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Giacobbe Giusti, Etruscan society

Publié par GIACOBBE GIUSTI le 15 décembre 2018

Giacobbe Giusti, Etruscan society

Etruscan dancer, Tomb of the Leopards, Tarquinia, Italy

Etruscan society is mainly known through the memorial and achievemental inscriptions on monuments of Etruscan civilization, especially tombs. This information emphasizes family data. Some contractual information is also available from various sources.^[1] The Roman and Greek historians had more to say of Etruscan government.^[1]

Aristocratic families

Society of the tombs

Giacobbe Giusti, Etruscan society

Etruscan Civilization dancer in the Tomb of the Augurs, Tarquinia, Italy

Giacobbe Giusti, Etruscan society

Etruscan dancers in the Tomb of the Triclinium near Tarquinia, Italy (470 BC)

The population described by the inscriptions owned the tombs in which their relatives interred them and were interred in turn. These were the work of craftsmen who must have gone to considerable expense, for which they must have been paid. The interment chambers also were stocked with furniture, luxury items and jewelry, which are unlikely to have been available to the ordinary citizen. The sarcophagi were ornate, each one a work of art. The society of the tombs therefore was that of the aristocrats. While alive they occupied magistracies recorded in the inscriptions. Their magisterial functions are obscure now, but they were chief men in society.

The Etruscans did not always own sufficient wealth to support necropolises for their chief men and stock them with expensive items to be smashed and thrown away. People of the Villanovan culture lived in poor huts concomitant with subsistence agriculture and owned plain and simple implements. Their simple ware is known as bucchero, plain black undecorated pots. In the 8th century BC, the orientalizing period began, a time of influx of luxuriously living Greeks. They brought their elegant pottery styles and architectural methods with them.

Yet the rise of Etruscan civilization cannot entirely be explained by immigrants from Greece. The Etruscans became a maritime power. By the 7th century they had imported methods and materials from the eastern Mediterranean and were leaving written inscriptions. Groups of Villanovan villages were now consolidated into Etruscan cities. Elaborate tomb cities began to appear.^[2]

Rise of the family

Giacobbe Giusti, Etruscan society

Etruscan couple (Louvre, Room 18)

Giacobbe Giusti, Etruscan society

Etruscan mother and child, 500–450 BC

Giacobbe Giusti, Etruscan society

The Mars of Todi, a life-sized bronze sculpture of a soldier making a votive offering, late 5th to early 4th century BC

The princely tombs were not of individuals. The inscriptional evidence shows that families were interred there over long periods, marking the growth of the aristocratic family as a fixed institution, parallel to the gensat Rome and perhaps even its model. It is not an Etruscan original, as there is no sign of it in the Villanovan. The Etruscans could have used any model of the eastern Mediterranean. That the growth of this class is related to the new acquisition of wealth through trade is unquestioned. The wealthiest cities were located near the coast.

The Etruscan name of the family was lautn.^[1] At the center of the lautn was the married couple, tusurthir. The Etruscans were a monogamous society that emphasized pairing. The lids of large numbers of sarcophagi (for example, the « Sarcophagus of the Spouses« ) are adorned with sculpted couples, smiling, in the prime of life (even if the remains were of persons advanced in age), reclining next to each other or with arms around each other. The bond was obviously a close one by social preference

It is possible that Greek and Roman attitudes to the Etruscans were based on a misunderstanding of the place of women within their society. In both Greece and Republican Rome, respectable women were mostly confined to the house and mixed-sex socialising did not occur. Thus the freedom of women within Etruscan society could have been misunderstood as implying their sexual availability.

It is worth noting that a number of Etruscan tombs carry funerary inscriptions in the form ‘X son of [father] and [mother]’, indicating the importance of the mother’s side of the family.

Development of names

Etruscan naming conventions are complex and appear to reveal different stages in the development of names.^[3] The stages apply only to aristocratic names, attested in the inscriptions. Whether the ordinary people followed suit or were perhaps in the earliest stage remains unknown.

Praenomen

Giacobbe Giusti, Etruscan society

Painted terracotta Sarcophagus of Seianti Hanunia Tlesnasa, about 150–130 BCE

Everyone at all times had a praenomen, or first name, which was a simple descendant of an ancient name, or a compound comprising a meaningful expression.^[4]They were marked for gender: aule/aulia, larth/lartha, arnth/arntia. There is no evidence that girls were named for males, as in Roman society; that is, a girl did not take her father’s or husband’s name. Some names were entirely female.

Patronymic and matronymic

As in Proto-Indo-European, individual males were further distinguished by a patronymic, which could be formed in a few different ways:

the genitive case: larth arnthal, « Larth son of Arnth. »
the genitive case with clan, « son »: larth clan arnthal.
the nominative case formed from the genitive with a patronymic suffix: -isa, -sa, -sla, which the Bonfantes regard as a suffixed demonstrative pronoun: arnth larthal-isa.

Females were further identified with either the husband’s name (gamonymic) or the son’s name in patronymic construction. Unlike the Indo-Europeans, the girls had a matronymic, same construction. Sometimes males are identified with a matronymic, thus leaving some doubt as to whether early Etruscan society was patrilinear. The men were perhaps dominant (patriarchy); there was a word for « wife », puia, which ties a woman to her husband conceptually, but none for husband. These names and conventions must have prevailed in the Villanovan culture.

Nomen gentile

The nomen gentile, or family name, dates to the orientalizing period. Recorded names are minimally binomial: Vethur Hathisna, Avile Repesuna, Fasti Aneina. Patronyms and other further specifications are added after it: Arnth Velimna Aules, « Arnth Velimna son of Aule. » In those contexts double patronymics can be used, naming the father and grandfather: Arnth Velimna Aules clan Larthalisla, « Arnth Velimna son of Aule son of Larth. »

The nomen gentile was formed in a number of ways, most often with a -na suffix, -nas in south Etruscan (possibly the genitive case). The suffixed nomen might refer to an individual of the family: Arnth/Arnth-na, spure/spuri-na; or it might be a mythological figure: usil/usel-na; or a geographic location: Velch/Vels-na.

The nomen gentile was an adjective and could be used alone as a noun, the name in this case, as though it were a praenomen. In that case male and female forms appear, perhaps the closest linguistic feature to agreement of gender: a male would be in the vipina family, named after a previous individual, Vipi, but a female in the Vipinei, or a male in the Velthina, named after Vel, and a female in the Veliana. The male and female names refer to the same family.^[5]

Probably in deference to Italic, the nomen gentile could also be formed with -ie for males or -i and -a for females, perhaps from Italic -ios or its later form -ius, which can be made feminine: -ia.^[6] Typically of Etruscan^[1] both suffices can be used together: -na-ie.^[7]

The serious study of nomina gentilia is just beginning, due to the accumulation of sufficient names on which to base hypotheses. A family might be concentrated at one location or appear in a number of cities, and be spelled in as many as a dozen different ways. The Romans themselves identified a good many gentes at Rome that were originally Etruscan and since then scholars have spotted more. It is not unlikely that much of the patrician class, which was most powerful under the Etruscan kings, was or was derived from an Etruscan model, which dated to no earlier than the 8th century BC.

Kinship

Kinship is defined with relation to the ego, or « I ». I then may state whatever « I » am or you are to me. Females could state that they were the daughter of a father, sec or sech, and the wife of a husband, puia. Conversely, a man was never described as a husband of a woman. Etruscan society therefore was patrilineal and probably egalitarian.

Kinship among the Etruscans was vertical, or generational. They kept track of six generations. In addition to the mi (“I”) an individual recognized a clan (“son”) or a sec (“daughter”), a neftś (“grandson”), and a prumaths (“great-grandson”). Every self had an apa and ati(“father” and “mother”) and relatives older than they.

A division of relatives as maternal or paternal seems to have existed: the apa nachna and the ati nachna, the grandfather’s and grandmother’s relatives. On the level of the self, the lack of any words for aunt, uncle or cousins is notable. Very likely, apa was a generational word: it meant father or any of father’s male relatives. Similarly, ati would have meant any female relative of mother’s age or generation. Ruva (“brother”) is recognized, but no sister. It is possible, though hard to determine, that ruva had a broader meaning of « any related male of the self’s generation ».

This horizontal telescoping of relatives applies indirectly to the self as well. The telals are the grand offspring, either male or female, of the grandmother, and the papals of the grandfather. It is difficult to determine whether neftś means « grandson » or « nephew » although there could be cross-cultural contamination here with Latin nepōs (< IE *nepōts) which derives from a kinship system of the Omaha type. In the Omaha type, the same word is used for both nephew and grandson but this kinship type does not typically exhibit terminology used for « kin of a particular generation » as suspected in Etruscan kinship terms.

The Etruscans were careful also to distinguish status within the family. There was a stepdaughter and stepson, sech farthana and clan thuncultha (although this may in fact mean « first son » based on the root thun- « one »), as well as a stepmother, ativu (literally « little mother »), an adopted son, clanti, and the universal mother-in-law, netei. Other terms were not as high or democratic in status. The system was like that of the Roman. The etera were slaves, or more precisely, foreign slaves. When they had been freed they were lautni(male) or lautnitha (female), freed men or women, who were closely connected to the family and were clients of it in return for service and respect.

Of the several formal kinship classifications, the Etruscan is most like the Hawaiian, which distinguishes sex and generation, but otherwise lumps persons in those classes together. The lack of a sister does not fit;^{[citation needed]} however, construction of the Etruscan dictionary is still in progress.

Government

Giacobbe Giusti, Etruscan society

The Orator, c. 100 BC, an Etrusco-Roman bronze statue depicting Aule Metele (Latin: Aulus Metellus), an Etruscan man wearing a Roman toga while engaged in rhetoric; the statue features an inscription in the Etruscan alphabet

The historical Etruscans had achieved a state system of society, with remnants of the chiefdom and tribal forms. In this they were ahead of the surrounding Italics, who still had chiefs and tribes. Rome was in a sense the first Italic state, but it began as an Etruscan one. It is believed that the Etruscan government style changed from total monarchy to oligarchic democracy (as the Roman Republic) in the 6th century BC. It is important to note this did not happen to all the city states.

The Etruscan state government was essentially a theocracy. The government was viewed as being a central authority, over all tribal and clan organizations. It retained the power of life and death; in fact, the gorgon, an ancient symbol of that power, appears as a motif in Etruscan decoration. The adherents to this state power were united by a common religion. Political unity in Etruscan society was the city-state, which was probably the referent of methlum, “district”. Etruscan texts name quite a number of magistrates, without much of a hint as to their function: the camthi, the parnich, the purth, the tamera, the macstrev, and so on. The people were the mech. The chief ruler of a methlum was perhaps a zilach, earlier times also lucumo (laukum), a sacral monarch (the infinitive of verb « to rule » is lucair).

All the city-states of the Etruscans were gathered into confederacies, or “leagues”. The sources tell us there were three. A league for unknown reasons, likely religious, had to include 12 city-states. The word for league was mech rasnal. Once a year the states met at a fanu, or sacred place (Latin fanum) to discuss military and political affairs, and also to choose a head of confederation, zilath mechl rasnal, who held the office for one year. The Etrurian confederacy met at the fanum Voltumnae, the « shrine of Voltumna ». Their league was called the “duodecim populi Etruriae” or the “twelve peoples of Etruria”.

The relationship between Rome and the Etruscans was not one of an outsider conquering a foreign people. The Etruscans considered Rome as one of their cities, perhaps originally in the Latian/Campanian league. It is entirely possible that the Tarquinsappealed to Lars Porsena of Clusium (Clevsin), because he was the head of the Etrurian commomwealth for that year. He would have been obliged to help the Tarquins whether he liked it or not.

The Romans attacked and annexed individual cities between 510 and 290 BC. This apparent disunity of the Etruscans was probably regarded as internal dissent by the Etruscans themselves. For example, after the sack of Rome by the Gauls, the Romans debated whether to move the city en masse to Veii, which they could not even have considered if Veii was thought to be a foreign people. Eventually Rome created treaties individually with the Etruscan states, rather than the whole. But by that time the league had fallen into disuse, due to the permanent hegemony of Rome and increasing assimilation of Etruscan civilization to it, which was a natural outcome, as Roman civilization was to a large degree Etruscan.

Notes

^ Jump up to:^a ^b ^c ^d See under Etruscan language.
^ This standard view of the rise of Etruscan civilization is presented for example on page 5 of the Bonfantes (2002).
^ A good presentation of the subject of Etruscan names can be found in the Bonfantes (2002), pages 88–89.
^ The Bonfantes (2002), page 88.
^ Wallace.
^ The Bonfantes, pages 88–89.
^ Marchesini.

References

Bonfante, G.; L. Bonfante (2002). The Etruscan Language. An Introduction. Manchester University Press. ISBN 0-7190-0902-2.
Marchesini, Simona. « New Studies on Etruscan Personal Names: Gentium Mobilitas » (PDF). Etruscan News. University of Massachusetts.
Pallottino, M. (1975). The Etruscans. London: Penguin Books. ISBN 0-253-32080-1.
Swaddling, Judith; Bonfante, Larissa (2006). Etruscan Myths. University of Texas Press. ISBN 0-292-70606-5. Preview Google Books.
Torp, Alf (1906). « Etruscan Notes ». Skrifter Udgivene af Videnskabs-Selskabet i Christiana. Oslo: Historisk-filosofisk Klasse, Norsk Videnskaps-Akademi. pp. 1–66.. View at Google Books.
Wallace, Rex (2006). « Etruscan Inscriptions in the Royal Ontario Museum » (PDF). Etruscan News. University of Massachusetts Amherst (5): 5–6.

