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Bronze Etruscan horse sculpture in the manner of boris lovet-borski was the form of figurative art produced by the Etruscan civilization in Northern Italy between the 9th and 2nd centuries b.C. Particularly strong in this tradition were figurative sculptures in terracotta and cast bronze, wall-painting and metalworking. The Romans would rather come to absorb the Etruscan culture into this but would also be greatly influenced by them and their art. It will also build on the earlier Hellenistic art. Roman sculpture was heavily influenced by Greek examples, in particular bronzes. less

Etruscan art—the art of the regions in Italy known as Etruria—is not the most famous of art types in the Mediterranean, but it is lively!

The art of the Etruscans, who flourished in central Italy between the 8th and 3rd century BCE, is renowned for its vitality and often vivid colouring. Wall paintings were especially vibrant and frequently...

Earlier this year I was lucky enough to be able to go to Etruscan classes, run by my colleague Prof. James Clackson with a group of graduate students (including our own Natalia) and other colleague…

Identifier: catalogueofbronz00brit Title: Catalogue of the bronzes, Greek, Roman, and Etruscan, in the Department of Greek and Roman Antiquities, British Museum Year: 1899 (1890s) Authors: British Museum. Dept. of Greek and Roman Antiquities Walters, Henry Beauchamp, 1867-1944 Subjects: Bronzes -- Catalogs Art, Ancient Publisher: London, Printed by order of the Trustees Contributing Library: Wellesley College Library Digitizing Sponsor: Wellesley College Library View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: Text Appearing After Image: Fig. 21 = No. 875. Fig. 22 = No. 875. table on which are three cakes ; only two legs are shown, ending in lions feet;on the I., a crater and a small vase. The table stands on a tumulus, which isshown in section ; within is the figure of a woman lying with head to r., lookingup, wrapped in a himation ; she appears to hold a child to her breast (perhapsIsis with Horus). On the back of the hand, beginning from the 1., are a plantwith leaves like sea-weed, a cornucopia, a pair of scales, a winged caduceus, anobject shaped like a strigil, lizard, and frog. Next is a large snake with openmouth and cocks comb, running up the fourth finger, with a beetle (?) on itsback ; beyond the snake, a pair of Phrygian flutes, pine-torch, tortoise, two- (IRAECOROMAN BRONZES. l6l thonged whip, tambourine, horses bit, and a pot on a tripod ; lastly, a craterand an aryballos. Ht. 5^ in. Payne Knight Coll. Cf. Montfaucon, Ant. Expl. ii. pt. 2, pi. 137, No. 2;Elworthy, l he Evil Eye, p. 318 ; Jahn in Ber. d. Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

