GREEKS I ETRURIA

(Pt .. X 11)

Jt serms fil t ing lo honor I be mcmory of .\Il·· sanclrn della. eta, wlw made important con­

trilmtions to Oli!' knowledge or hoth Greek aml l•:truscan ci,·ilizations, hy discussing t he rela­

tion of Greccr ami glruria in the late archaic period. \\'e may U:3e a bronm group. receutly

acquired by f,he ~ l clropolitan Muscum. m; Cliii' .~l ar1 inµ point: for a cletailed de1:1cription of

it will help us in cnu· deductions.

'l'hc group 1. ('asi in one piece with its monldrd. ei reular. hollow lw.~c. must once ha\'C

erowneil an l~trns('an eandelahrum (scc PI. X l I). Il represents two wa 1Tior:;, one woundecl

ancl supporfrd hy lhc• otlwr. The workmanship, though not of tbe first nink. is ahove the

:wcrage. ancl t lw fnmiliar subject is frrshly trratrd. as if ohser\'cd from life. The two

:o:oldiers proe!'rd slowly. ont> is Limping ~tlong, his wcight on the right ll'g. tl1l' wounrll•d l<'ft

lt>g (note tlw h1111dagc on lbe thigh) put forward, with tbc toes gingcrly tonl'hing the ground.

rrc :;;upporls lt itns('lf on his spcar which lw held in tl1e riizht hand (thc spcar is missi11g, but

1 hcrc is a ho IP wht>1·c i1 touched tbc grouncl) aud placcs one hand on his fri!'nd 's shouldcr.

l n his hair, whieh is l'Clllcd up n.t tlw bnck. is a Ollel, and he wears n C'hiton 11ncl a short

cu iras:-; lhat re1whcl'I down to the waist. 'l'hc rcst or his cquipment was lef1 behiud on the

battle ficld. 'l'h1• frit•11tl. Ionio( haired and brardcd. wcars a Corinthian, l'J't•:;ted helmet,

pushed hack frnm his foc·t'. a cuiras..;; wilh shoulder strap;; ancl lappt"fs O\'rr a rhiton.

a nel g-rean•s. l l is riizht arm is placcd firmi~· rnund the wounded man':;; wai-;t and in his

lcft h;trnl hc grnsps a sheatht'cl sword (tht' t•nd of thr sbeath containiug thc hhirle. which

projertecl forward. is missing). 'l'he hilt of' thr swonl is decorateci with snudi, punched

cireles ami l111s lwo largish nolche.<; (for r·on,·cnicnc·C' in holding), approxinrntiug the form of

a hirtl's hcad a l'amiliar shape for thc hil1 -; of' Greck sworrls, both cu1Yrd ami ;;traiµ ht ~.

'l'he a rmo1· is rt•pn•;;cutt:>d in considcrnhlc cl<' lail 3. 'l'he crcst of' thc ht' lmct is iu three

parts~ . the hiizh centrai one reaching down lo t lw lapprt!' ofthe cuirai:;s, t hc twu shorter. side

one~ to the holtom of lhe howl. Tbe crest suppor! has an incised, simple, dottcd n1cander.

and in 1 he miclclh• on citlwr :-.idr there Ì!i a flan~t· to stahilize the crest. Bt>I \l'('<'n thc ryc hole

an1l thc ear not<"h is an ornamental ridgc flankccl hy clols. the bitter perhaps to simulate holes

throu~h whieh 1lw h•ather lining was sewn ''·

I A<"" no. -17. 11.:L lit. 11ith t.n:<~ 1:1.:i 4'111. lit .. \\ itho11t h1hll', 10.fi \'In. 'l1hf1 thidc .. $1llOOt h , ht'tlWniHh ptLtina ha$ Jl<'l' lt"I in plH<'\'.<. Th" in:<irl~ of tlw bns<' 11 ""

ll'ft rough a11<l llw p11t inn lht•l'C' i:< c·1·usty nnd hl11 <'- g t'<'<•11. 2 ('f. '" ~. l•'c111•1lYtrn i11 l:Sritish )l11se11m. f:.f'llihì­

tim1 o/ r:rtek umi H<>1111111 Lifr. p. LO:l. figs. IO·k. IO.i (n ma~haìra). nnd f'm111Ar H111J11. 18Ui. pi. I\'. Hcwrt~. l/11111/boul· u{ Rnl fi!11ir11/ 1'11.i.<. I. p. :rn (11 ,1mi1ihl •word).

