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). Preliminary accounts had affected an area that was spared Hellenistic tombs overlying the had initially been funded by the Fritz- of the archaeo- continued on page 17 from this crime, at least in recent years, Orientalizing burial. The latter con- Thyssen found- continued on page 6 due to its proximity to the Visitors’ tained the cremated bones of a young Center, the area of Poggio Mengarelli. girl 13-14 years old, wrapped in a light The archaeologists of the Vulci woolen cloth; next to this were the Foundation promptly intervened, but remains of a wooden box, covered with they certainly could not imagine that decorative embossed sheet bronze, con- they were about to make one of the most taining the many jewels that had accom- significant discoveries ever found at panied her, this member of the first Vulci: the Tomb of the Golden Scarab. Etruscan aristocracy of Vulci (end 8th to The clandestine excavation in fact early 7th century BC.) in her short life. had unexpectedly and fortunately halted The precious objects, in fact, vary in just before exposing the extraordinary size and mark the age of the deceased contents of the tomb; they had destroyed from birth. continued on page 41 Top left, 3D model renders visible Top right, a ritual bronze rattle a previously invisible inscription. reveals its inner workings. Left, the 3 sections of writing on Right, head of a sceptre crafted the front and sides of the stele. with an iron and bronze inlay. LETTERS TO THE EDITORS

Dear Editors: understand Italian, as the presentation I am writing to you because I am an was in Italian. The audience of about 50 Italian scholar of ancient literature, and people seemed most enthusiastic. I have recently read your paper, pub- Perhaps you know of Feo, but I lished in Etruscan News (2003), about thought I would pass this on to you. I Francesco Pironti and his works, “The did leave the book with a friend in Etruscan Roots of an Italian Language Florence, but if you are at all interested, School in New York.” Over the last few please let me know…and it can be sent years, I have studied Pironti’s linguistic or I will retrieve it in the spring when I theory and, in particular, his Il decifra- hope to go back. mento della lingua etrusca, published in Here’s to good health and all things. Italy by Carabba Publisher. At present, I Yours truly, am writing a biography on Pironti. The Barbara Martini Johnson aim of my work would be to focus not only on the polemical controversy Dear Editors: which his book raised in the 30s and 40s Some time ago we went to Nemi, and of the 20th century in Italy, but also, on The cup of Dionysos conference from left: Susanne Ebbinghaus, saw this fountain, with an Etruscan Pironti’s intuitive and comparative Ioannis Mylonopoulos, Francesco de Angelis, Delphine Tonglet, inscription. We were very surprised to method between ancient languages. The Isabelle Algrain, Jean Gran-Aymerich, Jean Turfa, Alan Shapiro, find it there, and wonder whether some- real core of my work would be to save Sebastiano Soldi, Clemente Marconi. Ladies toasting with a kantharos. one can explain what the story is. Pironti’s theory from oblivion, and to Attached are photographs of the foun- highlight his love and profound interest Dear Editors: Giovanni Feo. Enclosed please find the tain. for Italic history. To my great sorrow, I Warm good wishes from Minnesota! cover of his new book and the fron- George Carnevale have learned that his daughter, Franca I had one of the best times ever in tispiece which he signed to me. This is University of California, Pironti Lally, the last owner of Florence. These last times, I go with a one time that I really wish that I did San Diego Francesco Pironti’s works, died in 2009. very “unambitious” agenda and find For this reason, I would ask you if you myself discovering all kinds of new ETRUSCAN NEWS know who could have inherited Pironti’s things. Editorial Board, Issue #19, January 2017 written production. This would allow One of the best things I discovered me to have some more detailed informa- was a “new to me” bookstore in the tion about Pironti’s life and to read, if Santa Croce neighborhood. It is called Editor-in-Chief Jane Whitehead [email protected] possible, his unpublished works. the Libreria Salvemini and perhaps you Modern and Classical Languages Thanking you in advance for your time know of it. I printed a couple of sheets Valdosta State University Yours sincerely, from the internet, so you might be inter- Valdosta, GA 31698 Prof Alessandra Vettori ested in looking it up. Florence, Italy What really attracted me was the President of the U.S. Francesco de Angelis [email protected] window with the display of books on Section of the Istituto Art History and Archaeology [Ed. Note: We contacted Francesco our Etruscans, as the enclosed photo di Studi Etruschi ed Columbia University Pironti’s granddaughter, who kindly shows. Then I noticed the sign advertis- Italici, ex officio New York, NY 10027 sent us the following answer to ing the book reading and signing… Professor Vettori’s letter.] (Please see photo of poster below.) Honorary Founding Larissa Bonfante [email protected] I did go to the book reading and met President Classics Department Dear Professor Vettori, 100 Washington Square East I am Francesco Pironti's granddaugh- Silver Building, Room 503 ter, and I'm very delighted to hear that New York, NY 10003 you are working on a book about him. Since the publication of the article about Language Page Editor Rex Wallace [email protected] her father, Francesco Pironti, in Classics Department Etruscan News in 2003, there has been a University of Massachusetts renewed interest in his work, and sever- Amherst, MA 01003 al scholars approached my mother, Franca Pironti Lally about it. After my Layout-Design Editor Gary Enea [email protected] mother's death the care of my grandfa- ther's documents came to me, and I was surprised to discover that there were Submissions, news, pictures, or other material appropriate to this newsletter may several boxes of original papers, which I be sent to any of the editors listed above. The email address is preferred. am happy to share. Please get in touch For submissions guidelines, see Etruscan News 3 (2003). with me and I would be very glad to help with any research about my grand- Distribution of Etruscan News is made possible through the generosity of father. NYU’s Center for Ancient Studies. Alexandra Lally Peters Page 2 Letter to our Readers

Dear Readers, We are meeting post-Thanksgiving at the house of our layout editor, Gary Enea, contacting contributors and reminding ourselves of the year’s yield: many conferences, interesting lectures, spectacular discoveries, and a younger genera- tion interested in the real Etruscans of long ago. As Barbara Johnson noted in a letter to us some time ago, all the exhibits she was then seeing in Italy were enhanced by digital technology. In fact, our knowl- edge of the Etruscans is increasingly illuminated and driven by technological Dear Editors: advances. Last year’s extraordinary find of a new inscription, the Vicchio stele The inscription is in Italian, written in from Poggio Colla, is now being studied through digital scanning. The extrapo- the runic alphabet of northern Europe, lation of the letters, which would previously have been impossible or tremen- which is based on the Etruscan alphabet dously difficult, is now being carried out by a team working from a 3D model [Editor’s Note: here is Daniele Maras, of northern Italy. It was written by the scanned from the original monument. In the past, inscriptions were studied from the Etruscan epigraphist’s, answer.] local artist, perhaps inspired by Lord of squeezes, rubbings, drawings or raking-light photography. Now an enormously the Rings. heavy object can be rotated in space in changing light from different perspectives A.D. DUEMILAOTTO with no physical effort. LUSIUS MASTROLAURENTII The preservation of sites and artifacts is another benefit of digital documen- FUSA RAME STAGNO tation. A recent article in the International Business Times, “Preserving Volterra: DONO PER IL PAESE How drones and lasers are documenting 3,000 years of Italian history,” describes Translated into English, it would be: how Volterra is currently laser-scanning the entire ancient city. The site of the AD 2008 Roman baths at Carsulae enjoyed a complete digital scan of its delicate ruins just Lusius Mastrolaurenti [made this] months just before the devastating earthquakes that were centered nearby in the Cast in copper and tin Umbrian mountains. The documentation will allow us to compare conditions A gift for the town. before and after the event that caused so much tragedy to the well-known Mediaeval structures of the region. (We have just heard that more earthquakes in Daniele Maras the region last night have caused the Spoleto Museum to be closed.) Pontificia Acacdemia Archeologica So much for the future of archaeology, and the way we see and experience the Rome, Italy past. This is a past that was preserved for us by the pioneers of archaeology, pas- sionate amateurs, diplomats, collectors, nobles, kings and princes, some of whose Dear Editors: stories are told in exhibits reviewed in this issue. Prince Tommaso Corsini put together a collection of art and antiquities that delights visitors to the Corsini I had a delightful evening last night Dear Editors: Gallery in Rome today, and found a great Etruscan necropolis on his estates. The at this restaurant "Caupona." The food Bourbon king of Sicily left behind his favorite ring, found at Pompeii, rather than I knew my grandmother Barbara and wine were like nothing I have had taking it away to Spain and displacing it from the land where it was found. As for loved the Etruscan culture, so with the before and I will say the food was not Etruscan art, when Johann Winckelmann, the influential father of the discipline help of 3D printing, I thought I could number one on my list, but I enjoyed the of art history and archaeology, saw the famous Medici collection of Etruscan art make her a gift. I went on Thingiverse, a atmosphere and the chance to see the in Florence, it made an impact on his work and made Etruscan culture better website for 3D models, and looked up ancient recipes of Apicius recreated for known abroad. Etruscan. I found a model of an a modern culinary experience. These people depended on prints on paper rather than holograms. And indeed, Etruscan urn that was 3D scanned by They have a beautiful garden outside paper books on the Etruscans are still being issued at a great rate (see Brief 3Darcheolab. In 3 hours, our home 3D and the waiters and waitresses wear Reviews), as is the paper form of Etruscan News. We leave our readers to enjoy printer created a miniature replica of the togas. Best of all, they have a supply of it. urn. togas so restaurant patrons can wear Larissa Bonfante Marshall D. Johnson them for the full experience. Jane Whitehead 1282 Medina Road It is right across the road from the Long Lake, MN 55356 Pompei scavi so it is super convenient. Baci e tanto amore, NEW SUBSCRIPTION FORM Anna Pizzorusso In order to receive the paper edition of Etruscan News, please subscribe below. Types of subscription: Individual subscribers (1-5 copies): $25 Institutions (1-10 copies): $50 Bulk mailings: $50 per bundle of 25. Please remit this form with a check payable to: ISSEI-Etruscan News, to Larissa Bonfante, Classics Department, 100 Washington Square East, Silver Building Room 503, New York University, New York, NY 10003. Your subscription comes with automatic membership in the US Section of the Istituto di Studi Etruschi ed Italici (ISSEI), of which Etruscan News is the official Bullettino. Donations to support the online edition are always much appreciated as well, and offer the same automatic membership in ISSEI.

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Page 3 A Day with the Amici delle ARCHAEOCATS Tombe Dipinte di Tarquinia by Larissa Bonfante

On a bright Sunday morning in September I took the train from Trastevere to Tarquinia. I was late, because of the Sunday schedule, so Max, aka Massimo Legni, picked me up at the station and took me directly to the meeting place of the Amici. They were having lunch outside, under a huge wooden roof shaped like nothing so much as the tent pictured in the Tomb of the Hunter, which Max had reconstruct- ed. (See page 9 of this issue). There L-R, Larissa Bonfante, Cornelia Weber-Lehman. (Photos M. Legni) the road. I was surprised to find that this Hellenistic tomb was so small – two of us could barely fit inside it, as Max held the light and took pictures. The floor of the tomb had been carefully cut down, providing steps carved into the rock in Latin Cestia Cats, Cerius et Curius, Pyramid of Cestius Rome. front of the bed, and the ceiling beams (Photo L: Sophie Crawford-Brown) (Photo R: Domenico Stinellis AP). had been just as crisply cut out. The “statue” of the name was in fact a relief POETRY of a fish-tailed Scylla, and again I was surprised, for the style of the figure did not seem to me to match the refinements of the tomb. I will leave it to others to tell us about this female figure, and L-R, Larissa Bonfante, Max Legni, whether and when the tomb was recut Adriana Emiliozzi, Maria Cataldi. into its present form. One thing is cer- were many tables, much food, and ani- tain. The Amici delle Tombe Dipinte are mated conversations. Stephan once more bringing life to the necropo- Steingräber, one of the fedeli of the lis as the banquets of the living are held group, was traveling in the Far East so in honor of the manes of those Etruscans he was not present, but my friend who were buried there so long ago. Adriana Emiliozzi was there, and Cornelia Weber-Lehman, with whom I Detail of the Scylla figure relief. discussed scholars’ archives and univer- sity collections of antiquities in Germany and the US. The visit to the tombs had taken place in the morning, but Max kindly took me to the Tomb of the Statue (below), down

Fanum, continued from page 5 decorated with mosaics in opus sectile from north to south; while the second, and painted plaster of the highest quali- built in the 2nd c. AD, has the rooms ty, has a tetrastyle atrium with impluvi- laid out in a circular pattern. Precious um, a large aula, and an oecus. The mosaics (Fig.5) cover the floors of the nearby baths are divided into two dis- rooms; their decoration includes the tinct systems: the first, from the begin- depiction of a battle between Scylla and ning of the Augustan age, has all the sea monsters in the Hadrianic period canonical rooms joined in a linear way frigidarium. (Photos by Opaxir) Page 4 ARTICLES News from the rifice of the right-hand horse of the char- iot race winner to the god Mars. Found Fanum Voltumnae here too was another horse, but this one by Simonetta Stopponi was mythological: Pegasus, (Fig. 2) decorating the inside bottom of a over- Excavations carried out under this painted kylix. author’s direction at the site of Campo The road then proceeds up the hill- della Fiera, Orvieto, have now con- side towards the largest Etruscan struc- firmed the identification of this “celes- ture thus far identified, Temple B, tial place” of the Etruscans (cf. Etruscan which, (Fig. 3) with its majestic podium, News 2010) as the Fanum Voltumnae, 12.50 x 17.50 m. and over 4 m. tall, the federal sanctuary dedicated to the looms over the entire area below. The god Veltune (Voltumna or Vertumnus to building, built in the late 6th c. BC, was the Romans), whose cult was transferred scenically surrounded by arcades, foun- to Rome after the capture of Volsinii in tains and ponds, while at its front was a 264 BC. The extraordinary complex of large altar of tufa slabs. The dominant structures within an area of more than Fig.3 Aerial view of Temple B. position of the temple makes it likely five hectares testifies to an uninterrupt- er”) incised on a bucchero cup. Some that the presiding divinity was none ed presence here for more than 2,000 structural elements, built on substantial other than the Etruscan Veltune, as years, from the 6th c. BC to the 15th c. foundations, suggest a convincing assumed on the basis of “ve” found on AD. The archaeological evidence for the reconstruction of the building as a black glazed cup. Shortly after the The principal religious buildings are identity of the deities worshiped in the tetrastyle peripteral. The abundant Attic building’s destruction, dating to the laid out along the huge Via Sacra, nearly enclosure includes the arm of an pottery, which littered the fill for the Roman conquest of Orvieto, the area 10 m. wide, already in use by the end of acrolithic cult statue holding in its hand preparation of the pavement of the was occupied by a potter’s workshop, a pomegranate, and therefore referring pronaos and cella, includes works by the to the Demeter/Kore pair. Numerous painters Exekias, Douris, and the pieces of Attic pottery represent Affector, while other fragments show Dionysus, who was worshipped as Liber the image of Athena as a kourotrophic in Roman times (as suggested by ante- goddess. fixes representing a panther facing a Discovered in the vicinity of the thyrsus), and as Sabazius in Imperial temple was a rectangular base of tufa times (as shown by typical ceremonial slabs, near which was buried the com- vessels with animal appliqués). plete skeleton of a horse with his head Fig.1 Kiln for black-glaze ware. Proceeding south, the Via Sacra resting on its ribs. (Fig. 4) This prob- Fig.2 Cup with image of Pegasus. leads to another building, Temple C ably intentional decapitation recalls the (12.60 x 8.60 m.), built in the late 6th c. ritual of the October Horse, with its sac- BC and abandoned between 308 and 280 BC on the occasion of the wars between Rome and Volsinii. Next to the temple were found some infant burials dating to shortly after its destruction; these were probably related to the wor- Fig.4 Horse sacrifice at Temple C. ship of a mother goddess, as shown by featuring a circular furnace (Fig.1) of the Etruscan word atial (“of the moth- about 1.80 m. in diameter that still pre- the 6th c. BC. At the northern end of the serves the combustion chamber, with road was found the entrance threshold the central pillar that supported the fur- of a wall that marked the boundary of a nace’s perforated floor. Discovered at its sacred space. Within this space have entrance was a pit full of black glaze emerged an altar, treasure room, wells, pottery fragments, evidence for the and votive deposits containing valuable identification of the structure’s function. objects. Also found in this area was a The extensive reconstruction follow- shrine built around the middle of the 6th ing the Roman occupation affected only c. BC and abandoned in the late 5th c. the NE part of the sanctuary: In the BC, when Temple A was erected a short early Augustan period Temple A was distance away and with the same orien- paved over with mosaics and a resi- tation. The remains of its tufa podium dence was erected; it was connected to a and some elements in trachyte attest to a thermal complex, which reached its subsequent reconstruction during the peak between the 3rd and 4th c. AD. 3rd c. BC. It is only in this area that cult The Domus, continued on page 4 worship continued into Roman times, and it was obviously adapted to the new Fig.5 Mosaic with Scylla between system imposed by the victors. sea monsters and dolphins. Page 5 Spoleto, continued from page 1 years) each with an antenna dagger and ation, Cologne, and the German a spearhead. Their three sisters - if one Archaeological Institute, DAI, Rome wishes to identify the girls’ burials of section. Currently research is being car- tomb 10, 12 and 15 as such - were ried out through the archaeological soci- buried in elaborate dresses adorned by a ety Astra onlus, in collaboration with the multitude of brooches with capsule pen- newly founded Polo Museale dants. dell’Umbria, the Soprintendenza Tomb 15 (with the remains of a girl dell’Umbria and the Leibniz Research 2-4 years old) is exceptional, with its Centre for Archaeology of the Römisch- Etruscan silver sheet brooches adorned Germanisches Zentralmuseum of by winged lions and anthropomorphic Mainz in Germany. head-shaped catch-plates, a ritual To date the excavations have revealed bronze rattle filled with tiny stones and 52 inhumation burials in various areas two iron ornamental discs. The female of the necropolis, dated between the end burial of tomb 7 (“Priestess” drawing of the 8th and the beginning of the 6th page 7) in the same section of the ceme- century BC. They had been laid out like creature that places the scene in a A view of Piazza d’Armi with its tery revealed a comparable iron rattle under burial mounds with a circular set- mythical space or even the underworld. stone circles surrounding the ting of stones, or in simple rectangular The deceased’s discrepant identities tombs. (Photos J. Weidig, ASTRA) pits. The latter are characterized by might explain why he was buried with adjacent recesses or pits under the body, four sceptres. They are the insignia of which were filled with pottery. the political, military and supposedly During the second half of the 7th also religious power of the ruler. and around the beginning of the 6th cen- Therefore, he must be seen as the most tury BC, a number of burials were laid out at the northeastern edge of the ceme- tery. These burials included military and political status symbols, as well as ritual items that point towards the extraordi- nary high social position of the deceased. The uniqueness of these finds permits the interpretation of the burials as those of members of a royal family. We suppose that the deceased also held a priestly function akin to those mythi- cal contemporary kings of Rome and the kings and princes of Etruria. The so-called royal tomb, tomb 8, Bronze sceptres from tomb 8. Iron and bronze sceptre from 8. Lid with horse-shaped handles. included four mace-head-shaped scep- tres. Two of these were adorned by fig- important of the buried individuals in small iron spearheads. The symbolic and two ornamental bronze discs. Thus, urative ornaments that highlight the oth- this section of the cemetery and could domain of the symposium was repre- both woman and child were dressed erwise unknown Italic ideology and reli- well have been one of the kings of sented by a small bronze kantharos, a similarly and owned metal rattles. An gion of the 7th century BC. The mace Spoleto during the 7th century BC. ceramic flask, and two ceramic beaked interpretation as mother and child, both halves are forged in cut-out technique in The family tomb also revealed the flagons. The latter were topped by lids performing ritual tasks in Spoleto, is iron; the bronze was cast onto the metal mortal remains of two newborns and a with horse-shaped handles. Three askoi therefore conceivable. These responsi- shells in a second step. toddler buried with weapons. The “little in the shape of child-sized shoes com- bilities would have been similarly A predator with wide-open mouth prince” who died at the age of 9-12 pleted the set. The soles of these were hereditary to those of the male elite. adorns one of the sceptres. The beast is months and was buried in tomb 17, was already missing before the vessels had The children of this family appear to about to maul a backwards-facing ani- accompanied by two child-sized been fired, and they had thus been inten- have held their aristocratic standing mal, probably a deer. A warrior with hel- cuirasses (bronze breast and back tionally defunctionalised. since birth and were destined to a lead- met and raised lower arms in front view plates), an antenna dagger with iron His brothers were likely buried in ing role within society. This is evi- is depicted on the other half of the same scabbard and ivory rings, as well as two tomb 9 (3-9 months) and tomb 11 (2-4 denced by their status symbols such as sceptre. Two crossed daggers are likely the insignia of military and political suspended from his hips. The conjoined power (e.g. cuirass, daggers, spears and mythical creature with horse heads mace), symbols of high social ranking above the warrior allows us to interpret (e.g. the bronze kantharos, the ceramic the motif as the oldest depiction of the flask and the beaked flagons) and items “Lord of the horses” (despotes ton hip- of a ritual domain (e.g. iron knives, pon; a variant of the “Master of metal rattles and ornamental discs). Animals”) in Umbria. Aligned with the oblong shape of the sceptre, the motif is Sceptre 2, from tomb 8, shows a laid out vertically. The other sceptre horseman leading a bird-like (Right) (the second half was not found) creature. Only this half of the shows a horseman in front of a tall bird- sceptre was found.

Page 6 The Umbrians The Necropolis complete the restoration work, analysis The necropolis of Piazza d’Armi, dat- The discovery of a necropolis at and study of all the artifacts. ing back to the seventh century BC, is Piazza d’Armi dates back to 1982, when The restoration one of the most important archaeologi- the first tomb came to light containing a To date only 10 of more than 50 graves cal discoveries in recent years. The site, rare example of a bronze tripod of are completely restored, but the out- where tombs of citizens of all ages and Etruscan manufacture. Later, during the standing amount of items just emerged walks of life have been discovered, excavations by the University of from these offers hope that the surprises opens a window onto the origins of the Perugia in 2004-2005, five more burials are not over. Entire burials, removed Umbrian people and the first communi- were discovered, but only between 2008 intact in blocks at the time of the exca- ties that settled in Spoleto. Although the and 2011 did a series of rescue excava- vation and never opened, are in storage. Umbrians are often relegated to a sec- tions bring to light two large portions of Micro-excavations will be carried out in ondary position, according to the histo- the necropolis at the base of the slope of the laboratory to unearth the remains rian Pliny the Elder they were gens Colle S. Thomas. Thanks to the efforts still hidden in the ground. The slow pace antiquissima Italiae, “the most ancient of the Soprintendenza for of the restoration is given not only by people of Italy.” Ancient sources tell us Archaeological Heritage of Umbria and the lack of economic resources, but also of a people displaced in small fortified archaeologists who worked on the exca- by the extreme complexity and sensitiv- centers on a much larger territory than it vation, it was possible to discover and ity of the necessary operations. Most of is today, including the Tiber valley save almost 50 burials, in fossa graves the restoration work was carried out by (which they shared with the Etruscans) covered by earthen mounds, stone cir- technicians of the Museums of Umbria, cles or large limestone slabs. The finds while the ASTRA Onlus Association consist mainly of fine pottery, iron and was responsible for the complete bronze weapons and tools for men, jew- restoration of two tombs. Some very elry and silver ornaments, bronze, ivory delicate artifacts of great value in need and amber for women, as well as a of special instruments are therefore cur- series of very special objects unmatched rently being restored in Germany in the in the Italic world. laboratory of RGZM - Römisch- adapted from drawing by Mattia Sbrancia. After the first restoration and the initial Germanisches Zentralmuseum Mainz, Silver Etruscan fibula,Tomb 15. research it was clear that these were the Possible dress of the “priestess” one of the most important and modern in tomb 7, buried near her child. research facilities and conservation of scepters of bronze and iron of the King’s the archaeological heritage of the world. Tomb, decorated with mythological Three small exhibitions of the restored scenes of Italic ancestry and made with finds, conceived and promoted by our a complex technique that predates lost Association, have already been shown wax casting. Buried near these royal between 2013 and 2015 at the National individuls we recognize other aristocrat- Archaeological Museum of Spoleto. ic figures, probably members of the These finds are now part of the perma- same family; these appear to be horse- nent exhibition. The initiatives have Bronze breast and back plates. Bronze Etruscan tripod, tomb A. men (knights), princes and even two earned a great and unexpected success, possible priestesses, recognizable by the so that it was decided to organize a large and both sides of the Apennines, reach- graves of uncommon personages, bells with which they carried out the rit- traveling exhibition abroad in order to ing to Adriatic coast, which was occu- reflecting a detailed and complex com- uals. Of great value are also the silver give visibility to Spoleto’s masterpieces pied from Ancona to Ravenna. The con- munity that deserved to be studied and brooches with winged lions and a beyond regional and national bound- trol of this area, combined with an analyzed in depth. At Piazza d’Armi, the “stola” of metal discs that decorated the aries. The exhibition, conceived and extraordinarily prosperous agricultural presence of very high-ranking figures dress of a girl only 2 years old. promoted by Astra Onlus with the sup- and pastoral economy, denoted the seems to indicate actual “royal dynas- The presence of infants that show the port of the Museums of Umbria and the Umbrians as a rich people. Aristotle said ties” like those at Rome of the kings. same symbols of social status as adults, town of Spoleto, will be held in 2018 in that “their livestock generates three These individuals are identified by the sometimes miniaturized, is a demonstra- four locations in Germany and Austria times a year, their land produces multi- presence of prestigious objects and tion of the inheritance of power within at the museums of Weimar, Hochdorf ple crops and their women are particu- extraordinary wealth, status symbols the community. Unfortunately, the (Stuttgart), Schwetzingen and Hallein larly fruitful, and rarely give birth to that were handed down from generation available data is based on only a few (Salzburg). Info: www.astraonlus.it only one child at a time.” to generation. Among these are the four tombs, about a dozen out of the 50, due Impasto jug, gold leaf, tomb 17. This happy historical view of the Bronze, iron rattles, tombs 15 & 7. to the lack of adequate resources to Umbrians before the Roman conquest is confirmed by recent archaeological dis- coveries from the Orientalizing period. Those of the necropolis of Piazza d’Armi open a scenario on the Umbrian social structure much more akin than previously thought to that of the leg- endary Rome of the kings. The remains of this vast necropolis provide informa- tion on the composition and characteris- tics of the first community that was to become Spoleto, 2,700 years ago.

