Sarcophagus of the Spouses

Prompt: Focus on Sarcophagus of the Spouses and explain the abstract.

The Sarcophagus of the Spouses (Italian: Sarcofago degli Sposi) is a tomb effigy considered one of the masterpieces of Etruscan art. The Etruscans lived in Italy between two main rivers, the Arno and the Tiber, and were in contact with the Ancient Greeks through trade, mainly during the Orientalizing and Archaic periods. The Etruscans were well known for their terracotta sculptures and funerary art, predominantly sarcophagi and urns. This sarcophagus is a late sixth-century BCE Etruscan anthropoid sarcophagus found at the Banditaccia necropolis in Caere, and is now located in the National Etruscan Museum of Villa Giulia, Rome.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Explain the abstract of this artwork, Sarcophagus of the Spouses.

The Sarcophagus of the Spouses (Italian: Sarcofago degli Sposi) is a tomb effigy considered one of the masterpieces of Etruscan art. The Etruscans lived in Italy between two main rivers, the Arno and the Tiber, and were in contact with the Ancient Greeks through trade, mainly during the Orientalizing and Archaic periods. The Etruscans were well known for their terracotta sculptures and funerary art, predominantly sarcophagi and urns. This sarcophagus is a late sixth-century BCE Etruscan anthropoid sarcophagus found at the Banditaccia necropolis in Caere, and is now located in the National Etruscan Museum of Villa Giulia, Rome.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: How does Sarcophagus of the Spouses explain its abstract?

The Sarcophagus of the Spouses (Italian: Sarcofago degli Sposi) is a tomb effigy considered one of the masterpieces of Etruscan art. The Etruscans lived in Italy between two main rivers, the Arno and the Tiber, and were in contact with the Ancient Greeks through trade, mainly during the Orientalizing and Archaic periods. The Etruscans were well known for their terracotta sculptures and funerary art, predominantly sarcophagi and urns. This sarcophagus is a late sixth-century BCE Etruscan anthropoid sarcophagus found at the Banditaccia necropolis in Caere, and is now located in the National Etruscan Museum of Villa Giulia, Rome.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: In Sarcophagus of the Spouses, how is the abstract discussed?

The Sarcophagus of the Spouses (Italian: Sarcofago degli Sposi) is a tomb effigy considered one of the masterpieces of Etruscan art. The Etruscans lived in Italy between two main rivers, the Arno and the Tiber, and were in contact with the Ancient Greeks through trade, mainly during the Orientalizing and Archaic periods. The Etruscans were well known for their terracotta sculptures and funerary art, predominantly sarcophagi and urns. This sarcophagus is a late sixth-century BCE Etruscan anthropoid sarcophagus found at the Banditaccia necropolis in Caere, and is now located in the National Etruscan Museum of Villa Giulia, Rome.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Focus on Sarcophagus of the Spouses and explain the Description.

This sarcophagus is made out of terracotta and was once brightly painted. It depicts a man and woman lying on a kline, a dining couch with cushions to help keep the spouses propped up, all of which have been stylized. The body proportions of the man and woman have been elongated as was common in the Archaic period. Their hair has been styled in a plaited fashion, although the woman's braids are hanging over her shoulders while wearing a soft cap, and the man has braids behind that are fanned out over his shoulders and back. The faces of the couple show them smiling, and their eyes are distinctly almond-shaped, giving them a happy look.There is a line across the middle of the sarcophagus that shows that it was made as separate pieces. The figures' legs and hips have been stylized to fit better as a lid, with the only distinguishing figural features showing up at the end of the lid in the shape of their feet.The man and woman's feet are distinguished from each other, as the man is shownbarefoot and the woman wearing pointed-toed shoes, which is an Etruscan characteristic. However, the marked contrast between the busts in high relief and the very flattened legs is typically Etruscan, as is the interest of the upper half of the figures with their expressive faces and arms.This sarcophagus was created in four separate pieces that were fired separately and then assembled later on.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Explain the Description of this artwork, Sarcophagus of the Spouses.

This sarcophagus is made out of terracotta and was once brightly painted. It depicts a man and woman lying on a kline, a dining couch with cushions to help keep the spouses propped up, all of which have been stylized. The body proportions of the man and woman have been elongated as was common in the Archaic period. Their hair has been styled in a plaited fashion, although the woman's braids are hanging over her shoulders while wearing a soft cap, and the man has braids behind that are fanned out over his shoulders and back. The faces of the couple show them smiling, and their eyes are distinctly almond-shaped, giving them a happy look.There is a line across the middle of the sarcophagus that shows that it was made as separate pieces. The figures' legs and hips have been stylized to fit better as a lid, with the only distinguishing figural features showing up at the end of the lid in the shape of their feet.The man and woman's feet are distinguished from each other, as the man is shownbarefoot and the woman wearing pointed-toed shoes, which is an Etruscan characteristic. However, the marked contrast between the busts in high relief and the very flattened legs is typically Etruscan, as is the interest of the upper half of the figures with their expressive faces and arms.This sarcophagus was created in four separate pieces that were fired separately and then assembled later on.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: How does Sarcophagus of the Spouses explain its Description?

This sarcophagus is made out of terracotta and was once brightly painted. It depicts a man and woman lying on a kline, a dining couch with cushions to help keep the spouses propped up, all of which have been stylized. The body proportions of the man and woman have been elongated as was common in the Archaic period. Their hair has been styled in a plaited fashion, although the woman's braids are hanging over her shoulders while wearing a soft cap, and the man has braids behind that are fanned out over his shoulders and back. The faces of the couple show them smiling, and their eyes are distinctly almond-shaped, giving them a happy look.There is a line across the middle of the sarcophagus that shows that it was made as separate pieces. The figures' legs and hips have been stylized to fit better as a lid, with the only distinguishing figural features showing up at the end of the lid in the shape of their feet.The man and woman's feet are distinguished from each other, as the man is shownbarefoot and the woman wearing pointed-toed shoes, which is an Etruscan characteristic. However, the marked contrast between the busts in high relief and the very flattened legs is typically Etruscan, as is the interest of the upper half of the figures with their expressive faces and arms.This sarcophagus was created in four separate pieces that were fired separately and then assembled later on.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: In Sarcophagus of the Spouses, how is the Description discussed?