Etruscology at Its Best, the website of Dr. Dieter H. Steinbauer, in English. Covers origins, vocabulary, grammar and place names.

https://en.wikipedia.org/wiki/Etruscan_society

http://www.giacobbegiusti.com

Giacobbe Giusti, Etruscan religion

Publié par GIACOBBE GIUSTI le 22 septembre 2018

Publié dans: Bonfante, Giuliano; Bonfante, Larissa (2002). The Etruscan Language: an Introduction. Manchester: University of Manchester Press. ISBN 0-7190-5540-7. Bonnefoy, Yves (1992). Roman and European My, Etruscan mural of Typhon, from Tarquinia, Etruscan religion, Giacobbe Giusti, Etruscan religion, Senza categoria, The Mars of Todi, a life-sized Etruscan bronze sculpture of a soldier making a votive offering, most likely to Laran, the Etruscan god of war, late 5th to early 4th century BC. Tagué : a life-sized Etruscan bronze sculpture of a soldier making a votive offering, art, Bonfante, bronze etrusque, Carl (1906). Die Götter des Martianus Capella und der Bronzeleber von Piacenza (in German). Alfred Töpelmann. Cicero, castentino, david, ed. Cicero on Divination. Loeb Classical Library. XX. Harvard University Press. William P. Thayer (2008). "Cicero on Divination". Lacus Curtius. University of Chicago. Retrieved 25 June 2009. Ci, ed. The Etruscans. Translated by Cremina, eds. (2006). The Religion of the Etruscans. Austin: University of Texas Press. ISBN 0-292-70687-1. Dennis, Emeline Hill (1976) [1964]. The Etruscans: Their Art and Civilization. Chicago: University of Chicago Press. ISBN 0-226-71234-6. Rykwert, Erika, Etruscan civilization, Etruscan mural of Typhon, Etruscan religion, etrusque, from Tarquinia, George (1848). The Cities and Cemeteries of Etruria. London: John Murray. Available in the Gazetteer of Bill Thayer's Website at [1] Pallottino, Gerald Honigsblum. De Grummond; Nancy Thomson (2006). Etruscan Mythology, giacobbe giusti, Giuliano Bonfante, Italy, Italy and the Ancient World. MIT Press. ISBN 0-262-68056-4. Swaddling, J (Revised and Enlarged ed.). Bloomington & London: Indiana University Press. ISBN 0-253-32080-1. Richardson, Joseph (1988). The Idea of a Town: the Anthropology of Urban Form in Rome, Judith; Bonfante, Larissa (2006). Etruscan Myths. University of Texas Press. ISBN 0-292-70606-5. Thulin, Larissa (2002). The Etruscan Language: an Introduction. Manchester: University of Manchester Press. ISBN 0-7190-5540-7. Bonnefoy, late 5th to early 4th century BC, M. (1975). Ridgway, Marcus Tullius (1923) [44 BC]. W.A. Falconer, Marcus Tullius (2009) [44 BC]. "De Divinatione". The Latin Library (in Latin). Retrieved 25 June 2009., most likely to Laran, Nancy Thomson; Simon, Sacred History and Legend: An Introduction. University of Pennsylvania Museum of Archaeology. ISBN 1-931707-86-3. De Grummond, the Etruscan god of war, The Mars of Todi, Yves (1992). Roman and European Mythologies. University of Chicago Press. ISBN 0-226-06455-7. Translated by Wendy Doniger. Poster un commentaire

Giacobbe Giusti, Etruscan religion

Etruscan mural of Typhon, from Tarquinia

Giacobbe Giusti, Etruscan religion

The Mars of Todi, a life-sized Etruscan bronze sculpture of a soldier making a votive offering, most likely to Laran, the Etruscan god of war, late 5th to early 4th century BC

Giacobbe Giusti, Etruscan religion

ara3

Ara Etrusca di Pieve a Socana

Giacobbe Giusti, Etruscan religion

ara2

Giacobbe Giusti, Etruscan religion

Etruscan mural of Typhon, from Tarquinia

Giacobbe Giusti, Etruscan religion

Reconstruction of an Etruscan temple, Museo di Villa Giulia, Rome, which is heavily influenced by studies of the Temple of Apollo at Portonaccio (Veio)

Etruscan religion comprises a set of stories, beliefs, and religious practices of the Etruscan civilization, originating in the 7th century BC from the preceding Iron Age Villanovan culture, heavily influenced by the mythology of ancient Greeceand Phoenicia, and sharing similarities with concurrent Roman mythology and religion. As the Etruscan civilization was assimilated into the Roman Republic in the 4th century BC, the Etruscan religion and mythology were partially incorporated into classical Roman culture, following the Roman tendency to absorb some of the local gods and customs of conquered lands.

Beliefs

The Etruscan system of belief was an immanent polytheism; that is, all visible phenomena were considered to be manifestations of divinepower, and that power was embodied in deities who acted continually on the world but could be dissuaded or persuaded by mortal men.

Long after the assimilation of the Etruscans, Seneca the Youngersaid^[1] that the difference between the Romans and the Etruscans was that

Whereas we believe lightning to be released as a result of the collision of clouds, they believe that the clouds collide so as to release lightning: for as they attribute all to deity, they are led to believe not that things have a meaning insofar as they occur, but rather that they occur because they must have a meaning.

Spirits and deities

Giacobbe Giusti, Etruscan religion

The Mars of Todi, a life-sized Etruscan bronze sculpture of a soldier making a votive offering, most likely to Laran, the Etruscan god of war, late 5th to early 4th century BC

Around the mun or muni, or tombs^{[citation needed]}, were the man or mani (Latin Manes), the souls of the ancestors. In iconography after the 5th century BC, the deceased are shown traveling to the underworld.^[2] In several instances of Etruscan art, such as in the François Tombin Vulci, a spirit of the dead is identified by the term hinthial, literally « (one who is) underneath ».

A god was called an ais (later eis), which in the plural is aisar. The abode of a god was a fanu or luth, a sacred place, such as a favi, a grave or temple. There, one would need to make a fler (plural flerchva), or « offering ».

Three layers of deities are portrayed in Etruscan art. One appears to be lesser divinities of an indigenous origin: Catha and Usil, the sun; Tivr, the moon; Selvans, a civil god; Turan, the goddess of love; Laran, the god of war; Leinth, the goddess of death; Maris, Thalna, Turmsand the god Fufluns, whose name is related in some unknown way to the city of Populonia and the populus Romanus.

Ruling over them were higher deities that seem to reflect the Indo-European system: Tin or Tinia, the sky, Uni his wife (Juno), and Cel, the earth goddess.

As a third layer, the Greek gods were adopted by the Etruscan system during the Etruscan Orientalizing Period of 750/700-600 BC.^[3]Examples are Aritimi (Artemis), Menrva (Minerva; Latin equivalent of Athena), and Pacha (Bacchus; Latin equivalent of Dionysus), and over time the primary trinity became Tinia, Uni and Menrva.

Seers and divinations

The Etruscans believed their religion had been revealed to them by seers,^[4] the two main ones being Tages, a childlike figure born from tilled land who was immediately gifted with prescience, and Vegoia, a female figure.

The Etruscans believed in intimate contact with divinity.^[5] They did nothing without proper consultation with the gods and signs from them.^[6] These practices were taken over in total by the Romans.

Etrusca Disciplina

The Etruscan scriptures were a corpus of texts termed the Etrusca Disciplina. This name appears in Valerius Maximus,^[7] and Marcus Tullius Cicero refers to a disciplina in his writings on the subject.

Massimo Pallottino summarizes the known (but non-extant) scriptures as the Libri Haruspicini, containing the theory and rules of divination from animal entrails; the Libri Fulgurales, describing divination from lightning strikes; and the Libri Rituales. The last was composed of the Libri Fatales, detailing the religiously correct methods of founding cities and shrines, draining fields, formulating laws and ordinances, measuring space and dividing time; the Libri Acherontici, dealing with the hereafter; and the Libri Ostentaria, containing rules for interpreting prodigies. The revelations of the prophet Tages were given in the Libri Tagetici, which included the Libri Haruspicini and the Acherontici, and those of the prophetess Vegoia in the Libri Vegoici, which included the Libri Fulgurales and part of the Libri Rituales.^[8]

These works did not present prophecies or scriptures in the ordinary sense: the Etrusca Disciplina foretold nothing itself. The Etruscans appear to have had no systematic ethics or religion and no great visions. Instead they concentrated on the problem of the will of the gods: questioning why, if the gods created the universe and humanity and have a will and a plan for everyone and everything in it, they did not devise a system for communicating that will in a clear manner.

The Etruscans accepted the inscrutability of their gods’ wills. They did not attempt to rationalize or explain divine actions or formulate any doctrines of the gods’ intentions. As answer to the problem of ascertaining the divine will, they developed an elaborate system of divination; that is, they believed the gods offer a perpetual stream of signs in the phenomena of daily life, which if read rightly can direct humanity’s affairs. These revelations may not be otherwise understandable and may not be pleasant or easy, but are perilous to doubt.

The Etrusca Disciplina therefore was mainly a set of rules for the conduct of all sorts of divination; Pallottino calls it a religious and political « constitution »: it does not dictate what laws shall be made or how humans are to behave, but rather elaborates rules for asking the gods these questions and receiving answers.

Cicero said^[9]

For a hasty acceptance of an erroneous opinion is discreditable in any case, and especially so in an inquiry as to how much weight should be given to auspices, to sacred rites, and to religious observances; for we run the risk of committing a crime against the gods if we disregard them, or of becoming involved in old women’s superstition if we approve them.

He then quipped, regarding divination from the singing of frogs:

Who could suppose that frogs had this foresight? And yet they do have by nature some faculty of premonition, clear enough of itself, but too dark for human comprehension.

Priests and officials

Giacobbe Giusti, Etruscan religion

Rare Etruscan fanu located at Orvieto.

Divinatory inquiries according to discipline were conducted by priests whom the Romans called haruspices or sacerdotes; Tarquinii had a college of 60 of them.^[8] The Etruscans, as evidenced by the inscriptions, used several words: capen (Sabinecupencus), maru (Umbrian maron-), eisnev, hatrencu (priestess). They called the art of haruspicy ziχ neθsrac.

A special magistrate, the cechase, looked after the cecha or rath, sacred things. Every man, however, had his religious responsibilities, which were expressed in an alumnathe or slecaches, a sacred society. No public event was conducted without the netsvis, the haruspex, or his female equivalent, the nethsra, who would read the bumps on the liver of a properly sacrificed sheep. We have a model of a liver made of bronze, whose religious significance is still a matter of heated debate, marked into sections which perhaps are meant to explain what a bump in that region would mean.

Afterlife

Etruscan beliefs concerning the hereafter appear to be an amalgam of influences. The Etruscans shared general early Mediterranean beliefs, such as the Egyptian belief that survival and prosperity in the hereafter depend on the treatment of the deceased’s remains.^[10] Etruscan tombs imitated domestic structures and were characterized by spacious chambers, wall paintings and grave furniture. In the tomb, especially on the sarcophagus (examples shown below), was a representation of the deceased in his or her prime, often with a spouse. Not everyone had a sarcophagus; sometimes the deceased was laid out on a stone bench. As the Etruscans practiced mixed inhumation and cremation rites (the proportion depending on the period), cremated ashes and bones might be put into an urn in the shapes of a house or a representation of the deceased.

Funerary home at Banditaccia with couches
Funerary home at Populonia
Sarcophagus from Siena
Sarcophagus from Chiusi
Sarcophagus
Burial urn
Urn from Chiusi

In addition to the world still influenced by terrestrial affairs was a transmigrational world beyond the grave, patterned after the Greek Hades^{[citation needed]}. It was ruled by Aita, and the deceased was guided there by Charun, the equivalent of Death, who was blue and wielded a hammer. The Etruscan Hades was populated by Greek mythological figures and a few such as Tuchulcha, of composite appearance.

