Diario di: Redazione GoTellGo
Autore: GoTellGo Editorial Board
Goteller: Redazione GoTellGo
Categoria: archeologia
Creato il: 22/05/2010
Data Da: 01/10/2009
Data A: 01/10/2009
Licenza:
Nazioni: Italy
: cerveteri
Posti visitati: necropolis of Monte Abatone, Necropolis of Banditaccia, Necropolis of Sorbo, Via degli Inferi
Parole chiave: etruscan tombs

At Km 41,5 of the Via Aurelia, we take the turn-off for Cerveteri.

History

In Roman times called Caere, by the Greeks it was called Agylla, and by the Etruscans Chaire. In fact a legend tells that when the Tyrrhenians, while in conflict with the inhabitants of Agylla, asked the name of the city, they were greeted with the word kaire (to be written in Greek) (= greetings!) and consequently, for good luck they changed the name (STRABO, V,2,8). According to another tradition, spread by the Ceretans themselves during the VI century B.C., the foundation of the city was attributed to the Pelasgians, a population of Greek origin, that came from Thessaglia.

The size of the territory varied through the ages depending on political changes even though it may be said that to the north it always bordered with Tarquinia and to the south with Veio. Furthermore, the city formed part of the great Mediterranean routes through its three harbours: Pyrgi (S.Severa), Alsium (Ladispoli), Punicum (S.Marinella).

Funeral ornaments found in the necropolises of Sorbo and of Cava della Pozzolana testify to the existence of a settlement already in the IX century B.C. But its real development dates to the end of the VIII - beginning of the VII century B.C. when the well incinerator rites and the pit burials with a loculus were replaced by the first chamber tombs surrounded by tall tumuluses: indication of the establishment of the power of a strong aristocratic class. Maritime commerce and the possession of the mineral area of Tolfa-Allumiere make Caere a strong flourishing city. In one of its three harbours, Pyrgi, there was a rich temple that was famous throughout the Mediterranean area. It was dedicated to a female divinity called Leucotea by the Greeks and Uni-Astarte by the Phoenicians. Thus Caere becomes an important commercial and craft centre, known for its bronze industry and the working of precious metals and for its ceramic factories: it is in this climate that the revolutionary discovery of the Ceretan ceramic workers, bucchero, develops. This was a special technical process obtained during the firing that was used in a series of ceramic forms of great delicacy. They featured a shiny surface that was black even in the cracks.

The growth of the Etruscan town continues without interruption for the whole of the VI century B.C.: an increase in productive activity on an industrial scale corresponds to innovations in sepulchral architecture. From the former tombs with a single chamber of rectangular shape with one or two pairs of central pilasters supporting a structure that imitated the wooden roof with double slopes, we pass to a more complicated layout, made up of a forward room with benches along the sides and maybe central pilasters, from which there is access to three rooms opening at the rear; the entrance to the tomb is characterised by a long dromos (corridor) with further side areas and covered by a high tumulus, probably covered with vegetation. This type of tomb shows an imitation of domestic architecture: if in the first chamber tombs we can see signs of the ancient hut habitations, these more articulated tombs show an obvious evolution towards the layout of a real house which, with its tripartition, reflects eastern influences.

One hypogeum contained various generations of deceased persons; the benches in the shape of a bed or kline for banquets were destined for male burials, while for female burials those with the double slanting covers, which reproduced the roof of a house, were used.

This building phase reaches the height of its development towards the middle of the VI century BC, a period which sees Caere participate in the conflicts in defence of the Etruscan commercial routes and for supremacy in the Tyrrenhian sea together with the Carthaginians. In fact 540 B.C. was the date of the historical naval battle against the Greeks of Focea who were stationed in Corsica and who had to migrate to Magna Grecia after a short time. Herodotus tells how, after the battle, the Ceretans massacred the Focean prisoners and were for this smitten by a curse that rendered either lame or impotent anyone, be they man or women, who crossed the place where the Foceans had been so cruelly killed. As a result, the inhabitants of Caere sent ambassadors to Delphi where the Pizia issued orders to placate the souls of the deceased Foceans by making sacrifices and setting up gymnastic and equestrian games. In spite of this episode, relations between Caere and Greece itself continued to be quite sound, as is proved by the presence within the shrine of Delphi of a thesaurus belonging to Caere, for the consecration of the gifts offered to the god, according to a typical tradition of many Greek cities. This Hellenizing imprint of Caere is revealed by the imposing number of ceramic and bronze testimonies of obvious Ionic influence, that were found in the tombs of Caere of this period.