This sarcophagus is made out of terracotta and was once brightly painted. It depicts a man and woman lying on a kline, a dining couch with cushions to help keep the spouses propped up, all of which have been stylized. The body proportions of the man and woman have been elongated as was common in the Archaic period. Their hair has been styled in a plaited fashion, although the woman's braids are hanging over her shoulders while wearing a soft cap, and the man has braids behind that are fanned out over his shoulders and back. The faces of the couple show them smiling, and their eyes are distinctly almond-shaped, giving them a happy look.There is a line across the middle of the sarcophagus that shows that it was made as separate pieces. The figures' legs and hips have been stylized to fit better as a lid, with the only distinguishing figural features showing up at the end of the lid in the shape of their feet.The man and woman's feet are distinguished from each other, as the man is shownbarefoot and the woman wearing pointed-toed shoes, which is an Etruscan characteristic. However, the marked contrast between the busts in high relief and the very flattened legs is typically Etruscan, as is the interest of the upper half of the figures with their expressive faces and arms.This sarcophagus was created in four separate pieces that were fired separately and then assembled later on.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: In the context of Sarcophagus of the Spouses, explain the Cremation and the Historical context.

Etruscan culture had an appreciation for taking care of the remains of their loved ones; this is seen by how many resources were put into creating their tombs and funerary art, so much so that their cemeteries were often called the "cities of the dead" or necropoleis. The main funerary practice for the dead was cremation, in which the loved one's ashes and bones were placed into a cinerary urn or ash urn.The Villanovans, people who were part of the Etruscan culture, created a different type of urn that was biconical. It has two cones connected together made without a potter's wheel, keeping the clay coarse and unrefined. They also made clay huts to contain their remains, which resemble the houses that have been found in an important Etruscan site, Cavalupo. They could place personal items with them such as weapons for men and jewelry for women.Archeologists have uncovered different types of Etruscan hut urns that have contained both male and female ashes and bone fragments, so it can be presumed that the Sarcophagus of the Spouses would have contained cremated remains.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Explain the Cremation about the Historical context of this artwork, Sarcophagus of the Spouses.

Etruscan culture had an appreciation for taking care of the remains of their loved ones; this is seen by how many resources were put into creating their tombs and funerary art, so much so that their cemeteries were often called the "cities of the dead" or necropoleis. The main funerary practice for the dead was cremation, in which the loved one's ashes and bones were placed into a cinerary urn or ash urn.The Villanovans, people who were part of the Etruscan culture, created a different type of urn that was biconical. It has two cones connected together made without a potter's wheel, keeping the clay coarse and unrefined. They also made clay huts to contain their remains, which resemble the houses that have been found in an important Etruscan site, Cavalupo. They could place personal items with them such as weapons for men and jewelry for women.Archeologists have uncovered different types of Etruscan hut urns that have contained both male and female ashes and bone fragments, so it can be presumed that the Sarcophagus of the Spouses would have contained cremated remains.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: In Sarcophagus of the Spouses, how is the Cremation of the Historical context explained?

Etruscan culture had an appreciation for taking care of the remains of their loved ones; this is seen by how many resources were put into creating their tombs and funerary art, so much so that their cemeteries were often called the "cities of the dead" or necropoleis. The main funerary practice for the dead was cremation, in which the loved one's ashes and bones were placed into a cinerary urn or ash urn.The Villanovans, people who were part of the Etruscan culture, created a different type of urn that was biconical. It has two cones connected together made without a potter's wheel, keeping the clay coarse and unrefined. They also made clay huts to contain their remains, which resemble the houses that have been found in an important Etruscan site, Cavalupo. They could place personal items with them such as weapons for men and jewelry for women.Archeologists have uncovered different types of Etruscan hut urns that have contained both male and female ashes and bone fragments, so it can be presumed that the Sarcophagus of the Spouses would have contained cremated remains.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Describe the characteristics of the Cremation in Sarcophagus of the Spouses's Historical context.

Etruscan culture had an appreciation for taking care of the remains of their loved ones; this is seen by how many resources were put into creating their tombs and funerary art, so much so that their cemeteries were often called the "cities of the dead" or necropoleis. The main funerary practice for the dead was cremation, in which the loved one's ashes and bones were placed into a cinerary urn or ash urn.The Villanovans, people who were part of the Etruscan culture, created a different type of urn that was biconical. It has two cones connected together made without a potter's wheel, keeping the clay coarse and unrefined. They also made clay huts to contain their remains, which resemble the houses that have been found in an important Etruscan site, Cavalupo. They could place personal items with them such as weapons for men and jewelry for women.Archeologists have uncovered different types of Etruscan hut urns that have contained both male and female ashes and bone fragments, so it can be presumed that the Sarcophagus of the Spouses would have contained cremated remains.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: In the context of Sarcophagus of the Spouses, explain the Rituals and the Historical context.

The funerary rituals that the Etruscans created ranged from a simple hut and small gathering to those a more elaborate space for loved ones such as a tomb or other funerary art or having mosaics and relief sculptures. One such tomb can be found in the Monterozzi necropolis of Tarquinia, Lazio, which is known for its painted walls that inform us what they did for their funerals and society. This subterranean rock-cut tomb was used for holding the remains of the dead as well as for votive offerings for the dead. There is a fresco on the back wall which, though damaged, shows a banquet dinner party, with people being depicted in similar positions as that seen in the Sarcophagus of the Spouses. There are three pairs of couples shown enjoying a dinner party and lounging on klines. In Etruscan banquets, it was a common practice to have both men and woman, who had equal status in their society, share this event with each other as it is represented here in the fresco; they are side-by-side and shown in the same proportions and in similar poses. Both parties are smiling and expressing affection toward one another. The fresco relief, which has the same setting as the Spouses, can show that they have a positive outlook on sending their loved ones to the afterlife since they are sharing their last meals with their family members for all eternity. This is also shown in the Etruscans' practise of burying parts of the meal with them along with the proper dishes and utensils so they would have those in the afterlife.The tomb fresco from Monterozzi shows how the couples have bright colorful clothes, which could be compared to the paint that was on the sarcophagus. These bright colors show them as elites. They also have two attendants serving the banqueters, and on the sides of the tomb paintings showcase what entertainment the Etruscans would have participated in; for example, musicians are playing and people dancing. Similar to the Greeks they show what gender is being portrayed by what paint they used for their skin, light colors for females, and dark colors for males. From the fresco of Monterozzi, it can be determined that the Sarcophagus of the Spouses depicts a normal occurrence. There is a Banquet Plaque that was found at Poggio Civitate, Murlo, that also has similar iconography of the banquets that the Etruscans held – another piece that shows these banquets were an important form of ritual for them.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Explain the Rituals about the Historical context of this artwork, Sarcophagus of the Spouses.

