Giacobbe Giusti, Pyrgi Tablets

Giacobbe Giusti, Pyrgi Tablets

Le tre lamine d’oro del VI secolo a.C., con la stessa iscrizione riportata in etrusco. in fenicio e in punico(Roma, Museo di Villa Giulia). Queste lamine sono state rinvenute a Pyrgi (oggi Santa Severa, in provincia di Roma), porto antico di Cere.

 Giacobbe Giusti, Pyrgi Tablets

The tablets

The Pyrgi Tablets, found in a 1964 excavation of a sanctuary of ancient Pyrgi on the Tyrrhenian coast of Italy(today the town of Santa Severa), are three golden leaves that record a dedication made around 500 BC by Thefarie Velianas, king of Caere, to the Phoenician goddess ʻAshtaret. Pyrgi was the port of the southern Etruscantown of Caere. Two of the tablets are inscribed in the Etruscan language, the third in Phoenician.^[1]

These writings are important in providing both a bilingual text that allows researchers to use knowledge of Phoenician to interpret Etruscan, and evidence of Phoenician or Punic influence in the Western Mediterranean. They may relate to Polybius‘s report (Hist. 3,22) of an ancient and almost unintelligible treaty between the Romans and the Carthaginians, which he dated to the consulships of L. Iunius Brutus and L. Tarquinius Collatinus (509 BC).

The tablets are now held at the National Etruscan Museum, Villa Giulia, Rome.

Phoenician text

l-rbt l-ʻštrt,

To lady Ashtarot,

ʼšr qdš ʼz, ʼš pʻl, w-ʼš ytn tbryʼ wlnš mlk ʻl kyšryʼ. ( kyšry= KAYSERI)

This is the holy place, which was made, and which was given by Tiberius Velianas who reigns over the Caerites.

b-yrḥ zbḥ šmš, b-mtnʼ b-bt, wbn tw.

During the month of the sacrifice to the Sun, as a gift in the temple, he built an aedicula.

k-ʻštrt ʼrš b-dy l-mlky šnt šlš, b-yrḥ krr, b-ym qbr ʼlm

For Ashtarot raised him with Her hand to reign for three years from the month of Churvar, from the day of the burial of the divinity [onward].

w-šnt lmʼš ʼlm b-bty šnt km h kkb m ʼl.

And the years of the statue of the divinity in the temple [shall be] as many years as the stars above.^[2]

The Phoenician text has long been known to be in a Semitic, more specifically Canaanite language (very closely related to Hebrew, and also relatively close to Aramaic and Ugaritic); hence there was no need for it to be “deciphered.” And while the inscription can certainly be read, certain passages are philologically uncertain on account of perceived complications of syntax and the vocabulary employed in the inscription, and as such they have become the source of debate among both Semiticists and Classicists.^[3]

Supplementary to the Pyrgi Tablets are inscriptions on vessels found in the sanctuary at Pyrgi:

unial: div) patera, or plate V TLE 877

unial:(div) patera, or plate V REE 40 n54

• ]starte/s/  ?] cve[r (]starte/ / in REE) (div?)

fragment vasis, or vessel IV REE 56 n31

mi :”s’uris : cava’th’as,(div)patera, or plate V REE 64 n36.

]xcava’th’as 2]a emini[(div) Greek kylix, V REE 56 n24^[4]

Phoenician vocabulary

ʼlm, divinity [Semitic *ʼil- “god”]

ʼrš, to raise

ʼš, which, who, that [rel.pron]

ʼšr, place

ʼz, this [ ha-dha? ]

ʻl, over, above [Semitic *ʻal-]

ʻštrt, Astarte [Semitic *ʻaṯtar-]

b-, in, at, with, on [Semitic *bi-]

bt, house, temple [Semitic *bayt-]

kkb, star [Semitic *kabkab-] [hakkawkabīm/hakkawkabūm = the-stars]

k-, for, since [Semitic *ki-]

km, like, as [ka-ma]

krr, Churvar [calendar month] [cf. Etruscan Χurvar]

kyšryʼ, Caerites [a people]

l-, to, for [Semitic *la-]

lmʼš, statue

mlk, to rule, to reign [Semitic *mlk]

mtnʼ, gift [Semitic *ntn ‘to give’]

pʻl, to make, to do [Semitic *pʻl]

qbr, burial

qdš, holy

rbt, lady [cf. Akkadian rābu “grand, large”] [rabbu, female: rabbatu ]

šlš, three [Semitic *ṯalāṯ-]

šmš, sun [Semitic *šamš-^[5]]

šnt, year [šanot “years” – from: šanāt]

tw, aedicula [taw]

w-, and [Semitic *wa-]

bn, to build [ bny ] [wayyiben = [and] he built]

yd, hand

ym, day [Semitic *yawm-]

yrḥ, month [Semitic *warḥu-] [Canaanite: yarhu]

ytn, to give [Semitic *[y]-ntn] [ya-ntin[u]] he-gives / hebrew: yittēn

zbḥ, sacrifice

Etruscan text

First plate:

ita tmia icac he

ramašva vatieχe

unial astres θemia

sa meχ θuta Θefa

riei velianas sal

cluvenias turu

ce munis tas θuvas

tameresca ilacve

tul erase nac ci avi

l χurvar, tešiameit

ale ilacve alšase

nac atranes zilac

al, sel eita la acnašv

ers itanim heram

ve avil eniaca pulum χva.