Following the establishment of new social classes of an intermediate and more democratic level replacing the old aristocratic-oligarchic class, new types of tombs are born: the so-called “cube” and “face” tombs that were situated in an orderly fashion on roads and squares. Depending on the tomb, access was by a short dromos, a door or by a trap door in the shape of a well, while often a side stairway gave access to the upper part of the tomb for the cult ceremonies. The layout usually features an anteroom and a chamber, both with benches.

The power of Caere suffered a moment of setback during the first decades of the V century B.C. following the defeat inflicted on the Etruscans at Cuma by the Syracusan fleet. A long phase of recession followed, attested by the depopulation of the countryside. This took place throughout the southern part of Etruria, and was accompanied by an evident decline in the quality and quantity of handicraft products. Towards the end of the century Caere began to emerge from this negative phase, bringing new life to its commercial activities. The metropolis gradually undergoes a slow process of Romanization: relations of alliance between the two cities certainly date to a very ancient time, and this is due to their common hostility towards Veio; and Caere enjoyed in any case honourable conditions, even following a momentary defection next to the Etruscan-Faliscan peoples on the occasion of the Roman-Tarquinian war of 358 B.C.. Classic sources tell that the children of the Roman nobles were sent to Caere to be educated in the arts and in literature (LIV., IX,36,2).

Good relations with allied Rome lasted up until 273 B.C. when, following a general Etruscan revolt, the Ceretans, even while continuing to enjoy the civitas sine suffragio, were deprived of the whole coastal area of their territory, destined as it was to the foundation of Roman maritime colonies, such as Castrum novum, Alsium, Fregenae, Pyrgi. At this time a new aristocracy begins to emerge. This can be determined thanks to the noble tombs that were erected in the areas left free by the preceding urbanistic type of arrangement. Two types of tombs in particular date to this period: tombs excavated in depth in the tufa rock, usually composed of a single chamber of a square shape with benches separated by cordons along the walls and featuring outside the presence of inscribed signs or cippi in cylinder shape or in the form of a house; huge hypogeums, often featuring false rocky façades decorated with sculptures or by high walls in blocks, interrupted by a long dromos that leads to a square-shaped chamber with or without pillars, a ceiling with false beams or with slopes, benches and loculi along the walls, often with small shrines on the end wall for the generation of the founder. A certain economic revival is also attested in artistic production where new elements are found in the establishment of ceramics with red figures and painted over; this ceramic work was widely exported throughout Italy and the Mediterranean area.

A slow decline begins in the III century B.C. Tombs become more rare, architectural production becomes more poor and the shrine of Pyrgi is abandoned.

With Augustus, to whom is owed the construction of a theatre, a Caesareum and an aqueduct, Caere sees a new brief period of flourishment, but decay and the depopulation of the city become more marked during the time of the Empire and the early Middle Ages.

With the arrival of the Saracens, the inhabitants are forced to abandon the city and to retire to a fortified village known as Ceri. The modern town, which only occupies a small part of the ancient village, took the name of Caere Vetus, to then become Cerveteri.

The old city, about 8 Km distant from the sea, covered about 160 hectares on a plain whose walls were of tufa rock and rather precipitous. They were surrounded by the Manganello gully and by the Mola gully which met to the south of the city to form the Vaccina gully. This is the mythical stream next to which Tarconte and his Etruscans made camp and where Aeneas received from his mother, a goddess, the divine arms and the prophetic shield decorated with historical scenes regarding the future glories of Rome. Beyond the gullies, the necropolises were situated: to the north that of the Banditaccia, to the south that of Monte Abatone and to the west that of Sorbo.