The funerary rituals that the Etruscans created ranged from a simple hut and small gathering to those a more elaborate space for loved ones such as a tomb or other funerary art or having mosaics and relief sculptures. One such tomb can be found in the Monterozzi necropolis of Tarquinia, Lazio, which is known for its painted walls that inform us what they did for their funerals and society. This subterranean rock-cut tomb was used for holding the remains of the dead as well as for votive offerings for the dead. There is a fresco on the back wall which, though damaged, shows a banquet dinner party, with people being depicted in similar positions as that seen in the Sarcophagus of the Spouses. There are three pairs of couples shown enjoying a dinner party and lounging on klines. In Etruscan banquets, it was a common practice to have both men and woman, who had equal status in their society, share this event with each other as it is represented here in the fresco; they are side-by-side and shown in the same proportions and in similar poses. Both parties are smiling and expressing affection toward one another. The fresco relief, which has the same setting as the Spouses, can show that they have a positive outlook on sending their loved ones to the afterlife since they are sharing their last meals with their family members for all eternity. This is also shown in the Etruscans' practise of burying parts of the meal with them along with the proper dishes and utensils so they would have those in the afterlife.The tomb fresco from Monterozzi shows how the couples have bright colorful clothes, which could be compared to the paint that was on the sarcophagus. These bright colors show them as elites. They also have two attendants serving the banqueters, and on the sides of the tomb paintings showcase what entertainment the Etruscans would have participated in; for example, musicians are playing and people dancing. Similar to the Greeks they show what gender is being portrayed by what paint they used for their skin, light colors for females, and dark colors for males. From the fresco of Monterozzi, it can be determined that the Sarcophagus of the Spouses depicts a normal occurrence. There is a Banquet Plaque that was found at Poggio Civitate, Murlo, that also has similar iconography of the banquets that the Etruscans held – another piece that shows these banquets were an important form of ritual for them.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: In Sarcophagus of the Spouses, how is the Rituals of the Historical context explained?

The funerary rituals that the Etruscans created ranged from a simple hut and small gathering to those a more elaborate space for loved ones such as a tomb or other funerary art or having mosaics and relief sculptures. One such tomb can be found in the Monterozzi necropolis of Tarquinia, Lazio, which is known for its painted walls that inform us what they did for their funerals and society. This subterranean rock-cut tomb was used for holding the remains of the dead as well as for votive offerings for the dead. There is a fresco on the back wall which, though damaged, shows a banquet dinner party, with people being depicted in similar positions as that seen in the Sarcophagus of the Spouses. There are three pairs of couples shown enjoying a dinner party and lounging on klines. In Etruscan banquets, it was a common practice to have both men and woman, who had equal status in their society, share this event with each other as it is represented here in the fresco; they are side-by-side and shown in the same proportions and in similar poses. Both parties are smiling and expressing affection toward one another. The fresco relief, which has the same setting as the Spouses, can show that they have a positive outlook on sending their loved ones to the afterlife since they are sharing their last meals with their family members for all eternity. This is also shown in the Etruscans' practise of burying parts of the meal with them along with the proper dishes and utensils so they would have those in the afterlife.The tomb fresco from Monterozzi shows how the couples have bright colorful clothes, which could be compared to the paint that was on the sarcophagus. These bright colors show them as elites. They also have two attendants serving the banqueters, and on the sides of the tomb paintings showcase what entertainment the Etruscans would have participated in; for example, musicians are playing and people dancing. Similar to the Greeks they show what gender is being portrayed by what paint they used for their skin, light colors for females, and dark colors for males. From the fresco of Monterozzi, it can be determined that the Sarcophagus of the Spouses depicts a normal occurrence. There is a Banquet Plaque that was found at Poggio Civitate, Murlo, that also has similar iconography of the banquets that the Etruscans held – another piece that shows these banquets were an important form of ritual for them.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Describe the characteristics of the Rituals in Sarcophagus of the Spouses's Historical context.

The funerary rituals that the Etruscans created ranged from a simple hut and small gathering to those a more elaborate space for loved ones such as a tomb or other funerary art or having mosaics and relief sculptures. One such tomb can be found in the Monterozzi necropolis of Tarquinia, Lazio, which is known for its painted walls that inform us what they did for their funerals and society. This subterranean rock-cut tomb was used for holding the remains of the dead as well as for votive offerings for the dead. There is a fresco on the back wall which, though damaged, shows a banquet dinner party, with people being depicted in similar positions as that seen in the Sarcophagus of the Spouses. There are three pairs of couples shown enjoying a dinner party and lounging on klines. In Etruscan banquets, it was a common practice to have both men and woman, who had equal status in their society, share this event with each other as it is represented here in the fresco; they are side-by-side and shown in the same proportions and in similar poses. Both parties are smiling and expressing affection toward one another. The fresco relief, which has the same setting as the Spouses, can show that they have a positive outlook on sending their loved ones to the afterlife since they are sharing their last meals with their family members for all eternity. This is also shown in the Etruscans' practise of burying parts of the meal with them along with the proper dishes and utensils so they would have those in the afterlife.The tomb fresco from Monterozzi shows how the couples have bright colorful clothes, which could be compared to the paint that was on the sarcophagus. These bright colors show them as elites. They also have two attendants serving the banqueters, and on the sides of the tomb paintings showcase what entertainment the Etruscans would have participated in; for example, musicians are playing and people dancing. Similar to the Greeks they show what gender is being portrayed by what paint they used for their skin, light colors for females, and dark colors for males. From the fresco of Monterozzi, it can be determined that the Sarcophagus of the Spouses depicts a normal occurrence. There is a Banquet Plaque that was found at Poggio Civitate, Murlo, that also has similar iconography of the banquets that the Etruscans held – another piece that shows these banquets were an important form of ritual for them.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Focus on Sarcophagus of the Spouses and explain the Family.