This temple and these statues are dedicated to Uni-Astre, built by the clanspeople.

Tiberius Velianas the pleasing aedicula has given.

munistas θuvas tameresca ilacve tulerase.

That burial of his own by these priests with idols was encircled.

nac ci avil χurvar, tešiameitale, ilacve alšase.

For three years [in the month of] Churvar, with Her burnt offerings, with idols [it was] buried.

nac atranes zilacal, seleitala acnašvers.

During the reign of the chief, in Her hand [he] would be brought forth (ie: Uni-Astre gave him authority to rule).

itanim heram ve, avile niaca pulum χva.

And with these Hermes idols, the year(s) shall endure as the stars.

Second plate:

nac θe farie vel

iiunas θ amuce

cleva etu nal masan tiur, unias

šelace v

acal tmial a

vil χ val amuce pulum χva snuiaφ.

.

When Tiberius Velianas had built the statue of the sanctuary [in] the month of Masan, Uni was pleased.

vacal tmial avilχval amuce pulumχva snuiaφ.

The votives of the temple yearly have been as numerous as the stars.

Etruscan vocabulary

*acna(s), to bring forth (⟨acnaš-ver-s⟩ ‘[he] would be brought forth’)

[perhaps -⟨u⟩, passive + -⟨er⟩-, purposive, common in the LLZ, had combined to form a passive optative in -⟨ver⟩- ‘would be’]

Note ⟨huśur maχ acnanas, arce.⟩ “Having brought forth (ie: given birth to) five children, [she] raised [them]” (TLE 887)

*alš, to bury (⟨alš-as-e⟩ ‘buried’)

*am, to be (⟨am-uc-e⟩ ‘has been, had been’)

⟨an zilaθ amce mecl Rasnal.⟩ “He had been a chief of the Etruscan people.” (ET Ta 7.59)

astre, Phoenician goddess of fertility, associated with Uni (⟨astre-s⟩ ‘of Astre’) [Phoenician ⟨’štrt⟩ ← *’aṯtarṯ]

*atran, reign, rulership

avil, year (⟨avilχva-l⟩ ‘of the years, yearly’)

ca, this (⟨ca⟩ ‘this’, ⟨ica-c⟩ ‘and this’)

ci, three

*cluvenia, aedicula (⟨cluvenia-s⟩ ‘of the aedicula’)

xurvar, month [Phoenician ⟨krr⟩ *kurar]

*en, to last, endure (⟨en-iac-a⟩ ‘shall endure’)

⟨śacnicleri cilθl, śpureri, meθlumeric, enaś.⟩ “By way of these sacred objects of the sanctuary, by the city and by the people, [it] endures” (LLZ, col 9, lines 12-13)

*etan, sanctuary (⟨etan-al⟩ ‘of the sanctuary’)

*heram(aš), Hermes idol (⟨heramv-e⟩ ‘with the Hermes idols’, ⟨heramašva⟩ ‘Hermes idols’)

*ila, idol (*ilacva ‘idols’, ⟨ilacv-e⟩ ‘with idols’)

meχ, people

muni, burial, plot of land (⟨muni-s⟩ ‘of the burial’)

nac, when, during, while

*pulum, star (⟨pulum-χva⟩ ‘stars’, ⟨pulun-za⟩ ‘little star’)

⟨fulumχva⟩ (Cippus perusinus, lateral, lines 29-30)

⟨…pulunza ipal sacnina tinia tei aθemeiś caś…⟩ “…the little star for which the sacred Tinia of the sky…” (CIE 6310)

sal, pleasing

*sel, hand (⟨sel-ei⟩ ‘with the hand’)

*snuia, many (⟨snuia-φ⟩ “as many”)

⟨śnuiu-φ⟩ “as many” (LLZ, col 6, lines 1,2,4)

*šel, to please (⟨šel-ac-e⟩ ‘has pleased’) [cf. ⟨sal⟩]

ta, that (⟨ita⟩ ‘that’, ⟨⟩ ‘and with that’, ⟨ta-s⟩ ‘of that’, ⟨tala⟩ ‘her’, ⟨tal-e⟩ ‘with her’)

tešiam, burnt offerings (⟨tešiam-ei⟩ ‘with burnt offerings’)

⟨Śucic firin tesim.⟩ “And incense was burned as a burnt offering” (LLZ, col 7, lines 9-10)

tmia, temple (⟨tmia-l⟩ ‘of the temple’)

*tuler, to encircle (⟨tuler-as-e⟩ ‘encircled’) [cf. ⟨tul⟩ ‘border, boundary’]

tur, to give (⟨tur-uc-e⟩ ‘has given’)

*θem, to build (⟨θem-iasa⟩ ‘built’, ⟨θam-uc-e⟩ ‘has built’)

θefariei, Tiberius [Roman male name]

θuta, clan, nation (compare Celto-Germanic cognates *Tuatha, *Theod, *Diot). Compare Icelandic: þjóð (nom), þjóð (acc), þjóðu (dat), þjóðar (gen).

