#etruscan liver

[worldhistoryfacts]

Some artifacts from the practice of haruspicy, the practice of examining sheep livers to divine the future.

This practice went back even farther in time than oracle bones, and it was quite widespread. The oldest evidence we have of liver-based divination dates back almost 4,000 years, and the practice eventually spread all over the Near East and Mediterranean, from Mesopotamia to Rome.

Priests used clay or metal guides to help them find the will of the gods in the livers of animals. Here's a clay guide from ancient Babylon:

And an Etruscan one, made of bronze:

Much more on liver analysis, palm-reading and more here:

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[integratedheart]

Haruspex (pl. Haruspices)

Haruspices were Etruscan diviners who used the entrails of sacrificial animals to determine the will of the Gods. Very often they would examine the liver and gallbladder of a sheep. This life size bronze model is subdivided into sections and inscribed with the names of individual Etruscan deities. Last edit: 10/24/24 10:53am MT | Source 1 | Source 2 | Source 3 |

[xphaiea]

Liver of Piacenza, bronze model of sheep's liver for the practice of haruspicy, Etruscan, 2nd C BC

[alporquia]

Etruscan bronze mirror of Calchas the Seer Reading a Liver. Late fifth century BCE.

[catilinas]

Trick or treat!! 👻👻

TRICK!!!!!! have this 2nd century BCE etruscan model / diagram of a sheep’s liver used for haruspicy! happy halloween!!

[transgenderer]

Between the first and the sixth century a single theological and several medical authors reported on the consumption of gladiator's blood or liver to cure epileptics. The origins of the sacred or apoplectic properties of blood of a slain gladiator, likely lie in Etruscan funeral rites. Although the influence of this religious background faded during the Roman Republic, the magical use of gladiators' blood continued for centuries. After the prohibition of gladiatorial combat in about 400 AD, an executed individual (particularly had he been beheaded) became the "legitimate" successor to the gladiator.

[tibetanquaaludes]

sorry if this is "cringe" but i would kind of love a liver haruspicy diagram tattoo based on that etruscan bronze model

[thedansemacabres]

Tivr, god of the moon

[ID: A photograph of the moon over a lilac purple sky, with small clouds to the near left and the bottom left of the image. To the bottom right is a cliff side, with another smaller cliff side behind the first. The moon is in a fingernail cresent.]

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Tivr, Tiv, or Tiur, (Etruscan tiu/tiur, “month”) is the ais of the moon. They have been recognised as the moon ais as Tivr stands opposite to Usil on the Liver of Piacenza, on the “negative” side where the aiser of death and night reside. Converserly, Usil (at sunrise) and Tiv (at sunset) are separated on the liver from the sunset zone by the Suspensorium hepaticum (falciform ligament). As for syncretism, Tivr was likely identified with Luna and Selene akin to how Usil was identified with Helios and Sol. 

Tivr’s symbol is the crescent, as witnessed in the heraldic symbol of the Tiuza family of Chiusi. Their tomb dates to the third-century within Tassinaia and is decorated with crescent moons, along with a shield marked with a lunar phase. 

CATHA, GODDESS OF THE MOON?

Nancy de Grummond argues that Catha, the daughter of Usil, is a lunar goddess. Tiur’s name is mentioned in a dedicatory inscription on a bronze crescent to Catha reading “mi tiiurs kaθuniiasul.” The relationship between the two if we take Catha as a lunar goddess is unknown. 

MODERN WORSHIP

Tivr is a deity with very little information. Many scholars identify Tivr as feminine due to Luna and Selene, however this may be untrue as no known depiction of Tivr exists. In modern worship we can worship Tivr as the god of the moon/month and let our experiences guide us in understanding this obscure ais. 

References

de Grummond, N. T. (2004). For the Mother and for the Daughter: Some Thoughts on Dedications from Etruria and Praeneste. Hesperia Supplements, 33, 351–370. http://www.jstor.org/stable/1354077

Stevens, N. R. (2009). A new reconstruction of the Etruscan Heaven. American Journal of Archaeology, 113(2), 153–164. https://doi.org/10.3764/aja.113.2.153

The religion of the Etruscans. (2006). In University of Texas Press eBooks. https://doi.org/10.7560/706873

Turfa, J. M. (2012). Divining the Etruscan world: The Brontoscopic Calendar and Religious Practice. Cambridge University Press.

