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20:
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413:
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570:. Many of them were artists who brought a new aesthetic in the construction of the human figure with stylised or large, more naturalistic lines. The Greek archaic types of production were developed following essentially idealistic rules and set definite models that illustrated plastically the ethical and moral concepts, not finding an exact imitation among the Etruscans, since they realized the shape of the human body with a much more descriptive profile and, in fact, making images almost like portraits, when among the Greeks all the personal idiosyncrasy had been abolished from the images. Another difference is that the male figure, although it was very similar to that of the Greek
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rectified, giving each piece a unique character. In turn, the molded parts could also serve as a new prototype for a second generation of molds and copies. On the one hand this made possible the mass production of similar pieces at low cost to meet the growing demand but as the molds wore out their quality declined, which proved fatal to
Etruscan art, especially in its final phase, when the finish had been greatly reduced, with no additions or corrections after molding. However, the quality of the final finish of the works was very varied existing cases of important statuary with a surprisingly rustic finish, even in stages before mass production as the great building of
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1045:
348:. With respect to their stylistic canons, according to Cunningham and Reich, the Etruscans were not like the Greeks, concerned with deep reflections on the associations between art and ethics or the understanding of how the body functions in an artistic representation and their attention was directed more to the immediate effects of the figures. Proof of this is the existence of countless distorted, schematic or disproportionate figures, often with a rudimentary finish, approaching the character of caricature, highlighting individual features without any idealism. For the decorative groups on the
727:
912:
454:, became the main commercial centers, and the greatest number of sculptural remains have been found, again, in subway tombs. During this period, the tombs became larger and more complex, with several chambers, corridors and a large vaulted roof at the top, formed with concentric rings of gradually advancing blocks, sometimes with a central pilaster helping to support the roof. Burials were often luxurious, including a profusion of both decorative and sacred objects, the warrior princes, invested in buying sumptuary goods in the likeness of oriental pomps and typologies.
1033:
461:, a silver plaque in relief depicting the "Lady of the wild beasts", of uncertain origin, and the large bronze shields used to hang on tombs, especially those of Cerveteri, decorated with reliefs in a style reminiscent of the geometric patterns of the culture of Villanova, but including other oriental elements. In ceramics, the novelty was the imitation of forms hitherto reserved for bronze, giving them a new boldness in the modeling of full-bodied figures and in sculptural accessories such as vases. Of particular interest are the small
526:
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in recording through art their own history, extolling the virtues of the citizens. Neither did they create great works of worship for the gods nor did they wish to adorn their cities with great civil monuments to proclaim the glory of their civilization. Therefore, the figure of a creative artist or stylistic schools recognized for their individual genius did not emerge either. Their art is anonymous, collective, eclectic and non-competitive. However, the name of an
Etruscan sculptor (
1339:
303:
please the gods by filling it with objects that were intended to facilitate their afterlife. From the
Archaic period onwards, the design of the tombs was carried out as if they were real houses for the dead; a custom that continued until their immersion in Roman culture. Their characteristics varied according to the period, the region and the social class of the deceased and in certain phases, the tombs of the most important people became extraordinarily rich.
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698:
376:
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1189:
710:
542:
1572:. Many of the most important collections have been established between the 19th and early 20th centuries, when many sites were excavated by adventurers without judgment to supply the black market in antiquities and, even when excavated by experts, archaeological procedures had not been standardized and were just beginning to conform to the methodologies of modern science. This has led to the irretrievable loss of information about
1580:
a large audience to
Etruscan culture, although, in Ross's words, "they perpetuate stereotypes and do a disservice to true knowledge". Other authors suggest that the Etruscan legacy in central Italy is alive in popular superstitions and religious symbols, in agricultural practices, in certain forms of public celebration, and in the decorative projects of buildings and house interiors, especially in relief carving techniques.
326:. Statuary linked to funerary contexts is by far the most abundant Etruscan production. Other typologies are also important such as the embracing couple and various statuettes, amulets and reliefs showing images of a strong sexual character, used in a wide variety of ritual conjuration practices. Scenes of human sacrifice also appeared frequently, often in striking realistic detail with the episode of the sacrifice of
881:
the foreign canon cannot be explained by an alleged misunderstanding of the model, since the
Etruscan elite was far from being ignorant and the artists had demonstrated high technical ability, but because they had different goals in art. Understanding these differences is particularly relevant to the study of the classical Etruscan period because of the large number of mythological figures that have survived.
1540:, strengthening at the same time the fascist myth of the supremacy of the Italian people and of Latin traditions. Several Italian intellectuals of the time reaffirmed the qualities of the Etruscan style and praised artists for having revalued it before archaeologists. In many ways, Etruscan culture was the subject of renewed fascination in early 20th-century Europe, including among its admirers
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production, from the same mold—in terracotta—or from the same model—in stone—with a strong decrease in individualized pieces. The same happened with the pieces of heads and votive statuettes, their quality also tended to decline, possibly caused by the intensive production of second or third generation molds and the renunciation of manual work after modeling. The urns were produced mainly in
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utilitarian bronze objects, such as harnesses for horses, helmets, arrowheads and spearheads, pitchers, bracelets, necklaces, as well as cauldrons and pans and other utensils of unknown utility, along with ceramic vessels of all kinds: pots, jars and plates. Many of these objects are clearly of
Oriental origin, indicating active trade with distant regions. Etruscan princes imitated the
1548:. This reputation, in parallel favoured the appearance of an increasing number of fake works on the market. The cases that had the greatest repercussions were the works created by the family of Pio Riccardi and Alceo Dossena, so well executed that they were acquired by important museums and remained on public display as authentic for several years until the fraud was discovered.
