Volume 18 Winter 2016

THE ETRUSCANS - MASTERS OF WRITING

EXHIBITIONS AT LATTES AND CORTONA

New Directors of the

Villa Giulia and Museo

Archeologico Firenze

The Stele of Poggio Colla

a New Document of the

Etruscan Language

Exhibit

Ecriture EtrusqueMusée Henri Prades, Lattara

Oct. 17, 2015 - Feb. 29, 2016

MAEC Cortona

Mar. 19 - July 31, 2016

by Paolo Bruschetti, FrançoiseGaultier, Paolo Giulierini, Laurent

Haumesser, and Lionel Pernet

Thirty years ago in Perugia, theexhibit Scrivere Etrusco presented to thepublic the principal epigraphical docu-ments of the Etruscan civilization: theZagreb mummy, the Capua tile, and thePerugia cippus. The discoveries, whichhave multiplied since then, and the con-stant progress of our understanding ofthe texts have incited us to return to thetheme of Etruscan writing, and to set

before the public a panorama of the dif-ferent functions of writing among theEtruscans.

In order to present the manner inwhich the Etruscans learned, used, butalso ultimately abandoned their writing,we must retrace the history of theEtruscan civilization, which was one ofthe most literate of the ancientMediterranean. During the seven cen-turies in which it was used, there wasscarcely a sphere of Etruscan life inwhich writing did not play a role. Onenotes in particular the importance thatinscriptions held in the formalization ofexchanges among aristocrats since theintroduction of the alphabet about 700BC. The richness of the informationthat the inscriptions bring us about thesocial organization of ancient Etruria isconsiderable, continued on page 15

working with American institutions.Mario Iozzo, director of the

Archaeological Museum of Chiusi from1989 to 2008, followed a long line ofdistinguished directors of this remark-able museum, which included DoroLevi, director of the Italian School atAthens, and Clelia Laviosa, author ofthe pioneering book on Hellenistic urnstypical of Chiusi, continued on page 4

by Larissa Bonfante

The Italian culture minister, DarioFranceschini, recently announced theappointment of a number of new direc-tors of major Italian museums. Amongthese are the two new directors of theprincipal Etruscan Museums at the fron-tiers of ancient Etruria, the MuseoNazionale di Villa Giulia in Rome andthe Museo Archeologico in Florence,Maria Paola Guidobaldi and MarioIozzo. Both directors have a vast experi-ence and have been involved in innova-tive, collaborative programs, often

by P. Gregory Warden

The summer of 2015 saw the con-clusion of 21 years of active excavationat Poggio Colla. During the last fewdays of excavation, however, a mostsurprising discovery took place: a curi-ously shaped stone, incorporated into anewly uncovered segment of Phase Itemple’s wall foundation. As we betterdefined the shape of the stone, a crewmember digging on the other side of thewall noticed the first hint of an inscrip-tion, and we finally recognized it forwhat it was: a stele. We thus know that

this monument predates even the firsttemple complex. After days of carefulexcavation and exploration we con-firmed the presence of numerous char-acters inscribed along the edges of thestone.

On the very last day of work atPoggio Colla and under the gaze ofmany visiting Etruscan scholars, a pro-fessional crew continued on page 16

Ivory tessera hospitalis from Sant’Omobono (Capitoline MuseumRome). Top, line of inscription from the Cippus Perusinus (M.A.N.U.)

Positioning the stele for removal.

The stele being photographed.

Maria Paola Guidobaldi

Mario Iozzo

ETRUSCAN NEWS

Editorial Board, Issue #18, January 2016

Editor-in-Chief Jane Whitehead jwhitehe@valdosta.eduModern and Classical LanguagesValdosta State UniversityValdosta, GA 31698

President of the U.S. Larissa Bonfante lb11@nyu.eduSection of the Istituto Classics Department di Studi Etruschi ed New York UniversityItalici, ex officio 100 Washington Square East

Silver Building, Room 503New York, NY 10003

Language Page Editor Rex Wallace rwallace@classics.umass.eduClassics DepartmentUniversity of MassachusettsAmherst, MA 01003

Book Review Editor Francesco de Angelis fda2101@columbia.eduArt History and ArchaeologyColumbia UniversityNew York, NY 10027

Layout-Design Editor Gary Enea etruscanews@yahoo.com

Submissions, news, pictures, or other material appropriate to this newsletter maybe sent to any of the editors listed above. The email address is preferred.

For submissions guidelines, see Etruscan News 3 (2003).

Distribution of Etruscan News is made possible through the generosity ofNYU’s Center for Ancient Studies.

LETTERS TO THE EDITORS

Page 2

Dear Editors:

Dear Editors:

Ingrid Edlund Berry,who delivered the

Dear Editors:

Nancy de Grummond with students at the FSU exhibition“Printing Ancient Pottery in 3-D: Etruscan Ceramics from Cetamura.”

For the past few weeks I have beenporing over your Etruscan News. It isfascinating; I never realized that somany were involved in researching thatancient culture. I am learning so muchjust from reading your institute’snewsletter. Thanks for passing on to methe Winter 2015 copy.

I was particularly struck by the shortpiece (with photograph) of the AthenaParthenos sculpture and museum inNashville, Tennessee. LarissaBonfante’s lecture there was anothersurprise for me; I’d never heard of theNashville Parthenon!

As a young boy, I was swept up inthe bedtime stories from Greek andRoman mythology as told to myyounger brother and me by our father. Icame to really admire the Greek god-dess Gaea, Mother Earth, and her capac-ity for re-birth as young and fresh asever. (It was the Greeks’ way of vener-ating the earth’s renewal every spring.)That probably is when my concern forthe environment was first conceived. Ifind it intriguing to discover that therewas a Greek connection to Italy beforethe Roman era by way of thePhoenicians and their impact on theEtruscan civilization.

So, thanks for the newsletter. It isaffording me many enjoyable hours ofreading and learning.

Warmest regards,Mario D. Bartoletti, EdDValdosta, GA

I had the most wonderful time inFlorence and my almost three weekscould be described as simply walkingaround with “curious abandonment.”The weather was absolutely wonderfuland I did of course get into museums,especially the newly opened Museodell’Opera del Duomo, which I verymuch like. There is enough space toappreciate the paintings and sculpture.Sometimes I find the interactive filmand video and so forth quite annoying,but I think, in this case, it is most taste-ful.

I am sure you know about this cominglanguage exhibit, but I do enclose thebrochure.

(ED: The exhibit is Ecriture Etrusque,which is featured on the front page ofthis issue.)

Barb Martini JohnsonSt. Paul, MN

4th Annual Mario Del Chiaro Lecture,pictured here on that occasion with LisaPieraccini, Elizabeth Peña and Mario

Gaia rising up from the earth insupport of her Giant sons, detailfrom a red-figure vase of theGigantomachia. (Naples 81521).

Del Chiaro. The 5th annual Mario DelChiaro Lecture, entitled Black Flowers,will be delivered by Tom Rasmussen atUC Berkeley on April 28th, 2016.

Lisa C. Pieraccini

Letter to our Readers

Page 3

Dear Editors:

Dear Editors:

Dear Editors:

Our front page features the current exhibition on language and inscriptionsorganized by three museums: the Louvre, the Musée de Lattes and the MAEC ofCortona. In the year 2015 we look back on two important moments in the studyof the Etruscan language: the discovery, in 1964, of the golden bilingual tabletsat Pyrgi, the harbor of Cerveteri, and the Year of the Etruscans in 1986, whenFrancesco Roncalli’s exhibition, Scrivere Etrusco, reunited in Perugia the mostimportant inscriptions found up to that time. This year’s exhibition on theEtruscan language coincides with the discovery of a new inscription at PoggioColla, the news of which has “spread like wildfire in the Etruscan community,”as Greg Warden, the excavator, says in his excavation report for the summer of2015. We await more information with bated breath.

As the newsletter of the NY Section of the Istituto di Studi Etruschi ed Italici,Etruscan News is pleased to announce the election of two new foreign members,Francesco de Angelis and Lisa Pieraccini, who are contributing toward bringingthe Etruscans to both scholarly and popular awareness, on both sides of theAtlantic and both sides of the country. This marks a change of generation, whichis also taking place in Italy, where a new group of directors of museums wasrecently announced by the Ministry of Culture in Italy. Of greatest interest to ourreaders and to tourists interested in the Etruscans are the appointment of MarioIozzo and Maria Paola Guidobaldi as the directors of the Archaeological Museumin Florence and the Etruscan Museum of the Villa Giulia in Rome, respectively.

For the past 13 years, Etruscan News has been the voice of the Etruscans foran international audience of scholars and amateurs -- in the best sense of theword. The world has become more aware of the Etruscans’ place in Classicalantiquity, with the result that today the US is second only to Italy in Etruscanactivities, publications and outreach. The Etruscan Foundation and its journalEtruscan Studies, UMass Amherst’s center for Etruscan Studies and its onlinepublication Rasenna, and most recently the Center for the Study of Ancient Italyand the Etruscan Interest Group within the AIA, to say nothing of excavations,conferences, lectures and publications, have spread the word. More graduateschools have programs in Etruscan studies and have inspired some of the bestgraduate students to work on Etruscan topics. We are pleased to have had a rolein furthering this interest.

As is the case for other journals, we are online, where more and more peopleare accessing the volumes. But we ourselves and many of our readers – particu-larly our devoted coterie of fans abroad -- have had a particular fondness for theedizione cartacea. We do not want to give it up, but we will need financial helpin order to continue our print edition. We will continue to distribute complimen-tary copies at the annual meeting of the AIA/SCS as well as at various lecturesand conferences, but we hope that many of you will consider subscribing andsending donations. We can also send multiple copies, free of charge of issues 4-18 to teachers or lecturers who would like to distribute them to their students.Libraries that need to fill in gaps in their holdings of Etruscan News can receivesingle issues at their request.

We do urge readers to consult the online version of Etruscan News regularly.For our previous issue we added eight extra pages, and we expect to add pagesfor Volume 18. Although we can no longer print two issues a year, the onlinesupplement allows us to keep abreast of the ever-growing number of activities inthe international world of Etruscan studies.

Ethiopian cat (Photo, J. Phillips).

Etruscan antipasto (Photo, AnnaPizzorusso).

I am sending a photograph for yourArchaeocat feature. It is not Etruscan,but it is very archaeological. I wasrecently on a tour of Ethiopia with anArchaeological Tours group, led by anexcellent lecturer who excavates inEthiopia and knows the territory. Oneday she was explaining about some postholes, and this cat popped up to see whowas looking at his house. He did notreally seem to mind, he was just curious.

Yours truly,Ellis GellhornLast night I went to a marvelous

Etruscan cena. It was held at new MuseoArcheologico Etrusco De Feis in Naplesand I took pictures of every course. Ihave a copy of the book of the museum'scatalog for you. The director is a youngProfessoressa Florenza Grasso. Themuseum is small but has some beautifulthings from Campania and Puglia.

Here is the Etruscan menu: Etruscanantipasto: uova speziate, olive salate,ricotta fresca speziata al pepe nero, fari-nata etrusca, miele, frittata di cipolla elatte; primo: zuppa di legumi all’alloro;all’aglio e verdure stracotte dell’orto;datteri, nocciole, castagne e fichi; vinorosso speziato; acqua.

Baci grandi e tanto amore,Anna Pizzorusso

Here is a photo of Eve GranAymerich (at right) at the presentationof her Festschrift in Paris, Pour une his-toire de l’archéologie xviii siècle –1945. Hommage de ses collègues etamis à Ève Gran-Aymerich. Textes réu-nis par Annick Fenet & NatachaLubtchansky. Bordeaux, Ausonius,2015.

Best wishes for Etruscan News,Jean Gran Aymerich

(ED: See online article about Naples’new Museo De Feis, Etruscan News 17.)

(ED: See announcement page 17.)

Dear Readers,

PS: Etruscan News Volume 17: articles printed in online version: • Newsfrom the Etruscan Museum of Villa Giulia • Unleashing Harvard’s Art Museums • Rome’sColosseum could again host shows, but first it needs a floor • From the arena of theColosseum to the history of Ferrara • Etruscan necropolis in loc. Lauscello, Municipalitiesof Castel Giorgio and Orvieto • A Surprise from Norchia, the Tomb “a casetta” of Vel atSferracavallo • 11° Incontro Nazionale di Archeologia Viva tourismA • The Institute forMediterranean Archaeology: a new society for Orvieto and its territory • Etruscan scholarsgather in New Orleans for Archaeological Institute of America conference and drink anancient ale • Nancy de Grummond wins Excellence in undergraduate teaching award fromAIA • Il caso dei Marmi di Elgin • Some Etruscan Publications, 2013-2014 • Museum andSite: A new phase in the real and virtual history of the Etruscan town of Acquarossa (Viterbo)• The first museum dedicated to Etruscans has opened in Naples • Princely Celtic tomb from5th c. B.C. found in Lavau, France •

Larissa BonfanteJane Whitehead

NEW SUBSCRIPTION FORMIn order to receive the paper edition of Etruscan News, please subscribe below. Types

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Directors , continued from page 1

Vetulonia, continued from page 5

Page 4

ARCHAEOCAT

POETRY

Introducing Lara from Tarquinia, born in Tuscania of Etruscan origin.Well educated Etruscat of Dottoressa Eleonora Brunori, Lara is study-ing for her doctorate in Etruscatology. (Photo by Massimo Legni).

Museo Archeologico Nazionale di Chiusi.

unprovable. Were these objects thatwere part of the furnishings of thehouse, dismantled and broken to beremoved at the time of the fire and aban-donment? Scrap artifacts ready to beremelted? Material resulting from thelooting of a sacred place outside thehome, from looters lost in the tragicevents of the fire in the quarter? Thesequestions and many others that the exca-vation has sparked we will attempt toanswer in future research.

On the other hand, the excavation ofthe Domus of the Dolia represents only

the first step in a long and complexprocess that aims to bring to light theentire urban district of PoggiarelloRenzetti, with its houses, its streets, itsartisan shops, its town squares for manand its temples for the gods. A neighbor-hood collapsed and remained buried,with its stones and its clay bricks, undera few meters of dirt for over two thou-sand years; a treasure imprisoned insilence, which no one has touched, itasks, like a new Persephone, to return tothe surface and tell its long and fascinat-ing story.

Perugia and Volterra, Scultura tardo-etr-usca di Volterra (1965). He was aninspiring director, collaborated with thetown in many ways, and installed thefirst Etruscan epigraphical museum in apicturesque underground gallery. Manyof us were sad when he left Chiusi forFlorence. There, however, he has beenequally active, installing new sectionsand making the collection more easilyaccessible for visitors. He has beenactive in projects working withAmerican museums, including theexhibit on the Chimaera at the GettyMuseum, for which he published TheChimaera of Arezzo (2009), and a con-ference on the François Vase at theArchaeological Museum in Florence,published by H. A. Shapiro, MarioIozzo, and Adrienne Lezzi-Hafter, TheFrançois Vase: New Perspectives(2013).

The new director of the MuseoNazionale di Villa Giulia in Rome, aswell as the charming MuseoArcheologico Cerite (Cerveteri), isMaria Paola Guidobaldi, an expert onRomanization in Italy, and on Pompeii,Herculaneum and the cities destroyedby the eruption of Vesuvius in 79 AD.She has excavated in the Latin colony ofFregellae, in the pre-Roman necropolisof Campovalano, and in the Villa of thePapyri in Herculaneum. Until July 2015,she was director of the excavations ofHerculaneum with the SoprintendenzaArcheologica of Pompei. As such, shecoordinated for fifteen years the projectfor research, conservation and develop-ment of the excavation of Herculaneum,the “Herculaneum ConservationProject,” an innovative form of interna-tional public-private partnership, set upby David W. Packard, president of thePackard Humanities Institute (a philan-thropic foundation), with the aim of sup-porting the Italian State, through theSoprintendenza Speciale per i Beni

Archeologici di Napoli e Pompei (thelocal heritage authority), with the goalof preserving this uniquely valuable, butat the same time fragile, archaeologicalsite. She organized and curated theexhibit, “Ercolano. Tre secoli di scop-erte” and has collaborated with manyother exhibits organized by theSoprintendenza of Pompei or foreignmuseums. She also headed the UfficioEditoria, organized two InternationalCongresses on archaeological researchin the area of Vesuvius and edited theProceedings, and edited 33 volumes ofthe Collana di Studi.

New directors were also named forthe Polo Museale del Lazio, for theArchaeological Museum at Naples, andthe museums at Chiusi and CivitaCastellana (ancient Falerii). The directorof the Archaeological Museum atNaples, Paolo Giulierini, studiedEtruscan archaeology at the Universityof Florence. He was born in Cortona,and has been the director of the Museodell’Accademia Etrusca and Cortonasince 2001. Maria Angela Turchetti, thenew director of the ArchaeologicalMuseum of Chiusi, is the former direc-tor of the Museum at Cosa. The RomanRepublican site of Cosa is an Americanexcavation in collaboration with theSoprintendenza, first directed by FrankBrown, Director of the AmericanAcademy in Rome, and by his succes-sor, Russell T. Scott, Jr.

ARTICLES

Page 5

the Museum of Vetulonia.Except for a brief intervention by the

Soprintendenza Archeologica 30 yearsago, exploration in the area of theancient city had been suspended for the

120 years since Falchi’s discoveries,which were interrupted in 1895.Excavations have now been reopened,thanks to the efforts of the Isidoro

Falchi archeological cultural associa-

tion which was founded in 2012 pre-cisely in order to revive the archaeolog-ical investigations and to document theresults.

Not far from the Domus of Medeaanother residence of noble characterwas identified, the Domus of the Dolia.Five years of excavation have revealed abuilding structured around a large semi-open space, which is entered via the so-called Street of the Cyclopes, one of thestreets perpendicular to the large pavedroad that still runs though thequarter.(Fig.1) Around this possible atri-um, various rooms face each other.Among the most significant is the roomthat gave its name to the house; it heldfour large food containers (dolia), oneof which was intact and put back in itsplace. (Figs.3&5) One of the receptionrooms featured a floor decorated with an

elegant meander pattern of white andgray limestone tiles in a red backgroundof opus signinum; the walls were plas-tered and painted. In the adjoining roomthe bronze feet of a dining couch and

some marble columns and tables (?)were recovered.

This building was destroyed, alongwith the entire neighborhood, by a firein the early 1st century BC, as evi-denced by the scarcity of materials thatcan be dated from the beginning of thecentury up to 70 BC. The destruction ofthe city is perhaps attributable to the ter-rible reprisals conducted by Sulla afterhis victory over Gaius Marius in the bit-ter dispute that saw the cities of Etruriastand in favor of the latter.

In the small room on the west side ofthe house, brought to light during themost recent excavation campaign(October-November 2015), a sensation-al discovery emerged from under thecollapsed roof and the walls. Within alarge patch of burnt wood in almost thecenter of the room — which contained,in addition to a dolium still standing,some oil and wine amphorae — wasfound a group of seven figurativebronzes. (Fig.4) Three of these belongedto a bronze candelabra, its top consisting

An ExtraordinaryDiscovery at “The Domusof the Dolia” in Vetulonia

by Simona Rafanelli

Research in the Hellenistic area ofVetulonia resumed in June 2009, when aproposal from the Scientific Director ofthe “Isidoro Falchi” ArchaeologicalMuseum met with the immediate con-sent of the Superintendent forArchaeological Heritage of Tuscany andthe enthusiastic support of the cityadministration of Castiglione dellaPescaia.

Started very cautiously, the excava-tions have accelerated greatly in the lastfour years, thanks to the financial com-mitment of the city and to generous con-tributions from private individuals.

Vetulonia, whose importance to theearly Iron Age is well known, wasreborn in new splendor in the 3rd centu-ry BC, when, thanks to its alliance withRome, coinage was minted there bear-ing its name, VATL. The Hellenisticquarter, Poggiarello Renzetti, discov-ered by Isidoro Falchi in 1892, repre-sents the most striking archaeologicalproof: it has revealed some importantdomestic structures, such as the Domusof Medea, with its decorative terracottasdisplaying episodes from the saga of theArgonauts. These are now preserved in

of a rearing horse (Fig.2) that was onceheld by a dioscuro now lost. The piecedates to early 4th century BC, and istherefore the oldest artifact in the house.

Particularly important are the threebronze male figures dating to the 3rdand 2nd centuries BC. These are classi-fied as devotional objects and thereforebelong to an environment of worshipthat we still cannot locate with certainty,either in the home or outside it. In thehouse, in fact, there could have been alararium, a shrine with images of theprotector gods of the house; suchshrines are well known in the Romanhouses of Pompeii. In any case, the findspot, which resembles a storage roomdue to the presence of the dolia andamphorae, probably was not their origi-nal location. One of the bronzes exhibitsa singular headgear, reminiscent of thepointed cap of the famous Etruscanpriest, the haruspex. If its restorationconfirms this impression, the impor-tance of this data cannot be dismissed.. Complicating the issue is the presenceof a stone base that still retains the feetof another, larger, bronze votive statue.(Fig. 6) All these objects raise a numberof unanswered questions: what is thereason for the presence of such disparateand high quality objects in a place soforeign to their primary purpose? Theassumptions faced are numerous, but allcurrently

Fig. 3Fig. 2

Fig. 4

Fig. 5 Fig. 6

Fig. 1 Excavating the last rooms of the Domus, October 2015.

continued on page 4

Page 6

Letter From Romeby Larissa Bonfante

When I come to Rome I live inTrastevere, which used to be Etruscanterritory, on the other side of the Tiber.Almost every day, I cross the PonteGaribaldi to come into Rome proper,passing by the Isola Tiberina, a healingsanctuary in antiquity and today the siteof two hospitals. From my apartment Ican walk up the hill to the Janiculumand the American Academy in Rome.

