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an Etruscan black figure vase from the Orvieto Group (Fig. VI.11). 627 Krauskopf suggests that this figure is an underworld demon, and its manner is certainly appropriate for a fierce denizen of the lower world. This figure possesses the head of a bird of prey, which is clear because it has a hooked beak and reaches out to attack or harry another figure on the sherd. Not enough of this vessel remains to reconstruct the narrative scene of which this demon is a part, although one might envision the punishment of Prometheus or Tityos as a likely candidates for violence committed by an avian antagonist. 628 Etruscan tomb painting contains a second example of a chthonic, therianthropic bird demon. The Tomb of Orcus II preserves the only labeled example of the demon, Tuchulcha, 629 and here depicted with wings, ass’ ears, a beak instead of a mouth, and two snakes rising from its head as it brandishes a third snake to menace the hero Theseus (Fig. VI.12). 630 Tuchulcha’s wings bear the same markings as the viper it 631 holds, and there can be no doubt that demon and serpent are inextricably linked; 632 nevertheless, due to the presence of a beak and wings, I have included Tuchulcha in this chapter on avians. Like the bird demon on the black figure sherd (Fig. VI.11), Tuchulcha is depicted in an offensive stance. In this case, his victim is clearly 627 Not enough of this vessel is preserved to say much that is conclusive about the bird-headed figure which seems to be attacking a man. The hooked beak of this figure has led Krauskopf to identify it as an underworld demon, and this is indeed plausible. This “demon” may be a precursor to the slightly more anthropoid Tuchulcha (Fig. VI.12). A bird of prey is suitable as an underworld figure, as any predator possesses much the same characteristics related to scavenging, killing, and the consumption of other animals’ flesh. This figure also is important because it presents the possibility of a bird being more than celestial, i.e. birds can be chthonic too. 628 If the bird demon attacks a figure such as Prometheus, the narrative of which he is part would not take place in the underworld. I would nevertheless argue for the chthonic character of this hybrid as most figures who serve to punish the wicked are infernal in nature, e.g., the Erinyes or Furies. 629 A winged figure with two snakes sprouting from his hair that appears on an Etruscan Red Figure skyphos housed in Boston has been identified as the demon Tuchulcha by Jannot (1997, 143). Two other figures appear on this vase with the demon and have been identified as Admetus and Alcestis. The presence of an Etruscan death demon with this couple is fitting for either the parting of Alcestis or the reunion of the couple; however, the demon depicted on this skyphos neither bears a label nor possesses a bird’s beak in place of a nose. Thus it is difficult to accept this figure as Tuchulcha as it may be a representation of Charu(n), who could fulfill much the same function as his more monstrous counterpart. 630 The fact that this is the only example of a demon labeled Tuchulcha leads to several problems. The first regards the gender of this figure. De Grummond (2006a, 218 ) expresses doubt as to the gender of Tuchulcha but refers to him as a he for simplicity’s sake. The color of the skin and the costume of the figure are the basis for this problem. De Ruyt (1934, 11) determines that due to a total lack of humanity, speculation in relation to Tuchulcha’s gender is ultimately moot. I shall refer to Tuchulcha as “it” to indicate its distinctly inhuman character. Jannot (1997, 144) addresses a second problem, the identity of this demon as separate from Charu(n). He suggests that Tuchulcha may be equivalent to an epithet similar to those found in the Tomba dei Caronti. I disagree with this conclusion as the features of Charu(n) and Tuchulcha are distinct enough to merit separate identities. 631 De Grummond (2006, 217) indicates that the gender we should ascribe to this demon is not clear due to its skin tone, garments, and possible representation of breasts. Tuchulcha is commonly referred to as “he” in scholarly literature, but I choose to refer to this demon as an “it” due to its otherworldly nature. 632 Hostetler 2003, 52. 125
labeled, These, the Etruscan Theseus. A third figure in this scene sits across from These, and it is likely that this is meant to be Pirithous, the companion who urged Theseus to aid in the capture of Persephone so that Pirithous might wed her. Pirithous and Theseus were unsuccessful in their attempt and were forced to remain in the underworld until Herakles rescued Theseus. Pirithous remained behind. 633 Thus, in this painting, the Etruscan artist seems to have elaborated on the Greek myth, and, in a typical Etruscan fashion, has inserted a death demon into the scene. Here, Tuchulcha seems more menacing than Charu(n), who may act as a guide, or Vanth, who sometimes offers shelter to deceased souls. Tuchulcha may embody the punishment of these mortals who have hubristically over-stepped their bounds much in the same way as a Fury. All along, we have seen that theriomorphic and therianthropic deities and demons are difficult for us to identify. The avian examples are no exception and, in fact, may even be more difficult to identify due to the relative silence of literary sources and lack of recognizable iconographic conventions. These figures would surely have been recognized by their ancient audiences. The Swan Demon exemplifies this point, as modern scholars are bedeviled in their attempts to assign a name to a figure that does not perfectly fit any one possibility. Yet, the presence of this figure in the Archaic and Hellenistic examples indicates that none of the statuettes are unique occurrences of this iconography which held meaning only to the objects’ owners. This fact alone makes a case for the necessity of more study of theriomorphs and therianthropes. Perhaps with the discovery of new texts and objects, we shall be able to solve the puzzle of their identity. 633 Plut. Vit. Thes. 35.1-2. 126
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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
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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 and 136: hyta. 611 On the other hand, the sw
Page 137: of a lost Apulian drinking cup form
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
Page 187 and 188: 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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