θuva, oneself, (⟨θuva-s⟩ ‘one’s own’) [cf. ⟨θu⟩ ‘one, single’]

⟨θuker akil tuś thuveś.⟩ “Thuker completed his own tomb.” (TLE 672)

uni, Etruscan mother goddess of fertility (⟨uni-al⟩ ‘of Uni’) [cf. Latin Iūno]

vacal, votive offering

⟨celi suθ vacl θesnin⟩ “Upon the earth of the tomb a votive offering was dedicated.” (LLZ, col 5, lines 15-16)

*vat, to dedicate (⟨vat-ieχ-e⟩ ‘to be dedicated’)

velianas, Velianas [family name].

zilaχ, chief (⟨zilac-al⟩ ‘of the chief’)

⟨svalasi, zilaχnuce.⟩ “[While] living, [he] had been chief.” (TLE 173)

⟨zilaχnce avil xi.⟩ “[He] had been chief eleven years.” (REE 40, n75)

Notes

1. Jump up^ The specific dialect has been called “Mediterranean Phoenician” by Philip C. Schmitz, “The Phoenician Text from the Etruscan Sanctuary at Pyrgi” Journal of the American Oriental Society 115.4 (October – December 1995), pp. 559-575. Full bibliography of Pyrgi and the tablets
2. Jump up^ Transcription from Hildegard Temporini, Joseph Vogt, Wolfgang Haase. 1972. Aufsteig und Niedergang der Römischen Welt, vol. 2, part 25. P.201. Also, along with the original Phoenician letters, in Haarmann, Harald. 1996. Early Civilization and Literacy in Europe: An Inquiry into Cultural Continuity in the Mediterranean World. P.355
3. Jump up^ For the most recent analysis of the inscription and summary of the various scholarly interpretations, see Schmitz, P. 1995 “The Phoenician Text from the Etruscan Sanctuary at Pyrgi.” Journal of the American Oriental Society 15:559-575.
4. Jump up^ Source for the Pyrgi inscriptions :“Archived copy”. Archived from the original on 2010-09-23. Retrieved 2012-02-26.
5. Jump up^ The Patterning of Root Morphemes in Semitic. 1990. In: On language: selected writings of Joseph H. Greenberg. Ed. Keith M. Denning and Suzanne Kemmer. P.379

References

• Massimo Pittau (1996): “Gli Etruschi e Cartagine: i documenti epigrafici“. L’Africa romana: atti dell’11. Convegno di studio, 15-18 dicembre 1994, Cartagine, Tunisia. Sassari, Editrice Il torchietto. V. 3, p. 1657-1674.

https://en.wikipedia.org/wiki/Pyrgi_Tablets

http://www.giacobbegiusti.com

Giacobbe Giusti, Power and Pathos: Bronze Sculpture of the Hellenistic World

 

The J. Paul Getty Museum

Giacobbe Giusti,  Power and Pathos: Bronze Sculpture of the Hellenistic World

Boy Removing a Thorn from His Foot, “The Spinario,” about 50 B.C., bronze and copper. Musei Capitolini, Rome, Palazzo dei Conservatori, Sala dei Trionfi – foto Zeno Colantoni

July 28–November 1, 2015, Getty Center

During the Hellenistic period from the death of Alexander the Great in 323 B.C. until the establishment of the Roman Empire in 31 B.C., the medium of bronze drove artistic innovation. Sculptors moved beyond Classical norms, supplementing traditional subjects and idealized forms with realistic renderings of physical and emotional states. Bronze—surpassing marble with its tensile strength, reflective effects, and ability to hold fine detail—was employed for dynamic compositions, dazzling displays of the nude body, and graphic expressions of age and character.

Cast from alloys of copper, tin, lead, and other elements, bronze statues were produced in the thousands: honorific portraits of rulers and citizens populated city squares, and images of gods, heroes, and mortals crowded sanctuaries. Few, however, survive. This unprecedented exhibition unites fifty significant bronzes of the Hellenistic age. New discoveries appear with works known for centuries, and several closely related statues are presented side by side for the first time.

This exhibition was organized by the J. Paul Getty Museum, the Fondazione Palazzo Strozzi in Florence, and the National Gallery of Art in Washington, with the participation of the Soprintendenza per i Beni Archeologici della Toscana. It is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Bank of America is the National Sponsor of this touring exhibition. The Los Angeles presentation is also supported by the Getty Museum’s Villa Council, Vera R. Campbell Foundation, and the A. G. Leventis Foundation.

http://www.getty.edu/art/exhibitions/power_pathos/

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Etruscan Warrior, known as Marte of Todi

Giacobbe Giusti, Etruscan Warrior, known as Marte of Todi

 

 

V secolo a.C.

Musei Vaticani, Roma

It is a bronze statue, discovered in 1835, buried next to the walls of the Convent of Montesanto, very close to the Umbrian town of Todi, in the province of Perugia. The area was an ancient Etruscan settlement.

Like many Etruscan sculpture, we don’t know the author of the work. From the dedicatory inscription it is known that it was donated to the temple dedicated to Mars (god greek-Etruscan) by National Etruscan Tahal Trutitis.

The statue was found buried under slabs of travertine, and was probably achieved by a sunbeam, which revealed the presence.

It is currently displaied at the Vatican Museums in Rome (exactly in the Gregorian Etruscan Museum). The iron lance that no longer exists and the cup that the warrior wore originally exhibited separately.
http://www.giacobbegiusti.com

Giacobbe Giusti, Horses of Saint Mark

Giacobbe Giusti, Horses of Saint Mark

Bronze. Attributed to the Greek sculptor Lysippos, 4th century BCE.”>

Venice, Basilica of St. Mark
http://ancientrome.ru/art/artworken/img.htm?id=5739
http://www.giacobbegiusti.com

Giacobbe Giusti, Power and Pathos

Giacobbe Giusti, Power and Pathos

         

 

Head of Apollo, First century BCE–first century CE, bronze, 51 x 40 x 38 cm. Salerno, Museo Archeologico Provinciale.