I arrived in time to attend the sched-uled presentation, on June 8, of The

Collection of Antiquities of the

American Academy in Rome, edited byHelen Nagy and Larissa Bonfante, andpublished by the University of MichiganPress as a Supplement to the Memoirsof the American Academy in Rome.(Fig. 1).

The volume, which contains essays on“Highlights” of the areas of the collec-tion, was in fact not yet officially out,

but Kim Bowles, the Director, gave it awarm welcome. Particularly valuable isProfessor Katherine Geffcken’sIntroduction, which provides a historyof the different moments in the creationof the collection, and includes sympa-thetic and often dramatic biographies ofthe various directors, professors, mem-bers, and donors whose gifts enrichedthe Academy’s Archaeological StudyCollection in the course of the last hun-dred years.

Vincenzo Bellelli brought greetingsfrom the Italian CNR, and we weredelighted to see a number of Italianfriends of the Academy in the audience,including Giovanni Colonna andGabriele Cifani. Then the audience wasinvited to adjourn to the Norton-VanBuren Room (Fig. 2), the so-calledMuseum, where objects from the collec-tion were on display. Helen Nagydeserves credit for the Museum and theInventory, where students and

researchers can look up information onthe objects. This was digitized by EricDe Sena of John Cabot University, andcan be accessed through the Academy’sweb site.

This was an auspicious beginning tomy two months in Rome. Near the endof my stay, I took a number of archaeo-logical trips. First on my list was theArchaeological Museum in Florence,whose remarkable new installationunder Mario Iozzzo’s imaginative direc-tion now allows visitors to see andunderstand much more of its collection.. I was also fortunate enough to catch

the exhibit of the Piccoli Grandi Bronzi

(March 20–August 31, 2015), curatedby Mario Iozzo, who edited the cata-logue together with Barbara Arbeid.(Fig. 3). This is not to be confused withthe much larger exhibit, Power and

Pathos: Bronze Sculpture of the

Hellenistic World, an exhibition atPalazzo Strozzi, Florence (March 14–June 21, 2015); the J. Paul GettyMuseum, Los Angeles (July 28–

November 1, 2015); and the NationalGallery of Art, Washington, D.C.(December 13, 2015–March 20, 2016).Both exhibits were reviewed by IngridD. Rowland, “The Grandest Art of theAncients,” The New York Review of

Books, August 13, 2015. From Florence, on to Milan, where I

stayed with friend Silvia Luraghi,Hittitologist from Pavia, and went to theEXPO with Davide Cadeddu, Professorof Political Science at the University ofMilan. I was curious to see GiovannaBagnasco Gianni’s Camera delle

Meraviglie (Fig. 4 with Maria Bonghi

Iovino) the charming archaeologicalexhibit at the university, on the EtruscanBanquet, in line with the theme of the2015 Milan EXPO, “Feeding thePlanet.” It was possible to stand in frontof the model of the Etruscan Tomb ofthe Funeral Couch, La Tombe del LettoFunebre, whose every detail was repro-duced, and feel that you really weretransported to another place and time.Nearby, the tech room included the

“Meraviglie,” including touch screensand holographs, all of which are becom-ing more and more common in “virtual”exhibits and museums, and somethingthat I am still getting used to. I admiredthe collaborative effort represented bythe archaeological images and videosplaying continuously on a screen in thisMultimedia Room; these had been sentin from all over the world, in answer toan invitation by the organizers.

The most exciting archaeologicaladventure in the field was the visit to therock-cut tomb of Grotta Scalina. (Fig.5). (See report elsewhere is this issue byVincent Jolivet, and preceding report,Etruscan News 17 (2015), p. 15). It isone of the three largest HellenisticEtruscan tock-cut tombs, along with thewell-preserved Tomba Ildebrandra atSovana, and the Tomba Lattanzi in thenecropolis of Norchia. This year’s exca-vation uncovered the tombs below themonumental rock-cut façade, with itsdramatic staircase leading to the second

level (left), as well as much of the laterhistory of this impressive monument,which was a regular stop for pilgrims onthe last leg of the via Francigena, theroad that led from France (starting inCanterbury) to Rome. It seems at onepoint to have hosted a resident prophetichermit. The owner of the property invit-ed us all to a memorable dinner, whichconcluded with a reading of Etruscan

News, (Fig 6.) much to the amusementof the director of the excavation,VincentJolivet. (Fig. 7).

Back in Rome, Myles McDonnelltook me and my brother, JordanBonfante, on a historical tour of theForum. We never noticed the heat in thedramatic three hours that led us, in realtime, by way of the via Sacra throughthe death of Caesar, the exposure of hisbody and Marcus Aurelius’ passionatespeech. And so we were back full circle,in the Romanization that marked the endof the Etruscan nomen. (Fig. 8).

Fig. 1

Fig. 3

Fig. 2

Fig. 4 Fig. 5 Fig. 6

Fig. 7 Fig. 8

Page 7

Printing Ancient Potteryin 3-D: Etruscan Ceramics

from Cetamura delChianti

by Nancy de Grummond

A grant from the ArchaeologicalInstitute of America provided the basicsupport for an exhibition on 3-D print-ing of ancient pottery at the Museum ofFine Arts at Florida State University inTallahassee. The show opened onOctober 16, 2015, and was featured asan activity of International ArchaeologyDay on Oct. 17. Curated by Dr. Nancyde Grummond of the ClassicsDepartment at Florida State University,

the exhibition featured a display of 27vessels reproduced digitally, mainly bymeans of 3-D printing. Artists at theFacility for Arts Research (FAR) atFSU, under the guidance of coordinator

Windham Graves, created 3-D modelsfrom 2-D pottery profile drawings usingRhinoceros software. These designswere then printed out by a MakerbotReplicator using a plastic filamentstock. Undergraduates from the FSUStudent Archaeology Club majoring inClassics and Museum Studies assistedin assembling and polishing the printedpieces. Graves then finished them offwith spray paint to achieve an appropri-ate texture and color.

The printed vessels were displayedon open pedestals and made availablefor touching, since no risk is involvedwith handling the plastic models. Theexhibit was planned to be of interest tothe general public, but especially tovisually impaired individuals, who wereable to pick up the vessels and under-stand the forms through touching. Ahighlight of National Archaeology Daywas a session with children from theLighthouse of the Big Bend, spearhead-ed by Dr. Sandra Lewis of the FSUVisual Disabilities Program and herinterns. The 3-D pots were passedaround as de Grummond and othersexplained how they were used in thepast. The children were also able to“excavate” in mock trenches and extractfragments of modern flower pots, which

they then reconstructed with the help ofstudents from the Archaeology Club.

The originals of the vessels wereexcavated in recent years by deGrummond in an Etruscan sanctuary,artisans’ quarter, and well at the FSUsite of Cetamura del Chianti in Tuscany,Italy. They included Etruscan, Romanand medieval examples dating from asearly as the 6th century BCE and as lateas the Middle Ages (ca. 1200 CE). Amajor advantage for this type of exhibi-tion was the fact that it avoided themany difficulties and great expenseinvolved in bringing fragile items fromabroad. All the original artifacts not onlyremained in Italy, but are not readilyavailable for the public to touch.

Some objects were whole whenexcavated, but many pieces were frag-ments that allowed for standard 2-Dreconstruction drawings of pottery pro-files — rim, wall and base; handle ifappropriate. Explanatory labels and wallposters described the themes of theexhibit and the contexts in which thepieces were found. The students them-selves had designed the posters, coordi-nated and edited by FSU Classics doc-toral student Christina Cha. Labels andother short documents in Braille wereprepared by the Museum of Fine Arts

under the supervision of museum direc-tor Allys Palladino-Craig.

A special feature was a reproductionof a large Etruscan storage jar, ca. 5 ft.tall, so far known only in fragmentsfrom excavation. The whole profile ofthe jar was reconstructed in a drawing,and the vessel was reproduced in styro-foam using a digital carving router,which creates shapes by a process theopposite of 3-D printing: instead ofdepositing material, the router takes itaway. Thus a huge block of styrofoamwas systematically cut away until itassumed the shape of the jar. The finalproduct weighed only 60 pounds,whereas the original ancient storage jaris estimated to have weighed 600 lbs.

“Please touch” these “ancient” objects at the FSU Museum.

MakerBot prints 3 bowls at once.

Lighthouse students show off the result of their restorations.

Opening night at the exhibitiondrew a large, interested crowd. Windham Graves explains how to

create an Etruscan dolium in sty-rofoam at the Facility for ArtsResearch (FAR).

Fragmentary Etruscan blackgloss goblet, 2nd century BC(inset) and its complete 3-Dprinted version above.

After printing 3-D version of thefragmentary Etruscan beaker(inset) it was possible to meas-ure its liquid capacity of 220 ml.in the replica below.

Page 8

A jazz musician plays the

aulos: the music of 2500

years agoby Jacopo Gori

To recreate the lost music of theEtruscans was the fascinating challengebetween an archaeologist and a jazzmusician. They started this journeyfrom two very distant points:Etruscologist Simona Rafanelli, directorof the Archaeological Museum IsidoroFalchi Vetulonia, in the TuscanMaremma, and saxophonist StefanoCocco Cantini. They have togethersearched for an imaginary sound, whichthey eventually made real.

Together, they observed and studied,in the Museum of UnderwaterArchaeology at Porto Santo Stefano, thewind instruments of boxwood and ivory(far right) attributed to the Etruscans.These had been found a few years ago

amazingly intact (above) - thanks to thetar that protected them - in the cargohold of a shipwreck from 2600 yearsago off the island of Giglio. They com-pared the instruments with paintings inEtruscan tombs of Tarquinia, withreliefs on the stone urns of Chiusi andwith real ancient instruments exhibitedat Paestum. The fingerholes and dimen-sions all matched. Cantini, informationin hand, tracked down seasoned box-wood (in the Ukraine), contacted acraftsman (in Sardinia) and rebuilt threeinstruments identical in shape, size andmaterial to those found in the Etruscanshipwreck from Giglio.

“Perfectly cylindrical, non-taperedlike the Greek. A true and correct copyof the real thing,” say Rafanelli andCantini. The problem, once recreated,was to play them.

“We know for sure what notes myancient colleagues could not produceover 2700 years ago,” says Cantini, whotravels the world with his quartet play-ing arrangements of John Coltrane, oneof the legends of jazz. “I was keptawake at night trying to understand howthese instruments could work until I dis-covered the secret.”

“And the secret was revealed to usby the Etruscans themselves,” continuesRafanelli, whose life is dedicated to thestudy of this population of ancient Italy.

“The Etruscans were a people ofmusical excellence. In many paintingsyou see musicians playing on everyoccasion: funerals, weddings, banquets,in wrestling matches. The Etruscans’entire life was permeated with music.The instruments represented the mostare wind instruments: single or doublebodied auloi and tibiae, as the Greeksand Romans called them. Once theexact copy of the real instrument wasrecreated we lacked the last bit.”

“The Etruscan wind instruments,”continues Cantini, “are not flutes. Inorder to produce sound they requiredinstead the use of a reed, the little sliverof cane that vibrates, as in reed instru-ments today (oboe, bassoon, clarinet,

saxophone). But there are various typesof reeds. Looking at the paintings wecame across an image in which themusician has the instrument out of hismouth the moment before starting toplay it; this is in the Tomba Giustinianiat Tarquinia, from 450 BC, in theNecropolis of Monterozzi. I’m not amusicologist, but I had no doubt that itis a simple single reed. Today in ourcountry it is used only for the launed-das, an ancient Sardinian instrument. Iobtained some of these reeds fromSardinia and I put them in the threeauloi we reconstructed. I still shudderwhen I remember the first time I heardthose sounds.” The same chills were feltin the Hall of the 500 of the PalazzoVecchio in Florence (bottom left), wheretwo years ago archaeologists andEtruscologists listened to the notes ofCocco Cantini emerge from their silenceafter 2,500 years.

“I introduced him myself,” recountsGiovannangelo Camporeale, professoremeritus of the University of Florence,and one of the foremost authorities inthe field of Etruscology, “but we mustbe able to distinguish what is certaintyand what is hypothetical. The work ofCantini and Rafanelli (below left andfar right ) (who published a booklet enti-tled The lost music of the Etruscans,Edizioni Effigies, 2013, ED) is veryinteresting, but none of us has ever

heard these ancient instruments play. Inour work we must go on hypothesis;each discovery opens new avenues thatcould confirm or disprove them. Onething I always say is woe to those whofall in love with hypotheses. But this isone most fascinating experiment.

“We have restored a sound to a peo-ple without a voice,” says the convicedEtruscologist Rafanelli, who now withthe jazz musician Cantini tours Italybetween events and conferences pre-senting the lecture-concert. “We let thepublic hear ancient sounds, unknowntones that vibrate the body and create anincredible magic.”

“The frequencies of these notes.”continues Cantini, “are crazy. Theseinstruments produce a sound tuned to432 hertz, like Mozart and Verdi, whichchallenges every assumption aboutEtruscan music.”

This study also led to a documentaryfilm, On notes of mystery. Lost Music of

the Etruscans, by director RiccardoBicicchi. It premiered at theArchaeological Tourism Exchange inPaestum on October 30 (an excerpt canbe viewed at www.corriere.it/la-lettura/)and will be presented, along with thecomplete project, to Italian, French andBritish museums. But Cocco Cantini,jazz musician and experimenter that heis, goes one step further: he will be inBerchidda, Sardinia, on December 6playing his Etruscan auloi with theaccordion virtuoso Antonello Salis.Unimaginable melodic improvisationswith instruments from 2,500 years ago.Ancestral sounds, hidden within us.

Playing the amphitheatre at Roselle.

Page 9

Etruscans in 3D October 24, 2015 -

May 4, 2106

Ex-Chiesa degli Almadiani

Viterboby Alessandro Barelli

The idea was conceived in 2010 toorganize the first archaeological exhibi-tion created entirely with 3D technolo-gy. It was produced by Historia, theassociation for dissemination and con-servation of Cultural Heritage in Italy,with the technical collaboration of(FBK) the Bruno Kessler Foundation inTrento. The first exhibition took place atthe National Museum of BrusselsMRAH (where it saw over 30,000 visi-tors), the Science Museum of Trento(where it totaled 12,000 admissions infour months as compared to the muse-um’s 11,000 annual visits for the entireyear) and in Stockholm at the NationalMuseum of the Mediterranean(Medelhavseet, with 103,000 visitors).

Completely multimedia, the 2015exhibit uses anaglyphic technology (bi-color glasses) to allow visitors to expe-rience major Etruscan archaeologicalsites in 3D, reconstructed with Laser

the Etruscan settlement of Acquarossa,and the frontal screen presents the won-derful and essential work of archaeolo-gists filmed live while excavating atEtruscan sites.

The new and improved version of“Etruscans in 3D” debuted in Viterbo onOctober 24, in the former church ofAlmadiani. It presents big changes fromthe first edition in Brussels: a new pro-jection system using large aerial screensfor displaying twenty tombs realizedwith the technique of Laser Scanning2D and 3D. All iconography is designedfor 3D viewing and can be viewed withthe aid of special anaglyphic glasses.

There will be newly developed holo-scanning technology precisely as theyare in real life. The exhibit begins with aseries of large monitors and screens dis-playing the world of the ancientEtruscans though spectacular movies,animations and images in 2D and 3Dfrom the most important Etruscan muse-ums in Italy. The mapping and 3D mod-eling of Etruscan tombs and artifactswere created by the 3D OpticalMetrology Labs at FBK headed by Dr.Fabio Remondino. The models are dis-played at very high definition to allowan “immersive” experience of the interi-ors of the Etruscan tombs.

The 12-foot-high entrance portal

welcomes visitors with an auspiciousgreeting from the augurs (soothsayers),images from the famous painted tomb ofthe same name in Tarquinia. Projectedon the rear wall on a giant screen is aninteractive virtual tour, where visitorscan discover the Necropolis of theBanditaccia at Cerveteri and theMonterozzi and Calvario necropoleis inTarquinia, a virtual tour of the Tomb ofthe Monkeys in Chiusi and theArchaeological Park at Vulci; the last isa new addition to the 2015 version. Thevirtual tour allows access to 36 tombs in360°.

Two side screens present the possi-ble virtual reconstruction of an area at

graphic projections on special plates,created by Massimo Legni of ATD.This is a project developed in collabora-tion with Gary Enea of Ceramicus -NYC: below a suspended light appear,as if by magic, objects and ancient arti-facts, which visitors will be able to“touch.” There will also be pyramidalthree-dimensional holographic projec-tions of objects scanned from originals.

Supplementing this are more inter-active stations dedicated to children: thefamous “Talking Heads of Historia” tellchildren about curious details of the lifeof the ancient Italian people. A brows-able virtual glossary allows visitors torecognize objects of daily life andEtruscan banquets. These animatedcards will be a sort of virtual windowinto extraordinary artifacts from theEtruscan Museums of Lazio, EmiliaRomagna, Tuscany and Umbria. Finally,an interactive station for children withsome “puzzles” allows the little archeol-ogists to restore artifacts.

Premiering in this exhibition will bethe presentation of the 3D virtual recon-struction of the renowned “FrançoisTomb” at Vulci, where the visitor canenter and view its important frescoes,reconstructed and restored upon its

walls. Reproductions and reconstruc-tions of the most important tombs fromthe Archaeological Park at Vulci willalso be presented for the first time dur-ing the course of the exhibition.

To complete the content, over 60large photographic and didactic panelsin 3D and eight large screen monitorsdisplay images from the world of theEtruscans themed by topic.

Presented at the exhibition is the“Experienece Etruria” film project cre-ated by CINECA with theSuperintendency of Archaeology ofLazio and Southern Etruria and thecities of Viterbo and Orvieto.

The Vibenna brothers in the François tomb battle in 3-D.

The exhibit in the ex-chiesa degli Almadiani, Viterbo.

Is it there or not?

Superintendent Alfonsina Russo, Assessor Chiara Lanari and ViceMayor of Viterbo, Luisa Ciambella are mesmerized.

Page 10

The monumental tomb of

Grotte Scalina: solved and

unsolved questionsby Vincent Jolivet (CNRS, Paris)

and Edwige Lovergne(Université de Paris I)

From July 6 to August 3, 2015, anew excavation campaign took place atGrotte Scalina, with the contribution ofmore than 20 students, researchers orteachers from France, Italy, Switzerlandand the United States. This collabora-tion between the Centre National de laRecherche Scientifique and theSoprintendenza Archeologica del Lazioe dell’Etruria Meridionale was madepossible thanks to the sponsoring ofvarious institutions: the CAECINAProject (ANR, CNRS), the LabexTransferS (Paris), the École NormaleSupérieure (Département des Sciencesde l’Antiquité, Paris), the CarivitFoundation (Viterbo) and the archaeolo-gical association Pharos, and with thefriendly cooperation of the Pepponifamily, owners of the tomb.

It was possible this year to dig com-pletely the tomb chamber, which appe-ars to have been plundered several timesduring the last century. Our workbrought to light a clear contrast betweenthe exterior and interior of the tomb,both architecturally and chronological-ly. While its façade is huge, carefullyplanned and carefully executed, thefuneral chamber, carelessly carved froma smooth tufo layer, is of poor dimen-sions (roughly 5 x 6 m.), and a very irre-gular plan. Outside the tomb, somesherds of Etruscan red-figured vases,probably used in its banqueting room,allow us to date the creation of the com-plex around to 320 B.C., contemporarywith the Lattanzi twin-tomb in Norchia.. Given the time period and the very

high level of the Tarquinian aristocracy,the funerary chamber should have con-tained several sarcophagi with figuredlids and inscriptions recording, at least,the name of the dead. Instead, seven ofthe eight sarcophagi were sealed by aplain lid, only one of which was inscri-bed; the only lid depicting the figure abanqueting man was stolen.Furthermore, no sherd found in the fil-ling of the tomb (which containedvarious tokens and a bone die) can sure-ly be dated before the beginning of the3rd century B.C.

The difference of at least a genera-tion between outside and inside of thetomb can so far hardly be explained. Wewill check by Georadar, next year, forthe presence of a second, hypotheticalsubterranean chamber.

During this same campaign, we dugentirely the second dromos of the fune-rary complex. Its original filling wasfound excavated parallel with the widthof the chamber door, but the stratigra-phy shows that this access was not maderecently, probably during the 16th cen-tury A.D.

This latter date is suggested by thediscovery of a bronze medaillon, produ-ced at the end of the 17th century for thepilgrims of the Jubilaeum. It was avaluable key to understanding why thetomb was carefully cleaned in the 16thcentury, and later regularly visited overabout three centuries: its architecturemiraculously, evoked in the minds of theforeign pilgrims the two main RomanChristian monuments of the Jubilaeum,the Holy Door and the Holy Stairs.

