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theorizes that Faunus wants to chase Deianeira as he chased Omphale, 362 but this is not entirely convincing even if the figure in the tondo can be identified as Faunus since the stories of Omphale and Deianeira share no narrative elements in common. Perhaps we should instead interpret the running wolf-man as an indication of the fate of the characters in the outer register and read a chthonic symbolism into this figure. Nessos brings about his own death because he attempts to rape Deianeira; Herakles slays him using arrows which had been dipped in the blood of the Lernean Hydra. Deianeira in turn slays Herakles with a cloak soaked in Nessos’ poisoned blood. A terracotta statuette housed in the archaeological museum of Perugia (Fig. III.15) may also be a representation of Faunus. 363 There are no narrative details that could lead to a secure identification of this figure since the sculpture is merely a seated deity. The youthful god wears only an animal skin and hunting boots. The identity of the animal skin is not entirely certain and scholars have argued that it is either a wolf or a lion. The possibility that the skin is meant to be that of a lion has led to the identification of this figure as Herakles, 364 but I would argue against this identification, based on the similarity of this figure to the wolf-man on the urns, the absence of Herakles’ club or bow, and my own observation of the skin, the physical features of which (shape of head, snout, etc) appear more canine than leonine. If indeed the skin is that of a wolf, then this figure is the lupine god of the Etruscans. An important detail mentioned by B. Dozzini 365 in a brief discussion of this piece is that the hands of the god seem to make apotropaic gestures. The left hand is in the shape of the manu cornuta and the right, although the fingers are broken, seems to have had an extended middle finger. A second interpretation of this iconography was proposed by A. Stenico, who suggests that this statuette follows a pattern of iconography for the Lares as recorded by Plutarch, who notes that the Lares can be clad in dog skins as well as accompanied by dogs. 366 Stenico’s 362 Cerchiai 2000, 226-7. 363 Dozzoni (1983, 79) notes one unusual detail is that a Latin artist, Caius Rufius Sigillator actually signed this statuette and made his role in its sculpting clear by the use of the verb “finxit.” 364 Dozzini (1983, 79) identifies this figure as Herakles even though he identifies the skin as that of a mastiff. 365 Dozzini 1983, 79-80; Messerschmitt (1942, 206) suggests that this is a type of Hercules Epitrapezios, a seated Herakles, after the model of Lysippos’ famous sculpture. 366 Stenico 1947, 75. Plut. Quaes. Rom. 51. Waites (1920, 250-2) discusses the possibility of presenting the Lares as wearing dog skins following Plutarch but provides no examples of this iconography. She also notes that the wearing of dog skins by the Lares may be part of their assimilation to Silvanus. In his discussion of the nature of the Silvanus Lar agrestis, Palmer (1974, 116) makes the following statement, “Suffice it to recall for the moment that the dedication to the Lares at Tor Tignosa was found in the place of Faunus’ oracle, and that Faunus is notoriously 73
suggestion is plausible, but due to the other appearances of the wolf-god in art and the lack of any other examples of a Lar clad in a wolf-skin, I would argue for identifying the statuette as Faunus based on the similarity of this figure to Fig. III.12. 367 In the case of the plate and the statuette we cannot say for certain which god is represented. It could be any one of the wolf-deities discussed in this text. Because of my hypothesis that Faunus is represented on the cinerary urns depicting a combat with a wolf-god (Fig. III.10-12), I am inclined to suggest that both the plate and statuette are representations of the god Faunus. The variance in iconography, a wolf-man on the plate and a god wearing a wolf-skin in the statuette, can be compared to the varying appearance of the wolf-god on the cinerary urns. The youth of the statuette, lacking a beard, may parallel the god depicted on the terracotta urn from Perugia (Fig. III.12). Even so, the lack of a beard does not wholly secure the identification of these two figures since Tinia is often beardless and youthful as opposed to his Greek counterpart, Zeus who is regularly shown as an older, bearded male. 368 Youth may also indicate that the statuette is a representation of Apollo Soranus or uri, but it is difficult to say for sure since another of the statuette’s details, the hunting boots, may argue for identification as a rustic deity, such as Faunus. One last piece that bears discussion is a bronze figurine that defies easy explanation but has been identified as Herakles due to iconography that makes use of an animal skin and a club- like weapon (Fig. III.16). This identification is not certain, though, as the animal skin is not that of a lion, but more likely a wolf, and the weapon could be a lagobolon. The wolf-skin takes the form of a cap and stops at his shoulders; it does not extend down the back of the figure. If indeed this figure carries a lagobolon, then the combination of wolf-skin and hunting stick suggest Faunus instead of Herakles. The most curious characteristic of this figurine is that its confused with Silvanus and the local deity, Inuus. Capella’s Lar Omnium Cunctalis “All Lar of All Things” may be considered a rendition of Pan (=omne), who was the Romans’ Faunus or Silvanus. If he is Pan, he supplies an analogue to the Silvanus Lar agrestis.” 367 Boyce (1937, 58) describes the “usual” type of painted Lar in lararia at Pompeii as “wearing elaborate girded tunics with loose folds which fly out from their bodies as they dance on the tips of their toes” and holding a rhyton and/or a situla. He makes no mention of the convention of a Lar clad in a wolf-skin. Orr (1978, 1568-9) describes a similar iconography and also makes no mention of wolf skins. 368 De Grummond 2006a, 12. When discussing the iconography of Aesculapius, Edelstein and Edelstein (1945, 219) point out that chronology and local variation can also determine whether or not a god is depicted as bearded or clean shaven. Thus, the presence of or lack of a beard does not secure the identity of the god. 74
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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
Page 29 and 30:
In general, theriomorphic and theri
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paradoxical, as the loss of a valua
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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: figure has been identified as a wol
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
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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
Page 159 and 160:
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
Page 197 and 198:
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.
Page 237 and 238:
Winter, N. 2006. “Gorgons, Minota
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