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The most famous examples of Etruscan architectural sculptures are those from the Portonaccio sanctuary at Veii of ca. 510 B.C. The surviving over life-size terracotta akroteria include Apollo (to whom the temple was originally thought to be dedicated), Herakles, Hermes, and a female figure holding a child identified as Letowith her sonApollo.Given the rarity ofApollo as a child in classical art and the implausibility of his appearing twice on a building dedicated toMinerva, a new interpretation is here proposed for this group asNiobewith her youngest child. If the Veii Apollo, striding along with his bow, is correctly interpreted as reacting to Herakles’ clubbing of the Kerynian hind, then one can visualize his sister in a similar pose chasing Niobe and her last surviving child, as depicted on a slightly later Attic red-figure vase. This subject in which Niobe is punished for her impiety is more in keepingwith other themes of Etruscan architectural sculpture, such as the Pyrgi pedimental group, which are deliberately normative. R eproduced in every handbook of Etruscan art, the Portonaccio temple of Veii with its rooftop terracotta sculptures is one of the best known architectural monuments of ancient Etruria. All students of art history recognize the group of the striding god Apollo/Aplu, the deity to whom the temple was originally believed to be dedicated, battling the Greek hero Herakles/Hercle over the Kerynian hind. Otto Brendel called it “one of the most distinguished examples preserved of all Etruscan sculpture.” Equally often illustrated is the head of the god Hermes/Turms, who is posed as a bystander behind the figure of Herakles in most reconstructions of the roof. For purposes of symmetry a putative Artemis/Artume is often reconstructed behind her brother Apollo. However, there were more life-size terracotta figures, as well as akroteria

Niobe (?) on the Portonaccio Temple at Veii