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she put her hand in the pot. Then, hissing, I grabbed it with my teeth like a snake. 174 The aping of a serpent would have no comic effect, if it did not imitate actual practice or the belief of the worshippers. Likewise, in the same play, Aristophanes creates an epiphany of the god in which serpents aid Aesculapius in healing a patient. Cario: Then he sat down next to Wealth, and first he felt his head, thereupon taking a clean towel, he daubed Wealth’s eyelids. Panacea spread a red cloth on his head and his whole face. Then the god whistled. Two serpents darted forth from the temple, they were exceedingly large. Wife: O good heavens! Cario: They quietly slid below the red cloth and licked his eyelids, or so it seemed to me. 175 The subordination of the serpent to a role as an attendant does not rule out worship of the god in theriomorphic form as a sacred snake, and J. Schouten states that this must have been his original aspect. 176 As mentioned earlier, the transferal of the god’s cult from one place to another usually took the form of moving a sacred snake from the sanctuary of Epidauros to the new location. 177 A medallion from the reign of Antoninus Pius, 138-161 CE, commemorates one of the most celebrated foundations in the cult’s history, the acceptance of Aesculapius into Rome (Fig. 174 Ar. Plut. 687-90. Greek Text taken from Aristophanes Frogs, Assemblywomen, Wealth, Loeb Classical Library, Vol. 1, edited by J. Henderson, Cambridge, MA: Harvard <strong>University</strong> Press, 2002, p. 526. (Translation by Author.) N N ," ," 9 W - >( 4 # Y . Z I8 ( [ \4 ] . T M 7 3 ? D /C , 9 ^ , ( C _ Y + C& B ' 7 8 ( , ( ` XM (# 175 Ar. Plut. 727-38. Greek Text taken from Aristophanes Frogs, Assemblywomen, Wealth, Loeb Classical Library, Vol. 1, edited by J. Henderson, Cambridge, MA: Harvard <strong>University</strong> Press, 2002, p. 530. (Translation by Author.) N N ," ," 9 1 a & " b 7 Y ) 3 5( M &5( CM @T 7 Y * . S B & B_ Y B& M T ' 9S a 4 ) Y I 3 M &3 M , Y 6 . " 9 2 I W .( C # Y C = 4 ' c 4 I C _ Y E M D( . (# J J @9 @ d M ,& ,# N N ," ," 9 " IE . 3 M , IE IS ?e Y B& M & ? 7 R ( IC D# 176 Schouten 1967, 39. As noted in Chapter I, I do not believe that having an animal attendant means that the possession of an anthropomorphic form necessitates the surpassing of an original theriomorphic conception in every instance. This may indeed be the case with Aesculapius, though there is no sure way to tell. 177 Edelstein and Edelstein 1945, 230. Sacred snakes were transferred to Rome, Halies, Athens, Sicyon, and Epidauros Limera. 39
II.11). On this medallion, a personification of the Tiber looks on and stretches out his hand in a welcoming gesture to the foreign god. 178 This medal shows that the tale of Aesculapius’ arrival remained popular and was accepted by the Romans well into the Imperial period. Thus the medal demonstrates that Aesculapius could still be conceived of as a snake god even in the mid second century CE. Aesculapius’ entry into Italy was relatively late, but Rome was an important center for this divinity. 179 The circumstances for this transferal of cult are preserved in a number of literary sources. 180 Livy records a plague that harried the Romans during the years 295 and 293 BC. In order to cure this plague, the Romans turned first to the god Apollo, whose oracles had been recorded in the Sibylline Books. Through this instrument, the god instructed them to bring his son, Aesculapius, from the great healing sanctuary in Epidaurus to the city of Rome. Livy notes that the consuls of 293 BCE were unable to act immediately because they were occupied with wars against the Etruscans and Samnites, but the god was successfully incorporated into the Roman pantheon in 291 BCE. 181 Livy’s account of the transfer of Aesculapius unfortunately does not survive except in the Perioichai. Ovid, however, records the transfer and entry of the god into the city of Rome in Book XV of the Metamorphoses, and the presence of the god in the form of a sacred snake appears in both accounts, albeit Ovid’s account is more dramatic. In Ovid’s version of the tale, the Epidaurians were at first reluctant to give up their god to the Romans; Aesculapius appeared in a dream to Quintus Ogulnius, the leader of the Roman emissaries, and gave his assent to be transferred to Rome. In the dream, Aesculapius appeared to Ogulnius in anthropomorphic form, but, when he approached the ship to be transferred to Rome, he took the form of a sacred serpent. O Roman, when the health-bearing god, seemed to stand in your dreams Before your bed just as he is wont to in his temple, Holding a rustic staff in his left hand, Stroking his long beard with his right, 178 Kerényi (1959, 15) interprets the figure greeting Aesculapius as Faunus, but it seems more likely that this is the personification of the Tiber River since he rises from the water and the bare chest and wreathed head resemble other images of river gods. Mambella (1997, 26) includes this medallion in the LIMC catalogue for Tiberis, Tiberinus in accordance with this interpretation. Turcan (1988, 33) also identifies the reclining god as the Tiber. The Tiber also carries an object that may be an anchor. Interestingly, this medallion is not included in the LIMC entry for Asklepios. 179 Schouten (1967, 13) lists the “principal shrines” of the god as Epidauros, Athens, Pergamum, Cos, and Rome. 180 Livy and Ovid’s text are discussed here, but Valerius Maximus (I.8.2) and the anonymous author of De Viris Illustribus (22, 1-3) also record this event and even add a brief stop at the port of Antium. 181 Livy X.XLVII.7 40
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 and 42: CHAPTER 2: THE SERPENT The serpent
Page 43 and 44: Corinthian vase painting.) In this
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: of Aesculapius’ birth, a goat nur
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
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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
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hyta. 611 On the other hand, the sw
Page 137 and 138:
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
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
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Fig. IV.6. Etruscan Bronze Mirror C
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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
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
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_____. 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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