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Location | Avignon, France |
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Type | Archaeological museum |
Website | www |
The Lapidary Museum is a lapidarium-museum in Avignon, France. It has housed the classical Greek, Etruscan, Roman and Gallo-Roman sculptures and objects of the Calvet Museum since the 1980s. They are both run by the Fondation Calvet. As well as exhibiting the museum's core collections, it also mounts summer temporary exhibitions (e.g. "La diffusion des cultes égyptiens et alexandrins dans le monde romain à L'Égypte copte et l'Égypte musulmane" and "Le laraire d'Esprit Calvet"), conferences and networking events, particularly for scholars. [1]
The museum is based at 27 rue de la République in a 17th-century building, previously the chapel of the city's Jesuit College. It was begun in 1616, initially to plans by Étienne Martelange and then by François de Royers de la Valfenière from 1620 onwards. de la Valfenière raised the walls as far as the nave's main cornice. [2] The building was made a monument historique on 21 June 1928. [3]
As well as Etruria, classical Greece and Rome and the Gallo-Roman era, the collections cover Gallic and Early Christian art. [4] The highlight of the prehistoric collections is the 'Lauris-Puyvert Stela' in ologenic limestone. [5] The Greek, Roman, Etruscan and Gallic objects include vases and lamps as well as bas-reliefs and statues, along with a number of Etruscan funerary monuments.
Vanth is a chthonic figure in Etruscan mythology shown in a variety of forms of funerary art, such as in tomb paintings and on sarcophagi.
A draped garment is a garment that is made of a single piece of cloth that is draped around the body; drapes are not cut away or stitched as in a tailored garment. Drapes can be held to the body by means of knotting, pinning, fibulae, clasps, sashes, belts, tying drawstrings, or just plain friction and gravity alone. Many draped garments consist of only one single piece.
A peplos is a body-length garment established as typical attire for women in ancient Greece by c. 500 BC, during the late Archaic and Classical period. It was a long, rectangular cloth with the top edge folded down about halfway, so that what was the top of the rectangle was now draped below the waist, and the bottom of the rectangle was at the ankle. One side of the peplos could be left open, or pinned or sewn together. In Latin and in a Roman context, it could be called a palla.
The strigil or stlegis is a tool for the cleansing of the body by scraping off dirt, perspiration, and oil that was applied before bathing in Ancient Greek and Roman cultures. In these cultures the strigil was primarily used by men, specifically male athletes; however, in Etruscan culture there is some evidence of strigils being used by both sexes. The standard design is a curved blade with a handle, all of which is made of metal.
Verism was a realistic style in Roman art. It principally occurred in portraiture of politicians, whose imperfections of the face were exacerbated in order to highlight their old age and gravitas. The word comes from Latin verus (true).
Vetulonia, formerly called Vetulonium, was an ancient town of Etruria, Italy, the site of which is probably occupied by the modern village of Vetulonia, which up to 1887 bore the name of Colonnata and Colonna di Buriano: the site is currently a frazione of the comune of Castiglione della Pescaia, with some 400 inhabitants.
A chiton is a form of tunic that fastens at the shoulder, worn by men and women of ancient Greece and Rome. There are two forms of chiton: the Doric and the later Ionic. According to Herodotus, popular legend was that Athenian women began to wear the chiton as opposed to the peplos after several women stabbed a messenger to death with the bronze pins characteristic of the peplos.
A himation was a type of clothing, a mantle or wrap worn by ancient Greek men and women from the Archaic period through the Hellenistic period. It was usually worn over a chiton and/or peplos, but was made of heavier drape and played the role of a cloak or shawl. When the himation was used alone, without a chiton, it served both as a chiton and as a cloak. The himation was markedly less voluminous than the Roman toga. Many vase paintings depict women wearing a himation as a veil covering their faces.
