A "vertical" circulation of stylistic and iconographic motifs can be detected among different classes of artifacts in the flourishing realm of Etruscan-Latian artistic workmanship of the fourth to third centuries B.C. Examples from Falerii Veteres and Orvieto, two first-rank centres in the commercial road network along the Tiber, largely open to Greek influences, attest the adoption of iconographic themes chosen from the high models of official art to decorate objects intended for private purposes. For example, a plastic lekythos from the Faliscan necropolis of Valsiarosa finds convincing comparisons with the head of the so-called Juno from the Scasato II temple. Volsinian silvered pottery also offers many examples of such adoption from official art. A complex relief scene of divination on a series of kraters and amphorae may possibly be related to the terracotta decorations of the temple of the Belvedere: some figures occurring in the decoration of silvered vessels are clearly inspired by those of the Belvedere, and are also attested in mirrors with divining scenes made in workshops of Orvieto. These and other examples indicate a high level of interaction and interchange of iconographic and stylistic themes between workshops and suggest that the decoration of some luxury private artifacts comes from official art.
