Necropolis of Banditaccia, Cerveteri, Roma, Lazio, Italy, Europe
The necropolis of Banditaccia is an Etruscan necropolis located on a tufaceous rise northwest of Cerveteri, in the province of Rome. The necropolis covers about 400 hectares and there are many thousands of burials (the fenced and visitable part represents only 10 hectares of extension and has about 400 tumuli), from the oldest of the Villanovan period (IX century BC) to the most recent from the Etruscan period (3rd century BC). Its origin is to be found in a nucleus of Villanovian tombs in the Cava della Pozzolana locality, and the name Banditaccia derives from the fact that from the end of the nineteenth century the area was banned, that is rented by tender, from the landowners of Cerveteri to favor of the local population. Given its grandeur, the Necropolis of Banditaccia is the largest ancient necropolis in the Mediterranean area. The oldest burials are Villanovian (from the ninth century BC to the eighth century BC), and are characterized by the shape of a well, where the ashes of the deceased were kept, or from the pits for burial. From the 7th century BC, the Etruscan period, there are two types of burial, those with a mound and those with a dice. The latter consist of a long line of tombs regularly lined up along sepulchral streets. In the visitable part of the Necropolis of Banditaccia there are two of these streets, Via dei Monti Ceriti and Via dei Monti della Tolfa, dating back to the 6th century BC The tumulus burials are characterized by a circular tuff-like structure that encloses a representation of the house of the deceased, complete with a corridor (dromos) to access the various rooms. The wealth of details in the interior of these graves has allowed archaeologists to learn about the Etruscan home uses.
For this purpose the best burial appears to be the tomb of the Reliefs, dating back to the 4th century BC and belonged to the family of the Matunas, as we read in the inscriptions: the inside of the tomb was kept in particularly good conditions, allowing to observe also the frescoes on the walls and on the columns. The most recent burials are from the 3rd century BC Many of the finds found in the necropolis are collected in the National Etruscan Museum of Villa Giulia in Rome and in many other museums scattered all over the world, while only a small part of the funeral objects found loco is kept in the National Cerite Museum. Since July 2004, the necropolis of Banditaccia, along with that of the Monterozzi of Tarquinia, has become part of the list of UNESCO World Heritage Sites.
From tomb to museum: the story of the Sarpedon Krater
Euphronios, Sarpedon Krater, (signed by Euxitheos as potter and Euphronios as painter), c. 515 B.C.E., red-figure terracotta, 55.1 cm diameter (National Museum Cerite, Cerveteri, Italy)
ARCHES: At Risk Cultural Heritage Education Series
Speakers: Dr. Erin Thompson and Dr. Steven Zucker
The National Archaeological Museum of Cerveteri - ENG
New multimedia route. The National Cerite Museum
Cerveteri and Pyrgi | Italia Slow Tour
(ENG) Take this interesting historical and archaeological Slow Tour in Lazio, following the path of ancient Etruscan: welcome to Cerveteri and to the Etruscan port Pyrgi, set in a stretch of the Tyrrhenian Sea between Civitavecchia and Rome! Travel in time with some expert guides who know everything about the history - and the legends - of these places. Visit the Castle of Santa Severa, the archaeological area of ancient Pyrgi, its sanctuaries and the Antiquarium, the necropolis of the Banditaccia and the National Archaeological Museum of Cerveteri.
Special thanks to Regione Lazio - Agenzia Regionale del Turismo for the aerial shots of the Caslte of Santa Severa
================================
(ITA) Museo Archeologico Nazionale e necropoli della Banditaccia di Cerveteri, Area archeologica e Antiquarium di Pyrgi
Tour storico e archeologico nel Lazio, seguendo le orme degli Etruschi, lungo le coste del mare Tirreno tra Roma e Civitavecchia. Visiteremo insieme l’area archeologica del santuario e del porto di Pyrgi e il suo antiquarium presso il castello medievale di Santa Severa, per poi spingerci alla ricerca del tumulo di Montetosto lungo l’antica via Caere-Pyrgi e concludere con una visita alle celebri tombe della necropoli della Banditaccia e al Museo Archeologico Nazionale di Cerveteri, le cui raccolte si sono recentemente arricchite grazie alla restituzione dei celebri vasi opera di Euphronios, restituiti finalmente all’Italia dopo una complessa vicenda giudiziaria.