Another aspect that the Etruscans were known for is their family ties. Since they made such elaborate tombs for their deceased loved ones, and the sarcophagus is based on a couple, it can be seen that family ties were important in their society. The use of funerary urns and how they were created, such as the spouses, along with the materials, the scale of their urn or sarcophagus, if they add imagery, or how they create the dynamic of their people can show social ties. There could be inscriptions as well, such as family or clan names, either located on the outside of the tomb or with their belongings. Another family value that has been touched on earlier in the banquets, which can be seen from the fresco and with the addition with the sarcophagus shows an eternal family dinner.There are other types of sarcophagi that have a family meaning to them such as the rock-carved funerary beds that have been found at Banditaccia, where the Spouses were found. These specific sarcophagi would have identifying features to show who was male and female buried in them. These rock-carved sarcophagi are in the shape of a bed, and if it was placed on the left side of a tomb it was meant for a male and on the right, it was meant for a female. The male sarcophagus was carved to resemble a wooden bed, with the ends laying flat and the legs, if any, were carved in cylinders. That of the females would have the same features as the male, yet they would be enclosed in a house-like structure, with the ends of the bed raised in a triangular shape to resemble roofing. There have also been smaller sarcophagi found near where the women would be buried that have been presumed to be for children. They would indicate the number and gender of people on the outside of the tomb.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Explain the Family of this artwork, Sarcophagus of the Spouses.

Another aspect that the Etruscans were known for is their family ties. Since they made such elaborate tombs for their deceased loved ones, and the sarcophagus is based on a couple, it can be seen that family ties were important in their society. The use of funerary urns and how they were created, such as the spouses, along with the materials, the scale of their urn or sarcophagus, if they add imagery, or how they create the dynamic of their people can show social ties. There could be inscriptions as well, such as family or clan names, either located on the outside of the tomb or with their belongings. Another family value that has been touched on earlier in the banquets, which can be seen from the fresco and with the addition with the sarcophagus shows an eternal family dinner.There are other types of sarcophagi that have a family meaning to them such as the rock-carved funerary beds that have been found at Banditaccia, where the Spouses were found. These specific sarcophagi would have identifying features to show who was male and female buried in them. These rock-carved sarcophagi are in the shape of a bed, and if it was placed on the left side of a tomb it was meant for a male and on the right, it was meant for a female. The male sarcophagus was carved to resemble a wooden bed, with the ends laying flat and the legs, if any, were carved in cylinders. That of the females would have the same features as the male, yet they would be enclosed in a house-like structure, with the ends of the bed raised in a triangular shape to resemble roofing. There have also been smaller sarcophagi found near where the women would be buried that have been presumed to be for children. They would indicate the number and gender of people on the outside of the tomb.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: How does Sarcophagus of the Spouses explain its Family?

Another aspect that the Etruscans were known for is their family ties. Since they made such elaborate tombs for their deceased loved ones, and the sarcophagus is based on a couple, it can be seen that family ties were important in their society. The use of funerary urns and how they were created, such as the spouses, along with the materials, the scale of their urn or sarcophagus, if they add imagery, or how they create the dynamic of their people can show social ties. There could be inscriptions as well, such as family or clan names, either located on the outside of the tomb or with their belongings. Another family value that has been touched on earlier in the banquets, which can be seen from the fresco and with the addition with the sarcophagus shows an eternal family dinner.There are other types of sarcophagi that have a family meaning to them such as the rock-carved funerary beds that have been found at Banditaccia, where the Spouses were found. These specific sarcophagi would have identifying features to show who was male and female buried in them. These rock-carved sarcophagi are in the shape of a bed, and if it was placed on the left side of a tomb it was meant for a male and on the right, it was meant for a female. The male sarcophagus was carved to resemble a wooden bed, with the ends laying flat and the legs, if any, were carved in cylinders. That of the females would have the same features as the male, yet they would be enclosed in a house-like structure, with the ends of the bed raised in a triangular shape to resemble roofing. There have also been smaller sarcophagi found near where the women would be buried that have been presumed to be for children. They would indicate the number and gender of people on the outside of the tomb.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: In Sarcophagus of the Spouses, how is the Family discussed?

Another aspect that the Etruscans were known for is their family ties. Since they made such elaborate tombs for their deceased loved ones, and the sarcophagus is based on a couple, it can be seen that family ties were important in their society. The use of funerary urns and how they were created, such as the spouses, along with the materials, the scale of their urn or sarcophagus, if they add imagery, or how they create the dynamic of their people can show social ties. There could be inscriptions as well, such as family or clan names, either located on the outside of the tomb or with their belongings. Another family value that has been touched on earlier in the banquets, which can be seen from the fresco and with the addition with the sarcophagus shows an eternal family dinner.There are other types of sarcophagi that have a family meaning to them such as the rock-carved funerary beds that have been found at Banditaccia, where the Spouses were found. These specific sarcophagi would have identifying features to show who was male and female buried in them. These rock-carved sarcophagi are in the shape of a bed, and if it was placed on the left side of a tomb it was meant for a male and on the right, it was meant for a female. The male sarcophagus was carved to resemble a wooden bed, with the ends laying flat and the legs, if any, were carved in cylinders. That of the females would have the same features as the male, yet they would be enclosed in a house-like structure, with the ends of the bed raised in a triangular shape to resemble roofing. There have also been smaller sarcophagi found near where the women would be buried that have been presumed to be for children. They would indicate the number and gender of people on the outside of the tomb.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: In the context of Sarcophagus of the Spouses, explain the Etruscan women and the Family.

Limited evidence has been found about what the Etruscans did as a whole but from what has been found from sites dating back to the Orientalizing period, women of higher Etruscan society did have the same status as the men. Seen in burials they have been more lavish, as well with pottery that would have inscriptions of both their individual name (praenomen) and their family name (nomen), although only free women would have a personal name. It has been shown that women of the higher society were literate and that females related to a male by blood ties were respected since they were the ones carrying children through her bloodline.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Explain the Etruscan women about the Family of this artwork, Sarcophagus of the Spouses.

Limited evidence has been found about what the Etruscans did as a whole but from what has been found from sites dating back to the Orientalizing period, women of higher Etruscan society did have the same status as the men. Seen in burials they have been more lavish, as well with pottery that would have inscriptions of both their individual name (praenomen) and their family name (nomen), although only free women would have a personal name. It has been shown that women of the higher society were literate and that females related to a male by blood ties were respected since they were the ones carrying children through her bloodline.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: In Sarcophagus of the Spouses, how is the Etruscan women of the Family explained?

Limited evidence has been found about what the Etruscans did as a whole but from what has been found from sites dating back to the Orientalizing period, women of higher Etruscan society did have the same status as the men. Seen in burials they have been more lavish, as well with pottery that would have inscriptions of both their individual name (praenomen) and their family name (nomen), although only free women would have a personal name. It has been shown that women of the higher society were literate and that females related to a male by blood ties were respected since they were the ones carrying children through her bloodline.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Describe the characteristics of the Etruscan women in Sarcophagus of the Spouses's Family.

