Content uploaded by Nancy A Winter
Author content
All content in this area was uploaded by Nancy A Winter on Apr 06, 2022
Content may be subject to copyright.
THE ETRUSCAN WORLD
Edited by
Jean MacIntosh Turfa
4913 The Etruscan World.indb iii 4/9/2013 9:01:04 AM
CHAPTER FORTY NINE
THE PHENOMENON OF TERRACOTTA:
ARCHITECTURAL TERRACOTTAS
Nancy A. Winter
INTRODUCTION
The Etruscan decorative spirit found one of its most impressive expressions in the
roofs of baked clay that adorned houses and public buildings beginning in the
third quarter of the seventh century . Thanks largely to the important excavations
at Acquarossa near Viterbo and Poggio Civitate (Murlo) near Siena, an astounding
assortment of terracotta roofs have been documented spanning the Late Orientalizing
to Archaic periods (/–/ ). Although early Rome, even under Etruscan
kings, appears to have limited the use of decorated roofs to civic and religious buildings,
while providing even the houses of important personages with undecorated tile roofs,
more and more sites in Etruria are providing evidence for the early Etruscan practice of
decorating even private buildings with elaborate terracotta roofs.
The evolution and types of decorative systems are now becoming clearer. An early
predilection for painted decoration in the white-on-red technique can be linked to local
pottery production but the use of molds for human and feline heads, apparent already
by , may be an imported technique; especially notable are the cut-out oral and
gural plaques placed on the ridges of Late Orientalizing roofs (/– ).
Moldmade decoration in relief, with painted details in red, white and black, becomes
one of the hallmarks of Etruscan roofs of the sixth century , especially for ante xes and
gured friezes on raking simas and on revetment plaques that protected the rafters of
the pedimental slopes, architrave, wall plates and rafter-ends along the eaves; these roofs
form part of what Della Seta de ned as the “First Phase” of Etruscan terracotta roofs.
Handmade statues in the round, some nearly life-size, are the successors of the cut-out
ridge acroteria of the Late Orientalizing period, maintaining the strong emphasis on the
ridge of certain buildings. After , no private houses with decorated roofs have
been documented, but the roofs of temples, civic and funerary structures are outstanding
examples of Etruscan coroplastic art. By the late sixth century , large plaques with
handmade sculpture in high relief are applied to the ends of the ridge beam (columen) and
smaller side beams (mutuli) in the open pediment of temples, with a secondary roof on the
pediment oor. Most frequently they accompany terracotta roofs designated by Della Seta
4913 The Etruscan World.indb 903 4/9/2013 9:04:29 AM
– Nancy A. Winter –
as the “Second Phase,” characterized by oral decoration instead of gural decoration on
the revetment plaques, a style that adapted well to the larger temples they adorn from
the fth century on.
TERRACOTTA ROOFS OF THE LATE ORIENTALIZING
PERIOD, /– BC
The earliest terracotta roofs in Etruria, datable in the third quarter of the seventh century
, all share the same basic use of a at pan tile to carry rainwater off the slope, a convex
cover tile to protect the space between pan tiles, and a convex ridge tile to cover the ridge
of the double-sloped roof. In addition, other roof elements were invented to protect the
rafters of the slopes on the short ends of the building and the rafter-ends along the eaves
of the roof on the long sides of the building: at terracotta revetment plaques that could
be nailed to the wooden elements they protected. Closures for the lowest cover tile at
the eaves formed ante xes, which prevented winds from dislodging the tiles. These roof
elements provided protection from rain for the wooden roof frame and mud-brick walls,
and were reproof, unlike thatch. The roof elements along the ridge and the roof edges
also provided a blank eld for embellishment, and embellish they did.
At Poggio Civitate (Murlo), three buildings of the Late Orientalizing period carried
ridge tiles to which at upright plaques were attached, oriented along the axis of the
ridge. These acroteria took the form of double volutes (more rarely animals) with cut-out
edges that follow the contour of the design and painted decoration in the white-on-red
technique.
The hand painting on revetment plaques at Acquarossa provided the widest scope
for the creative spirit of the local artisans, with a wide medley of designs from gural
to geometric: horses, birds, snakes, sh, stags, a lion, a seated human; semicircles, scale
patterns, circles, cross-hatched triangles, lozenges, hourglasses, hooked ray patterns, and
herringbone patterns. Their arrangement is paratactic and no attempt at narrative is
apparent. The white-on-red technique and many of the patterns betray their origin in
contemporary south Etruscan and Faliscan pottery.