================================
Cover pic by Flickr User MCAD Library
► Visit MiBACT official web-site:
► Visit the official page of MiBACT website dedicated to slow tour:
► Visit Museum and Necropolis of Cerveteri official web-site:
► Lazio itineraries on Italia Slow Tour:
► Your travel in Italy continues on Italia Slow Tour
► Become our Ambassador and be our guest in your next trip to Italy
► Subscribe Italia Slow Tour youtube channel
► Subscribe Italia Slow Tour mailing list
Museo Vivo di Cerveteri - Museo Cerite - ENG
In the Archaeological Museum of Cerveteri visitors are involved in a highly innovative exhibition, realized for the first time in Italy, that allows them to interact directly with the finding simply toughing the glass of the showcase, transformed into veritable transparent touch screen , no longer separating element but amazing tools of communication and user involvement. Piero Angela guides the visitor through the museum, first in an introductory video and then with short films telling the story of the individual finds selected by visitors in interactive displays.
Euphronios Krater - Cratere di Euphronios, Museo Nazionale Cerite, Cerveteri (manortiz)
Euphronios Krater - Cratere di Euphronios, Museo Archeologico Nazionale, Cerveteri
Materia e tecnica: argilla depurata e dipinta
Autore: Euxitheos (vasaio), Euphronios (ceramografo)
Datazione: 510 a. C.
Provenienza: Cerveteri
Trafugato all'inizio degli anni settanta del Novecento da una delle necropoli di Cerveteri, forse quella monumentale di Greppe Sant'Angelo, il vaso è stato restituito da poco all'Italia dal Metropolitan Museum of Art di New York, a conclusione di una lunga trattativa.
Firmato da Euxitheos come vasaio e da Euphronios come ceramografo, è tra i più conservati dei ventisette vasi dipinti dall'artista, il più abile pittore del gruppo cosiddetto dei Pionieri che alla fine del VI secolo a.C. svilupparono la tecnica a figure rosse sul fondo nero del vaso. Si data intorno al 510 a.C., poco prima che il maestro per l'indebolimento della vista si dedicasse alla sola attività di vasaio .
Sul lato principale del cratere è raffigurato uno degli episodi più commoventi della guerra di Troia, celebrato da Omero nel XVI canto dell'Iliade: la morte di Sarpedonte, figlio di Zeus e re dei Lici, che, come alleato dei Troiani, cadde per mano di Patroclo. La scena coglie il momento drammatico in cui Hermes, messaggero degli dei, guida le personificazioni del Sonno (Hypnos) e della Morte (Thànatos) nell'atto di trasportare il corpo trafitto dell'eroe in patria, ove avrà degna sepoltura.
Sul lato secondario è la scena dei giovani che si armano prima della battaglia, forse un'allusione al destino di morte che li accomuna a Sarpedonte.
Nella straordinaria composizione dei personaggi della scena principale la mano del grande maestro si rivela nella perfezione naturalistica delle figure, nella padronanza dello scorcio, nell'accurata resa anatomica e nel modo di stendere la vernice più o meno diluita per dare il senso del volume.
Euphronios krater
Side A: Sarpedon’s body carried by Hypnos and Thanatos (Sleep and Death), while Hermes watches ( The Lycian champion Sarpedon perishes from the wounds he has received in the Trojan war; the twin winged gods Hypnos (Sleep) and Thanatos (Death) bear him home)
Side B: Athenian youths arming themselves
Attic red-figured calyx-krater signed by by Euxitheos, as potter and by Euphronios, as painter - ca. 515 BC. H. 45.7 cm (18 in.); D. 55.1 cm (21 11/16 in.).
Formerly in the Metropolitan Museum of Art, New York ; Returned to Italy and exhibited in Rome as of January, 2008. Now in the National Archeologica Museum of Certveteri
Euphronios Krater, National Archeological Museum of Cerveteri manortiz
Euphronios krater
Side A: Sarpedon’s body carried by Hypnos and Thanatos (Sleep and Death), while Hermes watches ( The Lycian champion Sarpedon perishes from the wounds he has received in the Trojan war; the twin winged gods Hypnos (Sleep) and Thanatos (Death) bear him home)
Side B: Athenian youths arming themselves
Attic red-figured calyx-krater signed by by Euxitheos, as potter and by Euphronios, as painter - ca. 515 BC. H. 45.7 cm (18 in.); D. 55.1 cm (21 11/16 in.).
