The Villanovan, Etruscan, and Hellenistic Collections in the Detroit Institute of Arts 9047425774, 9789047425779

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foreword

The Villanovan, Etruscan and Hellenistic Collections in the Detroit Institute of Arts

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foreword

Monumenta Graeca et Romana Editor-in-Chief

John M. Fossey FRSC (McGill University & Montreal Museum of Fine Arts) Associate Editor

Angelo Geissen (University of Cologne) Advisory Board

Christiane Delplace (CNRS, France) Christine Kondoleon (Museum of Fine Arts, Boston) Nota Kourou (University of Athens) Gullög Christine Nordquist (University of Uppsala) Michael Vickers (University of Oxford)

VOLUME 14

foreword

The Villanovan, Etruscan and Hellenistic Collections in the Detroit Institute of Arts By

David A. Caccioli BA, MA, MA, PhD

With an Introduction by

William H. Peck

LEIDEN • BOSTON 2009

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foreword

Illustration on the cover: General view, Etruscan Cinerary Urn 74.69a-c; Photograph Courtesy of the DIA. (See also Cat. No. 3 and Plates 5–7, pp. 18–20.) This book is printed on acid-free paper. Library of Congress Cataloging-in Publication Data Caccioli, David A. The Villanovan, Etruscan and Hellenistic collections in the Detroit Institute of Arts / by David A. Caccioli ; with an introduction by William H. Peck. p. cm. — (Monumenta Graeca et Romana; v. 14) Includes bibliographical references. ISBN 978-90-04-17230-2 (hbk. : alk. paper) 1. Villanovan culture—Catalogs. 2. Etruscans—Catalogs. 3. Etruria—Antiquities—Catalogs. 4. Greece— Antiquities—Catalogs. 5. Classical antiquities—Catalogs. 6. Detroit Institute of Arts—Catalogs. I. Title. II. Series. GN780.2.V5C33 2009 016.9375—dc22 2009014963

ISSN 0169-8850 ISBN 978 90 04 17230 2 Copyright 2009 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. Brill has made all reasonable efforts to trace all right holders to any copyrighted material used in this work. In cases where these efforts have not been successful the publisher welcomes communications from copyright holders, so that the appropriate acknowledgements can be made in future editions, and to settle other permission matters. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. printed in the netherlands

CONTENTS Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii

I.

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Origins and Growth of the Etruscan Collection in the Detroit Institute of Arts William H. Peck

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II.

STONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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1. Cinerary Urns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 a. Etruscan (Cat. Nos. 1-3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 III.

BRONZE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 1. Statuettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 a. Etruscan (Cat. Nos. 4-8) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 b. Etrusco-Italic (Cat. No. 9) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 2. Mirror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 a. Etruscan (Cat. No. 10) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 3. Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 a. Villanovan (Cat. Nos. 11-23) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 b. Italic (Cat. Nos. 24-25) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 4. Vessels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 a. Etruscan (Cat. Nos. 26-32) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 5. Tools, Weapons, Armor, Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a. Italic (Cat. No. 33) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b. Villanovan (Cat. Nos. 34-39) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . c. Etruscan (Cat. Nos. 40-46) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . d. Etrusco-Italic (Cat. No. 47) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

67 69 70 76 88

6. Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 a. Villanovan (Cat. Nos. 48-50) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 b. Etruscan (Cat. Nos. 51-65) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

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contents

CERAMIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 1. Pottery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 a. Villanovan (Cat. Nos. 66-68) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 b. Etruscan (Cat. Nos. 69-116) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 c. Hellenistic (Cat. Nos. 117-123) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

V.

TERRACOTTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 1. Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 a. Etrusco-Italic (Cat. Nos. 124-125) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 2. Architectural Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 a. Etruscan (Cat. No. 126). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 b. Modern “Etruscan” Copy (Cat. No. 127) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

VI.

ABBREVIATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

VII.

BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

VIII. CONCORDANCE OF DIA ACCESSION NUMBERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 IX.

CONCORDANCE OF FORMER COLLECTIONS, GALLERIES, AND DONORS. . . . . . . 241

ACKNOWLEDGEMENTS The author is extremely grateful to William Peck, former Curator of Ancient Art, Elsie Peck, former Associate Curator of Ancient Art, Dr. Penelope Slough, former Associate Curator of Ancient Art, and the many current staff members of the Detroit Institute of Arts whose ceaseless efforts made this catalogue possible. These include Dr. Salvador Salort-Pons, Curator of European Art, Sylvia Inwood, Manager, Rights and Reproduction, Barbara Heller, Chief Conservator, and Christina Gibbs, Assistant Registrar. Invaluable aid was provided by members of the Soprintendenza ai Beni Archeologici della Toscana in tracking down provenances for objects donated by The Etruscan Foundation, Inc. These include Dott.ssa Fulvia Lo Schiavo, Il Soprintendente Archeologo, Dott. Mario Iozzo, Il Direttore del Museo Archeologico Nazionale di Chiusi, Dott.ssa Susanna Sarti, and Dott. Fabrizio Paolucci. Special thanks go to Dr. Marjatta Nielsen for her scholarly critique of the cinerary urn catalogue entries; to Brian Jolly, radioscopy specialist in GM’s Advanced Manufacturing and Engineering Division, for producing the computer-enhanced real time X-rays of the strigil 61.140 (Cat. No. 46); to the University of Iowa Classics Department for assistance in obtaining access to the resources of the University Libraries; to Dr. Richard D. De Puma for his encouragement and permission to reproduce his drawings of the mirror 47.399 (Cat. No. 10); to Dr. Brian Madigan for his publication suggestions; and to the late Count Ferdinand Cinelli, former Chairman of The Etruscan Foundation, for his generous financial support over the years which enabled the author to upgrade this catalogue for publication. David A. Caccioli April 2009

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introduction

I. INTRODUCTION

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introduction

introduction

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THE ORIGINS AND GROWTH OF THE ETRUSCAN COLLECTION IN THE DETROIT INSTITUTE OF ARTS

The Etruscan collection was a part of the Department of Ancient art at the Detroit Institute of Arts for three decades. After a reorganization of the museum, it is now cared for in the Department of European Art. The Etruscan collection is not extensive but it consists of objects which are generally of museum quality. As it has been with other aspects of the museum collections, the representation of Etruscan art has grown, over the years, as a result of some chance augmented by methodical planning and judicious acquisition. The earliest Etruscan material in Detroit was probably the gift of Miss Clara Avery, who gave four modest pieces of pottery (Cat. Nos. 98-101). Miss Avery was one of those dedicated volunteers who helped to organize the first Art Loan exhibition of 1883,1 the project which prefaced the founding of the Detroit Museum of Art in 1885. The Detroit Museum of Art was the predecessor of the present Detroit Institute of Arts. Miss Avery was the author of the Art Loan catalogue and was described in the press at the time as well versed in the arts and familiar with the great galleries and museums of Europe. It is probable that she acquired her modest Etruscan material on one of her European trips in the 1870s or 1880s. It should be mentioned that the four ceramic objects she donated were not properly recorded until relatively recently and their present museum accession numbers do not reflect the date of their addition to the collection. The real basis for the Etruscan collection, as with many of the ancient objects in the museum,

must rest with a few examples acquired by Frederick Stearns in the late nineteenth century (Cat. Nos. 50, 75). Stearns, a local pharmaceutical manufacturer, was intimately involved with the formative years of the Detroit Museum of Art. He was an inveterate collector, not to say accumulator, whose interest ranged from the artifacts of European Prehistory to those of the contemporary pottery of Japan in his day. During his European travels he bought ancient pottery and bronzes which included a limited amount of Etruscan material. He was far more interested in Egyptian artifacts, mineralogy and the history of musical instruments, all of which are represented in collections he bequeathed to the Detroit Museum of Art and the University of Michigan. Several important additions were made to the Etruscan collection in the decade of the 1920s, a time when the museum as an institution was being shaped and collection policies were developing toward the creation of what can only be considered an encyclopedic museum. William Valentiner,2 the first professionally trained art historian to head the museum, was responsible for the acquisition of two important examples of stone cinerary urns (Cat. Nos. 1, 2) as well as the black-figured “harpy” amphora (Cat. No. 111) all of which are still among the most important Etruscan objects in the collection. During the next three decades, under the directorship of Valentiner and his successor, E. P. Richardson, sporadic attempts were made to fill what were perceived as important gaps in the history of ancient art.

1 In the early 1880s several prominent Detroit residents arrived at the idea of founding a museum of art, in part as an inspirational source for the people of the then growing city, and in part perceived as a necessary adjunct for any respectable developing community. The Art Loan Exhibition of 1883 was a “trial balloon” to gauge the reactions of the community to the possibility of founding an art museum.

2 Valentiner was trained by the distinguished Wilhelm von Bode in Berlin. When he first came to the United States he was employed as a curator of decorative arts in the Metropolitan Museum of Art, New York City. He returned to Germany at the time of the First World War and served in the German army. He was hired for the newly reorganized and reconstituted Detroit Institute of Arts as an artistic advisor, and very soon after as the museum Director.

introduction

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The world renowned bronze Rider was one of the objects purchased at that time (Cat. No. 8). It has since become the subject of considerable study and is illustrated in many of the standard texts on Etruscan art. In 1961 the character of the collections was enhanced and expanded by the donation of sixty objects from the Etruscan Foundation of Grosse Pointe, Michigan (Cat. Nos. 11, 16-20, 23, 29, 30, 33-35, 39, 40, 43, 45, 46, 48, 51, 52, 55, 56, 64, 68, 69, 72, 73, 76-80, 82-85, 87-90, 92-97, 102, 103, 105-107, 114-121, 123). Due to the interest, dedication and perseverance of Ferdinand Hartz Cinelli,3 the Etruscan Foundation was the recipient of a selection of antiquities from the reserves of the Museo Archeologico Nazionale, Florence, as a reward for the work of excavation carried out in Italy. A share of this material was given to the Detroit Institute of Arts, effectively expanding the collection of Etruscan and related material by adding depth and types of artifacts not before included, particularly bucchero pottery and utilitarian objects. The receipt of this gift was the impetus for the creation of a small Etruscan display area, not yet large enough to be considered a gallery. With the building expansion and the addition of the two wings to the museum in the 1960s the areas for the Ancient holdings were vastly expanded and a gallery for Etruscan, Italic and South Italian material was planned and installed. In addition to the generous gift of the Etruscan Foundation and the early gifts of objects from Clara Avery and Frederick Stearns, a number of 3

Cinelli, an Italian American, maintained a residence in Sienna Province in Italy. He founded the Etruscan Foundation for the purpose of furthering interest in Etruscan history, culture and art. He organized and sponsored excavations on site in Italy with the proper cooperation of the Italian authorities. For his work in the early 1960s he was awarded duplicate material from the reserves of the Museo Archeologico in Florence in lieu of objects that he had actually excavated. 4 The Founders Society of the Detroit Institute of Arts was the private “arm” of the museum, created at the time in the 1920s when the museum became a city owned and administered institution. The original intention for the Founders Society was to underwrite acquisitions, exhibitions, and other special projects.

other donors should be mentioned. William Valentiner, in addition to being a greatly influential director, so much responsible for the character of the museum as it developed into an internationally known institution, was also a collector in his own regard. He donated an Etruscan bronze to the museum and a second object, which had once been in his collection, and given by him to a friend, was also later donated by the recipient (Cat. Nos. 6, 7). Mrs. Lillian Henkle Haass, the first woman to become president of the Founders Society,4 had a wide ranging interest in the arts of antiquity and among many ancient objects given by her, and later, her daughter, Mrs. Constance McMath, were Etruscan bronzes and ceramics (Cat. Nos. 5, 27, 31, 44, 104).5 Curiously, objects have sometimes come from collectors whose main interest was in other historic periods or cultural areas. Mrs. Lydia Winston Malbin gave a small cinerary urn with an Etruscan inscription on the lid to the collection (Cat. No. 3); although her noted (and now dispersed) private collection was almost completely devoted to the 20th century.6 The urn had once belonged to her father, Albert Kahn, distinguished architect, and a member of the first Arts Commission appointed at the time the museum became a city owned institution. Kahn was instrumental with Valentiner in the development of the collections and the planning for the present museum. To round out the story of the growth of the collection, the following donors have made a number of modest additions. Robert Hudson Tannahill,7 best known to museum visitors for 5

The Haass and McMath objects were all acquired in the art market, mainly in Paris, during the 1920s. 6 The collection assembled by Mrs. Winston Malbin was, in its time, the most important representation of Italian Futurist art in private hands. Mrs. Winston Malbin had little or no interest in antiquities and considered the cinerary urn as a memento of her father, Albert Kahn, who probably acquired it at the suggestion of William Valentiner during the 1920s. 7 Tannahill, as with many of the museum supporters who were influenced early by William Valentiner, had a passing interest in the arts of antiquity. His major collecting interest and eventual contribution to the Detroit Institute of Arts was in the area of French Impressionist, Post Impressionist and early Twentieth Century painting.

introduction

his most important donations and bequest of French paintings, also had a fascination with the Etruscans and left to the collection a fine example of a bucchero kantharos (Cat. No. 91). Florence Maiullo Barnes, who traced her family origins to the Etruscan roots of Roman civilization,8 was the donor of objects and funds for the acquisition of objects (Cat. Nos. 108, 109). Count Cinelli, in addition to the Etruscan Foundation benefices, was also responsible for the addition of some modest objects to the collection (Cat. Nos. 4, 9, 32, 81, 86). An important recent gift to augment the selection of Etruscan material on view was a large dolio generously given by Mr. and Mrs. Harold Marko (Cat. No. 70). As is evident, there has been a continuous, if sometimes modest, interest in the growth of the collection representing the culture and the visual arts of the Etruscan peoples. It is generally recognized that the Etruscans represented and are considered one of the more fascinating cultures in the ancient Mediterranean world. It is well that the administration and staff of the 8

Mrs. Barnes’ mother’s maiden name was Tarquinia.

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Detroit Institute of Arts has had the inclination in the past to consider, study, and acquire objects that serve as a fine legacy for the future study of world civilization. Dr. David Caccioli has done an admirable job in pursuing and amassing the relevant research on the individual objects, often under adverse conditions. His persistence and tenacity have resulted in a catalogue of the Villanovan and Etruscan collections in the Detroit Institute of Arts that should serve as a model for the treatment of other specialized groups of material. As the former curator responsible for this collection, knowing of his expertise and scholarly accomplishment, I was pleased to put this project completely in his hands. He was given free access to the basic records of the collection, the bare bones to which he has added the flesh and blood. I applaud his achievement. William H. Peck Former Curator of Ancient Art The Detroit Institute of Arts

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introduction

II. STONE

1. Cinerary Urns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

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stone – cinerary urns

INTRODUCTION Cinerary urns of stone or terracotta provide one of the most important sources for studying Etruscan culture during the Hellenistic period. Etruscan workshops in Volterra, Chiusi, and Perugia mass-produced many of these urns as indicated by the numerous examples which have survived to the present day (cf. A. Maggiani 1985: 32-36, 52-54). Most of these urns exhibit panel relief scenes of a mythological, decorative, or funerary nature which shed light on contemporary Etruscan religious beliefs and class distinctions (cf. A. Maggiani 1985: 82-83; M. Nielsen 1992: 103-104; M. Nielsen 1993: 326-336; M. Nielsen 2002: 112-113). The stone mythological urns usually depict Greek myths carved in fine alabaster such as DIA urns 23.139 and 74.69a-c (Cat. Nos. 1, 3). These were intended for the wealthy individuals who appreciated Greek culture and could afford the more expensive material. The stone urns with decorative or funerary motifs were usually carved in rough tufa and depict simple ornaments or scenes of the deceased shortly after death as in DIA urn 26.172 (Cat. No. 2). Such motifs may have appealed to less wealthy individuals who perhaps possessed little first-hand knowledge of or appreciation for foreign cultures. Scenes de-

picting the deceased taking leave of their families and journeying to the Underworld to join their ancestors represent concepts deeply ingrained in the Etruscan view of death and would have had universal Etruscan acceptance (cf. I. Krauskopf 2006: 67-78). In addition to panel sculpture Etruscan urns frequently have carved human figures on their lids. These figures are believed to depict generic “portraits” of the deceased reclining on their banquet couches (cf. A. Maggiani 1985: 89-90; O. Brendel 1995: 395-396; M. Nielsen 1975: 382-386; M. Nielsen 1992: 100ff.; M. Nielsen 2002: 114-119). The banqueting pose highlights the desired Etruscan afterlife while the figures’ garb and hairstyle are useful indicators of current social trends. Despite the mediocre level of the workmanship that characterizes many mass-produced Etruscan cinerary urns some have delicately carved figures which are aesthetically important as sculptural works of art. The latter urn figures incorporate superior surface finishing, close attention to detail, and greater inventiveness in the handling of traditional motifs (cf. O. Brendel 1995: 395-396). The panel and lid figures of DIA urn 23.139 exemplify these sculptural traits admirably.

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stone – cinerary urns

1. Cinerary Urns (Cat. Nos. 1–3)

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stone – cinerary urns

etruscan, cat. no. 

13

Cat. No. 1 (see Plates 1–3, pp. 14–15) Etruscan Cinerary Urn with Lid late 3rd-early 2nd centuries bce Alabaster; Height (urn) 43 cm., (lid) 47.5 cm.; Length (urn) 74 cm., (lid) 71.5 cm.; Width (urn) 25.9 cm., (lid) 33.5 cm. Ex. Coll. A. Satori, Vienna; made in the area of Volterra (cf. below). Founders Society purchase 23.139 The urn is almost intact. The lower left-hand rear corner is missing and there are numerous small chips along the exterior edges. Dark patches of incrustation occur over much of the exterior surfaces of both the urn and lid. Cleaning attempts to remove sections of the incrustation from the urn’s front panel relief figures have damaged their original surfaces. Several of these figures exhibit additional losses. The central winged figure is missing most of her right arm and leg. The upper left-hand warrior is minus the back of his head while the lower right-hand warrior is without his left leg and part of his buttocks. Relief scenes on the side panels have fared better than that on the front and only the right hand of the Charon figure on the right side is damaged. The most serious injury was sustained by the urn lid which is carved in the form of a reclining figure. The figure exhibits a repaired horizontal break above the chin and a severely chipped forehead. Three deep holes of about 1.5 cm. diameter were drilled in a horizontal line along the bottom edge of the left side and a similar hole appears near the centre of the lower right side. None of the holes show evidence of having accommodated repair or joining pegs. A long vertical channel has been deeply cut into the figure near the left front edge. This damage appears to have resulted from the prolonged dripping of water onto this spot, presumably while the lid was in an underground tomb. The absence of a similar erosion channel on the urn indicates that the two objects were not joined together when the lid suffered its water damage. It is nevertheless still possible that the lid was originally intended to accompany this urn despite their apparently lengthy separation at some point. Both exhibit a high level of workmanship and are covered with similar incrustations (cf. M. Nielsen 1975: 279; L. Bonfante

1990: 44). The cleaning and repairs were made prior to DIA acquisition. Rectangular cinerary urn and lid. The front and sides of the urn contain finely carved figured relief scenes. The right side relief depicts the Etruscan death demon Charun seated on a rock facing to the left in three-quarter view (cf. A. Pfiffig 1975: 332334; F. De Ruyt 1934: 27, 48, 224, for his function in Etruscan mythology). He is winged and holds a snake in his right hand and the handle of his hammer in his left. His attire consists of a short, belted tunic which exposes the right shoulder and breast as well as a pair of boots. The left side relief portrays the winged female death demon Vanth facing to the right in threequarter view (cf. C. Carter 1984: 543 n. 20; A. Rallo 1974: 47ff., for her function in Etruscan mythology). The figure stands with her raised left foot resting on a rock. She holds forth her open right hand as if in a greeting while clutching the handle tip of an upside down torch in her left hand. The demon wears a short skirt with crisscrossing shoulder straps and a pair of boots. The front relief scene most probably depicts the aftermath of the mythological duel between Eteocles and Polyneices in which the twin sons of Oedipus kill one another (cf. J. P. Small 1974: 49ff.; L. B. van der Meer 1977-1978: 69, 87ff.; A. Maggiani 1985: 83; G. R. Orsolini 1971: 29ff.; M. Nielsen 1993: 322 no. 17, 328ff.; M. Moltesen and M. Nielsen 1996: 78-81; M. Nielsen 2002: 112-113). The scene is framed by a raised border which is decorated with inset panels of the type found on wooden chests (cf. M. Nielsen 1975: 296). The relief figures are symmetrically positioned around a winged female death demon who is seated at centre. She wears the same type of garb as that of the Vanth figure on the left side. Her body exhibits an unusual degree of torsion between the upper half, which faces to the right, and the lower half, which is turned to the left. This difficult pose not only serves to illuminate the artist’s high level of skill but also links both halves of the scene compositionally. The lower left half depicts one of the fallen twins facing to the right in three-quarter view. He wears only a cloak which is fastened around his neck and bears an oval shield on his left arm. The forward tilt of his head in combination with his relaxed pose show that he is mortally wounded or already dead. The upper torso of another warrior is visible above and

14

stone – cinerary urns

behind the reclining body. He faces to the right in three-quarter view while brandishing a sword in his right hand and a shield on his left arm. This figure is dressed in a cloak and cuirass. The second fallen brother and his companion appear on the right half of the front relief in a nearly identical, reversed version of the left-hand scene. They are garbed like the first two figures with the exception that the upper righthand warrior is helmeted. The fully worked urn lid is in the form of a sculpted obesus etruscus (heavy Etruscan type) who reclines on his left side (cf. M. Nielsen 2002: 286 n. 4). He wears a himation tightly draped about his waist, back, and left arm. There is also a garland around his neck and a wreath on his head. The figure props himself up on pillows with his left arm while his right arm extends along his side. He grasps a phiale mesomphalos in his right hand. For a discussion of such lid figures as ancestor images, symbolic or real, see M. Nielsen 2002: 114-119.

For alabaster urn lids of very similar form, see M. Cristofani 1977a: 108-109 no. 133, from Volterra; G. Cateni 1986: 56-57 no. 60, 120-121 no. 138, from Volterra; A. Maggiani 1985: 85 no. 66, early 2nd century bce, from Volterra. The reclining figures on these lids correspond to Nielsen’s Volterran “Hellenistic Style Phase” urn lid category of c. 200-100 bce (M. Nielsen 1975: 290-298). Nielsen assigns the Detroit urn lid to her “Knotted Cloak Group” which is a subcategory of the former and dates this piece to c. 200 bce (in a letter to M. Letasi, August 22, 1992, DIA, Founders Society, Rights and Reproductions). The close stylistic similarities between the DIA lid and Maggiani’s no. 66 further indicate that both may come from the same workshop. Minutes of the Arts Commission, DIA. 2/2/24 E. de Grummond 2000: 217-218. R. D. De Puma 2009: 141-142 no. 194.

Plate 1. Front view, Etruscan Cinerary Urn 23.139 (Cat. No. 1); Photograph Courtesy of the DIA.

etruscan, cat. no. 

Plate 2. Right side view, Etruscan Cinerary Urn 23.139 (Cat. No. 1); Photograph Courtesy of the DIA.

Plate 3. Left side view, Etruscan Cinerary Urn 23.139 (Cat. No. 1); Photograph Courtesy of the DIA.

15

16

stone – cinerary urns

Plate 4. Front view, Etruscan Cinerary Urn 26.172 (Cat. No. 2); Photograph Courtesy of the DIA.

etruscan, cat. no. 

17

Cat. No. 2 Etruscan Cinerary Urn with Lid latter half of the 2nd century bce Tufa; Height (urn) 47.2 cm., (lid) 21 cm.; Length (urn) 58.2 cm., (lid) 62.9 cm.; Width (urn) 25.1 cm., (lid) 24.5 cm. Ex. Coll. Benno Geiger, Venice; made in the area of Volterra (cf. below). City of Detroit purchase 26.172 The urn is intact. Most of the surface exhibits a slight degree of erosion. Minor chipping occurs along the exterior edges. The urn lid is in poor condition. Its entire surface is severely weathered. There are large chips in the righthand corner of the front edge and the centre of the back edge. The head of the reclining male figure is missing. Rectangular cinerary urn with crudely rendered figured scenes in shallow relief on three sides. The side panels each display an identical lidded amphora on a base. The front panel scene depicts a typical connubial farewell set between two square columns with Ionic capitals (cf. C. Carter 1984: 543-544, for a discussion of this motif on cinerary urns). The young male figure on the far left stands facing to the right in three quarter view. He wears a long tunic with a mantle draped around his neck and is perhaps the son of the deceased. The left-hand female figure is also shown facing to the right in three quarter view. She wears a long chiton with a mantle draped diagonally over her left shoulder. She clasps her deceased husband’s extended right hand with her own in the dextrarum iunctio nuptial gesture which signifies their eternal devotion (cf. F. De Ruyt 1934: 36, 197 n. 3). The deceased faces the viewer but his body is tilted slightly away from his family as an indication that he is about to depart for the underworld. He wears a long tunic with a mantle draped diagonally over his left shoulder. The death demon on the far right stands facing to the left in three quarter view. His open right hand extends out to the left behind the deceased as a beckoning gesture. The demon wears a short, belted tunic which exposes the right shoulder and breast. The petasos-style hat and the hammer which rests on his left shoulder are typical attributes of the Etruscan death demon Charun. His function here is

to safely guide the deceased to the underworld (cf. A. Pfiffig 1975: 332-334; De Ruyt 1934: 27, 48, 224). The fully worked urn lid is in the form of a roughly carved obesus etruscus (heavy Etruscan type) who reclines on his left side while facing the viewer (cf. M. Nielsen 1975: 286 n. 4). He is dressed in a long tunic with a himation draped around his waist and a garland hung around his neck. He props himself up on pillows with his left arm while his right arm rests along his side. His right hand appears to grasp a phiale mesomphalos but the object is too damaged for a positive identification. For a discussion of such lid figures as ancestor images, symbolic or real, see M. Nielsen 2002: 114-119. For tufa cinerary urns with similar decorations, see M. Cristofani 1977a: 58-59 nos. 51, 53, 96-97 no. 108, 108-109 no. 130, 128-129 no. 167, from Volterra. The close stylistic similarities between the relief figures on these five urns and the DIA piece as well as their use of identical framing pilasters indicate that all were probably made in the same workshop. The lid figures on Cristofani’s urns nos. 53 and 54 are particularly close to that of the DIA urn. The precise dating of the aforementioned urns is uncertain. As a group, they correspond to Nielsen’s Volterran “Hellenistic Style Phase” urn category of 200 bce-100 bce (M. Nielsen 1975: 290-298, 380, 383). Nielsen places the Detroit urn and others of the same workshop in her 6.2 sub-category which she now dates to 140 bce-120 bce on the basis of its typology within this Phase (in a letter to D. Caccioli, October 19, 1992, DIA, Department of Ancient Art; cf. A. Maggiani 1985: 52-53, and M. Nielsen 1977: 137 Graph 1, 139 Graph 2, for Nielsen’s discussion of her tufa urn typology). Nielsen also identifies the Detroit urn lid figure and those above as crude imitations of her “Knotted Cloak Group” which occurs at the beginning of the “Hellenistic Style Phase” (in a letter to D. Caccioli, October 19, 1992). Her designation not only places these urn lids several generations earlier than their accompanying urns but also assigns them to a different workshop. The practice of combining urn lids with urns for which they were not intended was common during this Phase (cf. M. Nielsen 1975: 296). Minutes of the Arts Commission, DIA. 9/2/26

18

stone – cinerary urns

Plate 5. General view, Etruscan Cinerary Urn 74.69a-c (Cat. No. 3); Photograph Courtesy of the DIA.

etruscan, cat. no. 

19

Cat. No. 3 Etruscan Cinerary Urn with Lid late 3rd-early 2nd centuries bce Alabaster; Height (urn) 27.3 cm., (lid) 6.1 cm., (fig.) 17.4 cm.; Length (urn) 34 cm., (lid) 42.5 cm., (fig.) 32.5 cm.; Width (urn) 21.2 cm., (lid) 25 cm., (fig.) 13.4 cm. Ex. Coll. Albert Kahn, Detroit; probably made in the area of Chiusi (cf. below). Gift of Mrs. Lydia Winston Malbin 74.69a-c The urn is almost complete. Its front upper lefthand and lower right-hand corners are chipped. The oversize lid is in two parts, a base slab inscribed with a female name and a separately carved reclining male figure which had been cemented to its top.

This join appears to be recent since the preferred method for bonding stone pieces in antiquity was by means of wooden or iron tenons set in drilled holes (cf. M. Nielsen 1975: 295-296). The join was made prior to DIA acquisition. Additionally, the reclining figure does not line up properly with the carved pillow on top of the base. The gender discrepancy between female base inscription and reclining male figure as well as the misalignment proves that the former was not originally intended to accompany the latter. One may also question whether the ill-fitting lid base slab was originally used with the urn as well (cf. M. Nielsen 1975: 279). Both the urn and lid exhibit minor erosion, abrasions, and surface cracks. Rectangular urn with a figured scene roughly carved in deep relief on the front side. The speci-

Plate 6. View of the Etruscan inscription on Etruscan Cinerary Urn 74.69a-c (Cat. No. 3); Photograph Courtesy of the DIA.

Plate 7. Line drawing of the Etruscan inscription on Etruscan Cinerary Urn 74.69a-c (Cat. No. 3); Photograph Courtesy of Dr. David A. Caccioli.

20

stone – cinerary urns

ficity of the central figure in the scene suggests that a definite myth or historical event is depicted rather than just generic personal combat. The DIA urn scene probably depicts the early stages of the fatal duel between Oedipus’ twin sons Eteocles and Polyneices which was a popular subject for Etruscan urn decoration (cf. J. P. Small 1974: 49ff.; L. B. van der Meer 1977-1978: 69, 87ff.; A. Maggiani 1985: 83; M. Nielsen 1993: 322 no. 17, 328ff.; M. Moltesen and M. Nielsen 1996: 78-81; M. Nielsen 2002: 112113) although other mytho-historical duels can not be completely ruled out (cf. J. P. Small 1981: 101-130). One of the brothers stands at the extreme left facing slightly to the right in three-quarter view. He wears a cuirass with a tunic underneath and carries an oval shield on his left arm. His right arm is cut off by the raised left-hand border of the front panel. At centre, a partially clad woman stands impassively watching the duel while leaning on a short pillar with her left elbow. She wears a chiton pulled down around her waist and possibly a himation wrapped over her arms. This figure is perhaps the brothers’ sister Antigone or Themis, the goddess of justice. The pillar may represent the altar of the sanctuary of Themis which Pausanias (IX. 25. 2 and 4) mentions as being near the Neistan gate at Thebes where the legendary confrontation took place (cf. G. R. Orsolini 1971: 23-24, 79 no. II, for this motif in similar urn scenes). The other brother appears at the extreme right facing to the left in three-quarter view. His body is covered by an oval shield which he carries on his left arm. He grasps a sword in his raised right hand. The top of the lid base contains a raised level platform with a carved flat pillow extending from the right front corner. A carved Etruscan funerary epitaph appears along the front edge of the base (cf. L. Bonfante 1990: 43-45, for similar epitaphs on cinerary urns). The transliterated inscription reads, from right to left: larthi petrui capiesa. The feminine praenomen Larthi and the gentilicium Petrui are very common Etruscan names (cf. M. Fowler and R. G. Wolfe 1965: 119, 125). They occur together in a number of Etruscan inscriptions, although it is impossible to be certain if any of these latter examples refer to the deceased woman mentioned here (cf. Rix 1991: Vol. II, 81 Ager Hortanus 1.5, 156

Ager Saenensis 1.201, 172 Clusium 1.83, 274 Perusia 1.589, 285 Perusia 1.886, 292 Perusia 1.1141-1.1143, for a partial list). Capiesa appears to be unique and is most probably either an andronymic, translated as “wife of Capie”, or the woman’s cognomen (cf. A. d’Aversa 1984: 168; H. Rix 1963: 58ff.). The roughly carved sculpture which was cemented to the top of the urn lid is fully detailed on only three sides. Its back is blanked out. The figure is that of an obesus etruscus (heavy Etruscan type) reclining on his left side (cf. M. Nielsen 1975: 286 n. 4). He is dressed in a long tunic with a himation draped about his waist and an ornate garland hung around his neck. A simple wreath encircles his brow. He assumes the typical banqueting posture by proping himself up on pillows with his left arm and resting his right arm along his side. His right hand grasps a phiale mesomphalos. For a discussion of such lid figures as ancestor images, symbolic or actual, see M. Nielsen 2002: 114119. For alabaster cinerary urns of similar shape and style, see F.-H. Pairault 1972: 123-124 pl. 74, from Sarteano; G. R. Orsolini 1971: 79 no. II, from Chiusi. This urn relief’s mythological theme is almost identical to that of the DIA urn. Close comparisons for the crude style of the Detroit urn’s lid figure are lacking. The pose, blank back, and overall form of the reclining male lid figure are similar to those of the lid figures in Thimme’s Chiusine “Stilstufe I” urn category, early 2nd century bce, as well as the latter part of Nielsen’s Volterran “Local Style Phase” urn lid category, 270 bce-200 bce (J. Thimme 1957: 134-135; M. Nielsen 1975: 283-289, 379). Nielsen suggests that the Detroit urn, its lid, and lid figure all exhibit Chiusine workmanship and date to c. 200 bce, a period when artistic contacts between Volterra and Chiusi were especially close (in a letter to M. Letasi, August 22, 1992, DIA, Founders Society, Rights and Reproductions; for the Volterran-Chiusine contacts, see A. Maggiani 1985: 74-75; M. Nielsen 1993: 327-328). Minutes of the Arts Commission, DIA. 10/30/74 “La Chronique des Arts: Acquisitions des Musees.” 1975: 28 no. 105. R. D. De Puma 2009: 141-142 no. 195.

