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This Cygnus becomes a swan after Phaethon’s hubristic death, an event that may indicate the solar nature of the swan. 617 This study contains several examples in which therianthropic deities may be represented by various degrees of hybridism; they may be represented as a true blend of human anatomy or as a man wearing an animal skin. Thus, the “Swan Demon” might be one way of conceiving of Cygnus and his dual nature. There are no narrative elements to which the lone votive or decorative statuettes may be linked and thus this interpretation must remain a hypothetical possibility. The last possibility proposed by previous scholars for the identification of this figure is Ganymede, and the small statue group (Fig. VI.9) featuring the “Swan Demon” may support this identification. 618 In this group the “Swan Demon,” holding aloft a pitcher with his right hand, alights on the shoulders of a male wearing an animal skin (ram or goat?). The pitcher is poised to pour its liquid into the mouth of the animal skin-wearing male. In this particular instance, the “Swan Demon” is portrayed as being quite young, and the swan’s head seems to have a life of its own as it turns to look down at the figure below. The “Swan Demon’s” wing span is also quite large and spreads dramatically from his back. It is difficult to say whether or not the pouring of the pitcher is significant for the identification of the “Swan Demon,” but the ram or goat skin worn by the male, on whose shoulders the demon alights, may indicate that both of these figures are divinities of some kind. Nudity of the kind displayed in this piece is typically reserved for divine beings. That fact that the “Swan Demon” is shown in the act of “refreshing” 619 what may be another divinity lends some credence to the possibility that this could be Ganymede, the cup- bearer of Zeus. The curving neck of the swan and the base of the cap are even slightly reminiscent of a Phrygian cap, which would be appropriate garb for a Trojan prince. The first objection to interpreting the “Swan Demon” as Ganymede is that in most representations of Ganymede’s abduction, he is seized by an eagle. However, in vase painting (Fig. VI.10) 620 and in fragmentary passages of Greek comedy, 621 there is evidence of a tradition of a swan replacing the more common eagle of Zeus. 622 Fig. VI.10 is a line drawing of the tondo 617 Ahl 1982, 389-94. 618 Haynes (1985, 322) suggests that it likely sat atop a lamp as did Fig VI.8. 619 Haynes 1985, 322. 620 Krauskopf 1980, 243-8. Trendrall and Cambitoglou (1978-1982, I, 422-3; II, 795-6) note several examples of a swan chasing the Trojan Prince. 621 Krauskopf 1980, 246. 622 Mayo (1967, 19, no. 36) refers to the substitution of a swan for the eagle of Zeus as “executed by apparently confused artists.” This mythical variation is certainly no more shocking than the substitution of Hercle for These in 123
of a lost Apulian drinking cup formerly in the Fenicia collection in Ruvo. This scene has been linked to the rape of the young Trojan prince. That the scene in this tondo represents Ganymede is confirmed by at least two other images of Ganymede being chased and/or abducted by a swan on Apulian vases as well as a lost fragment which was decorated with the head of a swan, surrounded by a nimbus and an inscription reading J r } y ~ o ~ q # A.J. Trendall also notes that several images of Ganymede, before he is kidnapped by Zeus, include a swan, and states that there must have been a local variant of this myth in which a swan replaced the eagle of Zeus. 623 Even so, S. Reinach identifies the bird in Fig VI.10 as an eagle even though it has quite a long neck. 624 Given that Zeus was smitten by the young Trojan prince’s beauty, the substitution of Aphrodite’s bird for the lordly eagle seems appropriate. A second, and more important objection to the identification of the “Swan Demon” as Ganymede may be that Ganymede is abducted by a swan; he does not metamorphose into a swan. 625 On the other hand, association with a swan may not be out of the question due to Ganymede’s transcendence of mortality. 626 As mentioned earlier, the swan can have funereal connotations because it sings a dirge. In his own way, Ganymede, too, is a liminal figure who has actually conquered death by obtaining immortality as Zeus’ cup-bearer. Ganymede will remain forever young and has transcended the boundaries of life and death. Unfortunately, this interpretation must remain in the realm of speculation until further evidence for the assimilation of kidnapper and victim can be provided. Birds were associated not only with the heavens. Two Etruscan mythological figures link the bird to the infernal realm. The first of these is an unidentified bird demon on a fragment of Fig V.1, and we must remember not to say that an ancient artist, or in this case, a group of ancient artists, made a mistake simply because we do not have a complete literary account. Sichtermann (1959) collects several examples of Ganymede’s abduction by the swan in his text. Schauenburg (1969, Pl. 21,1.) illustrates one such Apulian volute krater from a private collection in Berlin. 623 Trendall 1987, 144-5. 624 Reinach 1899, 335. 625 While no mythological traditions indicate that Ganymede could metamorphose into a swan, the same cannot be said for Zeus, who took the form of a swan in order to court the Spartan queen Leda. Perhaps, the presence of a swan in the myth of Ganymede is a conflation of myths concerning two of Zeus’ love interests. 626 Mayo (1967, 56) sums up the uses of the Ganymede myth in Classical art and literature as follows, “With far more of an open mind than those of the succeeding centuries, the Greek or Roman viewed the Trojan youth as either a symbol of sexual passion, a social phenomenon, a prototype of physical perfection, or the insurance of the soul’s immortality.” Mayo demonstrates the validity of this last meaning with many examples throughout her discussion of Ganymede in Greek and Roman myth and art. 124
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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
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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 and 134: votive 592 (Fig. VI.7) and decorati
Page 135: hyta. 611 On the other hand, the sw
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
Page 185 and 186: 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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