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of Juno and satyrs in a larger framework of mythological conflicts used as architectural decoration. 423 Representations of Juno Sospita can be found on the coins of the Roman Republic and Empire. When various members of the Roman elite from the area of Lanuvium came to power, they took advantage of their standing to mint coins bearing her likeness. A silver denarius struck by L. Roscius Fabatus (Fig. IV.7) is typical of issues that make use of Juno Sospita’s iconography on the coin’s obverse. The earliest appearance of Juno Sospita on the obverse of a coin occurs on an issue of L. Thorius Balbus ca. 105 BCE, 424 and takes a form similar to the coin of Fabatus, i.e. a profile head shown wearing the goat-skin cap. 425 (The device represented to the left of the goddess’ head is not clear.) On the reverse of Fabatus’ coin, an additional reference to the cult of Juno Sospita can be seen in the maiden and snake that appear before her. This is no doubt meant to represent a chthonic, oracular serpent, whose task it was to determine the purity of the young maidens of Lanuvium in order to secure the prosperity of the city. (The device behind the maiden is reminiscent of either the prow of a ship or a rudder.) Juno was also associated with coinage in her guise as Juno Moneta, the goddess of the mint located in her temple on the Capitoline hill. 426 Perhaps the most important Roman from Lanuvium to adopt this practice was the emperor Antoninus Pius (Fig. IV.8). He continued the tradition of Roman notables before him and referenced his place of birth on his coinage, in this case an issue minted in Rome. 427 We may also speculate that by linking himself to this goddess, who was a protector of the state, the emperor may have also have meant to cast himself in this role as a guarantor of the safety of the Roman people and the government. In this instance, instead of showing just the goddess’ head, as on the obverse of Fabatus’ coin, the whole body of the goddess is shown much in the same way as in a statue from the Antonine Period currently housed in the Vatican (Fig. IV.9). On the coin, Juno’s right leg is bent as if she is striding forward. She raises her right hand which holds a spear, and a shield is strapped to her left arm. The inscription on this coin reads IUNONI 423 Brendel (1995, 234-6) discusses the Pyrgi columen plaque which demonstrates the conflict between Tydeus and Melanippus and its peculiarly Etruscan character. This plaque is one of many striking examples of battle themes in ancient architectural art, which is replete with Gigantomachies, Centauromachies, Amazonomachies, etc. 424 Gordon 1938, 23. 425 Both issues were minted in Rome. 426 Grueber 1910, 422; Mattingly 1960, 62-3. 427 Mattingly 1940, lxxxi. 87
SISPITE and demonstrates the variation in the spelling of the epithet of this aspect of Juno. The obverse of the coin was decorated with a portrait of the emperor. Juno Sospita’s representation in Roman art is thus remarkably consistent with Cicero’s description of her iconography, and yet there exists one anomalous occurrence of this goddess in Etruscan art. A small, bronze statuette of Juno Sospita wearing what seems to be a wolf-skin must be examined for its possible implications regarding the iconography of this goddess as well as other therianthropes (Fig. IV.11). 428 Perhaps, we should again return to the link between Juno and Faunus that is present through the festival of the Lupercalia. The amiculum Iunonis, the goat-skin thong used to induce fertility in maidens and matrons, creates a direct connection between Faunus and Juno. Certainly, these two deities share a concern with fertility. This link may help clarify the shift in iconographic types for this goddess; if it is possible that Faunus could don the skin of the wolf and/or the goat, the same variance may be possible for Juno Sospita. The martial nature of this aspect of Juno may be an important factor here. The wolf, as an animal associated with Mars, is appropriate for a civic goddess whose concern is to protect the state, but the wolf can also connote fertility. The same can be said of the goat, associated with Pan and his ability to strike fear into the hearts of soldiers and also the aegis worn by Athena (Fig. IV.10). Thus, the goat can be both a martial animal as well as one associated with fecundity and increase. Following the model proposed in the previous discussion of Faunus’ iconography, I would speculate that Juno Sospita may have been envisioned as both a “predator” and protector. What is it about this goddess that made her so important to the people of Italy? Previous scholars have examined her iconography and the rituals associated with her worship, but these have not led to conclusive results concerning her character and sphere of influence. It is my belief that the conclusions drawn in the past have restricted this goddess and do not fully appreciate her nature. The first point to be addressed is whether Juno Sospita can be considered a chthonic goddess and if a chthonic nature rules out connections with celestial bodies, in particular the moon. In an attempt to prove that the temple found on the arx of Lanuvium was actually the temple of Juno Sospita and not a Capitolium, Galieti used the presence of beans and chickpeas as 428 De Agostino (1968, 57) states that in this example, Juno wears the wolf-skin as opposed to her more usual goatskin. He also notes that her feet also lack the typical calcei repandi. See also Richardson 1983, 361. 88
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THE FLORIDA STATE UNIVERSITY COLLEG
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This work is dedicated to my loving
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TABLE OF CONTENTS List of Figures v
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Fig. II.8. Rear Wall of the Tomb of
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Fig. III.13. Etruscan Bronze Ash Ur
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Fig. V.7. Etruscan Bronze Mirror De
