Greek and Etruscan Timeline

Geometric period, Terracotta Krater, 750-735 BC, Terracotta, (108.3x 72.4)cm, The Metropolitan Museum.

750 BCE

This piece displays a scene of mourners along with funerary traditions of the time (Terracotta Krater). It is made of clay and burned in a kiln, most likely glazing techniques were used to create the figures. It possesses the characteristic art of this age, geometric abstract shapes of animals and people intended to fill every inch of space. The Krater was a type of vase in ancient Greece used to mix water and wine.

Etruscan Geometric, Terracotta Barrel-Shaped Oinochoe (jug), 725-700 BC, Terracotta, 33.5 cm, The Metropolitan Museum.

725 BCE

This piece may have been used for some type of wine ritual (Terracotta Barrel-Shaped Oinochoe (jug)). It has patterns inspired by the Greek geometric style. It depicts two goats on either side of a tree (Terracotta Barrel-Shaped Oinochoe (jug)). The goats may be depicted to show the common food source, or as a display of reverence for that food source.

Archaic, Terracotta Aryballos in the Form of An Eagle's Head, late 7th century-early 6th century BC, Terracotta, (6.2x 5.1x 11.1) cm, The Metropolitan Museum.

700 BCE

This piece may have contained oil or medicine, it appears to have symbols painted on the sides (Terracotta Aryballos in the Form of An Eagle's Head). It appears to be done in the incision style common for the time, which reelected the growth of pottery art in ancient Greece.

Etruscan Archaic, Terracotta Vase in the Shape of a Cockerel, 650-600 BC, Terracotta and Bucchero, 10.31 cm, The Metropolitan Museum.

650 BCE

This piece was possibly used to hold ink (Terracotta Vase in the Shape of a Cockerel). The Vase has an inscription of the Etruscan Alphabet on its chest and sides (Terracotta Vase in the Shape of a Cockerel). It may have been some type of educational object, maybe it was a way to teach people how to write.

Orientalizing period, Sophilos, Terracotta Volute Krater, 600-501 BC, Terracotta and black figures, (49.2x 55.4) cm and 45.4 cm, The Metropolitan Museum.

600 BCE

This piece depicts a scene of two boars eating, on the other side is a bull. It is a vase used to serve wine and water (Terracotta Volute Krater). It appears to be made using a slip along with incision lines to make the scene with the boars. The krater is done in the Corinthian style of painting due to the subjects being animals.

Early Classical Period, Terracotta Volute-Krater (bowl for mixing wine and water), 450 BC, Terracotta, 63.5 cm, The Metropolitan Museum.

450 BCE

This piece depicts a scene of Greeks fighting Amazonians, a popular piece in pottery painting ( Terracotta Volute-Krater). It is done in the incision style on terracotta pottery. Its significance may be that it displays the Greeks’ love for mythology and the desire to preserve that mythology through art ( Terracotta Volute-Krater).

High Classical period, Terracotta Column-Krater (bowl for mixing wine and water), 430 BC, Terracotta, 38.1 cm and 35. 8 cm, The Metropolitan Museum.

430 BCE

This piece depicts a scene of people riding horses (Terracotta Column-Krater). There's no indication of where the people are going, or why they are riding horses, such as if the activity is done for competition or leisure. It’s a terracotta vase with black figure painting.

Late classical period, Marble Grave Stele With A Family Group, 360 BC, Marble and Pentelic, 171.1 cm, The Metropolitan Museum.

360 BCE

The scene depicts a man holding a walking stick, or so it appears, and three figures who appear to be women. There is a woman who stands behind the man holds the hand of a smaller figure who may be a relative of some sort (Marble Grave Stele With A Family Group). It signifies the move of Greek sculptors to a more realistic manner of presenting the human body, rather than a highly idealized or stoic form.

Greek Hellenism, Bronze Statuette of a Veiled and Masked Dancer, 3rd to 2nd century BC, Bronze, 20.5x 8.9x 11.4) cm, The Metropolitan Museum.

300 BCE

This piece depicts a woman dancing. The sculpture captures the flow of the fabric very well, depicting the growth of the Greeks’ depiction of realistic scenes. This piece captures movement and a very active pose of the woman dancing (Bronze Statuette of a Veiled and Masked Dancer). It represents the Hellenistic movement towards more dramatic depictions of people rather than average poses.

Etrsucan Hellenism, Alabaster Cinerary Urn, 300 BC, Alabaster, (85.1x 63.5) cm, The Metropolitan Museum.

300 BCE

This piece shows two Greek warriors fighting an Amazonian, the Estruscan demon of death named Vanth, is to the right of them watching them (Alabaster Cinerary Urn). Its significance is to be seen in its depiction of a violent battle. The god of death being near may indicate that the Amazonians who are on the ground are about to die, or that the Greek warriors have the supernatural favor of the god similar to the message of the Stele of Narum-Sin.