Rome in the Footsteps of an XVIIIth Century Traveller

You may wish to see pages on the history of Perugia and the National Archaeological Museum of Umbria first.
The necropolis of Perusia offers a rich field for research; and of late years, since attention has been directed to excavations in Etruria, numerous tombs have been brought to light. This is principally owing to the archaeological zeal of the Cavaliere Vermiglioli, to whom it is also due that many of these sepulchres, fortunately for the student of antiquity, remain in statu quo, with all their urns, just as they were discovered. (..) The Tomb of the Volumni was discovered in February, 1840. Fortunatly for the traveller it is the property of the Conte Baglioni, a relative of the venerable Vermiglioli, and a gentleman whose love of antiquity, and zealous research, are equalled by his good taste.
George Dennis - The Cities and Cemeteries of Etruria - 1848
Giovan Battista Vermiglioli (1769-1848) belonged to a local noble family and he wrote treatises on the history of Perugia, its coins and the findings of his excavation campaigns in the environs of the town.

Stairs leading to the Tomb of the Volumni and stone cinerary urns from the nearby necropolis; some of them bear a tiny coloured mark which indicates the tomb where they were found. They are not very interesting, the finest ones being on display in a small nearby museum

First and foremost in magnitude and beauty, and rivalling in interest the most celebrated sepulchres of the land, is the "Tomb of the Volumnii," which no one who visits, or even passes through Perugia, should omit to see. It is easy of accomplishment, for the high-road to Rome passes the very door. It lies about two miles from Perugia, in the slope of a low eminence, which rises at the base of the lofty height on which the city stands. The keys are kept at a house hard by the tomb. Dennis
Today the road to Rome follows another route, but directional road signs show how to reach the tomb.

(left) Entrance to the tomb; (right) slab of travertine which closed it

You descend a long flight of steps to the entrance, now closed by a door of wood: the ancient one, a huge slab of travertine, which was placed against it - a mere "stone on the mouth of the sepulchre," - now rests against rock outside. You enter - here is none of the chill of the grave, but the breath of the scirocco - you are in a warm, damp atmosphere; that is, in winter, when it is most visited; in summer it is of course cooler than the external air. On one of the door-posts, which are slabs of travertine, an inscription in Etruscan characters catches your eye; and so sharply are the letters cut, and so bright is the red paint within them, that you can scarcely credit this epitaph to have an antiquity of anything like two thousand years. Dennis
The inscription says: Arnth and Larth Velimna sons of Arznea built this tomb.

Tomb of the Volumni: general view

Daylight cannot penetrate to the further end of the tomb; but when a torch is lighted you perceive yourself to be in a spacious chamber with a very lofty roof, carved into the form of beam and rafters, but with an extraordinarily high pitch; the slopes forming an angle of 45° with the horizon, instead of 20° or 25°, as usual. On this chamber open nine others, of much smaller size, and all empty, save one at the further end, opposite the entrance, where a party of revellers, each on a snow-white couch, with chapleted brow, torque-decorated neck, and goblet in hand, lie - a petrifaction of conviviality - in solemn mockery of the pleasures to which for ages they have bidden adieu. Dennis
The current arrangement is less evocative of the original one, but it allows a better observation of the individual cinerary urns.
You may wish to see the Tomb of the Scipios in Rome which was discovered in 1780.

Chamber at the end of the tomb with the pedestal of the main urn and three other urns of men. still in the same position described by Dennis

There are seven urns in this chamber, five with recumbent figures of men, one with a female in a sitting posture, and one of a peculiar character. All, except the last, are of travertine, coated over with a fine stucco; they are wrought, indeed, with a skill, a finish, and a truth to nature by no means common in Etruscan urns. The inscriptions show them all to belong to one family, that of "Velimnas," or Volumnius, as it was corrupted by the Romans. (..) The side-chambers are eight, four on each side. They seem never to have been occupied, as no urns were found within them. Some of them are still unfinished. They were intended, it would seem, for a long race of posterity, but the family may have become extinct, or they may have been merely for pomp, just as a palace contains many superfluous chambers. Dennis

