Final Draft - Preview Matter - Florida State University

More documents

Recommendations

Info

Ovid’s association of Faunus and Picus is provocative. Both are descendants of Mars according to some sources, and, if Faunus was a wolf-man at one point, the two animals sacred to Mars, the wolf and the woodpecker, are paired together in Ovid’s account. 350 What we probably have in Ovid’s account is the reflection of an earlier myth (approximately 150 years separate urns and text) that Ovid has adapted for his own purposes in his poetic calendar. Changing an Etruscan myth to fit a Roman context is typical of the way Ovid uses myths. Ovid’s myths are highly “literary” in nature; he is not merely compiling an anthology in works such as the Metamorphoses and the Fasti. 351 We should also keep in mind that myths were by no means standardized, as Kirk states, “Myths are not uniform, logical and internally consistent; they are multiform, imaginative and loose in their details. Moreover their emphases can change from one year, or generation, to the next.” 352 This dictum is often forgotten when comparing visual evidence to literature, a problem addressed by Small in her text The Parallel Worlds of Classical Art and Text. Small outlines several difficulties in relating a myth to a particular literary source: artists did not need to rely on a text when creating an image, there was no “original” source for a myth, and, in antiquity, imitation had little to do with “mimetic fidelity.” 353 A bronze ash urn (Fig. III.13) that dates to the end of the 8th C BCE has been identified as “the best candidate for mythical subject matter in the earliest Etruscan period.” 354 This may be the earliest version of this story on an object that served the same function as the urns of the 3 rd C BCE. The similarity of the scenes is striking. The urn has a number of armed, naked, ithyphallic warriors surrounding the central figure and moving clockwise around it. This central 349 The absence of Picus may not be such a hindrance to identifying this scene as the chaining of Faunus. Oleson (1975, 192) notes the absence of Polyxena from the ambush of Troilos in the Tomb of the Bull, and so this is referred to as a variation. The scene remains accepted as the ambush of Troilos. 350 Dion. Hal. Ant. Rom.I.31.2. Dionysius states that Evander and his Arcadian followers were welcomed into Italy by Faunus, a native Italian, who was in control of the lands they wished to settle. Immediately after the Arcadian presence was established, they set up a temple to Lycaean Pan. Altheim (1937, 67, 226), in his discussion of Mars as a bull-god, remarks that Faunus belongs to the circle of Mars and further links the wolf and the woodpecker in the forms of Faunus and Picus in his discussion of the woodpecker god. Rosivach (1980, 143) vigorously asserts that this story of Faunus and Picus has nothing to do with the god Mars because of the playful nature of the account. I disagree and would point out that Ovid often treats serious subjects playfully. 351 Barchiesi (1997, 47-51) makes this quite clear in relation to the Fasti, but Ovid’s “playful” nature can be seen in all of his works. 352 Kirk 1974, 29. 353 Small 2003, 156-9. 354 De Grummond 2006a, 2. 71
figure has been identified as a wolf or wolf-man. 355 This wolf-man is bound by a chain at the neck, and its hands, or paws, are raised in a threatening manner. There is no doubt in my mind that this represents the same story as the urns. De Grummond also notes the ritual character of this scene. 356 The importance of the practice of expiating lightning within Etruscan religion has been demonstrated by S. Weinstock. 357 That the earliest recognizable mythic narrative in Etruscan art may be linked to a religious ritual that makes up part of the Etrusca disciplina 358 should surprise no one. With this material in the background, we can now attempt to identify the subject of several artifacts that depict a god wearing a wolf-skin or a therianthrope. The first of these is a Pontic plate by the Tityos Painter, dated ca. 520 BCE (Fig. III.14). In Roma: Romulo, Remo, e la fondazione della città, L. Cerchiai designates the wolf-headed figure in the tondo of the plate as Faunus. 359 Around the rim of the plate is a scene convincingly interpreted as Herakles attacking the centaur Nessos as the latter pursues Deianeira. Cerchiai suggests a mythological context for the images on the plate. He links the running wolf-man to the scene of Herakles, Nessos, and Deianeira with the burlesque story of Faunus’ failed attempt to rape Omphale. 360 He makes this connection because of a common theme of “the chase.” It must be admitted that the visual elements of the decoration on this plate do not clarify the link between the wolf-man and the other figures present in the outer zone of decoration. The wolf-man is oriented in the same direction as Herakles, Nessos, and Deianeira, moving counterclockwise, but his position in the tondo isolates him from the other narrative. It is difficult to say if he is meant to be viewed as somehow related to the scene surrounding him, or, if he belongs to a separate mythological context. Perhaps we are meant to interpret him as an apotropaic in the manner of gorgoneia that appear in other drinking vessels. The story of Faunus’ misadventure with Hercules and Omphale occurs in Ovid’s treatment of the Lupercalia in the Fasti as one aition for the nudity of the Luperci. 361 Cerchiai 355 De Grummond 2006a, 13; Elliott 1992, 20. 356 De Grummond 2006a, 14. 357 Wienstock 1951, 122-53. 358 The Etrusca Disciplina was a body of written knowledge which contained books on prophecy, interpreting omens, the underworld, and other important religious doctrine. Unfortunately, no original Etruscan sources are preserved for us, and we must rely on references to the Etruscan disciplina in Greek and Roman sources. 359 Cerchiai 2000, 226-7. See also Elliott 1995, 27 for an interpretation of this figure as the mysterious Olta. 360 Ov. Fas. 2.303-58. 361 I shall return to this myth in my discussion of the character of Faunus in the following chapter. 72
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 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: Ovid takes place at a water source
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
show all

Final Draft - Preview Matter - Florida State University

Create successful ePaper yourself

Delete template?

Save as template?