The Museo Archeologico is housed in the former Olivetan convent, founded in 1323, that was built directly over the ruins of the Roman Amphitheatre: hence, the curios curved design.
Damages by bombs during the Second World War, in its modern re-systemisation it offers a picture of ancient history of the city and the territory.
The Crater of Euphronios, an Attic vase of the end of the 6th c. BC, is remarkable: it testified to the wealth and high cultural level reached during that age by the wealthy classes of the Arezzo area, who were in a position to appreciate and acquire a work realised by one of the greatest pottery decorators of the age. The crater is a capacious vase with a wide mouth, made for mixing wine and water in accordance with the Greek usage of the symposium: the presence of such a precious vase and one for such a specific use indicates that the practice of the symposium was present in the high society of the area, as an occasion of encounter and also as a stutus symbol.
Of great artistic quality and also linked to the symposium is the Attic amphora of the school of the Painter of Dinos from Casalta (end of the 5th c. BC). Together with the somewath older Attic stamnos of the Painter of Danae from Alberoro, it testifies to the continuing wealth of the land-owner classes of the fertile Valdichiana. It is very probable that these and other Attic products were imported through the Greco-Etruscan port of Spina, on the Po delta, and from there arrived overland in Arezzo across the Apennine passes.
The large disk inscribed in stone that can be seen in the following rooms constitutes an additional indication of the vitality of these activities: it comes from the Estruscan sanctuary of Pieve a Socana, in the Casentino, is datable to the 5th c. BC, and bears an Etruscan inscription that says it was offered by an exponent of a gens (family) the founder of which had himself called ”the Greek”.
Of great interest is the collection of Aretine ceramics, the so-called ”coralline”: a typical product of the city which, between the 1th century BC and 1th century AD, flooded the market of the entire Roman empire with clay vases that imitaded those made of metal (silver) in shape, relief decoration, polish and perhaps even sound.
In the display cabinets can be seen the punches and dies utilised for realising the mass-production of these items: industrial products, but of extraordinary refinement.
The fragments of Arezzo ceramics decorated in relief were sougth after by artists already in the Middle Ages, and Donatello probably had the idea of his stiacciato relief from them.
The Toga-clad Fifure (1th c. BC) also speaks of the Roman city. It decorated a monumental tomb recently discovered along Via Vittorio Veneto.
Lastly, a Chrysographic Male Portrait deserves careful examination: this is a miniature realised on very thin gold and silver foil, and sealed between two pieces of glass (third quarter of the 3nd c. AD).
The National Archaeological Museum of Florence (Italian – Museo archeologico nazionale di Firenze) is an archaeological museum in Florence, Italy. It is located at 1 piazza Santissima Annunziata, in the Palazzo della Crocetta (a palace built in 1620 for princess Maria Maddalena de’ Medici, daughter of Ferdinand I de Medici, by Giulio Parigi). The museum was inaugurated in the presence of king Victor Emmanuel II in 1870 in the buildings of the Cenacolo di Fuligno on via Faenza. At that time it only comprised Etruscan and Roman remains. As the collections grew, a new site soon became necessary and in 1880 the museum was transferred to its present building.
The collection’s first foundations were the family collections of the Medici and Lorraine, with several transfers from the Uffizi up to 1890 (except the collections of marble sculpture which the Uffizi already possessed). The Egyptian section was first formed in the first half of the 18th century from part of the collections of Pierre Léopold de Toscane, from another part of an expedition promoted by the same Grand Duke in 1828–29 and led by Ippolito Rosellini and Champollion (the man who first deciphered hieroglyphics). In 1887 a new topographic museum on the Etruscans was added, but it was destroyed in the 1966 floods.
Chimera of Arezzo
The organisation of the Etruscan rooms was reconsidered and reordered in 2006. Also in 2006, the 40-year-overdue restoration was carried out on over 2000 objects damaged in the 1966 floods.
Gallery in the Egyptian collection
The huge collection of ancient ceramics is shown in a large room with numerous cases on the second floor. Generally the vases come from Etruscan tombs and are evidence of cultural and mercantile exchange with Greece, and particularly Athens (where most of the vases were made) and date to the period between the 4th century BC and the present.