By Alain.R.Truong

FLORENCE.- From 14 March to 21 June 2015, Palazzo Strozzi in Florence will be the first venue to host the major exhibition entitled Power and Pathos. Bronze Sculpture of the Hellenistic World organised and produced in conjunction with the J. Paul Getty Museum in Los Angeles, the National Gallery of Art in Washington and the Soprintendenza Archeologica della Toscana, Tuscany’s directorate general for archaeology. After Florence, the exhibition will travel to the J. Paul Getty Museum in Los Angeles from 28 July to 1 November 2015 and then to the National Gallery of Art in Washington, DC, from 6 December 2015 to 20 March 2016.

Statue Base signed by Lysippos, End of fourth–beginning of third century BCE, blue-grey limestone, 30 x 70.5 x 70,5 cm. Corinth, 37th Ephorate of Prehistoric and Classical Antiquities.

This important joint venture reinforces Palazzo Strozzi’s international reputation for excellence. The exhibition will showcase – for the first time in Florence – some of the greatest masterpieces of the ancient world from such leading Italian and international museums as the Museo Archeologico Nazionale in Florence, the Museo Nacional del Prado in Madrid, the Museo Archeologico Nazionale in Naples, the British Museum in London, the Metropolitan Museum of Art in New York, the Galleria degli Uffizi in Florence, the National Archaeological Museum of Athens, the Archaeological Museum of Heraklion (Crete), the Kunsthistorisches Museum in Vienna, the Archaeological Museum of Thessaloniki, the Musée du Louvre in Paris, the Vatican Museums and the Musei Capitolini in Rome.

Portrait Statue of Aule Meteli (Arringatore), Late second century BCE, bronze, 179 cm. Florence, Museo Archeologico Nazionale.

Power and Pathos features about 50 extraordinary sculptures in bronze and tells the story of the artistic achievements of the Hellenistic era (4th to 1st centuries BC), when new bronze-working techniques were developed, new forms of expression were explored, and a first globalized language of art emerged in the Mediterranean and beyond. In this cosmopolitan climate, Greek art, in effect, became an international phenomenon.

Statuette of Alexander the Great on Horseback, First century BCE, bronze, with silver inlays, 49 x 47 x 29 cm. Naples, Museo Archeologico Nazionale.

The vast Hellenistic empire founded by Alexander the Great stretched from Greece and the borders of Ethiopia to the Indus Valley, embracing Egypt, Persia, and Mesopotamia. Thus its astonishing output in the fields of art, history and philosophy enjoyed extensive dissemination. While the Classical Greek world was based essentially on the polis, or citystate, now art served more than the cities and their citizens and focused instead on the courts of Alexander’s successors. Artists devoted their skills to celebrating the rulers and their achievements, adopting and adapting Classical modes of expression to suit new needs.

Horse Head (“Medici Riccardi” Horse), Second half of the fourth century BCE, bronze, 81 x 95 x 40 cm. Florence, Museo Archeologico Nazionale.

The exhibition owes its unique character to bronze, an alloy of copper, tin, and often lead, so significant in ancient technology and art that Pliny the Elder dedicated an entire book to this medium. Bronze works are extremely rare today, and the vast majority of large bronzes from the ancient world are lost because they have been melted down over the centuries so that the metal could be used to mint coins and to manufacture arms. Immediately after casting, bronze was so dazzling that it resembled gold.

Head of a Man with Kausia, Third century BCE, bronze, faïence or alabaster, 32 x 27.9 cm. Pothia, Archaeological Museum of Kalymnos.

One of the reasons this show is an unprecedented, once-in-a-lifetime event is that it will allow visitors to admire works never before seen together: the bronze Apoxyomenos from Vienna alongside the Uffizi’s marble version used in its restoration; the two archaising Apollo-Kouroi from the Louvre and from Pompeii. Although all of these “pairs” have frequently been shown together in photographs, this is the very first time that any of them have been displayed side by side. A large number of the bronzes surviving to this day were found in the sea rather than on dry land. Spectacular underwater finds include the figure of a General (Lucius Aemilius Paullus?) found in the sea off Brindisi in 1992, and the Head of a Man with Kausia (discovered in the Aegean off the island of Kalymnos in 1997).

Portrait of a Diadoch (Demetrios Poliorketes?), 310–290 BCE, bronze, 45 x 35 x 39 cm. Madrid, Museo Nacional del Prado.

The discovery of the head of Apollo in the sea off Salerno in December 1930 was poetically described by Nobel Prize laureate Giuseppe Ungaretti: “Night had almost fallen and the anchovy fishermen were returning to port in single file. Gathering up their nets, one of the fishermen found […] a head of Apollo in his net. Holding it up in the palm of his lined hand and seeing it now imbued with new life in the light and appearing to bleed – where it had been severed at the neck – in the fire of the setting sun, the fisherman thought he was looking at St. John the Baptist. I myself have seen it at the Museum in Salerno; it may be by Praxiteles or possibly Hellenistic […] its indulgent and quivering smile hinting at an ineffable song of youth restored to life!”

