Etruscan art in the context of "Symposium"

The Staatliche Antikensammlungen (German: [ˈʃtaːtlɪçə anˈtiːkənˌzamlʊŋən], State Collections of Antiquities) is a museum in Munich's Kunstareal holding Bavaria's collections of antiquities from Greece, Etruria and Rome, though the sculpture collection is located in the Glyptothek opposite, and works created in Bavaria are on display in a separate museum. Ancient Egypt also has its own museum.

Troilus (English: /ˈtrɔɪləs/ or /ˈtroʊələs/; Ancient Greek: Τρωΐλος, romanized: Troïlos; Latin: Troilus) is a legendary character associated with the story of the Trojan War. The first surviving reference to him is in Homer's Iliad, composed in the late 8th century BC.

In Greek mythology, Troilus is a young Trojan prince, one of the sons of King Priam (or Apollo) and Hecuba. Prophecies link Troilus' fate to that of Troy and so he is ambushed and murdered by Achilles. Sophocles was one of the writers to tell this tale. It was also a popular theme among artists of the time. Ancient writers treated Troilus as the epitome of a dead child mourned by his parents. He was also regarded as a paragon of youthful male beauty.

In Etruscan mythology, Sethlans was the god of fire, the forge, metalworking, and by extension craftsmanship in general, the equivalent, though their names share no etymology, to Greek Hephaestus, Egyptian Ptah and the Roman Vulcan. Sethlans is one of the indigenous Etruscan gods. In Etruscan arts Sethlans may be identified by his tools, the hammer and tongs of the blacksmith, and by the pileus or conical cap he wears.

His association with order and technical skill made him essential to rituals involving material production, such as weapon or tool creation, reflecting the Etruscan reverence for divine precision and manual labor.

A chasse, châsse or box reliquary is a shape commonly used in medieval metalwork for reliquaries and other containers. To the modern eye the form resembles a house, though a tomb or church was more the intention, with an oblong base, straight sides and two sloping top faces meeting at a central ridge, often marked by a raised strip and decoration. From the sides there are therefore triangular "gable" areas.

The casket usually stands on straight stumpy feet, and there is a hinged opening to allow access, either one of the panels, but not on the front face, or the wooden bottom; there is usually a lock. The shape possibly developed from a similar shape of sarcophagus that goes back to Etruscan art, or from Early Medieval Insular art, where there are a number of house-shaped shrines, reliquaries or cumdachs ("book-shrines"), with similar shapes. The Monymusk Reliquary is typical of these, having four sloping panels above, so no "gables". A 13th-century example of the fully-sloping type is the chasse of Saint Exupère in Limoges enamel (see gallery of images, below). The word derives, via the French châsse, from the Latin capsa, meaning "box".

The Tomb of the Bulls (Italian: Tomba dei tori) is an Etruscan tomb in the Necropolis of Monterozzi near Tarquinia, Lazio, Italy. It was discovered in 1892 and has been dated back to either 540–530 BC or 530–520 BC. According to an inscription Arath Spuriana apparently commissioned the construction of the tomb. It is named after the two bulls which appear on one of its frescoes. It is the earliest example of a tomb with complex frescoes in the necropolis, and the stylistic elements are derived from Ionian Greek culture. Along with the frescoes of the Tomb of the Whipping these paintings are relatively rare examples of explicit sexual scenes in Etruscan art, which were far more common in Ancient Greek art.

Like other Etruscan tombs, it would originally have contained many grave goods, especially Etruscan pottery, now removed.

The Komast cup (also Comast cup) is a cup shape at the beginning of the development of Attic drinking cups. Komast cups were widespread especially in Ionia and Corinth. Like other vase painters of the time, the Attic painters were under strong influence from Corinthian vase painting.

The name is derived from the artists' preferred theme, the kōmos, a ritualistic drunken procession performed by revelers in ancient Greece, whose participants were known as komasts (κωμασταί, kōmastaí). This is a motif closely connected with Etruscan vase painting.