1.
Etruscan civilization
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The Etruscan civilization is the modern name given to a powerful and wealthy civilization of ancient Italy in the area corresponding roughly to Tuscany, western Umbria, and northern Lazio. Culture that is identifiably Etruscan developed in Italy after about 800 BC, the latter gave way in the 7th century BC to a culture that was influenced by ancient Greece, Magna Graecia, and Phoenicia. The decline was gradual, but by 500 BC the political destiny of Italy had passed out of Etruscan hands, the last Etruscan cities were formally absorbed by Rome around 100 BC. Politics were based on the city, and probably the family unit. In their heyday, the Etruscan elite grew very rich through trade with the Celtic world to the north and the Greeks to the south, archaic Greece had a huge influence on their art and architecture, and Greek mythology was evidently very familiar to them. The study also excluded recent Anatolian connection, the ancient Romans referred to the Etruscans as the Tuscī or Etruscī. Their Roman name is the origin of the terms Tuscany, which refers to their heartland, and Etruria, which can refer to their wider region. In Attic Greek, the Etruscans were known as Tyrrhenians, from which the Romans derived the names Tyrrhēnī, Tyrrhēnia, the word may also be related to the Hittite Taruisa. The Etruscans called themselves Rasenna, which was syncopated to Rasna or Raśna, the origins of the Etruscans are mostly lost in prehistory, although Greek historians as early as the 5th century BC, repeatedly associated the Tyrrhenians with Pelasgians. Strabo as well as the Homeric Hymn to Dionysus make mention of the Tyrrhenians as pirates, pliny the Elder put the Etruscans in the context of the Rhaetian people to the north and wrote in his Natural History, Adjoining these the Noricans are the Raeti and Vindelici. All are divided into a number of states, the Raeti are believed to be people of Tuscan race driven out by the Gauls, their leader was named Raetus. Historians have no literature and no original Etruscan texts of religion or philosophy, therefore, much of what is known about this civilization is derived from grave goods, another source of genetic data on Etruscan origins is from four ancient breeds of cattle. Analyzing the mitochondrial DNA of these and seven other breeds of Italian cattle, the other Italian breeds were linked to northern Europe. Etruscan expansion was focused both to the north beyond the Apennine Mountains and into Campania, some small towns in the sixth century BC disappeared during this time, ostensibly consumed by greater, more powerful neighbours. However, it is certain that the structure of the Etruscan culture was similar to, albeit more aristocratic than. The mining and commerce of metal, especially copper and iron, led to an enrichment of the Etruscans and to the expansion of their influence in the Italian peninsula and the western Mediterranean Sea. Here, their interests collided with those of the Greeks, especially in the sixth century BC and this led the Etruscans to ally themselves with Carthage, whose interests also collided with the Greeks. Around 540 BC, the Battle of Alalia led to a new distribution of power in the western Mediterranean, from the first half of the 5th century BC, the new political situation meant the beginning of the Etruscan decline after losing their southern provinces
2.
Confronted animals
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The anti-confronted animals is the opposing motif, with the animals back to back. Bilateral symmetry is a dominant aspect of our world and strong representation of it with matching figures often creates a balance that is appealing in artwork, a related motif in ancient art is known as the Mistress of Animals. The column is thought to represent a goddess, abstracted to avoid tabooed direct representation, the motif called the Tree of Life, where two confronted animals graze on a shrub or tree, is also very ancient. The reverse side of the Gebel el-Arak Knife handle, displayed at the top of the article, shows two powerful confronted lions, separated by a figure who is grasping them. Of note, the knob on the shows the top end of the hole for a cord or rope, on the suspension lug. Examples of confronted animals exist on Cylinder seals from Mesopotamia, deities, or heroes grasping lionesses, cattle, griffins, or other imaginary creatures are sometimes found. Many cylinder seals involving confronted goats surrounding a central Tree of life on a cone or mountain platform share one common theme, others may be thought of as deities holding the animals under their control. Because cylinder seals are numerous and also come from pre-historical periods, back to the fourth or fifth millenniums, confronted snakes are frequent images in many cultures from ancient times to historical periods. A chlorite vessel from the area of contemporary Baghdad, Iraq is displayed at this link and it depicts three pairs of confronted animals. Two confronted snakes are being held in the hands of the figure, below the snake-pair are a pair of anti-confronted-lionesses. The third similar pair of animals on this item are two anti-confronted bovines with a human or deity between also, two tumbling lions and other animals are depicted to the right. The Narmer Palette, used to mix cosmetics in the receptacle on one side, has two confronted felines, sometimes called serpopards forming the receptacle, close examination of the animals with the exaggerated, long necks supports identification as lionesses. The entire theme of the Narmer Palette, is about the pharaoh of the newly unified Ancient Egypt represented in two scenes, on one side the pharaoh wears the crown of Upper Egypt and on the other, the pharaoh wears the crown of Lower Egypt. Thus, it is thought that the lionesses with their necks are representing two kingdoms, once separate, but now unified under one pharaoh. The lioness Bast had been the deity of one kingdom. Respectively, they were the protectors of the pharaoh in each kingdom. Eventually their roles diverged, however, with one becoming less of the protector and warrior deity, typically, many similar deities in the two kingdoms soon were merged, so the retention of both is thought to be the result of the long and strong tradition of each. Examples of other confronted animals exist on many cosmetic palettes of Ancient Egypt that have been discovered, one palette has confronted-hippopotamuses, others include giraffes, geese, and other animals familiar to the Egyptians
3.