Upper part of the urn of of Arnth Velimnas Aules

The fifth male, who occupies the post of honour at the upper end of the feast, lies on a couch more richly decorated than those of his kinsmen, and on a much loftier pedestal. His name is "Arnth Velimnas Aules." (..) From the style of the sculpture, so superior to that generally found on Etruscan urns, (..) as well as from the style of the reliefs on the ceilings and walls of this sepulchre, there is no doubt that it is of late date, subsequent to the Roman conquest of Etruria, though before the native language and customs had been utterly absorbed in those of world-wide Rome. Dennis
Arnth and his brother Larth were the founders of the tomb. They placed the urns of their grandfather, of their father and of a deceased brother to the right side of the main urn. The couch on which Arnth is reclining is peculiar because of the two pillows under his feet, perhaps a sign of distinction. His face is very realistic, a characteristic of Roman sculpture. The tomb is dated late IInd or early Ist century BC and in a way it marks the end of the Etruscan culture. You may wish to see another similar fine urn which was discovered in 1983 and is on display at the National Archaeological Museum.

Pedestal of the tomb of Arnth Velimnas Aules which actually contained the ashes

His urn is the grand monument of the sepulchre. In the centre is represented an arched doorway, and on either side sits, at the angle of the urn, the statue of a winged Fury, half draped, with bare bosom and a pair of snakes knotted over her brows. One bears a flaming torch on her shoulder; and the other probably bore a similar emblem, but one hand, with whatever it contained, has been broken off. They sit crosslegged, with almost but stern expression, and eyes turned upwards, as if looking for orders from on high, respecting the sepulchre they are guarding. The archway is merely marked with colour on the face of the monument, and within it are painted four females - one with her hand on the doorpost, and eyes anxiously turned towards the Furies outside - wishing, it would seem, to issue forth, but not daring to pass the threshold through dread of their stern gaolers. The whole scene has a mysterious, Dantesque character, eminently calculated to stir the imagination. Dennis
The Furies described by Dennis are late representations of Vanth, an Etruscan deity who escorted the dead to the Underworld. Vanth was portrayed in pairs in many cinerary urns of Chiusi.

(left) One of the four similar urns of men, assumed to be that of the grandfather; (right) urn of the unmarried daughter of Arnth

Four of the urns are very similar, seeming to differ in little beyond the ages of the men, each of whom is reclining, in half-draped luxury, on his banqueting-couch; but here it is not sarcophagus or urn itself which represents the couch, as is generally the case; but the lid alone, which is raised into that form, hung with drapery, and supported by elegantly-carved legs, while the receptacle for the ashes forms a high pedestal to the couch. (..) The sixth urn belongs to a female, who is distinguished from the lords of her family by her position; for she sits aloft on her pedestal like a goddess or queen on her throne; indeed, she has been supposed to represent either Nemesis, or Proserpine, an opinion which the frontlet on her brow, and the owl-legs to the stool beneath her feet are thought to favour. This is more probably, however, an effigy of the lady whose dust is contained by the urn, and whose name is inscribed on the lid. Why she is represented in this position, when it was customary for the Etruscan women to recline at banquets with the other sex, I do not presume to determine. (..) The lady is called, "Veilia Velimnai Arnthial". She appears to be the daughter of the gentleman who occupies the post of honour in this tomb, and she seems from her portrait to have reached "a certain age," and in spite of her nobility and wealth, never to have been married, for no matrimonial name is mentioned in her epitaph. Dennis

(left) Pedestal of the cinerary urn of Arnth's daughter; (right) short side of the marble cinerary urn having the shape of a Roman temple

On the front of each of these ash-chests are four paterae, one at each angle, with a Gorgon's head in the centre - no longer the hideous mask of the original idea, but the beautiful Medusa of later art - with a pair out of serpents knotted on her head, and wings also sprouting from her brows.
The last urn is of a totally different character from the rest, yet not less interesting. You are startled on beholding, among these genuine Etruscan monuments, an urn of marble, in the form of a Roman temple, with a Latin inscription on the frieze; especially when from the character of its adornments you perceive it to be of no early date - apparently of Imperial times, or at least as late as the close of the Republic. But while you are wondering at this, your eye falls on the roof of the urn, and beholds, scratched in minute letters on the tiles, an Etruscan inscription, which you perceive at once to correspond with the Latin - P. Volumnius. A. F. Violens Cafatia Natus. The Etruscan, in Latin letters, would be "Pup. Velimna Au. Caphatial." That is, Publius Volumnius, son of Aulus, by a mother named Cafatia. So that here is a precise correspondence between the inscriptions, save the omission of Violens, the Etruscans not having cognomina, or at least never using them in their epitaphs. As for the gentleman in the temple, who could not be content with the fashions of his ancestors, (..) the more modern style of his urn makes it probable that he was later by a generation or two than his kinsmen. Dennis
The tomb had clearly been intended for use in future generations, but it was only used on one subsequent occasion, most likely at the very end of the Ist century BC. The urn was made of marble of Luni and its decoration calls to mind that of Ara Pacis Augustae.

