Paper 2 - Boston MFA

On June 9th I visited the Boston Museum of Fine Arts and spent the day enjoying their vast collection. I was taken by a painting called “Isabella and the pot of basil” by John White Alexander, which was based on a poem by Ketats which was drived by a Renaissance story by Boccaccio.

I also enjoyed “Room No V”, a textured and complex painting by Eldzier Cortor

and a ceramic Greek water jar from 520 BC that depicted the dragging of Hektor.

However, I was most drawn to the cover of one of the two Etruscan tombs on display. I’ve always been interested in history, and having grown up with a father who immigrated from Sicily I’ve been particularly fascinated with Greek and Italian history. I am familiar with the Etruscan civilization from my own research and learned even more about them through the Italian Civilization and Culture class I took here at Albertus. I remain impressed with their culture and the way in which it heavily influenced Roman culture. I knew this ancient work of art was the one I would write on when I found myself excitedly explaining the Etruscan culture and its significance to the friend who had come with me. Particularly, I am taken by the fact that Etruscan women enjoyed many rights and freedoms that have traditionally been denied to women throughout history. I found the fact that the Etruscans carefully sculpted affectionate couples on their religiously significant tombs to be a confirmation that women were both highly valued and respected in Etruscan society.

The sarcophagus is Italic, Etruscan, Late Classical or Early Hellenistic Period (350-300 BC) and was found in Vulci, Lazio Italy, one of several Etruscan burial sites. It is a tomb for a married couple, Thanchvil Tarnai and her husband Larth Tetnies, son of Arnth Tetnies and Ramtha Vishnai. The cover of the tomb depicts the couple embracing in bed.

The other images on the sides of the sarcophagus aren’t necessary symbolic, although they are mythological. This is an image of two griffins attacking a horse, and two lions fight a bull.

The long side of the sarcophageus depticts Greeks and Amazons in combat.

The Etruscans belief in the afterlife was similar to the Egyptians, so the contents of their tombs were linked to their prosperity after death. What we know of the status of women in Etruscan civilization is found in art, incriptions, artifacts and Roman and Greek literature. Art shows us that men and women sat together (unlinke in Greece and Rome) in domestic settings and sporting events, and held affection for eachother, that funeral games were held for women as well as men, and that women’s clothing was meant for use and not simply decoration. Inscriptons reveal that women held their own names and in dealth were referred to by both paternal and maternal names. Female artifacts such as mirrors were decorated with mythological design and writing giving the impression that females were literate. Finally, Greek and Roman literature concerning Etruscan woman may be critical, but nevertheless it lets us know that these women enjoyed many freedoms and held a high place in society.

The style of this sculpture is late Classical / early Hellenistic. Notable characteristics of Late Classical/early Hellenuistic sculpture is the introduction of gracefulness and sensuality in the figures, even with male subjects. On this sarcophageus, this gracefulness and sensuality can be seen in the smooth, curving form of the figures, the delacate details as well as their affectionate position. The female nude was is also introduced at this time and may have influenced this sculpture as the figures are essentialy naked except for nominal coverage by a form hugging sheet. Finally, the pieces at this time revealed improved the depth and dimension so that it could be appreciated frm each angle.

This sculpture is no exception. Although it is certainly lovely from above, as one walks around the sarcophageus, hidden details come to life and facial expressions tell a story. You can see this in the two different views of the same picture below.

This too is charastic of the time it was created as Hellenistic sculptors tended to depict realistic figures that expressed a specific emotinal or physical state.

Upon approaching the marble tomb, I saw a large rectangular object that represents a bed with the deceased couple lying on top of it. (This picture is from the MFA website...it captures the details much better than I was able to with my camera...especially because I'm only 5' 1"!!!)

There were various friezes and decorations sculpted into the sides of the sarcophageous. The bed itself is clearly defined, complete with pillows, posts and a sheet. There is a pattern to the right below the figures that seems to depict a mattress of sorts. This detail brings a warm, welcoming feel to the sculpture. The couple is life sized and they fill the bed comfortably with room to spare. They appear natural and relaxed in each others arms and truly have a human presence. So much so, it feels as though we as observers are interrupting a private moment between the two. This effect is accomplished by their realistic size, familiarity, and ease with each other as well as their emotional facial expressions. In fact, the feature my eye was most drawn to was the affectionate pose of the couple. Thanchvil’s countanence glows with an adoring smile while Larth gazes longingly in her eyes. The delecate way in which the couple holds eachother is quite touching. Especially touching is the loving manner in which Thanchvil’s hand is posed as it curls tenderly around her husband’s neck.

To me, this indicates that this was the way the couple and the society as a whole wanted to be remembered: loving, happy, and in a realistic, homey, every day situation. This reveals that Etruscan culture valued its women, home and family life. Additionally this helped me to understand why it is believed that not only were women valued, they perhaps enjoyed a position in society that is similar to that of the modern female. Certainly, their status was more similar to our position than that of any Roman, Greek, or Medieval woman.

The far end of the rectangular sarcophageus cover is framed with a three posted headboard against which two pillows rest.The couple’s heads lay upon the pillows and are very detailed. Each facial feature is full of character, suggesting that these were true representations of the deceased.

Thanchvil has shoulder length curly hair that is adorned with a circlet of some kind. An ornate earring can be seen hanging from her ear. Her husband has shorter curly hair, his face is covered with a pronounced beard and his wrist is encircled by a twisted bracelet. Neither is wearing clothing, perhaps because it had been painted on the marble at one point. As mentioned previously, the couple’s arms are wrapped around each other. There is a sheet covering their naked forms and it is close fitting, contouring to their bodies, and draping in a natural way. The sheet forms a V where their elbows bend in their embrace. This creates a life-like pose and seems to capture a moment, as though the sheet moved as they reached out toward each other.

This V also helps to create a heart shape in the upper portion of the sculpture, with the couple’s heads forming the top of the heart, and the gathered sheet the bottom.

Their legs nearly join at the knees in an hourglass shape which accentuates their intimate pose. The couple’s feet nearly touch the three posted footboard which is the exact match of the headboard.

http://en.wikipedia.org/wiki/Etruscan_civilization

http://encarta.msn.com/encyclopedia_761561631_5/Greek_Art_and_Architechture.html

moses.creighton.edu/clark/Roman%20Women/RomanWomen1.13.05.ppt