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Fig. IV.7. Republican Roman Denarius Minted by L. Roscius Fabatus, Unknown Provenance, ca. 57 BCE, London, British Museum. Dim. D. 0.7 cm. Weight 61 g. Bibl. Grueber 1910, 422; Mattingly 1960, 62. 170 Fig. IV.8. Imperial Roman Bronze Coin of Antoninus Pius Depicting Juno Sospita on its Reverse, London, British Museum. Dim. D. 0.35 cm, Weight 23.9 g. Bibl. Mattingly 1940, lxxxi, 201. 171 Fig. IV.9. Colossal Marble Statue of Juno Sospita, Unknown Provenance, Antonine Period, Rome, Vatican Museum. Dim. H. 305.0 cm. Bibl. Chiarucci 1983, 56; Helbig I 1895, 219-20; Douglas 1913, 62; Lippold 1936, 142-4. 172 Fig. IV.10. Etruscan Bronze Statuette of Menerva, Unknown Provenance, Late Archaic Period, Modena, Galleria Estense. Dim. H. 22.0 cm. Bibl. Cristofani 1985, 280; Herbig 1965, 40; Richardson 1983, 346-7. 173 Fig. IV.11. Etruscan Bronze Statuette Identified as Juno Sospita Wearing a Wolf-skin, Unknown Provenance, 5 th C BCE, Florence, Archaeological Museum. Dim. H. 12.0 cm. Bibl. Cristofani 1985, 281; De Agostino 1968, 57; Richardson 1983, 360-1. 174 Fig. V.1. Etruscan Engraved Bronze Mirror with the Death of the Minotaur at the Hands of Hercle, Civita Castellana, ca. 300 BCE, Present Location Unknown. Dim. Unspecified. Bibl. De Grummond MS 2006,183; Jurgeit 1986, 1071; Woodford 1992, 577. 175 Fig. V.2. Etruscan Black-Figure Amphora Depicting Combat Between Hercle and the Minotaur, Unknown Provenance, Paris, Louvre. Dim. H. 26.0 cm. Bibl. Banti 1973, 187; Camporeale 1965, 118-20; Spivey 1987, 45; Torelli 2000, 608. 176 Fig. V.3. Etruscan Red-Figure Plate by the Settecamini Painter Depicting a Female Cradling an Infant Bull-Man, Early 4 th C BCE, Paris, Bibliothéque Nationale, Cabinet des Médailles. Dim. Unspecified. Bibl. Beazley 1947, 54-5; Bonfante 1989, 88; Brendel 1995, 344; De Ridder 1902, 624-5; Woodford 1992, 577. 177 Fig. V.4. Etruscan Cinerary Urn Depicting the a Scene with the Minotaur as an Infant, Unknown Provenance, 2 nd C BCE, Volterra, Museo Archeologico. Dim. L. 55cm. Bibl. Beazley 1947, 54; Brunn and Körte II, 11. 178 Fig. V.5. Roman Terracotta Revetment Plaque, from the Regia in the Roman Forum, ca. 610- 600 BCE, Rome, Antiquarium Forense. Dim. H. 10.0 cm. L. 38.7 cm. Bibl. Brendel 1995, 136; Brown and Scott 1985, 188; Cristofani 1995, 61; Downey 1995, 19-30; Iacopi 1976, 34-5; Massa Pairault 1992, 43; Romanelli 1955, 203-7; Woodford 1992, 577; Young 1972, 91-2. 179 Fig. V.6. Detail of an Etruscan Fresco Depicting an Ithyphallic Man-bull from the Tomb of the Bulls, located in the Monterozzi Necropolis, Tarquinia, ca. 540 BCE. Dim. Unspecified. Bibl. Altheim 1938, 69-71, De Grummond 2006, MS 181-2; Holloway 1986, 447-52; Isler 1970, 176; Jannot 1974, 769-80; Oleson 1975, 189-200; Steingraber 1985, 350-1. 180 x