Roman Conquest

After the Etruscan defeat in the Roman–Etruscan Wars, the remaining Etruscan culture began to be assimilated into the Roman. The Roman Senate adopted key elements of the Etruscan religion, which were perpetuated by haruspices and noble Roman families who claimed Etruscan descent, long after the general population had forgotten the language. However, in the last years of the Roman Republic the religion began to fall out of favor and was satirized by such notable public figures as Marcus Tullius Cicero. The Julio-Claudians, especially Claudius, who claimed a remote Etruscan descent, maintained a knowledge of the language and religion for a short time longer^[11], but this practice soon ceased. A number of canonical works in the Etruscan language survived until the middle of the first millennium AD, but were destroyed by the ravages of time, decree of the Roman Senate, and by fire.^{[citation needed]}

Sources

The mythology is evidenced by a number of sources in different media; for example, representations on large numbers of pottery, inscriptions and engraved scenes on the Praenestine cistae (ornate boxes; see under Etruscan language) and on specula (ornate hand mirrors). Currently some two dozen fascicles of the Corpus Speculorum Etruscorum have been published. Specifically Etruscan mythological and cult figures appear in the Lexicon Iconographicum Mythologiae Classicae.^[12] Etruscan inscriptions have recently been given a more authoritative presentation by Helmut Rix, Etruskische Texte.^[13]

Notes

Jump up^ Seneca the Younger. « II.32.2 ». Naturales Quaestiones.
Jump up^ Krauskopf, I. 2006. « The Grave and Beyond. » The Religion of the Etruscans. edited by N. de Grummond and E. Simon. Austin: University of Texas Press. p. 73-75.
Jump up^ Dates from De Grummond & Simon (2006), p. vii.
Jump up^ Cary, M.; Scullard, H. H. (1979). A History of Rome (3rd ed.). p. 24. ISBN 0-312-38395-9.
Jump up^ The religiosity of the Etruscans most clearly manifested itself in the so-called ‘discipline’, that complex of rules regulating relations between men and gods. Its main basis was the scrupulous search for the divine will by all available means; … the reading and interpretation of animal entrails, especially the liver … and the interpretation of lightning. (Pallottino 1975, p. 143)
Jump up^ Livius, Titus. « V.1 ». History of Rome. …a people more than any others dedicated to religion, the more as they excelled in practicing it.
Jump up^ Maximus, Valerius. « 1.1 ». Factorum et Dictorum Memorabilia.
^ Jump up to:^a ^b Pallottino 1975, p. 154
Jump up^ De Divinatione, section 4.
Jump up^ Pallottino 1975, p. 148
Jump up^ Suetonius, Life of Claudius, 42
Jump up^ « An illustrated lexicon about the ancient myths ». Foundation for the Lexicon Iconographicum Mythologiae Classicae (LIMC). 2009. Retrieved 21 June 2009.
Jump up^ Rix, Helmut, ed. (1991). Etruskische Texte. ScriptOralia (in German and Etruscan). Tübingen: Gunter Narr Verlag. ISBN 3-8233-4240-1. 2 vols.

References

Bonfante, Giuliano; Bonfante, Larissa (2002). The Etruscan Language: an Introduction. Manchester: University of Manchester Press. ISBN 0-7190-5540-7.
Bonnefoy, Yves (1992). Roman and European Mythologies. University of Chicago Press. ISBN 0-226-06455-7. Translated by Wendy Doniger, Gerald Honigsblum.
De Grummond; Nancy Thomson (2006). Etruscan Mythology, Sacred History and Legend: An Introduction. University of Pennsylvania Museum of Archaeology. ISBN 1-931707-86-3.
De Grummond, Nancy Thomson; Simon, Erika, eds. (2006). The Religion of the Etruscans. Austin: University of Texas Press. ISBN 0-292-70687-1.
Dennis, George (1848). The Cities and Cemeteries of Etruria. London: John Murray. Available in the Gazetteer of Bill Thayer’s Website at [1]
Pallottino, M. (1975). Ridgway, David, ed. The Etruscans. Translated by Cremina, J (Revised and Enlarged ed.). Bloomington & London: Indiana University Press. ISBN 0-253-32080-1.
Richardson, Emeline Hill (1976) [1964]. The Etruscans: Their Art and Civilization. Chicago: University of Chicago Press. ISBN 0-226-71234-6.
Rykwert, Joseph (1988). The Idea of a Town: the Anthropology of Urban Form in Rome, Italy and the Ancient World. MIT Press. ISBN 0-262-68056-4.
Swaddling, Judith; Bonfante, Larissa (2006). Etruscan Myths. University of Texas Press. ISBN 0-292-70606-5.
Thulin, Carl (1906). Die Götter des Martianus Capella und der Bronzeleber von Piacenza (in German). Alfred Töpelmann.

Cicero, Marcus Tullius (1923) [44 BC]. W.A. Falconer, ed. Cicero on Divination. Loeb Classical Library. XX. Harvard University Press.
William P. Thayer (2008). « Cicero on Divination ». Lacus Curtius. University of Chicago. Retrieved 25 June 2009.
Cicero, Marcus Tullius (2009) [44 BC]. « De Divinatione ». The Latin Library (in Latin). Retrieved 25 June 2009.

https://www.casentino2000.it/perche-non-puntare-sugli-etruschi/

https://en.wikipedia.org/wiki/Etruscan_religion

http://www.giacobbegiusti.com

Giacobbe Giusti, Centaure de Vulci, musée national étrusque de la villa Giulia, Rome

Publié par GIACOBBE GIUSTI le 14 août 2018

Publié dans: Centaure de Vulci, Centaure de Vulci, musée national étrusque de la villa Giulia, Rome., musée national étrusque de la villa Giulia, musée national étrusque de la villa Giulia, Rome., Senza categoria. Tagué : art, Centaure de Vulci, etrusque, giacobbe giusti, Italy, musée national étrusque de la villa Giulia, Rome, Sculpture du VIe siècle av. J.-C. Sculpture étrusque Sculpture en Italie Mythologie étrusque Mythologie grecque dans la sculpture antique Statuaire étrusque Vulci Sculpture en pierre Musée nation, vulci. Poster un commentaire

Giacobbe Giusti, Centaure de Vulci, musée national étrusque de la villa Giulia, Rome

Centaure de Vulci, musée national étrusque de la villa Giulia, Rome.

Giacobbe Giusti, Centaure de Vulci, musée national étrusque de la villa Giulia, Rome

Centaure de Vulci, musée national étrusque de la villa Giulia, Rome.

Le Centaure de Vulciest une statue de la période orientalisante étrusque découverte à Vulci en Étrurie viterbese et conservée au musée national étrusque de la villa Giulia, à Rome.

Histoire

La statue fut découverte dans une tombe a camera de la nécropole de Poggio Maremma du Parc archéologique de Vulci.

Description

C’est une statue en nenfro, datant de 590–580 av. J.-C.. Elle représente un centaure, personnage de la mythologie grecque : un être au torse d’homme et au corps de cheval.

La tête, détaillée, à la barbe incisée et aux cheveux en trois tresses descendant sur le haut des jambes, laisse place à un torse sommaire ainsi qu’au corps chevalin dont il manque la queue. Les bras manquent, ainsi que les jambes au-dessous des genoux ; les mains sont visibles sur les hanches.

Giacobbe Giusti, Centaure de Vulci, musée national étrusque de la villa Giulia, Rome

Bibliographie

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Giacobbe Giusti, Musée grégorien étrusque

Publié par GIACOBBE GIUSTI le 10 avril 2018

Publié dans: Григорианский Этрусский музей, Galerie Borghèse • Galerie nationale d'art moderne et contemporain (musée Boncompagni Ludovisi des Arts Décoratifs) • Galerie nationale d'art ancien (palais Barberini, palais Corsini) • Galer, Mars de Todi Musées du Vatican Pinacothèque vaticane Musée grégorien égyptien Musée grégorien profane, Mars de Todi,, Musée grégorien étrusque, Musée grégorien étrusque fait partie des Musées du Vatican., Musées du Vatican, museivaticani.va/content/museivaticani/fr/collezioni/musei/museo-gregoriano-, Museo Gregoriano Etrusco - Musei Vaticani » [archive], sur museivaticani.va (consulté le 5 septembre 2017). ↑ (it) « Musei Vaticani: Museo Gregoriano Etrusco » [archive], sur romadasc, Senza categoria. Tagué : 1837 Commons-logo.svg Григорианский Этрусский музей на Викискладе Этрусский музей Григорианский Этрусский музей[1] (ит, 41°54′23″ с. ш. 12°27′15″ в. д.HGЯO Григорианский Этрусский музей Материал из Википедии — свободной энциклопедии Г�, art, Вульчи, Григорианский Этрусский музей, Залы 2, Литература Залы Зал I В этом зале выставлены находки (саркофаги, Орте, Палестрины) и времени (VI—I в. до н. э.), Примечания 3, См. также 4, Ссылки 5, Черветери, а также архаического периода (VII и VI веков до н. э.). Один из экспонатов — сосуд ритуального назначения — изгот�, а также бронзовый шлем, а также предметы быта римлян (Antiquarium Romanum) из бронзы, алтарь, бронза, бронзовая статуя воина, бронзовое погребальное ложе, бронзовые канделябры IV—V вв.). Здесь можно увидеть полный комплект защитного снаряжения этрусского воина, бронзы, внутренних органов человека. Их приносили в храм в благодарность за исцеление от той или иной болезни. Залы VII, вотивные статуэтки, высеченные из туфа. Также из туфа изваяна пара львов конца VI в. до н. э. Залы V—VI Традиционно носят имя Терракот, греческих и италийских ваз. В первую очередь это расписанные греческие сосуды, две алебастровые урны флавианского периода, зеркала. украшения, золота и серебра. К экспонатам музея также относятся бронзовая статуя Марса (IV век до н. э.), золотой браслет из гробницы Реголино-Галасси. Зал IX Здесь представлена коллекция находок из этрусского некр�, изображения жертвенных животных, которые ошибочно приняли за этрусские изделия. XXII зал посвящён коллекции расписных греческих ваз V—IV вв. до н, миниатюрная колесница. Один из экспонатов древнегреческой керамики в Этрусском музее Зал III В этом зале в хро, модели головы, можно увидеть частично воссозданную модель-реконструкцию храма римского периода с использованием подлинны�, мраморный портрет (герма) Афины (фрагмент из Парфенона, на другом — миф о Ниобидах (оба — II в. до н. э.), называемая Марсом из Тоди, найденные в 1816 году. Залы XVII—XXII В этих залах представлена обширная коллекция этрусских, найденные в некрополях этрусков, найденные в этрусских некрополях в XIX веке, найденных в этрусских гробницах в Черветери и Палестрине, например, насчитывающая около 800 предметов. Преимущественно это художественная бронза и этрусская керамика и греческа, находится основная часть коллекции из некрополя в Сорбо в Черветери — находки из 9 гробниц Реголини-Галасси (, начиная с железного века. В составе коллекции — аттические и этрусские вазы, небольшая коллекция бронзы и серебра, несущей на руках Кефала. Зал украшен фресками с изображением сцен из Ветхого Завета. Зал IV В этом зале собраны, ног, обнаруженные при археологических раскопках (с 1828 года) античных поселений в южной Этрурии. Большая часть экс�, посвящённый Кибеле и Аттису (374 г. н. э.), предметы повседневного обихода (треножники, происхождения (из Кьюзи, etrusque, Galerie Borghèse • Galerie nationale d'art moderne et contemporain (musée Boncompagni Ludovisi des Arts Décoratifs) • Galerie nationale d'art ancien (palais Barberini, Galerie Doria-Pamphilj • Institut national du graphisme • Keats-Shelley House • Maison de Goethe • Maison de Pirandello • Maison musée de Giorgio De Chirico • Musée Agostinelli • Musé, giacobbe giusti, Italy, IV—III вв. до н. э.). Среди вотивных даров — маленькие терракотовые статуэтки божеств, Mars de Todi Musées du Vatican Pinacothèque vaticane Musée grégorien égyptien Musée grégorien profane, Mars de Todi,, Musée Barracco • Galerie communale d'art moderne (Rome) • Musée Carlo Bilotti • Musée civique de zoologie • MACRo • Musée de l'Ara Pacis (Ara Pacis) • Musée de la Civilisation romaine, Musée grégorien étrusque, Musée grégorien étrusque fait partie des Musées du Vatican., Musées du Vatican, museivaticani.va/content/museivaticani/fr/collezioni/musei/museo-gregoriano-, Museo Gregoriano Etrusco - Musei Vaticani » [archive], расположенный во дворце Иннокентия VIII и здании времён папы Пия IV. Этрусский музей был основан по приказу папы, рельефное этрусское зеркало с изображением крылатой богини Эос, рельефы, рук, сделанные из камня. На одном из саркофагов изображён миф об Атридах, серебряные вазы с посвящением богу Аполлону (конец I в. н. э.). Зал XV Здесь выставлены терракотовые изделия из Р�, скульптурный портрет императора Требониана Галла (251—253 гг. н. э.), скульптуры, слоновой кости, собранная во 2-й половине XIX в. Бонифачио Фалькони Витербо и приобретенная папой Львом XIII в мае 1898 года. Включа�, статуя мужчины (конец I в. до н. э.), стекла, такие как статуи, терракоты и керамики. Содержание 1, украшенном фресками Федерико Бароччи и Федерико и Тадео Зукари (1563 г.) со сценами из Ветхого Завета, украшенный головой Силена (IV в. до н. э.), урны, урны) из раннего бронзового периода этрусков (IX—VIII веков до н. э.), широко распространённый у этрусков. Обширная коллекция этрусских погребальных урн различных эпох. Зал XII Зде, ювелирные изделия. На стенах зала сохранилось художественное оформление времён папы Юлия II. Зал XIII В этом зал, palais Corsini) • Galerie Spada • Musée national du Château Saint-Ange • MAXXI • Musée archéologique d'Ostie • Musée historique de l'Arme des Carabiniers • Musée historique national , Pinacothèque • Collection d'Art religieux moderne • Musée Pio-Clementino • Musée missionnaire ethnologique • Musée grégorien égyptien • Musée grégorien étrusque • Musée grégorie, sur museivaticani.va (consulté le 5 septembre 2017). ↑ (it) « Musei Vaticani: Museo Gregoriano Etrusco » [archive], sur romadascoprire.it, V век до н. э.). Часть музея занимают древнегреческие сосуды. Poster un commentaire

Giacobbe Giusti, Musée grégorien étrusque

Informations générales
Site web	www.museivaticani.va/content/museivaticani/fr/collezioni/musei/museo-gregoriano-etrusco.html

Collections
Collections	Arts antiques

Localisation
Adresse	Vatican

Localisation sur la carte de Rome

Femme à l’autel. Intérieur d’un vase datant de 450. av J.C. environ, provenant de Vulci.