Page 7 The Restoration of the still young, in a pose similar to that of Frescoes in the Tomb of the protagonists. The banquet is accom- panied by the music of two musicians; the Shields peeping out is another naked young ser- FAI vant, while on the right part of the wall From June to September 2016, the three characters, whose figures are contribution of I Luoghi del Cuore rather poorly preserved, converge (Places of the Heart, part of FAI, Fondo towards the corner and the adjacent wall Ambiente Italiano) and the scene. Only two names are still legible: Soprintendenza made possible the Velchai and Velia Seithithi. restoration of the frescoes of the north- A difficult restoration west and northeast walls of the vast hall Like all underground burial cham- of the Tomb of the Shields. Dating from bers, the tomb has a complex range of the late Classical period (mid-4th centu- conservation problems, especially due ry BC) and rediscovered in 1870, the to the high humidity and lack of air cir- tomb, a typical example of a hypogeum culation, which favor the development or an underground tomb of a noble fam- of microorganisms such as bacteria and ily, was built to celebrate the virtues and fungi, partly responsible for the deterio- the rank of the Velcha family, an impor- The frescoes before and after restoration. (Photos from FAI) ration the paintings. The underground tant and powerful gens of Tarquinia. The family members. nied by a young handmaiden. Along the chamber has required the adoption of tomb reproduces the typical architecture On the north-west wall the main other wall, space was made for the other special precautions in order to change as of an Etruscan dwelling, with a square scene shows Larth Velcha, the founder characters in the narrative: two winged little as possible the environmental con- central atrium with a gabled roof open- of the tomb, lying on a kline as he feasts genii and the Etruscan Charun, recog- ditions of the tomb, avoiding the intro- ing into three quadrangular burial cham- with his wife, Velia Seithiti. She is nizable by the axes in his hand; and a duction of readily biodegradable organ- bers. Of the four rooms, only the atrium depicted next to him in the act of offer- naked servant, who raises an oinochoe ic materials. It was decided to minimize and the rear chamber are plastered and ing him an egg, a symbol of rebirth and and a phiale. the number of restorers present and to decorated with wall paintings – in the regeneration. Many details show the Finally at the far left end of the wall oblige them to wear Tyvek suits, which atrium, the ceiling is also painted. The aristocratic status of the family: the bed, are depicted two robed figures whose are waterproof but permeable to water paintings immortalize the moment of covered with elaborate fabrics and cush- names are Vel and Arnth Velcha. On the vapor; and to use only LED lighting in departure of the deceased to the afterlife ions, the table set, the head of Larth sur- northeast wall of another banquet scene order not to increase of the temperature, through the representation of the funeral rounded by a laurel wreath, the precious are Larth’s parents, Velthur Velcha and which is constantly monitored along feast, which involves, ideally, all the jewels adorning Velia, who is accompa- his wife Ravnthu Aprtnai, represented with the humidity. New Voices for coincidentally these carnyces are carved on the base of Trajan’s Column in Ancient Instruments Rome, three meters above the street of by Federico Gurgone the forum. “Caesar speaks of it in De adapted/translated from Bello Gallico, and the writings of National Geographic Italy Musicians John and Diodorus Siculus let us imagine the No one knew the sound made by the Patrick Kenny (left) havoc they could create,” he adds. Etruscan lituus of Tarquinia, a curved play the Etruscan They had to love them in Tintignac bronze horn, dating back to 675 BC, lituus in Tarquinia, — those seven carnyces, broken reli- found in fragments ritually buried at the giously into pieces, buried and destined reconstructed from archaeological site of Pian di Cività. to remain silent forever. “It’s a terrible Then researchers at the European Music the original (above) ritual to destroy one’s instrument,” con- Archaeology Project commissioned a found in a ritual cludes Kenny, the first person to have craftsman, John Creed, who reconstruct- burial on the Pian had the honor of playing the carnyx ed the instrument on the basis of the di Civita, Tarquinia. 2,000 later, where they were buried. analysis conducted by the Diagnostics literature and iconographic sources, we “Whether you are a Celt or Jimi Laboratory at the University of Tuscia. have been able to offer great musicians Below, (XRF) spec- Hendrix, if you have a heart this breaks After completing the work, Creed enlist- the opportunity to literally breath life troscopy done by it instantly.” ed the trumpeter John Kenny to try it. back into the cornu of Pompeii, the Tarquinia lab, to The carnyx The European Music Archaeology “We’ve found that you can play it loud Greek salpinx, the lur of the Baltic peo- learn composition sounds. Project (EMAP) in association with the and soft,” says Emiliano Li Castro, ples, the Irish Loughnashade trumpet,” of the bronze alloy. (Photos Guido Fua) University of Huddersfield has brought artistic director of EMAP. “It responds continued Li Castro. these ancient sounds back to life in well to the movements of the lips and its But the most difficult challenge ancient music research project, which range is from three and a half to four and ended with the reconstruction of the will release a series of recordings on a half octaves.” Celtic carnyx from Tintignac, a French Delphian Records. The carnyces will get Thanks to this reconstruction, not village where an excavation in 2004 their own record, as will the earliest only is the lituus back as a living instru- brought to light the fragments of the known Scottish bagpipe music, prehis- ment, but we have has been able to seven horns from the first century BC Cinzia Conti, archaeologist of the toric bone flutes, ancient Scandinavian experiment with an easily replicable that were ritually destroyed. Superintendency of Rome. instruments, the Etruscan lituus and method to reconstruct other ancient “According to the reliefs on the column Apparently, in fact, the Dacians cornu (reconstructed according to the sounds from the origins of Europe. of Trajan, the sounds of the carnyx under their king Decebalus brought representations in the Tomb of the “Starting from the few material remains, served to engage in warfare,” explains these horns with them into battle; not Reliefs at Cerveteri) and more. Page 8 The virtual reconstruction umen (2 modules wide). of the tent from the Tomb The last part of the lecture featured projected images of the virtual recon- of the Hunter, Tarquinia struction of the hunting lodge from the by Eleonora Brunori Hunter’s Tomb. In addition the hypo- thetical reconstruction of the tent with On October 30, 2016, at the former its fabric was shown in a three-dimen- Chapter Hall of the Augustinians of sional rendering as it might have looked Tarquinia, a lecture was held entitled as a hunting lodge at the beginning of “The virtual reconstruction of the tent the 5th cent. BC, from both inside and from the Tomb of the Hunter, outside. Tarquinia;” it was organized by the In the case of the Tomb of the Hunter Friends of the Painted Tombs of a series of over 400 photographs, Tarquinia. The speaker, Massimo Legni processed with a dedicated software, (Studio Architutto Designers), showed obtained data for very high definition his virtual reconstruction of the hunting relief. Produced with this data was a pavilion depicted in the Tarquinian Rendering of the hunter’s tent as it would have stood outside. series of meshes and textures that hypogeum, and illustrated the advan- allowed the creation of digitally tages of the application of new tech- processed 3D models, aerial photos, nologies in the archaeological field: orthophotos , plans, sections, elevations, photogrammetry can be of great docu- etc. mentary importance in case of any dam- With these 3D modeling techniques a

The 3D model can display views of the tomb from various positions. two distinct parts: the upper, which before painting the ceiling grid. depicts the fabric of a tent roof decorat- Utilizing the projection of high-reso- ed with checkerboard pattern, and below lution images, it was possible to observe it, an entablature, and the lower section, the details of the zoomorphic frieze depicting a lighter fabric, representing painted near the summit of the walls, as the tent walls. There is also the wooden well as the geometric forms used in the frame - composed of a columen and side decoration of the ceiling. The accuracy monument such as the Tomb of the age to the work of art, and is an optimal beams - painted in all probability at a of the pattern that decorates the roof Hunter can be analyzed, highlighting or way to study painted decoration in later time, on top of the checkerboard shows how the painters had to make a isolating parts that normally can not be detail, due to the ability to measure and pattern. Although it was added after- very precise calculation of the surface to seen. Photos taken of sections of the catalog data from a photogrammetric ward, the presence of a strip of fabric to be decorated, and an equally precise walls at various heights generate survey. the sides of the columen (a detail illus- placement starting from a basic module: orthogonal views of the chamber, and The Tomb of the Hunter, for the par- trating in a realistic manner that the fab- a small square, used as a measure not create a high resolution photo archive ticularity of its painting and the environ- ric was attached to the framework) does only in the checkerboard pattern that of every detail. Lastly it offers the pos- ment that is represented, is unique, and suggest that the depiction of the frame decorates the ceiling (each square sibility to digitally or physically inte- is dated to the first decades of the 5th had already been accurately calculated includes 9 modules), but also in the col- grate (3d printing) missing or damaged century BC. The painted decoration View from the interior of the 3D model of the tomb. parts. (Photo renderings by Massimo Legni) depicting a hunting lodge is divided into The completed tent outdoors. Wooden frame of the structure.

Page 9 Vulci 3000 by Maurizio Forte

Vulci 3000, a multidisciplinary archae- ological research project that employs advanced digital technologies, focused on the Etruscan and Roman site of Vulci (10th–3rd c. BCE–4th c. CE.). It will A 3D model of the Vulci Plateau. analyze and track the transformation GPR survey in 2015. Immediately after and development of Vulci into a city, the removal of the topsoil, we noticed then city-state, and finally into a Roman the presence of a large number of Excavating the walls and floor of Orthophoto of excavation area, city. The project features a collaboration masonry structures, characterized by the large stone structure. the large stone building at center. between Duke University, the different building techniques and there- raphy of the decorative claddings of the large slabs of travertine, providing University of Gothenburg (Sweden), fore ascribable to different construction outer sides. At the present state of inves- direct access to the decumanus. The evi- and the HERCULES lab of the phases. A fair number of brick and pot- tigation, the vertical stratigraphy seems dence collected to date seems to denote University of Evora (Portugal). Duke is tery shards are referable to the oblitera- to attest an older building phase, proba- the building as a public structure, a national leader in the digital humani- tion phase which includes several bly decorated with marble slabs. Two although only further research will pro- ties and classical studies; the University retrieval pits. This evidence reflects a quadrangular niches, cladded with tiles vide further clarification about its layout of Gothenburg has a long tradition of prolonged use of the site as a material of grey veined marble coming from the and function. research work in Italy on pre-Roman extraction area. The finding of a coin coast of Asia Minor, open through the In conclusion, this first archaeological sites and environmental studies; and the dating back to emperor Constantius II long side of the building. These features campaign in Vulci showed a very com- HERCULES lab is a top research facili- (337–361 AD)—whose issuance is were clearly visible in the GPR plex sequence of layers and deposits ty in Europe in archaeometry, with spe- dated from 353–354 AD—provides a sequence that also provided evidence of referring to the last phase of abandon- cial emphasis on integrating methods of valid terminus post quem for the entire two other symmetrical niches on the ment of the Roman forum but also to the the physical sciences and materials in context unit. opposite side of the room. Still unclear existence of possible religious buildings interdisciplinary approaches. The proj- The excavation of the retrieval pits is the function of the brickwork mason- facing the decumanus. Types and ect involves the use of drones, ground and the relative layers helped to identify ry, placed against the wall at the end of chronology of archaeological material penetrating radars and other remote a number of wall alignments, probably the room. The outer face of the wall (from Etruscan bucchero to late Roman sensing technologies for the predictive belonging to the same building. At the should have been fully decorated as terra sigillata) demonstrate a very long mapping of the site and 3D technologies moment, the massive rectangular struc- proved by the surviving African marble and articulated occupation of the area in for the digital documentation of the ture has been unearthed only in its east- slab found in the Eastern corner. This Etruscan and Roman times. GPR archaeological excavation. ern half, where it shows different phas- marble was quarried in the island of prospections in this area hypothesize The archaeological excavations, a 20 es. This is inferable from the several Teos and was widely used in public over 2 m of thickness of the archaeolog- x 15 m trench, started in 2016 in the area types of construction techniques (opus buildings during the Augustan era. ical deposit (with foundations of other of the Western Forum between the Great incertum, reticulatum and vittatum) hor- The building—so far outlined only in buildings). If the Augustan phase is Temple and the Domus of the izontal block of tuff blocks alternated its eastern part—seems to overlook an around 70 cm from the topsoil, we can Cryptoporticus. Here, the presence of a with bricks) used for the various sec- outdoor area, rectangular in shape, ori- imagine that the pre-Roman phase is large stone building was revealed by the tions, as well as from the vertical stratig- ented in N-S direction, and covered by well preserved underneath.

The Chariot from the Tomb of the Silver Hands at Vulci by Mariarita Coccimiglio

The excavation campaigns conduct- ed between 2012 and 2013 at the Osteria necropolis of Vulci have unearthed a rich burial area. Among the various Iron wheel with remains of hub. Wood and iron clad hooked rear Piecing together tombs discovered, the monumental After careful restoration, the terminals. Far right, wooden rim. the thousands of Tomb of the Silver Hands (see Etruscan remains were transported to the diag- The chariot looks to be the second bronze parapet News vol. 16) has yielded many pre- nostic and restoration laboratories of the large example found in the necropolis of fragments. A long cious artifacts, including the remains of Parco di Vulci, where work has begun the Osteria. It has similar characteristics frieze of warriors, a chariot dating back to the years 640- for the reconstruction and conservation to the example from the Tomb of the flora and felines. 630 BC. of the vehicle. Under the supervision of Bronze Chariot discovered in 1965. The Recovered from several points Dr. Adriana Emiliozzi, an expert in the complexity of the construction tech- terminals: they were on opposite sides, inside side chamber B of the tomb were study of Etruscan vehicles, it was possi- nique of the wheels is clear and so far extending to the rear of the frame arms. numerous small fragments in embossed ble to identify the essential parts of the unique, despite the fact that only a few At that point the wooden block was first sheet bronze, a large portion of the chariot: fragments of the embossed parts were recovered from the rim. The carved, then wrapped in leather and wheel rim with anchoring nails still bronze sheet that decorated the parapet, refined decoration of fragments of finally covered with studded iron strips. affixed and remains of wood fibers, as various parts of a wheel (nailed rims, bronze repoussé work shows a meticu- Inside these terminals traces of wood well as fragments of iron and wood bolts, rectangular and U-shaped clamps, lous knowledge of the execution of still remain, showing the construction of chaotically scattered throughout the clamps for the spokes, clamps for the embossed figures, here arranged in hor- the wooden join between the frame arms chamber because of multiple violations hub), and a pair of terminals from the izontal registers. There is no doubt and the cross beam behind them. The of the tomb. frame of the usual hook-shaped type. about the position of the two “hooked” way in which these continued next page Page 10 large bowl at the top, 40 cm in diameter, Structure M (Well # 2) at features incised lines in a ramus siccus (dry branch) pattern on the interior walls Cetamura del Chianti and a perforated floor with extensive by Nancy T. de Grummond evidence of burning on the interior. Conclusive comparanda have not yet Excavation was completed in June, been found , but the vessel may have 2016, of Structure M, the second been a brazier. Etruscan well (or cistern) to be discov- Organic remains were abundant and ered at Cetamura del Chianti. diverse, including animal bone and Radiocarbon dating and analysis of the malacofauna, acorns, cherry pits, architectural style and location on the eggshell fragments, grain, hazelnuts, site of Structure M all point to a date of olive pits, pine nuts, a pine-cone frag- ca. 300 BCE, but it is clear that the well ment, plum pits, walnuts, and of partic- was cleaned out and heavily reused in ular interest, numerous specimens of late antiquity. The challenging excava- Structure M at Cetamura del Chianti after completion of excavation. natural and worked wood. Mauro tion was carried out by the firm Ichnos: Rottoli, Elisabetta Castiglioni and Archeologia Ambiente e Michela Cottini at the laboratory of Sperimentazione of Montelupo Arco - Cooperativa di Ricerche Fiorentino, under the direction of Archeobiologiche at the Musei Civici in Francesco Cini and with Cheryl Sowder Como are studying and identifying as overall supervisor and registrar of numerous plant remains. Chiara finds. Lora Holland processed thou- Corbino at the University of Sheffield sands of finds as Cetamura lab director. and independent researcher Ornella Well #1, on Zone 1, the highest level Fonzo have been at work analyzing the of the hill of Cetamura, was excavated faunal remains. Pig, sheep/goat, and in campaigns from 2011-2015 (see deer remains have been identified as Etruscan News, Volume 17, Winter well as cow and the remains of one 2015). It was very different from the domestic cat. newly excavated Structure M, which Most important of all was the recov- was constructed on the lower Zone II ery through flotation of more than 4000 adjacent to the sanctuary building, water-logged grape pips. These, along Structure L. Cylindrical in shape and with some 425 specimens from Well #1, lined with clay on the exterior, it fea- have been under study for aDNA con- tures walls of more or less uniform hor- Etruscan bronze votive statuette. Reconstruction drawing of an tent by Nathan Wales at the Centre for izontal courses of sandstone blocks con- The stratigraphy of Structure M was unidentified vessel (brazier?). Geogenetics of the Natural History tinuing consistently from the ground sometimes clear, at other times baffling. Drawing by Paul Hobgood. Museum of Denmark in Copenhagen level to the bottom of the structure, at In the upper strata the shaft had been ceramic material, with numerous speci- and for photographic morphometrics by ca. 7.00-7.25 m below ground level. In subjected to a massive filling episode of mens of pitchers of a fairly consistent Laurent Bouby at the Institut des contrast, Well #1 was cut directly out of uncertain date (probably medieval), fabric labeled for convenience in pro- Sciences de l'Evolution de Montpellier the bedrock to a depth of 32.43 m deep, including numerous pieces, some huge, cessing as urceus-ware (or URC-ware). (ISEM). So far, radiocarbon dating sug- with a shaft varying from oval to circu- of cut sandstone typical of the latest Some of the vessels are nearly complete, gests a chronology for the Cetamura lar or rectangular. Etruscan phase at Cetamura (ca. 150-75 but an enormous task lies ahead in sort- pips from the two wells ranging from The bottom of Structure M featured BCE), suggesting the dismantling of ing the sherds and reconstructing indi- the 4th century BCE to the 3rd/4th cen- horizontal paving running underneath some building or portion of a building in vidual pots. Some of the pitchers and tury CE, providing a remarkable column the walls, but this had been disturbed the adjacent sacred area or artisans’ other vessel fragments featured combed of evidence for the history of viticulture and the original arrangement was quite quarter. A few Roman-age travertine and wavy patterns typical of Late in the ancient territory now known as unclear. In the middle of the paving a slabs and scattered Roman artifacts also Antique pottery dating to the 3rd and Chianti. quadrangular feature appeared to be provided termini post quem. Below 4th century CE. Radiocarbon dating of Late Antique pitcher. framed on all sides by slabs of stone, this fill, at a depth of ca. 6 m. began a organic material from these levels sup- possibly a kind of repository that had usage level dense with clay and contain- ported the chronology. been sealed. On one side appeared a ing water in which were found both One quite unusual vessel, however, stone slab that may have been the cover Roman and Etruscan artifacts, including may date to Etruscan times. Found in ca. stone for this repository, seemingly lift- numerous objects—many fragmen- 40 fragments, some of which were ed off and set aside. The evidence sug- tary—of bronze, iron, and lead: coins, embedded in the clay lining of the bot- gests that the repository was almost cer- rivets, nails, bucket handles, bucket feet tom of the well, the vessel as recon- tainly entered in antiquity or late antiq- in the shape of a bivalve, a key, a needle structed in a drawing by students Taylor uity and largely looted of whatever and a single small Etruscan bronze Cwikla and Paul Hobgood measured materials may have once been inside. votive figurine. Most abundant was the approximately 44 cm in height. The chariot, terminals are covered presents an most expensive application, a cast date have led to the exact reconstruction alternative between the most economi- bronze capsule which repeats the shape, of the size of the Vulci chariot. Work cal way (the use of the actual dried hide sometimes decorated with a steel inlay, continues toward a graphic restitution, from the hind legs of the pig), which by or terminating in an animal-shaped pro- followed by the actual reconstruction of its nature has a hooked shape, and the tome. Metrological studies carried out to the structure of the vehicle. Page 11 Shackle-Bound Skeleton gruesome remains in a monumental sacred area of Tarquinia. Found in Etruscan Burial “Many individuals, including chil- Seeker dren, a woman and a foreign man, were decapitated, dismembered and/or physi- Archaeologists digging in central cally abused,” leading Etruscan scholar Tuscany have brought to light a dark Nancy Thomson de Grummond, profes- side of the Etruscan civilization: a sor of classics at Florida State 2,500-year-old skeleton still bound by University, told Seeker. shackles on his neck and ankles. The According to Baratti, further find appears to be the first case of an research is needed to understand the Etruscan burial containing a shackled shackled burial. Analysis, including individual. Male burial found on the beach DNA, might reveal more about the mys- The unusual grave was found in at Baratti with both legs bound. terious individual, if he had diseases and Populonia, a unique Etruscan settlement whether he was a local or foreigner. built directly on the sea. There, in a sim- which was meant to impede his ability The finding reveals a lesser known ple pit dug into the sandy soil near the to take long steps. aspect of the Etruscan civilization, beach of Baratti, the archaeologists Baratti, whose last name is oddly the which began to flourish around 900 found the complete skeleton of a male same of the beach where the skeleton B.C., and dominated much of Italy for between 20 and 30 years of age. Almost was unearthed, believes the man was five centuries. Known for their art, agri- five pounds of iron bound his legs, likely a slave or someone who had to culture, fine metalworking and com- while a heavy iron collar was wrapped bear a definitive punishment. A slave merce, the Etruscans became absorbed around his neck. might have been employed in maritime into the Roman empire by 300-100 B.C. “He died in shackles and was buried activities as well as in the iron mines in Their richly decorated tombs have with a shroud tied to the body. We found the area. Between the 6th and 4th cen- Details of the iron leg shackles. painted an image of a fun-loving and a black spot under the nape, most likely turies BC, Populonia was the main cen- (Photos by Giorgio Baratti) eclectic people who respected women what remained of a wood object which ter in the Mediterranean for iron pro- and taught the French how to make was likely connected to the iron collar,” cessing, with the metal coming mainly we found the grave of a woman buried wine, the Romans how to build roads, Giorgio Baratti, professor of archaeolo- from the Elba island. with earrings and other goods which and introduced the art of writing into gy at the University of Milan, told “Notably, he was interred in a clearly date to the 4th century BC. We Europe. Seeker. necropolis which features normal buri- estimate that at least a century had The shackled man reveals a more It is likely the unfortunate man als. This is something you would not passed before they built a new necropo- disturbing side of the traditional endured a device that was connected expect,” Baratti said. lis,” Baratti said. Etruscan image. “They could be cruel as from the head to the feet with perishable Despite the lack of grave goods, Many scholars are also now con- well,” Baratti said. He described the materials such as ropes or leather. An Baratti was able to date the shackle bur- vinced that the Etruscans performed Phersu funerary game, depicted in at iron ring found in one of his left fingers ial to at least the 5th century B.C. human sacrifice. Excavations carried least four tombs in Tarquinia, in which a might have been part of the device, “Right on top of the shackled man, out between 1982 and 2005 revealed masked man known as Phersu holds a dog on a leash. As the Phersu pulled on Ancient Shackled the leash, a nail on the dog’s collar dug into the animal’s neck, angering the dog Prisoners Found in and causing it to attack a man. Gallo-Roman Graves . Almost all of the excavated burials in Périgueux yielded no grave goods. The one notable INRAP exception is a young child’s burial, in which vases dated to the second half of A team of archaeologists conducted the 2nd century AD were deposited. an excavation on a building plot in This burial also contained two coins, southwest France, where they had locat- placed on the eyes of the child. The ed the potential for a burial ground in Male skeleton shackled around Above, another skeleton shack- funerary practice for this grave is very 2013. Between September and the neck and the right ankle. led around the lower left femur. different from those observed from the November of 2014 they discovered hun- other burials identified at this site. dreds of Gallo-Roman graves, with The archaeologists have found that some individuals showing evidence of four adults had shackles on their left shackling. ankle, while the fourth also had a The site is located approximately “bondage collar” or yoke around the 250 m. to the west of the amphitheater neck. A child also had a more rudimen- of Saintes, and seems to be part of an tary riveted object around his left wrist. important Gallo-Roman necropolis. The Further research will be carried out to excavation revealed several double buri- determine the status of these individu- als, and a multiple burial pit, measuring als, their origin and causes of death, and 2 m. x 1.30 m., containing five people, how they might relate to the other peo- including two children and two young ple buried within this graveyard. women. (Photos by INRAP) .

