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Fig. VI.5. Reconstruction of Four of Six Antefixes from a Group Which Decorated the Row of Cells Built in Conjunction with Temple B, from Pyrgi, Late 6 th C BCE, Rome, Museo Etrusco di Villa Giulia. Dim. H. Antefix A 30.0 cm, Antefix B 26.0 cm, Antefix C 27.5 cm, Bibl. Colonna 1985, 133; Haynes 2000, 176-8, Serra Ridgway 1990, 523-4; von Vacano 1980, 463-75, von Vacano 1981, 153-60. 190 Fig. VI.6. Monumental Stone Relief of an Assyrian Griffin Demon from the Royal Palace of King Assurnasirpal II at Kalhu, ca 883-859 BCE, located at Kalhu (modern Nimrud). Dim. Unspecified. Bibl. Black and Green 1997, 100-1; Krauskopf 1997, 31. 4 191 Fig. VI.7. Etruscan Bronze Statuette of the “Swan Demon,” Unknown Provenance, Late Archaic Period, Paris, Louvre. Dim. H. 25.4 cm. Bibl. Gerke 1938, 231, no. 89; Herbig and Simon 1965, 31, 49; Messerschmidt 1942, 193-217; Richardson 1983, 362-3. 192 Fig. VI.8. Etruscan Bronze Statuette of the “Swan Demon” Which Decorated a Lamp, Possibly from the Area of Naples, ca. 300-200 BCE, London, British Museum. Dim. H 29.6 cm. Bibl. Bailey and Craddock 1978, 75-80; Haynes 1985, 321-2. 193 Fig. VI.9. Etruscan Bronze Statuette of a “Swan Demon” Supported by a Youth Wearing a Beast’s Skin, Unknown Provenance, ca. 3 rd C BCE, Florence, Museo Archeologico. Dim. Unspecified. Bibl. Bailey and Craddock 1978, 78; Haynes 1985, 322; Herbig and Simon 1965, pl.50. 194 Fig. VI.10. Line Drawing of the Tondo in an Apulian Drinking Cup Depicting Ganymede Being Abducted by a Swan, Unknown Date, Unknown Provenance, Formerly Ruvo, Fenicia Collection (Now Lost). Dim. Unspecified. Bibl. Krauskopf 1980, 243-5; Reinach 1899, 335; Schauenburg 1969, 133; Sichtermann 1956, K 373; Trendall 1936, 74; Trendall 1987, 144. 195 Fig. VI.11. Fragment of an Etruscan Black Figure Vase from the Orvieto Group Depicting an Underworld Demon with the Head of a Bird of Prey, Unknown Provenance, beginning of the 5 th C BCE, Göttingen, Archäologisches Institut. Dim. H. 49.0 cm. Bibl. Krauskopf 1987, 20-3; Krauskopf 1997, 26. 196 Fig. VI.12. Water Color Rendition of a Fresco Depicting the Demon Tuchulcha Menacing the Hero These (Greek Theseus) with a Serpent from Tomb of Orcus II, in the Monterozzi Necropolis, Tarquinia, 2 nd quarter of 4 th C BCE. Dim. Unspecified. Bibl. De Grummond MS 2006, 216-7; De Ruyt 1934, 9-13; Harari 1997, 97-8; Krauskopf 1987, 72-3; Steingraber 1985, 329-32. 197 4 Krauskopf cites a different example of the griffin demon, but her comments apply to this image as well. xii
ABSTRACT This dissertation is an interdisciplinary examination of the human-animal hybrid divinities of ancient Italy and how their iconography, mythic narrative, and cult interrelate. The deities and demons collected in this text are organized into chapters based on their animal characteristics represented in both art and literature. These figures are imaged in theriomorphic (wholly animal) or therianthropic (a combination of human and animal anatomies or a human form wearing animal dress) forms in addition to their anthropomorphic representations. The deities and demons included in this study are Aesculapius, Charu(n), and the Genius Loci, who are depicted with ophidian imagery, Aita, Faunus, Silvanus, and Apollo Soranus with lupine imagery, Faunus (again), Pan, and Juno Sospita with caprid, the Minotaur and Achelous along with a discussion of the possible representation of Dionysos in taurine form, Picus and three unidentified divinities with avian. By examining these figures, one can see that previous scholarship concerning the Greco- Roman acceptance of animal worship and the appraisal of these figures as survivals of archaic religion needs revision. Other issues addressed by this work include the Etruscan and Roman importation and adoption of foreign gods, goddess and their mythic narratives, the mercurial nature of pagan deities, the tie between animal imagery and chthonic or liminal figures, the use of theriomorphic and therianthropic deities as apotropaic devices, and the relationship between literary and archaeological evidence. These problems are addressed by a close reading of literary sources and visual analysis of artistic representations of theriomorphic and therianthropic divinities. xiii