Evidence for molds comes from Poggio Civitate (Murlo) where an actual mold for an
ante x with canopic-style head was excavated in a workshop that made terracotta roofs,
destroyed in – . Other moldmade roof elements from the site include ante xes
with female head and feline-head waterspouts from a lateral sima that decorated the
eaves of the roof of the same workshop. Moldmade feline heads have been excavated at
Acquarossa as well.
THE TRANSITION FROM LATE ORIENTALIZING TO
EARLY ARCHAIC TERRACOTTA ROOFS, – BC
A change was in the air already around when outside in uences from western
Greece become apparent in the decoration of the terracotta roofs of Etruria. The painted
guilloche appears on at revetment plaques at Acquarossa around this time, in the same
white-on-red technique as before when more local motifs were favored. Accompanying
them are at, semicircular ante xes with a painted half-rosette or oral design.
The use of a raking sima along the sloped edges of the roof is a late introduction into
terracotta roofs in Etruria, probably only appearing around . The morphology and
4913 The Etruscan World.indb 904 4/9/2013 9:04:29 AM
– : The phenomenon of terracotta –
decoration (a vertical plaque with cavetto pro le, painted tongue pattern and painted
anthemion), as well as those of the revetment plaques with painted guilloche, suggest
the possible in uence of western Greek roofs of Sicily.
In the early sixth century , some cut-out acroteria at Poggio Civitate (Murlo) evolve
from the at plaque with painted interior details into a plaque with incisions on one side
to de ne interior details of the double volute or, in one case, a rider. The ridge acroteria
of this period from houses at Acquarossa decorated the front end of the nal ridge tile
at the edge of the roof and sat perpendicular to the axis of the ridge. Some are formed
of large plaques, pelta-shaped and with interior grooves for de nition, made separately
from the ridge tile and with a curved opening to t over the tile. The same mounting
technique and orientation is found on a bow-volute acroterion with relief-modeled gural
decoration at Poggio Civitate (Murlo) that forms a technological transition to acroteria
of statues in the round that will soon follow.
TERRACOTTA ROOFS OF THE SO-CALLED FIRST
PHASE, –/ BC
The rst major shift in the decoration of Etruscan roofs occurs around with the
introduction of moldmade gural reliefs for the decoration of revetment plaques and some
raking simas. Scenes seem to draw inspiration especially from Corinthian vase painting.
The appearance of gured friezes in Etruria comes shortly after their use in Rome on various
roofs of public buildings on the Capitoline hill and in the Roman Forum. In Rome,
the relief revetment plaques are decorated primarily with processions of felines recalling
animal friezes on Corinthian painted pottery, but at least one horse rider is documented,
part of a larger scene of unknown type. At Veii, the nearest Etruscan site to Rome,
some similar plaques appear to imitate these earlier Rome revetments, with a few animal
friezes and several military scenes that include horse riders accompanying a departing
warrior mounting his chariot. Further north at Poggio Buco revetment plaques with
animal processions and horse riders betray a similar source of inspiration through their
cavetto pro le decorated with squat convex strigils close in proportion to those of the
Rome revetment plaques. A wider array of scenes is found on the revetment plaques of
the courtyard building at Poggio Civitate (Murlo): a horse race, a cart procession, a seated
assembly and a banquet, each scene allocated to a different part of the building. Some
of these scenes have been compared to Early Corinthian vase painting, a probable source
also for the scene of hounds chasing hares on the raking sima from the same building.
The courtyard building at Poggio Civitate (Murlo) (Fig. .) provides an exceptional
wealth of information on the full complement of terracotta roof decoration around
– in Etruria. In addition to its gural raking sima and revetment plaques on
the edges of the roof, the ridge was richly decorated with handmade terracotta statues
mounted on large convex ridge tiles: at least ten seated male gures with beards and
wide-brimmed hats and nine or more female seated statues of smaller scale, both types
mounted perpendicular to the axis of the ridge; at least four standing or walking human
statues oriented along the axis and at least six human statues wearing helmets or the
hats of amines; mythical creatures (a running gure, probably a Gorgon, a possible
centaur, sphinxes, a grif n, a hippocamp), and animal statues of ten different types and
two different sizes (felines, horses, a boar, a ram, bulls), all oriented along the axis of
the ridge. Findspots of fragments of these statues suggest that the seated statues were
4913 The Etruscan World.indb 905 4/9/2013 9:04:29 AM
– Nancy A. Winter –
primarily on the northern ank ridge together with standing or striding gures wearing
helmets. Sphinxes appear to have decorated the four corners of the building, while other
animals were distributed on the east, west, and south anks; the smaller-size animals
probably decorated the south ridge, which may have been set at a lower level than the
ridges of the east and west anks. The interior of the courtyard carried a roof with a
lateral sima decorated with handmade feline-head waterspouts and moldmade female
heads covering the opening between individual sima blocks. Ante xes with Gorgoneia
were found in a row with revetment plaques with banquet scene along the line of the
collapsed northern wall, at a distance that suggests the north ank had two stories. A
large handmade Gorgoneion with nail holes probably served as protection for the end of a
ridge beam. A nal curiosity of this roof is a series of feline heads that appear to have
covered the spaces between blocks of raking simas.
