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an indicator that a chthonic deity must have been worshipped there. A chthonic deity would therefore rule out the presence of the Capitoline Triad. 429 Gordon states that this does not necessarily mean that the deity worshipped in the temple was chthonic, but that the presence of the remains does rule out the possibility that the flamen dialis could have been involved in whatever cult was practiced here. 430 Gordon concludes the following: Whatever the nature of Juno (or Juno Sospita) may be, it is not, I believe, chthonian. The only evidence for such a character, other than that just discussed, is her connection with a peculiar snake ritual that formed the motif of an annual festival at Lanuvium, and it is questionable whether this connection has any such significance. 431 This festival was well-known in antiquity and bears further discussion. I believe that we should not divorce this festival from Juno Sospita as has been done in the past. The Umbrian elegiac poet Propertius (IV.8.3-14) describes the maidens’ ritual visit to the serpent of Lanuvium: Lanuvium is from old guarded by an ancient serpent: Such that a moment of brief pause is not wasted for you here; Where a sacred stair is swallowed in a blind chasm, Where a maiden enters, (maiden beware all such roads!) The repute of the hungry serpent, when it seeks its annual meal And hurls the deepest hisses from the earth. Maidens, sent to such rites, turn pale, When their hand is rashly trusted to the serpent’s mouth. He snatches the dishes brought near for him from the virgins: The very baskets tremble in the young girl’s hands. If they have been chaste, they return to the embrace of their parents, And the farmers cry out, “It will be a fruitful year!” 432 This festival seems to serve two purposes, determining the chastity of Lanuvium’s maidens as well as insuring the fertility of the crops. The origin of the rite is disputed, and it is theorized 429 Galieti 1916, 23-5. 430 Gordon 1938, 27-8. 431 Gordon 1938, 28. 432 Prop. IV.8.3-14. Latin Text taken Sexti Properti Carmina, edited by E.A. Barber, Oxford: Clarendon Press, 1953, p. 156-7. (Translation by Author.) Lanuvium annosi uetus est tutela draconis, / hic tibi tam rarae non perit hora morae; / qua sacer abripitur caeco descensus hiatu, / qua penetrat (uirgo, tale iter omne caue!) / ieiuni serpentis honos, cum pabula poscit / annua et ex ima sibila torquet humo. / talia demissae pallent ad sacra puellae, / cum temere anguino creditur ore manus. / ille sibi admotas a virgine corripit escas : / virginis in palmis ipsa canistra tremunt. / si fuerint castae, redeunt in colla parentum, / clamantque agricolae "Fertilis annus erit." 89
that it may be Greek. 433 Gordon states that the serpent did not play an important role in Roman religion and mythology, except in relation to the cult of the Genius, 434 but the importance of this cult and its connection to fertility have already been stressed in Chapter III. There is no reason to assume that the rite is Greek in origin, and scholars previous to Gordon have argued for its Italic nature. 435 We may also not want to limit this serpent strictly to agrarian fertility as Gordon does. 436 An Etruscan mirror cover demonstrates that Juno Sospita is related to more than just crops. The visage of Juno Sospita appears on an Etruscan bronze mirror cover from Tarquinia (Fig. IV.6). Richardson interprets the scene on this mirror as the reunion of Odysseus and Penelope. 437 Building upon this interpretation, De Grummond suggests that the appearance of the goddess relates to an oracle regarding Penelope’s fidelity thereby linking Juno Sospita to the realms of womanly affairs and marriage. 438 This mirror is also significant for determining the character of the goddess as a whole, for it demonstrates that this Juno was a goddess of womanly affairs. Even when depicted as a warrior or civic goddess, Juno no doubt retained her status as a fertility figure and mother goddess; I see no reason to assume that these two aspects of the goddess are mutually exclusive. Shields suggests that connection with the serpent need not imply that Juno Sospita is chthonic, 439 yet the addition of a serpent to Juno’s attributes makes excellent sense if she is associated with fertility. Chiarucci takes the connection to the earth one step further and asserts that this chthonic form of Juno is not only the protectress of Lanuvium and its soldiers, a symbol of earthly and feminine fertility, but also a funerary goddess. 440 We must not forget that the celestial goddesses of Greece and Italy find their roots in earlier mother goddesses, and thus they 433 Gordon 1938, 39. 434 Gordon 1938, 39. 435 Douglas (1913, 62, 71) seems indecisive as to the relationship between serpent and goddess when she makes the following two statements, “This cave and snake have been connected with Iuno Sospita, and although no ancient writer actually says this, the occurrence of a snake on the coins of Iuno Sospita seems fair proof of it…” and “The two rites remained distinct and incongruous, that of Iuno as Sospita in her temple on the arx, and the terrible rite of the serpent in the dark grotto on the hillside.” For support of the link see Frazer 1912, 18; Galietti 1916, 16; Tomassetti 1910; 280. Galietti remains the strongest supporter of the Italic, prehistoric nature of the serpent cult. 436 Gordon 1938, 41. 437 Richardson 1982, 32 438 De Grummond 2000b, 53-4. 439 Shields 1926, 68. 440 Chiarucci 1983, 75. 90
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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
Page 29 and 30:
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
Page 45 and 46:
used as decorative support elements
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Phersipnai, but these heads are bad
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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: SISPITE and demonstrates the variat
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
Page 151 and 152: Fig. II.4. Etruscan Black Figure Hy
Page 153 and 154:
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
Page 159 and 160:
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
Page 165 and 166:
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
Page 205 and 206:
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
Page 213 and 214:
Serv. Ad. Aen. VII, 761. 37 Val. Ma
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Bare, C.P. 2001. “The Iconography
Page 217 and 218:
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.
Page 237 and 238:
Winter, N. 2006. “Gorgons, Minota
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