LIST OF FIGURES Fig. I.1. Prehistoric Carved Ivory Figurine of a Man with a Lion’s Head from Hohlenstein- Stadel, Germany, 30,000 BCE, Ulm, Museum Der Stadt. Dim. H. 28.0 cm. Bibl. Conard 2003, 830; Putnam 1988, 467; Sinclair 2003, 774-5. 132 Fig. I.2. Roman Fresco Depicting a Priest of Isis, from the House of Loreius Tiburtinus, Pompeii, ca. 1 st C CE. Dim. Unspecified. Bibl. De Vos 1990, 77. 133 Fig. II.1. Early Corinthian Alabastron Decorated with the Figure of Typhon, Unknown Provenance, ca. 610-600 BCE, Hew Haven, Yale <strong>University</strong> Art Gallery. Dim. H. 25.9 cm, W. 11.9 cm, D. 11.9 cm. Bibl. Matheson 2004, 349-52; Touchefeu-Meynier 1997, 147-51. 134 Fig. II.2. Sculpture of the so-called Bluebeard Anguiped from the “Hekatompedon” on the Athenian Acropolis, ca. 560 BCE, Acropolis Museum. Dim. Unspecified. Bibl. Hurwitt 2001, 108-9. 135 Fig. II.3. Hellenistic Relief of Zeus Battling the Giants, from the Eastern Frieze of the Great Altar of Pergamon, begun ca. 180 BCE, Berlin, Pergamon Museum. Dim. H. 230.0 cm. Bibl. Hansen 1971, 264-7, 319-38; Howard 1964, 129-36; Kahler 1945; Pollitt 1986, 96-110; Schmidt 1962; Simon 1975; Stewart 2000, 32-57. 136 Fig. II.4. Etruscan Black Figure Hydria with Scene of Two Youths Attacking a Giant, Vulci, ca. 525-500 BCE, British Museum, London. Dim. H. 44.0 cm. Bibl. De Grummond 2000, 259; Spivey 1987, Fig. 14b; Vian 1952, 16. 137 Fig. II.5. Detail of an Etruscan Fresco of a Giant from The Tomb of the Typhon, in the Monterozzi Necropolis, Tarquinia, 3 rd quarter of the 3 rd C BCE. 1 Dim. Unspecified. Bibl. Cristofani 1969, 213-56; De Grummond 2000, 258-61; Pallottino 1952, 125-8; Steingraber 1985, 347; Steingraber 2000; 240-3. 138 Fig. II.6. Detail of an Etruscan Fresco of Charu(n) from the Entrance Wall of the Tomb of the Anina Family, in the Monterozzi Necropolis, Tarquinia, 3 rd to 2 nd C BCE. Dim. Unspecified. Bibl. Krauskopf and Mavleev 1986, 230, 286; Pallottino 1964, 108-23; Ridgway 2000, 303, 307-9, Steingraber 1985, 282. 139 Fig. II.7. Etruscan Fresco of Two Charu(n)s Flanking a False Door on the Right Wall of the Tomb of the Charu(n)s in the Monterozzi Necropolis, Tarquinia, end of the 3 rd C BCE. Dim. Unspecified. Bibl. Krauskopf and Mavleev 1986, 230; Moretti 1966, 300-5; Steingraber 1985, 300. 140 1 See Colonna 1984, 23 and Ridgway 1998, 406 for a 3 rd C BCE date of the Tomb of the Typhon. vi
Fig. II.8. Rear Wall of the Tomb of the Reliefs with Anguiped and Kerberos, Banditaccia Necropolis, Cerveteri, 3 rd quarter of the 4 th C BCE. Dim. Unspecified. Bibl. Blanck 1986, 18- 9; De Ruyt 1934, 134-5; Giglioli 1935, Pl. 341-3; Haynes 2000, 318; Krauskopf and Mavleev 1986, 234; Proietti 1986, 236-66; Steingraber 1985, 262-4. 141 Fig. II.9. Roman Black Marble Statue of Aesculapius, Antium, ca. 150 CE, Capitoline Museum, Rome. Dim. H. 145 cm. Bibl. Holtzmann 1984, 878; Kerényi 1959, Ill. 7; Turcan 1988, 33. 142 Fig. II.10. Roman Marble Statue of Aesculapius along with Salus Feeding the Sacred Serpent, Found in the Forum of Praeneste, Hellenistic Period, Museo Vaticano, Rome. Dim. Unspecified. Bibl. Helbig I 1985, 138-9; Schouten 1967, Ill. 7; Vatican Museum of Sculpture 1923, 55. 