{"title":"Keeping their Marbles: How the Treasures of the Past Ended Up in Museums ... and Why They Should Stay There","authors":"G. Lobay","doi":"10.1515/etst-2017-0021","DOIUrl":"https://doi.org/10.1515/etst-2017-0021","url":null,"abstract":"","PeriodicalId":373793,"journal":{"name":"Etruscan Studies","volume":"123 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116187761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Vulci. Storia della città e dei suoi rapporti con Greci e Romani","authors":"Ingrid E. M. Edlund-Berry","doi":"10.1515/etst-2017-0027","DOIUrl":"https://doi.org/10.1515/etst-2017-0027","url":null,"abstract":"","PeriodicalId":373793,"journal":{"name":"Etruscan Studies","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115749895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This study focuses on an Attic red-figure kylix excavated in a North Etruscan ritual context at a major sanctuary site in the Mugello region at Poggio Colla. Attributed to the Painter of the Paris Gigantomachy (490–460 B. C. E.), the kylix depicts youths boxing. Careful excavation of the site over 20 years allows detailed presentation here of the votive context for the kylix and thus supports a plausible hypothesis for how it was integrated into rituals marking the transition from the first monumental stone temple to its successor at the site, sometime in the late fifth-early fourth century. Placing the kylix in the oeuvre of the painter, his workshop output, and its appearance in Etruria demonstrates that the shape and subject matter were well known to Etruscan audiences; discussion of the relationship of the Attic boxers to imagery in Etruscan tomb painting, black-figure silhouette style pottery, and funerary reliefs reveals links to and differences from Etruscan renderings of similar subject matter. Conclusions confirm the role of the Attic kylix in Etruscan ritual and establish the familiarity of the iconography of the kylix to Etruscan audiences. Although one of the tinas cliniiar, Etruscan Pultuce and Greek Pollux, is identified in fourth-century Etruscan art as an outstanding boxer, this study reveals no obvious link between the imagery on the kylix and the major deity honored at the site, very likely the goddess Uni.
{"title":"An Imported Attic Kylix from the Sanctuary at Poggio Colla","authors":"A. Steiner, J. Neils","doi":"10.1515/etst-2018-0010","DOIUrl":"https://doi.org/10.1515/etst-2018-0010","url":null,"abstract":"Abstract This study focuses on an Attic red-figure kylix excavated in a North Etruscan ritual context at a major sanctuary site in the Mugello region at Poggio Colla. Attributed to the Painter of the Paris Gigantomachy (490–460 B. C. E.), the kylix depicts youths boxing. Careful excavation of the site over 20 years allows detailed presentation here of the votive context for the kylix and thus supports a plausible hypothesis for how it was integrated into rituals marking the transition from the first monumental stone temple to its successor at the site, sometime in the late fifth-early fourth century. Placing the kylix in the oeuvre of the painter, his workshop output, and its appearance in Etruria demonstrates that the shape and subject matter were well known to Etruscan audiences; discussion of the relationship of the Attic boxers to imagery in Etruscan tomb painting, black-figure silhouette style pottery, and funerary reliefs reveals links to and differences from Etruscan renderings of similar subject matter. Conclusions confirm the role of the Attic kylix in Etruscan ritual and establish the familiarity of the iconography of the kylix to Etruscan audiences. Although one of the tinas cliniiar, Etruscan Pultuce and Greek Pollux, is identified in fourth-century Etruscan art as an outstanding boxer, this study reveals no obvious link between the imagery on the kylix and the major deity honored at the site, very likely the goddess Uni.","PeriodicalId":373793,"journal":{"name":"Etruscan Studies","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125259865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Le necropoli etrusche di Macchia della Riserva a Tuscania 1. Pian delle Rusciare","authors":"Dottssa. Francesca Ceci","doi":"10.1515/etst-2018-0003","DOIUrl":"https://doi.org/10.1515/etst-2018-0003","url":null,"abstract":"","PeriodicalId":373793,"journal":{"name":"Etruscan Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121422178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Etruscans: Lost Civilizations","authors":"Alexandra A. Carpino","doi":"10.1515/etst-2018-0004","DOIUrl":"https://doi.org/10.1515/etst-2018-0004","url":null,"abstract":"","PeriodicalId":373793,"journal":{"name":"Etruscan Studies","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132258981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The Etruscan goddess Catha has long been regarded as a solar deity. G. Thulin (1906) was one of the first to characterize Catha as a solar deity based on inscriptions referencing Catha on a mirror from Orbetello and on the Piacenza Liver. Although Thulin’s interpretations of these inscriptions have been challenged, the goddess Catha is still perceived to be a solar deity. Evidence from the goddess’s cult site at Pyrgi, where she was known as Kautha, inscriptions on artifacts that bear her name, and bucchero vessels that appear to display the goddess as a potnia theron suggest that the idea of Catha/Kautha as a solar deity should be set aside. Instead, the Etruscan goddess Catha/Kautha should be viewed as a chthonic fertility deity, of particular importance to elites in Orientalizing Etruria, who appealed to her to guide the spirits of the dead into the afterlife and to protect young mothers and infants, who would ensure the hereditary succession of their class.