Page 12 Preserving Volterra: How drones and lasers document 3,000 years of Italian history by Léa Surugue, Science Archaeology

October 28, 2016: New technologies are documenting the Etruscan, Roman and Medieval treasures of the Italian city of Volterra. Inhabited since the Iron Age, Tristan Randall, of Autodesk, Volterra’s early history is tied to launches a drone. Below, Silviu Drone flies over Etruscan Porta Point cloud imaging is then used Etruscan and Roman settlements. Many Stoian uses a laser scanner to all’Arco to obtain data. to create a 3D model. of the structures built at the time remain obtain a point cloud of the more photographs taken with drones or In Volterra, five areas have been in place today, including parts of the city Roman theater of Volterra. hand-held devices; even a smartphone identified as of particular importance to walls that have Etruscan origins. The can do the job. These techniques each the inhabitants – the Etruscan arch, the rich medieval history of Volterra is also have their strengths and weaknesses, but Roman theatre, the city hall and Piazza impossible to ignore when you stroll they both allow experts to capture the dei Priori and the ancient San Felice along its streets. The old stone buildings city’s landmarks in outstanding details. spring. All these landmarks are a testi- and the precious artefacts from very dis- The resulting 3D models constitute mony of the city’s uniqueness. They tinct eras are the pride of its inhabitants. valuable documentation of the city as it were thus the first areas to be modeled “What makes Volterra particularly stands today, making it possible to track with these technologies. interesting is not only its 3,000 years of changes that may happen in the future. The Roman theatre, in particular, is history, but also that there are actually “For a feature like the Etruscan arch, source of concern and will benefit most historical monuments from each of laser scanning is most accurate. It gives from this archaeological documentation. these phases, and this is extremely rare. us millions and millions of measure- "It would be wonderful to monitor these The Etruscan gate, for example, is only ments along the surface of the irregular historical monuments, especially the one of two in Italy intact, as it was orig- (Photos above by Autodesk and Case Technologies) stones. We have been using photogram- Roman theatre, because it has deterio- inally built, so we are talking of very tion obviously can’t be with us forever. metry to create photo-realistic textured rated since it was excavated in 1951. In important monuments,” Giulia Munday, There is a potential for landslides; the surface-models of objects down to very the last ten years, because of its location historian and programme director at the city in fact lost parts of its wall in 2014. small archaeological artefacts,” details and its exposure to the elements it is Volterra International Residential If there is a chance to reconstruct these Tristan Randall, strategic project execu- deteriorating quickly," Munday says. College, told IBTimes UK… structures, these technologies give us tive with Autodesk Inc. However, the potential of these tech- Now however, the city’s rich her- the chance to have a virtual replica of Documenting Volterra nologies goes beyond cultural and his- itage is threatened by the passing of what they look like today so they can be and experiencing it torical preservation. Indeed, it opens up time, and the risk of natural disasters reconstructed more faithfully,” the possibility to create more interactive and human deterioration, like so many explained Mark Dietrick, director of experiences for people. In the future, the other significant archaeological sites services with Case Technologies, Inc. idea is that everyone will be able to around the world. It is now a priority to Laser scanning is a process that admire the Roman theatre and the rest of come up with innovative ways to pre- involves recording 3D data of a real the city without having to physically serve Volterra. world structures – the devices scan their visit Volterra. Taking on this challenge, a work- surfaces and visual properties rapidly, “I think it is really exciting to see shop was organized by tech companies creating point clouds that can then be how technologies for experiencing these Autodesk and Case Technologies, with processed to create accurate 3D models 3D models have advanced significantly the Volterra Detroit foundation, a public of the structures. Photogrammetry on in the past few years. This really opens non-profit foundation created by the the other hand involves obtaining pre- up new ways for people to experience School of Architecture, University of cise 3D measurements from two or virtually all of these amazing historical Detroit Mercy. It brought together Piazza dei Priori, a bird’s eye view. Above, Volterra’s Roman theatre. features, and I think that’s really going experts from the world of archaeology, to create a lot of interest in what we’re engineering and architecture to docu- doing here, and really expand what ment the beauty of Volterra with a range we’re doing for people that can’t neces- of technologies that are currently used sarily be here in person,” Randall con- elsewhere in archaeological projects firms. For Volterra’s mayor, Marco around the world. Buselli, these technologies also have the New technologies in Volterra potential to serve a more “political” In recent years, technologies such as agenda. Indeed, the city would like to laser scanning, drones and photogram- make an application to be included on metry have become crucial tools used to UNESCO’s world heritage list. The vir- preserve ancient buildings, plan renova- tual models and 3D images could sup- tion works, and raise awareness of the port Volterra in this endeavour, by complex history of ancient cities like showing the world in an easy and inter- Volterra.” A lot of the buildings and the active way how important its historical artifacts here are ancient, dating back buildings are. thousands of years, but this rich tradi- (Photos on the left by Opaxir) Page 13 threads of the short and narrow starting The (b)order of band are also the warp threads of the fig- Penelope‘s weave ured band, but in respect to the whole weave, they run again in weft direction. Museum for Plaster Casts, Munich Such a combination of different bands by Ellen Harlizius-Klück within one weave is unusual today, . though we find it applied in ancient tex- We do not know what the shroud that tiles, for example in the coat from Penelope was weaving for her father-in- Thorsberg. These combinations of law, Laertes, looked like. Only few bands may also explain literary epi- depictions on vases actually show her in grams where several girls weave hems front of a loom, the most famous being for a fabric, probably starting borders, the skyphos from Chiusi, an Attic red- or vertical continuations on the figure vase dated to ca. 430 BCE. Here selvedge. The loom currently on dis- a decorated fabric is in progress, rolled play in the museum in Munich carries a up on the upper beam of a warp-weight- double-weave in progress, framed by a ed loom standing upright behind her and small tablet woven border that runs her son Telemachus. The German schol- around all three sides of the weave and ar Hugo Blümner thought that the com- Reconstruction of the loom. Penelope awaits Ulysses. also frames the figured band on top. It is plicated ornamented borders and hori- Yet we know that Penelope and other The warp-weighted loom in Munich has currently on display in the Museum for zontal stripe with winged figures could weavers in antiquity were capable of no firm joints: the idea was to use textile Plaster Casts in Munich and will be part not have been meant to be woven, executing extremely complex patterns means (strings and ropes) for an easy of the exhibition Divine Design in the because it would have been be impossi- on their warp-weighted looms. setup and takedown of the device. In State Collections of Antiquities in ble to do it on such a simple loom, and On the occasion of the exhibition order to present the loom in the open Munich from April 2017. assumed that it was meant to be embroi- “Penelope reconstructed” in the muse- space of the museum, however, the The PENELOPE Project dery combined with weaving. (Blümner um for plaster casts of classical sculp- loom was provided with a support, a Our aim is to integrate ancient weav- 1912, 158). Today we know that tures in Munich, Museum für Abgüsse feature that was uncommon in the ing into the history of science and tech- embroidery was not normally used in Klassischer Bildwerke München, a ancient ones. nology, especially digital technology. ancient textile production, but the notion loom was assembled to give a notion of The warp-weighted loom is a very The project encompasses the investiga- of the simplicity of the weaving tool and Penelope’s huge loom and of the weave. flexible device. It is possible to detach tion of ancient sources as well as prac- of the work that is possible to achieve The warp-weighted loom made by and rearrange the weights at any time, to tices and technological principles of with it has hardly changed. Andreas Willmy is not a reconstruction, change the direction of the warp, to ancient weaving. We set up a PENE- Penelope is mentioned more than 50 but a functional tool. None of the depic- change the heddles and the rhythm of LOPE laboratory where we detect the times in the Odyssey with the epithet tions of ancient looms on vases is suit- warp-lifts, and to combine different models and topologies of weaves and periphron denoting the circumspection able as a blueprint for a loom recon- types of weave. This was crucial espe- develop codes to make them virtually and considerateness she displays in struction, and we know nothing about cially for the structure of the fabric illus- explorable. weaving. the raw material or the kind of joints. trated on the Chiusi vase, where the weft www.penelope.hypotheses.org/1 Charun and Vanth in the mainly because of the high degree of ta plaques” from the Signorelli collec- total: thirteen plaques with Charun uncertainty surrounding their exact ori- tion had entered the antiquities market, heads; five with palms and lotus buds; necropolis of Bolsena gin, provenance and even their authen- including plaques decorated with heads nine with Vanth heads; eight with small by Simona Rafanelli ticity, which has often been doubted. of the female demon Vanth (photo palms, lotuses and spirals. and Enrico Pellegrini The first of these plaques, decorated below, upper right), and others with pal- The transfer of the group from the with two heads of the Etruscan demon mettes and lotus flowers (Colini, types E National Etruscan Museum of Villa In recent years, thanks to the excava- Charun (Colini 1935, type A), was and F). Out of the many that were evi- Giulia to the archaeological area of tion of Poggio Moscini at Bolsena, bought in 1916 in Rome from the dently circulating in the art market, a Poggio Moscini allowed an examination much of the material from the excava- antique dealer Signorelli by Joseph large group went to the Antiquarium of of some examples, and led to some con- tions of the French School in the 1960s Angelo Colini and given as a gift to the the Capitoline Museums, others to the clusions regarding their type and histo- was collected in the storerooms of the Etruscan Museum of Villa Giulia (see Museum of Villa Giulia, joining those ry, provenance, and authenticity.... The Soprintendenza. Some of this material photo below). In 1930, Messerschmidt purchased in 1916 by Colini’s father, four types of plaques now examined was included in the catalogue of an had recorded that “a number of terracot- and two ended up at the Vatican… The would appear to be, as stated in the pub- exhibit devoted to the two centers of lication of Antonio Maria Colini of Orvieto and Bolsena; the exhibit was 1935, a homogeneous whole dating curated by Enrico Pellegrini and from the fourth century BC, which lead Giuseppe Della Fina in 2013, and pre- back to a single production center, in his sented in several venues, including the view to be identified with Bolsena… If Museum of Villa Giulia. one accepts that they come from Most interesting was a group of Bolsena, they could be attributed to the painted terracotta frieze plaques deco- architectural decoration of the temple rated with relief heads and plant motifs. excavated by Bloch in the sacred area of The pieces, mostly from the antiquarian the necropolis. As Pellegrini points out, collection of Signorelli, have been “the cult area of Poggio Pesce is the known for the past century, and consti- only building whose dimensions and tute today one of the many unresolved date would support this group of decora- cases in the archaeological record, tive plaques.” Page 14 Grillz have always been Very few of the Etruscan dental dec- a big deal, from the orations survive, so it’s been hard to really tease out their history. But Turfa Etruscans to Meek Mill thinks this was cosmetic, not medical (Adapted from The Pulse tooth work. Newsworks.org, by Irina Zhorov) “We’ve looked to ethnographic par- allels for some of this,” Turfa said. “And At Philadelphia’s Shyne Jewelers, even today in the world and in the mid- immaculately clean display cases show dle ages in Asia people deliberately off gold and diamond adornments. Sales removed teeth as part of a ritual for representative Alex Hernandez brings coming of age or getting married or for out a box stuffed with paper envelopes, mourning for an important family mem- and starts unpacking the contents of ber or individual.” Grillz are just the each one. When he finishes, “grillz” – latest iteration of our human penchant decorative caps for teeth – mounted on Marshall Becker and Jean Turfa in the Etruscan galleries at Penn. for mouth décor. the green-blue molds of his customers’ Pennsylvania Museum, Jean Turfa, have remove their front teeth, file the roots Becker said when he started seeing teeth, gleam on the glass. been looking at what you could call the down, insert them into the gold bands, grillz appear, he began to collect clip- Some of them are plain gold. Some first grillz in the historic record. and the bands would go around other pings about it in a file. “At the time I have diamond accents. “Or we could do Researchers Marshall Becker and teeth. These women were kind of rene- thought it was just one or two oddballs fully diamond in a pave setting,” Jean Turfa have been studying Etruscan gades. that thought of something interesting Hernandez says, holding a full top front dental decoration, what could be consid- “It being Etruscans, their women had that the Etruscans had done,” Becker studded with jewels. This model, with ered an ancient precursor to grillz. a much freer life than any of the sur- said. 4.5 karats of diamonds set in gold, goes “They’re very simple. It’s a thin, gold rounding cultures, the Roman, the “But it’s sort of the new aristocracy,” for $3,500. band about a quarter, a half centimeter Greeks. They were horrified at Etruscan Turfa added. “The whole grillz phenomenon is just wide roughly and in the center of it will women because they literally drove So who is the new aristocracy invest- a repetition of Etruscan dental ornamen- be the replacement tooth,” Turfa their own chariots, owned factories, ing in mouth décor? Hernandez said his tation,” said Marshall Becker, professor explained. She said upper class Etruscan used their maiden names. And it was an clientele includes “a lot of athletes, a lot emeritus at West Chester University. He women, who lived about 2,500 years affront to other societies apparently,” of celebrities, some rappers, singers, to and a scholar at the University of ago in Italy, wore them. Usually they’d Turfa said. your normal everyday folks.” Two new Etruscan coins its further reflection. First of all, the rep- resentation of the male portrait differs from Roselle from those of Turms commonly known, by Massimo De Benetti which are characterized by the presence of a winged petasus. In the two speci- In December 2014, the mens from Roselle the hats have a Soprintendenza Archeologica of pyramidal shape, are devoid of wings, Tuscany carried out surface surveys and end with small crescent shapes, very within the city of Roselle, in an area east The two silver Etruscan coins from Their weights are 1.33 and 1.25 g clearly to be seen on the countermarked of the forum that had previously been Roselle belong to the 3rd century BC. respectively, with dimensions of 14 mm example (cat. 3). The depiction also cleared in preparation for a geophysical They were recovered within a few and 13 mm (see photo above). The presents drapery at the base of the neck investigation, undertaken by the meters from one another, and offer an smaller coin features on the obverse a that is absent in other strikes. Even the University of Siena and carried out by important testimony of the circulation of clear countermark in the form of a cres- style is different. In addition to the par- Paolo Nannini with the participation of Etruscan coins in the ager rusellanus. cent shape stamped on the cheek. Their ticular rendering of the headgear, the the archaeological staff of the area and There have been very few Etruscan identification as 5-unit coins with the portrait is characterized by the execu- the writer. The following is an examina- specimens recovered in Roselle. head of Turms from the Populonia mint tion of the ear with a single line extend- tion of the coins that were discovered in The two new silver coins present the would seem almost immediate, but a ing along the cheek terminating below the course of reconnaissance; the mate- profile of a male head with a hat and a comparison with others of the Populonia the chin. It seems therefore to be a strike rial constitutes an important addition to “V” sign behind his head to indicate the mint recently published by Italo Vecchi with elements of a distinctive styling. A the recently published corpus dedicated value of 5 units; the reverse is smooth. in his exhaustive corpus of Etruscan careful non-destructive analysis will to the coins of Roselle. Above, The two 5-unit Etruscan coinage (EC I) shows that this idea mer- provide more information. In short, the two coins from Roselle The area where the objects were silver coins from Roselle. Right, found is east of the Forum, on the slopes are of great interest, because they have a Roselle, areas of reconnaissance of the south hill (at right). Here this sur- secure provenance, and because their vey has permitted the recovery of metal- on the slopes of the south hill. examination has allowed us to recognize lic objects in surface layers of humus, a Below, 5-unit coin from a probable new type. Though circum- context altered by the agricultural work Populonia in Florence Museum. stances call for some caution in attribut- that has affected the area in the past. In ing this issue to Populonia, for the total 14 readable coins were found, to be moment we can indicate a possible attri- added to 14 other specimens from other bution to this mint. Only two other areas of the city . Even in the absence of Etruscan silver coins of this type are any information provided by strati- known, (one shown at left) both come graphic contexts, the coins collected from the Populonia mint and are pre- offer new user data for the study of the served in the National Archaeological circulation of coins in the territory. Museum in Florence. (Photos by Opaxir) Page 15 Italy: Priceless trove of 600 Roman statues lay hidden in basement for 40 years by Umberto Bacchi

A legendary collection of ancient mar- bles that has been locked away from public sight is to go on display for the first time in decades. The Torlonia col- lection, which comprises 620 statues and sculptures, has been described as the world’s most important private col- lection of classical art – but almost no one has been able to admire it since it was buried in the basement of the name- sake aristocratic family in Rome in the 1970s. An exceptional Etruscan female portait from Vulci, not seen for years, described above in English version The precious items, including marbles, of the 1889 catalog from the then existing Torlonia Museum. Below, one of many Roman marble statues, bronzes and alabasters dating back to the 5th century BC, were amassed by during excavations of the family’s Odysseus hiding under a ram to Giovanni Torlonia in the 19th century. estates in the central Italian towns of escape the cave of Polyphemus. Torlonia, a skilful financier, became an Vulci and Cerveteri. ment attempts to return the artworks to influential figure within the Roman The items include originals from the public. The current administration upper classes thanks to his banking ancient Greek masters like Phidias and finally managed to persuade them by activities that won him a fortune and an numerous Roman copies and portrait proposing a shared public-private man- aristocratic title bestowed on his family busts. Of particular value are said to be agement deal, said Alessandro Poma by Pope Pius VI. a Roman replica of Kalamis’ Hestia Murialdo, the administrator of the Also an avid art collector, he used Giustiniani statue, a bust of the Roman Torlonia Foundation. A first batch of 60 defaults on loans to grab invaluable emperor Galba and a rare Etruscan to 90 marbles is now set to be brought to works from some of Italy’s most deca- sculpture depicting a young lady. light in 2017 for a public exhibition in dent nobles. Other pieces were retrieved The family has long resisted govern- Rome followed by an overseas tour.

Chiusi: new tombs to the main chamber tomb; he lacked discovered at Necropolis any grave goods and was crouched in a strange position against the wall. The of Poggio Renzo new finds were surprising because this a Archeotoscana well documented and often visited necropolis. A wealth of new data has Last winter an aerial survey over the been revealed through a multidiscipli- well known necropolis of Poggio Renzo nary approach, with the involvement of by members of the Gruppo various research institutes and special- Archeologico della Città di Chiusi, who ists in the field. (Photos by Opaxir, GAC-Chiusi) A skeleton found in the dromos. Urn in niche wall of the dromos. since the 1970s have worked in close Tomb 3, fossa burial of a female cooperation with the Archaeological tion of archaeologist, Maria Angela Found in the immediate area sur- accompanied by an abundant rounding this tomb were two fossa type Superintendency of Tuscany, triggered a Turchetti, led to the discovery of five amount of goods and pottery. series of investigations. The flight of burials. The cavity in the ground led into burials, which seemed to be undisturbed pilot Roberto Rocchi and some mem- a previously unknown large chamber and contained complete inhumations bers of the group allowed them to report tomb, c. 5th century BC, with three accompanied by multiple ceramic finds. to the authorities that a large cavity had rooms and still visible painted borders. One curious find was an anomalous opened in the ground at Poggio Renzo. The large three-chambered tomb. individual skeleton found in the dromos The Superintendency, together with the Carabinieri for Cultural Heritage Protection Unit of the Florence and Chiusi Police, proceeded to the area for a preliminary inspection in order to ascertain the nature of the discovery. Upon confirming the presence of an Etruscan tomb, partially filled in with dirt because of the recent collapse of portions of the tomb chamber, an inves- tigation began. The subsequent excava- tions carried out by volunteers of the Gruppo Archeologico under the direc- Page 16 Human-Mask Mugs: Egyptian Models for tion of the New Kingdom and continu- ing well beyond the Late Period. As a Etruscan (and Roman) matter of fact, as we will see, Etruscan Craftsmanship pottery productions following Egyptian by Friederieke Bubenheimer-Erhart and, in some other cases, Cypriot or and Daniele Federico Maras Levantine models were a special feature Atti PARA 2016 of the last phase of the Orientalizing and Human mask cups are a group of ves- early decades of the Archaic Periods. sels known from about fifty specimens These productions spread in Southern in bucchero and Etrusco-Corinthian pot- Etruria and Latium tery, spread through southern Etruria thanks to the initiative of a few work- Etrusco-Corinthian mask mug. Etruscan bucchero mask mug. and Lazio during the late Orientalizing shops of Vulci, Caere and especially Period. The model of the vascular form Veii. In this framework, human-mask to be found in so-called “Bes vases,” mugs fit well into the frequent practice produced in Egypt in the Late period, of acquisition and appropriation of East continues an earlier tradition. The diffu- Mediterranean models and prototypes sion of models and Egyptian iconogra- by the Etruscans during the phy is a consequence of the renewed Orientalizing Period, which still contin- contact with the Mediterranean cultures, ued in the early Archaic Period. Hellenic and non-Hellenic, which char- Additionally, since they are direct imita- acterizes the XXVI Saite Dynasty. tions of the Egyptian model, received, Workshops producing human mask Egyptian Bes vases, early period (left) to later periods on the right. as it seems, without mediation of the cups have been identified in Caere for and Early Archaic Periods, spanning the handle. It is characterized by bulging usual Corinthian and East-Greek chan- bucchero and at Veii for the painted pot- last decades of the 7th to the mid-6th eyes, curvy ridged eyebrows forming a nels, human-mask mugs and other relat- tery, as part of the Etruscan-Corinthian centuries BCE. They are known from T with the joint straight nose, a small ed productions shed new light on the Rosoni cycle group. The cups belong to about 20 examples in bucchero and 30 protruding mouth, and sometimes a cultural network that spreads from the a series of plastic vessels configured to more in painted pottery, the latter small beard; when present, ears are coasts of Egypt, Cyprus and the Levant Egyptianizing tradition, including bal- belonging to the last phase of the highly stylized. At times, further decora- to Italy and beyond, including, but not samarium-shaped monkeys, rams and Etrusco-Corinthian pottery production. tions such as graffiti are added to buc- being limited to Greek trade vectors. deer. In some of these cases it seems The vessels under discussion are small chero examples, and painted water-birds Incidentally, the Egyptian connection possible to exclude a Greek mediation, mugs with globular body, flaring lip and geometric patterns are added to the of human-mask mugs provides a clue as also in the case of some rare hanging and foot, and a single vertical handle— painted versions. The unusual plastic for the understanding of a similar pro- human head or Achelous vessels which except for a couple of bucchero exam- decoration was deduced from Egyptian duction of face-pots taking place from depend directly upon orientalizing ples, which have two handles—whose models and, more precisely, specific the 2nd and 1st centuries BCE in the Cypriot models. modest dimensions range from 5 to 12 plastic clay vessels decorated with the Roman context, as the latter possibly Human-mask mugs are a peculiar cm in height. A relief human face is face of the god Bes — the so-called Bes- originated in the renewed Egyptian form of vase of the Late Orientalizing modelled onto the front opposite the vases— deriving from an earlier tradi- fashion of the late Republican Period.

Stele, continued from page 1 include contributions by Maggiani and logical context and the nature of the Rex Wallace on the inscription, by inscriptions have just been published by Gretchen Meyers and Ann Steiner on this author and by Adriano Maggiani in female agency at the sanctuary, by the November issue of Etruscan Studies Michael Thomas on the Archaic temple (volume 19,2: 2016). Maggiani has in which the stele was interred, by Phil translated a section of the inscription Perkins on the acropolis in the 6th cen- that refers to both Tinia and Uni, sug- tury, and by yours truly on the religious gesting that at least one part of the sanc- Calculating the mass and weight. and ritual context. tuary was connected to Uni. This evi- Andrea Pessina, and to the One of the most interesting questions dence accords well with extensive evi- Archaeological Inspector, Dr. Susanna The final holographic imaging. is how to document and present the dence for female agency at the site, an Sarti. The conservation process has been inscription itself. The challenge is that Below, experiments to highlight underground fissure that was treated rit- rigorously documented in all of its the incisions are not very deep, some- ually, and the well-known bucchero stages, and the stele has undergone pho- the inscription on the stone. times abraded, at times even possibly birth scene that has been published by togrammetry and 3-D Laser scanning. A Culto al Santuario di Poggio Colla at deliberately obliterated. There is also Phil Perkins. hologram of the stele has been created the Palazzo Panciatichi in Florence the three dimensional aspect of inscrip- At this point only one part of the by Gary Enea & Massimo Legni and is (August 27-December 31). A full mono- tions that are placed on the faceted inscription has been read. The 250 kilo- on display in the exhibit Scrittura e graphic publication is planned that will edges of the stone. The three-dimen- gram sandstone stele is fragile and its sional physicality of the inscription surfaces are worn and sometimes abrad- would be difficult to convey with draw- ed. It has been cleaned and is undergo- ings, photographs, or a simple transcrip- ing laborious conservation in the labora- tion, and there is the added challenge tories of the Soprintendenza that drawings are by their nature inter- Archeologica, thanks to the generous pretative. For these reasons the stele has support of the Superintendent, Dr. been document- continued on page 28 Page 17 Ancient Sundial Shaped Status Symbol Like Ham Was Roman Once Parslow mastered the clock, which tends to sway in the wind, he Pocket Watch could read off the hour. Parslow is now A new 3-D model of a portable sun- tinkering with the tail’s length and dial found near Pompeii is helping sharpness in new versions of the model researchers understand how to to improve its fidelity to the original. In operate the “pork clock.” theory, the clock’s design allows for by Traci Watson telling the time to the half hour, or even National Geographic the quarter hour. But “the scale of the whole thing is so small, and it is so dif- While excavating an ancient Roman ficult to hold steady, that such accuracy villa buried in volcanic ash, 18th-centu- is likely the theoretical ideal rather than ry workers found an unusual lump of the reality,” says Parslow, who present- metal small enough to fit in a coffee ed his first round of results in early mug. Cleaning it revealed something January at a meeting of the both historically important and hilari- Archaeological Institute of America and ous: one of the world’s oldest known A 3D model of the "pork clock" Italian prosciutto ham. the Society for Classical Studies. The examples of a portable sundial, which sundial shows the time as 9 AM. coated bronze—in a matter of hours. object seems impractical, but Romans was made in the shape of an Italian ham. that the unprepossessing object was a Like the original, Parslow’s model didn’t need to know the time of day Now the “pork clock” ticks once sundial, though some experts argued bears a dial, in the form of a slightly dis- down to the minute. Also, the clock more. Recently re-created through 3-D that it was modeled after a water jug torted grid, on one side. The vertical might have been more of a status item, printing, a high-fidelity model of the rather than a ham. The object was the lines are marked for the months of the Jones says, like “modern, expensive sundial is helping researchers address pocket watch of its day. Fixed sundials year. The horizontal lines indicate the Swiss watches. You don’t just own them questions about how it was used and the were everywhere in ancient Greece and number of hours past sunrise or before to tell time. You own them to show that information it conveyed. The model Rome, but only 25 other portable sundi- sunset. The original clock is missing its you own them.” confirms, for instance, that using the als from antiquity are known, says gnomon, the part of a sundial that casts So why the shape of a prosciutto, the whimsical timepiece required a certain Alexander Jones, a historian of ancient a shadow, but an 18th-century museum Italian version of a leg of ham? Parslow amount of finesse, says Wesleyan science at New York University’s curator described it having one in the isn’t sure, but he notes that the pig is a University’s Christopher Parslow, a pro- Institute for the Study of the Ancient shape of a pig’s tail, so Parslow re-creat- symbol in Epicurean philosophy, which fessor of classical studies and Roman World, who was not involved in ed that, too. Parslow then experimented emphasized living for the day. And most archaeology who made the 3-D recon- Parslow’s experiments. It’s not clear with the sundial outdoors. of the texts found at the Villa dei Papiri struction. All the same, “it does repre- exactly when the Herculaneum clock The clock is hung from a string so are related to Epicurean philosophy, sent a knowledge of how the sun works, was made, but it is either the oldest or that the sun falls on its left side, allow- says Kenneth Lapatin, curator of antiq- and it can be used to tell time.” second oldest surviving portable sundi- ing the attached pig’s tail to cast a shad- uities at the J. Paul Getty Museum. Telling Tale al, Jones says. ow across the grid. The user aligns the “There was a lot of humor among the The pork clock was excavated in the After Parslow was asked about the clock so that the tip of the tail’s shadow Epicureans,” Lapatin says, so perhaps 1760s from the ruins of the Villa dei pork clock, he was inspired to build a 3- falls on the vertical line for the current the shape is a macabre joke: “Enjoy Papiri, a grand country house in the D model. He took dozens of photos of month. Finally, the user counts the num- your life while you’ve got it, because Roman town of Herculaneum. Like the timepiece at its home institution, ber of horizontal lines from the top hor- you’re going to end up like a ham.” nearby Pompeii, Herculaneum was Italy’s National Archaeological izontal line to the horizontal line closest The pork sundial is on display at the destroyed by the catastrophic eruption Museum of Naples. A 3-D printer at his to the tip of the shadow. That indicates Institute for the Study of the Ancient of Mount Vesuvius in AD 79. university churned out the model—in the number of hours after sunrise or World in New York through April 23. Early scholars were quick to realize plastic rather than the original silver- before sunset. See article Time and Cosmos page 25.

livestock and comprised: pig, sheep yielded bone marrow, which was ana- Eating with the and/or goat, and a few fragments of cat- lyzed by the C14 technique and dated to tle. The pork and sheep bones were from the mid 6th century BC. It is some of the ancient Etruscans young animals intended for slaughter, first evidence in Etruria of hens bred for What they ate three thousand years while the cattle were adult animals. the production of eggs; this is suggested ago is revealed by the remains found Since the bones show numerous by the results of the analyzed sample in the excavations of Via Ripa signs of further processing, it could be indicating “old age,” due to the presence Medici, Orvieto George) has permitted collaborations argued that the animals had been characteristic calcium deposits useful by Claudio Bizzarri with prestigious international research brought to the plateau more to make for the formation of eggshells. (It seems institutions that have started to “read” knife handles or decorative elements of that our ancestors already knew the say- The excavation of the cavity in via the great wealth of data that can be bone rather than as a food source. ing “old chicken makes good soup.”) Ripa Medici, the strange chamber in the extrapolated from the numerous cata- There are only a few examples of The bones of wild doves, second in shape of a truncated pyramid, filled in logued bones recovered from flotation game: badger, hare, wild boar, deer and frequency only to the poultry, indicate a the mid-5th century BC with a lot of operations. Researchers from Oxford, perhaps a fox. The avian remains are marked interest in the consumption of archaeological material, has now begun under the direction of Dr. Angela interesting: chicken, dove, jackdaw, these animals. This has interesting to yield botanical and zooarcheological Trentacoste, examined more than 2,700 starling and owl. There do not seem to implications for our modern culinary remains of what our Etruscan ancestors fragments of animal bones found at cav- be remains of pigeons, and this detail tradition, which now may be extended brought to their tables. ity 254. The picture that emerges is of helps confirm the dating of our colum- back many centuries, to the delight of a Working with the US team at St. extreme interest. For the most part (ca. baria tombs to the Mediaeval period. well-known local restauranteur linked to Anselm College (under Prof. David 96%), of these animals were farm-breed A fragment of a chicken thighbone this dish. continued next page Page 18 Roman chariot model improved a charioteer’s chances of win- ning a race to roughly 80 percent, reveals trick according to a study published in the lat- of the racing trade est issue of the Journal of Roman January 14, 2017 Archaeology. The History Blog Since it was easier to guide the hors- es into left-turning bends, most races ran A study of a bronze model of a anti-clockwise. “Indeed, the right side Roman racing chariot dating to the 1st- tire works best in oval-shaped arenas if 2nd c. AD has revealed new information the turning is always leftward,” Sandor on how the vehicles were built. The said. Sandor explained that some of the model, recovered from the Tiber in the Romans strengthened the right wheels 1890s, is now in the collection of the only because all chariots leaned to the British Museum. It is a biga, a two- right and overloaded just the right horse chariot, although one of the origi- wheels during the left turns. “This nal horse figures is missing, as is the makes total sense to everybody who charioteer Bronze racing chariot model in understands the dynamics of a turning The piece is a petite 10 inches long the British Museum. Left, detail vehicle. It’s a common sensation to peo- and eight inches high, but its signifi- (in red oval) of the iron rim ple riding in a fast-turning vehicle; cance is as oversized as the model is wrapped around the right wheel. standing and lurching sideways in a small. While the remains of close to 300 chariot races. The car was basically a turning bus is a good example,” Sandor ancient Etruscan and Italian war and frame, bent pieces of wood lashed said. ceremonial chariots have been discov- together. The front had a piece of leather The right-side iron tire didn’t neces- ered in funerary contexts, no racing or fabric tied to the frame, while the sarily make the chariot move faster. Its chariots from Republican or Imperial floor was woven straps which provided job was reinforcement, to keep the Rome have ever been found. Written a little much-needed springiness for the wheel under highest pressure from col- descriptions and visual representations charioteer. lapse and thus prevent disaster on the are all we have to go on to understand toy chariots, according to Suetonius, Close examination of the model in track. The right wheel failed far more how they were constructed. Most of the although his were ivory.) The wheels, the new study found that the right than the left so it needed the metallic chariots depicted in monumental art are now fixed, turned on the axle so it could wheel, and only the right wheel, had a boost. The left wheel didn’t need the triumphal chariots which were used in be vigorously vroom-vroomed by its thin iron rim surrounding the wood. added support and the additional weight solemn processionals and bore only a owner. “The basic wheels were always of of a second iron rim would have slowed superficial resemblance (ie, number of Its creator certainly knew a great wood, animal hide glue, and rawhide down chariot enough to make a victory wheels, long axle) to the racing chariot deal about chariot construction. It has a strips (at critical joints) that tighten in the circus all but impossible Racing chariots are depicted in long, straight axle, small wheels to help upon drying, like clamps,” explained “A racing chariot with an iron tire on carved reliefs, frescoes and mosaics of keep the base stable around tight cor- author Bela Sandor, professor emeritus the right wheel only was the best com- circus race scenes. The little Tiber ners, a small body, low to the ground, of engineering physics at the University promise in terms of safety, durability model, with its precision details and just big enough to fit one man snugly. of Wisconsin at Madison. “Any iron tire and winning probability,” Sandor said. proportions, is the greatest source of The yoke pole has a decorative ram’s for racing would be a very thin strip of “As the finest available representation information we have about the Roman head at the end of it. The front of the car iron on the outside of the wooden rim, of a Roman racing chariot, the Tiber racing chariot. It was a luxury item, the wasn’t the solid, highly decorated panel best when heat-shrunk on the wood, to model gives us a glimpse into the kind of toy chariot that only the very reaching Charlton Heston’s armpits as consolidate the whole wheel. Adding Romans’ probabilistic thinking for win- wealthy could afford. (Nero was fond of seen in big screen versions of Roman the strip of iron to the right wheel ning races and bets.”

