- Margherita Gilda Scarpellini –
Figure 57.13a–c Kouros from Lago degli Idoli (480–460 bc). Paris, Musée du Louvre. Inv. no. 220
(after Etruschi nel tempo, 10). Female worshipper from Lago degli Idoli (500–450 bc). Paris, Musée du
Louvre. Inv. no. 230 (After Cristofani 1985, fi g. 4.4). Hercle from Lago degli Idoli. London, British
Museum. Inv. no. 463 (Drawing after Micali 1844, tav.15).At the Lake of the Idols one can follow the stylistic and chronological evolution of the
votive bronze statuettes, the standing nude kouros (Figure 57.13a), the kore (Figure
57.13b) as a worshipper praying and presenting offerings, the armed youth, the almost
portrait-like heads, the representation of deities such as Hercle at the British Museum
(Figure 57.13c), dated to 450 bc, which could have served as the protective deity of the
place itself.
While the Etruscans were united in terms of language, culture, and religion, this brief
survey of production of bronze statuettes and statues provides a good example of how
each city developed its own characteristic artistic and commercial interests. In the case
of Arezzo and its immediate territory, including Brolio and Montecchio, the availability
of metals and water enabled the inhabitants to develop a bronze industry, and the goods
could be easily transported to communities both near and far. Like Volterra and other
centers in northern Etruria, the city of Arezzo maintained a position of wealth and power
that was ultimately derived from a successful balance between artistic production and
trade contacts with its neighbors.
NOTES1 Peroni 1994, 100.
2 Camporeale 1985, 25.
3 Cristofani 1978, 127, with bibliography; Cristofani 1985, 17; Richardson 1983, 81; Gli
Etruschi e l’Europa 1992, 180–195.
4 Cristofani 1978, 129; Cristofani 1985, passim, Richardson 1983.