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bibliography: CVA Roma Musei Capitolini II, plates 4-9 museum / inventory number: Roma, Musei Capitolini, Palazzo dei Conservatori e Palazzo Nuovo 172 findspot: Caere (Cerveteri) (Castellani collection 172) potter (and painter): Aristonothos, signed on A: ΑΡΙΣΤΟΝΟΘΟΣ ΕΠΟΙ(Ε)ΣΕΝ (one of the earliest signatures) Aristonothos was a Greek immigrant working in the Etruscan pottery workshop of Caere the letters mostly follow the alphabet of Chalkis on Euboia, the style reminds of protoattic vases description A: Odysseus at the left end of the cave, 4 of his comrades blinding Polyphemos The article’s last part deals with the contextualisation of the discovery in the framework of the caeretan society of the archaic period.English: object type / vase shape: footed krater, painted in silhouette technique As a matter of fact, this is the only episode of Heracles’ biography in which we can find all together these elements: Heracles represented as an archer, a meat meal, flying birds, centaurs. At the end of a long demonstration, the character is tentatively identified by the present Author as Heracles and the story as the meeting of the hero with the centaur Pholos.

The Author re-examines this document from an iconographical point of view on the basis of the identification of three new elements passed unnoticed until now: 1) a bow and a quiver behind the seated man 2) some pieces of meat laying on the plate 3) a scene with galloping centaurs armed with tree branches in the upper frieze. 45 of Roncalli’s corpus (a bearded seated man holding a plate toward which a big bird is flying from top left), this plaque of the Campetti’ series has been neglected by etruscologists. Due to the uncommon subject of the panel nr.

The best preserved of these archaic paintings from Campetti depict the greek myths of Perseus attacking the Gorgons and the Paris’ judgment (Roncalli’s corpus: nr. Focus of the present article is an etruscan painted plaque found out at Cerveteri (Campetti) in the 1940s by Mario Moretti, who published it in 1957 together with other panels that afterwards Francesco Roncalli labelled the “Gorgon series” in his monographic essay.