244:, together with the loss of much of their most relevant sculptural production, make the problem even more complicated. However, the examination of Etruscan sculpture, in comparison with its neighbours, especially the Greeks, can lead to biased estimates of value and significance that prevent appreciating it for its intrinsic and typical values, since historically
1421:, one of the most influential neoclassical theorists, studies reached a higher level, writing extensively on Etruscan art, including sculpture, distinguishing clearly between its style and Greek, he also recognized its internal variations, praised the skill of its artists and considered it "a noble tradition". In the 19th century,
1362:, is a bronze reproduction of an animal liver, with inscriptions in Etruscan of the name of the divinities connected to each part of the organ. As is known, the ancients interpreted the presumed will of the gods by examining the viscera of sacrificed animals. For this reason, it represents a small "instruction manual" for a
1425:, although more concerned with the idealistic aspects of ancient art, did not fail to appreciate Etruscan art, recognizing that it demonstrated an interesting balance between idealism and naturalism, representing very well the practical spirit of the Romans. The Etruscan sculpture pieces were a revelation to
438:. It is then that trade with the Greeks and Phoenicians intensified, becoming their main trading partners. This increased circulation of goods from a wide variety of places was due to the need to satisfy the desires of an elite that had become organized, enriched and ennobled. The main cities of the time,
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The
Hellenistic phase is one of the most difficult to describe. At that time the Etruscan empire was in decline, threatened by its neighbors, especially the Romans, who were conquering one by one its cities. In the clash of the two cultures, a process of fusion began. Their social structures changed,
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and became famous there is known. Thus, sculpture was essentially utilitarian, both religious and decorative or private. Their deep belief in life after death made them develop a complex system of funerary practices, whose aim was mainly to provide comfort to the dead in their sepulchral abode and to
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sculpture; a view that still resonates in studies and popular vision. The completion of several archaeological excavations in recent years on sites found intact and the restoration of capital works that had been disfigured by interventions in the 19th century, have provided a great deal of additional
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The
Etruscans have recently been a source of inspiration for many writers of fiction or pseudo-historical literature, taking advantage of the aura of mystery that still hangs over them in popular culture and, on the other hand, narratives have been written that sell well and attract the attention of
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prototype was modeled by hand, from which several models were made, and with these the prototype could be replicated numerous times until the mold wore out and was replaced again. The piece was removed from the mold, while still wet so that details could still be added or manufacturing imperfections
1007:
The architectural groups tend to be more populated with figures, arranged in sections that alternated great movement and violence with others of a more peaceful atmosphere and using eclectic resources from various sources, including the archaic. Important examples of this phase are the groups of the
967:
with the assimilation of the enriched plebeians. Religion and funerary customs are increasingly simple, as tombs decorated with the luxury of previous phases were not made, nor with so many objects or accessories, suggesting that the interests of society were turning more to the present life than to
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of real bodies showing a combination between the ideal and the natural in human figures, giving them a timeless, archetypal and exalted character, even when it came to gods. The
Etruscans also reaffirmed their originality, preferring a level closer to the natural and ornamental. Their deviation from
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Greek myths already appeared frequently in
Orientalist representations but it is possible that they were interpreted according to local religious traditions. It was during this period that the first Etruscan cult statues emerged, a religious typology different from the votive statuettes already seen
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Sarcophagi and urns still continued to be highly decorated pieces, but the sculptures of the dead became more schematic and generic. Although the formal repertoire continues to be varied, around the 2nd century BC the models were already established and the demand was such that it led to their mass
425:
rulers and with the purchase of luxury goods asserted their power before their community. The great demand that was produced, made necessary the creation of local workshops in which the iconographies of the Eastern Greek world were developed, anthropomorphic figurines were produced, highly stylised
403:
and by an art that often employed simple geometric motifs arranged in complex patterns, inherited from earlier cultures—local and Greek—and which would remain in Etruscan art until historic times. The earlier local tradition—called "proto-Vilanovanian" culture—seems to have influenced the custom of
293:
One of the distinctive features of Etruscan sculpture is that it served, primarily, for private decoration and religion. In their zenith period, the Etruscans developed a wealthy and cultivated elite, lovers of art and luxury, but unlike other peoples of antiquity, they seem to have had no interest
182:
of their history. The oldest inscriptions in the Etruscan language date back to the 7th century BC and the first signs are painted on pottery, always related to the Greek alphabet but adapted to the local language. Writing has also been found on tablets inside princely grave goods, which was a sign
120:
managed to have their advances remitted. Finally, their last strongholds were taken by the Romans, who absorbed their culture and caused their dissolution. At their peak, the Etruscans were the most powerful people in pre-Roman Italy and established a thriving civilisation with a large agricultural
66:
that the keys to the reconstruction of their history are to be found, although Greek and Roman chronicles are also of great help. Like its culture in general, Etruscan sculpture has many obscure aspects for scholars, being the subject of controversy and forcing them to propose their interpretations
1223:
is even rarer. Its dimensions are modest and its technique rather primitive. The details were often roughly worked, but the imperfections were hidden by the practice of painting on the surface. In a workshop at Chiusi mourners and sphinxes were sculpted in local stone, while at Vulci sculptures of
670:
From this period onwards, the representation of the "banquet" scene is frequent, in which, unlike the Greek tradition, the women are represented lying next to their husbands. This is how they are shown in the funerary trousseaus and in some urns of Chiusi both in the painting of their walls and in
408:
was probably the first center to have a typically Etruscan artistic tradition, manifested in forms of vessels and cauldrons with small groups of figurines of men and animals on their lids. These were the first human representations in Italian art only attributed with some certainty to mythological
339:
As for nudity in sculpture, the Etruscans had very different opinions from the Greeks. While the latter widely favoured it, the former avoided it, rarely showing nudity, but innovated the type of the nursing mother with exposed breast, unprecedented in Greek art, a typology that with the advent of
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were also exceptional materials for large statues, although it may be that many important pieces may have been lost. For elaborating small pieces, bronze was a privileged material with which they reached a high degree of technical knowledge and formal complexity. They mastered several techniques,
95:
had them as autochthonous. Modern research has not reached a consensus either and experts ended up considering this issue unsolvable, going on to study, how society was organized, rather than where they came from. What is known with certainty is that by the middle of the 7th century BC their main
1022:, a statue in bronze exempt. By the 1st century BC the quality of the works in general became very poor and all original Etruscan production had already succumbed to Roman influence, coming to an end. The Etruscans obtained Roman citizenship in the early 1st century and their territory was named
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being especially common. The images possibly did not reflect real sacrifices, but substituted them symbolically. Another recurring theme is the figuration of various local and Greek myths, focusing mostly on violent battle scenes. But while the Greeks created many images of gods and deified even
227:
and deepened from the 19th century, but older historians often condemned their sculpture, seeing it as a mere imitation, without creativity, of Greek art. This position has been changing in recent years and today it is considered an original phenomenon. In any case, the distinction between Greek
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was created in 1829 to promote international cooperation in the study of Italian archaeology, publishing many articles and carrying out excavations in several necropolises. However, the increasing availability of significant finds caused the destruction of numerous archaeological sites by wreck
420:
The artistic production of Villanova seems to have been abundant, but there are few sculptural remains. The objects recovered by archaeologists have been found in funerary contexts inside the tombs where urns containing various objects were deposited. They are of small dimensions and are mostly
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have dedicated in recent decades, significant funds for theoretical research projects, excavations and formation of collections of Etruscan objects and art, contributing to a better understanding of a subject that is largely hidden by unknowns. Particularly important are the collections of the
886:
In the case of the sarcophagus, there is a slightly greater concern to describe more closely the physiognomy of the dead, although they can hardly be considered true portraits. The figures are presented with more variety of forms, appearing even as sleeping persons. Parallel proliferate votive
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The main sculptural legacy by the Etruscans developed in Rome, where Roman sculptures dated to the 6th century BC are clearly Etruscan in style; an influence that continued into the Hellenistic period and possibly beyond, there are even signs of it as far back as the time of
675:
for bodies that were not cremated, but buried. It consisted of a box decorated with reliefs on the sides and covered with a lid on which the dead were represented in a reclining position, as if they were at a banquet. Sometimes they represented couples, such as the famous
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such as lost wax, engraving or lamination. They were able to add to bronze other metals such as gold, copper or silver inlays and their production had a large market among several of their neighboring peoples, especially the Romans, this being a technique praised by
578:. In addition, they had a special taste for ornamentation, introduced many new decorative details and used a greater number of characters in group scenes than their Greek models. There were also differences in the material used, which, in general, was
136:
on monuments and objects, which provide greater certainty in their dating, only appear around 700 BC. Although they shared a common culture, the Etruscans did not form a coherent political unit and their social organisation was similar to the Greek
473:
with lids covered with anthropomorphic figures that could have large dimensions and be enthroned. Noteworthy in this phase is the development of the art of jewelry, richly ornamented, of which there are examples comparable to miniature sculptures.