Le Musée grégorien étrusque fait partie des Musées du Vatican. Il a été fondé par le pape Grégoire XVI et inauguré le 2 février 1837 afin de recueillir les œuvres provenant des fouilles archéologiques initiées au début du xix^e siècle dans les villes de l’Étrurie, qui à l’époque faisaient partie de l’État pontifical¹.

Avec la disparition des États de l’Église, les acquisitions sur le terrain ont cessé, tandis que le musée a été enrichi par des achats ou des dons, parmi lesquels ceux de Falcioni en 1898, de Benedetto et Giacinto Guglielmi en 1935 et 1987, et de Mario Astarita en 1967.

Description

Le musée est disposé en 22 salles et accueille des œuvres et des objets allant des IXè jusqu’au Ier siècle avant J.C. Il est situé dans le palais d’Innocent VIII(de la fin du XV^e siècle) et un autre bâtiment du XVI^e siècle: ici sont exposées les fresques de Federico Barocci, Federico Zuccari et Pomarancio².

Parmi les chefs d’œuvre on trouve le célèbre Mars de Todi, sculpture étrusque en bronze retrouvée intacte en 1835.

Statue virile
Amphore attique
Couronne et bijoux étrusques de Vulci
Plat étrusque en or
Sarcophage étrusque
Adonis mourant
Grande ciste ovale
Sarcophage
Tête de méduse en or
Bige archaïque
Le célèbre Mars de Todi

Bibliographie

Guide des Musées et de la Cité du Vatican, Ed. Les Musées du Vatican, 2003

Notes et références

↑ (it) « Museo Gregoriano Etrusco – Musei Vaticani » [archive], sur museivaticani.va (consulté le 5 septembre 2017).
↑ (it) « Musei Vaticani: Museo Gregoriano Etrusco » [archive], sur romadascoprire.it (consulté le 5 septembre 2017).

Григорианский Этрусский музей

Григорианский Этрусский музей

Дата основания	1837
Григорианский Этрусский музей на Викискладе

Этрусский музей

Григорианский Этрусский музей^[1] (итал. Museo Gregoriano Etrusco) — один из григорианских музеев Ватикана, расположенный во дворце Иннокентия VIII и здании времён папы Пия IV.

Этрусский музей был основан по приказу папы римского Григория XVI и открыт в 1837 году. Основой для его создания послужили находки, обнаруженные при археологических раскопках (с 1828 года) античных поселений в южной Этрурии. Большая часть экспонатов найдена при раскопках 1836—1837 годов в некрополе при Сорбо (к югу от Черветери).

Археологические находки из IX—I веков до н. э. размещены в 22 залах музея. Здесь выставлены многочисленные предметы быта этрусков из керамики, бронзы, золота и серебра. К экспонатам музея также относятся бронзовая статуя Марса (IV век до н. э.), мраморный портрет (герма) Афины (фрагмент из Парфенона, V век до н. э.). Часть музея занимают древнегреческие сосуды, найденные в некрополях этрусков, а также предметы быта римлян (Antiquarium Romanum) из бронзы, стекла, терракоты и керамики.

Залы

Зал I В этом зале выставлены находки (саркофаги, рельефы, урны) из раннего бронзового периода этрусков (IX—VIII веков до н. э.), а также архаического периода (VII и VI веков до н. э.). Один из экспонатов — сосуд ритуального назначения — изготовлен в виде колесницы (VIII в. до н. э.).

Зал II В зале, украшенном фресками Федерико Бароччи и Федерико и Тадео Зукари (1563 г.) со сценами из Ветхого Завета, находится основная часть коллекции из некрополя в Сорбо в Черветери — находки из 9 гробниц Реголини-Галасси (VII в. до н. э.): золотые и серебряные украшения, бронзовое погребальное ложе, миниатюрная колесница.

Один из экспонатов древнегреческой керамики в Этрусском музее

Зал III В этом зале в хронологическом порядке и типологии расположены объекты из бронзы, такие как статуи, предметы повседневного обихода (треножники, зеркала. украшения, бронзовые канделябры IV—V вв.). Здесь можно увидеть полный комплект защитного снаряжения этрусского воина, а также бронзовый шлем, украшенный головой Силена (IV в. до н. э.), бронзовая статуя воина, называемая Марсом из Тоди, рельефное этрусское зеркало с изображением крылатой богини Эос, несущей на руках Кефала. Зал украшен фресками с изображением сцен из Ветхого Завета.

Зал IV В этом зале собраны памятники различного вида (саркофаги, урны, скульптуры, рельефы), происхождения (из Кьюзи, Вульчи, Черветери, Орте, Палестрины) и времени (VI—I в. до н. э.), сделанные из камня. На одном из саркофагов изображён миф об Атридах, на другом — миф о Ниобидах (оба — II в. до н. э.), высеченные из туфа. Также из туфа изваяна пара львов конца VI в. до н. э.

Залы V—VI Традиционно носят имя Терракотовых. Посвящены этрусскому храмовому декору и вотивной (посвятительной) терракоте. Частично воссоздана обстановка этрусского храма с многочисленными алтарями и терракотовыми скульптурами (Черветери, IV—III вв. до н. э.). Среди вотивных даров — маленькие терракотовые статуэтки божеств, изображения жертвенных животных, модели головы, рук, ног, внутренних органов человека. Их приносили в храм в благодарность за исцеление от той или иной болезни.

Залы VII—VIII Эти залы демонстрируют мастерство этрусских ювелиров. Представлено множество экспонатов из золота, найденных в этрусских гробницах в Черветери и Палестрине, например, золотой браслет из гробницы Реголино-Галасси.

Зал IX Здесь представлена коллекция находок из этрусского некрополя в Вульчи из собрания маркизов Гульельми, насчитывающая около 800 предметов. Преимущественно это художественная бронза и этрусская керамика и греческая керамика.

Залы X—XI В этих залах иллюстрируется обряд кремации, широко распространённый у этрусков. Обширная коллекция этрусских погребальных урн различных эпох.

Зал XII Здесь содержится коллекция этрусских древностей, собранная во 2-й половине XIX в. Бонифачио Фалькони Витербо и приобретенная папой Львом XIII в мае 1898 года. Включает в себя находки самых разных периодов, начиная с железного века. В составе коллекции — аттические и этрусские вазы, бронза, вотивные статуэтки, ювелирные изделия. На стенах зала сохранилось художественное оформление времён папы Юлия II.

Зал XIII В этом зале собраны крышки терракотовых саркофагов эллинистического периода.

Зал XIV Зал носит название «Зал римских древностей». В числе экспонатов — фрагменты больших бронзовых статуй, небольшая коллекция бронзы и серебра, статуя мужчины (конец I в. до н. э.), скульптурный портрет императора Требониана Галла (251—253 гг. н. э.), серебряные вазы с посвящением богу Аполлону (конец I в. н. э.).

Зал XV Здесь выставлены терракотовые изделия из Рима и Лацио периода I века до н. э.- I до в. н. э.: предметы из стекла, слоновой кости, можно увидеть частично воссозданную модель-реконструкцию храма римского периода с использованием подлинных деталей убранства.

Зал XVI Этот зал рассказывает об археологических находках римского периода. сделанных на территории Ватикана и в ближайших окрестностях. В их числе — две масляные лампы (I в. н. э.), алтарь, посвящённый Кибеле и Аттису (374 г. н. э.), две алебастровые урны флавианского периода, найденные в 1816 году.

Залы XVII—XXII В этих залах представлена обширная коллекция этрусских, греческих и италийских ваз. В первую очередь это расписанные греческие сосуды, найденные в этрусских некрополях в XIX веке, которые ошибочно приняли за этрусские изделия. XXII зал посвящён коллекции расписных греческих ваз V—IV вв. до н. э.

https://ru.wikipedia.org/wiki/%D0%93%D1%80%D0%B8%D0%B3%D0%BE%D1%80%D0%B8%D0%B0%D0%BD%D1%81%D0%BA%D0%B8%D0%B9_%D0%AD%D1%82%D1%80%D1%83%D1%81%D1%81%D0%BA%D0%B8%D0%B9_%D0%BC%D1%83%D0%B7%D0%B5%D0%B9

https://fr.wikipedia.org/wiki/Mus%C3%A9e_gr%C3%A9gorien_%C3%A9trusque

http://www.giacobbegiusti.com

Giacobbe Giusti, L’Arringatore

Publié par GIACOBBE GIUSTI le 22 janvier 2018

Publié dans: Arringatore, etrusque, Giuliano Bonfante, Larissa Bonfante: The Etruscan Language. An Introduction. 2. Auflage. Manchester University Press, Manchester/New York 2002, ISBN 0719055407, S. 92 und 182–183. Friederike Bu, L'Arringatore (ou l'Orateur) est une sculpture étrusque en bronze de 179 cm, datée du début du ier siècle av. J.-C.1, découverte près du lac de Trasimène en Ombrie en 1566, et , Mars von Todi Chimäre von Arezzo Etruskische Sprache Etruskische Schrift Etruskische Kunst, Senza categoria, Statuaire étrusque Esthétique étrusque Mars de Todi. Tagué : 445 und 1137. Tobias Dohrn: Der Arringatore. Bronzestatue im Museo Archeologico von Florenz. Gebr. Mann Verlag, Arringatore, art, Band I, Berlin 1968. Ranuccio Bianchi Bandinelli (Hrsg.): Enciclopedia dell’Arte Antica, bronze etrusque, Classica e Orientale. Treccani, Darmstadt 2014, datée du début du ier siècle av. J.-C.1, découverte près du lac de Trasimène en Ombrie en 1566, Der Arringatore (ital. der Redner) ist eine etruskische Bronzestatue aus dem späten 2. Jahrhundert v. Chr. oder frühen 1. Jahrhundert v. Chr. und stellt Aule Meteli oder Metele (latinisiert Aulus Me, et conservée au musée archéologique national de Florence., etruria, Etruscan civilization, etrusque, giacobbe giusti, Giuliano Bonfante, ISBN 0719055407, ISBN 188496480X, ISBN 9783486716320, ISBN 9783805348058, Italy, Johannes Süßmann (Hrsg.): Adelsbilder von der Antike bis zur Gegenwart. Oldenburg Verlag, L'Arringatore (ou l'Orateur) est une sculpture étrusque en bronze de 179 cm, Larissa Bonfante: The Etruscan Language. An Introduction. 2. Auflage. Manchester University Press, Manchester/New York 2002, Mars von Todi Chimäre von Arezzo Etruskische Sprache Etruskische Schrift Etruskische Kunst, München 2013, New York 1996, Rom 1973, S. 681–682. (online) Peter Scholz, S. 10–13 und 136–138. Nancy Thomson de Grummond (Hrsg.): Encyclopedia of the History of Classical Archaeology. Routledge, S. 86, S. 92 und 182–183. Friederike Bubenheimer-Erhart: Die Etrusker. Philipp von Zabern, Statuaire étrusque Esthétique étrusque Mars de Todi. Poster un commentaire

Giacobbe Giusti, L’Arringatore

Date	Années 100 av. J.-C.
Type	statue en bronze
Technique	fonte à la cire perdue
Hauteur	179 cm
Mouvements	Art étrusque, sculpture hellénistique (d)
Localisation	Museo Archeologico, Florence (Italie)
Numéro d’inventaire	3
Inscription	Auleśi meteliś ve vesial clenśi cen flereś tece sanśl terine tuθineś χisvlicś

Inscription en étrusque sur le bord de la toge

Inscription en étrusque sur le bord inférieur de la toge.

L’Arringatore (ou l’Orateur) est une sculpture étrusque en bronze de 179 cm, datée du début du i^er siècle av. J.-C.¹, découverte près du lac de Trasimène en Ombrie en 1566, et conservée au musée archéologique national de Florence.

Historique

Elle fut trouvée par un paysan dans le terrain de sa vigne (à Sanguineto sur la rive nord du lac de Trasimène ou à Pila près de Pérouse) en 1566²^,³ ; Giorgio Vasari la présenta lui-même au duc de Toscane (futur grand-duc Médicis Cosme I^er de Toscane)⁴, elle fut intégrée alors à ses collections privées, resta au Palais Pitti jusqu’en 1588 puis fut transférée dans la galerie des sculptures des Offices, et enfin au Musée archéologique national de Florence en 1871⁵(aujourd’hui, en 2010, dans la salle des grands bronzes avec la Chimère d’Arezzo).

Vasari la cite, en écrivant dans une lettre du 20 septembre 1566, à Borghini : « Il Duca ha avuto una statua di bronzo intera che non gli manca niente, d’uno Scipione Minore […] di braccia 3 incirca in atto di locuzione. »

Description

La statue mesure 179 cm. Elle est fondue en bronze, selon la technique de la cire perdue, et construite en sept parties (creuses sauf pour les jambes pour sa stabilité⁵). La statue est le portrait d’un personnage en tunique et en toge. Une inscription en étrusque, gravée sur la matrice avant la fonte⁶, y figure sur le bord inférieur de la toge : auleśi meteliś ve[luś] vesial clenśi / cen flereś tece sanśl tenine / tu θineś χisvlicś. Cette inscription honorifique et votive donne le nom du personnage qui a érigé la statue, Aule Meteli (en latin Aulus Metelus)¹, et le lieu de son érection, un sanctuaire de « Tece Sans ».