Similar roofs, none quite so elaborate, existed at other sites in Etruria but are less well
preserved. In addition to the roof from Poggio Buco mentioned above, other roof elements
that form part of this same decorative system have been excavated at Vulci (ante xes with
Gorgoneion and a probable columen plaque with Gorgoneion) and Rusellae (ante x with
feline head, revetment plaque with horses).
While the early gured friezes of Poggio Buco and Poggio Civitate (Murlo) seem to
depict convivial scenes, other sites follow Veii in a preference for terracotta roofs with
military scenes that include horse riders accompanying a departing warrior mounting his
chariot. Included in this group of roofs are a series of buildings at Acquarossa and nearby
Tuscania, the latter excavated in the cemeteries at Ara del Tufo and Guadocinto and
belonging to funerary structures, while the former appear to have a more civic nature; a
temple of Aplu/Apollo or Artumes/Artemis (Temple I) at Tarquinia; a possible funerary
structure at Il Sodo near Cortona; a probable temple from Vigna Marini-Vitalini at Caere
and an identical roof at nearby Pyrgi. Characteristic of this decorative system, in addition
to the raking simas and revetment plaques with gured friezes depicting military scenes
Figure . Poggio Civitate (Murlo): reconstruction of a pediment with sphinx acroterion.
Drawing by Renate Sponer Za.
4913 The Etruscan World.indb 906 4/9/2013 9:04:29 AM
– : The phenomenon of terracotta –
(particularly the departing warrior scene, chariot processions with armed warriors and
groups of armed riders), are ante xes with female heads with simple panels of hair
alongside the face and eaves tiles with painted oral patterns on the underside, which
are visible from below the deeply projecting eaves of the roof. Individual pieces that belong
to this decorative system, even if an entire roof cannot be reassembled from the fragments,
come from Otricoli, Castellina del Marangone, Tarquinia, Rusellae, Poggio Buco, Vulci,
Caere, and Vignanello. Some of the military scenes have been excavated with revetment
plaques depicting banquets and dancing or bulls and a possible rape scene. Roofs of
funerary naiskoi using this decorative system apparently had acroteria, some archaizing in
style: cut-out acroteria at Ara del Tufo and Guadocinto near Tuscania, and at Il Sodo near
Cortona; a seated statue and a probable rider perhaps from Ara del Tufo. Some technical
advances evident in this group of roofs include the use of piece molds (separate molds for
gured frieze and for crowning moldings on the revetment plaques) and use of the mold
for female-head ante xes for the face of the otherwise handmade acroteria.
TERRACOTTA ROOFS OF THE SO-CALLED FIRST
PHASE, /–/ BC
An in ux of artisans from Asia Minor is apparent in the introduction of two new decorative
systems circa / , one of which is characterized by its wealth of gured friezes in
relief and the other by its polychrome painted decoration that expands the palette from
the previous red, white and black to include shades of brown, blue and green.
The former decorative system, known as the Veii-Rome-Velletri decorative system (Fig.
