Last visit : September 2023
My rating : 7/10
Visit duration: 2 hours
For whom : for history and archaeology enthusiasts
Introduction
The National Etruscan Museum of Villa Giulia in Rome is one of the most important exhibition centers dedicated to the Etruscan civilization. Located in the splendid setting of Villa Giulia, the museum is not only a container of extraordinary finds, but also a place where the visitor can immerse themselves in the Renaissance aesthetics of the building, in harmonious dialogue with antiquity. Founded in 1889 to collect Etruscan testimonies from Latium Vetus, Sabina and Southern Etruria, the museum today houses a collection that ranges from funerary objects to architectural terracottas, up to exceptional figurative art artefacts.
The museum, in addition to containing a surprising quantity of artefacts of great interest and works of great artistic value (in particular numerous Attic vases, the result of intense commercial activity between the Greek and Etruscan civilisations), is a true initiatory journey into the knowledge of the Etruscan civilisation, which reached a very high cultural, technological and artistic level and was definitively integrated into Roman civilisation in very advanced times, close to the beginning of the 1st century AD.
Villa Giulia: The Renaissance Container
Villa Giulia, built between 1551 and 1553 at the behest of Pope Julius III, represents one of the pinnacles of the Roman Renaissance suburban villa, organically combining Vitruvian principles and antiquarian suggestions in a project of extraordinary formal coherence. Conceived as a home of delights, the structures of the villa are divided into a succession of spaces calibrated according to a rigorous geometric plan, which finds its fulcrum in the sequence of courtyards and the monumental nymphaeum.
The architecture of the villa is the work of a team of highly regarded designers: Jacopo Barozzi da Vignola took care of the general definition of the layout, while Bartolomeo Ammannati contributed significantly to the scenographic organization of the garden and the nymphaeum. Giorgio Vasari, present at the construction site, collaborated above all in the decorative apparatus. The architectural organism is divided into a main rectangular volume, with a tripartite portico that leads to the courtyard of honor, closed by an exedra and punctuated by Doric columns over which an Ionic order is superimposed. The use of smooth ashlar and molded cornices gives sober elegance to the façade, dominated by an attic with rectangular openings alternating with niches.
An element of absolute singularity is the nymphaeum , conceived as a scenographic architecture arranged on several levels, which takes up the models of ancient artificial caves. The entrance is marked by an arched loggia, beyond which opens an underground space decorated with mosaics, stucco stalactites and masks with Mannerist influences. The nymphaeum, conceived to celebrate papal power in a mythological key, culminates in a monumental fountain with water games, framed by a semi-cycle with overlapping orders, in which rustic and classical elements blend harmoniously.
Villa Giulia, although conceived as a place of otium, embodies a refined balance between antiquarian erudition and compositional rationality, anticipating many solutions of Baroque classicism.
The Sarcophagus of the Spouses
Among the most famous works in the museum is the celebrated Sarcophagus of the Spouses , a masterpiece of Etruscan sculpture in polychrome terracotta dating back to the 6th century BC and originating from Cerveteri: the artefact represents one of the highest expressions of Etruscan plastic art from the archaic period. The sarcophagus, in the shape of a convivial bed ( klinè ), depicts a reclining couple with serene expressions and affectionate gestures. The work bears witness to the social role of Etruscan women, significantly more emancipated than contemporary Greek and Roman societies. The fluid style and expressive vivacity make the sarcophagus an emblem of archaic Etruscan art.
From a technical point of view, the artifact is composed of several fragments fired separately and then assembled, a typical practice of Etruscan clay art, the execution of which required considerable skill in modeling and firing. The terracotta, originally polychrome, still retains traces of pigments, suggesting the use of color to emphasize anatomical details and clothing.
The iconography of the sarcophagus differs from contemporary Greek and Italic funerary customs, which tended to depict the deceased in static or hieratic poses. Here, instead, we see a symposium scene, in which the two characters, with stylised faces of evident Ionian origin, are portrayed in a serene and affectionate pose. The man, wrapped in a light cloak, makes a welcoming gesture with his right arm, while the woman, adorned with jewels and with a headdress typical of Etruscan matrons, extends her left arm in a gesture that could allude to the pouring ritual or to a symbolic offering.
The work bears witness to the prestige of the Etruscan aristocratic class and the preeminent role of women in society, in stark contrast to the female condition in the contemporary Greek world. The plastic rendering of the bodies, with elongated proportions and archaic smiles, fits fully into the orientalizing Ionic style, widespread in Etruria thanks to contacts with the Greek-Anatolian world.
The importance of the Sarcophagus of the Spouses lies, therefore, not only in its extraordinary artistic workmanship, but also in the underlying cultural message: a vision of the afterlife permeated by conviviality, affection and social equality, distinctive traits of Etruscan civilization.