The old city

We begin our itinerary from the few remains of the old city, that is only partially invaded by the modern town. Although it was naturally defended by high cliffs on three sides, the perimeter of the city was artificially fortified by gullies and walls of brick. A section of wall with rows of blocks laid headways is well preserved along the NW side as far as the so-called “covered Door”; it can be reached by following the road that leads to the new cemetery. Returning towards the interior of the city and following the road which, having passed the cemetery, leads to Via degli Inferi, an artificial gully can be seen. This is 50 metres long and is flanked by tombs and underground passages excavated out of the rocky wall at different heights. Furthermore, by following the outer edge of the plain other rows of blocks belonging to the ancient wall may be seen in various places.

We again take the road that leads to the new cemetery and turning right, having passed the last houses, we reach the area of the Parish Vineyard, where numerous archaeological structures have been discovered over time. Having passed the first gate on the left, we come to the Roman theatre, discovered in 1846 by Regolini and object of more recent studies and investigations: at the moment remains of the cavea of the period of Augustus may be seen; these are supported by a series of radial rooms with counterforts that sustained the tiers. It is estimated that its diameter was of about fifty metres and that the theatre could hold no more than 2,500 spectators.

Only a short way further on, on the left, a rather complex stratigraphic situation may be observed. In fact the foundations are preserved of an elliptical shaped building whose original layout dated to the V century B.C. and was maybe destined to cult functions. There are also the foundations of a rectangular shaped building, probably with triple cells, which may perhaps be recognised as a temple. The remains of a structure regarding an industrial set-up (a furnace, wells, cisterns and sewers), found in 1913 by Raniero Mengarelli, have completely disappeared from view.

A last point to mention about this area is that just here, inside a cistern for the collection of impure waters, a dump was discovered which included architectural elements in stone, terracotta figures, local and imported ceramics, amphorae for transport, weights for looms, all datable to between 540 and 480 B.C. and probably belonging to dwellings that existed before the construction of the temple building.

Before leaving the town a visit to the local archaeological museum is recommended.

The Necropolis of Banditaccia

By following the tourist signs in the town we reach the necropolis of Banditaccia, that was always linked to the town by means of a road excavated in the tufa rock, and frequently used by carts as testified by the furrows created by the wheels that can still be seen.

The visit to the necropolis can be divided into three parts: the area of the enclosure, the Via degli Inferi, the so-called tombs of the Municipality.

Having arrived at the entrance to the excavations, in the enclosed area it is advisable to follow the proposed itinerary in order to better understand the typological and chronological evolution of the necropolis, which reflects the most important elements of all the funerary architectural typology of the area of Caere. However it should be stressed that the modern layout of the archaeological park, although suggestive, is the result of preservation works carried out over time; these partially altered the original layout of the site, while uncovering the façades of the tombs, originally invisible from the outside.

We begin our visit by taking the path to the left of the main road, next to the tumuluses, so arriving at an area (1) occupied by a series of pits excavated in the tufa rock, and destined to receive the ossuaries with the ashes of the deceased. This type of tomb which was very common during the Iron Age, was later used for burying children, who were not hosted in the family tomb.

Continuing along the path we reach the monumental tumulus II, one of the largest of the necropolis, measuring 40 m. in diameter and 15 m. in height and dating to the VII century B.C. The tomb is characterised by a cylindrical shaped drum surmounted by a moulded crown in bands and kerbs. Four distinct tombs open from its circumference, including: the tomb of the cabin with a long dromos, two side rooms and two other rooms whose sloping ceilings evoke precisely the roof of a cabin; the tomb of the doli (vases), which owes its name to the discovery within this tomb of eleven mixing vases for containing food-stuffs; the tomb of the Greek vases with a corridor, two side cells, a rectangular vestibule which in its turn leads into three parallel rooms. In this tomb we see the funeral beds shaped like kline and the burial chests with triangular tympanums at the ends.

Going around the tumulus we see that it is surrounded by smaller tumuluses which usually, if not always, contain a single tomb with a single chamber. Among these tumuluses, probably destined to families of a lower rank, we would like to point out that of the capitals (VI century B.C.) which, after a short corridor with cells off to the sides, opens out into a large longitudinal room with central polygonal columns surmounted by Aeolic capitals which support a ceiling that reproduces large and small beams, while at the end it opens into the three main rooms for burials.

