DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.786#0461
444>
CORTONA.
[chap. lvi.
From the high decoration of the bottom of the lamp,
and the comparative plainness of the upper part, as well
as from the analogy of similar monuments, there is every
reason to believe that it was suspended, perhaps in a tomb,
perhaps in a temple, as a sacrificial lamp; which in truth
its remarkable size and beauty seem to indicate.1
The style of art proves this monument to be of no very
early date, yet there is a certain archaicism about it which
marks it as of ante-Roman times.2
From this monument, so beautiful in art and elaborate
in decoration, we can well understand how it was that the
Etruscan candelabra and other works of toreutic art were
so admired and prized by the Athenians, even in the days
of Pericles.3 In truth, as Micali observes, in mastery of
art no other Etruscan work in bronze, except the larger
statues, can rival this gem.4
1 It is a lycknus, such as were hung
from the ceilings of palaces or temples
(Virg. iEn. I. 726 ; Plin. XXXIV. 8),
and as have been found also suspended
in sepulchres—even in Etruscan ones,
as in the Tomb of the Volumnii, at Peru-
gia. Micali (Mon. Ined, p. 78) thinks it
a sepulchral monument—a funeral offer-
ing to the great god of the infernal
regions, consecrated by some lady of
illustrious race, as the inscription seems
to show. He suggests that it may have
hung in the chamber, where the funeral
feast was wont to be celebrated, as well
as the annual inferice or parentalia. The
use of sepulchral lamps by the ancients
is well known, and gave rise, in the
middle ages, to strange notions of
perpetual fire; for it was asserted
that some were found still burning in
the tombs, though fifteen or twenty
centuries had elapsed since they were
lighted. It seems, however, that lamps
were sometimes kept burning in sepul-
chres long after the interment. Micali
cites an extract from Modestinus (leg.
44, Msevia D. de Manumiss. testam.),
which shows that a certain Roman gave
freedom to his slaves at his death, on
condition of their keeping a light burn-
ing in his sepulchre: "Saccus servus
meus et Eutychia et Hiene ancUlse mese
omnes sub hac conditione liberi sunto,
ut monumento meo alternis mensibus
lucernam accendant, et solemnia mortis
peragant."
2 Micali (Mon. Ined. p. 75) says truly
that it is of a style between the cele-
brated Wolf of the Capitol, and the
Chimaera and Orator of the Florence
Gallery; but he would refer it to the
sixth or seventh century of Rome,
which, according to the standard of the
painted pottery, would be too late a
date. I should rather say the fifth
century, or the close of Etruscan inde-
pendence.
3 Pherecrates, ap. Athen. XV. c. 18,
p. 700 ; Critias, ap. euud. I. c. 22, p. 28.
4 Micali, Mon, Ined. p. 75.
CORTONA.
[chap. lvi.
From the high decoration of the bottom of the lamp,
and the comparative plainness of the upper part, as well
as from the analogy of similar monuments, there is every
reason to believe that it was suspended, perhaps in a tomb,
perhaps in a temple, as a sacrificial lamp; which in truth
its remarkable size and beauty seem to indicate.1
The style of art proves this monument to be of no very
early date, yet there is a certain archaicism about it which
marks it as of ante-Roman times.2
From this monument, so beautiful in art and elaborate
in decoration, we can well understand how it was that the
Etruscan candelabra and other works of toreutic art were
so admired and prized by the Athenians, even in the days
of Pericles.3 In truth, as Micali observes, in mastery of
art no other Etruscan work in bronze, except the larger
statues, can rival this gem.4
1 It is a lycknus, such as were hung
from the ceilings of palaces or temples
(Virg. iEn. I. 726 ; Plin. XXXIV. 8),
and as have been found also suspended
in sepulchres—even in Etruscan ones,
as in the Tomb of the Volumnii, at Peru-
gia. Micali (Mon. Ined, p. 78) thinks it
a sepulchral monument—a funeral offer-
ing to the great god of the infernal
regions, consecrated by some lady of
illustrious race, as the inscription seems
to show. He suggests that it may have
hung in the chamber, where the funeral
feast was wont to be celebrated, as well
as the annual inferice or parentalia. The
use of sepulchral lamps by the ancients
is well known, and gave rise, in the
middle ages, to strange notions of
perpetual fire; for it was asserted
that some were found still burning in
the tombs, though fifteen or twenty
centuries had elapsed since they were
lighted. It seems, however, that lamps
were sometimes kept burning in sepul-
chres long after the interment. Micali
cites an extract from Modestinus (leg.
44, Msevia D. de Manumiss. testam.),
which shows that a certain Roman gave
freedom to his slaves at his death, on
condition of their keeping a light burn-
ing in his sepulchre: "Saccus servus
meus et Eutychia et Hiene ancUlse mese
omnes sub hac conditione liberi sunto,
ut monumento meo alternis mensibus
lucernam accendant, et solemnia mortis
peragant."
2 Micali (Mon. Ined. p. 75) says truly
that it is of a style between the cele-
brated Wolf of the Capitol, and the
Chimaera and Orator of the Florence
Gallery; but he would refer it to the
sixth or seventh century of Rome,
which, according to the standard of the
painted pottery, would be too late a
date. I should rather say the fifth
century, or the close of Etruscan inde-
pendence.
3 Pherecrates, ap. Athen. XV. c. 18,
p. 700 ; Critias, ap. euud. I. c. 22, p. 28.
4 Micali, Mon, Ined. p. 75.