The Etruscan Seated Banquet: Villanovan Ritual and Etruscan Iconography

Tuck, Anthony

doi:10.2307/506549

Cited by 28 publications

(5 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…This has also been suggested with reference to a wide range of figurative imagery by Damgaard Andersen (1993) and by scholars (e.g. Tuck 1994) who propose Villanovan origins for the Etruscan banquet.…”

Section: Urn Decoration and Tomb Paintingmentioning

confidence: 63%

House Urns and Etruscan Tomb Painting: Tradition Versus Innovation in the Ninth–seventh Centuries Bc

Leighton

2005

Oxford J Archaeology

View full text Add to dashboard Cite

Summary. The first painted tombs in Etruria date to about 675–650 BC, as attested by a few examples at Veii and Caere, which pre‐date those of Tarquinia (mainly sixth–third centuries BC). At first glance, tomb painting has no obvious connection with the Early Iron Age or Villanovan period (tenth/ninth–eighth centuries BC), when burial in shaft or trench graves predominated. Nevertheless, some links can be suggested with Villanovan house urns, which reinforce the point that indigenous traditions merit greater consideration than is usual in discussions of Etruscan artistic and cultural development.

show abstract

Section: Urn Decoration and Tomb Paintingmentioning

confidence: 63%

House Urns and Etruscan Tomb Painting: Tradition Versus Innovation in the Ninth–seventh Centuries Bc

Leighton

2005

Oxford J Archaeology

View full text Add to dashboard Cite

show abstract

“…For the tomb built to resemble the house see: Pallottino 1942, 384;Steingräber 1983, 37;Naso 1991;Camporeale 2000, 145;Haynes 2000, 72-73;Steingräber 2006b, 89. For the funerary rituals performed inside the Etruscan tombs see : Prayon 1979;Tuck 1994;Steingräber 1997;Pieraccini 2000;2013. Also in the domestic context we have found representation of ancestors: Murlo Palace (early 6th century BC.…”

Section: The Domestic Context: the Location And Role Of The Imaginesmentioning

confidence: 70%

Ancestors at the gate. Form, function and symbolism of the imagines moiorum. A comparative analysis of Etruscan and Roman funerary art

Mazzeri

2014

OpAthRom

View full text Add to dashboard Cite

Scholars have interpreted the imagines maiorum (face-like representations of Roman familial ancestors), such as the ones represented in the famous Barberini statue, as wax masks that were worn by actors who impersonated the dead during funeral processions. Since members of the Roman aristocracy displayed the imagines of their ancestors who had held an important office, most scholars have concluded that the usage of the imagines was merely social and political and therefore devoid of any ritual or symbolic value. My paper, through close analysis of Roman literary and material evidence, argues that the imagines maiorum were not masks but complete portable wax heads; furthermore, that the imagines displayed in the Roman atrium, in addition to serving as status markers, played an important role in domestic rituals. There is convincing evidence that the imagines were objects of specific, periodic ritual acts (burning of incense, application of colours and laurel). Finally, I argue that the imagines maiorum, paraded at the head of a funeral procession, had a significance beyond aristocratic pomp: from the ritual opening of shrines to the arrival at the tomb, the imagines maiorum represented the ancestors who, together with the living, accompanied the deceased in his journey to the afterlife-a scene depicted in several Etruscan tombs.

show abstract

“…The progression from the bottom of the vase, which shows nude youthful hunters ambushing hares, to a middle register showing a procession of horsemen and a lion hunt, to the top register, displaying warriors in full hoplite regalia, has been interpreted as an idealised maturation of aristocratic males through agonistic activities: ‘a Corinthian paideia loosely comparable to the three-stage agōgē that marked the public education and military training of males at Sparta’ 57 . This messaging may have had particular valence within the interrelated contexts of banqueting and funerary rituals, where an olpe would be used (Osborne 1996, 165; Hurwit 2002, 2; Petit 2019, 433–4; Tuck 1994). The François Crater, discovered in an Etruscan elite tomb in the necropolis of Fonte Rotella near Chiusi and dated to c .…”

Section: Placing the Prothesis Plaques In The Ivory Corpusmentioning

confidence: 99%

CELEBRATING DEATH AT THE SANCTUARY OF ORTHIA: APROTHESISSCENE, THE IVORY CORPUS AND RITUAL LANDSCAPES IN THE ARCHAIC PERIOD

Daniels

2023

Annu. Br. Sch. Athens

View full text Add to dashboard Cite

The corpus of carved ivories from the sanctuary of Orthia at Sparta forms one of the most cosmopolitan assemblages from Archaic Laconia. One image within this corpus, however, has remained an anomaly: a mirror-image scene on two plaques showing three figures mourning a deceased male in the prothesis ritual. The puzzling nature of these plaques rests on the dearth of imagery elsewhere in Laconia from this period displaying the prothesis, unlike Attica. These images have been viewed as representing a mythical death or a commemoration of an actual death, tied to a period in Sparta's history when elite groups claimed power through ostentatious ritual, but their overall meaning within Orthia's sanctuary remains obscure. I argue, however, that these plaques are not anomalies within the ivory corpus, nor are they divorced from the broader ritual programme in Orthia's sanctuary – rather, the ivory corpus itself represents a unified composition that merged scenes showing ideal activities for Spartan citizens with heroic episodes from myth, geared towards the achievement of everlasting kléos. The semantics of these combined iconographies are clarified via comparison with cultic implements described in ancient literature alongside extant examples of multi-scene figural pottery from the seventh and sixth centuries. This paper thus highlights the mythological and ideological meanings of the prothesis plaques within the broader ivory corpus, and elucidates the role of complex figural iconographies in the elaboration of heroic ideals centred on Spartan citizens in this period.

show abstract

The Etruscan Seated Banquet: Villanovan Ritual and Etruscan Iconography

Cited by 28 publications

References 0 publications

House Urns and Etruscan Tomb Painting: Tradition Versus Innovation in the Ninth–seventh Centuries Bc

House Urns and Etruscan Tomb Painting: Tradition Versus Innovation in the Ninth–seventh Centuries Bc

Ancestors at the gate. Form, function and symbolism of the imagines moiorum. A comparative analysis of Etruscan and Roman funerary art

CELEBRATING DEATH AT THE SANCTUARY OF ORTHIA: APROTHESISSCENE, THE IVORY CORPUS AND RITUAL LANDSCAPES IN THE ARCHAIC PERIOD

Contact Info

Product

Resources

About