Returning to the main roadway, in front of us we see a row of hypogeum chambers with sloping ceilings and side benches dating to a later period. Signs in column or cabin form outside the tombs should be noted; the former refer to a burial of the male sex, while the latter refer to females; furthermore, the names of the deceased are often given in Etruscan or Latin.

Having reached the crossroads, we take the path to the right until we reach the tomb of the cornice, whose interior, similar in layout to the aforementioned tomb of the capitals, recalls a domestic environment: of particular note, at the sides of the entrance to the vestibule, we see two seats like rectangular thrones with pedestals and backs ending in two disks; around the vestibule, that has four side benches, there is a long cornice in the shape of a small cable that juts out, whose function is unknown. Three doors of a Doric type, cut out of the end wall, and flanked by two pairs of arched windows, give access to three cells each containing two side benches.

Returning the way we came towards the previous intersection, we take the turn to the left and, after the second small tumulus, we reach the tomb of the reliefs. This tomb belonged to the Matuna family, as shown by some painted inscriptions which have unfortunately disappeared and by a large cippus preserved inside the tomb, on which we can read vel .matunas .larisalisa  / an.cn suthi .cerichunce (Wel Matuna of Laris, he who had this tomb built 2). The hypogeum, which can be dated to IV century B.C., is reached by means of a long deep stairway, at the end of which a large room opens; this room has two central pillars that support capitals of the Eolic type, a double sloping ceiling, a wide bench subdivided by kerbs for deposing 13 bodies and 13 double-place niches in the walls. The tomb, one of the most interesting in the necropolis of Caere, is exceptional for its decorations in polychrome stucco, preserved on the entrance wall, on the front façades of the pilasters, in the central niche and in the upper cornice of the other niches. The reliefs show a series of objects hanging on the walls, which were to constitute the necessary belongings of the deceased in the other world: arms, shields, helmets, swords, shin-guards; a stool with a pair of slippers; a goblet and a jug, the priestly texts, crowns, a fan, a stick, basins and recipients. On the pillars, as well as some animals (a beech-marten, a duck, a goose and a cat), other objects are also visible: slings, axes, sabres, hunting instruments, knives, various recipients and a large brazier. It should be observed that there is a deep distinction between the objects reserved for the male sphere (hunting instruments, arms, drinking vases) and for the female one (instruments for domestic use).

We again return to the intersection near which we can visit the tomb of the little house, datable to the VI century B.C. and characterised by a cruciform layout: the vestibule leads into two side rooms and a central one which in its turn leads into another room.

Continuing along the path we reach a section of the necropolis that is occupied by other tumuluses, of small dimensions, and by a series of tombs in a row of the VI-V centuries B.C.; these are set along roads that are directed NS , roads called of the Monti della Tolfa and of the Monti Ceriti. The tombs, organised into blocks, all have similar features: the outer perimeter, in local tufa rock, was composed of a base surmounted by massive mouldings, that are also present in the crown. The entrances, in peperino with Doric profiles, gave access to two co-axial rooms with benches along the walls and a double sloping room that ended in the central beam in relief,

Having abandoned the scenographic view of the row of tombs, we can visit the Maroi tumulus containing three sepulchres that are characteristic of the VII century B.C.; one of these may be seen reconstructed at the Museum of Villa Giulia in Rome.

Immediately afterwards, continuing along the recommended itinerary, we reach the polychrome tomb which, although built in a tumulus, is similar in structure to the dadi of Via dei Monti Ceriti. The drum, in fact, is built with rows of blocks of rough red tufa rock, while the interior has a short corridor with side rooms and a large central area divided in two by a pair of central pillars with moulded capitals.

In the immediate vicinity stands the large Mengarelli tumulus so-called in memory of one of the most famous excavators of the necropolis of Caere. In spite of its huge size, it contains only one tomb which is reached by following a very long dromos with side rooms, that gives access to a circular vestibule which is in its turn connected to other funerary areas, that were originally decorated with paintings. This tumulus can be dated to 650-625 B.C. The adjacent tumulus of the colonel, dating to the beginning of the VII century B.C. contains four tombs, but is particular especially for the crown of the drum, shaped with a series of flat and rounded mouldings.