Limited evidence has been found about what the Etruscans did as a whole but from what has been found from sites dating back to the Orientalizing period, women of higher Etruscan society did have the same status as the men. Seen in burials they have been more lavish, as well with pottery that would have inscriptions of both their individual name (praenomen) and their family name (nomen), although only free women would have a personal name. It has been shown that women of the higher society were literate and that females related to a male by blood ties were respected since they were the ones carrying children through her bloodline.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

National Etruscan Museum of Villa Giulia

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Focus on Sarcophagus of the Spouses and explain the Similar sarcophagi.

A similar sarcophagus from Caere was found at the Banditaccia necropolis. It also is called the Sarcophagus of the Spouses (Sarcophage des Époux) and is in the Louvre in Paris (Cp 5194). This sarcophagus has similarities that can suggest that they were made in the same studio, from the size, shape, and function of the sarcophagi.A second similar sarcophagus that could have been from the same studio was found in Caere. The urn of Monte Abatone, which is smaller than the other two, is made of terracotta and is in a similar style of laying on a couch or kline. It differs from the other two in that it is a single figure of a woman, as she poses in a way that depicts her pouring a liquid, possibly oil or perfume, in her hand. This work is located at National Etruscan Museum of Villa Giulia, Rome, and in 2021 this urn has been going through restoration by the Museums Restoration Service and the DE.CO.RE Company.Another similar urn exists that has the same dynamic as the Sarcophagus of the Spouses, but is a smaller version. This urn also has a couple, the bare-chested man embracing the clothed woman, leaning up against pillows, laying on a kline with their legs covered up and their feet slightly sticking out. However, this man does not have a beard.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: Explain the Similar sarcophagi of this artwork, Sarcophagus of the Spouses.

A similar sarcophagus from Caere was found at the Banditaccia necropolis. It also is called the Sarcophagus of the Spouses (Sarcophage des Époux) and is in the Louvre in Paris (Cp 5194). This sarcophagus has similarities that can suggest that they were made in the same studio, from the size, shape, and function of the sarcophagi.A second similar sarcophagus that could have been from the same studio was found in Caere. The urn of Monte Abatone, which is smaller than the other two, is made of terracotta and is in a similar style of laying on a couch or kline. It differs from the other two in that it is a single figure of a woman, as she poses in a way that depicts her pouring a liquid, possibly oil or perfume, in her hand. This work is located at National Etruscan Museum of Villa Giulia, Rome, and in 2021 this urn has been going through restoration by the Museums Restoration Service and the DE.CO.RE Company.Another similar urn exists that has the same dynamic as the Sarcophagus of the Spouses, but is a smaller version. This urn also has a couple, the bare-chested man embracing the clothed woman, leaning up against pillows, laying on a kline with their legs covered up and their feet slightly sticking out. However, this man does not have a beard.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: How does Sarcophagus of the Spouses explain its Similar sarcophagi?

A similar sarcophagus from Caere was found at the Banditaccia necropolis. It also is called the Sarcophagus of the Spouses (Sarcophage des Époux) and is in the Louvre in Paris (Cp 5194). This sarcophagus has similarities that can suggest that they were made in the same studio, from the size, shape, and function of the sarcophagi.A second similar sarcophagus that could have been from the same studio was found in Caere. The urn of Monte Abatone, which is smaller than the other two, is made of terracotta and is in a similar style of laying on a couch or kline. It differs from the other two in that it is a single figure of a woman, as she poses in a way that depicts her pouring a liquid, possibly oil or perfume, in her hand. This work is located at National Etruscan Museum of Villa Giulia, Rome, and in 2021 this urn has been going through restoration by the Museums Restoration Service and the DE.CO.RE Company.Another similar urn exists that has the same dynamic as the Sarcophagus of the Spouses, but is a smaller version. This urn also has a couple, the bare-chested man embracing the clothed woman, leaning up against pillows, laying on a kline with their legs covered up and their feet slightly sticking out. However, this man does not have a beard.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


Sarcophagus of the Spouses

Prompt: In Sarcophagus of the Spouses, how is the Similar sarcophagi discussed?

A similar sarcophagus from Caere was found at the Banditaccia necropolis. It also is called the Sarcophagus of the Spouses (Sarcophage des Époux) and is in the Louvre in Paris (Cp 5194). This sarcophagus has similarities that can suggest that they were made in the same studio, from the size, shape, and function of the sarcophagi.A second similar sarcophagus that could have been from the same studio was found in Caere. The urn of Monte Abatone, which is smaller than the other two, is made of terracotta and is in a similar style of laying on a couch or kline. It differs from the other two in that it is a single figure of a woman, as she poses in a way that depicts her pouring a liquid, possibly oil or perfume, in her hand. This work is located at National Etruscan Museum of Villa Giulia, Rome, and in 2021 this urn has been going through restoration by the Museums Restoration Service and the DE.CO.RE Company.Another similar urn exists that has the same dynamic as the Sarcophagus of the Spouses, but is a smaller version. This urn also has a couple, the bare-chested man embracing the clothed woman, leaning up against pillows, laying on a kline with their legs covered up and their feet slightly sticking out. However, this man does not have a beard.

alt=Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01

File:Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac..JPG

alt=Lastra di rivestimento fittile con scena di banchetto, murlo, antiquarium di poggio civitate, VI sec. ac.

File:Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013).JPG

File:Pittore forse attico, affreschi della tomba del triclinio, 500-475 ac ca, 01.jpg

Category:Archaeological discoveries in Italy

alt=Louvre-Lens - Restauration du Sarcophage des Époux (Cp 5194) avant l'exposition Les Étrusques et la Méditerranée (A03, 9 octobre 2013)

The four separate pieces of the Sarcophagus, Louvre version


One Hundred Famous Views of Edo

Prompt: Focus on One Hundred Famous Views of Edo and explain the abstract.

One Hundred Famous Views of Edo (in Japanese: 名所江戸百景, romanized: Meisho Edo Hyakkei) is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige (1797–1858). The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: Explain the abstract of this artwork, One Hundred Famous Views of Edo.

One Hundred Famous Views of Edo (in Japanese: 名所江戸百景, romanized: Meisho Edo Hyakkei) is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige (1797–1858). The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: How does One Hundred Famous Views of Edo explain its abstract?

One Hundred Famous Views of Edo (in Japanese: 名所江戸百景, romanized: Meisho Edo Hyakkei) is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige (1797–1858). The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: In One Hundred Famous Views of Edo, how is the abstract discussed?