{"title":"The Etruscan Goddess Catha","authors":"D. Moore","doi":"10.1515/etst-2017-0030","DOIUrl":"https://doi.org/10.1515/etst-2017-0030","url":null,"abstract":"Abstract The Etruscan goddess Catha has long been regarded as a solar deity. G. Thulin (1906) was one of the first to characterize Catha as a solar deity based on inscriptions referencing Catha on a mirror from Orbetello and on the Piacenza Liver. Although Thulin’s interpretations of these inscriptions have been challenged, the goddess Catha is still perceived to be a solar deity. Evidence from the goddess’s cult site at Pyrgi, where she was known as Kautha, inscriptions on artifacts that bear her name, and bucchero vessels that appear to display the goddess as a potnia theron suggest that the idea of Catha/Kautha as a solar deity should be set aside. Instead, the Etruscan goddess Catha/Kautha should be viewed as a chthonic fertility deity, of particular importance to elites in Orientalizing Etruria, who appealed to her to guide the spirits of the dead into the afterlife and to protect young mothers and infants, who would ensure the hereditary succession of their class.","PeriodicalId":373793,"journal":{"name":"Etruscan Studies","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126040625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Etruscan architecture underwent various changes between the later Iron Age and the Archaic period (c. 800-500 BC), as seen in the evidence from several sites. These changes affected the design and style of domestic architecture as well as the use of raw materials and construction techniques. However, based on a supposed linear progression from inferior to superior building materials, explanations and interpretations often portray an architectural transition in Etruria from ‘prehistoric’ to ‘historic’ building types. This perspective has encouraged a rather deterministic, overly simplified and inequitable view of the causes of change in which the replacement of traditional materials with new ones is thought to have been the main factor. This thesis aims to reconsider the nature of architectural changes in this period by focussing on the building materials and techniques used in the construction of domestic structures. Through a process of identification and interpretation using comparative analysis and an approach based on the chaîne opératoire perspective, changes in building materials and techniques are examined, with special reference to four key sites: San Giovenale, Acquarossa, Poggio Civitate (Murlo) and Lago dell’Accesa. It is argued that changes occurred in neither a synchronous nor a linear way, but separately and at irregular intervals. In this thesis, they are interpreted as resulting mainly from multigenerational habitual changes, reflecting the relationship between human behaviour and the built and natural environments, rather than choices between old and new materials. Moreover, despite some innovations, certain traditional building techniques and their associated materials continued into the Archaic period, indicating that Etruscan domestic architecture did not undergo a complete transformation, as sometimes asserted or implied in other works. This study of building techniques and materials, while not rejecting the widely held view of a significant Etruscan architectural transition, argues for a more nuanced reading of the evidence and greater recognition of the nature of behavioural change during the period in question. I declare that this thesis has been composed by me and that the work is my own. This work has not been submitted for another degree or qualification. Paul M. Miller 30 March 2015
从几个遗址的证据可以看出，伊特鲁里亚建筑在铁器时代晚期和古代时期(公元前800-500年)之间经历了各种变化。这些变化影响了国内建筑的设计和风格，以及原材料和施工技术的使用。然而，基于从劣质到优质建筑材料的线性发展，解释和解释通常描绘了伊特鲁里亚从“史前”到“历史”建筑类型的建筑过渡。这种观点助长了对变化原因的一种相当确定的、过分简化和不公平的看法，认为用新材料取代传统材料是主要因素。本文的目的是重新考虑这一时期的建筑变化的性质，重点关注建筑材料和技术在国内结构的建设中使用。通过使用比较分析和基于cha ne opacimatoire视角的方法进行识别和解释的过程，研究了建筑材料和技术的变化，特别参考了四个关键地点:San Giovenale、Acquarossa、Poggio Civitate (Murlo)和Lago dell 'Accesa。有人认为，变化的发生既不是同步的，也不是线性的，而是分开的、不规则的。在这篇论文中，它们被解释为主要是由几代人的习惯变化造成的，反映了人类行为与建筑和自然环境之间的关系，而不是新旧材料之间的选择。此外，尽管有一些创新，某些传统的建筑技术和相关材料一直延续到古代时期，这表明伊特鲁里亚人的家庭建筑并没有经历完全的转变，就像其他作品中有时断言或暗示的那样。这项对建筑技术和材料的研究，虽然没有拒绝广泛持有的重要伊特鲁里亚建筑转型的观点，但却主张对证据进行更细致入微的解读，并对所讨论时期行为变化的本质有更大的认识。我声明这篇论文是我写的，是我自己的作品。这项工作没有提交给其他学位或资格。Paul M. Miller 2015年3月30日