During 2016 some paleobotanical es us forward, without forgetting. remains were also analyzed, among There is an additional element that which were recovered seeds and as yet helps us to feel even closer to our ances- unidentied remains of cereals, legumes, tors and to paint a better picture of the husks, kernels, and wild herbs associat- home environment in which they lived ed with numerous fragments of charred and cooked: the remains of a domestic wood. More research on this plant mate- cat, which is one of the oldest examples rial will continue in 2017. of this animal in Etruria. We call it the Important for the continuation of the Via Ripa Medici Cat, a true archaeocat. entire excavation will be the support of Is that you, Krankru cat? Seen Germany’s prestigious Gerda Henkel here in Orvieto’s tomba Golini. Foundation, always with the contacts orchestrated by Prof. David George. These data enlighten us on the diet of ancient Etruscan Orvieto, with impli- cations for breeding and slaughtering techniques and thus economic produc- tion. It is always appealing to tie this archaeological research with the con- Speaking of cats... on the catwalk at London fashion week, designer temporary world, a look back, that push- Mary Katrantzou’s ancient Greek Pop-Art frocks for Spring 2017. Page 19 MUSEUM NEWS

The Etruscans (and friends) in St. Petersburg, Russia by P. Gregory Warden

The collections of the State Hermitage Etruscan or otherwise. The hardly a visitor as well. Other parts of Museum in St. Petersburg are legendary, Mediterranean collections are not strict- the museum were far more crowded, but no small part of this great museum is ly segregated by region, and Greek and and anyone who came through the gal- dedicated to antiquity and to the Etruscan objects blend together and leries hardly gave the Etruscans or Etruscans. Only a small part of those flow into later classical and Roman. Greeks a glance, as they were presum- collections have traveled outside Labels are kept to minimum, and there ably on their way to glitzier encounters. Russia, most notably in 2009 when a is little background material or explana- As grand as the Hermitage may be, marvelous selection of Etruscan objects tion; this holds true whether one is look- the classical world is celebrated else- ment to the prevailing taste for the from the Hermitage was exhibited at the ing at Spanish painting, Decorative Arts, where on a lavish scale in St. antique of the late 18th and early 19th Museo dell’Accademia Etrusca in or Etruscan antiquities. It is a manner of Petersburg. The Stroganoff Palace, for centuries. Of particular note was an Cortona. I had the pleasure of visiting display that assumes a knowledgeable instance, displayed a wonderful array of exhibit of Greek vases (many of them the Hermitage in October. visitor, thus in this sense in the grand neo-classical objects in the Empire Apulian) in the Greek hall, as well as Unfortunately the curators of the 2009 tradition of the great European muse- Style, but the piece de resistance in another private collection of classical Cortona exhibition were at a conference ums. many ways is Pavlovsk Palace, now a intaglios that was also on temporary dis- and unavailable, but I was warmly The Etruscan objects, only a small part state museum, built for the short-lived play. Of particular interest were the greeted by Dr. Evgeny Fedorov, thanks of the museum’s holdings, are displayed Emperor Paul I and his wife and eventu- antiquities that had been collected by to an introduction from the Stroganoff in old-fashioned wooden cases (photos) al widow, the Empress Maria. It is a the Empress Maria. These are on perma- Foundation in the U.S. I had the oppor- that are ensconced in sumptuous spaces, Palladian delight that has been lovingly nent display and include some Etruscan tunity to peruse the classical collections, for instance a grand colonnaded hallway restored by generations of curators since pieces. (Photos by Greg Warden) frescoed with classicizing motifs. The its near destruction by the Germans in setting rather dwarfs the objects, and not 1944. I was hosted, again thanks to an everything is easy to see, but one of the introduction from the Stroganoff best parts of the display is that some of Foundation, by the energetic and pas- the larger Greek vases sit on pedestals sionate Chief Curator, Alexey Gudanov, and can be viewed in the flesh, unpro- (above) who has devoted a large part of tected by glass or modern cases. It may his career to the restoration of the be a rather frightening prospect if one palace. It was a great treat to see the thinks about the safety of the vases (they newly restored library where a beautiful are firmly anchored, however), but it is exhibition of miniature portraits was a wonderfully old fashioned experience just being taken down. The palace is of connecting to classical art without filled with classical art that was brought screens of glass or suspicious guards. to St. Petersburg for the Empress Maria Indeed there were no guards in sight, but as well as art in the classical style, testa-

The museum, which will occupy New Etruscan Museum about 1,500 square meters, will consist to open in Milan of three floors. The entrance will be Featuring Impasto and dedicated to the reception area, with Bucchero vases from the ticket office, cafeteria and bookshop. The part of the collection dedicated to Cottier-Angeli collection the funerary material will be exhibited in high-tech underground spaces. On the On Christmas 2018 Milan will have first floor, other continued on page 28 the gift of a new museum. The historic Bucchero aryballos of a ram, Palazzo Bocconi-Rizzoli-Carraro, on Corso Venezia 52, will reopen to the from the C-A collection. public. It will host an impressive collec- tion of Etruscan artifacts recently pur- Model and renderings of the museum feature undergound galleries. chased from a Swiss merchant and nary collection of 700 Etruscan buc- explains Cucinella, “and maintain in returned to Italy by the Rovati family - chero and impasto vases from the period part changes made in the 70s by Luigi descendants of Luigi Rovati, founder of between the 9th and 6th centuries B.C.” Perego; while underground, where the the pharmaceutical company The renovation of the historic palaz- museum will be developed, we were Rottapharm. “The donation of the C.A. zo, whose roof garden is protected by inspired by the stone tumuli reminiscent collection is a great philanthropic the Belle Arti, was entrusted to the of the Etruscan tombs. This space will action,” explains Soprintendente architect Mario Cucinella. “The upper allow visitors to enter the Etruscan Antonella Rinaldi. This is an extraordi- part of the building will be restored” world as part of the exhibition.” Page 20 The Aequi, Their National Archaeological Weapons and Treasures Museum of Vulci Reopens The New Archaeological Museum of Cicolano On June 29, 2016, the completely Il Messaggero renovated National Archaeological Museum of Vulci was once again The Aequi were an Italic tribe on a reopened to the public. stretch of the Apennine Mountains east The museum, housed in the monu- of Latium in central Italy. Ancient histo- mental Castello della Badia, which dates rians mention their wars with Rome; from the first half of the 9th century, geographers barely mention them. Virgil was established in 1975, and quickly described them in the Aeneid as “always enabled an effective control of the armed, even when plowing their fields,” archaeological territory to be carried out Castello della Badia, Vulci. and dedicated to robbery, looting and against the illegal tombaroli who for the lives of the Etruscans who lived hunting in the woods. Proud warriors of years had preyed on this important there and were buried in its necropoleis. the mountains, defeated by the Romans that employs spatial solutions for a necropolis of Lazio’s Maremma. In Represented was a cross-section of in 304 BC, they were confined to the museum display that is viewer-friendly, 1999, with the signing of the graves for the dead and buildings for the cramped and difficult terrain of the Salto and enhances the significance of the Convention between State and Local living, from the 9th-century urn field Valley, in the area of Cicolano. And many intriguing artifacts. (Photos MAC) Authorities, another milestone was burials to the lavish burial chambers of indeed it is in Corvaro di Borgorose, in reached, when the Archaeological the princeps of the Orientalizing period; the province of Rieti, that the Cicolano Nature Park of Vulci was created, one of and from the reconstructed sea port of Archaeological Museum (MAC) was the first areas of this kind in all of Italy. Regisvilla to the craftsmen’s workshops inaugurated, December 17, 2016. Today the Museum in the Castello of the 4th century BC. The galleries are This new museum, which will be man- della Badia has a new look, and serves now resplendent with bright colors, and aged by the Mountain Community Salto Cicolano, in collaboration with the Replica of a tomb rebuilt as it Display shows trade goods of the municipality of Borgorose, finally was found in the necropolis. port. (Photos by Francesca Pontani) brings an identity to an area strewn with archaeological evidence. The center- Tumulus at Corvaro di Borgorose. piece of the exhibition space is a large central room dedicated to the monumen- tal tumulus in the plain of Corvaro di Borgorose, which has yielded 368 pre- Roman and Roman tombs, highlighting different chronological phases. This room, thanks to the impressive amount of material and the quality of the many objects that accompanied the dead to the afterlife, demonstrates the customs and funerary practices of the ancient Equicoli (the Roman name of the people living in the terrritory of the Aequi). A space has been set aside for Votive mask, bronze fibula, as a museum for the archaeological ter- the cases with watercolor illustrations the studies that are being carried out on glass alabastron in pasta vitrea. ritory, as well as a welcoming goal for a create a warm museum experience. Two fabrics and metallic funerary objects by variety of audiences, from children to multimedia installations familiarize the specialists at the CNR’s Institute for seniors, families, school groups and the public with the role of archaeologists in Technologies Applied to Cultural disabled — all this without sacrificing returning to the community the cultural Heritage. the needs of specialists in the field. The identity of a territory, from excavation The museum’s ten rooms also exhibit museum retraces the centuries of Vulci’s to restoration, leading to the recovery of material from the sanctuaries and towns history, and reflects different aspects of its earliest history. that document the occupation of this ter- ritory after the Roman conquest. There Cult statue of Mithras slaying the Reconstructions of Etruscan are materials found in the ancient town bull, found in Vulci’s Mithraeum. clothing and weaving methods. of Nersae (Pescorocchiano) and in the Cliternia spa complex, today Capradosso (Petrella Salto), as well as finds from the Villa Rustica of Torano (Borgorose) whose excavation by a group from the University of Rochester (NY) is still ongoing. The new museum boasts a totally renewed infrastructure reclaimed from an abandoned school building, and is the result of a modern architectural design

Page 21 The Museo dell’Agro Heads,” with figures from the Campetti votive deposit in various tracks involv- Veientano in Formello ing “sound & light,” dedicated to reli- by Iefke van Kampen gion, history and other aspects of the deposit. The preliminary version of this On December 2, 2016, the new project was on show in museum display of the Museo dell’Agro “Etruscans@Expo” in Milan (see Veientano dedicated to the Etruscan and Etruscan News 18). first Roman age in Veii and its territory The materials on display include has finally opened to the public, in the many “old friends,” studied by genera- presence of Superintendent Alfonsina tions of scholars but so far never seen Russo, members of the scientific com- “in real life,” coming from contexts like mittee, among whom were Gilda Veii-North-West Gate, Casale Pian A view of the display of the Tomba Campana in Room 2 (Stanza delle Bartoloni, authorities of the municipali- Roseto and Tomba Campana. Huge Grottesche): the showcase is an abstract version of the tomb with its ty, Metropolitan Area of Rome and voids were filled: e.g. the context of the dromos. The pieces in front of the entrance are placed “quoting” the Regio Lazio. These institutions all con- famous “Olpe Chigi,” on show in Villa famous Moscioni photograph. tributed to the financing of the restora- Giulia (on which the logo of the tion of the palace and the new museum Museum is inspired); the tumulus of display. Monte Aguzzo (Tumulo Chigi), now The civic museum in Formello is finally on display many years after its dedicated to a larger territory than that discovery in 1882, and a choice of past within the boundaries of the actual excavations in the cemeteries of Quattro municipality of Formello, whose name Fontanili and Grotta Gramiccia. refers to the land of the Etruscan town of The museum is already the “show- Veii, later covered more or less by the case” of new excavations carried out by diocese of Civita Castellana, and includ- the University La Sapienza of Rome and ed in the regional Parco di Veio. Two the archaeological service. Permanent more rooms, to be opened in 2017, are exhibits show contexts of Piazza d’Armi dedicated to the Roman imperial Age and Veii-Campetti excavated within the and to post-classical times respectively. framework of the “Progetto Veio.” A The museum is housed in a historical choice of materials is shown from the building, Palazzo Chigi, with phases An overall view of Room 4, Stanza dei Trofei, dedicated mainly to the excavations of the former dating from the 13th to 17th century. On theme of the sacred; on the left, the Etruscan “Talking Heads.” Archaeological Service of Rome, in this occasion the Palazzo’s recently Malagrotta-Pantan del Grano and Via restored frescoes were also presented to Trionfale-Poggio Verde. Another splen- the public; they were commissioned by did piece from Veii, the incised kan- the Orsini and Chigi families, and date tharos of Via d’Avack with a navigation from the end of the 14th to the 17th cen- scene, was on display to the public for tury. the first time. in a temporary exhibition Working on the new museum dis- in the museum’s Sala Ward-Perkins. play took almost 15 years. The museum In September 2016 a new Museum display was designed by Iefke van territorial System was created, headed Kampen, director of the museum since by Formello, called MANEAT (Musei November 2000, and Studio O/M di Arte Natura Etnografia Archeologia architetti; it involved companies People del Territorio); or rather, in Latin, “let it & Projects, Leaf & Co s.r.l. and remain.” The network includes both Consorzio Stabile Glossa from Naples. civic and private museums in Calcata, A first intervention on the Chigi Palace Looking through the plexiglass Etruscan ladies showing their parures. Campagnano di Roma, Capena, was signed by architect Andrea Bruno, A view of Room 1, Stanza dove si mangia at the time of Cardinal Formello, Mazzano Romano, Rome, author of the new Civic Tower, with its Flavio Chigi (who had a historic antecedent in this very palace, a Sutri and Trevignano Romano. So all Corten revetment slabs, which now curiosity cabinet). Habitation materials and funerary evidence, from preconditions have been created for a characterizes the skyline of Formello. the Final Bronze Age to Archaic times. (Photos by Alfonso Mongiu) new phase of valorizzazione or appreci- The museum display distinguishes ation of the territory: we are awaiting itself by its showcases in shapes your visit, North of Rome! inspired by their contents (by the hand www.comune.formello.rm.it of Antonio Mascia and Aldo Olivo), www.terrediveio.eu Italian and English explanatory texts with various “keys of interpretation,” Room 3, Stanza delle Grottesche, and multimedia contents, which will be the showcase for the Tumulo updated at various times. An example of Chigi materials, inspired in shape the latter is “Etruscanning,” the virtual by the left cella in the tomb. On reconstruction of the Monte Michele the left side, other cases display tomb 5, funded with European coopera- material from various sites of the tion, and the popular exhibit, “Talking Agro Veientano territory.

Page 22 NEWS FROM THE SECTIONS Etruskische Sozialgeschichte Revisited Historisch-Kulturwissenschaftliche Fakultät Vienna University June 8-10, 2016 Stephan Steingräber and Petra June 8, 2016 Amann share Viennese refresh- Giovannangelo Camporeale, Città, ments with their colleagues. esercito e religione nei primi secoli Workshop della civiltà etrusca. Monumental Rock Tomb of Andrea Babbi, Revisiting single stories. Transcultural attitudes in the Grotte Scalina (Viterbo) Middle-Tyrrhenian region during Etruscan Tomb, the advanced 8th c. BC. Christian cult Claudio Negrini, Celebrazione del École Normale Supérieure, Paris potere e autorappresentazione delle Spätzeit in Cerveteri: eine neue December 15, 2016 aristocrazie etrusco-padane dall’età urbane Elite in hellenistischer Zeit. del ferro all’orientalizzante. Luciana Aigner-Foresti, Eliten auf dem Vincent Jolivet, Maria Pia Donato, Simona Rafanelli, Circoli di pietra a Land in hellenistischer Zeit. Dominique Briquel enjoys a Introduction: le contexte topogra- Vetulonia. Giulio Facchetti, Contatti interlinguisti- coffee break in lovely company. phique et historique. Luca Cappuccini, Casi di riutilizzo di ci e interculturali: il caso dei Edwige Lovergne, Le complexe funé- tombe a tumulo a Vetulonia e nel ter- Pulena. raire de Grotte Scalina: nouvelles ritorio: discendenti o novae gentes? Gérard Capdeville, Die Ehepolitik der données. Jean Gran-Aymerich, Il bucchero e la etruskischen Familien. Frédérique Marchand-Beaulieu, società etrusca: origine, produzione, Vincent Jolivet, Rapporto tra classi Restitutions photogrammétriques en diffusione, uso e ricezione. sociali e planimetria in ambiente 2D et 3D. Rex Wallace, Inscriptions on quotidian domestico e funerario etrusco. Paola Catalano, Giordana Amicucci, I ceramics at Poggio Civitate: evi- June 10, 2016 dati antropologici. dence for social structure. Enrico Benelli, Strategie familiari e Guilhem Chapelin, Une hypothèse de Daniele Maras, Kings and Tablemates. strategie sociali nel mondo etrusco. restitution des volumes taillés. The Political Role of Comrade Il contributo dell’epigrafia. Vincent Jolivet, L’Étrurie et le monde Associations in Archaic Rome and Enrico Benelli, Etruriens Mario Torelli is enjoying the ser- macédonien. Etruria. Unterprivilegierte im Spiegel enade, as Petra Amann, confer- Laura Ambrosini, Varcare la soglia: la Giuseppe Sassatelli, Etruschi e Italici in sprachwissenschaftlicher Analyse ence hostess, exits right. monumentalità funeraria in età elle- Italia settentrionale: rapporti cul- von Anthroponymie und nistica. turali e mobilità individuale. Namenformularen. Dominique Briquel, Le paradigme funé- Jean Hadas Lebel, Essere Greco in Mario Torelli, Intorno alla servitus etr- raire étrusque. Etruria. usca. Elisabetta De Minicis, La Tuscia rupes- June 9, 2016 Adriano Maggiani, Sullo statuto del tre tra Antichità, Medioevo e mondo. Luca Cerchiai, Lo sviluppo dell’immag- lautni etrusco tra l‘età arcaica e il Carlo Tedeschi, Gaetano Curzi, Il ine oplitica nell’Etruria arcaica. tardo ellenismo. medioevo di una tomba etrusca. Tina Mitterlechner, Zur sozialhis- Gertraud Breyer, Die Beischriften zu Graffiti templari a Tarquinia. torischen Bedeutung von Krieger- den Akteuren der Küchenszenen in Julie Labregère, La redécouverte des und Waffendarstellungen auf der Tomba Golini I: ein Étrusques au Moyen-Âge et à la etruskischen Funerär- denkmälern. Diskussionsbeitrag. Adriano Maggiani, lecturing on Renaissance. Petra Amann, Bankettbilder und ihr ide- Giovanni Colonna, Tracce nell‘onomas- the lautni, commands the crowd. Luca Pesante, Eremiti, pellegrini, mer- ologischer Gehalt – in Etrurien und tica e nel costume dello statuto canti. Le diverse vite dei luoghi etru- darüber hinaus. sociale arcaico del pastore Mario Torelli thanks the audience schi. Cornelia Weber-Lehmann, Kinder oder nell‘Italia antica. for their attention to his talk. Maria Pia Donato, Mourir en chrétien Sklaven? Zur Darstellung von Dominique Briquel, Am Rande der sur la route de Rome. kleinen Menschen in der Gesellschaft: Räuber bei den Luca Cappuccini, Giovanni Francesco etruskischen Grabkunst. Etruskern und ihren Nachbarn. Tinti a Monte Giovi: un eccentrico Stefano Bruni, Graece loquentes. Stephan Steingräber, Zum Phänomen erudito del XVI sec. tra le vestigia Cultura e ideologia di un‘aris- der “follia terapeutica“ der etrusche. tocrazia. etruskisch-italischen anatomischen Daniela Giosuè, A Roma in fretta e Vincenzo Bellelli, Appunti di storia Votive − soziale, ökonomische und senza incontrare gli Etruschi. La sociale etrusca: Cerveteri fra VI e V religiöse Aspekte. Tuscia Viterbese nei testi di alcuni secolo a.C. Marie-Laurence Haack, Corpo sociale, viaggiatori d’oltralpe dei secoli Ellen Thiermann, Die Gräber der corpi votivi nell‘Etruria ellenistica. XVI-XVIII.

