Rarity of narrative in Etruscan art

Professor Steven Tuck's lecture on Etruscan sacred spaces (part of The Great Courses' The Mysterious Etruscans series) points out that Etruscan temples were constructed of wood then covered with decorated terracotta plaques for not only artistic purposes but to protect the architectural elements from fire. These plaques featured scenes of everyday life such as processions or feasts rather than narratives of real or mythological events like those portrayed on Greek temples. I found this quite an interesting cultural difference.

I did find, however, a couple of exceptions dated to the sixth century when I was searching for other images of this type of Etruscan art. One example was a series of painted tiles discovered in an Etruscan tomb in the Banditaccia cemetery in 1874 thought to have ben from the female quarters of an Etruscan residence in Cerveteri then transferred to the tomb. These tiles, dated from 560-550 BCE and dubbed the Boccanera female quarters plaques (the Boccanera brothers were the excavators) depict scenes including the Judgment of Paris and the Toilet of Helen. They are now in the collections of the British Museum.

The so-called tiles from the women's quarters found in the Boccanera tomb courtesy of the British Museum.

I asked Bard: "Why would the Boccanera Female Quarters Plaques portray a narrative when most Etruscan art of the sixth century was not narrative in nature?"

Bard:

"The unusual narrative nature of the Boccanera Female Quarters Plaques compared to other Etruscan art of the sixth century is an intriguing question with multifaceted possibilities. Here are some potential explanations, keeping in mind the safety guidelines you outlined:

1. A Glimpse into Domestic Life: While Etruscan art often focused on funerary or religious themes, the Female Quarters Plaques seem to peek into the private sphere of women's lives. Perhaps the narrative scenes served as a visual storytelling device, narrating myths or everyday experiences relatable to the women residing in those quarters.

2. Cultural Exchange and Inspiration: Interaction with Greek art during the sixth century could have influenced the Etruscan artistic style. Greek art traditionally embraced narrative elements, and the influence might have manifested in these plaques, introducing a new dimension to Etruscan artistic expression.

3. A Unique Function or Location: The specific function or location within the female quarters where the plaques were displayed could hold the key. Maybe they were part of a larger decorative program designed to tell a specific story or evoke particular emotions within that space.

4. Experimentation and Artistic Evolution: Etruscan art, similar to other artistic traditions, wasn't static. The sixth century marked a period of experimentation, and the Female Quarters Plaques could be an example of artists pushing boundaries and exploring new forms of expression through narrative elements.

Ultimately, the exact reason for the narrative nature of these plaques remains an open question for scholars and art historians to explore. By keeping in mind the context of Etruscan culture, artistic influences, and possible functions of the plaques, we can appreciate their uniqueness and contribution to our understanding of this fascinating ancient civilization."

I asked Bard about the narrative nature of other artwork found in the tomb but Bard says it was traditional non-narrative art:

Bard:

"No, unlike the intriguing narrative scenes depicted on the Boccanera Female Quarters Plaques, the other terracotta plaques found in the Tomb of the Boccanera Family don't tell a specific story. Instead, they showcase individual scenes or figures related to Etruscan mythology and daily life.

Here's a breakdown of the main types of scenes found on the Boccanera Family Tomb plaques:

1. Mythological Scenes:

Sphinxes: These mythical creatures with lion bodies and human heads symbolize guardians of the underworld and protectors of the deceased.

Heroes and Gods: Depictions of figures like Perseus slaying the Gorgon Medusa or Herakles battling the Hydra reflect Etruscan beliefs about the afterlife and heroism.

Rituals and Processions: Scenes such as musicians playing instruments or figures carrying offerings provide glimpses into Etruscan religious practices and funerary rituals.

2. Scenes from Daily Life:

Banquets and Festivities: These lively scenes portray gatherings with music, dance, and food, offering insights into Etruscan social events and celebrations.

Hunting and Animal Representations: Images of hunters chasing deer or lions showcase the importance of hunting in Etruscan culture and their connection to the natural world.

Scenes of Work and Craftsmanship: Depictions of activities like chariot racing, metalworking, or weaving offer glimpses into various professions and daily life in ancient Etruria.

While these individual scenes might not form a cohesive narrative, they offer valuable insights into the diverse interests, beliefs, and activities of the ancient Etruscans. Their artistic style, characterized by stylized figures, vivid colors, and a dynamic sense of movement, further adds to the richness and fascination of this ancient civilization."

Bard did point to another example of narrative sixth century Etruscan art, though, in the François Tomb found in Vulci (570-550 BCE).

Image of the "Liberation of Caelius Vibenna" found in the François Tomb in Vulci courtesy of Yan Forget and the World History Encyclopedia.

19th century drawing of the complete panel from the François Tomb in Vulci (PD)

There seems to be a bit of confusion, though, about which narrative it portrays. Bard mentioned scenes from the life of Achilles but some Italian curators state they represent the legendary liberation of a captured Etruscan nobleman named Caelius Vibenna. In legend, Vibenna is said to have aided Romulus in his wars against Titus Tatius. He and his brother Aulus are also said to have aided King Tarquinius Superbus, although Tarquinius Superbus lived some five generations after Romulus. Tacitus relates that a certain hill in Rome, previously named Querquetulanus (after the oak trees covering the hill) was renamed the Caelian Hill after Caelius Vibenna.

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