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