See also: V. Jolivet, E. Lovergne,“La tomba rupestre monumentale diGrotte Scalina (VT),” in Etruria inProgress. La ricerca archeologica inEtruria Meridionale. Rome, GangemiEditore 2014, 165-125. (photos CNRS).

The Tomb of the Painted Vases,dated to the late 6th century BC, wasdiscovered in 1867 by the archaeologistWolfgang Helbig, who accuratelydescribed it in the Annali dell’Istituto diCorrispondenza Archeologica of 1870.Helbig stated that the paintings had afinezza meravigliosa and consideredthem to be far superior to those of theadjacent Tomba del Vecchio. The tombhas suffered a great deal on account ofits secluded location: it is situated on thenorthern edge of the steep Monterozzi

hill, home of the monumental necropolisof Tarquinia, and is therefore difficult toaccess and control. Over the years theroots of lush vegetation have invadedthe tomb’s painted surface and seriouslycompromised its condition.

In 2014 the Associazione Amicidelle Tombe Dipinte di Tarquinia, in

agreement with the Soprintendenza,received from the Foundation CARIVITof Viterbo a contribution toward anurgent intervention designed to stop theserious deterioration of the paintings.Their condition had been further com-promised by the vandalism they suf-fered in 1963 at the hands of tombaroli

who sawed off and carried away largeparts of the painted surface. The inter-vention of consolidating the plaster andthe removal of the roots was concludedthis year and the Association has alsobeen able to install an insulating alu-minum door to maintain a stable temper-ature and humidity inside the burialchamber. We hope that in the near futureit will be possible to restore the paint-ings, and bring to light the few but pre-cious details which cannot be appreciat-ed today because of the tomb’s currentsevere state of decay.

Submitted by the non-profit associa-tion, “Friends of the Painted Tombs ofTarquinia” (www.amicitombeditar-quinia.eu).

Stairs flanking the tomb. Cleared dromos and chamber.

17th century pilgrim medallion. Gaming tokens found in tomb.

Before (L) and after (R) root removal, cleaning and consolidation.

The Tomb of the

Painted Vases

Page 11

New life for the Etruscan

necropolis of Crocifisso

del Tufo in Orvieto (Terni)by Claudio Bizzarri

The necropolis of Crocifisso delTufo (named after a small chapel duginto the tufa cliff overlooking the site) isconnected to the settlement of theEtruscan Velzna/Volsinii. In the layoutof their tombs, basically all alike andwith the names of the owners in therock-cut inscription over each entrance,the inhabitants mirrored an egalitariansocial organization. On the whole thenecropolis can be dated to the secondhalf of the 6th and to the 5th centuryBC, although one of the most interest-ing, a small tumulus tomb with a stonesarcophagus belonging to a woman,dates to around the middle of the 7thcentury BC. The tomb furnishings arein general homogeneous, with Attic pot-tery pertaining to the symposium(among these are those by the greatestof black-figure masters, Exekias). Themany vases in bucchero pesante, a char-

acteristic type of pottery in Orvieto andneighboring Chiusi, were accompaniedby objects in bronze and iron, all relatedto the banquet. Excavations of thenecropolis began in the 19th century,with methods now considered ratherquestionable, while the first excavationsto be carried out scientifically werebegun in the 1960s and continued to theend of the century. The new campaignsgot under way in June of 2015.

The city of Orvieto, after conferringwith Maria Cristina de Angelis, inspec-tor of the Soprintendenza Archeologiaper l’Umbria under whose jurisdictionCrocifisso del Tufo falls, requested per-mission from the Ministry for CulturalAssets for a three-year period of excava-tions with a clear plan of action, cover-ing various aspects. While the focus wasto be on unexplored areas, previouslyexcavated portions were also to be “re-

explored” and the techniques and meth-ods required for the restoration of themonuments were to be studied. Thebasic maintenance of the area over timewas also an essential element, for itmeant enhancing, together with theSoprintendenza, the most importantaccessible archaeological site inOrvieto. The scientific direction wasentrusted to Claudio Bizzarri, who wasparticularly pleased at the chance tocontinue the family tradition. [ED:Claudio Bizzarri’s father, MarioBizzarri, was the first scientific excava-tor of the Crocifisso del Tufo. SeeEtruscan News 17, 2015.] Paolo Binacowas named field director. Financial sup-port was guaranteed by the SostratosTrust di Scopo, an “enlightened” not forprofit entrepreneurial group, whichmanages the economic and logistic sec-tor of the project in Orvieto, as well asother projects in Etruria, with passionand proficiency. Of essential impor-

tance is the role of the Institute forMediterranean Archaeology, which seesto the archaeometric analyses in the per-son of Prof. David George, and thebenefactors who furnished free lodging(Cody and Kelly Barnett). Students ofItalian and foreign institutions, profes-sional archaeologists and volunteersparticipated in the dig. The excavationsite was unique in that it was an “open”site where Italian and foreign visitorscould follow the results of the strati-graphic method adopted. Visitors wereable to participate “live” as the findswere subjected to an initial cleaning andcataloguing and preliminary restoration.It was thus a complex archaeologicalsite open to outsiders, and particularlyappreciated by the general public.

The results of the first campaignwere much more than had been expect-ed. Removal of the vegetation that hadovergrown an area excavated around theend of the 20th century brought to light

an Orientalizing tumulus. After beingdocumented, it was stabilized with inertmaterials so that it would be meaningfuleven to the layman. Nine new inscrip-tions were discovered and highly inter-esting ceramic and metal materials wereunearthed in numerous clusters oftombs, some with two chambers, whichhad been ransacked previously. Of par-ticular note was a fine silver fibula dat-ing to the late 6th century BC. An unex-pected surprise appeared when an intactset of tomb furnishings came to light inone of the cassetta tombs (consisting oftufa slabs forming a stone container ofmodest size), located together with sixother tombs inside an enclosure of tufablocks. The tomb goods belonged to are-deposition dating to the end of the 6thcentury BC. There were numerous buc-chero vases relating to the banquet(oinochoai, chalices, kantharoi, a so-called grissini tray, amphoras with deco-rations on the lip and cover, the last-named with a small modeled rooster)and vases in bronze lamina (a basin witha beaded rim and a small patera, bothstill under restoration in the prestigious

laboratories of the ISCR, IstitutoSuperiore per la Conservazione ed ilRestauro, under the direction of Dr.Vilma Basilissi) as well as a couple ofbone needles and numerous iron frag-ments from knives, spits and firedogs.New archaeometric analyses will be car-ried out on samples taken from insidethe containers in hopes of discoveringfurther elements that will help define thefuneral rituals that took place in the ringnecropolis of the city of Orvieto.

The entire project was organizedinto various activities where collabora-tion between bodies, institutions andabove all persons (the enthusiasm dis-played by the custodians of the site wascontagious) permitted the constructionof a first step in a pilot project, certainlyrepeatable, with many protagonists, butwhere the goal is (and must continue tobe) that of safeguarding and enhancingan important sector of the cultural her-itage of Italy. (Photos Claudio Bizzarri).

Bucchero rooster and duck finials.

Monumental cippus base (?).

Intact bucchero vessels.

Students clearing previously excavated areas to be “re-explored.”

Page 12

Progetto Multidisciplinare

Bisenzioby Dr. Andrea Babbi, Römisch-

Germanisches Zentralmuseum, Mainz

A few kilometers north of Viterbo(Lazio), near the present-day town ofCapodimonte on Lake Bolsena, adynamic Etruscan city thrived betweenthe 9th and the beginning of the 5th cen-turies BC. It is little known to the publicaside from a small circle of specialists.The Etruscan name of the settlement isnot known and, for convenience, thetoponym “Bisenzio” is taken from thename of the hill on whose summit andslopes the settlement was most likelylocated. This name is itself derivedfrom that of the Roman era municipium,i.e. “Visentium.”

Unlike the larger settlements ofinner Etruria, and more like those of theTyrrhenian coast, such as Cerveteri,Tarquinia and Vulci, the site of Bisenzioseems to have been inhabited withoutinterruption, starting from the last cen-turies of the second millennium BC.These findings are the results ofresearch carried out between the early1970s and early 1980s, and in particularthe field surveys of the GruppoArcheologico Romano on MountBisenzio; the surface surveys carried outon the surrounding slopes by twoGerman scholars at the University ofGöttingen, Klaus and Jürgen RaddatzDriehaus; and finally, archaeologicalexcavations carried out on top of themountain and on the terraces immedi-ately below by the Superintendency forthe Archaeological Heritage of SouthernEtruria, under the direction of MariaAntonietta Fugazzola Delpino. The cul-tural dynamism of Bisenzio’s inhabi-tants is evidenced by the rich funeraryobjects in the Etruscan NationalMuseum in Viterbo and the Villa Giuliain Rome, as well as in museums abroad.These objects come from the countlessgraves that formed the necropoleis sur-rounding what appears to have been thearea of the settlement.

The sheer number of artifacts thataccompanied the deceased to the after-

life, and their material, aesthetic andtechnological value are a reflection ofthe high social prestige of the individu-als buried. The shapes, decorations andmanufacturing techniques, clearly simi-lar to those that characterizeMediterranean production, as well as thequite distant Central European produc-tion, are further confirmation of thecomplex network of contacts in whichthe prominent families of the area tookpart, especially between the 8th and 7thcenturies BC.

Despite the regular supervision ofthe Superintendency, knowledge of thesettlement and one of its richest necrop-oleis, Olmo Bello, remains limited to afew interesting reports publishedbetween 1928 and the mid 1980s.Today, thanks to the financial commit-ment of the German ScientificCommunity (the DeutscheForschungsgemeinschaft), the coopera-tion between the ArchaeologicalSuperintendency of Lazio and SouthernEtruria and an international team madeup of prestigious research institutions, abroad spectrum of research has beenimplemented by way of a three-yearmultidisciplinary project (2015-2017),

which also makes use of the mostadvanced non-invasive techniquesdeveloped by geophysics. Dr. AndreaBabbi, contract researcher at the LeibnizResearch Centre for Archaeology of theRömisch-Germanisches Zentralmuseumof Mainz in Germany, is the creator andcoordinator of the project.

A first important aspect is the studyof material in the storerooms of theMuseums of the Villa Giulia andViterbo, which preserve the artifactsfrom both the 1920s excavations in thefamous necropolis Olmo Bello (9th-early 5th centuries BC.), and the late1970s excavations of the Late BronzeAge settlement on Mount Bisenzio. Theintent is to complete a systematic publi-cation of these contexts.

The next aspect of the project is theinvestigation of the territory itself.During the first of three planned cam-paigns of in situ research in July 2015,teams from the Hochschule of Mainzand the Ludwig Boltzmann Institute inVienna were active at Bisenzio. Theobjectives of these two teams are theestablishment of a network of satellite-tracked geo-reference points for thearchaeological remains, and a dedicated

geo-radar survey (GPR). These non-invasive methods will trace buriedarchaeological remains in the settlementarea and in the Olmo Bello cemetery.The quality of the geophysical data willdepend largely on the degree of preser-vation of the archaeological deposits,which unfortunately have been severelyaltered by agricultural work for manydecades.

From August 16 to September 25,2015, a team of students from theJohannes Gutenberg University ofMainz, under the direction of Dr.Andrea Babbi (RGZM) and Prof.Christopher Pare (JoGU), participatedin the first of three field survey cam-paigns. Each day they examined a sur-face section of the habitat zones in orderto geo-reference and describe the pres-ence and distribution of every piece ofvisible archaeological evidence. Thisnon-invasive method will permit us todevelop a broad and relatively accuratepicture of the history and function of thedifferent areas of the settlement.

Parallel to the archaeologicalresearch, the Institute for the Protectionand Environmental Research of Rome isundertaking a set of activities (includingsurveys, core and sample analysis, andanalysis of natural sections) with thegoal of preparing a geological map ofthe area that will be considerably moredetailed than the only one availabletoday. The latter, at a scale of 1:10000,inevitably offers an overly simplifiedreading of the territory. It is inadequatefor the study of archaeological areas andthe analysis of the possible influence ofthe rock types in determining the func-tion of the different areas of the habitat.

Eventually all of the data currentlyavailable for Bisenzio — archaeologi-cal, cartographic, geological, and aerialphotographic — will be geo-referencedat http://143.93.114.113/bisenzio/. Theultimate goal is to offer a thorough studyof Bisenzio as a complex system con-sisting of a settlement, suburbs, andcemeteries, harmoniously and dynami-cally connected with the surroundingterritory. In a nutshell, we will try tounravel the history of the “invisible”city of Bisenzio. (Photos Andrea Babbi).

Roland Filzwieser on quad-bike with Ground Penetrating Radar.

Acropolis in red, necropoli, black. Geometric olla from Bisenzio.

Mount Bisenzio on the shores of lake Bolsena.

Students from the University of Mainz commence a field survey.

Page 13

MUSEUM NEWS

LATE NEWS

played in the middle of the floor,explains the trade routes from these cen-turies, along with the material producedfor that trade. The objects are displayedin glass cases, visible from all sides.

In the second room the Greek vasesare organized by subject matter ratherthan chronologically; many tell storiesfrom the lives of the gods. We also learnof their restoration history since 1818,the year the museum was founded.

The central part of this space isdesigned as an image gallery, showingthe changes in sculptural style from therigid Egyptian pose to the Classicalform.

Columbaria for the dead

The Etruscan gallery leads into theRoman hall, where a map shows the far-reaching influence of Roman culture. Apeculiarly Roman type of cemetery isthe so-called columbarium, or dovecote,with compartments holding ash urns andepitaphs of the deceased. Particularlyinteresting epitaphs are that of Flavia,commemorated by her husband, whosays she never quarreled with him dur-ing their twelve years of marriage, andthat of the slave who died just beforereceiving his freedom.

“New objects in this Roman roomare a pair of tritons or sea gods, original-ly from the Rijksmuseum inAmsterdam,” explains Halbertsma.“There they were kept in storage asItalian artifacts from the 16th century,but they turned out to be ancientRoman.” (Photos by Mike Bink RMO).

Etruscan and Roman

antiquities recovered in

Geneva returned to Italy The antiquities, traced to a disgraced

British art dealer who was sent to prisonin 2005, were recovered in a GenevaFreeport had been kept in a vault forover 15 years, in 45 crates labeled withthe details of an off-shore company.The operation was carried out by the artcrime department of Italy's Carabinieripolice in collaboration with the Swissauthorities. The cache includes two rareEtruscan sarcophagi, one depicting anelderly man and the other, a youngwoman dating from the 2nd century BC.Also recovered were numerous terracot-ta temple fragments from Cerveteri.

Vulci - The discovery of the

Tomb of the golden scarabThe tomb was saved from grave rob-

bers by the Soprntendenza of Lazio, inearly January. The tomb dates from the8th century BC. Its name comes fromone of the precious objects unearthed: ascarab of Egyptian production on a goldmount, found along with an amber neck-lace, fabric and other finds. The workcontinues on a micro excavation of thesarcophagus in the lab at Montalto. It isbelieved this may be the tomb of a 15-year- old child of noble rank, probably amember of Vulci’s first Etruscan aris-tocracy. More details at (www.vulci.it).

Exhibit

The shadow of the

EtruscansSymbols of a people between

the plains and hills

Museo del Palazzo Pretorio, Prato

March 19- June 30, 2016

This journey through time exploresthe horizons of the sacred and the under-world, to trace the Etruscan civilizationthat flourished north of the Arno River,along the wide plains of Florence-Prato-Pistoia to the Mugello, Val di Sieve andMontalbano. Cippi, stelae, and bronzestatuettes recount a fascinating historyof the distant cultural roots of this areaof Tuscany, including Prato and the epi-center of Gonfienti, to which the firstsection of the exhibition is dedicated.Special attention is paid to the world ofthe sacred, by way of bronze votives,

and images on an important Attic red-figure cup by Douris. The second sec-tion features the production of “Fiesolestones” (cippi and stelae). These funer-ary monuments, which identify noblefamilies, are decorated in relief and arecharacteristic of the Etruscan centers ofArtimino, Fiesole and Gonfienti. Thisexhibit reveals for the first time new andhitherto unknown aspects of the archae-ological past of Prato and Tuscany.For associated lectures (see Page 25).

The Etruscan gallery (above), columbarium in Roman gallery (below).

Greek vases by subject matter (top), classic Greek sculpture (below).

Face to Face

with the Greeks,

Etruscans and RomansLeiden’s Rijksmuseum van

Oudheden reopens after seven

months of renovation

by Marjolein Overmeerkennislink.nl (adapted)

The halls with the material culture ofthe ancient Greeks, Etruscans andRomans have been given a new look.The rooms on the first and secondfloors, which were previously the tem-porary exhibition halls, are now the newgalleries with material from the ancientGreek, Etruscan and Roman cultures.

Curator Ruurd Halbertsma tells usthat the design was inspired by rhythm,rhythmos in ancient Greek: an art objecttouches the viewer only if it appears tobe in motion. “Context” is thus central,showing the interaction between theGreek, Etruscan and Roman cultures.The re-arrangement of the existing col-lection also includes some new itemsspecifically acquired for this new con-text.

Fantasy world

On the second floor, we begin in thehall dedicated to ancient Greece. Thisfirst room is arranged geographically,and a large, animated projection is dis-

Page 14

“Principesse e principi

dall’antica Collatia”

alle Terme di

Diocleziano a RomaLa nuova sala della sezione

protostoria dei popoli Latini

by Federica D’Alfonso

The recently restored finds

unearthed at the archaeological site of

the ancient city of Collatia, located in

the Borgo of La Rustica, near Rome, has

been permanently exhibited in the new

hall dedicated to the early history of the

Latin peoples at the Roman National

Museum, in the Baths of Diocletian,

beginning Thursday, Dec. 10, 2015.

The finds, dated between the 8th and

7th century BC, belong to three princely

tomb groups, one male and two female.

It is the first time ever that the visitors

will have the opportunity to admire

these extraordinary new treasures from

before the Roman conquest.

“They are not ordinary graves, but

intended for princesses and princes,”

said the superintendent of the archaeo-

logical area of Rome, Francesco

Prosperetti, during the press conference

presenting the new hall in the National

Museum. “The grave goods found are

special tomb groups, unique because of

their importance, bearing witness to the

reality that could be defined as ‘feudal’,

previous to the hegemony of Rome.”

Quite extraordinary was a scepter in

corniolo (dogwood), with a handle in

cast bronze inlaid in iron, with a decora-

tive motif of fantastic animals. A sword

and a chariot were buried with a prince

to accompany him on his last journey;

the chariot has been reconstructed from

the iron rims of the wheels.

The opening of this new section fea-

turing the proto-history of the Latin peo-

ples enriches the permanent collection

dedicated to the development of the cul-

ture of Lazio between the end of the

Bronze Age (11th century BC) and the

beginning of the 6th century BC.

It presents some of the most important

finds of recent decades that have

remained unpublished until now.

The town of Collatia was a colony of

Alba Longa, the city founded by Latin

King Silvius, descendant of Aeneas, and

cited by the historian Livy as central to

the revolt between Tarquinius Priscus

and Tarquinius Superbus. It offers very

important testimony to the culture of

Lazio before the growth and expansion

of Roman rule. The discovery of the

town dates back to 1972, during the con-

struction of the interurban section of the

Rome-Aquila autostrada. But only

between 2009 and 2012 has roadwork

uncovered the three tombs on display

today, along with other burials still

under study and restoration. The exca-

vations were conducted by the Special

Superintendency for the Colosseum, the

Roman National Museum and the

archaeological area of Rome.

“The story of Collatia is particularly

significant, because it manages to frame

the birth and growth of Rome in the

actual environment where the seeds of

the city had germinated,” said

Superintendent Francis Prosperetti. “All

traces of Collatia had gone missing, and

over the centuries we have followed var-

ious assumptions about the whereabouts

of this city. The only actual evidence we

have left is from these burials, which

emerged on the occasion of the road-

work of the “A24.”

Prosperetti reiterated the exception-

al nature of the discovery, in that they

are not common but princely tombs, tes-

tifying to the development of a “feudal”

system earlier than the hegemony of

Rome. “These were places where there

were important people who had strength

and power on limited areas of land,

often at odds with each other. For this

reason we find, in two burials, chariots

of which many metal parts have

remained intact.”

Etruscans of the Frontier:The important and little-

known Archaeological

Museum of Pontecagnanoby Michele Piastrella, Citizen Salerno

The National Archaeological

Museum of Pontecagnano houses not

one but several unique and priceless

artifacts that cannot be found in any

other part of the world.

At the heart of the museum is a sig-

nificant amount of material of Etruscan

origin. The Picentine territory was con-

quered by the Etruscans around the 9th

century BC, in their Villanovan period.

Here and in Capua were the only two

Villanovan settlements in Southern

Italy; all the other settlements occur

from Lazio northward. But the

Etruscans of Pontecagnano were a peo-

ple strongly influenced by neighboring

populations, first by the Greeks who

lived in the great Greek colonies of the

Campanian coast. And they bordered

the Greek colony of Poseidonia, the

Roman Paestum. For this reason the

Museum is subtitled with the name,

“The Etruscans at the border.”

