Sunday, October 4, 2020



Piazzale di Villa Giulia

1551/55 Giorgio Vasari (1511/74), Bartolomeo Ammannati (1511/92) e Jacopo Barozzi detto Vignola (1507/73 at the behest of Pope Julius III Ciocchi del Monte (1550/55),

During the nineteenth century the building was used as a warehouse and as a military hospital

In the ATRIUM two frescoes by Taddeo Zuccari (1529/66)

SEMICIRCULAR PORCH painted by Pietro Venale (active 1541/83) with lunettes painted by Prospero Fontana (1512/97) father of Lavinia Fontana

1553 by Giorgio Vasari and Bartolomeo Ammannati, plumbing by Jacopo Barozzi aka Vignola

On the main floor THREE BOARDROOMS painted by Prospero Fontana


It opened in 1888 with five rooms where objects found in Falerii were exhibited

Two modern wings were built in the thirties of the twentieth century

The first 18 of the 35 rooms of the museum are currently closed:

Room 19

"Sarcophagus of the Spouses" about 530 BC from Cerveteri, temporarily placed in this room

Augusto Castellani Collection

Sold to the Italian state in 1919, it consists of more than 6,000 objects of which about 1,000 bronze pieces, with all classes of Greek and Etruscan-Italic ceramics from 700/600 BC until Roman times and Important bronzes, as well as numerous fragmented pieces


"Mixtures and ceramics red on white" of the Orientalizing period (725/575 BC)

"Series of buccheri from Etruria" 600/500 BC

"Two olpai of the Chigi group"

"Crater" by the Painter of the Louvre

"Group of balsam containers" end of the seventh/early sixth century BC

"Crater with volutes made in a Laconian factory" 580/570 BC decorated with large lotus flowers

"Amphora-psykter with Judgement of Paris"

"Two Caeretan hydrie" of the early sixth century BC

"Situla from Paestum" about 310 BC with warrior with high crest helmet with large feathers


"Hydria with Heracles and Geryon" 560/540 BC by Lydos

"Lip-cup" by Tleson

"Piecemeal Dinos" by Exekìas

"His world is pervaded by the heroic spirit of the Homeric poems. He is a painter and potter, extremely creative in both fields; in fact the invention of two new pottery forms is attributed to him: the crater cup and the cup with handles shaped as big eyes" (Claudia Lambrugo)

"Two Attic amphoras" by Nikosthenes

"Ceramic maker and owner of a workshop with keen business acumen, Nikosthenes was active in the second half of the sixth century BC. He must have had a significant commercial success with Etruscan customers. He seemed to know them and also seemed to cunningly know how to meet their needs, creating new forms of vases, especially welcome in the market of Cerveteri and Vulci; among these there was a type of amphora know as ‘nicostenica’ with wide and flat loops in imitation of an Etruscan product made out of bucchero" (Claudia Lambrugo)

"Amphora with bathing women" by the Painter of Priam

"Vases like this have sparked an intense debate on the status of women in Athens at the time of Pisistratus: could it be reasonable to admit that the Athenian women led a freer life than what literary sources often seem to imply" (Claudia Lambrugo)

"Amphora" by Antimenes

RED-FIGURED ATTIC JARS (about 520/440 BC):

"Kylix" by Oltos

"Blingual amphora" by the Painter of Pamphaios

Three vessels including "Pelike with courtship of adolescent" 500/490 BC by the Berlin Painter

"Kylix" by the Painter of Brygos

"One of the most prolific painters of the first Severe style is the Painter of Brygos active between 480 and 470 BC, who is named after the potter who signed a dozen cups attributed to his hand; the style derives from Onesimos and it is characterized by a remarkable vivacity of expression; a style that loves movement and animation" (Marina Castoldi)


Some "Vases repainted" by Gnathia

"Lekane" by the Painter of Brunicki

Numerous black painted vases


Extensive exhibit of containers for banquets and objects for personal adornment or related to women toiletries, including

"Cist from Preneste with kit" first half of the third century BC

"Kit from the Castellani Tomb" (Palestrina, 700/675 BC) tomb of the most famous of the orientalizing Tyrrhenian period including "Three bronze shields"


"Bronze goblet with caryatids" about 625/600 BC from Caere

"Group of lacunars" about 525/500 BC from Tarquinia

Extensive series of Etruscan-Roman and Italic statuettes and including the famous "Statuette of Alexander hunting" of Greek production

Room 20

Castellani Collection

Unique collection of gold items, one of the richest in the world with jewelery from 700 BC until the nineteenth century

Galeassi Tomb

Matrimonial kit of the early seventh century BC found in 1861 in Palestrina:

"Breastplate in gold and amber"

"Three pendants configured in amber"

Beautiful "Golden crowns"

"Charm necklace shaped as small amphora" IV century BC from Tarquinia

In this room are exhibited also Roman jewelry, late ancient and barbaric jewelry, Italian modern art jewelry, jewelry from the Far East, fine jewelry from the New World and fine micromosaics