Fig. V.7. Etruscan Bronze Mirror Depicting Hercle and Achlae Wrestling, ca. 350 BCE, Unknown Provenance, Berlin, formerly Antiquarium. Dim. Unspecified. Bibl. De Grummond MS 2006, 181-2, Gerhard IV 1867, 83-4; Isler 1970, 167; Isler 1981, 26; Pfiffig 1980, 50. 181 Fig. V.8. Etruscan Terracotta Shell Antefix Decorated with the Head of a Horned God (Likely Acheloos), from the Portanaccio Sanctuary at Veii, End of the 6 th C BCE, Rome, Museo Nazionale Etrusco di Villa Giulia. Dim. H. 44.5 cm. Bibl. Andrén 1940, 7; 2 Isler 1970, 149; Jannot 1974, 776-7; 3 Proietti 1980, Fig. 132. 182 Fig. V.9. Etruscan Gold Pendant Representing the Head of Acheloos, Unknown Provenance, 6 th C BCE, Paris, Louvre. Dim. Unspecified. Bibl. Briguet 1986, 103; Isler 1970, 169; Jannot 1974, 787. 183 Fig. V.10. Etruscan Bronze Boss with Mask of Acheloos, from Tarquinia, beginning of 5 th C BCE, Rome, Museo Gregorio Etrusco. Dim. D. 40.8 cm. Bibl. Brendel 1995, 213-4; Buranelli 1992, Cat. 24; Haynes 1985, 263-4; Higgins 1961, 152; Isler 1970, 155; Jannot 1974, 781. 184 Fig. V.11. Etruscan Bucchero Oinochoe with the Head of a Calf or Bull, from Chiusi, 550-500 BCE, Florence, Museo Archeologico. Dim. H. 41.3 cm Bibl. Altheim 1938, 73; Brendel 1995, 138-40; Giglioli 1935, 14; Sprenger and Bartoloni 1983, 87-8. 185 Fig. VI.1. Line Drawing of an Etruscan Engraved Bronze Mirror Depicting the Greek Seer Chalchas Performing the Etruscan Rite of Hepatoscopy, from Vulci, ca. 400 BCE, Rome, Museo Gregoriano Etrusco. Dim. Unspecified. Bibl. De Grummond 2000b, 37-8; De Grummond 2006, 31; De Grummond MS 2006, 54. 186 Fig. VI.2. Line Drawing of an Engraved Etruscan Bronze Mirror Depicting Athrpa amongst the Divine Couples Turan and Atunis and Atlenta and Meliacr, Perugia, ca. 320 BCE, Berlin, Antiquarium. Dim. Unspecified. Bibl. Beazley 1969, 12-3; Bonfante 1998, 53-65; Bonfante and Bonfante 2002, 160; De Grummond 2000b, 37; Von Vacano 1960, 7-13. 187 Fig. VI.3. Black Gloss Amphora in the Shape of a Woodpecker, Unknown Provenance, 420-400 BCE, New York, Metropolitan Museum of Art. Dim. H. 18.2 cm. Bibl. Cappanna 2000, 225. 188 Fig. VI.4. Terracotta Antefix from Pyrgi Depicting a Man with the Head of a Bird, Late 6 th C BCE, Rome, Museo Etrusco di Villa Giulia. Dim. H. 43.0 cm, W. 27.5 cm. Bibl. Colonna 1985, 133; Haynes 2000, 176-8; Jannot 2005, 110; Krauskopf 1997, 29-31; Proietti ; Serra Ridgway 1990, 523-4; Torelli 1986, 185; Verzár 1980, 36-53; von Vacano 1980, 465-7; von Vacano 1981, 156-7. 189 2 Andrén (1940, 7) provides two other examples of Acheloos antefixes from the Portanaccio series. Pl 3.5 is nearly identical to Fig. V.6 in this study. 3 Jannot (1974, 776-7) does not cite this specific example but includes two antefixes of the same type from the same temple, and thus his discussion of these items is relevant. xi
Page 1 and 2: THE FLORIDA STATE UNIVERSITY COLLEG
Page 3 and 4: This work is dedicated to my loving
Page 5 and 6: TABLE OF CONTENTS List of Figures v
Page 7 and 8: Fig. II.8. Rear Wall of the Tomb of
Page 9: Fig. III.13. Etruscan Bronze Ash Ur
Page 13 and 14: ABSTRACT This dissertation is an in
Page 15 and 16: physiognomy was discovered at Hohle
Page 17 and 18: or for the death of someone else, w
Page 19 and 20: left with an incomplete appraisal o
Page 21 and 22: presentation of the Battle of Actiu
Page 23 and 24: are more distinct mirrors by the na
