Raffigurazioni e didascalie in etrusco sugli specchi di età ellenistica: il caso-studio dello specchio con thevrumines (Articolo in rivista)

Type
Label
  • Raffigurazioni e didascalie in etrusco sugli specchi di età ellenistica: il caso-studio dello specchio con thevrumines (Articolo in rivista) (literal)
Anno
  • 2009-01-01T00:00:00+01:00 (literal)
Alternative label
  • L. AMBROSINI (2009)
    Raffigurazioni e didascalie in etrusco sugli specchi di età ellenistica: il caso-studio dello specchio con thevrumines
    in Mediterranea (Pisa); Fabrizio Serra Editore, Pisa (Italia)
    (literal)
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  • L. AMBROSINI (literal)
Pagina inizio
  • 153 (literal)
Pagina fine
  • 172 (literal)
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  • VI (literal)
Rivista
Http://www.cnr.it/ontology/cnr/pubblicazioni.owl#affiliazioni
  • ISCIMA-CNR (literal)
Titolo
  • Raffigurazioni e didascalie in etrusco sugli specchi di età ellenistica: il caso-studio dello specchio con thevrumines (literal)
Abstract
  • The inconsistencies between images and inscriptions of Greek mythological figures present on Etruscan mirrors are a subject of extensive research, already largely discussed by various scholars. It was chosen as a case study an Etruscan bronze mirror, which is cited as an example of fusion of myths and mythical figures. On it would be represented Hercle with the Minotaur, scene already present in older age, and therefore the mirror is often cited as evidence of local deep-seated myths in Etruria. The mirror was made in Volsinii at the end of the fourth century BC and was found in Falerii Veteres. Held in Rome in the National Roman Museum, it belongs to the collection of Eng. Igino Betti, formerly Evan Gorga. In the scene, in addition to Mine (Minos), Menrva (Minerva), Vile (Iolao) and Ariatha (Ariane) is depicted Hercle (Hercules) sitting on a rock with leonté on the shoulders, with bow and quiver, and, close to him, Thevrumines (the bull of Minos) with the head of a bull and the human body, lying on the ground with the right \"hand\" open. The mirror represents probably Hercle who has just finished to tell to Minos the labour of the Cretan bull. According to the iconographic study of this mirror and comparing it with others mirrors, we can ascertain that the engraver doesn't have depicted Hercle instead of Theseus by mistake. There is a group of mirrors with pictures of Hercle that obtains immortality through his labours. It is possible that the engraver wanted to portray the Cretan bull and that he was influenced, in the iconography, by the most famous \"bull of Minos\", namely the Minotaur. (literal)
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