.C. On display at the Metropolitan Museum of Art.
One of the oldest examples of poetic literature in the world, the “Lament for Ur” is a dirge for the destroyed city, written by the earliest kings of the Isin dynasty, who wished to rebuild it. Ur had fallen to the Elamites, which was the end of the city’s third dynasty. The purpose of the poetry was to calm the angered, anguished soul of the god of Ur. Only then could they commence rebuilding efforts. In the lament, the goddess Ningal weeps for her city after pleading with the god Enlil to call back a destructive storm. There are other sections, sprinkled throughout, describing the ghost town Ur has become, calling on the moon god Nanna for protection, and describing the destructive storm of Enlil that destroyed the city. Ningal, who incidentally is wife of the moon god Nanna, goes on to recall her petition to the leaders of the gods, An and Enlil, to change their minds and not to destroy Ur. But the council of gods decided that Ur’s third dynasty, though it ruled for a thousand years, was deserving of their prophesied fate. The city was allowed to be destroyed by the Elamites. The lament seems particularly concerned with all the shrines and temples destroyed – perhaps to appease or honor as many gods as possible? The destruction of Ur is reported to Enlil, and his consort Ninlil, who are praised and exalted at the end of the Lament for Ur. This ancient poetry dates to 2000 BCE
Chariot, late 6th century B.C. Etruscan; From Monteleone, Italy Bronze
The principle subjects on the three parts of the chariot box refer to the life of a hero, most likely Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.
Plovdiv Archaeology Museum Shows for the First Time Rare Thracian Helmet with Trojan War Motifs from Bulgaria’s Brestovitsa
Spectacular Thracian war helmet displayed for the first time.
Read more …

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Rupestrian Etruscan necropolis of the city Axia. The ancient city. whose name was Axia, rose on a tufa table-top at the meeting-point of the torrents Riosecco and Freddano. The first testimonies of life on the site date back to the beginning of the sixth century B. C., but the period of greatest growth of the centre is certainly between the fourth and second centuries B. C.. The monumental cliff necropolis concentrated in a narrow valley, meeting-point of important roads leading towards Tuscania and Viterbo, At present the necropolis shows its long lines of tombs. These are prevalently of the so-called die or cube-shaped (a dado) type with a sub-facade. This consists in an upper part in the shape of a cube or die, on the top of which (platform) there were the sacrifices for the deceased, decorated at the front with a false doorway carved into the stone to suggest the idea of the passage into another world connected with death. A narrow lateral staircase linked the platform to the room below the façade, also decorated with a false door, where the ritual meal took place, while the dead were placed In the room dug below the monument to which a long corridor or dromos led. At Castel d'Asso one may frequently see inscriptions on the facade or in the underlying rooms. giving indications of the name of the family to which the monument belonged.
The “Lady of Aigai” comes to light. Probably the wife of Amyntas I, king of Macedon. 5th Century B.C., Aigai, Greece. [1578x2000]
Golini Tombs from Etruscan National Museum in Orvieto. Golini Tomb is an Etruscan tomb in Orvieto, Italy. The frescos from the tombs have been recomposed in two rooms of museum. The two tombs are painted with scenes representing the deceased and his arrival in Hades and its acceptance in the afterlife with a feast prepared in his honor.
The Torrs Horns and Torrs Pony-cap
(once together known as the Torrs Chamfrein)
thepictishone, mcamarra, iseesigils, sunshineandthedragonlady, floramei, ethelwulfhrodberht, kelcipher
“The Celtic horned chamfron was decorated in a late stage of La Tène style, as Iron Age Celtic art is called by archaeologists. The dates ascribed to the elements vary, but are typically around 200 BC Whatever the original appearance and functions of the objects, and wherever they were made, they are very finely designed and skillfully executed, and form part of a small surviving group of elaborate metal objects found around the British Isles that were commissioned by the elite of Iron Age British and Irish society in the final centuries before the arrival of the Romans.”
http://nms.scran.ac.uk/database/results.php?field=where&searchterm=%22Torrs%22&searchdb=scran Pony cap of bronze
“This bronze pony cap was found at Torrs, at Kelton in Kirkcudbrightshire, along with two horns. It is a unique find, and must have been used on ceremonial occasions sometime between 300 and 100 BC. The cap is decorated with repoussé design. Part of the front is missing, and the cracked front has a modern internal patch. Both the cap and horns were modified at some point in the past to attach the horns. The cap was worn on the top of the pony’s head, with the ears emerging from the smooth holes. It was held in place by leather straps. Originally the cap had a plume attached to its top; at a later unknown date, the horns were attached.” http://nms.scran.ac.uk/database/record.php?usi=000-100-036-170-C&scache=2olv1bo9me&searchdb=scran Pony cap
“This bronze pony cap was found at Torrs, at Kelton in Kirkcudbrightshire, along with two horns. It is a unique find, and must have been used on ceremonial occasions sometime between 300 and 100 BC. This picture shows the less well-preserved side. The cap is decorated with repoussé design. Part of the front is missing, and the cracked front has a modern internal patch. Both the cap and horns were modified at some point in the past to attach the horns. The unusual purpose of this object, and the high quality of workmanship and design, have attracted a great deal of attention. It was clearly an elite object, meant for ostentatious display.” http://nms.scran.ac.uk/database/record.php?usi=000-190-001-331-C&scache=2olv1bo9me&searchdb=scran Horns of bronze
“These two bronze horns were found with a unique pony cap at Torrs, at Kelton in Kirkcudbrightshire. Their relationship to the cap is unclear, but they were not originally attached to it when it was first made.