Portrait of Arsinoë III, Late third century–early second century BCE, bronze, 30 x 20 x 30 cm. Mantua, Museo Civico di Palazzo Te.

Unlike Classical artists, who sought to convey a sense of balance and serenity, Hellenistic sculptors aimed to capture the full range of human feelings, from anger and passion to joy and anguish. They typically emphasised pathos, or lived experience, in the figures they depicted, and we find this also in the portraits of the men who rose to power in Alexander’s wake. Such portraits were designed to bolster the sitters’ legitimacy and dynastic connections through a combination of individual features both dramatic and idealised. Statues of athletes such as the so-called Apoxyomenos—a figure shown after the competition, holding a small curved instrument called a strigil used to scrape off sweat and dirt from the body— focus on the nude male body in its various forms. Artists no longer represent wholly idealised forms, as in the Classical era, but depict momentary details that vividly express physical and emotional states.

Statue of a Man, Second century BCE, bronze, 127 x 75 x 49 cm h. 30 cm (head). Brindisi, Museo Archeologico Provinciale “F. Ribezzo”.

Curated by Jens Daehner and Kenneth Lapatin of the J. Paul Getty Museum in Los Angeles, the exhibition offers a comprehensive overview of the Hellenistic bronze sculpture in its larger archaeological, cultural and geographical environments.

Portrait of a Man, First century BCE, bronze, 29.5 x 21.5 x 21.5 cm. Malibu, J. Paul Getty Museum.

Monumental statues of gods, athletes, and heroes will be displayed alongside portraits of historical figures—including select sculptures in marble and stone—in a journey allowing visitors to explore the fascinating stories of these masterpieces’ discovery, often at sea (Mediterranean, Black Sea) but also in the course of archaeological digs, thus setting the finds in their ancient contexts. Those contexts could be a sanctuary where they were used for votive purposes, a public space where they celebrated personalities or events, a home where they fulfilled a decorative function, or a cemetery where they commemorated the deceased. A unique feature of the Palazzo Strozzi exhibition is that it sets the works in context by also probing and exploring the production and casting processes and the finishing techniques adopted.

Statuette of a Ruler as Hermes or Perseus, First century BCE–first century CE, bronze, with base 80 x 30 x 25.4 cm. Naples, Museo Archeologico Nazionale.

Statue of a Young Man, Third–fourth century BCE, bronze, 152 x 52 x 68 cm. Athens, Ephorate of Underwater Antiquities.

Statuette of Hermes, c. 150 BCE, bronze, 49 x 20 x 15 cm. London, The British Museum.

Statuette of the Weary Herakles, Third century BCE or first century CE (?); copy of a fourth-century BCE bronze by Lysippos, bronze, silver, 35.9 x 17.5 x 14 cm h. 39 cm with base. Chieti, Museo Archeologico Nazionale d’Abruzzo.

Statuette of an Artisan, Mid-first century BCE, bronze, silver, 40.03 x 13 x 10.8 cm. New York, The Metropolitan Museum of Art.

Statuette of Herakles Epitrapezios (Herakles seated), First century BCE–first century CE, bronze, limestone, 75 x 67 x 54 cm h. 95 cm with base. Naples, Museo Archeologico Nazionale.

Statue of Eros Sleeping, Third–second century BCE, bronze, 41.9 x 85.2 x 35.6 cm. New York, The Metropolitan Museum of Art.

Portrait of a Man, End of second–beginning of first century BCE, bronze, glass paste, black stone, 32.5 x 22 x 22 cm. Athens, National Archaeological Museum.

Portrait of a Bearded Man, c. 150 BCE, marble, 40.7 x 25 x 31.7 cm. Malibu, J. Paul Getty Museum.

Head of a Votive Statue, 375–350 BCE, bronze, 24.3 x 15.5 x 15.5 cm.London, The British Museum.

Portrait of a Man, Late fourth–third century BCE, bronze, copper, glass paste, 26.8 x 21.8 x 23.5 cm. Paris, Bibliothèque nationale de France.

Portrait Statue of a Young Ephebe, First half of the first century BCE, bronze, with base 140 x 57.2 x 45.1 cm. Heraklion, Archaeological Museum.

Portrait Statue of an Aristocratic Boy, Augustan period (27 BCE–14 CE), bronze, 132.4 x 50.8 x 41.9 cm. New York, The Metropolitan Museum of Art.

Portrait of a Man, First century BCE, bronze, 43 x 26 x 25 cm. Naples, Museo Archeologico Nazionale.

Bust of a Man (Lucius Calpurnius Piso Caesoninus Pontifex), Late first century BCE–early first century CE, 46 x 28 x 23 cm. Naples, Museo Archeologico Nazionale.

Portrait of a Man, 50–25 BCE, bronze, copper, marble, 32 x 22 x 22 cm h. 22.5 cm (head). Copenaghen, Ny Carlsberg Glyptotek.

Statue of an Athlete (Apoxyomenos from Ephesos), 1–50 CE, bronze, 205.4 x 78.7 x 77.5 cm. Vienna, Kunsthistorisches Museum.

Head of an Athlete (Ephesos Apoxyomenos type), Second century BCE–first century CE, bronze, 29.2 x 21 x 27.3 cm h. 51.4 cm with base. Fort Worth, Kimbell Art Museum.

Statue of an Athlete (Ephesos Apoxyomenos type), Second century CE, marble, h. 193 cm. Florence, Galleria degli Uffizi.