Page 23 The exhibition was born from the need EXHIBITS to present the results during several years of the project, Character, settle- An Exhibition in Four Museums ment, and funerary architecture in Marsiliana d’Albegna: Marsiliana (Manciano, GR), begun in dagli Etruschi a 2002 by of the Department of Historical and Cultural heritage of the University Tommaso Corsini of Siena, in collaboration with the July 23, 2016 - April 30, 2017 Archaeological Superintendency of Grosseto, Scansano, Manciano and the Tuscany. The results have brought to Surveys and excavations have shed same Marsiliana. Starting from light important materials from early new light on the history of the Etruscan Marsiliana, Sala del Frantoio, it will be Corsini and his daughter in 1914. Etruscan history illustrating the late town of Marsiliana, which, thanks to the presented at Manciano, in the Museo di Grosseto, at the Museo Archeologico e Bronze Age, Iron Age, Orientalizing, work of Prince Corsini, was made Preistoria e Protostoria della Valle del d’Arte della Maremma until April 2017. and Archaic phases. Each of the four famous for the sensational discovery Fiora, at Scansano, in the Museo The gold Corsini fibula, 675-650 museums will have a different focus, made in the early twentieth century. In Archeologico della Vite e del Vino, and BC., found at Marsiliana in 1908. from Grosseto, which will feature the spring of 1908 Tommaso Corsini, Orientalizing materials from the main Prince of Sismano, found the first traces cemetery, to Marsiliana, which will of a great Etruscan necropolis, with illustrate the history of the Corsini estate tombs in stone circles, mound and pit and the remarkable Principe Tommaso graves. That discovery marks the begin- Corsini, whose gallery in Rome with its ning of an important archeological and wealth of antiquities and paintings is cultural season, which is today brought known to many of us. to the attention of the public by an exhi- Further info: www.museidimaremma.it bition that winds through the towns of see also: Archeo Dec. 2016 Winckelmann, Imitation of Greek Works (1755) as well as his History of Ancient Art Firenze e gli Etruschi (Geschichte der Kunst, 1764) and a Il Padre dell’Archeologia range of historical essays on single in Toscana works of art. Thereby he managed to establish an approach to ancient art his- Archaeological Museum, Florence tory that was structured by an idea of May 26, 2016 - January 30, 2017 linear progress, perhaps not dissimilar to by Andrea Gáldy, Electrum magazine that of Giorgio Vasari a couple of cen- In 1755, Johann Joachim turies earlier. Winckelmann (b. Stendal, Germany What is perhaps less known and may 1717- d. Trieste, Italy 1768) arrived in even come as something of a surprise is Rome for a life-changing visit that the fact that Winckelmann also spent would also influence ancient art history some time in Florence from September and the history of archaeology to this 1758 to April 1759 where he studied the day. Through the intensive study of antiquities once collected by the Medici ancient works of art, Winckelmann and by other leading families of the city. (right in a portait by Raphael Mengs Etruscan art, history and language had Winckelmann’s masterpiece, In Florence, next to Greek and Roman after 1755) discovered the importance been encouraged at the court and in the Geschichte der Kunst des antiquities, the works of the Etruscan of Greek art and of its influence on academies of Cosimo I de’ Medici and had long played a considerable role in Altertums (The History of Art in Roman, Renaissance and Neoclassical his descendants since the 16th century. the collections of the ducal family, and art. He published his Thoughts on the The Medici collections of Etruscan Antiquity) published in 1764. the study of continued on page 28 Below from left, copies of Dempster’s De Etruria Regali, Etruscan bronze from the Medici collection, the "Ballerina," a Roman marble from the Riccardi collection, Stosch gems seen on the back wall, an “Etruscan” style porcelain service from Naples. (Photos by Greg Warden)

Page 24 Time and Cosmos in exhibition excels at demonstrating the importance of time in everyday life. “It Greco-Roman Antiquity became part of the everyday visual The Institute for the Study of the vocabulary,” curator Alexander Jones, Ancient World who’s also a professor of history of the 15 East 84th Street, Manhattan exact sciences in antiquity and interim Through April 23, 2017 director of the ISAW, explained at the by Allison Meier preview. He pointed out a 140-160 CE marble frieze from a Roman sarcopha- The oldest known example of a gus with two putti (cherubs) attempting portable sundial is in the shape of a ham. to interfere with a sundial, perhaps to The Ham of Herculaneum, which dates reverse the chronology that has taken a to the end of the 1st century, was discov- life. Another wall features a display of ered in 1755 in the Villa dei Papiri, a site coins from various eras, with astrologi- destroyed in the eruption of Mount cal symbols like celestial spheres - Vesuvius. The tiny bronze device which placed Earth at the center of the shaped like a hunk of meat on a hook is cosmos - used to indicate the emperor’s one of the more curious survivors of the authority. And a Greek paragpegma cal- widespread culture of timekeeping in endar from 100 BCE aligns stellar phe- the Greek and Roman world. nomena with weather predictions; it is Putti with sundial (140–160 CE), the Ham of Herculaneum. Despite its enduring influence on pocked with holes for pegs to mark the our contemporary calendar and our gen- Right, “Altar” with zodiacal frieze and heads of twelve gods (Gabii, date. See article “pork clock” page 18. eral perception of time, ancient time- Latium, 117–138 CE, marble, Louvre). (Photos by Allison Meier) keeping hasn’t been widely explored in Modernism, Time and Cosmos high- the division of day and night into 12 exhibitions. Time and Cosmos in Greco- lights an overlooked view of the ancient hours each, something the Greeks adapt- Roman Antiquity, now at New York world and emphasizes its relation to the ed from the Egyptians. Meanwhile, the University’s Institute for the Study of present. Roman calendar system that was insti- the Ancient World (ISAW), brings You could spend hours in the two- tuted by Julius Caesar in 45 BCE together over 100 artifacts from muse- room Time and Cosmos learning how informed the Gregorian calendar that’s ums around the world, many of them old sundials and calendars worked, still in use. infrequently on public view. Like previ- ideas that are fleshed out in the accom- Yet beyond the technical details – ous ISAW exhibitions about textiles in panying catalogue. Many of these prin- from shadows cast on carved lines to the late antiquity, Greco-Roman cartogra- ciples are still familiar thanks to their complicated Antikythera mechanism phy, and the Mesopotamian influence on endurance in Christian Europe, such as (not on view but explored in video) - the

The Archaeological Museum of Naples pays tribute to its founder, King Charles Vll, with a new exhibition Carlo di Bourbone e la diffusione delle Antichità December 14, 2016 - March 16. 2017 Giulierini, “involves the cooperation of three cities linked to Carlo: Naples, The Archaeological Museum of Madrid and Mexico City.” The exhibi- Naples dedicates the exhibition, “Carlo tion features displays of yesterday, with di Bourbone and the dissemination of prints and patterns of Vesuvian finds, Antiquities,” to an Enlightened ruler and alongside those of today, with monitors, “global communicator,” Charles of network conferencing and 3D recon- Charles lll, under his rule Herculaneum (1738), Stabiae, Pompeii Bourbon, who directed the first early structions. The Spanish capital will 18th-century excavations of (1748) were discovered. Above, “Pseudo-Seneca” bronze from Villa showcase plaster casts of some of the Herculaneum and Pompeii. The exhibi- dei Papiri. Right, plates from Le antichita di Ercolano 1762: the ham. works discovered at Herculaneum that tion, which celebrated the three hundred um holds 5,000 of them) forms the core found under a pile of ruins at Pompeii. Charles kept in his personal retreat year anniversary of his birth, was curat- of the exhibit, which includes 60 works, He was very attached to that ancient before donating them to the Royal ed by Valeria Sampaolo, with the collab- among them paintings, drawings, sculp- gem, which represented a theatrical Academy of San Fernando. Mexico City oration of the Real Academy in Madrid tures, tresses, and documents. These mask. But the ruler chose to leave it in responds, displaying numerous designs and of Mexico City. In fact, the exhibit were presented as an example of com- Naples, because, as he had ordered, no taken from other casts that the sovereign coincides with exhibits in Madrid and munication in the 18th century, the property and no treasure of the Two sent overseas to enlighten the popula- Mexico City, which house plaster casts international distribution of drawings Sicilies could accompany him to Spain. tion about the study of classic design. and drawings of the wonders that the and reproductions of ancient Pompeii Behind the simple act of leaving his King wanted to disseminate and to and Herculaneum as a symbol of beauty beloved ring, there is the measure of a transmit to the world: the study of clas- and the culture of a kingdom. king, far-sighted and enlightened, but sicism, without depriving the city of the When it was time to embark to also a clear propaganda strategy, which original works of art. A selection of Madrid, in 1759, King Charles of would show the people the virtues of newly restored 200 precious copper Bourbon, who had just ascended to the Charles as statesman and patron. plates of the Royal Printing (the muse- throne of Spain, took off the ring he had “The exhibit,” explains director Paolo Page 25 Review of Exhibition all, was one of Europe’s leading con- Emma Hamilton: noisseurs of art. His palace in Naples Seduction and Celebrity was a veritable museum. He collected Greek and Roman vases (the Portland The Betrayal of Nelson's Vase and many other classical treasures Mistress passed through his hands), excavated at National Maritime Museum, London Pompeii and Paestum, explored the Until 17 April 2017 mysteries of Vesuvius, and wrote a book by Jonathan Jones, about the geology of the Bay of Naples. The Guardian He also admired Emma, and – to soci- ety’s shock – married her. Of all the men who loved Emma A triple portrait he commissioned Hamilton, the artist George Romney is shows her as scholar, musician and the one whose passion has endured. Her actress. Lady Hamilton, learning about James Gillray’s caricature of husband, the vulcanologist, classicist the classical world in detail from her Emma, “Dido in Despair,” 1801. and art collector Sir William Hamilton, Romney’s Emma as Circe, 1782. husband’s books and collections – the tund, her poses clumsy. found himself spurned when she fell her hands artfully posed by a spinning frontispiece of an archaeology book Satirists got lots more opportunities to madly in love with Horatio Nelson. And wheel and her body veiled in white in published in 1791 shows her elegantly laugh at Hamilton and her husband her heroic lover never grew old with her Emma as The Spinstress, and dreams supervising a dig at Paestum – refined when the gossip spread that she was as he hoped. Nelson died on HMS with eyes full of wonder as Miranda in the poses she’d done for Romney into a having an affair with none other than Victory after winning the Battle of The Tempest. Romney’s paintings of sequence of neoclassical tableaux she Admiral Nelson, the naval hero of the Trafalgar in 1805. His grey pigtail, Hamilton are the masterpieces of a trou- called her “Attitudes.” Battle of the Nile… Gillray portrayed a which he asked his friends to send her as bled, lonely man who was plainly The curators describe Emma Hamilton plump Hamilton lamenting the fleet he lay dying, is in this exhibition. obsessed with the young woman who as a performance artist, and her going to sea. That left Romney to pick up the gleefully tried on costumes and gestures Attitudes are re-created in a video in The most moving and upsetting thing pieces. The relationship between this in his studio… which classical women like Medea and here is Nelson’s handwritten codicil to Lancashire-born painter and the woman It is possible that the future Lady Agrippina enact eloquent silent ges- his will, scribbled just before he went who – as this vivid and fascinating exhi- Hamilton developed the talent for strik- tures. In classical art, a gesture can into battle at Trafalgar. It asks that if he bition reveals through a rich mix of ing poses as an erotic dancer at a speak without words. It’s a strange, should die, the nation will give a gener- images, objects and documents –made it Georgian venue called the Temple of powerful journey into the aesthetics of ous pension to Hamilton. This last out of the brothels of 18th-century Health. Her aristocratic lover Charles another age. The Attitudes entertained request of a national hero was ignored. London to become an iconic beauty of Greville later introduced her to Romney, courts and opera houses and made her a Nelson’s mistress was excluded from Europe, was not physical. At least, not in whose paintings she demonstrates her European icon. Élisabeth Louise Vigée his funeral and denied her inheritance. in a conventional sense. Romney range of theatrical mannerisms, from le Brun painted her as a “reclining bac- She was left to raise their secret daugh- expressed his passion for Hamilton lamentation to triumph. chante” in a sensual portrait that ter, Horatia, as best she could. Britain’s through art, painting her again and again When Greville married, he sent his enflames this exhibition. Thomas betrayal of Hamilton was nothing short in multitudinous poses and costumes. young mistress to stay with his widowed Rowlandson was ruder. In his soft-porn of a national disgrace. The National She acts out a dazzling variety of roles uncle, William Hamilton, British envoy caricature print she poses nude, natural- Maritime Museum at last makes amends in a gallery of his paintings that sets this at the court of Naples. Emma was being ly, before a squinting William Hamilton. with an exhibition that is a case study in show alight. She gazes with sultry eyes given to the older man as a mistress – The seriously jaundiced James Gillray bringing history to life and restoring and half-open red lips as the enchantress exchanged between aristocrats like a goes further in his cruel caricature, women to centre stage. No one in her Circe from Homer’s Odyssey, sits with luxury object. William Hamilton, after Hamilton’s fine figure becomes oro- time could resist Emma Hamilton, nor will you. The Los Angeles County Museum of Top left, “Femmes en attente.” Art (LACMA) Top right,“Flûtiste et Jeune Fille Museo del Palacio de Bellas Artes, au Tambourin,” drawings from Mexico City the Suite Vollard 1934. Picasso and Rivera: Lower left,“Three Women at the Conversations Across Time Spring," 1921. Lower right, "The December 4, 2016 – May 7, 2017 Pipes of Pan," 1923, oils on can- vas (LACMA). Center top, More than 100 paintings and prints The Lansdowne Artemis, 1st cen- by both artists are in dialogue with one tury BC or AD, Roman, marble. other and with dozens of ancient Greek, Bottom, Etruscan Mirror, Roman, Etruscan, Iberian, and Aztec Met Museum, circa 350 BC. objects. “Picasso and Rivera” aims to advance the understanding of the artists’ greatly enlarged the recognition of artis- practices, particularly in how their con- tic contributions of ancient civilizations. tributions were influenced by the forms, Ancient art became essential for their myths, and structures of the arts of sense of the future, both personally and antiquity. Picasso’s and Rivera’s radical politically. approach to understanding ancient art “By placing masterworks by Picasso was in many ways subversive: by doing and Rivera alongside Greco-Roman, that they also rewrote art history and Etruscan, and continued on page 27 Page 26 Crustumerium Death and Afterlife at the Gates of Rome Ny Carslberg Glyptotek May 19-October 23, 2016 by P. Gregory Warden

The Ny Carslberg Glyptotek has splendid permanent collections, Etruscan or otherwise, that are reason enough for a visit. This summer there was added incentive, “Crustumerium, Top, gallery view; center, olla with cupholders; right, typical amphora. Death and Afterlife at the Gates of Below, block lift of a well-adorned female burial of ca. 800-600 BC. Rome,” an exhibition (May 19-October the micro-excavation of a tomb section 23, 2016) of remarkable quality in terms culturally sustainable curatorial and has been known since many spectacular that had been block lifted and brought to of both the material displayed and the museum practice, which is fueled by … but illicit examples appeared on the art Copenhagen. The conservator, Paulien innovative way in which it was dis- cooperation across nations and institu- market before scientific excavation Kaan who was carefully excavating the played. Especially exemplary is that it tions.” began at the site. Some of the material tomb, took the time to talk to all visitors, was the result of cooperation and collab- There was much to discover. was beautifully displayed in recon- show X-rays of the tomb block, and dis- oration at an international level, involv- Immediately on entering, for instance, structed tomb contexts, with skeleton cuss what was being excavated. It was ing institutions in Italy, the Netherlands, was a remarkable stone funerary cippus and surrounding objects. The labeling archaeological outreach and pedagogy and Denmark. The institutions are of (referred to as a capstone in the cata- was informative and especially useful at its finest. (Photos, Greg Warden) different types: a Soprintendenza, a uni- logue) in the form of a hut (see below was a digital display that connected The catalogue: Crustumerium. versity, and a museum. As expressed in left and right), imposing in size (about material context to chronology and con- Death and Afterlife at the Gates of one of several of the obligatory fore- half a meter in diameter). Other high- text. The best surprise was at the back of Rome. Exhibit Catalogue, 120 pp. Ny words to the excellent and readable cat- lights included the characteristic impas- the exhibit where a conservation lab was Carlsberg Glyptotek, Copenhagen 2016. alogue: “…the exhibition…marks a new to ceramics for which Crustumerium set up. Visitors could enter and watch ISBN 978-87-7452-345-1. 125 DK.

Picasso continued, Iberian works, as “Picasso and Mythology.” that were at once deeply personal and beginning of modernism. Modernism well as Mesoamerican sculptures and The gallery dedicated to Picasso and universal. In Studio with Plaster Head was often conceived as a total break ceramic figurines, the exhibition weaves Mythology explores how the artist (Atelier avec tête et bras de plâtre) with the past; however, Picasso per- together distant geographies and worlds shaped the foundations of 20th century (1925), for example, Picasso summa- ceived it as part of a continuum. By to blur the frontiers of time and space,” art through formal experimentation with rizes his views on the dialectic relation- showing classical figuration in the said Diana Magaloni. “‘Picasso and the art of the past, and created images ship between ancient Greek and Roman artist’s studio, Picasso implies that it is Rivera’ views both artists as inventors of Man attacked by lion. Iberian, tradition with Western painting and the the responsibility of the artist to create a new visual reality in the first decades Osuna, 6th-5th century BC. Picasso, "Autoportrait," 1906. something new out of tradition. In this of the 20th century. Diego Rivera way, he presents an artistic lineage that brought the Pre-Columbian world to the extends from ancient Greece to Cubism. forefront by showing that the art pro- duced by these cultures was for the The two book projects, as well as the initial plates of the Suite Vollard, share a Americas what traditional Greek and distinctive, elegant, linear quality that Roman art was for Europe.” has been compared to Greek and This exhibition is presented in five Etruscan vase painting. Scholar Lisa thematic sections, highlighting the Florman has noted that Picasso’s moments of interaction and divergence approach also bears a close resemblance between the two artists: “The to that of Etruscan mirror engravings, Academy,” “Cubism and Paris,” which may have been a source of inspi- “Return to Order and Indigenismo,” “Rivera and Pre-Columbian Art,” and ration. Page 27 Exhibition Scrittura e Culto al Santuario di Poggio Colla Text and Ritual at the Sanctuary of Poggio Colla, The presentation was a collaborative Palazzo del Pegaso, Firenze effort of the MVAP team (Greg Warden, August 27-December 31, 2016 Michael Thomas, Ann Steiner, Gretchen Museo Archeologico di Artimino Meyers, and Jess Galloway), Susanna "Francesco Nicosia" Carmignano Sarti of the Soprintendenza, and March 25-August 25, 2017 Alessandro Nocentini. Notable from the exhibit, Scrittura e The exhibit was undertaken with the Culto al Santuario di Poggio Colla, or support of the Consiglio Regionale della Text and Ritual at the Sanctuary of The hologram of the Vicchio stele Toscana, and we are grateful to its Poggio Colla, was the aforementioned fascinates a group of visitors. President, Eugenio Giani, for his hologram of the Vicchio stele as well as Andrea Pessina, Greg Warden encouragement. It was a collaborative four recently excavated bronze figurines Deposit.” The exhibition was rounded and Eugenio Giani cut the ribbon. effort of the Mugello Valley that were displayed for the first time. out by an exceptional Hellenizing head Archaeological Project, the Architecture Two of these, including a very early (ca. of a male figure found in the first year of Santoni, Stefano Sarri, Massimo Legni, Faculty of the University of Florence, 600 BC) female figure, came from the excavation (Etruscan Studies 1998), an and Maria Chiara Bettini for generously and the former Archaeological “Inscription Deposit,” published as Archaic figure from the Courtyard Stips, giving their time to the project. Superintendency. Now newly named, “Remains of the Ritual at Poggio and the now well-known bucchero frag- Soprintendenza Archeologia, Belle Arti Colla,” in 2009: Votives, Places, Rituals ment with the exceptional birth scene Stele, continued from page 17 e Paesaggio per la città metropolitana di in Etruscan Religion. Studies in Honor (Perkins, Etruscan Studies 2012) (see ed with photogrammetry and laser scan- Firenze e le province di Pistoia e Prato. of Jean MacIntosh Turfa (M. Gleba and Etruscan News vol.14.) ning by Alessandro Nocentini who has The stone statue base inscribed H. Becker, eds.). Also on display for the Preparing an exhibit for an August just completed his doctoral thesis for the first time in Italy was the large inscribed opening in Italy was a challenge. In Architecture Faculty of the University with the name of its donor. statue base from the “Inscription addition to the team mentioned above, of Florence (under the direction of special thanks are due to Andrea Barbara Aterini) on the stele and inno- Alessandro Nocentini carefully vative methods for its publication. One arranges the bronze figurines. Susanna Sarti shares advice on goal is to publish the stele digitally so the exhibition with Alessandro. that researchers will be able to create their own 3-D printout of the object for first-hand study, an exciting prospect that is the result of close collaboration by the Soprintendenza, the University of Florence, and the Mugello Valley Archaeological Project (SMU, Franklin and Marshall College, the University of Pennsylvania Museum of Archaeology, the University of Texas, and the Open University).

Winckelmann, continued from page 24 cast of scholars and connoisseurs. In this Florence, such as a complete set of plas- Milan, continued from page 20 antiquities were already famous (e.g. the post-Medici Florence, where the house ter cast copies of the Gemme Stosch. parts of the collection will be exhibited Bronze Minerva and the Bronze of Habsburg-Lorraine was now in The exhibition thus brings together a in period rooms that retain the charm of Chimera,). Therefore, three hundred charge, ideas of the Enlightenment were rich array of Etruscan masterworks from the past; while the second floor will years after Winckelmann’s birth, the gradually taking hold. The city had long the Medici and other Florentine collec- house a library, a conference room, and Archaeological Museum of Florence become the goal of tourists from all over tions, manuscripts and rare books, por- research laboratories for students. recently inaugurated an exhibition that Europe. Winckelmann’s Geschichte der traits and curiosa related to the scholarly “The museum is a living thing,”- says examines the impact of the Etruscan tra- Kunst 1764 is still a seminal text for and artistic engagement with the Giovanna Rovati, Vice President of the dition on the German antiquarian and art understanding Classical Reception in Etruscan culture in the 18th century. The Rovati foundation and life and soul of historian, who returned to this subject the 18th century. catalogue, composed by Italian and the project. “We have been working on matter more than once and even dedicat- The 100-plus objects on view in the German Etruscologists and specialists this project for years, and we want it to ed an entire chapter to it in his History of Salone del Nicchio of the on J. J. Winckelmann, provides much- be a lively place. Clearly, when one Ancient Art. Winckelmann had come to Archaeological Museum bring needed context regarding a period in buys a collection of 700 vessels, it is Florence to catalogue the collection of Winckelmann’s visit to Florence into Florentine history that was marked by not to keep them at home, but we also cut stones amassed by the late Baron focus. Among these are some of the political change, societal and scholarly want the museum to become a venue for Philipp von Stosch. Through this occu- major Etruscan works of art gathered in progress and a great international temporary exhibitions, and a reference pation and through the contacts he was the Florentine collections long before exchange as part of the effects of the point for restoration and research. It will able to make with the learned antiquari- the arrival of the German antiquarian, Grand Tour. In the case of be a place for the dissemination of cul- an circles of Florence, he was able to such as the Chimaera, the Minerva and Winckelmann’s visit to Florence, this ture.” The museum will be supervised study Etruscan art in the context of a the so-called “Idolino from Pesaro.” context affected his antiquarian work and partnered with the City Council and typical Florentine “Etruscheria” and Other exhibits are closer to and finally brought the Etruscans closer will become part of the civic museum exchange ideas with an international Winckelmann’s own activities in to the attention of the cognoscenti. system for Milan. Page 28 Musée d’Archéologie et du Excavation campaigns since the 19th Patrimoine Marius Vazielles century have brought to light numerous Meymac, Limousin, France monuments and objects that have Splendeurs et Mystères amazed contemporaries and which have des Étrusques found a place in the greatest museums, Exposition June - August, 2017 notably the Louvre. That museum has With the collaboration of the agreed to lend our museum several Museums of Sarteano, Chianciano pieces from its collection for our exhibi- Terme and the Louvre tion. Ten years ago at Sarteano, a tomb was found intact, with its burial, objects, Since its installation in the Abbaye and frescoes that are exceptional, as Saint-André in Meymac, the Marius much for their preservation as for their Vazeilles Museum of Archaeology and rarity. One of them represents a psy- Patrimony has been fulfilling a mission chopomp god or goddess driving its of cultural development and enhance- chariot toward the land of the dead, in ment of the rich archaeological patrimo- the direction of the exit from the tomb. ny of the Limousin region. Situated in The perfection of the drawing, the use of the ancient 12th century Benedictine its task of the sharing and diffusion of colors, and the terrible expression of this abbey at the heart of the historical center archaeological knowledge by offering to demon, which drives this infernal team The Mater Matuta urn, found at of Meymac, the Museum traces the his- a wide public an innovative exhibition of two griffins and two lions, make this Chianciano, will be on exhibition. tory of human life and the landscape of organized around the prestigious a masterpiece. An exact scale reproduc- present is largely founded and among the Haute-Corrèze and its inhabitants, Etruscan civilization, whose mysteries tion of it will be among the numerous which a fruitful dialogue can and should from the ancient times to the present. today are not yet fully explored. The objects on display. be established. The exhibit, so far The museum every year organizes lec- municipal museums of the towns of Through this exhibition the museum unique in Haute-Corrèze, is designed to ture series that attract a passionate pub- Sarteano and Chianciano Terme will hopes to contribute to a better knowl- highlight the touristic and economic lic and welcomes prestigious visitors. lend a number of exceptional objects edge of the pre-Roman cultures of the potential of this region, as well as part- For 2017, the Museum wishes to pursue that have only rarely left Tuscany. south of Europe, cultures on which our ners who will bring it their support.

Exhibit mous Athenian vase-painter, active in ry, including 54 of the finest vases the first quarter of the 5th century BC, attributed to the Berlin Painter, repre- The Berlin Painter and whose hand he recognized in nearly 300 senting a full range of subjects, sacred His World: Athenian Vase- complete and fragmentary vases in pub- and profane. Collectively these works Painting in the Early 5th lic and private collections around the open a window into a world 2,500 years world. Since Beazley’s first published distant and remind us of the enduring Century BC identification of the Berlin Painter in importance of archaeology and of sus- Princeton University Art Museum 1911, the oeuvre of this still-anonymous tained visual analysis. After Princeton March 4, 2017 - June 11, 2017 Athenian draughtsman has grown to the exhibition will travel to the Toledo some 330 works. Esteem for his elegant, Museum of Art in Ohio from July 7 until The Berlin Painter was the name approachable style has never lessened. Oct. 1, 2017. A fully illustrated cata- given by Sir John Davidson Beazley This exhibition will feature 84 ves- Ganymede, Attic red-figure bell logue will accompany the exhibition. (1885–1970) to an otherwise anony- sels and statuettes of the early 5th centu- crater by Berlin painter, Louvre.