21

III. BRONZE 1. 2. 3. 4. 5. 6.

Statuettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mirror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vessels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tools, Weapons, Armor, Instruments . . . . . . . . . . . Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

25 37 45 57 67 89

22

bronze – statuettes

23

INTRODUCTION

The northern half of Italy began its long tradition as an important Mediterranean metalworking region under the Villanovan culture, 10th-early 7th centuries bce. This Iron Age Urnfield culture was named after Villanova, a site near Bologna where one of its distinctive cinerary urn cemeteries was first discovered in 1853 (cf. G. Bartoloni 2002: 13-14). Abundant metal ore deposits in the Catena Metallifera of Tuscany and the Tolfa mountains formed the basis for Villanovan metalurgical developments. Ready access to such deposits combined with the introduction of a new technical expertise from Sardinia as well as the Near East via Greece and Central Europe enabled Villanovan craftsmen to increase the quality and variety of their bronze goods (cf. F. Colivicchi 2001a: 393-396; G. Camporeale 2004a: 33-42). These bronzes range from such purely utilitarian objects as tools and weapons to decorative masterpieces of gilded jewelry. Many of the early Villanovan bronzes were simply copied from foreign imports, usually those of Greek or Sardinian manufacture. Villanovan artisans soon altered both the forms and geometric decorations of their own bronzes to suit their developing techniques and tastes. Generally, the Villanovan examples appear as loose adaptations of imported bronzes in which the latter’s strictly ordered elements are selectively isolated, occasionally modified, and then recombined in apparently random yet highly creative ways (cf. O. Brendel 1995: 29-37). Several of the DIA Villanovan fibulae (large safety pins used for securing cloaks) exemplify this tendency through their merger of separate foreign geometric designs as in fibula 26.255 (Cat. No. 13) or their elongation of foreign forms such as the catch-plates of fibulae 61.158 and 1988.214 (Cat. Nos. 20, 21). The pattern of assimilation which is described above characterizes not only the Villanovan reaction to foreign styles but also that of the succeeding Etruscan culture which had firmly established

itself by 700 bce (cf. G. Camporeale 42-50; S. Haynes 2000: 16-24, 59-60; A. M. Bietti Sestieri 1992a: 244-253). One of the keynotes of early Etruscan culture was the marked increase in direct contact between Etruria and the Middle East. This “Orientalizing” contact is clearly evident in early Etruscan votive bronze figurines such as DIA statuette 70.973 (Cat. No. 4). Its large almond eyes and “Hittite pose” are derived from Syro-Palestinian sources while its flattened body continues the two-dimensional “pictorial” style of Villanovan bronze sculpture (cf. E. Richardson 1976: 60-62; O. Brendel 1995: 88ff.; S. Haynes 2000: 128ff.). New techniques of metalworking also reached Etruria from the East during this period. Etruscan bronze-working skills were further enhanced by the inclusion of iron intarsio, an eastern technique probably introduced through Orientalizing trade connections (cf. P. Gregory Warden 1985: 71-74; J. Swaddling 1978: 50-52; S. Haynes 1985: 249). The DIA Clasp 26.236 (Cat. No. 57) provides a fine example of this unusual inlay technique. The increasing naturalism of Archaic Greek sculpture partially supplanted Orientalizing influences in Etruria during the 6th century bce. DIA statuette 47.64 (Cat. No. 5) reflects this change in its fuller, more three dimensional body and limbs as well as its Greek style “kore” pose (cf. E. Richardson 1976: 103ff.; O. Brendel 1995: 221ff.; S. Haynes 2000: 252ff.). Greek influence on Etruscan art culminated during the second half of the 5th century bce with the Etruscan response to High Classical sculpture. The DIA is fortunate to possess one of the finest surviving examples of this reaction in its “Bronze Rider” votive statuette 46.260 (Cat. No. 8) which may have been directly inspired by the Parthenon frieze horsemen. Etruscan bronze production encompassed not only figurines but also a wide variety of luxury objects as well as everyday utensils. The more

24

bronze – introduction

common luxury items include mirrors such as DIA 47.399 (Cat. No. 10) which are engraved with figural scenes taken from mythology or daily life. Even quite ordinary utensils received varying levels of added decoration which range from the schematic duck’s head terminal on DIA simpulum (ladle) to the ornately sculpted DIA leopard attachment 78.84 (Cat. No. 31) for a household situla (bucket). This is perhaps one reason why Etruscan bronzes were so highly prized outside of

Italy as shown by their discovery at sites throughout Europe (cf. S. Haynes 2000: 59-60; G. Camporeale 2004b: 102-129; J. M. Turfa 2005: 41 ns. 13-14). The Greeks were particularly fond of imported Etruscan metalwork. According to the 5th century bce Athenian Tyrant Critias: “Etruscan libation-bowls of hammered gold are pre-eminent, as is all their bronzework that ornaments a house for any purpose.” (Athenaeus I.28b. Olson 2006: 159).

25

1. Statuettes (Cat. Nos. 4–9)

26

bronze – statuettes

etruscan, cat. no. 

27

Cat. No. 4 Etruscan Female Votive Statuette (?) late 7th-6th centuries bce Bronze; Height 8.2 cm. Possibly made in the area of Volterra (cf. below). Gift of Mr. Ferdinand H. Cinelli 70.973 Dark green patina. The statuette is intact. The solid cast flattened, stylized figure is represented with arms extended in a variation of the so-called “Hittite Pose”, wearing a type of shawl with back flaps and front lappets, a conical hat beneath the shawl, a beltless skirt which extends to the ankles, and shoes. The face is characterized by huge almond-shaped eyes and a long, sloping forehead. The figure stands on a thin base through which a rivet hole has been punched, apparently in antiquity. E. Richardson identifies this piece as an example of her Early Etruscan Ladies Type: Series C Group 3, 575-525 bce (cf. below). She further notes that the facial features of a statuette from Volterra are

very similar to those of this example, possibly indicating a Volterran origin for the latter as well. M. Del Chiaro dates the Detroit statuette to the late 7th-early 6th centuries bce (cf. below). For a more recent discussion on the chronology and possible functions of this type, see M. C. Galestin 1987: 17-18, 120-122, 159. Galestin dates examples of Richardson’s Series C Group 3 Type to the late 7th century bce on the basis of their similarity to figures on kantharoi from Murlo. Galestin also notes that bronze statuettes of this type with attachment holes through their bases have been identified as possible decorations for bronze vessels, utensils, or furniture in addition to their votive function (cf. J. Ch. Balty 1961: 26-27). Such statuettes would have been mounted on bases of wood or stone and fastened by means of rivet holes when used as freestanding votive offerings at sanctuaries, shrines, or temples (cf. S. Haynes 1985: 50). Minutes of the Arts Commission, DIA. 1/12/71 M. Del Chiaro 1981: 11-12, 35. E. Richardson 1983: 49, 52-54 no. 8.

Plate 8. General view, Etruscan Female Votive Statuette 70.973 (Cat. No. 4); Photograph Courtesy of the DIA.

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bronze – statuettes

Cat. No. 5 Etruscan Female Votive Statuette late 6th-early 5th centuries bce Bronze; Height 9.2 cm. Ex. Coll. Salvatore Maccolini, Florence. Gift of Mrs. Lillian Henkel Haass 47.64 (Stolen, the theft occurred between 1947-1953) Green patina with corrosion. The lower portion of the left hand appears to be missing. Solid cast standing female figure which gestures with its out-stretched right hand whose open palm faces the viewer, while the left arm extends downward diagonally from the body. The figure wears a tight-fitting chiton with a short mantle (?) draped

over the shoulders, a beaded necklace, and shoes. The hair flows down the back in long straight locks which emerge from beneath a wide beaded headband. Corrosion has apparently damaged the facial features, although large oval eyes and a small, straight mouth are still discernable. A single tang protrudes vertically from between her feet. Such freestanding votive statuettes would have been mounted on bases of wood or stone with holes cut to accept the tangs as fasteners before being dedicated at sanctuaries, shrines, or temples (cf. S. Haynes 1985: 50). For similar votives, compare E. Richardson 1983: 303-304 figs. 724-725, Series B Group 3A Korai, late Archaic period. Minutes of the Arts Commission, DIA. 5/23/47

Plate 9. General view, Etruscan Female Votive Statuette 47.64 (Cat. No. 5); Photograph Courtesy of the DIA.

etruscan, cat. nos. –

29

Cat. No. 6 Etruscan Warrior Votive Statuette 500-450 bce Bronze; Height 8.4 cm. Made in the area of Arezzo (cf. below). Gift of Dr. William R. Valentiner 37.135 (Stolen, the theft occurred between 1947-1953) Green patina. The statuette is intact. Solid cast standing figurine depicting a warrior with arms outstretched almost horizontally from his sides. He wears a leather corselet which extends to the waist and a pair of greaves. His head is characterized by short stylized hair with incised vertical locks on

the forehead, large, almond-shaped eyes highlighted by arched brows, a wide, flat nose, and a small, thick-lipped mouth. A single tang protrudes vertically from between his feet. Such freestanding votive statuettes would have been mounted on bases of wood or stone with holes cut to accept the tangs as fasteners before being dedicated at sanctuaries, shrines, or temples (cf. S. Haynes 1985: 50). E. Richardson identifies this statuette as an example of her Late Archaic Warriors Series C Group 4, 500-450 bce, whose production she attributes to Arezzo (cf. below). Minutes of the Arts Commission, DIA. 10/5/37 F. W. Robinson 1947: 8 no. 37. E. Richardson 1983: 188, 191 fig. 446.

Plate 10. General view, Etruscan Warrior Votive Statuette 37.135 (Cat. No. 6); Photograph Courtesy of the DIA.

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bronze – statuettes

Cat. No. 7 Etruscan Discus Thrower Statuette 5th century bce Bronze; Height 11.8 cm. Gift of Dr. William R. Valentiner 37.134 Dark green patina with some corrosion. The right foot has apparently been recently reattached at the ankle and the left hand is missing. The repair was made prior to DIA acquisition. Solid cast standing nude male figure naturalistically poised to throw a discus with his right hand while balancing himself with his outstretched left arm. O. J. Brendel identifies this pose as the Etruscan equivalent of the Greek Classical contrapposto stance (cf. below). The triangular head is characterized by stylized, wig-like hair with incised vertical locks, deep-set eyes, a prominent nose, and a small expressionless mouth. There is a small rivet

hole through the left foot, apparently made in antiquity. R. Teitz suggests that the figure may have originally decorated a candelabrum or incense burner of the 5th century bce, although its possible use as a votary can not be ruled out (cf. below). Such statuettes would have been mounted on bases of wood or stone and fastened by means of rivet holes when used as freestanding votive offerings at sanctuaries, shrines, or temples (cf. S. Haynes 1985: 50). For another athlete with discus statuette which may also have served as a candelabrum decoration, see S. Haynes 204 no. 139, 296 no. 139, 420-400 bce, from the Po Valley. Minutes of the Arts Commission, DIA. 10/5/37 F. W. Robinson 1947: 8 no. 45. R. Teitz 1967: 72-73 no. 61. O. J. Brendel 1995: 315-316 fig. 234.

Plate 11. General view, Etruscan Discus Thrower Statuette 37.134 (Cat. No. 7); Photograph Courtesy of the DIA.

etruscan, cat. nos. –

31

Cat. No. 8 (see Plates 12–15, pp. 32–35) Etruscan Rider Votive Statuette latter 5th century bce Bronze; Height 26.67 cm. Ex. Coll. Dr. Jacob Hirsch, New York City; said to be from Comacchio, Italy, according to the dealer (source: DIA records). City of Detroit Purchase 46.260 Dark green patina with minor surface pitting throughout. There is a small repair, apparently recent, below the right knee which was made prior to DIA acquisition. Solid cast votive statuette in the form of a mature horseman with short hair, full beard, and moustache. The skillfully modelled figure wears a short, rounded tebenna draped over his left shoulder and around his waist (cf. L. Bonfante below). The locks of his hair, facial features, and the folds of his garment are emphasized through incision. He looks straight ahead with his clutched hands held in front at waist level. O. Brendel suggests that the Rider held the reins of his now missing horse in his left hand while his right hand originally contained another object (cf. below). The statuette is reputed to be from the area of Spina, an ancient Graeco-Etruscan port located in the southern Po Delta, and possibly associated with a sanctuary outside of the city (cf. E. Hostetter; G. Colonna; and M. Papini below). The Detroit Rider occupies an important position in the development of Italic sculpture. It has been identified as a forerunner of the effigies equestris togata statue type which first appears in Rome during the 4th century bce (cf. E. H. Richardson; L. Bonfante below). The Rider’s equestrian pose in turn may have been directly inspired by the Parthenon frieze horsemen. Both Richardson and Brendel consider the Detroit Rider to be the earliest surviving manifestation of the “Parthenon Style” in Etruscan sculpture (cf. below). Additionally, Brendel identifies the Rider as the harbinger of a new, more subtle naturalistic trend within the Etruscan Classical style. He views the Rider’s quiet, dignified appearance

as “the most mature response to Greek Classicism of which the Etruscan tradition proved capable.” (cf. below). This analysis is challenged by J. P. Small and T. Dohrn. Small acknowledges that there are close stylistic connections between the Parthenon horsemen and the Detroit Rider but dismisses the latter as being the product of a “mimetic fidelity to Greek art”, not an original “mature response” (cf. below). Dohrn also disagrees with Brendel’s qualitative assessment and down plays all but the most cursory stylistic connections between the Rider and the Parthenon frieze. He believes that the predecessors for the Detroit Rider are to be found among 5th century Ionic or Ionicizing Greek equestrian statues of the preParthenon period (cf. below). Minutes of the Arts Commission, DIA. 9/16/46 F. W. Robinson 1947: 8 no. 41, 25 fig. 41. F. W. Robinson and E. P. Richardson 1951-1952: 67. E. H. Richardson 1953: 115-116, 188 fig. 33. G. M. A. Hanfmann 1956: 14, pl. 23. J. Hakanson 1960: 9. Wayne State University 1966: 24, cover photograph. H. Junker 1967: 322 no. 405. D. G. Mitten and S. F. Doeringer 1967: 176 no. 179. R. Teitz 1967: 76 no. 65, 162. D. Strong 1968: 125. Detroit Free Press 1979: 11. T. Dohrn 1982: 34-36, pl. 19. The Detroit Institute of Arts 1985: 32-33. E. Hostetter 1986: 193, 219 Appendix 1.5. J. P. Small 1991-1992: 58-59, 63. F. Berti and P. G. Guzzo 1993: 361 no. 925, 362 fig. 199. O. J. Brendel 1995: 317-318. J. P. Henshaw 1995: 115. G. Colonna 1998: 222-223. M. Miari 2000: 344-345. M. Papini 2002: 619, 621-622 no. 482. L. Bonfante 2003: 49, 200 fig. 134.

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bronze – statuettes

Plate 12. Front view, Etruscan Rider Votive Statuette 46.260 (Cat. No. 8); Photograph Courtesy of the DIA.

etruscan, cat. no. 

33

Plate 13. Right side view, Etruscan Rider Votive Statuette 46.260. (Cat. No. 8); Photograph Courtesy of the DIA.

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bronze – statuettes

Plate 14. left side view, Etruscan Rider Votive Statuette 46.260 (Cat. No. 8); Photograph Courtesy of the DIA.

etruscan, cat. no. 

Plate 15. rear view, Etruscan Rider Votive Statuette 46.260 (Cat. No. 8); Photograph Courtesy of the DIA.

35

36

bronze – statuettes

Cat. No. 9 Etrusco-Italic “Herakles” Votive Statuette 4th-1st centuries bce Bronze; Height 7.5 cm. Said to be from Florence, according to the donor (source: DIA records). Gift of Mr. and Mrs. F. Hartz Cinelli 62.257 Dark brown patina. The right forearm and hand, which probably wielded a club, the left hand, and the lower tip of the lion’s skin are missing. Solid cast simplified nude, beardless Herakles figure which advances forward with the left leg while the right leg supports his weight. The remaining por-

tion of the right arm is raised up diagonally from the body. A lion’s skin is draped over the outstretched left arm. Such votive statuettes would usually have been mounted on bases of wood or stone before being dedicated at sanctuaries, shrines, or temples (cf. S. Haynes 1985: 50). M. Del Chiaro identifies this votive, 2nd-1st centuries bce, as a representation of “Herakles Promachos” and provides a bibliography along with a discussion of this extremely common type (cf. below). For further bibliography on this type, see F. Jurgeit 1999: 59-60 no. 68 pl. 23, Inv. F 1191, 4th3rd centuries bce, Etrusco-Italic; M. Micozzi 1989: 33-40 nos. 34-45. Minutes of the Arts Commission, DIA. 12/13/62 M. Del Chiaro 1981: 20-22, 45 pl. 18.

Plate 16. General view, Etrusco-Italic “Herakles” Votive Statuette 62.257 (Cat. No. 9); Photograph Courtesy of the DIA.

37

2. Mirror (Cat. No. 10)

38

bronze – mirror

etruscan, cat. no. 

39

Cat. No. 10 (see Plates 17–20, pp. 40–43) Etruscan Mirror 300-275 bce Engraved bronze; Height 30.6 cm.; Diameter (max.) of body 18 cm. Ex. Coll. Sir Guy Francis Laking, London; formerly E. S. David, Long Island, New York; said to be from Praeneste, according to the donor (source: DIA records); made in the area of Praeneste (cf. below). Founders Society purchase, Laura H. Murphy Fund 47.399 Dark brown-green to brown patina. There are patches of corrosion along the upper right edge, centre, and left side of the disk obverse. Portions of the disk reverse appear to have been cleaned recently and rough areas of corrosion mechanically smoothed down. The cleaning took place prior to DIA acquisition. One piece mirror of piriform shape with a handle that ends in a stylized deer’s head. Analyses of similar mirrors suggest that they were manufactured by first casting a bronze blank of the general shape desired, then hammering and cold working the disk and handle to achieve their decorative form (cf. J. Swaddling et al. 2000: 117-140). The mirror section exhibits a distinctive hook and rounded contour which R. D. De Puma et al. (cf. below) identify as being characteristic of Praenestine manufacture. The obverse is decorated with a molded ovolo border and shallow groove which follow the edge down to the deer-head terminal. There is an engraved palmette and volute motif on the disc extension as well. The reverse contains an engraved medallion within a wreath of paired olive leaves. A flower and acanthus leaf subject is engraved on the extension just below the wreath. The medallion scene depicts three nude women in three-quarter view. The left-hand woman gazes into a mirror which she holds in her left hand while leaning on a square pillar with her right elbow. She wears a simple necklace and sandals. The centre woman stands facing to the left with her left hand on her hip and her right hand down by her side holding an olive branch. She wears the same style necklace as that of the left-hand woman. There is an Aeolic column just behind and slightly to the

right of the centre figure. The right-hand woman appears facing to the left while seated on a rock. She gestures with her upraised left hand, perhaps to the figure on the far left. The woman’s legs are covered by a garment which has been pulled down below the waist. N. T. de Grummond identifies the subject as a bath scene but states that it is a modern engraving made on an ancient mirror (cf. below). She questions the authenticity of the unusual cross-shaped device at the top of the mirror which is depicted in the medallion scene. De Puma refutes de Grummond’s forgery claim on the basis of detailed scientific and stylistic analyses of the engraved scenes. The scientific evidence suggests that the engraving is covered by an ancient patina. De Puma’s stylistic comparisons highlight points of similarity to scenes on mirrors and cistae of Praenestine manufacture which lead him to attribute the DIA mirror to a Praenestine workshop (cf. De Puma 1982, 1989; D. K. Hill below). He identifies its medallion scene as “one of several similar treatments, within the Praenestine type, which illustrates non-mythical nudes in conventional poses” (cf. De Puma 1989: 699 below). De Puma also supplies Etruscan and South Italian painted vase scene parallels for images of mirrors with cross-shaped devices. The vast majority of known Etruscan mirrors were apparently owned and used by women, according to de Grummund (cf. N. T. de Grummund 2002: 309-311). She notes that the tomb find spots, mirror figural scenes, and mirror inscriptions indicate their almost exclusive use by Etruscan women. This conflicts with toiletry practices in contemporary Greek and Roman societies where mirrors were routinely owned and used by both sexes. Mirrors are thought to have served as marriage gifts from Etruscan men to their betrothed thus strengthening the feminine role of these objects (cf. de Grummond 310; G. Säflund 1993: 88-91, 158-160). The medallion scene on the DIA mirror may perhaps depict a bridal toilette which would be appropriate for an Etruscan mirror’s role as marriage gift. The female tomb depositions of many Etruscan mirrors also suggest that they served symbolic and/or magical funerary functions in addition to practical ones (cf. F. R. Serra Ridgway 2000: 416418). Nevertheless, Ridgway indicates that the

40

bronze – mirror

Plate 17. Front view, Etruscan Mirror 47.399 (Cat. No. 10); Photograph Courtesy of the DIA.

etruscan, cat. no. 

Plate 18. Rear view, Etruscan Mirror 47.399 (Cat. No. 10); Photograph Courtesy of the DIA.

41

42

bronze – mirror

precise interpretation of these funerary functions (e.g. symbols of marriage in the Underworld, soul-catching repository etc.) remain speculative. Minutes of the Arts Commission, DIA. 1/12/48 F. W. Robinson 1948: 67-68.

D. K. Hill 1962: 814. F. J. Cummings and C. H. Elam 1971: 36. N. T. de Grummond 1982: 66 fig. 64. R. D. De Puma 1987: 38-39, figs. 21a-d. R. D. De Puma 1989: 698-711, figs. 5-6, 13, pl. III.

Plate 19. Line drawing of the engraved scene, front view, Etruscan Mirror 47.399 (Cat. No. 10); Photograph Courtesy of Dr. Richard D. De Puma.

etruscan, cat. no. 

43

Plate 20. Line drawing of the engraved decoration, rear view, Etruscan Mirror 47.399 (Cat. No. 10); Photograph Courtesy of Dr. Richard D. De Puma.

44

bronze – mirror

45

3. Jewelry (Cat. Nos. 11–25)

46

bronze – jewelry

villanovan, cat. nos. –

47

Cat. No. 11 (see Plate 21, p. 48) Villanovan Fibula 8th-early 7th centuries bce Bronze; Height 3 cm.; Length 7.6 cm. Ex. Coll. Museo Archeologico, Florence (no. 991, old no. 51). Gift of The Etruscan Foundation, Inc., Detroit 61.159 Dark green patina with minor incrustation. The fibula is intact. Serpentine bow fibula with an elongated channel catch-plate. The decoration consists of a bronze wire wrapped around the base of the pin. The serpentine fibula shape with this style of catch-plate is a distinctly Early Iron Age Italian form (cf. J. Toms 2000: 94-95). For serpentine fibulae of like shape, see A. Guidi 1980: 9-15, 19 Fig. 1/15, 50 Tipo 104, 81-85, 99-100,

105-117, Veii Phase IC-IIA 800-760 bce, from the necropoli dei Quattro Fontanili at Veii; H. Hencken 1968: 110-111 fig. 99g, Villanovan I C, from Grave 185 in the Selciatello Sopra cemetery at Tarquinia; J. Sundwall 1943: 148 no. 2 pl. 221, from Tomb 218 in the Savena cemetery at Bologna, Type D II β b, 8th-7th centuries bce. For a discussion of the possible symbolic functions of serpentine fibulae in Villanovan tombs and the associated bibliography, see C. Iaia 1999: 15-16, 33, 50, 76-79, 87-91, 101-105, 116-135, 141-148. Iaia notes that Villanovan serpentine fibulae were almost always placed in male burials where they served as male-oriented personal grave gifts although it is unclear if these pins had a further significance (cf. J. Toms 1998: 157-179; A. Cannon 1989: 444-457). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Cat. No. 12 (see Plate 21, p. 48) Villanovan Fibula 9th-8th centuries bce Bronze; Height 2.2 cm.; Length 5.7 cm. Gift of an Anonymous Donor 1997.42 Dark green patina. The spiral or solid disc catchplate is missing. Arch bow disc fibula decorated with latitudinal ribbing along the entire semi-circular bow except for a small gap at the middle. Fibulae with disc catch-plates and/or semi-circular bows are an Italian development most frequently associated with central Italy (cf. J. Toms 2000: 95, 107). Analyses of similar fibulae suggest that they were manufactured by first decorating a straight cast bronze rod, hammering it into a curve, and then forming the catch-plate, pin, and spring through cold working and annealing (cf. J. Toms 96-105).

For fibulae with the same shape and decoration, see F. Trucco et al. 2005: 362, 367 fig. 6 no. 3, Villanovan I A - I B1, Tomb 64 (young girl) in the Villa Bruschi Falgari nekropolis at Tarquinia; A. Naso 2003: 215 no. 365, Inv. 0.17228, fig. 99, 9th8th centuries bce; H. Hencken 1968: 63-65 figs. 51b, d-e, Villanovan I B, from Grave 72 in the Selciatello cemetery at Tarquinia; J. Sundwall 1943: 112 no. 5 pl. 139, from Cumae, 113 no. 11 pl. 140, from the Piano delle Granate cemetery at Populonia, Form B III b, 9th-8th centuries bce. For a discussion of the possible symbolic functions of similar fibulae in Villanovan tombs and the associated bibliography, see C. Iaia 1999: 15-16, 33, 50, 76-79, 87-91, 101-105, 116-135, 141148. Iaia notes that Villanovan arch fibulae were usually, but not at all exclusively, placed in female burials where they served as personal grave gifts although it is unclear if these pins had a further significance (cf. J. Toms 1998: 157-179; A. Cannon 1989: 444-457).

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bronze – jewelry

Plate 21. General view, Villanovan Fibula 61.159 (Cat. No. 11) (upper right); general view, Villanovan Fibula 1997.42 (Cat. No. 12) (upper left); general view, Villanovan Fibula 26.255 (Cat. No. 13) (lower right); general view, Villanovan Fiblua 26.256 (Cat. No. 14) (middle left); general view, Villanovan Fibula 53.237 (Cat. No. 15) (middle right); general view, Villanovan Fibula 61.161 (Cat. No. 16) (lower left); Photograph Courtesy of the DIA.

villanovan, cat. nos. –

49

Cat. No. 13 Villanovan Fibula 750-700 bce Bronze; Height 4.9 cm.; Length 8 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.255 Dark green patina with minor surface corrosion. The pin and catch-plate tip are missing. Navicella fibula with a boat-shaped, hollow bow and an elongated channel catch-plate. The incised surface decoration consists of diagonal rows of herringbone designs arranged in V-patterns along either side of the body, a single band of concave circles bordering each group of herringbone designs, a central band segmented into units of diagonal cross-hatching and herringbone designs, and at either tip of the body three latitudinal bands of herringbone designs. Similar boat-shaped, hollow fibulae become common across Italy and north of the Alps by the later 8th century (cf. J. Toms 2000: 111). Analyses of similar fibulae suggest that they were manufactured by hollow casting them in their

final shape with extentions which were then cold worked and annealed into catch-plates, pins, and springs (cf. J. Toms 99-105). For fibulae with very similar shapes and decoration, see A. Naso 2003: 250 no. 449, Inv. 0.14078, fig. 149, 750-600 bce, from Bologna; F. Jurgeit 1999: 586-587 no. 996 pls. 273-274, Inv. F 2168, 750-700 bce, Italic (Etruscan?); A. Guidi 1980: 9-15, 50 Type 102, 49 fig. 16/3, 90-93, 99-100, 109-117, Veii Phase IIC 730-720 bce, from the necropoli dei Quattro Fontanili at Veii; P. von Eles Masi 1986: 85-86 no. 718, mid 8th century bce, from Santa Cristina; A.-M. Adam 1984: 144 no. 202, 750-700 bce; H. Hencken 1968: 206, 208 figs. 185e-f, Villanovan II B, from the Tomba del Guerriero in the Monterozzi cemetery at Tarquinia (cf. J. Sundwall 1943: 56, 199 no. 15 pl. 322, Form G I β a navicella fibula, 710-700 bce). For a discussion of the possible symbolic functions of similar fibulae in Villanovan tombs and the associated bibliography, see 1997.42 (Cat. No. 12). Minutes of the Arts Commission, DIA. 9/2/26

Cat. No. 14 Villanovan Fibula mid 8th–early 7th centuries bce Bronze; Height 3.7 cm.; Length 5.5 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.256 Dark green patina with minor surface incrustation. The pin and catch-plate tip are missing. Leech fibula with a solid, plump bow and an elongated channel catch-plate. The incised decoration consists of narrow longitudinal bands of herringbone designs divided by five wide latitudinal bands of lines. Similar solid leech fibulae become common across Italy and north of the Alps by the later 8th century (cf. J. Toms 2000: 111). Analyses of similar fibulae suggest that they were

manufactured by solid casting them in their final shape with extensions which were then cold worked and annealed into catch-plates, pins, and springs (cf. J. Toms 99-105). For fibulae with similar shapes and decoration, see H. Hencken 1968: 345-350 fig. 348 (bottom), Villanovan III, from Fossa 8, 350-352 fig. 350e, Villanovan III, from Fossa 9 in the Gallinaro cemetery at Tarquinia; J. Sundwall 1943: 180 no. 28 pl. 292, Form F I α b, 750-700 bce, from the Polledrara cemetery at Vulci. For a discussion of the possible symbolic functions of similar fibulae in Villanovan tombs and the associated bibliography, see 1997.42 (Cat. No. 12). Minutes of the Arts Commission, DIA. 9/2/26

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bronze – jewelry

Cat. No. 15 (see Plate 21, p. 48) Villanovan Fibula mid 8th-early 7th centuries bce Bronze; Height 3.8 cm.; Length 6 cm. Ex. Coll. Spink and Son, London. Gift of Mrs. Trent McMath 53.237 Green patina with minor corrosion. The fibula is intact. Leech fibula with a solid bow and a symmetrical channel catch-plate. The bow is decorated with narrow latitudinal bands, alternately plain and incised with herringbone patterns. Similar leech fibulae become common across Italy and north of the Alps by the later 8th century (cf. J. Toms 2000: 111). Analyses of similar fibulae suggest that they were manufactured by solid casting them in their final shape with extensions which were then cold worked and annealed into catch-plates, pins, and springs (cf. J. Toms 99-105).

For fibulae with like shape and decoration, see A. Naso 2003: 240 no. 423, Inv. 0.23176, fig. 135, 8th century bce; F. Jurgeit 1999: 582 no. 983 pl. 272, Inv. F 1795, mid 8th century bce, Italic-Etruscan; S. Tovoli 1989: 57-58 no. 9 pl. 11, 263 no. 92 pl. 117, mid 8th-early 7th centuries bce, from Tomb 8 in the Benacci Caprara cemetery at Bologna; see P. von Eles Masi 1986: 77-79 no. 660, 8th-6th centuries bce; H. Hencken 1968: 141-144 fig. 131a, Villanovan II A, from Grave 160, 167-170 fig. 154c, Villanovan II B, from Grave 137 in the Selciatello Sopra cemetery at Tarquinia; E. Dohan 1942: 11, 108 no. 10, 700-650 bce; J. Sundwall 1943: 179 no. 13 pl. 288, Form F I α b, 750-700 bce, from Tomb 2 in the Circolo del Tridente cemetery at Vetulonia. For a discussion of the possible symbolic functions of similar fibulae in Villanovan tombs and the associated bibliography, see 1997.42 (Cat. No. 12). Minutes of the Arts Commission, DIA. 7/9/53

Cat. No. 16 (see Plate 21, p. 48) Villanovan Fibula 775-725 bce Bronze; Height 4.5 cm.; Length 7.3 cm. Ex. Coll. Museo Archeologico, Florence (no. 945); formerly Ancient Collections, Uffizi (Gallery no. 1388), from the Granducal Collection of Tuscany (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.161 Dark green patina. The pin is missing. Leech fibula with a solid bow and a symmetrical channel catch-plate. The bow is decorated with three groups of incised latitudinal bands, one in the centre and one at either end, within which are alternating plain and herringbone bands; between these latitudinal groups are two groups of longitudinal bands also alternating between herringbone and plain patterns. Similar leech fibulae become common across Italy and north of the Alps by the later 8th century (cf. J. Toms 2000: 111).

Analyses of similar fibulae suggest that they were manufactured by solid casting them in their final shape with extensions which were then cold worked and annealed into catch-plates, pins, and springs (cf. J. Toms 2000: 99-105). For fibulae with similar shapes and designs, see F. Jurgeit 1999: 582 no. 984 pl. 272, Inv. F 1376, 775-725 bce, Italic-Etruscan; A. Guidi 1980: 45 Fig. 14/2, 50 Type 101, 85-93, 99-100, Veii Phase IIB2IIC 760-720 bce, from the necropoli dei Quattro Fontanili at Veii; A.-M. Adam 1984: 143 no. 197, 8th century bce; R. Peroni 1967: pl. 5 no. 38, mid 8th century bce, from a repository at Ardea; J. Sundwall 1943: 179 no. 14 pl. 289, Form F I α b, 750-700 bce, from Tomb 2 in the Circolo del Tridente cemetery at Vetulonia. For a discussion of the possible symbolic functions of similar fibulae in Villanovan tombs and the associated bibliography, see 1997.42 (Cat. No. 12). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

villanovan, cat. nos. –

51

Cat. No. 17 (see Plate 22, p. 52) Villanovan Fibula 750-700 bce Bronze; Height 1.6 cm.; Length 2.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 92037). Gift of The Etruscan Foundation, Inc., Detroit 61.157 Dark green patina with minor surface corrosion. The pin is broken just beneath the spring. Angular arch fibula with a symmetrical channel catch-plate. The bow is decorated with three incised longitudinal lines dividing the top into two equal strips, each incised with crosshatching. Analyses of similar fibulae suggest that they were manufactured by solid casting them in their final

shape with extensions which were then cold worked and annealed into catch-plates, pins, and springs (cf. J. Toms 2000: 99-105). For fibulae with the identical shape and design, see P. von Eles Masi 1986: 63-64, 66-68, no. 570, Variety D, 8th-7th centuries bce, from a cremation burial in the Sepolcreto Nazari at Este; H. Hencken 1968: 144 fig. 131f, Villanovan II A, from Grave 160 in the Selciatello Sopra cemetery at Tarquinia. For a discussion of the possible symbolic functions of similar fibulae in Villanovan tombs and the associated bibliography, see 1997.42 (Cat. No. 12). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Cat. No. 18 (see Plate 22, p. 52) Villanovan Fibula 750-700 bce Bronze; Height 3.2 cm.; Length 5.8 cm. Ex. Coll. Museo Archeologico, Florence (no. 92039). Gift of The Etruscan Foundation, Inc., Detroit 61.162 Partially corroded surface with a light green patina on preserved sections. The pin, spring, and catchplate are missing. Leech fibula with a solid bow. The bow is decorated with six latitudinal bands of incised lines. Solid leech fibulae become common across Italy and north of the Alps by the later 8th century (cf. J. Toms 2000: 111). Analyses of similar fibulae suggest that they

were manufactured by solid casting them in their final shape with extensions which were then cold worked and annealed into catch-plates, pins, and springs (cf. J. Toms 2000: 99-105). For fibulae of like shape and decoration, see S. Tovoli 1989: 77 nos. 12-13 pl. 19, 79, 257 no. 77 Variety A, 750-700 bce, from Tomb 19 in the Benacci Caprara cemetery at Bologna; H. Hencken 1968: 126-129 fig. 116d, Villanovan II A, from Grave 20 in the Selciatello Sopra cemetery at Tarquinia. For a discussion of the possible symbolic functions of similar fibulae in Villanovan tombs and the associated bibliography, see 1997.42 (Cat. No. 12). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

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bronze – jewelry

Plate 22. General view, Villanovan Fibula 61.157 (Cat. No. 17) (lower left); general view, Villanovan Fibula 61.162 (Cat. No. 18) (upper left); general view, Villanovan Fibula 61.160 (Cat. No. 19) (centre right); general view, Villanovan Fibula 61.158 (Cat. No. 20) (centre left); general view, Villanovan Fibula 1988.214 (Cat. No. 21) (upper right); general view, Italic Fibula 1989.80 (Cat. No. 24) (lower right); Photograph Courtesy of the DIA.

villanovan, cat. nos. –, 

53

Cat. No. 19 Villanovan Fibula 7th-6th centuries bce Bronze; Height 3.9 cm.; Length 8 cm. Ex. Coll. Museo Archeologico, Florence (no. 92038). Gift of The Etruscan Foundation, Inc., Detroit 61.160 Badly corroded surface with a dark green patina on preserved sections. The pin, spring, and catch-plate are missing. Navicella fibula with a hollow bow. The bow decoration consists of longitudinal bands with alternating plain and cross hatched triangles. Similarly-shaped hollow fibulae become common across Italy and north of the Alps by the later 8th century and through the 7th century (cf. J. Toms 2000: 111).