Torso of an Athlete (Ephesos Apoxyomenos type), First century CE, basanite, h. 110 cm. Castelgandolfo, Musei Vaticani, Villa Pontificia, Antiquarium.

Herm of Dionysos (Getty Herm), Workshop of Boëthos of Kalchedon (attributed), Second century BCE, bronze, copper, calcitic stone, 103.5 x 23.5 x 19.5 cm. Malibu, J. Paul Getty Museum.

Athena (Minerva of Arezzo), 300–270 BCE, bronze, copper, 155 x 50 x 50 cm. Florence, Museo Archeologico Nazionale.

Medallion with the Bust of Athena, c. 150 BCE, bronze, white glass paste, 27.2 x 27.1 x 19 cm. Thessaloniki, Archaeological Museum.

Head of Aphrodite (?), First century BCE, bronze, 37x 30.5 x 29 cm. London, The British Museum.

Statue of Apollo (Piombino Apollo), 120–100 BCE, bronze, copper, silver, 117 x 42 x 42 cm. Paris, Musée du Louvre.

Statue of Apollo (Kouros), First century BCE–first century CE, bronze, copper, bone, dark stone, glass, 128 x 33 x 38 cm. Pompeii, Soprintendenza Speciale per i Beni Archeologici di Pompei, Ercolano e Stabia.

Torso of a Youth (The Vani Torso), Second century BCE, bronze, 105 x 45 x 25 cm. Tbilisi, Georgian National Museum.

Herm Bust of the Doryphoros, Apollonios (active late first century BCE), Late first century BCE, bronze, 58 x 66 x 27 cm. Naples, Museo Archeologico Nazionale.

Ephebe (Idolino from Pesaro), c. 30 BCE, bronze, copper, lead, h. 148 cm h. 300 cm with base. Florence, Museo Archeologico Nazionale.

Bust of an Ephebe (Beneventum Head), c. 50 BCE, bronze, copper, 33 x 23 x 20 cm. Paris, Musée du Louvre.

Spinario (Spinario Castellani), c. 25–50 CE, marble, cm 69 x 40,5 x 35. London, The British Museum.

https://francescarachelvalle.wordpress.com/2015/03/15/firenze-potere-e-pathos-bronzi/

http://alaintruong.canalblog.com/archives/2015/03/14/31700771.html

http://www.giacobbegiusti.com

Giacobbe Giusti, ‘Found statue of Minerva, the mythical goddess described in the Aeneid’

Giacobbe Giusti, ‘Found  statue of Minerva, the mythical goddess described in the Aeneid’

 

 

 

An extraordinary discovery to these days in Salento. Researchers may have found the statue of Minerva, the goddess told by Virgil in the Aeneid. The statue was found in the historic center of the city of Castro, at a depth of three meters under the ground, the archaeological team led by Amedeo Galati, who for six years working on the site. History and myth intertwine again. Below is the image gallery.

The work dates back presumably to the fourth century BC and may represent the goddess Minerva, thus confirming the hypothesis of the discoverers of the find, although the format for short kilt that would assume that this is un’Artemide. In this connection it will be useful the investigations carried out in the near future, in collaboration with the Superintendence of Archaeological Heritage, the University of Salento and the City of Castro. Kept three meters from the ground to the center of Castro, the statue is devoid of the head and other anatomical details, but shows exceptional traces of purple. The continuing discoveries: archaeologists have discovered also the phalanx of a finger and arm, and we hope to find out in time the other elements missing. The measurements of the statue in its original and not damaged had to be impressive, it is estimated about 4 meters.

Crediti Fotografie: Pasquale Rizzo

The exact spot where it was found the statue

 

In addition to the historical side of the story the discovery reopens an old debate about taste location of the place that was home to the myth of Aeneas. As informs leccenews24, who is constantly following the developments on the discovery, excavation, financed by the European Union, will continue under the supervision of the University of Salento and the Superintendence for Cultural Heritage.

If that Aeneas is a legend or not does not matter, the discovery now allows us to date and circumscribe a place really existed and described more than two thousand years ago, linked to the most fascinating episodes narrated in the Aeneid: the return of the Trojan hero in Italy .

http://www.ufoonline.it/2015/07/05/statua-di-minerva-eneide/

http://www.giacobbegiusti.com

Giacobbe Giusti, ‘Horses of Saint Mark’

Giacobbe Giusti, ‘Horses of Saint Mark’

 

“Horses of Saint Mark.”

Bronze. Attributed to the Greek sculptor Lysippos, 4th century BCE.”>

Venice, Basilica of St. Mark.
http://ancientrome.ru/art/artworken/img.htm?id=5739
http://www.giacobbegiusti.com

Credits:

Giacobbe Giusti, ‘Minerva statue found in Italy – where, according to Virgil, Aeneas landed’

Giacobbe Giusti,  ‘Minerva statue found in Italy – where, according to Virgil, Aeneas landed’

The “fortress with the temple of Minerva”, where according to Virgil Aeneas landed after the fall of Troy, could be in Salento. In recent days in Castro a group of archaeologists led by Amedeo Galati has found a mutilated statue female large. The work dates back presumably to the fourth century BC and may represent the goddess Minerva, thus confirming the hypothesis of the discoverers of the find, although the format for short kilt that would assume that this is un’Artemide. In this connection it will be useful the investigations carried out in the near future, in collaboration with the Superintendence of Archaeological Heritage, the University of Salento and the City of Castro. Kept three meters from the ground to the center of Castro, the statue is devoid of the head and other anatomical details, but shows exceptional traces of purple. The continuing discoveries: archaeologists have discovered also the phalanx of a finger and arm, and we hope to find out in time the other elements missing. If it were possible to reassemble the statue would be at least four meters high (text by Lorenzo Madaro, photos of Pasquale Rizzo)

http://bari.repubblica.it/cronaca/2015/07/04/foto/salento_scoperto_il_busto_di_minerva_cantato_nell_eneide-118334961/1/#1

Minerva

This article is about the Roman goddess. For other uses, see Minerva .