1576:, origin, background and other issues vital to contemporary study. A study that from the beginning has been hampered by the lack of written Etruscan documents, which prevents us from knowing what they thought, about their art in their own words.
486:. By the end of the period, his artistic production had already succeeded in formulating an aesthetic that consciously surpassed the mere imitation of foreign models and his skill with precious metals and bronze, became known beyond his borders.
623:. Again, the assimilation was not literal, using alternative materials for its construction, showing different divisions in the spaces of the building, in its distribution and design of columns and with the use of many decorative details in
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in the previous phase. Some are easily identifiable from their Greek models, but others are local adaptations, requiring scholarly interpretation to identify. As an example of this are statues of a god throwing a thunderbolt, which could be
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system, they even fought each other as well. There are no surviving literary Etruscan texts, their history can be recovered directly from archaeological evidence, but much of what is known has been recounted by the Greeks and Romans.
655:. Similar changes occurred in the construction of the tombs, making them more complex and larger, with various rooms decorated according to their functions as if they were houses and decorated with sculptural elements, such as
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fantastic beings derived from Greek mythology were made. Only in the Hellenistic period are more examples of stone sculpture found, especially for sarcophagi, but the technique does not appear to have evolved significantly.
647:, also in terracotta, a typology that was consolidated in the mid-6th century BC as one of the most typical and original genres of Etruscan monumental sculpture. Great examples of this new trend are the group of Temple A at
557:
The importation of the archaic style from Greece was natural, taking into account the continuity of the strong commercial and cultural ties that united both peoples and favoured by the fact that around 548-547 BC the
222:
Even with the massive assimilation of foreign culture it is significant that both the Greeks and later the Romans considered the Etruscans a perfectly individualised people. The study of Etruscan culture began in the
1101:
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burial tradition, merged with the Egyptian model with a mummy-shaped lid and the oriental one in the form of a box. The Etruscan sarcophagus model would be used much later in Rome, spreading over a large area of the
642:
and plaques with narrative scenes or with various ornamental motifs. The decoration of the main temples—smaller than the Greek ones but more decorated—was crowned with a large sculptural group in high relief on the
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the afterlife, all the more so because pessimistic visions regarding the future of their people were beginning to predominate. Instead, contact was resumed with Greece, which was already working under Hellenistic
1325:. At a time when Rome had supplanted Florence in cultural and political prestige, the discovery was invested with a nationalistic character, becoming a symbol of lineage of prestige and specific Tuscan identity.
1167:, as well as with terracotta slabs with representations of various scenes, but with a very rudimentary technique. Other examples, however, are of great refinement, among which is the pediment of the temple of
404:
adding small sculptural elements on funerary vessels and urns, while the Greek element is manifested in the creation of tiny animal figures in bronze, which basically imitate the designs found on the vessels.
1412:
These pioneering works naturally contained many errors, inaccuracies and false attributions, but they contributed to a first more scientific delimitation of the field of study and also to the gestation of
1150:, whose ease of handling perfectly served the purposes of sculptors and patrons and the great demand for funerary and decorative works. In addition, this allowed the creation of serial pieces through
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813:
The archaic style remained predominant in ancient Etruria, while in Greece, the classical canon prevailed in the 5th to 4th centuries BC. In fact, it was practically ignored among the Etruscans.
96:
cities had already been founded, beginning immediately a period of territorial expansion that ended up dominating a large region more or less in the center of the Italic peninsula, ranging from
619:
brought about a rapprochement in the forms of worship. The form of the Etruscan temple, which previously differed little from a common house, was modified and enlarged, becoming similar to the
825:
and had somehow blocked the influence of its radiation to neighboring regions. For her part, Nancy Grummond describes the phase as "neutral" which gave rise to only a few important works, the
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of social distinction. In fact, the Greek influence has become so important that the nomenclature of Etruscan art history mirrors that used to describe the corresponding periods of Greek art:
1044:
1113:
1086:
58:, although developed with many characteristics of its own. Given the almost total lack of Etruscan written documents, a problem compounded by the paucity of information on
1305:
languages, after having carried out several excavations in tombs, discovered sarcophagi and tried to decipher their language. This attention grew until in 1553 the famous
1501:
came to take the Etruscans as the most legitimate source of the origin of the Italian people, tinging the cultural debate with tendentious political and patriotic color.
352:
of temples and on some private buildings, their composition was not a logical complement to the form of the building, but a free decorative addition, regardless of the
1521:, where he recommended to modern artists the study of ancient art as an antidote to the then prevalent idea that the world was governed by a purely mechanical force.
586:
which is where they made their most perfect works. They also employed stone although never with the originality and freshness they achieved with clay and ignored
1409:
published a volume on Roman architecture and engineering, where he advanced several theories about Etruscan involvement in Roman art that were later confirmed.
743:
1389:, a compilation of ancient sources accompanied by ninety-three engravings showing their monuments. His work, however, remained unpublished until 1723, when
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abstract virtues, the Etruscans approached them much less concretely, with several images of which it is not even known if they were any local divinity.
1125:
457:
Decorative motifs such as palm leaves, lotus and lion became frequent and good examples are the bracelets and pendants with ivory lion figures found at
1517:, while cataloguing the artist's works, commissioned a study of Etruscan art by the archaeologist Hans Muhlestein, which was published in the article
887:
statuettes of gods and votive offerings in the form of heads, which have been preserved in large numbers, but have not yet been sufficiently studied.