The museum’s chronology begins

from the prehistoric period with objects

from the tombs of the “Gaudo Culture,”

whose necropolis was first found by

chance by American soldiers after the

Allied landing in 1944. The graves

belong to both the Paleolithic and the

Neolithic, and artifacts from those of the

latter period show the transition from

the Stone to Copper Ages. The tombs of

that time were called “a forno,” in the

form of a hole dug in the ground and

accessed through a narrow tunnel. The

objects recovered, vessels and weapons,

are of excellent workmanship and well

preserved. The exhibits are then laid

out by centuries from the 9th BC to

Villanovan and Etruscan. Over the cen-

turies, the funerals became more sump-

tuous, reflective of the organization of

the society. The production of ceramics

becomes increasingly sophisticated with

the use of local clays. The most impor-

tant men now choose cremation.

Numerous vessels come from the

neighboring colonies of Magna Graecia,

such as Poseidonia, Cuma and particu-

larly Ischia which the Greeks called

Pithecussae, Bucchero objects come

from the Etruscan cities of central Italy,

such as Tarquinia or Volterra. These

items show how the ancient Etruscan

town of Pontecagnano was a major cen-

ter of trade and a crossroads of traffic

from various parts of the Mediterranean.

An interesting object is a huge

bronze equine mask, found in a tomb. It

was part of the funeral goods of a war-

rior, accompanied to the afterlife with

the headpiece of his horse!

Another important section of the

museum is dedicated to Etruscan writ-

ing. On a coin is the name“Amina”,

which some assumed to be the name of

the Etruscan town. But there is no other

evidence to substantiate this thesis.

According to other scholars, the city

could be called Tyrseta.

The Archaeological Museum of

Pontecagnano is a priceless treasure.

But only a few know it. For informa-

tion: tel. 089/848181.

Top, a wooden scepter. Below,

chariot reconstruction. Right,

the excavation of the chariot.

Above, bronze

belt. At right,

a sumptuous

female burial.

Amber pectoral, sil-

ver & bronze fibulae.

Below, a sumptuous

Villanovan tomb. Embossed bronze equine mask.

Page 15

Ecriture, continued from page 1 and since the site of Lattara was one ofthe principal Etruscan outposts in theregion, the participation of the HenriPrades Museum in the project has natu-rally led us to stress this epigraphic doc-umentation, which continues to growand to offer a large number of discover-ies, both ancient and new.

Presenting Etruscan writing to thegeneral public requires also steppingbeyond the superficial images of a mys-terious culture and understanding thefruitful work carried on by epigraphistsfor decades. It has seemed interesting tous to recall the long history of the deci-pherment of the alphabet and Etruscantexts from the Renaissance on, since theMuseum of the Etruscan Academy andthe city of Cortona (MAEC) stem froman institution, the Accademia Etrusca ofCortona, which played an essential rolein this history in modern times. Thepatient labors of European scholars, butalso the fantastic recreations of pseudo-Etruscan inscriptions in turn illustratethe slow progress of the research, whichhas finally made it possible to considerEtruscan writing for what we perceive itto be today: a historical document and apart of our common cultural heritage.

and in particular the value of the funer-ary inscriptions for our understanding ofEtruscan names, family links and politi-cal structures. From the Etruscaninscriptions themselves, but also fromGreek and Latin texts, we know that theEtruscan religion rested on a written tra-dition, and that the sanctuaries’ “schoolsof scribes” sometimes contributed to theformalization of graphic usages. Thesedifferent aspects are illustrated in theexhibit by justly famous documents –beginning with the liber linteus ofZagreb and the Cortona tablet – but alsoby numerous less well-known, evenunpublished, documents from majorItalian and French collections as well asrecent excavations.

Cooperation among French andItalian institutions, which has made thisexhibit possible, allows us also to takeinto account an essential aspect of theEtruscan world: the influence of theEtruscans in the Mediterranean and theirphysical presence on Corsica, inProvence and Languedoc. The majorityof Etruscan inscriptions found outsideof Italy come from these three regions,

Although not in the exhibition, the Chiusi fibula (below) bears one ofthe earliest examples of an Etruscan inscription, recording the giftfrom one aristocrat to another. “I am Arath Velavesna's fibula. I wasgiven by Mamurke Tursikina.” 7th c. BC, Louvre. (All photos Louvre and MAEC).

“Etruschi Maestri di Scrittura”

Tentative Lectures, Conferences

and speakers:

Language and CultureSpeakers: Adriano Maggiani. LucianoAgostiniani, Riccardo Massarelli.

History of CollectingSpeakers: Françoise Gaultier, LaurentHaumesser, Paolo Bruschetti, PaoloGiulierini, Lionel Pernet, FrançoiseMillet, Gregory Warden, Daniele F.Maras. Aspects of the Exhibition specific to the

Accademia of CortonaSpeakers: Paolo Bruschetti, PaoloGiulierini, Patrizia Rocchini, SergioAngori.

Educational themed visits Speakers: Eleonora Sandrelli, StefanoRossi, Ilaria Ricci.

The MAEC has also organizednumerous educational workshopsincluding: “ I zichu: the writing of theEtruscans,” “A Day in the Life of anEtruscan”, “The Scribe's Game”, “ FromGraffiti to the Smartphone.” There willalso be educational visits for the blindand visually impaired and a literarycompetition for unpublished short sto-ries entitled “We write! Etruscan narra-tives.” For further information on theseevents see (www.cortonamaec.org).

Sections of the linen bands from the Zagreb mummy. The ritual textis the longest document in Etruscan. 2nd c. BC, Zagreb Museum.

Far right: Geometric oinochoeinscribed "mi qutum Karkanas"

("I am the qutum of Karkana").7th c. BC, Louvre.

Below: the Piacenza liver, a bronze model incised with the names

of gods. Possibly a tool for divination. 2nd c. BC, Musei Civici di Palazzo

Farnese, Piacenza.

Far left: an impasto chalice,inscribed mi Laucies Mezenties.675-650 BC, Louvre.

The Magliano lead plaque, inscribed in a spiral patternon both sides, with text related toperforming sacred rites. 5th c. BC,Museo Archeologico, Firenze.

Bucchero aryballosfrom Montalto di Castro

with a dedicatory inscription toLareke on the snake. C. 650 BC,

Villa Giulia, Rome.

Page 16

Poggio Colla continued from page 1art movers and conservators removedthe stele to Florence, where it is current-ly undergoing extensive conservation.Since then more than 75 characters havebeen found on the monument, making itan exceptionally long example ofEtruscan writing. Apart from the lengthof the inscription, the object is especial-ly important because of its secure prove-nance from a non-funerary context.Finding an Etruscan stele at all isremarkable, but finding one in situ withsuch an extensive inscription isextremely rare. This artifact has thepotential to rewrite much of what wethink we know of early Etruscan litera-cy.

Full photogrammetry and laser scan-ning of the stele in all stages of conser-vation has been planned, as well as amonographic publication, with contri-butions by Rex Wallace, University ofMassachusetts Amherst, on the inscrip-tion; by colleagues in Florence on thetechnical aspects of conservation anddigital documentation; and by MVAPstaff members on the stele’s connectionsto broader contexts, including ritual,gender, temple architecture, and thesanctuary in the 7th and 6th centuries. Afull press release is planned once con-servation and study of this remarkablefind have progressed further.

The past few seasons have been par-ticularly productive. Excavation under

removed at some point in antiquity,probably preceding the construction ofthe more recent sanctuary buildings.Rather unremarkable looking at firstglance, this small foundation — in con-junction with artifacts and foundationsexcavated this year — has given us thefinal clues needed to roughly determinethe size and shape of Poggio Colla’sPhase I temple, the earliest monumentalconstruction on site, which was anOrientalizing-Early Archaic timberbuilding that preceded the constructionof the monumental temple on the acrop-olis.

Also important was the discovery in2014 of two bronze female figurinesthat were found in the same context asthe “Inscription Deposit,” which waspreliminarily published by Warden in2009 in Votives, Places, Rituals inEtruscan Religion. Studies in Honor ofJean MacIntosh Turfa. One of the fig-ures is quite early in date and of unusualstyle (late 7th c. BCE). Two furtherbronze figures, one female, one male,were found in 2015. Their method ofdeposition is quite interesting (horizon-tal and face up, as if laid to rest), andtheir particular positioning may be con-nected spatially to the underground fis-sure that was treated ritually after thedestruction of the temple.

The next few years will be taken upwith study seasons that will lead to a fullpublication of the project’s findings.

Exhibition

“Rome and the people of

the Po: a meeting

of cultures

III to I century BC” May 9, 2015 - February 15, 2016

The Museum of Santa Giulia, and

Brixia (the Archaeological Park of

Roman Brescia)

Brescia

by Alberto Castrini

Why did the Romans want to expandinto northern Italy? What attracted themto the lands of the Po: occupied bypeople of culture and traditions so dis-tant from them? For the first time anarchaeological exhibition takes on thesequestions in a journey through time andspace shown through unpublished arti-facts.

The exhibition encompasses an

exhaustive analysis of the cultural influ-

ence of emerging Republican Rome fol-

lowing its conquest of the northern

Italian peninsula, and it is an excellent

chance to encounter ancient art.

The exhibition is divided into 12

sections analyzing the various aspects of

this meeting, preceded by the clashes

between Rome and peoples of the

North: the Venetians, Gauls, Cenomani,

Ligurian, Boi, Insubri, etc. It begins

with the Roman generals who were pro-

tagonists in the conquest and goes on to

the cyclone of Hannibal Barca’s arrival

and the following wars, the construction

and organization of the cities of the

northern plains, places of worship, the

art — the private taste in mosaics and

jewelry and the remembrance of the

deceased — the transformation of the

countryside and the road systems. It

ends with the poetry and the presumed

portrait of Catullus.

“Rome and the people of the Po”

brings together a wealth of objects, from

everyday items to sculptural groups. It is

a unique opportunity to see material

gathered from almost all the archaeolog-

ical museums of the Po valley.

Rising above all is the beautiful ter-

racotta pediment of the temple of

Talamone (above), which represents the

myth of the Seven Against Thebes as

told in the tragedy of Aeschylus. The

story is relevant to the Po Valley

because it celebrates the victory of

Rome over the Celts. But it is the

chipped terracotta face of a young toga-

tus that is particularly striking. He tran-

scends the clay medium, and looks

directly at the viewer with a melancholy

gaze, recalling the vividness of the

Egyptian Fayum portraits. There are

countless other beautiful portraits paint-

ed or sculpted, statues, antefixes, funeral

cippi, helmets, weapons, and coins.

The sections are well explained and

introduced with an accompanying tablet

guide, in which specialists explain the

principal pieces in depth.

The occasion is also ideal for a visit

to “Brixia.” This is the Archaeological

Park of Roman Brescia, the largest

archaeological site north of Rome.

There you will find the Capitolium ded-

icated to Vespasian, with the floors and

the bases of the altars intact, the cham-

ber of the Republican sanctuary still

frescoed, and the Roman theater, recent-

ly opened to the public.

In the same venue as the exhibition

you can visit the amazing complex of

San Salvatore and Santa Giulia, a World

Heritage Site, which preserves inside its

churches and cloisters an impressive

museum of Roman and medieval cul-

ture, chock full of masterpieces.

Rex Wallace inspects inscriptionon the stele at lab in Florence.

Bronze female figurine fromthe “inscription deposit.”

Group of bronze figurines, bothmale and female.

Stele as it was found in situburied under a foundation wall.

the supervision of Phil Perkins (OpenUniversity, UK) discovered the remains

of what we currently interpret as a foun-dation for a column base that was

Page 17

NEWS FROM THE SECTIONSNews from France

by Dominique Briquel

This year, the French Section enjoyedlectures by Petra Amann, on December4, 2014, “La femme étrusque, fantasmeset réalités;” and by Gerhard Meiser, onMarch 17, 2015, “Des inscriptions quine comportent guère que des noms pro-pres.”

In addition, there were two confer-ences organized by Marie-LaurenceHaack at Amiens, where she is professorat the University of Picardie. “Autourdu sarcophage des époux” was held onDecember 5, 2014, and on September22-24, 2014, “Les Etrusques au tempsdu nazisme et du fascisme.” The latterwas the second conference she organ-ized on the theme, “L’étruscologie auXXe siècle;” she had previously organ-ized one on December 2, 2013 on thesubject “La construction de l’étruscolo-gie au début du XXe siècle.” The thirdconference in the series was held, againin Amiens, on September 14-16, 2015,on the subject “L’étruscologie dans lesannées de l’après-guerre.”

This year there was a meeting onanother kind of topic, Italic linguistics,organized by Emmanuel Dupraz, pro-fessor at the Université Libre deBruxelles, in Belgium, and Directeurd’études at the Ecole Pratique desHautes Etudes in Paris. The meetingwas held at the Ecole NormaleSupérieure in Paris on June 5, 2015 andthe theme was “Textes épichoriqueslongs en Italie Centrale: les descriptionsde rituels du Liber Linteus et des TablesEugubines” (above left).

News fromthe Netherlandsby Bouke van der Meer

In mid-December 2015 theRijksmuseum van Oudheden (NationalMuseum of Antiquities) in Leidenopened the new Etruscan Galleries.After the Carthage exhibition in May2015, the museum was closed entirely tothe public due to the clearance ofasbestos. The museum took this oppor-tunity to renovate the entire Classicaldepartment (above), including the new“Galleria Etrusca.” In this new presen-tation the Etruscan collection will focuson the rich collection of decoratedfunerary chests (Giorgi collection,Volterra, acquired 1826) and the bronzecollection of Count Galeotto Corazzi(Cortona, acquired 1826) in a wholenew arrangement. Due to the new focusand actual setting in the museum, theEtruscans will literally be the linkbetween the new Greek and Roman gal-leries. The visitor is now even moreaware of the influence of the Etruscansand the interconnections between theseancient cultures. (See page 13).

Eve Gran Aymerich honoredwith Festschrift

In 2015 she was presented with vol.1,Pour une histoire de l’archéologie xviiisiècle – 1945. Hommage de ses col-lègues et amis à Ève Gran-Aymerich.Textes réunis par Annick Fenet &Natacha Lubtchansky. Bordeaux,Ausonius, 2015.

The history of archaeology is her spe-cialty, on which she has written impor-tant works. Some of her books are JaneDieulafoy. Une vie d’homme, Librairieacadémique Perrin, Paris, 1991, on theadventurous archaeologist JaneDieulafoy, who excavated in Syria, washappily married to Mr. Dieulafoy, andwas legally permitted to dress like aman. For this work she received in 1992the “Prix de la Société d’entraide de laLégion d’Honneur.”

Some of her other books are:Naissance de l’archéologie moderne.1798–1945, CNRS Éditions, Paris,1998; Dictionnaire biographiqued’archéologie (1798–1945); CNRSÉditions, Les Chercheurs du passé.1798–1945. Aux sources de l’archéolo-gie, CNRS Éditions, Paris, 2007.

Call for Participants

Field School Molise 2016

In the framework of the Landscapesof Early Roman Colonization project(Leiden University, The RoyalNetherlands Institute in Rome) we arelooking for enthusiastic participantsfor several fieldwork campaigns, whichwill be organized throughout 2016 in theregion of Molise (Central-Southern Italy).

The upcoming campaigns willinvolve: 1. the excavation of a Samnitesanctuary; 2. archaeological field walk-ing surveys in several research areas; 3.remote sensing: geophysical prospec-tion and aerial reconnaissance, with the

Textes épichoriques longs

en Italie centrale:

les descriptions de rituels du

Liber Linteus et des Tables

Eugubinesl’Ecole Normale Supérieure, Paris

June 5, 2015

Program

Introduction: Dominique BriquelHistoire de la recherche

Paolo Poccetti, “Les Tables Ombriennesd’Iguvium et le Liber Linteusétrusque dans les parcours desétudes au XXe siècle.”

Opérations rituelles

Valentina Belfiore, “La pratica dell’of-ferta fra rito etrusco e umbrosabelli-co: affinità e differenze intornoall’altare.”

L. Bouke van der Meer, “Vinum in theLiber Linteus (LL) and vinu in theIguvine Tables (IT). A comparativestudy.”

Structures textuelles

Emmanuel Dupraz, “Descriptions de rit-uels dans les Tables Eugubines etdans le Liber Linteus: rédactionsdétaillées et rédactions synthé-tiques.”

Theresa Roth, “Direktive Ausdrucks-formen in den Iguvinischen Tafeln.”

Francesco Zuin, “Les Futurs parfaitsombriens entre texte et grammaire.”use of small drones; 4. analysis of mate-

rial finds collected in previous cam-paigns.

For more information, please visitwwww.landscapesofearlyromancolo-nization.com or contact us at........t.d.stek@arch.leidenuniv.nl...or or...or..r.a.a.kalkers@arch.leidenuniv.nl

Tesse Stek & Rogier KalkersLandscapes of Early Roman ...

... Cololonization ProjectLeiden University,Faculty of ArchaeologyVan Steenis Building,Room B1.10+12Einsteinweg 2, 2333 CC LeidenThe Netherlands

“L’étruscologie au XXe siècle.”

“Les Etrusques au temps dunazisme et du fascisme.”

“Autour dessarcophage des époux.”

New Greek galleries at the RMO.

Page 18

EXHIBITSExhibition

Die Etrusker - Von

Villanova bis Rom

The Etruscans –

From Villanova to RomeJuly 16, 2015 - July 17, 2016Antikensammlung, Munich

The Etruscans come back to life, asoutstanding examples of Etruscan artare presented in a major exhibition ofthe National Antiquities Collections atMunich Königsplatz.

The exhibition shows the develop-ment as an ascent of the civilization, anda short flowering followed by a steady

decline, but as a process of continuouschange. The Etruscans willingly tookthe influences from the Greeks and fromall over the Mediterranean into theirown culture. From the 3rd century BCthey were part of the Hellenistic world.At the same time Etruscan culture great-ly influenced Rome, and left traces thatcan be seen to this day.

Many of the objects in theAntikensammlung have not been dis-played since World War II, and some areshown to the public for the first time.Supported by a media guide, visitors canimmerse themselves in the world of theEtruscans and experience the dynamicsof a past, but not forgotten culture.

The exhibit is accompanied by a cat-alog: F. Knauß and J. Gebauer, eds., TheEtruscans. From Villanova to Rome(384 pages, 740 color ills.), Nünnerich-Asmus Verlag, 2015. (photos Renate Kuhling)

Charun is the guy who looks at youwith piercing eyes. A red gemstonehangs from his hooked nose. He hasrings tattooed on each ear and thick eye-brows. Be afraid of this head. Thus theEtruscans introduced the demon ofdeath. (see photo at top of page).

This mask-like face decorates anunusual head-shaped vessel. It comes,as do other such objects — bronze stat-uettes, urns, terracotta votive offerings,grave stones, ornate pot-bellied vases,

golden brooches and the like, — fromthe cache of Munich State Collection ofAntiquities on the Königsplatz. They aredisplayed now in a year-long exhibition“The Etruscans - Villanova to Rome.”until July 17, 2016.

At the entrance you will find astrange animal form on an elevated widebase. Lion, goat and serpent in one, thisis the world-famous Chimera of Arezzo.It is only a bronze replica, which thecurator Jörg Gebauer had speciallymade. While the original chimera inArezzo wears an ancient green patina,the Munich copy comes in a high-glosspolish. She is scheduled to stay here 12months and lure people from wind andweather into the exhibition.

The exhibition aims to do away withthe persistent opinion that the culture ofthe Etruscans had developed, blossomedand died again. This is not the case.Rather it should be stated that the mostrecent research shows a constant changeand continuous further development ofEtruscan art. The Romans appreciatedthe Etruscans as guardians of religiousknowledge, as interpreters of lightningomens, and ardent worshippers of divinebeings. In Roman history they appear astyrannical kings, whose ouster maderoom for the “res publica.”

One can spend a long time in thewell-labeled and well-stocked exhibi-tion (with catalog). The viewer ischarmed as he perceives objects of

Voyage en Terre EtrusqueCentre Antoine Vivenel

Compiègne, France

June 20, 2015 to March 6, 2016.

Due to recent research a new lighthas been shed upon the Etruscan collec-tion at the Antoine Vivenel Museum.The exhibition traces the journey of 100objects from their daily usage at thetime of the Etruscans to that of moderncollectors. It is a journey to the heart ofthis civilization at the crossroads ofancient Roman and Greek worlds.

The Musée Vivenel, famous for itsimportant collection of Greek and Italiotvases, houses a large number ofEtruscan and Italic works that until nowhave been largely unknown both to the

Bronze replica of the chimeraspecially cast for the exhibition.

Bronze votive helmet, satyr oncandelabra, black figure platewith dolphins.

Large gold fibula orientalizingperiod Vulci, 675–650 B.C.

Reconstruction of an Etruscan rit-ual wagon; original from 540 B.C.