Page 25 and 26: its prerogatives and its essence ar
Page 27 and 28: Given the importance of the cult of
Page 29 and 30: In general, theriomorphic and theri
Page 31 and 32: paradoxical, as the loss of a valua
Page 33 and 34: metaphor that could be used by man
Page 35 and 36: students of comparative religion in
Page 37 and 38: there is not a wealth of literary n
Page 39 and 40: Faunus and Silvanus are also associ
Page 41 and 42: CHAPTER 2: THE SERPENT The serpent
Page 43 and 44: Corinthian vase painting.) In this
Page 45 and 46: used as decorative support elements
Page 47 and 48: Phersipnai, but these heads are bad
Page 49 and 50: creature of the earth, and even his
Page 51 and 52: of Aesculapius’ birth, a goat nur
Page 53 and 54: II.11). On this medallion, a person
Page 55 and 56: serpent chooses both the time and p
Page 57 and 58: household divinities such as the Pe
Page 59 and 60: Vergil’s statement that Aeneas wa
Page 61 and 62:
CHAPTER 3: THE WOLF AND CANINES Dow
Page 63 and 64:
P. Defosse proposes that the connec
Page 65 and 66:
are not alone on this vessel, and o
Page 67 and 68:
y reference to his barking, 253 and
Page 69 and 70:
Finally seizing the moment, Arruns
Page 71 and 72:
the shape of a man, from that of a
Page 73 and 74:
passage, 280 which would accord wit
Page 75 and 76:
history of the Lupercalia and the w
Page 77 and 78:
Period in Rome as can be seen in ar
Page 79 and 80:
Pan or Faunus, 327 but Inuus seems
Page 81 and 82:
had been devastated at the time whe
Page 83 and 84:
Ovid takes place at a water source
Page 85 and 86:
figure has been identified as a wol
Page 87 and 88:
suggestion is plausible, but due to
Page 89 and 90:
narrative and alternative iconograp
Page 91 and 92:
eproduction of animals. 376 These a
Page 93 and 94:
Mars in line nine. Similarly, Turca
Page 95 and 96:
anch, 397 objects that likely stres
Page 97 and 98:
appear as Juno Sospita, clad in a g
Page 99 and 100:
Lanuvium, and indeed there is one l
Page 101 and 102:
SISPITE and demonstrates the variat
Page 103 and 104:
that it may be Greek. 433 Gordon st
Page 105 and 106:
the etymology of her name indicates
Page 107 and 108:
of Faunus in poetry and art, which
Page 109 and 110:
probably derives from Sumerian mode
Page 111 and 112:
A bull therianthrope identified as
Page 113 and 114:
efers to the bull-headed man as Dio
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ecent discussion of the perception
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The rites of Bacchic cult practice
Page 119 and 120:
was likely difficult even for the a
Page 121 and 122:
Layed me out in the deep sand. That
Page 123 and 124:
Perhaps we are meant to interpret t
Page 125 and 126:
CHAPTER 6: AVIANS Gods and birds sh
Page 127 and 128:
for the Romans, and it may be that
Page 129 and 130:
When we speak of totemism we actual
Page 131 and 132:
One curious example of an avian the
Page 133 and 134:
votive 592 (Fig. VI.7) and decorati
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hyta. 611 On the other hand, the sw
Page 137 and 138:
of a lost Apulian drinking cup form