The most important of the vases is a large black figure krater of c. 570 BC signed by the potter Ergotimos and the painter Kleitias. It is named the “François vase” after the archaeologist who found it in 1844 in an Etruscan tomb at fonte Rotella, on the Chiusi road, and shows a series of Greek mythological narratives on both sides. Other notable objects are the red figure hydria signed by the Meidias painter (550–540 BC) the cups by the Little Masters (560–540 BC), named after their miniaturist style of their figures the sculptures of Apollo and Apollino Milani (6th century BC, named after the man who gave them to the museum) the athlete’s torso (5th century BC) the large Hellenistic horse’s head (known as the Medici Riccardi head after the first place it was displayed, in the Medici’s Riccardi palace), fragment of an equestrian statue, which inspired Donatello and Verrocchio in two famous equestrian monuments in Padua and Venice. two Archaic marble kouroi, displayed in a corridor.
Fiesole is a town and comune of the province of Florence in the Italian region of Tuscany, on a scenic height above Florence, 8 kilometres (5 mi) northeast of that city. Fiesole (Etruscan Viesul, Viśl, Vipsul) was probably founded in the 9th-8th century BC, as it was an important member of the Etruscan confederacy, as may be seen from the remains of its ancient walls.
The first recorded mention on the town dates to 283 BC, when the town, then known as Faesulae, was conquered by the Romans. In pagan antiquity it was the seat of a famous school of augurs, and every year twelve young men were sent thither from Rome to study the art of divination. Sulla colonized it with veterans, who afterwards, under the leadership of Gaius Mallius, supported the cause of Catilina.Fiesole was the scene of Stilicho’s great victory over the Germanic hordes of the Vandals and Suebi under Radagaisus in 406. During the Gothic War (536-53) the town was several times besieged. In 539 Justinus, the Byzantine general, captured it and razed its fortifications.
It was an independent town for several centuries in the early Middle Ages, no less powerful than Florence in the valley below, and many wars arose between them; in 1010 and 1025 Fiesole was sacked by the Florentines, before it was conquered by Florence in 1125, and its leading families obliged to take up their residence in Florence. Dante reflects this rivalry in his Divine Comedy by referring to “the beasts of Fiesole.” (Inferno XV.73). By the 14th century, rich Florentines had countryside villas in Fiesole, and one of them is the setting of the frame narrative of the Decameron. Boccaccio’s poem Il Ninfale fiesolano is a mythological account of the origins of the community.[5] Robert Browning mentions “sober pleasant Fiesole” several times in his poem “Andrea Del Sarto”.
Volterra, known to the ancient Etruscans as Velathri, to the Romans as Volaterrae, is a town and comune in the Tuscany region of Italy. The town was a Neolithic settlement and an important Etruscan center (Velathri or Felathri in Etruscan, Velàthre, Βελάθρη in Greek) with an original civilization. The site is believed to have been continuously inhabited as a city since at least the end of the 8th century BC. It became a municipium in the Roman Age. Built in the Augustan age thanks to the financing of two members of the Caecina family, as demonstrated by an epigraph found here, the Volterra theatre stands in a position that, in keeping with the precepts codified by Vitruvius, takes account of both the exposure to sunlight and the scenographic effect of the surrounding landscape. The cavea, in fact, has a northern exposure and exploits the natural contour of the hill to good advantage to attain excellent acoustics. The tiered steps of the theatre, following the slope of the hill, show a particular two-tone colour scheme, obtained by alternating the limestone of the seats with the dark lava stone of the access corridors. Still well preserved between the cavea and the proscenium is the channel that held the curtain (aulaeum) which in ancient theatres, unlike modern ones, was lowered at the beginning of the performance. Clearly visible also are the vaulted corridors that served to connect the stage to the external vestibules, and the two-storied scenae frons, originally tiled in marble and adorned with statues, today partially raised again thanks to a modern restoration initiative. Of the original sculptural decoration there remain two heads of Augustus and one of Livia, kept in the Guarnacci Museum. Especially interesting are the remains of the porticus post scaenam, a roofed area located behind the theatre, where the spectators gathered during intermissions.
Roman Theatre
Built in the Augustan age thanks to the financing of two members of the Caecina family, as demonstrated by an epigraph found here, the Volterra theatre stands in a position that, in keeping with the precepts codified by Vitruvius, takes account of both the exposure to sunlight and the scenographic effect of the surrounding landscape.
The Guarnacci museum
The Guarnacci museum, which originated as a private collection, has a very large number of small urns that are arranged on shelves that line every room.
