- Margherita Gilda Scarpellini –
Figure 57.2 Worshippers of the Hellenistic period. Arezzo, Museo Archeologico Nazionale Mecenate.
Inv. nos. 12033 and 11698 (Photo Tavanti, Arezzo).type inspired from Magna Graecia, are dressed in a himation or pallium around the hips
or a short toga, and the female fi gures, with a three-pointed diadem and torque necklace,
hold a patera for the libation and box (acerra) for incense. This typology, the best-known
examples of which are those from Nemi in the British Museum,^8 has a noteworthy
distribution across sketchy and schematic products and relates to the Dionysiac cult. Still
in the Hellenistic period we fi nd a production of statuettes of young boys, pueri,^9 some
belonging to the aristocratic social class, recognized by the bulla attached around the
neck, as for example the putto Graziani^10 or the boy with the duck (in some publications
referred to as a goose) from Montecchio (see Figure 57.8).
In the votive deposits we also fi nd statuettes of animals such as horses, deer, and hares
pertaining to the aristocratic hunt (Brolio) or domestic animals such as pigs, chickens, and
ducks (Arezzo, Fonte Veneziana), and above all bovines (Arezzo, Volterra) (Figs. 57.3a, 3b
and 3c). In connection with healing cults or waters with healing or therapeutic qualities
we fi nd human body parts such as heads, eyes, legs, arms, and breasts (for example, at
Arezzo, Fonte Veneziana, and Monte Falterona). Furthermore, there are representations of
divinities with their attributes, such as Tinia with the lightning bolt, Aplu with the lyre,
Fufl uns, Laran, Hercle and Menerva, and other deities of the Etruscan pantheon, identifi ed
by the dedicatory inscription (Culsans, Thanr, Selvans).
I will conclude this brief survey of the typological and chronological evolution of
the bronze statuettes and statues from the sacred and devotional sphere by mentioning
some unusual examples of large statues, such as the Mars from Todi,^11 the Chimaera
from Arezzo, and l’Arringatore, votive offerings by communities or wealthy citizens who
continued to exist in Etruria. Seeing that the tradition of production of votive bronzes
has been particularly well documented in Arezzo and its territory, it is relevant to discuss
the Chimaera, and, in view of recent studies and restorations, also the Minerva of Arezzo.
The Chimaera was discovered on November 15, 1553 in Arezzo near the Porta S.
Lorenzo as a result of Cosimo I de’ Medici’s construction of the defensive walls of the city.
It is considered an offering to Tinia because of the votive inscription tinścvil found on the
right front paw of the animal. The statue should be considered a precious gift dedicated