Italia Paestum 3 Archaeological Museum

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Archaeological museum
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There is also a splendid National Museum at
Paestum, with many of the fine objects found in
the neighborhood. However Paestum is also
renowned for its tombs deco-rated with painted
scenes, for the vase painters and also  for its
red roses 
Founded by Ancient Greeks, the site hosts three
amazing ancient Greek temples
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380-370 BC
Paestum was a major ancient Greek city on the
coast of the Tyrrhenian Sea in Magna Graecia.
After its foundation by Greek colonists under the
name of Poseidonia it was eventually conquered by
the local Lucanians and later the Romans. The
Lucanians renamed it to Paistos and the Romans
gave the city its current name.  It was abandoned
in the Early Middle Ages, and left undisturbed
and largely forgotten until the eighteenth
century. Paestum is a trove of innumerable
archaeological finds and decorative artifacts
many of which can be viewed inside the National
Archaeological Museum. UNESCO World Heritage
site since 1998
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380-370 BC, Tomb 102 Andriuolo, Paestum Dave
Margie Hill
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Necropoli eneolitica del Gaudo (metà IV- metà III
millenio aC)
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Necropoli del Arenosola. Età del Ferro (seconda
metà VIII secolo aC)
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Tomb 33, pit (End of 6th C BC). Necropolis of
Contrada Santa Venera
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Concurrently with the foundation of the city of
Poseidonia, the Greek colonists created a series
of sanctuaries in the countryside under their
control. The most important temple was situated
9km north od Paestum at the mouth of the River
Sele which marl ed the border between the
teritory of Poseidonia and the territory of the
Etruscan-Campanian city of Pontecagnano. The
temple, which was located in a marshy area near
to the harbour, was dedicated to the goddess
Hera, wife of Zeus
The reconstruction of the Sele treasury frieze
seen from the first floor viewing platform
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A few kilometres from Paestum there was a temple
complex at the mouth of the Sele river (Foce del
Sele) dedicated to Hera. The temple is now all
but destroyed, and little remains of several
other buildings. About 70 of the sixth-century
BC Archaic metope relief panels on the temple and
another building at the site were recovered,
however. The frize arranged in sculpted panels
(metopes) with tripartite elements that
separate them (triglyphs)
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Sele temple frieze- Metope reliefs, c. 510 BC
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Heracles and the Cercopes Mid-6th century B.C
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Heracles kills Alcyoneus
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Orestes kills Aegisthus Mid-6th century B.C
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Sele sculpted panel (metope) Dave Margie
Hill
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Punishment of Sisyphus Metope from the temple of
Hera at the mouth of the river Sele
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The temple lay at the mouth of the River Sele
it is often known as being at the Foce del Sele
but unlike the three temples at Paestum itself,
it was destroyed in the Middle Ages and was only
rediscovered in the 1930s. However unlike the
three well-known temples at Paestum, it was
richly adorned with carvings perhaps
surprisingly, the temples at Paestum were all
very plain, without any carvings Hera with a
patera in her right hand and a pomegranate in the
left (Sele)
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Temple of Hera Heraion of the Sele (510
BC) Dave Margie Hill
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Southern Sanctuary Temple of Hera (2nd half of
the 6th C BC)
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Reconstruction of raking sima, from the façade of
the temple of Hera I
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Wedding Vase
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Wedding Vase, in Tomb 69 of Lucinella
(detail) Dave Margie Hill
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Statue of Zeus
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Pelike from S Venera cemetery (storage jar). The
main figure to the right is Dionysus, the God of
wine, holding a drinking cup in his hand and with
wine tendrels growing from his hair and looking
decidedly squiffy
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The abduction of Europe Greek-red figured calyx
crater Asteas c 340 BC
Neck-amphora depicting the birth of Aphrodite, in
Tomb 69 of Lucinella. Dave Margie Hill
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The abduction of Europe Greek-red figured calyx
crater Asteas c 340 BC (detail) Egisto Sani
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Veiled female clay figurines standing Dave
Margie Hill
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Museum joke Two ladies, in a state
of déshabillé,  dont quite know what to do with
a laptop computer that is falling into their
hands from heaven
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Amphora from Athens which could be dated to
between 520 and 500 BC
Veiled female clay figurines standing Dave
Margie Hill
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The bronze urns on display in the museum
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Hydria, or water storage jar from the founders
tomb at Paestum
Lions head handle to one of the urns
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Detail of the handle of one of the urns
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Sometime around 400 BC, Paestum or rather
Poseidonia,  was conquered by the Lucanians.  The
Lucanians  were one of the Samnite peoples who
occupied much of  central Italy and were the
greatest rivals to Rome. In the fourth century
they were expanding and their expansion led them
to conquer Poseidonia, though the exact date of
this is unknown. Paestum remained Lucanian until
273 BC when it was conquered by Romans and became
a Roman colony. Although Poseidonia now became
Lucanian,  and the language spoken was Oscan
rather than Greek, Greek culture continued to
survive and even flourish with a lively vase
painting industry in Paestum itself, with the
vase  painters painting  vases in the Greek
fashion and signing  their names in Greek. There
are few architectural remains of the Lucanians
within the city, but nevertheless occupation
flourished in the countryside where the number of
settlements increases significantly.
A mounted Lucani warrior, fresco from a tomb c.
360 BC
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The Lucanian period is best known from the
considerable number of tombs that are found in
the surrounding area often with elaborate wall
paintings.
A mounted Lucani warrior, fresco from a tomb c.
360 BC Carole Raddato
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General view of one of the graves as
reconstructed showing how it was laid out with
the  walls painted in the interior
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General view of the gallery containing the
Lucanian wall paintings
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Fresco from the Tomb of the Black Rider Lucanian
period
Paestum Dave Margie Hill
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Tomb of a warrior (IVth century BC) Lucanian wall
paintings
Not all the tombs were of men  this one was of a
woman and here we see two women mourners at the
end of the tomb
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Jane Drumsara
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Lucanian fresco tomb, 340 330 BC
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Lucanian fresco tomb painting depicting a
quadriga, 340-330 BC
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Tomb walls, Paestum Dave Margie Hill
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Tomb wall decorated with two Griffin and a
panther Egisto Sani
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The Tomb of the Diver (480/70 BC) is the only
evidence for large-scale Greek painting, other
than on vases prior to the fourth century BC
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The Tomb of the Diver is also unique in terms of
the theme portrayed on it a naked young man
dives into the ocean, a visual metaphor for the
transition from life to death
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The scene of the diver, who has given his name to
the tomb, can be found on the inner side of the
lid, directly facing the deceased
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While the Greeks traditionally had an extremely
negative view of the afterlife, new ideas spread
during the fifth century BC, based on the hope of
some sort of survival after death. In the wake of
this tradition, Plato would subsequently define
death as the liberation of the soul, thus
anticipating later religious beliefs  
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The tomb was found 2km south of Paestum inside a
small cemetery dating to the sixth-fifth
centuries BC
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After the funeral, which was held in about 475
BC, the frescoes remained in darkness for almost
two and a half millennia until their discovery in
1968
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The walls of the box tomb, made of travertine
slabs, are decorated with scenes of a symposium
(banquet)
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Foisoreanu
2018
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