TERRACOTTAS FROM THE TEMPLES OF FALERII

Female deity from the pediment of the Scasato I temple (4th cent. B.C.)

Between 1886 and 1887, excavations at Scasato, located on the highest point of the Civita Castellana plateau (ancient Falerii Veteres), about 60 km north of Rome, brought to light numerous fragments of architectural terracottas and the remains of several buildings dating from the 4th to the 3rd century BCE. These included temples, a portico, and an open-air basin carved into the rock, probably used for purification rituals. 
Of the temples, Scasato I is the largest and best-known of the complex, although no visible structures survive today. Numerous architectural terracotta decorations from its roof have survived, including elements modelled by hand or produced using moulds and originally painted in vivid colours. 
A second temple known as Scasato II was discovered in the same area in 1924; it dates to the early 4th century B.C. and features a plan with three cellae, possibly dedicated to Jupiter, Juno, and Minerva.

Busto of Apollo from the pediment of the Scasato I temple (4th cent. B.C.)

It is a hand-modelled, painted terracotta high relief, discovered around 1888. Only the upper part of the figure survives, having been reassembled from several fragments: the torso, shoulders, and head remain, while the lower body and parts of the arms are lost. Approximately two-thirds life-size, the figure was originally depicted seated, with its head turned to the right. 
Apollo appears serene and idealised, with a high forehead, straight nose, full lips, and eyes that still preserve traces of their original colour. His face and body were painted dark red, following a figurative convention reserved for male figures. His dark-painted hair falls in large wavy locks around the face. 

The bust of Apollo bears witness to the artist's direct relationship with the great Greek sculpture of the 4th century BC, particularly the models of Lysippus, Skopas, and Praxiteles. Through the hairstyle, the turning of the head, and the upward gaze, the image of the god evokes the so-called Alexander–Helios type of Lysippus, a famous portrait in which Alexander the Great is represented as the Sun god. 

Statue of Juno from the Scasato II Temple (early 4th cent. B.C.)

A statue of Juno comes from Temple Scasato II, where it was originally placed inside one of the cellae (inner chambers) as a cult image. 
Unlike the external architectural decorations, this statue represented the direct point of contact between worshippers and the divinity. Made of polychrome terracotta, it is carefully finished on the back as well, demonstrating that it was intended to be viewed from multiple angles. A particularly interesting feature is the floral diadem, which was made separately and could be removed. During special celebrations or festivals, it could be replaced with one made of fresh flowers or precious metal. 

At Falerii, Juno occupied a central role in the religious life of the community: she was the protector of women, marriage, the family, and above all the city itself. Ancient authors describe great celebrations held in her honour. Among the Etruscans, the goddess was known as Uni, the wife of Tinia (identified with Jupiter in Roman tradition). 

antefix with the head of Silenus from the Temple of Vignale (5th cent. B.C.)

Production in large numbers did not compromise their high sculptural quality or remarkable iconographic variety. Excavations also revealed several moulds, providing exceptional/valuable insight into the manufacturing process.
Among the moulds discovered, one belongs to an antefix depicting the head of Silenus, recognisable by his mature and strongly distinctive features: a furrowed forehead, flattened nose, prominent moustache, and long beard rendered in spiral curls.
Another mould is associated with Juno Sospita, identifiable by her characteristic goatskin headdress with large curved horns, one of the goddess’s iconographic attributes. Her face, with its regular and solemn features, is framed by long lateral locks that emphasise the frontality and expressive strength of the figure.