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the stories of the Giants and their even more monstrous brother Typhon, 107 a creature associated with the primal, destructive powers of fire, wind, and water. 108 When the gods had conquered the giants, Ge exceedingly enraged came together with Tartarus in Cilicia, and bore Typhon, having a nature blending man and animal. He was greater in size and strength than all the other children of Ge. To the ends of his thighs, he took the shape of a man of immense magnitude, such that he exceeded all of the mountains, and his head often touched the stars. One hand stretched to the east and the other the west, and from them sprang one hundred dragon heads. Down from his thighs he had huge coils of serpents, which, stretched out, reached his head and emitted a loud hissing. His body was winged, rough hair streamed from his head and cheeks, and fire shone in his eyes. 109 Typhon appears in Greek literature as early as Homer, 110 but his description is by no means fixed in the way that Apollodorus describes him. 111 Hesiod, for example, provides him with human legs and feet and only refers to a hissing sound when he speaks. 112 In Apollodorus’ account of this monster’s birth, Typhon was the son of Gaia and Tartaros and was Zeus’ greatest adversary, an embodiment of Gaia’s outrage and desire for vengeance after the outcome of the Gigantomachy. The earliest classical representations of this monster, which can be found on terracotta alabastra, are from Corinth and date to the seventh century BCE (Fig. II.1). 113 A large Early Corinthian alabastron is nearly covered by the figure of Typhon, whose serpentine form wraps around the vessel. (Empty spaces are filled with the rosettes typical of this period of 107 In contrast to Typhon, who serves as my primary example of a threatening serpent hybrid, one might consider a positive, Greek example, the Athenian king Erichthonius, who was also born with serpents’ tails in the place of human legs. According to Lada-Richards (1998, 73), Erichthonius “despite his highly abnormal birth, is not a monster like the gêgeneis Giants, but a culture-hero, a hero-founder of many rituals and institutions...” Cecrops conforms to a similar pattern as well. 108 Matheson (2004, 349) notes Typhon’s association with wind and fire, but Vian (1960, 23) also suggests that he may be associated with “hydrological” phenomena. 109 Apollod. Bibl. 1.6.3. Greek Text taken from Apollodorus The Library, Loeb Classical Library, Vol. 1, edited by G.P. Goold, Cambridge, MA: Harvard <strong>University</strong> Press, 1999, p. 46. (Translation by Author.) ;H( IC 4 ' - J 4 " 7 J5 6 && ? &" D , 4 K 7 L M C N & ,O 7 ' *? M A .( ' , # F ( ) 4 4 " @ P ( C ' J57 Q ) 1 ) < ? ' < & ( A M 7 R E ? ) 4 " + 7 S ) M &3 &&4 ( < " *T 9? D ( ) 2? 3 ) C 3 U C ' 3 ) C ( A &4 (9C " ) C D? U . M & " # ) A . ' , ( 2? E ( C? 7 V W& .( 3 C M 3 . &> C , # 6 ) . " 7 ? ' ) C M &5( " ,? ( C ' " 7 ) C D( X # 110 Hom. Il. 2.783-4. 111 Apollod. Bibl. 1.6.3. 112 Hes. Theog. 820-1 113 Matheson 2004, 349. Vian (1960, 25-6) notes that the Greeks likely borrowed anguiform iconography from Babylonian art and cites cylinder seals depicting “serpent gods” as one possible source for the image of Typhon. 29
Corinthian vase painting.) In this example, Typhon is bearded and winged, and possesses a singular, long snake tail as a substitute for his legs. His arms indicate that he is in motion since they resemble arms of other Archaic figures who are shown running. Near the end of Typhon’s tail, there is a large, black dolphin, which suggests a marine setting for this scene. The convention of using wings and serpents’ tails as a way to represent Typhon is also used as a way to depict the giants whose battle against Zeus and the gods occurs before Typhon’s assault. One figure typically not discussed in the context of the Gigantomachy is “Bluebeard,” the triple-bodied anguiped which decorated the pediment of the Archaic “Hekatompedon” built on the acropolis of Athens ca. 560 BCE (Fig. II.2). The identity of “Bluebeard” is far from secure although a number of possibilities have been offered. J. Hurwitt summarizes these theories, which include Typhon, Geryon, a composite of Okeanos, Pontus, and Aither, or “a benign allegory of Attic political union.” 114 Hurwitt further notes that “Bluebeard” belongs to an Athenian tradition of snake-legged figures such as Kekrops and Erichthonius. 