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“Circle of Turan” 602 as a spirit somehow associated with the goddess of love. If we possessed more examples of the “Swan Demon” or an image besides a bronze statuette in Florence (Fig. VI.9) 603 in which he appeared with other mythological figures, we might be able to place his actions (offering a pine cone or pouring a pitcher) with the great many “spirits of love and adornment” who appear to anoint someone with perfume or to aid in a bride’s preparation for marriage. 604 A male figure would not be out of place amongst these spirits considering the confusion of genders present in Etruscan iconography and the appearance of satyrs and figures such as the one named male Lasa, Lasa Sitmica. 605 R. Herbig and Simon’s suggestion that this figure is a wind god is not satisfying. 606 Wind gods such as the Boreadai 607 are often shown rushing to and fro or abducting the object of their affections, and neither of these characterizations are appropriate to the known representations of the “Swan Demon.” In addition to differences in action, neither Boreas nor his sons the Boreadai are shown in conjunction with swans. Even if he is not a wind, the “Swan Demon” might be a representative of a meteorological phenomenon such as the season winter, or perhaps an astral association with the constellation Cygnus exists. In an article dealing with the identification of the figures on the Ara Pacis, de Grummond identifies the two female figures that accompany Pax as the Horae, or Seasons. One of these is seated on a swan, an animal associated with the season of winter. While the “Swan Demon” is male and the Hora is female, the association of the swan with winter and the constellation Cygnus may still hold. The youths in Fig. VI.8 and VI.9 both hold pitchers, which are associated with the constellation Aquarius, also connected to winter. 608 Could this figure be a Lar? The surviving artistic evidence of the Lares, which has been briefly addressed in Chapters Two and Three does not preserve any certain association with the swan. 609 Literary evidence also does not reflect any link between the Lares and this bird and instead suggests that the Lares may be represented wearing the skins of dogs. 610 The Lares are also generally depicted as one or more dancing, youthful figures wearing chitons and holding 602 De Grummond 2006a, 151. 603 I shall return to Fig. VI.9 as a possible clue to identifying the “Swan Demon” below. 604 De Grummond (2006a, 155-68) discusses a number of the minor spirits who appear on numerous mirrors of the fourth C BCE and seem to be personifications of abstract ideas. 605 De Grummond 2006a, 166; Lambrechts 1992, 217. 606 Herbig and Simon 1965, 31, 49. 607 For Boreas see Kaempf-Dimitriadou 1986, 133-42; for the Boreadai see Schefold 1986, 126-33. 608 De Grummond 1990, 669. 609 Tinh (1992, 208-9) does not include any examples of the “Swan Demon” in his LIMC article on the Lares. 610 Plut. Quaes. Rom. 51; Waites 1920, 250-1. 121
hyta. 611 On the other hand, the swan could be linked to the underworld and dying mortals due to its funeral song, 612 and the swan cap and wings may perhaps be meant to denote its connection to the underworld and its transitional nature. In this case, perhaps we should read the object held by the youth in Fig. VI.7 as a pine cone, a symbol of fertility often used as a grave stele. The pouring out of the pitcher and the presence of a patera could then be interpreted as an offering made for the deceased. The last two possibilities, Cygnus and Ganymede, may be the most likely identifications of the “Swan Demon.” As Picus was transformed into a woodpecker, Cygnus was a mortal who was transformed into a swan, and the cap worn by this figure may be a shorthand way of representing this metamorphosis. For reasons which she does not state, Richardson proposes that this figure has nothing to do with the Cygnus myth, 613 but this denial necessitates examination. A.L. Brown notes the presence of ten or more characters named Cygnus in the repertoire of classical myth, 614 but the tale of a man taking on the form of a swan appears in Vergil’s Aeneid 615 and Ovid’s Metamorphoses. Ovid records the story of the Ligurian Cygnus, cousin of Phaethon, in Metamorphoses Book II. Stheneleian Cygnus was present at this portentous event, who, although related by the blood of your mother, was nevertheless more like Phaethon in mind. Having left behind his empire (for he ruled the Ligurians and their great cities), he filled the green banks and the water of the Eridanus and the wood augmented by his sisters with mourning. When his voice grew thin, and feathers hid his white hair, and his neck was extended by a long breast and a web joined his rosy fingers, feathers covered his side, and his mouth held a dull beak. Cygnus had become a new bird… 616 611 Brown 1971, 334. 612 Arnott 1977, 149-53. 613 Richardson 1983, 362. 614 Brown 1996, 417-8. Ahl (1982, 387) identifies seven distinct mythical figures named Cygnus. 615 Verg. Aen. X.189-92. 616 Ov. Met. II.367-77. Latin Text taken from Ovid Metamorphoses Books I-VIII, Vol. 3, edited by G.P. Goold, Loeb Classical Library, Cambridge, MA: Harvard <strong>University</strong> Press, 1999, p. 84, 86. (Translation by Author.) Adfuit huic monstro proles Stheneleia Cygnus, / qui tibi materno quamvis a sanguine iunctus, / mente tamen, Phaethon, propior fuit. Ille relicto / (nam Ligurum populos et magnas rexerat urbes) / imperio ripas virides amnemque querellis / Eridanum implerat silvamque sororibus auctam, / cum vox est tenuata viro, canaeque capillos / dissimulant plumae, collumque a pectore longe / porrigitur, digitosque ligat iunctura rubentes, / penna latus velat, tenet os sine acumine rostrum. / Fit nova Cygnus avis… 122
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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
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serpent chooses both the time and p
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household divinities such as the Pe
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Vergil’s statement that Aeneas wa
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CHAPTER 3: THE WOLF AND CANINES Dow
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P. Defosse proposes that the connec
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are not alone on this vessel, and o
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y reference to his barking, 253 and
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Finally seizing the moment, Arruns
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the shape of a man, from that of a
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passage, 280 which would accord wit
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history of the Lupercalia and the w
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Period in Rome as can be seen in ar
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Pan or Faunus, 327 but Inuus seems
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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
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: votive 592 (Fig. VI.7) and decorati
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
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
Page 179 and 180: 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
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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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