Situla

[1] More utilitarian pottery situlae are also found, and some in silver or other materials,[2] such as two glass ones from late antiquity in St Mark's, Venice.

[9][10] Japodian burial urns made by the Japodes tribe of Illyrians are a 5th-century BC extension into modern Bosnia of this style.

Later Etruscan and then Roman styles favoured a simple shape curving from the base, becoming vertical at the top, with a wide mouth and no shoulder, but sometimes a projecting rim.

Situla art was an important means of transition of Greek-derived motifs from the Etruscans through the regions to the north to the emerging La Tène culture further west.

[13] The processions of animals, typical of earlier examples, or humans derive from the Near East and Mediterranean, and Nancy Sandars finds the style shows "a gaucherie that betrays the artist working in a way that is uncongenial, too much at variance with the temper of the craftsmen and the craft".

[14] Except for the Benvenuti Situla, men are hairless, with "funny hats, dumpy bodies and big heads", though often shown looking cheerful in an engaging way.

Elaborate early medieval situlae, sometimes called aspersoria (singular: aspersorium), were Christian liturgical objects used to hold holy water, also usually of bronze, and straight-sided with a handle.

Four richly carved ivory examples from the 10th century are known: the Basilewsky Situla of 920 in the Victoria & Albert Museum, decorated with twelve scenes from the life of Christ on two levels (it contains one of the very few depictions of Judas Iscariot showing remorse and throwing the thirty silver coins on the floor of the Temple),[17] the "Situla of Gotofredo" of c. 980 in Milan Cathedral,[18] one in the Aachen Cathedral Treasury,[19] and one in the Metropolitan Museum of Art in New York.