Analyses of similar fibulae suggest that they were manufactured by hollow casting them in their final shape with extensions which were then cold worked and annealed into catch-plates, pins, and springs (cf. J. Toms 2000: 99-105). For fibulae of similar shape, see H. Hencken 1968: 350-352 figs. 350h-i, c. Villanovan III, from Fossa 9 in the Gallinaro cemetery at Tarquinia; J. Sundwall 1943: 210 no. 4 pl. 337, from Tomb 73 in the Benvenuti cemetery at Este, 212 no. 21 pl. 339, from the Greek nekropolis at Cumae, Form G I β c, late 7th-6th centuries bce. For a discussion of the possible symbolic functions of similar fibulae in Villanovan tombs and the associated bibliography, see 1997.42 (Cat. No. 12). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Cat. No. 20 Villanovan Fibula 675-600 bce Bronze; Height 1.8 cm.; Length 5.4 cm. Ex. Coll. Museo Archeologico, Florence (no. 92036). Gift of The Etruscan Foundation, Inc., Detroit 61.158 Dark green patina with minor surface corrosion. The pin is broken off just beneath the coil. Navicella fibula with a long channel catch-plate. The bow is decorated with a band of incised latitudinal lines at either end and a band of longitudinal lines in between. The long channel catch-plate, once thought to be a western Greek invention, has been shown to be an Italian development (cf. J. Toms 2000: 94 n. 9). Analyses of similar fibulae suggest that they

were manufactured by solid casting them in their final shape with extensions which were then cold worked and annealed into catch-plates, pins, and springs (cf. J. Toms 2000: 99-105). For navicella fibulae similar to this example, see P. von Eles Masi 1986: 134-135 nos. 12441247, Variety D, mid 7th-early 6th centuries bce; H. Hencken 1968: 350 fig. 348 (top), Villanovan III, from Fossa 8, 352 fig. 350g, Villanovan III, from Fossa 9 in the Gallinaro cemetery at Tarquinia (cf. J. Sundwall 1943: 225 nos. 14-16, Form G III β a, post 650 bce). For a discussion of the possible symbolic functions of similar fibulae in Villanovan tombs and the associated bibliography, see 1997.42 (Cat. No. 12). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

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bronze – jewelry

Cat. No. 21 (see Plate 22, p. 52) Villanovan Fibula 7th-6th centuries bce Bronze; Height 4.9 cm.; Length 8.9 cm. Gift of Mrs. Francis W. Robinson 1988.214 Dark green patina with minor corrosion. The pin, spring, and catch-plate tip are missing. Navicella fibula with a hollow bow and an elongated channel catch-plate. The bow decoration consists of four latitudinal bands of incised isosceles triangles set in between five plain bands. Similarlyshaped hollow fibulae become common across Italy and north of the Alps by the later 8th century and through the 7th century (cf. J. Toms 2000: 111). Analyses of similar fibulae suggest that they were manufactured by hollow casting them in their final

shape with extensions which were then cold worked and annealed into catch-plates, pins, and springs (cf. J. Toms 2000: 99-105). For fibulae of similar shape and decoration, see A. Naso 2003: 260-261 no. 475, Inv. 0.23180, fig. 163, 650-550 bce; F. Jurgeit 1999: 589 no. 1001 pls. 274-275, Inv. F 985, early 7th century bce, ItalicEtruscan; P. von Eles Masi 1986: 87-88, no. 741, 7th century bce; A.-M. Adam 1984: 145-146 no. 208, mid 7th-mid 6th centuries bce; J. Sundwall 1943: 212 no. 21 pl. 339, from the Greek nekropolis at Cumae, Form G I β c, late 7th-6th centuries bce. For a discussion of the possible symbolic functions of similar fibulae in Villanovan tombs and the associated bibliography, see 1997.42 (Cat. No. 12). Minutes of the Arts Commission, DIA. 1/25/89

Cat. No. 22 Villanovan Bracelet 8th-7th centuries bce Bronze; Diameter 9.5 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.252 Dark green patina with several small cracks. The bracelet is intact. Circular hollow bracelet made from a narrow folded sheet of bronze with overlapping flattened ends. For a hollow bronze bracelet of similar shape and size, see F. Jurgeit 1999: 603 no. 1037 pl. 280, Inv. F 764, 8th-7th centuries bce, Italic. Jurgeit provides a general bibliography for this typeff. See also, J. M. Turfa 2005: 131 no. 81, MS 779A, from Narce Tomb 19M, early 7th century bce. Turfa notes that such bracelets are often found with male and female burials of the early 7th century bce in central Etruria. Minutes of the Arts Commission, DIA. 9/2/26

Plate 23. General view, Villanovan Bracelet 26.252 (Cat. No. 22); Photograph Courtesy of the DIA.

villanovan, cat. nos. – – italic, cat. no. 

55

Cat. No. 23 Villanovan Bracelet 8th-7th centuries bce Bronze; Diameter 9.2 cm. Ex. Coll. Museo Archeologico, Florence (no. 1126). Gift of The Etruscan Foundation, Inc., Detroit 61.153 Dark green patina with corrosion and pitting. The bracelet is intact. Circular cast wire bracelet with overlapping serpent head terminals. The serpent heads are characterized by rounded snouts, circular eyes, and grooved chevron patterns on the snouts and foreheads. The exterior side is decorated with incised longitudinal lines which are separated from the terminals by a series of alternating plain and lined latitudinal bands. For bracelets with similar shapes and decoration, see F. Jurgeit 1999: 600-601 no. 1032 pl. 279, Inv. F 1399, 6th century bce (?), Italic; M. A. Fugazzola Delpino 1984: 94 no. 24, mid 8th century bce, from Vulci. See also, J. M. Turfa 2005: 131 no. 81, MS 779B, from Narce Tomb 19M, early 7th century bce. Turfa notes that solid-cast bracelets of similar

size and shape are frequently found with early 7th century male and female burials in central Etruria. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 24. General view, Villanovan Bracelet 61.153 (Cat. No. 23); Photograph Courtesy of the DIA.

Cat. No. 24 Italic Fibula 7th-early 6th centuries bce Bronze; Height 3.2 cm.; Length 10 cm. Ex. Coll. Alan Brandt. Founders Society Purchase. Cleo and Lester Gruber Fund 1989.80 Well preserved dark blue/green patina. The shank of the pin and one boss are missing. The tip of the catch-plate is slightly damaged. Serpentine-type bow fibula with a long channel catch-plate. The decoration consists of curvilinear elements and antenna bosses. The long channel catch-plate, once thought to be a western Greek invention, has been shown to be an Italian development (cf. J. Toms 2000: 94 n. 9). This fibula

was apparently manufactured by first hammering a cast bronze rod into curves and then forming the catch-plate, pin, and spring through cold working and annealing (cf. J. Toms 2000: 96-105). The antenna bosses were then fused to the fibula. For fibulae of very similar shape, see A. Naso 2003: 247 no. 441, Inv. 0.23183, fig. 144, 7th century bce; A. M. Moretti Sgubini 2001: 113-115 no. I.G.8.11, 670-650 bce, from Tomba Principesca n. 5 in the Monte Michele cemetery at Veii; S. Tovoli 1989: 193 no. 1, 271 no. 113, 402 pl. 85.1, 435 pl. 118.113, 675-650 bce, from Tomb 57 in the Benacci Caprara cemetery at Bologna; P. von Eles Masi 1986: 230-232 nos. 2390-2399, Variety A, mid 7th-early 6th centuries bce; J. Sundwall 1943: 241 no. 1 pl. 396, from Bologna, 242 no. 12 pl. 397, from the Tomba delle tre Navicelle at Vetulonia, Form H II β b, mid 7th-6th centuries bce; G. M. A. Richter

bronze – jewelry

56

1940: 5 fig. 20, c. Early Iron Age; N. Åberg 1930: 131 fig. 392, 132 fig. 394, 176 fig. 512, p. 191 fig. 552, mid 7th-6th centuries bce. He identifies this fibula shape as a characteristic Villanovan “Arnoaldi phase” type.

For a discussion of the possible symbolic functions of serpentine fibulae in Villanovan tombs and the associated bibliography, see 61.159 (Cat. No. 11). Minutes of the Arts Commission, DIA. 11/15/89

Cat. No. 25 Italic Fibula 4th-3rd centuries bce Bronze; Height 6 cm.; Length 9.7 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.254 Well preserved dark blue/green patina. The fibula is intact. Arch bow fibula with a slightly thickened bow and a double-coiled spring. The catch-plate is decorated with a row of five notches along the upper right-hand edge and a staff folded back along the top which terminates in an upward curl. A “pince-nez” shaped bronze ornament containing two rings is attached to the bow. Analyses of similar fibulae suggest that they were manufactured by first hammering a straight cast bronze rod into a curve, and then forming the

catch-plate, pin, and spring through cold working and annealing (cf. J. Toms 2000: 96-105). For fibulae with identical shapes, decoration, and ornaments, see R. Papi 1979: 18-23, 69 no. 6, 76 nos. 15-16, 87 nos. 3-5, 4th-3rd centuries bce, from Villalfonsina (Chieti); R. Papi 1980: 16-18, 24 nos. 32, 36, 28 no. 71, 4th century bce, from Loreto Aprutino (PE). The shape of this fibula places it in the general category of bow fibulae which were popular throughout much of Italy from the Orientalizing period onward (cf. P. G. Warden 1985: 32-33) while the decoration of the catch-plate and the attached ornament are perhaps indicative of a regional (Abruzzi) variant of limited duration (cf. R. Papi 1979: 95). Minutes of the Arts Commission, DIA. 9/2/26

Plate 25. General view, Italic Fibula 26.254 (Cat. No. 25); Photograph Courtesy of the DIA.

57

4. Vessels (Cat. Nos. 26–32)

58

bronze – vessels

Plate 26. General view, Etruscan Oinokhoe 23.153 (Cat. No. 26); Photograph Courtesy of the DIA.

etruscan, cat. no. 

59

Cat. No. 26 Etruscan Oinokhoe (Pitcher) mid 5th-4th centuries bce Bronze; Height to lip 24.2 cm.; Diameter of body 13.4 cm. Ex. Coll. DeBurlet, Berlin. Founders Society purchase 23.153 Dark green patina with some incrustation on the handle, lip, and lower body. The oinokhoe is intact. Trefoil oinokhoe with an elongated cylindrical neck, incurvated body, and a rounded S-shaped handle. The upper end of the handle terminates in a ram’s head while its lower end forms a relief plaque. The relief depicts a fountain scene in which a young man ladles water out of a large amphora as it is being filled from a lion-head waterspout. The man’s cloak hangs on the wall to his left. Ingrid Krauskopf of the Archäologisches Institut der Universität Heidelberg mentions several bronze handle reliefs which depict scenes similar to that

Plate 27. View of ram’s head handle, Etruscan Oinokhoe 23.153 (Cat. No. 26); Photograph Courtesy of the DIA.

on the Detroit oinokhoe (in a letter to Timothy Motz, August 31, 1977, DIA, Department of Ancient Art). One in particular (W. Froehner 1885: 48 no. 220) appears to show the same scene as the Detroit example. She is uncertain as to whether the youth depicted represents an ordinary individual or a mythological figure. For oinokhoai of very similar shape, see M. P. Bini et al. 1995: 15 no. 18 pl. IX 2, Type II Schnabelkanne, 5th century bce, 18, 21 no. 30 pl. XIII 2a-b, Type AII Handle, 450-400 bce; F. Jurgeit 1999: 385 no. 629 pl. 196, Inv. F 358A, Jug of the Krauskopf Type, 5th century bce; I. Krauskopf 1995b: 77-80, 84-85 fig. 2, 5th-4th centuries bce. Krauskopf suggests that such bronze oinokhoai together with bronze paterae may have been used for ritual hand washing in the same manner as later ceramic versions (cf. I. Krauskopf 1995a: 501-526). See also G. Camporeale 1985: 188-189 no. 18, 450-400 bce; P. G. Guzzo 1969: 291 pl. LXI fig. a, late 5th-late 4th centuries bce; F. Magi 1941: 194-195 pl. 56 no. 33, especially his second sub-type, late 6th-early 3rd centuries bce. Minutes of the Arts Commission, DIA. 2/24/24

Plate 28. View of relief plaque scene, Etruscan Oinokhoe 23.153 (Cat. No. 26); Photograph Courtesy of the DIA.

60

bronze – vessels

Plate 29. General view, Etruscan Patera 51.72 (Cat. No. 27); Photograph Courtesy of the DIA.

Plate 30. View of duck’s head handle, Etruscan Patera 51.72 (Cat. No. 27); Photograph Courtesy of the DIA.

etruscan, cat. no. 

61

Cat. No. 27 Etruscan Patera 4th-late 3rd centuries bce Bronze; Height 4.8 cm.; Diameter of body 25.7 cm.; Diameter with handle 38.3 cm. Ex. Coll. Charles L. Morley, New York City. Gift of Mrs. Lillian Henkel Haass 51.72 Greenish-brown patina. The patera is almost intact. Round shallow dish with handle. The exterior of the rim is decorated with an incised guilloche bordered by lines. The outer part of the handle tapers into a duck head, while the riveted base appears as a leopard’s forequarters and head in relief. The small slot which is located just before

the leopard base probably contained a bronze ring similar to the one on the Boston handle (cf. below). It is possible that the “patera” is an ancient pastiche of a bronze dish to which an unrelated handle has been riveted. For a bronze dish of very similar shape, see M. P. Bini et al. 1995: 163-164, 167-168, 173-174 no. 212 pl. LXX 1, Variant A5 Pan, mid 4th-late 3rd centuries bce. Bini states that such dishes may have served as saucepans for cooking, basins for the performance of ritual ablutions, or wine libation vessels. For a bronze patera handle of nearly identical form, see M. Comstock and C. Vermeule 1971: 493 no. 451A, mid 5th-mid 4th centuries bce. Minutes of the Arts Commission, DIA. 5/21/51

Plate 31. View of leopard handle attachment, Etruscan Patera 51.72 (Cat. No. 27); Photograph Courtesy of the DIA.

62

bronze – vessels

Cat. No. 28 Etruscan Ring Handle 5th-4th centuries bce Bronze; Height .2 cm.; Diameter (max.) 2.6 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.246 Dark green patina with minor corrosion. The ring handle is intact. Ring handle made from a round piece of wire which thins at the ends. The wire is bent into a horseshoe shape with the ends inserted into a hollow hinge made from a thin sheet of bronze. This type of handle is frequently found on the sides of shallow bronze dishes and omphalos-bowls. For bronze ring handles of similar shape, see R. Macellari 2002: 278 no. 12 pl. 30, 394-396, handle of pan, 425-400 bce, from Tomb 121 or “della figurina d’avorio” at Bologna, 364 no. 6 pl. 40, movable handle of pan, 450-425 bce, from Tomb 150 at Bologna; M. P. Bini et al. 1995: 163-166, 169

no. 201 pl. LXVIII 4a. Bini associates this handle with her Variant A3 Pan, 5th-4th centuries bce Such dishes may have served as saucepans for cooking, basins for the performance of ritual ablutions, or wine libation vessels, according to Bini. See also B. F. Cook 1968: 337-344 pls. 109 fig. 1, 110 fig. 7, mid 6th-early 5th centuries bce. Minutes of the Arts Commission, DIA. 9/2/26

Plate 32. General view, Etruscan Ring Handle 26.246 (Cat. No. 28); Photograph Courtesy of the DIA.

Cat. No. 29 Etruscan Olpetta (Small Pitcher) late 5th-3rd centuries bce Bronze; Height 14.2 cm.; Diameter at base 8.4 cm. Ex. Coll. Museo Archeologico, Florence (no. 1419). Gift of The Etruscan Foundation, Inc., Detroit 61.142 Dark green patina with corrosion. The olpetta is intact. Concave-body pitcher with offset lip, high-flung handle, and leaf-shaped handle attachment. This vessel form is frequently referred to as the “Sant’ Anatolia” type which is named after an early findspot (cf. J. M. Turfa 2005: 222 no. 234, MS 1670, 5th century bce). For examples of like shape and size, see E. Hostetter 2001: 63-67, 76 no. 205, 185 fig. 129, pl. 36a-b, 380-370 bce, from Tomb 58 C in the Valle

Pega nekropolis at Spina. Hostetter dates the general type from the mid 5th through the 3rd centuries bce. See also M. P. Bini et al. 1995: 101-102, 105-107, 111 no. 56 pl. LIV 7, Variant B3 Kyathos, late 3rd-early 2nd centuries bce. They suggest that such kyathoi may have been used to ladle measured portions of wine from vessels and mix it with water. See also F. Jurgeit 1999: 421-423, 426 no. 702 pls. 212, 216, Inv. F 1426, Kyathos “a rocchetto”, late 5th-3rd centuries bce; J. M. Turfa 1982: 172 no. 21 pl. XII, late 4th century bce; M. Moretti and A. M. S. Moretti 1983: 37-38 nos. 35, 37-38, 4th century bce, from Tomb I in the Grotta della Regina at Tuscania; P. Guzzo 1969: 291-292 pl. LXI fig. b no. 14, late 5th-4th centuries bce. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

etruscan, cat. nos. –

Plate 33. General view, Etruscan Olpetta 61.142 (Cat. No. 29); Photograph Courtesy of the DIA.

63

bronze – vessels

64 Cat. No. 30 Etruscan Olpetta (Small Pitcher) late 4th-late 2nd centuries bce

Bronze; Height with handle 9.2 cm.; Diameter of body 6.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 1342); formerly Ancient Collections, Uffizi (Gallery no. 1766), from the Granducal Collection of Tuscany (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.143 Dark green patina with corrosion. The handle has apparently been recently reattached prior to DIA acquisition. Small round-mouthed pitcher with a pear-shaped

body, high-flung handle and leaf-shaped handle attachment. For bronze pitchers of the same shape and size, see M. P. Bini et al. 1995: 101-102, 116-117 no. 86 pl. LV 5a-b, Type C Kyathos, late 4th-late 2nd centuries bce. They suggest that such kyathoi may have been used to ladle measured portions of wine from vessels and mix it with water. See also F. Jurgeit 1999: 421-423, 432 no. 726 pl. 219, Inv. F 1430, Pyriform Kyathos, mid 4th-3rd centuries bce, Etruscan; M. Pandolfini 1976: 246-247 pl. L nos. 54-56, late 4th-early 3rd centuries bce. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 34. General view, Etruscan Olpetta 61.143 (Cat. No. 30); Photograph Courtesy of the DIA.

etruscan, cat. nos. –

65

Cat. No. 31 Etruscan Leopard Attachment 4th-3rd centuries bce Bronze; Length 8.5 cm.; Height 2.7 cm. Ex. Coll. Dr. W. R. Valentiner, Detroit; possibly made in the area of Bologna (cf. below). Gift of Mrs. Constance McMath 78.84 Dark brown patina. The tail has apparently been recently reattached with an adhesive prior to DIA acquisition. Solid cast jumping leopard naturalistically rendered with its head turned to the right. The head has small rounded ears standing upright, inset eyes encircled by incised lines, and a short snout with a closed mouth indicated by a single incised line. The elongated body is decorated with five incised curved lines on either side denoting the ribs and unusual stylized spots composed of incised three circle groups. Small roughened patches on the bottoms of the paws identify the points at

which the figure was attached to another object. The leopard probably functioned as a handle or surface ornament on a bronze vessel. For bronze figurines of similar type, see M. Comstock and C. Vermeule 1971: 372-374 no. 520, c. 400 bce.This situla lid leopard handle and the DIA feline exhibit very similar facial structures and sinuous bodies as well as identical three circle spots. D. K. Hill has attributed the Boston situla to an Etruscan workshop which was active in the area of Bologna during the fourth century bce (D. K. Hill 1965: 117ff.; S. Haynes 1985: 306-307 no. 165). The stylistic similarities between the Boston and Detroit leopards suggest that the latter perhaps came from the same workshop. See also S. Reinach 1931: Vol. II pt. II, 724 no. 5, 725 no. 1; G. Proietti 1980: 64 figs. 68-69, small bronze cista with lid, 3rd century bce, from the Osteria nekropolis at Vulci. The cista lid leopard handle is almost identical in form to the Boston situla leopard handle. Minutes of the Arts Commission, DIA. 12/18/78

Plate 35. General view, Etruscan Leopard Attachment (Cat. No. 31); Photograph Courtesy of the DIA.

bronze – vessels

66 Cat. No. 32 Etruscan Bowl 2nd-mid 1st centuries bce Bronze; Height 7.6 cm.; Diameter 16.5 cm.

Gift of the Estate of Sarah and Ferdinand Cinelli 2003.57

Bowl in the shape of a flattened hemisphere with gently sloping sides and a small flattened base. For bronze bowls with a similar shape and size, see M. P. Bini et al. 1995: 157-158 no. 186, Inv. 367, pl. LXV.7, 2nd-mid 1st centuries bce, 159 no. 189, pl. LXVI.3, 125-100 bce, from Tomb O in the Portone nekropolis at Volterra.

Dark green patina with corrosion. The bowl is intact.

Plate 36. General view, Etruscan Bowl 2003.57 (Cat. No. 32); Photograph Courtesy of the DIA.

67

5. Tools, Weapons, Armor, Instruments (Cat. Nos. 33–47)

68

bronze – tools, weapons, armor, instruments

italic, cat. no. 

69

Cat. No. 33 Italic Knife 10th-9th centuries bce Bronze; Length 23.3 cm.; Width 2.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 1037). Gift of The Etruscan Foundation, Inc., Detroit 61.141 Dark green patina with minor corrosion. The tip is missing and there are minor nicks along the worn edge. Single edged knife with a recurved blade and a T-shaped reinforced spine which ends in a short rat tail tang. For a knife of like shape, see V. Bianco Peroni

1976: 58-61 pl. 31 no. 258, Type Bismantova A, 1000-800 bce, from a cremation burial at Bismantova; H. Hencken 1968: 451-453 fig. 458 no. 1, the same example as above. See also O. Montelius 1969b: 635 fig. 1 pl. 131, from a tomb at Ortucchio, province of L’Aquila, Description provisoire des planches 17 pl. 371 fig. 1, from Latium. Knives of similar shape may have served utilitarian and/or ritual functions rather than as weapons (cf. M. Torelli 1997: 579-583). For a general discussion of the problems associated with the symbolic interpretation of grave goods, see A. Cannon 1989: 444-457. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 37. General view, Italic Knife 61.141 (Cat. No. 33); Photograph Courtesy of the DIA.

bronze – tools, weapons, armor, instruments

70 Cat. No. 34 Villanovan

Axe Head 9th-early 7th centuries bce Bronze; Length 14.9 cm.; Width (max.) 5.6 cm. Ex. Coll. Museo Archeologico, Florence (no. 925), purchased in 1881; from Vetulonia, according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.149 Green patina. Part of the haft edge is chipped and cracked. Cast axe head with a single edged trapezoidal blade which terminates in a hollow square haft. The haft has two small retaining rings mounted vertically at the top and is decorated with four vertical raised ribs on its obverse and reverse. For examples of similar shape and decoration, see G. L. Carancini 1984: 175-176, 186, no. 3996, San Francesco Type Variety A, 9th-early 7th centuries bce, from Vetulonia; F. Jurgeit 1999: 167 no. 225 pl. 85, Inv. 87/185, 8th century bce; O. Montelius 1969a: 333-345, 347-348 fig. 10 pl. 67, from a dolio repository, San Francesco, Bologna. S. Tovoli

dates this repository to pre-early 7th century bce (S. Tovoli 1982: 259-260). For a discussion of the possible symbolic functions of bronze axes in Villanovan tombs and the associated bibliography, see C. Iaia 1999: 117-118, 126-135. Iaia suggests that such axes served primarily as both weapons and symbols of an early aristocratic warrior class. Those axes which appear with other armaments in tombs of adult males may represent actual weapons. When axes appear in tombs of persons who could not fight such as females and very young or old males they may function as symbols which identify the deceased as members of the warrior class although not actual warriors. Axes found with knives and roasting spits in female tombs may also symbolize the ceremonial sacrifice, butchering, and cooking of animals perhaps as part of the funerary rites. For a general discussion of the problems associated with the symbolic interpretation of grave goods, see A. Cannon 1989: 444-457. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 38. General view, Villanovan Axe Head 61.149 (Cat. No. 34); Photograph Courtesy of the DIA.

villanovan, cat. nos. –

71

Cat. No. 35 Villanovan Axe Head 8th-early 7th centuries bce Bronze; Length 15.2 cm.; Width (max.) 6.5 cm. Ex. Coll. Museo Archeologico, Florence (no. 915), purchased in 1881; from Vetulonia, according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.148 Dark green patina. The axe head is intact. Cast axe head with a single edged trapezoidal blade which terminates in a central winged tang. For an example with the same shape, see S. Tovoli 1989: 174 no. 32, 391 Tav. 74, 305-307, San Francesco

Type Variety A, 725-700 bce, from Tomb 53 in the Benacci Caprara cemetery at Bologna; G. L. Carancini 1984: 69, 76, 88, no. 3155, San Francesco Type Variety A, 8th century bce, from Bologna; O. Montelius 1969a: 380-382 fig. 23 pl. 76, Benacci II, from Tomb 39 in the Benacci Caprara cemetery at Bologna. For a discussion of the possible symbolic functions of bronze axes in Villanovan tombs and the associated bibliography, see 61.149 (Cat. No. 34). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 39. General view, Villanovan Axe Head 61.148 (Cat. No. 35); Photograph Courtesy of the DIA.

72

bronze – tools, weapons, armor, instruments

Cat. No. 36 Villanovan Spear Head Late 9th-8th centuries bce Bronze; Length 12.5 cm.; Width of blade 2.6 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.243 Dark green patina. The tip seems worn with minor chipping along both edges but the spear head is otherwise intact. Cast spear head with a lozenge-shaped blade and a hollow polygonal socket. The socket has two boltholes for the attachment of a wooden shaft. For bronze spear heads of very similar shape, see P. F. Stary 1981: 230, 482 fig. 6.4, 9th-8th centuries bce, from Grave 148 at Terni; H. Hencken 1968: 86-88 fig. 74b, Villanovan I B, from Pozzo with Crested Helmet No. 1 (M3) in the Monterozzi cemetery at Tarquinia. For a discussion of the possible symbolic functions of bronze spearheads in Villanovan tombs and the associated bibliography, see C. Iaia 1999: 118, 123-129, 134-135, 142-143. Iaia suggests that such arms are used to symbolize the high social status of the deceased, usually male, perhaps as a member of an early aristocratic warrior elite. For a general discussion of the problems associated with the symbolic interpretation of grave goods, see A. Cannon 1989: 444-457. Minutes of the Arts Commission, DIA. 9/2/26

Plate 40. General view, Villanovan Spear Head 26.243 (Cat. No. 36); Photograph Courtesy of the DIA.

villanovan, cat. nos. –

73

Cat. No. 37 Villanovan Spear Butt Late 9th-8th centuries bce Bronze; Length 20.6 cm.; Diameter 2.6 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.242 Dark green patina with some corrosion. The spear butt is intact. Cast hollow spear butt of conical shape with a semi-octagonal exterior. The upper circular portion is decorated with four incised horizontal ridges. For examples of like shape and decoration, see G. Cateni 1998: 36 MG 3999 Tav. 7/8, Villanovan II B, from Tomba Manetti at Volterra; M. Cygielman 1994: 273, 276 fig. 15, 800-750 bce, from Tomb 90 in the Poggio alla Guardia nekropolis at Vetulonia; P. F. Stary 1981: 181, 481 fig. 4.12, 8th century bce, from Grave 1 at Caracupa; V. Bianco Peroni 1974: 7-8 no. 266A pl. 5, 8th century bce, from a grave in S. Marco dei Gavoti at Cenna; H. Hencken 1968: 86-88 fig. 74c, Villanovan I B, from Pozzo with Crested Helmet No. 1 (M3) in the Monterozzi cemetery at Tarquinia. For a discussion of the possible symbolic functions of bronze spearheads and spear butts in Villanovan tombs and the associated bibliography, see 26.243 (Cat. No. 36). Minutes of the Arts Commission, DIA. 9/2/26

Plate 41. General view, Villanovan Spear Butt 26.242 (Cat. No. 37); Photograph Courtesy of the DIA.

74

bronze – tools, weapons, armor, instruments

Cat. No. 38 Villanovan Spear Head 8th century bce Bronze; Length 9 cm.; Width of blade 2 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.244 Dark green patina. The socket end is chipped and cracked while the tip seems worn. Cast spear head with a leaf-shaped blade which has a full length hollow round socket. The socket has two bolt-holes for the attachment of a wooden shaft. For examples of similar shape, see F. Jurgeit 1999: 160-161 no. 206 pl. 79, Inv. F 1137, 750-700 bce, Italic; P. Ruby 1994: 114-115 fig. 1, 119, Villanovan IIA 775-750 bce, from Sala Consilina; P. F. Stary 1981: 143, 480 fig. 3.6, 8th century bce, from Esquiline Grave 33 at Rome, 249-250, 484 fig. 7.9, 8th century bce, from Novilara. For a discussion of the possible symbolic functions of bronze spearheads in Villanovan tombs and the associated bibliography, see 26.243 (Cat. No. 36). Minutes of the Arts Commission, DIA. 9/2/26

Plate 42. General view, Villanovan Spear Head 26.244 (Cat. No. 38); Photograph Courtesy of the DIA.

villanovan, cat. nos. –

75

Cat. No. 39 Villanovan Razor 8th century bce Bronze; Length with handle 10.1 cm.; Width 7.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 936), purchased in 1881; from Vetulonia, according to the dealer (source: MANF records); possibly made in the area of Tarquinia (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.146 Green patina with moderate corrosion and nicks along the edge. The small projection on the tip next to the pommel is missing. Cast lunate razor with eyelet handle on a ribbed shaft. The eyelet pommel is decorated with stylized outward-facing birds’ heads. The hammered, crescent-shaped blade is deeply curved. For examples of very similar shape, see A. Guidi 1993: 52 Type 115 Variety A, 63 Fig. 23/7, 81-92,

99-100, Veii Phase IIA-IIC 800-720 bce, from the necropoli dei Quattro Fontanili at Veii; V. Bianco Peroni 1979: 123-124, 127, 135 nos. 743, 747, Grotta Gramiccia Type Variety A, 8th century bce; H. Hencken 1968: 100-103 fig. 90a, Villanovan I C, from Grave 141 in the Selciatello Sopra cemetery at Tarquinia. For a discussion of the possible symbolic functions of similar bronze razors found in Villanovan tombs and the associated bibliography, see C. Iaia 1999: 1819, 115, 117-118, 120, 143, 147. Iaia states that such razors are primarily found in male tombs where they may have symbolized the deceased’s transition from adolescent male to adult and were perhaps connected with rites of passage (cf. J. Toms 1998: 159, 163, 166, 174). For a general discussion of the problems associated with the symbolic interpretation of grave goods, see A. Cannon 1989: 444-457. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 43. General view, Villanovan Razor 61.146 (Cat. No. 39); Photograph Courtesy of the DIA.

76

bronze – tools, weapons, armor, instruments

Cat. No. 40 Etruscan Spear Head 8th-7th centuries bce Bronze; Length 29.3 cm.; Width of blade 4.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 1099). Gift of The Etruscan Foundation, Inc., Detroit 61.147 Dark green patina with minor corrosion and pitting. The spear head is intact except for minor chipping along both edges. Cast spear head of elongated laurel leaf form with a hollow ovoid socket. The socket has two bolt-holes for the attachment of a wooden shaft. For bronze spear heads of similar shape and size, compare P. F. Stary 1981: 192-193, 481 fig. 4.20, 7th century bce, from the Heröon di Enea at Lavinium. Stary provides a general history for the development of this spear head type. See also A. Talocchini 1942: 37-38 pl. VII no. 40, 7th century bce; K. Kilian 1964: 355 pl. 113I, 9th-7th centuries bce, from the south nekropolis at Sala Consilina; G. Camporeale 1967: 96 no. 55, 7th century bce, from the Tomba del Duce at Vetulonia. For a discussion of the possible symbolic functions of bronze spearheads in Villanovan tombs and, by extension, early Etruscan tombs as well as the associated bibliography, see 26.243 (Cat. No. 36). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 44. General view, Etruscan Spear Head 61.147 (Cat. No. 40); Photograph Courtesy of the DIA.

etruscan, cat. nos. –

77

Cat. No. 41 (see Plates 45–46, pp. 78–79) Etruscan Helmet late 6th-early 5th centuries bce Bronze; Height 24 cm.; Diameter (max.) 26.5 cm. Ex. Coll. Dr. Jacob Hirsch, New York City; said to be from a tomb near Orvieto, according to the donor (source: DIA records). Gift of the Sarah Bacon Hill Fund 58.71 Dark green patina with minor corrosion and pitting. The metal portions of the helmet are almost intact. “Negau” Type helmet (named after a cache found in Negau, Austria) with a flanged rim encircled by a plain raised moulding, fluted oval base, and ridged crest surmounted by a double-pronged plumeholder. The rectangular double-prongs may have been originally decorated with small figural plaques of the sort found on the helmet from the Tomba del Guerriero (cf. Haynes below). The lower edge of the helmet rim is folded back to create a thin interior lip similar to those on other Negau helmets which apparently secured an organic material liner by means of a lead filler (cf. Egg below). The surviving decoration on the Detroit helmet consists of a protome in the shape of a cast stylized horse’s forequarters riveted at the front of the

crown. A small hole at the back of the crown, directly opposite the horse protome, suggests that a second protome had originally been attached here, possibly similar to the lion’s head protome which is paired with a horse protome on the University of Pennsylvania helmet (cf. Turfa below). For similar “Negau” helmets, compare M. Egg 1988: 243-247, 468 K 69, mid 6th-early 5th centuries bce. The DIA helmet corresponds to Egg’s “Type Volterra” Negau Helmets. See also J. M. Turfa 2005: 220-222 no. 233, MS 1609, late 6th-early 5th centuries bce; P. Stary 1986: 26 pl. 25 nos. 16-23; S. Haynes 1985: 28, 267 no. 60, late 6th century bce, from the Tomba del Guerriero in the Osteria nekropolis at Vulci. The double-prongs of this helmet’s plume-holder are each decorated with a small openwork plaque depicting a youth reining in a rearing winged horse. See also U. Ferraguti 1937: 118ff. figs. 8-10. Ferraguti identifies the figures on the aforementioned plume-holder as Bellerophon and Pegasus. If the DIA helmet was found in a chamber tomb, and its preserved condition suggests this, then it may have been interred as part of the deceased’s personal armor or perhaps as a valued trophy captured in battle (cf. H. Flower 1998: 231-232). Minutes of the Arts Commission, DIA. 4/21/58 F. W. Robinson 1957-58: 74-75.

78

bronze – tools, weapons, armor, instruments

Plate 45. General view, Etruscan Helmet 58.71 (Cat. No. 41); Photograph Courtesy of the DIA.

etruscan, cat. no. 

Plate 46. Interior view, Etruscan Helmet 58.71 (Cat. No. 41); Photograph Courtesy of the DIA.

79

80

bronze – tools, weapons, armor, instruments

Cat. No. 42 Etruscan Greaves mid 6th-early 5th centuries bce Bronze; Height a) 46.2 cm., b) 46.1 cm.; Width a) 11 cm., b) 12 cm. Ex. Coll. Dr. Jacob Hirsch, New York City; said to be from a tomb near Orvieto, according to the donor (source: DIA records). Gift of the Sarah Bacon Hill Fund 58.72a & b Dark green patina with minor corrosion and pitting. The metal portions of the greaves are intact. They were presumably originally lined with organic padding, leather or fabric.

