Etruscans Final

Terms in this set (31)

+ Early 6th century BC
+ Etruscan art, archaic period: working out new forms, choosing models and transforming them
+ Brutal, block-like body and roughly idealized head; not natural
+ Mythical sculptures used to guard archaic "cassone" tombs
_ Greek Daidilic style

+ Kroisos Kouros - marble kouros sculpture found in Attica, dating to 540-515 BC
+ "Kouros" - Greek schema, standing figure of a nude youth
+ Grave marker for a soldier named Kroisos
+ Formulaic: "Archaic smile", slight stride, hands at side with closed fists, naked, braided hair, almond eyes
+ In Archaic period we see some Etruscan sculptures imitating this style

Pietra fetida urn

+ Chiusi
+ Stone containing sulfur present in the area
+ Soft, easy to carve
+ Used for urns at the end of the 6th-first half of 5th centuries
+ Hellenistic stle
+ Tells us about the gable-roofed houses of 500 BC
+ Learn that late Etruscan upper-class families had richly decorated houses, at least one upper story

Carved sarcophagus cover slab - Tarquinia

Bronze votive figure

Terracotta urn from Cerveteri - Louvre

+ "Sarcophagus of the Spouses"
+ Cerveteri, 520-520 BCE
+ Shows the social visibility of Etruscan women and type of marital intimacy rarely seen in Greek art from this period
+ the two figures recline as equals as they participate in a banquet, possibly a funerary banquet for the dead
+ Could have been holding vessels associated with drinking, perhaps wine cups, or representations of food.
+ may have held alabastra, small vessels containing oil used for anointing the dead.

Portinacio Temple (Aplu) - Veii

+ Best-preserved temple of Veii
+ Dedicated to the Etruscan Menrva (Greek: Athena)
+ Associated with other gods including Apollo
+ Built in 7th century BC
+ Wealth of terra-cotta decoration; roof revetments, antefixes, life-size statues

Plan of Portinaccio Temple

+ Temple of Tuscan ty[e: tufa-block foundation is almost square
+ Low podium with steps at the front leading to a deep "pronaos" with two columns crowned by Tuscan tufa capitals

+ Acroterial statue of Apollo.
+ From the roof of the temple of Portonaccio, Veii
+ Late 6th century BC
+ The statues represented the Greek myth of Apollo's fight with Herakles over the golden-horned Kind of Keryneia
+ Reflects Ionian Greek models of late 6th century (thick hair braids, almond shaped eyes, arched browns, slight smile)
+ But curved ridges of muscles, long parallel loops of drapery folds are more abstract, different from naturalistic forms of Attic sculpture

Medusa Antefix - Veii

+ Antefix of Medusa
+ From Portonaccio temple at Veii
+ 575 BC
+ Early period, rows of antefixes were placed on the two long sides of the roof

View of Cerveteri intersection

Tombe a dado - Cerveteri

+ During first half of 6th century BC, large tumuli were succeeded by uniformly aligned, rectangular cube tombs
+ In rows, forming streets
+ Partly cut from the rock, partly constructed from regular tufa blocks
+ Accessible platform roof, distinct moldings at the foot of the wall and below the top
+Interiors still reflect the plans of chamber tombs, with different rooms and anteroom with stone bedsteads or sarcophagi
+ Later cube tombs have simpler plants with two or single chambers
+ Layout is evidence of a change in domestic architecture, more rigorous approach to town planing

Tomb of the Capitals - Cerveteri

Cliff tomb - Norchia

+ Interesting forms of rock tombs
+ Early Hellenistic times
+ Tombs designed in the form of temple facades with the rock face carved to simulate front colonnade
+ Battle scenes on pediments
+ Indicate great prosperity of the local aristocracy, likely based on intensive agriculture and internal trade connections

Crocifisso del Tufo - Orvieto

+ Archaic period brought new classes, development of more unified tombs facing orthogonally planned streets
+ second quarter of the 6th century, used throughout the 5th century
+ Identical small rectangular tombs constructed from tufa blocks
+ Single, sometimes two chambers containing two stone benches for depositing the dead
+ Tombs are surmounted by modest mounds and crowned by cippi
+ Aboce the entrance, each tomb had carved the name of its first owner and occupant
+ Foreign individuals; indicates Orvieto was one of the most important trade points that connected the Etruscan coastal cities with the Umbrian and Faliscan areas

Plan of Marzabotto

+ City built at the beginning of the 5th century
+ Facilitated trade across the Appenines, guarded an important ford of the river Reno
+ Rigorously oriented, regular plan
+ Residential area divided by a north-south main street
+ All streets had drainage, central driveway, broad sidewalks for pedestrians
+ Layout mirrored Greek colonial town plans
+ Regular layout and modest homes --> generally prosperous but egalitarian society

Opus Craticum - Aquarossa

• Archaic era
• After evacuations in the 1960s, led by King Gustavus Aldolphus IV, Aquarossa was discovered and told us a lot about Archaic era domestic architecture
• Ex.) "Opus craticum"
• Slabs, acrocteriums and antefixes made of terracotta decorate the facade in a more consistent way than the other buildings in the centre.
• Wattle and daub was a very common building techniques for homes in Aquarossa

• Opus craticum - A building technique used for domestic architecture, used as a surface where waddle and daub roofing would be created
• Def.) half-timber construction, filled with stones and/or straw and plastered with mortar

Defensive wall - Roselle

• Archaic era, 7th-6th centuries
• Excavations found evidence for a 7th century wall constructed of sun-dried mud-brick on stone foundations, a common technique for Etruscan defense architecture
• Also discovered with houses with terracotta roof tiles, bedrock walls
• 3rd century: Roselle becomes the first Etruscan city to fall to the Romans
• Roselle eventually became a very important Roman town

Porta dell'Arco - Volterra

Tomb of the Bulls - Tarquinia

+ One of the oldest and largest Archaic painted tombs
+ circa 540-530 BC
+ Only one with representations securely based on Greek myths
+Anteroom depicts Achillsed ambushing the young Trojan prince Troilos
+Frieze above this: two erotic symplegmata and two bulls
+ Erotic scenes are relatively rare in Etruria and, in tombs, may have an apotropaic or revivifying significance
+ Strong Ionian influence

Tomb of the Lionesses - Tarquinia

Tomb of the Augurs - Tarquinia

+ Striking example of large-scale figure painting in Tarquinia
+ 520 BC
+ Purely Etruscan subjects, interesting to understand what ceremonies were performed in honor of the dead
+ Main subject of the painting is the funerary games held for an important person

Tomb of the Triclinium - Tarquinia

Mirror with Turan and Atunis

+ Uni nursing the adult Hercle in front of divine witnesses.
+ Etruscan mirror from Volterra in Florence, Museo Archeologico Nazionale

Golini Tomb I - Orvieto

+ Wall painting from the left side of the Golini Tomb I
+ Slaves preparing a banquet
+ First half of fourth century BC
+ Perhaps hints to the rising power of slaves; slaves have names, equal space granted to the representation of master and servants (unique to Etruscan art)
+ Tell us about the domestic arrangements, kitchen and dining furnityre, cooking and banquet vessels in a 4th century aristocratic house

Charu - Francois Tomb - Vulci

Winged Horses, "Ara della Regina" - Tarquinia

Obessus Etruscus

Inghirami Tomb - Volterra

"Old couple from volterra"

Avle Metele - Perugia

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