399:, characterized by the funerary rite of burial and by the biconical cinerary vase. The period was characterised by the expansion and refinement of
2388:
876:
Classical Greek sculpture continued to show great idealistic concern as in the archaic phase, but now with a remarkable ability to imitate the
726:
1322:
434:
The number of pieces of oriental typology found in the tombs of the end of the 8th century B.C. is so great that the whole period was called
1393:
published it along with commentaries on his own work, this work is considered a milestone in modern Etruscan history. Three years later the
755:
1932:
482:, but young and beardless, further complicated by knowledge of at least nine Etruscan gods with the lightning attribute, as related by
75:. The view of Etruscan sculpture as a homogeneous whole is erroneous, there being important variations, both regional and temporal.
1565:
686:. The figures of the deceased, however, were not portraits, but generic types. It is possible that this genre was inspired by the
19:
1497:
artistic expressions, at a time when the Greek legacy was considered a model. Meanwhile, some sectors involved in the process of
158:
They maintained contact with Greece, possibly from their origins, a contact that intensified when the Greeks founded their first
895:
1645:
150:" (brothers in arms) and "clients" (people who offered their services and expected to receive protection from their patrons.)
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The vast majority of sculptural remains, both large—architectural statuary and sarcophagi—and smaller pieces, were made in
1032:
412:
508:
1489:, with the introduction of a revolutionary topographical methodology. But perhaps more important was the contribution of
911:
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justifies this difference by saying that classical Greek culture was at that time, for various reasons, more centered in
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2008:
1989:
1948:
1874:
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1974:
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The Etruscan tradition fell into oblivion until the 15th century when it began to be rescued from the work of the monk
492:
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sculptures in Etruria and Etruscan sculptures proper is often still very difficult for modern critics. The influences
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1958:
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1528:, declared that his discovery of Etruscan art was "an extraordinary event" and his enthusiasm was only part of a
1179:. More general, however, was the use of simple plaques and friezes with various scenes and minor details such as
785:
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From Fascism to the Bomb: Marino Marini and the undermining and destruction of the classical European horseman.
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1709:
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and a unique culture, where art played a great role, having a major influence on the initial formation of the
2584:. Seth and Maurine Horne Center for the Study of Arts scholarly series. Indiana University Press. pp. 337-362
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and whose third edition (1883) remains a good introduction to the subject. Another important publication was
1422:
1417:, whose intense interest triggered a collecting fever among European political and intellectual elites. With
590:. One of the best known examples of free-standing or isolated statue of this phase is the cult sculpture of
1321:
as a marvel of antiquity. Along with other statues found with it, it passed into the private collection of
2243:
Catalogue of the Etruscan gallery of the University of Pennsylvania Museum of Archaeology and Anthropology
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the reliefs of the urns. Thus began the development of a new type of burial urn, with the dimensions of a
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in the shape of animals used to store perfumes, together with other vessels with complex decorations—the
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always tentatively, but the consensus is that it was part of the most important and original legacy of
1401:, which in a short time was adding various specialized studies. In 1743, Antonio Gori brought out his
1441:
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The period of Villanova culture, sometimes called geometric, was the prelude to the formation of the
245:
2383:
853:. Although rare, these examples show great mastery in the construction of the form and technique of
2066:
1557:
1525:
1493:, who, although not particularly focused on Etruscan art, definitively established the validity of
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117:
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Etruscan Italy: Etruscan influences on the civilizations of Italy from antiquity to the modern era
1731:
Etruscan Italy: Etruscan influences on the civilizations of Italy from antiquity to the modern era
1444:
drew analogies steeped in fantastic romanticism between the Etruscan art of his sculpture and the
1385:
made a significant contribution to knowledge of the Etruscans with the seven-volume work entitled
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coherence. These groups are the most typical and original genre of monumental Etruscan sculpture.
54:
between about the 9th century BC and the 1st century BC. Etruscan art was largely a derivation of
2418:
607:
During this period important changes were made in sculpture also due to changes in the field of
1876:
Athens, Etruria and Heunenburg: Mutual misconceptions in the study of Greek-barbarian relations
664:
1468:
Even in the 19th century Etruscan sculpture gained an important forum for discussion when the
2743:
2263:
Late Etruscan votive heads from Tessennano: production, distribution, sociohistorical context
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and orientalist, who published a book where he speculated on a possible common origin of the
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178:. These objects found in Etruscan territory have been one of the sources for determining the
1950:
For the Mother and for the Daughter: Some thoughts on dedications from Etruria and Praeneste
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was never widely used in Etruscan sculpture. There are few examples of sculptures in soft
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and even contributed significantly to the initial formation of the artistic traditions of
8:
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388:
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speaks of a society of "Etruscan people" made up of "brothers-in-law" (consanguineous), "
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used to dress and the patterns of his clothes were related to the clothes of the female
314:
also determined the preference for certain types of sculpture present in tombs, such as
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Etruscos: descubrimientos y obras maestras de la gran civilizaciĂłn de la Italia antigua
1473:
hunters, disasters denounced by the British consul in Italy, George Dennis in his book
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authentic information for a greater understanding of the dark corners of this subject.
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where it caused a great sensation among artists and scholars. It was exhibited in the
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Internationale Forschungen zur allgemeinen und vergleichenden Literaturwissenschaft
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Internationale Forschungen zur allgemeinen und vergleichenden Literaturwissenschaft
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116:. However, in the following centuries their conquests were threatened and several
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Menelaus and Meriones lifting Patroclus’ corpse on a cart while Odysseus looks on
483:
344:
would be a direct ancestor of a variation of the fertile type of the Virgin, the
248:, especially of the classical period, was often considered as the ideal model of
171:
83:
The origin of the Etruscans has been the subject of controversy since antiquity.
2246:. University of Pennsylvania, Museum of Archaeology and Anthropology. pp. 53-59
1545:
1204:
818:
716:
592:
229:
203:
167:
47:
2732:
1552:
1541:
1510:
1414:
1265:
1216:
1175:, with a mythological scene, and another set of exception is the Pediment of
996:. The most important tombs in this period are found in the Tarquinia region,
861:
in 396 BC under the Romans, the most active production centers came to be in
458:
249:
233:
191:
175:
159:
122:
51:
1996:
Naked truths: women, sexuality, and gender in classical art and archaeology
1599:
1573:
1486:
1256:
827:
620:
608:
601:
353:
341:
319:
133:
72:
63:
2345:. Wisconsin studies in classics. University of Wisconsin Press. pp. 83-96
1490:
1433:
1429:
1426:
1183:, acroteria and medallions with human, animal, plant and abstract motifs.