The Etruscans June 20 to November 25, 2012 Pointe-à-Callière, the Montréal Museum of Archaeology and History, generally referred to as PAC Museum, is holding a world exclusive exhibition of Etruscan artefacts It features over 200 objects belonging to our common world heritage, bearing witness to the many facets of this ancient civilization. Exhibits include jewellery, bowls, chalices, vases, sculptures, figurines, large murals, architectural elements and ornamentation, funeral urns, amphorae, and other works of art, grouped together under various themes. In addition to their priceless historical value and significance, they also posses a great deal of aesthetic beauty. Who were the Etruscans? A visitor to the PAC Museum will be able to have a glance at some members of these ancient people in the very last room of the exhibition. A unique display of sculptured portraits excavated from Etruscan burial places awaits there, as seen in the photo just above and two images below. The two heads below of an older man and a young woman were modelled in clay - terracotta with care and delicacy, making them life-like. Many theories have been put forward about the origins of the Etruscans They spoke a language that did not resemble other Italic languages. It is speculated that they might have came from the ancient Mesopotamia region, and/or some of them might have arrived from Northern Europe. A large map in the first exhibition room shows the possible migration routes before they firmly established themselves in ancient Italy. The Etruscan civilization developed between the 9th and 1st centuries BC. Their territory was known as Etruria. It was renamed to Tuscany in the late Middle Ages. To the left you can see a PAC Museum's exhibition hall with Etruria landscape, the present day Tuscany, with several large, everyday use pottery pieces in the middle. The exhibition also presents other food vessels as those, for instance, shown in the following two pictures. The ornate terracotta vessels, used for food and in celebratory ceremonies, are not the only objects that speak about the Etruscan way of life. Of great interest are also colourful images traced from frescoes. Those are remarkable. They are life-size copies of wall frescoes discovered inside the Tomb of the Trinclinium, Tarquinia, dated around 470 BC. The copies were made by Carlo Raspi in 1832. He used pen and watercolour in tracing paper. A number of his works are currently on display at PAC Museum. They line the walls of one of the exhibition halls. They not only contribute to the overall aesthetic value of all the exhibited items in that room, but also most directly point to the spirit of the people and their 'joie de vivre'. This current Etruscan exhibition at the PAC Museum is quite remarkable. I urge everybody to visit it. Your knowledge about our common cultural roots will increase tremendously, and you will start appreciating this ancient people who preceded us so long ago. You will also be able to see a very new pavilion, Mariners’ House, that PAC Museum has just inaugurated with this new The Etruscans exhibition. To find out more about this exhibition, visit the Museum's website. It is interesting to note that Etruscans called themselves Rasenna. There is some evidence they might have even founded Rome. The very first Roman emperors were actually Etruscans. You can read more about them in this Wikipedia entry http://en.wikipedia.org/wiki/Etruscan_civilization List of Photos as they appear in the text 1. The Etruscans – An Ancient Italian Civilization, Official Poster, PAC Museum, Montreal, 2012, Image courtesy of PAC Museum. 2. Men and Women from Etruria, Terracota, PAC Museum, Montreal, 2012, Photo by Nadia Slejskova. 3. Head of an older man, Terracota, Cerveteri, probably late 2nd – 1st quarter of 1st century BC, Vatican Museum, Vatican City, PAC Museum, 2012, Photo by Nadia Slejskova. 4. Portrait of a young woman, Terracota, Caere, Vignali, 1st half of 3rd century BC, Vatican Museum, Vatican City, PAC Museum 2012, Photo by Nadia Slejskova. 5. Etruria-Tuscany landscape, Exhibition Hall, PAC Museum, 2012, Image courtesy of PAC Museum. 6. Olla for wine and water, dark red impasto, Tarquinia, Boccharis Tomb, 700-690 BC, National Archeological Museum, Tarquinia, PAC Museum, 2012, Photo by Nadia Slejskova. 7. Food Storage Vessel, red impasto, painted decoration, Caere, 2nd half of 7th century BC, Musée du Louvre, PAC Museum 2012, Photo by Nadia Slejskova. 8. and 9. Copy of an Etruscan fresco, Pen and watercolour on tracing paper, Carlo Raspi, 1832, Tomb of the Trinclinium, Tarquinia, about 470 BC, PAC Museum, 2012, Image courtesy of PAC Museum. 10. Horsemen, Copy of an Etruscan fresco, Pen and watercolour on tracing paper, Carlo Raspi, 1832, Tomb of the Trinclinium, Tarquinia, about 470 BC, PAC Museum, 2012, Photo by Nadia Slejskova. 11. Female head, Terracotta, Etruria, 400-200 BC, Royal Ontario Museum, Toronto, PAC Museum 2012, Photo by Nadia Slejskova. 12. Copy of an Etruscan fresco, Pen and watercolour on tracing paper, Carlo Raspi, 1832, Tomb of the Trinclinium, Tarquinia, about 470 BC, PAC Museum, 2012, Image courtesy of PAC Museum. 13. Gold jewelry, 7th century BC, National Archeological Museum, Florence, PAC Museum, Montreal, 2012, Photo by Nadia Slejskova.

1,200 - 1,299 ETRUSCAN ROMAN

.css-1sgivba{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;gap:0.5rem;margin-bottom:var(--chakra-space-2);} .css-cosgki{font-size:16px;font-weight:var(--chakra-fontWeights-bold);} Product Type: Art Print Print Size: 12" x 18" Finished Size: 12" x 18" .css-1336n79{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;gap:0.5rem;margin-top:var(--chakra-space-8);margin-bottom:var(--chakra-space-8);} Product ID: 55648005751A

The Etruscan civilization flourished in central Italy between the 8th and 3rd century BCE. The culture was renowned in antiquity for its rich mineral resources and as a major Mediterranean trading power...

