The Etruscan World (Routledge Worlds)

• Giovannangelo Camporeale –

Some iconographic details, like the fl ame-patterned dorsal mane of felines, have
parallels in Protocorinthian and Etruscan vase-painting (Brown 1960, pp. 28–30;
Camporeale 1967, pp. 99–107; Camporeale 2006, p. 102). From the same workshop
comes the Plikaśna situla of Chiusi (see Fig. 6.35): the form is peculiar, lacking parallels
in contemporary Etruscan or related production; the technique of incising precious metal
and the organization in low, parallel friezes, are linked to Phoenician bowls; the helmets
with nose-guard worn by the warriors of the upper register recall the world of Corinth; the
themes of swine-herd or fi les of warriors and athletes are of local origin, perhaps executed
on commission as a sort of self-representation and exaltation of the recipient (Martelli
1973; Camporeale 2006, pp. 102–103). The master lived and worked in an environment

• probably Caere – in which existed the background inspiration for his works. In this
  environment the master, of Phoenician origin, combined diverse components in a single
  product. This process occurred in Etruria, in an Etruscan cultural context, and at the
  behest of Etruscan consumers. I would say that to study a work of art, we must recognize
  that it is not static, composed of elements that can simply be identifi ed and listed: the
  master’s combining of various elements is only the beginning of a new and integrated
  work, instilled with the fl avor of his own personality as well. Thus, the works in question
  may logically be attributed to Etruscan art. The debate, obviously, has a general character
  and may apply to all the works passed in review.

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