One Hundred Famous Views of Edo (in Japanese: 名所江戸百景, romanized: Meisho Edo Hyakkei) is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige (1797–1858). The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: Focus on One Hundred Famous Views of Edo and explain the History.

Hiroshige produced designs in the style of the Utagawa school, a 19th-century popular style in woodblock prints, much favoured during his lifetime. Increasingly large series of prints were produced. This trend can be seen in Hiroshige’s work, such as The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kisokaidō.Many publishing houses arose and grew, publishing both books and individual prints. A publisher's ownership of the physical woodblocks used to print a given text or image constituted the closest equivalent to a concept of "copyright" that existed at this time.Woodblock prints such as these were produced in large numbers in 18th- and 19th-century Japan, created by artists, block cutters and printers working independently to the instructions of specialist publishers. Prints such as these were called ukiyo-e, which means 'pictures of the floating world'. This world was one of transient delights and changing fashions centred on the licensed pleasure districts and popular theatres found in the major cities of Japan.In the years 1829–36, a seven volume illustrated guidebook Pictures of famous places of  Edo (江戸名所図会, Edo meishō zue) was published. It was begun by Saitō Yukio (1737–1799) in 1790 and illustrated very accurately by Hasegawa Settan (1778–1848). The pictures and text describe the important temples and shrines, but also the famous stores, restaurants, tea-houses etc. of Edo as well as the Sumida river and its channels and surrounding landscape.Hiroshige, in several cases, makes use of this guide for his series of colour prints (see below and within the list). His series covered the place too which the guide didn’t describe, and he drew casual views of Edo.   His series is a work that inspired a number of Western artists, including Vincent van Gogh, to experiment with imitations of Japanese methods. Elements of Hiroshige's work can be found in Western cinema and comics produced during the 20th-century, particularly The Adventures of Tintin, and they "profoundly influenced" the development of modernism.The series uses a vertical format which Hiroshige pioneered in his preceding series, Famous Views of the Sixty-odd Provinces, and was a departure from the horizontal format used in his previous major print series.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: Explain the History of this artwork, One Hundred Famous Views of Edo.

Hiroshige produced designs in the style of the Utagawa school, a 19th-century popular style in woodblock prints, much favoured during his lifetime. Increasingly large series of prints were produced. This trend can be seen in Hiroshige’s work, such as The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kisokaidō.Many publishing houses arose and grew, publishing both books and individual prints. A publisher's ownership of the physical woodblocks used to print a given text or image constituted the closest equivalent to a concept of "copyright" that existed at this time.Woodblock prints such as these were produced in large numbers in 18th- and 19th-century Japan, created by artists, block cutters and printers working independently to the instructions of specialist publishers. Prints such as these were called ukiyo-e, which means 'pictures of the floating world'. This world was one of transient delights and changing fashions centred on the licensed pleasure districts and popular theatres found in the major cities of Japan.In the years 1829–36, a seven volume illustrated guidebook Pictures of famous places of  Edo (江戸名所図会, Edo meishō zue) was published. It was begun by Saitō Yukio (1737–1799) in 1790 and illustrated very accurately by Hasegawa Settan (1778–1848). The pictures and text describe the important temples and shrines, but also the famous stores, restaurants, tea-houses etc. of Edo as well as the Sumida river and its channels and surrounding landscape.Hiroshige, in several cases, makes use of this guide for his series of colour prints (see below and within the list). His series covered the place too which the guide didn’t describe, and he drew casual views of Edo.   His series is a work that inspired a number of Western artists, including Vincent van Gogh, to experiment with imitations of Japanese methods. Elements of Hiroshige's work can be found in Western cinema and comics produced during the 20th-century, particularly The Adventures of Tintin, and they "profoundly influenced" the development of modernism.The series uses a vertical format which Hiroshige pioneered in his preceding series, Famous Views of the Sixty-odd Provinces, and was a departure from the horizontal format used in his previous major print series.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: How does One Hundred Famous Views of Edo explain its History?

Hiroshige produced designs in the style of the Utagawa school, a 19th-century popular style in woodblock prints, much favoured during his lifetime. Increasingly large series of prints were produced. This trend can be seen in Hiroshige’s work, such as The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kisokaidō.Many publishing houses arose and grew, publishing both books and individual prints. A publisher's ownership of the physical woodblocks used to print a given text or image constituted the closest equivalent to a concept of "copyright" that existed at this time.Woodblock prints such as these were produced in large numbers in 18th- and 19th-century Japan, created by artists, block cutters and printers working independently to the instructions of specialist publishers. Prints such as these were called ukiyo-e, which means 'pictures of the floating world'. This world was one of transient delights and changing fashions centred on the licensed pleasure districts and popular theatres found in the major cities of Japan.In the years 1829–36, a seven volume illustrated guidebook Pictures of famous places of  Edo (江戸名所図会, Edo meishō zue) was published. It was begun by Saitō Yukio (1737–1799) in 1790 and illustrated very accurately by Hasegawa Settan (1778–1848). The pictures and text describe the important temples and shrines, but also the famous stores, restaurants, tea-houses etc. of Edo as well as the Sumida river and its channels and surrounding landscape.Hiroshige, in several cases, makes use of this guide for his series of colour prints (see below and within the list). His series covered the place too which the guide didn’t describe, and he drew casual views of Edo.   His series is a work that inspired a number of Western artists, including Vincent van Gogh, to experiment with imitations of Japanese methods. Elements of Hiroshige's work can be found in Western cinema and comics produced during the 20th-century, particularly The Adventures of Tintin, and they "profoundly influenced" the development of modernism.The series uses a vertical format which Hiroshige pioneered in his preceding series, Famous Views of the Sixty-odd Provinces, and was a departure from the horizontal format used in his previous major print series.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: In One Hundred Famous Views of Edo, how is the History discussed?

