The Flickr Tyrrhenian Image Generatr

VOICI "LA MARINA" et "LA CITADELLE" de la "VILLE BONIFACIO"
en CORSE du SUD, FRANCE

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Sunset, San Vincenzo, Tuscany, Mediterranean, Italy

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Freighter, sunset, and the island of Capraia from San Vincenzo, Tuscany, Mediterranean, Italy

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Capo Testa, Sardegna

Canon EOS 760D
TAMRON 16-300mm F/3,5-6,3
f/10
1/250
39 mm
ISO 100
www.urkophotography.com

The Tyrrhenian-style neck amphora has a typically tall, ovoid body; a short neck with a raised fillet at the join of the shoulder; and an inverted echinus foot. The scene on side A depicts a wedding procession of the gods. At right, Hermes is at the head of the procession. He wears a short white tunic, red chlamys, winged boots, and holds a caduceus. He looks back at two goddesses, one of whom stands with hands raised in front of a black and a white horse pulling a biga (chariot). Behind the pair of horses, a second goddess holds up wreaths and torches. The goddesses greet the bridal couple, a bearded man and a woman holding her veil before her face, who stand in the biga. Behind them is Dionysos, who wears a crown of white ivy leaves and a long red mantle. Dionysos looks back at two goddesses at the rear of the procession, the first of whom carries a wreath. Between the figures are vertical nonsense inscriptions in the field.

Side B (not seen here) shows two warriors in single combat, each holding a shield in front of them and brandishing spears. Behind the nude warrior on the right, who is armed with a Corinthian crested helmet and greaves, is a woman holding a wreath, and old man with white beard and hair, and another woman. Following the warrior at left, wearing a Corinthian crested helmet, white tunic, and greaves, is a similar threesome: a woman who raised both hands toward the combatants, an elderly man holding a spear, who raises one hand to his forehead in alarm; and another woman. There are nonsense inscriptions in the field.

The outer edge of the rim is decorated with intertwining lotus buds. On the neck is a frieze of addorsed lotus-palmettes, below which is a thick black band. The top of the shoulder has alternating black and red tongues. Below the figural frieze on the shoulder, from top to bottom, are three thin bands, a thick black band, three thin bands, alternating black and red tongues, an addorsed lotus-palmette frieze, alternating black and red tongues, a pair of thin bands, a broad black band, intertwining lotus blossoms and buds, a black band, and rays around the base. The top of the foot is black with two red lines at the outer edge. Substantial areas of the black glazed handles, bands, and foot are misfired red. Added red is used for the figures’ drapery, the chest of the black horse, and on the subsidiary ornament; added white for female flesh, a horse, and the drapery of the groom and Hermes.

This type of ovoid amphora with densely patterned friezes is known as "Tyrrhenian," a term derived from the Greek word for Etruscans, "Tyrsenoi." Some two hundred amphorae of this shape and bold style were produced during the second quarter of the 6th century BCE in an Athenian workshop for export overseas, and most have been found in Etruria. A majority come from the cemeteries of Vulci and Cerveteri.

Greek, Athens (Attic), ca. 550-545 BCE. Attributed to the Pointed Nose Painter.

Getty Villa Museum, Pacific Palisades, California (96.AE.311)

Formerly at the center of a legal battle between the Toledo Museum of Art and the U.S. Attorney's Office, U.S. Immigration and Customs Enforcement (ICE), and the Italian government, this hydria (or kalpis) was finally repatriated to Italy in 2012.

The water jug was created in the Etruscan city-state of Vulci at the end of the 6th century BCE. At the time, Vulci was an important political and artistic center, famous as the birthplace of the legendary sixth king of Rome, Servius Tullius (reigned 578-535 BCE). The vase was probably created in the workshop of an artist known to us today as the Micali Painter.

At the end of the 6th century BCE, Micali was the most prolific artist of black-figure pottery, a style imported from Greece a century before. This kalpis was looted by tombaroli - tomb robbers - from an underground tomb sometime before 1981, and sold to the Toledo museum the following year.

The kalpis - which is a small variety of an hydria, but still a water vessel - depicts a scene from the life of Dionysus, where he punishes pirates who try to kidnap him for ransom or to sell him into slavery by turning them into dolphins. The men dive into the sea, mid-transformation, to escape the wrath of the god. Most of the men depicted on the kalpis still have human legs, but one on the left - touched by a sprig of ivy, one of the attributes of Dionysus - is transforming in the opposite way, his legs transformed into a dolphin's fluke, but retaining his human upper half. Note Triton in the register above, carrying two dolphins away - to what fate, we're never told.

Today, the kalpis is displayed in the Museo Nazionale Etrusco di Villa Giulia (National Etruscan Museum of the Villa Giulia) in Rome.

-- Information courtesy of The History Blog. To see their full write-up on the events surrounding the return of this kalpis to Italy, go to: www.thehistoryblog.com/archives/17713.

Sunset from San Vincenzo, Tuscany, Mediterranean, Italy

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Villa del Barone, Piombino, Tuscany, Mediterranean, Italy

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Via Krupp

LA TRÈS BELLE "VILLE de CÉFALÙ" et la "MONTAGNE ROCCA"
SUR la "MER TYRRHENIENNE"en SICILE, ITALIE

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Capri

Elba Island with Monte Capanne (1019m) from San Vincenzo, Tuscany, Mediterranean, Italy

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