Leopard
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The leopard /ˈlɛpərd/ is one of the five big cats in the genus Panthera. It is a member of the family Felidae with a range in sub-Saharan Africa. Fossil records suggest that in the Late Pleistocene it occurred in Europe, compared to other members of Felidae, the leopard has relatively short legs and a long body with a large skull. It is similar in appearance to the jaguar, but has a smaller, lighter physique. Its fur is marked with similar to those of the jaguar, but the leopards rosettes are smaller and more densely packed. Both leopards and jaguars that are melanistic are known as black panthers, the leopard is listed as vulnerable on the IUCN Red List because leopard populations are threatened by habitat loss and fragmentation, and are declining in large parts of the global range. In Hong Kong, Singapore, Kuwait, Syria, Libya, Tunisia and most likely in Morocco, leopards are hunted illegally, and their body parts are smuggled in the wildlife trade for medicinal practices and decoration. The common name leopard /ˈlɛ. pərd/ is a Greek compound of λέων leōn, the name reflects the fact that in antiquity, a leopard was believed to be a hybrid of a lion and a panther. The Greek word is related to Sanskrit पृदाकु pṛdāku, and probably derives from a Mediterranean language, the name was first used in the 13th century. Other vernacular names for the leopard include graupanther, panther and several names such as tendwa in India. The term black panther refers to leopards with melanistic genes, the scientific name of the leopard is Panthera pardus. The generic name Panthera derives from Latin via Greek πάνθηρ, the term panther, whose first recorded use dates back to the 13th century AD, generally refers to the leopard, and less often to the cougar and the jaguar. Alternative origins suggested for Panthera include an Indo-Iranian word meaning white-yellow or pale, in Sanskrit, this could have been derived from पाण्डर pāṇḍara, which in turn comes from पुण्डरीक puṇḍárīka. The specific name pardus is derived from the Greek πάρδος, the leopard is one of the five extant species of the genus Panthera, which also includes the jaguar, the lion, the snow leopard and the tiger. This genus, along with the genus Neofelis - which consists of the clouded leopard, the leopard was first described by Swedish zoologist Carl Linnaeus in the 10th edition of Systema Naturae. Linnaeus named the leopard as Felis pardus, placing it in the genus Felis along with the cat, the jaguar, the Eurasian lynx, the lion, the ocelot. In the 18th and 19th centuries, most naturalists and taxonomists followed his example, in 1816, Lorenz Oken proposed a definition of the genus Panthera, with a subgenus Panthera using F. pardus as a type species. Okens classification, however, was not widely accepted, and until the early 20th century continued using Felis or Leopardus when describing leopard subspecies, in 1916, British zoologist Reginald Innes Pocock accorded Panthera generic rank defining Panthera pardus as species
4.