[stavgavreli]

digital.

“The Etruscans believed that signs in the natural world, such as thunderstorms or , as we have seen, the flight of birds, or even the entrails of sacrificed animals, expressed the will of the gods. In fact, they viewed the liver as a sort of microcosm…”

[iwinablog]

The Story of Chianti Classico: Legends, Tradition, and Anecdotes

Chianti Classico, a renowned Italian wine, has a history rich in legends, traditions, and anecdotes. Nestled in the heart of Tuscany, this wine has captivated the palates of connoisseurs for centuries. In this article, we will embark on a journey through time to explore the fascinating story behind Chianti Classico, uncovering the tales of its origins, the traditions that have shaped its production, and the amusing anecdotes that have become intertwined with its legacy.

The Origins of Chianti Classico: The origins of Chianti Classico can be traced back to the Etruscans, who cultivated vineyards in the region more than two millennia ago. However, it was during the Middle Ages that Chianti Classico began to take shape as we know it today. Legends speak of a Florentine knight, Black Rooster, who used a rooster's crow to mark the borders of the Chianti region. This act led to the establishment of Chianti's boundaries and ultimately contributed to the birth of Chianti Classico.

Traditions and Regulations: Chianti Classico's production is governed by strict regulations that have preserved its authenticity and quality. The Consorzio Vino Chianti Classico, established in 1924, plays a vital role in safeguarding the wine's heritage. The consortium's mission includes protecting the distinctively shaped bottle, the black rooster emblem, and the traditional winemaking techniques unique to Chianti Classico. The use of Sangiovese grapes, the primary varietal of Chianti Classico, is a testament to its deep-rooted tradition.

The Sangiovese Grape and the Terroir: At the heart of Chianti Classico lies the Sangiovese grape, which thrives in the region's unique terroir. The vineyards, situated on hilly slopes, benefit from the Mediterranean climate and the limestone-rich soils. The Sangiovese grape exhibits a remarkable range of flavors, from red fruits and spices to earthy undertones. Winemakers carefully blend this varietal with other indigenous and international grapes to achieve the perfect balance and express the true essence of Chianti Classico.

The Evolution of Chianti Classico: Throughout history, Chianti Classico has undergone various transformations and faced numerous challenges. In the 1970s, the addition of white grapes to the blend caused controversy and compromised the wine's reputation. However, visionary winemakers recognized the need for change and pushed for higher quality standards. In the 1980s, a new classification system was introduced, elevating Chianti Classico to DOCG (Denominazione di Origine Controllata e Garantita) status, the highest level of Italian wine classification. This change marked a turning point for Chianti Classico, propelling it into the global spotlight.

Chianti Classico in Pop Culture: Chianti Classico's allure extends beyond the realm of wine enthusiasts. It has left an indelible mark in popular culture, including literature, art, and film. It gained widespread recognition in the novel "Under the Tuscan Sun" by Frances Mayes, where it served as a symbol of the Italian way of life. Additionally, the iconic straw-covered bottle, known as a "fiasco," has been depicted in countless paintings and advertisements. Notably, the line "I ate his liver with some fava beans and a nice Chianti" from the film "The Silence of the Lambs" added a chilling yet memorable association with the wine.

Chianti Classico: A Culinary Delight: Chianti Classico's versatility and ability to complement a wide range of dishes make it a favorite among wine enthusiasts and food lovers alike. The wine's acidity and tannins pair perfectly with classic Tuscan cuisine, such as Bistecca alla Fiorentina (Florentine steak) and Pappardelle al Cinghiale (wild boar ragu). Additionally, its smooth and velvety texture makes it an ideal accompaniment to aged cheeses and rich, decadent desserts.

Conclusion: The story of Chianti Classico is one of ancient origins, tradition, and adaptation. From the mythical Black Rooster to the meticulous regulations that govern its production, this wine is a testament to the dedication and passion of the winemakers in the Chianti region. With its rich history, diverse flavors, and cultural significance, Chianti Classico continues to captivate wine enthusiasts around the world. Raise a glass to this iconic wine, and let its tales of legends, traditions, and anecdotes transport you to the picturesque hills of Tuscany.