Small Etruscan bronze figure of awinged female, possibly a Lasa.

unique shape and expressiveness, suchas the great golden disc fibula fromVulci (675 - 650 BC), or, even older, thebucchero jug with trefoil mouth, shinyblack surface and engravings of animalsand mythical creatures, probably fromCerveteri circa 600 BC. We can thankthe American philanthropist James Loebfor the stupendous bronze cauldrons ontripods that came to Munich shortlyafter 1905. Dating from the 6th centuryB.C, they were acquired by Loeb 100years ago south of Perugia. The caul-drons served at symposia to contain amixture of water and wine. When itcame to political discussion, a sort ofwine spritzer was consumed. So cleverwere those Etruscans, not to talk aboutimportant matters in a drunken state.public and to Etruscologists. These

objects form an encyclopedic collectionof antiquities and curiosities amassed inthe 19th century for pedagogical pur-poses. The diversity of the objects pres-ents both the transition from the 8th tothe 2nd c. BC and the reception in the19th c. AD of the fascinating materialculture of the Etruscans and the pre-Roman peoples of Italy.

(Photos Christian Schryve)

Charun and the chimeraWhy the Etruscans in Munich are

historically acceptable

by Hans Gärtnertabularasamagazin.de

Page 19

Reproduction of kantharos and cups, with originals in the cases.Chiton was created from stamnos dancers to produce the 3D figures.

Serving wine with spices in the style of an Etruscan symposium.

Etruscan tomb at San Germano. Red figure stamnos with dancers.Exhibit designed by Italo Rota. 3D printed figures from stamnos.

Exhibition

The Etruscans and wine

at Rocca di Frassinello.Old and new research in the

necropolis of San Germanoby Biancamaria Aranguren, and Luca Cappuccini, SBAT

On May 30, 2015, at the Rocca diFrassinello Vineyards, GiuncaricoGavorrano (GR), the archaeologicalarea of Rocca di Frassinello on theEtruscan necropolis of San Germanoopened to the public, while in a sectionof the wine cellars designed by RenzoPiano, there was an exhibition featuringthe archaeological finds from thenecropolis. The exhibit was inspired bya narrative centered on the use of winein the Etruscan period staged by thearchitect Italo Rota, creator of the winepavilion at the Milan Expo. The exhibi-tion allowed visitors the experience oftasting wine in the same way as the

Etruscans drank it.The project focuses on the actual

rediscovery of the Etruscan necropolisof San Germano, one of the most impor-tant archaeological sites in the territoryof the ancient Etruscan town ofVetulonia, and was conceived with thecollaboration of the ArchaeologicalSuperintendency of Tuscany, the facultyof Etruscologia and Italian Antiquities atthe University of Florence, and PaoloPanerai, owner of the estate. He haslong made the Rocca di Frassinello acenter of art and culture under the sym-bol of wine, all under the auspices of theCity of Gavorrano.

The Etruscan necropolis of SanGermano, with its burial tumuli, extendsto both sides of the valley of Sovata, andserved as an important connecting routein the territory of the ancient Etruscancity of Vetulonia. In the area of thearchaeological site at Rocca diFrassinello are a concentration of thebetter known tumuli of the necropolis,

built between the second half of the 7thand the first half of the 6th century BC.Three of these monumental tombs havebeen recovered and restored, and are thefocus of a site open to the public.

The exhibition of artifacts, curatedby Biancamaria Aranguren and LucaCappuccini, presents many objects fromthe tombs of the archaeological area ofRocca di Frassinello. The tombs,

despite being violated in antiquity, stillhave objects that accompanied thedeceased to the afterlife. They mainlyconsist of fine painted ceramic vases(Etrusco-Corinthian) and bucchero,ointment jars of various forms used for

the preservation of perfumed oils for thebody, and chalices and cups for the con-sumption of wine. There are also somerare personal ornaments, such asbrooches and earrings, mostly made ofbronze, but some also of precious met-als.

A large tumulus at the necropolis ofSan Germano that has a more complexstructure than the others finds parallels

in the larger princely tumuli ofVetulonia. Plundered in ancient times,the tomb has nonetheless yielded manyfinds that testify to its prolonged usefrom the late 7th to the 3rd century BC.The high rank of the owners of the tomb

is underlined by the presence of twoiron axes, and elements of a currus (atype of chariot), rare vases of alabasterof Egyptian production, as well asceramics imported from the easternMediterranean and Greece.

A large red-figure stamnos wasrecovered in fragments from the northchamber of the tumulus and underwenta delicate restoration. It was potted andpainted in Athens around 480 BC. Itsuse as container for wine is confirmedby the Dionysian procession decoratingit, a worthy tribute to this preciousdrink. The idea of Italo Rota was toextract the dancing figures from the ves-sel and cause them to exit the two-dimensionality of their original medi-um. The recreation the garments andornaments of the protagonists of theDionysian procession, thanks to 3Dtechnology, brought out the volume andthe movements of the figures within theconfines of the circular path representedby stamnos.

The decoration of the stamnosunfolds a story about wine, whichalready in Etruscan times constituted astatus symbol. Wine consumptionoccurred mainly on social occasions andtook place according to precise rituals.Before the arrival of the Greek fashion,which involved the use of a large pot forthe dilution of the wine with water andthe mixture within large cups (thekylikes), in Vetulonia they were usingvessels typical of local tradition.Evidence for this are the vessels foundin the trench tomb of tumulus 5 at thenecropolis of Santa Teresa, a spot not farfrom San Germano, dated to 630 BC.The monumental kantharos found therewas probably used to contain the wine,which was then drawn and drunk fromthe bowls found around this large ves-sel.

At the end of the exhibit’s course atRocca di Frassinello the public wasgiven the experience of tasting wine invases whose shape reproduces that ofEtruscan cups. (Photos Paolo Nannini).

Page 20

The Tomb of

the Golden LeavesNew Discoveries from the

Necropolis of Casenovole,

Civitella Paganico (GR)by Maria Angela Turchetti

and Paolo Nannini

The Etruscan necropolis of

Casenovole is located less than 400 m.

NW of Castle Casenovole on the south-

ern slopes of a hill in the Ombrone river

basin in Grosseto. The hill, where a late

Etruscan necropolis has been known

since the beginning of the 20th century,

lies next to a small and still active ceme-

tery, which shows that the area was used

continuously for about 2500 years.

The area rests on an outcrop of ophi-

olite, metamorphic rocks varying in

color from light green to bluish green to

black. This loose bedrock determined

the plan of the necropolis, which con-

sists of single rock-cut chamber tombs

at various depths and preceded by a dro-

mos.

The corresponding Etruscan settle-

ment has not been located but it was

probably on the hill immediately to the

SE, now occupied by the imposing

medieval castle of Casenovole. It must

have been on a north-south road of some

importance, which connected the lower

plains of the Ombrone and the Bruna,

dominated by the important centers of

Vetulonia and Roselle on the Tyrrhenian

coast, with the internal settlements of

Murlo, Grotti, and Siena, and led on up

to Fiesole and the Apennines.

Between 2007 and 2015, the

Soprintendenza of Archaeology of

Tuscany directed the excavation of the

Tombs of the Badger, the Scarab, the

Three Eggs and the Golden Leaves, with

the active support of the local

Archeological Association “Odysseus.”

These tombs, of various sizes, all have

an access corridor (dromos) and an

underground chamber, with benches

carved on three sides.

The Tomb of the Badger, il Tasso

(see Etruscan News, vol. 9), which owes

its name to the discovery of the skeleton

of this animal inside, has a low square

burial chamber, a little more than a

meter and a half wide and high, oriented

north. Along the side walls are low plat-

forms on which were placed various

globular jars and small stone urns of

“pietra fetida” containing the cremated

remains of the dead. One of these car-

ries an inscription with the Etruscan

family name ulfnei, otherwise unknown.

Found in the tomb’s dromos was a black

gloss plate bearing an inscription with

the family name lechne, probably the

owner of this tomb.

In 2009, a second quadrangular

chamber tomb was identified, larger

than the previous, datable to the late 4th

/early 3rd century BC. This unfortunate-

ly had already been excavated and heav-

ily disturbed. Recovered inside were

bone remains from at least twenty-one

burials. Outside the tomb, together with

various ceramic fragments found in the

dromos, a few fragments of an iron can-

delabra, a gold tubular earring with a

globular terminal, and a gold ring were

recovered. The gold ring for which the

tomb is named, is a classic U-shaped

gold band with decorative edges; on

each side is a palmette motif holding an

onyx pseudo-scarab in the swivel.

In 2011 came the discovery of the

Tomb of the Three Eggs, which was

intact and not violated in antiquity.

Inside was a single cremation in an

impasto olla, and a single black gloss

askos, which allowed us to date the bur-

ial to the 3rd-2nd century. B.C. The

tomb belonged to an adult, perhaps

male, and the discovery of three almost

entirely preserved eggshells, suggested

the name. The eggs were laid on the

ground (possibly in a container of per-

ishable material) near the urn. Quite

exceptional is the state of conservation

of the eggshells, which can be interpret-

ed as an offering and funeral meal, but

also a symbol of life after death. The

egg is universally known to signify fer-

tility, eternity and life energy.

In 2015 the necropolis of

Casenovole revealed yet more surprises.

Another chamber tomb, (Fig.1) located

near the Tomb of the Scarab, dates from

between the 4th and the early 3rd centu-

ry BC. Though collapsed and particular-

ly difficult to investigate because it was

dug into the natural rock bank at great

depth and reachable through a long dro-

mos, it has yielded the inhumed bones

of its occupants and a rich tomb group

that originally contained, not only

ceramics, but also metal vessels and

gold personal ornaments (Fig.3).

Among these were several lance-shaped

leaves of thin sheet gold, perhaps part of

a diadem. (Fig. 2)

The tomb had been violated through

a long tunnel that pierced the ceiling of

the chamber. The robbers removed

what was most likely placed on the left

side and bottom platforms, as well as

possibly from the floor of the chamber,

perhaps even urns with their relative

grave goods, since some fragments of

stone urns were found in the tunnel dug

by the robbers.

The door of the tomb, a large rectan-

gular stone slab, with its crudely round-

ed top, has remained in situ. Found on

the right side platform, apparently not

disturbed, were the heaped skeletal

remains of at least seven individuals

with the bones re-grouped and not

anatomically connected. This has led us

to assume that during the the first phase

of the tomb’s use the deceased were laid

out on the funerary beds, and at a later

time cremation and the use of urns took

place. Thus we could attribute the relo-

cation of the skeletal remains, in an

orderly manner, onto the right side plat-

form of the chamber, so that the plat-

forms of the left and bottom could be re-

used for newer burials.

Mainly only ceramic finds from the

tomb group have remained, including

large overpainted red-figure skyphoi

and craters from the Volterra workshops

(Fig.4). Among the few surviving metal-

lic finds were two of the three feet of a

cylindrical bronze cista with a profile-

plaque of a sprawled, banqueting

Silenus figure of very fine workman-

ship. (Fig.6)

The Soprintendenza of Tuscany, the

Municipality of Civitella Paganico, the

Odysseus association, and its president

Andrea Marcocci have all contributed to

this important discovery. Archaeologists

Leonardo Berardi, Serenesse Schifano

and Maria Paola Turchetti (Fig.5) exca-

vating the tomb. Anthropologist Stefano

Ricci Cortili and Edoardo Lenzini also-

contributed their efforts. (Photos Opaxir)

Fig.1 Chamber tomb with skeletal remains heaped to one side.

Fig.2 Fig.3 Fig.4

Fig.5 Fig.6

Page 21

Etruscans @ EXPO, a

“wunderkammer” in the

University of MilanJune-October, 2015

Etruscans@EXPO took place at theexhibition that the city of Milano pro-moted in 2015, and was one of theevents organized by the University ofMilano. Located in historical heart ofMilan University and built by theArchitectural Studio of Kengo Kuma &Associates, Etruscans@Expo is a kindof super-technological “wonder room,”a multimedial and multisensorial instal-lation that leads visitors through an in-depth investigation of the central themesof Expo2015, from food to environ-ment, via the thousand-year-old cultureof the Etruscans and the convivial ritualof the banquet, which is its fulcrum.

The idea of involving the interna-tional public at Expo, and using thethemes of an ancient culture as a gate todifferent worlds, arose from the experi-ence of the CRC “Tarquinia Project,”organized by Giovanna BagnascoGianni. The project is renowned interna-tionally for its fundamental contribu-

tions to the knowledge of Etruscan civi-lization.

Reproduced in its natural size, theTarquinia Tomb of the Funeral Bedallows visitors to walk in the steps of anexplorer of former times and functionsas a conceptual voyage through historyand the present via the fascinating world

of the Etruscans, with the aid of multi-medial installations and a three-dimen-sional holograph system. Google Glassmade it possible to access extra digitalcontent that appeals to the senses.

The itinerary of the installationoffered the opportunity to admire therichly painted frescoes on the walls ofthree other painted tombs of Tarquiniaand to access information, throughtouchscreens, on food and relatedthemes, such as environment, body care,customs and society. The entire presen-tation can also be experienced on theweb via a special app.

Thus, the Etruscans become unique,exceptional mediators between thediversities of the contemporary worldand between the diversities of theancient and modern worlds in a person-alized and engaging full immersionbrought to life by exciting stories andimages.

Hidden Treasures

of Rome ProjectUniversity of Missouri

Museum of Art and Archaeology

The Museum of Art andArchaeology is partnering with theCapitoline Museum in Rome, the oldestpublic museum in the world, to studyancient Roman antiquities recoveredfrom downtown Rome in the later 19thand early 20th century but never previ-ously studied or fully catalogued anddescribed. Italy has never beforeallowed such a project, and we are excit-ed to serve as the first venue for a proj-ect of this kind. As each group ofobjects is fully catalogued, documentedand analyzed it will be returned, andanother group of objects sent as the nextloan in an iterative project.

The objects in the first batch aremainly Republican-era black glossceramics. Research includes analysis ofthe stamps and markings, linking themto published catalogues of maker’s-marks and stamps created, detailed sty-listic analysis, and detailed composi-tional analysis using X ray fluorescencespectrometry and neutron activationanalysis through the MU Research reac-

tor, to determine where the material wasproduced and isolate productionprocesses. We’re also experimentingwith some advanced imaging techniques(Polynomial texture mapping) to cap-ture fine-scale surface details of stampsand markings, and working with visitingscholars at the Reactor Center to studyspecific lead isotopes which may helpseparate compositional signatures other-wise too similar to reliably differentiate.

All work is being done in continuingconsultation with archaeologists fromthe Capitoline Museum by Museumstaff and MU faculty and students, andall results will be fully shared andreported in the formats specified by ourItalian colleagues. Missouri was chosenfor the pilot project because of the com-bination of an accredited museum, doc-toral program in Classical archaeology,and advanced archaeometric capacityand expertise; these resources allowiterative discussions between the indi-viduals doing formal, XRF and NAAanalysis to effectively address collabo-rative research questions.

Enel Green Power North

America Unveils

Second Phase of Hidden

Treasures of Rome Projectat the University of Oklahoma

Enel Green Power North Americaexpands Hidden Treasures of Romeproject to bring a selection of 20 RomanEmperor busts and undocumented arti-facts from the Capitoline Museums ofRome to the University of Oklahoma.

The Hidden Treasures of Rome is afirst-of-its-kind partnership betweenEnel Green Power, the CapitolineMuseums, the City of Rome and someof the world’s most high-profile univer-

sities and museums. The partnershippromotes the international exchange ofcultural values and technological inno-vation through access to never-beforestudied or displayed collections of art-works and artifacts.

The announcement of the secondphase of the project was celebrated withthe opening of the exhibition“Immortales: The Hall of Emperors ofthe Capitoline Museums, Rome,” at theFred Jones Jr. Museum on theUniversity of Oklahoma campus. Thisexhibition, will run through February14th, 2016 includes 20 RomanEmperors’ busts from the CapitolineMuseums that had been transferred forthe first time across the Atlantic Ocean.

In addition to the exhibit, theUniversity of Oklahoma, through itsdepartment of Classics and Letters, andin partnership with the Sam NobleMuseum of Natural History, will offerstudents and researchers a rare opportu-nity to study, and catalogue for the firsttime, a collection of 55 epigraphs andother materials from the CapitolineMuseums’ Antiquarium.

Once the artifacts have been thor-oughly examined and catalogued, theywill be returned to Rome, ready to bedisplayed in major exhibits.

Some of the ceramics restored by students at University of Missouri.

Interactive touch screens , holographic pyramids in “wonder room.”

Page 22

Power and Pathos:Bronze Sculpture of the

Hellenistic WorldNational Gallery of Art,

Washington, DC

December 13, 2015 – March 20, 2016

Most of the extant bronze statuesfrom the ancient world exist todaybecause at some point they were lostand forgotten, at sea in shipwrecks, incollapsed buildings or fires, or in thedeluge of the volcano that destroyedPompeii and Herculaneum. Safelystored in oblivion, they were then dugup by farmers, art scavengers or archae-ologists, or recovered by divers or fish-erman. A new exhibition at the NationalGallery of Art gathers together about aquarter of what has survived. “Powerand Pathos” surveys the work of theHellenistic Age, when artists achievedastonishing virtuoso feats with themetal, which could be worked into moreagonized, ecstatic and dynamic formsthan marble.

Bronze is a valuable metal, and eas-ily repurposed. The Roman bronzes ofthe Pantheon, for example, were melteddown and cast into cannons and thegreat gilded bronze baldacchino of theVatican. Thousands of ancient bronzes

were destroyed, sometimes hacked topieces by crowds angry at a deposed orconquered leader, more often repur-posed into new sculptures, or weaponsor household implements.

The losses were enormous, and yetancient bronzes are still being foundtoday. In 2013, a fisherman claimed tofind what appeared to be a remarkablyintact ancient bronze statue off the coastof the Gaza strip, and “The Apollo ofGaza” appeared for sale, briefly, oneBay before being seized for investiga-

tion by local authorities. Several workson view in “Power and Pathos” are alsorelatively recent discoveries, includingthe bronze head of a man wearing a dis-tinctive flattened cap found off theisland of Kalymnos in 1997. Kalymnoswas, more recently, the site of a ship-wreck that cost the lives of at least 18migrants or refugees from the crisis inSyria, a reminder that ancient traderoutes are still active waterways, con-necting East and West, and the diversecultures of the Mediterranean, for mil-

lennia the cradle of empires and con-flict.

Although thousands of ancientbronzes were made, only a few hundredsurvive, and seeing them together is arare opportunity to explore Greek art atits most exuberant, daring and down-to-earth. Marble was the preferred mediumfor the gods, and reverent depictions ofthe dead; but bronze, malleable andimpermanent, was ideal for humanform. And during the Hellenistic Age,the possibilities of bronze were pushedto new limits, in portraiture that cap-tured not just the ancient ideal of beauty,but also the reality of aging, the corrup-tion of power, the dissolution of wealth,and the impertinence of youth. “Powerand Pathos” brings the Greek worldalive.

“Power and Pathos: BronzeSculpture of the Hellenistic World” wasorganized by the National Gallery ofArt, Washington; the J. Paul GettyMuseum, Los Angeles; and theFondazione Palazzo Strozzi, Florence.This exhibition features works fromworld-renowned archaeological muse-ums in Austria, Croatia, Denmark,France, Georgia, Great Britain, Greece,Italy, Spain, and the United States.Bank of America is the national sponsorof this touring exhibition.

Buried Romanamphitheatre found at

VolterraDiscovery News

Last July, workers on a waterwayrestoration project near the Diana Gateon the north side of the ancient Etruscancity of Volterra stumbled on the remainsof two walls 20 meters (66 feet) long.Archaeologists from the regionalSuperintendency were observing theworks and took over when the ancientwalls were found. Extrapolating fromthe shape and direction of the structuresalready unearthed, they dug test trench-es in two locations that would havemore walls if the building were, as theysuspected, an amphitheater. Lo andbehold, they found exactly what theyexpected to find: two more masonrywalls each ten meters long with amarked elliptical curve.

Calculating from the established cur-vature, the building is an oval 80 meters(262 feet) long by 60 meters (197 feet)wide, which is a pretty massive structurefor people to forget ever existed.Volterra already has one Roman theaterfrom the late 1st century BC, early 1stcentury AD that was discovered in 1950

Our survey dig revealed three orders ofseats that could accommodate about10,000 people. They were entertainedby gladiator fights and wild beast bait-ing,” Elena Sorge, the archaeologist ofthe Tuscan Superintendency in chargeof the excavation, told Discovery News.By comparison, the Colosseum in Romecould seat more than 50,000 spectatorsduring public games.

“The finding sheds a new light on thehistory of Volterra, which is mostfamous for its Etruscan legacy. It showsthat during the emperor Augustus’s rule,it was an important Roman center,” sheadded.