Having reached the main road, called Via degli Inferi, we go back along the path in the opposite direction. A short visit to the tomb of Marce Ursus is recommended. This tomb is named after its owner which is inscribed on one of the walls. The sepulchre , made in a cube form, built from rows of blocks in opus quadratum, is very interesting, because it gives a summary of the characteristics of the ltype of tomb that was most common between the VI and IV centuries B.C. In the vestibule there is a “trap-door”, a sort of chimney that acts as a communication between the burial chamber and the summit of the structure, probably used for funeral ceremonies. It should not be excluded that the officiants may have poured the prescribed libations through this well. The actual burial chamber, containing four benches and covered by a double sloping ceiling, communicated with two parallel chambers illuminated by small windows.

Outside the enclosure, if there is still time available, other equally impressive tumuluses may be visited. On the left stands that of the shields and chairs (VII-VI centuries B.C.) which reaches 50 metres in diameter and has a smooth drum crowned by a triple torus. Three hypogeums are contained in its interior: the tomb of the painted lions, accessible from the NW by means of a stairway 12 m. in length; this tomb is particularly interesting due to the presence in the side chambers of paintings, now almost completely disappeared, which showed a man between two facing lions, in an eastern style, as a demonstration of the power and strength of the owner. In the chamber to right, moreover, we observe large baskets carved out of the tufa rock. Of similar interest is the ceiling of the vestibule where the small beams are placed radially with respect to the central disk, recalling the roofs of oval-shaped cabins. The main chamber, which has two beds, is in its turn linked to another room with a side bed and benches.

On the NE side of the same tumulus, we find the tomb of the shields and the seats, of the type with three cells: the details inside are worthy of note: the carved beds, the doors, the seats with a curved back and the shields hanging from the walls of the vestibule, certainly lead us to surmise that the tomb was used by a family of warriors.

Further south, standing alone, we see the tumulus of the painted animals (VII century B.C.) of whose four tombs the most interesting is that of the same name, and located in the NW quadrant . The long uncovered dromos should be noted, as also the round vestibule with a flat ceiling imitating large and small beams, the four pillars of the main chamber supporting an unsloping ceiling in the form of a sunburst. The hypogeum owes its name to the animals painted in eastern style which once decorated the walls of the vestibule.

Via degli Inferi

Having come out from the enclosed area, it is strongly recommended to continue the itinerary continuing on foot along the path that surrounds the enclosure, beyond the carpark. Having passed on the right another sector of the necropolis, we reach the charming Via degli Inferi, deeply set into the tufa rock and flanked by chamber tombs excavated out of the rock (VII-III centuries B.C.). Steps lead to the higher areas, where there are real squares surrounded by tombs of various types: with cabin roofs, with two co-axial chambers, with a vestibule and two rooms off the end wall, with a single chamber. In this sector, we wish to point out the tomb of the Doric columns, so-called because of the presence of two octagonal columns with Doric capitals that support the ceiling (mid VI century B.C.).

Returning back on our tracks along the road for Cerveteri, we can visit the tombs known as of the municipality located at the western end of the Via degli Inferi. The tombs, architecturally homogeneous, date to the VI century B.C. and they must certainly have belonged to the rich aristocracy of the time. The cube tomb known as that of the sarcophagi, outside has a wall of tufa blocks in opus quadratum. At the local archaeological museum there are two scroll shelves ending in rams’ heads and a bas-relief frieze showing a procession of demoniacal figures which must have come from this tomb. In one of the two intercommunicating rooms, on top of the counters excavated out of the tufa rock, four marble sarcophagi were found. One of these was a chest with a double sloping roof and three had the image of the deceased lying on the cover (three sarcophagi are on view in the Museum of Cerveteri). Having arrived at a sort of wider area, we can enter the tomb of the inscriptions, which is attributed, on the basis of the painted or carved inscriptions found in it (over fifty of them), to the family of the Tarchna-Tarquitii. The sepulchre is built on two levels which are connected by means of a stairs. The lower room has two pilasters and a double row of benches for deposing about fifty corpses. On the wall plaster we can still just see traces of paintings showing funeral beds and objects connected with the cult of the dead. From the earlier mentioned inscriptions, in the Etruscan language and in Latin, it may be deduced that the sepulchre was used for at least eight generations.

