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head has been turned 180 degrees. 369 This twisting of the head has been interpreted by Faraone as a common feature of a binding spell, and thus the statue represents the curtailing of this god’s power. 370 If we accept Minto’s identification of this figure as Herakles, 371 we must ask ourselves why he is “bound” in such a way. Faraone notes that Herakles was not only a savior but also one who was thought of as a “sacker of cities,” 372 but this god’s wolf-skin argues against the identification of this figurine as Greece’s greatest hero. (In Etruria, Herakles also seems to have a primarily positive aspect.) If not Herakles, in light of the evidence for the prominence of wolf- gods in Etruria, perhaps we can interpret this as Faunus. If so, we may have yet another link to the binding and control of Faunus, the theme that appears on the Bisenzio ash urn and the Hellenistic urns. This argument makes sense when combined with the idea of Faunus as a creature of nightmare, and his links to Inuus the ravager of sleeping women. The figurine may represent a magical attempt to ward off night-terrors and evil spirits during one’s sleep. More information about the find spot of this figurine might help to illuminate its exact function. As we can see from all of the evidence for lupine gods in Italy, the wolf was a representative of chthonic powers tied to fertility and death. The physical characteristics and behavior (large fangs, glowing eyes, role of predator, howling at night, and prowling the edges of human towns in search of food) make it an animal ideally suited for association with gods of the underworld. It is concretely associated with the gods Aita and Apollo Soranus, and may have given its shape to the Etruscan death god, Calu or Tinia-Calusna. Canine iconography may have been partly a result of Etruscan familiarity with the Egyptian psychopomp and god of embalming, Anubis, who was accepted into Greco-Roman tradition in relation to the cult of Isis. The appearance of the wolf in Italic religion extends beyond Etruria into Latium and Samnium as well. Three groups of priests, the Lucani, Hirpi, and Luperci bear the name “Wolf- men,” and their rituals are mirrored in fantastic tales of lycanthropy as well as the rites of the cults of Lycaean Zeus and Apollo. The etymology of the name Luperci, the rituals of the Lupercalia, and links to deities such as Silvanus and Sucellus hint at a lupine nature of the god Faunus as well. If this is the case, then a series of cinerary urns from Etruria may preserve a 369 Faraone (1991, 203) mentions that the legs of this figurine are broken off at the knees, but he does not specify whether or not this has anything to do with a binding ritual or with an accident of preservation. 370 Faraone (1992, 171) notes that the Spartans honored a statue of Ares Enyalius which was fettered. They represented the god in this way in order to curtail the wanton, destructive power of the god. 371 Minto 1927, 475-6. 372 Faraone 1992, 58-9. 75
narrative and alternative iconography of this god, and we can use these to identify other representations of the wolf-god in Etruria. All in all, the presence of the wolf is strongly felt in Etruscan and Roman religion, and perhaps this figure is beginning to come out of the shadows. 76
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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
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paradoxical, as the loss of a valua
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metaphor that could be used by man
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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: suggestion is plausible, but due to
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
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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
Page 165 and 166:
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
Page 205 and 206:
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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