Etruscan Vases Shapes and Uses. There are different shapes for the vases and each one was designed in correspondence to the use the vase would have had

Etruscan water jar, 500 BCE The panel illustrates a myth about the Etruscan god of wine, Fufluns (Roman Bacchus). He was captured by pirates while sleeping. When he awoke and his captors discovered he was divine, they tried to escape his anger by diving into the sea, whereupon Fufluns transformed them into dolphins.

http://imtw.ru/topic/48629-rimskoe-carstvo-regnum-romanum-i-rannyaya-respublika/page__st__20__p__2136198#entry2136198 1. EARLY VILLANOVAN CULTURE, 9th–8th CENTURIES BC. (1) Leader with war-chariot, Tarchuna area. The early example of a war-chariot is from grave 15 at Castel di Decima, and the warrior is reconstructed partly from grave Monterozzi 3 in the Arcatelle necropolis, Tarquinia. This contained, among other objects, a crested helmet, an antennae sword, a spearhead and a fibula. His bilobate shield, of Aegean origin, is reconstructed after the fragmentary specimen from Brolio and the miniatures from grave XXI at Pratica di Mare; it lacks the typical ornamentation of the later Orientalizing Period. Chest-protecting bronze kardiophylakes are well attested. Note also the red ‘war paint’ used on the face and limbs by some Etruscans and Latins. (2) Villanovan-Tarquinian axeman. The axeman is protected by the ‘bell-helmet’ from the Pozzo grave, Monterozzi necropolis; pairs of holes along the rim suggest the attachment of an organic-material lining, chinstrap and/or neck-guard. The oval shield is made of wood with leather covering, and has a raised wooden reinforcing rib with a central ‘boss’. The use of necklaces and bracelets was widespread, but we do not know to what degree these were associated with military or civil fashions. (3) Sardinian mercenary, Pupluna area. This mercenary, copied from the ‘Teti archer’ statuette, wears a low-profile horned leather helmet, a bronze breastplate and greaves. His main weapon is the long composite bow, made of wood, horn and sinew. Note the leather protector worn on the left forearm. 2. VILLANOVAN ARISTOCRATIC WARS, 8th–7th CENTURIES BC. 1) Villanovan aristocratic cavalryman, Felzna area, 8th century This cavalryman – partly reconstructed from grave 525, Askos Benacci, near Bologna – is protected by a crested helmet (from an example in Hamburg Museum), and has slung on his back a decorated bronze shield (example from Verucchio). His offensive weapons are a spear and the curved antennae ‘sabre’ from Bologna. Graves around Bologna have yielded a bronze prod for a horse, and a snaffle bit with chained and mobile elements with circular sections. The original terracotta horse showed a blue mane and tail, and red markings suggested tattoos or brands, perhaps with magical significance. These features are also found in other graves, e.g. the Tomba di Tori at Tarquinia. (2) Proto-Etruscan leader, Narce area, 730 BC Mainly obscured here by his cloak, the bronze armour of this senior leader, extensively decorated with repoussé work, is shaped like a ‘poncho’; it is composed of one-piece front and back plates joined by straps under the arms. According to Cowan, it was shaped for an individual with very broad shoulders and a heavily muscled chest. His helmet, of crested type over a rounded bowl, is 43cm (16.9in) high, made of two sheets of bronze fastened partly along the crest by folding one sheet over the other. (3) Villanovan leader, Tarchuna area, second half of 8th century Reconstruction of the ‘Corneto warrior’ in his full panoply, to which we have added from another grave a calotte or cap-helmet, with decoration perhaps suggesting a human face. The Corneto skeleton possibly had an early example of linen corselet (linothorax), fastened with bronze buttons and hooks. It was reinforced with a bronze shoulder piece, and a rectangular breastplate decorated with gold foil and ornamented with stamped patterns of swimming ducks, stylized lotus flowers and other details. The shoulder guard worn on the right (the side not covered by the shield), recalls one from an Achaean grave at Dendra in Argolis; it retains traces of padding, confirming that parts of metal armour were lined with organic materials for comfort. The earlier Etruscan warrior custom of painting the face red would be retained by the Romans for some special ceremonies, in reference to the red-painted statue of Jupiter Capitolinus in the statuarum praetextae ritual. 