Formerly in the Metropolitan Museum of Art, New York ; Returned to Italy and exhibited in Rome as of January, 2008. Now in the National Archeologica Museum of Certveteri
Museo Cerite: Vetrina del biconico ITA
Il filmato illustra l'allestimento interattivo delle vetrine parlanti presente al Museo archeologico Etrusco di Cerveteri. Toccando con un dito il vetro davanti all'oggetto di interesse, si attivano diversi elementi che rispondono alla richiesta di informazioni: - si spengono le luci della vetrina e si illumina l'oggetto prescelto con luce opportunamente collocata, anche per rendere scenograficamente più spettacolare l'oggetto. - si attiva un breve video, ad altezza opportuna, che sembra avvolgere il reperto. Nel video si descrive l'oggetto nei suoi dettagli, ma anche lo si contestualizza con altri oggetti ovvero lo si ricolloca nella tomba nel quale è stato ritrovato. - si attiva un breve racconto audio, che commenta le immagini. Una narrazione breve, ma istruttiva e coinvolgente.
In particolare questo filmato illustra in modo interattivo e dettagliato le caratteristiche di alcuni vasi greci.
MOMA to return smuggled art to Italy
1. Exterior of the Metropolitan Museum of Art in New York
2. Interior Museum gallery
3. Various shots of the Euphronios Krater
4. Detail on the Euphronios Krater
STORYLINE:
New York's Metropolitan Museum of Art told Italy on Thursday it would return several important antiquities Italy says were illegally smuggled from the country - a breakthrough in a dispute that both sides said could soon be officially resolved.
Lawyers for the museum presented a revised proposal to the Culture Ministry on transferring legal title to six disputed antiquities from the Met's collection to Italy.
The items include the Euphronios Krater, a 6th-century B.C. painted vase that is widely regarded as one of the finest examples of its kind.
Once Italy has legal title to the treasures, it could bring them home if it wanted to, according to a spokesman.
In exchange, the Italian government would provide to the Metropolitan long-term loans of works of art of equivalent beauty and importance, the Met said in a written statement.
Culture Minister Rocco Buttiglione will meet with Met chief Philippe de Montebello from Feb. 14-15 in Rome and hopes the meeting will lead to a definitive approval of the agreement, the ministry said in a statement.
Ministry officials called the Met's draft proposal an important step forward in resolving the long-standing dispute, which returned to the spotlight amid a crackdown by Italian authorities on tracking down antiquities it says were illegally taken from the country.
The Met said it had made the proposal after it received evidence from Italy about the items' origins.
In addition to the Euphronios Krater, the Met said it would also return the 3rd century Morgantina silver collection, which was smuggled out of
Sicily, as well as four other objects, including Greek earthenware treasure dating from 320 B.C. to 520 B.C.
The Euphronios Krater, a red and black painted vase, or calyx, has been described by former Met Director Thomas Hoving as one of the finest examples of its kind, a super-gem.
It is on display in a gallery on the museum's ground floor, although not prominently.
You can license this story through AP Archive:
Find out more about AP Archive:
Ramblers Adagio - Tarquinia, Italy - Necropolis and Archaeological Museum
Ramblers Adagio Holidays-Etruscan heartlands- Tarquinia. Italy Necropolis and Archaeological Museum
Necropoli La Banditaccia, Tomba dei Rilievi Tomb of the Reliefs, in Cerveteri (manortiz)
Banditaccia: Tomba Del Pilastro ENG
Virtual tour of Cerveteri - Necropolis of Banditaccia
Cerveteri, Necropoli etrusca La Banditaccia - UNESCO World Heritage Centre (manortiz)
Etruscan Necropolises of Cerveteri and Tarquinia - UNESCO World Heritage Centre
These two large Etruscan cemeteries reflect different types of burial practices from the 9th to the 1st century BC, and bear witness to the achievements of Etruscan culture. Which over nine centuries developed the earliest urban civilization in the northern Mediterranean. Some of the tombs are monumental, cut in rock and topped by impressive tumuli (burial mounds). Many feature carvings on their walls, others have wall paintings of outstanding quality. The necropolis near Cerveteri, known as Banditaccia, contains thousands of tombs organized in a city-like plan, with streets, small squares and neighbourhoods. The site contains very different types of tombs: trenches cut in rock; tumuli; and some, also carved in rock, in the shape of huts or houses with a wealth of structural details. These provide the only surviving evidence of Etruscan residential architecture. The necropolis of Tarquinia, also known as Monterozzi, contains 6,000 graves cut in the rock. It is famous for its 200 painted tombs, the earliest of which date from the 7th century BC.