Everyone loves Volterra right now thanks to New Moon, but before that, the Etruscans loved it thanks to its rich store of iron. The Guarnacci museum, which originated as a private collection, has a very large number of small urns that are arranged on shelves that line every room. This can get excessive, and the curators know it, so they came up with a most interesting museological solution for the upstairs (first floor). They covered the walls with green panels that allow you to see only select works; other pieces are set up in glass cases in the middle of the room. Most important works: This museum contains two important works in totally different styles. The Ombra della Sera is a tall bronze shadow figure with a young boy’s head; it may have been a fertility figure, thrust into the ground. The other piece to note is the terracotta funerary urn of a couple, Urna degli Sposi, that is highly detailed and doesn’t miss a wrinkle. The Romans in fact didn’t approve of the way that the Etruscans invited their wives to their drinking parties; the Etruscans were rather more egalitarian, as can be seen by this double funerary monument for a couple that has lived a long life together
The Roman colony of Emerita Augusta (present day Mérida) was founded in 25 BC by Augustus, to resettle emeritus soldiers discharged from the Roman army from two veteran legions of the Cantabrian Wars: Legio V Alaudae and Legio X Gemina. The city was the capital of the Roman province of Lusitania. Today the Archaeological Ensemble of Mérida is one of the largest and most extensive archaeological sites in Spain and a UNESCO World Heritage Site since 1993.
Roman theatre
The theatre was built from 16 to 15 BC and dedicated by the consul Marcus Vipsanius Agrippa. It was renovated in the late 1st or early 2nd century AD, possibly by the emperor Trajan, and again between 330 and 340 during Constantine’s reign, when a walkway around the monument and new decorative elements were added. With the advent of Christianity as Rome’s sole state religion, theatrical performances were officially declared immoral: the theatre was abandoned and most of its fabric was covered with earth, leaving only its upper tiers of seats (summa cavea). In Spanish tradition, these were known as “The Seven Chairs” in which it is popularly thought that several Moorish kings held court to decide the fate of the city.
Roman amphitheatre
The amphitheatre was dedicated in 8 BC, for use in gladiatorial contests and staged beast-hunts. It has an elliptical arena, surrounded by tiered seating for around 15,000 spectators, divided according to the requirements of Augustan ideology; the lowest seats were reserved for the highest status spectators. Only these lowest tiers survive. Once the games had fallen into disuse, the stone of the upper tiers was quarried for use elsewhere.
Roman bridge over the Guadiana
The bridge can be considered the focal point of the city. It connects to one of the main arteries of the colony, the Decumanus Maximus, or east-west main street typical of Roman settlements.
The location of the bridge was carefully selected at a ford of the river Guadiana, which offered as a support a central island that divides it into two channels. The original structure did not provide the continuity of the present, as it was composed of two sections of arches joined at the island, by a large Starling. This was replaced by several arcs in the 17th century after a flood in 1603 damaged part of the structure. In the Roman era the length was extended several times, adding at least five consecutive sections of arches so that the road is not cut during the periodic flooding of the Guadiana. The bridge spans a total of 792 m, making it one of the largest surviving bridges of ancient times.
Los Milagros Aqueduct
The aqueduct was part of the supply system that brought water to Mérida from the Proserpina Dam located 5 km from the city and dates from the early 1st century BC.
The arcade is fairly well preserved, especially the section that spans the valley of the river Albarregas. It is known by this name, because it seems a miracle that it was still standing.
Temple of Diana
This temple is a municipal building belonging to the city forum. It is one of the few buildings of religious character preserved in a satisfactory state. Despite its name, wrongly assigned on its discovery, the building was dedicated to the Imperial cult. It was built in the late 1st century BC or early in the Augustan era. Later it was partly re-used for the palace of the Count of Corbos.Rectangular, and surrounded by columns, it faces the front of the city’s Forum. This front is formed by a set of six columns ending in a gable. It is mainly built of granite.
Trajan Arch
An entrance arch, possibly to the provincial forum. It was located in the Cardo Maximus, one of the main streets of the city and connected it to the municipal forum.
Made of granite and originally faced with marble, it measures 13.97 meters high, 5.70 m wide and 8.67 m internal diameter. It is believed to have a triumphal character, although it could also serve as a prelude to the Provincial Forum. Immersed in the maze of modern construction and masked by nearby houses, this arch stands majestically and admired by travelers and historians of all times. Its name is arbitrary, as the commemorative inscription was lost centuries ago.