Hiroshige produced designs in the style of the Utagawa school, a 19th-century popular style in woodblock prints, much favoured during his lifetime. Increasingly large series of prints were produced. This trend can be seen in Hiroshige’s work, such as The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kisokaidō.Many publishing houses arose and grew, publishing both books and individual prints. A publisher's ownership of the physical woodblocks used to print a given text or image constituted the closest equivalent to a concept of "copyright" that existed at this time.Woodblock prints such as these were produced in large numbers in 18th- and 19th-century Japan, created by artists, block cutters and printers working independently to the instructions of specialist publishers. Prints such as these were called ukiyo-e, which means 'pictures of the floating world'. This world was one of transient delights and changing fashions centred on the licensed pleasure districts and popular theatres found in the major cities of Japan.In the years 1829–36, a seven volume illustrated guidebook Pictures of famous places of  Edo (江戸名所図会, Edo meishō zue) was published. It was begun by Saitō Yukio (1737–1799) in 1790 and illustrated very accurately by Hasegawa Settan (1778–1848). The pictures and text describe the important temples and shrines, but also the famous stores, restaurants, tea-houses etc. of Edo as well as the Sumida river and its channels and surrounding landscape.Hiroshige, in several cases, makes use of this guide for his series of colour prints (see below and within the list). His series covered the place too which the guide didn’t describe, and he drew casual views of Edo.   His series is a work that inspired a number of Western artists, including Vincent van Gogh, to experiment with imitations of Japanese methods. Elements of Hiroshige's work can be found in Western cinema and comics produced during the 20th-century, particularly The Adventures of Tintin, and they "profoundly influenced" the development of modernism.The series uses a vertical format which Hiroshige pioneered in his preceding series, Famous Views of the Sixty-odd Provinces, and was a departure from the horizontal format used in his previous major print series.

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: In the context of One Hundred Famous Views of Edo, explain the Key and the Prints.

No.: number of the print; an alternative order for the summer prints in parenthesesTitle: as it appears on the print together with English translation and Japanese readingDepicted: major landmarks that appear in the print listed in order of increasing distance from the viewerRemarks: some general remarks on the printDate: publication year and month (in the pre-1873 Japanese lunisolar calendar) according to the date seal; intercalary months are preceded with "i"Location: place, ward and coordinates of the viewpointImage: a picture of the print

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: Explain the Key about the Prints of this artwork, One Hundred Famous Views of Edo.

No.: number of the print; an alternative order for the summer prints in parenthesesTitle: as it appears on the print together with English translation and Japanese readingDepicted: major landmarks that appear in the print listed in order of increasing distance from the viewerRemarks: some general remarks on the printDate: publication year and month (in the pre-1873 Japanese lunisolar calendar) according to the date seal; intercalary months are preceded with "i"Location: place, ward and coordinates of the viewpointImage: a picture of the print

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: In One Hundred Famous Views of Edo, how is the Key of the Prints explained?

No.: number of the print; an alternative order for the summer prints in parenthesesTitle: as it appears on the print together with English translation and Japanese readingDepicted: major landmarks that appear in the print listed in order of increasing distance from the viewerRemarks: some general remarks on the printDate: publication year and month (in the pre-1873 Japanese lunisolar calendar) according to the date seal; intercalary months are preceded with "i"Location: place, ward and coordinates of the viewpointImage: a picture of the print

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


One Hundred Famous Views of Edo

Prompt: Describe the characteristics of the Key in One Hundred Famous Views of Edo's Prints.

No.: number of the print; an alternative order for the summer prints in parenthesesTitle: as it appears on the print together with English translation and Japanese readingDepicted: major landmarks that appear in the print listed in order of increasing distance from the viewerRemarks: some general remarks on the printDate: publication year and month (in the pre-1873 Japanese lunisolar calendar) according to the date seal; intercalary months are preceded with "i"Location: place, ward and coordinates of the viewpointImage: a picture of the print

File:Brooklyn Museum - Ryogoku Bridge and the Great Riverbank No 59 from One Hundred Views of Edo - Utagawa Hiroshige (Ando).jpg

File:De pruimenboomgaard te Kameido-Rijksmuseum RP-P-1956-743.jpeg

File:Hiroshige, Horikiri iris garden, 1857.jpg

The Sixty-nine Stations of the Kisokaidō

Drum bridge at Meguro and Sunset Hill, 1854 [[Hiroshige

File:Hiroshige, Kumanojūnisha Shrine, 1856.jpg

File:Brooklyn Museum - View of the Kiribata (Paulownia Imperiales) Trees at Akasaka on a Rainy Evening - Utagawa Hiroshige II.jpg

File:Hiroshige, New Year's Eve foxfires at the changing tree, Oji, 1857.jpg

The Sixty-nine Stations of the Kiso Kaidō

File:Hiroshige, Sumiyoshi festival, Tsukudajima, 1857.jpg

File:Hiroshige, Minowa, Kanasugi, Mikawashima, 1857.jpg

File:Hiroshige Le quartier des teinturiers de Kanda.jpg

File:Hiroshige, Night View of Saruwaka-machi.jpg

Sudden Shower over Shin-Ōhashi bridge and Atake


Alamo (sculpture)

Prompt: Focus on Alamo (sculpture) and explain the abstract.

Alamo, also known as the Astor Place Cube or simply The Cube, is an outdoor sculpture by Tony Rosenthal, located on Astor Place, in the East Village neighborhood of Manhattan in New York City. It is a black cube, 8 feet (2.4 m) long on each side, mounted on a corner. The cube is made of Cor-Ten steel and weighs about 1,800 pounds (820 kg). The faces of the cube are not flat but have various indentations, protrusions, and ledges. The sculpture's name, Alamo, is designated on a small plaque on the base and was selected by the artist's wife because its scale and mass reminded her of the Alamo Mission. It was fabricated by Lippincott, Inc.

New York City Department of Transportation

The ''Alamo'' in front of an outdoor [[café

Category:Outdoor sculptures in Manhattan

New York City Department of Cultural Affairs

Category:1967 establishments in New York City

New York City Department of Parks and Recreation

Greenwich Village Society for Historic Preservation

Category:Steel sculptures in New York City


Alamo (sculpture)

Prompt: Explain the abstract of this artwork, Alamo (sculpture).

Alamo, also known as the Astor Place Cube or simply The Cube, is an outdoor sculpture by Tony Rosenthal, located on Astor Place, in the East Village neighborhood of Manhattan in New York City. It is a black cube, 8 feet (2.4 m) long on each side, mounted on a corner. The cube is made of Cor-Ten steel and weighs about 1,800 pounds (820 kg). The faces of the cube are not flat but have various indentations, protrusions, and ledges. The sculpture's name, Alamo, is designated on a small plaque on the base and was selected by the artist's wife because its scale and mass reminded her of the Alamo Mission. It was fabricated by Lippincott, Inc.

New York City Department of Transportation

The ''Alamo'' in front of an outdoor [[café

Category:Outdoor sculptures in Manhattan

New York City Department of Cultural Affairs

Category:1967 establishments in New York City

New York City Department of Parks and Recreation

Greenwich Village Society for Historic Preservation

Category:Steel sculptures in New York City


Alamo (sculpture)

Prompt: How does Alamo (sculpture) explain its abstract?

