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Etruria 2019 Brochure Needs
Etruscan Places OF NORTHERN LAZIO AND UMBRIA Join us in Italy, October 21–28, 2019 Imagine a land of volcanic lakes, sandy beaches, rugged hills, thermal springs, Roman roads, and medieval hill towns. Its olive oil, chestnuts, hazelnuts, freshwater fish, black truffles, seafood, wild mushrooms, game, pork products, lamb, and sheep cheeses are among the best you’ll find anywhere in Italy. … www.elifanttours.com / [email protected] / +1-347-868-6345 Etruscan Places OF NORTHERN LAZIO AND Join us for an exciting tour to the Etruscan places just north of Rome. The tour covers the territory between Rome’s northern edge and Orvieto, just inside the Umbrian border, 75 miles to the north. It’s a sort of “flyover” country, ignored by tourists in their dash north to Tuscany. All the more reason to stop and explore this land of volcanic lakes, sandy beaches, rugged hills, thermal springs, Roman roads, and medieval hill towns. Its olive oil, chestnuts, hazelnuts, freshwater fish, mushrooms, game, pork products, lamb, and sheep cheeses rival any in Italy. Long before the Romans, sophisticated native peoples were living in cities and building extravagant cemeteries (“cities of the dead”). The best known and most influential were called Etruscans, but we’ll meet others too, such as the forgotten Faliscans. Our itinerary offers plenty of archaeo-culinary interest in both isolated (and very picturesque) sites and the medieval towns that inherited the ancient legacy. That legacy continues today, remarkably unspoiled. The tour covers the southern Etruscan territory In October, when we visit, the wild beauty of the natural landscape will be enhanced between Rome and the southern borders of Tuscany and Umbria. -
3. Etruscans Romans
The Etruscans 8th to the 5th century B.C (900/700-500 B.C) Triclinium – formal dining room Interior of the Tomb of the Triclinium, from the Monterozzi necropolis, Tarquinia, Italy, ca. 480–470 BCE Italy in Etruscan times Important sites: Tarquinia Cerveteri Vulci Villanova Brief History • The Etruscans occupied the region to the north of Rome, in what is today known as Tuscany (Central). • The Romans (still considered a tribe, yet the Empire it would become) were first a subject people of the Etruscans and later their conquerors. • The Etruscan culture was well-developed and advanced but distinctively different from the cultures of the other peoples in the region. This distinctive difference immediately led to the question of “where did the Etruscans originate?” Where did the Etruscans originate? • Some Greeks held that the Etruscans came from Lydia, a kingdom of western Anatolia (or modern day Turkey). • In the 19th c, it was discovered that most of the languages of Europe belonged to one big language family called Indo- European but Etruscan was not one of them. – The Etruscan language is unique in the ancient Greco- Roman world. There are no known parent languages to Etruscan, nor are there any modern descendants. As Romans took control, Latin became the dominant language. – We have no surviving histories or literature in Etruscan. Science vs. Art • The American Journal of Human • Villanovan Culture: 900-700 BC. Genetics reports finding 11 A culture of Northern Italy, they lineages of human mitochondrial were first identified by their DNA in Tuscany that occur in the cemeteries. -
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. -
Women in Etruscan Tomb Painting by Sophie Isabelle Stefanovich A
Women in Etruscan Tomb Painting By Sophie Isabelle Stefanovich A research essay submitted to the Graduate Program in Classics in conformity with the requirements for the Degree of Master of Arts Queen’s University Kingston, Ontario, Canada September, 2018 Copyright © Sophie Isabelle Stefanovich, 2018 Stefanovich i Abstract Previous scholarship on women in Etruscan tomb painting has grounded its conclusion on a number of select, well distinguished tombs that have been used to support or disprove the claim that women held a prominent position in Etruscan society. This research paper aims to expand the literature by compiling an extensive catalogue of tomb paintings at the Etruscan site of Tarquinia, to examine the representation and iconography of women between the sixth and fourth centuries BCE. Of the 135 painted tombs known in the Monterozzi necropolis of Tarquinia, there are 62 tombs that contain the depiction of women in various settings, including scenes of dance, athletics, the journey to the afterlife, and most frequently, the banquet. By analyzing the 24 tombs that contain scenes of the banquet where women are present, through their positioning, attire, and iconography, it is evident that the elite women in Etruscan society played an important role in the family. In comparison to scenes of the banquet in Greek art, as well as the accounts from ancient authors who comment on the scandalous actions of Etruscan women, a different picture emerges. The women depicted on the walls of these Etruscan tombs are not entertainers or subordinate companions. They are wives and mothers who, as members of the aristocracy, were essential figures in maintaining the family lineage and as such held greater authority and power. -
