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Chapter 9 Italy Before the Romans:

The Art of the Etruscans

Gardner’s Art Through the Ages, 12e

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Italy in Etruscan Times

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Etruscan History •  Etruscans occupied the Tuscany region between Florence and Rome

from 1000-100 bce. •  Know little of their writing, elaborate tombs have survived. What we do

know from Greek historian Herodotus. •  Believed by reading signs in natural world would know the will of gods:

entrails of sacrificed animals, lightening strikes, flight of birds. •  Individual city-states: warred among selves, didn’t unite and gradually

taken over. •  Under attack of Romans: promised gods richer and greater temples if

helped fight alongside: had to give up in terrible slaughter. •  Taught Romans city planning and grid system, to build bridges, drainage

systems, and aqueducts. •  Civilization coincides with Greek Archaic period.

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Human-headed cinerary urn and urns shaped as Etruscan homes

• Tombs complete with objects needed in the afterlife. • Cinerary urns used to hold remains: at first abstract, later given facial features and appearance of the deceased. • Also often in form of Etruscan houses with thatched roofs (house for the dead).

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Metalworking, Women •  Known for great mineral wealth: iron, tin, copper, silver all

mined. Prosperity from export of metal ore. Etruscan artists excelled at metalworking.

•  Women played larger role in public life than Greece: elaborate jewelry showed their rank.

•  Women retained their own names, could legally own property, attended sports events with men.

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Scene and diagram of back of mirror, Etruscan

• Zeus deceiving Hera into nursing Herakles (sign of acceptance and adoption, son of mortal woman). Hera pulls away; milk spurted into heavens, created the Milky Way. • Here she willingly nurses, Herakles as an adult: acceptance as a god and attainment of immortality.

• Bronze mirrors used only by women, found in graves and show their literacy with writing on the back. • Often mythological scenes.

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*Figure 9-1 Fibula with Orientalizing lions, from the Regolini-Galassi Tomb, Cerveteri, Italy, ca. 650–640 BCE. Gold, approx. 1’ 1/2” high. Vatican Museums, Rome.

• Same time as Orientalizing period of Greece. • Fibula, fastens woman’s gown at the shoulder, lions in relief above and below, lower also winged (oriental element) separated by ducks in the round.

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Figure 9-2 Model of a typical Etruscan temple of the sixth century BCE, as described by Vitruvius. Istituto di Etruscologia e di Antichità Italiche, Università di Roma, Rome.

• Only stone foundations survive, upper areas wood and fired brick. • Differs from Greek: Terracotta decoration, entrance at the front through narrow stairway, columns only • on front, made of wood, deep porch, on high podium, tile roof (lighter, more widely spaced columns), roof used for sculpture rather than pediment, had 3 cellas (rooms for Jupiter/Zeus, Juno/Hera, and Minerva/Athena), solid side walls: overall heavier quality (Doric).

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Figure 9-3 Apulu (Apollo), from the roof of the Portonaccio Temple, Veii, Italy, ca. 510–500 BCE. Painted terracotta, approx. 5’ 11” high. Museo Nazionale di Villa Giulia, Rome.

• Originally scene depicts the labors of Herakles, Apollo strides over to help support. • Etruscan artists preferred terracotta for sculpture. • Life size. Unlike Greek; shown clothed. Stylized drapery and smile make Archaic. Plunging motion, gesticulating arms, animated face all Etruscan.

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*Figure 9-4 Sarcophagus with reclining couple, from Cerveteri, Italy, ca. 520 BCE. Painted terracotta, approx. 6’ 7” X 3’ 9 1/2”. Museo Nazionale di Villa Giulia, Rome.

• Adopted Greek symposium (drinking party) and banqueting in reclining position (imported hundreds of vases). • Husband and wife on banqueting couch. • Made to contain cremated remains: not bodies. • Cast in four sections, no parallel in Greece: no monumental sarcophagi. • Legs summarily modeled: transition to torso unnatural.

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• First time showing deceased alive and enjoying selves. • Once painted in bright colors. • Covering shows marital status. • Like Greek Archaic: smiles, stylized hair. Cap for women and parted hair for men. • Artists interest in upper half of figures: especially the face and hands (areas most used in expression, carriers of grace). • Public displays of affection unheard of in Greece: men consorted openly with prostitutes. • Inscriptions often gave name of both father and mother of deceased.

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*Figure 9-5 Aerial view of Banditaccia necropolis, Cerveteri, Italy, seventh to second centuries BCE.

• Tumulus • Each covering one or more subterranean multi-chambered tombs cut out of tufa which hardens after being exposed to air. • Sometimes diameters in excess of 130 feet. • Necropolis arranged along network of streets: effect of cities and houses of living.

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Figure 9-6 Plan of the Tomb of the Shields and Chairs, Cerveteri, Italy, second half of the sixth century BCE.

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*Figure 9-7 Interior of the Tomb of the Reliefs, Cerveteri, Italy, third century BCE.