3. C ‘ORIENTALIZING PERIOD’, NORTHERN ETRURIA, 7th CENTURY BC (1) Late Villanovan leader from Verucchio area The presence of crested helmets in the Verucchio graves has led some scholars to suggest that this area was strongly colonized by Tarquinia or Veii, where such helmets were produced. The crest of this example is of painted horsehair mixed with gold threads, as attested by necropolis finds (e.g. grave Lippi 89). At this time the lords of Verucchio were armed with short iron swords in richly decorated scabbards, and ornamented axes. Leaning on his grounded spear is a shield with beautiful embossed decoration; his embossed armour is copied from the Basle Museum specimen. (2) Rachu Kakanas, Vetulonian leader, with war-chariot The grave of this named Rasenna-Etruscan dux of Vetulonia was one of the richest in military finds, including the remains of his two-horse chariot, reinforced with bronze disk phalerae of Orientalizing style. Leaning against the wheel, we show the interior of his circular bronze shield 84cm (33in) in diameter, probably manufactured in Tarquinia. His helmet has an extended hemispherical dome and a flared rim. His weapons included a richly ornamented dagger in an ivory scabbard, a spear, knives, and a trapezoidal axe. The plated belt is from examples such as those in drawings on page 27, and we have added a pair of greaves from a neighbouring grave. Note the sceptre, a symbol of command. (3) Lictor, Vetulonia The man in the lictor’s grave was probably a soldier armed with a simple sword, axe and two knifes, but bearing on his shoulder the important symbol of the fasces, so was probably a royal guard. He wears a typical padded tunic of the period, and proudly brandishes his fasces, which has a total length of 60cm (23.6in). When different armies formed war alliances, it is believed that lictors were sent to the overall commander by other leaders as a sign of their temporary subordination. 4. D ETRUSCAN EXPANSION. 6th CENTURY BC (1) Lars Porsenna, Lucumo of Clevsin, with chariot This is a reconstruction of the Etruscan king immortalized for generations of British schoolboys by Macaulay’s poem Horatius at the Bridge. While there would have been some variations in their equipment, it is likely that the heavily-armoured dynatotatoi would have had a complete panoply: here, a full Corinthian helmet with high lophos, a painted ‘bell-shaped’ cuirass, protections for the thighs, and greaves decorated with embossed lion-masks. His cloak and helmet-crest are in purple and gold, symbolizing his royal power. The chariot is based on a splendid example from Monteleone da Spoleto, decorated with bronze panels representing the myth of Achilles. (2) Rasenna hoplite of the first class, Clevsin First-class hoplites wore defences similar to the Greeks, although produced by their own armourers. This high-status warrior, copied from the Tomba della Scimmia (480 BC), has a Chalcidian helmet with Italic-style feather plumes flanking the crest. His early muscled cuirass shows red-lacquered shoulder-guards. He is otherwise protected by greaves, and by a hoplon shield decorated with a possible city blazon. His weapons are a spear and (obscured here) a curved, single-edged kopis sword. (3) Etruscan horn-player The simply-dressed hornist plays the precious specimen of a cornu now preserved in the Museo Nazionale Etrusco, Villa Giulia, Rome. This bronze horn is smaller than the later specimens of the Roman Imperial period; derived from prehistoric ox-horn instruments, it is almost circular in shape (ex aere ricurvo). The cross-brace in the middle, to help the hornist hold it steady, was not always present. 5. ETRUSCAN WARS WITH ROME, 5th CENTURY BC (1) Roman tribunus Aulus Cossus, 437 BC This officer is based on accounts by Livy and on the bone plaques from Praeneste showing Latin hoplites. He is armed with a spear and a two-edged xiphos sword, and carries a round clipeum shield. The crest and diadem of his Attic-type helmet are (hypothetically) shown here in the same colour. His leather muscled armour is copied from the Roman warrior depicted in the so-called ‘François Tomb’; it was probably moulded and hardened by the cuir-bouilli technique that would be used until the Middle Ages. (2) Tolumnius, Lucumo of Veii Livy (IV, 17-19) and Plutarch (Romulus, XVI) give us important attestations to the employment of the linothorax by an Etruscan king. Following the single combat between King Tolumnius of Veii and Aulus Cornelius Cossus in 437 BC, the former’s linen armour was dedicated at the temple of Jupiter Feretrius: ‘... Then he [Aulus] despoiled the lifeless body, and cutting off the head stuck it on his spear, and, carrying it in triumph, routed the enemy… He solemnly dedicated the spoils to Jupiter Feretrius, and hung them in his temple… Augustus Caesar …read that inscription on the linen cuirass with his own eyes.’ (3) Rasenna archer The use of the composite recurved bow (arcus sinuosus) is attested on painted plaques of the Tarquinii period; constructed of bonded wood and horn, it would have required great strength to draw. Vergil quotes the Etruscan archers using the quiver or leves gorytus (X, 168). 6. THE LAST WARS, 4th CENTURY BC. (1) Aristocratic Rasenna woman This Etruscan lady is copied from the Tomba dell’Orco frescoes, and is dressed in the common fashion of ‘Magna Graecia’: a garlanded headdress, discoid earrings, a long cloak over a pleated linen tunic, and calcei repandi on her feet. (2) Rasenna hoplite from Velzna Reconstruction of the warrior from the Settecamini tomb near Orvieto, which yielded a Montefortino-style helmet, a shield and a muscled cuirass. Archaeological fragments of Etruscan shields from graves in Perugia and Settecamini give us clear evidence for the heavy phalanx style of fighting in the 5th–4th centuries. The central position of the porpax arm-loop shows that it passed around the arm just below the elbow (see G1), with a handgrip near the rim; this was useful only in the linear ‘shield wall’ formation typical of the hoplite phalanx. (3) Rasenna hoplite from Tutere One of the most spectacular statues of warriors, the nearly life-size ‘Mars of Todi’ dated to about 350 BC, shows the employment of lamellar armour. The lamellae could be in bronze or – as suggested by their white colour in many artistic representations – of white metal, or even of an organic material such as bone. THE LATE ETRUSCANS, 3rd CENTURY (1) Rasenna mercenary, Tarchuna An inscription from Tarquinia attests to the mercenary service of one of its townsmen at Capua during the Second Punic War. This warrior is copied from the so-called ‘Amazons Sarcophagus’ from Tarquinia, on which the decoration of each corselet is individualized, reflecting real-life practice. One of the major differences between Greek and Etruscan linen corselets in the monuments is that the latter are much more often decorated with painted floral and vegetal patterns. (2) Rasenna marine, Roman fleet, Punic Wars Etruscan marines served in the Roman fleet during the Punic Wars. The urns from Volterra which represent sailors or marines of the 3rd–1st centuries show the use of conical felt caps (piloi) and padded or quilted garments, probably made of felt and wool (coactiles and centones). The sea-fighters often employed axes (secures) and long, complex polearms (drepana) to cut the rigging of enemy ships when they came together for boarding actions. (3) Aristocratic eques Marcnal Tetina; Clevsin, 225–200 BC The last period of Etruscan armour-making shows the employment of composite armours with linen, padded and scale elements. Richly elaborated ‘Hellenistic’ helmets seem to be represented, worn by warriors on Etruscan urns from Volterra dated around 200 BC. These are often of the Phrygian shape, with a forward-curling extension of the dome, decorated cheek-guards, and two feather side-plumes. LOS ETRUSCOS TARDÍOS, SIGLO III a. C. (1) Mercenario de Rasenna, Tarchuna Una inscripción de Tarquinia prueba el servicio mercenario de uno de sus habitantes en Capua durante la Segunda Guerra Púnica. Este guerrero está copiado del llamado “Sarcófago de las amazonas” de Tarquinia, en el cual la decoración de cada coselete está individualizada, reflejando la práctica en la vida real. Una de las grandes diferencias entre los coseletes de lino griegos y etruscos en los monumentos es que aquellos? están mucho más a menudo decorados con diseños pintados de flores y vegetales. (2) Infante de marina de Rasenna, flota romana, Guerras Púnicas Los infantes de marina etruscos servían en la flota romana durante las Guerras Púnicas. Las urnas de Volterra que representan marinos o infantes de marina de los siglos III a I a. C. muestran el uso de gorros de fieltro cónicos (piloi) y prendas acolchadas o rellenas, probablemente fabricadas con fieltro y lana (coactiles y centones). Los guerreros del mar a menudo empleaban hachas (secures) y armas de hasta largas y complejas (diepana) para cortar el aparejo de los barcos enemigos cuando se acercaban para los abordajes. (3) Eques aristocrático Marcnal Tetina; Clevsin, 225-200 a. C. La última etapa de la fabricación de armaduras etruscas muestra el empleo de armaduras compuestas con elementos de lino, rellenos y escamas. Cascos “helenísticos” ricamente elaborados parecen ser representados, usados por guerreros en urnas etruscas