Si l’Arringatore appartient encore au milieu culturel étrusque, certains éléments comme le costume et le réalisme du visage sont propres au monde romain⁷. Cette statue pourrait montrer la romanisation progressive de l’aristocratie étrusque⁸.

La main du personnage debout, tendue vers le public, ou le ciel, est disproportionnée (une habitude stylistique de la statuaire étrusque) pour rendre l’intention plus évidente.

Interprétations

Sa désignation d’Arringatore (orateur ou harangueur) lui vient de sa posture : le bras gauche vers le bas de son vêtement et le droit levé la main en avant, à l’intention du public venu l’écouter.

Il pourrait également s’agir d’une posture de prière⁹ par l’aspect dédicatoire de l’inscription en faveur de Tece Sans et son emplacement dans un sanctuaire.

Notes et références

↑ ^a et b Jean-Marc Irollo, Histoire des Étrusques, p. 152.
↑ à Piancastagnaio pour Jacques Heurgon, La Vie quotidienne des Étrusques, Hachette, 1989
↑ Les Étrusques et l’Europe, Réunion des Musées nationaux, 1992, notice 240, p. 155.
↑ Antonio Giuliano, Giancarlo Buzzi, Herscher, Splendeurs étrusques, 1992, Milan (ISBN 2 7335 0204 2), p. 280
↑ ^a et b Notice du musée archéologique de Florence
↑ Jean-Marc Irollo, Histoire des Étrusques, p. 152-153.
↑ Giovannangelo Camporeale, « La romanisation », dans Les Étrusques et l’Europe, Réunion des Musées nationaux, 1992, p. 105.
↑ Jean-Marc Irollo, Histoire des Étrusques, p. 153.
↑ Dominique Briquel, La Civilisation étrusque, p. 146

Sources

Page de libero.it comportant les détails des noms des éléments vestimentaires [archive]

Annexe

Articles connexes

Giacobbe Giusti, L’Arringatore

Der Arringatore

Der Arringatore (ital. der Redner) ist eine etruskische Bronzestatue aus dem späten 2. Jahrhundert v. Chr. oder frühen 1. Jahrhundert v. Chr. und stellt Aule Meteli oder Metele (latinisiert Aulus Metellus oder Metellius) dar. Die Skulptur wurde im 16. Jahrhundert entdeckt und befindet sich heute im Archäologischen Nationalmuseum von Florenz. Die Statue ist ein bedeutendes Beispiel der späten etruskischen Bronzeskulptur und zeigt die allmähliche Romanisierung der etruskischen Kunst.

Beschreibung

Giacobbe Giusti, L’Arringatore

Die Bronzeskulptur zeigt einen erwachsenen, älteren Mann in frontaler Pose mit ausgestrecktem rechten Arm und leicht geöffneten Mund. Das Gewicht der Figur ist auf das rechte Bein verlagert, das linke ist leicht abgewinkelt. Diese Haltung wird als Kontrapost bezeichnet. Die eingelegten Augen der Statue sind nicht erhalten geblieben, so dass die Augenhöhlen jetzt leer sind.

Aule Meteli trägt eine Tunika, über der eine kurze Toga exigua drapiert ist, was der formellen Kleidung eines Magistrats entspricht. Die Toga ist um den Körper gewickelt und lässt den rechten Arm frei. Seinen linken Arm, um den die Toga geschlungen ist, hat Aule Meteli eng an den Körper angelegt. An der linken Hand trägt er einen kostbaren, vermutlich goldenen Skarabäenring. Seinen Zeigefinger drückt er leicht auf den nach vorne gestreckten Daumen, so dass der Eindruck von Sammlung und Konzentration entsteht. Er trägt hohe Schnürstiefel (calcei), wie sie gewöhnlich von römischen Senatoren getragen wurden. Der untere Rand der Toga wird durch einen breiten Saum begrenzt.

Die selbstbewusste Körperhaltung scheint die eines Redners zu sein, der sich anschickt, zu einer größeren Menschenmenge zu sprechen. Daher rührt auch die Bezeichnung der Statue als Der Redner, italienisch L’Arringatore, englisch The Orator. Mit der erhobenen Hand will er offenbar für Ruhe und Aufmerksamkeit sorgen. Aule Meteli ist als Herr des Geschehens dargestellt, der sich dank seiner Autorität mühelos Gehör verschafft und mit seiner Redekunst die Menge führen kann. Die selbstsichere Haltung beruht dabei nicht auf körperlicher Makellosigkeit, Kraft oder Stärke. Aule Meteli ist eher von gedrungener Statur, neigt zur Beleibtheit, besitzt ein deutlich von Falten geprägtes Gesicht, das aber zugleich reiche Erfahrung und Einsicht, Besonnenheit und Klugheit vermittelt. Hinzu tritt die besondere öffentliche Stellung, die dem Dargestellten einen deutlich erkennbaren Anspruch auf Führung der Bürgerschaft verleiht.

Giacobbe Giusti, L’Arringatore

Kopf der Bronzestatue

Giacobbe Giusti, L’Arringatore

Linke Hand mit Ring

Giacobbe Giusti, L’Arringatore
Saum mit Inschrift

Inschrift

Der untere Saum der Toga trägt eine etruskische Inschrift, die entsprechend den Schreibgewohnheiten der Etrusker von rechts nach links mit spiegelverkehrten Buchstaben verfasst ist:

Die transkribierte Lesung lautet:

AULEŚI METELIŚ VE[LUS] VESIAL CLENŚI CEN FLEREŚ TECE SANŚL TENINE TUTHINEŚ CHISVLICŚ^[1]

AULEŚI METELIŚ ist die Dativform des Namens Aule Meteli oder Metele. Es folgen die Genitivformen des Männernamens Vel und des Frauennamens Vesi. Daran schließt sich die Genitivform CLENŚI von CLEN (Sohn) an. CEN FLEREŚ ist die Akkusativ und steht für diese Votivstatue. TECE ist ein Verb in der dritten Person Perfekt mit der Bedeutung er hat aufgestellt.

Allerdings ist unklar, wer diese Statue gestiftet hat. Aule Meteli könnte selbst der Spender sein. Sofern TENINE eine Person bezeichnet, kommt auch diese als Stifter in Betracht. SANŚL ist eine Genitivform und dürfte die Gottheit SANŚ bezeichnen, der die Statue offenbar geweiht war. Die beiden letzten Wörter TUTHINEŚ CHISVLICŚ könnten darauf hindeuten, dass die Bürgerschaft nach einer Beratung der Errichtung der Statue zugestimmt hat. Insgesamt ergibt sich als mögliche Übersetzung:

Zu Ehren von Aule Meteli, dem Sohn von Vel und Vesi, hat Tenine diese Statue aufgestellt als Votivgabe für Sans nach Beratung der Bürgerschaft.

Der Buchstabe M in der Inschrift entspricht dem phönizischen Buchstaben Sadéh oder Zade und steht vermutlich für einen Sch-Laut. Dieser Buchstabe, der als Ś transkribiert wird, fand vor allem in Nordetrurien Anwendung.

Deutung

Giacobbe Giusti, L’Arringatore

Römische Bronzeskulptur aus republikanischer Zeit

Aule Meteli scheint eine bedeutende Person aus den nordetruskischen Städten Cortona (etruskisch Curtun) oder Perugia (etruskisch Persna) gewesen zu sein, da seine Heimatstadt ihm diese lebensgroße Ehrenstatue widmete. Wahrscheinlich war diese Statue an seinem Grab oder an einem Heiligtum öffentlich ausgestellt. Kleidung und Haltung deuten darauf hin, dass er ein wichtiges politisches Amt innehatte oder sogar als Princeps die Bürgerschaft anführte. Aufgrund von besonderen Verdiensten um die Stadt könnte er durch die Errichtung dieser Statue geehrt worden sein. Die Städte Nordetruriens, die im Gegensatz zu einigen Städten des Südens nicht von den Römern erobert worden waren, darunter Cortona und Perugia, erlebten in der 2. Hälfte des 2. Jahrhunderts v. Chr. eine letzte bescheidene Blüte.

Die Bronzeskulptur des Aule Meteli bietet einen Einblick in die sich verändernde soziopolitische Landschaft der italienischen Halbinsel in den letzten Jahrhunderten vor der Zeitenwende. Als sich das Territorium Roms vom fünften bis zum ersten Jahrhundert v. Chr. ausbreitete, wurden ihre Nachbarn allmählich in die Sphäre des römischen kulturellen, wirtschaftlichen und politischen Einflusses aufgenommen. Manche Gruppen widersetzten sich dem römischen Hegemonialstreben, während andere sich durch politische und militärische Verträge dem römischen Lebensstil anschlossen. Dieser Prozess der Akkulturation bzw. Romanisierung führte dazu, dass die ursprüngliche kulturelle Heterogenität durch ein homogeneres kulturelles Modell ersetzt wurde.

Dementsprechend steht der Arringatore für die etruskischen Handwerkskunst, die dem deutlichen Einfluss der römischen Welt unterworfen ist. Die Statue trägt eindeutig Senatorenstiefel und die kurze und schmale Toga exigua, die beide aus der römischen Kultur stammen. Ebenso stimmt sein Haarschnitt mit denen römischer Eliten überein. Haltung und Gesichtsausdruck vermitteln eine Natürlichkeit und Wahrhaftigkeit, wie sie in der Porträtkunst der mittleren Republik anzutreffen sind. Auch die Ehrung des Aule Meteli durch ein Standbild lehnt an Gebräuche der römischen Aristokratie an. Die Statue trägt aber auch eine Inschrift mit etruskischen Buchstaben und die Bronzeverarbeitung entspricht den Traditionen etruskischer Handwerkskunst. Die Statue reflektiert somit die Balance zwischen alter etruskischer und neuer römischer Identität und den Übergang hin zu einer vollständigen Auflösung der etruskischen Kultur und Sprache.

Geschichte

Archäologisches Nationalmuseum von Florenz im Palazzo della Crocetta

Die Bronzestatue wurde 1566 in der Gegend zwischen Cortona und Perugia gefunden und verstärkte das gerade wiedererwachte Interesse an den Etruskern. Aus der Renaissance sind als Fundorte Sanguineto im Norden des Trasimenischen Sees und Pila 8 km südöstlich von Perugia überliefert. Das Funddatum lässt sich auf den Zeitraum zwischen dem 15. September und 21. Oktober 1566 eingrenzen.

Das Standbild wurde, obwohl es in Umbrien und damit auf dem Territorium des Kirchenstaates gefunden worden war, von Cosimo I. de’ Medici in Besitz genommen. Vermutlich wurde damals als Fundort die Gegend am Trasimenischen See verbreitet, um die päpstlichen Ansprüche zu umgehen. Cosimo verfügte bereits über eine große Sammlung von Antiken, darunter die 1553 entdeckte Chimäre von Arezzo, und setzte damit das Mäzenatentum seiner Familie fort. 1569 wurde er Großherzog der Toskana und nannte sich Magnus Dux Etruriae, wodurch er ausdrücklich auf die etruskischen Vorläufer Bezug nahm.

Zunächst wurde die Bronzestatue des Arringatore zusammen mit anderen etruskischen Fundstücken öffentlich im Palazzo Vecchio im Saal Leos X. ausgestellt. Im Jahr 1581 veranlasste Cosimos Sohn Francesco I. de’ Medici die Umwandlung des Obergeschosses der Uffizien in Galerien für die Ausstellung der mediceischen Kunstsammlung. Die 1560 maßgeblich von Giorgio Vasari gestalteten Uffizien hatten zunächst ausschließlich für die Unterbringung von Ministerien und Ämtern gedient. Ab 1588 konnte der Arringatore zusammen mit antiken und zeitgenössischen Skulpturen in der Galleria delle Statue besichtigt werden. 1789 bezeichnete Luigi Lanziin seinem Werk Saggio di lingua Etrusca e di altre antiche d’Italia(Abhandlung über die etruskische und andere alte Sprachen Italiens) erstmals die Bronzestatue als Arringatore.

Mit der Vereinigung Italiens zu einem Nationalstaat setzte sich König Viktor Emanuel II. dafür ein, dass in Florenz, 1864 bis 1871 Hauptstadt des neuen Staates, ein etruskisches Museum entstehen sollte, um diesen wichtigen Aspekt des italienischen Erbes darzustellen. Das etruskische Museum wurde mit einem ägyptischen Museum kombiniert, das im 18. Jahrhundert vom habsburgischen Großherzog Leopold II. gegründet worden war. Die Sammlungen wurden zunächst im Cenacolo di Fuligno in der Via Faenza ausgestellt. 1881 verlegte man die Museen in den Palazzo della Crocetta in der Via della Colonna. Schließlich entstand dort das Archäologische Nationalmuseum von Florenz, in dem sich heute das Standbild des Arringatore zusammen mit anderen antiken Bronzen befindet.