Thl• f'ast!'ning of the shoulclcr stmp:-1 on the

a 1\11·. Ktl•phc:11 Gran"""·"· <'nr11tor nf' Ami• nncl .'\1·111111· i11 lite .\lct r1lpol itn11 ~111,1• 11111. wn:< kinrl c:11011gh lo lwlp llll' iclcntify •onw of I hl'>'l' cl!'lHil~.

4 ('I'. .h;,;c 11v 1.1·~. 8e1·p11 . l yr1i11~/ 'l'lirbr8. I. :!8.ff.: Tf}t:i:. X<tT<UJ%l01.J: ).6q ov; ntlt:1, X!!fi1•u11; ·•1.tdTUl/((l.

:, 011ly u fr·w holes 81'1' indic-all•d 1111 lht· ri1!11l (inn<·r) ~icl1'. probnhly hec•au,e SU<·h cll'tnils \\Oulcl llllrdly hun· bt'<'n ,· i~ilile "hen d1e )(l'OUJI 11 1i. i11 plnc·(' on the 1·1111cld11Lrum.

80 G.ISELA N. A. RfCHTER [21

fron t of the cuirass is ca rcfully inclicated 1 . The upper layer of lappcts is clccorate<l with in­

c.ised ohlongs and there is a rather h<1phazanl row of dots along tbc uppcr eclge of the belt.

The greaves l1ave doublc spirab on either side ~ and little holes nlong t bc cclges for the

fastening of t.he leathcr lining. The cuirass of t lie wounded man has a heacl ornament round

thc neck aml spirals on t lie chest; beneath, it is m odelled in imitat.ion of thc lower boundary

of' the thorax an<l of t he up per part of the rectus abdom inis. The chitons are also carefo lly

workerl and that of thc heardecl man is decorated with a f'ew dots. Thc ba.ndage is rendered

with incisecl lines. The ;;trands of hair are neatly drnwn.

Th e group is nota new discovery. lt was illustra ted over two ccnturies ago by A. F.

Gori in Museum Etru:scw11 e.:chih<'ns insignia velerum Etruscoruin 111onu111eula (Florence, 1737)3 ,

with thc lcgend li<'ros 1·1~l11eratus i11 casl:ra reductus. Some time aftcr that date it must ha ve

passcd into thc collcction of' the Duke ofBuccleugli , in 1vhosc possession it was unti I rcccntly .

when tl1c Mctropolitan Muscurn acqu ired it through a London furn.

lt is in te restinl! to compare the olei engravings, figs. l , 2, wit h the new photograµhic

rcproductions (PI. X fT) . Though thc formcr are detailecl enough to make the identity certa in,

tl1ere are many omissions and misunclcrstandings. 'l'he sleeves of tbe chitons, for instancc,

emcrging f'rorn undcr thc cuirass are markcd in front hy riclges as if t hey formed part of' thc

cuirass: the divisioni; of thc rcct.us abdominis on the y0tmg man 's cuirass havc become spirals;

the spirals on the beal'Jed man's l!reaves are orni tted ancl only t heir terminal' eycs' are indi­

ca,tcd: t hc ticfi of' thc shoulder straps are drawn as a row of little circles; t he dots on the bcard­

etl man's chiton , ou bis grcave:;, ancl a long his belt are not indi cateci; the young man 's

ha i r is rcnclere<l like a cap: h is wou nded lef't leg takcs a firrn stand on the grouncl; and !lO on.

:Vloreover, the impersonai , unemotional faces of thc originai have change<l into expressions

ofphysical pain and sym pathetic sorrow. We have here aga.in an instance of thc diJficulty of

copy ing t he product of a diffcrcnt agc - except by mechanical means. Thc inaccuracies

and cl istort ions in Gori':; engravings rnake us rcalize how greatly our twdersLancling of ancient

art has hccn hclped by morlern photography.