Remaining in this area we can visit the tomb of the alcove, belonging to the family of the Tarnas. A long corridor with steps, excavated out of the rock face, leads to a room with niches and benches. At the end there is a small raised square room, an “alcove” in fact, in which we can recognise a small sacellum with a bed laid transversally destined to the founders of the family.

Still continuing along Via degli Inferi, we conclude our visit in the necropolis of the Banditaccia with a visit to the tumulus of the five chairs (650-625 B.C.) characterised by a single tomb in which the two side rooms communicate with the central one by means of two small rooms. In the left-hand room there are five seats with cruciform backs and foot-rests next to two tables, now disappeared. On the seats there were small clay images showing men and women in ceremonial robes (preserved in the Capitoline Museums and in the British Museum), which can be recognised as the forefathers of the family buried in the tomb, who are taking part in a ceremonial banquet in the other world.

The necropolis of Sorbo

The necropolis of Sorbo, located at the south-western extremity of ancient Caere covers a vast Villanovian burial ground with well and pit tombs. It is rightly famous for the discovery last century of the princely Regolini-Galassi tomb, which owes its name to its discoverers, the arch-priest of Cerveteri Alessandro Regolini and general Vincenzo Galassi. Inside a more recent tumulus, in which a series of tombs known as “peripheral” tombs (hypogeums that belonged to the descendants of the ancestral family) are excavated, there is an older tumulus, within which the famous tomb, that had been left inviolate over the centuries, was discovered. Thus the precious funeral furnishings of gold, silver, bronze and ivory that had belonged to the princely family of the VII century B.C. was left intact. Architecturally, the hypogeum consisted of a short corridor with steps which led to two co-axial long straight rooms; the end of the first of these gave access to two side rooms excavated out of the tufa rock; these featured an ogival vaulted ceiling realised using the technique of the tholos, with large squared blocks gradually jutting out.

The precious collection of furnishings found must have belonged to three different persons, deposed in successive periods. The accounts of the discovery tell that in the right niche traces were found of a cremation accompanied by a small number of objects, while in the two long rooms the remains of two buried persons, a man and a woman, were discovered. The precious gold objects, a breast-plate, a necklace with amber, bracelets, a disc-shaped buckle and the precious plate must have belonged to her, while the funeral coach on wheels, the funeral bed, bronze basins on supports, a series of round parade shields and bronze paterae must have belonged to the male person.

The necropolis of Monte Abatone

The itinerary through the necropolises of Caere ends with the visit to the largest necropolis, that situated on the plain of Monte Abatone, south-east of the city, in a wild and pretty area. Of the hundreds of tombs discovered and brutally plundered over the years, only a few can still be visited. First of all, the Campana tumulus, on the western edge of the plain, characterised by a ramp which gave access to the summit for carrying out the funeral rites. The tumulus, measuring over 30 m. in diameter, contains two tombs, an older one (mid VII century B.C.) composed of an uncovered corridor, a central room and two side rooms; then there is a more recent one (575-525 B.C.), at a higher level, which has a central room and a side room. The furnishings of the older tomb, which are particularly refined, are worthy of note: a bed with legs in relief in the right-hand side room; three complete baskets laid on a bench in the left-hand room; a high throne with its back ending in two scrolls and a seat with hollows for placing little statues of forefathers in the central room. The ceilings imitating domestic architecture are also worthy of note.

The Torlonia tomb dates to the IV century B.C.. It also is included in a large tumulus. Its peculiarity derives from the fact that it consists of a monumental entrance flanked by two Tuscanic pilasters. At the end of a long courtyard, a covered area, it too flanked by two pilasters, features a central shrine that has a false door and seats at the sides, maybe destined to funeral cults. The entrance to the tomb itself is at a depth of four metres and it can be reached by descending a stairway that is located at the centre of the aforementioned courtyard. The hypogeum is composed of an antechamber that has pilasters that ornate the side areas for secondary burials; on the end wall a sort of rectangular “alcove” opens; this is occupied by a kline with moulded legs and a foot-rest stool.

The Necropolis of Banditaccia has the following opening times: from 1 October to 30 April: 9 a.m. to 4 p.m.; from 1 May to 30 Septermber: 9 a.m. to 7 p.m. Mondays closed.