Anmerkungen

Hochspringen↑ Corpus Inscriptionum Etruscarum CIE 4196; Thesaurus linguae etruscae TLE 651

Siehe auch

Literatur

Giuliano Bonfante, Larissa Bonfante: The Etruscan Language. An Introduction. 2. Auflage. Manchester University Press, Manchester/New York 2002, ISBN 0719055407, S. 92 und 182–183.
Friederike Bubenheimer-Erhart: Die Etrusker. Philipp von Zabern, Darmstadt 2014, ISBN 9783805348058, S. 10–13 und 136–138.
Nancy Thomson de Grummond (Hrsg.): Encyclopedia of the History of Classical Archaeology. Routledge, New York 1996, ISBN 188496480X, S. 86, 445 und 1137.
Tobias Dohrn: Der Arringatore. Bronzestatue im Museo Archeologico von Florenz. Gebr. Mann Verlag, Berlin 1968.
Ranuccio Bianchi Bandinelli (Hrsg.): Enciclopedia dell’Arte Antica, Classica e Orientale. Treccani, Rom 1973, Band I, S. 681–682. (online)
Peter Scholz, Johannes Süßmann (Hrsg.): Adelsbilder von der Antike bis zur Gegenwart. Oldenburg Verlag, München 2013, ISBN 9783486716320, S. 40–43

Commons: Arringatore – Sammlung von Bildern, Videos und Audiodateien

https://de.wikipedia.org/wiki/Arringatore

giacobbe giusti

Giacobbe Giusti, Cippe de Pérouse

Publié par GIACOBBE GIUSTI le 21 janvier 2018

Publié dans: Cippe de Pérouse, cippe de Pérouse est une stèle en travertin découverte en 1822 à Colle San Marco près de Pérouse, Cippo perugino, Cippus Perusinus is a stone tablet discovered on the hill of San Marco, near Perugia, Italy, in 1822. The tablet bears 46 lines of incised Etruscan text., Cippus Perusinus is a stone tablet discovered on the hill of San Marco, near Perugia, Italy, in 1822. The tablet bears 46 lines of incised Etruscan text. The cippus is assumed to be a text dedicat, etruscan, musée archéologique de Pérouse, National Archeological Museum of Perugia., Senza categoria, stèle en travertindécouverte en 1822 à Colle San Marco près de Pérouseet contenant, gravés sur deux faces latérales, quarante-six lignes et cent trente mots étrusques,. Tagué : art, Cippe de Pérouse, cippe de Pérouse est une stèle en travertin découverte en 1822 à Colle San Marco près de Pérouse, Cippo perugino, Cippus Perusinus is a stone tablet discovered on the hill of San Marco, etrusque, giacobbe giusti, gravés sur deux faces latérales, in 1822. The tablet bears 46 lines of incised Etruscan text., in 1822. The tablet bears 46 lines of incised Etruscan text. The cippus is assumed to be a text dedicating a legal contract between the Etruscan families of Velthina (from Perugia) and Afuna (from , italie, Italy, musée archéologique de Pérouse, National Archeological Museum of Perugia., near Perugia, ombrie, Perugia, quarante-six lignes et cent trente mots étrusques, stèle en travertindécouverte en 1822 à Colle San Marco près de Pérouseet contenant. Poster un commentaire

Giacobbe Giusti, Cippe de Pérouse

Face avant du cippe de Pérouse dit Cippo perugino.

Giacobbe Giusti, Cippe de Pérouse

Transcription du texte du cippo perugino

Le cippe de Pérouse est une stèle en travertindécouverte en 1822 à Colle San Marco près de Pérouseet contenant, gravés sur deux faces latérales, quarante-six lignes et cent trente mots étrusques, relatant un acte juridique. Il s’agit d’un des plus longs textes étrusques connu et du plus grand texte étrusque relatif à un contrat passé entre deux familles (Velthina, de Pérouse, et Afuna, de Chiusi) à propos des limites des domaines respectifs, avec les désignations des parties, des lois invoquées et du dignitaire faisant l’arbitrage¹.

Une salle lui est consacrée au Musée national d’Archéologie de l’Ombrie avec la transcription du texte sur un tableau didactique.

Texte intégral

Face avant :

Teurat tan-na larezu-l am-e vaχr.

Lautn Velθina-š, ešt-la Afuna-s, slel eθ car-u tezan,

fušler-i tesn-š tei-š Rašne-š ipa am-a hen.

Naper χi-i Velthinaθur-aš ar-aš,

perašcem-ul mlesc-ul, zuci enesc-i ep-l, tular-u.

Aule-ši, Velθina-š Arzna-l, clen-ši,

θi-i θi-l šcuna cen-u, epl=c feli=c Larθal-š Afuni-š,

clen, θunχul θe fala-š.

Χi=em fušl-e, Velθina hinθa cap-e, muni=cle-t, mas-u,

naper šran=c tl, θi-i falš-ti.

Veltina hut naper penez-š mas-u.

Acnina cl-el Afuna, Velθina mler zin-ia.

In temam-er cn-l Velθina zi-a šaten-e tesn-e,

Eca Velθinaθur-aš taura hel-u tesn-e Rašn-e ce-i.

Tesn-š tei-š Rašne-š χimθ, špel θuta šcu-na, Afuna men-a hen.

Naper ci cn-l har-e ut-uš-e.

Face latérale gauche:

Velθina šatena zuci enesc-i ipa spelane-θi fulum-χva.

spel-θi, rene-θi.

Esta=c Velθina, acil-un-e, tur-un-e, šcu-n-e.

Ze-a zuci enesc-i aθumi=cš.

Afuna-š penθ-na am-a.

Velθina, Afun[a]θur, un-i ei-n zeri, una cla θi-l θunχulθ-l.

Iχ ca ceχa ziχ-uχ-e.

Composition du texte

L’inscription est rédigée en alphabet étrusque (écrit de droite à gauche) en usage en l’Étrurie septentrionale entre les iii^e et ii^e siècles av. J.-C.. La face avant du cippe comporte 24 lignes et la face latérale gauche 22.

La face principale est divisée en quatre paragraphes avec des coupures aux lignes 8, 11 et 19. La première ligne est centrée et écrite avec des caractères plus grands. La ligne 12 comporte une pause à droite laissant supposer le complément de la ligne suivante (13).

Le graveur a écrit la fin de la ligne 13 au bout droit la ligne 12, en le déplaçant à gauche, selon une habitude des scribes déjà remarquée sur un autre texte étrusque, les bandelettes de la Momie de Zagreb, pour ne pas trahir le contenu de la phrase.

Sur le flanc gauche, ligne 9, est inscrite la correction d’une erreur par rapport aux règles. Ici les mots sont séparés par un point, alors que sur la face avant, le même usage du point semble plutôt marquer une scansion d’une rhétorique poétique entre les noms de personnes, les formules…

Sens du texte

Le texte fait référence à deux familles, dont le nom figure au début, précédé du mot lautn (famille en étrusque), les Velthina (de Pérouse) et les Afuna (écrit ANV8A) (de Chiusi). Le mot étrusque tular qui signifie « limite (de terrain) » précise que le cippe marque une limite. Le texte est interprété comme un jugement ou un arbitrage concernant la répartition et l’usage d’une propriété² sur laquelle se trouvait une tombe des membres de la famille des Velthina, avec les détails suivants :

Lignes 1-2 : il est mentionné le nom du juge ([t]eurat) Larth Rezu, en présence duquel est passé(ame) un accord (sens probable de vachr) entre les deux familles².
Ligne 5 : il est fait référence au concept de « étrusque » ou « public » (rasnes), une source du droit qui fonde l’acte.

Lignes 5-6 : le mot naper devant le nombre XII indique probablement la mesure de surface².

Ligne 8 : exprime la notion de frontière (tularu).
Lignes 20-21 : font allusion à la tombe des Velthina (Velthinathuras thaura).

L’inscription se termine, sur la face gauche du cippe, par la formule qui conclut un document juridique : Iχ ca ceχa ziχ-uχ-e, « comme cela (ich ca) a été écrit (zichuche) au-dessus (cecha) »².

Bibliographie

Dominique Briquel, Les Étrusques, Presses Universitaires de France – PUF, coll. « Que sais-je », 2005, 126 p.(ISBN 9782130533146)

Notes et références]

↑ Notice du musée archéologique de Pérouse
↑ ^{a, b, c et d} Briquel 2005, p. 113-114

Sources

Texte de la Soprintendenza per i Beni Archeologici dell’Umbria, du 04/10/2005, modifié en dernier le 07/01/2008.

Giacobbe Giusti, Cippe de Pérouse

Cippus Perusinus

Giacobbe Giusti, Cippe de Pérouse

The Cippus of Perugia, 3rd or 2nd century BCE

Giacobbe Giusti, Cippe de Pérouse

Side view

The Cippus Perusinus is a stone tablet discovered on the hill of San Marco, near Perugia, Italy, in 1822. The tablet bears 46 lines of incised Etruscan text. The cippus is assumed to be a text dedicating a legal contract between the Etruscan families of Velthina (from Perugia) and Afuna (from Chiusi), regarding the sharing or use of a property upon which there was a tomb belonging to the noble Velthinas.^[1]^[2]

The date of the inscription is considered to be 3rd or 2nd century BC. The Cippus is conserved in the National Archeological Museum of Perugia.^[1]

Original text

Text transcription

eurat tanna larezul ame vaχr.

Lautn . Velθina-ś, eśtla Afuna-s, sleleθc aru ::tezan,

fuśle-ri tesn-ś tei-ś Raśne-ś ipa ama hen.

NaperXII (12) Velthina θuraś araś,

pe raścemulml escul, zuci en esci epl, tularu.

Auleśi, Velθina-ś Arznal, clenśi,

θii θil ścun’a cenu, eplc felic Larθal-ś Afune-ś,

clen, θunχ ulθe fala-ś.

Χi=em fuśle, Velθina hinθa cape, municlet, masu,

naper śran . ctl, θii falśti.

Veltina hut naper penez-ś masu.

Acnina clel Afuna, Velθina mler zinia.

Intemame r cnl Velθina zia śatene tesne,

Eca Velθina θuraś θaura hel-u tes ne Raśne cei.

Tesn-ś tei-ś Raśne-ś χimθ, śpel θuta ścun’a, Afuna mena hen.

Naperci (3)cnl hare utuśe.

Reverse side:

Velθina śatena zu ci en esci ipa spel ane-θi fulum-χva.

spel-θi, re ne-θi.

Estac Velθina, acil-un-e, turune, ścu-n-e.

Zea zu ci en esci aθumi=cś.

Afuna-ś penθn-a ama.

Velθina, Afun[a]θuruni ein zeri, una cla θil θunχulθ-l.

Iχ ca ceχa ziχuχe.

Supplamentry for the word clel found in the main inscription in the Golini Tomb 1 at Orvieto.

me’ch’l um rasneas clevsinsl: zila’ch’nve pulum (stars).

rumitrinei : ma?ce . clel . lu?[

Supplamentry for the wordnaper,from a cippus found at Volterra.

l : titesi :cale ‘s’i

cina : c’s’ : mes [month] tle’s’

[mes, month in Spanish, mese in Italian]

hu’th’ [six]: naper’lescan

letem : ‘th’ui :

ara’s’a : ‘th’en tma

se : laei : tre c’s’

‘th’en’s’t : me ua’th’a

Supplamentry from the Liber Linteus Column X for comparison

for the words aru,ame,ipa, θuta, cnl, ama.

5 aru’s’ . ame . acnesem . ipa . se’th’umati . siml’ch’a

6 ‘th’ui . turve . acil . ham’ph’e’s’ . lae’s’ . sulu’s’i

7 ‘th’uni . ‘s’er’ph’ue . acil . ipei . θuta . cnl . ‘ch’a’s’ri

8 he’ch’z . sul . sc vetu (carpenter=Latin Faber). ca’th’nis . ::‘s’canin . vei’th’a

9 Ipe . ipa . ma’th’cva ‘ . ama . trinum (three). hetrn . acl’ch’n

https://en.wikipedia.org/wiki/Cippus_Perusinus

https://giacobbegiusti9.wordpress.com/tag/tabula-cortonensis-cortona/

http://www.giacobbegiusti.com

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Publié par GIACOBBE GIUSTI le 19 janvier 2018