Room 21 – Room of Venus or of the Seasons

Room known as Room of Venus or Room of the Seasons for the frescoes that decorate it

Findings from PYRGI (Santa Severa)

TEMPLE A dedicated to Leucotea-Ilizia:

"High relief with the myth of the Seven Against Thebes" (Tideus bites the head of Athena with Melanippus watching in horror) about 470/460 BC decorating the back side of the temple columen

Antefixes of Temple A: "Heracles Bibax" and beautiful "Female head maybe of Thesa-Leucotea" about 350/325 BC

TEMPLE B dedicated to the Phoenician goddess Astarte (the Etruscan Uni), the oldest one:

"Prancing front right"

"Great phiale" 490/480 BC

AREA C dedicated to the "chthonic" cult  or infernal and long building of twenty cells: “Antefixes”

Room 22

"Gold foils from Pyrgi" also from the Area C with dedication inscribed in Etruscan and Phoenician languages of the king of Caere Thefarie Velianas to the goddess Uni

"Hoard of coins from Syracuse"

"Votive dedication of Tanachvil Cartherai to Thesan"

Room 23

"Apollo struggling with Heracles for the possession of the cerinite doe” about 510 BC from the Temple of Apollo in Veii, in the locality known as Portonaccio, restored in 2004

"Goddess with child in her arms"

Both statues are attributed to the school of Vulca and they were placed temporarily in this hall

"The harmony of proportions, the supreme quality of the finish give way to an irrational power that favors movement and physicality on formal perfection and strength so to force in this way the integument of rationality of Greek art" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)

Three rooms dedicated to the history of the museum

Two windows of the nineteenth century exhibit with pieces from the Agro Falisco relevant to the original section of the collection

Room 24 and 25

Dedicated to the history of the museum with models and documents

Room 26 - Capena and smaller Latin towns of the Agro Falisco

CAPENA (Sabine origin):

"Dish of the Elephant" about 275 BC from the grave 233 (IV) from the Necropoli delle Macchie (necropolis of the spots) in Capena

"Embossed armor shaped as a disk decorated with fantastic animals" in bronze, about 625 BC with the contemporary "Plaques for belt"

Vascular kit of the Tomb CXIV from the Necropolis of S. Martino among the richest of the orientalizing period in Capena (late eight/early seventh century BC)



Large "Clay support with horses and chains"


Attic pottery from the necropolis of Cupa

"Alabastron" in Ionic bucchero, rare example of Greek-Eastern ceramic imported in the agro falisco


Findings from Vigna Penteriani

Room 27 - Narce

Narce was the most important town in the southern area of the agro falisco, by the River Treja between Mazzano and Calcata:

"Rich Kit of a Knight" from the grave 4 (XXXIV) of Petrina (730/720 BC)

Reconstruction of the "Chariot" about 600 BC from the necropolis of Contrada Morgi

"Necklace of gold" seventh century BC from the Tomb of th Gold Pieces

Large "Bronze Shields" about 600 BC from the necropolis of Petrina C

Room 28 - Falerii Veteres, Civita Castellana

The oldest examples of funerary rites (eighth and seventh century BC)

"Urn in bronze foil shaped as a house" about 650 BC from the necropolis of Montarano

"Kit from the tomb 8 (XLVII) in Celle" with "Banquet tableware with holmos, kantharos and amphora" and "Pair of amphoras with four recessions and decoration in red on white"

Room 29 - Falerii Veteres

Economic and social rise of Falerii Veteres (sixth and fifth century BC) until the period of the great flowering of the fourth century BC

" Attic Kylix with black figures" about 535 BC with Dionysus playing a lyre

"Two Attic Rython with red figures"

"Rython shaped with the head of adog" by the Painter of Brygos

"Rython shaped as an astragalus" first half of the fifth century BC

"Stamnos with Heracles and the Centaur Pholos" by the Painter of Argo

"Crater of the Dawn with volutes: Eos and Kephalos on one side and on the other Teti Pepleo" about 350 BC by the Painter of the Dawn, a masterpiece of the local production

Room 30 - Sanctuaries of Falerii Veteres

Architectural fragments of the Temple of Mercury at the Sassi Caduti (Fallen Rocks) about 480 BC including "Acroterion with two warriors in battle"

Fragments from the Temple of Apollo at Scasato including "Torso of Apollo" late fourth/early third century BC

Room 31 – Second Temple at Scasato

Fragments from the Second Temple (possibly Minerva) to Scasato including:



"Juno" early fourth century BC in which it is possible to see the influence of Attic art in the second half of the fifth century BC

"Fragments from the Sanctuary of Vignale" with important deposit of votive offerings (stipe) consisting of heads and masks