T he st.y le of t he group is Greek, of about 510- 480 B. C. 'l'he Corinthian helm et., thc t.wo

forms of t he cuirass - onc reaching to the wa ist, t he other providecl with shouldcr straps

a.nel with laµpcts (pleryyes) for the prntcction of t he t hif!hs, the indicmtion of the rectus abdo­

minis witl1 two horizontal divisions abovc thc nave! on thc young man's cuirass, the spirals

on its chest , can all be paralleled on reprcsentations of Greek warriors of this period. 'l'he

rolled up lrnir and t he wavy strancls radiating from t he top of thc skull are characteristic

of Grcek works ol' the time . Fio is the arrangcment of t he drapery in groups of stucked

fo ldR with curving lines betwecn. Thcse and similar ren<lerings may he ohservcd in Greek

marble statues, hronze statuettes, and vasc paintings ranging in date from about 5 lO to 480

B. C. And yet. our bronze group was obviously made in ltaly to adorn an Etruscan 11tensi l,

fLnd would immecliatcly be Tecognized as Etruscan cvcn without its base.

1 At the ba~k tht• whole right Rhoulder strap is 01u ittcd; prouahly ))('can&c most nf jL wo11ld in any CM!C' ha,·e hl'r·n r·ovcrC' cl b,v the wnu ndeil ma.n's nrm.

2 'l'hc right )!rc:ivc has only a s ingle spira I on cithl'I' side, aga.in he<"ausc t hose partR wen• hardly vi;iblc.

:i Volume r. p. ;!3:!. pi. 11 5. l owe this 1·<'f'ercncc lo D . 1·011 Hothmcr.

(;REBJ\S I:\ ~:TKU~IA 8 1

'l'his d11:tl ('h:H;ll'tt>r l1rings up lht' oltl prohlPm o!' thc rt>lation o!'( ~reck and l~t1·11 sra11 art in th r lnt c 11rdrniC' p<'riod. 'l'lw simil;iril,\" ht•lwct>n the t1vo artH hns gc nernlly hccn t•xplained hy (ìn·Pk infl11rnc·e on EtrnsC'an artists imparlt'!I hoth through thc· largc nurnhcr of' import:< l'rom C:rrN·<' ancl lhrough din•<·t ("()ntac-l with (:rerks. lndcccl, lhe man:' ..\ttic \'nsri-;. founcl in l•:trnsC'an tomh;.; of tlw latcr sixth ;1ml of' lhe C<llfr fifth c·t•nt un-. ami tltc i1wlusio11 of' . . ('ampania in th<' Elrusenn 1•111pire 11'ith thr ('C)lll<Cqll<'Dt prnxirnit~· of' E t l"URC'ans to tlw c:rerk

<·oloniHts of ~outh ltal.1· mu:-;I hiwe exercisrd a powcrful influcnC'<'. 'l' lwn· is. huwevcr. a thinl fador. whit"h has. I think. not l)('cn stdli<-iently i;t,r<'HH<'d , ami

whic·h lwipi'I lo l'xpla in t 11<· dual eharaC"trr of some produtts l'ound in J~truria t lw prcsPncc of in11nil-(rnnt Urerk art ist,; in l~truria ami the influence whiC'h life in that ("011ntry ha1l on them. Thc ;;econd hall' uf llw ;;ixth ami tlw 1•arly fifth centur~· thc time whrn th1• art of

l•~truri11 n•1•red espP,·iall.'· dospl~· to the C:n•<'k is the pcriod whrn Pcrsian aggn•s!-lion in .\ :si11 :\linur :rnd tlH• On•t•k l:slands must h:ivr c•1111sPrl many arlists to emigrate. Thc lonian Rcvoll and ih; 1>11ppn·:s:sio11 h.1· Pcr.~ia in ,I!):~ B. C. douhtlcss sl imulated thc scarC'h !'or new honw:·t .\t this \"l'I'~· t in11• wc fimi the Grr<'k In ie archaiC' :;tylr hcing pradi;;C'd not only in Etruria. lrnt in éyprns, Lydia . ('aria, Phr~·gia. Egypt. Prr,;ia, and 8pain1. 8omc of lhese

latc• arc·haic· prmluc·t;; nn• of sueh pure C:rc•ck sl~·lc that therr c·an lw no douht of thcir orip;in. Tlw majority are mndc• in loenl matp1·inls ami eannot hr imports. but musl luwc hrcn

I ('l".1'. I(. 1"11\\l{FULt'r • .lw .. /011 t .• l 1·ch .. XLIX. J!ll:i. PI" fllf.: (:.\I..\. HH•11n;11 .• 1111 • • /our . . l1r/1 .. Xl.IX. J!l~.i. JIJI· l.ilT.: Tn1T,f'11 . . /ou r. //rii. 81 .. LX 11. I H~2.