Mithraeum House
This building was found fortuitously in the early 1960s, and is located on the southern slope of Mount San Albín. Its proximity to the location of Mérida’s Mithraeum led to its current name. The whole house was built in blocks of unworked stone with reinforced corners. It demonstrates the peristyle house with interior garden and a room of the famous western sector Cosmogonic Mosaic, an allegorical representation of the elements of nature (rivers, winds, etc.) overseen by the figure of Aion. The complex has been recently roofed and renovated.
As mentioned above, it is not considered the actual mithraeum but a domus. The remains of the mithraeum are uphill from it in a plot corresponding to a current bullring. This site has rendered prime examples of the remnants of Mithraism. According to professor Jaime Alvar Ezquerra of the Charles III University of Madrid, the oldest mithraeum artifacts are observed outside of Rome and Mérida “is at the head of the provincial places where the cult is encountered”. These are currently located in the National Museum of Roman Art in Mérida, including the latest remains found in excavations as recently as 2003. He notes that some of the sculptures being discovered at the site are in very good condition, leading him to believe they were “hidden on purpose”.
The area of what is now Matera has been settled since the Palaeolithic. The city was allegedly founded by the Romans in the 3rd century BC, with the name of Matheola after the consul Lucius Caecilius Metellus. In AD 664 Matera was conquered by the Lombards and became part of the Duchy of Benevento. In the 7th and 8th centuries the nearby grottos were colonized by both Benedictine and Basilian monastic institutions. The 9th and 10th centuries were characterized by the struggle between the Byzantines and the German emperors, including Louis II, who partially destroyed the city. After the settlement of the Normans in Apulia, Matera was ruled by William Iron-Arm from 1043.
The National Archaeological Museum of Matera is the oldest museum of Basilicata. Established in 1911, with a national law, by the will of Senator Domenico Ridola, who donated it to the State its important archaeological collections, presents the important archaeological sites found in the area of Matera.
As for the pre-history, the most significant findings regarding some entrenched villages Neolithic, which was also recognized in this area, starting from the sixth millennium BC, the introduction of agriculture and consequently the structuring of permanent settlements, according to defined templates in the Eastern Mediterranean.
For the most recent phases of prehistory and the phase VI-IV century BC documentation of interest is related to Timmari, located a short drive from Matera. From this center come, among other things, some funeraral objects of the fourth century BC characterized by bronze armor and monumental red-figure vases and numerous votive statues, fine workmanship, found in a sacred area.
The municipality Piesport always belonged to those towns of the Moselle Valley that could look back on a relatively early tradition of vineyards. According to this source, which is dated to the year 776/777, a certain Walac the Prümer bequeathed, among other properties, two small vineyards on the Moselle, in Piesport: “… vineolas duas super Fluvium Mosella (!) ad postage pigontio…” to the Abbot Assuerus. In 1985 a lucky new find not only confirmed of this document, but also archaeological evidence that wine was processed in Piesport since the 4th century CE.
During extensive studies by the Rhineland State Museum, done on the western outskirts (meadow “In Briesch”) in the years 1985/86, evidence of more than ten rooms and seven pools or tubs of a larger Roman wine press could be produced. The continuously extended building covers a width of more than 44 m and a depth of at least 20 m at the most. The front of the building complex could not be completely studied, as it probably reached down to the banks of the Moselle originally and fell victim to recurring flooding in the post-Roman period.
The museum is displaying original antiquities and other objects as one of the sources of Western tradition to put the present in a culture-historical perspective by means of insight in and understanding of the past.
The Allard Pierson Museum is the Archaeology Museum of the University of Amsterdam, and shows the significance of ancient civilizations to contemporary European culture n a challenging way. We do this for the widest possible interested public, on the basis of an archaeological top collection in collaboration with talented students, excellent researchers and fellow institutions.
The ancient civilisations of ancient Egypt, the Near East, the Greek World, Etruria and the Roman Empire are revived in this museum. Art-objects and utensils, dating from 4000 B.C. till 1000 A.D. give a good impression of everyday-life.
Het Allard Pierson Museum is het archeologisch museum van de Universiteit van Amsterdam. Het museum werd in 1934 geopend. De collectie bestond toen uit ca. 5000 oudheden, afkomstig uit de verzameling van dr. C.W. Lunsingh Scheurleer. Deze collectie was aangekocht door de Allard Pierson Stichting met steun van de Vereniging Rembrandt en vele particulieren en geschonken aan de Universiteit. Inmiddels telt het museum meer dan 16.000 voorwerpen, waarvan een belangrijk deel is geschonken door particulieren.