Minerva
Goddess of poetry, medicine, wisdom, commerce, weaving, crafts and magic.
Member of the Capitoline Triad
Mosaic of the Minerva of Peace
Animals	Owl of Minerva
Parents	Jupiter and Metis
Greek equivalent	Athena
Etruscan equivalent	Menrva

Religion in ancient Rome
Marcus Aurelius (head covered) sacrificing at the Temple of Jupiter
Deities List of Roman deities Twelve major gods Capitoline Triad Aventine Triad underworld gods indigitamenta
Deified emperors Divus Julius Divus Augustus
Related topics
Glossary of ancient Roman religion Roman mythology Ancient Greek religion Etruscan religion Gallo-Roman religion Interpretatio graeca Decline of Greco-Roman polytheism

Minerva (/mɪˈnɜr.və/; Latin: [mɪˈnɛr.wa]; Etruscan: Menrva) was the Roman goddess of wisdom and sponsor of arts, trade, and strategy. She was born with weapons from the head of Jupiter.^[1] After impregnating the titaness Metis Jupiter recalled a prophecy that his own child would overthrow him. Fearing that their child would grow stronger than him and rule the Heavens in his place, Jupiter swallowed Metis whole. The titaness forged weapons and armor for her child while within the father-god, and the constant pounding and ringing gave him a headache. To relieve the pain, Vulcan used a hammer to split Jupiter’s head and, from the cleft, Minerva emerged, whole, adult, and bearing her mother’s weapons and armor. From the 2nd century BC onwards, the Romans equated her with the Greek goddessAthena.^[2] She was the virgin goddess of music, poetry, medicine, wisdom, commerce, weaving, crafts, and magic.^[3] She is often depicted with her sacred creature, an owl usually named as the “owl of Minerva“,^[4] which symbolizes that she is connected to wisdom.

• 1 Etruscan Menrva
• 2 Worship in Rome
• 3 Universities and educational establishments
• 4 Use by societies and governments
• 5 Public monuments, places and modern culture
• 6 See also
• 7 References and sources
• 8 External links

Etruscan Menrva

Main article: Menrva

Stemming from an Italic moon goddess *Meneswā (‘She who measures’), the Etruscans adopted the inherited Old Latin name, *Menerwā, thereby calling her Menrva. It is assumed that her Roman name, Minerva, is based on this Etruscan mythology, Minerva was the goddess of wisdom, war, art, schools and commerce. She was the Etruscan counterpart to Greek Athena. Like Athena, Minerva was born from the head of her father, Jupiter (Greek Zeus).

By a process of folk etymology, the Romans could have linked her foreign name to the rootmen- in Latinwords such as mens meaning “mind”, perhaps because one of her aspects as goddess pertained to the intellectual. The word mens is built from the Proto-Indo-European root *men- ‘mind’ (linked with memory as in Greek Mnemosyne/μνημοσύνη and mnestis/μνῆστις: memory, remembrance, recollection, manush in Sanskrit meaning mind).

Worship in Rome

Raised-relief image of Minerva on a Roman gilt silver bowl, 1st century BC

Temple of Minerva in Sbeitla, Tunisia

Minerva was part of a holy triad with Tinia and Uni, equivalent to the Roman Capitoline Triad of Jupiter-Juno-Minerva. Minerva was the daughter of Jupiter.

As Minerva Medica, she was the goddess of medicine and doctors. As Minerva Achaea, she was worshipped at Lucera in Apulia where votive gifts and arms said to be those of Diomedes were preserved in her temple.^[5][6]

A head of “Sulis-Minerva” found in the ruins of the Roman baths in Bath

In Fasti III, Ovid called her the “goddess of a thousand works”. Minerva was worshiped throughout Italy, and when she eventually became equated with the Greek goddess Athena, she also became a goddess of war, although in Rome her warlike nature was less emphasized.^[7] Her worship was also taken out to the empire — in Britain, for example, she was conflated with the local wisdom goddess Sulis.

The Romans celebrated her festival from March 19 to March 23 during the day which is called, in the neuter plural, Quinquatria, the fifth after the Ides of March, the nineteenth, an artisans‘ holiday . A lesser version, the Minusculae Quinquatria, was held on the Ides of June, June 13, by the flute-players, who were particularly useful to religion. In 207 BC, a guild of poets and actors was formed to meet and make votive offerings at the temple of Minerva on the Aventine Hill. Among others, its members included Livius Andronicus. The Aventine sanctuary of Minerva continued to be an important center of the arts for much of the middle Roman Republic.

Minerva was worshipped on the Capitoline Hill as one of the Capitoline Triad along with Jupiter and Juno, at the Temple of Minerva Medica, and at the “Delubrum Minervae” a temple founded around 50 BC by Pompey on the site now occupied by the church of Santa Maria sopra Minerva facing the present-day Piazza della Minerva. When it was founded the emperor himself was present and was applauded and seen to be a god for this act.