“tumulus,” has come to be known as the Heroon of Aeneas, after research attrib- uted it to the mythological legend of Aeneas, the Trojan hero of Virgil’s Aeneid. Today the Heroon of Aeneas, the Sanctuary of Lavinium and its thir- teen altars is located inside the protected nature area owned by the Roman noble Revealing the Mythical Borghese family. Heroon of Aeneas The row of 13 altars at Lavinium. in 1955 and 1956 by Roman topogra- Superintendent Alfonsina Russo said The ancient site of Lavinium Rome, the provinces of Viterbo and pher Ferdinando Castagnoli, then-direc- visitors can see the 13 altars built out of and its Sanctuary of Thirteen Southern Etruria, and private donors. tor of the University of Rome La tufa that were once red and were built The ancient city, located near the sea- Sapienza’s Institute of Topography, and between the 6th and the 4th century BC, Altars reopens to the public on side village of Pratica di Mare just south Roman archaeologist Lucos Cozza. as well as a ceremonial building and the January 7, 2017 of Rome, was mythically founded by There the pair discovered an ancient remains of two kilns that produced exiles from Troy and was cited in the burial mound 18 metres in diameter sur- votive objects. “They form an archaic (ANSA) Rome, January 5: The archaeo- work of ancient Roman orator rounded by more than 60 precious sanctuary that brings visitors back into logical area of ancient Lavinium is set to Symmachus, ancient Greek historian objects including vases, weapons, and the atmosphere and religious practices open for the first time to the public on Timaeus, and ancient Greek poet items made of silver, bronze and iron, of a remote age shortly after the found- January 7, thanks to an agreement Lycrophron. all dating to the 7th century BC. ing of Rome,” she said. “Recent excava- between the City of Pomezia, the Visitors will be able to tour both the The ruins revealed that the area tions have revealed a fourteenth altar, Superintendency for the Archeology of Lavinium Archaeological Museum as reached its peak expansion in the 6th which is now restored and included in Art and Landscape of Metropolitan well as the archaeological site unearthed century BC. The burial mound, or the new visitor’s route.” Page 29 Is there a goddess EARLY REVIEW under your gas station? by Clement Pistilli La Republica 1/19/17

After being buried for two thousand years, a statue of Diana the Huntress emerges from ancient Roman baths found under a gas station in Terracina. This significant archaeological find was discovered by chance during excava- tions to replace the petrol tanks needed at an Agip service station on Via Roma, the main city street. Terracina, a famous Top, the gas station (arrows seaside resort, in Roman times acquired show find spot). Diana emerges considerable importance with the open- from the caldarium (right) with its ing of the Via Appia from Rome to exotic colored marble benches. Capua. In this same area, in 2000, archaeol- Stephanie Budin and Jean MacIntosh ogists from the Superintendency found a For some time Terracina’s city Turfa, eds. Women in Antiquity. Real statue of Jupiter Anxur, inside what had administration, headed by Mayor Women Across the Ancient World. appeared to be the frigidarium of a Nicholas Procaccini, has been trying to London and New York, Routledge. Roman bath. Now Diana the Huntress, promote the Roman archaeological her- This multi-author book clocks in at whose head was also later recovered, itage of the city. Diana’s discovery has 1074 pages, and covers Mesopotamia, has confirmed the historical value of only strengthened their commitment. Egypt, the Hittites, Cyprus, the Levant these baths in this area and they are now and Carthage, the Aegean: Bronze Age Re c o v e r e d being fully investigated. The statue of and Historical, Etruria and the Italian the goddess of the hunt was found in the first, the archipelago, Rome, and the Edges. The hot room, or caldarium, which dates to torso (right) book is thus geographically organized the 1st- 2nd century AD. This bath com- then the and roughly chronological, as noted in head, then the editors’ brief but informative intro- the base. duction setting out their goals. These She stood in have to do with widening the range of the center of what is meant by “Antiquity,” from the the caldari- usual narrow field of Greek and Roman um, wearing to the Mediterranean and the East; and casting a bright light on the real women a mantle, her dog by her side. of these regions, as distinct from the plex with luxurious multi-colored mar- “literary characters, fictional constructs ble pavements, structures and inscrip- invented by men mostly for other men.” tions from the Imperial age has the Of course this means relying on sources Superintendency paying close attention. other than texts: archaeology, iconogra- phy, scientific studies. So in the section became the fifth king of Rome, fulfilling on Etruria, Enrico Benelli writes on Tanaquil, the prophecy of his wife, and made female slaves and slave owners on the Etruscan Queen of Rome Rome a great city. The text, taken from basis of epigraphy; Daunian women’s the book by Russinova, Reinas, storie di costume and actions are commemorated At the Teatro Arcobaleno in grandi donne, Curcio Edizioni, 2016, in stone; the study of textiles informs Rome until January 22, 2017 brings to us the figure of this seductive Margarita Gleba’s contribution, and by Barbara Carmiglioli Etruscan woman, Tanaquil, who is edu- takes up a good three and a half inches Contrappunti Info cated, intelligent, ambitious and skillful in the index ( 9cm ); the face of Seianti in reading the bird signs sent by the gods Hanunia Tlesnasa is reconstructed by Tanaquilla is the story of the fasci- — a woman who, dedicated to her hus- means of a 3D model; and an analysis of nating Etruscan queen presented to the band and choosing to live in his shadow, a skeletal sample at the Penn Museum, public at the Teatro Arcobaleno from skillfully directs the course of events shows the prevalence of violence January 13 to 22, over two weekends, that will determine the fortune of Rome against women at Hasanlu. The book is on Fridays, Saturdays and Sundays. The as the Eternal City. full of information and surprises about monologue by Isabel Russinova, direct- The show has the sponsorship of the real women, and therefore about chil- ed by Rodolfo Martinelli Carrara, tells Accademia Tiberina, the National dren and real men in antiquity, seen of the skill and determination with Isabel Russinova as Tanaquilla. Etruscan Museum of Villa Giulia in from a perspective that avoids reliance which the Etruscan Tanaquil, who lived in the shoes of the heroine, plays the Rome, the National Etruscan Museum on texts, and that opens remarkable new in the seventh century BC, brought her wife of the Greek Lucumo, better Guarnacci of Volterra, and was per- vistas on people of antiquity, who were husband to the throne and influenced the known by his Roman name, Tarquinius formed at the International Festival of at once so different, and yet so similar to beginnings of Rome. Isabel Russinova, Priscus, that is, Tarquin the First. He the Roman Theatre Volterra and MACT. us. (LB) Page 30 Carmine Pellegrino, Notazioni sull’Orientalizzante in Campania: CONFERENCES processi sociali, cultura materiale, dinamiche territoriali. Francesca Mermati, Orientalia dalla Tarquiniensis e Ager Volsiniensis: il Valle del Sarno tra età del Ferro e caso dei bambini in fasce. Orientalizzante. A.Maggiani, Monte Landro. Un santu- Andrea C. Montanaro, Processi cultur- ario di confine. The Orientalizing cultures ali e circolazione dei beni di presti- S.Rafanelli, Monumenti funerari e gio nella Puglia preromana. Le luoghi di culto nelle necropoli di in the Mediterranean, influenze dell’orientalizzante tir- Bolsena. 8th-6th c. BC renico. D. F. Maras, Santuari, fortezze e confini: Origins, cultural contacts Rocco Mitro, Influenze dell’orientaliz- il contributo dell’epigrafia. zante tirrenico in Basilicata. I vasi P.Tamburini, Elementi di continuità (e and local developments: bronzei come indicatori di status discontinuità) nella diaspora the case of Italy sociale. volsiniese. Rome, January 19-21, 2017 January 21 Insediamenti fortificati École française de Rome e difesa del territorio January 19 Catrin Marzoli, Federica Wiel Marin, P.Fontaine, Da Veio a Vulci: conquista Deutsches Archäologisches Institut The cult place of the second Iron romana e fortificazioni etrusche. Per Stéphane Bourdin, Ortwin Dally, Age at Settequerce (BZ). International Conference un bilancio archeologico e Alessandro Naso, Christopher Vincenzo Bellelli, Askoi fittili e din- Società e Innovazione poliorcetico. Smith, Introduction-Cultural torni. in Etruria Meridionale L.M. Caliò, Fortificazioni greche regions. Enrico Benelli, Scrittura e cultura epi- tra IV e III secolo a.C. nell‘occidente ellenistico. Francesco Rubat Borel, La cultura di grafica nell’Etruria orientalizzante. October 21-22, 2016 L.Cappuccini, “Etrusco medioevo”. Golasecca tra Orientalizzante e Giulia Rocco, Il mondo delle essenze Bolsena Forme di “incastellamento” e inse- Hallstatt occidentale: periferia o vegetali tra Oriente e Occidente: A conference held to celebrate twen- diamenti d’altura in Etruria intersezione di due aree culturali. valori simbolici e rivisitazioni in ty years of activity at the site of Etruscan Settentrionale. Giovanna Gambacurta, Mariangela chiave “ornamentale.” Rofalco (Farnese, VT), was dedicated to Capoluoghi, Ruta, Dinamiche Andrea Zifferero, La produzione ed il a study of the crucial moment of transi- centri subalterni e confini dell’Orientalizzante nel Veneto. consumo del vino in Italia centrale tion, in the 4th and 3rd centuries BC, H.Broise, G.E. Cinque, V. Jolivet, Dalla Stefano Santocchini Gerg, nel periodo orientalizzante: metodi and to the part played by the expansion groma alla città: nuovi dati sull’ur- L’orientalizzante in Etruria padana di analisi e prospettive di ricerca. of Rome in the short life of this fortified banistica di Civita Musarna. e i suoi rapporti con l’Etruria set- Stéphane Verger, La recomposition des settlement. The excavation in the village E.Lovergne, Architettura funeraria e tentrionale. thèmes orientaux dans les pro- of Rofalco began in 1996 on the initia- società: le tombe a “cassone” di Tommaso Sabbatini, Osservazioni grammes iconographiques nord- tive of the Gruppo Archaeologico tipo Musarna tra la fine del IV e sull’articolazione cronologica dei italiques et hallstattiens (c.630- Romano (GAR), with the support and l’inizio del III sec. a.C. Nuovi dati contesti orientalizzanti piceni nelle c.540 avant J.-C.). constant supervision of the dal territorio tarquiniese. Marche. Corinna Riva, From Orientalizing vio- Archaeological Superintendency of L.M. Michetti, Tra Etruschi e Falisci. I Joachim Weidig, Elementi cronologici lence to the violence of Rome, the Province of Viterbo and centri settentrionali dell’Agro falis- per l’epoca orientalizzante Hellenisation: from encounter to Southern Etruria, and the Museo Civico co nel IV e III sec. a.C. nell’Appennino centrale. codification. . “F. Rittatore Vonwiller.” Over the years, L.Pulcinelli, Archeologia di una fron- January 20 the project was carried out thanks to the tiera: l’area cimina tra Volsinii, British School at Rome efforts and the passion of archaeologists Tarquinia e l’Agro falisco. Camilla Colombi, Vetulonia in età ori- and volunteers, both Italian and foreign. E.Benelli, Metropoli e territorio in entalizzante. Necropoli e società. This occasion allowed an exchange of Etruria Meridionale: il contributo Andrea Zifferero, Matteo Milletti, Elena information and moment of reflection dell’epigrafia. Rossi, Silvia Pallecchi, Le necropoli on the problems of the territory and the Vulci e il suo territorio di Marsiliana d’Albegna: architet- historical moment. It focused on three S.Carosi, A.Conti, C.Regoli, Vulci tra tura, rituale funerario e cultura subjects in particular: 1, the role of sanc- IV e III sec. a.C.: lo status quaestio- materiale. tuaries; 2, fortified settlements and nis. Maurizio Sannibale, L’Etruria e il defense territory; and 3, the relation E.Pellegrini, Dalla media valle del Mediterraneo visti dalla tomba Fiora alla Val di Lago: un aggiorna- Regolini-Galassi. between capitals, official centers and TourismA borders. A session was also dedicated to mento. Andrea Babbi, Early Orientalizing the volcano and its territory, and a poster O.Cerasuolo, Rofalco e la valle Middle-Tyrrhenian “warrior” Palazzo dei Congressi, Florence session provided a a useful topographi- dell’Olpeta. tombs. February 17-19, 2017 cal update of the most recent results of M.Firmati, La fortificazione di Ghiaccio M. Cristina Biella, Quale “orientaliz- The International Exhibition of the archaeological excavations. Forte: controllo del territorio e delle zante” in agro falisco? Archaeology is open to all active cultur- The conference was organized by vie di comunicazione sul confine set- Phil Perkins, The Poggio Colla stele and al and economic entities in the archaeo- Orlando Cerasuolo and Luca Pulcinelli. tentrionale di Vulci. its Orientalizing context in northern logical, artistic and monumental indus- A.Zifferero, La frontiera nord-occiden- Etruria. try: public and private research institu- Il ruolo dei santuari tale di Vulci: distribuzione e fun- Francesca Fulminante, Orientalization tions, parks and museums, promotion O.de Cazanove, Luoghi di culto e zione dei santuari tra Albegna ed in Latium: recent research and per- agencies, tour operators, professional pratiche votive tra Ager Ombrone. spectives. groups, associations. www.tourisma.it Page 31 Laura Ambrosini, Souvenirs moved westward to the wealthy dall’Etruria per il Grand Tour. Etruscan cities on the Tyrrhenian and Susanna Sarti, Disegnare gli Etruschi south along the Adriatic, resulting in the tra arte e tutela. surprising flowering of workshops of Giuseppe Sassatelli, Falsi in etruscolo- carved amber amulets in inland gia tra collezionismo, campanilismi Basilicata. e identità cittadine. Program Paolo Mauri, Lettere agli Etruschi. Milton Núñez, Northward amber paths Stefano Bruni, Gli Etruschi e il pal- 4000-2000 BC – Back to the origins. coscenico: appunti su alcuni dram- Graciela Gestoso Singer, Amber mi e melodrammi. Exchange in the Late Bronze Age Maurizio Harari, Vaghe stelle a Levant in Cross-cultural Volterra. I due fratelli etruschi di Perspective. Luchino Visconti. Larissa Bonfante, From the Baltic Francesco Roncalli, Friedrich through the Alps: Stops on the Nietzsche, la Grecia e gli Etruschi. Amber Roads in Italy. (To be pub- Guido Barlozzetti (Critico cine- lished). XXIV International Conference matografico), L’ambiguo thriller Nuccia Negroni Catacchio, Veronica . on the History and Archaeology degli Etruschi. Gallo, The Kakovatos type spacer- of Etruria. Vincenzo Bellelli, Andrea Ercolani, La bead as a long-distance exchange International Workshop Etruscans in Modern civiltà etrusca nelle vignette marker. Material Connections, filateliche. Andrea Celestino Demetrius Culture and Imagination Alessandra Caravale, Paola Moscati, Waarsenburg, The “Tomb of the Artistic Exchange: The Orvieto, December 9-11, 2016 Alessandra Piergrossi, Il recupero Priestess” from Satricum. Case of Etruria and The yearly conference of the Museo degli Etruschi tra media e web. Maria Luisa Nava, Amber representa- Anatolia Faina at Orvieto has for some time rep- Marina Micozzi, Gli Etruschi nei manu- tions on Daunian stelae. resented the most important scholarly ali scolastici. Montanaro, Not only amber. Parures Villa Giulia Museum, Rome Etruscan meeting. The Proceedings are Giuseppe Pucci, Gli Etruschi nei fumet- and luxury objects from the graves May 19-21, 2016 promptly published, and indeed those of ti. of indigenous “principes“ of the XXIII Convegno Internazionale Adriano Maggiani, “Io sono etrusco.” Southern Italy. Some examples. UC Berkeley’s Del Chiaro Center were presented at this conference. The Marino Marini e l’arte etrusca. Domenico A. M. Marino, An amber for Ancient Italian Studies and the Villa choice of this year’s topic was particu- Nico Stringa, Gli Etruschi nel mondo jewel from ancient Kroton. Giulia Museum in Rome hosted an larly stimulating, and resulted in a figurativo di Arturo Martini. Joan Todd, Baltic Amber and Arab international workshop on the fascinat- remarkable variety of contributions, and Elena Calandra, Massimo Campigli e la Incense: Sacred Materials and the ing topic of material connections and what amounts to a monograph on the folgorazione per l’arte etrusca. Open Road and Walled City in the artistic exchange between Etruria and image of the Etruscans in the work of Gianluca Tagliamonte, Gli Etruschi e la Ancient Near East, Greece and Anatolia in the Archaic period. The Italian artists. Those of us who could Pop-Art italiana. Rome. workshop consisted of an evening not attend await the publication of the Sigita Baguzaite-Talackiene, Changes keynote lecture, “From East to West and Beyond,” by Alessandro Naso at the Proceedings with anticipation. 3rd International Conference of amber tradition in West Balts area Contributions included the follow- British School at Rome. What followed on Ancient Roads: and social context in period of ing: Roman influence (I-V cent. AD). were two full days of panels dedicated Giovanni Colonna, L’uso politico degli Ancient Amber Routes Guido Rosada, The regained discovery. to topics ranging from Theoretical Frameworks to Luxury Arts, Wall Etruschi nel mondo moderno. The Ancient Commercial Mario Pagano, Maria Gloria Cerquetti, Giovannangelo Camporeale, Gli Painting, Pottery, Terracottas, Myth and Roads New studies on Roman engineering Etruschi e la cultura europea del works on the via Flaminia in the Iconography, with contributions by Settecento: il caso dell’Accademia Republic of San Marino Gola del Furlo area. scholars from 13 different countries. Etrusca di Cortona. April 14-15, 2016 Joan Pinar Gil, Amber beads in Each panel was concluded by a discus- Filippo Delpino, Gli Etruschi e la Visigothic-period Hispania: some sant’s synthesis of the individual papers, Guerra Fredda. The Republic of San Marino, located remarks on chronology, dissemina- followed by rich discussion on the part Petra Amann, Johann Jakob Bachofen, at the cross roads near the Alpine passes tion and use. of the audience and participants. The il “Mutterrecht” e gli Etruschi. where the north-south traffic connected V.V. Sivkov, E.S. Bubnova, Sambian workshop revealed surprising examples Andreas M. Steiner, Etruschi ed Ebrei Europe and the Mediterranean, organ- source of amber roads: start-up of “sharing” and “distinction” between nel Novecento: Giorgio Bassani ed ized an ambitious series of conferences prospects for tourism. Etruscans and Anatolians, and shed light Elie Wiesel. appropriately focusing on ancient roads. on cultural elements that were similar Maria Bonghi Jovino, Tra immaginario This year’s meeting featured an interna- and others that served to “distinguish.” e conoscenza. Gli Etruschi nella let- tional group of scholars, and included a Other important topics included “mater- teratura inglese dall’Ottocento ai number of contributions on Italy, and ial connectivity” and globalization in nostri giorni. others of particular interest for our read- the wider Mediterranean. The organiz- Giovanna Bagnasco, Etruschi alle ers. The amber coming down from the ers are already planning a “Part II” con- grandi esposizioni: tra proposte e north by way of the Eastern Alpine route ference in the very near future. ricezioni. stimulated the two-way trade with the Workshop organizers: Elizabeth P. Marie-Laurence Haack, Gli antropologi Celtic towns of central Europe, and the Baughan and Lisa C. Pieraccini. alla ricerca degli Etruschi. growth of settlements like Frattesina Nancy Winter speaks on the role Giuseppe M. Della Fina, I paesaggi with its glass factory in the 11th century of terracotta craftsmen in Etruria. dell’Etruria. and Verucchio in the 8th. The amber Page 32 Byzantine Invention? Ulla Susanne Koch (University of Copenhagen), Divine Writing - Extispicy and Astrology in Mesopotamia. Toke Knudsen (SUNY Oneonta), Signs Seventh conference Far and Near: Traditions of of Italian Archaeology Divination in India. Edward Shaughnessy (University of The Archaeology of Death Chicago), Of Trees, a Son, and University of Ireland, Galway Kingship: Recovering the First April 16-18, 2016 Chinese Dream. Robert Ritner (University of Chicago), The Seventh Conference of Italian Private Divination and Public Archaeology was a successor to the pre- Oracles in Ancient Egypt. vious meetings held in Lancaster Isabel Cranz (University of (1977), Sheffield (1980), Cambridge Pennsylvania), Biblical Discourse Conference (1984), London (1990), Oxford (1992), on Divination: Deuteronomy and the and Groningen (2003). The conference Celebrazioni Etrusche Holiness Code as Case Study. centered on the archaeology of Italy and Il Patrimonio AnneMarie Luijendijk (Princeton Textiles and Dyes in the its islands from prehistory through to Archeologico a Chiusi University), Christian Lot Books the modern period. The primary theme August 28, 2016 and Oracle Tickets in Greek and Mediterranean Economy of the conference was the archaeology Teatro Mascagni, Chiusi Coptic from Egypt. and Society of death, but there were a number of Rachel Parikh (Harvard Art Museums), VI Purpureae Vestes International panels that considered recent develop- ‘There is No Sword Like Dhu’l Papers: Symposium ments to Italian archaeology. In addition Fiqar:” ‘Ali’s Weapon in Talismanic a poster session took place which pro- Giulio Paolucci, Giovanni Paolozzi e il Padua, Italy, October 20-22, 2016 patrimonio archeolgico di Chiusi. and Divinatory Practices of Islamic vided the opportunity for excavators to Arms and Armor. Maria Angeli Turchetti, Reperti archeo- The Purpureae Vestes International present site reports and other topics of John Pohl (UCLA), Thinking Outside logici della Collezione Paolozzi nel Symposium was first held in 2002 in interest.During the three days, over 150 the Book: Divination and Image Museo Nazionale Etrusco di Chiusi. Ibiza, Spain, and organised by Prof. delegates, scholars from 15 countries, Sorcery in Ancient Mexican Mattiua Bischeri, I materiali della Carmen Alfaro Giner. The idea was to presented papers of 20 minutes in dura- Manuscripts. Collezione Paolozzi di provenienza create a Mediterranean, Southern, coun- tion on the archaeology of death that November 12 visentina. terpart to the North European introduced new data and/or novel theo- Peter Struck (University of Alessandra Minetti, La Tomba della Symposium for Archaeological Textiles, retical approaches. Some of the topics Pennsylvania), Divination and Pania. which takes place every three years which contributors explored included Intuition in Greek Antiquity. Giuseppe Venturini, Il Cinerario since 1981. It has proven a much needed not only the theme of funerary archaeol- Adam Smith (University of Paolozzi: note tecniche di restauro. and ever-growing forum for everyone ogy but also these other topics: ethnici- Pennsylvania), Divination in Early Guided tours: working on ancient Mediterranean tex- ty, gender, landscapes of death, the China. Laboratorio Didattico sulla collezione tiles and dyes, and has since travelled to experience of death, personhood, mar- Ann Guinan (Penn Museum, Consulting Paolozzi, for children 6-12 years old Athens, Naples, Valencia, and ginalized burials, osteoarchaeological Scholar), Omens of the Past: What Museo Civico, “The Underground Montserrat. This year in Padua, the pro- approaches, and ritual. Modern Culture Can Tell Us about City.” gram featured almost fifty papers and Ancient Divination. The link for the complete program and Cathedral Museum and Porsenna’s more than twenty posters. all abstracts (far too many too list) can Labyrinth. “A Celebration of Magic: Ancient and The VI Purpureae Vestes be found online at https://www.acade- Museo Nazionale Etrusco di Chiusi. Symposium focused on the role of tex- mia.edu/24684740/Seventh_Conference Modern,” the Penn Museum had for- tunetellers, tarot card readers, and other tile production and dyeing in the eco- _of_Italian_Archaeology_The_Archaeo Divination nomic activities of the various ancient logy_of_Death_Programme diviners practicing their crafts through- in the Ancient World out the day on November 12. (far left) cultures of the Mediterranean area. An Annual Symposium of the Center for important impetus for this has been pro- Ancient Studies vided by the recent advances in textile University of Pennsylvania studies and the numerous scientific proj- November 10–12, 2016 ects that are using textile evidence to understand wider economic develop- November 10 ments of ancient Mediterranean soci- Plenary Talk: Philip Peek (Drew eties. University), African Divination Systems: Twins, Silence, and Ways of Knowing. November 11 Jean Turfa (Penn Museum), Etruscan Divination: Not Just Sheep Livers Anymore! Jean Turfa as usual brings on the Benjamin Anderson (Cornell University), The Oracular Image: A thunder in her own “divine” way.

Page 33 Conference: Alcohol in the Ancient World Penn Museum, Philadelphia, Pennsylvania, Center for Ancient Studies Graduate Conference (Widener Lecture Hall) February 24-25, 2017 Keynote Speaker: Dr. Patrick Call for Papers McGovern (Penn Museum) International Society of Art, International Workshop Architecture, and Mirrors and Mirroring: Penn’s Center for Ancient Studies Archaeology of Rome From Antiquity to the will present papers from graduate stu- Field School Signum Vortumni Early Modern Period dents who are engaged in the study of October 6-7, 2017 alcohol in the pre-modern world. The Tarquins and Rome University of Vienna Beer, wine, and other fermented Deadline: 28 February 2017 beverages have played an important role This is a project to unveil, on the in the social, political, economic, and Call For Papers slopes of Rome’s Palatine Hill, signs of Mirrors (or reflecting surfaces) and religious lives of humans for thousands Motherhood(s) Etruscan cultural and religious influence their symbolism in classical Antiquity of years. The embedded nature of alco- which gave rise to the birth of Roman have been investigated to a certain hol in human societies makes it a pro- and Monotheisms civilization. It foresees the in-depth degree by scholars who work with rep- ductive locus for research on a wide University of Bologna study of the Horrea Agrippiana complex resentation, duplication and reflexivity. range of topics. Subjects include the role and the adjacent area at the northwest The figure of the mirror as means of of alcohol in: Production technologies This edited volume is intended as a slopes and base of the Palatine Hill. In reflection of the self (autoscopy), i.e. as and techniques, Consumption practices follow-up to Motherhood(s) and addition to the various detailed research means of perceiving, evaluating and and context, Visual and literary culture, Polytheisms… The construction of activities described below, the method- knowing the self, or as reflection of the Law, Medicine, The construction and motherhood of the divinities has an ology calls for stratigraphic probes in other, as well as in regard to their negotiation of identity and gender, influence on the concrete practices of specific areas of the site. metaphorical use as agents of transfor- Trade and political economy and Ritual. motherhood (whether biological or ISAR carried out the first excavation mation, has also received some atten- Research on the prohibition of alco- social). season between 17 October and 18 tion. hol in pre-modern societies will aslo be In an attempt to evidence the interdis- November, 2016, as part of a project However, there has been less empha- discussed. Who is prohibited and why? ciplinary potential between motherhood aimed at clarifying, through stratigraph- sis on mirrors as artifacts that function When and where do these prohibitions studies and the study of religions, and to ic surveys and probes, some of the many as means for conceptualizing reality in apply? What do they entail? How are think about new lines of research, the socio-topographic and archaeological Antiquity, as well as on comparative they enforced and how are they circum- principal focus of this work will be aspects of one of ancient Rome’s most analyses between ancient and modern vented? info:[email protected] placed not only on isolated analysis of central regions and its monuments. uses. Our focus is on research areas that feminine figures in various sacred texts Topics treated include the birth and relate to the concept of mirrors as (Virgin Mary, saints, Fatima daughter of development of the road system, the Via reflecting media and as material objects, the Prophet and mother of Hasan and Nova and the Vicus Tuscus in particular, on mirroring as a process of production Husayn, in primis), but the use of these and the cult sites pertaining to the oldest or reproduction of the physical object figures in the study of ritual or cultual layers of the city’s history, the quarter (ancient theories of optics in general and practices that have influenced the reli- obliterated by the construction of the of catoptrics in particular), and on gious experience of women as mothers, Horrea Agrippiana. reflections as virtual images. especially the attitude of women The project has a duration of 3 years, We invite proposals from the realms of towards the religiously codified norm of having started in summer 2016. art, literature, history, archaeology, phi- “good mother.” We also welcome con- Excavations will take place in summer losophy and science. Contributions on tributions that consider the construction and autumn and last a month and a half visual process are welcome from both of motherhood in political religions or each, with detailed surveys of structures the lens of geometrical optics as well as parareligions. and architectural elements. from a philosophical point of view. We Proposals, no longer than 500 words, The Field School are also open to papers representing Alfred Hitchcock and a friend, should be sent by January 31, 2017 to Participation in the dig is open to all the following e-mail address: under-researched aspects of the figural Bologna 1960.(Photos pp. 34,36 W. Breveglieri) at no cost, limited by availability of usage of mirroring e.g. mise en abîme, [email protected]. Selected con- positions. textual replications etc. tributors will be invited to hand in their During the excavation campaign Papers, which must be in English, will final chapter before September 2017, didactic activity is planned, including be 30 minutes long, followed by 15 min- with final formatting. The final contents lessons on stratigraphy, archeological utes of discussion.. Please send an of the chapters will be subject to peer- reliefs, material and topography of the abstract of 300 words by 28 February review. Acceptance into the volume Central Archaeological Area. It may 2017 to both of the two organizers: depends on the originality, strength, and also be possible to participate in Maria Gerolemou ([email protected]), fit of the chapter within the volume. research projects and publications. Lilia Diamantopoulou (lilia.diaman- Proposals and chapters will be accepted For information about participating [email protected]). in Italian, English, French, and Spanish. in future seasons contact: We expect to reach a decision by the end Please contact [email protected] [email protected]. of March. for any further inquiry. Page 34 Call for Papers International Conference LECTURES & SEMINARS CNERU Young Researchers: East-West Thursday, April 21 Andrea Giardina, L’invenzione fascista Cultural Transfer in the Alan Shapiro (Johns Hopkins della romanità. Viterbo, Università University), “Boys Behaving Badly, della Tuscia, Dipartimento di Mediterranean Basin in Boeotia (?): Komasts, Kantharoi, Scienze Umanistiche, April 4-5, 2017 and a Puzzle in Paris,” “Keynote Comunicazione e Turismo. April 14, Talk.” 2016. Call for Papers (English): Friday, April 22 Laura Ambrosini, La Tomba Galeassi di https://www.uco.es/cneru/images/collo- Larissa Bonfante (New York Palestrina. Palestrina, November quia/CallForPapersEnglish.pdf University) and Francesco de 12, 2016. Call for Papers (Spanish): Angelis (Columbia University). Accordia Lectures https://www.uco.es/cneru/images/collo- Delphine Tonglet (Metropolitan quia/CallForPapersSpanish.pdf Museum of Art), “The Origins of the 2016 – 2017 Etruscan Kantharos.” 2016 Cordoba Near Eastern Research Unit Isabelle Algrain (Université Libre de October 18 (CNERU) is organizing an international Bruxelles), “The Origins of the The past for the people: presenting the conference for Young Researchers. The Greek Kantharos: Shapes, archaeology of Italy to the general conference aims at offering an opportu- Distribution, and Uses.” public, Lucy Shipley, National nity for researchers interested in Near Sebastiano Soldi (Metropolitan University of Ireland, Galway. Eastern and Mediterranean studies of Museum of Art), “Drinking Vessels November 8 all historical periods to get together in and Kantharoid Shapes in Anatolia Mater Matuta and related gods: explor- one place. Workshop and the Levant between the Bronze ing fertility cults and votive offerings Under the title “East-West. Cultural The Cup of Dionysos and Iron Ages.” in early Roman Italy, Maureen transfer in the Mediterranean Basin” A new paradigm for Jean Gran-Aymerich (CNRS, Paris), Carroll, University of Sheffield. we bring together young researchers “The Etruscan Kantharos in the December 6 with investigation and interests related the kantharos Western Mediterranean.” Accordia Anniversary Lecture to knowledge and the transfer of ideas April 22, 2016 Jean Macintosh Turfa (University of Sicily in transition: a new archaeologi- (language, literature, art, philosophy, Columbia University Pennsylvania Museum of cal study of the island in the 6th to history, archaeology, etc.), focusing on Archaeology and Anthropology), 13th centuries AD, Martin Carver, the Mediterranean basin from antiquity “The Etruscan Kantharos in the University of York; and Alessandra to the present. In April, a workshop on the kan- Eastern Mediterranean.” Molinari, University of Rome 2, Tor To reach as many people interested tharos—this most elegant of ancient Ioannis Mylonopoulos (Columbia Vergata. as possible, the conference uses the vases for wine-drinking—was held at University), “The Kantharos: 2017 OCS (Open Conference System) plat- Columbia University. Co-organized by Drinking Vessel, Divine Attribute, January 24 form, which will allow participants to Larissa Bonfante, Francesco de Angelis, Visual Hoax.” Landscape as political negotiation, present their research to an internation- and Delphine Tonglet, the workshop 6000 BC–AD 2016: a longue durée al audience anywhere in the world. focused on the shape of this vessel and history of Southern Calabria, John Researchers could also participate in investigated its origins, its develop- More Lectures Robb, University of Cambridge. the colloquium after the conference, ments both in the East and the West, its These are just a few of many interesting Room G22/26 Senate House, Malet without the need to be in there in per- functions, and its connotations. Among lectures presented during 2016: Street, London WC1 son. for more information: the topics addressed were the advan- February 14 https://www.uco.es/cneru/index.php/col tages of an anthropological approach to Gabriele Cifani, The Roman Archaic Fortifying the Adriatic: the castle and loquia/2-uncategorised/41-i-cong ancient vases, the implications of the Economy. Production, Trade, and walls of Lecce, Paul Arthur, special relationship of the kantharos Consumption of a Mediterranean University of the Salento. Room 2017 Summer Program with Dionysos, its distribution and uses city (8th-4th century B.C.). (In 612, Gordon Square, London WC1 The Art Historical Image in different regions and areas around the Italian). A series of five lectures at March 14 Mediterranean, and functional and mor- the Collège de France, Paris, Toward a social landscape of the house: in the Digital Age phological comparanda from other cul- November 10 - December 10, 2016. a comparison between southern American Academy in Rome tures. Participants included scholars Tom Rasmussen, Black Flowers: Etruria and coastal Campania in the Deadline for application: from leading New York institutions Bucchero and the Art and Early Iron Age, Beatriz Marin- February 10, 2017 (Columbia, Metropolitan Museum, Archaeology of Etruscan Pottery. Aguilera, University of Cambridge. NYU), as well as from elsewhere in the Fifth Annual Mario A. Del Chiaro Room G22/26 Senate House, Malet The AAR will host a five-day, inten- States and abroad (Penn, Harvard, Lecture in Etruscan Art, UC Street, London WC1 sive course designed to equip scholars Bruxelles, CNRS Paris). The collegial Berkeley, The Del Chiaro Center for May 2 of art from any historical period with the and productive discussions culminated Ancient Italian Studies. The History The Etruscan necropoleis of Caere basic skill necessary to excel in the dig- in a convivial reception at a nearby of Art Department, April 28, 2016. (Cerveteri, Rome), 7th to 1st cen- ital humanities: digital image manage- restaurant. The organizers plan to pub- Alessandro Naso, From Anatolia to turies BC: new perspectives, Maria ment, organization, and analysis. lish a volume including the papers Etruria and Beyond. New York, Raffaella Ciuccarelli, International students and early career delivered at the workshop, the remarks Columbia University, Department of Soprintendenza Archeologia, Belle scholars of art history, history, and visu- by the respondents, as well as additional Art History and Archaeology, Arti e Paesaggio delle Marche. al culture are encouraged to apply. chapters by scholars who could not November 1, 2016. Room G6, Gordon Square, London attend. WC1 Page 35 ANNOUNCEMENTS J. Paul Getty Museum Begins Reinstallation of Antiquities Collection at The Getty Villa