In het Allard Pierson Museum komen de antieke beschavingen uit het Oude Egypte, het Nabije Oosten, de Griekse wereld, Etrurië en het Romeinse Rijk opnieuw tot leven.
Kunst- en gebruiksvoorwerpen uit de periode van 5000 voor Chr. tot 500 na Chr. geven een beeld van het dagelijks leven, mythologie en godsdienst in de antieke Oudheid.
>Allard Pierson (Amsterdam, 8 april 1831 – Almen, 27 mei 1896) was een Nederlandse predikant, theoloog, geschied- en taalkundige. Allard Pierson was lid van de familie Pierson en een zoon van de koopman Jan Lodewijk Gregory Pierson en de schrijfster Ida Oyens (lid van de familie Oijens). Hij kwam uit een aanzienlijke Amsterdamse koopmansfamilie, die tot de kringen rond het Réveil behoorde. Hij was een broer van Nicolaas Pierson en Hendrik Pierson; hij was een zwager van de kunstschilder Herman ten Kate die met zijn zus getrouwd was. Pierson trouwde met Pauline Hermine Elizabeth Gildemeester (Amsterdam, 7 maart 1831 – Scheveningen, 6 september 1900). Uit dit huwelijk werden zes kinderen geboren, onder wie Jan Lodewijk Pierson sr.. Zij bewoonden Huize Velhorst in Almen (vlak bij Zutphen), waar Pierson op 65-jarige leeftijd is overleden.
Pierson werd predikant te Leuven, maar legde dit ambt neer vanwege zijn modernistische inzichten. In 1870 werd hij hoogleraar theologie te Heidelberg. Pierson was van 1877-1895 de eerste hoogleraar in kunstgeschiedenis, esthetica en moderne talen en letteren aan de Universiteit van Amsterdam. Het archeologie museum van de Universiteit van Amsterdam is naar hem vernoemd omdat hij in 1877 de eerste hoogleraar archeologie aan de Universiteit van Amsterdam werd. Hij behoorde tot de fijnzinnigste geesten uit het Nederlandse culturele leven van de 19e eeuw. Tijdens zijn hoogleraarschap in Amsterdam legde hij een verzameling gipsafgietsels aan. Het Allard Pierson Museum van de Universiteit van Amsterdam draagt zijn naam.
During the rule of Augustus (30 BC to AD 14), the Ara Ubiorum (Altar of the Ubii) was constructed within the city limits. This altar was possibly foreseen as the central place of worship for a greater Germanic province, which would comprise lands across the Rhine, which remained unconquered at this point. The noble Segimundus is mentioned as the priest of the Ara in the year AD 9. He was from the family of Arminius, leader of the Cherusci. After Arminius’ defeat of Publius Quinctilius Varus in the same year at the Battle of the Teutoburg Forest, the plans for a greater German province were largely set aside. However, the altar itself retained some of its importance as the city is mentioned as “Ara Ubiorum” in many inscriptions.
Between 9 and AD 30 the area of present-day Cologne was mainly a garrison. Legion I Germanica and the Legion XX Valeria Victrix were stationed nearby. The place of the initial Roman Castra was known as Apud Aram Ubiorum (At the Altar of the Ubii). The headquarters of Germanicus were located in Cologne from AD 13 to 17, when he was recalled by Tiberius. After the Battle of the Teutoburg Forest, Germanicus made efforts to stabilize the border region and to plan and carry out new offensives against the Germanic tribes located on the right bank of the Rhine. With the death of Augustus in AD 14 the legions garrisoned in Cologne mutinied with the aim of establishing Germanicus as emperor. These legions probably united in mutiny with those from Vetera stationed at their summer garrison in Castrum Novasium. Germanicus however remained loyal to Tiberius, who was heir to the throne. He dissuaded the legions from declaring him emperor and at the same time placated the mutineers through generous concessions. Legio I was later stationed in Bonna (present-day Bonn) and Legio XX garrisoned Castrum Novaesium near present-day Neuss.
Agrippina the younger was born in AD 15 in Cologne. She was the daughter of Germanicus and the wife of the Roman Emperor Claudius. She succeeded in convincing Claudius to elevate her birthplace to Colonia Claudia Ara Agrippinensium (Colony of Claudius and Altar of the Agrippinians). This gave Colonia the status of ‘city’ under Roman law and a Roman colony had many more imperial rights than an oppidum. At this time the city had some 30,000 inhabitants and became the administrative capital of Germania Inferior. Before this time it was not a province, but an occupied area controlled and administrated by the military (exercitus Germaniae inferioris).
