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Final Draft - Preview Matter - Florida State University

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would then be repeated six times around the vessel. 546 I again object to this interpretation, not<br />

only because the scene is repeated, in identical fashion six times, but also because there is little<br />

conflict between the man and bull. Brendel offers one last interpretation that may be closer to<br />

the mark; he sees neither a religious rite nor a myth but instead a series of “bull tamers”<br />

represented on the vessel. 547<br />

As we can see from the literary and archaeological evidence presented here, bull imagery<br />

was quite prominent in ancient classical religion. The bull denoted an elemental power<br />

associated with both land and sea in addition to the underworld and could also be used as a<br />

symbol of strength and savagery. The fearsome nature of the bull hybrid is clear when we<br />

examine gods such as Dionysos and Achelous who could manifest themselves in bull form.<br />

Even though we cannot be certain that Liber and Fufluns partook of the bullish persona of<br />

Dionysos Tauromorphos, certain qualities of these Italian deities indicate many affinities with<br />

the liminal and transgressive nature of this aspect of Dionysos. In addition, the Minotaur known<br />

for his cruelty and the consumption of human flesh also appears in Italy and, at least in one<br />

example, seems to possess a function similar to the figure of Achelous commonly represented in<br />

architectural decoration. While the general meaning of the animal iconography of bull<br />

therianthropes is thus easily grasped, it is not always clear which god is being represented. As<br />

we have seen, scholars differ as to whether the horned god represented on antefixes, such as Fig.<br />

V.8, is Achelous or Dionysos. This ambiguity may be intentional and both figures would have<br />

shared the power to ward off evil spirits. One important point that we may take away from this<br />

is that from an early time, as shown by the Regia Plaque (Fig. V.5), therianthropic deities<br />

appeared in Roman and Etruscan art. The power of hybrid imagery was great and lasted for<br />

quite some time beyond these early phases as well.<br />

546 Sprenger and Bartoloni 1983, 87.<br />

547 Brendel 1995, 140.<br />

111

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