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Fig. II.11. Roman Bronze Medallion from the Reign of Antoninus Pius Depicting the Entry of Aesculapius into Rome, Unknown Provenance, ca. 138-61 CE, Cabinet des Medaillés, Paris. After Mambella 1997, Fig. 23. 145
Fig. II.12. Detail of a Roman Marble Statue (possibly a copy of a 4 th C BCE Greek original) Depicting Aesculapius as a Prophetic Deity, ca. 130 CE, Pitti Palace, Florence. After Kerényi 1959, Ill. 44. 146
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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
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suggestion is plausible, but due to
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narrative and alternative iconograp
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eproduction of animals. 376 These a
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Mars in line nine. Similarly, Turca
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anch, 397 objects that likely stres
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appear as Juno Sospita, clad in a g
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Lanuvium, and indeed there is one l
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SISPITE and demonstrates the variat
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that it may be Greek. 433 Gordon st
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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 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: Fig. II.10. Roman Marble Statue of
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
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
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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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