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cup, J. Beazley notes that previous scholars have both shared and disputed the opinion that this may be Dionysos. 479 Could we be looking at a representation of the infant Dionysos with one of his nurses? No other iconographical elements represented on this plate are significant enough to suggest that identifying the child as the Minotaur is possible. The seated female could be a member of a royal family but may also be a nymph. The cista and goose in the background of the image do not aid in the identification of the scene. The apparent age of the child is not a factor in this decision as the representation of children and infants may or may not reflect the actual age of the individual depicted by a piece of art, and realistic representation of children does not begin until the Hellenistic Period. 480 In the context of Greek myth, Dionysos was born with bull’s horns, but the myths do not state that he was born with a calf’s head. 481 This discrepancy between literary tradition and artistic evidence does not rule out the possibility that the seated woman holding this monstrous child could be Ino cradling her ward 482 or one of the nymphs of Nysa, who were also reputed to be nurses of Dionysos. The outside of the cup is even decorated with a Dionysiac theme, the sparagmos of Pentheus; thus perhaps two myths related to Dionysos are represented on the cup. 483 Nevertheless, I remain hesitant to accept this figure as the god of the vine, due to the aforementioned association of a bull-headed child with the literary tradition of Eurpides’ Cretans. Another controversial piece is a fragmentary terracotta revetment plaque that once decorated the Regia in the Roman Forum (Fig. V.5). The plaque includes a bull-headed man wearing a short tunic and two flanking panthers. This bull-man has been identified as a Minotaur by N. Winter, who views the Regia plaque as a demonstrable link between the terracotta decoration of the Regia and the Bacchiad family of Corinth. 484 This connection to Corinth likely means that the panthers flanking the therianthropic figure are somehow tied to the animal style prominent on Corinthian pottery. I. Iacopi suggests a different identification, and portrayed as a calf-headed child seated on a woman’s lap.” Frazer does not, however, provide any further details or citations for these objects. In the case of Fig. V.3, we may speculate that this is the cup Frazer mentions. 479 Beazley 1947, 54; De Ridder 1902, 624-5; Frazer 1922, 399. 480 Pollitt 1986, 128. 481 Eur. Bacch. 100. 482 Pipili (1991, 145) notes that the tradition of Ino taking on the care of Dionysos may not have been a secondary tradition everywhere and that later Roman writers seemed fond of this version of the story. 483 Beazley 1947, 54-5. 484 Winter, 2006, 349-55. 99
efers to the bull-headed man as Dionysos the bull, who has been “assimilated to a prototype of the Minotaur” and suggests that this “hybrid type derives from Greece, probably through Cumae.” 485 She then interprets the panthers as animals that typically accompany Dionysos or animals that he sometimes rides. E.R. Young, on the other hand, suggests that Dionysos, when depicted in therianthropic form is represented as a bull with a man’s head and that this bull-man may be an attendant to a god “like” Dionysos or Zagreus. 486 Woodford suggests that this bull- man may be an “anonymous creature serving either decorative or apotropaic purposes.” 487 That there was no cult of Dionysos honored in the Regia need not deter us from linking the revetment plaque to the god, as the scenes represented in pediments or sculptural friezes are not often directly linked to the honoree of a temple. 488 Still, the argument that panthers are a creature of Dionysos is not strong enough to identify the Regia bull-man as the god of the vine. This may be nothing more than a monster placed in a decorative frieze, such as the many sirens and sphinges that appear on Corinthian pottery, 489 and thus the panther may have no bearing on the identity of the bull-man. Thus, there is no scholarly consensus as to the identity of the bull therianthrope on either the Settecamini Painter’s cup or the Regia plaque. Neither of these pieces bears an inscription or sufficient iconographical or narrative details to secure the identity of the bull-man beyond a shadow of a doubt. Perhaps there was a conceptual link between the Minotaur and Dionysos, for Dionysos does play a role in the narrative of Theseus’ saga. 490 It is the abandonment of Ariadne, the Minotaur’s half-sister and the princess who facilitated Theseus’ victory of the monster, that allows Dionysos to take a wife. It is surely not coincidence that the Minotaur’s sister is the bride of a bull-god. 491 A. Evans takes this hypothetical connection one step further and boldly states that the Minotaur is one incarnation of Dionysos and that the stories of the Minotaur are 485 Iacopi 1976, 35. 486 Young 1972, 92. 487 Woodford 1992, 579. 488 Brown and Scott (1985, 186) list the deities with cults in the Regia as Mars and Ops Consiva. The possibility of a cult of Mars in the Regia may return us to Altheim’s suggestion that Mars could be conceived as a bull god, but there is no evidence to suggest that the bull-man on this plaque is Mars. 489 Winter 2006, 349-55. 490 From the outset, the chain of myths which leads to the birth of the Minotaur is full of bull, so to speak. 491 For the identification of the bull-man on the Regia plaque, Altheim (1938, 70-4) presupposes an Etruscan original covered over by a Greek conception and follows the general trend of Kerényi, Evans, and Bevan when suggesting that bull gods find their ultimate origin in Minoan religion. 100
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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
Page 47 and 48:
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
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II.11). On this medallion, a person
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serpent chooses both the time and p
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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: A bull therianthrope identified as
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
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
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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.
Page 237 and 238:
Winter, N. 2006. “Gorgons, Minota
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