Justification for Inscription
Criterion (i): The necropolises of Tarquinia and Cerveteri are masterpieces of creative genius: Tarquinia's large-scale wall paintings are exceptional both for their formal qualities and for their content, which reveal aspects of life, death, and religious beliefs of the ancient Etruscans. Cerveteri shows in a funerary context the same town planning and architectural schemes used in an ancient city.
Criterion (iii): The two necropolises constitute a unique and exceptional testimony to the ancient Etruscan civilisation, the only urban type of civilisation in pre-Roman Italy. Moreover, the depiction of daily life in the frescoed tombs, many of which are replicas of Etruscan houses, is a unique testimony to this vanished culture.
Criterion (iv): Many of the tombs of Tarquinia and Cerveteri represent types of buildings which no longer exist in any other form. The cemeteries, replicas of Etruscan town planning schemes, are some of the earliest existing in the region.
Le lumachine Etrusche della Necropoli di Cerveteri
Rilassanti e belline
Museo Etrusco Marzabotto visita guidata 2_di_3.mp4
Visita guidata al Museo Etrusco Pompeo Aria di Marzabotto. Ad accompagnare i visitatori è la Direttrice del Museo Paola Desantis.
Il video è diviso in 3 parti di circa 20 minuti ciascuna.
Museo Nazionale Etrusco Villa Giulia
Un esperienza magica in un luogo dove vengono protetti gli spiriti degli dei e di popoli scomparsi ma che ci ricordano ogni giorno la nostra profonda identità.
Cammino sul tuo sonno eterno
Il tuo cuore sprigiona un profumo che dal petto sale dalla terra e avvolge tutto ogni singola pietra ogni angolo
il tuo amore per questa terra si sente nell'aria ti entra nei pori e si ferma nell'anima
mette le radici nei nostri corpi e ci accompagna......per sempre
Silvia Settesoldi
Palazzo Vitelleschi Sky Tour
Assessorato al Turismo della Città di Tarquinia - Sky Tour del Palazzo Vitelleschi, sede del Museo Archeologico Nazionale Tarquiniense - Made in Skylab Studios
AL MUSEO ETRUSCO DI CERVETERI (by Quirino MARTELLINI)
Sabato 13 giugno 2015, alle ore 15 circa, il nostro Gruppo di esploratori assieme alla Dottoressa MAZZA, dopo essersi ben rifocillati, ha visitato questo gioiello dei Beni Culturali italiani le cui mura, ricordiamolo, sono state donate da Donna Ruspoli all'Ente statale di riferimento perchè ne destinasse l'uso, appunto, all'esposizione permanente di opere etrusche di valore. Possiamo ammirare, tra le tante magnificenze, il famoro VASO DI EUFRONIO in cui la bellezza estetica tocca il suo apice per il genere di produzione artigiana a cui ci riferiamo. QUIRINO
Euphronios, Death of Sarpedon, Leodomos, Hypnos, Hermes, Thanatos, Hippolitos (manortiz)
“ Ungilo d’ambrosia e vestigli veste immortale
e dallo da portare ai rapidi portatori,al Sonno e alla Morte,
che velocemente lo deporranno nella grassa contrada licia,
là l’onoreranno i fratelli ed i compagni di tomba e stele;
questo è l’onore dei morti
(Iliade XVI 670-674)
[670] and anoint him with ambrosia, and clothe him about with immortal raiment, and give him to swift conveyers to bear with them, even to the twin brethren, Sleep and Death, who shall set him speedily in the rich land of wide Lycia. There shall his brethren and his kinsfolk give him burial [675]