.) because of the sites at which examples have been discovered, rst appears around
. Although it includes many characteristics of preceding roo ng systems, such as
gured friezes in relief on its raking simas and revetment plaques (now including scenes
of a chariot race in addition to armed riders, chariot processions, a seated assembly and a
banquet), use of a lateral sima combined with ante xes with female head, and statues in
the round as acroteria (including a central group of Herakles and Athena, anked by volute
acroteria, and sphinxes at the corners of the roof), new hallmarks of East Greek in uence
are the insertion of a relief meander enclosing a bird and a star- ower in boxes between
the gured frieze and crowning molding of revetment plaques, and scenes of chariot races,
both documented earlier on roofs of Asia Minor; in addition, the sculptural style of the
acroteria is Ionicizing. Technical innovations include mounting the acroterial statues on a
plinth that is inserted into a separately made base, some of which are elaborately decorated
with moldings and painted details. At least six roofs sharing the same molds for the
gured friezes are known, one from the Portonaccio sanctuary at Veii (but with other
fragments excavated also on the Piazza d’Armi), at least four at Rome (on the Capitoline
hill, the second-phase temple of Mater Matuta at S. Omobono in the Forum Boarium,
the fourth-phase building on the site of the later Regia in the Roman Forum, and on
the Palatine hill), and one at Velletri. Another set of related roofs with the same general
morphologies for the different roof elements but that differ mainly in the military aspect
of the gured friezes, the restricted number of scenes (lacking are the seated assembly and
banquet), and the somewhat later style, are found in Rome (possible repairs to the roof
of the second-phase temple of Mater Matuta at S. Omobono, and a probable replacement
roof for the temple on the Palatine hill) and at Capri co near Cisterna, south of Rome.
4913 The Etruscan World.indb 907 4/9/2013 9:04:29 AM
– Nancy A. Winter –
Figure . Velletri, temple at Le Stimmate: reconstruction of the eaves.
Drawing by Renate Sponer Za.
Their slightly later date and close connection with temples in Rome that had roofs of the
Veii-Rome-Velletri decorative system suggest that these are later products of the same
workshop, a hypothesis that is supported by petrographic analyses showing that the same
formula for the mixing of clays and inclusions was used in all of these roofs. More roofs
that can be considered products of this same workshop continue to appear, most recently
at Fosso dell’Incastro at Ardea. One or more local workshops in Etruria at Tarquinia,
Rusellae and Vetulonia produced a very similar set of roofs.
The second decorative system with clear East Greek overtones originated in a workshop
at Caere that has close ties with artisans producing Caeretan hydriae. Typical are a series
of raking simas decorated in paint only, with no relief, with cavetto pro le or L-shaped;
most commonly the main motif on the vertical plaque is a painted meander enclosing
alternating boxes with a bird and a star- ower, but oral patterns with star- owers are
also popular. Figural scenes are rare. Some of these raking simas have S-volute nials
at the ends of the slopes, or even nials in the form of riding Amazons and warriors
mounted along the top. Below the raking sima on the pedimental slopes were revetment
plaques, which, at least initially, carried gured scenes in relief, including chariot races
4913 The Etruscan World.indb 908 4/9/2013 9:04:29 AM
– : The phenomenon of terracotta –
and armed riders; one group, however, had gured friezes that were painted only. Some
of these painted revetment plaques depict typical scenes of armed riders or chariots,
but another series carries running dogs, centaurs, or ghting animals, scenes closely
linked iconographically with cylinder-produced reliefs on Caeretan braziers. Along the
eaves are ante xes with female heads, of which some different molds can be counted,
resting on eaves tiles with a painted underside, usually a oral band, with at least ten
different patterns. Some of the roofs carried central acroteria at the end of the ridge
(Herakles and Athena, anked by volutes; a hippocamp rider; a standing warrior) and
at the corners of the roof (sphinxes); bases for the lateral acroteria were attached to the
back of the raking sima and were decorated on three sides and the underside. Finally,
Caere may be one of the earliest workshops to introduce handmade high-relief sculpture
on columen and mutulus plaques in the open pediment, with scenes of battle. All of these
roof elements share a distinctive emphasis on the painted decoration, which includes
several polychrome examples. One of the earliest roofs of this decorative system is found
at Satricum in southern Latium, where the entire roof appears to have been imported
by sea from Caere, as indicated by petrographic analyses in addition to the style of the
roof. Other products of this Caeretan workshop are found nearby at Punta della Vipera,
Castellina del Marangone, Pyrgi, and Sasso di Furbara.
FORERUNNERS OF THE SO-CALLED SECOND PHASE,
/–/ BC
The arrival in Etruria of artisans from Asia Minor brought with it another style of roof
less tied to the Etruscan tradition of gural decoration: oral decoration in relief or paint.
From Tarquinia comes an ante x with a palmette above a double volute, a revetment
plaque with a double anthemion in relief, and eaves tiles with painted star- owers on the
underside. A lateral sima with a painted anthemion comes from the nearby sanctuary
at Gravisca.