Both horns are engraved with tendril patterns. A duck’s head with large eyes, once filled with coral bosses, is preserved on one horn, and presumably was present on the other. It is not known what the horns originally came from. They are unlikely to be drinking horns, as previously suggested, but would have come from an ostentatious display object. Both the horns and cap were probably buried as gifts to the gods.” http://nms.scran.ac.uk/database/record.php?usi=000-190-000-000-C&scache=2olv1bo9me&searchdb=scran Bridle bit rings
“These four simple bronze rings were probably part of bridle bits. They were found at Middlebie in Dumfriesshire, part of a hoard of 28 items, mainly objects for use on horse harnesses. The hoard was deposited sometime in the first two centuries AD. Leather on early harnesses rarely survives, but the metal fittings, ornaments and components of bridle bits are often preserved. Bridle bits come in a number of forms, sometimes plain, as in this case, sometimes with ornamented rings and linking pieces.” http://nms.scran.ac.uk/database/record.php?usi=000-190-000-973-C&scache=2olv1bo9me&searchdb=scran Total War: Rome II - There was going to be a British Horsemen unit with these helms but they were never implemented.
Sempre affamati!!
Cultura e cibo in Italia e soprattutto in Toscana vanno di pari passo.
Già al tempo degli Etruschi banchetti, cibi importanti, coppe di vino facevano da contorno a feste nuziali, cerimonie religiose e pagane.
Le donne partecipavano alla vita sociale e erano in primo piano anche nei banchetti al contrario i quelle romane e greche. Secondo gli storici dell'arte il popolo etrusco non trascurava gli aspetti ludici e conviviali che rendevano dolce la vita. Visitate l’ acropoli e la necropoli di Baratti e Populonia.
Occhio a non far indigestione!
Cristina, Renata, Simonetta

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Gli Etruschi e i non-misteri della lingua e del bucchero
“C'è punti Etruschiiii?”
Che tradotto per i non-Toscani significa qualcosa come: “Ci sono tracce degli Etruschi in quello scavo che state facendo?”
Questo ci hanno urlato una volta da una bici in corsa lungo la via Aurelia, buttando un occhio allo scavo a bordo strada.
Se lavori in Toscana, e ancora di più nel territorio di Populonia, non ti aspettare una domanda che non riguardi gli Etruschi. Lì c'erano gli Etruschi. Punto.
I Romani? Qui??? Davvero? E gli Etruschi no? Com'è possibile?
Del resto lì a pochi chilometri c'è Baratti, con quella meraviglia della necropoli di S. Cerbone. Gli Etruschi sono di casa. I Romani no, non attraggono allo stesso modo: troppo ordinari, troppo studiati, troppo noti e anche un po’ banali, scontati, bravi, potenti… ascuola ci fanno una testa così!
Gli Etruschi invece… Loro sì che sono passati attraverso la Storia, lasciandovi una impronta di mistero! E noi siamo istintivamente attratti da tutto quello che non conosciamo.
Continua a leggere
The Crocifisso del Tufo necropolis form Orvieto
Located on the north side of Orvieto's cliff, the necropolis dates back to the sixth century b.C. and is named after a sixteenth century cross dug out of tufa rock, which is kept in a small chapel under the San Giovenale area. The chamber-tombs built with tufa blocks coming from the local area, you will be bound to notice that the main characteristic of the necropolis is the regularity of its street-grid. The tombs, lined up along straight roads following an orthogonal layout, look like actual residential areas. Therefore the City of the Dead provides valuable elements to understand what the City of the Living could have been like. Grouped in blocks, most of the times they are made of single chambers having a rectangular floor plan. A flat layer of soil covers the sepulchre, which can be identified because of the gravestones, different for men and women. The access door was closed by an internal slab and a layer of tuffaceous blocks placed in line with the outside walls, while a filling of soil served as a buffer between the slab and the wall. The very special element of this necropolis is that every tomb has an inscription with family name above every entrance door.