Symposium
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In ancient Greece, the symposium was a drinking party. Symposia are depicted in Greek and Etruscan art that shows similar scenes, the equivalent in Roman society is the Latin convivium. In modern usage it has come to mean an academic conference or meeting such as a scientific conference, the Greek symposium was a key Hellenic social institution. It was a forum for men of respected families to debate, plot, boast and they were frequently held to celebrate the introduction of young men into aristocratic society. Symposia were also held by aristocrats to celebrate special occasions. They were a source of pride for them, symposia were usually held in the andrōn, the mens quarters of the household. The participants, or symposiasts, would recline on pillowed couches arrayed against the three walls of the room away from the door, due to space limitations the couches would number between seven and nine, limiting the total number of participants to somewhere between fourteen and twenty seven. If any young men took part they did not recline but sat up, however, in Macedonian symposia the focus was not only on drinking but hunting, and young men were allowed to recline only after they had killed their first wild boar. Entertainment was provided, and depending on the occasion could include games, songs, flute-girls or boys, slaves performing various acts, symposia often were held for specific occasions. The most famous symposium of all, described in Platos dialogue of that name was hosted by the poet Agathon on the occasion of his first victory at the theater contest of the 416 BC Dionysia. The men at the symposium would discuss a multitude of philosophical, such as love. A symposium would be overseen by a symposiarch who would decide how strong the wine for the evening would be, the Greeks and Romans customarily served their wine mixed with water, as the drinking of pure wine was considered a habit of uncivilized peoples. However, there were differences between the Roman and Greek symposiums. A Roman symposium served wine before, with and after food, in a Greek symposium, wine was only drunk after dinner, and women were not allowed to attend. The wine was drawn from a krater, a large jar designed to be carried by two men, and served from pitchers. Certain formalities were observed, most important among which were libations, in a fragment from his c. After the third one is drained, wise men go home, symposiums are often featured on Attic pottery and Richard Neer has argued that the chief function of Attic pottery was for use in the symposium. Poetry and music were central to the pleasures of the symposium, although free women of status did not attend symposia, high-class female prostitutes and entertainers were hired to perform, consort, and converse with the guests
5.
Tarquinia
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In 1922 it was renamed after the ancient city of Tarquinii or Tarchna. Although little is visible of the great wealth and extent of the ancient city. The Etruscan and Roman city is situated on the plateau of La Civita to the north of the current town. The ancient burial grounds, dating from the Iron Age to Roman times, were on the adjacent promontories including that of todays Tarquinia and it is said to have been already a flourishing city when Demaratus of Corinth brought in Greek workmen. Descendants of Demaratus, Lucius Tarquinius Priscus and Lucius Tarquinius Superbus, from Tarchuna many of the religious rites and ceremonies of Rome are said to have been derived, and even in imperial times a collegium of sixty haruspices continued to exist there. In 509 BC after the overthrow of the Roman monarchy the family of Tarquinius Superbus went into exile in Caere and he sought to regain the throne at first by the Tarquinian conspiracy and, when that failed, by force of arms. He convinced the cities of Tarchuna and Veii to support him, although the Roman army was victorious it is recorded by Livy that the forces of Tarchuna fought well on the right wing, initially pushing back the Roman left wing. After the battle the forces of Tarchuna returned home, the Spurinnas tomb, known as the Tomba dellOrco, is decorated with fine frescoes of a banquet uniting the famous members of the family who are identified by inscriptions. The Spurinna family was prominent in Tarquinii up to the 1st Century AD, recently two fragmented slabs were found known as the Elogia Tarquiniensis. During this period, Tarchuna overtook Caere and other Etruscan cities in terms of power and it was about this period that colossal walls were built around the city in response to threats from the Celts and from Rome. Tarchuna, not affected by Celtic invasions, finally colonised all its previously held territories in about 385 BC and this new flourishing state allowed a rapid recovery of all activities. However, during the fourth century BC when Tarchunas expansion was at its peak, a bitter struggle with Rome took place. In 358 BC, the citizens of Tarchuna captured and put to death 307 Roman soldiers, a bishop of Tarquinii is mentioned in 456AD. The last historic references to Tarquinii are from around 1250, while the name of Corneto was changed to Tarquinia in 1922, reversion to historical place names, was a frequent phenomenon under the Fascist Government of Italy as part of the nationalist campaign to evoke past glories. The painted scenes are of a quality virtually unrivalled elsewhere in the Etruscan world and they show banquets with dances and music, sporting events, occasional erotic and mythical scenes. Famous tombs include the Tomb of the Bulls, Tomb of the Augurs, during the second half of the 4th century sculpted and painted sarcophagi of nenfro, marble and alabaster came into use. They were deposited on rock-carved benches or against the walls in the by then very large underground chambers, sarcophagi continued until the second century and are found in such numbers at Tarquinia that they must have been manufactured locally. The city towered above the Marta valley and was about 6 km from the sea, La Civita is made up of two adjoining plateaux, the pian di Civita and the pian della Regina, joined by a narrow saddle
6.