Alamo, also known as the Astor Place Cube or simply The Cube, is an outdoor sculpture by Tony Rosenthal, located on Astor Place, in the East Village neighborhood of Manhattan in New York City. It is a black cube, 8 feet (2.4 m) long on each side, mounted on a corner. The cube is made of Cor-Ten steel and weighs about 1,800 pounds (820 kg). The faces of the cube are not flat but have various indentations, protrusions, and ledges. The sculpture's name, Alamo, is designated on a small plaque on the base and was selected by the artist's wife because its scale and mass reminded her of the Alamo Mission. It was fabricated by Lippincott, Inc.

New York City Department of Transportation

The ''Alamo'' in front of an outdoor [[café

Category:Outdoor sculptures in Manhattan

New York City Department of Cultural Affairs

Category:1967 establishments in New York City

New York City Department of Parks and Recreation

Greenwich Village Society for Historic Preservation

Category:Steel sculptures in New York City


Alamo (sculpture)

Prompt: In Alamo (sculpture), how is the abstract discussed?

Alamo, also known as the Astor Place Cube or simply The Cube, is an outdoor sculpture by Tony Rosenthal, located on Astor Place, in the East Village neighborhood of Manhattan in New York City. It is a black cube, 8 feet (2.4 m) long on each side, mounted on a corner. The cube is made of Cor-Ten steel and weighs about 1,800 pounds (820 kg). The faces of the cube are not flat but have various indentations, protrusions, and ledges. The sculpture's name, Alamo, is designated on a small plaque on the base and was selected by the artist's wife because its scale and mass reminded her of the Alamo Mission. It was fabricated by Lippincott, Inc.

New York City Department of Transportation

The ''Alamo'' in front of an outdoor [[café

Category:Outdoor sculptures in Manhattan

New York City Department of Cultural Affairs

Category:1967 establishments in New York City

New York City Department of Parks and Recreation

Greenwich Village Society for Historic Preservation

Category:Steel sculptures in New York City


Alamo (sculpture)

Prompt: Focus on Alamo (sculpture) and explain the History.

Installed in 1967 as part of "Sculpture and the Environment", organized by the New York City Department of Cultural Affairs, the cube was one of 25 temporary art installations that were intended to remain for a six-month period; however, local residents successfully petitioned the city to keep Alamo. It has since become a popular meeting place in the East Village. It stands in an intersection, across the street from two entrances to the Astor Place subway station, as well as the Cooper Union Foundation Building.The cube rotates around a hidden pole in its center. The cube's sculptor Tony Rosenthal never intended for Alamo to spin, saying in 2005: "I actually thought we would put it on this post and we’d turn it to the position we wanted it and then stick it like that." However, the cube was never locked in place. One observer described spinning the cube as "part of the New York experience".On March 10, 2005, the Parks Department removed the Cube for maintenance. The original artist and crew replaced a missing bolt, and made a few other minor repairs.  A makeshift replica made of polyvinyl chloride tubes, named the Jello Cube in honor of Peter Cooper, was placed in its stead.  In November 2005, the Cube returned with a fresh coat of black paint, still able to spin. In October 2015, the sculpture was covered in a protective wooden box because of the redevelopment of Astor Place, but was eventually removed off-site again for "restoration and repainting" and to keep it "out of harm's way," according to a representative of the New York City Parks Department. On November 1, 2016, the sculpture returned to Astor Place after a $180,000 reconstruction and rust removal. In November 2017, the Greenwich Village Society for Historic Preservation celebrated the sculpture's 50th year anniversary of its installation.By May 2022, the New York City Department of Transportation, which was responsible for the sculpture's maintenance, determined that problems with spinning the structure could cause further damage. According to city engineers, the cube was in danger of tipping over if it continued to spin. The city locked it in place with metal braces until additional work on the pivot could eventually prove sufficient to permit it to spin freely again. In May 2023, the DOT announced the cube had been removed and would be refurbished offsite at a Connecticut foundry. The sculpture was returned to Astor Place as in August 2023.

The ''Alamo'' in front of an outdoor [[café

Category:Outdoor sculptures in Manhattan

Category:1967 establishments in New York City

New York City Department of Parks and Recreation

Category:Steel sculptures in New York City


Alamo (sculpture)

Prompt: Explain the History of this artwork, Alamo (sculpture).

Installed in 1967 as part of "Sculpture and the Environment", organized by the New York City Department of Cultural Affairs, the cube was one of 25 temporary art installations that were intended to remain for a six-month period; however, local residents successfully petitioned the city to keep Alamo. It has since become a popular meeting place in the East Village. It stands in an intersection, across the street from two entrances to the Astor Place subway station, as well as the Cooper Union Foundation Building.The cube rotates around a hidden pole in its center. The cube's sculptor Tony Rosenthal never intended for Alamo to spin, saying in 2005: "I actually thought we would put it on this post and we’d turn it to the position we wanted it and then stick it like that." However, the cube was never locked in place. One observer described spinning the cube as "part of the New York experience".On March 10, 2005, the Parks Department removed the Cube for maintenance. The original artist and crew replaced a missing bolt, and made a few other minor repairs.  A makeshift replica made of polyvinyl chloride tubes, named the Jello Cube in honor of Peter Cooper, was placed in its stead.  In November 2005, the Cube returned with a fresh coat of black paint, still able to spin. In October 2015, the sculpture was covered in a protective wooden box because of the redevelopment of Astor Place, but was eventually removed off-site again for "restoration and repainting" and to keep it "out of harm's way," according to a representative of the New York City Parks Department. On November 1, 2016, the sculpture returned to Astor Place after a $180,000 reconstruction and rust removal. In November 2017, the Greenwich Village Society for Historic Preservation celebrated the sculpture's 50th year anniversary of its installation.By May 2022, the New York City Department of Transportation, which was responsible for the sculpture's maintenance, determined that problems with spinning the structure could cause further damage. According to city engineers, the cube was in danger of tipping over if it continued to spin. The city locked it in place with metal braces until additional work on the pivot could eventually prove sufficient to permit it to spin freely again. In May 2023, the DOT announced the cube had been removed and would be refurbished offsite at a Connecticut foundry. The sculpture was returned to Astor Place as in August 2023.

The ''Alamo'' in front of an outdoor [[café

Category:Outdoor sculptures in Manhattan

Category:1967 establishments in New York City

New York City Department of Parks and Recreation

Category:Steel sculptures in New York City