Pair of anatomically-shaped greaves which reproduce the modeling of the leg. The inner calf muscle is delineated by crescent-shaped grooves on the exterior of both greaves. For an example of like form and decoration, see P. F. Stary 1981: 73, 479 fig. 2.7, 550-500 bce, from the Tomba del Guerriero at Vulci. Stary provides a general outline of the development of greaves in Etruria. See also U. Ferraguti 1937: 119 pl. XIII no. 2, early 5th century bce, from the Tomba del Guerriero at Vulci. For a discussion of the possible functions of armor in Etruscan tombs, see 58.71 (Cat. No. 41). Minutes of the Arts Commission, DIA. 4/21/58 F. W. Robinson 1957-58: 74-75.

etruscan, cat. no. 

Plate 47. General view, Etruscan Greaves 58.72a & b (Cat. No. 42); Photograph Courtesy of the DIA.

81

82

bronze – tools, weapons, armor, instruments

Cat. No. 43 Etruscan Simpulum (Ladle) mid 6th-4th centuries bce Bronze; Length 30.8 cm.; Diameter of bowl 5 cm. Ex. Coll. Museo Archeologico, Florence (no. 92041); possibly made in northern Etruria (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.144 Green patina with moderate corrosion. The handle tip is missing. Ladle in the form of a deep, sharply carinated bowl attached to a long flat handle which presumably ended in a rounded hook with a duck’s head termination. For bronze ladles of like shape and size, see F. Jurgeit 1999: 445 no. 749 pl. 223, Inv. F 1144, 5th4th centuries bce, Northern(?) Etruscan; P. B. Pacini 1981: 157-158 pl. XXXVII b, 550-500 bce, from Tumulus E in the Casone nekropolis at Populonia. She notes that this ladle type is atypical. For a discussion of the convivial functions of bronze ladles as depicted in tomb and vase paintings, see M. P. Bini et al. 1995: 87-88. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 48. General view, Etruscan Simpulum 61.144 (Cat. No. 43); Photograph Courtesy of the DIA.

etruscan, cat. nos. –

83

Cat. No. 44 Etruscan Simpulum (Ladle) 5th century bce Bronze; Length 27.3 cm.; Diameter of bowl 6.4 cm. Ex. Coll. Charles L. Morley, New York City. Gift of Mrs. Lillian Henkel Haass 51.73 Dark green patina with minor corrosion. The simpulum is intact. Ladle in the form of a shallow round bowl attached to a long flat handle which terminates in a duck head. The handle widens into two small projections which jut out from either side at its juncture with the bowl. For ladles of like shape and decoration, see J. M. Turfa 1982: 175-176 nos. 37a-b pl. XVI, Archaic period and later; P. Guzzo 1969: 292 no. 17 pl. LXI fig. c, 5th century bce; M. P. Bini et al. 1995: 87-90, 93 nos. 16-17 pl. XLIX 1-2, Variant A2, late 6th-5th centuries bce, from the area of Vulci. Bini states that such ladles served as an indispensable part of the convivial instrumentum as depicted in tomb and vase paintings. Minutes of the Arts Commission, DIA. 5/21/51

Plate 49. General view, Etruscan Simpulum 51.73 (Cat. No. 44); Photograph Courtesy of the DIA.

84

bronze – tools, weapons, armor, instruments

Cat. No. 45 Etruscan Torch-Holder 5th-3rd centuries bce Bronze; Height 8.8 cm.; Diameter of body 21.1 cm.; Length 38.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 1173); formerly Ancient Collections, Uffizi (no Gallery no.), from the Granducal Collection of Tuscany (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.139 Dark green patina with minor corrosion. The short wooden handle is missing and three of the curved prongs are partially missing. Torch-holder in the form of a hollow tapered handle merging into a spirally grooved shaft which ends in a ring. Seven curved prongs, originally of equal length, radiate from the outer edge of the ring while one double-curved prong emerges from the junction point between the shaft and ring. For examples of near identical form, see J. M. Turfa 2005: 155 no. 121 fig. 17, MS 5697, 5th-4th centuries bce; E. Hostetter 2001: 137-139 no. 347 pl. 61a, 450-425 bce or earlier, from Tomb 19 C in the Valle Pega nekropolis at Spina, 140 no. 348 pl. 61b, 450-400 bce, from Tomb 392 in the Valle Trebba nekropolis at Spina; S. Haynes 1985: 284-285 no. 107, 500-450 bce; A.-M. Adam 1984: 69-72 nos. 70-73, 5th-4th centuries bce Turfa, Hostetter, Haynes, and Adam support A. Wentzel’s (Wentzel 1925: 282ff.) identification of these objects as torch-holders.

The latter cites an engraved Etruscan mirror in the Metropolitan Museum (inv. no. 96.18.15=Bonfante 1997: 29 no. 6 figs. 6a-b) which depicts a torchholder in use. Not all scholars agree with this interpretation. E. Mangani identifies these objects as brazier stands (Mangani 1980: 137 pl. XLV fig. a, 5th-3rd centuries bce, from Tomb no. 327 of the Canal Bianco nekropolis). F. Poulsen equates this instrument with the Latin “harpago” or meat-hook (Poulsen 1927: 116-117 no. 234, from Orvieto). Most of the examples above differ from the DIA’s “torch-holder” in that they have an added ring mounted horizontally at the juncture between the first and second portions of the double-curved prong. It is the horizontal ring, which holds the lighted tip of the coiled wick upright, that allows these objects to function as practical torch-holders. The Detroit example exhibits no visible signs of ever having had such a ring. It is possible that these ring-less “torch-holders” may have been specifically modified to fulfill a different task, e.g. brazier stand, etc. It is still highly improbable that the Detroit example was intended to be used as a meat-hook (harpago) even without the interference of the projecting horizontal ring (cf. S. Haynes above). The size and shape of its prongs are totally impractical for dredging meat chunks out of a large cauldron (cf. A.-M. Adam above) or for spitting meat chunks over a fire (cf. E. Hostetter above). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

etruscan, cat. no. 

Plate 50. General view, Etruscan Torch Holder 61.139 (Cat. No. 45); Photograph Courtesy of the DIA.

85

86

bronze – tools, weapons, armor, instruments

Cat. No. 46 Etruscan (?) Strigil (Scraper) 4th-mid 3rd centuries bce Bronze; Length 24.5 cm. Ex. Coll. Museo Archeologico, Florence (no. 78101), purchased in 1899; from Grotte San Stefano, according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.140 Dark green patina with minor corrosion and an apparently ancient repair patch riveted along the left edge at midpoint. The strigil is otherwise intact. Strigil formed from a single strip of bronze. The blade consists of a wide concave scoop bent to a right angle at the middle. The scoop is transformed into a narrow flat handle at its upper end. The coffin-shaped handle is bent back upon itself to form a loop whose leaf-shaped tip was originally soldered to the rear of the blade but is now detached. Three stamped indentations appear on the front of the handle. They are badly corroded but their images were able to be identified through the use of computer-enhanced real time radiography. The upper and lower depressions are identical oval stamps which depict what seems to be an elongated pouncing dog with something (perhaps a rabbit) in its jaws. The central rectangular stamp is an inscription which incorporates the upper-case Greek letters omicron, lambda, lambda, and omicron: “ΟΛΛΟ”. There is enough space at the beginning of the stamp for an additional letter although none was revealed by the radiography. Similar inscriptions on strigils usually indicate the maker or owner (cf. A. De Ridder 1894: 104ff.; J.-P. Thuillier 1989: 339-342).

The form of the DIA strigil corresponds to H. Marwitz’s “Grundtypus B – Strigil mit Schlaufengriff: Untertypus c – Der Griff biegt nach Aussen und haftet auf” (H. Marwitz 1979: 75-77). This style of strigil was copied throughout much of Italy and Greece which increases the difficulty of identifying specific workshop locations (cf. Jurgeit and Bini below). The pouncing dog stamps of the DIA strigil seem to be identical to those on an example in the Badischen Landesmuseum Karlsruhe (cf. Jurgeit below) and on two examples in the Museo Nazionale di Villa Giulia (cf. Pandolfini below). The stamped inscription “OLLO” on the DIA strigil may be an abbreviated version of the stamped inscription “APOLLO[D]OROS” on the Karlsruhe example or of the stamped inscriptions “APOLLO[D]ORO” and “APOLL[OD]ORO” on the Villa Giulia examples. Jurgeit suggests that the inscription on the Karlsruhe strigil and similar examples are the manufacturer’s mark of an immigrant Greek artisan who settled in Etruria. The DIA strigil may also be the product of this same workshop. For strigils of like shape, stamped decorations, or similar inscriptions, see F. Jurgeit 1999: 547-548, 553-554 no. 919 pl. 260, Inv. F 1161, late 4th-mid 3rd centuries bce, Etruscan (?); M. P. Bini et al. 1995: 225-226, 230-232, 235 no. 325 pl. LXXXIV 3a-b, Variant B2 Strigil, mid 4th-mid 3rd centuries bce; M. Pandolfini 1984: 340 no. 97 pl. 51, 341 no. 98 pl. 52; G. M. A. Richter 1915: 295 no. 857, 4th century bce. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

etruscan, cat. no. 

87

Plate 51. General view, Etruscan Strigil 61.140 (Cat. No. 46); Plate 52. View of the handle stamped inscription Photograph Courtesy of DIA. and decorations, Etruscan Strigil 61.140 (Cat. No. 46); Photograph Courtesy of the DIA.

bronze – tools, weapons, armor, instruments

88 Cat. No. 47 Etrusco-Italic Simpulum (Ladle) 2nd-1st centuries bce

Bronze; Length 17 cm.; Diameter of bowl 4 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.241 Dark green patina with minor corrosion. The simpulum is almost intact. Ladle in the form of a round deep bowl with curvilinear projections on the rim at either side of

the handle. The bowl is attached to a flat handle of varying width which terminates in a duck head characterized by an exaggerated bill. Volutes originally projected from either side of the handle beneath the duck head although the left volute is missing. For examples of like shape and decoration, see F. Jurgeit 1999: 444-445 no. 748 pl. 223, Inv. F 1007, 2nd-1st centuries bce, Etrusco-Italic. For a discussion of the convivial functions of bronze ladles as depicted in tomb and vase paintings, see M. P. Bini et al. 1995: 87-88. Minutes of the Arts Commission, DIA. 9/2/26

Plate 53. General view, Etrusco-Italic Simpulum 26.241 (Cat. No. 47); Photograph Courtesy of the DIA.

89

6. Miscellaneous (Cat. Nos. 48–65)

90

bronze – miscellaneous

villanovan, cat. no. 

91

Cat. No. 48 (see also Plate 55, p. 92) Villanovan Horse-bit 8th century bce Bronze; Height of cheekpieces 6.7 cm.; Length of cheekpieces 9.5 cm.; Length of bit 16.2 cm. Ex. Coll. Museo Archeologico, Florence (no. 73021), acquired in 1886; formerly Sambon Collection (source: MANF records); probably made in the area of Bologna (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.150 Dark green patina with minor corrosion. The eyelet at the left end is slightly damaged and both guide rein rings of the eyelets are missing. The horse-bit is otherwise intact. Horse bit with a swivel-jointed mouthpiece consisting of two twisted rods linked together at the middle and ending in eyelets which held the guide rein rings. The twisted shape of the mouthpiece rods allowed the rider to apply varying degrees of pressure to control the horse as with modern examples. The mouthpiece joins together two identical serpentine antenna openwork cheekpieces made from circular rods. The button-topped antenna rod of each cheekpiece forms a horizontal, curved L-shape with a ring in the centre of the long arm

to accommodate the twisted rod mouthpiece. Two highly stylized horses stand on either side of the ring facing forward. Serpentine patterns extend from the bottom of the antenna rod beneath each horse to symmetrically balance the composition. For examples with identical cheekpieces and bits, see F.-W. von Hase 1969: 21-23 pl. 10 nos. 108-109, his Bologna Type, Bologna II-III phases (N. Åberg); I. Junker 1991: 87 no. 103, 725-700 bce; S. Tovoli 1989: 184 no. 17 pl. 79, 305-307, 725-700 bce, from Tomb 56 (female) in the Benacci Caprara cemetery at Bologna. The cheekpieces are almost identical to those of the DIA horse bit. See also O. Montelius 1969a: 433-434 figs. 2a-b pl. 95, from Ronzano near Bologna. For a discussion of the possible symbolic functions of bronze horse-bits in Villanovan tombs and the associated bibliography, see C. Iaia 1999: 28-29, 32, 41, 142-143; S. Haynes 2000: 16-17. Iaia and Haynes suggest that such horse-bits may symbolize the high social status of the deceased, usually male, as a member of the ruling elite (perhaps priestly) or wealthy aristocracy. For a general discussion of the problems associated with the symbolic interpretation of grave goods, see A. Cannon 1989: 444-457. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 54. General view, Villanovan Horse-Bit 61.150 (Cat. No. 48); Photograph Courtesy of the DIA.

92

bronze – miscellaneous

Plate 55. Right side view, Villanovan Horse-Bit 61.150 (Cat. No. 48); Photograph Courtesy of the DIA.

villanovan, cat. nos. –

93

Cat. No. 49 (see also Plate 57, p. 94) Villanovan Horse-bit 8th century bce Bronze; Height of cheekpieces 5.8 cm.; Length of cheekpieces 10.3 cm.; Length of bit 16.8 cm. Ex. Coll. Mathias Komor, New York City. Founders Society purchase, Hill Memorial Fund 69.8 Dark green patina. The horse-bit is intact. Horse bit with a swivel-jointed mouthpiece consisting of two circular rods linked together at the middle and ending in eyelets which each contain a large guide rein ring. The mouthpiece joins together two identical cheekpieces in the form of stylized standing horses also made from circular rods. Each horse has a head with a long upwardcurving muzzle, two small projecting eyes, and a thin, raised main topped with ridges. The head is

connected to an openwork body with a ring in the centre to accommodate the rod mouthpiece. The tail curves down and back onto the horse to form an enclosed ring. A single vertical rod forms the forelegs while another rod forms the rear legs. Both sets of legs end in a circular ring designed to receive leather harness straps. For examples with similar shapes, compare F.-W. von Hase 1969: 6, 8 pl. 2 no. 16, his Veii Type cheekpiece; H. Hencken 1968: 267-268 fig. 251b-c, Villanovan II, from Cassa with Bits with HorseShaped Cheekpieces in the Monterozzi cemetery at Tarquinia; O. Montelius 1969a: 367-368, 373375 fig. 8 pl. 73, Benacci I, from Tomb 982 in the Benacci Caprara cemetery at Bologna. For a discussion of the possible symbolic functions of bronze horse-bits in Villanovan tombs and the associated bibliography, see 61.150 (Cat. No. 48). Minutes of the Arts Commission, DIA. 1/30/69

Plate 56. General view, Villanovan Horse-Bit 69.8 (Cat. No. 49); Photograph Courtesy of the DIA.

94

bronze – miscellaneous

Plate 57. Right side view, Villanovan Horse-Bit 69.8 (Cat. No. 49); Photograph Courtesy of the DIA.

villanovan, cat. nos. –

95

Cat. No. 50 Villanovan Horse-trapping (?) 8th–early 7th centuries bce Bronze; Height 3.5 cm.; Length 5.7 cm.; Width 1.4 cm. Gift of Frederick K. Stearns 99.5B3026 Dark green patina. The horse-trapping (?) is intact. Solid cast horse-trapping (?) in the shape of a semi-circular plaque with a smaller semi-circular cutout near the top and four balls attached along the flat bottom edge. The middle portion of both sides contain incised decoration in the form of two horizontal rows of opposing triangles bordered by

straight lines with a single row of dots and circles above and below. For similar forms of Villanovan incised decoration, see H. Hencken 1968: 32-33 fig. 21, general Villanovan decorations including triangles and dots and circles, 86-87 fig. 73d, decorated crested helmet, Villanovan I B, from Pozzo with Crested Helmet No. 1 (M3), 188 fig. 173a, 189191, decorated girdle, Villanovan II B, from Dolio with a Girdle with a Turtle (M6) in the Monterozzi cemetery at Tarquinia; D. Levi 1933: 11-14 fig. 3a-b, decorated bronze axe, from tomba a fossa I at Lago dell’Accesa. For a discussion of the possible symbolic functions of bronze horse-trappings in Villanovan tombs and the associated bibliography, see 61.150 (Cat. No. 48).

Plate 58. General view, Villanovan Horse-Trapping (?) 99.5B3026 (Cat. No. 50); Photograph Courtesy of the DIA.

bronze – miscellaneous

96 Cat. No. 51 Etruscan Horse-trapping 7th century bce Bronze; Length 7.75 cm.

Ex. Coll. Museo Archeologico, Florence (no. 92043). Gift of The Etruscan Foundation, Inc., Detroit 61.151 (see 61.152 for the companion piece) Green patina. The horse-trapping is intact. Horse-trapping in the shape of a simple elongated loop formed from a circular rod. A circular rod ring is fused to one side at midpoint.

For examples of similar form, see S. Haynes 1985: 134, 247-248 no. 8, 700-650 bce, Vetulonian (?); O. Montelius 1969b: 859-861 fig. 8 pl. 189, harness attachment, from the Circolo (Tomba) dei due Coni at Vetulonia, Description provisoire des planches 15 pl. 349 fig. 4, from Veii. For a discussion of the possible symbolic functions of bronze horse-trappings in Villanovan tombs and, by extension, early Etruscan tombs as well as the associated bibliography, see 61.150 (Cat. No. 48). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 59. General view, Etruscan Horse-Trapping 61.151 (Cat. No. 51); Photograph Courtesy of the DIA.

etruscan, cat. nos. –

97

Cat. No. 52 Etruscan Horse-trapping 7th century bce Bronze; Length 7.75 cm. Ex. Coll. Museo Archeologico, Florence (no. 92044). Gift of The Etruscan Foundation, Inc., Detroit 61.152 (see 61.151 for the companion piece) Green patina. The horse-trapping is intact. Horse-trapping in the shape of a simple elongated loop which was formed from a circular rod. A circular rod ring is fused to one side at midpoint.

For examples of similar form, see S. Haynes 1985: 134, 247-248 no. 8, 700-650 bce, Vetulonian (?); O. Montelius 1969b: 859-861 fig. 8 pl. 189, harness attachment, from the Circolo (Tomba) dei due Coni at Vetulonia, Description provisoire des planches 15 pl. 349 fig. 4, from Veii. For a discussion of the possible symbolic functions of bronze horse-trappings in Villanovan tombs and, by extension, early Etruscan tombs as well as the associated bibliography, see 61.150 (Cat. No. 48). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 60. General view, Etruscan Horse-Trapping 61.152 (Cat. No. 52); Photograph Courtesy of the DIA.

98

bronze – miscellaneous

Cat. No. 53

Cat. No. 54

Etruscan

Etruscan

Snaffle late 6th-4th centuries bce

Snaffle late 6th-4th centuries bce

Bronze; Height 2.7 cm.; Diameter 3.6 cm.

Bronze; Height 2.7 cm.; Diameter 3.7 cm.

Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.257

Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.258

Dark green patina. The snaffle is intact except for a small chip along one edge. The snaffle consists of a hollow cylinder whose exterior is lined by projecting studs arranged in six vertical rows of three each. There is a projecting rim at either end of the cylinder. For examples of like shape and size, see A. Naso 2003: 171-173 nos. 240, 242, late 6th-4th centuries bce. Naso dismisses earlier interpretations of these objects as mace heads and correctly identifies them as horse-bit snaffles. See also F. Jurgeit 1999: 183-186 nos. 271-274 pl. 92, Form IIb Horse Snaffle, 6th-4th centuries bce; M. Sannibale 1998: 260 no. 398, Type 1, Variant c spiked cylinders for horse bits, 279-294, mid 6th-4th centuries bce. Sannibale provides a history of the various functions proposed for snaffles. See also J. Turfa 1982: 182-183 pl. XXII no. 70A-E, late 6th-4th centuries bce.

Dark green patina. Several of the projecting studs are damaged or missing. The snaffle consists of a hollow cylinder whose exterior is lined by projecting studs arranged in five vertical rows of three each. For examples of like shape and size, see A. Naso 2003: 171 no. 241, 173, late 6th-4th centuries bce. Naso dismisses earlier interpretations of these objects as mace heads and correctly identifies them as horse-bit snaffles. See also F. Jurgeit 1999: 183-185 no. 70 pl. 92, Form IIa Horse Snaffle, 6th4th centuries bce; J. Turfa 1982: 182-183 pl. XXII no. 70A-E, late 6th-4th centuries bce; M. Sannibale 1998: 279-294. Sannibale provides a history of the various functions proposed for snaffles. Minutes of the Arts Commission, DIA. 9/2/26

Minutes of the Arts Commission, DIA. 9/2/26

Plate 61. General view, Etruscan Snaffle 26.257 (Cat. No. 53) (left); general view, Etruscan Snaffle 26.258 (Cat. No. 54) (right); Photograph Courtesy of the DIA.

etruscan, cat. nos. – – etruscan (?), cat. no. 

99

Cat. No. 55 Etruscan (?) “Button” Ornament 4th century bce Bronze; Diameter 1.91 cm.; Length 1.3 cm. Ex. Coll. Museo Archeologico, Florence (no. 92051). Gift of The Etruscan Foundation, Inc., Detroit 61.154 Dark green patina with minor corrosion. The ornament is intact except for several very small nicks along the disc edge.

The ornament consists of a cast plain domical disc with a heavy loop shank extending down from the edges of the disc. For bronze examples of similar shape and size, see F. Jurgeit 1999: 191 no. 288 pl. 94, Inv. F 1599, Button, 350-300 bce, South Italian (Apulian). Jurgeit notes that such “buttons” have been identified as decorative ornaments for defensive weapons, belts, and horse harness straps. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 62. General view, Etruscan “Button” Ornament (?) 61.154 (Cat. No. 55); Photograph Courtesy of the DIA.

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bronze – miscellaneous

Cat. No. 56 Etruscan Clasp 700-650 bce Bronze; Height of male section 6.4 cm.; Length of male section 4.4 cm.; Height of female section 6.6 cm.; Length of female section 5.4 cm. Ex. Coll. Museo Archeologico, Florence (no. 1083). Gift of The Etruscan Foundation, Inc., Detroit 61.156 Dark green patina with several patches of lighter green. The clasp is intact. Two piece cast clasp. The male section is decorated with two hooks that terminate in stylized horse head protomes characterized by broad, truncated cone muzzles, large almond-shaped eyes accentuated by encircling grooves, and small, pointed raised ears. The manes are suggested by a central groove running

over the top of the head and down the back of the neck which is crisscrossed by diagonal grooves running from the top of either eye. The horse head hooks fit into two round rings of the female section. Both the hooks and the rings project from openwork circular rod rectanglar forms which would have been attached to leather belts or straps. For clasps of like design, see A. Naso 2003: 189-190 nos. 301-303, 700-650 bce; F.-W. von Hase 1971: 5 fig. 3, 700-650 bce, from Populonia; M. Sannibale 1998: 127-128 no. 152, 650-600 bce; J. M. Turfa 2005: 108-109 no. 42, MA 2321A-B, 7th century bce, from Chiusi. Turfa notes that such clasps have been found with male and female burials and perhaps served as horse harness accoutrements or baldric or belt clasps (cf. I. Junker et al. 1991: 79-80 no. 95; F.-W. von Hase 35 fig. 38). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 63. General view, Etruscan Clasp 61.156 (Cat. No. 56); Photograph Courtesy of the DIA.

etruscan, cat. no. 

101

Plate 64. General view, Etruscan Clasp 26.236 (Cat. No. 57); Photograph Courtesy of the DIA.

102 bronze – miscellaneous

etruscan, cat. no. 

103

Cat. No. 57 Etruscan Clasp mid 7th-early 6th centuries bce Bronze and iron; Height of male section 11.4 cm.; Length of male section 12.9 cm.; Height of female section 10.7 cm.; Length of female section 14 cm. Probably made in a “specialist” workshop in the area of Siena (cf. below). Gift of Professor Luigi Grassi 26.236 Dark green patina with traces of dark brown iron staining in and around the recessed crescents and ring central grooves. The clasp is intact except for the crescent, ring, fawn, and horse head muzzle inlay grooves which would have originally contained iron inlays. There is also a small hole in the left corner of the crescent inlay which is second from the left along the top of the male frame. Two piece cast clasp. The male section is decorated with two hooks that terminate in stylized horse head protomes characterized by broad, truncated cone muzzles with grooves running horizontally across the middles to indicate mouths, large almondshaped eyes accentuated by encircling grooves, and small, pointed ears which are inclined forward. The horse head hooks fit into two flat circular rings of the female section which are decorated with central grooves. Both hooks and rings project from flat rectangular frames. The front side of each frame is decorated with irregularly-shaped recessed crescents pointing outward along its edges and openwork scenes of two stylized fawns confronting one another in its centre. The male frame contains twelve crescents, two on the top and bottom, and four along the right and left sides. The female frame contains only eleven crescents, two on the top and bottom, four along the right side, and three along the left side. The confronted fawns have their heads turned backwards. Each fawn figure is attached to the surrounding frame by seven thin strips of bronze: four strips representing the legs, one strip the ears, one strip the tail, and one strip rising vertically from

the animal’s back which offers further support and, when combined with the tail strip, provides balance for the pattern formed by the rear legs thus giving the design a symmetrical appearance. The edges of the rectangular frames opposite the hooks and rings each have two cut-out slots which would have accommodated leather belts or straps. The recessed cresents and ring central grooves are cast but exhibit slight cold-worked undercutting along their bottom edges in order to better hold the iron inlays which originally had been hammered into these spaces (cf. J. Swaddling 1978: 50-51; P. T. Craddock 1978: 54; S. Haynes 1985: 49, for this technique). Additionally, two shallow recessed areas also appear on each fawn’s body, one filling the interior of the head through the upper forelegs, the other filling the interior of the hind quarters. These recesses were presumably intended to receive iron inlays although none were undercut. The horizontal grooves in the muzzles of the horse head protome hooks also presumably contained iron inlays. The DIA clasp frame shape, style of decoration, and unusual bronze and iron construction identify it as the product of a “specialist” workshop located in the area of Siena. Very similar examples have been attributed to this workshop which specialized in openwork clasps decorated with the iron intarsio technique, probably derived from Near Eastern influences via the Etruscan coastal city of Populonia, according to P. Gregory Warden (cf. below; J. Swaddling 1978: 47-53; P. T. Craddock 1978: 54-55; S. Haynes 88, 248-249 no. 11). For clasps of very similar shape and decoration, compare P. Gregory Warden 1985: 71-74 no. 101 pl. 12a, 7th century bce, from Murlo, no. 102 pl. 12b, 7th century bce, from Murlo, no. 103, 7th century bce, from Murlo; S. Haynes 248-249 no. 11, Inv. 1977.2-14.3 and 4, 610-590 bce; F.-W. von Hase 1971: 20 figs. 22-23, mid 7th-early 6th centuries bce. For the possible use of horse head hook clasps as horse harness accoutrements or baldric or belt clasps in male and female tombs, see 61.156 (Cat. No. 56). Minutes of the Arts Commission, DIA. 9/2/26

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Plate 65. General view, Etruscan Clasp 26.238 (Cat. No. 58); Photograph Courtesy of the DIA.

etruscan, cat. no. 

105

Cat. No. 58 Etruscan Clasp late 7th-mid 6th centuries bce Bronze; Height 7.3 cm.; Width 7.1 cm. Gift of Professor Luigi Grassi 26.238 Dark brown patina. The upper right edge of the frame and the lower ring are slightly chipped. The solid cast female section of a two piece clasp which consists of a rectangular bronze openwork frame with three large rings running vertically along its left edge. Two small projections extend to the left from between the junctures of the three rings. Ten small holes run vertically along the right edge of the frame although the uppermost hole is partially missing. The rings of the female section would have accommodated the three hooks of the missing male section while the small holes would have held the thread for a sewn-on leather or fabric belt. The frame surface is decorated with an incised continuous guilloche band. A figure of Potnia Theron (Mistress of the Animals) holding two stylized birds appears at the centre of the frame, attached at the head and feet. The Potnia Theron figure wears a full length belted chiton with short sleeves, necklace, and possibly a back mantle which is the typical Etruscan female garb of the late 7th through mid 6th centuries bce (cf. L. Bonfante 2003: 8, 31-34, 45-46). The front of her chiton below the waist is decorated with an incised vertical herringbone pattern that does not conform to the plaid or lozenge designs usually found on the full length heavy woolen dedalic chitons of this period (L. Bonfante 2003: pp. 12-17). It is possible that the herringbone pattern represents stylized drapery folds of the sort found on late Archaic-early Classical female statuettes wearing light weight Ionic chitons (cf. E. Richardson 1983: 286 figs. 672-674, Series A Group 3B Korai, pp. 308-309 fig. 733, Series C Group 1 Korai, late Archaic period; E. Hostetter

1986: 50-52 no. 26 pl. 32a-c, Krotalistria figure, 470-450 bce, from Tomb 66 A in the Valle Pega nekropolis at Spina). If so, then the Detroit Potnia Theron probably wears a “Proto-Ionic” chiton which Bonfante (2003: 33-34, 41-44) describes as a contemporary lighter weight, looser fitting version of the dedalic chiton. For a clasp with a similar shape, see D. Levi 1933: 46, 102 pl. VII fig. XIp, from tomba a fossa XI at Lago dell’Accesa. For a clasp with repoussé figural reliefs surrounded by a similar guilloche border band, see F. Johansen 1971: 34-37 H81a, M72-M83 pls. XX-XXIII, XXVIII, 142-147, late 7th–early 6th centuries bce. For the possible use of hooked clasps as horse harness accoutrements or baldric or belt clasps in male and female tombs, see 61.156 (Cat. No. 56). For a discussion of the symbolic significance and development of the Potnia Theron motif in Etruria, see H. Damgaard Andersen 1996: 73-113. She suggests that the Etruscan Potnia Theron figure represented the merger between an indigenous Iron Age “Mistress of the Beasts” deity and a specific manifestation of the Phoenician goddess Astarte in her agricultural role as controller of wild and domesticated animals. The Potnia Theron figure holding two birds was derived from Near Eastern imports and appears primarily during the mid 7th through mid 6th centuries bce in Etruscan art, according to Damgaard Andersen. The Detroit clasp Potnia Theron is similar in form to those found on the handles of bucchero vessels during the 6th century bce although the latter examples usually hold felines (cf. G. Valentini 1969: 413-430 Tipo A Potnia therón). The same Potnia Theron theme is perhaps also represented on the male section of other three-hook clasps where the central hook is a female protome with feline protome hooks on either side (cf. A. Naso 2003: 188-189 nos. 299-300, 700-650 bce). Minutes of the Arts Commission, DIA. 9/2/26

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Plate 66. Etruscan Ring 26.250 (Cat. No. 59) (lower right); Etruscan Ring 26.251 (Cat. No. 60) (upper right); Etruscan Finger Ring (?) 26.248 (Cat. No. 61) (lower left); Etruscan Finger Ring (?) 26.249 (Cat. No. 62) (upper left); Etruscan Coil 26.247 (Cat. No. 63) (centre); Photograph Courtesy of the DIA.

etruscan, cat. nos. –

107

Cat. No. 59 Etruscan Ring 7th-6th centuries bce (?)

notes that such rings have been found in burials located around the deceased’s head which suggests that they are perhaps associated with some kind of headgear.

Bronze; Height .5 cm.; Diameter 2.1 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.250 Dark green patina. The ring is intact. A circular ring apparently made by bending a heavy round wire into a circle and hammering the ends even as indicated by the continuous groove which intersects both ends along one side. The smallness of the opening suggests that this ring was not part of a chain and perhaps served a decorative rather than functional purpose. For a cast example of similar shape and size, see F. Jurgeit 1999: 612 no. 1066 pl. 282, Inv. F 1808, 7th-6th centuries bce, Italic (Campanian). Jurgeit notes that such rings have been found in burials located around the deceased’s head which suggests that they are perhaps associated with some kind of headgear. Minutes of the Arts Commission, DIA. 9/2/26

Cat. No. 60 Etruscan Ring 7th-6th centuries bce (?) Bronze; Height .6 cm.; Diameter 2.2 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.251 Dark green patina. The ring is intact. A circular ring apparently made by bending a heavy round wire into a circle and hammering the ends even as indicated by the continuous groove which intersects both ends along one side. The smallness of the opening suggests that this ring was not part of a chain and perhaps served a decorative rather than functional purpose. For a cast example of similar shape and size, see F. Jurgeit 1999: 612 no. 1066 pl. 282, Inv. F 1808, 7th-6th centuries bce, Italic (Campanian). Jurgeit

Minutes of the Arts Commission, DIA. 9/2/26 Cat. No. 61 Etruscan Finger Ring (?) 5th century bce Bronze; Height .8 cm.; Diameter 2.1 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.248 Dark green patina. The finger ring (?) is intact. A round finger ring (?) made from a thin sheet of bronze whose ends overlap. The overlapping portions are pierced by a circular hole as if for a stud (cf. Finger Ring 26.249). The exterior surface is decorated with four lines incised around the circumference. For bronze rings of similar size and shape, see O.-H. Frey and S. Gabrovec 1971: 198 pl. 12 nos. 1-3, 203 n. 81, 5th century bce, from Grave 643 at Ljubljana, Hallstatt culture. Frey identifies these examples as finger rings. Minutes of the Arts Commission, DIA. 9/2/26 Cat. No. 62 Etruscan Finger Ring (?) 5th century bce Bronze; Height .8 cm.; Diameter 2.2 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.249 Dark green patina. The finger ring (?) is intact. A round finger ring (?) made from a thin sheet of bronze whose ends overlap. The overlapping

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portions are pierced by a circular hole which contains a bronze stud fused in place. The exterior surface is decorated with three lines incised around the circumference. For bronze rings of similar size and shape, see O.-H. Frey and S. Gabrovec 1971: 198 pl. 12 nos. 1-3, 203 n. 81, 5th century bce, from Grave 643 at Ljubljana, Hallstatt culture. Frey identifies these examples as finger rings.

Cat. No. 63 (see Plate 66, p. 106)

Dark green patina. The coil is intact. The coil consists of a hammered round wire tightly wound into five uniform loops. The end loops exhibit shallow parallel grooves along their surfaces. For a bronze coil of similar size, shape, and decoration, see P. W. Warden 1985: 77 no. 116, 6th century bce, from Poggio Civitate. Warden suggests that this example may have been used as decoration for a fibula or chain due to the thinness of the wire and the uniformity of the loops. The DIA coil seems too tightly wound to be a coil earring of the type mentioned by J. Turfa (J. M. Turfa 2005: 135 no. 95).

