Terracotta statue of a young woman

late 4th–early 3rd century BCE
On view at The Met Fifth Avenue in Gallery 170
The legendary king Aeneas, father of the Latin race, fled from Troy to Macedonia, then Sicily, and finally to the Italian peninsula. There he founded a city called Lavinium (modern Pratica di Mare), a site eighteen miles south of Rome, which became a major religious center for the Latin people. The distinctive clothing and jewelry on this life-sized statue closely resemble those on fourth and third century B.C. terracottas found there. The elaborate necklaces and armband appear to be reproduced from molds of actual jewelry. Some of the pendants are decorated with reliefs depicting various Etruscan deities and heroes. Originally, this woman wore a pair of grape-cluster earrings. The one on her left ear is visible behind her long hair. When complete, the statue probably stood in a sanctuary and showed the young woman holding an incense box in her extended right hand. This rare statue is an exceptional example of the awakening sophistication of Italic artists, who over the following two centuries fused native traditions with imported ones and gave birth to the multifaceted art of Late Republican Rome.

Artwork Details

Object Information
  • Title: Terracotta statue of a young woman
  • Date: late 4th–early 3rd century BCE
  • Culture: Etruscan
  • Medium: Terracotta
  • Dimensions: H. 29 7/16 in. (74.8 cm)
  • Classification: Terracottas
  • Credit Line: Rogers Fund, 1916
  • Object Number: 16.141
  • Curatorial Department: Greek and Roman Art

Audio

Cover Image for 1214. Terracotta statue of a young woman

1214. Terracotta statue of a young woman

0:00
0:00

SEAN HEMINGWAY: This terracotta statue, originally a full, standing figure, depicts a young Etruscan woman. She is adorned with elaborate necklaces and an armband, all of which appear to be reproduced from molds of actual jewelry. Originally, she also wore a pair of very large earrings resembling clusters of grapes. In fact, the one on her left ear is still visible behind her long hair. Richard DePuma is Professor Emeritus at the University of Iowa.

RICHARD DEPUMA: One of the most exciting things about this particular figure is that she is so beautifully decorated with jewelry. She’s wearing three necklaces, one of which contains a whole series of pendants that are modeled to show various gods and heroes of the Etruscans. The largest necklace, the one that is actually over her shoulders and in front, had three large pendants on it. And two of those pendants are what we call buli. They’re actually amulets. They are hollow pendants that contain something sacred, something magical, to help keep people from catching diseases, or to help purify them in some way, to protect them in some way. And they were worn by children, by adults too. And even by animals, in fact.

SEAN HEMINGWAY: The Etruscans did not have a source for high-quality stone. Therefore, they used terracotta for freestanding sculptures, like this one, and for more ambitious architectural compositions.

More Artwork

Research Resources

The Met provides unparalleled resources for research and welcomes an international community of students and scholars. The Met's Open Access API is where creators and researchers can connect to the The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.

To request images under copyright and other restrictions, please use this Image Request form.

Feedback

We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please contact us using the form below. The Museum looks forward to receiving your comments.

Send feedback