Tuscany’s oldest continuously inhab-ited town, Volterra was an importanturban center from the 6th century BCthrough the Renaissance; it fell underthe Roman sphere of influence in the3rd century and under direct Romancontrol in the 1st century BC. Althoughthere’s never been any doubt that itretained its cultural and political signifi-cance in the imperial era, the discoveryof a second much larger public enter-tainment complex possibly from the 1stcentury A.D. indicates the city was moreprominent and more populated than his-torians realized.

by Volterran native son and historianEnrico Fiumi, who was actually atrained economist, not an archaeologist,and whose excavation team was com-posed of patients from a local psychi-atric hospital. The theater was partlydug into the side of a hill in Greek fash-ion and seated 3500. Some of the seatswere found with the names of the mostprominent local families. A large sectionof the two-level skene (the buildingbehind the stage) 50 feet high survives.There is some mention in 15th and 16thcentury sources of an amphitheater inVolterra, but the writers were consideredless than reliable on the details andthought to have been referring to thetheater Fiumi discovered rather than a

real amphitheater.The discovery of the amphitheater

caused a stir, but there was no funding tocontinue digging. The city had to gobegging hat in hand to the local bank forsponsorship, which thankfully theywere able to secure.

In September 2015, archaeologistsfound two rows of steps and additionalarchitectural features: a large carvedblock that was part of the cryptoporticusroof and the base of an entrance arch.Like the ancient Etruscan city walls,these features are made of a poroussandstone native to the area calledpanchina, which is soft and easy to workbut hardens when exposed to the air.

“This amphitheater was quite large.

(Photo by Opaxir)

Aule Meteli, Seuthes III, victorious athlete and man in a hat from Kalymnos.

Excavations reveal the tiers and seats of the amphitheatre below.

Page 23

Convegno Internazionale

L’archeologia del tessuto:

produzioni e contesti nel I

millennio a.C.11 February 2016, Museo Nazionale

Etrusco di Villa Giulia

12 February 2016, l’Accademia

di Danimarca

Valentino Nizzo (Direzione Generale

Musei), “Trame d’identità. Il filo del

discorso tra museografia, antropolo-

gia e archeologia.”

Simona Carosi (SAR-LAZ), “Materiali

per un racconto archeologico. Il

progetto del nuovo allestimento del

Museo Nazionale del Castello

dell’Abbadia di Vulci.”

Patrizia Petitti, Romina Laurito (SAR-

LAZ; Università di Copenhagen),

“La filatura e la tessitura nella

palafitta di Molina di Ledro. Appunti

sullo strumentario ligneo.”

Rita Cosentino, Romina Laurito (SAR-

LAZ; Università di Copenhagen),

“Le fini tessitrici dell’antica Caere.”

Jacopo Tabolli (Trinity College), “Il

rosso dei Falisci: dall’impasto ai tes-

suti.”

Alessandra Piergrossi, Alessio De

Cristofaro (CNR), “L’abito fa il

monaco: considerazioni storiche e

antropologiche sul costume fem-

minile medio-tirrenico tra l’VIII e il

VII secolo a.C.”

Margarita Gleba (Università

di   Cambridge), “Textiles in pre-

roman Italy: from qualitative to

quantitative approach.”

Alessandro Mandolesi, Margarita Gleba

(Università di Torino, Università di

Cambridge), “Tessuti dalla Tomba

dell’Aryballos sospeso, Tarquinia.”

Margarita Gleba, Ilaria Menale, Carlo

Rescigno (Università di Cambridge,

Università di Napoli 2), “Sepolture

cumane ad incinerazione con resti di

stoffe.”

Jo Cutler (Università di Cambridge),

“Tools for textiles: textile technolo-

gy and textile production at Poggio

Civitate, Murlo in the 7th and 6th

centuries BCE.”

G. Bagnasco Gianni, M. Cataldi, G.M.

Facchetti (Università di Milano),

“Segni iscritti su strumenti per la

tessitura: novità da Tarquinia.”

Giovanna Gambacurta (Polo Museale

del Veneto), “’Un telaio per la Dea’”

– Strumenti da filatura e tessitura dal

Santuario di Reitia a Este.”

Eva Andersson Strand (Università di

Copenhagen), “Experimental

archaeology in textiles in the 21st

century.”

Vanessa Forte Cristina Lemorini

(Università di Roma La Sapienza),

“State of the art of trace analyses on

ceramic tools used in textile activi-

ties during the 1st millennium BCE

in Italy.”

Elena Ciccarelli, Assunta Perilli

(Officina Temporis; La Fonte della

Tessitura), “Sulle tracce di un filo:

prove di filatura con repliche di

fuseruole etrusche.”

Flavia Carraro (Università di

Copenhagen), “The ancient textile

artisan and the expert. Tradition,

innovation and processes.”

E. Catalli, M. Corrente, A. Di Giovanni,

M. R. Giuliani, M. Laurenti, M.

Pastorelli (Istituto Centrale del

Restauro), “I manufatti tessili prove-

nienti dalle necropoli in contrada

Cavallerizza a Ordona (Herdonia).”

Maria Rosaria Luberto, Francesco Meo

(Università di Firenze; Università

del Salento), “Produzioni tessili

sulla costa ionica della Calabria in

periodo arcaico: l’esempio di

Caulonia.”

Alessandro Quercia (SAR-PIE),

“Textile production and technologi-

cal changes in the archaic societies

of Magna Graecia. The case of Torre

di Satriano (Lucania, Italy).”

Christian Heitz (Università di

Innsbruck), “Evidence for textile

production from Ripacandida and

Ascoli Satriano (Southern Italy).”

CONFERENCESHelga Di Giuseppe (AIAC), “Il pensum

femminile nel primo millennio a.C.

con l’epinetron il fuso e la conoc-

chia.”

Stella Spantidaki (ARTEX), “From

Mater Graecia to Magna Graecia:

Textile Production in Iron Age

Greece.”

Karina Grömer (Naturhistorisches

Museum Wien), “Who produced

textiles – for whom and what for?

Iron Age Textile Production in

Austria and neighbouring coun-

tries.”

Fabienne Medard (Maison des Sciences

de l’Homme, Paris), “First Iron age

textile production in France: state of

the art.”

Ulla Mannering  (Museo Nazionale di

Danimarca), “The 1st MillenniumBCE Cloth Culture in Denmark.”

Gli artigiani e la cittàOfficine e aree produttive

tra VIII e III sec. a.C. nell’

Italia centrale tirrenicaJanuary 11, 2016

British School at Rome

Conference presentations

Officine e artigiani di età regia, PaoloCarafa;

Gli artigiani e Roma tra alta e media etàrepubblicana, Antonio F. Ferrandes;

Il pianoro di Veio: il quadro topograficodella produzione, Roberta Cascino;

Evidenze di attività produttive nel dis-tretto meridionale di Veio: indaginiin corso, Barbara BelelliMarchesini;

Dall’interno della chaine opératoire:attività produttive tra pubblico e pri-vato a Falerii dall’età tardo arcaicaal periodo ellenistico, MariaCristina Biella, Maria Anna DeLucia, Laura M. Michetti,Piergiuseppe Poleggi;

La città che produce: primi dati per unaricerca di archeologia della pro-duzione a Cerveteri, VincenzoBellelli;

Attività artigianali a Tarquinia: glispazi, le strutture e i prodotti,Matilde Marzullo, Claudia Piazzi;

Vulci, artigiani in città. Un excursussulla storia delle scoperte ericerche, Simona Carosi;

Le attività artigianali nel territorio vul-cente: la Valle dell’Albegna eMarsiliana, Andrea Zifferero;

La gestione degli spazi urbani: artigianie metallurgia del bronzo e del ferroa Populonia, Valeria Acconcia,Matteo Milletti;

Luoghi di produzione urbani traBologna e Marzabotto, GiuliaMorpurgo;

Direct, indirect or just circumstantial?Assessing archaeological evidencefor ceramic production in ancientSatricum, Martina Revello Lami,Marijke Gnade;

L’artigianato ceramico a Neapolis inetà ellenistica: topografia delle pro-duzioni, Daniela Giampaola,Stefania Febbraro, Lydia Pugliese.

Poster Session

Roma

Produzione ceramica a Roma tra VI e Vsecolo a.C. Stato della questione eprospettive di ricerca, F.R. Fiano.

Il santuario e la fornace. Riflessionisulle origini della produzione vasco-lare urbana di età mediorepubbli-cana, A.F. Ferrandes.

La lavorazione delle materie dureanimali a Roma: dalla manifatturaall’utilizzo, G. Soranna.

Romae ne fuit quidem aurum. Indaginepreliminare sulla produzione dioggetti in metallo a Roma fra iTarquini e la Media Repubblica, G.Bison.

Il paesaggio produttivo e commercial diRoma dall’VIII al III sec. a.C., G.Fatucci.

Veio

Veio, la più antica attività produttiva, F.Biagi, F. Boitani, S. Neri.

Lo strumentario da fornace da Veio,Piano di Comunità, B. BelelliMarchesini, A. Di Napoli.

La produzione di terrecotte architet-toniche nel santuario di Porta Caerea Veio, M.T. Di Sarcina.

Le attestazioni dalla necropoli veientedi Macchia della Comunità, G.Galante, T. Magliaro.

Testimonianze di attività produttive dietà medio-repubblicana dallo scavodi Veio Campetti, A. Jaja, E. Cella.

Page 24

Conference

The State of the SamnitesRoyal Netherlands Institute in Rome

January 28-30, 2016

As the most notorious opponents toRome on Italian soil, the people referredto as Samnites in the literary sourceshave always occupied a special positionin scholarship on ancient Italy and earlyRoman expansionism. The prominenceof Samnium and the Samnites in classi-cal studies is primarily due to Livy’simpressive account of the SamniteWars. Historiographical research overthe last few decades, however, has led toa more nuanced and variegated pictureof the conflict and its protagonists.

Recent studies have begun to ques-tion the historical role of “theSamnites,” and have indeed tended todeconstruct notions of strong Samnitesocio-political cohesion and organiza-tional capacity as well as its archaeolog-

Falerii

La città e gli edifici pubblici: matrici diterrecotte architettoniche da Falerii,M.C. Biella, C. Carlucci, M.A. DeLucia, L.M. Michetti.

Gli strumenti della produzione cerami-ca: appunti per uno studio tipologi-co, M.C. Biella, L.M. Michetti etalii.

Periferie Produttive: Nuovi dati sullearee produttive alle porte di Narce,J. Tabolli.

Caere

Indicatori di produzione metallurgicadall’area della Vigna Parrocchiale,V. Bellelli, G. Trojsi.

Cerveteri: Cave a cielo aperto nell’areaUrbana, R. Mitro, Y. Salvadori.

Un atelier per la produzione dell’impas-to rosso decorato a cilindretto aPiana di Stigliano (CanaleMonterano), A. Zifferero.

Produzioni ceramiche nell’Etruriainterna: i crateri in impasto rosso,A. Naso, A. Zifferero.

Vulci

Due matrici tardo-arcaiche da Vulci.Ricerche in corso, A. Conti.

Impianti produttivi nell’area di PortaOvest, G. Pocobelli.

Impianti produttivi e di “immagazzina-mento” nell’area di Pozzatella, E.Eutizi.

Il quartiere artigianale presso “lavalle,” S. Carosi, C. Regoli.

Un nuovo contributo da Regisvilla, C.Regoli.

Un’area produttiva lungo la costa vul-cente nella prima età del Ferro: ilsito di Duna Feniglia, F. Rossi, N.Negroni Catacchio, M. Cardosa.

Attività metallurgica nella fortificazioneellenistica di Ghiaccio Forte(Scansano, GR), M. Firmati.

Spina

Le officine mutevoli, Analisi spaziale eriesame delle evidenze produttivenel porto adriatico di Spina (V-IIIsec. a.C.), L. Zamboni, C. Buoite.

Area pontina

Challenges in the study of rural potteryproduction: a view from the Pontineregion, G. Tol, B. Borgers, T. DeHaas.

Dimitrios Paleothodoros (University ofThessaly), “Ionian and otherAnatolian Influences on EtruscanBlack-Figure Vase-Painting.”

Tyler Jo Smith (University of Virginia),“Connectivity in motion: dancingfigures in Anatolia and Etruria.”

Discussant: Maurizio Harari (Universityof Pavia)

Session 7: Myth, iconography, and

terracottas

Jean MacIntosh Turfa (University ofPennsylvania Museum), “Etruscanlightning and Anatolian images.”

Nancy Winter (University of California,Santa Barbara), “Terracotta crafts-men from Asia Minor in SouthernEtruria and Latium, 540-510 BCE.”

Ingrid Krauskopf (UniversitätHeidelberg),“Pyrgi and the crook,some reflections on possible ways oftransfer.”

Lisa Pieraccini (University ofCalifornia, Berkeley), “Chasing thedog in Etruria and Anatolia.”

Luca Cerchiai (University of Salerno),“The myth of the eastern origin ofthe Etruscans through some icono-graphic documents from the Archaicperiod.”

Discussant: Ingrid Edlund-Berry(University of Texas, Austin)

International Workshop

and Symposium

Material Connections and

Artistic Exchange:

The case of Etruria and

AnatoliaMay 19-21, 2016

May 19, British School at Rome

Keynote lecture: Alessandro Naso(Consiglio Nazionale delleRicerche), “From East to West andBeyond”May 20, Villa Giulia Museum

Session 1: Theoretical frameworks

Tamar Hodos (University of Bristol),“Bridging cultures in the past andpresent.”

Nassos Papalexandrou (The Universityof Texas at Austin), “The role ofGreek sanctuaries as nodes of mate-rial and artistic interaction betweenEtruria and Anatolia.”

Francesco de Angelis (ColumbiaUniversity), TBA

Jessica Nowlin (Brown University),“The long shadow of ‘orientalizing’:the political context and motivationsbehind an art historical term and thesearch for Etruscan origins.”

Discussant: Bruno D’Agostino(University of Naples)

Session 2: Luxury metals and furni-

ture

Annette Rathje (University ofCopenhagen), “Consumption of lux-ury items and the life-style of theelites.”

Elizabeth Simpson (Bard GraduateCenter), “Wooden furniture fromVerucchio and Gordion.”

Susanne Ebbinghaus (HarvardUniversity), “What’s in a Shape?Drinking and Serving Vessels inAnatolia and Etruria.”

Alexis Castor (Franklin and MarshallCollege), “Male ornaments in Eastand West.”

Discussant: Gregory Warden (Franklin

University) Session 3: Textiles and dress

Margarite Gleba (University ofCambridge), “Textile cultures ofEtruria and Anatolia.”

Gretchen Meyers (Franklin andMarshall College), “Craft, genderand identity: visual representationsof women and textiles in ancientEtruria and Anatolia.”

Tuna Şare Ağtürk (Çanakkale OnsekizMart University), “Anatolian fash-ion in Etruscan clothing.”

Discussant: Larissa Bonfante (NewYork University)

Session 4: Funerary monuments

Fernando Gilotta (Seconda Università diNapoli), “Between material cultureand funerary ideology. Someremarks from South Etruria.”

Stephan Steingräber (Università degliStudi Roma Tre), “Rock tombs andMonuments in Southern Etruria andAnatolia: Typology, Chronology,Ideology - Differences and CommonElements.”

Elizabeth Baughan (University ofRichmond), “Funerary beds andcouches in Etruria and Anatolia.”

Bilge Hürmüzlü and Mehmet Özhanlı(Süleyman Demirel University),“Guardian of tombs from Anatolia toEtruria, and a Pisidian sphinx.”

Discussant: Alessandro Naso (ConsiglioNazionale delle Ricerche)May 21, Villa Giulia Museum

Session 5: Wall painting

Susanne Berndt-Ersöz (StockholmUniversity), “Wall paintings fromGordion in their Anatolian context.”

Cornelia Weber-Lehmann (Institut fürArchäologische Wissenschaften undKunstsammlungen der Ruhr-Universität Bochum), “Traces ofIonian artists and Anatolian subjectmatters in Tarquinian Late Archaicwall painting.”

Stella Miller (Bryn Mawr College),“Painterly Issues between Etruriaand Anatolia.”

Discussant: Mario Torelli (University ofPerugia)

Session 6: Pottery and vase-painting

Theresa Huntsman (HarvardUniversity), “A tale of two buccheri:the use of the term ‘bucchero’ inceramics of the eastern and westernMediterranean.”

Michael Kerschner (AustrianArchaeological Institute, Vienna),“The Swallow Painter and hisEastern Aegean roots. The relationsbetween Etruria and the EasternAegean in the 7th century BC revis-ited.” Chimera heels for the beast in u.

Page 25

ical visibility. Insight into Samnite

cohesion, organizational power and

demography are important not only to

appreciate the functioning of a distinc-

tive societal configuration in challeng-

ing environmental conditions, but it also

has crucial implication for our under-

standing of early Roman imperialism.

As yet, these developing theoretical

positions have remained partly isolated

from very exciting new archaeological

evidence.

This conference aims to open up the

discussion on these contested issues by

discussing these new archaeological

findings and novel views on the existing

evidence.Program

January 28, 2016

Session 1: Socio-political and adminis-

trative organization of the Samnites.

Session 2: Hill forts and UrbanismJanuary 29, 2016

Session 3: Samnite expansion

Session 4: Sanctuaries in SamniumJanuary 30, 2016

Session 5: Samnite Settlement and

Material Culture

Session 6: Roman expansion in

Samnium

tourismA Salone Internazionale

dell’Archeologia

Firenze - Palazzo dei Congressi

February 19-21, 2016

Organized by the archaeological

journal, Archeologia Viva, twenty con-

ferences and workshops , with over two

hundred speakers. Keynote speaker,

Andrea Carandini, will deliver a lectio

magistralis on the origins of Rome.

Minister of Culture, Dario Franceschini,

will present the Premio “R. Francovich”

to the film director Pupi Avati. Many

workshops, lectures, and sessions are of

special interest to our readers, for exam-

ple:

Cultura Villanoviana: Nuovi dati dalle

necropoli di Verucchio.

I Longobardi dall’Italia al Patrimonio

Mondiale. Storie di archeologia,

integrazione e divulgazione.

Vestire l’antico. Materie prime, tessuti

all’alba della storia.

info@tourisma.it www.tourisma.it

La città etrusca e il sacroSantuari e istituzioni politiche

21-23 January 2016

Dipartimento di Storia Culture

Civiltà, Aula Prodi - Piazza

San Giovanni in Monte 2, Bologna

January 21, 2016

“Veio: dal culto aristocratico al culto

poliadico,” G. Bartoloni, D.

Sarracino;

“Ritorno a Pian del Monte. Nuovi dati

dall’abitato di Verucchio,” P.

Rondini, L. Zamboni;

“Verucchio: spazio abitativo e spazio

rituale in un contesto di formazione

protourbana avviata, ma non ancora

compiuta,” M. Harari;

“Santuario dell’acropoli di Volterra:

l’articolazione strutturale,” L.

Rosselli, E. Taccola;

“Santuario dell’acropoli di Volterra: i

culti,” M. Bonamici;

“Il sacro in Etruria: dentro e fuori la

città,” A. Maggiani.January 23, 2016

“Tra Caere e Pyrgi. I grandi santuari

costieri e la politica di Caere,” M.P.

Baglione, L.M. Michetti;

“Orvieto, Campo della Fiera: forme del

sacro nel ‘luogo celeste,’” A.

Giacobbi, S. Stopponi;

“La dimensione del sacro nella città di

Kainua – Marzabotto,” E. Govi;

“La città e il sacro in Etruria padana: riti

di fondazione e assetti urbanistico –

istituzionali,” G. Sassatelli;

“Lo spazio del sacro e la città: Cuma e

Capua,” C. Rescigno;

“Il contesto di Fratte,” A. Pontrandolfo;

“Il santuario dell’Ara della Regina di

Tarquinia. I templi tra sacro e isti-

tuzioni politiche: un rapporto tra

forma ed essenza,” M. Bonghi

Jovino;

“L’emporion arcaico: Gravisca e il suo

santuario,” M. Torelli;

“Pontecagnano e quadro generale del

mondo etrusco – campano,” L.

Cerchiai;

“Il santuario di Fortuna e Mater Matuta

nel Foro Boario: aspetti politicoreli-

giosi tra età monarchica e repubbli-

cana,” P. Brocato;

“Roma: Valle del Colosseo, Palatino

nord - orientale tra età regia e prima

repubblica (VI -V secolo a.C.),” C.

Panella, S. Zeggio;

“Nuove ricerche nel santuario extraur-

bano di Fondo Iozzino a Pompei,”

M. Osanna, C. Pellegrino.January 23, 2016

“Su alcuni spazi sacri ateniesi e il loro

rapporto con assetti urbanistici e isti-

tuzioni politiche,” E. Greco;

“Santuari e organizzazione urbana nelle

città achee della Magna Grecia,” F.

Longo;

“Santuari e luoghi di culto preromani

nell’Italia medio – adriatica,” G.

Tagliamonte;

“La terminologia etrusca per “santu-

ario” e i suoi riflessi istituzionali,”

G. Colonna.

Oltre ai relatori parteciperanno: C.

Ampolo, D. Briquel, G.

Camporeale, B. d’Agostino, C.

Pouzadoux.

In Memoriam Norma

Wynick GoldmanPCS Classical World

Fashion and Design

Funded by a generous Program

Grant from The Classical Association

of the Atlantic States, the

Philadelphia Classical Society, in

partnership with Bryn Mawr College,

hosted the fourth Classical World

Fashion & Design Show dedicated to

the memory of Norma Goldman on

December 18, 2016. Students were

encouraged to design costumes based

on classical models. The event was

held at Bryn Mawr College.

