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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
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
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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
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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
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Fig. III.12. Etruscan Terracotta Ci
Page 175 and 176:
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
Page 181 and 182:
Fig. IV.4. Latin Painted Terracotta
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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
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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
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Fig. VI.2. Line Drawing of an Engra
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Fig. VI.4. Terracotta Antefix from
Page 205 and 206:
Fig. VI.6. Monumental Stone Relief
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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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