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Pliny refers to Numa as frequently practicing the rite of expiating lightning when discussing the monstrum, Olta. Working with the assumption that Faunus once possessed a lupine aspect and that it is during the Augustan period that his depiction in art has completed its iconographical shift, this narrative can be applied to the scene on the cinerary urns. As indicated by iconographical elements that match the narrative from the Fasti, the urns capture one moment of Numa’s story in which the god Faunus struggles to break free of his chains. The relevant passage is as follows. “…But Picus and Faunus, both gods of Roman soil, Will be able to relate the rite of purification, but They will not tell without coercion, use chains to bind them as captives.” Thus Egeria taught Numa by what trick they would be able to seize the gods. There is a grove dark with the shade of holm-oaks under the Aventine, Where you are able to say, on sight, “There is a divinity here.” Grass is in the middle, and covered by green moss, A cleft in the rock pours out a never-ending stream: There Faunus and Picus were accustomed to drink alone. King Numa came here and sacrificed a sheep at the spring, And put out cups full of fragrant wine, And when he did this, he hid himself in a cave. The forest gods come to their accustomed spring And they relieve their dry throats with much pure wine. Sleep followed the wine, and Numa came forth from the icy cave And he put chains on the sleeping ones’ hands. As sleep left them, they tried to break the chains with a struggle. The chains held the warring gods all the stronger. Then Numa spoke, “Gods of the forest, forgive my deeds. If you know wickedness is absent from my mind, And show me how a thunderbolt can be expiated.” 340 Numerous narrative elements from this myth can be compared to parts of the scene on the urns. The first is that the wolf-headed figure rises out of what seems to be a well. The scene in 340 Ov. Fas. 3.291-311. Latin Text taken from Ovid Fasti, Vol. 5, edited by G.P. Goold, Loeb Classical Library, Cambridge, MA: Harvard <strong>University</strong> Press, 1996, p. 140, 142. (Translation by Author.) sed poterunt ritum Picus Faunusque piandi / tradere, Romani numen utrumque soli. / nec sine vi tradent: adhibe tu vincula captis.” / atque ita qua possint edidit arte capi. / lucus Aventino suberat niger ilicis umbra, / quo posses viso dicere “numen inest.” / in medio gramen, muscoque adoperta virenti / manabat saxo vena perennis aquae: / inde fere soli Faunus Picusque bibebant. / huc venit et fonti rex Numa mactat ovem, / plenaque odorati disponit pocula Bacchi, / cumque suis antro conditus ipse latet. / ad solitos veniunt silvestria numina fontes / et relevant multo pectora sicca mero. / vina quies sequitur; gelido Numa prodit ab antro / vinclaque sopitas addit in arta manus. / somnus ut abscessit, pugnando vincula temptant / rumpere: pugnantes fortius illa tenent. /tum Numa: “di nemorum, factis ignoscite nostris / si scelus ingenio scitis abesse meo, / quoque modo possit fulmen monstrate piari.” 69
Ovid takes place at a water source or spring (perennis aquae). 341 Previous interpretations of this scene have labeled this stone ring a gate to the underworld. This interpretation is not in conflict with the lupine iconography of a chthonic Faunus since the Lupercal, as mentioned earlier, was considered to be a gate to the underworld. 342 A kingly figure stands above the wolf-man emptying a patera, possibly an offering of wine, over the divinity. 343 Instead of the sacrifice of a sheep and the setting out of wine in bowls (rex Numa mactat ovem / plenaque odorati disponit pocula Bacchi), 344 which is present in Ovid, we are shown a libation that is perhaps made as a preparation for sacrifice. In either case, the kingly figure may be Ovid’s Numa with his followers (cum suis). 345 One of the most important details in Ovid’s account for my interpretation is that when Faunus awakens, he is chained and attempts to gain his freedom through combat (somnus ut abcessit, pugnando vincula temptant / rumpere: pugnantes fortius illa tenent). 346 On the urns, as Faunus attacks one of Numa’s men, he is restrained by the others who hold tight to his chains and/or is bound to the well to hamper his movement. 347 In some instances, one of the men has been slain, and this may account for the presence of Vanth. As mentioned earlier, Etruscan artists were wont to insert Vanth into scenes in which someone had died or was bound to die. Her appearance on a vessel containing the ashes of the dead should not surprise anyone even if she is not present in Ovid’s narrative. Obviously, there are some differences between the account given by Ovid and the scene depicted on the urns. As mentioned earlier, by the time of Ovid, Faunus had already been syncretized with Pan, the goat-man. In Ovid’s account, Faunus is described as shaking his horns (quatiens cornua). 348 Also, there is no Picus present in the scene on the urns. 349 However, 341 Ov. Fas. 3.298. 342 Brunn and Körte 1872-1916, 21. 343 The elements of a kingly figure visiting a prophetic god at a water-source located in the deepest woods with a chthonic connection appear in Verg. Aen.VII.80-6 when Latinus visits Faunus at a spring from which dark vapors rise out of the earth. Vapors do seem to be a common component of oracle myths as they may have been the source of the prophetic powers of the Delphic oracle. 344 Ov. Fas. 3.300. 345 Ov. Fas. 3.302. 346 Ov. Fas. 3.307-8. 347 The motif of capturing or binding a prophet to obtain his secrets occurs in literature and art. An Etruscan mirror in the British Museum showing a scene from the myths of the Vipenas brothers depicts them capturing the seer Cacu, and, in Virgil’s Eclogues, the woodland god Silenus, a figure remarkably similar to Faunus, is chained with wreaths of flowers to coerce song from him. adgressi - nam saepe senex spe carminis ambo / luserat – inciunt ipsis ex vincula sertis. (Verg., Ecl. VI.18-9). 348 Ov. Fas. 3.312. 70
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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
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: had been devastated at the time whe
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
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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
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