Performance and Visual Culture in Etruria: 7Th 2Nd Century BC
Performance and Visual Culture in Etruria: 7th - 2nd Century BC Stephanie Anne Layton Marietta, Georgia Bachelor of Arts, The George Washington University, 2003 Master of Arts, Florida State University, 2006 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia December 2013 © Copyright by Stephanie Anne Layton All rights Reserved December 2013 Abstract The Etruscan iconographic record is the primary source of information regarding performance activities, which include dance, music, gaming, ritual, spectacle, and athletics. In this study, performance theory is used as a framework for analyzing Etruscan material culture related to emically constructed and provisionally identified performance activities and ascertaining their meaning. Although evidence for Etruscan cultural activity, beliefs, and social interaction is limited, especially given the paucity of textual information, the application of performance theory to the archaeological record provides a means to analyze public and private transmission of messages, relationships, experiences, and cultural behaviors primarily in funerary and civic contexts. Although numerous Etruscan performances have been investigated individually by prior scholarship, performance theory has not been previously applied to Etruscan art and architecture and, therefore, this work takes a new approach towards the analysis of the archaeological record. Evidence included in this study dates between the 8th -2nd centuries BC and consists of wall painting, painted and relief vase decoration, stone and terracotta relief sculpture, engraved gems, and bronze mirrors, decorative attachments, figurines, and vessels. It is only through the study of such varied materials from a wide chronological range that a more complete understanding of Etruscan performance emerges. -
The Etruscan Thalassocracy
The Etruscan Thalassocracy: Exploring Maritime Motifs and Dionysian Imagery in Etruscan Tomb Painting and on Imported Greek Pottery Jesse B. Duncan Undergraduate Honors Thesis Department of Art History University of Colorado | Boulder Date of Defense April 1st, 2020 Thesis Advisor Dr. Diane Conlin | Classics Committee Members Dr. Robert Nauman | Honors Chair | Art History Dr. Fernando Loffredo | Art History Dr. Elspeth Dusinberre | Classics 1 Dedicated To Professor Elspeth Dusinberre with my deepest gratitude to push me to commence this academic journey without your compassion this thesis would have never came to fruition Professor Diane Conlin with my utmost admiration and gratitude for supporting me along this extensive and engaging project I thank you My sweetest sunflower Jezzlynn Rae may your light shine on continuing to spread happiness and joy especially during troubling times 2 Abstract The Etruscans were an ancient Mediterranean culture who were and still are remembered as a thalassocracy, a dominant maritime force. However, their visual identity as represented in their art did not emphasize their naval dominance through traditional nautical imagery. A survey of Etruscan art reveals that the only surviving depiction of ship is from an Etruscan tomb, the Tomb of the Ship, and leads to the central question of this thesis: why are there so few images of ships in the art of a culture known for its thalassocracy? After an analysis of the Homeric myth of the Etruscan pirates capturing Dionysus, as well as Greek-made pottery found in Etruria along with Etruscan tomb frescos, several motifs related to both marine life and activities occur alongside repetitive Dionysian imagery. -
Etruscan Italy