Beginning January 3, 2017, the process of reinstalling the antiquities collection at the Getty Villa will start, shifting from its current thematic organ- ization to a largely chronological, art historical presentation. The reinstalla- tion will be complete in spring 2018. 1916 - 2016 Once completed, the new display One Hundred Years of the will allow visitors to follow the histori- National Museum of cal development of classical art, and 1968, Excavators Nancy Winter and Ingrid Edlund with the Murlo men. understand the evolution of styles with- Tarquinia in and interactions between the Its history and stories of the people Etruscan, Greek, and Roman cultures who created it from the Bronze Age through the Late Roman Empire (ca. 3,000 BC–AD 600). "The Friends of the Painted Tombs of This arrangement will allow the extraor- Tarquinia” are committed to supporting dinary artistic quality of the most impor- work on the painted tombs, informing tant objects in the collection, such as the the public about them, and safeguarding Statue of a Victorious Youth, to become them, in cooperation with the more visually apparent in the context of Soprintendenza. This goal includes find- other material of similar date and style. ing out more about the history of the The new installation will include a Etruscan Events at the museum, so closely related to the histo- gallery dedicated to presenting the Del Chiaro Center for ry of the tombs. Article 1 of the 1916 “Classical World in Context,” showcas- Ancient Italian Studies. convention establishing the museum ing long-term loans, primarily from stipulates that it will house, aside from other museums, of objects from the University of California, the two older collections, the Bruschi Middle East and other cultures that Berkeley mal “Conversation on Etruscan Studies” Collection and the Collezione engaged with ancient Greece and Italy. between Mario Del Chiaro and Larissa Comunale, “all the finds from the exca- With almost 3,000 square feet more This past year, 2016, saw the Center Bonfante, (photo below) who remi- vations that the Ministero decides to gallery space, the new installation will host the Conference in Rome on nisced about their professors and the assign to them.” feature a number of large and important Anatolia and Etruria featured in this early days of Etruscan studies in the US. In the course of time the Museum of objects that have been in storage for issue. It was jointly chaired by Lisa Tarquinia was therefore gradually many years. Highlights include 1st cen- Pieraccini, the Center’s Project Director, enriched with materials from the exca- tury AD frescoes from the Villa of and Elizabeth Baughan, Professor of vations conducted in the area of the Numerius Popidius Florus at Classics at the University of Richmond, Etruscan city and the necropolis, and Boscoreale, many more large-scale Virginia. (Fig. 1 top) The Fifth Del today a visit to the painted tombs cannot Roman sculptures, including the Getty’s Chiaro Lecture was given by Tom be separated from that of the Museum Statue of a Female Figure, which will Rasmussen (University of Manchester), that includes the precious funerary have been reunited with its head, on Black Flowers: Bucchero and the Art objects that were found there. acquired by the Getty in June of this and Archaeology of Etruscan Pottery, in The two days of the meeting were ded- year, and a treasure of jewelry and silver the History of Art Department, April 28, icated to an account of the events that from ancient Bactria (modern-day east- 2016. (Fig. 2 top right) The year started led to establishing the museum and to its ern Iran and Afghanistan). at Berkeley, January 11, with an infor- inauguration, but also to hearing the sto- Bologna, 1960. Hitchcock at exhibit, ries of Soprintendenti who traced the Crankcase Chimera and Lupa Carpartolina by Florentine sculptor Patrick Alò. L'Etruria padana e la città di Spina. circumstances through which the pres- ent installations came about.

Page 36 Bluetrusco roof of the palace of Poggio Civitate. Celebrating 50 years She tells anecdotes that seem to refer to of excavations at a distant world: “The professor advised Poggio Civitate, Murlo us girls to wear a skirt and no pants, Museum of Murlo, Antiquarium of when we went to the nearby town of Poggio Civitate Vescovado, not to appear eccentric. In Open until September 18, 2016 the circle, frequented by men, we could only enter accompanied by the mayor, Fifty years of excavations at Poggio Maurizio Morviducci.” Civitate, in the municipality of Murlo, It was Morviducci, realizing the cul- the most significant discovery Etruscan tural and tourist potential of the discov- architecture, are recounted in the exhibi- ery, who campaigned for the comune to tion of images, “A Time Regained. The purchase the building that later became rediscovery of Murlo,” in the castle that the headquarters of the museum. In belonged to the Bishops of Siena. From left, Jean Turfa, Mayor Fabiola Parenti, Ingrid Edlund Berry. those days it was another time: It is an extraordinary documentation of years. Ranuccio Bianchi Bandinelli and the archaeological area) and Göran “Electricity and running water,“ people and places, as well as the evolu- Dario Neri believed in the intuition of Söderberg, photographer of the early observes Ingrid, “were still not in every tion of a society. As the mayor Fabiola Professor Kyle Meredith Phillips, who campaigns, which have been directed by home.” Every year, the excavations Parenti says in the exhibition booklet, brought the project to reality. Since scholars from various American univer- employed twenty workers. A family twenty-five years are “a short time in then, the horizons have expanded to sities in collaboration with Swedish atmosphere was created between resi- the face of a thousand-year history, but include investment in a museum, the archaeologists. (Even King Gustav of dents and archaeologists, friendships infinite in Murlo, because it marked a growth of fame and tourism, and even Sweden visited Murlo, as evidenced by were formed. The quasi-mythical figure sea change. Since 1966, everything has the investigation into the blood groups the images in the exhibition.) Among of Armida, “the cook and little mom,” is changed. That was the year that coin- of the modern inhabitants, in efforts to the latter was Ingrid Edlund Berry, at the still fondly remembered. The human cides with the beginning of the excava- find DNA related to the Etruscans.” time very young, who discovered the side and the social value definitely have tions at Poggio Civitate, remains of a The photos come from the University first traces of the famous “chapel,” i.e. priority in the beautiful images in the civilization buried for three thousand of Massachusetts Amherst (still digging the acroterial group that occupied the show Bluetrusco.

riproduzioni delle tombe di Chiusi.” Tom Rasmussen, “Interpretations of IN THE JOURNALS Elisabeth J. Shepherd, Giulia the Chigi Vase.” BABESCH 91: 29-41 Rasenna. Journal of the Center for Book and Exhibition Reviews: Ciccarello, “Lucio Mariani (2016). Etruscan Studies. Edited by Anthony Helen Nagy, review of A.A. Donohue, fotografo.” Tuck and Rex Wallace.Volume 5, The Mediterranean Foundations of Recensioni Stéphane Bourdin, “Peuplement et Issue 1 (2016). Ancient Art. Davide Angileri, Recensione a: M.-L. ethnies en Italie centrale et septentri- Michael Weiss, review of Gerhard Robert E. Vander Poppen, review of Gli Haack, ed. La construction de onale.” in Y. Marion, F. Tassaux, eds. Meiser, ed. Etruskische Texte. Baar Etruschi e La Campania settentri- l’Étruscologie au début du XXe siè- Adriatlas et l’histoire de l’espace adri- Verlag, Hamburg 2014 onale: Atti del XXXVI Convegno di cle. Actes des journées d’études atique du VIe s. a.C. au VIIe s. p. C. Theresa Huntsman, review of studi etruschi ed italici, Caserta, internationales des 2 et 3 décembre Actes du colloque international de Dominique Briquel, Catalogue des Santa Maria Capua Vetere, Capua, 2013 (Amiens), Ausonius Scripta Rome (4-6 novembre 2013). inscriptions étrusques et italiques du Teano, 11–15 novembre 2007. Receptoria 3, Bordeaux 2015. Bordeaux, 2015, 113-129. Musée du Louvre. Paris, Louvre édi- Lisa C. Pieraccini, review of L’Ombra tions, Picard 2016. degli Etruschi: Simboli di un popolo Ruth Whitehouse, John Wilkins, eds. ORIZZONTI. Rassegna di archeolo- fra pianura e collina. Accordia Research Papers. Volume 14, gia, Volume XVII, 2016 Etruscan Studies. Journal of the Review of Couched in Death: Klinai and 2014-2015. Among other interesting articles, this Etruscan Foundation. · Edited by Identity in Anatolia and Beyond. Section 1, “The Archaeology of Water,” issue has the following article con- Michael L. Thomas. Volume 19, includes Eleanor Betts, “Places of cerned with the Tomb of the Hanging Number 2, 2016. Vincenzo Belleli, ed. Mediterranea deposition and transition. Aryballos, featured in Etruscan News Nancy T. de Grummond, “Thunder ver- XII-XIII, 2015-2016. Quaderni annu- Phenomena of water in the sacred 16: Alessandro Mandolesi, Eleonora sus Lightning in Etruria.” ali dell’Istituto di Studi sul landscape of Iropn Age Central Altilia, Maria Rosa Lucidi, con appendi- P. Gregory Warden,“The Vicchio Stele Mediterraneo Antico. Ediz. Quasar. Adriatic Italy.” ci di Marshall Joseph Becker, Margarita and Its Context.” Isabelle Martelli, “New Proposals on Section 2 includes the following; Gleba, Osservazioni introduttive sulla Adriano Maggiani, “The Vicchio Stele: Some Iron Age Contexts from Vulci Charlotte R. Potts, “Vitruvius and Tomba dell’Aryballos sospeso di The Inscription.” and Pontecagnano with Pyxides and Etruscan Design.” Tarquinia. Lucy Shipley, “Stories in Clay: Tablet-weaving Belts.” Chjristian Heitz, “Ripacandida. An Mythological Characters on Alessio De Cristofaro, Alessandra indigenous cemetery and the Greek Aristonothos. Scritti per il Ceramics in Archaic Etruria.” Piergrossi, “Ripa Veientana. Per una periphery.” Mediterraneo antico. No. 11 (2016). Eric Gailledrat, Valentina Belfiore, storia del territorio tra Veio e Roma Silvia Amicone, “Rediscovering the fat- Università per gli Studi di Milano. Alexandre Beylier and Anne-Marie dall’VIII al IV secolo a.C.” toria officina of Manfria (Gela).” Federica Cordano, Giovanna Curé, “The Etruscans in Southern Alessandro Mandolesi, Maria Rosa Bagnasco Gianni, editors. Gaul during the Fifth Century Lucidi, “Il Tumulo della Regina di Lisa C. Pieraccini, “Sacred Serpent Milan, Ledizioni. B.C.E.: A Vessel of the ‘Spurinas’ Tarquinia e lo spazio scenico per Symbols: The Bearded Snakes of Fascino etrusco nel primo novecento. Group Discovered at the Settlement l’immortalità.” Etruria.” Ancient Egyptian Conversando di arte e di storia delle of La Monédière in Bessan (Hérault, Giulio Paolucci, “La Galerie Étrusque Interconnections, Vol. 10: 92-102 arti. France). del Conte des Varannes e le (2016). Page 37 In a previous volume, La construc- tion de l’étruscologie au début du XXe BOOK REVIEWS siècle (Bordeaux, Ausonius Éditions, 2015), Haack and Miller presented the Brief Book Reviews early history of Etruscology with exam- edited by Larissa Bonfante ples from archaeology and linguistics… In the Introduction to the present vol- ume, Haack comments on the peculiar but perhaps not unexpected fact that the dark cloud created by the Fascist and Nazi era affected the accounts of the achievements of Etruscology in the 1930s and during the Second World War. As an example she cites an article by Massimo Pallottino published in con- nection with the Second International Etruscan Congress in Florence, in 1985, where he omits the many major publica- tions produced in the pre-war and war periods. Now that more time has passed, and the present generation of scholars John Scheid, The Gods, the State, and ideally has less of a personal involve- the Individual: Reflections on Civic Angela Biella and Clemente Marconi. ment in the political aspects of Religion in Rome. Translated and eds. Musicians in Ancient Coroplastic Etruscology, it is important to view both with a forward by Clifford Ando. John North Hopkins, The Genesis of Art. Iconography, Ritual Contexts, and individual contributions and general Originally published in French, 2013. Roman Architecture. New Haven; Functions. Istituti Editoriali e research trends of the pre-war and war Philadelphia: University of London: Yale University Press, 2016. Poligrafici Internazionali, Pisa, periods in their historical contexts, Pennsylvania Press, 2016. Reviewed by Dominik Maschek, Bryn Rome, 2016. (LB) regardless of the sometimes painful Reviewed by Andrzej Gillmeister, Mawr Classical Review 2016.10.30. A wonderful mixed chorus, featur- memories that may arise. University of Zielona Góra, BMCR Writing the history of early Roman ing terracotta musicians from [Ed. Note: Among the many excellent 2016.10.28. architecture is an ambitious project; Mesopotamia, Cyprus, Greece, and articles we might single out is Maurizio This is a very good review of an whoever undertakes it will inevitably southern Italy, and on Middle Moche Harari on “Pallottino Africanista,” and excellent book. As the reviewer says, have to stand comparison with such period ritual pottery. Of particular inter- Enrico Benelli on “La linguistica John Scheid, one of the most prominent eminent scholars as Axel Boëthius, John est to our readers will be Rebecca Miller Etrusca in Italia: 1928-1942,” which contemporary scholars of ancient Bryan Ward-Perkins, Federico Ammerman’s contribution, “Tympanon tells the story of the classicist Francesco Roman religion, belongs to the French Castagnoli, Ranuccio Bianchi and Syrinx: A Musical Metaphor within Pironti, whose article on the Etruscan School: this work is dedicated to the Bandinelli, Einar Gjerstad, Filippo the System of Ritual Practice and Belief language published in the Fascist news- memory of Jean-Pierre Vernant. (I once Coarelli or Andrea Carandini. John at Metaponto;” and Daniele F. Maras, paper elicited violent scholarly contro- had the pleasure of sitting beside Scheid North Hopkins has taken up that chal- ”Gods, Men, Turtles: Terracotta Lyre versy. For Pironti, see Etruscan News at dinner in New York, and talking about lenge. And he has admirably risen to the Players in Etruscan Votive Deposits.” . 2003, and 2017, page 2.] Georges Dumézil, of whom we both task. His narrative is based upon a spoke with great affection. I told him chronological trajectory, leading from Marie-Laurence Haack, ed. L’écriture that I had visited him once at his apart- the 8th century through the Archaic et l’espace de la mort. Epigraphie et ment in Paris, where the floor was cov- period down to the Early Republic. nécropolis à l’époque préromaine. ered with piles of books, and he had These chapters are skillfully framed by Collection de l’École Française de complained that he could no longer a set of broader methodological ques- Rome 502. École Française de Rome.. work because he could not find the tions, which are discussed at length both . These are the Proceedings of a very books he needed. Scheid replied that in in the Introduction and the two conclud- successful international colloquium held fact he had asked Dumézil what books ing chapters. Hopkins starts with a brief at the École Française de Rome, March he needed, and had gotten them for him but trenchant review of over 100 years 2009. The meeting represented the final at the library, so that he could work of scholarship on early Rome (pp. 4-12). phase of a four-year project dealing with again). Inspiration from scholars of the Not only does he succeed in pin- the way the relationship between the liv- French school is visible throughout pointing the main bones of contention, ing and the dead could be understood Scheid’s work, for example in his struc- but he also—even more impressively— through epigraphy. The Proceedings turalism. avoids any ad hominem arguments in have already appeared online. The reviewer then continues: “In his the process of discussing the patchy The Editor’s Introduction, “Les foreword, the translator draws attention nature of the archaeological evidence, nécropolis, miroirs des morts, reflets des to a discussion currently taking place which strikingly contrasts with the vivants,” deftly places the subject in its within Roman religious studies, which wealth of occasionally far-flung inter- Marie-Laurence Haack, ed. Les theoretical context. There follow twenty one might loosely describe as a debate pretations. His map of Rome (p. 5) pro- Étrusques au temps du fascisme et du stimulating contributions by as many over the utility of the model of polis- vides a welcome, up-to-date illustration nazisme. Scripta Receptoria, 7. authors. religion in contrast to other models cen- of this conundrum by showing the limit- Bordeaux: Ausonius Éditions, 2016. The recorded discussions appended tered on different sociological cate- ed scale of excavations on sites relevant Reviewed by Ingrid Edlund-Berry, after each contribution allow the reader gories, such as the individual. Ando … to early Rome; this is enlightening for Bryn Mawr Classical Review to share to an unusual extent the experi- .places Scheid’s book within it—as a scholars and students alike. 2017.01.42 ence of attending the actual conference. book written in the defence of the con- Page 38 cept of polis- or civic-religion… Scheid Urbanization, and Space; III, Evidence the book has been reviewed or goes on to point out that criticism of the in Context; IV, Art, Society and Culture; announced is an indication of the inter- concept of polis-religion, which is par- and V, The Etruscan Legacy and est evinced by the members of the ticularly prominent in contemporary Contemporary Issues. This format Society for Classical Studies (SCS), for- German and Anglo-Saxon scholarship, allows readers to “become familiar with merly the American Philological is rooted in the assumption that the the key themes, approaches, and issues Association (APA). Reviews have model omits any concern for personal that underlie the study of the Etruscans appeared so far in Classical World vol. and emotional attitudes to divinity, and today,” while copious references, a 110, Fall 2016, 150-151 (Paul hence does not cover ancient religious Guide to Further Reading, and a Guide Properzio); BMCR 2016.08.13 (Donald experience in its entirety. He claims that to Etruscan art in North American Lateiner). And there will be many this normative concern for individuals Museums makes it useful for further more… The volume includes the fol- and emotions derives from a study. In other words, it covers the lowing chapters: Christianizing phenomenology and is an basics, and can be used as a textbook, Kathleen M. Coleman, inheritance from Hegelian-Romantic but a textbook in which there is much “Approaching the visual in Ancient philosophy of religion. He also argues original, and even surprising material. Culture: Principles.” that enthusiasts of this approach do not My favorite in Part II is Simon Luca Giuliani, “How did the Greeks appreciate that the emotional sphere Stoddart’s “Etruscan Italy. Physical translate Traditional Tales into Images?” within ancient religions was experi- Geography and Environment,” a Katherine M.B. Dunbabin, “Image, enced differently, as it was of a commu- detailed account of Etruscan geography, Myth and Epic on Mosaics of the Late RuneRune Frederiksen, Frederiksen, Elizabeth Elizabeth R. nal nature, and associated with a differ- which helps to understand the Roman West.” Gebhard and Alexander Sokolicek, ent conception of divinity. (LB) Etruscan’s favored position, on the sea Timothy M. O’Sullivan, “Aurati eds. The Architecture of the Ancient and in the features of its landscape, laquearia caeli: Roman Floor and Greek Theatre. Acts of an “within which were found the agricul- Ceiling Decoration and the International Conference at the tural and mineralogical resources that Philosophical Pose.” Danish Insitute at Athens 27-30 underpinned two other of its important Andrew Burnett and Dominic January 2012. Aarhus, Aarhus economic facts,” the human landscape, Oldman, “Roman Coins and the New Universitetsforlag, 2015. Monographs and the landscapes and harbors of cities. World of Museums and Digital Images. of the Danish Institute at Athens, 17. Space does not allow me to list the Reviewed by L. Bouke van der chapters, which are all well-written, Meer, BABESCH 2016. well-edited, and provide much useful This very rich collection of twenty- information, but I can mention Philip six conference papers not only focuses Perkins’s succinct “Bucchero in on the architecture of ancient Greek the- Context,” Ingrid Krauskopf’s chrono- atres but also on the transformations that logically organized “Myth in Etruria;” they underwent in the Roman period. and Alexandra Carpino’s “The Taste for Often, we are also informed about their Violence in Etruscan Art,” featuring, social, religious and/or political func- among others, the mirror with Menrva tions. The book is a welcome addition to beating Akrathe with his own severed M. Bieber’s History of the Greek and arm. (LB) Roman Theatre (Princeton 19714)… 1961 SinclairSinclair Bell Bell and and Alexandra Alexandra A. Carpino, eds. Etruscans. Blackwell Companions to the Ancient World. Malden, MA, US; Oxford, Chichester, UK. (Announced in Etruscan News 16 (2014) 37). The editors of this latest multi- FedericoFederico Santangelo, Santangelo, Divination,Divination, author volume on the Etruscans dedicat- Prediction and the End of the Roman ed it to the editors’ teachers, the late Republic. Cambridge; New York: David and Francesca Romana Ridgway Cambridge University Press, 2013. and Richard D. De Puma, and they con- Reviewed by Daniele F. Maras, sciously chose the twenty-nine contribu- BMCR 2014.04.39 tors to represent both well-established Federico Santangelo has written a authors and “emerging” scholars from a wonderful book on a difficult, crucial younger generation. subject that has never been discussed in The Introduction surveys some of such depth in the past, although a great the recent gallery renovation projects, number of scholars have dealt with the museum exhibits, catalogues and other interaction of religious issues and poli- significant publications, as well as KathleenKathleen M. M. Coleman, Coleman, ed. ed. Images tics in the late Republican period. The teaching appointments that give evi- for Classicists. Loeb Classical excellent methodology and rich bibliog- dence of an ongoing interest in the Monographs 15. Harvard University raphy, accurate editing, and a reasonable Paola Perazzi, Gabriella Poggesi, Etruscans. It also gives a rundown of Department of the Classics, price make this book well worth pur- SusannaPaola Perazzi,Sarti, eds. Gabriella L’Ombra Poggesi, degli the book’s contents, organized into five Cambridge, MA, 2012015.5. chasing by historians of pre-Roman and Etruschi.Susanna Simbolo Sarti, eds. di un L’Ombra popolo fra degli pia- parts: I, History; II, Geography, The speed and frequency with which Roman Italy. nura e collina.

