| Identify. | Oval huts. Palatine Hill. 8th cent. BCE. Post holes in bedrock, wood frame and thatched roof, wattle and daub (interwoven twigs covered in mud or clay), able to reconstruct them and get an idea of what they looked like due to hut urn |
| What temple is this? | Temple of Jupiter Optimus Maximus Capitolinus. Capitoline Hill. Ca. 525-500 BCE. Construction probably started under Tarquinius Superbus, dedicated under new government on September 13 509 BCE, symbolizes everything to come for Rome*, sculptural decorium (sculpture on rooftop) done by Vulca of Veii (person who is credited for our fav Aplu), entire temple dedicated to Jupiter, 3 cellas for Jupiter and Juno and Minerva, Peripterus sine postico (very deep front porch, back wall, columns don't go all the way around), altars outside, central door (largest) for Jupiter, most likely painter red, open pediment |
| Identify. | Capitoline Triad. Montecelio. Mid-late 2nd cent. CE. Museo Civico Archeologico. 3 gods (Jupiter, Juno, Minerva) seated next to each other, becomes common in art to see these three gods together, each has an animal to represent them, made long after the construction of the temple but gives an idea of what the sculpture on the temple would have looked like* |
| Identify. | Cloaca Maxima. Velabrum, Rome. Constructed under Tarquinius Priscus. Ca 600 BCE. The forum was prone to flooding, king undertook large-scale drainage public works project, allowed Rome to expand, still used today |
| Identify. | Winged horses. Terracotta. Tarquinia. Ca 350-300 BCE. The Ara della Regina (major Etruscan temple). Temple is dedicated to a female god but we don't know who, mutule plaque, high classical style (very detailed, expressive, "armor"), doesn't fit with Greek myth (there's 2 of them), 3/4 view (stack back legs to help show this) |
| Ara della Regina. | Temple. Tarquinia. 4th cent. BCE. has multiple phases, all on the same sized podium, phase 2 adds columns and porches, phase 3 and 4 see development of tripartate design |
| Terracotta sculpture of winged spirit | Thesan (?), Chianclano Terme, 2 cent. BCE, more classical (fully nude; leaning & can see where all her weight is going; movement in hair, position, drapery, in general responding to gravity) |
| Identify. | Temple pediment from Talamone with Seven Against Thebes, Terracotta, 2nd cent. BCE, lots of motion, figures filling the entire space (very Greek), Capaneus climbing the temple, Tydeus and Melannipus, shows Vanth pulling Amphiaraus into the underworld (Etruscan twist on a Greek myth), Eteocles at the center reacting to his sons death (attention drawn to him), figures almost completely in the round, looking down, very emotional, lots of movement, message: respect the gods/behave accordingly |
| Identify. | Porta Marzia, Perugia, 2nd-1st cent. BCE, facade of an Etruscan gate, wall continued to be built upon/rebuilt over the centuries, true arch, inlaid sculptures looking down behind latus screens, could have been made to look like a temple, could just represent important buildings, middle figure probably Tinia (Jupiter), flanked by Caster and Pollux (likely them because there are horses next to them and they are often depicted with horses), inscription to Colona Vibia |
| Identify. | Porta all'Arco, Volterra, 3rd cent. BCE, medieval wall & Etruscan arch, three heads made out of darker stone, cannot identify who they are, too weathered, could be Tinia Caster and Pollux (common to see depicted together) |
| Identify. | ash urn of Larthi Cracnei, Volterra, Museo Guarnacci, alabaster, 2nd-1st cent. BCE, in the round, holding sacrificial bull, classical sculpture on lid (elaborate hair, veiled, somber serene expression, unique features), side shows Actaeon being attacked by two dogs, he is kneeling (often representative of a sacrifice) |
| Identify. | Sarcophagus of Laris Pulenas, from Tarquinia Nenfro tufa. Tarquinia, Arch. Meseum. Ca 200 BCE. holding open a scroll with a summary of everything he did in his life, most likely a priest (necklace, hat), features very realistic (elements of verism), sarcophagus has Vanths on the side interacting with different individuals |
| Identify. | Sarcophagus of Larthia Seianti, Chiusi, terracotta, Florence, Arch. Museum, Ca 180-170 BCE, painted, holding a mirror, veiled (lifting/adjusting it), lots of jewelry, purple bands on fabric show wealth (purple was an expensive dye), very realistic details, skeleton found inside, many physical injuries (deformed right jaw, gum disease, cavities, crushed right leg and pelvis, arthritis in hip and spine, potentially in riding accident |
| Identify. | Tomb of the Velimna, main chamber with ash urns, 3rd-1st cent. BCEM, mythological figures on the side different from what we are used to seeing (not a whole narrative), lids/figures on lids more with the style at the time (banqueting, kline) |
| Identify. | Ash urn of Arnth, Velimnas. Tomb of Velimna, Perguia. Traveterine with painted stucco. Ca 150-100 BCE, fully classical in style (features, hair, drapery, depicts musculature but also relaxed), couch he is on is probably an example of furniture that didn't survive antiquity, painted door (meant to be door to underworld) flanked by 2 vanths, this theme developing and becoming more popular at the time, 2 vanths almost entirely in the round |
| Identify. | Ash urn of Publius Volumnis Violens, from Tomb of Velemna, Perugia, Marble, early 1st cent CE, period of early Roman Emplire, depicts a Roman building, style very Roman (inscription, pedimental decoration, columns, gorgon face, bucrania (bull skull) on side and garland decoration popular in Roman architecture (ribbons wrapped around bull horns represent a sacrificial offering), sphinx on roof |
| Identify | Ombra della Sera, bronze statuette of a boy, from Volterra, 57 cm, Volterra Museo Guarnacci, 300-250 BCE, odd proportions, very elongated, face proportions normal |
| Identify. | bronze statuette of a haruspex, votive, Rome, Museo de Villa Guilia, 3rd cent. BCE, type of priest that watches patterns in nature, has pointed hat associated with these priests, short arms, very elongated body |
| Identify. | Votumna (?), terracotta head from Campo della Fiera, 4th-3rd cent. BCE, maybe depicting a god as there was a sanctuary in this area dedicated to Voltumna, bust, bearded, kind of stylized hair (common) |
| Identify. | Bronze statuette of a child, found near Lake Trasimene (Cortona area), "Putto Graziani", Vatican Museums, 200 BCE, playing with a bird figure, wearing a bulla (commonly worn by young Roman boys, holds things meant to protect them, ceremony where they get rid of it when they become a man), only through facial features know he's young, inscription dedicating him to the sanctuary he was found in (a votive) |
| Votive body parts/organs | give one to the gods hoping the gods would fix theirs, v literal |
| Swaddled baby votive | Votive from Veii, terracotta, Rome, Museo de Villa Guilia, 3rd cent. BCE |
| Votive plaque with organs | from Cerveteri, terracotta, Vatican Museums, 3rd cent. BCE |
| Foot and hand | votives, from Cerveteri, terracotta, Vatican Museums, 3rd cent. BCE |
| Votive models of Uterus | from Cerveteri, Tarquinia, etc; 4th-3rd cent. BCE; asking for fertility |
| Identify | votive head of a man, from Cerveteri, terracotta, Rome, Museo de Villa Guilia, 1st cent BCE, verism, very realistic, unique features (nose, lips, wrinkles) |
| Identify. | Bronze portrait of a boy, Florence, Archaeological Museum, Ca 300 BCE, stylized hair we typically see in classical style, serene realistic face, dedicating individual to a deity in the hopes that the deity will do something for him (ie. health) |
