- chapter 54: Etruscan terracotta figurines –
10 Vagnetti 1971: 18. At least 3,000 terracotta pieces of at least 150 distinct types from the
1935–38 excavations at the Campetti sanctuary. Vignaccia, Cerveteri: Rosati 1890: 169–171,
refers to ca. 6,000 terracottas. At least 800 of these are now in the Hearst Museum.
11 For the type in general, see: Price 1978. Etruscan and Italic mother types: Bonfante 1984:
1–17, and Bonfante 1986: 195–203.
12 Vagnetti 1971: Types (from left to right): G21, G20a, G28a, G 20b and G27a. All of these
types exist in numerous examples and in more than one generation. My notes from 1986
indicate that on shelf 1, Cabinet 31 of the Orologio Storeroom at the Villa Giulia Museum,
there were 27 examples of the type representing three generations with slight modifi cations.
Shelves 2, 3 and 4 held another 99 examples of the type.
13 Nagy 1988: 36–37. Inventory no. 8–2425: 206, IID2.
14 Theotokos: for example, the famous sixth century encaustic icon of the Virgin and Child
with Saints from the monastery of St. Catherine at Sinai: Rodley 1994: 43, Fig. 78. Both
iconographic types occur in signifi cant numbers at Veii as well as at Cerveteri and numerous
other sites, and in more variations than those shown here. Satricum, a Latin site with strong
Etruscan connections, has produced a tremendous variety of mother fi gures in great numbers.
I have consulted the material stored in the Satricum Deposito of the Villa Giulia Museum
and found 24 variations on the Kourotroph type. These can be divided into two major
iconographic categories: nursing/cradling and frontal display of the child. For updates and
further bibliography consult the journal: Satricum: Reports and Studies of the Satricum Project.
Leiden: 1987.
15 Campetti: Vagnetti 1971: 180. Frontal nude type: J7, J8 numerous examples; with armor: J
2, J3; profi le, striding: J5. Comella and Stefani 1990: type nos. E1 through E4, include types
not discussed here. Portonaccio: Colonna 2002: No. 674, pl. 56, no. 681, pl. 59.
16 Maule and Smith 1959: 1–59 provide an exceedingly involved discussion of the warrior type,
(Gaul or Maris) at the Vignaccia. 109–115: warrior type as Maris. Nagy 1988: 41–42, brief
discussion of the type, suggesting that the type represents Laran, the Etruscan Mars.
17 Nagy 1988: 28–29, discussion of the type. Note that the crest of the helmet continues in the
back as with the warrior type.
18 Nagy 1988: 196–197, Type IIIB16c. For the Kline: Breitenstein 1941: pl. 87, No. 784, but
with a seated veiled woman.
19 Nagy 1988: 34–35, discussion of the type and parallels.
20 For example, at the Portonaccio: Colonna 1987: 423–424, fi g. 2.
21 Strabo 5.220; Bittel 1963: 20; Nagy 1994: 213–214.
22 Vagnetti 1971: 180, identifi es the type as representing Aplu. At least 400 examples of I 4 at
the Villa Giulia.
23 Nagy 1988: 40–41 on musicians in general; 213–214, nos. IIE2 and IIE3, Figs 197–198.
24 Karageorghis 2000: 132–133, nos 197–199; Bittel 1963: fi g. 5; Blinkenberg 1931: part 1,
cols 425–427, part 2, pls 69–70, nos 1701–1710.
25 Nagy 1988: 31, 41, 245, No. IIG21, Fig. 258.
26 Bittel 1963: 7–21.
27 Boston, Museum of Fine Arts, Everett Fund, 88.364. Nagy 1994: 211–214; Nagy 2011:
120–121.
28 Maule and Smith 1959: 95, n. 104 identify the fi gure as a “kourotrophic Artemis.” Nagy
1994: 214–215; Nagy 2011: 121. For double fi gures see: Hadzisteliou-Price 1971: especially
52–54.
BIBLIOGRAPHYAndrén, A. (1955–56) “Una matrice fi ttile etrusca,” Studi Etruschi 24: 207–219.
Bittel, K. (1963) “Phrygisches Kultbild aus Boğazköy,” Antike Plastik, 2:7–21, 1–8.