• Mirrors room in houses of time. • Cutting rock into a series of beds, armchairs, and rooms, complete with ceiling beams, framed doorways and windows. • Made to accommodate several generations of a single family. • Stools, mirrors, cups, knives, pitchers, frescoes, small domestic animals and busts of the deceased suggest domestic context.

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• Later funerary art starts to contain demons of death: human destiny in hands of supernatural forces. • Demons become more fearful, battling for soul of the deceased. • Snake-legged demon and 3-headed dog (probably Cerberus: guards gates to underworld) picture at the back.

16 Figure 9-8 Leopards, banqueters, and musicians, detail of mural paintings in the Tomb of the Leopards, Tarquinia, Italy, ca. 480–470 BCE.

• Underground burial at Tarquinia not covered in tumuli or carved like homes. • Painted tombs rare: privilege of wealthiest families. • Leopards guard at back pediment. • Exaggerated gestures and hands. • Many have been found since archaeologists started using periscopes to see underground. • Banqueting couples: men dark, women light bent at waist being entertained by musicians (lyre and double flute). Man holding egg: symbolizes regeneration.

17 Figure 9-9 Diving and fishing, mural paintings in the Tomb of Hunting and Fishing, Tarquinia, Italy, ca. 530–520 BCE.

• Interest in nature: on all four walls. • Youth dives off rock, others fish from boat, aim slingshots at birds. • Joyful and lighthearted scene.

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Later Etruscan •  In 509 the Romans (who had been ruled by the Etruscans) revolted and

expelled kings, 4th century began to take over territory. Veii fell, Tarquinia annexed, Cerveteri also.

•  Number of Etruscan tombs and quality of furnishings decreased. •  Early Roman History: Romulus and Remus the twin sons of Mars and

a mortal woman who was imprisoned. Both left to die by wicked uncle and set out on the water crying. Heard by a wolf who came and suckled them. Later a shepherd came and brought them to his home for his wife to raise.

•  When they reached adulthood, the twins decided to build a city near the spot the wolf had rescued them, in 753 bce. Afterward, had a statue of a wolf and sometimes even a life wolf standing on Capitoline hill. According to tradition, original bronze struck by lightening and buried. Romulus becomes the first king of Rome.

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*Figure 9-10 Capitoline Wolf, from Rome, ca. 500–480 BCE. Bronze, approx. 2’ 7 1/2” high. Palazzo dei Conservatori, Rome.

• From Etruscan workshop, except for babies (Renaissance additions). • Tense, watchful body, spare flanks, gaunt ribs, powerful legs. Lowered neck, alert eyes and muzzle capture protective beast when sensing approaching danger. • Stylized fur like Greek Archaic.

• Hollow cast bronze.

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Figure 9-10 Detail Romulus and Remus suckling

© 2005 Saskia Cultural Documentation, Ltd.

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Figure 9-11 Chimera of Arezzo, from Arezzo, Italy, first half of fourth century BCE. Bronze, approx. 2’ 7 1/2” high. Museo Archeologico Nazionale, Florence.

• 1 century after wolf; originally had an enemy about to be attacked. • Greek invented monster: head and body of lion, tail of serpent, head of goat growing from the left side. • Muscles taunt over rib cage, ruff around neck and spine still stylized. • Glass paste eyes added after.

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Figure 9-12 NOVIOS PLAUTIOS, Ficoroni Cista, from Palestrina, Italy, late fourth century BCE. Bronze, approx. 2’ 6” high. Museo Nazionale di Villa Giulia, Rome.

• Container for women’s toiletries, commissioned by a woman (shows their importance) made by a Roman artist (area gaining influence). • Sheet bronze, cast handles and feet. • Engraved bodies produced in large numbers, popular as gifts for living and dead. • Frieze: Jason and the Argonauts in the search of the golden fleece. • Figures from Greek source: ¾ view, placed on levels.

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Figure 9-13 Porta Marzia (Gate of Mars), Perugia, Italy, second century BCE.

• Perugia formed alliance with Rome: spared

destruction. Some walls of city still stand. • Opening formed by voussoirs. First made by Etruscans, later Romans use in architecture (triumphal arches etc.) • Half figure of Jupiter flanked by sons and horses between fluted pilasters.

24 Figure 9-14 Sarcophagus of Lars Pulena, from Tarquinia, Italy, early second century BCE. Tufa, approx. 6’ 6” long. Museo Archeologico Nazionale, Tarquinia.

• Sarcophagus made of local stone, not terracotta. • By himself, not at banquet, expression somber. • Frieze: deceased in underworld attacked by two charuns swinging lethal hammers. • On lid holding unfurled scroll with record of life’s accomplishments: lacks confidence in a happy afterlife, dwells on past instead.

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Figure 9-15 Aule Metele (Arringatore), from Cortona, near Lake Trasimeno, Italy, early first century BCE. Bronze, approx. 5’ 7” high. Museo Archeologico Nazionale, Florence.

• Magistrate raising arm to address assembly, modern nickname Orator. • Roman officials name inscribed on hem, laced together boots and folded drapery toga also show Roman official. • Produced during Social War of 1st

century, conferring Roman citizenship to all inhabitants of Italy.