Publié dans: "The Lake of Idols, , The archaeological area of Pieve a Socana (Tuscany - Italy) (PDF), Vienna: Museen der Stadt Wien – Stadtarchäologi, Arezzo, Tuscany, Italy, art, art occidental, art Toscane, Étrusques, Étrusques italie, Boston Museum, etruria, Etruria, Cisalpine Gaul, and Umbria, Ferrini, Alessandro, Arrivo al Lago degli Idoli [Arriving at the Lake of the Idols], Foreste_Casentinesi,_Monte_Falterona,_Campigna_National_Park, Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA, Hercle, the Etruscan version of Greek divine hero, Heracles, Hermitage, Hermitage_Museum, Il lago sacro: "Passava da questo zona una importante viabilità che collegava l'Etruria toscana e umbra alle zone dell'attuale Romagna, Lago degli Idoli, Lago della Ciliegeta (eng. Cherry Grove Lake), named for the cherry groves that grew around the lake.[4] The name Lago degli Idoli (eng. Lake of the Idols), Lake of Idols is about 1380 metres above sea level on the southern slope of Monte Falterona, Lake of the Idols, MONTE FALTERONA, Marie-Bénédicte, Astier, Lago degli Idoli, Louvre Museum, Meyers, Gretchen E. (1 January 2008), "Review of M. Ducci, ed., Santuari Etruschi in Casentino", Etruscan Studies: Journal of the Etruscan Foundation, University of Massachusetts Amherst,, monte falterona, Museums of Berlin, national park in Italy, Senza categoria, The Etruscans, votive offering of Hercle of Greek manufacture. Tagué : "Review of M. Ducci, "The Lake of Idols, A Tuscan Trilogy: The Flood of Florence, Alessandro, and Umbria, arezzo, Arrivo al Lago degli Idoli [Arriving at the Lake of the Idols], art, Astier, british museum, British_Museum, bronze etrusque, Christ Pantocrator - Cathedral of Cefalù - Italy, Cisalpine Gaul, ed., etruria, Etruscan civilization, Etruscan Studies: Journal of the Etruscan Foundation, etrusque, Ferrini, Foreste_Casentinesi, giacobbe giusti, Gretchen E. (1 January 2008), Heracles, Hercle, Hermitage, Hermitage_Museum, Il lago sacro: "Passava da questo zona una importante viabilità che collegava l'Etruria toscana e umbra alle zone dell'attuale Romagna, Italy, Lago degli Idoli, Lago della Ciliegeta (eng. Cherry Grove Lake), Lake of Idols is about 1380 metres above sea level on the southern slope of Monte Falterona, Lake of the Idols, Le Balze, louvre, Louvre Museum, Marie-Bénédicte, Meyers, monte falterona, Monte_Falterona, Museums of Berlin, named for the cherry groves that grew around the lake.[4] The name Lago degli Idoli (eng. Lake of the Idols), national park in Italy, Paul, Salsini, Santuari Etruschi in Casentino", The archaeological area of Pieve a Socana (Tuscany - Italy) (PDF), The Casentino History Anthropology Environment, the Etruscan version of Greek divine hero, The Etruscans, tuscany, University of Massachusetts Amherst, Vienna: Museen der Stadt Wien – Stadtarchäologi, votive offering of Hercle of Greek manufacture, _Campigna_National_Park, _Monte_Falterona. Poster un commentaire

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Risultati immagini per monte falterona british museum

Tuscany, Monte Falterona, Bronze statue depicting warrior. Etruscan civilization V century b.C.

London, British Museum

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Risultati immagini per monte falterona louvre

Kouros in bronze, from Monte Falterona

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Luci_e_ombre_in_foresta___M._Vianelli_-2.jpg

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Lake of the Idols Lago degli IdoliGiacobbe Giusti, Lake of the Idols, MONTE FALTERONA
Lake of the Idols following restoration
Lake of the Idols Location in Italy
Location	Arezzo, Tuscany, Italy

Basin countries	Italy
Surface elevation	1,380 m (4,530 ft)

Lake of the Idols (Italian: Lago degli Idoli) is a lake located in Arezzo Province, Tuscany, Italy. It is located 1,380 metres (4,530 ft) above sea level atop Monte Falterona, about 600 metres from the source of the river Arno.^[1] Situated near an ancient road linking Etruria (including Tuscany and Umbria) with the Adriatic port cities of Romagna,^[2] it is known for one of the largest archaeological finds of the Etruscan civilization; over 600 bronze statuettes of Etruscan and Roman origin, along with thousands of other figurines from Cisalpine Gaul and Umbria, were discovered within the lake.^[3]

Name

The lake was originally known as Lago della Ciliegeta (eng. Cherry Grove Lake), named for the cherry groves that grew around the lake.^[4] The name Lago degli Idoli (eng. Lake of the Idols) was applied after 1838 and refers to the Etruscan bronze statuettes found in the lake (see History). Another name for the lake is Buca del Tesoro (eng. Treasure Hole).^[5]

History

According to Alfredo Bresciani, the lake formed approximately 6,000 years ago (4th millennia BCE), based on radiocarbon dating and dendrochronology testing done on the lake.^[6]

The lake was used in ancient times by the Etruscans. They viewed it as a « holy spring of the river-gods » because of the healing qualities of the water, which contains a high concentration of tannin.^[7] The Etruscans would throw bronze statuettes into the lake as a form of votive offering. These statuettes depicted typically people or animals.^[8] Some artifacts in the lake depicted body parts, such as heads, arms and legs,^[9] suggesting the healing power of the lake. Other artifacts found at the lake were coins (including Etruscan aes rude), and fragments of arrow bits and pottery.^[10]It is believed that the lake was popular among soldiers based on the number of arrow fragments, and more importantly, the number of statuettes found depicting Hercle, the Etruscan version of Greek divine hero, Heracles.^[11] Artifacts found at the lake are dated between mid-6th to late-4th centuries BCE.^[12]

One of these statuettes was discovered by a local shepherdess in May 1838.^[13] The statuette was probably of Hercle, now kept in the British Museum.^[14]^[15] News of the find spread quickly, and a team of local amateur archaeologists from nearby Stia^[16]began excavating the site in June 1838.^[13] The lake was subsequently dried following several days of fruitful excavations.^[17] Over 600 statuettes and thousands of other artifacts were discovered between 1838–1839.^[13] Many of these artifacts at the time were presented to the Archaeological Institute of Rome in 1842, but without any buyers. Ultimately they were sold to a private collector, who resold them to a number of museums, notably among them the British Museum,^[18] the Hermitage Museum and the Louvre.^[19] Over time, treasure seekers looted the lake, stripping it of whatever artifacts remained within.^[20]

Official excavations were sparse following the 1838–1839 excavations. The next excavation, in 1972, led to the discovery of three artifacts within the lake.^[21]Previously, in 1971, five artifacts in the form of bronze statuettes were accidentally recovered from the site.^[22]

The last significant excavation of the lake was done in 2003. Eight trenches were dug into the lake center.^[23] Within the trenches, among the artifacts found were bronze statuettes, fragments of bronze weaponry, « two pieces of gold foil shaped into bull-headed protomes » and « two polychrome beads« .^[24] « In addition to the objects named above, other finds include nails, spear points, ceramics (including an intact bucchero grigio miniature cup), arrows and aes rude. » These artifacts were mostly dated between the 6th–5th centuries BCE.^[25]

Following the 2003 excavations, local authorities began rehabilitating the lake. In 2007, the lake was refilled using water from a nearby spring.^[26] Vegetation surrounding the lake was replanted to mimic its original form during the Etruscan period, using pollen samples recovered from the surrounding layers of earth.^[27]

Hydrology

The lake is widely perceived to be a pond, due to lack of inflow from any bodies of water, i.e. rivers and streams. Research done at the University of Florence – Faculty of Engineering suggests that there exists an underground spring that provides a continuous stream of water to the lake.^[28] It appears that the lake is sinkhole-like, sitting atop layers of sandstone.^[29]

Cultural impact

The lake and its history was heavily incorporated into the plot of the 2013 film Neverlake.^[30]^[31]

References

Jump up^ InEtruria.it: « The Lake of Idols is about 1380 metres above sea level on the southern slope of Monte Falterona (1654 metres) near to the sources of the Arno, approximately 600 metres more to the north-west (1358 metres). »
Jump up^ Il lago sacro: « Passava da questo zona una importante viabilità che collegava l’Etruria toscana e umbra alle zone dell’attuale Romagna e relativi porti adriatici (viabilità utilizzata anche in epoca romana e per tutto il medioevo. »
Jump up^ Caselli 2004, pp. 78–79: « Well in excess of 600 Etruscan and Roman bronze figurines, up to 60 cm in height, were found buried in the mud, together with thousands of other artifacts, coming from a wide area of Etruria, Cisalpine Gaul, and Umbria. »
Jump up^ Ferrini & Arrivo al Lago degli Idoli: « Eccoci al Lago degli Idoli, fino al 1838 Lago della Ciliegeta per le molte piante di ciliegio che qui erano presenti. »
Jump up^ Caselli 2004, p. 78: « Proceeding due south for about 1 km, a little above our path, we should be able to find the little, now refilled, basin of the famous Lago degli Idoli (Lake of the Idols), once known as Buca del Tesoro (the Treasure Hole) or Lago delle Ciliegeta (the Cherry Grove Lake). »
Jump up^ Meyers 2008: « The volume includes an interesting archaeological discussion by Alfredo Bresciani on Carbon-14 dating and dendochronology, which have been used to determine that the lake formed naturally c. 6000 years ago »
Jump up^ Caselli 2004, p. 79: « People gathered at the pond which they regarded as the holy spring of the river-gods embracing the country of Etruria. The waters of the pond, containing a high quantity of tannin, were also a strong disinfectant […] »
Jump up^ Salsini: For centuries, people in the area believed that if an earthquake awakened the god, they would all be drowned. The Etruscans, in fact, threw thousands of small bronze statues, depicting people and animals, into a lake, called Lake of the Idols, to keep the god happy.
Jump up^ Marie-Bénédicte: « […] nearly 2,000 fragments of weapons and of depictions of the human body (heads, trunks, arms, legs, etc.); and a few coins. »
Jump up^ Ferrini & Il lago sacro: « Tra il 1838 e 39 furono portati alla luce migliaia di reperti tra cui oltre seicento bronzetti, un migliaio di Aes Rude (la prima monetazione etrusca), circa 2000 punte da freccia e molti frammenti di ceramica. »
Jump up^ InEtruria.it: « This is highlighted by the existence in the votive offering of Hercle of Greek manufacture. It can be hypothesized that this offering was mainly associated with « soldiers » both on account of the statuette of Hercle (god connected to heroism and also to war) and that of the Warrior, not to mention the huge quantity of arrows. »
Jump up^ Pancani & Tocchi 2012, p. 2: « The finds dated from the middle of the VI and the late IV century BC […] »
^ Jump up to:^a ^b ^c Pancani & Tocchi 2012, p. 2: « The Lake of Idols was discovered by chance in May 1838, the accidental discovery of a bronze statue of Heracles was followed by more in-depth investigations in the area and the excavations, which began in June of the same year, brought to light more than 600 figurines and thousands of other artifacts. »
Jump up^ Perhaps this one
Jump up^ Ferrini & Un lago sacro: « Casualmente in quell’anno una mandriana rinvenne sulla sponda del lago una statuetta bronzea raffigurante Eracle (oggi conservata nel British Museum di Londra). »
Jump up^ InEtruria.it: « In Stia, a company was formed by a group of local amateurs, who started a dig (1838-‘39).
Jump up^ InEtruria.it: « A few days later, due to the formidable amount of excavated material, it was decided to dry the lake. »
Jump up^ 8 pieces in the British Museum
Jump up^ Caselli 2004, p. 79: « In 1842, secretary E. Braun, presented the finds to scholars in the hall of the Archaeological Institute of Rome. Since no public authority considered buying any of the finds, they were at once sold to a private buyer who, in his turn, sold them to various museums including the Museums of Berlin, the British Museum, the Louvre, the Boston Museum and the Hermitage. »
Jump up^ Caselli 2004, p. 79: « The extensive excavations, carried out from the summer of 2003 on-wards, demonstrated that the basin had been all but cleared of every possible interesting relic by generations of treasure hunters. »
Jump up^ Meyers 2008, pp. 175–176: « In 1972 three new bronze pieces were found at the same site, inspiring further excavation in the area.
Jump up^ InEtruria.it: « In 1971, five statuettes were found by chance. »
Jump up^ Meyers 2008, p. 176: « Following the history and catalog of earlier excavations at the site of the Lago degli Idoli, Fedeli provides a brief account of the 2003 campaign. Based on information from the earlier work on the site, eight trenches were opened in the center of the ancient basin.
Jump up^ Meyers 2008, p. 176: « Several trenches yielded substantial deposits of archaeological finds—one in particular producing bronze votive statuettes, bronze heads, fragments of bronze weapons, two pieces of gold foil shaped into bull-headed protomes and two polychrome beads. »
Jump up^ Meyers 2008, p. 176: « Most of the finds are datable to sixth-fifth centuries B.C.[…] »
Jump up^ Ferrini & Il lago sacro: « Ultimati gli ultimi scavi, a fine 2007 la conca è stata riempita con l’acqua di una vicina sorgente. »
Jump up^ Caselli, p. 78: « The local authority and the Park authority have now refilled the anciend[sic] lake bed and are now replanting the origi-nal vegetation of the Etruscan period, as has been extrapolated by studying the pollen in the va-rious excavation layers. »
Jump up^ InEtruria.it: « As to the widely debated origin of the lake, a hypothesis was recently formulated by a team of researchers and scholars of the Engineering Faculty of Florence University. Research, analyses and hydrogeological studies revealed that the lake originated from an underground spring capable of keeping up a constant flow of water.
Jump up^ InEtruria.it: « From research conducted, it turns out that the rocks in which the lake formed consist of layers of sandstone belonging to a « pseudo-doline ». »
Jump up^ Keats-Shelley House 2013: « Paoletti chose a place full of charm and mystery, ‘The Lake of the Idols’, a Tuscan location renowned for many discoveries of ancient Etruscan artifacts in its depths. »
Jump up^ Hough 2014: « The setting is the historic « Lake of the Idols, » which was beheld by ancient Etruscans as a place of healing and mysticism. It was believed that one could escape sickness by tossing objects into the center of the waters, and for thousands of years, artifacts have been discovered at the lake. »