"Fragments from the Sanctuary of Juno Curite in Celle” about 350 BC including "Female life-size statue" mid fourth century BC, with richly draped and decorated mantle, belonging to the restructuring that incorporated the first chapel of the Archaic period

Room 32 - Smaller towns of the Latium Vetus


Materials from deposits of votive offerings (stipi) and fragments of antefixes and architectural polychrome terracotta which decorated the entablature and the sloping gable of a temple in the countryside, the Etruscan-Italic temple of Alatri which was reconstructed in 1890 outside the museum in real size


Deposit of votive offerings (stipe) in the Pescarella district with various objects dating back from the fourth to the second century BC


Deposit of votive offerings (stipe) of the Acquoria


"Antefissa a female head with openwork nimbus" about 500 BC from the Temple of Juno Sospita


"Clay model of building, probably a temple, with gabled roof" from Colle Ottone


"Remains reliefs of pediment with scene with at least three groups of people dueling" 500/480 BC from the Temple of Juno Moneta


Funerary objects with "Skeleton in a coffin made with an oak trunk" about 700/650 BC

Room 33 - Satricum

Village of about 30 huts which developed from the ninth to the seventh century BC

Fine ceramic

Furnishings of ivory and bronze

Outstanding amount of amber pieces

Fine tableware including "Drinking horn in bronze" from the Northwest Necropolis

Materials from the archaic deposit of votive offerings (stipe) and from the more recent stipe

"Polychrome high reliefs of the pediment of the Temple II" with myth of the Amazonomachy 500/480 BC

Room 34 - Palestrina


"Throne" 675/650 BC in bronze foil


"Lebes on support in bronze plate"

Pieces of Ivory and objects of metalwork such as clasps

"Plate with plastic decoration"


Among the jewelry pieces there are two rectangular "clasps" with small heads of felines

"Silver gilt patera with pharaoh triumphing over his enemies, the king hunting and theories of horses and birds” 675/650 BC

"The choice of symbolism and iconography of certain Levantine and Egyptian origin, albeit probably reworked from a workshop in Cyprus in the late eighth, early seventh century BC, shows the full adoption by the Tyrrhenian aristocracies of this figurative language, foreshadowing at the same time their will to agree with a whole world of rules and values ​​directly inspired by that of the oriental dynasties" (Lucio Fiorini)

Another "Silver patera with Egyptian design"

"Small cauldron with heads of snakes" about 575/550 BC

Rare "Blue glass cup"

"Cup with Vetusia inscription” about 675/650 BC with the oldest epigraphic documentation attested in ancient Latium: the personal name Vetusia written in Etruscan characters refers to similar names that would be found in later periods in Vulsini (sixth century BC) and in Chiusi


Large collection of bronze mirrors and cists from Preneste including the masterpiece "Ficoroni Cist" about 310 BC by Novios Plautios with an episode of the myth of the Argonauts on which the name “Rome” appears for the first time on a work of art

"Vase made as a cage with strigil" and animal shaped wooden boxes

Room 35 – Umbrian Cities


Weapons for men and female ornaments X/VIII century BC from the necropolis discovered during works to build the steelworks in Terni


Kits from the "Tomb so-called of the child" and from the "Tomb 9" in the necropolis of Boschetto-Ginepraia


Kits from burial grounds of Malpasso and Cartiere including "Wooden barrels with straps in bronze" about fifth century BC


Tomb of Warrior, end of the fifth century BC from the locality known as S. Raffaele:

"Parade helmet of Attic type in bronze"

"Red-figure Attic Kylikes"

"Red-figure Attic Crater" 460 BC by the Painter of Florence

Tomb of the gold pieces in the necropolis of Peschiera, first half of the third century BC:

"A pair of large earrings with pendants shaped as a female head"

"Mirror engraved with a scene of the Judgement of Paris"

Bronze figures including "Patera with handle", "Oinochoe shaped as a beak" and "Thyiaterion shaped as a caryatid"

Also placed provisionally in this room:

"Bucchero with archaic Etruscan alphabet engraved" from Cerveteri about 610 BC

Superb "Olpe Chigi" 640/625 BC from Formello (Veii) with lion hunt, Judgement of Paris and fighting between Greeks

"It provides important information on military history, showing the beginning of the supremacy of hoplites on the cavalry, and exemplifies technically and stylistically the best of Protocorinthian vase painting" (John Griffiths Pedley)

"It marks the time when the black-figured Corinthian style reaches its maximum expressive potential, with figures arranged in depth on spaces finally free from geometric fillers, according to a rudimentary, but effective, principle of perspective and with extensive retouching colored in white, yellow, red and brown. A recent re-reading (Torelli) of the entire iconography of the Olpe suggested a very tight ideological construct, similar to that which, a few decades later, would be represented on the François Crater. If the reading is valid, the Olpe Chigi signifies the moralizing manifesto for the educational curriculum of young Corinthian aristocrats" (Claudia Lambrugo)

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