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ABSTRACT This dissertation is an in
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physiognomy was discovered at Hohle
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or for the death of someone else, w
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left with an incomplete appraisal o
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presentation of the Battle of Actiu
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are more distinct mirrors by the na
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its prerogatives and its essence ar
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Given the importance of the cult of
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In general, theriomorphic and theri
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paradoxical, as the loss of a valua
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metaphor that could be used by man
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students of comparative religion in
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there is not a wealth of literary n
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Faunus and Silvanus are also associ
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CHAPTER 2: THE SERPENT The serpent
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Corinthian vase painting.) In this
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used as decorative support elements
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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: Lanuvium, and indeed there is one l
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
Page 115 and 116: ecent discussion of the perception
Page 117 and 118: 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
Page 135 and 136: hyta. 611 On the other hand, the sw
Page 137 and 138: of a lost Apulian drinking cup form
Page 139 and 140: labeled, These, the Etruscan Theseu
Page 141 and 142: image was also used as an indicator
Page 143 and 144: The imagery used to represent hybri
Page 145 and 146: god or goddess or the popularity of
Page 147 and 148: Fig. I.2. Roman Fresco Depicting a
Page 149 and 150: Fig. II.2. Sculpture of the so-call
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Fig. II.4. Etruscan Black Figure Hy
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Fig. II.6. Detail of an Etruscan Fr
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Fig. II.8. Rear Wall of the Tomb of
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Fig. II.10. Roman Marble Statue of
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Fig. II.12. Detail of a Roman Marbl
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Fig. II.14. Drawing of a Roman Fres
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Fig. III.2. Reconstruction of an Et
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Fig. III.4. Detail of an Etruscan P
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Fig. III.6. Etruscan Bucchero Oinoc
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Fig. III.8. Etruscan Painted Terrac
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Fig. III.10. Line Drawing of an Etr
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Fig. III.12. Etruscan Terracotta Ci
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Fig. III.14. Pontic Plate by the Ti
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Fig. III.16. Etruscan Bronze Statue
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Fig. IV.2. Roman Bronze Statuette o
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Fig. IV.4. Latin Painted Terracotta
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Fig. IV.6. Etruscan Bronze Mirror C
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Fig. IV.8. Imperial Roman Bronze Co
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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
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Fig. V.5. Roman Terracotta Revetmen
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Fig. V.7. Etruscan Bronze Mirror De
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Fig. V.9. Etruscan Gold Pendant Rep
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Fig. V.11. Etruscan Bucchero Oinoch
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Fig. VI.2. Line Drawing of an Engra
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Fig. VI.4. Terracotta Antefix from
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Fig. VI.6. Monumental Stone Relief
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Fig. VI.8. Etruscan Bronze Statuett
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Fig. VI.10. Line Drawing of the Ton
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Fig. VI.12. Water Color Rendition o
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Serv. Ad. Aen. VII, 761. 37 Val. Ma
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Bare, C.P. 2001. “The Iconography
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Buxton, R. 1994. “The Wolf and We
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_____. 2000b. “Mirrors and Mantei
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Felton, D. 1999. Haunted Greece and
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Harrington, F.H. and C.S. Asa. 2003
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Kirk, G.S. 1970. Myth: Its Meaning
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Mannhardt, W. 1884. Mythologische F
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_____. 1975. The Etruscans. Transla
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_____. 1982. “A Mirror in the Duk
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Simon, E. 1973. “Die Tomba dei To
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_____. 2000. The Etruscans. Trans.
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Winter, N. 2006. “Gorgons, Minota
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