The study of Roman sculpture is complicated by its relation to Greek sculpture. Many examples of even the most famous Greek sculptures, such as the Apollo Belvedere and Barberini Faun, are known only from Roman Imperial or Hellenistic "copies". At one time, this imitation was taken by art historians as indicating a narrowness of the Roman artistic imagination, but, in the late 20th century, Roman art began to be reevaluated on its own terms: some impressions of the nature of Greek sculpture may in fact be based on Roman artistry.
The Sarcophagus of the Spouses is a tomb effigy considered one of the masterpieces of Etruscan art. The Etruscans lived in Italy between two main rivers, the Arno and the Tiber, and were in contact with the Ancient Greeks through trade, mainly during the Orientalizing and Archaic Period. The Etruscans were well known for their terracotta sculptures and funerary art, largely sarcophagi and urns. The sarcophagus is a late sixth-century BCE Etruscan anthropoid sarcophagus that was found at the Banditaccia necropolis in Caere and is now located in the National Etruscan Museum of Villa Giulia, Rome.
Kore is the modern term given to a type of free-standing ancient Greek sculpture of the Archaic period depicting female figures, always of a young age. Kouroi are the youthful male equivalent of kore statues.
The Venus Genetrix is a sculptural type which shows the Roman goddess Venus in her aspect of Genetrix, as she was honoured by the Julio-Claudian dynasty of Rome, which claimed her as their ancestor. Contemporary references identify the sculptor as a Greek named Arcesilaus. The statue was set up in Julius Caesar's new forum, probably as the cult statue in the cella of his temple of Venus Genetrix. Through this historical chance, a Roman designation is applied to an iconological type of Aphrodite that originated among the Greeks.
The preservation of fabric fibers and leathers allows for insights into the attire of ancient societies. The clothing used in the ancient world reflects the technologies that these peoples mastered. In many cultures, clothing indicated the social status of various members of society.
Etruscan art was produced by the Etruscan civilization in central Italy between the 10th and 1st centuries BC. From around 750 BC it was heavily influenced by Greek art, which was imported by the Etruscans, but always retained distinct characteristics. Particularly strong in this tradition were figurative sculpture in terracotta, wall-painting and metalworking especially in bronze. Jewellery and engraved gems of high quality were produced.
The National Archaeological Museum of Florence is an archaeological museum in Florence, Italy. It is located at 1 piazza Santissima Annunziata, in the Palazzo della Crocetta.
Clothing in ancient Greece refers to clothing starting from the Aegean bronze age to the Hellenistic period. Clothing in ancient Greece included a wide variety of styles but primarily consisted of the chiton, peplos, himation, and chlamys. Ancient Greek civilians typically wore two pieces of clothing draped about the body: an undergarment and a cloak. The people of ancient Greece had many factors that determined what they wore and when they wore it.
The clothing of the people in biblical times was made from wool, linen, animal skins, and perhaps silk. Most events in the Hebrew Bible and New Testament take place in ancient Israel, and thus most biblical clothing is ancient Hebrew clothing. They wore underwear and cloth skirts.
Roman Republican art is the artistic production that took place in Roman territory during the period of the Republic, conventionally from 509 BC to 27 BC.
Etruscan sculpture was one of the most important artistic expressions of the Etruscan people, who inhabited the regions of Northern Italy and Central Italy between about the 9th century BC and the 1st century BC. Etruscan art was largely a derivation of Greek art, although developed with many characteristics of its own. Given the almost total lack of Etruscan written documents, a problem compounded by the paucity of information on their language—still largely undeciphered—it is in their art that the keys to the reconstruction of their history are to be found, although Greek and Roman chronicles are also of great help. Like its culture in general, Etruscan sculpture has many obscure aspects for scholars, being the subject of controversy and forcing them to propose their interpretations always tentatively, but the consensus is that it was part of the most important and original legacy of Italian art and even contributed significantly to the initial formation of the artistic traditions of ancient Rome. The view of Etruscan sculpture as a homogeneous whole is erroneous, there being important variations, both regional and temporal.
Women were respected in Etruscan society compared to their ancient Greek and Roman counterparts. Today only the status of aristocratic women is known because no documentation survives about women in other social classes.