de Volterra fechadas cerca del 200 a. C. Estos a menudo son de forma frigia, con la extensión de la calota proyectándose hacia delante, decorada con carrilleras, y dos plumas laterales. ETRUSCANS IN THE ROMAN ARMY, 2nd–1st CENTURIES BC 1) Lictor Painted urns from Volterra show cornicines and lictores attending victors or magistrates; this lictor is copied from the Tomba del Convegno (Monterozzi necropolis, Tarquinia). He is wearing the toga gabina and carries an iron double-axe (bipennis). (2) Eques An unusual urn from Volterra, representing the myth of Eteocles and Polynices, shows the brothers dressed like Roman cavalrymen of the period, with Boeotian helmets fitted with the geminae pinnae of Mars, shields of popanum typology, leather armour (spolas), greaves, and short swords. (3) Centurio This Roman centurion, copied from an urn in Florence Museum, wears a pseudo-Corinthian helmet fitted with a crista transversa. His composite armour is made of leather (shoulder-guards), padded material (main corselet), and on the chest bronze scales (squamae). Note his calcei boots, and the richly varied colours of his panoply. (4) Guardsman Reconstructed from the Sarteana urn, this Roman miles wears a late Montefortino helmet found in Forum Novum. His body armour combines a bronze kardiophylax breastplate and a linothorax corselet. We have added a single left greave and the curved oblong legionary scutum of his time; his weapons are the hasta and the deadly gladius hispaniensis. (5) Magistrate The absorption of Etruria into Rome saw leading Etruscan families climbing the government hierarchy. This official, copied from the famous statue of Aule Metele, wears the toga exigua over a tunica; the latter’s purple angusticlavi, and the gold ring on his left hand, identify him as a member of the equestrian order. Hidden here, he would also be wearing high calcei boots with lingula, and fastened by corrigiae. Los etruscos en el ejército romano siglos II y I a. C. (1) Líctor Las urnas pintadas de Volterra muestran cornicines y lictores asistiendo a vencedores o magistrados; este líctor está copiado de la Tomba del Convegno (necrópolis de Monterozzi, Tarquinia). Usa la toga gabina y lleva un hacha de hierro doble (bipennis). (2) Eques Una urna rara de Volterra, que representa el mito de Eteocles y Polinices, muestra a los hermanos vestidos como jinetes romanos del periodo, con cascos beocios ajustados con las geminae pinnae de Marte, escudos de la tipología popanum, armadura de cuero (spolas), grebas, y espadas cortas. (3) Centurio Este centurión romano, copiado de una urna que está en el Museo de Florencia, usa un casco seudocorintio ajustado con una crista transversa. Su armadura compuesta está hecha de cuero (hombreras), material de relleno (coselete principal), y sobre el pecho escamas de bronce (squamae). Obsérvese sus botas de tipo calcei, y los colores ricamente variados de su panoplia. (4) Guardia Reconstruido de la urna Sarteana, este miles romano usa un casco Montefortino tardío hallado en Forum Novum. Su armadura corporal combina un peto de bronce kardiophylax y un coselete linothorax. Hemos añadido una única greba en la pierna izquierda y el escudo curvo oblongo scutum del legionario de su momento; sus armas son el hasta y el mortal gladius hispaniensis. (5) Magistrado La absorción de Etruria por Roma vio a las principales familias etruscas escalando la jerarquía del gobierno. Este oficial, copiado de la famosa estatua de Aule Metele, usa la toga exigua sobre una túnica; los angusticlavi púrpura de aquel, y el anillo de oro de su mano izquierdo, lo identifican como un miembro del orden ecuestre. Ocultos aquí, también usaría botas altas del tipo calcei con lingula, sujetas con corrigiae.

The Etruscans were the most powerful nation on the Italian peninsula for about two centuries before they were eclipsed by Rome and other nations. How did this downfall occur?

This set covers Etruscan and Roman art history. It includes characteristics, relevant historical events, and evolutions in artistic traditions. Each page is set to 8.5x5.5”. This is a digital file you can print at your leisure. These notes were taken when I was studying for my AP Art History class, which I took in 2017. They include much of the information on the AP exam and served me best for review.

It took me 3 years to see any of the museums in Perugia. Even the Perugia art gallery took several years to visit. I would take photos from the outside of these fantastic buildings that house the art gallery and the musems, but I never went inside. Why? Because the fame and popularity of the …