Childhood Among the Etruscans: Mortuary Programs at Tarquinia As
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Nordlit 33, 2014 TOMBA DEI TORI at TARQUINIA
TOMBA DEI TORI AT TARQUINIA: A RITUAL READING J. Rasmus Brandt Introduction: the Tomba dei Tori One of the best known, but also among the most enigmatic tombs at Tarquinia, is the so- called Tomba dei Tori (Tomb of the Bulls), dated to about 540–530 BC.1 It contains a series of paintings of different thematic content including two erotic scenes, which from a modern point of view have either been ignored or considered shameless and not congruent with death and funerary practices. In this article modern morale shall not be discussed, rather funerary rituals in an Etruscan setting. The tomb was of the tumulus type with a long, stepped dromos descending into the calcareous bedrock, ending in a large rectangular funerary chamber (A) (4.31 x 4.52 m, H. 2.52 m) with a saddle roof. In the back wall two doors opened into two smaller, parallel chambers, also with saddle roofs: to the left (B) (3.47 x 2.52 m, H. 2.10 m), to the right (C) (3.26 x 2.52 m, H. 2.00 m). The back wall of chamber A was decorated with four zones of paintings, one above the other, two panels (1–2) between the doors to chambers B and C, a band above the doors across the whole width of the room (3), and on top the pediment/tympanon area created by the saddle roof (4) (Fig. 1):2 1. Bottom panel (dado) (Figs 1–2): Simply sketched trees with stem and branches with and without foliage; wreaths and ribbons hang from the branches. -
Etruscan Winged “Demons”
First in Flight: Etruscan Winged “Demons” Marvin Morris University of California, Berkeley Classical Civilizations Class of 2016 Abstract: Etruscan winged Underworld figures (commonly referred to as winged “demons”) represent one of the most fascinating and least understood aspects of funerary iconography in ancient Etruria. Their function, along with their origin, has long been the subject of scholarly debates. However, over the last two decades, scholars have begun to take a closer look at these chthonic figures. Recent scholarship has begun to provide answers to many of the most fundamental questions concerning their role, even if disagreements remain over their murky origins. Expanding on interpretations that have cast new light on how these winged (and non winged) Underworld figures functioned, questions concerning Etruscan religious beliefs and funerary ideology can now be reconsidered. Introduction: Iconography and Ideology Etruscan winged Underworld figures (commonly referred to as winged “demons”) represent one of the most fascinating and least understood aspects of funerary iconography in ancient Etruria. Their function, along with their origin, has long been the subject of scholarly debates. However, over the last two decades, scholars1 have begun to take a closer look at these chthonic figures. Recent scholarship has begun to provide answers to many of the most fundamental questions concerning their role, even if disagreements remain over their murky origins2. Expanding on interpretations that have cast new light on how these winged (and non winged) Underworld figures functioned, questions concerning Etruscan religious beliefs and funerary ideology can now be reconsidered. One such question concerns the sudden increase in the appearance of winged “demons” that begins to occur around the end of the fifth century BCE. -
Luce in Contesto. Rappresentazioni, Produzioni E Usi Della Luce Nello Spazio Antico / Light in Context
Light in Antiquity: Etruria and Greece in Comparison Laura Ambrosini Abstract This study discusses lighting devices in Etruria and the comparison with similar tools in Greece, focusing on social and cultural differences. Greeks did not use candlestick- holders; objects that have been improperly identified ascandelabra should more properly be classified as lamp/utensil stands. The Etruscans, on the other hand, preferred to use torchlight for illumination, and as a result, the candelabrum—an upright stand specifically designed to support candles — was developed in order to avoid burns to the hands, prevent fires or problems with smoke, and collect ash or melting substances. Otherwise they also used utensil stands similar to the Greek lamp holders, which were placed near the kylikeion at banquets. Kottaboi in Etruria were important utensils used in the context of banquets and symposia, while in Greece, they were interchangeable with lamp/utensil stands. Introduction Light in Etruria1 certainly had a great importance, as confirmed by the numerous gods connected with light in its various forms (the thunderbolt, the sun, the moon, the dawn, etc.).2 All the religious doctrines and practices concerning the thunderbolt, the light par excellence, are relevant in this concern. Tinia, the most important god of the Etruscan pantheon (the Greek Zeus), is often depicted with a thunderbolt. Sometimes also Menerva (the Greek Athena) uses the thunderbolt as weapon (fig. 1), which does not seem to be attested in Greece.3 Thesan was the Etruscan Goddess of the dawn identified with the Greek Eos; Cavtha is the name of the Etruscan god of the sun in the cult, while Usil is the sun as an appellative or mythological personality. -
