Necropolis of Poggio Pinci

An Etruscan necropolis, in use from the late 5th to the 1st century BC, the final resting place of the Hepni family.

The site was in use from the late 5th to the 1st century BC. The associated settlement was likely located on the nearby hill of Montalceto, although evidence suggests a dispersed system of dwellings extending westward from this elevation.

Topographically, some tombs (II, III, IV, and V) are located in the southern part, with dromoi oriented southward, while others (I, VI, VII, VIII, and X) are positioned to the northeast and appear to converge toward a central area. The burials include both inhumation and cremation rites.

The oldest context is associated with Tomb II (late 5th–1st century BC), which belonged to the Hepni family, as evidenced by the numerous cinerary urns discovered (28 in travertine, 3 in sandstone, and others in terracotta).

The archaeological artifacts displayed in the museum represent a selection from only five tombs, as the others were partially or entirely looted at the time of discovery. Unfortunately, additional objects were stolen in 1966 when the Poggio Pinci collection was housed in the church of San Bernardino in Asciano.

The ceramic artifacts found indicate commercial connections with major Etruscan cities in the region. These include red-figure pottery from Chiusi and Volterra, black-glazed ceramics from Volterra and Arezzo, and sigillata ceramics from Arezzo.

Tombs II and IV yielded several circular bronze mirrors with a smooth reflective surface and engraved scenes on the reverse.

• One mirror features three standing figures, identified by Etruscan inscriptions inside rectangular cartouches. At the center is a young naked man, likely Phaon, flanked by two women, one accompanied by a fawn. This piece is attributed to a northern Etruscan workshop, possibly from Chiusi, dating to 330–320 BC (Tomb II).
• Another mirror is decorated with a galloping horse, framed by laurel leaves—an unusual motif. It dates to the late 4th century BC (Tomb II).
• A third mirror features winged Minerva, depicted with a helmet, a cinched tunic, a shield in her left arm, and a thunderbolt in her right hand. This work is attributed to the Master of the Lasa, dating between the late 4th and mid-3rd century BC (Tomb II).
• Another mirror shows the Dioscuri standing opposite each other, wearing tunics and sandals, with shields resting on the ground and a lyre in the center. Attributed to the Master of the Dioscuri, it dates to the late 4th–mid-3rd century BC (Tomb II).
• The last mirror features a winged female figure, depicted nude, holding an alabastron in her left hand. The lower part includes a phallic motif. This piece is attributed to the Master of the Lasa, dating between the late 4th and mid-3rd century BC (Tomb IV).

In Tomb III, four significant red-figure ceramic vessels, produced in Volterra between the 4th and 3rd centuries BC, were discovered.

• Kelebe (2nd half of the 4th century BC)
  Displayed at the beginning of the ARCHAEOLOGY SECTION (ROOM 18), this vase is attributed to the so-called "Painter of Asciano", a craftsman connected to the Workshop of the Painter of Hesione. His style was first identified in this Poggio Pinci artifact, from which his name derives. The distinguishing features are seen in the perspective depiction of human heads, flanked by two equine heads on the neck. The body of the vase depicts a woman and a young naked man facing each other: the young man holds a thyrsus (a staff topped with intertwined ivy, a Dionysian symbol) in his left hand and a fan in his right, while on the reverse, he offers a wreath to the woman.
• Kelebe (2nd half of the 4th century BC)
  This vessel is attributed to the Workshop of the Painter of Hesione. The neck features a decoration of lozenges and small central crosses, while the body depicts two naked pygmies, each on a different side: one holds a shield and a thyrsus, while the other carries a spear and a shield adorned with a head of Achelous.
• Kelebe (2nd half of the 4th–early 3rd century BC)
  Attributed to the "Tuscan Column Painter", a minor artist of Volterra’s workshops, this kelebe features lozenges and small central crosses on the neck, while the body displays a Tuscan column flanked by palmettes.
• Stamnos (late 4th–early 3rd century BC)
  The artist of this vessel remains unidentified. It is decorated with an Ionic column on both sides of the body, and on top of one of the side palmettes, there is an Etruscan inscription: melctrna.