Etruscan

Minutes of the Arts Commission, DIA. 9/2/26

Minutes of the Arts Commission, DIA. 9/2/26

Coil 6th century bce (?) Bronze; Height 1.2 cm.; Diameter 2.2 cm. Ex. Coll. A. Riccardi, Florence. City of Detroit purchase 26.247

etruscan, cat. nos. –

109

Cat. No. 64 Etruscan Model Wagon Wheel 6th century bce Bronze and iron; Diameter 3.8 cm. Ex. Coll. Museo Archeologico, Florence (no. 92040). Gift of The Etruscan Foundation, Inc., Detroit 61.155 Green patina with minor corrosion. Several spokes are missing and the wheel edge is chipped. Crudely shaped model wagon wheel with a fragment of the iron axle still in place. For a model wheel of similar shape, see E. Woytowitsch 1978: 71 no. 161i, 6th century bce, from Orvieto. For a discussion of the possible symbolic functions of model wagons or chariots found in Villanovan

tombs and, by extension, early Etruscan tomb examples as well as the associated bibliography, see C. Iaia 1999: 24-28, 123-125, 142-143, 145-147. Iaia suggests that miniature chariots or wagons may appear in tombs as symbols of the deceased’s journey to the afterlife and/or symbols of the deceased’s high social status in life. His suggestion follows the scholarly consensus that the presence of full size chariots and scenes of chariot processions in early Etruscan tombs symbolize the deceased’s journey to the afterlife in a manner indicative of high social status (cf. G. Bartoloni 1993: 271-287; S. Haynes 2000: 16-17). For a general discussion of the problems associated with the symbolic interpretation of grave goods, see A. Cannon 1989: 444-457. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 67. General view, Etruscan Model Wagon Wheel 61.155 (Cat. No. 64); Photograph Courtesy of the DIA.

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Cat. No. 65 Etruscan Rearing Horse Attachment late 6th century bce Bronze; Height 10 cm.; Width 3.5 cm.; Depth 9.9 cm. Bequest of Robert H. Tannahill 70.446 Dark brown patina. The attachment is intact. Solid cast decorative attachment naturalistically rendered as a rearing horse’s forepart. The rear

portion forms a rectangular plug for insertion into a hollow socket, possibly part of an iron firedog or a large wagon. A lateral peg hole appears on either side of the rectangular plug. For decorative attachments of similar form, compare S. Haynes 1985: 143, 255 no. 28, 525-500 bce; U. Höckmann 1982: 88-89 no. 46 pl. 49 nos. 3-4, 550-525 bce; E. Woytowitsch 1978: 45-46 nos. 71-71A, from Chiusi, early 6th century bce. Minutes of the Arts Commission, DIA. 4/28/70

Plate 68. General view, Etruscan Rearing Horse Attachment 70.446 (Cat. No. 65); Photograph Courtesy of the DIA.

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IV. CERAMIC 1. Pottery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

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113

INTRODUCTION The same foreign contacts which influenced Villanovan bronze development also guided the evolution of its ceramic production. The ubiquitous Villanovan biconical impasto (coarse-grained fabric) cinerary urn is a good indicator of outside influences. The urn shape itself is derived from the Early Iron Age Urnfield cineraria which are found throughout much of Europe. Many of the Villanovan urns are decorated with incised geometric motifs as in DIA urn 75.121 (Cat. No. 66). Such motifs are apparently derived from a combination of Central European and Greek sources. Greek influence on Villanovan ceramics grew during the later 8th century bce as a result of an increase in Greek immigration to Italy (cf. A. M. Bietti Sestieri 1992a: 244-253). Greek potters introduced techniques for improving the quality of ceramic vessels such as the use of purified clay, the fast potter’s wheel, and painted decoration (cf. S. Haynes 2000: 52ff.; J. M. Turfa 2005: 10-12). Greek culture also served as an intermediary for the introduction of Near Eastern banqueting and wine drinking ceremonies which required the use of new vessel shapes (cf. A. Rathje 1994: 95-99). Late Villanovan pottery was modified in accordance with these innovations although many traditional vessel forms and decorative motifs still remained popular. The DIA’s buccheroid impasto kyathos (Cat. No. 68) is perhaps an example of a Villanovan cup type, the capeduncula, which was modified through exposure to imported vessel types (cf. M. Torelli 2001: 145-149; F. Colivicchi 2001b: 597-599). Widespread copying of Greek painted pottery did not become the norm until the early Etruscan period, 7th century bce. Protokorinthian and Korinthian small perfume containers were among the types most frequently imitated by Etruscan potters (cf. D. A. Amyx 1988: 685-700; V. Bellelli 2007: 9-26; J. M. Turfa 35, 40). The Etruscan copies usually exhibit a coarser style and quality of painting as is evident on the DIA’s seven Etrusco-

Korinthian perfume aryballoi and alabastra (Cat. Nos. 104-110). In addition to copying foreign imports early Etruscan potters developed an unpainted finegrained ware called “bucchero” during the second quarter of the 7th century bce. There has been much scholarly discussion as to the sources that inspired the creation of bucchero and influenced its continuing development although many accept that metallic prototypes provided a strong, but not exclusive, stimulus (cf. P. Perkins 2007: 8-9; G. Camporeale 2001: 410-416). Some of the earliest bucchero probably originated as a less expensive substitute for vases of precious materials, including metal, in domestic and funerary contexts although examples also found their way into sanctuaries as votive dedications (cf. T. Rasmussen 1979: 128ff., 158; J. M. Turfa 2005: 39; N. Spivey 1991: 134ff., 140; G. Camporeale 2001: 414-416; S. Haynes 56; J. Gran-Aymerich 1997: 123-136). Most bucchero pottery is characterized by a shiny black surface and a black interior fabric that was perhaps originally intended to imitate tarnished silver. The shiny black colour led to this ware being called “bucchero”, a derivative of “pocaro”, the name of a similarly coloured 17th century Portuguese pottery (cf. G. Camporeale 405-406). Black bucchero is divided into “sottile” or thin ware whose shapes were influenced, in part, by some forms of hammered sheet metal vessels as well as ivory vessels and “pesante” or heavy ware whose shapes were influenced, in part, by some forms of cast metal vessels. Bucchero sottile is generally subdivided into the very fine “eggshell” fabric of the earliest period and the thicker “normale” or “transitional” fabric which continued into the 6th century bce. Bucchero pesante begins around 600 bce and continues into the 5th century bce. Bucchero pesante grigio or grey bucchero is another category which originated in Orvieto and is among the last bucchero to be produced (cf. F. Capponi et al. 2006: 17-18; G. Camporeale 2001: 419). The DIA

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possesses an excellent collection of the more common bucchero normale (Cat. Nos. 74-92, referred to as “bucchero”), pesante (Cat. Nos. 93-97), and grey forms (Cat. Nos. 98-101). Etruscan workshops continued to emulate the changing styles of imported ceramics but their progress was slow and uneven (cf. O. Brendel 1995: 194ff.). Etruscan imitations of Attic blackfigure ware did not appear until several decades after the latter supplanted Korinthian pottery as the dominant Greek style during the mid 6th century bce. Many of the Etruscan black-figure examples copied Attic vessel shapes although the figural scenes of the former were usually adapted to Etruscan tastes (cf. F. Gaultier 2001: 430-437; J. M. Turfa 2005: 35). The DIA’s Micali Painter amphora 27.281 (Cat. No. 111) exemplifies this situation in its combination of the Attic neck amphora form with funerary scenes of Etruscan winged female demons and sphinxes. Attic red-figure vessels succeeded black-figure ware in Greece during the early 5th century bce. Etruscan potters did not follow suit until almost a half century later. Their red-figure ware frequently imitated the vessel shapes and mythological scenes of the Attic imports although in a purely Etruscan figural style (cf. M. Harari 2001: 439-446). Most Etruscan

red-figure motifs continued to follow narrative classical themes until the later 4th century bce when a simplified, generic imagery gained popularity (cf. O. Brendel 1995: 343ff.). The DIA’s Full-Sakkos Painter lebetes 24.158 and 24.228 (Cat. Nos. 112, 113) depict severe examples of this latter style. Greece was the source for another, extremely long-lived fabric called black-gloss ware which was copied throughout much of Italy from the later 5th century bce to the mid 1st century bce (cf. E. Gliozzo and I. Memmi Turbanti 2004: 201-204, 213, 214; L. Palermo 2003: 284-290; J. Hayes 1984: 1-4). Black-gloss vessels were among the latest ceramics produced in Etruria before the Etruscan culture ceased to exist as a separate entity in the 1st century bce. Etruscan potters produced several variations of black-gloss ware including one with superposed colour. This latter category is represented by DIA beaked oinokhoe 61.133 (Cat. No. 114) whose painted motifs function as a “simple substitute” for the true red-figure technique (cf. J. Hayes 1984: 112). Many types of Etruscan black-gloss decorations were adapted from those on metal vessels. The incised and stamped designs on DIA phiale 61.137 (Cat. No. 116) as well as the pronounced ribbing of the DIA’s Malacena ware oinokhoe 61.135 (Cat. No. 117) are clearly metallic in origin (cf. L. Palermo 284; J. Hayes 1984: 2, 65).

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1. Pottery (Cat. Nos. 66–123)

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ceramic – pottery

Plate 69. General view, Villanovan Cinerary Urn 75.121 (Cat. No. 66); Photograph Courtesy of the DIA.

villanovan, cat. no. 

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Cat. No. 66 Villanovan Cinerary Urn late 9th-8th centuries bce Pottery; Height 41.5 cm.; Diameter (max.) of body 28.8 cm. Gift of Jerome M. Eisenberg 75.121 The vessel is almost complete. There is a large chip in the rim and numerous small surface chips over the lower half of the body. Dark grey impasto cinerary urn of biconical shape with a single horizontal U-handle which projects upwards from the central bulge, a wide flaring mouth, and a low convex foot. The exterior surface is decorated with incised designs and stamped rosettes. Two horizontal bands of lines border the shoulder which contains a field of right-hand double step meanders. A single band of rosettes encircles the urn just beneath the lower border. Another band of lines rings the urn at midpoint. The lower half of the vessel contains five metopes. Each consists of three separate squares, one within another. All are constructed from individual bands of lines and have a rosette at each corner. A cluster of three rosettes marks the centre of each innermost square. For impasto examples of similar shape and/ or decoration, see H. Hencken 1968: 28-33 figs. 14-21, 67, 70 fig. 56d, Villanovan I B, from Grave 76, 93-96 fig. 83i, Villanovan I C, from Grave 64,

286, 301-303 fig. 293a, Villanovan I-II, from Grave 104 in the Selciatello Sopra cemetery at Tarquinia, 391-393 fig. 382h, late 9th-8th centuries bce (cf. J. Toms 1996: 145-147), from Pozzo with a Pottery Helmet (Romanelli’s 66) in the Monterozzi cemetery at Tarquinia. Hencken also provides a general chronology for the types of designs which occur on the Detroit urn. See also A. Guidi 1980: 21 Type 9, 47-48, pl. 6 no. 2, pl. 48 no. 7, 8th century bce, from tomba a pozzo XC in the Cuccumella nekropolis at Vulci; R. Vighi 1955: 58-59 Tomb 83 no. 1, fig. 10, 8th-early 7th centuries bce, from Tomb 83 in the Sorbo nekropolis at Cerveteri. For a discussion of the possible symbolic functions of similar impasto biconical cinerary urns and the associated bibliography, see C. Iaia 1999: 113-114, 141-142; S. Haynes 2000: 11ff.). Iaia supports the scholarly consensus that impasto biconical urns are symbolic representations of the deceased’s body as suggested by the funerary practice of “dressing” such urns with helmets, necklaces, or brooches and laying them on their sides in inhumation-style tombs (cf. J. Toms 1996: 148-152). Toms suggests that these urns also symbolized the social regeneration of the lineage of the individual families that apparently made their own urns. For a general discussion of the problems associated with the symbolic interpretation of grave goods, see A. Cannon 1989: 444-457. Minutes of the Arts Commission, DIA. 2/27/76

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Plate 70. General view, Villanovan Impasto Amphora 61.264 (Cat. No. 67); Photograph Courtesy of the DIA.

villanovan, cat. no. 

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Cat. No. 67 Villanovan Impasto Amphora 800-750 bce Pottery; Height 22 cm.; Diameter of body 25.4 cm. Bequest of Mrs. Mary Chase Stratton 61.264 The vessel has been repaired but is largely complete with only a few small restorations, apparently recent, on the bottom. The restorations were made prior to DIA acquisition. Handthrown impasto amphora with a burnished black surface. It has a squat globular body, concave tapering neck, outturned rim, and two sets of columnar handles which extend outward from the edge of the rim to base of the neck. The decoration consists of two parallel incised lines which separate the body from the neck, thirteen vertical grooves which divide the body into fourteen equal segments, each of which contains an incised double-lined L-shaped design at the top, six incised double-lined swastikas which are equally spaced along the centre of the belly, and four raised knobs which are equally spaced along the lower belly. For examples with analogous shapes and fabrics, see F. Colivicchi 2001b: 599 no. 180, 800-750 bce, from Tomb 20 in the Selciatello Sopra cemetery at

Tarquinia; A. Bedini 1975: 385-388 no. 11, 800-750 bce. Bedini also provides a general bibliography for this vessel type. See also H. Hencken 1968: 30-33. The incised decorations on the DIA piece correspond to Hencken’s “Plain Style”, Villanovan Archaic IA-IIB periods (1000/900 bce-700 bce). For a discussion of the possible symbolic functions of such amphorae in Villanovan tombs and the associated bibliography, see C. Iaia 1999: 96-98 fig. 25.5, 99-101, 8th century bce, from a tomb at Bisenzio. Iaia notes that this type of utilitarian impasto amphora, combined with a makeshift lid, was occasionally used as a cinerary urn in Villanovan burials. Nevertheless, M. Torelli notes that similar globular amphorae are often found with singlehandled “wine” cups in Villanovan tombs and were apparently used to store wine (cf. M. Torelli 2001: 145-149; F. Colivicchi 2001b: 597-599). These “drinking sets” may have served as prestige or rank indicators of the deceased, usually older adults, according to A. M. Bietti Sestieri (cf. A. M. Bietti Sestieri 1992a: 131-133, 164-165 fig. 8.2, 166, 169-174, 206-208). For a general discussion of the problems associated with the symbolic interpretation of grave goods, see A. Cannon 1989: 444-457. Minutes of the Arts Commission, DIA. 9/11/61

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Plate 71. General view, Villanovan Buccheroid Impasto Kyathos 61.138 (Cat. No. 68); Photograph Courtesy of the DIA.

villanovan, cat. no. 

121

Cat. No. 68 Villanovan Buccheroid Impasto Kyathos (Single-Handled Cup) mid 8th-mid 7th centuries bce Pottery; Height to handle top 6.3 cm.; Diameter 9.2 cm. Ex. Coll. Museo Archeologico, Florence (no. 92029). Gift of The Etruscan Foundation, Inc., Detroit 61.138 The vessel is almost complete. There is a large chip in the rim. Brown/black burnished cup with a shallow biconical body, low flaring rim, and a single vertical loop handle that is attached at the carination and the rim. The decoration consists of gentle vertical ribbing along the body, a horizontal groove with incised diagonal lines that separates the neck and body, and a triangular perforation in the upper handle. For examples with the same shape and fabric, see M. Francesca Colmayer and S. Rafanelli 2000: 72, 76-77 no. 4.14, 725-700 bce, reputed

to be from a tomb in the area of Poggio Buco; A. M. Moretti Sgubini 2001: 187-188, 197 no. III.B.1.41, 750-700 bce, from Tomba del 6 settembre 1966 at Poggio Maremma; R. De Puma 1986: 23-24 no. VA 6, pl. 5a-b, late 8th century bce, from a pozzo tomb at Vulci; E. Dohan 1942: 16, pl. VII no. 7a, 700-650 bce, found in a dated tomb context (Narce 71M). For the possible function of similar cups as wine-serving vessels, see M. Torelli 2001: 145-149; F. Colivicchi 2001b: 597-599 nos. 176-177. Torelli notes that such cups are found in Villanovan tombs along with small globular amphorae which were apparently used for storing and transporting wine. These “drinking sets” may have served as prestige or rank indicators of the deceased, usually older adults, according to A. M. Bietti Sestieri (1992a: 131-133, 164-166, 169-174, 206-208). For a general discussion of the problems associated with the symbolic interpretation of grave goods, see A. Cannon 1989: 444-457. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

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Cat. No. 69 Etruscan Impasto Storage Jar mid 7th-early 6th centuries bce Pottery; Height 35.5 cm.; Diameter with handles 34.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 92050); said to be from Marsiliana d’Albegna, according to the donor (source: DIA records). Gift of The Etruscan Foundation, Inc., Detroit 61.128 The vessel is intact. Reddish impasto storage jar with a large spherical body, low flaring neck and rim, and two round

horizontal handles which protrude diagonally at mid belly. It is undecorated. For examples of like shape and fabric, see A. Coen 1991: 7-8, 25 no. 55 pl. XVIa, 68-69, 650-600 bce, from Tomba Bufolareccia 86 at Cerveteri, 42-44 no. 3 pl. XXXIIIc, 68-69, 650-600 bce, from Tomba Monte Abatone 426 at Cerveteri; J. Hayes 1985: 50-51 no. B34, 7th century bce?; R. De Puma 1971: 13 no. 16, late 7th-early 6th centuries bce; H. Hencken 1968: 394-395 fig. 383i, later 7th century bce, from Chamber Tomb (Cultrera’s XXV) in the Monterozzi cemetery at Tarquinia. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 72. General view, Etruscan Impasto Storage Jar 61.128 (Cat. No. 69); Photograph Courtesy of the DIA.

etruscan, cat. nos. –

123

Cat. No. 70 (see Plates 73–74, pp. 124–125) Etruscan Impasto Dolio (Storage Jar) 600-550 bce Pottery; Height 85 cm.; Diameter (Max.) 46 cm. Ex. Coll. Munzen und Medaillen Art Gallery, Basel; made in the area of Cerveteri (cf. below). Gift of Mr. and Mrs. Harold Marko 1987.116 The vessel is almost complete. There are minor restorations, apparently recent, to the rim and base. The restorations were made prior to DIA acquisition. Small patches of incrustation are visible on the rim and shoulder. Caeretan “Red-Ware” impasto storage jar of ovoid shape. The exterior surface is decorated with a wavy line bordered by two straight mouldings, all in relief, which encircle the shoulder. A cylinder seal impression which is repeated seven times unevenly encircles the vessel directly beneath this band. The seal depicts (left to right) a feline with raised head walking to the right, a quadruped with lowered head walking to the left, a standing water bird with its head turned around facing left, a feline with its head facing the viewer while walking to the left, and a quadruped with lowered horned head walking to the left. The belly is incised with deep ribs which run from the bottom of the frieze band down to a horizontal moulding near the base.

For examples of similar shape and decoration, compare F. R. Serra Ridgway 1986: 284ff. nos. 4-5, from Cerveteri, 600-550 bce. Ridgway provides general information on the chronology of Etruscan red-ware impasto. The DIA dolio cylinder seal motif corresponds to Ridgway’s first group (Korinthian style) seal motifs. See also R. D. De Puma 1986: 84-85 no. SP 13, 600-575 bce. For a discussion of how Caeretan dolii were manufactured and used, see L. Pieraccini 1996: 93113. She notes that such storage jars have been found in Etruscan houses, tombs, and sanctuaries which suggest both utilitarian and ceremonial functions for these containers. Nevertheless, only the tomb group contains a high percentage of examples which are stamped or decorated, according to Pieraccini. This functional division based on levels of decoration suggests that the DIA dolio may have been intended specifically for use in a funerary context. Such a division has also been suggested for bucchero vessels with similar animal friezes (cf. F. Capponi et al. 2006: 21 n. 63, 28-29 ). Pieraccini also disputes the notion that Caeretan red-ware dolii were primarily intended to be placed on Caeretan red-ware braziers as bases (cf. De Puma above) rather than standing alone. Minutes of the Arts Commission, DIA. 2/16/88 Munzen und Medaillen Art Gallery 1984: 11.

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Plate 73. General view, Etruscan Impasto Dolio 1987.116 (Cat. No. 70); Photograph Courtesy of the DIA.

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125

Plate 74. View of impressed scene, Etruscan Impasto Dolio 1987.116 (Cat. No. 70); Photograph Courtesy of the DIA.

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Cat. No. 71 Etruscan Impasto brazier late 7th-mid 6th centuries bce Pottery; Height 15.8 cm.; Diameter 46 cm. Ex. Coll. Capt. John Aylward; made in the area of Cerveteri (cf. below). Founders Society purchase, donation of Mr. and Mrs. Merriam Barnes 69.213 The piece is intact except for minor chipping along the rim. Caeretan “Red-Ware” impasto brazier with a low round body, flaring lip, an externally thickened rim, and a hollow base. There is an incised 5-pointed star on the bottom. Two bands of impressions from the same cylinder seal decorate the surfaces of the stand. The exterior band encircles the upper rim and repeats the seal motif seven times. The interior band which rings the inner wall repeats the motif six times. The seal depicts (left to right) a standing waterbird, a walking female feline, a grazing stag, a walking boar, and another grazing stag confined within upper and lower thin border bands of vertical lines. For examples of like shape, decoration, and fabric, see R. D. De Puma 1986: 85-86 no. SP 14, pl. 35a-b, late 7th-early 6th centuries bce. De Puma states that the DIA brazier and similar pieces were primarily intended to be used as stands for red-ware dolii (cf.

no. 1987.116 Cat. No. 70) in Etruscan tombs although he also notes that some of these tomb examples were used as braziers or trays. S. Pieraccini (1996: 96-97) disputes this interpretation on the basis that many of the tomb braziers were found still containing the remains of coals and burned objects which supports their primary function as portable hearths, not dolio stands. The seal motif supports a funerary significance for the DIA brazier since similar animal friezes on bucchero vessels have been identified as chthonic symbols (cf. F. Capponi et al. 2006: 28-29). See also F. R. Serra Ridgway 1986: 284-291 nos. 7-9, late 7th-mid 6th centuries bce. Ridgway provides general information on the technique and chronology of Etruscan red-ware impasto. The DIA brazier cylinder seal motif corresponds to Ridgway’s first group (Korinthian style) seal motifs. See also G. Nardi 1993: 399-403, 430-432 P. 1.49. The DIA brazier corresponds to Nardi’s Type 1 Brazier in form while the DIA brazier cylinder seal motif corresponds to her Fregio II (Etrusco-Korinthian style) motif, early 6th century bce, in its subject matter and border type. See also F. N. Pryce 1932: 10, pl. 10 nos. 1-3, 7th-6th centuries bce, from Southern Etruria. Minutes of the Arts Commission, DIA. 69.213 Sotheby & Co. 1969: 101 no. 230. R. D. De Puma 1971: 12 no. 13.

etruscan, cat. no. 

Plate 75. General view, Etruscan Impasto Brazier 69.213 (Cat. No. 71); Photograph Courtesy of the DIA.

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128 Cat. No. 72 Etruscan Impasto Jar late 7th-early 5th centuries bce

Pottery; Height 11.1 cm.; Diameter 13 cm. Ex. Coll. Museo Archeologico, Florence (no. 2775); formerly Ancient Collections, Uffizi (Gallery no. 1604), from the Granducal Collection of Tuscany (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.122 The vessel is almost complete. There is a large restored chip, apparently recent, in the rim. The restoration was made prior to DIA acquisition. The

surface of one side has been abraded, perhaps by water. Grey burnished jar with a wide rounded body, short out-curved rim, and a flat base. The decoration consists of a wide band of incised vertical crosshatching which encircles the upper body. For examples of similar shape and fabric, see M. Rendeli 1993: 273-275, 280 no. Ka 7.6 fig. 504, mid 6th-early 5th centuries bce, 311-315; J. Hayes 1985: 56-57 nos. B55-B64, late 7th-6th centuries bce. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 76. General view, Etruscan Impasto Jar 61.122 (Cat. No. 72); Photograph Courtesy of the DIA.

etruscan, cat. nos. –

129

Cat. No. 73 Etruscan Impasto Ciotola (Stemmed Bowl) mid 7th-early 6th centuries bce Pottery; Height 7.7 cm.; Diameter at rim 11.43 cm. Ex. Coll. Museo Archeologico, Florence (no. 71117), purchased in 1880 (cf. M. Cristofani 1977b: 237 n. 2); from Pescia Romana (cf. ibid. 235-239), according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.117 The vessel is intact except for a small chip in the rim.

Brown/grey burnished stemmed bowl with a rounded conical dish, a high vertical rim above a carination ledge, and a low flaring foot with a centrally-grooved base. It is undecorated. For bowls of similar shape and fabric, see M. Bonamici and M. Pistolesi 2003: 191-192, 196, 202-203 no. 3 Fig. 5.13, Cup Impasto Type 2, 650-625 bce, from Volterra. Bonamici states that this vessel type has also been found at Roselle, Populonia, and Emilia. See also, J. Hayes 1985: 22-23 no. A52, late 7th-early 6th centuries bce. The Detroit piece has a shorter stem than this example. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 77. General view, Etruscan Impasto Ciotola 61.117 (Cat. No. 73); Photograph Courtesy of the DIA.

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Cat. No. 74 Etruscan Bucchero Oinokhoe (Pitcher) late 7th-early 6th centuries bce Pottery; Height to top of handle 23.3 cm.; Diameter of body 5.7 cm. Ex. Coll. Dr. Irving Burton, Huntington Woods. Gift of Mr. and Mrs. Ardale W. Ferguson 78.65 The vessel is reconstructed. Several pieces have apparently been been recently reattached prior to DIA acquisition. Bucchero trefoil pitcher with a piriform body, tall conical neck, elevated tripartite ribbon handle, and a low ring foot. The decoration consists of three horizontal bands of multiple incised lines

(top 7, middle 6, bottom 6) around the body. For examples with similar shapes and fabrics, see T. Rasmussen 1979: 82-83, 174-175, figs. 47, 49, his Type 4d oinokhoe, 625-600 bce. This oinokhoe has the same shape as fig. 47 and the same tripartite handle as fig. 49. For a discussion of the possible function of bucchero oinokhoai as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see M. Torelli 2001: 146-155; G. Camporeale 2001: 407-416; F. Colivicchi 2001b: 597-599; J. Berkin 2003: 119-129; S. Haynes 2000: 61-62; F. Capponi et al. 2006: 21 n. 63, 29, 97, 212. Minutes of the Arts Commission, DIA. 10/26/78

etruscan, cat. no. 

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Plate 78. General view, Etruscan Bucchero Oinokhoe 78.65 (Cat. No. 74); Photograph Courtesy of the DIA.

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Cat. No. 75 Etruscan Bucchero Oinokhoe (Pitcher) 600-550 bce Pottery; Height to handle top 26.4 cm.; Diameter of body 16.3 cm. Gift of Fredrick K. Stearns 99.5B-4693 The vessel is almost complete. There is a small chip in the rim. Much of the surface has been abraded, perhaps by water. Dark grey/black bucchero trefoil pitcher with a globular body, tall flaring neck, cylindrical handle, and a low ring foot. It is undecorated.

For examples with similar shapes and fabrics, compare F. Capponi et al. 2006: 99, 101 no. 60, Inv. 929, 600-550 bce, from the Crocifisso del Tufo nekropolis at Orvieto; P. Tamburini 1997: 219 no. 110, 600-550 bce, from the area of Vulci (?); R. De Puma 1986: 31 no. VB 19, pl. 8b, 600-550 bce, from a chamber tomb at Vulci; T. Rasmussen 1979: 84-85, 178 fig. 61, his very common Type 7a oinokhoe, 600-540 bce, from San Giuliano; N. Ramage 1970: 34, 60 fig. 22.4, her Type 9D oinokhoe, first half of the 6th century bce. For a discussion of the possible function of bucchero oinokhoai as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74).

etruscan, cat. no. 

133

Plate 79. General view, Etruscan Bucchero Oinokhoe 99.5B-4693 (Cat. No. 75); Photograph Courtesy of the DIA.

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Cat. No. 76 Etruscan Bucchero Olpe (Pitcher) late 7th-mid 6th centuries bce Pottery; Height to handle top 16.6 cm.; Diameter of body 9.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 92031), purchased in 1880 (cf. M. Cristofani 1977b: 237 n. 2); from Pescia Romana (cf. ibid. 235-239), according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.102 The vessel is intact except for minor surface abrasions. Bucchero pitcher of piriform shape with round flaring mouth, raised ribbon handle, and a low concave base. It is undecorated. For examples of like shape and fabric, compare

P. Perkins 2007: 43 no. 152, Inv. GR1838.6-8.127, 600-525 bce; F. Capponi et al. 2006: 156, 160 no. 134, Inv. 630, 580-575 bce; P. Tamburini 1997: 234 no. 123, late 7th-mid 6th centuries bce; T. Rasmussen 1979: 90-91, 186, figs. 104-105, his extremely common Type 1b olpe, 625-550 bce; N. Ramage 1970: 31-32, 59, fig. 21.1, Type 8C olpe, 6th century bce; D. Frère 1997: 69 no. 2, pl. 40, 600-550 bce, from the Campana Collection; P. Ure 1954: 57 no. 2, pl. 38, 600-550 bce. For a discussion of the possible function of bucchero olpai as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

etruscan, cat. no. 

Plate 80. General view, Etruscan Bucchero Olpe 61.102 (Cat. No. 76); Photograph Courtesy of the DIA.

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Cat. No. 77 Etruscan Bucchero Olpe (Pitcher) late 7th-mid 6th centuries bce Pottery; Height to.handle top 15.7 cm.; Diameter of body 9.4 cm. Ex. Coll. Museo Archeologico, Florence (no. 71193), purchased in 1880 (cf. M. Cristofani 1977b: 237 n. 2); from Pescia Romana (cf. ibid. 235-239), according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.103 The vessel is almost complete. There is a small chip in the base and a small restored chip, apparently recent, in the rim. The restoration was made prior to DIA acquisition. The right half of the vessel has minor surface abrasions. Bucchero pitcher of piriform shape with a round flaring mouth, raised ribbon handle, and a low concave base. It is undecorated.

For examples of like shape and fabric, see P. Perkins 2007: 44 no. 155, Inv. GR1839.2-14.123, 600-525 bce; F. Capponi et al. 2006: 156, 161 no. 135, Inv. 627, early 6th century bce; P. Tamburini 1997: 235 no. 124, late 7th-mid 6th centuries bce; T. Rasmussen 1979: 90-91, 185, fig. 102, his extremely common Type 1b olpe, 625-550 bce; N. Ramage 1970: 31-32, 59, fig. 21.1, Type 8C olpe, 6th century bce; D. Frère 1997: 69 no. 2, pl. 40, 600-550 bce, from the Campana Collection; P. Ure 1954: 57 no. 2, pl. 38, 600-550 bce. For a discussion of the possible function of bucchero olpai as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

etruscan, cat. no. 

Plate 81. General view, Etruscan Bucchero Olpe 61.103 (Cat. No. 77); Photograph Courtesy of the DIA.

137

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Cat. No. 78 Etruscan Bucchero Olpe (Pitcher) late 7th-mid 6th centuries bce Pottery; Height to handle top 14.9 cm.; Diameter of body 8.6 cm. Ex. Coll. Museo Archeologico, Florence (no. 71073), purchased in 1880 (cf. M. Cristofani 1977b: 237 n. 2); from Pescia Romana (cf. ibid. 235-239), according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.104 The vessel is intact except for minor surface abrasions and chips along the rim and base. Bucchero pitcher of piriform shape with a round flaring mouth, raised ribbon handle, and a low concave base. Three incised parallel grooves encircle the lower neck. For examples of like shape and fabric, see P. Perkins 2007: 44 no. 156, Inv. GR1839.2-14.230, 600-525 bce; F. Capponi et al. 2006: 156-157 no. 130, Inv. 622, early 6th century bce; A. M. Moretti

Sgubini 2001: 187, 207, 213 no. III.B.3.17, late 7th-mid 6th century bce, from Tomba 167 degli scavi Hercle in the Osteria nekropolis at Vulci; P. Tamburini 1997: 232-233 no. 122, late 7th-mid 6th centuries bce; A. Coen 1991: 7-8, 16 no. 18 pl. Vd, 16 no. 19 pl. VIa, 86-87, 625-600 bce, from Tomba Bufolareccia 86 at Cerveteri, 42-43, 48 no. 12 pl. XXXVd, no. 13 pl. XXXVe, 86-87, 625-600 bce, from Tomba Monte Abatone 426 at Cerveteri; T. Rasmussen 1979: 90-91, 185, fig. 100, his extremely common Type 1b olpe, 625-550 bce; N. Ramage 1970: 31-32, 59, fig. 21.1, Type 8C olpe, 6th century bce; P. Ure 1954: 57 no. 2, pl. 38, 600-550 bce. For a discussion of the possible function of bucchero olpai as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

etruscan, cat. no. 

Plate 82. General view, Etruscan Bucchero Olpe 61.104 (Cat. No. 78); Photograph Courtesy of the DIA.

139

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Cat. No. 79 Etruscan Bucchero Jug (Pitcher) 550-500 bce Pottery; Height to top of handle 13.7 cm.; Diameter of body 10.1 cm. Ex. Coll. Museo Archeologico, Florence (no. 71069), purchased in 1880 (cf. M. Cristofani 1977b: 237 n. 2); from Pescia Romana (cf. ibid. 235-239), according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.105 The vessel is intact. Bucchero pitcher with an ovoid body, round flaring mouth, raised cylindrical handle, and a low concave base. It is undecorated. For examples with similar shapes and fabrics, see

F. Capponi et al. 2006: 156, 162 no. 137, Inv. 967, 550-500 bce, probably of Orvietan manufacture; P. Tamburini 1997: 239 no. 128, mid 6th-early 5th centuries bce, from Vulci (?); R. De Puma 1986: 42 no. VC 19, pl. 11e, 6th century bce, from a chamber tomb at Vulci; T. Rasmussen 1979: 91-92, 186-187. This pitcher has a body similar to his Type 2 jug (fig. 113), 550-475 bce, but the handle is analogous to that of his Type 1c jug (fig. 107), 6th century bce. See also E. Bielefeld 1960: 56, no. 8, pl. 125. For a discussion of the possible function of bucchero pitchers as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

etruscan, cat. no. 

Plate 83. General view, Etruscan Bucchero Jug 61.105 (Cat. No. 79); Photograph Courtesy of the DIA.

141

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ceramic – pottery

Plate 84. General view, Etruscan Bucchero Thymiaterion 61.114 (Cat. No. 80); Photograph Courtesy of the DIA.

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143

Cat. No. 80 Etruscan Bucchero Thymiaterion (Incense Burner) 600-550 bce Pottery; Height 10.6 cm.; Diameter at rim 12.8 cm. Ex. Coll. Museo Archeologico, Florence (no. 2980). Gift of The Etruscan Foundation, Inc., Detroit 61.114 The vessel is almost complete. There is a large restored chip in the rim and a restored break in the upper stem. Both restorations seem to be recent and were made prior to DIA acquisition. The stem and bowl presumably belong together. Bucchero incense burner with a shallow rounded bowl, a wide flat rim, and a tall flaring foot. The decoration consists of a cylinder-impressed band of chevrons around the top of the rim and a ridge which encircles the centre of the stem. R. D. De Puma (cf. below) identifies the Detroit

piece as a goblet, but this seems unlikely given the very wide indented rim which would have made drinking difficult. The Detroit example represents a category of bucchero thymiaterion (cf. Capponi and Camporeale below) which is similar in shape to bucchero goblets (cf. Rasmussen below) whose form is thought to derive from impasto rather than metallic prototypes. For examples with similar shapes and fabrics, see F. Capponi et al. 2006: 321, 333-334 no. 379, Inv. 678, 600-550 bce; T. Rasmussen 1979: 99-100, 122-123, 190, 202. The Detroit piece has the body style of his Type b goblet (fig. 239), mid 7th-early 6th centuries bce, but the stem is analogous to his Type 2e chalice stem (fig. 144), 600-550 bce. See also G. Camporeale 1972: 44, 99 pl. XXXVIa, 600-550 bce. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1. R. D. De Puma 1971: 25 no. 40.