1168:
1013:
969:
964:
832:
822:
672:
470:
323:
224:
162:
in the south of the Italic peninsula, around 775-750 BC. They adopted an
68:
28:
1460:
1533:
1338:
1164:
1147:
1018:
635:
627:
624:
579:
400:
375:
318:
and statuettes of the gods, beyond the sculpted figures of the dead in
282:
179:
143:
121:
production, a powerful fleet, a flourishing trade covering much of the
1188:
841:
which has a classical influence but still retains archaic traces, the
261:
2480:
1363:
1212:
1208:
993:
845:(sometimes considered a Roman work) and architectural decorations in
616:
541:
499:
462:
447:
443:
327:
270:
126:
84:
43:
349:
1449:
1367:
1314:
1294:
1278:
1176:
981:
656:
644:
612:
559:
515:
466:
311:
109:
101:
88:
87:
believed that they were the descendants of populations coming from
2542:
2412:
1366:. The object was found in 1877 and is kept in the Civic Museum of
2161:. Continuum International Publishing Group. Volume 2. pp. 229-256
1537:
1509:
In the early 20th century Etruscan sculpture may have influenced
1398:
1180:
997:
989:
985:
877:
870:
866:
854:
850:
846:
639:
546:
396:
113:
2476:
Myth and Metamorphosis: Picasso's Classical Prints of the 1930s.
132:
Their presence in Italy is assumed from the 9th century BC, but
91:
before 800 BC, who displaced the previous inhabitants, although
1561:
1310:
1251:
1240:
1235:
1220:
1163:, whose cornice was decorated with at least thirteen life-size
1001:
977:
862:
631:
587:
571:
315:
286:
105:
97:
2634:
Historia Universal del Arte. La antigüedad clásica, Volumen II
2107:. University of Pennsylvania, Museum of Archaeology. pp. 2-10.
1119:
Antefix in the form of the head of Attis, terracotta, Fiesole.
1247:
1227:
1160:
648:
567:
563:
439:
405:
295:
138:
1881:
Classical Greece: Ancient histories and modern archaeologies
174:
and imported Greek utensils in large quantities, especially
1701:
Etruscan life and afterlife: a handbook of Etruscan studies
1347:
1231:
1172:
1155:
963:
emphasizing military government and the formation of a new
858:
652:
479:
451:
299:
873:, seat of one of the most important Etruscan sanctuaries.
42:
was one of the most important artistic expressions of the
2521:
The Myth of the Etruscans in Travel Literature in English
2613:
Bartoloni, Gilda (2008). "La revolución vil·lanoviana".
2231:. The Peoples of Europe series. Wiley-Blackwell. pp. 3-9
2559:
Scientific Investigation of Copies, Fakes and Forgeries
2342:
Discs of splendor: the relief mirrors of the Etruscans.
761:
Mythological scene, embossed silver, San Marino Castle.
2532:. Rodopi. pp. 263-274 (English) ISBN 978-90-420-2147-1
2354:
1532:
wave of great importance for the evolution of Italian
1994:. In Koloski-Ostrow, Ann Olga & Lyons, Claire L.
1026:, one of the eleven comprised in the Augustan reform.
469:—which can also be catalogued as sculptures, and the
1698:
Briguet, Marie-Françoise; Bonfante, Larissa (1986).
2651:Borrelli, Federica; Targia, Maria Cristina (2003).
2436:. Oxford University Press (reprinting). pp. 786-787
2071:. University of Oxford, Ashmolean Museum. pp. 26-31
857:and are considered masterpieces. After the fall of
1095:, in a mirror, bronze inlaid with gold and silver.
2395:. UniversitĂ degli Studi di Firenze. (in Italian)
1704:. Wayne State University Press. pp. 92–173.
1448:, in vogue at the time, linked to theories about
703:Group with mythological scene, terracotta, Pyrgi.
2730:
2007:Cunningham, Lawrence S.; Reich, John J. (2005).
1768:(in Italian). Giunti Editore. pp. 170–186.
2524:. In Littlejohns, Richard & Soncini, Sara.
2498:. In Littlejohns, Richard & Soncini, Sara.
1697:
1405:, with hundreds of illustrations, and in 1761,
1068:, terracotta with traces of polychrome, Chiusi.
387:. Its name is the same as that of an important
2650:
2631:
2447:Letters of John Ruskin to Charles Eliot Norton
2414:Uncovering the Past: A history of archaeology'
2327:
2315:
2303:
2279:
2194:
2182:
2151:
2149:
2080:
2038:
2010:Culture and values: a survey of the humanities
1858:
1846:
1803:
1791:
379:Vase with bronze figurines, Vulci or Bisenzio.
2674:(in Catalan). Barcelona: FundaciĂłn La Caixa.
2669:
2617:(in Catalan). Barcelona: FundaciĂłn La Caixa.
2373:Ayer Publishing, p.30. ISBN 978-0-405-02230-2
2291:
2270:. L'Erma di Bretschneider. pp. 35-41; 389-391
2097:
2095:
2093:
2091:
2089:
1973:Bonfante, Larissa; Swaddling, Judith (2006).
1927:
1925:
1923:
1921:
1919:
1917:
1643:
1381:In the 17th century the Scottish scholar Sir
2670:Mura Sommella, Anna (2008). "Els etruscos".
2636:(in Spanish). Barcelona: Editorial Planeta.
2570:
2568:
2506:. Rodopi. pp. 238-241 ISBN 978-90-420-2147-1
2371:Roman sculpture from Augustus to Constantine
2256:
2254:
2252:
1828:
1826:
1824:
1757:
1755:
1753:
1751:
1131:Lid of a funerary urn, terracotta, Volterra.
2692:Etruscologia. Storia, filosofia e religione
2407:
2405:
2403:
2401:
2357:"Carved amber bow of a fibula (safety pin)"
2146:
1934:Etruscologia: Storia, filosofia e religione
1787:
1785:
1734:. Indiana University Press. pp. 3–16.
1136:
416:Bronze statuettes, Villanova/Orientalizing.
391:, that of Villanova, discovered in 1853 by
62:—still largely undeciphered—it is in their
2688:
2547:. Read Books. p. 11 ISBN 978-1-4067-0400-6
2158:Essay on the philosophy and history of art
2086:
1914:
1761:
1566:National Archaeological Museum of Florence
1271:
2709:
2612:
2565:
2249:
2221:
2219:
2217:
2215:
2206:
2170:
2140:
2128:
2116:
2104:Etruscan myth, sacred history, and legend
2061:
2059:
2050:
2026:
1908:
1896:
1869:
1867:
1821:
1815:
1748:
1154:, a technique learned from the Greeks. A
2398:
1967:
1946:
1883:. New directions in archaeology series.
1873:Arafat, Karim; Morgan, Catherine (1994)
1782:
1639:
1637:
1635:
1633:
1631:
1629:
1627:
1625:
1558:National Etruscan Museum at Villa Giulia
1470:Istituto di Correspondenza Archaeologica
1459:
1376:
1284:
1187:
540:
411:
374:
276:
260:
18:
2599:. Cambridge University Press. pp. 16-19
2514:
2512:
2430:Hegel, Georg Wilhelm Friedrich (1998).