Until AD 70 the city had a strong city wall that was ca. 8 meters in height and 2.5 meters wide. However, the remains of the Roman city wall that can still be seen today are from the 3rd century AD. The unwalled portions of the city were equal to a square kilometer. Its most important steles and grave goods are preserved in the Romano-Germanic Museum.
In AD 68, the death of Emperor Nero caused a succession crisis in Rome. This led to a civil war throughout the empire. The Roman Senate installed Servius Sulpicius Galba as emperor, but he was quickly murdered by another contender for the throne, Marcus Salvius Otho, who had the backing of the Praetorian Guard. Meanwhile, the legions stationed in Colonia called for their commander Aulus Vitellius to be crowned as emperor. Vitellius marched on Italy at the head of the better part of the Rhine legions, and defeated Otho’s troops at the First Battle of Bedriacum, in which Otho himself was killed.
A power vacuum occurred on the now undefended Rhine border. The Batavians rose and advanced on the empire from the Northeast of Germania Inferior. The majority of the inhabitants of Colonia remained Ubii, as they had not been fully romanised. They quickly sided with the Batavians. However, when the Batavians demanded that the city wall be torn down, the inhabitants of Colonia again sided with the Roman Empire.
Vitellius was overthrown eight months later by Titus Flavius Vespasianus, whose troops feared reprisals for having previously recognized Otho as emperor. Vitellius was killed and his body thrown into the Tiber.
With the founding of the province of Germania Inferior under Domitian in AD 89, the commander of the Legions of Lower Germania Colonia became the provincial governor, based in Colonia. In AD 80 a water supply was built, the Eifel Aqueduct, one of the longest aqueducts of the Roman Empire, which delivered 20,000 cubic metres of water to the city every day. Ten years later, the colonia became the capital of the Roman province of Lower Germany, Germania Inferior, with a total population of 45,000 people. The Rhine fleet was stationed south of the city at Alteburg. The fortress itself was destroyed in attacks by the Franks in AD 276. This area was later named Alte Burg, from which come the present day names “Alteburger Wall” and “Alteburger Platz”.
With the elevation to provincial capital, Colonia was no longer a military base. The legions of the province were stationed in Vetera II near Colonia Ulpia Traiana (near present-day Xanten), Novaesium and Bonna. The name of the
In AD 260 Postumus made Cologne the capital of the Gallic Empire, which included the German and Gallic provinces, Britannia and the provinces of Hispania. The Gallic Empire lasted only fourteen years. By the 3rd century, only 20,000 people lived in and around the town as the city was badly affected by the crisis of the 3rd century. In AD 310, Emperor Constantine I had a bridge over the Rhine constructed; this was guarded by the castellum Divitia (nowadays “Deutz”). In AD 321 Jews are documented in Cologne; when exactly the first Jews arrived in the Rhineland area cannot be established any more, but the Cologne community claims to be the oldest north of the Alps.
Colonia had to be temporarily abandoned in December 355 following a lengthy siege by the Franks. The archaeological strata of that time indicate that conquest and looting had catastrophic effects and the city lay in ruins. The remaining Roman forces only had sufficient resources to restore the barest necessities. The last dated reconstruction is from 392/393, when Arbogast, the Magister Militum of the Western half of the Empire, in the name of the emperor Eugenius renewed an unspecified public building. The city finally fell to the Ripuarian Franks in AD 459. Two lavish burial sites near the Cathedral date from this period of late antiquity.
The Archeological Museum of Seville (Spanish: Museo Arqueológico de Sevilla) is a museum in Seville, southern Spain, housed in the Pabellón del Renacimiento, one of the pavilions designed by the architect Aníbal González[1]. These pavilions at the Plaza de España were created for the Ibero-American Exposition of 1929.
The museum’s basement houses the El Carambolo treasure, discovered in Camas (3 km NW of Seville) in 1958. The treasure comprises 2950 grams of 24 carat gold and consists of golden bracelets, a golden chain with pendant, buckles, belt- and forehead plates. Some regard the El Carambolo treasure as proof of the Tartessian roots of Seville. This is, however, disputed because the treasure includes a small figurine of Astarte, a Phoenician goddess.
Other halls of the museum contain findings from the Roman era, many of which are from the nearby Roman city of Itálica. The Itálica exhibits include mosaics, statues (including the famous Venus of Itálica, and busts of the emperors Augustus, Vespasianus, Trajan and Hadrian.