Etruscan italy as seen by students Study Materials ENGLISH VERSION Brno 2018 EDITORS Anna Krčmářová, Tomáš Štěpánek, Klára Matulová, Věra Klontza-Jaklová Published only in the electronic form. These study materials are available on the webpage of ÚAM MU Brno (http://archeo-muzeo.phil.muni.cz/). These study materials were created under the auspices of Masaryk University at Department of Archeology and Museology within the grant project FRMU MUNI / FR / 1298/2016 (ID = 36283). Etruscan italy as seen by students Excursion participants, Volterra 2017. ENGLISH VERSION Brno 2018 Introduction The excursion to Italy was held from 29th May till 7th June 2017 and was organized by students of Department of Archaeology and Museology of Masaryk University in Brno. The main intention was to present the Etruscan landscape in its natural settings to students of Classical Archaeology and related fields of study. The excursion took place within the grant project FRMU ID-MUNI / FR / 1298/2016 (ID = 36283). This excursion completed following Classical Archaeology courses: AEB_74 (Etruscan and Central Europe) and KLBcA25 (Etruscans in the context of Ancient World - Etruscology), KLMgrA31 (Excursion) but it was considerably valuable as well for students of History and Ancient history. All students had to be active in the period of its organization in order to complete the course and get the credits. Before the field trip, they had to attend a seminar to get acquainted with each visited site and the individual essay’s topics have been shared with students. The selection of topics was based on their own interest. Students were allowed to work in smaller groups or completely independently. -
Iconography of Beliefs About the Afterlife and Evidence for Funerary Practices in Etruscan Tarquinia Al
Footsteps of the Dead: Iconography of Beliefs about the Afterlife and Evidence for Funerary Practices in Etruscan Tarquinia Allison Jean Weir This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 5 November 2012 Declarations 1. Candidate’s declarations: I, Allison Jean Weir, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2008, and as a candidate for the degree of Doctor of Philosophy in September 2009; the higher study for which this is a record was carried out in the University of St Andrews between 2008 and 2012. DATE: _________________ SIGNATURE OF CANDIDATE: ___________________ 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Doctor of Philosophy in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. DATE: _________________ SIGNATURE OF SUPERVISOR: __________________ 3. Permission for electronic publication: In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. -
DEATH and the AFTERLIFE: ETRUSCAN ART (Tomb Art from Cerveteri, Vulci, and Tarquinia) ROMAN and ETRUSCAN ART
DEATH and the AFTERLIFE: ETRUSCAN ART (Tomb Art from Cerveteri, Vulci, and Tarquinia) ROMAN and ETRUSCAN ART Online Links: Etruscan art - Wikipedia, the free encyclopedia Tomb of the Leopards - Wikipedia, the free encyclopedia Trajan's Column - Wikipedia, the free encyclopedia Fayum mummy portraits - Wikipedia, the free encyclopedia Mithraic mysteries - Wikipedia, the free encyclopedia She-Wolf. c. 500 BCE, bronze The Etruscans left no literature from which we might gain some insight into their thought, feelings, way of life or their history. We know them only from the probably biased comments of Greek and Latin writers and from the material remains of their culture, found mainly in tombs and susceptible to a bewildering range of interpretations. Etruscan bronze work is known to have been prized in Athens in the fifth century BCE, that is at the height of the Greek Classical period. At least one surviving work fully justifies this estimate – the famous She-Wolf of the Capitol. The extraordinary realism of the tense, watchful stance- ears pricked, brow furrowed, jaws snarling, hackles rising- epitomizes at tits finest and most vividly factual the unidealized, down-to-earth quality of Etruscan art. Chimera of Arezzo (Arezzo), early 4th century BCE, bronze This is another well-known Etruscan bronze work, discovered in the Tuscan town of Arezzo. Inscribed on its right foreleg is an inscription which has been variously read, but most recently is agreed to be TINSCVIL, showing that the bronze was a votive object dedicated to the supreme Etruscan god of day, Tin or Tinia. This is a representation of a beast from Greek mythology that had the head and body of a lion, a tail in the form of a snake, and a goat’s head protruding from its back. -
Foreign Influence and Cultural Exchange Stephanie Di Bona Western Oregon University, [email protected]
