Iconography and iconology : Nineteenth to Twenty-first centuries
Résumé
The different approaches to the figure-decorated material of the last fifty years, such as Erwin Panofsky's opposition between iconography and iconology, or the anthropological study of the “cite des images” developed in the “Ecole de Paris” around Jean-Pierre Vemant and Pierre VidalNaquet, have not superseded some of the positions that were taken in the early nineteenth century. From that time through the most recent publications, we can observe three distinct interpretations of the Etruscan images. First, they represent the happy or terrifying life the dead can expect after the funerary rituals are completed; second, they symbolize the aristocratic life they led and, like the symposion sets deposited in the grave, define the social status of the dead; and third, they reproduce the rituals conducted during the funerals, as a testimony of their correct observance. It therefore seems necessary not to separate the study of the iconography from various questions concerning the date, artist, place of production, and external formal influences displayed by the image.
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