Art of ancient Egypt
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Ancient Egyptian art is the painting, sculpture, architecture and other arts produced by the civilization of ancient Egypt in the lower Nile Valley from about 3000 BC to 30 AD. Ancient Egyptian art reached a level in painting and sculpture. It was famously conservative, and Egyptian styles changed remarkably little over more than three thousand years, much of the surviving art comes from tombs and monuments and thus there is an emphasis on life after death and the preservation of knowledge of the past. Ancient Egyptian art included paintings, sculpture in wood, stone and ceramics, drawings on papyrus, faience, jewelry, ivories and it displays an extraordinarily vivid representation of the ancient Egyptians socioeconomic status and belief systems. This appears as early as the Narmer Palette from Dynasty I, other conventions make statues of males darker than females ones. Egyptian art uses hierarchical proportion, where the size of figures indicates their relative importance, symbolism can be observed throughout Egyptian art and played an important role in establishing a sense of order. The pharaohs regalia, for example, represented his power to maintain order, animals were also highly symbolic figures in Egyptian art. Not all Egyptian reliefs were painted, and less prestigious works in tombs, Stone surfaces were prepared by whitewash, or if rough, a layer of coarse mud plaster, with a smoother gesso layer above, some finer limestones could take paint directly. Pigments were mostly mineral, chosen to withstand sunlight without fading. The binding medium used in painting remains unclear, egg tempera and various gums and it is clear that true fresco, painted into a thin layer of wet plaster, was not used. Instead the paint was applied to dried plaster, in what is called fresco a secco in Italian, small objects including wooden statuettes were often painted using similar techniques. Many ancient Egyptian paintings have survived in tombs, and sometimes temples, the paintings were often made with the intent of making a pleasant afterlife for the deceased. The themes included journey through the afterworld or protective deities introducing the deceased to the gods of the underworld, some tomb paintings show activities that the deceased were involved in when they were alive and wished to carry on doing for eternity. In the New Kingdom and later, the Book of the Dead was buried with the entombed person and it was considered important for an introduction to the afterlife. Egyptian paintings are painted in such a way to show a profile view, for example, the painting to the right shows the head from a profile view and the body from a frontal view. Their main colors were red, blue, green, gold, black, the monumental sculpture of ancient Egypts temples and tombs is world-famous, but refined and delicate small works exist in much greater numbers. The Egyptians used the technique of sunk relief, which is well suited to very bright sunlight. The distinctive pose of standing statues facing forward with one foot in front of the other was helpful for the balance and it was adopted very early and remained unchanged until the arrival of the Greeks
7.
Archaic Greece
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According to Anthony Snodgrass, the Archaic period in ancient Greece was bounded by two revolutions in the Greek world. The Archaic period saw developments in Greek politics, economics, international relations, warfare and it laid the groundwork for the Classical period, both politically and culturally. The word archaic derives from the Greek word archaios, which means old and it refers to the period in ancient Greek history before the classical. The Archaic period was considered to have been less important and historically interesting than the classical period. More recently, however, Archaic Greece has come to be studied for its own achievements, with this reassessment of the significance of the Archaic period, some scholars have objected to the term archaic, due to its connotations in English of being primitive and outdated. No term which has suggested to replace it has gained widespread currency, however. Much of our evidence about the period of ancient Greece comes from written histories. By contrast, we have no evidence from the Archaic period. We have written accounts of life in the period in the form of poetry, and epigraphical evidence, including parts of law codes, inscriptions on votive offerings, however, none of this evidence is in the quantity for which we have it in the classical period. What is lacking in evidence, however, is made up for in the rich archaeological evidence from the Archaic Greek world. Indeed, where much of our knowledge of classical Greek art comes from later Roman copies, other sources for the period are the traditions recorded by later Greek writers such as Herodotus. However, these traditions are not part of any form of history as we would recognise it today, indeed, Herodotus does not even record any dates before 480 BC. Politically, the Archaic period saw the development of the polis as the predominant unit of political organisation, many cities throughout Greece came under the rule of autocratic leaders, called tyrants. The period also saw the development of law and systems of communal decision-making, with the earliest evidence for law codes, by the end of the Archaic period, both the Athenian and Spartan constitutions seem to have developed into their classical forms. The Archaic period saw significant urbanisation, and the development of the concept of the polis as it was used in classical Greece. The urbanisation process in Archaic Greece known as synoecism – the amalgamation of small settlements into a single urban centre – took place in much of Greece in the eighth century BC. Both Athens and Argos, for instance, began to coalesce into single settlements around the end of that century and these two factors created a need for a new form of political organisation, as the political systems in place at the beginning of the Archaic period quickly became unworkable. Though in the part of the classical period the city of Athens was both culturally and politically dominant, it was not until the late sixth century that it became a leading power in Greece
8.