Universities and educational establishments

Main article: Minerva in the emblems of educational establishments

As patron goddess of wisdom, Minerva frequently features in statuary, as an image on seals, and in other forms, at educational establishments.

https://en.wikipedia.org/wiki/Minerva

http://www.giacobbegiusti.com

Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique

Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique

stimento di Potere e pathosda Palazzo Strozzi (Firenze)

 

 

http://www.giacobbegiusti.com

http://www.giacobbegiusti.com

Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique

estimento di Potere e pathosda Palazzo Strozzi (Firenze)

Giacobbe Giusti, Puissance et Pathos, bronzes du monde hellénistique

Di: Palazzo Strozzi (Firenze)

Florence – Heureux les tempêtes et les naufrages qui ont conservé ces quelques unes des merveilles de l’art de la sculpture en bronze. La mer nous a donné non seulement le Bronzes de Riace, chefs-d’œuvre de grec classique, mais aussi de nombreuses autres œuvres plus ou moins intactes les siècles qui ont vu le grand projet impérial d’Alexandre le Grand. Nous sommes dans une période de grandes contaminations créatifs entre l’Occident et l’Orient grec mésopotamienne et perse, un vaste territoire qui a fait jusqu’à l’Indus pour limiter la force expansive du Macédonien. Des siècles d’expérimentation artistique nouvelle, séries de Périclès classique, que l’exposition “Puissance et Pathos, bronzes du monde hellénistique “, ouvert au public depuis hier 14 Mars au Palazzo Strozzi, documents avec 50 parmi les mieux conservés de bronze fonctionne dans les grands musées du monde: par Archéologique de Florence, Naples, Athènes, Thessalonique, Crète, al British Museum, Prado, la Galerie des Offices, il Metropolitan di New York, Louvre, le Kunsthistorisches Museum de Vienne et le Vatican.

 

Allestimento di Potere e pathosda Palazzo Strozzi (Firenze)

 

L’impact de la rencontre avec ces pièces en grande partie retournés de la mer est vaste intellectuel et émotionnel. Jusqu’à présent, il ne était pas possible de les voir tous ensemble, comme à Florence, triés dans une exposition cohérente et bien illustré par les légendes (sept sections thématiques, divisé par sujet, changements de style et de sensibilité artistique et le potentiel de la technique de bronze) sous le chiffre conceptuelle exprimées droit: puissance et pathos. Décédé à la force d’innovation des cités grecques, commence L’impact de la rencontre avec ces pièces en grande partie retournés de la mer est vaste intellectuel et émotionnel. Jusqu’à présent, il ne était pas possible de les voir tous ensemble, comme à Florence, triés dans une exposition cohérente et bien illustré par les légendes (sept sections thématiques, divisé par sujet, changements de style et de sensibilité artistique et le potentiel de la technique de bronze) sous le chiffre conceptuelle exprimées droit: puissance et pathos. Décédé à la force d’innovation des cités grecques, commence l’ère des rois, ouverte Alexandrie aventure exceptionnelle. L’art abandonne le pouvoir archaïque de l’humanité qui a pris possession de son existence et de l’équilibre, en harmonie avec la divinité et de la nature, pour représenter l’image de la puissance héroïque et dramatique et, à la fois, les multiples facettes de la beauté qui devient de plus en plus une expression des émotions et des sentiments. Sentiments qui sont lus sur les visages de beaucoup de charme que celui de Diadoque, générale et héritier d’Alexandre (peut-être Démétrius Poliorcète) zone à cheval sur la quatrième et troisième siècles avant JC. têtes S portrait du premier siècle ou même le buste de Lucius Calpurnius Piso, le Pontife. Du point de vue de la compréhension technique et artistique, la pièce la plus intéressante est celle de ‘Apoxyomenos, l’athlète strigile, l’outil pour nettoyer le corps par la sueur, pas pris dans une fixité parfaite, mais le débit instantané de l’action. La statue complete conservé à Vienne est comparé à plusieurs répliques dans différents matériaux, comme la version en marbre Uffizi, ou pierre sombre. –

 

                                       

La troisième section, dédiée à «corps idéaux, organismes extrêmes “, illustre les changements de style et la recherche de nouveaux sujets tirés de la vie quotidienne. La dynamique du corps est étudiée avec une grande précision de détails dans les personnages très différents de Kouroi classique puissante mais essentiellement immobiles, le modèle de qui retourne dans le goût fin de l’hellénisme. Reproduction peau parfaite, le mal rasé, Ride, la conception des muscles et les veines sont quelques-unes des possibilités que les subventions de bronze artiste

Organisée par Jens Daehner et le J. Paul Getty Museum de Los Angeles Kenneth Lapatin, L’exposition sera ouverte au Palazzo Strozzi jusqu’au 21 Juin. Ensuite, il déménager à Los Angeles (28 Juillet – 1 Novembre) de mettre fin à son voyage à la National Gallery of Art de Washington (6 Décembre – 20 Mars 2016).

– See more at: http://www.stamptoscana.it/articolo/cultura/bronzi-ellenistici-in-mostra-il-volto-del-potere-il-potere-dei-volti?lang=fr#sthash.VaEmpwzE.dpuf

 

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estimento di Potere e pathosda Palazzo Strozzi (Firenze)