Final Draft - Preview Matter - Florida State University

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REFERENCES Ahl, F. 1982. “Amber, Avallon, and Apollo’s Singing Swan.” AJP 103: 373-411. Altheim, F. 1938. A History of Roman Religion. Translated by H. Mattingly. New York: E.P. Dutton and Company Inc. Ameisenowa, Z. 1949. “Animal-Headed Gods, Evangelists, Saints, and Righteous Men.” Journal of the Warburg and Courtald Institutes 12: 21-45. Amelung, W. 1995. Die Sculpturen des Vaticanischen Museums. New York: Walter de Gruyter. American Medical Association. 2006. American Medical Association Homepage. http://www.ama-assn.org/ (July 24, 2006). Andersen, H.D. 1993. “The Etruscan Ancestral Cult – Its Origin and Development and the Importance of Anthropomorphization.” AnalRom 21: 7-66. _____. 1992/3. “The Origin of the Potnia Theron in Central Italy.” Hamburger Beiträge zur Archäologie 19/20: 73-113. Andrén, A. 1939-40. Architectural Terracottas from Etrusco-Italic Temples. Lund : C.W.K. Gleerup. Arnott, W.G. 1977. “Swan Songs.” GaR 24: 149-53. Babcock, C.L. 1961. “The Role of Faunus in Horace, Carmina 1.4.” TAPA 92: 13-9. Babelon, J. 1928. Choix de bronzes de la Collection Caylus donnée au Roi en 1762. Paris: Les Éditions G. Van Oest. Babelon, J. and E. Blanchet. 1895. Catalogue des bronzes antiques de la Bibliothéque Nationale. Paris: Ernest Leroux, Éditeur. Bailey, D.M. and P.T. Craddock. 1978. “A Bronze Lamp of Late Etruscan Type.” SE 46: 75- 80. Banti, L. 1973. Etruscan Cities and their Culture. Translated by Erika Bizzarri. Berkeley: University of California Press. Barchiesi, A. 1997. The Poet and the Prince: Ovid and Augustan Discourse. Berkeley: University of California Press. 201
Bare, C.P. 2001. “The Iconography of the Pig and Boar in Etruscan Art.” MA Thesis, Florida State University. Barr, W. 1962. “Horace, Odes i.4.” CR n.s. 12: 5-11. Beard, M., J. North, and S. Price. 1998. Religions of Rome. 2 vols. New York: Cambridge University Press. Beazley, J.D. 1963. Attic Red-figure Vase Painters. Oxford: Clarendon Press. _____. 1947. Etruscan Vase-Painting. Oxford: Clarendon Press. _____. 1949. “The World of the Etruscan Mirror.” JHS 69: 1-17. _____. 1974. The Pan Painter. Mainz: Verlag P. von Zabern. Bevan, E. 1986. Representations of Animals in Sanctuaries of Artemis and Other Olympian Deities. Oxford: British Archaeological Reports. Black, H. and A. Green. 1997. Gods, Demons, and Symbols of Ancient Mesopotamia: An Illustrated Dictionary. Austin: University of Texas Press. Blanc, N. and F. Gury. 1986. “Amor, Cupido.” In LIMC III.1. Zurich: Artemis, 952-1049. Blanck, H. 1986. La Tomba dei Rilievi di Cerveteri. Rome: De Luca. Boardman, J. 1997. “Pan.” In LIMC. Supp. VIII.2. Zurich: Artemis, 923-41. Bodson, L. 1978# ;k% w Hk : Contribution à l’étude de la place de l’animal dans la religion grecque ancienne. Brussels: Palais des Académies. Boitani, L. 1982. “Wolf Management in Intensively Used Areas of Italy.” In Wolves of the World: Perspectives of Behavior, Ecology, and Conservation, edited by F.H. Harrington and P.C. Paquet, 158-72. Park Ridge: Noyes Publications. Bonfante, G. and L. Bonfante. 2002. The Etruscan Language: An Introduction. Rev. ed. Manchester: Manchester University Press. Bonfante, L. 1993. “Fufluns Pacha: The Etruscan Dionysos.” In Masks of Dionysos, edited by T.H. Carpenter and C.A. Faraone, 221-35. Ithaca: Cornell University Press. _____. 1989. “Iconografia delle madri: Etruria e Italia antica.” In Le donne in Etruria, edited by A. Rallo, 85-106. Rome: L’Erma di Bretschneider. 202
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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
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of Faunus in poetry and art, which
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probably derives from Sumerian mode
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A bull therianthrope identified as
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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
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was likely difficult even for the a
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Layed me out in the deep sand. That
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Perhaps we are meant to interpret t
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CHAPTER 6: AVIANS Gods and birds sh
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for the Romans, and it may be that
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When we speak of totemism we actual
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One curious example of an avian the
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votive 592 (Fig. VI.7) and decorati
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hyta. 611 On the other hand, the sw
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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
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Fig. I.2. Roman Fresco Depicting a
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Fig. II.2. Sculpture of the so-call
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Fig. II.4. Etruscan Black Figure Hy
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Fig. II.6. Detail of an Etruscan Fr
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Fig. II.8. Rear Wall of the Tomb of
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Fig. II.10. Roman Marble Statue of
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Fig. II.12. Detail of a Roman Marbl
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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
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: Serv. Ad. Aen. VII, 761. 37 Val. Ma
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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