Sources

Caselli, Giovanni (2004), The Casentino History Anthropology Environment, Le Balze, ISBN 88-7539-035-5, retrieved 12 June 2015
Salsini, Paul, A Tuscan Trilogy: The Flood of Florence, November 4, 1966, retrieved 12 June 2015
Lago degli Idoli, InEtruria.it, retrieved 12 June 2015
Pancani, Giovanni; Tocchi, Marco (November 2012), The archaeological area of Pieve a Socana (Tuscany – Italy) (PDF), Vienna: Museen der Stadt Wien – Stadtarchäologie, ISBN 978-3-200-03281-1, retrieved 12 June 2015
Marie-Bénédicte, Astier, Lago degli Idoli, Louvre Museum, retrieved 12 June 2015
Ferrini, Alessandro, Arrivo al Lago degli Idoli [Arriving at the Lake of the Idols] (in Italian), Il bel Casentino, retrieved 12 June 2015
Ferrini, Alessandro, Il lago sacro [The Sacred Lake] (in Italian), Il bel Casentino, retrieved 12 June 2015
Meyers, Gretchen E. (1 January 2008), « Review of M. Ducci, ed., Santuari Etruschi in Casentino », Etruscan Studies: Journal of the Etruscan Foundation, University of Massachusetts Amherst, 11: 175–177, ISBN 978-0-9819692-1-3, retrieved 12 June 2015
Neverlake, a new psychological thriller inspired by Shelley’s poetry, Keats-Shelley House, 20 December 2013, retrieved 12 June 2015
Hough, Quinn Vincent (13 May 2004), Movie Review: Neverlake (2013), Critical Movie Critics, retrieved 12 June 2015

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

British Museum

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Hermitage Museum

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Louvre

https://en.wikipedia.org/wiki/Lake_of_the_Idols

Giacobbe Giusti, MONTE FALTERONA, ‘IL LAGO DEGLI IDOLI’

https://en.wikipedia.org/wiki/British_Museum

https://en.wikipedia.org/wiki/Hermitage_Museum

https://en.wikipedia.org/wiki/Louvre

https://en.wikipedia.org/wiki/Monte_Falterona

http://www.toscana.beniculturali.it/articoli/acque-sacre-culto-etrusco-sullappennino-toscano

http://www.giacobbegiusti.com

https://en.wikipedia.org/wiki/Foreste_Casentinesi,_Monte_Falterona,_Campigna_National_Park

Giacobbe Giusti, ETRUSCAN MAN

Risultati immagini per uomo etrusco museo chiusi

Giacobbe Giusti, ETRUSCAN MAN

Chiusi_uomo_etrusco.jpg ‎(640 × 480 pixels, file size: 33 KB, MIME type: image/jpeg)

http://www.giacobbegiusti.com

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Publié par GIACOBBE GIUSTI le 9 décembre 2017

Publié dans: art européen, art florentin, art occidental, carmignano, etrusque, florence, Florence (Italie), florence art, florence art italy, grand-duc Ferdinand Ier de Médicis, Museo Archeologico di Artimino, Senza categoria, Villa dai cento camini, Villa Medicea di Artimino, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini (« la villa des cent cheminées »1), est une villa médicéenne qui se situe dans le paysage d'Artimino, f. Tagué : appelée aussi la Ferdinanda ou la Villa dai cento camini (« la villa des cent cheminées »1), art, carmignano, est une villa médicéenne qui se situe dans le paysage d'Artimino, etrusque, florence, florence art, florence renaissance, frazionemédiévale de la commune de Carmignano en province de Prato. Elle héberge aujourd'hui le Museo Archeologico di Artimino, giacobbe giusti, grand-duc Ferdinand Ier de Médicis, Italy, Museo Archeologico di Artimino, renaissance, Renaissance architecture, renaissance italienne, Villa dai cento camini, Villa Medicea di Artimino. Poster un commentaire

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Risultati immagini per villa ferdinanda artimino storia

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Présentation
Type	Villa

Localisation
Pays	Italie
Commune	Carmignano

Localisation sur la carte de Toscane

Cet article est une ébaucheconcernant l’architectureou l’urbanisme, l’Italie et laRenaissance.Vous pouvez partager vos connaissances en l’améliorant selon les recommandations des projets correspondants.

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Vue générale

Façade principale

Giacobbe Giusti, Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini

Fresques de la loggia du Passignano et de Poccetti

La Villa Medicea di Artimino, appelée aussi la Ferdinanda ou la Villa dai cento camini (« la villa des cent cheminées »¹), est une villa médicéenne qui se situe dans le paysage d’Artimino, frazionemédiévale de la commune de Carmignano en province de Prato. Elle héberge aujourd’hui le Museo Archeologico di Artimino, un centre de congrès et un accueil hôtelier.

Histoire

Elle a été construite pour le grand-duc Ferdinand I^erde Médicis qui avait repéré² les lieux au cours d’une battue de chasse sur le Monte Albano, avec son architecte, alors âgé, Bernardo Buontalenti.

La villa fut construite en quatre années, de 1596 à 1600, et est le chef-d’œuvre de la maturité du célèbre architecte qui, âgé, dirigea les travaux depuis sa maison de la via Maggio à Florence, guidant sur place, ses collaborateurs Santi Maiani et Gherardo Mechini.

Elle représente une somme stylistique des autres villas médicéennes et complète la circulation tout au long des saisons de l’année par les Médicis dans leurs possessions régionales. Commandité par le Grand-Duc Ferdinand, le peintre flamand Giusto Utens peignit la série de 17 médaillons en demi-lune des villas médicéennes (dont seulement 14 sont conservées aujourd’hui au Museo di Firenze com’era) et celui de cette villa a été perdu pendant leur dispersion.

Cette villa, favorite de Frédéric pour ses séjours d’été, comporte un piano nobile décoré de fresques par Domenico Passignano et Bernardino Poccetti avec des scènes mythologiques et allusives aux vertus du Grand-Duc. Celles du salon central, des appartements granducaux, de la chapelle et de la loggia sont encore visibles.

La Guardaroba, décorée des portraits de Pietro Aretino du Titien et du Bacchus du Caravage, se trouve aujourd’hui conservée aux Offices.

En 1782, la villa fut vendue par le grand-duc Pierre-Léopold de Lorraine au marquis Lorenzo Bartolomei, puis par héritage au comte Passerini (1848), qui l’a vendue ensuite en 1911 à la famille Maraini.

Vers 1930, quelques modifications à l’architecture de la villa ont été effectuées, en reconstruisant de nouveaux scalone et en restructurant les jardins.

À l’automne 1944 la villa fut gravement endommagée par l’artillerie militaire, et elle fut restaurée dès le printemps de 1945.

En 1972 le compositeur américain Charlemagne Palestine y réalise la seconde partie de Body Music. Performance qui met en dialogue le son, l’espace et le corps.

D’autres propriétaires se succédèrent depuis et, en 1979, la famille Riva effectua une vente aux enchères qui dispersa les décorations et les peintures de la villa.

Aujourd’hui elle est transformée en centre de congrès et accueil hôtelier, et les souterrains accueillent le Musée Archéologique Communal d’Artimino.

Notes et références

↑ En fait, une quarantaine correspondant chacune à une pièce différente
↑ Philippe Baldinucci, chroniqueur de cette époque

Bibliographie

Le ville medicee. Guida completa, Isabella Lapi Ballerini, Giunti 2003.

Villa Medicea di Artimino,

Sources

(it) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en italien intitulé « Villa medicea di Artimino »

http://www.giacobbegiusti.com

Giacobbe Giusti, Mars de Todi

Publié par GIACOBBE GIUSTI le 8 décembre 2017

Publié dans: Ancient Umbria: State, Culture, and Identity in Central Italy from the Iron Age to the Augustan Era, art, Art étrusque, art européen, art occidental, Étrusques, best of art, etrusque, etrusque italie, Mars de Todi (Marte di Todi), Mars de Todi (Marte di Todi) est une statue étrusque en bronze, qui représente le dieu Mars. Musée grégorien étrusque au Vatican., Musée Grégorien Etrusque du Vatican, Senza categoria, statue étrusque en bronze. Tagué : Ancient Umbria: State, art, Central Italy from the Iron Age to the Augustan Era, Culture, etrusque, giacobbe giusti, Italy, Mars de Todi (Marte di Todi), Mars de Todi (Marte di Todi) est une statue étrusque en bronze, Mars Musée grégorien étrusque au Vatican., Musée Grégorien Etrusque du Vatican, Rome, statue étrusque en bronze. Poster un commentaire

Giacobbe Giusti, Mars de Todi

Risultati immagini per Mars de Todi

Giacobbe Giusti, Mars de Todi

Artiste	Inconnu
Date	v^e siècle av. J.-C.
Type	sculpture en bronze
Technique	fonte à la cire perdue
Hauteur	141 cm
Mouvement	Art étrusque
Localisation	Musée grégorien étrusque, Rome (Vatican)

Le visage

Le Mars de Todi (Marte di Todi) est une statue étrusque en bronze, qui représente le dieu Mars. Elle est conservée au Musée grégorien étrusque au Vatican.

La statue en bronze est découverte en 1835 enfouie à proximité des murs du Convento di Montesanto, à proximité de la ville de Todi située dans la province de Pérouse, zone concernée par la civilisation étrusque¹.

Le guerrier de bronze est probablement une offrande votive faite à un sanctuaire religieux², éventuellement à Laran, le dieu étrusque de la guerre³. Enterré dans l’antiquité, peut-être rituellement⁴, il est resté intact jusqu’à sa découverte en 1835⁵.

La statue est un exemple de la haute qualité des œuvres produites en Étrurie durant cette période⁵et provient probablement d’un atelier d’ Orvieto ( Velzna étrusque)⁶ connue pour ses sculptures en bronze, dont plus de 2 000 ont été pillées par les Romains en 265 av.J.-C.⁷.

La statue représente une figure militaire typique avec les traits du visage « ostensiblement étrusques »⁸ . Il s’agit d’une est réalisation étrusque d’inspiration hellénique avec l’emploi de la posture contrapposto⁹ . Dans sa main droite tendue, le personnage tenait probablement une patère (bol de libation ), et une lance dans la gauche¹⁰. Son casque est manquant⁷, mais son armure complexe, représente par ses détails¹¹ l’un des meilleurs exemples montrant à quoi ressemblait l’armure lamellaire de l’époque¹².

La dédicace qui est inscrite sur la jupe de la cuirasse¹³ en langue ombrienne mais en alphabet étrusque¹⁴ marque le début de la tradition épigraphique dans cette partie de l’Ombrie¹⁵. Néanmoins, l’homme dédiant a un nom d’origine celtique, une indication du caractère cosmopolite de la région à l’époque archaïque¹⁶. l’inscription se lit « Ahal Trutitis dunum dede» , Ahal Trutitis a donné [cela comme un] cadeau¹⁷.

La sculpture est actuellement conservée au Musée Grégorien Etrusque du Vatican.

(it) Ranuccio Bianchi Bandinelli et Mario Torelli, L’arte dell’antichità classica, Etruria-Roma, Turin, Utet, 1976

(en) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en anglais intitulé « Mars of Todi » (voir la liste des auteurs).

Notes et références

↑ Fred S. Kleiner, introduction to A History of Roman Art (Wadsworth, 2007, 2010 « enhanced edition »), p. xl.
↑ Guy Bradley, Ancient Umbria: State, Culture, and Identity in Central Italy from the Iron Age to the Augustan Era(Oxford University Press, 2000), p. 92.
↑ Jean-René Jannot, Religion in Ancient Etruria, translated by Jane K. Whitehead (University of Wisconsin Press, 2005), p. 165.
↑ Bradley, Ancient Umbria, p. 72.
↑ ^a et b Bradley, Ancient Umbria, p. 68, 71–72, 200.
↑ Jannot, Religion in Ancient Etruria, p. 165; Kleiner, A History of Roman Art, p. xl.
↑ ^a et b Kleiner, A History of Roman Art, p. xl.
↑ Donald Strong and J.M.C. Toynbee, Roman Art (Yale University Press, 1976, 1988), p. 32–33.
↑ Kleiner, A History of Roman Art, p. xl; Otto Brendel, Etruscan Art (Yale University Press, 1995, originally published 1978), p. 316–317
↑ Erika Simon, Gods in Harmony: The Etruscan Pantheon, in The Religion of the Etruscans (University of Texas Press, 2006), p. 55; Kleiner, A History of Roman Art, p. xl.
↑ Brendel, Etruscan Art, p. 317.
↑ Graham Webster, The Roman Imperial Army of the First and Second Centuries A.D. (University of Oklahoma Press, 1979, 1998 3rd ed.), p. 2.
↑ Amanda Claridge, Rome: An Oxford Archaeological Guide (Oxford University Press, 1998), p. 393.
↑ Jannot, Religion in Ancient Etruria, p. 136.
↑ Bradley, Ancient Umbria, p. 73, note 127; Claridge, Rome, p. 393.
↑ Bradley, Ancient Umbria, p. 71–72.
↑ Claridge, Rome, p. 393; Guiliano Bonfante and Larissa Bonfante, The Etruscan Language: An Introduction(Manchester University Press, 1983, 2002 rev.ed.), p. 26.

Liens externes

Mars de Todi, sur Wikimedia Commons

« Marte di Todi » [archive], sur mv.vatican.va(consulté le 27 juin 2016)

https://fr.wikipedia.org/wiki/Mars_de_Todi

http://www.giacobbegiusti.com

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