Culture of ancient Rome
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The culture of ancient Rome existed throughout the almost 1200-year history of the civilization of Ancient Rome. The term refers to the culture of the Roman Republic, later the Roman Empire, Life in ancient Rome revolved around the city of Rome, its famed seven hills, and its monumental architecture such as the Flavian Amphitheatre, Trajans Forum, and the Pantheon. The city also had theaters, gymnasia, and many taverns, baths. The vast majority of the lived in the city center. The city of Rome was the largest megalopolis of that time, with a population that may well have exceeded one million people, with a high end estimate of 3.6 million and a low end estimate of 450,000. The most urbanized part of the Empire was Italy, which had a rate of urbanization of 32%. Most Roman towns and cities had a forum, temples and the type of buildings, on a smaller scale. Italian farms supplied vegetables and fruits, but fish and meat were luxuries, aqueducts were built to bring water to urban centers and wine and oil were imported from Hispania, Gaul and Africa. There was a large amount of commerce between the provinces of the Roman Empire, since its transportation technology was very efficient. The average costs of transport and the technology were comparable with 18th-century Europe, the later city of Rome did not fill the space within its ancient Aurelian walls until after 1870. The majority of the population under the jurisdiction of ancient Rome lived in the countryside in settlements with less than 10 thousand inhabitants, landlords generally resided in cities and their estates were left in the care of farm managers. The plight of slaves was generally worse than their counterparts working in urban aristocratic households. To stimulate a higher labor productivity most landlords freed a number of slaves and many received wages. Rural poverty stimulated the migration of population to urban centers until the early 2nd century when the urban population stopped growing and started to decline. By the time of Augustus, cultured Greek household slaves taught the Roman young, chefs, decorators, secretaries, doctors, Greek sculptures adorned Hellenistic landscape gardening on the Palatine or in the villas, or were imitated in Roman sculpture yards by Greek slaves. The Roman cuisine preserved in the cookery books ascribed to Apicius is essentially Greek, Roman writers disdained Latin for a cultured Greek style. Only in law and governance was the Italic nature of Romes accretive culture supreme, against this human background, both the urban and rural setting, one of historys most influential civilizations took shape, leaving behind a cultural legacy that survives in part today. Slavery and slaves were part of the social order, the slaves were mostly prisoners of war
9.
