8. The Necropolis at Orvieto II

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Del curso dictado por University of Arizona

Roman Art and Archaeology

303 calificaciones

University of Arizona

Roman Art and Archaeology

303 calificaciones

The objective of this course is to provide an overview of the culture of ancient Rome beginning about 1000 BCE and ending with the so-called "Fall of Rome". We will look at some of the key people who played a role in Rome, from the time of the kings through the Roman Republic and the Roman Empire. We will also focus on the city of Rome itself, as well as Rome's expansion through Italy, the Mediterranean, and beyond.

De la lección

The Early Romans and Their Ancestors (ca. 1000 - 500 BCE)

In the Early Iron Age (ca. 1000 BCE), civilization in Italy was rather simple. The most sophisticated cultures in the peninsula were not the Romans at all, but rather groups to the north of Rome who have come to be called The Villanovans, who exploited the metal resources of northern Italy even before the officially noted founding of Rome. Later the Etruscans would appear (ca. 800 BCE), Rome's first great rivals. The Etruscans were a loose confederation of city-states north of Rome who even expanded into Rome and further south, as far as Pompeii. The Etruscans are particularly noted for their magnificent art, in particular the glorious painted tombs of Tarquinia.

1. Greek Art in Etruria1:13

2. The Francois Vase4:40

3. Greek Myth in Etruria I1:05

4. Greek Myth in Etruria II4:51

5. Etruscan Belief2:48

6. Tomb of the Infernal Chariot4:55

7. The Necropolis at Orvieto I0:50

8. The Necropolis at Orvieto II4:01

9. Guest Lecture: Dr. Alba Frascarelli on Velzna8:57

10. Populonia I0:45

11. Populonia II4:47

12. The Etruscans in Rome0:39

13. The Early Roman Forum1:43

Conoce a los instructores

David Soren
Regents Professor of Classics and Anthropology
Classics and Anthropology

[MUSIC]

At Cerveteri, the wealthy Etruscan ruling class could have magnificent tombs.

But not every Etruscan was super rich,

as we see in the Crocifisso cemetery at Orvieto.

[MUSIC]

Right now we are looking at one of the small sections of the entire annual

necropolis [FOREIGN] which means that the tombs went all the way around the bottom

of the cliff, the base of the big volcanic rock on which the city has been growing

since at least the 6th century B.C. And one portion here called Crocifisso del

Tufo because there's a small church on top that has a crucifix carved into the rock.

It gives it a possibility of understanding several aspects connected with the urban

look, the way that the tombs are organized, and also some of

the social information that we can get out of the layout of the tombs themselves.

First of all, as you see, the tombs are very similar, one to another, so

there is not that much differences that run between one family and another family.

They are not, maybe they were not allowed to have these differences clearly shown as

we see in all our necropolises.

Thank about Genovate for example, where you have huge tomb life.

Here, everything is organized in what we would describe as an isonomic or

egalitarian way, so everybody has the same probably social

weight, but also economical means.

So everybody has a chance to build their own tombs.

They're still private tombs.

But following a pattern.

Especially for what concerns the urban layout of this which is a real necropolis.

It's really a city of the dead,

just like on top of the cliff we had a city of the living people.

Aveles, so Aulos, Fluzenas, so on the tomb of

Aulos of the Fluzenas family, this would be the message, you know, for

whoever would be walking here, they know who was the owner of this single tomb.

On this other side, though, we have a very different type of situation.

The length of the inscription is much, much shorter.

The letters are bigger in general.

And there's just one name, we're missing the M-I part here,

not because it's been erased but it's because it was never here.

And it says Iesous, is and the term itself it's connected with the root god.

Or divinity, so this entire monument has probably been dedicated to the Gods

because the owner did something that the city didn't in fact accept.

So it had to be erased was more or less what we called in

Roman times as a Damnatio Memoriae or maybe the building the structure.

The monument has been hit let's say by lightning

which means that it is then to be connected only with a sacred space.

In that case, it would be like a Fulgur Conditum, again using a Roman word for it.

The idea of burying or dedicating to the god the object that the god has so

clearly asked for, like in this case, the monument itself.

And, in fact, as you can see,

the inscription itself,

Goan's would have gone

down to this point, and

then it was erased, so

we have a different elevation

here on the rock, and

then we have the last inscription

dedicating it again.

[FOREIGN]

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