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form of Uni worshipped here is associated with the Latin Juno, Phoenician Astarte, and Greek Ino-Leucothea and Eileithuia. 453 Jannot does not assign Ino-Leucothea as the dedicatee of Temple B and instead asserts that she was venerated in Temple A as Ino-Leucothea or Mater Matuta. 454 The difference in attribution of the dedicatees of the temples does not rule out the possibility of syncretism for Uni and Ino-Leucothea. 455 Perhaps, these two temples were meant to venerate different aspects of the same goddess. This is not out of the question since well- known sanctuaries, such as that of Hera at Paestum or the Acropolis of Athens, possessed multiple temples dedicated to the same goddess. Paestum is also comparable in that it was a port city. If these temples were dedicated to different goddesses, a comparison might be found in the St. Omobono sanctuary in Rome, which possessed temples dedicated to Fortuna and Mater Matuta. In any case, the abundance of Etruscan images of Juno Sospita, which begin in the Archaic period, and the fact that this iconographic type may have been created by Etruscan artists 456 lead me to conclude that the worshippers of Uni-Astarte may have associated her directly with Juno Sospita. 457 Since Juno Sospita, Uni, and Astarte are all civic goddesses, who are in turn associated with womanly affairs, 458 an antefix in the form of the head of Juno Sospita would make perfect sense for the decoration of a temple in the religio-political context of a multicultural port town. That the Etruscans may also have conceived of Uni-Astarte in the guise of Juno Sospita may be supported by the images of other deities who have been influenced by Near-Eastern iconography, as will be demonstrated in Chapter VII. Thus, as we have seen in the previous chapters with examples of deities that take on serpent and wolf forms, the choice to use animal iconography is indicative of a complex and multivalent nature. Juno Sospita is an excellent example of an important goddess whose nature is clouded rather than clarified by the use of a goat skin as a conspicuous element of her iconography. Faunus’ iconography is by no means certain, and this problem stems from conflicting ways of depicting the god. There seems to be a discrepancy between the presentation 453 Fitzmeyer 1966, 288. 454 Jannot 2005, 90. 455 Serra Ridgway (1990, 529) uses the expression “aspects of the manifold powers of the Mother Goddess Uni (or Astarte)” to describe the dedicatees of this sanctuary. 456 Douglas 1913, 64-8. 457 Simon (2006, 61) suggests that because Astarte was a warrior goddess, the Etruscans were more likely to conceive of Uni as being in combat. 458 Palmer (1974, 46) states the following, “If Juno’s relation to womankind remains vague in our meager sources, Astarte had been venerated for her fecundity long before she even came to Etruria.” This supports the notion that we must not exorcise fertility from Juno Sospita. 93
of Faunus in poetry and art, which respectively depict him as a frivolous or foolish god or a mature, stately figure. Both Faunus and Juno Sospita are also syncretized with a number of deities from Italy and/or from foreign shores, and their distinctive character is that much more difficult to discover as a result. 94
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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
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creature of the earth, and even his
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of Aesculapius’ birth, a goat nur
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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: the etymology of her name indicates
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
Page 155 and 156: 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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