Lectures

“L’ombra degli Etruschi”Museo di Palazzo Pretorio

Piazza del Comune, Prato

April 2, 2016

L’area pratese-pistoiese in età etrusca,

Giovannangelo Camporeale.

April 16, 2016

Il territorio in collina: Artimino,

Maria Chiara Bettini.

April 30, 2016

La diffusione della scrittura nell’Etruria

Settentrionale: una storia misconosciu-

ta, Adriano Maggiani.

May 14, 2016

Dall’Etruscheria all’Etruscologia:

l’Accademia di Cortona, il collezionis-

mo e l’uso “pubblico” della cultura,

Paolo Bruschetti.

May 22, 2016

Documentary film: La musica perduta

degli Etruschi, Simona Rafanelli,

Stefano Cocco Cantini.

info: www.palazzopretorio.prato.it

C.I.V.I.A

“The Amber Routes” Republic of San Marino

April 14-16, 2016

3rd International Conference

on the Ancient Amber Roads

“The Commericial Roads”

1st International Conference on

Cities along the Amber Roads

The International Research Center for

the Study of Ancient Roads and the

Ways of Communication among peo-

ples (C.I.V.I.A.) has organized the 3rd

Annual Conference on Amber Routes.

Forty speakers will represent twenty-

eight countries from “Amberland,”

Latvia, Lithuania; from countries along

the Amber Route, Poland,

Czechoslovakia, Slovakia, Bulgaria;

and at the end of the route, Italy and

Greece. Speakers from Italy will include

Nuccia Negroni Catacchio with

Francesca Galli, Andrea Montanaro,

and Simona Rafanelli. Joan Todd and

Larissa Bonfante will represent the

United States. The proceedings of this

year’s topic, “The Commercial Roads,”

will be published. The program includes

an audience with the Presidents of the

Republic of San Marino at the Palace of

the Government, visits to the

Archaeological Museum and the city of

San Marino, and the archaeological site

of Verucchio. www.civiaricerche.net

Page 26

Call for Papers

MagicConstruction and Perception

of the Magic World from

Antiquity to Our TimesMuseum of Religions “Raffaele

Pettazzoni”

Velletri (Rome)

June 14-18, 2016

This congress aims at investigatingthe concept of “magic” on the basis ofthe historical data at our disposal andaccording to the development ofWestern thought. Therefore, differentkinds of documentation relating tobeliefs and rituals will be the object ofour investigation. In particular, papers could deal with

the following topics:

1. The origin of the concept of“magic” and its development in Westernthought.

2. The nature and scope of thesources at our disposal as documenta-tion for this topic.

3. The specific terminology of thesources in relation to the ritual sphereand experts of magic; also, the terminol-ogy used for supernatural entities andconceptions of the cosmos.

4. The ritual practices that in thesources are related to the sphere ofmagic.

5. Historical or mythical personali-ties, which in the sources are related tothe magical world.

6. Objects, which, in the sources, arepresented as tools in magical activities.

7. The history of studies.Papers focusing on single, specific

cases and not related to the general aimof the congress will not be accepted.The workshop is structured into six

research areas:

1. Egypt and the Ancient Near East(coordinator: Rita Lucarelli, Universityof California, Berkeley)

2. Classical antiquity (coordinator:Sabina Crippa, Università Ca’ Foscari diVenezia)

3. Medieval period (coordinator:Carla Del Zotto, Sapienza Università diRoma)

4. Modern era (coordinator: MarinaCaffiero, Sapienza Università di Roma)

5. Contemporary era (coordinatorSilvia Mancini, Université de Lausanne)

6. History of Studies (coordinatorPaolo Scarpi, Università degli Studi diPadova)

Please send a one-page abstract(max 2.000 characters) to Igor Baglioni,the director of the museum,

(igorbaglioni79@gmail.com) April 1.Attached to the abstract should be:

the title of the paper; the chosen area; ashort biography of the authors; emailaddress and phone number.

Papers may be written and presentedin English, French, Italian and Spanish.

The acceptance of papers will becommunicated only to the selected con-tributors by April 10, 2016.

Please send the complete paper notlater than June 1. The delivery of thepaper is required to participate in theconference.

Important deadlines:

Closing for call for papers: April 1,2016.

Admission: April 10, 2016.Delivery of paper: June 1, 2016.Conference: June 14-18, 2016There is no attendance fee. The par-

ticipants who do not live in Rome orsurroundings will be accommodated inhotels and bed-and-breakfasts whichhave an agreement with the Museum ofReligions Raffaele Pettazzoni to offerdiscounted prices.

Papers will be published on Religio.Collana di Studi del Museo delleReligioni“Raffaele Pettazzoni”(Edizioni Quasar), and in specializedjournals. All the papers will be peer-reviewed.

For information, email:igorbaglioni79@gmail.com

Call for Papers:Classical Association of the Atlantic

States and Classical World2016 Annual Fall Meeting,

October 20-22, 2016

The Heldrich Conference Center,

New Brunswick, New Jersey

We invite individual and group pro-posals on all aspects of the ClassicalWorld and Classical reception, and onnew strategies and resources forimproved teaching. Especially welcomeare presentations which aim at maxi-mum audience participation and inte-grate the interests of K-12 and collegefaculty, and which consider ways ofcommunicating about ancient Greeceand Rome outside of our discipline andprofession. We hope to include anundergraduate research session featur-ing presentations based on outstandingterm papers, senior theses, or otherscholarly projects.

All participants and those who sub-mit proposals must be current membersof CAAS. (The membership year isSeptember 1-August 31.)

XXIII Convegno Internazionale di

Studi sulla Storia e l’Archeologia

dell’Etruria

Dalla capanna al palazzo.

Edilizia abitativa

nell’Italia preromana

December 11

Giovanni Colonna (Accademia deiLincei), Dalla casa al tempio;

Francesco Roncalli (Università degliStudi di Napoli “Federico II”),Abitare il palazzo, abitare il tempio:riflessioni su un rapporto antico;

Elena Calandra (SoprintendenzaArcheologia dell’Umbria), L’attivitàdella Soprintendenza Archeologiadell’Umbria nel 2015.

December 12

Claudia Piazzi (Università degli Studi diMilano), Considerazioni sulle strut-ture in abitato di epoca villanovianain Etruria;

Stefano Bruni (Università degli Studi diFerrara), Alle origini dell’icono-grafia della casa;

Alessandro Naso, Vincenzo Bellelli,Laura Ambrosini (Istituto di Studisul Mediterraneo Antico delC.N.R.), Edifici a più pianinell’Italia medio-tirrenica in epocapreromana;

Adriano Maggiani (Università degliStudi di Venezia), Urne cinerarie aforma di casa in età post-classica;

Letizia Arancio, Marco Pacciarelli(Soprintendenza Archeologia delLazio e dell’Etruria Meridionale/Università degli Studi di Napoli“Federico II”), Recenti scavi alPoggio di Sermugnano: l’evoluzionedelle forme edilizie tra le età vil-lanoviana e arcaica;

Valeria D’Atri, Andrea Babbi(Soprintendenza Archeologia delLazio e dell’Etruria Meridionale/Römisch-Germanisches Zentral-museum Mainz), Le case (e ipalazzi?) di Bisenzio. Una ricercamultidisciplinare per l’antico cen-tro;

Elisabetta Govi (Università degli Studidi Bologna). L’architettura domesti-ca di Marzabotto tra vecchi scavi enuove indagini;

Andrea Gaucci (Università degli Studidi Bologna), Nuovi studi sull’ “isola-to Mansuelli” di Marzabotto (RegioIV, Insula I);

Anthony Tuck (University ofMassachusetts Amherst), The threephases of the Etruscan Palace ofPoggio Civitate (Murlo);

Giovannangelo Camporeale(Accademia dei Lincei), Dalle casedell’Accesa: tra sopravvivenze aris-tocratiche e innovazioni democra-tiche;

Armando Cherici, Dalla casa al palazzo(e ritorno): armi e armerie;

Maurizio Harari (Università degli Studidi Pavia), Nota sulle indagini incorso nell’abitato villanoviano diVerucchio;

Paola Desantis (SoprintendenzaArcheologia dell’Emilia Romagna),Gli Etruschi fra Reno e Setta: ilnuovo insediamento de La Quercia;

Maria Chiara Bettini (Istituto Nazionaledi Studi Etruschi e Italici), Struttureabitative nell’insediamento d’alturadi Pietra Marina;

Carlotta Cianferoni (SoprintendenzaArcheologia della Toscana),Capanna o palazzo? Una scopertarecente nello Spedale di SantaMaria della Scala a Siena.

December 13

Vincenzo D’Ercole, Oliva Menozzi(Direzione Generale Archeologia,Ministero Beni Culturali eAmbientali/Università degli Studi“G. D’Annunzio” di Chieti–Pescara), Strutture abitativenell’Abruzzo preromano;

Gianluca Tagliamonte (Università degliStudi del Salento), Edilizia domesti-ca nel Sannio preromano;

Francesco D’Andria (Università degliStudi del Salento), Insediamenti ecase della Messapia arcaica;

Stephan Steingräber (Università degliStudi di Roma 3), Architettura aris-tocratica nella Daunia. Il caso diArpi: confronti con i modelli greco-macedoni.

Page 27

LECTURES & SEMINARS

AIA Society: Ottawa

Pirates of Populonia? The

myth of Etruscan piracy

in the Mediterraneanby Jean MacIntosh Turfa

Edward J. Bader Lecture

Carleton University

November 8, 2015

Abstract:

Certain Greek authors told tales ofEtruscan pirates, painting them as thevillains of the Mediterranean; they werelater echoed in macabre Roman narra-tives. Certainly Etruscan shipbuildingand seafaring in the Italian archipelagowere at a high technical level as early asthe 9th-8th centuries BC, when someship-owners were even women. Andcertain traditions of shipbuilding used inEtruria could be conducive to operationsby freebooters and marauders. But thereis just as much – perhaps more – evi-dence of Greeks preying upon Etruscanmerchant shipping, and a number of his-torical parallels to suggest that thepirates were in fact not Etruscan at all!

(A version of this presentation wasdelivered as the Haynes Lecture atOxford University, May 6, 2015.)

Accordia Lectures

2015 – 2016

December 1, 2015

Accordia Anniversary LectureSanctuaries and states in the archaic

Mediterranean and beyondGreg Woolf, Director, Institute of

Classical Studies

January 19, 2016

Hungry humans eating thirsty ele-phants: human-proboscidean interac-tions in the Italian Lower PalaeolithicGiovanni Boschian, University of Pisa

February 16, 2016

Venus Envy: investigating the terracot-ta figurines from the Lago di Venere,

PantelleriaCarrie Murray, Brock University

March 1, 2016

Supplying Rome between the 4th and6th centuries AD. Results of recentexcavations at the Portus Romae

Simon Keay, Southampton Universityand British School at Rome

May 3, 2016

On the edge of Etruria: earlyEtruscans in the Apennines

Phil Perkins, The Open UniversityHair in the Classical

WorldAn Interdisciplinary Symposium

November 6, 2015

Fairfield University

Program

Dr. Robert Koehl, Hunter College, CityUniversity of New York, “Hair andComing of Age Rituals in theAegean Bronze Age.”

Dr. Mireille Lee, Vanderbilt University,“Reflections on Mirrors and HairDressing.”

Ms. Lillian Stoner, Institute of FineArts, New York University and TheMetropolitan Museum of Art,“Mourners, Maenads, and Madness:‘Crazy Hair’ on Greek Vases.”

Ms. Janet Stephens, Baltimore hair-dresser and forensic archaeologist ofancient hairstyles, “In comis veritas:the Visual Language of AncientRoman Hairstyles.”

Dr. Eve D’Ambra, Vassar College,“Statuesque Hair in the RomanEmpire.”

Dr. David Konstan, New YorkUniversity, “Hairdos…and Don’ts:Some Views from ClassicalLiterature.”

International Symposium

Purpureae Vestes20-22 October 2016

The Symposium will take place atthe University of Padua in Padua (20October), at the Museo NazionaleAtestino in Este (21 October) and at theMuseo Nazionale Altinate in Altino (22October). It will focus on the role oftextile production and dyeing in the eco-nomic activities of the various ancientcultures of the Mediterranean area. Weparticularly welcome synthesizingpapers that use textile evidence tounderstand wider economic develop-ments of ancient Mediterranean soci-eties. As in previous symposia, howev-er, presentations of new finds are wel-come as well.

The Department of Classical &Oriental Studies, Hunter College

The 75th Annual Josephine P.

Earle Memorial Lecture Friday, May 15, 2015

“The Women of Poggio Colla:

Discerning Gender in an Etruscan

Sanctuary”

Ann R. Steiner Shirley Watkins Steinman Professor of

Classics, Franklin and MarshallCollege

Pre-lecture reception 4:00-4:30Award ceremony 4:30-5:00

Lecture 5:00-6:00Post lecture reception 6:00-6:30

Workshop

The Cup of Dionysos A new paradigm for

the kantharos

April 22, 2016

Columbia University

The history of the ancient kantharos,which raises many questions for classi-cal scholars, will be the subject of asmall but sharply focused workshopplanned for April 22, 2016.

The kantharos in Attica is a ratherrare form, always exceptionally well-modeled and decorated. During the firstquarter of the 6th century BC, this com-plex shape, characterized by an opentruncated cup, two elegant high handles,and a tall flaring foot, appears in theAttic black-figure repertoire, and soonafter, the vase appears in Attic iconogra-phy as an attribute of the Greek godDionysos. The sudden appearance ofthis shape in Attic pottery has beenexplained by the influence of an olderEtruscan bucchero vessel type, the mostimportant Etruscan pottery artifact totravel widely in the WesternMediterranean and the Aegean beforethe middle of the 6th century BC. It wasthe Greek world that copied theEtruscan rather than vice versa, anunusual situation.

Most Etruscologists agree with thishypothesis, and further evidence ofEtruscan influence has surfaced. At thesame time, a number of new questionshave been raised. How do we explainthe fact that similar shapes existed dur-ing the Mycenaean period, and that sim-ilar variants exist in Attic Geometricproductions? Why would Dionysos beconnected with a foreign vase shape?Do Near Eastern kantharoid vases play arole? Or was the Etruscan kantharos cre-ated as a local form to replace/competewith the Greek wine cup? Study and dis-cussion of older and new data on thekantharos will allow us to suggest a newparadigm of the form and its history, andlead us to a better understanding of theintercultural relationship betweenGreece and Etruria during a longchronological span.Just out, by Dominique Briquel.

Page 28

JOURNALSIn the Journals

Alexander P. von Helden, “Mastoi.”

Kölner und Bonner Archaeologica.KuBA 2 / 2012, 31-56.

The article takes up the subject ofthis special form of Corinthian and Atticbreast-shaped vase, which has rarelybeen discussed in the literature.

Alexander Naso, “Amber for Artemis.

Preliminary Report on the Amber

Finds from the Sanctuary of Artemis

at Ephesos.” Jahreshefte desÖsterreichischen archäologischeninstitutes in Wien 82, 2013, 259-278.

Abstract: More than 700 amberobjects have been found in the sanctuaryof Artemis at Ephesos, all around thetemple area. Two large assemblageshave been discovered deposited in therectangular foundations built of greenschist slabs (called the “earlier basis” bythe excavator D.G. Hogarth) in the inte-rior of the second temple of Artemis(Naos 2, Hogarth’s “temple B”), built inthe second half of the 7th century B.C.and both have been interpreted as foun-dation deposits. Originally, the amberartefacts were either individual items orparts of other objects such as belts, tex-tiles and fabrics. The systematic studyof the amber objects was begun in 2010as a collaboration between the AustrianArchaeological Institute and theInstitute of Archaeologies of theUniversity of Innsbruck. Here, a prelim-inary overview of the results is present-ed.

Gabriele Cifani, “Il sepolcro dei

Cacni a Perugia. Ideologia e cultura

di una famiglia aristocratica tra

ellenismo e romanizzazione.”

Römische Mittheilungen 121 (1915)

125-176.

Abstract: “The Tomb of the Cacni atPerugia. The Ideology and Culture of anAristocratic Family between Hellenismand Romanization” discusses thearchaeological remains of an importantHellenistic funerary hypogeum recentlydiscovered in Perugia (central Italy).The entire context dates from the begin-ning of the 3rd and the first half of the1st century BC; the hypogeum con-tained one sarcophagus, 22 cineraryurns of travertine, and a rich tombgroup. Two urns feature a very sumptu-ous high-relief, polychromous, andgold-plated decoration, depicting themyth of Oenomaus and a

ANNOUNCEMENTS

Tarquinia’s Port site of

Gravisca Wins Shanghai

International AwardThe sanctuary emporium of

Gravisca, the port of Tarquinia, has wonthe Shanghai Archaeology Forum awardas being among the ten most importantarchaeological discoveries in the world.Professor Lucio Fiorini of theDepartment of Civil and EnvironmentalEngineering at the University of Perugiais directing the research, in collabora-tion with the ArchaeologicalSuperintendency of Lazio. The excava-tion was entered in the Field Discoverycategory and Fiorini was awarded forthe methods applied and the resultsobtained. The ceremony took place onDecember 14, 2015, in Shanghai, China.

The Etruscan site of Gravisca is onthe edges of the environmental park ofLe Saline. It was a thriving port in thetrade with the eastern Mediterraneanuntil its destruction during the barbarianinvasions of the 5th century AD. Thesanctuary at the emporium was foundedin the 6th century BC. It was an interna-tional religious center dedicated to threegoddesses: Hera, Aphrodite andDemeter, venerated as their Etruscanequivalents: Uni, Turan and Vei.

Originally built on a square plan, thesanctuary was enlarged and transformedinto a rectangular structure. Among thefinds were valuable Attic pottery of the6th century and a patrician domus of theImperial age with a small bath. In thecourtyard of the domus was found thehoard of 147 coins of the 5th century,hidden during the barbarian invasions.

Professor Lucio Fiorini recievesaward in Shanghai for his workat Gravisca. He was accompa-nied by Professor Mario Torelli.

Fabio Colivicchi, Guest Editor,

Etruria in the Third to First CenturyB.C.E.: Political subordination andcultural vitality, Special Issue of

Michael L. Thomas, ed., EtruscanStudies, Volume 18, Issue 2 (Nov

2015).

Articles of interest:“Etruria in the Third to First Century

B.C.E.: Political Subordination andCultural Vitality. Forward to Volume18.2,” Michael L. Thomas andGretchen E. Meyers.

“Epigraphy in a Changing Society:Etruria, 301–300 B.C.E.,” EnricoBenelli.

“Inscribed Identities: Figural CineraryUrns and Bilingualism in LateEtruscan Funerary Contexts atChiusi,” Theresa Huntsman.

“Greek Myths on Etruscan Urns fromPerusia: the sacrifice of Iphigenia,”Chiara Pilo and Marco Giuman.

“Religion and Industry at Cetamura delChianti in the Late Etruscan Period,”Laurel Taylor.

“Ritual and Industry in the LateEtruscan Period: The Well atCetamura del Chianti,” Cheryl LSowder

“After the Fall: Caere after 273 B.C.E.,”Fabio Colivicchi.

“Etruscan Tombs in a ‘Roman’ City: theNecropolis of Caere between theLate Fourth and the First CenturyB.C.E.,” Maria RaffaellaCiuccarelli.

Dominique Briquel

awarded prize

“Cultori di Roma”On April 21, 2015, the Istituto

Nazionale di Studi Romani recognizedthe work of Dominique Briquel, award-ing him the prize “Cultori di Roma.”Dominique Briquel has written on theEtruscans and the origins of Rome,showing how the historical narratives onthe overthrow of the kings of Rome andthe capture of the city by the Gauls in390 BC were modeled on myth of Indo-European origin. He also wrote on thelast pagans of the Roman empire, whosought an affiliation with what remainedof the Etruscan religion, particularlythrough the prophets and the sacredEtruscan texts. Dominique Briquel stud-ied at the Ecole Normale Supérieure and

taught Latin there before being appoint-ed professor at the University of Dijonfrom 1984 to 1996, then director ofstudies at the EPHE in faculty of histor-ical and philological sciences, and pro-fessor of Latin at Paris-SorbonneUniversity from 1996 to 2014.

New Officers of the US Section

of the Istituto di

Studi Etruschi ed Italici

President: Francesco de Angelis

Columbia University

Vice President: Nancy de Grummond

Florida State University

Secretary: Lisa Pieraccini

University of California, Berkeley

Treasurer: Jean MacIntosh Turfa

University of Pennsylvania

Honorary Founding President:

Larissa Bonfante New York University

Editor in Chief of Etruscan News:

Jane Whitehead, Valdosta State University

Adolfo Ajelli, tombe di Tarquinia.

Page 29

Centauromachia. The chronologicalsequence of the urns, together with theevidence of 17 funerary titles, revealsthe history, identity, culture, and ideolo-gy of a local aristocratic family, in par-allel with the economic and politicaleffects of Roman expansion. (For thediscovery, see Etruscan News XI).

Carlotta Viti. “On Etymology and

Lexical Categorization in the Ancient

Indo-European Languages.”International Journal of DiachronicLinguistics and LinguisticReconstruction 11 (2014): 1-31.