Etruscan News 19
Volume 19 Winter 2017 Vulci - A year of excavation New treasures from the Necropolis of Poggio Mengarelli by Carlo Casi InnovativeInnovative TechnologiesTechnologies The inheritance of power: reveal the inscription King’s sceptres and the on the Stele di Vicchio infant princes of Spoleto, by P. Gregory Warden by P. Gregory Warden Umbria The Stele di Vicchio is beginning to by Joachim Weidig and Nicola Bruni reveal its secrets. Now securely identi- fied as a sacred text, it is the third 700 BC: Spoleto was the center of longest after the Liber Linteus and the Top, the “Tomba della Truccatrice,” her cosmetics still in jars at left. an Umbrian kingdom, as suggested by Capua Tile, and the earliest of the three, Bottom, a warrior’s iron and bronze short spear with a coiled handle. the new finds from the Orientalizing securely dated to the end of the 6th cen- necropolis of Piazza d’Armi that was tury BCE. It is also the only one of the It all started in January 2016 when even the heavy stone cap of the chamber partially excavated between 2008 and three with a precise archaeological con- the guards of the park, during the usual cover. The robbers were probably dis- 2011 by the Soprintendenza text, since it was placed in the founda- inspections, noticed a new hole made by turbed during their work by the frequent Archeologia dell’Umbria. The finds tions of the late Archaic temple at the grave robbers the night before. nightly rounds of the armed park guards, were processed and analysed by a team sanctuary of Poggio Colla (Vicchio di Strangely the clandestine excavation but they did have time to violate two of German and Italian researchers that Mugello, Firenze). -
Miscellanea Mediterranea •
MISCELLANEA MEDITERRANEA • Archaeologia T ransatlantica XVIII edited by R. Ross Holloway CENTER FOR OLD WORLD ARCHAEOLOGY AND ART BROWN UNIVERSITY PROVIDENCE. RHODE ISLAND 2000 Contents Preface .............•............................................vii by R. Ross Holloway The Sanctuary of Hercules-Melkart at Gades and the Arabic Sources .......... by William E. Mierse Iberian Warrior Figurines and the Warrior Image in Western Mediterranean Sculpture. • . • . .. 11 by Joseph J. Basile Etruscan Sigla eGraffid"): Prolegomena and Some Case Studies. • . .. 25 by Nancy T. de Grurnmond, Ceil Bare and Amy Meilleur Hera, Hieros Gamos and the Chora of Poseidoni a ...................... " 39 by Naomi J. Norman An Unidentified Italic 'Touta' in Southern Italy ......................•... 49 by Maurizio Gualtieri Financing and Design: The Development of the Parthenon Program and the Partheno.n Building Accounts ............................... 61 by Spencer A. Pope Theseus in South Metope 16 of the Parthenon ..........•................ 71 by Crispin Corrado Goulet The Mutilation ofStatuary in Classical Greece .....•................... " 77 by R. Ross Holloway MATIKOI KATM.EI:MOI or Binding Curse Tablets: A Journey on the Greek Dark Side . • . .. 83 by Christofilis Maggidis Boukephalas . • • . .. 101 by RolfWinkes The Roman-Byzantine dwelling in the Galilee and the Golan: "House.. or "An"'f'artment ") . .............................•....... 109 by Katharina Galor The Authors ..............••..........•.....•....•.............. 125 v F ETRUSCAN SIGLA -
Apollo and the Mundus of Caere Naomi Laura Neufeld
APOLLO AND THE MUNDUS OF CAERE NAOMI LAURA NEUFELD APOLLO AND THE MUNDUS OF CAERE: AN INTERPRETATION OF THE PALM TREE FRESCOES OF THE HYPOGAEUM OF CLEPSINA By NAOMI LAURA NEUFELD, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Naomi Laura Neufeld, August 2015 DESCRIPTIVE NOTE: McMaster University MASTER OF ARTS (2015) Hamilton, Ontario (Classics) TITLE: Apollo and the Mundus of Caere: An Interpretation of the Palm Tree Frescoes of the Hypogaeum of Clepsina AUTHOR: Naomi Laura Neufeld, B.A. (McMaster University) SUPERVISORS: Dr. Spencer Pope and Dr. Fabio Colivicchi NUMBER OF PAGES: xi, 141 ii LAY ABSTRACT: The Hypogaeum of Clepsina is an underground ritual chamber in Caere, which scholars theorize to be a mundus, a liminal space where chthonic rituals were enacted in honour of the infernal gods. The mundus was tied to notions of civic foundation, which suggests that the hypogaeum’s construction (or renovation) around the year 273 BC, the time when the city of Caere was officially converted into a Roman praefectura, was a statement of Rome’s re-establishment of Caere. Thus, gaining a deeper understanding of the hypogaeum, especially the cults worshiped within it, contributes to our knowledge of the role that religion played in Roman expansion during the Republican period. The palm tree frescoes decorating the niche of the hypogaeum provide important clues as to the identity of the deity worshiped in the mundus. They are a reference to the god, Apollo Soranus, or Śuri, who was a chthonic deity fitting to preside over the mundus of Caere. -