Ancient Greek art
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The rate of stylistic development between about 750 and 300 BC was remarkable by ancient standards, and in surviving works is best seen in sculpture. There were important innovations in painting, which have to be reconstructed due to the lack of original survivals of quality. The art of ancient Greece is usually divided stylistically into four periods, the Geometric, Archaic, Classical, and Hellenistic. The Geometric age is dated from about 1000 BC, although in reality little is known about art in Greece during the preceding 200 years. The 7th century BC witnessed the development of the Archaic style as exemplified by the black-figure style of vase painting. From some point in the 1st century BC onwards Greco-Roman is used, in reality, there was no sharp transition from one period to another. Forms of art developed at different speeds in different parts of the Greek world, strong local traditions, and the requirements of local cults, enable historians to locate the origins even of works of art found far from their place of origin. Greek art of various kinds was widely exported, the whole period saw a generally steady increase in prosperity and trading links within the Greek world and with neighbouring cultures. The survival rate of Greek art differs starkly between media and we have huge quantities of pottery and coins, much stone sculpture, though even more Roman copies, and a few large bronze sculptures. Almost entirely missing are painting, fine metal vessels, and anything in perishable materials including wood, the stone shell of a number of temples and theatres has survived, but little of their extensive decoration. By convention, finely painted vessels of all sorts are called vases, sculptural or architectural pottery, also very often painted, are referred to as terracottas, and also survive in large quantities. In much of the literature, pottery means only painted vessels, pottery was the main form of grave goods deposited in tombs, often as funerary urns containing the cremated ashes, and was widely exported. Other colours were limited, normally to small areas of white. Within the restrictions of these techniques and other conventions, vase-painters achieved remarkable results, combining refinement. White ground technique allowed more freedom in depiction, but did not wear well and was made for burial. Conventionally, the ancient Greeks are said to have made most pottery vessels for everyday use, not for display. Most surviving pottery consists of vessels for storing, serving or drinking liquids such as amphorae, kraters, hydria, libation bowls, oil and perfume bottles for the toilet, jugs, painted vessels for serving and eating food are much less common. Painted pottery was affordable even by people, and a piece decently decorated with about five or six figures cost about two or three days wages
10.
Etruscan art
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Etruscan art was produced by the Etruscan civilization in central Italy between the 9th and 2nd centuries BC. From around 600 BC it was influenced by Greek art, which was imported by the Etruscans. 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. Etruscan sculpture in cast bronze was famous and widely exported, the great majority of survivals come from tombs, which were typically crammed with sarcophagi and grave goods, and terracotta fragments of architectural sculpture, mostly around temples. Tombs have produced all the fresco wall-paintings, which show scenes of feasting, Bucchero wares in black were the early and native styles of fine Etruscan pottery. There was also a tradition of elaborate Etruscan vase painting, which sprung from its Greek equivalent, Etruscan temples were heavily decorated with colourfully painted terracotta antefixes and other fittings, which survive in large numbers where the wooden superstructure has vanished. Etruscan art was connected to religion, the afterlife was of major importance in Etruscan art. The Etruscans emerged from the preceding Villanovan culture, due to the proximity and/or commercial contact to Etruria, other ancient cultures influenced Etruscan art, such as Greece, Phoenicia, Egypt, Assyria and the Middle East. The apparent simple character in the Hellenistic era conceals an innovative, the Romans would later come to absorb the Etruscan culture into theirs but would also be greatly influenced by them and their art. Etruscan art is divided into a number of periods,900 to 675 BC – Early Villanovan period. Already the emphasis on art is evident. Impasto pottery with decoration, or shaped as hut urns. Bronze objects, mostly small except for vessels, were decorated by moulding or by incised lines, small statuettes were mostly handles or other fittings for vessels. 675–575 BC – Oriental or Orientalising period, decoration adopted a Greek, Egyptian and Near Eastern vocabulary with palmettes and other motifs, and the foreign lion was a popular animal to depict. The Etruscan upper class grew wealthy and began to fill their large tombs with grave goods, a native Bucchero pottery, now using the potters wheel, went alongside the start of a Greek-influenced tradition of painted vases, which until 600 drew more from Corinth than Athens. The period saw the emergence of the Etruscan temple, with its elaborate and brightly-painted terracotta decorations, figurative art, including human figures and narrative scenes, grew more prominent. The Etruscans adopted stories from Greek mythology enthusiastically, paintings in fresco begin to be found in tombs, and were perhaps made for some other buildings. The Persian conquest of Ionia in 546 saw a significant influx of Greek artist refugees, other earlier developments continued, and the period produced much of the finest and most distinctive Etruscan art
11.