Plate 85. View of rim impressed decoration, Etruscan Bucchero Thymiaterion 61.114 (Cat. No. 80); Photograph Courtesy of the DIA.

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Cat. No. 81 Etruscan Bucchero Chalice 625-550 bce Pottery; Height 15.2 cm.; Diameter at rim 14 cm. Gift of the Estate of Sarah and Ferdinand Cinelli 2003.55 The vessel is almost complete except for a missing triangular section of the foot. Bucchero chalice with straight-sided carinated bowl, a hollow stem, and a flaring foot. The decoration consists of three incised grooves around the cup exterior, eleven impressed closed right-facing fans above the grooves, a diamond notched moulding at the carination, and a raised ring encircling the upper stem. The diamond notched decoration is apparently derived from ivory chalices (cf. F. Cap-

poni et al. 2006: 27 ns. 112-113, 215) while the impressed fan motif may have been introduced from metal chalices (cf. T. Rasmussen 1979: 130-131) and is thought to symbolize fertility or life (cf. F. Capponi et al. 24 n. 88). For examples with similar shapes, decoration, and fabrics, see T. Rasmussen 98-99, Type 2d chalice, 625-550 bce. The DIA chalice is very similar to his Type 2d chalice with notched carination, impressed fan designs, and ring stem. See also P. Perkins 2007: 28 no. 79, Inv. GR1906.I-II.2, 625-550 bce, from a tomb near Rome, made in Southern Etruria, 28 no. 80, Inv. GR1906.I-II.3, 625-550 bce, from a tomb near Rome, made in Southern Etruria. For a discussion of the possible function of bucchero chalices as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74).

etruscan, cat. no. 

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Plate 86. General view, Etruscan Bucchero Chalice 2003.55 (Cat. No. 81); Photograph Courtesy of the DIA.

146

ceramic – pottery

Cat. No. 82 Etruscan Bucchero Chalice 625-550 bce Pottery; Height 13 cm.; Diameter at rim 15.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 3308), purchased in 1880 (cf. M. Cristofani 1977b: 237 n. 2); from Pescia Romana (cf. ibid. 235-239), according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.113 The vessel is almost complete. There are several chips in the edge of the foot. The stem has apparently been recently reattached to the bowl with restoration at the juncture from the bottom of the bowl down to the stem’s lower ring. The restoration was made prior to DIA acquisition. The stem and bowl presumably belong together. Bucchero chalice with a straight-sided carinated bowl, a hollow stem, and a separate flaring foot which fits into the restored concave bottom of the stem’s restored upper ring. The intact decoration consists of three incised grooves around the cup exterior, a plain moulding at the carination, and the lower ring which encircles the stem at the restored joining point. For examples with similar shapes and fabrics, see

T. Rasmussen 1979: 98-99, 190 fig. 143, 625-550 bce. The DIA chalice is very similar to his Type 2d chalice with plain carination except for the former’s double-ringed stem. A foot and double-ringed stem of nearly identical shape can be seen on a bucchero chalice in the British Museum (cf. P. Perkins 2007: 32 no. 98, Inv. GR1867.5-8.846, 590-560 bce). Perkins identifies this example as a Type 2e chalice and states that the double-ringed stem on this chalice form is, so far, unique (cf. Rasmussen 99-100 Type 2e chalice, 600-550 bce). Why the DIA chalice was restored with this particular form of double-ringed stem is unknown. A single-ringed stem would seem to be more appropriate for the DIA chalice’s Type 2d form unless this is also a, so far, unique combination or it has been inaccurately restored. For a discussion of the possible function of bucchero chalices as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

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Plate 87. General view, Etruscan Bucchero Chalice 61.113 (Cat. No. 82); Photograph Courtesy of the DIA.

148

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Cat. No. 83 Etruscan Bucchero Chalice late 7th-mid 6th centuries bce Pottery; Height 9 cm.; Diameter at rim 14.2 cm. Ex. Coll. Museo Archeologico, Florence (no. 2815), purchased in 1880 (cf. M. Cristofani 1977b: 237 n. 2); from Pescia Romana (cf. ibid. 235-239), according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.115 The vessel is almost complete. Several badly chipped portions of the rim and body have been restored, apparently recently, prior to DIA acquisition. Bucchero chalice with a straight-sided carinated body set on a low flaring foot. The decoration consists of three incised grooves which encircle the cup exterior and a diamond notched moulding at the

carination. The diamond notched decoration is apparently derived from ivory chalices (cf. F. Capponi et al. 2006: 27 nos. 112-113, 215). For examples of like shape and fabric, see B. Bosio and A. Pugnetti 1986: 23-24 nos. 22-23, late 7th-mid 6th centuries bce, from Tomb 32 at Monte Abatone; J. Hayes 1985: 74 no. C19, early 6th century bce; T. Rasmussen 1979: 100, 129, 190 fig. 147, his Type 3a chalice, late 7th-mid 6th centuries bce; B. Brady 1977: 74-75 no. 41, 575-550 bce, from Tomb 65M at Narce; N. Ramage 1970: 27, 56 fig. 18.3, her Type 4E chalice, 6th century bce. For a discussion of the possible function of bucchero chalices as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 88. General view, Etruscan Bucchero Chalice 61.115 (Cat. No. 83); Photograph Courtesy of the DIA.

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Cat. No. 84 Etruscan Bucchero Chalice 600-550 bce Pottery; Height 8.7 cm.; Diameter at rim 13.1 cm. Ex. Coll. Museo Archeologico, Florence (no. 71096), purchased in 1880 (cf. M. Cristofani 1977b: 237 n. 2); from Pescia Romana (cf. ibid. 235-239), according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.116 The vessel is intact. Bucchero chalice with a straight-sided carinated bowl set on a low flaring foot. The decoration consists of three incised grooves which encircle the cup exterior and a plain moulding at the carination. For chalices of like shape and fabric, see P. Perkins

2007: 30 no. 87, Inv. GR1838.6-8.143, 625-550 bce; F. Capponi et al. 2006: 212, 215-216 no. 189, Inv. 945, 560-550 bce; P. Tamburini 1997: 271 no. 158, first half of the 6th century bce, from the area of Vulci (?); A. Coen 1991: 7-8, 18 no. 26 pl. VIIb, no. 27 pl. VIIc, 91, 625-600 bce, from Tomba Bufolareccia 86 at Cerveteri; T. Rasmussen 1979: 100, 190 fig. 147, his Type 3a chalice, late 7th-mid 6th centuries bce; B. Brady 1977: 74-75, no. 41, 575-550 bce, from Tomb 65M at Narce; N. Ramage 1970: 27, 56 fig. 18.3, her Type 4E chalice, 6th century bce. For a discussion of the possible function of bucchero chalices as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 89. General view, Etruscan Bucchero Chalice 61.116 (Cat. No. 84); Photograph Courtesy of the DIA.

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Cat. No. 85 Etruscan Bucchero Chalice 600-550 bce Pottery; Height 13.1 cm.; Diameter at rim 14.5 cm. Ex. Coll. Museo Archeologico, Florence (no. 2910); formerly Ancient Collections, Uffizi (Gallery no. 1347), from the Granducal Collection of Tuscany (source: MANF records); made in the area of Chiusi (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.112 The vessel is restored. There are minor surface abrasions as well as small chips in the rim and base. The foot has been reattached, apparently recently, at mid stem prior to DIA acquisition. The foot and bowl presumably belong together.

Bucchero chalice with a straight-sided carinated bowl set on a high hollow stem which ends in a flaring foot. The decoration consists of a projecting ridge in the centre of the stem, a small plain moulding at the carination, and a continuous cylinderrolled frieze which encircles the bowl exterior. The frieze depicts two groups of human figures which are repeated five times: in the first, two figures are seated opposite one another on folding stools; the left figure offers a large kyathos to the right figure and they each grasp separate wheat stalks (?) in their other hand; they are flanked, on the left, by a standing female figure that holds a fillet and, on the right, by a spearcarrying soldier; in the second group, a fillet-bearing figure, on the left, stands opposite an enthroned figure holding a wheat stalk (?) in one extended hand (De Puma tentatively identifies the held object as a Nike figure); a waterfowl stands beneath the throne; flanking

Plate 90. General view, Etruscan Bucchero Chalice 61.112 (Cat. No. 85); Photograph Courtesy of the DIA.

etruscan, cat. no.  this scene are, on the left, a spear-carrying soldier and, on the right, a fillet-bearing standing female figure; a winged potnia theron figure stands at the extreme right. F. Scalia (cf. below) identifies the frieze motif on the Detroit chalice as her motif XIX Chiusine relief scene and lists other chalices with the same relief. The precise interpretation of the frieze scene is unclear. It seems to include elements of an archaic period symposion in the first group (cf. F. Capponi et al. 2006: 224-225 no. 202, Inv. 736, 600-575 bce, Chiusine production) and offering to a seated divinity in the second (cf. Capponi et al. 223-224 no. 201, Inv. 742, 600-575 bce, Chiusine production) in accordance with the tentative interpretation of similar chalice scenes. The mass-produced cylinderfrieze scenes apparently served both a decorative and socio-political function by evoking contemporary aristocratic values for customers, both upper- and middle-class, who wished to emulate

151

them (cf. Capponi et al. 25-26; G. Camporeale 2001: 416). For chalices of like shape and fabric, see F. Capponi et al. 2006: 212, 223, 226 no. 204, Inv. 740, 575 bce, Chiusine production; T. Rasmussen 1979: 99, 141, 190 fig. 144, his Type 2e chalice, 600-550 bce. He discusses the technique of cylinder frieze decoration on early bucchero ware. See also N. Ramage 1970: 26-27, 56 fig. 18.5, her Type 4D chalice. For a discussion of the possible function of bucchero chalices as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1. L. Banti 1968: 28. F. Scalia 1968: 379 no. 141. R. D. De Puma 1971: 24-25.

Plate 91. View of impressed scene, Etruscan Bucchero Chalice 61.112 (Cat. No. 85); Photograph Courtesy of the DIA.

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Cat. No. 86 Etruscan Bucchero Kyathos (Single-Handled Cup) 630-600 bce Pottery; Height to handle top 14.6 cm.; Diameter at rim 14 cm. Gift of the Estate of Sarah and Ferdinand Cinelli 2003.56 The vessel has two cracks in the body and a missing section of the rim has been restored prior to DIA acquisition. Bucchero kyathos with a curved conical bowl, curved offset lip, high biforal handle with an angular crest, and a small ring foot. A small horizontal

strut joins both handle segments at rim level. The decoration consists of two bands of three incised horizontal grooves encircling the body. For examples with similar shapes and fabrics, see P. Perkins 2007: 53 no. 207, Inv. GR1839.2-14.132, 630-600 bce, from Campanari, Caeretan manufacture (?); T. Rasmussen 1979: 115, 198 fig. 199, his Type 4a kyathos with the less common horizontal grooves, 630-600 bce. Rasmussen identifies this kyathos type as a merger between earlier native impasto kyathoi and imported Greek Protokorinthian vessels. For a discussion of bucchero kyathoi as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74).

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Plate 92. General view, Etruscan Bucchero Kyathos 2003.56 (Cat. No. 86); Photograph Courtesy of the DIA.

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Cat. No. 87 Etruscan Bucchero Kyathos (Single-Handled Cup) late 7th-mid 6th century bce Pottery; Height to handle top 16.1 cm.; Diameter at rim 17 cm. Ex. Coll. Museo Archeologico, Florence (no. 71050), purchased in 1880 (cf. M. Cristofani 1977b: 237 n. 2); from Pescia Romana (cf. ibid. 235-239), according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.121 The vessel is intact. Bucchero kyathos with a curved conical bowl, curved offset lip, high biforal handle surmounted by a flat button, and a flaring conical foot. A small horizontal strut joins both handle segments at rim level. It is undecorated.

For examples with similar shapes and fabrics, see J. M. Turfa 2005: 199 no. 202, MS 3214, 600-550 bce (?), from Orvieto; P. Tamburini 2000: 96-97, 106-108 no. 5.70, 111 pl. 15, 600-550 bce, from the area of Vulci (?); J. Hayes 1985: 79 no. C27, 580-560 bce; T. Rasmussen 1979: 115-116, 198 figs. 202-203, his extremely common Type 4b kyathos, late 7th-mid 6th centuries bce. The Detroit vessel has the same body as fig. 202 and the same handle and foot as fig. 203. See also M. Rossignani 1970: 7 no. 5, pl. 6, 600-550 bce. For a discussion of the possible function of bucchero kyathoi as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

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Plate 93. General view, Etruscan Bucchero Kyathos 61.121 (Cat. No. 87); Photograph Courtesy of the DIA.

ceramic – pottery

156 Cat. No. 88 Etruscan Bucchero Kylix (Drinking Cup) 625-575 bce

Pottery; Height 7.1 cm.; Diameter at rim 12.6 cm. Ex. Coll. Museo Archeologico, Florence (no. 71089), purchased in 1880 (cf. M. Cristofani 1977b: 237 n. 2); from Pescia Romana (cf. ibid. 235-239), according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.118

The vessel is intact. Bucchero drinking cup with a rounded conical bowl, straight-sided oblique rim, two round Ushaped handles which project horizontally from either side of the upper body, and a low flaring foot. The decoration consists of two narrow bands of incised lines which encircle the body, one at the middle and one at the bottom. For examples with very similar shapes and fab-

rics, compare P. Perkins 2007: 35 no. 112, Inv. 1839.2-14.84, 625-575 bce; P. Tamburini 2000: 96-97, 102 no. 560, 107 pl. 13, 625-575 bce, from Poggio Buco; M. Pandolfini 1992: 153 no. E 27.1, 155 fig. 363, 157 fig. 367, 174-177, 625-575 bce; B. Bosio and A. Pugnetti 1986: 28-29 no. 8, late 7thmid 6th centuries bce, from Tomb 45 at Monte Abatone; J. Hayes 1985: 80 no. C29, 620-590 bce; T. Rasmussen 1979: 119-120, 201 fig. 229, 625-575 bce, his Type 3b kylix; N. Ramage 1970: 31, 58 fig. 20.8, late 7th century bce, her Type 7D kylix; D. Frère 1997: 73 no. 11, pl. 41, late 7th-early 6th centuries bce; P. Ure 1954: 57 no. 4, pl. 38, late 7th-early 6th centuries bce; F. Pryce 1932: 16 no. 3, pl. 21. For a discussion of the possible function of bucchero kylikes as part of a Greek-style symposion “drinking set” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 94. General view, Etruscan Bucchero Kylix 61.118 (Cat. No. 88); Photograph Courtesy of the DIA.

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Cat. No. 89 Etruscan Bucchero Kantharos (Two-Handled Cup) late 7th-mid 6th centuries bce Pottery; Height to handle top 13.6 cm.; Diameter 23 cm. Ex. Coll. Museo Archeologico, Florence (no. 71094), purchased in 1880 (cf. M. Cristofani 1977b: 237 n. 2); from Pescia Romana (cf. ibid. 235-239), according to the dealer (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.119 The vessel is restored. There are minor restorations, apparently recent, along the few large cracks in the body which were made prior to DIA acquisition. Bucchero kantharos with a straight-sided shallow carinated bowl, two high looped strap handles, and a low flaring foot. The decoration consists of a diamond notched moulding at the carination and a narrow band of three lightly incised lines which encircle the body just below the rim. The diamond notched decoration is apparently derived from ivory kantharoi (cf. F. Capponi et al. 2006: 27 ns. 112113, 196).

For examples of identical shape and fabric, see P. Perkins 2007: 48-49 no. 182, Inv. GR1977.9-7.14, 625-550 bce; J. Berkin 2003: 25-26, 33-35 no. 9, 108-109, 113-114, fig. 11, pl. 4, late 7th-early 6th centuries bce, from Stratum 2 of the Lower Building at Murlo; A. M. Moretti Sgubini 2001: 187, 207, 213-214 no. III.B.3.18, late 7th-mid 6th centuries bce, from Tomba 167 degli scavi Hercle at Osteria; B. Bosio and A. Pugnetti 1986: 30 no. 16, late 7th-mid 6th centuries bce, from Tomb 45 at Monte Abatone; R. De Puma 1986: 44-46 nos. VC 29-35, pl. 13a, late 7th-mid 6th centuries bce, from a chamber tomb at Vulci; J. Hayes 1985: 75, 77 no. C22, early 6th century bce; T. Rasmussen 1979: 105-106, 129, 194 fig. 169, his extremely common Type 3e kantharos, late 7th-mid 6th centuries bce; N. Ramage 1970: 29, 57 fig. 19.4, her Type 5D kantharos; M. Rossignani 1970: 7 no. 2, pl. 6, late 7th-early 6th centuries bce. For a discussion of the possible function of bucchero kantharoi as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 95. General view, Etruscan Bucchero Kantharos 61.119 (Cat. No. 89); Photograph Courtesy of the DIA.

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Cat. No. 90 Etruscan Bucchero Kantharos (Two-Handled Cup) 575-500 bce Pottery; Height to handle top 9.8 cm.; Diameter 18.3 cm. Ex. Coll. Museo Archeologico, Florence (no. 92028). Gift of The Etruscan Foundation, Inc., Detroit 61.120 The vessel is reconstructed with two large restored portions, apparently recent, in the sides of the bowl. The restorations were made prior to DIA acquisition. Grey/black bucchero kantharos with a straightsided shallow carinated bowl, two high looped strap handles, and a low ring base. It is undecorated.

For examples of identical shape and fabric, see P. Perkins 2007: 49-50 no. 188, Inv. GR1814.7-4.458, 550-500 bce; A. M. Moretti Sgubini 2001: 187, 217-218 no. III.B.5.3, mid 6th century bce, from Tomb B/1998 of the Osteria nekropolis at Vulci; T. Rasmussen 1979: 108, 195 fig. 177, his rare Type 3i kantharos, 575-500 bce; I. Junker et al. 1991: 189 no. 243, 6th century bce; F. Pryce 1932: 18 nos. 20, 24, pl. 23. For a discussion of the possible function of bucchero kantharoi as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 96. General view, Etruscan Bucchero Kantharos 61.120 (Cat. No. 90); Photograph Courtesy of the DIA.

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Cat. No. 91 Etruscan Bucchero Kantharos (Two-Handled Cup) late 7th-mid 6th centuries bce Pottery; Height to handle top 10.2 cm.; Diameter 19.5 cm. Bequest of Robert H. Tannahill F70.46 The vessel is intact except for a missing fragment of the foot and two small chips in the rim. Bucchero kantharos with straight-sided shallow carinated bowl, two high looped strap handles, and a low trumpet-shaped stem with foot. The decoration consists of a hook or arch notched moulding at the carination and a narrow band of three lightly incised lines which encircle the body just below the rim. The notched decoration is a crude version of the diamond notched decoration apparently derived

from ivory kantharoi (cf. F. Capponi et al. 2006: 27 ns. 112-113, 196). For examples of identical shape and fabric, see P. Perkins 2007: 48-49 no. 182, Inv. GR1977.9-7.14, 625-550 bce; F. Capponi et al. 2006: 193, 196-197 no. 168, Inv. 992, 600-575 bce; P. Tamburini 1997: 245 no. 134, 246 no. 135, late 7th-mid 6th centuries bce; T. Rasmussen 1979: 105-106, 129, 194 fig. 169, his extremely common Type 3e kantharos, late 7thmid 6th centuries bce; N. Ramage 1970: 28-29, 57 fig. 19.5, her very common Type 5B kantharos. For a discussion of the possible function of bucchero kantharoi as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 4/28/70 J. P. Henshaw 1995: 115.

Plate 97. General view, Etruscan Bucchero Kantharos F70.46 (Cat. No. 91); Photograph Courtesy of the DIA.

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Cat. No. 92 Etruscan Bucchero Compote (Stemmed Plate) or Thymiaterion (Incense Burner) 560-500 bce Pottery; Height 20.2 cm.; Diameter of dish 26.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 3104); probably made in the area of Chiusi (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.108

The vessel is reconstructed with small patches of restoration, apparently recent, throughout. The restorations were made prior to DIA acquisition. Bucchero compote or thymiaterion with a shallow conical dish, raised vertical lip, and a high stemmed foot with a trumpet-shaped base. The decoration consists of four pierced, horizontal lugs each with five vertical grooves evenly spaced around the lip, four projecting buttons which alternate with the lugs, two horizontal grooves around the lip, and a large rounded bulge which is bordered by torus mouldings at mid stem.

The precise function of this plate is unclear. Bucchero plates of similar form and size have been tentatively identified by some scholars as receptacles for ritual offerings of food or for burning offerings (cf. F. Capponi et al. 2006: 321, 324-328, Type 1.B Thymiateria). For examples with similar shapes and fabrics, see F. Capponi et al. 2006: 328 no. 371, Inv. 682, mid 6th century bce, Chiusine production. The bowl shape and stem moulding are very similar to those of the Detroit piece. See also R. D. De Puma 1986: 65-67 no. CA 13, pl. 22b, 6th century bce, from Chiusi. The bowl shape and stem moulding are very similar to those of the Detroit piece. See also J. Hayes 1985: 106 nos. C84-C127, C85, 550-500 bce. The bowl shapes are similar to that of the Detroit example. See also R. D. De Puma 1971: 22, no. 34, 6th century bce. This piece has the same type of lug decoration as the Detroit piece. See also L. Donati 1968: 319-324, 329, 346-349, nos. 56, 231, 248, pls. LXXVb, LXXXVIIIf-g, 550-500 bce. These examples have similarly shaped bowls. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

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Plate 98. General view, Etruscan Bucchero Compote 61.108 (Cat. No. 92); Photograph Courtesy of the DIA.

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Cat. No. 93 Etruscan Bucchero Pesante Oinokhoe (Pitcher) mid 6th-early 5th centuries bce Pottery; Height 29.6 cm.: Diameter 17.1 cm. Ex. Coll. Museo Archeologico, Florence (no. 2949); probably made in the area of Chiusi (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.106

The vessel is almost complete. There is a small restored chip, apparently recent, in the base. The restoration was made prior to DIA acquisition. Bucchero trefoil pitcher with a globular body, tall flaring neck, strap handle, and a low ring foot. The vase is decorated with a band of moulded vertical tongues in relief on the shoulder, a single raised ring encircling the neck, three raised rings encircling the upper body, and an indistinct figure, possibly feline, in relief on the exterior of the strap handle.

For examples with similar shapes and fabrics, see F. Capponi et al. 2006: 97, 112-113 no. 75, Inv. 923, 575-550 bce, from the Crocifisso del Tufo nekropolis at Orvieto, Chiusine production. S. Ortenzi suggests that this type of oinokhoe with only limited stamped decoration [and no chthonic-influenced animal friezes which are found on some bucchero pesante oinokhoai, cf. 21 n. 63, 112 no. 74, 117] was therefore suitable for domestic as well as funerary use. See also G. Camporeale 1972: 77-80 no. 52, pl. XVIIa, mid 6th-early 5th centuries bce. He also discusses the chronology of this oinokhoe type. See also M. Rossignani 1970: p. 6 no. 10, pl. 4, 550-500 bce, thought to be Chiusine production. For a discussion of the possible function of bucchero oinokhoai as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

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Plate 99. General view, Etruscan Bucchero Pesante Oinokhoe 61.106 (Cat. No. 93); Photograph Courtesy of the DIA.

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Cat. No. 94 Etruscan Bucchero Pesante Oinokhoe (Pitcher) mid 6th-early 5th centuries bce Pottery; Height 30.6 cm.; Diameter of body 20.3 cm. Ex. Coll. Museo Archeologico, Florence (no. 2955); probably made in the area of Chiusi (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.107 The vessel is almost complete. There are small restored chips, apparently recent, on the base and both rotelles. The restorations were made prior to DIA acquisition. Most of the surface finish has been abraded, perhaps by water. Dark grey bucchero trefoil pitcher with a globular body, tall flaring neck, cylindrical handle, and a low ring foot. The decoration consists of rotelles with stamped feline protomes, horizontal ridges along the rim, centre of the neck, the top and bottom of the shoulder, and a band of moulded tongues in relief which encircles the shoulder.

For oinokhoai of like shape and fabric, compare G. Camporeale 1972: 77-81 nos. 52-53 pl. XVIIa-b, mid 6th-early 5th centuries bce. Camporeale provides a bibliography for this vessel type. See also P. Guzzo 1969: 295-296 nos. 27-28 pl. LXIIIc-d, 550-500 bce. See also F. Capponi et al. 2006: 97, 112-113 no. 76., Inv. 646, 575-550 bce, Chiusine production. This example is similar in shape and decoration but lacks rotelles. S. Ortenzi suggests that this type of oinokhoe with only limited stamped decoration [and no chthonic-influenced animal friezes which are found on some bucchero pesante oinokhoai, cf. 21 n. 63, 112 no. 74, 117] was therefore suitable for domestic as well as funerary use. For a discussion of the possible function of bucchero oinokhoai as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

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Plate 100. General view, Etruscan Bucchero Pesante Oinokhoe 61.107 (Cat. No. 94); Photograph Courtesy of the DIA.

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ceramic – pottery

Plate 101. General view, Etruscan Bucchero Pesante Chalice 61.110a (Cat. No. 95); Photograph Courtesy of the DIA.

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Cat. No. 95 (see also Plate 102, p. 168) Etruscan Bucchero Pesante Chalice mid 6th-early 5th centuries bce Pottery; Height 15.2 cm.; Diameter at the rim 13.4 cm. Ex. Coll. Museo Archeologico, Florence (no. 3249); probably made in the area of Chiusi (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.110a (see 61.110b [Cat. No. 96] for the lid which accompanied the gift) The vessel is reconstructed with restorations, apparently recent, at the juncture between the stem and the bowl and on small areas of the exterior surface. The restorations were made prior to DIA acquisition. The stem and bowl presumably belong together. Bucchero chalice with a deep straight-sided conical bowl set on a high flaring foot. The decoration consists of a band of incised zigzags with a raised moulding border which encircles the bowl just beneath the rim, a relief frieze around the centre portion of the bowl, two stepped mouldings (small and large) beneath the frieze, a vertical flange at the bottom of the sides, two raised rings at mid stem, and a groove which encircles the edge of the foot. The frieze consists of a recumbent panther which has been individually stamped in relief three times

around the bowl exterior. The right side of the figure is depicted in profile with the head turned to face the viewer. Facial features and body outlines have been retouched with incision in an attempt to clarify the poor modelling of the stamped images. An inverted U-shaped loop has been individually stamped in relief between each pair of felines. Each loop is flanked by two pairs of incised spiral hooks. For examples with analogous shapes and stamped designs, compare F. Capponi et al. 2006: 117, 212, 239, 251 no. 238, Inv. 749, 550-500 bce. The recumbent panther may have a chthonic significance (cf. 21 n. 63, 28-29, 117) while the loops perhaps represent stylized vegetal elements which symbolize fertility (cf. 28-29, 239). See also B. Brady 1977: 115-122, 129-130 no. 80, 203 pl. XXXVII, late 6thearly 5th centuries bce, from Chiusi. Brady also provides general information on bucchero pesante chalices and their chronology. See also G. Giglioli 1927b: Group IV Bl, pl. 5 nos. 4, 6; I. Pecchiai 1967: 491-493 nos. 9-12, pl. LXXXc-f, mid 6th-5th centuries bce, from Chiusi. For a discussion of the possible function of bucchero chalices as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see 78.65 (Cat. No. 74). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

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Plate 102. View of the relief decoration, Etruscan Bucchero Pesante Chalice 61.110a (Cat. No. 95); Photograph Courtesy of the DIA.

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Cat. No. 96 (see Plates 103–104, pp. 170–171) Etruscan Bucchero Pesante Lid mid 6th-early 5th centuries bce Pottery; Height 7.7 cm.; Diameter 11.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 3262); probably made in the area of Chiusi (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.110b (see 61.110a [Cat. No. 95] for the chalice which accompanied the gift) The lid is reconstructed with minor restorations, apparently recent, along the breaks and three small chips in the handle lip. The restorations were made prior to DIA acquisition. Bucchero dome shaped lid with a flaring hollow knob handle set on top of a bulbous ring. The decoration consists of an incised groove which encircles the top of the lid just beneath the handle, a relief frieze around the centre portion of the lid, two incised lines around the bottom of the frieze, and an incised zigzag which encircles the lid just above the lower edge. The frieze consists of a crouching lion which has been individually stamped in relief three times

around the lid exterior. The left side of the figure is depicted in profile. Portions of the facial features and outlines have been highlighted with incision, although the poorly modeled stamped images remain amorphous. Individually stamped inverted U-shaped loops alternate with the animal figures. For examples with similar shapes and stamped designs, see J. Hayes 1985: 98 no. C63, 550-500 bce, from Orvieto. This chalice has a relief scene very similar to that on the Detroit lid. See also F. Capponi et al. 2006: 117, 239 no. 225, Inv. 746, 550-500 bce. This chalice has a relief scene very similar to that on the Detroit lid. The crouching lion may have a chthonic significance (cf. 21 n. 63, 28-29, 117) while the loops perhaps represent stylized vegetal elements which symbolize fertility (cf. 28-29). See also G. Giglioli 1927b: Group IV Bl, pl. 5 nos. 4, 6; I. Pecchiai 1967: 492-493 no. 12, pl. LXXXf, mid 6th-5th centuries bce, from Chiusi. For general information on bucchero pesante chalices and their chronology, see B. Brady 1977: 115-122. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

170

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Plate 103. View of the relief decoration, Etruscan Bucchero Pesante Lid 61.110b (Cat. No. 96); Photograph Courtesy of the DIA.

etruscan, cat. no. 

171

Plate 104. View of the top, Etruscan Bucchero Pesante Lid 61.110b (Cat. No. 96); Photograph Courtesy of the DIA.

172

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Cat. No. 97 Etruscan Bucchero Pesante Stand mid 6th-early 5th centuries bce Pottery; Height 12.8 cm.; Width 12 cm.; Length 19.6 cm. Ex. Coll. Museo Archeologico, Florence (no. 3071); formerly Ancient Collections, Uffizi (Gallery no. 1704), from the Granducal Collection of Tuscany (source: MANF records); probably made in the area of Chiusi (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.109 The stand is reconstructed. Part of the body has been restored, apparently recently, prior to DIA acquisition. Bucchero stand with a horizontal semi-cylindrical body which is supported by a tall flaring foot. The

decoration consists of two rows of four alternating droplet-shaped cutouts which pierce the body along either side, four stylized rams’ head protomes which project from the upper corners, four biconical knobs which project from the centres of each edge, and incised grooves which frame each group of two holes with rectangular borders on the exterior surface. The rim of the foot is encircled by a single groove. For bucchero examples with very similar shapes, see G. Camporeale 1972: 73-77 no. 51, pl. XVId, 550-475 bce. Camporeale provides a general discussion of this shape in bucchero. See also L. Donati 1968: 329, pl. LXXVa; J. M. Turfa 2005: 203 no. 207, MS 2500, mid-6th century bce, from Orvieto. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 105. General view, Etruscan Bucchero Pesante Stand 61.109 (Cat. No. 97); Photograph Courtesy of the DIA.

etruscan, cat. nos. –

173

Cat. No. 98 Etruscan Grey Bucchero Two-Handled Jar 550-500 bce Pottery; Height 7.7 cm.; Diameter to handle tips 13.3 cm.; Diameter of the circular hole in the bottom 1.3 cm. Said to be from Perugia, according to the donor (source: DIA records); probably made in the area of Orvieto (cf. below). Gift of Miss Clara Avery 1988.83 The vessel is intact except for a circular hole which has been neatly punched through the centre of its bottom. The surface is incrusted with thin patches of light brown dirt, presumably from its original context. The cup has a globular body with a flaring rim, a flat base, and two horizontal handles which project at a slight upward angle from the middle of the body. It is undecorated. Vessels with similar perforations have been found in both tombs and sanctuaries where they served as receptacles for liquid offerings. The libations

were intended to filter through the vessel holes and onto the graves, altars, or sacred areas beneath (cf. I. Krauskopf and L. Vuono 2005: 192-193; G. Oikonomos 1921: 22ff., 42-43; S. Walker 1985: 1011, 52). The Detroit cup may have been modified to fulfill a similar function. The location of the hole and the precision with which it was made support this interpretation rather than attributing it to the intentional breaking of grave goods as part of a funerary votive ritual (cf. J. M. Turfa 2006: 95 n. 58; R. Merrifield 1988: 71, 188). For examples of similar shape and fabric, see J. Hayes 1985: 47 no. B29, 550-500 bce, from Civita Castellana; G. Camporeale 1972: 124-127, no. 136 fig. 59, 550-500 bce. For grey bucchero vessels found in votive contexts, see J. Gran-Aymerich 1997: 123-136. For a general discussion of grey bucchero development, see F. Capponi et al. 2006: 16-18, 22-23. Capponi notes that the production of grey bucchero pottery was centred around Orvieto. See also T. Rasmussen 1979: 3. Minutes of the Arts Commission, DIA. 10/26/88

Plate 106. General view, Etruscan Grey Bucchero Two-Handled Jar 1988.83 (Cat. No. 98); Photograph Courtesy of the DIA.

174

ceramic – pottery

Cat. No. 99 Etruscan Grey Bucchero Ciotola (Bowl) mid 6th-5th centuries bce Pottery; Height 5.8 cm.; Diameter of body 11.8 cm. Said to be from Perugia, according to the donor (source: DIA records); probably made in the area of Orvieto (cf. below). Gift of Miss Clara Avery 1988.80

The vessel is intact. The surface is incrusted with thin patches of light brown dirt, presumably from its original context.

The bowl has a wide-bodied shallow dish with a slightly constricted rim and is set on a short trumpet-shaped foot. It is undecorated. For bowls of like shape and fabric, see F. Capponi et al. 2006: 280, 283 no. 298, Inv. 3568, mid 6th-5th centuries bce, probably produced in the Orvietan area. Capponi identifies this vessel type as utilitarian ware. See also M. Del Chiaro 1976: 14, 30, 45, fig. 10, from Storage Rooms A and B at Ghiaccio Forte; M. Pandolfini 1992: 165-167 no. E 50.10, 168 fig. 378, 174-177, late 6th-5th centuries bce; G. Camporeale 1972: 110-111, nos. 93-94, from Orvieto. For a general discussion of grey bucchero development, see 1988.83 (Cat. No. 98). Minutes of the Arts Commission, DIA. 10/26/88

Plate 107. General view, Etruscan Grey Bucchero Ciotola 1988.80 (Cat. No. 99); Photograph Courtesy of the DIA.

etruscan, cat. nos. –

175

Cat. No. 100 Etruscan Grey Bucchero Ciotola (Bowl) mid 6th-5th centuries bce Pottery; Height 3.9 cm.; Diameter of body 10.2 cm. Said to be from Perugia, according to the donor (source: DIA records); probably made in the area of Orvieto (cf. below). Gift of Miss Clara Avery 1988.81 The vessel is intact. The surface contains trace patches of light brown dirt, presumably from its original context.