2225:Barker, Graeme; Rasmussen, Tom (2000).
1513:'s classical prints. At the same time,
566:, causing the flight of many Greeks to
409:characters from the end of the period.
334:
2731:
2212:
2056:
1979:. University of Texas Press, pp. 50-60
1864:
1723:
1721:
306:
1693:
1691:
1689:
1687:
1622:
426:and schematic but of great vivacity.
153:
78:
2562:. Butterworth-Heinemann. pp. 197-199
2509:
2155:Winckelmann, Johann Joachim (2005).
1834:Ancient Italic people: The Etruscans
1727:
1685:
1683:
1681:
1679:
1677:
1675:
1673:
1671:
1669:
1667:
1644:Honour, Hugh; Fleming, John (2005).
1477:of 1848, which immediately became a
1475:The Cities and Cemeteries of Etruria
1432:, helping him to understand Western
256:
2596:The archaeology of Etruscan society
2574:Grummond, Nancy Thomson de (1996).
2464:. Kessinger Publishing. pp. 182-183
2101:Grummond, Nancy Thomson de (2006).
1718:
1551:Several institutions in Europe and
1093:Minerva between Hercules and Lolaus
615:. The fusion of Etruscan and Greek
13:
2355:Metropolitan Museum of Art (ed.).
1976:Etruscan myths: The legendary past
1199:
14:
2770:
2714:(in Spanish). Barcelona: EDUNSA.
2655:(in Spanish). Barcelona: Electa.
2449:. Read Books. Volume 2. pp. 88-92
1937:. Hoepl, pp. 365-375 (in Italian)
1837:. Encyclopædia Britannica Online.
1664:
1519:Histoireet esprit et contemporain
1107:Polychrome terracotta tomb cover.
988:, while the sarcophagi came from
831:, which is close to the canon of
749:Banquet scene, limestone, Chiusi.
531:Cauldron with lion heads, bronze.
33:Archaeological Museum of Florence
2433:Aesthetics: lectures on fine art
1991:Nursing Mothers in Classical Art
1346:
1337:
1124:
1112:
1100:
1085:
1073:
1058:
1043:
1031:
945:
928:
910:
894:
796:
784:
766:
754:
742:
725:
708:
696:
667:, and reliefs of various types.
524:
507:
491:
429:
212:: mid-5th to mid-4th century BC.
2632:Barral i Altet, Xavier (1986).
2606:
2587:
2580:. In Hall, John Franklin (ed).
2550:
2535:
2486:
2467:
2452:
2439:
2424:
2376:
2363:
2348:
2339:Carpino, Alexandra Ann (2003).
2333:
2321:
2309:
2297:
2285:
2273:
2234:
2200:
2188:
2176:
2164:
2134:
2122:
2110:
2074:
2068:Ancient Italy before the Romans
2044:
2032:
2020:
2017:. Cengage Learning. pp. 129-130
2001:
1982:
1940:
1902:
1890:
1852:
1570:Metropolitan Museum of New York
1504:
1455:
1250:from the 5th century BC is the
1066:Sarcophagus of Larthia Seianthi
46:, who inhabited the regions of
16:Etruscan ceramics and sculpture
2712:Como reconocer el arte etrusco
2695:(in Italian). Hoepli Editore.
2240:Turfa, Jean MacIntosh (2005).
1840:
1809:
1797:
1370:. Forty words can be observed.
1038:Female head, terracotta, Vulci
957:
791:Votive statue, bronze, Chiusi.
519:type vase, made of terracotta.
265:Aspect of the interior of the
1:
2710:Staccioli, Romolo A. (1993).
1615:
1141:
2689:Pallattino, Massimo (1984).
2458:Braghine, Alexander (2004).
2411:Stiebing, William H (1994).
1931:Pallottino, Massimo (1984).
1765:Etruschi: una nuova immagine
1728:Hall, John Franklin (1996).
1650:. Laurence King Publishing.
1524:Another important sculptor,
364:
206:: 6th to mid-5th century BC.
7:
2328:Borrelli & Targia (2003
2316:Borrelli & Targia (2003
2304:Borrelli & Targia (2003
2280:Borrelli & Targia (2003
2195:Borrelli & Targia (2003
2183:Borrelli & Targia (2003
2081:Borrelli & Targia (2003
2039:Borrelli & Targia (2003
2015:Culture & Values Series
1859:Borrelli & Targia (2003
1847:Borrelli & Targia (2003
1804:Borrelli & Targia (2003
1583:
10:
2775:
2492:Watkins, Nicholas (2007).
2260:Söderlind, Martin (2002).
1988:Bonfante, Larissa (1997).
1885:Cambridge University Press
1762:Cristofani, Mauro (2000).
1440:, however, despised them.
1262:Metropolitan Museum of Art
937:Winged-Horses of Tarquinia
808:
734:Sarcophagus of the spouses
679:Sarcophagus of the spouses
551:Metropolitan Museum of Art
536:
368:
359:
93:Dionysius of Halicarnassus
1246:Among the pieces made in
952:Apollo statuette, bronze.
2541:Lawrence, D. H. (2007).
2382:Bardi, Ugo (1997/2002).
1998:. Routledge. pp. 174-196
1947:Grummond, Nancy (2004).
1483:Antica Etruria Marittima
1137:Materials and techniques
684:National Etruscan Museum
598:National Etruscan Museum
170:and, also part of their
2556:Craddock, Paul (2009).
2419:Oxford University Press
1272:The sculptural heritage
112:, what has been called
2593:Izzet, Vediab (2007).
2473:Florman, Lisa (2002).
2461:The Shadow of Atlantis
2385:The Chimaera of Arezzo
1647:A world history of art
1465:
1196:
1080:Head of deity, bronze.
1053:, alabaster, Volterra.
803:Tripod, bronze, Vulci.
554:
545:Polychrome terracotta
417:
380:
290:
274:
36:
2754:Etruscan architecture
2518:Ross, Silvia (2007).
2445:Ruskin, John (2008).
1605:Etruscan architecture
1590:Etruscan civilization
1463:
1446:pre-Columbian peoples
1407:Giambattista Piranesi
1377:17th - 18th centuries
1285:15th - 16th centuries
1191:
544:
415:
385:Etruscan civilization
378:
280:
264:
218:: 3rd-1st century BC.
22:
2577:Etruscan Italy Today
2268:Studia archaeologica
2065:Brown, A.C. (1980).
1953:. pp. 351–370.
1792:Barral i Altet (1986
1193:Pediment of Talamone
1010:pediment of Talamone
737:, terracotta, Caere.
335:Decorative sculpture
198:Orientalizing Period
2369:Strong, Eugénie S.