Page 39 addition, but was originally inscribed on medieval Tuscany, dotted with proudly its history and art in later times, down to the wax model from which the cire per- independent cities, geographically close its absorption by its neighbor, Rome. due was cast. and sharing a language and a religion. Part II (Chapters 6 and 7) deals with As one of the contributors, I should not Review by Francesco de Angelis proprietary inscriptions, that is, those by rights be writing this review -- a This beautifully edited and produced marking possession, either “speaking longer one, by Francesco de Angelis, volume is the first comprehensive inscriptions,” on which the object pro- appears here. But we wanted to English treatment of Caere, a city whose claims, ”I belong to so-and-so,” or those announce the publication of the volume, relevance within the landscape of both with the simple name of the owner. and the forthcoming series on The Cities Etruria and, more generally, ancient Finally, Part III collects other cate- of Etruria, with the editors of this vol- Italy can hardly be overemphasized. gories: Chapter 8, gift inscriptions; ume as the series editors. This quality alone would be enough to Chapter 9, contents; Chapter 10, What was special about Caere, mod- recommend it to the attention of stu- inscribed mirrors; Chapter 11, a maker’s ern Cerveteri? Nearly everything. Forty- dents and scholars. Even more impor- mark and six technical signs; and five kilometers from Rome, six kilome- tantly, however, this is the opening volu- Chapter 12, non-Etruscan inscriptions ters from the sea, rich in minerals, with me of a new series that aims to cover all (Italic and Messapic). Useful its three busy harbors connecting it to urban centers that belonged to the so- Appendices include fake inscriptions Greeks and Carthaginians and bringing called league of the twelve Etruscan and concordances, a rich bibliography, materials and ideas that the city passed cities. This idea is as brilliant as it is Dominique Briquel, Catalogue des and a Lexical Index. on inland to other Etruscan cities and simple. Anybody who is familiar with Inscriptions Étrusques et Italiques du “D. Briquel s’est lancé dans une elsewhere in Italy, Caere flourished in Etruria knows very well that, along with Musée du Louvre. Paris, Éditions entreprise titanesque….” So reads one the Orientalizing period, its time of a great number of common traits, the Picard, 2016. review (Roma Aeterna 2016. See also cities of this region were characterized This beautiful volume is much more the review by Theresa Huntsman in by individual features and peculiarities, than a catalogue of the Etruscan inscrip- Rasenna 2016). It was indeed a gigantic which must have contributed in a strong tions in the Louvre Museum. Right from enterprise. It is also no small merit to way to the rise and perpetuation of local the start, the hundred-year history of the have broken with the tradition of corpo- identities. These specific characters pla- collection in the Introduction places it ra of inscriptions, according to which yed a crucial role in the social, econo- squarely in the history of Etruscan stud- the writing is stripped from its support, mic, and cultural development of the ies. The author has made use of a great and to pay so much attention to its con- cities throughout their history, and were deal of unpublished material from the text, that is, the object on which it among the prime factors of the richness archival research he has conducted in appears. This splendid volume allows and manifoldness of Etruscan culture; the Museum itself, as well as from everyone, scholar and amateur, they also were a decisive cause of the unpublished notes of the visit in 1909 of epigraphist, archaeologist and art histo- Etruscans’ loss of political autonomy at O.A. Danielsson, some of whose rich rian, to go through the galleries of the the hand of the Romans. This situation, archives were only recently published Louvre with a guide who opens up for which resembles in many respects what by Charlotte and Orjan Wikander us the untold riches of its collection of we know from Greece, is of course duly (Review, AJA April 2006). Each object Etruscan epigraphy. We owe him an acknowledged in every book on the is provided with its own history, enormous debt of gratitude. (LB) Etruscans. Occasionally, it comes to the description and bibliography, and is lov- greatest glory. At that time it was one of fore in a more prominent way: for ingly illustrated with splendid photo- Caere, the wealthiest cities in the example, in archaeological guidebooks graphs, as well as occasional old draw- A Great Etruscan City Mediterranean, then and later the goal of of Etruria, which are by necessity orga- ings recording a moment of its earlier Nancy de Grummond and Lisa C. adventurous immigrants. Caere’s inno- nized topographically (one thinks of history. Pieraccini, eds. Caere. In Honor of vations run like a leitmotif throughout Mario Torelli’s “Guida Archeological The organization is user friendly. Mario A. Del Chiaro. Cities of the the volume, many dealing with ceram- Laterza” of the region); or in exhibitions Part I includes Hellenistic funerary Etruscans, Vol. 1. Austin, TX, ics: a new narrative style of vase paint- like the one on Veio, Cerveteri, Vulci inscriptions, which constitute the huge University of Texas Press, 2016. (LB) ing (61, 243), terracotta architectural (Villa Giulia, 2001), whose programma- majority of the collection — 62 out of a After Massimo Pallottino founded the decoration (128, 130), new ways of dec- tic aim was to compare and contrast the total of 95 inscriptions. Provenances Istituto di Studi Etruschi e Italici, and orating local ceramics (166), bucchero main cities of southern Etruria—among here are given by the type of material on his Etruscologia (1942, with new edi- (176-177), early pottery production and which Caere. And of course one thinks which they occur, which is in each case tions thereafter) made Etruscan scholar- décor (241); and also the seven-stringed of the books on Tarquinia and Volterra typical of a particular city: Chapter 1, ship international, Emeline Hill kithara (242), and the first appearance of published by Stephan Steingräber for cinerary urns from Chiusi and Volterra; Richardson’s Etruscans (1964) set the two heroes, Achilles and Heracles (245). von Zabern, or the one on Chiusi edited Chapter 2, sarcophagi from Chiusi; stage for Etruscan studies in the United There is a long list of firsts, many by Anna Rastrelli. Before Nancy de Chapter 3, funerary cippi (2, both male) States. In 1974 Mario Del Chiaro’s involved with the innovation of writing: Grummond and Lisa Pieraccini, howe- from Caere; Chapter 4, cinerary Etruscan Red-Figure Vase-Painting at the first to be exposed to new technolo- ver, nobody had thought to take advan- amphorae from Caere. Instead Chapter Caere concentrated on the particular gies coming from the eastern tage of the heuristic potential of this 5 collects 17 instances of the inscription city that is the subject of this volume. Mediterranean (42), the primary source characteristic feature of Etruscan culture suthina (“for the grave,” from suthi, By then Luisa Banti had redirected the from which the alphabet spread to the in a systematic fashion and plan to pro- “the grave”), which appear on bronze or study of Etruscan culture by focusing on rest of Italy (42); and of course the long- vide individual treatments of all major more rarely, silver objects, and Attic the special character of the individual sought bilingual inscriptions on the gold Etruscan centers. It is to be hoped that vases. The beautiful head of a women cities, in Il mondo degli Etruschi (1960; tablets from Caere’s harbor, Pyrgi (45- further volumes will follow suit soon. with the word branded on her forehead second edition, and English translation 46). This beautifully edited, produced It would be too long to review in that appears on the cover of the book by Erika Bizzarri, 1969). Herself a and illustrated book brings us something detail all twenty-five chapters of the was indeed destined to be placed in the fiercely loyal Florentine, she compared of the excitement of this great port city volume, which are authored by some of grave, since the word was not a later the Etruscan landscape to that of in a momentous period of history, and of the most prominent experts of Caere, Page 40 from different countries and scholarly Maisie and Jasper Tuck at traditions—as well as different genera- Amherst Books point to the tions. Suffice it to say that, taken toge- shelf with their dad’s book, The ther and supported by the numerous hel- Stone Circle. (Move over, Harry pful maps and illustrations, they manage to convey the most up-to-date informa- Potter!) tion about the city and provide a vibrant marvelous store of knowledge of old and adequate picture of this vibrant myths, obscure languages and secrets of Etruscan center, encompassing all its the universe. main characteristics. The chapters are The kids discover a circle of stones grouped in six thematic sections: 1. set up in the woods and from there soon “Historical Identity and Physical master a technique for teleporting to the Setting”; 2. “Connections and destinations where they will carry out Interactions Around the their quests. Along the way they not—as they carry out the imposed Mediterranean”; 3. “Cities of the Dead”; encounter an imaginative array of crea- labors that lead to their triumph. 4. “Religion and Civic Identity”; 5. “Art tures, some friendly and some hostile, I could not help but observe that the and Artisans”; 6. “Later Years”. Instead who provide the keys to their success. Etruscans are never mentioned in this of trying to achieve an abstract homoge- They do battle with the Chimera, book. But I understand that Tony Tuck neity by covering every topic in the Harpies, Grendel, and Beowulf into the has already begun a second novel. Anthony Tuck, The Stone Circle. same, uniform way, the chapters reflect bargain, and are treated kindly and Tucson: Wheatmark. 2016. $12.95, both the nature of the evidence and the helped along by the likes of Pegasus, Vulci, continued from page 1 paper. ISBN 978-1-62787-307-9 current state of scholarship, thereby pri- Orithyia, and assorted non-classical Among these jewels were two Egyptian by Nancy T. de Grummond vileging some aspects over others. characters, as well as certain inhabitants scarabs: the first in blue faience set in a Generally speaking, it is the earlier It came as quite a surprise to me when of Sanbornville, New Hampshire. They silver pendant sheathed in gold foil; the phase of Caere’s history, until the end of there arrived in my mailbox a new book must be very careful in regard to the lat- second of ivory also encased in a gold the Archaic age, that receives the most by Anthony Tuck of the University of ter, however, because some of these leafed silver bezel. Amber and glass sustained attention. Understandably so, Massachusetts. Of course Tony’s work seemingly ordinary folks have come paste (pasta vitrea) necklaces, fibulae in given the prominence of the city in this on Etruscan subjects is well known and under the control of the Dark side and gold and silver, bronze and silver pen- time period, when it invented bucchero, always welcome in our profession, but have developed a shamanic system of dants, and vases decorated with metal attracted talented artisans from the this was a book with a difference: a fan- communicating with these forces. laminates complete the group. Greek East like Aristonothos and the tasy novel for children! It turns out that Tuck’s personal interests came out The tomb was recognized by the Eagle Painter, and entertained intense he is a really talented and entertaining especially well in regard to the character Region of Lazio, which awarded its relationships with the Carthaginians. writer of fiction. The book is aimed at of the deceased Norse king Cnut, who lucky discoverers with the prize of Moreover, selected historical episodes middle-schoolers and teens, but adults inhabits his own barrow tomb in Archaeological Discovery of the Year. and monuments obtain chapters of their (like myself) will love this stuff. Orkney, chock full of all sorts of grave Due to this discovery there was own in the volume. This is the case, for In this book the protagonists are a goods that he constantly frets will fall nothing to be done except to begin new example, of the infamous episode of the couple of super-clever kids named into the hands of archaeologists. The research of this necropolis with an exca- stoning of the Phokaian prisoners after Maisie and Jasper Tuck, twins who can “barrow wight” is very sympathetic to vation campaign, coordinated as always the Battle of Alalia, around 535 BCE, access each other’s thoughts so that they Maisie and Jasper; he fixes delicious by the Soprintendenza Archeologica; it which is analyzed in detail by Jean can communicate without actually talk- bacon for them and dispenses advice was started in September 2016 and just MacIntosh Turfa; or of the renowned ing. They have a daunting mission, a and crucial disguises. concluded. The investigation encom- terracotta “sarcophagi” with reclining destiny entrusted to them as Gemini, to Tony Tuck’s wide knowledge and passed the area immediately above the couples, nicely presented by Nancy de halt the progress of the Dark Ones, terri- understanding of ancient and world Tomb of the Golden Scarab, with an ini- Grummond. These “zoom-ins” are quite fying ghoulish characters who plan to mythology is evident not only in the tial excavation zone of 100 square effective, and in fact one is left wishing start a new cycle of evil and darkness in marvelous characters he adopts or meters (10 x10 m), enlarged as needed for more. Readers looking for further the world, beginning with the day of the invents, but in the larger grand mytho- to dig in various spots. famous monuments and artifacts, howe- Winter Solstice, the shortest day of the logical themes and devices that recur in The next tomb discovered, Tomb 2, ver, will not be disappointed, since often year. The twins can put a stop to it if the book. The Four Seasons and the was found completely intact beneath the they feature in more than one chapter. they can reassemble the Crown of the Four Winds provide the structural capstone of white limestone; it held an The Regolini-Galassi Tomb, for exam- Seasons before the fateful date, but they framework for the whole narrative. The intact funerary urn containing the ashes ple, is treated both by Lisa Pieraccini must travel literally to the four corners dualistic and cyclical battle between of a female individual, along with a (whose chapter on funerary ritual, “Life of the world to secure the precious dark and light and ultimate victory of spindle whorl, a clear indication of her at the Tomb”, makes for a stimulating stones that belong in the Crown. good over evil are centered in the micro- previous activities of spinning, and a set read in combination with its counterpart Their fantastic adventures are cosmos of the Stone Circle, but extend of 12 vessels, one with painted decora- “Life at Sanctuaries” by Nancy de launched from a cabin in the woods of to the edges of the macrocosmos. tion geometric type of “red on white,” Grummond,), Richard De Puma (in the New Hampshire, where they have been Symbols such as the Circle and the and five bronze fibulae a navicella, per- chapter on gold and ivory), and Faya entrusted by their parents to the care of Crown and actions such as shape-shift- haps applied to the sumptuous garment Causey (on amber), not to mention its the eccentric and doddering Professor ing are well-nigh universal in mytholo- which was laid over the urn. The group mention in Stephan Steingräber’s chap- Winslop, who has guided the research of gy. The children themselves are figures clearly dates to an early stage of the ter on tomb architecture. their parents and subtly groomed the who exemplify the structure of the Orientalizing period, between the late Very aptly, the volume is dedicated to children for their role as saviors of career of the hero, unusual in their birth 8th and early 7th centuries BC. Mario Del Chiaro, unodubtedly the goodness and justice. The impractical (as twins), experiencing exile from their Among the outstanding tombs dis- scholar who in the United States has old fellow alternately feeds their bellies parents and having a surrogate father, covered from this period is that of a war- most contributed to the advancement of from a can of Spam (“gelatin-covered facing great adversaries (the Dark rior; it is also a deep fossa type without the knowledge of Caere. pink meat”) and their minds from his Ones), having helpers—both divine and Vulci, continued on page 44 Page 41 Etruscan News from FORTHCOMING BOOKS Germany OBITUARIES by Ellen Thiermann appliances, from Bronze Age The working group Etrusker & Mesopotamia and Egypt to modern Italiker of the German Association of Europe and the Americas. Included are Archaeologists, the Deutscher many of the ancient literary sources that Archäologenverband, connects German refer to dentistry - or the lack thereof - in scholars interested in Etruscan and Italic Greece and Rome, as well as the archae- archaeology (see Etruscan News 15, ological evidence of ancient dental 2013, 21). Founded in 2010, the work- health. The book challenges many past ing group counts more than 80 mem- works in exposing modern scholars’ fal- bers. These numbers show a growing lacies about ancient dentistry, while pre- interest in this field, especially among senting the incontrovertible evidence of the new generations. A newsletter, a the Etruscans’ seemingly modern atti- website (www.darv.de/arbeitsgemein- tudes to cosmetic dentistry. schaften/etrusker-italiker.de.) and a Dr. Patty Baker, Classics and Facebook page carry announcements of Archaeology, University of Kent, UK, lectures, exhibitions or other news comments, “This study is vitally impor- (www.facebook.com/etruskerunditalik- tant for our knowledge of the history of er). In 2016, the 12th meeting, was held Enrico Pellegrini The Etruscans and the History of dentistry, especially for the Etruscan at the University of Hamburg. The 13th Dentistry: The Golden Smile through period. It is extensively researched and meeting, at the Freie Universität Berlin 1955-2016 the ages. Routledge Monographs in combines the subjects of biological (January 28-29, 2017), will deal with by Pietro Tamburini Classical Studies. Marshall Joseph anthropology, medical history and mate- the genesis of cities and settlements in Becker, Jean Macintosh Turfa. rial cultural studies to provide a rounded pre-Roman Italy, and includes a visit of Enrico Pellegrini, a brilliant, dynam- Routledge, 2017, 448 pages. approach to the history of dentistry. This the exhibition on Apulian vases by ic Etruscan scholar, has left us. Born and The Etruscans and the History of book is a valuable contribution to schol- Ursula Kästner, curator at the raised in Pitigliano, an important rock Dentistry offers a study of the construc- arship on ancient perceptions of dental Antikensammlung Berlin. Contact Ellen art center of ancient Etruria, he received tion and use of gold dental appliances in health and conceptions of beauty and is Thiermann (ellen.thiermann@archae- his doctorate in Etruscan Studies and ancient Etruscan culture, and their place highly recommended for anyone inter- ologie.uzh.ch). Italic Antiquities in 1982 at the within the framework of a general histo- ested in the medical humanities.” University of Rome "La Sapienza;" his ry of dentistry, with special emphasis on See article Etruscan Grillz on page 15 teachers, among others, were Massimo Pallottino and Giovanni Colonna. Starting his career early at the Ministero BOOK ANNOUNCEMENTS per i Beni e le Attività Culturali, he served as Archaeological Inspector first in the Soprintendenza of Abruzzo, then the Museum of Prehistory and Ethnography Luigi Pigorini of Rome, and finally, from 2006, in Southern Etruria. In 2013 he became Director of the Archaeological Museums in Pitigliano. He was a Corresponding Member of the National Institute of Etruscan and Italic Studies. His professional activity covered various sectors, from museum installations and exhibitions to training on archaeological method and education on behalf of the Archaeological Soprintendenza of Tuscany and Southern Etruria, to archaeological sur- veys and field work, in which he demonstrated his superb qualities as a Sarah Japp, Patricia Kögler, eds. Carlo Buzzetti and Giuseppina Pisani Paola del Bianco. L’universo inter- field archaeologist. Traditions and Innovations. Tracking Sartorio, eds. Scoperte Archeologiche nazionale della cultura e delle arti tra He published significant contributions the Development of Pottery from the sul tracciato della linea della metropol- Rimini, Parigi e Roma. Il Fondo des in many specialized articles and mono- Late Classical to the Early Imperial itana di Roma (1939-1953) Vergers della Biblioteca Gambalunga graphs, and edited important journals Period. International Association for dall’Archivio Gatti. Rome, L’Erma di di Rimini. Rome, École Française de and series, such as the Bullettino di Research on Pottery of the Hellenistic Bretschneider 2016. Rome, 2016. Paleoetnologia Italiana, Dizionario di Periods. Volume i. Proceedings of the The volume was presented at the The book was presented at the École Preistoria, Italia Preistorica, Il mondo 1st Conference of IARpotHP, Berlin, Istituto Nazionale di Studi Romani, by Française, by Giovanni Colonna, Eve dell'archeologia. November 2013. Vienna, 2016. Susanna Le Pera and Paolo Liverani, Gran-Aymerich, Laurent Haumesser, His most important work, starting October 11, 2016. Rita Capioli, March 10, 2016. from his thesis, is certainly La Page 42 Necropoli di Poggio Buco. Nuovi dati place, for old friends and new. allowed plays in both Greek and Roman Archaic necropoleis of Veii, relations per lo studio di un centro dell'Etruria (The following is from the King’s style to be performed to the same audi- between Southern Etruria and Latium interna nei periodi orientalizzante ed College obituary). In his 36 years at torium. and their connections with Greece, arcaico, Florence 1989 (Monumenti King’s College London, Professor In addition to his administration and Sardinia and Levantine peoples, the Etruschi 6), which is still today, after Geoffrey Waywell, who died on 16 research, Geoffrey was a very popular funerary and religious ideology of well over a quarter of a century, a cor- February 2016, was one of the prime and busy teacher of undergraduates, and Etruria during the Early Iron Age, and nerstone in the study of the earliest movers in the development of the an indefatigable supervisor of countless the cultural, economic, ponderal and stages of Etruscan civilization. Department of Classics from a small but PhD students, and visiting doctoral and archaeometric aspects of metals in the Subsequently his scholarly interests well regarded unit within the federal post-doctoral scholars, many of whom sanctuary of Pyrgi (with the Faculty of centered mainly on the study of various University of London into the highly are now in post in British and Greek uni- Engineering of Sapienza University of aspects of proto-historical metallurgy, ranked and third largest Classics versities and the Greek Archaeological Rome, the Department of Earth and on Etruscan settlements, necrop- Department in the UK that it is today. In Ephorates, and in Museums across Sciences of the University of Florence oleis and territorial dynamics in south- particular he was responsible for mak- Europe. He will be much missed by his and the Institute of Conservation and ern Etruria between the Orientalizing ing Art and Archaeology a central fea- former students, colleagues and friends. Restoration). She directed excavations and the Hellenistic periods. In 2008, as ture of Classics at King’s. in the area of the Artemisio mountain in an official of the Archaeological Geoffrey joined the Department in the eastern area of the Alban hills. Soprintendenza for Southern Etruria, he 1968 as Lecturer in Classical Because the results of these investiga- was put in charge of the administrative Archaeology. He was made Professor of tions, published in Rendiconti della and scientific protection of several Classical Archaeology in 1987, and Pontificia Accademia di Archeologia municipalities of the province of Lazio, acted as Head of Department in 1989- 2002-2003 and Fasti on line 2004 and initiating a fruitful season of archaeo- 1993. As Chair of the BA Examination 2008, called for a more extensive publi- logical investigations and studies on the Board he piloted through the change cation, she collaborated with scholars western portion of the ancient territory from final-year examination to course- interested in ancient Latium on Il Lazio of Volsinii. One November morning we unit degree programmes. In 1996 he was dai Colli Albani ai Monti Lepini tra met in Bolsena, in the town library, to appointed Director of the Institute of preistoria ed età moderna (2009), Il discuss a document from the Ministero, Classical Studies, then a half-time post, Lazio tra archeologia e storia, and Il to which agreed on a response. The next and while continuing to teach at King’s, Lazio tra tardo antico ed età moderna. evening Enrico was gone, forever, leav- stage-managed the move of the Institute She edited studies on finds from the ing a human and scientific void that will and the Combined Library from Gordon sacred area of SS. Stimmate at Velitrae, be hard to fill. Square to Senate House. He retired from and was working on the publication of the ICS and King’s in 2004, and was excavations in the necropolis of Ficana elected a Fellow of King’s College in between 1975 and 1983. After publish- that year. ing the Catalogue of Protohistoric Geoffrey published widely on classi- Materials in the Museum of Etruscan cal sculpture and architecture. His first Luciana Drago and Italic Antiquities of La Sapienza major project was to study the free- University of Rome, she was working standing sculptures in the British 1956-2016 with Giovanni Colonna on the Museum from the Mausoleum at by Mariolina Cataldi Museum’s copies of Etruscan tomb Halicarnassus, one of the Seven and the Friends of the paintings, as well as, together with Wonders of the Ancient World, of which Painted Tombs of Tarquina scholars of La Sapienza University of he published the definitive catalogue in Rome and the Swedish Institute of 1978. Another long-standing enthusi- A member of the faculty of Etruscan Classical Studies at Rome, on copies of asm was collections of Greek and and Italic Antiquities at La Sapienza Etruscan tomb paintings made Roman statuary in English country University of Rome in the Department between the second half of the nine- houses, and in 1986 he published the of Sciences of Antiquity, Luciana Drago teenth century and the first decades of standard catalogue of the important taught students in Archaeological the twentieth century. Lever and Hope collections. When the Sciences and Archaeology, and since Her friends and colleagues, including archive of Bernard Ashmole came to 2007-2008, Methodologies of those from the “Amici delle Tombe Geoffrey Waywell, King’s, Geoffrey and his assistants Archaeological Researches for students Dipinte di Tarquinia,” where she was devoted enormous effort to sorting and in Sciences and Technologies for the one of the group’s mainstays, remember 1944 - 2016 curating it; he also accepted Ashmole’s Conservation of Cultural Heritage. She her with much affection and admiration, by friends at King’s College desk (still used by each Head of was a member of the "Istituto di Studi and lament their loss. Luciana was a Department), and was amused to find Etruschi ed Italici" (2012), and served brilliant scholar with broad interests, a Those of us who had the good fortune and open its secret compartment. In on the Scientific Committee of the jour- dear friend and invaluable collaborator to use the wonderful library of the 1989 he joined with John Wilkes in run- nal "Archeologia Classica” since 2010. of the “Friends of the Painted Tombs of Institute of Classical Archaeology ning excavations at the long neglected Much of her work dealt with cultural Tarquinia,” she had recentbeen dedicat- remember its director, Geoffrey site of Roman and Byzantine Sparta, in features of Southern Etruria and Latium ed to the study of Etruscan Painting and Wayvell, who presided over an array of particular its theatre, on behalf of the between the Villanovan and late Archaic worked on association events with an international guests, all of whom looked British School at Athens. periods, including a book about Caere enthusiasm that she would pass on to blissfully contented as they wandered in These excavations continued to 1998 and its cemeteries, another about those who had the good fortune to work the forests of the stacks hunting down and are perhaps best known for the dis- Latium, written together with other with her. A vitality and energy that their favorite books. David and covery in 1992 of the traces of an scholars, and articles in Proceedings of accompanied her until the end. From Francesca Ridgway, I remember, had an extraordinary mechanical system for National and International Congresses today we will all be more alone. office there; the Institute was a meeting wheeling in and out a raised stage: this about the Villanovan, Orientalizing and Page 43 Vulci, continued from page 37 in all probability are linked to beads of a pit in the center. The contents includ- colored powdered earth, cosmetics of ed a number of valuable Etrusco- the era, found in the tomb’s southwest Geometric ceramics of various forms corner. (two plates, two cups, a jug and a small The excavations were suspended crater). Of note also were two situlae 12/31/2016 and will resume next spring and a red on white painted olla with geo- to allow time for restoration, analysis, metric and animal friezes, some mixing and the study of over 35 excavated tomb vessels, an iron vase stand, two bronze groups: the results to be shown in a fibulae and some silver beads; all these major exhibition in the summer of 2017. display the degree of well-being Thanks to Fondazione Vulci, park staff achieved in his life. The presence of an and excavation team for all their efforts. iron axe and of an anomalous bronze [Other articles on Vulci are: Vulci and iron lance helps us identify the 3000, Chariot from Tomb of the Silver deceased’s role as a warrior. The lance Hands, p.10, Vulci museum, p.21]. strangely consists of a beautifully craft- Tomb of the Crested Cinerary Urn with its multiple bronze vessels. (Photos Carlo Casi and Fondazione Vulci) Inset top, detail of the crested helmet lid of biconical cremation urn. ed foliated iron spear head, from which ered by roof tiles. branches off a long spiral of bronze It is from this last phase the last and rings, completed by a small bronze most recent discovery (Christmas Eve sauroter (spear terminal). (photo page 1) morning) was made. A prestigious Particular among the fossa tombs, Hellenistic (3rd-2nd cent. BC) burial, reminding us closely of that of the named the (Tomba della Trucatrice) Golden Scarab, is the Tomb of the “tomb of the makeup artist.” Here, in a Crested Cinerary Urn, because placed trench tomb under a closure of large inside was a monumental stone cista tiles, there were objects of a clearly fem- covered by a heavy stone slab. In addi- inine and extremely significant nature. tion to a short iron spear with spiraling Among the black glaze and achromatic Objects from the Tomb of the bronze rings to the handle, roasting ware (including a carinated lagynos for The truccatrice’s leather and sil- spits, and a double-headed iron vase Golden Scarab. (Photo at center) wine), appears a near intact set of ver cosmetic case & implements. stand with a few cups and embossed and engraved bowls still hanging from bronze vessels which its hooks, are some include a mirror, a small ceramics, among which cista, the foot of cista in we note the presence of a the form of a harpy, a red on white painted olla pan, a pyxis and a globu- of the Bisenzio Group. lar water flask still Remarkable also are a sealed with its top and biconical bronze ash urn chain, its content intact. with a spherical lid surmounted by a Lying nearby was a strange sort of thin crested bronze embossed helmet, and a sheet bronze cutter, probably for thread, bronze stamnos with an embossed lid. which together with an underlying silver The area is then occupied by some hook, perhaps an appliqué to the termi- small chamber tombs, dating back to the nal of a spindle, reminds us of the spin- second half of the 7th century BC. The ning activities of the deceased. Nearby, Bronze flask still sealed with next group of burials resume before the the remains of a leather and silver case A ball of her ochre cosmetics. chain attached. Below, Geomet- end of the 4th century and last until at containing two of the three small tools Below, bronze vessels, a mirror ric situla from the warrior’s tomb. least the 2nd century BC. They are part still in place: a small spoon and a spatula and a lagynos from her tomb. of this phase of numerous deep chamber in bronze. Objects were found clearly tombs and niche tombs within a pit cov- related to personal cosmetics, and which The Tomb of the Warrior upon removal of the cover slab.

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