Page 1 and 2: THE FLORIDA STATE UNIVERSITY COLLEG
Page 3 and 4: This work is dedicated to my loving
Page 5 and 6: TABLE OF CONTENTS List of Figures v
Page 7 and 8: Fig. II.8. Rear Wall of the Tomb of
Page 9 and 10: Fig. III.13. Etruscan Bronze Ash Ur
Page 11: Fig. V.7. Etruscan Bronze Mirror De
Page 15 and 16: physiognomy was discovered at Hohle
Page 17 and 18: or for the death of someone else, w
Page 19 and 20: left with an incomplete appraisal o
Page 21 and 22: presentation of the Battle of Actiu
Page 23 and 24: are more distinct mirrors by the na
Page 25 and 26: its prerogatives and its essence ar
Page 27 and 28: Given the importance of the cult of
Page 29 and 30: In general, theriomorphic and theri
Page 31 and 32: paradoxical, as the loss of a valua
Page 33 and 34: metaphor that could be used by man
Page 35 and 36: students of comparative religion in
Page 37 and 38: there is not a wealth of literary n
Page 39 and 40: Faunus and Silvanus are also associ
Page 41 and 42: CHAPTER 2: THE SERPENT The serpent
Page 43 and 44: Corinthian vase painting.) In this
Page 45 and 46: used as decorative support elements
Page 47 and 48: Phersipnai, but these heads are bad
Page 49 and 50: 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 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 and 112:
A bull therianthrope identified as
Page 113 and 114:
efers to the bull-headed man as Dio
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ecent discussion of the perception
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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
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hyta. 611 On the other hand, the sw
Page 137 and 138:
of a lost Apulian drinking cup form
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labeled, These, the Etruscan Theseu
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image was also used as an indicator
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The imagery used to represent hybri
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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
Page 165 and 166:
Fig. III.4. Detail of an Etruscan P
Page 167 and 168:
Fig. III.6. Etruscan Bucchero Oinoc
Page 169 and 170:
Fig. III.8. Etruscan Painted Terrac
Page 171 and 172:
Fig. III.10. Line Drawing of an Etr
Page 173 and 174:
Fig. III.12. Etruscan Terracotta Ci
Page 175 and 176:
Fig. III.14. Pontic Plate by the Ti
Page 177 and 178:
Fig. III.16. Etruscan Bronze Statue
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Fig. IV.2. Roman Bronze Statuette o
Page 181 and 182:
Fig. IV.4. Latin Painted Terracotta
Page 183 and 184:
Fig. IV.6. Etruscan Bronze Mirror C
Page 185 and 186:
Fig. IV.8. Imperial Roman Bronze Co
Page 187 and 188:
Fig. IV.10. Etruscan Bronze Statuet
Page 189 and 190:
Fig. V.1. Etruscan Engraved Bronze
Page 191 and 192:
Fig. V.3. Etruscan Red-Figure Plate
Page 193 and 194:
Fig. V.5. Roman Terracotta Revetmen
Page 195 and 196:
Fig. V.7. Etruscan Bronze Mirror De
Page 197 and 198:
Fig. V.9. Etruscan Gold Pendant Rep
Page 199 and 200:
Fig. V.11. Etruscan Bucchero Oinoch
Page 201 and 202:
Fig. VI.2. Line Drawing of an Engra
Page 203 and 204:
Fig. VI.4. Terracotta Antefix from
Page 205 and 206:
Fig. VI.6. Monumental Stone Relief
Page 207 and 208:
Fig. VI.8. Etruscan Bronze Statuett
Page 209 and 210:
Fig. VI.10. Line Drawing of the Ton
Page 211 and 212:
Fig. VI.12. Water Color Rendition o
Page 213 and 214:
Serv. Ad. Aen. VII, 761. 37 Val. Ma
Page 215 and 216:
Bare, C.P. 2001. “The Iconography
Page 217 and 218:
Buxton, R. 1994. “The Wolf and We
Page 219 and 220:
_____. 2000b. “Mirrors and Mantei
Page 221 and 222:
Felton, D. 1999. Haunted Greece and
Page 223 and 224:
Harrington, F.H. and C.S. Asa. 2003
Page 225 and 226:
Kirk, G.S. 1970. Myth: Its Meaning
Page 227 and 228:
Mannhardt, W. 1884. Mythologische F
Page 229 and 230:
_____. 1975. The Etruscans. Transla
Page 231 and 232:
_____. 1982. “A Mirror in the Duk
Page 233 and 234:
Simon, E. 1973. “Die Tomba dei To
Page 235 and 236:
_____. 2000. The Etruscans. Trans.
Page 237 and 238:
Winter, N. 2006. “Gorgons, Minota
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