(left) Relief over the pediment at the end of the main room; (right-above) detail of that above the entrance; (right-below) head of a snake projecting from the wall

Observe the pediment over the doorway you have just past. Here is a large disk or shield, with a head in relief in the centre, set round with scales - a head which some take to be that of Apollo, surrounded with laurel leaves, though the scales are as likely to represent solar rays; others, that of Medusa, on the scaly shield of Minerva. On each side of the shield, and forming with it a sort of trophy, is a curved sword, like a cimetar, with a bird perched on the hilt- a figure doubtless of symbolical import, but not of easy explanation. Below, in the angles of the pediments, are two busts; one of a peasant bearing on his shoulder a pedum, or crooked staff, on which is suspended a basket; the stick terminating in a serpent's head. The face in the opposite angle is broken away, but the long flowing hair is still visible; and behind it is a lyre of elegant form, surmounted by a griffon's head. If the face on the shield be that of Apollo, these two busts may represent the same deity in his pastoral character, and as the god of music and poetry.
In the pediment at the opposite end of this chamber, is a corresponding disk, or shield, but with solar rays, instead of scales. It is too much broken to enable you to perceive if there has been a head in the centre. As in each angle of the pediment is a large dolphin, in relief, it seems to represent the sun rising from the waves - an apt emblem of resurrection. (..) On each side of the entrance to the inner chamber, a crested snake or dragon projects from the rocky wall, darting forth its tongue, as if to threaten the intruder into this sanctuary. (..) The place serpents hold in the mythology of the Etruscans, as emblems of the Furies and infernal demons, explains their presence here. Dennis

Antiquarium of the Necropolis of Palazzone: bronze items from the Tomb of the Volumni

Besides the monuments now remaining in this tomb, certain articles in bronze have been found, such as ewers - a helmet - a fragment of a shield embossed with figures of lions and bulls - a pair of greaves beautifully moulded - a singular spear or rod with a number of moveable disks, which seem to have been rattled together. They are all to be seen in the Palazzone Baglioni hard by. Dennis
Bronze items from other necropolises were described by Dennis when he visited the Archaeological Museum.

Advice by George Dennis Let the traveller on no account fail to see the Grotta de' Volunni. If my description has failed to interest him, it is not the fault of the sepulchre, which, though of late date, is one of the most remarkable in Etruria. To me it has a more than common charm. I shall always remember it as the first Etruscan tomb I entered. It was soon after its discovery that I found myself at the mouth of this sepulchre. Never shall I forget the anticipation of delight with which I leapt from the vettura into the fierce canicular sun, with what impatience I awaited the arrival of the keys, with what strange awe I entered the dark cavern - gazed on the inexplicable characters in the doorway - descried the urns dimly through the gloom - beheld the family-party at their sepulchral revels - the solemn dreariness of the surrounding cells. The figures on the walls and ceilings strangely stirred my fancy. The Furies, with their glaring eyes, gnashing teeth, and ghastly grins - the snakes, with which the walls seemed alive, hissing and darting their tongues at me - and above all the solitary wing, chilled me with an undefinable awe, with a sense of something mysterious and terrible. The sepulchre itself, so neatly hewn and decorated, yet so gloomy; fashioned like a house, yet with no mortal habitant, - all was so strange, so novel. It was like enchantment, not reality, or rather it was the realisation of the pictures of subterranean palaces and spell-bound men, which youthful fancy had drawn from the Arabian Nights, but which had long been cast aside into the lumber-room of the memory, now to be suddenly restored. The impressions received in this tomb first directed my attention to the antiquities of Etruria.

You may wish to see some other interesting Etruscan tombs e.g. the Tomb of the Reliefs at Cerveteri and the Tomb of Hunting and Fishing at Tarquinia.