East Greek in uence appears in a roof from the Portonaccio sanctuary (Fig. .),
possibly belonging to the sacellum of Menerva/Athena, with raking sima and revetment
plaques decorated with a relief meander above a painted anthemion; a slightly later
version in relief, and an eaves tile with a similar painted anthemion on the underside,
may represent a replacement roof. Some painted revetment plaques from the workshop
at Caere employing Asia Minor artisans, discussed above, are characterized by purely
oral motifs, these with blues and greens that are especially unusual.
TERRACOTTA ROOFS OF THE SO-CALLED SECOND
PHASE, AFTER 510 BC
The second major shift in terracotta roof decoration in Etruria occurs at the end of the
sixth century when oral friezes in relief replace the gural scenes of the “First Phase.”
Roofs of this so-called Second Phase generally decorate temple buildings of larger scale
than before, often of the Vitruvian Tuscan order with a high podium carrying the triple
cellae preceded by two rows of columns and accessible by stairs only at the front. This
new decorative system, which remains in use over several centuries in Etruria and Central
Italy, includes the following roof elements: a tall raking sima with cavetto pro le, tall
strigils, central painted fascia with a half-round molding above, and a large half-round
4913 The Etruscan World.indb 909 4/9/2013 9:04:30 AM
– Nancy A. Winter –
base molding that ends at the corners of the roof in a ram’s head or animal protome; an
open-work cresting, separately made, inserted into a channel in the top of the raking
sima and handmade gures of snakes or riders superimposed on the front of some simas;
revetment plaques with palmettes and lotus owers in relief, often with circumscribing
bands and cut-out bottom edge following the contour of the oral design, on the rafters of
the pedimental slopes, architrave, rafter-ends on the eaves, and wall plates; eaves tiles with
a painted underside (generally zigzags or meanders) and ante xes decorated with heads
of women (probably maenads) and silens, surrounded by a nimbus of concave tongues or
a oral pattern in relief; handmade, gural high reliefs on the larger ridge beam (columen)
and smaller side beams (mutuli) in the open pediments; ante xes, sometimes full- gure
creatures such as Typhon or Sirens, other times smaller ante xes with female and silen
heads surrounded by a nimbus of tongues, on the oor of the open pediment. One of the
earliest and most complete roofs in Etruria with all of these elements decorated the temple
of Apollo in the Portonaccio sanctuary at Veii, dated – , where life-size statues
of deities walked along the ridge. Some early fth century roofs have instead gural
central acroteria framed by inward-curving volutes, with relief on the front and painted
decoration on the at back. Some of the nest examples of Classical and Hellenistic
Etruscan terracotta sculpture decorated pediments at Falerii and Orvieto.
By the third century smaller temples with a single cella, prostyle columns at
the front and back, and no decoration in the pediments retain the tall raking simas
and oral revetment plaques typical of the Second Phase, but have full- gure ante xes
often depicting potnia theron along the eaves; a oral central acroterion crowns the end
of the ridge. Closed pediments with gural decoration of the rst half of the second
century have elaborate compositions of handmade terracotta sculptures mounted on
at backgrounds designed as a whole, then cut into segments for ring, and recomposed
and nailed to wooden backers. These complex scenes demonstrate the persistence of
Etruscan technical skill and love of decoration down to the end of their existence, long
after most of Etruria had succumbed to Roman domination.
Figure . Veii, Portonaccio sanctuary: reconstruction of a pediment with painted oral decoration.
Drawing by Renate Sponer Za.
4913 The Etruscan World.indb 910 4/9/2013 9:04:30 AM
– : The phenomenon of terracotta –
NOTES
Della Seta , –.
Della Seta , –.
Winter , –.
Winter , –.
Winter , (–: ante xes from the mold).
Winter , –.
Winter , –.
Winter , –,
Winter , –.
Winter , –.
Winter , –.
Winter , –.
Winter , –.
Winter , –.
Winter , – (– ).
Winter , .
Winter , –.
Winter , –.
Winter , –.
Winter , –.
Winter , –.
Winter , –; Edlund-Berry in Lulof and Rescigno , –.
Winter , –.
Winter , –.
Winter , –.
Winter , –. Mold for the female head: Winter , . Similar lateral sima
from Poggio Buco: Winter , .
Winter , –.
Winter , .
Winter , –.
Winter , , – (ante xes), – (columen plaque).
Winter , , (ante x), (revetment plaque).