115 This unidentified figure is not present in the secure context of a Gigantomachy, but given the prominence of its location in the city of Athens, it may have influenced the conception of giants and other anguipeds in antiquity. Nevertheless, we must look elsewhere for the inspiration of the motifs and iconography of this epic battle. The most famous example of anguiped giants is the Great Altar of Pergamon (Fig. II.3), often cited as the source for depictions of snake-legged giants in Etruria. 116 De Grummond has demonstrated that this is not the case, and that, even though the earliest representations of a single anguiped can be found on the Corinthian alabastra, the motifs common to depictions of the 114 Hurwitt 1999, 108-9. 115 Hurwitt (1999, 109) mentions that Kekrops appeared on the west pediment of the classical Parthenon; however, he was depicted with human legs and accompanied by a serpent, “a reminiscence of his chthonic origins.” Hurwitt also notes that Pausanias interpreted the snake present next to the statue of Athena Parthenos as Erichthonius. 116 For the theory of the Great Altar of Pergamon as inspiration for the decoration in the Tomb of the Typhon see Pallottino 1952, 128. Even though it can no longer be considered as the source for the image of the anguiped giant in Italy, the Great Altar of Pergamon retains pride of place in any discussion of serpent hybrids. Many of the giants, who do battle with the gods, possess serpentine legs and are winged as a way of emphasizing their chthonic origins, and one can clearly see this feature on the giant at the far right of Fig. II.3. In addition to the serpent-legged giants, the gods also fight lion, bull, and bird hybrids, which Hansen interprets as the reflection of Greek interest in Hittite and Assyrian art. Hansen (1971, 322) further identifies one of the giants as Typhon. “Next to her [Adrasteia] a nude bearded god, recognizable as a Cabir by the hammer which he swings in both hands behind his back, attacks Typhon, a huge giant, half as large again as the other figures, with serpent legs, and the neck, ears, horns, and tail of a bull.” Hansen (1971, 320) also suggests that the Gigantomachy, as a whole, is an allegory for the contemporary struggles against the enemies of the Attalids. For a concise account of the many questions still remain concerning this magnificent structure (dedicator, dedicatee, specific function, and date are as yet uncertain) see Stewart 2000, 39-41. 30
Page 1 and 2: THE FLORIDA STATE UNIVERSITY COLLEG
Page 3 and 4: This work is dedicated to my loving
Page 5 and 6: TABLE OF CONTENTS List of Figures v
Page 7 and 8: Fig. II.8. Rear Wall of the Tomb of
Page 9 and 10: Fig. III.13. Etruscan Bronze Ash Ur
Page 11 and 12: Fig. V.7. Etruscan Bronze Mirror De
Page 13 and 14: ABSTRACT This dissertation is an in
Page 15 and 16: physiognomy was discovered at Hohle
Page 17 and 18: or for the death of someone else, w
Page 19 and 20: left with an incomplete appraisal o
Page 21 and 22: presentation of the Battle of Actiu
Page 23 and 24: are more distinct mirrors by the na
Page 25 and 26: its prerogatives and its essence ar
Page 27 and 28: Given the importance of the cult of
Page 29 and 30: In general, theriomorphic and theri
Page 31 and 32: paradoxical, as the loss of a valua
Page 33 and 34: metaphor that could be used by man
Page 35 and 36: students of comparative religion in
Page 37 and 38: there is not a wealth of literary n
Page 39 and 40: Faunus and Silvanus are also associ
Page 41: CHAPTER 2: THE SERPENT The serpent
Page 45 and 46: used as decorative support elements
Page 47 and 48: Phersipnai, but these heads are bad
Page 49 and 50: creature of the earth, and even his
Page 51 and 52: of Aesculapius’ birth, a goat nur
Page 53 and 54: II.11). On this medallion, a person
Page 55 and 56: serpent chooses both the time and p
Page 57 and 58: household divinities such as the Pe
Page 59 and 60: Vergil’s statement that Aeneas wa
Page 61 and 62: CHAPTER 3: THE WOLF AND CANINES Dow
Page 63 and 64: P. Defosse proposes that the connec
Page 65 and 66: are not alone on this vessel, and o
Page 67 and 68: y reference to his barking, 253 and
Page 69 and 70: Finally seizing the moment, Arruns
Page 71 and 72: the shape of a man, from that of a
Page 73 and 74: passage, 280 which would accord wit
Page 75 and 76: history of the Lupercalia and the w
Page 77 and 78: Period in Rome as can be seen in ar
Page 79 and 80: Pan or Faunus, 327 but Inuus seems
Page 81 and 82: 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 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 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
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 and 214:
Serv. Ad. Aen. VII, 761. 37 Val. Ma
Page 215 and 216:
Bare, C.P. 2001. “The Iconography
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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