{"title":"Continuity and Change in Etruscan Domestic Architecture","authors":"Lisa C. Pieraccini","doi":"10.1515/etst-2018-0016","DOIUrl":"https://doi.org/10.1515/etst-2018-0016","url":null,"abstract":"Etruscan architecture underwent various changes between the later Iron Age and the Archaic period (c. 800-500 BC), as seen in the evidence from several sites. These changes affected the design and style of domestic architecture as well as the use of raw materials and construction techniques. However, based on a supposed linear progression from inferior to superior building materials, explanations and interpretations often portray an architectural transition in Etruria from ‘prehistoric’ to ‘historic’ building types. This perspective has encouraged a rather deterministic, overly simplified and inequitable view of the causes of change in which the replacement of traditional materials with new ones is thought to have been the main factor. This thesis aims to reconsider the nature of architectural changes in this period by focussing on the building materials and techniques used in the construction of domestic structures. Through a process of identification and interpretation using comparative analysis and an approach based on the chaîne opératoire perspective, changes in building materials and techniques are examined, with special reference to four key sites: San Giovenale, Acquarossa, Poggio Civitate (Murlo) and Lago dell’Accesa. It is argued that changes occurred in neither a synchronous nor a linear way, but separately and at irregular intervals. In this thesis, they are interpreted as resulting mainly from multigenerational habitual changes, reflecting the relationship between human behaviour and the built and natural environments, rather than choices between old and new materials. Moreover, despite some innovations, certain traditional building techniques and their associated materials continued into the Archaic period, indicating that Etruscan domestic architecture did not undergo a complete transformation, as sometimes asserted or implied in other works. This study of building techniques and materials, while not rejecting the widely held view of a significant Etruscan architectural transition, argues for a more nuanced reading of the evidence and greater recognition of the nature of behavioural change during the period in question. I declare that this thesis has been composed by me and that the work is my own. This work has not been submitted for another degree or qualification. Paul M. Miller 30 March 2015","PeriodicalId":373793,"journal":{"name":"Etruscan Studies","volume":"554 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133978283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Recently an article appeared raising some issues about the interpretation of grape pips that were excavated at Cetamura del Chianti by the present writer (2012-14). This commentary makes suggestions concerning the arguments in that article with reference to 1) stratigraphy at the site; 2) literary sources on Etruscan viticulture; and 3) the use of the pruning hook by the Etruscans. The present article makes a contribution to the study of Etruscan viticulture by assembling an appendix on actual pruning hooks that have been discovered in Italy dating from the Late Bronze Age down to the second century B. C. E., as well as an appendix on representations of a youth holding the pruning hook in Etruscan art, mainly from the fourth and third centuries B. C. E.
最近，笔者发表了一篇文章，对奇安蒂酒庄(Cetamura del Chianti)葡萄核的解释提出了一些问题。这篇评注从以下几个方面对文章中的论点提出了一些建议:1)现场地层;2)关于伊特鲁里亚葡萄栽培的文献资料;3)伊特鲁里亚人使用的修剪钩。这篇文章对伊特鲁里亚葡萄栽培的研究做出了贡献，它收集了一个附录，介绍了在意大利发现的从青铜时代晚期到公元前2世纪的实际修剪钩，以及一个附录，介绍了主要从公元前4世纪到公元前3世纪的伊特鲁里亚艺术中手持修剪钩的年轻人的表现。
{"title":"Grape Pips from Etruscan and Roman Cetamura del Chianti: On Stratigraphy, Literary Sources and Pruning Hooks","authors":"N. de Grummond","doi":"10.1515/etst-2018-0013","DOIUrl":"https://doi.org/10.1515/etst-2018-0013","url":null,"abstract":"Abstract Recently an article appeared raising some issues about the interpretation of grape pips that were excavated at Cetamura del Chianti by the present writer (2012-14). This commentary makes suggestions concerning the arguments in that article with reference to 1) stratigraphy at the site; 2) literary sources on Etruscan viticulture; and 3) the use of the pruning hook by the Etruscans. The present article makes a contribution to the study of Etruscan viticulture by assembling an appendix on actual pruning hooks that have been discovered in Italy dating from the Late Bronze Age down to the second century B. C. E., as well as an appendix on representations of a youth holding the pruning hook in Etruscan art, mainly from the fourth and third centuries B. C. E.","PeriodicalId":373793,"journal":{"name":"Etruscan Studies","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122365087","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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