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In an architectural context, both Juno Sospita and Achelous are interpreted as functioning in the
same way as a Gorgoneion, another common type of antefix in Etruria and Latium.
Unfortunately, the identity of the apotropaic horned-god on the antefix is called into question by
both Brendel and Luce, who propose that these horned gods are actually images of Dionysos due
to the presence of Satyrs and Maenads on similar shields and antefixes. 537 The similarity of
these antefixes to theatrical masks may also argue for a Dionysiac presence on these objects.
Brendel states the following:
In Greek art this was the traditional image of the river-god Achelous, and therefore the
Tarquinian masks, also have often been so named. Yet it is doubtful if a mythology so
exclusively Greek applies here. More likely one might describe this demonic face as the
bull-horned Dionysos, since other masks belonging to the same class often represent
Bacchic company, such as satyrs. 538
This is a similar sentiment to Luce’s argument discussed earlier in this study, 539 but it is
not clear how reinterpreting the identity of the horned god as Dionysos frees the viewer from a
Greek interpretation of this Etruscan object. If we wish to overcome a Greek bias, we must
instead consider the Etruscan context and appropriation of the Greek model. Both Brendel and
Jannot note that these decorative, bronze shields are found in Archaic tombs, and suggest a
function similar to antefixes such as Fig. V.8, i.e. warding away evil spirits. 540 Shields bearing
images of fearsome gods such as Achelous may also have had an apotropaic function during the
life of their owner, and there are countless representations of shields bearing gorgoneia. Another
factor to consider is that Achelous’ liminal nature and therianthropic form fit in quite well with
the Bacchic thiasos composed of Satyrs, Silens, and Pans, who are hybrids of humans and
animals, as well as the Maenads who engage in activities that blur the boundaries of civilization
and wild nature. Rice suggests that the mask that functions in dramatic performance is, by
nature, both otherworldly and liminal. 541 W.F. Otto also sees Dionysos’ connection to the mask
as an indicator of his primal and chthonic nature. 542 It is not possible to refute either Rice or Otto
in relation to the general nature of Dionysos, but neither scholar’s interpretation of the
significance of the mask rules out the possibility of antefixes representing the god Achelous.
537 Brendel 1995, 213; Luce 1923, 430. Buranelli (1992, 56) notes that Fig. V.10 was found with similar bosses
bearing the heads of rams and lions as opposed to Satyrs and Maenads.
538 Brendel 1995, 213-4.
539 Luce 1923, 430.
540 Brendel 1995, 214; Jannot 1974, 780.
541 Rice 1998, 225.
542 Otto 1965, 88
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