143 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. Dim. Unspecified. Bibl. Gnecchi 1968, 9, 1-3; Kerényi 1959, Ill. 8; Mambella 1997, 26; Turcan 1988, 33. 144 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. Dim. Unspecified. Bibl. Kerényi 1959, 67. 145 Fig. II.13. Lararium from the House of the Vettii (VI.15.1) with Fresco Depicting the Genius, Lares, and Genius Loci, Pompeii, ca. 1 st C CE. Dim. Unspecified. Bibl. Boyce 1937, 54; Strocka 1990, 571; Orr 1978, 1577; Tinh 1992, 209; Turan 1988, 44. 146 Fig. II.14. Drawing of a Roman Fresco Depicting the God Harpocrates and the Genius Loci of Mt. Vesuvius, from Herculaneum, 1 st C CE, Museo Nazionale, Naples. Dim. H. 40.0 cm. L 50.0 cm. Bibl. Boyce 1942, 18-20; Tinh 1971, 82; Tinh, Jaeger, and Poulin 1981, 426. 147 Fig. III.1. Water Color Copy of an Etruscan Fresco Depicting Aita, Phersipnai, and Cerun in the Tomb of Orcus II, in the Monterozzi Necropolis, Tarquinia, 2 nd half of 4 th C BCE. Dim. Unspecified. Bibl. Defosse 1972, 492; Del Chiaro 1970, 292-4; Elliott 1995, 21-2; Hostetter 1978, 263-4; Krauskopf 1987, 61-7; Krauskopf 1988, 395; Richardson 1977, 95-6; Simon 1997, 450-4; Steingraber 1985, 329-332; Torelli 1983, 7-17. 148 Fig. III.2. Reconstruction of an Etruscan Fresco Depicting Aita and Phersipnai at a Funerary Banquet in the Golini Tomb I, from Settecamini, 3 rd quarter of the 4 th C BCE, Orvieto, Museo Archeologico Nazionale di Orvieto. Dim. Unspecified. Bibl. Defosse 1972, 492; Del Chiaro 1970, 292-4; Elliott 1995, 21-2; Hostetter 1978, 263-4; Krauskopf 1987, 61-7; Krauskopf 1988, 395; Pallottino 1982, 131; Richardson 1977, 95-6; Simon 1997, 450-4; Steingraber 1985, 278. 149 vii
- Page 1 and 2: THE FLORIDA STATE UNIVERSITY COLLEG
- Page 3 and 4: This work is dedicated to my loving
- Page 5: TABLE OF CONTENTS List of Figures v
- 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 and 52: of Aesculapius’ birth, a goat nur
- Page 53 and 54: II.11). On this medallion, a person
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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
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Fig. III.2. Reconstruction of an Et
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Fig. III.4. Detail of an Etruscan P
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Fig. III.6. Etruscan Bucchero Oinoc
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Fig. III.8. Etruscan Painted Terrac
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Fig. III.10. Line Drawing of an Etr
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Fig. III.12. Etruscan Terracotta Ci
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Fig. III.14. Pontic Plate by the Ti
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Fig. III.16. Etruscan Bronze Statue
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Fig. IV.2. Roman Bronze Statuette o
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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
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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