PI'· 30fT.: t:Anc1A ' l li-;11.wv. /,o" ll"l/11zyo.< r1rier1<>« de /1'.,7>1.t1ìa. 193G; o nel """''" rcmark,; 111 my .Jrd1111r l.'r~rk Ari ag11i11,1 ilx /11.•lorirfll /J11rkyrt11111il. l !l~lJ.

82 GJ:o;EJ,A )I. .\. RICHTER [4]

executcd on tbc spot. Some or t hc suhj1•cts can hc u11dcrstoud 011ly if wc asimme that thc

objccts werc made for locai pat l'Ons. In addition, tlwre is often an inta 11giblc quality in t hc stylc lbnt diffcrcntiates it fro111 pure (frcck. Thc most obvious cxnmplcs are the ' · Grneco Persian .. and thc ·· Graeco-Cypriot.e .. works, hut we can llotc nativ<' intrusions in·· Ora.eco Lyeian ,, art and in man~· objccts that we have been calling Etruscan. Such pbenomena are not unfamiliar and we bave become accustomed to them in our 011·11 timcs. lmmigrant

t•efugees bring thcir skills with them, cx!'rcisc tbcm in their new homes, but have to adapt them lo the rcquircnicnts of tltcir new patrons, imd end by bec:ominµ: iwclimatizcd.

\\'e mny surmise, then, thnf lht• ·• C:raN·o Etruscan .. ohjects found in Etruria were made not onl_v by gifted Etruscans who were influencecl hy c:o11tacts witli Grcecc, hut by Grccks i11 l~t r\ll'ia. \Ve ha ve cvitknc<' t hat Grnek al'tists workcd in l~t.ruria in late archaic t imes (a.~ wcll as earlier when Corinthi:rn artists are said to )Hl\'l' migratccl there 1) tbrough Pliny's stntement that Damophilos and Gorgasos decoratecl thc tem pie of Ceres in Rome

(49!3 B. C'.) with terracotta sculptures ancl paintings t, and through the discovery of what

sccm to be Greek lctters. scratched hencath the color in a waU painting, of ahout 510-500 B. C., in the Tomha del Barone in Tarquinia :i. Archacologists ha\'e indecd oC"casionally suspecte<l that a few of lhe wall paintin,gs and hrcmzcs found in Etruria were rcally made by Greeks 4•

We can add lo thcir list some lnte 11rchaic· µ:em engravings the style of whirh isso Greek tha t 11·rrc it not for thc decorated liorder rcrnn<l thc base of thc scarnii nnd occasionai Etruscan

inscript ions, t.hcy would havc bccn 11nivcrsally rcc·ognizcd as U1·eck works. Three stoncs in the Mctropolit nn )lnscum will servt' ìls cxamples:., an agate with a sn.tyr singing to thc

lyre 6 (fig. f>), t·omparable to lhe vivarious fìgures of the Brygos Paintr l', a carnelian with a

warrior Rtooping to pick up his hclmct 7 (fig. 4). and a camelian with the collapsing Kapancus' (fig. :3).

The last is u particularly important witncss for our theory. Thc workmanship is supcrb: therr is noi hing in style or ac:coutrcments that is not Greck. Thc renclerings of tbe hair, ho<ly, shield, t'pcar 9 (with thonµ: ncar the centre of gn1\·ity) ;ti\ C"orrespond to those by

t l'1.11n:. N. Il .. XXXV, lii~. 2 / biti .• I .i 1. 3 1"01· t hi~ claim that thl' J.,tter~ di"<'O\'N<·d umlt:r

lhe pai11t in 11 wnll painlin1-( in thc· Tomhu 1ll·I L!nrn· n•• in Tarquinia \\C•n· C:reck arnl thnl. thrrcforc'. \\ C