The Apollo of Veii
Another cornerstone of the collection is the Apollo of Veio , a masterpiece of archaic Etruscan sculpture (late 6th century BC), an imposing polychrome clay statue, attributed to the workshop of the master Vulca , active in the sanctuary of Portonaccio in Veio. Preserved at the National Etruscan Museum of Villa Giulia , it constitutes a paradigmatic example of Etruscan votive sculpture, exemplifying the technical-artistic ability in the working of terracotta.
The work, approximately 1.80 metres high, was part of an acroterial decorative cycle that adorned the roof of the temple dedicated to Minerva. The figure of Apollo is captured in a dynamic advance, with his left leg stretched forward and his torso slightly inclined, giving an almost scenographic sense of movement. The modelling, although still influenced by archaic Ionic conventions, shows an intense expressiveness, with the face characterised by an archaic smile and large almond-shaped eyes. The body, covered by a tight chiton and a short draped cloak, expresses a refined plastic sensitivity, emphasised by the anatomical details rendered with incisive furrows.
The polychrome technique, evidenced by traces of pigments, suggests a lively and theatrical rendering, functional to the perception of the statue in the temple context. The comparison with the contemporary Apollo of Tenea attests to the persistence of the Ionic-Attic influence, mediated however by a peculiar Etruscan interpretation, in which one senses the tension between orientalizing tradition and stylistic innovations that anticipate the full classical phase.
The Ficoroni Cista
The Cista Ficoroni , a masterpiece of Etruscan-Italic toreutic art, is a refined bronze container from the Hellenistic period (4th century BC), preserved at the National Etruscan Museum of Villa Giulia . Discovered in Palestrina, the ancient Praeneste, it represents one of the most famous Praeneste cista, produced with the technique of burin engraving and lost-wax casting.
The cista is cylindrical, with a lid surmounted by a bronze statuette depicting the standing Dioscuri , a typical element of the Greek iconographic repertoire. The zoomorphic lateral handles, in the shape of lion heads, are cast separately and applied. The decoration engraved on the body of the cista is of extraordinary finesse: it illustrates an episode of the Theban cycle, the recognition of Amphiaraus by Eriphyle, a subject of Hellenic origin but reworked according to an Italic taste.
The dedicatory inscription on the lid, attributed to the donor Dindia Macolnia , testifies to the prestige of the cista as an object of aristocratic grave goods. The function of the cista was linked to the female world, intended to contain cosmetic instruments, reflecting the cultural syncretism between Etruscans, Latins and Greeks.
The value of the Cista Ficoroni lies not only in its craftsmanship, but also in its ability to reveal artistic and social interactions in central Italy in the 4th century BC, offering an emblem of the luxury and refined iconographic sensibility of the Praenestine elite.
The Tomb of the Reliefs
One of the most evocative sections of the museum is the one dedicated to funerary objects, among which the materials from the Tomb of the Reliefs in Cerveteri stand out. This hypogeum, dating back to the 4th century BC, is famous for its stucco decorations that simulate furnishings and objects of daily life, providing a vivid glimpse of Etruscan existence. The accuracy of the depictions, from weapons to household utensils, testifies to the belief in the afterlife as an extension of earthly life, a peculiar trait of Etruscan spirituality.
The Pyrgi Plates
The Pyrgi Plates , engraved in gold and dating back to the 5th century BC, represent one of the most important epigraphic testimonies of Etruscan civilization. Found in the sanctuary of Pyrgi, the ancient port of Cerveteri, these bilingual inscriptions in Etruscan and Phoenician attest to the commercial and cultural relations between the Etruscans and the Semitic world. Their content, relating to a dedication to the goddess Uni (assimilated to the Phoenician Astarte), constitutes a primary source for understanding Etruscan religion and politics in the Mediterranean.
The Euphronios Krater
Among the most valuable ceramic finds, the Euphronios Krater stands out, a superb example of Attic red-figure pottery, attributed to the famous Greek ceramist Euphronios. This vase, used to mix wine and water during banquets, is decorated with mythological scenes of great narrative and stylistic finesse. The presence of Attic artefacts in Etruscan contexts demonstrates the refined taste of the local aristocracies and their role as cultural mediators between the Greek world and ancient Italy.
The Goldsmiths of Tarquinia
One of the most precious parts of the museum is made up of goldsmith work from Tarquinia, including fibulae, pendants and diadems in finely worked gold. These jewels, made with the granulation technique, show a technical virtuosity that rivals the best oriental productions. Gold, a symbol of status and power, was not only an ornament, but also assumed a ritual value, as evidenced by the funerary depositions.
Conclusions
The National Etruscan Museum of Villa Giulia is not just an exhibition space, but a bridge between past and present, between Etruscan culture and modern sensibility. Its collections provide a vivid image of a civilization that has left an indelible mark on the history of Italy. A visit to Villa Giulia is therefore an essential experience for anyone who wishes to understand the cultural roots of the peninsula and immerse themselves in the greatness of the ancient Etruscan people.
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