Etruscan civilization map (CC BY-SA 3.0), NormanEinstein - Based on a map from The National Geographic Magazine Vol.173 No.6 June 1988.
Elaborate funerary rituals
Funerary contexts constitute the most abundant archaeological evidence for the Etruscan civilization. The elite members of Etruscan society participated in elaborate funerary rituals that varied and changed according to both geography and time.
The city of Tarquinia (known in antiquity as Tarquinii or Tarch(u)na), one of the most powerful and prominent Etruscan centers, is known for its painted chamber tombs. The Tomb of the Triclinium belongs to this group and its wall paintings reveal important information about not only Etruscan funeral culture but also about the society of the living.
An advanced Iron Age culture, the Etruscans amassed wealth based on Italy’s natural resources (particularly metal and mineral ores) that they exchanged through medium- and long-range trade networks.
Tomb of the Triclinium, c. 470 BCE (Etruscan chamber tomb, Tarquinia, Italy)
Tomb of the Triclinium
The Tomb of the Triclinium (Italian: Tomba del Triclinio) is the name given to an Etruscan chamber tomb dating c. 470 B.C.E. and located in the Monterozzi necropolis of Tarquinia, Italy. Chamber tombs are subterranean rock-cut chambers accessed by an approach way (dromos) in many cases. The tombs are intended to contain not only the remains of the deceased but also various grave goods or offerings deposited along with the deceased. The Tomb of the Triclinium is composed of a single chamber with wall decorations painted in fresco. Discovered in 1830, the tomb takes its name from the three-couch dining room of the ancient Greco-Roman Mediterranean, known as the triclinium.
The rear wall of the tomb carries the main scene, one of banqueters enjoying a dinner party (above). It is possible to draw stylistic comparisons between this painted scene that includes figures reclining on dining couches (klinai) and the contemporary fifth century B.C.E. Attic pottery that the Etruscans imported from Greece. The original fresco is only partially preserved; although it is likely that there were originally three couches, each hosting a pair of reclining diners, one male and one female. Two attendants—one male, one female—attend to the needs of the diners. The diners are dressed in bright and sumptuous robes, befitting their presumed elite status. Beneath the couches we can observe a large cat, as well as a large rooster and another bird.
Detail of a barbiton player on the left wall of the Tomb of the Triclinium
Music and dancing
Scenes of dancers occupy the flanking left and right walls. The left wall scene contains four dancers—three female and one male—and a male musician playing the barbiton, an ancient stringed instrument similar to the lyre (left).
Common painterly conventions of gender typing are employed—the skin of females is light in color while male skin is tinted a darker tone of orange-brown. The dancers and musicians, together with the feasting, suggest the overall convivial tone of the Etruscan funeral. In keeping with ancient Mediterranean customs, funerals were often accompanied by games, as famously represented by the funeral games of the Trojan Anchises as described in book 5 of Vergil’s epic poem, the Aeneid. In the Tomb of the Triclinium we may have an allusion to games as the walls flanking the tomb’s entrance bear scenes of youths dismounting horses, variously described as being either apobates (participants in an equestrian combat sport) or the Dioscuri (mythological twins).
Detail of two dancers on the right wall of the Tomb of the Triclinium
The tomb’s ceiling is painted in a checkered scheme of alternating colors, perhaps meant to evoke the temporary fabric tents that were erected near the tomb for the actual celebration of the funeral banquet.
The actual paintings were removed from the tomb in 1949 and are conserved in the Museo Nazionale in Tarquinia. As their state of preservation has deteriorated, watercolors made at the time of discovery have proven very important for the study of the tomb.
The convivial theme of the Tomb of the Triclinium might seem surprising in a funereal context, but it is important to note that the Etruscan funeral rites were not somber but festive, with the aim of sharing a final meal with the deceased as the latter transitioned to the afterlife. This ritual feasting served several purposes in social terms. At its most basic level the funeral banquet marked the transition of the deceased from the world of the living to that of the dead; the banquet that accompanied the burial marked this transition and ritually included the spirit of the deceased, as a portion of the meal, along with the appropriate dishes and utensils for eating and drinking, would then be deposited in the tomb. Another purpose of the funeral meal, games, and other activities was to reinforce the socio-economic position of the deceased person and his/her family, a way to remind the community of the living of the importance and standing of these people and thus tangibly reinforce their position in contemporary society. This would include, where appropriate, visual reminders of socio-political status, including indications of wealth and civic achievements, notably public offices held by the deceased.
Essay by Dr. Jeffrey A. Becker
L. Bonfante, ed., Etruscan Life and Afterlife: a Handbook of Etruscan Studies (Detroit: Wayne State University Press, 1986).
O. J. Brendel, Etruscan Art, 2nd ed. (New Haven: Yale University Press, 1995).
P. Duell, “The tomba del Triclinio at Tarquinia.” Memoirs of the American Academy in Rome, volume 6, 1927, pp. 5-68.
S. Haynes, Etruscan Civilization: A Cultural History (Los Angeles, California: Getty Publications, 2000).
R. R. Holloway, “Conventions of Etruscan Painting in the Tomb of Hunting and Fishing at Tarquinii, “ American Journal of Archaeology, volume 69, number 4, 1965, pp. 341-7.
A. Naso, La pittura etrusca: guida breve (Rome: “L’Erma” di Bretschneider, 2005).
M. Pallottino, Etruscan Painting (Geneva: Skira, 1952).
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S. Steingräber, S., Abundance of Life: Etruscan Wall Painting (Los Angeles (California: Getty Publications, 2006).
J. M. Turfa, ed. The Etruscan World (London: Routledge, 2013).
A. Zaccaria Ruggiu, More regio vivere: il banchetto aristocratico e la casa romana di età arcaica (Rome: Edizioni Quasar, 2003)
Want to join the conversation?
- What is the size of this tomb?(16 votes)
- Is Etruscans like to use the idea of "Three"? I mean because they have the triclinium and the three cellas in Temple of Minerva. Is "Three" means something to them or it is just a art perspective?(4 votes)
- Yes, three is a 'magic' number in European numerology. It has had special properties since at least the Bronze Age.(6 votes)
- I thought that the part about the temple was cool. Were there any Christian Churches at the time?(1 vote)
- The Etruscan civilization flourished during the first millennium BCE, long before there were any Christians to be found.(10 votes)
- "the banquet that accompanied the burial marked this transition and ritually included the spirit of the deceased, as a portion of the meal"
I might be reading this wrong, but they imagined they were 'eating' the spirit? Is that a common tradition in funerary ritual practices?(2 votes)
- No, the inclusion of the spirit was as a guest at the meal, not as a dish on the table to be eaten.
BUT, the poorly constructed sentence can certainly be read as if the spirit was being eaten. This kind of writing is why there are English majors in university, to learn how to avoid bad writing.(6 votes)