2330:, pp. 104–105)
2292:Mura Sommella (2008
1499:Italian unification
1438:Friedrich Nietzsche
1195:, terracotta, Luni.
720:, terracotta, Veii.
596:, currently in the
389:archaeological site
307:Religious sculpture
267:Tomb of the Reliefs
127:art of Ancient Rome
31:, preserved in the
2391:2013-11-01 at the
1466:
1391:Filippo Buonarroti
1323:Cosimo I de Medici
1309:was discovered in
1197:
815:Massimo Pallottino
776:Monteleone chariot
555:
418:
393:Giovanni Gozzadini
381:
371:Villanovan culture
291:
275:
216:Hellenistic Period
154:Greece and Etruria
79:Historical context
40:Etruscan sculpture
37:
2759:Etruscan ceramics
2702:978-88-203-1428-6
2681:978-84-7664-975-6
2672:PrĂnceps etruscos
2624:978-84-7664-975-6
2615:PrĂnceps etruscos
2318:, pp. 54–55)
2306:, pp. 36–37)
2197:, pp. 46–47)
2185:, pp. 40–41)
1610:Etruscan language
1464:Sphinx in Chiusi.
1395:Accademia Etrusca
1387:De Etruria Regali
1359:Liver of Piacenza
1331:Liver of Piacenza
1024:Regio VII Etruria
920:Chimera of Arezzo
838:Chimera of Arezzo
257:Private sculpture
200:: 7th century BC.
123:Mediterranean Sea
2766:
2725:
2706:
2685:
2666:
2647:
2628:
2600:
2591:
2585:
2572:
2563:
2554:
2548:
2539:
2533:
2528:. Volume 107 of
2516:
2507:
2502:. Volume 107 of
2490:
2484:
2471:
2465:
2456:
2450:
2443:
2437:
2428:
2422:
2421:US. pp. 153-165.
2409:
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2374:
2367:
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2346:
2337:
2331:
2325:
2319:
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2307:
2301:
2295:
2289:
2283:
2277:
2271:
2266:. Volume 118 of
2258:
2247:
2238:
2232:
2223:
2210:
2204:
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2084:
2078:
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2054:
2048:
2042:
2036:
2030:
2024:
2018:
2005:
1999:
1986:
1980:
1971:
1965:
1964:
1944:
1938:
1929:
1912:
1906:
1900:
1894:
1888:
1871:
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1850:
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1838:
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1759:
1746:
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1716:
1715:
1695:
1662:
1661:
1641:
1595:Etruscan society
1515:Christian Zervos
1350:
1341:
1313:, then moved to
1291:Annio da Viterbo
1128:
1116:
1104:
1089:
1077:
1062:
1047:
1035:
949:
932:
914:
898:
800:
788:
770:
758:
746:
729:
712:
700:
528:
511:
495:
298:) who worked in
210:Classical Period
188:Vilanovan Period
2774:
2773:
2769:
2768:
2767:
2765:
2764:
2763:
2729:
2728:
2722:
2703:
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2644:
2625:
2609:
2604:
2603:
2592:
2588:
2573:
2566:
2555:
2551:
2544:Etruscan Places
2540:
2536:
2526:Myths of Europe
2517:
2510:
2500:Myths of Europe
2491:
2487:
2472:
2468:
2457:
2453:
2444:
2440:
2429:
2425:
2410:
2399:
2393:Wayback Machine
2381:
2377:
2368:
2364:
2353:
2349:
2338:
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2207:Staccioli (1993
2205:
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2171:Staccioli (1993
2169:
2165:
2154:
2147:
2141:Bartoloni (2008
2139:
2135:
2129:Staccioli (1993
2127:
2123:
2117:Bartoloni (2008
2115:
2111:
2100:
2087:
2079:
2075:
2064:
2057:
2051:Bartoloni (2008
2049:
2045:
2041:, pp. 6–7)
2037:
2033:
2027:Staccioli (1993
2025:
2021:
2006:
2002:
1987:
1983:
1972:
1968:
1961:
1945:
1941:
1930:
1915:
1909:Staccioli (1993
1907:
1903:
1897:Staccioli (1993
1895:
1891:
1872:
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1816:Staccioli (1993
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1712:
1696:
1665:
1658:
1642:
1623:
1618:
1586:
1507:
1458:
1403:Museum Etruscum
1397:was created in
1383:Thomas Dempster
1379:
1374:
1373:
1372:
1371:
1353:
1352:
1351:
1343:
1342:
1333:
1332:
1319:Palazzo Vecchio
1287:
1274:
1202:
1200:Other materials
1144:
1139:
1132:
1129:
1120:
1117:
1108:
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1090:
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789:
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771:
762:
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738:
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721:
713:
704:
701:
651:and another at
539:
532:
529:
520:
512:
503:
496:
484:Pliny the Elder
432:
373:
367:
362:
337:
309:
259:
246:Greek sculpture
166:similar to the
156:
118:Italian peoples
81:
44:Etruscan people
17:
12:
11:
5:
2772:
2762:
2761:
2756:
2751:
2746:
2741:
2727:
2726:
2720:
2707:
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2661:
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2320:
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2296:
2284:
2282:, p. 122)
2272:
2248:
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2199:
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2073:
2055:
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2019:
2013:. Volume 1 of
2000:
1981:
1966:
1959:
1939:
1913:
1901:
1889:
1863:
1851:
1849:, p. 100)
1839:
1820:
1808:
1796:
1794:, p. 228)
1781:
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1620:
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1546:D. H. Lawrence
1506:
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1457:
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1378:
1375:
1356:The so-called
1355:
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1030:
1000:, Perugia and
959:
956:
955:
954:
951:
944:
942:
934:
927:
925:
916:
909:
907:
900:
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843:Bust of Brutus
810:
807:
806:
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795:
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783:
781:
772:
765:
763:
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748:
741:
739:
731:
724:
722:
717:Apollo of Veii
714:
707:
705:
702:
695:
691:Mediterranean.