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[picard-schreckensberger]

Etruscan Liver of Piacenza 

Die Bronzeleber von Piacenza stellt eine Schafsleber dar und stammt aus dem 1 Jhd v Chr. Sie diente als Lehrmodell für etruskische Priester (Haruspices) zur Leberschau.

[svenson777]

The Liver of Piacenza, with a diagram and Etruscan inscriptions.

The Liver of Piacenza is an Etruscan artifact found in a field on September 26, 1877, near Gossolengo, in the province of Piacenza, Italy, now kept in the Municipal Museum of Piacenza, in the Palazzo Farnese.

It is a life-sized bronze model of a sheep's liver covered in Etruscan inscriptions (TLE719), measuring 126 mm by 76 mm by 60 mm and dated to the late 2nd century BCE, i.e. a time when the Piacenza region would already have been Latin-dominated (Piacenza was founded in 218 BCE as a Roman garrison town in Cisalpine Gaul).

[pozzolana]

The Liver of Piacenza, a lifesize model of a sheep's liver used for haruspicy, the Etruscan practice of divination through the inspection of animals' entrails. Bronze, 2nd cen BCE.

[splendidemendax]

I read his In Catalinam III in my very first Latin class in college, taught by my very favorite teacher’s favorite professor from when she’d been in college. I was terrified of bringing shame upon my beloved Magistra by being bad at Cicero in front of her favorite prof, a noted Cicero expert, who knew she’d taught me.

I made myself so good at Cicero.

My personal favorite memory from that class is having Dr. W explain to us that reason some of his sentences have the same verb in them twice was that by the time you got to the end of it, Cicero expected you to have forgotten what he was saying at the beginning. And everyone in that classroom was basically like yeah that tracks.

me, begging and crying as i translate: cicero please can we have a verb and end this clause

cicero from the year 69 bc:

[alporquia]

Liver of Piacenza, Etruscan, 2nd century BCE.

[transgenderer]

Summanus (Latin: Summānus) was the god of nocturnal thunder in ancient Roman religion, as counterposed to Jupiter, the god of diurnal (daylight) thunder. His precise nature was unclear even to Ovid.

Pliny thought that he was of Etruscan origin, and one of the nine gods of thunder. Varro lists Summanus among gods to whom Sabine king Titus Tatius dedicated altars (arae) in consequence of a votum. Paulus Diaconus considers him a god of lightning.

In ancient Roman religion, the dii (also di) Novensiles or Novensides are collective deities of obscure significance found in inscriptions, prayer formulary, and both ancient and early-Christian literary texts.

Pliny mentions nine gods of the Etruscans who had the power of wielding thunderbolts, pointing toward Martianus's Novensiles as gods pertaining to the use of thunder and lightning (fulgura) as signs. Books on how to read lightning were one of the three main branches of the disciplina Etrusca, the body of Etruscan religious and divinatory teachings. Within the Etruscan discipline, Jupiter has the power to wield three types of admonitory lightning (manubiae) sent from three different celestial regions. The first of these, mild or "perforating" lightning, is a beneficial form meant to persuade or dissuade. The other two types are harmful or "crushing" lightning, for which Jupiter requires the approval of the Di Consentes, and completely destructive or "burning" lighting, which requires the approval of the di superiores et involuti (hidden gods of the "higher" sphere).

Several scholars have identified the Novensiles with the council of gods who decide on the use of the third, most destructive type of lightning. Carl Thulin proposed that two theonyms from the Piacenza Liver — a bronze model of a sheep's liver covered with Etruscan inscriptions pertaining to haruspicy — ought to be identified with the two councils, Cilens(l) with the Novensiles and Thufltha(s) with the Consentes Penates. The Novensiles would thus correspond to the di superiores et involuti and possibly the Favores Opertanei ("Secret Gods of Favor") referred to by Martianus Capella. Martianus, however, locates the Favores in the first region of the sky, with the Di Consentes and Penates, and the Novensiles in the second; the Favores are perhaps the Fata, "Fates".