Western Oregon University Digital Commons@WOU Student Theses, Papers and Projects (History) Department of History 2010 Food and Dining in Etruscan Funerary Ritual: Foreign Influence and Cultural Exchange Stephanie di Bona Western Oregon University, [email protected] Follow this and additional works at: https://digitalcommons.wou.edu/his Part of the Cultural History Commons, and the European History Commons Recommended Citation di Bona, Stephanie, "Food and Dining in Etruscan Funerary Ritual: Foreign Influence and Cultural Exchange" (2010). Student Theses, Papers and Projects (History). 95. https://digitalcommons.wou.edu/his/95 This Paper is brought to you for free and open access by the Department of History at Digital Commons@WOU. It has been accepted for inclusion in Student Theses, Papers and Projects (History) by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected]. Food and Dining in Etruscan Funerary Ritual: Foreign Influence and Cultural Exchange By Stephanie di Bona Senior Seminar: HST 499 Professor John L. Rector Western Oregon University 25 May 2010 Readers Dr. Benedict Lowe Dr. Narasingha Sil Copyright © Stephanie di Bona, 2010 2 The late eighth to early fifth centuries BC1 were a time of cultural growth in Etruria, fueled by a growing economy and active maritime trade. This time is generally considered to be the time when the Greeks imported much of their culture to the Etruscans and gave Etruscan culture its distinct Hellenistic cast. Since excavations have been carried out on only a very few Etruscan settlements, this influence is instead most noticeable in burials where foreign elements have been found, including imported dining wares and painted banquet scenes with plenty of Greek elements. -
The Etruscans
The Etruscans Notice how the Greeks influenced the Etruscans and how the Etruscans influenced the Romans. This PowerPoint was taken from a variety of sources and modified. The culture that immediately preceded that of the Etruscans is known as Villanovan, and Italian version of the great Urnfield culture found frm about the twelfth to the seventh century B.C. Urnfield culture, so called from its practice of burying the cremated remains of the dead in urns placed side by side by the hundreds, consisted of settled agricultural communities of some size that produced cereals and used the traction plough in place of the hoe or digging stick. Every known Cinerary Urn This biconical cinerary urn dates Etruscan city is preceded by a to the Villanovan period (9th Villanovan settlement, a fact that century BCE). Cremation was a has led to the debate about whether common practice at this time, with the ashes of the deceased the Etruscans were transformed wrapped in linen or crimson Villanovans or whether the new colored fabric, placed in large culture should be explained by the vases of clay or bronze and buried with a few grave objects in an arrival of immigrants from underground pit. somewhere else. (Nagle, p. 261.) Medical Instruments The Etruscans excelled in the therapeutic use of herbs, animal substances, minerals and special waters. They also were capable surgeons. The terracotta pot and bronze saucers were likely used to store and mix medical ointments. The bronze probes were used for surgery. These instruments date from the 6th – 2nd centuries B.C. Pyrgi Tablets ETRUSCAN TOMBS Aerial View of Bandittaccia cemetery ETRUSCAN TOMBS Interior of the Tomb of the Capitals, Banditaccia cemetery, Cerveteri, Italy Tomb of the Reliefs, Tarquinia (4th century B.C.) Francois Tomb: Vanth, Etruscan death god (2nd century B.C.). -
Etruscan Murals - a Reflection on the Moods and Beliefs of the Etruscans
Etruscan Murals - A reflection on the moods and beliefs of the Etruscans - (from http://www.maravot.com/Etruscan_Murals.html) 05.25.13 By Mel Copeland Most of these images were made prior to 1950 and thus are an important record of the images originally found in the Etruscan tombs. Many of the images have deteriorated after the tombs were opened. Preservation of their details, particularly those having to do with Etruscan inscriptions, is important. Many of the images are courtesy of the Skira Color Studio publication, "Etruscan Painting," September 13, 1952. Close-up of the central mural in the Tomb of the Bulls, Tarquinia, "Achilles in Ambush." Mid 6th Century B.C. A scene from the Iliad. The Trojan prince, Troilus, upon a stallion, is ambushed by Achilles at the well outside the walls of Troy. Below, are trees representing winter, summer and fall, and between the trees is a girdle worn around the waist of Etruscan men, frequently appearing in Etruscan scenes. A wreath or garland hangs on the branch of the tree in winter, which may indicate the time of the hero's death. The girdle may be from the Cestus Girdle of Aphrodite. See note 1. 1 Etruscan Murals - A reflection on the moods and beliefs of the Etruscans - Painting of Amazons attacking a Greek, a sarcophagus from Tarquinia now in the Archeological Museum, Florence, ~5th century B.C. Painting of Amazons in a quadriga on one of the sides of the sarcophagus from Tarquinia. As described in the Iliad, reflecting late Bronze Age and Early Iron Age warfare, including Celtic, the warrior had a servant-driver who would carry the warrior into various battle positions.