Necropoli del Palazzone: (left) some of the many underground tombs; (right) interior of one of them with evidence of its internal arrangement for placing the cinerary urns

The Grotta de' Volunni was the first sepulchre discovered in the hill; but many others have been subsequently opened around it; in fact, the entire hill-slope is burrowed with them. Though none can compete in size or beauty with the Grotta de' Volunni, all are sufficiently interesting, not only because they still retain their urns, but because they prove many well-known Roman families to have been of Etruscan origin. A few have been placed under lock and key, and many others, which yet stand open, so many dark treasure-caverns of antiquity, merit a more careful preservation. The greater part are quadrangular chambers rudely hewn in the rock; of others it must be said, they "shape have none," for they are mere caves hollowed in the hill. (..) So many tombs are now open in this hill that it is not easy to know when you have seen all, as the entire slope is burrowed with them. In fact these sepulchral treasures accumulate almost too fast for the local antiquaries. Most of these tombs are without the protection of a door, and have no notice announcing the family to which they belong, which must be learned by an inspection of the urns within them. Dennis

Antiquarium: (left) black-figure vase (late VIth century BC) portraying two athletes; (right) red-figure vase (IVth century BC) portraying a fury (above) and Hercules killing Cetus, a sea-monster (below)

In the Palazzone Baglioni, which stands at the foot of this hill, is a small museum of antiquities, the fruit of the excavations made on the site. Many cinerary urns with inscriptions and painted reliefs - vessels of terra cotta, in great variety and abundance - one vase only in the best Greek style - part of a curule chair of bronze - mirrors - coins - gold ornaments - a pair of curling-irons! - a case of bone, containing articles for the toilet - and the lamps, helmet, greaves, and fragment of the embossed shield, found in the Grotta de' Volunni. Dennis
The exhibits are now housed in a former farmhouse in the necropolis.

Krater from Tomba degli Acsi (IVth century BC) in an illustration from Dennis' book and in the Antiquarium

Ipogeo degli Acsi. - In the name so spelt in Etruscan letters it is not difficult to recognise the Accius, or Axius, of the Romans. This is a large square tomb, whose roof has fallen in; it contains many urns and one large vase of Greek form, with figures and flowers in high relief, painted, but not varnished. Dennis
This highly unusual vase caught the attention of Dennis who placed a small drawing of it at the beginning of his description of Tomba dei Volumni.

Antiquarium - cinerary urns from the Tomb of the Cai Carcu family which was discovered in 1936 at Ponticello di Campo, north of Palazzone: (left) Medusa; (right) Pegasus

The monuments in the tombs are all urns, or ash-chests, of travertine - no sarcophagi; for it does not appear to have been the custom at Perusia to bury the corpse entire. None of these urns equal those in the Grotta de' Volunni for beauty of execution, but many are of more varied character, though to him who has seen the Museums of Volterra or Chiusi, few will appear of extraordinary interest. In one point, however, they are peculiar. Almost all are painted - reliefs as well as the figures on their lids - and the colours often retain their original brilliancy. The hues are black, red, blue, and purple. The reliefs are sometimes left white, or only just touched with colour, while the ground is painted a deep blue or black; and the ornaments, frontlet, necklace, torque, and bracelets, as well as the armour and weapons, are often gilt. Gay contrasts of colour were aimed at, rather than harmony or richness. In the Grotta de' Volunni, on the other hand, which is of a better period, or at least in a better taste, there are no traces of colour on the sculpture, except where the lips and eyes of one of the recumbent males are painted. Dennis

Antiquarium - cinerary urns from the Tomb of the Cai Carcu: (left) a fight between Etruscans and Gauls; (right) cinerary urn of Vel Cai Carcu, the founder of the tomb and Thana Caia Prucui, his wife; she lived long after her husband and her depiction at his side is evidence of great tenderness; the relief depicts Telephus threatening to kill infant Orestes, Agamemnon's son, to force Achilles to heal his wound

The hill which contains these sepulchres lies to the south of Perugia. Other tombs have been found elsewhere, near the new Campo Santo, and also close to the city-walls, where the Benedictine monks have made excavations. The necropolis of Perusia, however, may be said to be only just disclosed, and we may entertain the hope that further researches will prove it to be of an extent and interest commensurate with the ancient importance of the city. Dennis

Antiquarium - lid of another cinerary urn from Ponticello di Campo

The image used as background for this page shows the decoration of a cinerary urn depicting a flower between two peltae.

Move to Walls and Gates, The Two Piazzas, The Papal Street (Borgo S. Pietro), S. Pietro de' Cassinesi, The Archaeological Museum or wander about to see other churches, palaces and fountains.