Winter , –, (Acquarossa); , – (Ara del Tufo); –
(Tarquinia); (Il Sodo); – (Caere); (Pyrgi). Moretti Sgubini and Ricciardi in
Lulof and Rescigno , – (Guadocinto).
Winter , – (raking simas) and –, –, – (revetment
plaques).
Winter , –.
Winter , –.
Winter , – (Otricoli); – and – (Castellina del Marangone); –
, –, –, – (Tarquinia); , (Rusellae); and (Poggio
Buco); (Vulci); , , – (Caere); – (Vignanello).
Winter , –, – (banquets), – (dancing); Moretti Sgubini and
Ricciardi in Lulof and Rescigno , , Fig. .
Bulls: Winter , (unknown provenience), – (Tarquinia, Castellina del
Marangone). Rape scene: Winter , (Poggio Buco).
Winter , (Ara del Tufo cut-out acroterion), – (Louvre statues, Il Sodo).
Moretti Sgubini and Ricciardi in Lulof and Rescigno , , g. (Guadocinto).
Winter , –.
4913 The Etruscan World.indb 911 4/9/2013 9:04:31 AM
– Nancy A. Winter –
Star- owers and relief meanders on revetment plaques from Sardis in Asia Minor: Åkerström
, pls. –; Winter , (dated – ). Herodotus I.– might
indicate the introduction of chariot racing in Etruria followed the battle of Alalia in ;
earlier raking simas with chariot races from Asia Minor: Åkerström , pls. and
(Larisa), g. . and (Phokaia), pls. and (Sardis); Winter , – ( ).
Winter , –.
Palombi .
Winter et al. , –.
Ceccarelli in Lulof and Rescigno , .
Winter , –.
Winter , –.
Winter , –.
Lulof ; Winter , – (S-volutes), – (riding Amazons); Lulof in
Christiansen and Winter , –.
Winter , –.
Winter , –. Connections with Caeretan braziers: Winter, forthcoming.
Winter , – (ante xes), – (eaves tiles).
Winter , – (Herakles and Athena), (volute); Rizzo in Lulof and Rescigno
, , gs. – (volutes). Hippocamp rider: Winter , –; Christiansen in
Christiansen and Winter , – (Provenience uncertain but the clay resembles
that of Caere). Standing warrior: Winter , –; Lulof in Christiansen and Winter
, –. Sphinxes: Winter , –. See also Christiansen in Christiansen and
Winter , – (Provenience uncertain but the clay resembles that of Caere). For
lateral acroterion bases, see, e.g., Winter , –.
Lulof , –; Winter , –; Lulof in Christiansen and Winter , –
.
Winter , –.
Winter , –.
Winter , –, –. For the ante x, cf. examples from the Rhoikos temple at
Samos (– ) and Assos ( ): Åkerström , pls. . (Assos), .– (Samos).
Winter , –.
Winter , –. Cf. the relief anthemion on lateral simas from Sardis: Åkerström
, pls. –; Winter , ( ). Eaves tile: Winter , –.
Winter , – (– ). Cf. revetment plaques with similar oral pattern in
relief from Larisa am Hermos: Åkerström , pl. .; Winter , (– ).
Cf. the temple roof model with open pediment of a Second Phase roof from the sanctuary of
Diana at Nemi, dated fourth/third century . Staccioli , –, pls. XXXIV–XXXVII.
Examples of decorated columen plaques: Colonna , –, Fig. VIII. (Temple A
at Pyrgi, – ); Bagnasco Gianni in Lulof and Rescigno , – (Ara della
Regina temple at Tarquinia, early fourth century ).
See, most recently, Michetti, Maras and Carlucci in Deliciae Fictiles IV, –.
For example, Opgenhaffen in Lulof and Rescigno , – (Sirens); Bellelli in Lulof
and Rescigno , , Fig. (Caere); Menichelli in Lulof and Rescigno , –
(Falerii); Stopponi in Lulof and Rescigno , – (Cannicella sanctuary in Orvieto).
Falerii: Comella . Orvieto: Strazzulla ; Stopponi , –, gs. –.
See, for example, the full-scale replica of the temple of Alatri, reconstructed in the garden of
the Museo Nazionale Etrusco di Villa Giulia in Rome: Cozza in Colonna , –, no.
..
For example, Freytag-Löringhoff (Talamone); Vilucchi (Catona); Rossi in Lulof
and Rescigno , – (Fosso dell’Incastro, Ardea).
4913 The Etruscan World.indb 912 4/9/2013 9:04:31 AM