593:Apollo of Veii
538:
535:
534:
533:
530:
523:
521:
513:
506:
504:
498:Rabbit-shaped
497:
490:
431:
428:
369:Main article:
366:
363:
361:
358:
336:
333:
308:
305:
281:Cinerary urn,
258:
255:
230:Phoenician art
220:
219:
213:
207:
204:Archaic Period
201:
195:
168:Greek alphabet
155:
152:
80:
77:
60:their language
48:Northern Italy
15:
9:
6:
4:
3:
2:
2771:
2760:
2757:
2755:
2752:
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2736:
2734:
2723:
2721:84-7747-077-4
2717:
2713:
2708:
2704:
2698:
2694:
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2687:
2683:
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2673:
2668:
2664:
2662:84-8156-356-0
2658:
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2649:
2645:
2643:84-320-8902-8
2639:
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2255:
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2228:The Etruscans
2222:
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2209:, p. 29)
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2172:
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2142:
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2119:, p. 43)
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2053:, p. 39)
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2028:
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2016:
2012:
2011:
2004:
1997:
1993:
1992:
1985:
1978:
1977:
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1960:9780876615331
1956:
1952:
1951:
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1935:
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1911:, p. 31)
1910:
1905:
1899:, p. 24)
1898:
1893:
1887:, pp. 108-134
1886:
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1553:United States
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1542:Aldous Huxley
1539:
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1526:Marino Marini
1522:
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1485:(1846–51) by
1484:
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1453:
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1415:neoclassicism
1410:
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940:, terracotta.
939:
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582:, preferring
581:
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569:
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502:, terracotta.
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430:Orientalizing
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354:architectural
351:
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346:Virgo lactans
343:
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320:funerary urns
317:
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194:: 9th-8th BC.
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52:Central Italy
49:
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41:
34:
30:
26:
21:
2744:Etruscan art
2711:
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2652:
2633:
2614:
2607:Bibliography
2595:
2589:
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2022:
2014:
2009:
2003:
1995:
1990:
1984:
1975:
1969:
1949:
1942:
1933:
1904:
1892:
1880:
1875:
1854:
1842:
1833:
1818:, p. 5)
1811:
1806:, p. 6)
1799:
1764:
1730:
1700:
1646:
1600:Etruscan art
1578:
1574:stratigraphy
1550:
1529:
1523:
1518:
1508:
1505:20th century
1495:neoclassical
1494:
1487:Luigi Canina
1482:
1478:
1474:
1469:
1467:
1456:19th century
1411:
1402:
1394:
1386:
1380:
1357:
1288:
1275:
1260:kept at the
1257:Morgan Amber
1255:
1244:
1226:
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1145:
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888:
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836:
828:Mars of Todi
826:
812:
774:
732:
715:
688:Carthaginian
677:
669:
621:Greek temple
609:architecture
606:
602:Villa Giulia
591:
556:
514:
476:
471:canopic jars
456:
433:
423:Neo-Assyrian
419:
382:
345:
342:Christianity
338:
310:
292:
273:. Hellenist.
238:Egyptian art
221:
157:
147:
134:inscriptions
131:
82:
73:ancient Rome
39:
38:
1491:Alois Riegl
1479:best seller
1434:art history
1419:Winckelmann
1169:Portonaccio
970:eclecticism
965:aristocracy
958:Hellenistic
833:Polykleitos
823:Peloponnese
673:sarcophagus
617:mythologies
242:Eastern art
225:Renaissance
69:Italian art
23:Sculptural
2733:Categories
1741:0842523340
1711:0814318134
1616:References
1534:modern art
1165:acroterion
1148:terracotta
1142:Terracotta
1019:The Orator
773:Detail of
657:pedestales
636:acroterion
630:, such as
628:polychrome
625:terracotta
580:terracotta
562:conquered
401:metallurgy
324:sarcophagi
289:. Archaic.
283:terracotta
180:chronology
144:Titus Livy
2749:Etruscans
2739:Sculpture
2481:MIT Press
1442:Frobenius
1364:haruspice
1254:from the
1213:alabaster
1209:limestone
994:Tarquinia
972:.
923:, bronze.
905:, bronze.
665:capitales
584:coroplast
500:aryballos
467:buccheros
463:aryballos
448:Cerveteri
444:Tarquinia
365:Villanova
328:Iphigenia
271:Cerveteri
234:Roman art
192:geometric
172:mythology
85:Herodotus
56:Greek art
2389:Archived
1584:See also
1568:and the
1450:Atlantis
1427:Romantic
1368:Piacenza
1315:Florence
1303:Etruscan
1295:cabalist
1279:Augustus
1266:New York
1181:antefixs
1177:Talamone
982:Volterra
901:Bust of
821:and the
779:, Brufa.
645:pediment
640:antefixs
613:religion
560:Persians
516:Bucchero
312:Religion
176:ceramics
164:alphabet
160:colonies
110:Campania
102:Lombardy
89:Anatolia
25:pediment
2483:. p. 19
1538:fascism
1536:during
1530:revival
1511:Picasso
1399:Cortona
1307:Chimera
998:Tuscany
990:Viterbo
986:Perugia
878:anatomy
871:Bolsena
867:Falerii
855:casting
851:Falerii
847:Orvieto
809:Classic
682:of the
661:columns
632:friezes
547:antefix
537:Archaic
397:Bologna
395:, near
360:Periods
350:façades
316:votives
250:Western
148:sodales
114:Etruria
2718:
2699:
2678:
2659:
2640:
2621:
1957:
1772:
1738:
1708:
1654:
1564:, the
1562:Louvre
1560:, the
1430:Ruskin
1311:Arezzo
1299:Hebrew
1252:fibula
1241:Horace
1236:bronze
1221:marble
1002:Sorano
978:Chiusi
903:Brutus
863:Chiusi
819:Athens
588:marble
572:kouros
459:Tivoli
287:Chiusi
106:Latium
98:Veneto
1423:Hegel
1248:amber
1228:Ivory
1205:Stone
1161:Murlo
1152:molds
649:Pyrgi
568:Italy
564:Ionia
440:Vulci
406:Vulci
296:Vulca
139:polis
2716:ISBN
2697:ISBN
2676:ISBN
2657:ISBN
2638:ISBN
2619:ISBN
1955:ISBN
1770:ISBN
1736:ISBN
1706:ISBN
1652:ISBN
1544:and
1301:and
1234:and
1232:wood
1217:toba
1173:Veii
1156:clay
1014:Luni
992:and
984:and
917:The
869:and
859:Veii
849:and
663:and
653:Veii
611:and
576:kore
480:Zeus
452:Veii
450:and
322:and
300:Rome
240:and
108:and
100:and
50:and
29:Luni
1264:in
1215:or
1171:in
1016:or
1012:of
600:of
190:or
104:to
64:art
27:of
2735::
2567:^
2511:^
2479:.
2417:.
2400:^
2251:^
2214:^
2148:^
2088:^
2058:^
1916:^
1879:.
1866:^
1823:^
1784:^
1750:^
1720:^
1666:^
1624:^
1452:.
1436:.
1293:,
1281:.
1268:.
1230:,
1219:;
1211:,
1004:.
980:,
865:,
659:,
638:,
634:,
604:.
553:).
446:,
442:,
285:,
269:,
236:,
232:,
129:.
2724:.
2705:.
2684:.
2665:.
2646:.
2627:.
2359:.
1963:.
1778:.
1744:.
1714:.
1660:.
1243:.
549:(
35:.
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