Abstract: This paper discusses somegeneral problems of etymology and lex-icology in the ancient Indo-European(IE) languages; it takes into accountboth theoretical and empirical aspects.Theoretically, our aim is to revise thenegative reception that etymology, ascultivated by ancient grammarians, hasusually encountered in modern linguis-tics by considering the broad culturalcontext in which ancient folk etymolo-gies were produced. Empirically, weinvestigate the taxonomies underlyingthe lexicon in the ancient IE languages,which turns out to be less hierarchicalthan in many modern IE languages. Asan example of this, we will consider thelexicalization of color in antiquity. Wewill see that this flat categorization alsoinfluences the substantially synchronictype of etymology practiced in theancient world, which was based on aseries of similarities among lexemesplaced on the same cognitive level.

M.P. Baglione, B. Belelli

Marchesini, C. Carlucci, M.D.

Gentili, L.M. Michetti. “Pyrgi: A

Sanctuary in the Middle of the

Mediterranean Sea.” In Sanctuariesand the Power of Consumption.Networking and the Formation ofElites in the Archaic WesternMediterranean World, Wiesbaden

2015, 221-237.

Kaius Tuori and Laura Nissin,

eds. Public and Private in the RomanHouse and Society. JRA Supplement

102, 2015.

The volume, which is based on theworkshops of their Helsinki researchproject from 2012-2014, includes con-tributions by K. Tuori, H. Fertik, E. M.Steinby, A. Russell, L. Bablitz, M.Perry, S. Speksnijder, L. Nissin, S.Simelius, F. M. Green, R. Cribiore, J.Hilder, and A. Wallace-Hadrill.

BOOK REVIEWS

Brief Book Reviewsedited by Larissa Bonfante

Tesse D. Stek e Jeremia Pelgrom,

Roman Republican Colonization. NewPerspectives from Archaeology andAncient History. Rome, Palombi

Editore, 2014.

Roman colonization has been seenas a primary model for colonization andcolonialism in more recent historicalperiods. The most comprehensive studyon Roman colonization remains EdwardTogo Salmon’s Roman Colonizationunder the Republic (1969). In the almost50 years since the publication ofSalmon’s seminal book many crucialrevisions have been proposed for differ-ent aspects of the traditional view ofRoman colonization. Despite the obvi-ous importance of these new studies,their impact on our general understand-ing of Roman colonization and theirdeeper significance for understandingRoman imperialism has yet to be fullyappreciated. The increasing fragmenta-tion of the research field is an importantreason that an overarching, radicallynew, understanding of Roman republi-can colonization has not, as yet, beenbrought forward. Issues that are centralto the character of Roman colonizationare studied in separate disciplinesincluding Roman historiography, urbanarchaeology, architecture studies, land-scape archaeology, Roman religionstudies and Roman law. This volumebrings together recent insights from arange of different academic traditions,lifting language and cultural barriers. Bypresenting both new theoretical insightsand new archaeological discoveries, itexplores the potentially productive

interplay between different emergingresearch areas that are currently isolat-ed. (From the publisher’s website).

Michael Peachin, ed. Greek and LatinInscriptions at New York University.

Studia Archeologica 199. Publications

of the Center for Ancient Studies,

New York University, Volume II.

Rome, L’Erma di Bretschneider,

2014.

This is the second catalogue of thestudy collection of antiquities of theClassics Department of New YorkUniversity. It is in effect a companion tothe first, edited by Larissa Bonfante andBlair Fowlkes Childs, ClassicalAntiquities at New York University(2006). Both volumes were written bygraduate students, and contain some sur-prises and several connections withother smaller study collections. APraenestine cippus of the first half of thethird century BC is similar to one at theAmerican Academy in Rome, whilefragments of the epitaph No 11 seem atsome point to have been at JohnsHopkins University, and were apparent-ly brought to NYU when Ralph VanDeman Magoffin moved fromBaltimore to take up the chairmanship atNYU. Two copies of the Consular Fastifrom Teanum Sidicinum found in 1904and brought to the American Academyat that time are now in the Olcott collec-tion of Columbia University and NYU,respectively. It is not clear who madethem, nor how they got here. Thefavorite of students was long the monu-ment of L. Gellius Felix, where the thirdline, which once recorded the name of awoman, Valeria Onomaste, was erasedin antiquity. “Given that the name canstill be read, it would appear highly like-

ly that this damnatio memoriae was theresult of acrimony, and was intendedeffectively to castigate Valeria in perpe-tuity….” Perhaps she had remarried andwas buried elsewhere, and had quarreledwith her children? Michael Peachin’sown epigraphical skill and his students’hard work tease out fascinating storiesfrom these stones. LB

Anton Bammer and Ulrike Muss,

Bernstein für die Göttin. Die Funde

der Jahre 1987-1994 aus dem

Artemision von Ephesos. Anodos.

Supplementum 6. Universitas

Tyraviensis. Facultas Philosophica.

Trnava 2014.

This important publication includesthe catalog and full discussion of thefinds from the 1987-1994 season of theAustrian excavation. The date is late7th century, and there are many compar-isons with Italian finds, from Verucchio,Vetulonia, Osteria dell’Osa, and otherVillanovan or Archaic sites. Twohuman heads (Cat. Nos. 20-21) are par-ticularly appealing, with their sharplydefined features, and sharp, protrudingnose; a convincing Daedalic parallel iswith the head of the bronze sphyrelatonhead of the Artemis from Dreros. LB

Page 30

Francesco de Angelis. Miti greci intombe etrusche. Le urne cinerarie diChiusi. Rome, Accademia Nazionale

dei Lincei. Monumenti Antichi, 73.

Rome, Giorgio Bretschneider, 2015.

Well worth waiting for, this is amajor corpus on the model of the great19th and early 20th century collections— Gerhard for Etruscan mirrors,Rodenwaldt and Matz for Roman sar-cophagi, Arndt-Amelung for ancientsculpture, or Brunn-Körte on these veryurns. Hellenistic urns from Chiusi,Volterra and Perugia bear relief decora-tion, mostly mythological scenes, on thefront of the caskets, and on the lids, thelikenesses of men, women, and (lessoften) children. They are frequentlyinscribed. Long scorned, neglected asun-classical, mass-produced, and esthet-ically inferior objects that filled shelfafter shelf of the museums of theseinland cities, they came into their ownafter the war, when Italian scholars’preference for “material culture” asagainst artistic excellence caused themto be appreciated. There was a flurry ofpublications in the 70s, and new muse-um installations made them more under-standable from the point of view ofcraftsmanship as well as iconography.The later, second or even first centuryurns were made of tufa or terracotta,while the earlier, more carefully workedurns (third century-first half of secondcentury BC) are of alabaster. (Thealabaster, exported from Volterra toChiusi and Perugia, still provides theraw material for the craftsmen of themodern city). They thus offer a varietyof information, iconographical (Greekand local, or at least Etruscan themes),epigraphical, prosopographical, social,historical, and more. The volume is atreasure house of information. It con-sists of an Introduction, on “Urns,myths, an cultural identity,” and sixchapters: 1. Etruscan urns and the icono-graphic tradition; 2. Urns from Chiusi:chronology and historical context; 3.Battle scenes; 4. Conflicts betweenbrothers and brotherly friendship; 5.Youth at risk; 6. The family, power, andother themes on urns from Chiusi. Therefollow a conclusion, a remarkably com-plete, up to date Catalogue, Index andplates. LB

Michael L. Thomas and Gretchen

Meyers, eds., with Afterword by

I.E.M. Edlund-Berry. Monumentalityin Etruscan and Early RomanArchitecture: Ideology and Innovation.

Austin, University of Texas Press

2012.

Reviewed by Gabriele Cifani, JRA 27(2014) 517-520.

This interesting collection of paperswas planned for the 2009 annual meet-ing of the Archaeological Institute ofAmerica to honor the Etruscologist I.Edlund-Berry. In the central Tyrrhenianarea, monumentality is the fil rougelinking experiences of architecture fromthe Orientalizing phase to the MiddleRepublic…

Overall, the collection offers newideas, especially on the political strug-gles fought by the élite and on their self-representation through the medium ofpublic and private architecture over aperiod of four centuries. Above all, thebook challenges the traditional and eth-nocentric notion of separate develop-ments in architecture between Romansand Etruscans during the Archaic peri-od…

William Furley, Victor Gysembergh,

Reading the Liver. Papyrological Texts

on Ancient Greek Extispicy. Studien

und Texte zu Antike und Christentum,

94. Tubingen: Mohr Siebeck, 2015.

Reviewed by L. Bouke van der Meer,Leiden University

(l.b.van.der.meer@arch.leidenuniv.nl )

Did Greek hepatoscopy originate fromMesopotamian practice? At first sight,this seems unlikely, as Greek seers (afterc. 530 BC) first checked for the pres-ence or absence of the kephale (head;also called lobos). Etruscan haruspicesdid the same with the caput (head),according to Etruscan representationsand Classical authors…1

The question of origin has been dealtwith by several scholars who did notpay attention to the contents of threepapyri from Roman Egypt:P.Ross.Georg. I 21 in Moscow (2nd c.AD), P. Amh. 14 in New York (4th c.AD), and PSI 1178 in Florence (1st c.AD), all published in the first half of the20th century. They contain fragments ofGreek manuals of hieroscopy, to judgefrom the word hypomnema (notice)mentioned in the Amherst text.

Now these texts are the focus of thefascinating book, Reading the Liver, byWilliam Furley and Victor Gysembergh.In the Introduction they define Greekhieroscopy as a pseudo-science, proba-bly acquired from Mesopotamia.According to Walter Burkert, it wasexported by wandering seers (viaCyprus), and according to Mary R.Bachvarova, it was transmitted fromAnatolia to Greeks in Cilicia (Telmessa)and Cyprus (see below). Then Homer’sthyoskooi, Attic vases (c. 530 – 490 BC)showing almost identical scenes ofhepatoscopy,…2

Further, the authors shed light uponthe symbolic language of the papyri.

Notes:1. For the origins of Mesopotamian andEtruscan hepatoscopy, see V. Bellelli/M. Mazzi, Extispicio. Una “scienza”

divinatoria tra Mesopotamia ed Etruria.Roma 2013, reviewed by the presentauthor in BABESCH 89 (2014) 246-247.2. The core of the images is a standing,nude pais holding an ox liver in bothhands and opposite him a hoplite (not amantis!). See J.-L. Durand et F.Lissarrague, “Les entrailles de la cité,”Hephaistos 1 (1979) 92-108.

“Haruspices in Berlin” or readingthe liver with Eva Cancik-Kirschbaum and Professor. Christoph Markschies’ PhDStudents. Authors Furley andGysembergh assume that no one

Stephan Steingräber, ed. L’Etruriameridionale rupestre. Atti delConvegno Internazionale: L’Etruriarupestre dalla Protostoria al Medioevo.Insediamenti, necropoli, monumenti,confronti. Rome, Palombi Editori,

2014.The conference was held at

Barbarano Romano and Blera inOctober 2010. Various scholars con-tribute essays placing the monumentsfound in this characteristic landscape ofsouth-central Etruria in the wider con-text of the Mediterranean, from prehis-toric times down to the Middle Ages.

“Uno dei territori più singolari esuggestivi dell’Italia centrale è senzadubbio la zona delle necropoli rupestridell’Etruria meridionale interna.L’incontro fra opera umana, con le sueforme evocatrici e i suoi tagli a volteimmani, e la materia naturale cosi lavo-rata; il fascino selvaggio dei luoghi,ancora in parte (ma per quanto?) vergi-ni, e il contrasto cromatico tra la vege-tazione e i rossi vivi e i grigi caldi deltufo: l’impressione di fantastici miraggidi città del passato che sembrano sorg-ere tra le macchie dell’addensarsi dellesagome delle tombe intagliate: tuttoquesto rappresenta una delle più tipichemanifestazioni di simbiosi fra archeolo-gia e paesaggio, che si conoscono nellanostra penisola.” (Massimo Pallottino –1970).

reading their book intends touse it as an instruction manualinto the ancient art ofhieroscopy (p. 1). No one?

(Photo, Christoph Markschies).

Page 31

Francesco Meo, L’attività tessile aHerakleia di Lucania tra III e II secoloa.C. Rome, Scienze e Lettere. 2015.

Patrizia von Eles, Laura Bentini,

Paola Poli, and Elena Rodriguez, eds.

Immagini di uomini e di donne dallenecropoli villanoviane di Verucchio.

Atti delle Giornate di Studio dedicate

a Renato Peroni. Verucchio, 20-22

aprile 2011. 1985-2015: Una storialunga 30 anni.

Emma Blake, Social networks andregional identity in Bronze Age Italy.

Cambridge: Cambridge University

Press, 2014.

Reviewed by Francesca Fulminante,Antiquity, 89 (348) December 2015,1518 – 1520.

http://journals.cambridge.org/abstract_S0003598X15001660

Brita Alroth and Charlotte Scheffer,

eds. Attitudes towards the past in anti-quity: creating identities. Proceedings

of an international conference held at

Stockholm University, 15-17 May

2009. Acta Universitatis

Stockholmiensis. Stockholm Studies

in Classical Archaeology, 14.

Stockholm: Stockholm University,

2014.

Rachel Mairs and Maya Muratov.

Archaeologists, Tourists, Interpreters.

Exploring Egypt and the Near East inthe Late 19th – Early 20th Centuries.

Bloomsbury Egyptology. London,

Bloomsbury Publishing, 2015.

“This interesting and accessiblebook presents both new and little-known information on the social historyof dragomans and interpreters in Egyptand Mesopotamia in the late 19th toearly 20th centuries and casts light onthe Anglo-American aversion to learn-ing Arabic and Turkish that made themnecessary. Mairs and Muratov excavatenew archival sources…” (Susan HueckAllen, from the website).

Forthcoming:

Corinna Riva, A Short History of theEtruscans. London, I.B.Tauris, 2016.

The author describes the birth,growth and demise of this fascinatingenigmatic people, whose nemesis wasthe growing power of Rome. Exploringthe ‘discovery’ of the Etruscans from theRenaissance onwards, she discusses theEtruscan language; the 6th- centuryBCE growth of Etruscan cities andMediterranean trade; their religion, ritu-als and burial sites; and the fatal incor-poration of Etruria into Rome’s politicalorbit. (From the website).

BOOK ANNOUNCEMENTS OBITUARIES

Janos György Szilàgyi1918 - 2016

A remembrance by Larissa Bonfante

When my professor, Otto Brendel,introduced me to Janos Szilàgyi duringone of the great Hungarian scholar’strips to New York, he told me thatEtruscologists were relieved and grate-ful to him for having taken on the defin-itive study of Etrusco-Corinthian ware,a difficult task, which included the labo-rious job of distinguishing Corinthianpots imported into Italy from their localimitations. Szilàgyi’s 1992 work on thisware is cited as the standard study in mypottery Bible, R.M. Cook’s GreekPainted Pottery. His book sits happily inmy bookcase, where I look at the enig-matic narrative of what might be therepresentation of a human sacrifice (seedrawing below).

And I remember our various meet-ings, at Convegni of the Istituto di StudiEtruschi in various cities in Italy. Oncemy husband, Leo Raditsa and I, drovehim back part way as far as Venice, andwe became friends. He talked politicswith Leo, whose articles on post-warEurope he had read and admired. Hewas patriotic – he disapproved of ayoung friend who had left Hungary forthe US and then Australia. He should,he said, stay in Hungary and make it abetter place. He published his SelectedWorks in Hungarian; some of the arti-cles had originally been written inItalian or English.

Szilàgyi contributed to two interna-tional corpora, the Corpus of EtruscanMirrors (CSE, Corpus SpeculorumEtruscorum), and the LIMC (LexiconIconographicum MythologiaeClassicae). He wrote about many differ-ent subjects, among them the theater,Classical literature, and the history ofthe collections of Classical antiquity inHungary, including a remarkable bookabout a remarkable story, In Search ofPelasgian Ancestors (2004).

Living in Hungary during the Sovietperiod was not easy. Szilàgyi chose towork in the museum instead of the uni-versity because there he was allowedmore freedom. He was able to travelbecause he had a cousin in Italy whohelped him; otherwise he would nothave been able to leave his country.

I find it impossible to write anythingbut a personal memory of someone I soadmired and yes, loved. I am happy thatI was able to visit him, a few years ago,in the antiquities galleries of theMuseum of Fine Arts, where he workedwell into his nineties, and where he wasclearly revered. Janos showed me, andmy colleague, Matthias Recke, theEtruscan objects, and then, with a proudsmile on his face, took us to see “myLiebling,” a large Etruscan relief fromChiusi. ( Below Janos and his Liebling).

His colleague at the Museum andmutual friend, Szilvia Bodnar, wrote meto tell me the very sad news: “Our dearfriend Janos passed away on January7th. The last two weeks were painful butbefore that he did not lose anything ofhis personality, was reading severalhours a day and talking to friends whovisited him.”

Page 32

Aule Pulfna Peris, one of the clan from Città della Pieve.

The Tomb of the Pulfnas:Intact tomb discovered

at San Donnino,

Città della Pieve (PG)(adapted from interviews with

Clarita Natalini, Marisa Scarpignato)

On October 25, 2015, a farmer

plowing his field near Città della Pieve,

a small town 30 miles southwest of

Perugia in central Italy’s Umbria region,

opened a hole in the earth. When he

peered inside, he saw the carved head of

a man with his arm extended holding a

plate. The farmer had stumbled on an

Etruscan tomb from the late 4th century

BC, and the man with the outstretched

arm was on the lid of a funerary urn.

The hole was covered and the

Soprintendenza per i Beni Culturali

dell’Umbria alerted to the find. The city

police and Carabinieri secured the site,

and set a guard there overnight to keep

people of greedy intent away from the

tomb until the Soprintendenza was able

to dispatch an archaeological team. The

following day, regional archaeologist

Clarita Natalini, suspended from a rope,

lowered herself into the hole and found

she was in a small space about 3 by 3

meters containing at least two cinerary

urns and two sarcophagi.

The tomb was full of soil and debris

from an ancient collapse. Natalini, with

a team led by archaeologist Marisa

Scarpignato, decided to begin their

excavation from the entrance point into

the tomb rather than starting from the

cluttered burial chamber. They then

located and removed the dirt from the

long dromos (photo at left), and found

heavy travertine double doors guarding

the chamber. The doors were carefully

removed for study and in order to give

the team a large enough opening to

remove the contents of the tomb.

One of the two sarcophagi had a

long Etruscan inscription on the side,

(see below) translated as “Laris Pulfnas

son of Arnth.” On one of the large bur-

ial urns was inscribed “Aule Pulfna

Peris,” now adopted as the name of the

tomb, since it likely refers to the person

laid to rest inside the urn. At the foot of

the long sarcophagus was a statue head

broken at the bottom of the neck. It

depicts a bald adult male, and still

retains traces of the original poly-

chromy, even in the pupils of the eyes.

Found outside in the right-hand

chamber off the dromos were fragments

of a sarcophagus composed of the same

stone as the head. This sarcophagus

also had an inscription, but it was dam-

aged during one of the collapses.

Archaeologists have recovered the frag-

ments, and are restoring them.

Apart from grave goods, which

include pottery, miniature votive vases,

a strigil and an olpe of bronze, two

intact storage vessels, a large Greco-

Italic amphora and a double-handled

olpe, the archaeologists found four large

burial urns with cremated remains.

The urns are made of fine-grained

alabaster; three of the urns are finely

sculpted. The lids portray the half-naked

deceased wearing flower garlands and

reclining on two cushions as if at a ban-

quet. They all bear a patera, a shallow

were members of the Chiusine aristocra-

cy in the Hellenistic period, together

with a small group of families with

whom they had close family ties.

Scarpignato thinks that this could be the

oldest attestation of the gens pulfna and

its discovery in Città della Pieve could

indicate its precise origin.

The last artifact was removed from

the main chamber on November 28,

2015. The large three-ton travertine sar-

cophagus, with the lid still sealed, was

stuccoed and retains traces of painted

letters on the cover (photo bottom).

Removing it from the small space was a

challenge that required special expert-

ise. Perugia’s fire fighters lifted the sar-

cophagus using air-filled pontoons. It

ritual offering dish, in their right hands.

Natalini has concluded that the use

of alabaster, the style of the burial, and

clues from the inscriptions suggest that

the burial belongs to an aristocratic fam-

ily from the nearby Etruscan stronghold

of Chiusi. The Pulfna Peris family is

already known from the later 2nd c. BC

Tomba del Granduca of Chiusi, who

was then pulled out through the dromos,

which is less than a meter wide.

All of the contents of the tomb have

been moved to the Museo Civico di

Santa Maria dei Servi for conservation.

Tissue, bones and ashes will be ana-

lyzed at University of Pavia’s Etruscan

DNA database. A December town meet-

ing packed the house, as citizens were

treated to a lecture on the tomb, and

were shown its contents. The adminis-

traion of Città della Pieve has estab-

lished a tax deductible program for

patrons though Art Bonus. Citizens can

help fund and participate in the recov-

ery, restoration and exhibition of the

finds from San Donnino.

This is the first time that an intact

tomb complex has been recovered at

Città della Pieve as a result of a scien-

tific stratigraphic excavation.

(3 top photos Opaxir) (0ther photos SBAU).