3rd-1st century BCE
Votive terracotta eye. Reddish buff clay, porous, with gritty black impurities, slightly chipped at one edge. Most likely from a sanctuary votive deposit in Etruria (central Italy). Such terracotta eyes may have been given either as a request or as an offering of thanks for healing related to vision, or they may have served as a figurative sign of the god’s attention or as defense against the evil eye. The practice of creating and dedicating anatomical renderings as votive offerings was widespread in ancient Etruria and Latium, evident from the seventh century BCE onward and most popular in the Hellenistic period (3rd–1st centuries BCE). A variety of body parts were depicted, from whole and half heads, to arms and legs, hands and feet, and fingers and toes, to eyes and ears, female and male genitalia, and breasts, to internal organs, including the uterus, heart, and bladder. Anatomical votives have been found exclusively at sanctuaries, spread over some 300 sites in the Etrusco-Italic region. Similar votives appear also in Greek sanctuaries, though in the shrines of very few gods (e.g., Asklepios), whereas a wide range of the gods worshipped in Etruria and Latium received anatomical votives. Because very few Etruscan anatomical votives include dedicatory inscriptions, it is uncertain whether they were offered to a god according to a vow (ex voto) to give thanks after a wish had been fulfilled or to encourage the god’s participation in granting a request or prayer. In either case, votives appear to have been offered by individuals as part of a ritual, with considerable numbers of such votives found at or near sanctuary altars and most found grouped in secondary deposits (presumably to make room for new offerings). In the absence of dedicatory inscriptions, the meaning of these anatomical votives is debated. They may have been given more literally for the protection or cure of certain body parts and their capabilities, or they may have represented something more figurative (e.g., ears signifying being heard by the god, eyes as being seen, or hands expressing persistent prayer). For further reading, see: Matthias Recke, “Science as Art: Etruscan Anatomical Votives,” in The Etruscan World, ed. Jean MacIntosh Turfa (London: Routledge, 2013), 1068–85. Matthias Recke and Waltrud Wamser-Krasznai, Kultische Anatomie: Etruskische Körperteil-Votive aus der Antikensammlung der Justus-Liebig-Universität Giessen (Stiftung Ludwig Stieda) (Ingolstadt: Deutsches Medizinhistorisches Museum, 2008). Jean MacIntosh Turfa, “Anatomical Votives,” in Thesaurus Cultus et Rituum Antiquorum (ThesCRA), vol. 1, Processions – Sacrifices – Libations – Fumigations – Dedications (Los Angeles: Getty Publications, 2004), 359–68.
5.9 x 4.7 x 1.6 cm
Limestone, micrite
14th centuryFrenchUnglazed hard-paste porcelain
18th centuryFrenchGray schist
1st-4th century CEGandharanMarble
19th centuryAmericanTerracotta
GreekTerracotta, traces of paint
4th-1st century BCEGreekLeaded bronze
1st-2nd century CERomanLight gray stoneware with incised and molded decoration, the roof covered with a grayish-green celadon glaze
13th-15th centuryChineseCarved sandalwood, the exterior decorated with gold hiramaki-e (low-relief sprinkled design), the interior with carved representations embellished with polychromy and gilding
18th-19th centuryJapaneseEnameled blue-and-white ware, "wucai" type: porcelain with decoration painted in underglaze cobalt blue and overglaze polychrome enamels; with underglaze cobalt-blue mark reading "Da Ming Wanli shiliu nian zhi" on the base
16th centuryChinesePolychromed wood
17th-19th centurySpanish Colonial