The bowl has a wide-bodied shallow dish with a slightly constricted rim and is set on a short ring base. It is undecorated. For examples with similar shapes and fabrics, see G. Bulgarelli 2003: 211-212 no. 2 Fig. 6.12, Cup Grey Bucchero Type 1, late 6th-mid 5th centuries bce, from Volterra; M. Del Chiaro 1976: 14, 30, 44, fig. 9, from Storage Rooms A and B at Ghiaccio Forte. Del Chiaro identifies these bowls as utilitarian ware. See also G. Camporeale 1972: 117, 120, nos. 108, 115-116, from Orvieto. For a general discussion of grey bucchero development, see 1988.83 (Cat. No. 98). Minutes of the Arts Commission, DIA. 10/26/88

Plate 108. General view, Etruscan Grey Bucchero Ciotola 1988.81 (Cat. No. 100); Photograph Courtesy of the DIA.

176

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Cat. No. 101 Etruscan Grey Bucchero Bowl mid 6th-5th centuries bce Pottery; Height 3 cm.; Diameter of body 8.7 cm. Said to be from Perugia, according to the donor (source: DIA records); probably made in the area of Orvieto (cf. below). Gift of Miss Clara Avery 1988.82 The vessel is intact except for a small chip in the edge of the base. The surface is incrusted with thin patches of light brown dirt, presumably from its

original context. The bowl has a wide-bodied shallow dish with a slightly constricted rim and is set on a solid base. It is undecorated. For similarly shaped bowls of the same fabric, compare F. Capponi et al. 2006: 280, 282 no. 297, Inv. 2240, 550-525 bce, Orvietan production; G. Camporeale 1972: 122, no. 123, from Orvieto. For a general discussion of grey bucchero development, see 1988.83 (Cat. No. 98). Minutes of the Arts Commission, DIA. 10/26/88

Plate 109. General view, Etruscan Grey Bucchero Bowl 1988.82 (Cat. No. 101); Photograph Courtesy of the DIA.

etruscan-geometric, cat. nos. –

177

Cat. No. 102 Etrusco-Geometric Kylix (Drinking Cup) 650-600 bce Painted pottery; Height 5.5 cm.; Diameter to handle tips 13.6 cm. Ex. Coll. Museo Archeologico, Florence (no. 92035). Gift of The Etruscan Foundation, Inc., Detroit 61.131 The vessel is intact except for numerous abrasions on the interior and exterior surfaces. Drinking cup with a shallow lipless bowl, two U-handles mounted horizontally at the rim, and a low ring foot. The painted decoration consists of a dark brown interior, two thick orange bands which encircle the upper exterior surface, two pairs

of thin orange-to-dark brown lines around the lower exterior with a row of dots in between, and a dark brown foot. For examples of like shape and fabric, see E. Mangani 1986: 28 no. 2 pl. 36, Inv. 24247, from Poggio Buco; F. Canciani 1974: 49 no. 5, pl. 36, 650-600 bce. For a general description of Italo-Geometric pottery and its decoration, see P. Gierow 1969: 292-298; F. Gaultier 2001: 422-423. For a discussion of the possible function of Etruscan imitations of Greek painted kylikes as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see M. Torelli 2001: 145-149; F. Colivicchi 2001b: 597-598. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 110. General view, Etrusco-Geometric Kylix 61.131 (Cat. No. 102); Photograph Courtesy of the DIA.

178

ceramic – pottery

Cat. No. 103 Etrusco-Korinthian Oinokhoe (Pitcher) late 7th-mid 6th centuries bce Painted pottery; Height to handle top 20.1 cm.; Diameter of body 12.6 cm. Ex. Coll. Museo Archeologico, Florence (no. 92049); possibly made in the area of Vulci (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.127 There is a large chip in the foot and the entire front of the spout has been lost, although a partial restoration, apparently recent, of the latter still remains. The restoration was made prior to DIA acquisition. Buff oinokhoe with a piriform body, tapering neck, high ribbon handle, and a wide two-stage foot. This unusually-shaped vessel probably had a trefoil lip originally. The painted decoration consists of a wide black-to-orange band encircling the base of the neck, an unpainted band with four evenly spaced groups of black-to-orange vertical lines beneath the neck, a red/buff/black-to-orange/red/black-toorange/buff/red series of bands around the belly, and a black-to-orange band above the foot.

For examples with similar shapes, fabrics, or designs, see V. Bellelli 2007: 20-22 fig. 15, Oinokhoe with bands, from Pitigliano (cf. E. Mangani 1986: 12 no. 1, pl. 9, late 7th-mid 6th centuries bce, Vulcian production); M. Cristofani 1981: 242-243 no. 225 (cf. A. M. Bietti Sestieri 1992b: 536-537, 870-871 no. 13, fig. 3c.107, 630/620-580 bce, from Tomba a camera 62 in the Necropoli di Osteria dell’Osa at Vulci); A. Busing-Kolbe 1977: p. 56 no. 2, pl. 25, 600-550 bce. For a concise outline of Etrusco-Korinthian vasepainting, see D. A. Amyx 1988: 685-700. Amyx notes that Korinthian oinokhoe shapes were frequently changed to suit local Etruscan taste. This perhaps accounts for the unusual shape of the Detroit oinokhoe. For a discussion of the possible function of Etruscan imitations of Greek painted oinokhoai as part of a Greek-style symposion “drinking kit” for domestic and funerary usage, see M. Torelli 2001: 145-155; F. Colivicchi 2001b: 597-598; J. Berkin 2003: 119-129; S. Haynes 2000: 61-62, 96-99. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

etruscan-korinthian, cat. no. 

179

Plate 111. General view, Etrusco-Korinthian Oinokhoe 61.127 (Cat. No. 103); Photograph Courtesy of the DIA.

180

ceramic – pottery

Plate 112. General view, Etrusco-Korinthian Alabastron 37.49 (Cat. No. 104); Photograph Courtesy of the DIA.

etrusco-korinthian, cat. no. 

181

Cat. No. 104 (see also Plate 113, p. 182) Etrusco-Korinthian Alabastron (Perfume Vessel) 575-550 bce Painted pottery; Height 14.6 cm.; Diameter 7.3 cm. Probably made in the area of Vulci. Gift of Mrs. Lillian Henkel Haass 37.49 The vessel is intact. Buff alabastron with an ovoid body, projecting flat rim, and a small vertical handle which extends from the shoulder to the rim. The painted decoration consists of bands of dark brown rays around the top of the rim and the upper neck, two crudelyrendered dark brown confronted roaring lions with red necks encircling the body, and black-to-orange incised rosettes scattered between them.

J. G. Szilágyi attributes the Detroit alabastron to the Circle of the Painter of Hercules, a group of “third generation” Etrusco-Korinthian vase-painters close to the Painter of Hercules whose style is associated with the Vulcian school (cf. Szilágyi below; Szilágyi 1968: 8-16). The Detroit alabastron also falls into H. Payne’s “incised-rosette” category of EtruscoKorinthian vases (cf. H. Payne 1932: 206ff.). For a concise outline of Etrusco-Korinthian vasepainting and the Painter of Hercules’ role in its development, see D. A. Amyx 1988: 685-700. For a discussion of the Etruscan adoption and emulation of Greek scented oils along with their ceramic containers, see D. Frère 2007: 41-64; M. Torelli 2001: 146-147; S. Haynes 2000: 60-61; M. Caillault et al. 2007: 225-237. Minutes of the Arts Commission, DIA. 3/15/37 J. G. Szilágyi 1998: 323-327 no. 42.

182

ceramic – pottery

Plate 113. Front view, Etrusco-Korinthian Alabastron 37.49 (Cat. No. 104); Photograph Courtesy of the DIA.

etrusco-korinthian, cat. nos. –

183

Cat. No. 105 (see Plate 114, p. 184) Etrusco-Korinthian Alabastron (Perfume Vessel) late 7th-early 6th centuries bce Painted pottery; Height 10 cm.; Diameter of body 5.1 cm. Ex. Coll. Museo Archeologico, Florence (no. 92046). Gift of The Etruscan Foundation, Inc., Detroit 61.124 The vessel is almost intact. Much of the paint has peeled off. The buff alabastron has an ovoid body, a wide flat rim, and a small rounded handle which runs from the neck to the edge of the rim. The black painted decoration consists of a series of rays around the upper body and a central frieze which depicts three

crudely stylized felines who walk to the right. The frieze is bordered by wide bands. For examples of like shape and fabric as well as similar painted designs, see P. Mingazzini 1969: 9-10 no. 1, pl. 7; W. Muller 1959: 34 no. 4, pl. 24; G. Matteucig 1951: 47 no. 27, 62, pl. XIX 11, first half of the 6th century bce, from Tomb G in the Necropolis of Statonia at Poggio Buco. For a concise outline of Etrusco-Korinthian vasepainting, see D. A. Amyx 1988: 685-700; V. Bellelli 2007: 9-26. For a discussion of the Etruscan adoption and emulation of Greek scented oils along with their ceramic containers, see 37.49 (Cat. No. 104). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

184

ceramic – pottery

Plate 114. General view, Etrusco-Korinthian Alabastron 61.124 (Cat. No. 105); Photograph Courtesy of the DIA.

etrusco-korinthian, cat. nos. –

185

Cat. No. 106 Etrusco-Korinthian Alabastron (Perfume Vessel) late 7th-early 6th centuries bce Painted pottery; Height 7.8 cm.; Diameter of body 4.3 cm. Ex. Coll. Museo Archeologico, Florence (no. 92045). Gift of The Etruscan Foundation, Inc., Detroit 61.125 The vessel is intact. The buff alabastron has an ovoid body, a wide flat rim, and a small rounded handle which runs from the neck to the edge of the rim. The painted decoration consists of alternating black-red-black bands on the top of the rim, a black band around the rim, a series of black rays encircling the neck, and a frieze of black dots around the centre of the body with alternating black-red with dots-black bands above and below. For examples with identical shapes, fabrics, and painted designs, see V. Bellelli 2001: 16, 29-35 nos. 20-21 figs. 4c-d, pl. IIId-e, late 7th-early 6th centuries bce, from Cumae; A. Coen 1991: 30-32, 39 no. 31 pl. XXXIa, no. 32 pl. XXXIb, 116-117, 625-600 bce, from Tomba Monte Abatone 123 at Cerveteri; B. Bosio and A. Pugnetti 1986: 82 no. 99, late 7th-early 6th centuries bce, from Tomba Monte Abatone 90 at Cerveteri; D. Frère 1997: 58 no. 1, pl. 36, mid 7th-early 6th centuries bce, from the Campana Collection; E. Moignard 1997: 44 no. 2, pl. 51, 600-550 bce; J. G. Szilágyi 1981: 42-43 nos. 1, 3-4, pl. 12, 600-550 bce; F. Palange 1970: 5 nos. 1-2, pl. 5, 600-550 bce; E. Rohde 1964: 23 no. 2, pl. 13, late 7th-early 6th centuries bce; O. TouchefeuMeynier 1969: 23 no. 7, pl. 19. For a concise outline of Etrusco-Korinthian vasepainting, see 61.124 (Cat. No. 103). For a discussion of the Etruscan adoption and emulation of Greek scented oils along with their ceramic containers, see 37.49 (Cat. No. 104). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 115. General view, Etrusco-Korinthian Alabastron 61.125 (Cat. No. 106); Photograph Courtesy of the DIA.

186

ceramic – pottery

Cat. No. 107 Etrusco-Korinthian Round Aryballos (Perfume Vessel) late 7th-early 6th centuries bce Painted pottery; Height 7.3 cm.; Diameter of body 7.2 cm. Ex. Coll. Museo Archeologico, Florence (no. 92408). Gift of The Etruscan Foundation, Inc., Detroit 61.126 The vessel is intact except for a large chip in the rim and minor surface abrasion. The buff aryballos has a globular body, short neck, wide flat rim, and ribbon handle which extends from the shoulder to the rim. The dark brown painted decoration consists of a circle around the top of the rim and along the rim edge, a band of rays around the upper body, and three bands of varying thickness which encircle the body. For aryballoi with the same shape and fabric as well as similar painted designs, see V. Bellelli 2001: 15-16, 27 fig. 1b, 29 no. 17, pl. IIIa, late 7th-early 6th

centuries bce, from Cumae. Bellelli identifies this vessel as an Etruscan imitation of a Type B2 Early Korinthian aryballos (cf. H. Payne 1932: 287 fig. 125). See also E. Mangani 1985: 78-79 no. 57, fig. 3.57, late 7th-early 6th centuries bce, from Murlo. Mangani describes this vessel as an Etruscan imitation of a Type B2 Early Korinthian aryballos (cf. H. Payne 1932: 287 fig. 125). See also W. Muller 1959: 39 no. 4, pl. 31, 625-600 bce. Muller describes this example as an Italic copy of the Early Korinthian style. See also G. Matteucig 1951: 47 no. 22, 62, pl. XIX 7, 600-550 bce, from Tomb G in the Necropolis of Statonia at Poggio Buco. For a concise outline of Etrusco-Korinthian vasepainting, see 61.124 (Cat. No. 103). For a discussion of the Etruscan adoption and emulation of Greek scented oils along with their ceramic containers, see 37.49 (Cat. No. 104). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

etrusco-korinthian, cat. no. 

187

Plate 116. General view, Etrusco-Korinthian Aryballos 61.126 (Cat. No. 107); Photograph Courtesy of the DIA.

188

ceramic – pottery

Cat. No. 108

Cat. No. 109

Etrusco-Korinthian

Etrusco-Korinthian

Piriform Aryballos (Perfume Vessel) late 7th-mid 6th centuries bce

Piriform Aryballos (Perfume Vessel) late 7th-early 6th centuries bce

Painted pottery; Height 10 cm.; Diameter of body 5.3 cm.

Painted pottery; Height 7.69 cm.; Diameter of body 3.9 cm.

Gift of Mrs. Florence Maiullo Barnes 70.974

Gift of Mrs. Florence Maiullo Barnes 70.975

The vessel is almost intact. Much of the paint has peeled off. Buff piriform aryballos with a projecting flat rim, a ribbon handle which extends from the shoulder to the rim edge, and a narrow rimmed foot. The painted decoration consists of a purple band around the top of the rim, a black band around the rim edge, three black bands along the handle exterior, a series of black rays encircling the shoulder, and six body bands of the following colour sequence, purple-black-purple-black-black-black. For examples of like shape and fabric as well as similar painted designs, see A. Cherici 1988: 123-124 no. 112, pl. LXXc, late 7th century bce; G. Matteucig 1951: 42 no. 35, 61-62, pl. XVI 16, late 7th-early 6th centuries bce, from Tomb F in the Necropolis of Statonia at Poggio Buco; W. Lamb 1930: 12 no. 28, pl. 4, late 7th-6th centuries bce; O. TouchefeuMeynier 1969: 24 no. 14, pl. 19. For a concise outline of Etrusco-Korinthian vasepainting, see 61.124 (Cat. No. 103). For a discussion of the Etruscan adoption and emulation of Greek scented oils along with their ceramic containers, see 37.49 (Cat. No. 104).

Most of the rim is missing and sections of the paint have peeled off. Buff piriform aryballos with a protruding flat rim, a ribbon handle which extends from the shoulder to the rim edge, and a narrow rimmed foot. The black painted decoration consists of a band around the lower neck, two bands along the handle exterior, a series of rays encircling the shoulder, a thin band beneath the rays, a bordered frieze which depicts two crudely stylized felines or dogs who walk to the right separated by two dot rosettes, and a wide band around the lower body. For examples of like shape and fabric, see A. Greifenhagen 1958: 52 no. 5, pl. 40, late 7thearly 6th centuries bce, from Vulci; P. Mingazzini 1969: 7 no. 8, pl. 5, late 7th-early 6th centuries bce; H. Payne 1932: 206ff. The Detroit aryballos falls into Payne’s “dot-rosette” category of EtruscoKorinthian vases. For a concise outline of Etrusco-Korinthian vasepainting, see 61.124 (Cat. No. 103). For a discussion of the Etruscan adoption and emulation of Greek scented oils along with their ceramic containers, see 37.49 (Cat. No. 104).

Minutes of the Arts Commission, DIA. 1/12/71

Minutes of the Arts Commission, DIA. 1/12/71

etrusco-korinthian, cat. nos. –

189

Plate 117. General view, Etrusco-Korinthian Aryballos 70.974 (Cat. No. 108)(left); General view, Etrusco-Korinthian Aryballos 70.975 (Cat. No. 109) (right); Photograph Courtesy of the DIA.

190

ceramic – pottery

Cat. No. 110 Etrusco-Korinthian Round Aryballos (Perfume Vessel) 570-550 bce Painted pottery; Height 14 cm.; Diameter of body 12.3 cm. Ex. Coll. Gotha Museum, Gotha, Germany (no. 13); probably made in the area of Vulci (cf. below). City of Detroit purchase 24.174 The vessel is intact except for some minor peeling of the paint. Buff globular aryballos with a short neck, wide flat rim, and a ribbon handle which extends from the shoulder to the rim edge. The brown painted decoration consists of two bands around the top of the rim, two bands around the rim edge, two

bands alone the handle exterior, a series of rays encircling the shoulder, and a double-line bordered frieze which depicts two stylized confronted lions with a large waterbird and rosettes interspersed throughout. J. G. Szilágyi attributes the Detroit aryballos to the Bobuda Painter, a “third generation” EtruscoKorinthian vase-painter whose style is associated with the Vulcian school (cf. Szilágyi below). For a concise outline of Etrusco-Korinthian vase-painting and the Bobuda Painter’s role in its development, see D. A. Amyx 1988:. 685-700. For a discussion of the Etruscan adoption and emulation of Greek scented oils along with their ceramic containers, see 37.49 (Cat. No. 104). Minutes of the Arts Commission, DIA. 2/25/24 J. G. Szilágyi 1998: 545-550 no. 23.

etrusco-korinthian, cat. no. 

191

Plate 118. General view, Etrusco-Korinthian Aryballos 24.174 (Cat. No. 110); Photograph Courtesy of the DIA.

192

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Cat. No. 111 (see also Plates 120–121, pp. 194–195) Etruscan Black-Figure Neck Amphora The Micali Painter late 6th century bce Painted and incised pottery; Height 44.6 cm.; Diameter (max.) 27.5 cm. Ex. Coll. C. and E. Canessa, Naples; made in the area of Vulci (cf. below). City of Detroit Purchase 27.281 Repairs, apparently recent, are visible over the entire surface of the vessel. Most appear as thin fracture lines with only minor refilling and repainting. There are also a few larger patches of restoration on the neck and lower body. The restorations were made prior to DIA acquisition. Neck amphora with a piriform body, an echinus lip, two tripartite ribbon handles, and a low twostage foot. This shape is typical of the amphorae decorated by the Micali Painter (cf. N. Spivey 1987: 69-70). The neck, handles, lower third of the body, and foot are black. The upper body is decorated with a continuous black-figure scene set on a thin groundline raised above the black base. The scene depicts five female figures moving to the left. All of the figures wear full length chitons and round caps. A semi-circular mass of hair with incised strands curving up to a point exits from beneath each cap and flows to the rear as an indication of forward motion. The loose folds of the chitons, delineated by curved incised lines, also flow to the rear as a further indication of the figures’ speed. Four figures have wings springing from their hips that mirror the rearward vertical curvature of the hair. The feathers of the wings are depicted by a combination of multiple incised hooks and cross-hatched bars along the outer edges which are characteristic traits of this artist (cf. N. Spivey 1987: 55-59). All five figures have exaggerated body proportions, particularly oversized hands and feet, that are occasionally encountered in Late Archaic Etruscan art, especially tomb paintings (cf. N. Spivey 1987: 89-94 for stylistic connections). There is a single lotus stalk with two buds, also exaggerated, rising from the ground in front of each figure in order to break up the flow of the scene (cf. N. Spivey 1987: 12). The shoulder contains two separate but identical scenes which are separated from the body images by

three black lines. Each scene depicts two opposed pouncing winged sphinxes with multiple large teats. Their wings are treated in a manner similar to those of the four female figures. A small lotus stalk which terminates in an open bud extends down from the centre of the upper border. The incised interior details of the figures and vegetal elements are rendered in a simplified, stylized manner. The interpretation of the main scene is uncertain although it most probably deals with a funerary theme since many of the Etruscan black-figure vases were produced as tomb offerings (cf. N. Spivey 1988: 15). The four winged women are undoubtedly supernatural beings who follow after a mortal woman. N. Spivey notes that the figures are either running or dancing but does not interpret the meaning of their actions (cf. below). R. Teitz (cf. below) identifies the scene as a generic one in which four harpies (half-female, half-bird creatures who carry off the dead) pursue a mortal woman. His premise is plausible but his use of the term harpies is inaccurate. Harpies and sirens are most commonly portrayed as large birds with the heads of women. The Micali Painter actually depicts such creatures on several of his other vases. The winged women on the DIA vase are more apt to be Etruscan death demons of the type which were called Lasae at least since the fourth century bce (cf. A. Rallo 1974: 47ff.). Such winged demons are frequently shown either accompanying the dead to the underworld or attending scenes of death. The sphinxes which appear on the neck of the DIA piece also have strong funerary associations. According to N. Spivey, Etruscan winged sphinxes symbolize the moment of transition when the deceased passes from the world of the living to the world of the dead (N. Spivey 1988: 17ff.). He further suggests that sphinxes with multiple prominent teats evoke the infantile condition of the deceased during the initial stage of his rebirth into the afterlife. The Micali Painter was named after Giuseppe Micali (1769-1844), an early scholar of Etruscan painted pottery who recognized its stylistic differences from similar Greek ware (cf. N. Spivey 1987: 1-5). The distribution of his vases shows that the Micali Painter worked in the area of Vulci (cf. N. Spivey 1987: 72-76). N. Spivey identifies the DIA amphora as a typical product of the Micali Painter during the “Middle I” phase of his prolific career, 510-

etruscan, cat. no.  500 bce (cf. below). He notes that Middle I vase scenes are characterized by animals with multiple teats and running or dancing figures. The simplified treatment of the DIA amphora’s figural imagery is also characteristic of the artist’s Middle I phase when he seems to have concentrated on producing quantity (cf. M. Cappelletti 1992: 75; N. Spivey 1987: 11-12).

193

Minutes of the Arts Commission, DIA. 5/9/27 Detroit Institute of Arts 1966: 37. R. Teitz 1967: 33 no. 18. N. J. Spivey 1987: 11-12 no. 47.

Plate 119. Front view, Etruscan Black-Figure Neck Amphora, The Micali Painter 27.281 (Cat. No. 111); Photograph Courtesy of the DIA.

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Plate 120. Side view, Etruscan Black-Figure Neck Amphora, The Micali Painter 27.281 (Cat. No. 111); Photograph Courtesy of the DIA.

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195

Plate 121. Shoulder view, Etruscan Black-Figure Neck Amphora, The Micali Painter 27.281 (Cat. No. 111); Photograph Courtesy of the DIA.

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Plate 122. General view, Etruscan Red-Figure Spouted Lebes with Lid, Workshop of the Full-Sakkos Painter 24.158 (Cat. No. 112); Photograph Courtesy of the DIA.

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197

Cat. No. 112 Etruscan (Faliscan) Red-Figure Spouted Lebes (Water Vessel) With Lid Workshop of the Full-Sakkos Painter 350-300 bce Painted pottery; Height with lid 18 cm.; Diameter of body 12.7 cm. Ex. Coll. Gotha Museum, Gotha, Germany (no. 103); made in the area of Falerii Veteres (cf. below). City of Detroit purchase 24.158

The vessel is restored. There is some surface abrasion along the shoulder and severe flaking of the painted bird motif. The lid has a mended crack, apparently recent, and a small missing chip from the rim. The restorations were made prior to DIA acquisition.

Lebes with three looped handles, two rising vertically from the shoulders at either side with a larger double-strand one at the rear, and a shoulder-mounted lion-headed spout at the front. The painted decoration consists of a band of highly stylized leaf patterns in black around the shoulder, a three quarter view of a bird taking off in white just beneath the spout, reserved volutes with floral fillers beneath each side handle, and a reserved pendant palmette along the vertical handle at the rear. M. Del Chiaro identifies this vessel as a product of the workshop of the Full-Sakkos Painter and attributes its manufacture to the area of Falerii Veteres (Cività Castellana) due to the vessel’s shape and decoration, 350-300 bce (cf. below). See also J. D. Beazley 1947: 148, for this vessel type. Minutes of the Arts Commission, DIA. 2/25/24 M. Del Chiaro 1981: 49-51.

Plate 123. Front view, Etruscan Red-Figure Spouted Lebes with Lid, Workshop of the Full-Sakkos Painter 24.158 (Cat. No. 112); Photograph Courtesy of the DIA.

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Plate 124. Front view, Etruscan Red-Figure Spouted Lebes with Lid, The Full-Sakkos Painter 24.228 (Cat. No. 113); Photograph Courtesy of the DIA.

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Cat. No. 113 Etruscan (Faliscan) Red-Figure Spouted Lebes (Water Vessel) With Lid The Full-Sakkos Painter 350-300 bce Painted pottery; Height with lid 16.2 cm.; Diameter of body 12 cm. Ex. Coll. Gotha Museum, Gotha, Germany (no. 104); made in the area of Falerii Veteres (cf. below). City of Detroit purchase 24.228 The vessel is intact except for minor surface abrasions. Lebes with three looped handles, two rising vertically from the shoulders at either side with a larger double-strand one at the rear, and a

shoulder-mounted lion-headed spout at the front. The painted decoration consists of a band of highly stylized tongue patterns in black on the shoulder, a female head in profile wearing a Faliscan “fullsakkos” with the skin painted in white beneath the spout, reserved volutes with floral fillers beneath each side handle, and a reserved pendant palmette along the vertical handle at the rear. M. Del Chiaro identifies this vessel as a product of the Full-Sakkos Painter and attributes its manufacture to the area of Falerii Veteres (Cività Castellana) due to the embroidery details on the full sakkos or headband, 350-300 bce (cf. below). See also J. D. Beazley 1947: 148, for this vessel type. Minutes of the Arts Commission, DIA. 2/25/24 M. Del Chiaro 1981: 49-51.

Plate 125. Side view, Etruscan Red-Figure Spouted Lebes with Lid, The Full-Sakkos Painter 24.228 (Cat. No. 113); Photograph Courtesy of the DIA.

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Cat. No. 114 Etruscan Black Gloss White-Figure Beaked Oinokhoe (Pitcher) The Phantom Group mid 4th-early 3rd centuries bce Painted pottery; Height 25.6 cm.; Diameter of body 12.1 cm. Ex. Coll. Museo Archeologico, Florence (no. 4403); formerly Ancient Collections, Uffizi (Gallery no. 518), from the Granducal Collection of Tuscany; from Pisa (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.133 The vessel is intact except for the upper layers of the superposed white designs which have completely peeled away leaving only a faint outline of the original motifs. Beaked oinokhoe with an ovoid body, high cylindrical neck, beaked mouth with an open back, vertical looped handle which is attached at the rim and shoulder, and a flat base. The painted decoration consists of a tall silhouette figure on the front of the body with a semi-circular band of vertical tongues just above, identical large S-shaped tendrils with interior volutes, dashes, and leaf-terminals on the sides of the body, and a stemmed ivy-leaf on

the front of the neck flanked by identical volutes with leaves and dashes. For oinokhoai with the same shape, fabric, and painted designs, see J. W. Hayes 1984: 126-127 nos. 213-214, latter 4th century bce, from a Caeretan workshop? Hayes follows G. Pianu’s attribution of the R.O.M. oinokhoai as examples of the latter’s sub-group B of the Phantom Group (G. Pianu 1978: 175-176 no. 71, 179 no. 72). See also J.-P. Morel 1981: 382, pl. 185, his Type 5722b beaked oinokhoe which is attributed to the Phantom Group, late 4th-early 3rd centuries bce, from Tomb 5672 at Tarquinia; M. P. Rossignani 1970: 7 no. 2, pl. 14, attributed to the Phantom Group, late 4th-early 3rd centuries bce; P. V. D’Amelio 1963: 32-33 no.5, fig. 32, Beazley form VII oinokhoe, late 4th-3rd centuries bce, from Tomb VI in the nekropolis at San Giuliano. D’Amelio notes that this oinokhoe type is found throughout Etruria and Lazio. See also J. D. Beazley 1947: 205-206. Beazley provides a list of Phantom Group oinokhoai. The DIA oinokhoe’s close similarity to the Phantom Group oinokhoai above show that it is also attributable to the Phantom Group. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

etruscan, cat. no. 

Plate 126. Right view, Etruscan Black Gloss White-Figure Beaked Oinokhoe, The Phantom Group 61.133 (Cat. No. 114); Photograph Courtesy of the DIA.

201

Plate 127. Left view, Etruscan Black Gloss White-Figure Beaked Oinokhoe, The Phantom Group 61.133 (Cat. No. 114); Photograph Courtesy of the DIA.

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Cat. No. 115 Etruscan Black Gloss Beaked Oinokhoe (Pitcher) mid 4th-early 3rd centuries bce Pottery; Height 18.6 cm.; Diameter of body 8.9 cm. Ex. Coll. Museo Archeologico, Florence (no. 92032). Gift of The Etruscan Foundation, Inc., Detroit 61.134 The vessel is intact except for small chips in the base. Beaked oinokhoe with a rounded, ovoid body, high cylindrical neck, beaked mouth with an open back, vertical looped handle which is attached at the rim and shoulder, and a flat base. It is undecorated. For black gloss examples with very similar shapes, see J.-P. Morel 1981: 382, pl. 185, his Type 5722c beaked oinokhoe, late 4th-early 3rd centuries bce, from Volterra; E. Moignard 1997: 44 no. 8, pl. 51; A. Bruckner 1962: 52 no. 8, pl. 33, 3rd century bce, Etruscan black gloss; J. D. Beazley 1947: 269 no. 3, 309 (P. 269, B), his shape VII B Etruscan black gloss oinokhoe; M. P. Rossignani 1970: 7 no. 1, pl. 14, black gloss red-figure oinokhoe attributed to the Phantom Group, late 4th-early 3rd centuries bce. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 128. General view, Etruscan Black Gloss Beaked Oinokhoe 61.134 (Cat. No. 115); Photograph Courtesy of the DIA.

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Cat. No. 116 Etruscan Black Gloss Phiale Mesomphalos (Libation Dish) late 4th-3rd centuries bce Pottery; Height 3.84 cm.; Diameter 19.1 cm. Ex. Coll. Museo Archeologico, Florence (no. 4565). Gift of The Etruscan Foundation, Inc., Detroit 61.137 The phiale is reconstructed with a large section of the rim apparently recently reattached. The restoration was made prior to DIA acquisition. Phiale with a shallow sloping floor, low vertical rim, and a rounded hollow boss at the centre. The raised boss creates a circular depression underneath. The interior of the phiale is decorated with three outer circles of incised diagonal rouletting followed by two inner rings which are incised about two cm. apart. Four different pairs of lightly stamped designs appear between these rings. Like designs are spaced one hundred eighty degrees apart. The

design motifs consist of a large eight petaled rosette, a large, crudely rendered eight leaf palmette, a small five pointed leaf, and an indistinguishable elliptical blob. The phiale mesomphalos shape and stamped decoration are derived from metallic examples (cf. L. Palermo 2003: 299-300 no. 27). For black gloss examples with similar forms and decorations, see V. Jolivet 1997: 332-333 no. 186, 250-200 bce, from Southern Etruria; M. Moretti and A. M. S. Moretti 1983: 69 no. 146, 187 fig. 3 no. 13, late 4th-mid 3rd centuries bce, from Tomb I in the Grotta della Regina at Tuscania; J. W. Hayes 1984: 1-4, 82-83 nos. 142-143, late 4th-early 3rd centuries bce; J.-P. Morel 1981: 144, pl. 33, his Type 2172a patera, late 4th-3rd centuries bce, from Volterra. For a concise outline of black gloss ceramic development with bibliography, see E. Gliozzo and I. Memmi Turbanti 2004: 201-204, 213, 214; L. Palermo 2003: 284-290; J. W. Hayes 1984: 1-4. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 129. General view, Etruscan Black Gloss Phiale Mesomphalos 61.137 (Cat. No. 116); Photograph Courtesy of the DIA.

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Cat. No. 117 Hellenistic Malacena Ribbed Oinokhoe (Pitcher) late 4th-mid 3rd centuries bce Pottery; Height 18.1 cm.; Diameter of body 9.2 cm. Ex. Coll. Museo Archeologico, Florence (no. 4433); formerly Ancient Collections, Uffizi (Gallery no. 360), from the Granducal Collection of Tuscany (source: MANF records); made in the area of Volterra (cf. below). Gift of The Etruscan Foundation, Inc., Detroit 61.135 The vessel has two repaired breaks, apparently recent, one at the base of the neck and another in the handle just above the rim. The restorations were made prior to DIA acquisition. There are also a few small surface chips. “Malacena” ware black gloss oinokhoe with a shortened ovoid body, thin neck, flattened trefoil mouth, fluted “S” shaped handle, and a low ring foot. The decoration consists of vertical ribbing on the body, a thin raised band around the neck, and a moulded satyr’s head at the base of the handle. “Malacena” ware was produced in the area of

Volterra from the mid 4th to mid 3rd centuries bce and some examples may have been imported to Populonia as well as Chiusi (E. Gliozzo and I. Memmi Turbanti 2004: 203, 213, 214). Such fine ware, often derived from metallic vessel shapes, was apparently intended to serve at symposia (cf. L. Palermo 2003: 284-286). For examples of like shape and fabric, see J. W. Hayes 1984: 65-67 no. 111, first half of 3rd century bce, produced in the Volterra region. Hayes describes this ware as Romano-Etruscan. See also V. Jolivet 1997: 337-338 no. 188, 300 bce, from Volterra; J.-P. Morel 1981: 373, pl. 177, his Type 5611i oinokhoe, late 4th-early 3rd centuries bce, from Volterra; A. Bruckner 1962: 50 nos. 1-2, 5, pl. 32, 300-250 bce; J. D. Beazley 1947: 230-231. Beazley originated the name “Malacena” for this fabric type from the place name of the area in which the Tomb of the Calisna Sepu was discovered in 1893. The tomb contained notable examples of this ware (cf. B. Shefton 1998: 620-621). For a brief history of “Malacena” ware and its manufacture, see R. E. Roth 2007: 81-85. Minutes of the Arts Commission: DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

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Plate 130. General view, Hellenistic Malacena Ribbed Oinokhoe 61.135 (Cat. No. 117); Photograph Courtesy of the DIA.

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Cat. No. 118 Hellenistic Black Gloss Oinokhoe (Pitcher) late 4th-3rd centuries bce Pottery; Height 5.7 cm.; Diameter of body 5 cm. Ex. Coll. Museo Archeologico, Florence (no. 4419); formerly Ancient Collections, Uffizi (Gallery no. 1200), from the Granducal Collection of Tuscany (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.136 The vessel is almost complete. The right-hand rim projection is missing. Small oinokhoe with a truncated ovoid body, a cylindrical neck, flattened rim with a small projection on either side of the handle, a curved

double-strand handle which extends from the rim to the edge of the shoulder, and a ring foot. It is undecorated. For black gloss examples with similar shapes, see M. Moretti and A. M. S. Moretti 1983: 67 no. 132, 186 fig. 2 no. 6, late 4th-3rd centuries bce, from Tomb I in the Grotta della Regina in Tuscania; J.-P. Morel 1981: 356, pl. 165, his Type 5363a vase, late 4th-early 3rd centuries bce, from Spina; T. Poggio 1974: 11, 54 no. 67c, pl. IX no. 3, fig. 48, late 4th-3rd centuries bce, from Spina. For a concise outline of black gloss ceramic development with bibliography, see 61.137 (Cat. No. 116). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 131. General view, Hellenistic Black Gloss Oinokhoe 61.136 (Cat. No. 118); Photograph Courtesy of the DIA.