han• i1wo11tn1wrtihk c1· idcnn' of tlw pn·"1·n1·1· of Grt'{'k 11rti,t• in ~:truriR - c•f. 1\éiKTt: i11 L'.\t I., \\'1s­""'""· •· '. J•:t ru•ker . c·ol. 7.)H: F. t>ot·i~-.E:>. Fra Sy f'arf<brry f:/yplOfth .'/r1111/i1UJtr, p. J-l-J. t\111) r:lr11.<r<lll ll'ul/ 1'11i11IÌ111f·'· I" 21: F. WEt:GI~. Elru.<ki.•rlir .I/ti/erti, JI. W7: t>11 t:1.1., 7'/ir ' /'0111/lft del Trirlinio al 'l'arq11i11ia in .llwi . . 1111 . . l r., \'I, 1!)27, J!· 50. note I: F. )lt:SsEll· s<' llMI nT. IH1\\ t'l'!0 r . in Ueilrtlge zur ( ' /iro110/o{/ie der Plrns~·i.yrf1r11 ll"a111l1110/erri. p. -18, noli' 7:l. Hr!(llCS

ugnin~L this. '' ('f. "· g. l"l'1t'l'\\A'<c>u:n, A11likt Oem1111•11 . LI I,

V· S!J: K oll1'C, lor. rii.: \\" F.1';0 E. /oc. t'il.; Sw1 '< l)Lf:ll.

A111·ie11t P11i111i11g, p. ~ii!l. G l·'ol' ollwr vw11l ,·xamplc.• <·f."·!!. l"1 1<1°\\AMll.f:ll,

op. rii .. I. pi. X \' I. :lll. ii!l, HO. pi. LI. I. -L .3: 11· 11,n;u~, Catal()(jue o/ 811omrd Ur111Jt cmd Cnmto!f i11 lht /Jrilish .1fttse11111 . no~. 6:! I , IHll.

6 3:?. l I. 11. R11/lfti11 o/ lhe Jlelropolilan J! 11se1111;

o/ .-ltl. l!J:J.:;, p. :llitl: I~. l'i11<11n:x1. Studi };trn81·/1i, IO:J7, p. li33; H1<'H1'f; n, llr111dlmok o/ l/1e fJlmsca11 Collerlio11, p. :H. lì.(!. !l~·. ami f,'11cyrlo1H11·dia /Jr i lan11 ica , ~. I ' ,

' Oe111s in Art . Hl~ I. pi. \ '. I . 'rb~ stone i" sJ1 id lo be from Populouia; il hn~ liii' C:r1•ck s~arahoicl form. but ulong its outer t'Cl!!t' i~ un ornurnrntal band. as in Etru .. c·un ~<.:nn1bs.

7 ::!J. ìb. !l.3. l'°l' lt'f\\ ,'bt>1.F.R. op. rii .. I. pi. XX, no. 6; Burlin!!lon l'in~ .\ rt • ('(uh, t.':rhi/Jilio11 u/ .-l 11rie11f <:reek .-lrl. l!J0-1. p. ~lii, pi. CX. no. ) I 1:!4: Sol/11by Sa/e f'ai<i/09ue . • J,,/y /J. /f/:!.j (('onk ('ollf.'ction). p. I J. no. Il: Bul/efi11 o/ lhr .lff/rfl /JOlifmr .l/1txe11m o/ . l rl , rn:w. p. 286. ll't• 11111.11 c·om1»trc- " ith it the c,.rà ~u r111:lit1n in the liriti• h ~lllKl'lllll, 110. ~S I. FU R1'WA~(1· 1.1-:1<. op. rii .• I. pi. IX. fil!. H.

S Birll. J[e/rojJQlilrw .1/ 11.,wm o/ A r t, 1948, pp. :12:.! f. U The ~haft of tl1l' •pl0 1lr i~ henl lil•ncath tllf• right

fout. l t ean hurcll1• h1• mcnnt to l>r hroken, for broken ~hafts in Grcek nt;<. puimi11~~ are nlwnys clrawn in two <listinct piect>s. ~i r .fohn llc·11zlcy. whom I consulterl, !(:\\'e me thi~ c:\planullon: tbc ;ipcnr must he meant to lw breakin!( ... thi~ i~ thc momenl before the shaft becomes t wo piere•.