D. H. Lawrence
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David Herbert Richards D. H. Lawrence was an English novelist, poet, playwright, essayist, literary critic and painter. His collected works represent, among other things, a reflection upon the dehumanising effects of modernity. Some of the issues Lawrence explores are sexuality, emotional health, vitality, spontaneity, at the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in a notice, challenged this widely held view. Later, Cambridge critic F. R. Leavis championed both his artistic integrity and his seriousness, placing much of Lawrences fiction within the canonical great tradition of the English novel. The house in which he was born, in Eastwood, 8a Victoria Street, is now the D. H. Lawrence Birthplace Museum and his working-class background and the tensions between his parents provided the raw material for a number of his early works. The young Lawrence attended Beauvale Board School from 1891 until 1898 and he left in 1901, working for three months as a junior clerk at Haywoods surgical appliances factory, but a severe bout of pneumonia ended this career. During his convalescence he often visited Haggs Farm, the home of the Chambers family, an important aspect of this relationship with Chambers and other adolescent acquaintances was a shared love of books, an interest that lasted throughout Lawrences life. In the years 1902 to 1906 Lawrence served as a teacher at the British School. He went on to become a student and received a teaching certificate from University College, Nottingham. During these early years he was working on his first poems, some stories, and a draft of a novel, Laetitia. At the end of 1907 he won a short story competition in the Nottingham Guardian, in the autumn of 1908 the newly qualified Lawrence left his childhood home for London. While teaching in Davidson Road School, Croydon, he continued writing, Jessie Chambers submitted some of Lawrences early poetry to Ford Madox Ford, editor of the influential The English Review. Hueffer then commissioned the story Odour of Chrysanthemums which, when published in magazine, encouraged Heinemann. His career as an author now began in earnest, although he taught for another year. Shortly after the final proofs of his first published novel, The White Peacock, appeared in 1910, the young man was devastated, and he was to describe the next few months as his sick year. The hurt caused to Jessie by this and finally by her portrayal in the novel caused the end of their friendship and after it was published they never spoke to each other again. In 1911 Lawrence was introduced to Edward Garnett, a reader, who acted as a mentor, provided further encouragement
12.
Etruscan architecture
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Etruscan architecture was created between about 700 BC and 200 BC, when the expanding civilization of ancient Rome finally absorbed Etruscan civilization. The Etruscans were considerable builders in stone, wood and other materials of temples, houses, tombs and city walls, as well as bridges, from about 630 BC, Etruscan architecture was heavily influenced by Greek architecture, which was itself developing through the same period. In turn it influenced Roman architecture, which in its early centuries can be considered as just a variation of Etruscan architecture. But increasingly, from about 200 BC, the Romans looked directly to Greece for their styling, apart from the podia of temples and some house foundations, only the walls and rock-cut tombs were mainly in stone, and have therefore often largely survived. Usually, only the podium or base platform used stone, with the parts of wood and mud-brick. However, there is evidence for the portico columns sometimes using stone and this has left much about Etruscan temples uncertain. The only written account of significance on their architecture is by Vitruvius, many aspects of his description fit what archaeologists can demonstrate, but others do not. It is in any case clear that Etruscan temples could take a number of forms, nonetheless Vitruvius remains the inevitable starting point for a description, and a contrast of Etruscan temples with their Greek and Roman equivalents. There are also a few temples in pottery, and depictions on tombs or vases. Vitruvius specifies three doors and three cellae, one for each of the main Etruscan deities, but archaeological remains do not suggest this was normal, though it is found. Roman sources were in the habit of ascribing to the Etruscans a taste for triads in things such as city planning, the orientation of the temple is not consistent, and may have been determined by a priest watching the flight of birds at the time of foundation. The exteriors of both Greek and Roman temples were highly decorated and colourful, especially in the entablature and roofs. When wood was used for columns, the bases and capitals were often encased in painted terracotta, the Apollo of Veii was part of an acroterion group. The groups from Luni and Talamone are among the most impressive, the podia are also usually higher, and can only be entered at a section of the front, just presenting a blank platform wall elsewhere. There may only be columns at the front portico, in Etruscan temples, more than Roman ones, the portico is deep, often representing, as Vitruvius recommends, half of the area under the roof, with multiple rows of columns. Fluted Tuscan/Doric columns can also be found, against Greek and later Roman conventions, Etruscan architecture shared with Ancient Egyptian architecture the use of large cavetto mouldings as a cornice, though not on the same massive scale. The cavetto took the place of the Greek cymatium in many temples, often painted with vertical tongue patterns and its first version was traditionally dedicated in 509 BC, but in 83 BC it was destroyed by fire, and the rebuilt Greek-style temple completed in 69 BC. But for the building they were summoned from Greece