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labeled, These, the Etruscan Theseu
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image was also used as an indicator
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The imagery used to represent hybri
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god or goddess or the popularity of
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Fig. I.2. Roman Fresco Depicting a
Page 149 and 150:
Fig. II.2. Sculpture of the so-call
Page 151 and 152:
Fig. II.4. Etruscan Black Figure Hy
Page 153 and 154:
Fig. II.6. Detail of an Etruscan Fr
Page 155 and 156:
Fig. II.8. Rear Wall of the Tomb of
Page 157 and 158:
Fig. II.10. Roman Marble Statue of
Page 159 and 160:
Fig. II.12. Detail of a Roman Marbl
Page 161 and 162:
Fig. II.14. Drawing of a Roman Fres
Page 163 and 164:
Fig. III.2. Reconstruction of an Et
Page 165 and 166:
Fig. III.4. Detail of an Etruscan P
Page 167 and 168:
Fig. III.6. Etruscan Bucchero Oinoc
Page 169 and 170:
Fig. III.8. Etruscan Painted Terrac
Page 171 and 172:
Fig. III.10. Line Drawing of an Etr
Page 173 and 174:
Fig. III.12. Etruscan Terracotta Ci
Page 175 and 176:
Fig. III.14. Pontic Plate by the Ti
Page 177 and 178:
Fig. III.16. Etruscan Bronze Statue
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Fig. IV.2. Roman Bronze Statuette o
Page 181 and 182:
Fig. IV.4. Latin Painted Terracotta
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Fig. IV.6. Etruscan Bronze Mirror C
Page 185 and 186:
Fig. IV.8. Imperial Roman Bronze Co
Page 187 and 188:
Fig. IV.10. Etruscan Bronze Statuet
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Fig. V.1. Etruscan Engraved Bronze
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Fig. V.3. Etruscan Red-Figure Plate
Page 193 and 194:
Fig. V.5. Roman Terracotta Revetmen
Page 195 and 196:
Fig. V.7. Etruscan Bronze Mirror De
Page 197 and 198:
Fig. V.9. Etruscan Gold Pendant Rep
Page 199 and 200:
Fig. V.11. Etruscan Bucchero Oinoch
Page 201 and 202:
Fig. VI.2. Line Drawing of an Engra
Page 203 and 204:
Fig. VI.4. Terracotta Antefix from
Page 205 and 206:
Fig. VI.6. Monumental Stone Relief
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Fig. VI.8. Etruscan Bronze Statuett
Page 209 and 210:
Fig. VI.10. Line Drawing of the Ton
Page 211 and 212:
Fig. VI.12. Water Color Rendition o
Page 213 and 214:
Serv. Ad. Aen. VII, 761. 37 Val. Ma
Page 215 and 216:
Bare, C.P. 2001. “The Iconography
Page 217 and 218:
Buxton, R. 1994. “The Wolf and We
Page 219 and 220:
_____. 2000b. “Mirrors and Mantei
Page 221 and 222:
Felton, D. 1999. Haunted Greece and
Page 223 and 224:
Harrington, F.H. and C.S. Asa. 2003
Page 225 and 226:
Kirk, G.S. 1970. Myth: Its Meaning
Page 227 and 228:
Mannhardt, W. 1884. Mythologische F
Page 229 and 230:
_____. 1975. The Etruscans. Transla
Page 231 and 232:
_____. 1982. “A Mirror in the Duk
Page 233 and 234:
Simon, E. 1973. “Die Tomba dei To
Page 235 and 236:
_____. 2000. The Etruscans. Trans.
Page 237 and 238:
Winter, N. 2006. “Gorgons, Minota
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