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Cat. No. 119 Hellenistic Black Gloss Pelike 4th century bce Pottery; Height 13.1 cm.; Diameter of body 12.7 cm. Ex. Coll. Museo Archeologico, Florence (no. 92030). Gift of The Etruscan Foundation, Inc., Detroit 61.129 The vessel is intact except for minor surface chipping and incrustation. Pelike with a rounded body, a short, concave neck, flaring rim, two curved strap handles which

extend from the rim to the shoulder, and a low ring foot. It is undecorated. For black gloss examples with similar shapes, see J.-P. Morel 1981: 280, pl. 111, his Type 3682b pelike, 300-250 bce; P. Mingazzini 1938: 885, 891, pls. XXXV no. 13, XXXVIII no. 6, 4th century bce, from the Santuario della Dea Marica at Foci del Garigliano; H. Gropengiesser 1970: 79 no. 5, pl. 185, early 4th century bce, Italic (?). For a concise outline of black gloss ceramic development with bibliography, see 61.137 (Cat. No. 116). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 132. General view, Hellenistic Black Gloss Pelike 61.129 (Cat. No. 119); Photograph Courtesy of the DIA.

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Cat. No. 120 Hellenistic Black Gloss Lamp late 3rd-mid 2nd centuries bce Pottery; Height to handle top 5 cm.; Diameter of body 6.4 cm. Ex. Coll. Museo Archeologico, Florence (no. 92052). Gift of The Etruscan Foundation, Inc., Detroit 61.130 The lamp is intact except for large portions of the gloss which have peeled off. Wheelmade black gloss lamp with a squat bunshaped body which is pierced by a central oil hole on top, a wide protruding spout of spatulate form with an oval wick hole, a vertical circular-shaped

strap handle, and a very low foot with an unfinished bottom. It is undecorated except for a groove which encircles the oil hole. For lamps with a very similar shape, size, and fabric, see C. R. Fitch and N. W. Goldman 1994: 5, 12, 14, 19-22, 27, 30 no. 83 fig. 8, Inv. C71.92, Doughnut Type Lamp, late 3rd-mid 2nd centuries bce, one of three similar lamps made by the same potter and recovered from a cesspit in Room 12 of the House of the Birds at Cosa; P. Mingazzini 1938: 916-918 pl. XLII no. 7, 3rd century bce. For a concise outline of black gloss ceramic development with bibliography, see 61.137 (Cat. No. 116). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 133. General view, Hellenistic Black Gloss Lamp 61.130 (Cat. No. 120); Photograph Courtesy of the DIA.

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Cat. No. 121 Hellenistic Black Gloss Bird-Askos (Oil Pouring Vessel) 3rd century bce Pottery; Height to handle top 8.8 cm.; Diameter of body 7.8 cm. Ex. Coll. Museo Archeologico, Florence (no. 4524); formerly Ancient Collections, Uffizi (Gallery no. 769), from the Granducal Collection of Tuscany (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 61.132 The vessel is almost intact. The surface exhibits minor chipping throughout. Bird-askos with a globular body, a thin tapering spout and a wide-mouthed spout which project diagonally from the top at either side, a curved

saddle handle which extends horizontally between the spouts, and a low ring foot. It is undecorated. For examples with very similar shapes and fabrics, see J.-P. Morel 1981: 427, pl. 211, his Type 8211c askos, 3rd-2nd centuries bce, from Volterra; M. P. Rossignani 1970: IV E, 4-5 no. 18 Tav. 1, Black Gloss Askos, 3rd century bce, Campanian; A. Bruckner 1962: 68 no. 11, pl. 40, 3rd century bce, Italic askos of indeterminate origin; J. W. Hayes 1984: 1-4, 77 no. 131, 3rd-2nd centuries bce, possibly Etruscan. For a concise outline of black gloss ceramic development with bibliography, see 61.137 (Cat. No. 116). Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 134. General view, Hellenistic Black Gloss Bird-Askos 61.132 (Cat. No. 121); Photograph Courtesy of the DIA.

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Cat. No. 122 Hellenistic Olla (Pot) With Human Remains 3rd-2nd centuries bce Pottery; Height 26.5 cm.; Diameter 19 cm. Ex. Coll. Museo Archeologico, Florence (no. 77985), acquired in 1898; one of a group of eight ollae from Tomba Scriboni (Venturi), Toscanella, Tuscania (source: MANF records). Gift of The Etruscan Foundation, Inc., Detroit 64.89a-b The vessel is intact. Coarse, wheel-thrown orange impasto utilitarian pot with a high-bellied ovoid body, a short flaring rim with a thickened lip, and a small flat base. It is undecorated. The vessel (64.89a) was used as an inexpensive cinerary urn and numerous fragments of cremated human bones (64.89b) were found preserved inside. Some type of lid would have been used to protect the contents although none accompanied the vessel. Dr. M. J. Becker has

analyzed the cremated remains and determined that they are those of a young adult male, M???, age 23 + 3 years, but are missing major long bone fragments (cf. below). For examples of like shape and fabric, see M. Moretti and A. M. S. Moretti 1983: 75 no. 209, 76 no. 228, 166-167, fig. 8 nos. 26-27, 3rd-2nd centuries bce, from Tomb I in the Grotta della Regina at Tuscania; S. L. Dyson 1976: 43-44 no. 33, 171-173, fig. 9 FG 33, his Kitchen Ware Class 3 Pot, c. 200 bce, from outside the Southeast gate of the Cosa forum; J. M. Turfa 2005: 66-67, 141-142 no. 103, MS 3428, 2nd-1st century bce, said to be from Tuscania. For Etruscan usage of utilitarian pots as cinerary urns, see J. M. C. Toynbee 1971: 101ff.; A. Maggiani 1985: 53; J. Thimme 1957: 138-139. Minutes of the Arts Commission, DIA. 5/13/64 M. J. Becker (forthcoming 2009).

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Plate 135. General view, Hellenistic Olla with Human Remains 64.89a-b (Cat. No. 122); Photograph Courtesy of the DIA.

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Cat. No. 123 Hellenistic Unguentarium late 4th-2nd centuries bce Painted pottery; Height 15.2 cm.; Diameter of body 4.8 cm. Ex. Coll. Museo Archeologico, Florence (no. 92047). Gift of The Etruscan Foundation, Inc., Detroit 61.123 The vessel is almost complete. There are minor chips in the rim, a large chip in the base, large irregular rust stains on the exterior, and metal fragments inside the vessel. Buff unguentarium with an inverted pear-shaped body, tall cone-shaped neck with a protruding rim, and a low foot. The painted decoration consists of a black band around the rim, two thin black bands which encircle the lower neck, and three thin black lines around the upper body. For examples with analogous shapes, fabrics, and painted designs, see V. Jolivet 1997: 347-348 no. 194, 349 no. 195, 3rd-2nd centuries bce, from Southern Etruria; M. Moretti and A. M. Sgubini Moretti 1983: 102 no. 25f, 214 fig. 30 no. 67, late 2nd century bce, from Tomb II in the Grotta della Regina at Tuscania; P. Kranz and R. Lullies 1975: 44 nos. 6-8, pl. 68, late 4th-mid 2nd centuries bce. They also provide a general bibliography of this vessel type. See also L. Forti 1962: 151, pl. XI no. 4, her very common type IV unguentarium, 3rd century bce. Minutes of the Arts Commission, DIA. 5/12/61 W. Peck 1962: 52-53 n. 1.

Plate 136. General view, Hellenistic Unguentarium 61.123 (Cat. No. 123); Photograph Courtesy of the DIA.

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V. TERRACOTTA 1. Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 2. Architectural Elements . . . . . . . . . . . . . . . . . . . . . . 223

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INTRODUCTION Moulded terracotta votive offerings and architectural revetment plaques with figural scenes are other forms of Etruscan ceramic production which were inspired by foreign examples. The use of moulds permitted votives such as the DIA head 1994.116 (Cat. No. 124) and seated couple figurine 1994.117 (Cat. No. 125) to be mass-produced and widely available for dedication at sanctuaries. Greek models for both were introduced from Sicily/Southern Italy and then modified to suit local ritual needs throughout Central Italy (cf. M. Söderlind 2002: 361-363; P. Pensabene 2001: 104-107; H. Nagy 1988: 14-23). Such offerings were generally intended to commemorate important personal events such as births or deaths, to solicit the deity’s help (particularly with medical issues), to give thanks for help which the deity had already provided, or simply to remind the deity of the offerant’s continuing piety and worthiness to receive divine blessing (cf. M. Söderlind 2002: 346, 372; H. Nagy 1988: 36-39; H. Becker 2009: 87-88). Votives may also serve as examples of status-enhancing conspicuous consumption by elite offerants although such functions were usually reserved for more expensive votive donations (cf. H. Becker 2009: 96-97). Figural architectural revetment plaques were popular in Etruria from the late 7th to late 6th centuries bce. They are usually found on large palatial residences, possibly with cultic overtones,

temples, and funerary structures (cf. A. M. Sgubini Moretti and L. Ricciardi 1993: 163-164, 169, 171 Fig. 26, 176-177, Pl. 1; G. Bartoloni et al. 2006: 59, 68). The scenes typically depict reclining banquets, assemblies, horse races, and processions which include armed cavalry of the type found on the DIA revetment plaque 65.351. The use of such plaques and their themes were apparently derived from Greek and Near Eastern architectural sources (cf. N. A. Winter 2006: 45-48; N. A. Winter 1993: 19-21, 244-246, 284-285; N. A. Winter forthcoming 2009; M. Menichetti 2001a: 221). Similar imagery on imported Greek pottery and Oriental metal vessels served as an additional means of transmission (cf. G. Bartoloni et al. 2006: 70-72; M. Menichetti 2001a: 215-255; S. Haynes 2000: 120-127, 139-142; A. Rathje 1994: 95-99). Etruscan artists then adapted such imagery to suit their own needs. The Etruscan architectural scenes are thought to symbolize the power of an aristocratic elite through the depiction of their most important social, political, and religious rituals (cf. M. Torelli 1997b: 87-121; M. Menichetti 2001b: 590-591; G. Bartoloni et al. 2006: 59, 68). Analogous cylinder-impressed scenes found on bucchero chalices such as 61.112 (Cat. No. 85) were probably intended to convey similar notions of aristocratic power to their users (cf. F. Capponi et al. 2006: 25-26; G. Camporeale 2001: 416).

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1. Sculpture (Cat. Nos. 124–125)

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etrusco-italic, cat. no. 

219

Cat. No. 124 Etrusco-Italic Female Votive Head 3rd-early 2nd centuries bce Terracotta; Height 17.1 cm., Width 11.1 cm., Depth 10.2 cm. Gift of an Anonymous Donor 1994.116 The head is restored. There are minor chips along the upper left and middle right edges. A triangular piece has apparently been recently reattached at the front of the base. The restorations were made prior to DIA acquisition. The surface of the face exhibits minor wear and abrasions. Mould-made female head with a slightly flaring base at the neck for support. A narrow flange frames the entire piece. Her elongated head has vague indications of horizontal hairstrands at the front of the crown, divided by a central part, and locks curled back from the face which cover both ears. The almond-shaped eyes are clearly outlined although the left eye slants downwards more than the right and its inner corner is located too far in on the nose ridge. The vertical nose ridge terminates in a small pug-nose with deeply indented nostrils. Full lips separated by a deeply cut down-turned line delineate the small mouth. The arrangement and proportions of the facial features present a somewhat skewed countenance. Elements of a purely frontal view such as the central part, straight nose ridge, and vertical axis of the head have apparently been combined with those of a head tilted and/or turned to the left. The latter elements include the left eye slanting downward and the narrower width of the left half of the face, perhaps an attempt at foreshortening. Stylistically, the head combines features of two different periods of Etrusco-Italic terracotta sculptures. The hairstyle and general shape of the head exhibit Praxitelean influences which appear in Central Italy during the late 4th-mid 3rd centuries bce(cf. P. Pensabene 2001: 90-92, 403-404 no. 30 pl. 111, late 4th-early 3rd centuries bce; H. Nagy 1988: 16-17, 25-27). The sunken eyes skewed to the left and the down-turned mouth reflect the greater emotion of a Hellenistic baroque style whose influence appears in Central Italy during the mid 3rd-mid 2nd centuries bce (cf. M. Söderlind 2002: 178-181 3.f Type BVI, 233-234; Pensabene

2001: 93-97; Nagy 1988: 18-19, 25-28, 112 IA31 pl. XXIV fig. 48, late 3rd-early 2nd centuries bce; A. Comella 1982: 41-42, 79 B2XXVI pl. 43a, 2nd century bce). The processes involved in manufacturing similar heads may perhaps explain how two different styles could have been combined in the DIA example. When original votive head moulds wore out new second generation moulds would frequently be made from archetypes cast in the worn moulds either as a cost-saving measure or due to a lack of skilled artisans (cf. Söderlind 2002: 43-46, 52-53, 282-284, 297-299, 304-308; Nagy 1988: 3-8). The worn features of such archetypes as well as actual production heads were further enhanced by retouching before firing. Such retouching might consist of highlighting existing facial details or possibly changing certain details to reflect new portrait styles. The simplified features of the hair, the lack of jewelry, the projecting shape of the flange, and the incongruity of combining frontal and foreshortened perspectives on the DIA head might have been due to the use of a second generation or later mould combined with pre-firing reworking. It is also possible that the facial features of the DIA head might simply have been “distorted” because of excessive warping as it dried and/or if it was improperly pulled from the mould in a still moist state prior to firing (cf. 1988: Nagy 5). Without studying the actual mould one can not be certain. Terracotta heads similar to the Detroit piece were dedicated as votive offerings at sanctuaries throughout Central Italy (cf. Söderlind 2002: 361-363). Stylistically, the Detroit piece is derived from Sicilian/ South Italian images of Demeter and Persephone although without divine accoutrements. Votive head flanges of the type which frames the Detroit piece are frequently identified as a velum, the toga edge which covered the head during sacrifice according to Roman custom (cf. Söderlind 2002: 369 n. 108, 370 n. 109). Its presence identifies the figure as a female worshipper rather than a deity (cf. J. M. Turfa 2006: 102, 103 n. 110). It has traditionally been assumed that Etruscans and Greeks usually sacrificed bare-headed while Romans did so with their heads covered (cf. F. Glinister 2009: 193-204). Additionally, some local workshops are thought to have modified their votive head types by adding flanges in order to satisfy newly arrived Roman colonists (cf. Söderlind 2002: 369-381). These assumptions about the cultural

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identity of the offerants based on the head being covered or not have recently been challenged. It is possible that votive heads were occasionally depicted covered or uncovered on the basis of specific ritual requirements which regulated the terms of a particular donation rather than according to the cultural

identity of the giver (cf. Glinister 2009: 210-212). Such votive head flanges may also have served the practical function of permitting the heads to stand upright without falling over. Minutes of the Arts Commission, DIA. 11/30/94

Plate 137. General view, Etrusco-Italic Female Votive Head 1994.116 (Cat. No. 124); Photograph Courtesy of the DIA.

etrusco-italic, cat. nos. –

221

Cat. No. 125 (see Plate 138, p. 222) Etrusco-Italic Seated Couple Votive Figurine 3rd-early 2nd centuries bce Terracotta; Height 10.8 cm., Width 7.6 cm., Depth 4.8 cm. Gift of an Anonymous Donor 1994.117 The front surface and edges are extremely worn with only the general outline of the figures preserved. Such extensive wear indicates significant surface erosion, possibly due to water exposure. Mould-made figurine with a seated male-female couple depicted in deep relief. The right-hand male figure is nude to the waist but wears a himation over the lower half of his body. His right hand rests on his lap while holding an object, probably a patera. His raised left arm rests on the right shoulder of the female figure to his left. She may be wearing some sort of headdress although her features are too worn to be certain. This figure seems to wear a chiton with a himation which covers her lower body and left arm. Her right hand extends down to her

hip and apparently holds something, perhaps a fold of her himation. Similar female figures occasionally cradle an infant on their laps but this figure is too damaged to confirm such an attribute (cf. Enea nel Lazio: archeologia e mito 1981: 46 A99, 3rd-early 2nd centuries bce, from the Santuario di Giunone Gabina at Gabii; P. Pensabene et al. 1980: 45, 142, 146 no. 224 pl. 53, 4th-2nd centuries bce; L. Gatti Lo Guzzo 1978: 21-22, 26 Variant e, Mould I no. 1, 150-151, 4th-2nd centuries bce, pl. II AIe). Votive seated male-female couple figurines such as the Detroit example are thought to have evolved from Greek votive terracotta divine couple pinakes, especially those dedicated at sanctuaries in Magna Graecia (cf. P. Pensabene 2001: 104-107; A. Comella 2004: 341-342; H. Nagy 1988: 36-39). The use of similar votive figurines spread throughout Central Italy by the 4th century bce. Their imagery may represent human couples seeking a familial or matrimonial blessing from the deity to whom the votive was dedicated (cf. ibid.). Minutes of the Arts Commission, DIA. 11/30/94

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Plate 138. General view, Etrusco-Italic Seated Couple Votive Figurine 1994.117 (Cat. No. 125); Photograph Courtesy of the DIA.

223

2. Architectural Elements (Cat. Nos. 126–127)

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etruscan, cat. no. 

225

Cat. No. 126 Etruscan Revetment Plaque Fragment 575-525 bce Terracotta; Height 18.3 cm.; Length 22.6 cm.; Depth 8.3 cm. Ex. Coll. Adolph Loewi, Inc., Los Angeles. Founders Society Purchase, William H. Murphy Fund 65.351 The upper and lower borders of the fragment are intact while both ends exhibit clean breaks. There is minor surface chipping and abrasion on the front side. Such revetment plaques usually had their relief

scenes painted although no visible traces of paint survive on the DIA fragment. Coarse red terracotta moulded relief fragment in the form of a sima revetment plaque. The revetment face is divided into three horizontal registers. The upper consists of a projecting border along the top edge. A band of vertical fluting runs directly beneath the projection. Each flute ridge is crowned by a nail hole. Nails were probably used for attaching the revetment plaque to a wooden beam. The lower half of the fragment depicts a relief scene with two mounted warriors who walk their horses to the right. The left-hand warrior carries a large round shield which covers all of his body except for his head and feet. He also carries a bow on his

Plate 139. General view, Etruscan Revetment Plaque Fragment 65.351 (Cat. No. 126); Photograph Courtesy of the DIA.

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back and a forward-jutting spear. The right-hand warrior appears leaning backwards in his saddle with a bow strapped to his back. Both riders seem to be helmeted. The tail tip and rear hoof of a third rider’s horse is visible in the extreme lower right corner. For revetment plaques of like form, size, and figural decoration, see A. M. Sgubini Moretti and L. Ricciardi 1993: 163-164, 169, 171 Fig. 26, 176-177, Pl. 1 Fig. 25, 540-530 bce, from the Ara del Tufo nekropolis near Tuscania. They discuss two terracotta revetment plaques decorated with “Cavalieri al passo II” type scenes which are identical to the Detroit revetment plaque (Nancy A. Winter concurs with this attribution on the basis of her photographic analysis of the Detroit plaque although she prefers an earlier date of 570-560 bce, in an email to D. Caccioli, April 11, 2009). It is possible that the Detroit plaque was cast from the same mould or a mould taken from the same template. The intact plaques depict six mounted warriors walking their horses. Such plaque scenes may have formed the beginning of a processional frieze which ended with “”Cavalieri al galoppo” type scenes, according to Sgubini and Ricciardi. They further suggest that these plaques may have been part of the revetment decoration for a now-lost wooden structure which was perhaps associated with a funerary cult. Armed horsemen processions used in this context could have symbolized the glorification of an aristocratic class and their funerary rites by emphasizing the military power of the deceased (cf. M. Torelli 1997b: 102ff., fig. 79; M. Menichetti 2001: 590-591; S. Haynes 2000: 127, 139-141). The dating of “Cavalieri al passo I & II” type revetment plaques presents difficulties. The archaeological

context of the plaques found at Ara del Tufo does not permit precise dating. Sgubini Moretti and Ricciardi date such plaques to 540-530 bce based on the chronology of associated ceramic finds. A. Andrén (1940: 73-74 no. 1) states that the figures on a similar plaque (Louvre S 1079) are stylistically comparable to those found in vase painting of the late 7th century bce. E. D. Van Buren (1921: 60 no. ii) dates the Louvre plaque to the second half of the 6th century bce on the basis of its general style. M. Root (1973: 127 nos. 32-33) suggests that Van Buren’s dating of such revetment scenes is consistently low and also points out the difficulties of dating Etruscan revetment plaques solely in connection with vase painting parallels. A more iconographic approach is taken by J.-R. Jannot (1986: 122-123, 128, 131-132, pl. 30 no. 3) who identifies the figures on the Louvre plaque as skirmishing cavalry of the type which first appears around the middle of the 6th century bce. He further states that similar depictions of cavalry processions functioned as symbols of “le triomphe à la fois héroique et ‘aristocratique’ sur les forces hostiles.” A. Piergrossi suggests a similar interpretation for such earlymid 6th century revetment plaque scenes found at Piazza d’Armi, Veii, “che rappresenta la partenza o il ritorno trionfale del signore è strettamente legato all’ideologia aristocratica e all’esaltazione della gens predominante,81 alla cui volontà deve essere attribuita forse la stessa edificazione dell’edificio di culto, che si configura come una sorta di cappella di famiglia.” (G. Bartoloni et al. 2006: 68 n. 81, 70-72). Minutes of the Arts Commission, DIA. 12/22/65

etruscan, cat. no.  – modern “etruscan”, cat. no. 

227

Cat. No. 127 Modern “Etruscan” Revetment Frieze Segment Riccardo Riccardi early 20th century ce Painted terracotta; Height 48.26 cm.; Length 47 cm.; Width (max.) 12.7 cm. Ex. Coll. Adolph Loewi, Los Angeles; made in the Riccardi workshop at Orvieto (cf. below). Founders Society Purchase, William H. Murphy Fund 62.267 The frieze is restored. Dark adhesive stains indicate the location of two apparently recently repaired

cracks, one running horizontally just beneath the fluting register and the other running vertically between the face reliefs from the first crack to the lower edge. The restorations were made prior to DIA acquisition. There are minor abrasions over much of the surface, especially on the nose tips of the demon reliefs. Coarse red terracotta moulded relief plaque in the form of a sima revetment plaque. The front face is divided into three horizontal registers which are separated by raised borders. The upper register consists of a band of vertical convex fluting which curves outward at the top to form a projecting rim. The centre register is decorated with two identi-

Plate 140. General view, Modern “Etruscan” Revetment Frieze Segment 62.267 (Cat. No. 127); Photograph Courtesy of the DIA.

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cal faces of the Etruscan death demon Charun in moulded relief (cf. de Ruyt below). Both faces have knotted coiffures. Their features are stylized to the point of caricature as exemplified by the heavy lidded goggle-eyes with black painted pupils, hooked noses, pointed ears, and smiling mouths with white painted upturned fangs. Much of the register’s black painted background survives intact. The two round holes which appear near the lower corners are presumably for nailing the plaque to a temple entablature. The bottom register depicts a single row of four identical palmettes in relief. For identical terracotta revetment plaques, see A. M. Colini 1935: 98-99 pl. XXV no. 1, 104, his Type A frieze, late 4th-mid 3rd centuries bce (?). He lists examples of this plaque type in other collections and suggests that they originally decorated the same Etruscan temple in the area of Bolsena. See also F. De Ruyt 1934: 113 no. 130, Fig. 53. He depicts a revetment plaque in the Villa Giulia (no. 27153) which is identical to the Detroit example. See also G. Fallani 1951: 26 no. 122, pl. VI; F. Messerschmidt 1930: 178-179, pls. 57-58. He relates the Charun head reliefs on this plaque type to masks in the Museo Faina in Orvieto. D. von Bothmer notes that many of the aforementioned Charun revetment plaques et al. were made by the infamous antiquities forgers Riccardo and Amedeo Riccardi in their Orvieto workshop

during the second decade of the 20th century (D. von Bothmer 1961: 15). Von Bothmer has also seen the Detroit Charun plaque and pronounced it to be one of the Riccardis’ creations as well (in a letter to W. Peck, May 10, 1983, DIA, Department of Ancient Art). Andrén sheds new light on the question of the Charun revetment plaques’ authenticity in his study of Classical art forgeries (A. Andrén 1986: 71ff., 120-121). He supports von Bothmer’s assertion that many of these plaques were produced in the Riccardi workshop. Andrén relys on the testimony of Alfredo Adolfo Fioravanti, who states that he helped Riccardo Riccardi to forge these plaques with moulds taken from original terracotta masks in the Museo Civico and the Museo Faina in Orvieto. Fioravanti’s statement does not necessarily prove that all Charun plaques of this series which surfaced after c. 1910 are modern. A few may perhaps be genuine although the Detroit piece is not among these (cf. A. Andrén, p. 120). In addition to von Bothmer’s expert opinion one need only examine the extremely well-preserved condition of the Detroit plaque’s painted surfaces and moulded details to be sceptical about its “Etruscan” origins. Minutes of the Arts Commission, DIA. 12/13/62

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VI. ABBREVIATIONS ActaHyp ActaInstRomFin AJA AntK AA ArchCl BABesch BDIA BIHBelge BSR CSE CVA CurrAnthr DIA EtrStud Expedition HBA JdI JRA MAAR MEFRA MemNap MonAnt MANF NSc PB PMMA RA RÉA RendNap RM RSGR SkrRom StEtr ThesCRA

Acta Hyperborea Acta Instituti romani Finlandiae American Journal of Archaeology Antike Kunst Archäologischer Anzeiger Archeologica classica Bulletin antieke beschaving. Annual Papers on Classical Archaeology Bulletin of The Detroit Institute of Arts Bulletin de l’Institut historique belge de Rome Papers of the British School at Rome Corpus speculorum etruscorum Corpus vasorum antiquorum Current Anthropology Detroit Institute of Arts Etruscan Studies. Journal of the Etruscan Foundation Expedition. Bulletin of the University Museum of the University of Pennsylvania Hamburger Beiträge zur Archäologie Jahrbuch des Deutschen Archäologischen Instituts Journal of Roman Archaeology Memoirs of the American Academy in Rome Mélanges de l’École française de Rome, Antiquité Memorie dell’Accademia di archeologia, lettere e belle arti di Napoli Monumenti antichi Museo Archeologico Nazionale di Firenze Notizie degli scavi di antichità Prähistorische Bronzefunde Metropolitan Museum of Art. Papers Revue archéologique Revue des études anciennes Rendiconti dell’Accademia di archeologia, lettere e belle arti, Napoli Mitteilungen des Deutschen Archäologischen Instituts, Römische Abteilung Répertoire de la statuaire grecque et romaine Skrifter utgivna av Svenska Institutet i Rom Studi etruschi Thesaurus cultus et rituum antiquorum

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239

VIII. CONCORDANCE OF DIA ACCESSION NUMBERS DIA, Acc. Nos. 23.139 23.153 24.158 24.174 24.228 26.172 26.236 26.238 26.241 26.242 26.243 26.244 26.246 26.247 26.248 26.249 26.250 26.251 26.252 26.254 26.255 26.256 26.257 26.258 27.281 37.49 37.134 37.135 46.260 47.64 47.399 51.72 51.73 53.237 58.71 58.72a-b 61.102 61.103 61.104 61.105 61.106 61.107 61.108

Cat. Nos. 1 26 112 110 113 2 57 58 47 37 36 38 28 63 61 62 59 60 22 25 13 14 53 54 111 104 7 6 8 5 10 27 44 15 41 42 76 77 78 79 93 94 92

DIA, Acc. Nos. 61.109 61.110a 61.110b 61.112 61.113 61.114 61.115 61.116 61.117 61.118 61.119 61.120 61.121 61.122 61.123 61.124 61.125 61.126 61.127 61.128 61.129 61.130 61.131 61.132 61.133 61.134 61.135 61.136 61.137 61.138 61.139 61.140 61.141 61.142 61.143 61.144 61.146 61.147 61.148 61.149 61.150 61.151 61.152

Cat. Nos. 97 95 96 85 82 80 83 84 73 88 89 90 87 72 123 105 106 107 103 69 119 120 102 121 114 115 117 118 116 68 45 46 33 29 30 43 39 40 35 34 48 51 52

DIA, Acc. Nos. 61.153 61.154 61.155 61.156 61.157 61.158 61.159 61.160 61.161 61.162 61.264 62.257 62.267 64.89a-b 65.351 69.8 69.213 F70.46 70.446 70.973 70.974 70.975 74.69a-c 75.121 78.65 78.84 99.5B-3026 99.5B-4693 1987.116 1988.80 1988.81 1988.82 1988.83 1988.214 1989.80 1994.116 1994.117 1997.42 2003.55 2003.56 2003.57

Cat. Nos. 23 55 64 56 16 20 11 19 17 18 67 9 127 122 126 49 71 91 65 4 108 109 3 66 74 31 50 75 70 99 100 101 98 21 24 124 125 12 81 86 32

240

concordance of former collections, galleries, and donors

concordance of former collections, galleries, and donors

241

IX. CONCORDANCE OF FORMER COLLECTIONS, GALLERIES, AND DONORS Cat. Nos. Gifts of Anonymous Donors

Gift of Jerome M. Eisenberg 12 124 125

Gifts of Miss Clara Avery 98 99 100 101 Gifts of Mrs. Florence Maiullo Barnes 108 109 Gifts of Mr. and Mrs. Ferdinand Hartz Cinelli 4 9 Gifts of the Estate of Mr. and Mrs. Ferdinand Hartz Cinelli 32 81 86 Purchases of the City of Detroit, DIA (Ex. Coll. C. and E. Canessa, Naples) 111 (Ex. Coll. Benno Geiger, Venice) 2 (Ex. Coll. Gotha Museum, Gotha, Germany, Acc. Nos.) 13 103 104 (Ex. Coll. Dr. Jacob Hirsch, New York City)

Cat. Nos.

110 112 113 8

(Ex. Coll. A. Riccardi, Florence) 13 14 22 25 28 36 37 38 47 53 54 59 60 61 62 63

66 Gifts of The Etruscan Foundation, Inc., Detroit (Ex. Coll. Museo Archeologico, Florence, Acc. Nos.) 915 35 925 34 936 39 945 (formerly Ancient Collections, Uffizi, Gallery 16 no. 1388) 991 (old No. 51) 11 1037 33 1083 56 1099 40 1126 23 1173 (formerly Ancient Collections, Uffizi, no 45 Gallery no.) 1342 (formerly Ancient Collections, Uffizi, Gallery 30 no. 1766) 1419 29 2755 (formerly Ancient Collections, Uffizi, Gallery 72 no. 1604) 2815 83 2910 (formerly Ancient Collections, Uffizi, Gallery 85 no. 1347) 2949 93 2955 94 2980 80 3071 (formerly Ancient Collections, Uffizi, Gallery 97 no. 1704) 3104 92 3249 95 3262 96 3308 82 4403 (formerly Ancient Collections, Uffizi, Gallery 114 no. 518) 4419 (formerly Ancient Collections, Uffizi, Gallery 118 no. 1200) 4433 (formerly Ancient Collections, Uffizi, Gallery 117 no. 360) 4524 (formerly Ancient Collections, Uffizi, Gallery 121 no. 769) 4565 116 71050 87 71069 79 71073 78 71089 88 71094 89 71096 85 71117 73

242

concordance of former collections, galleries, and donors Cat. Nos.

(Gifts of The Etruscan Foundation, Inc., Detroit, cont.) 71193 77 73021 (formerly Sambon collection) 48 77985 122 78101 46 92028 90 92029 68 92030 119 92031 76 92032 115 92035 102 92036 20 92037 17 92038 19 92039 18 92040 64 92041 43 92043 51 92044 52 92045 106 92046 105 92047 123 92048 107 92049 103 92050 69 92051 55 92052 120 Gift of Mr. and Mrs. Ardale W. Ferguson (Ex. Coll. Dr Irving Burton, Huntington Woods) 74 Purchases of the Founders Society, DIA (Ex. Coll. Alan Brandt) 24 (Ex. Coll. Captain John Aylward) 71 (Ex. Coll. DeBurlet, Berlin) 26 (Ex. Coll. Mathias Komor, New York City) 49 (Ex. Coll. Sir Guy Francis Laking, London; formerly E. S. David, Long Island, New York) 10 (Ex. Coll. Adolph Loewi, Inc., Los Angeles) 126 127

Cat. Nos. (Ex. Coll. A. Satori, Vienna) 1 Gifts of Professor Luigi Grassi 57 58 Gifts of Mrs. Lillian Henkle Haass 104 (Ex. Coll. Salvatore Maccolini, Florence) 5 (Ex. Coll. Charles L. Morley, New York City) 27 44 Gift of the Sarah Bacon Hill Fund (Ex. Coll. Dr. Jacob Hirsch, New York City) 41 42 Gift of Mrs. Lydia Winston Malbin (Ex. Coll. Albert Kahn, Detroit) 3 Gift of Mr. and Mrs. Harold Marko (Ex. Coll. Munzen und Medaillen Art Gallery, Basel) 70 Gift of Mrs. Constance McMath (Ex. Coll. Dr. William R. Valentiner, Detroit) 31 Gift of Mrs. Trent McMath (Ex. Coll. Spink and Son, London) 15 Gift of Mrs. Francis W. Robinson 21 Gifts of Mr. Frederick K. Stearns 50 75 Bequest of Mrs. Mary Chase Stratton 67 Bequest of Mr. Robert Hudson Tannahill 65 91 Gift of Dr. William R. Valentiner 6 7

foreword

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Monumenta Graeca et Romana ISSN 0169-8850

4. S.E. Iakovidis, S.E. Late Helladic Citadels on Mainland Greece. 1983. ISBN 978 90 04 06571 0 6. Dörig, J. The Olympia Master and his Collaborators. 1987. ISBN 978 90 04 08128 4 7. Palagia, O. The Pediments of the Parthenon. 1998. ISBN 978 90 04 11198 1 8. Vanhove, D. Roman Marble Quarries in Southern Euboea. And the Associated Road Systems. 1996. ISBN 978 90 04 10484 6 9. Pollini, J. The Cobannus Hoard. Gallo-Roman Bronzes and the Process of Romanization. 2002. ISBN 978 90 04 12437 0 10. Varner, E.R. Mutilation and Transformation. Damnatio Memoriae and Roman Imperial Portraiture. 2004. ISBN 978 90 04 13577 2 11. Lalonde, G.V. Horos Dios. An Athenian Shrine and Cult of Zeus. 2006. ISBN 978 90 04 14741 6 12. Madigan, B. Corinthian and Attic Vases in the Detroit Institute of Arts. Geometric, BlackFigure, and Red-Figure. 2007. ISBN 978 90 04 16408 6 13. Caron, B. and E.P. Zoïtopoúlou†. Montreal Museum of Fine Arts, Collection of Mediterranean Antiquities, Vol. 1, The Ancient Glass. Musée des beaux-arts de Montréal, La collection des antiquités méditerranéennes, Vol. 1, La verrerie antique. 2008. ISBN 978 90 04 16193 1 14. Caccioli, D.A. The Villanovan, Etruscan and Hellenistic Collections in the Detroit Institute of Arts. With an Introduction by W. H. Peck. 2009. ISBN 978 90 04 17230 2

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contents