[5J C:REEKS IX ETHURLl.

Grcek artisti; of thl• lntt• arrhnic pcriod 1• .\nel _Y<'l th<'rc can hc 110 q11Pstion thai thc stom· was carvcd in l~truria. :\ot only is tht• lw<'lh• workccl in grcal cletail, with n honler (of

bcacling and to11gu1's) a lung thc cdgc of 1 lw har;r

h11t tht• llllllll' or thc hern is illl:iC"rihrcl in l~tntstan: l'ap1w~. Tht• oll\iou~ <'Xpla-

nati011 is that a c:n•t•k 11 rtist c11gravrd the stoni• for an Etrusean patron. ln thr casr of thcsc thrce gcms and purtic·ularly in the one with l\11p111w11s th«' cletision

is not dilii<'ult. 'l'hey 111ust hc Grcck work. In fnct, thc arti:;;!;; who nrncl1• tlw111 11·erc pro­hahly among thosc• who introduced thc art of g!'m rngraving iuto l~t1·111·ia: l'ol' lhis art first

appears tlwrc• al t his very period. whercas in Greck lands il hacl hccn pnH'I is«•d !'or <·cnt uri!'s. Often. howC\'('l', tlw linc hetween Greck and J•:t rm;can work is notoriou;;ly iliflkult to clraw.

Our hronze woup. for in!lta1.ec. might havc lwcn madr 11~· a Greck who had lit•cn a resident in Etruria fora considcrahle time or h~· an Etrus<.·an unclcr stTOng Grrc•k inflm·nc·c. \\"lrnt we must rcmrmht•r i:< t liat the Greck <'ll'llll'nl in glrui<ean work wns t•,·idPntl~ dlll• not onl;

lo tbe prohnhlc• l~nst<•m oriiòn of tbe Etrnsc·nn:; or lo the influencc or i111portt>d Un•ck works. or cven to din•ct 1·011t1u:t:1 with Grecks, liut also lo residcnt Check arti:<t:; worki11g sidt• li~· sitlc

with Etrusc·an.~ l'or mrnsenns'1•

That thrsr C:rN•k;; wcre ali foniirn rrfugN•s i8 not likcly. Hich ami art lm·ing l~truria

mu t havc <•t t l'IH'kd giftccl Greeks also from 8011th Jta ly ancl t lw <:n•1•k nminland. 'rh<'

dominanee, how<'\"t•r, of tbe late ardrniC' Grc<.•k :;t yk• in Et ruscan bronzt>s, !Prrarnt I 11 :<l'nlpturcs. antl engra\•cd gcm,; muM hc significnnt 1• 'l'hl• politica! C\·ents or thr tinw supply a rcac\y

answer.

l ('01111mn• «.I!· \\'\l:rt:it-<. "I'· rii .. 110~ • • mli .. ;011: F 111<T\\A\111.t:1<. 011. 1·ì1 .• !. pi.. I.X li i. I, I.XV. :1. Il iH pnhnp.• 1111l1·w11rlhy. l11111<·1't•r. llrnl in thr • l•:tru. s<·an tig11rt·~ t lw 11·n 11~itiont-: lit·' wt•t•n thc mu~c·lt·s art· )!l' twrall,1· " lit!ll' lllOll' nhrupt thun i11 the <0 0111P 111-pornry OrL·t·k 01w..;.

2 ~irnilarl_v~ Crt·t•k t'l1L!ra\ <·cl ~l'lll:\ found in ('.' pru~ s<>metimc.s hll\l' Gn·(•k itht·ription:; in the Cyprit1h• s5·1lahnry; ..r. '"I!· \\' ,1n;R .... up. rii .. no. JO~.

3 This po<•ihilil.' 110~ ,urtui,ed for Loninn• di<­placetl by Cyru' Rrourul .Hll H. C'. - amonl! '1 homtht•

l'hrn·111·1tns ph1y1•d n 111·omi1wnt pori t'. J!. I•) 1'1 wr-"'~-.:111.1rn, op. rii .. 11 1. I'· 'ltl. 111111 Kèi1tn;. /tir. l'ÌI.

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