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CHAPTER 4: THE GOAT The earliest, and at the same time the most striking, representation of such a sudden attack is painted on side A of a [Greek] bell crater in Boston, which shows a young goatherd pursued by the god [Pan, Fig. IV.1]… On the other side of the vase… Actaeon, attacked by his dogs, has just been struck down by the arrow of Artemis… There is a remarkable parallel between the two scenes: one has to do with the wild, the other with the domestic, one with hunting, the other with herding, but in both a power that holds sway over animal life turns against a human who is himself a specialist in animals. The roles are reversed, as if to tell us that human technique, in this sphere, can never completely eliminate the irrational forces it works to master, nor establish as irreversible the difference it tries so hard to define. 373 Like the serpent and the wolf, the goat played an important part in the religious symbolism of the Etruscans and Romans. Thus, even though Borgeaud makes the above quote in relation to the Greek goat-god Pan, as depicted on the name vase of the Pan Painter (Boston 10.185) the notion of tension between rational, human forces and wild, animal impulses in nature is again demonstrated by the use of hybrid iconography. The scene of the chase takes place in a rustic setting indicated by an ithyphallic herm positioned on an outcrop of rock. According to Beazley, the Pan Painter was an artist known for his taste in “out-of-the-way subjects.” 374 Beazley states, The god Pan is almost unknown in Attic art before the Persian wars: he had ground complaining to Philippides, on the eve of Marathon, that the Athenians neglected him. After the Persian wars Pan becomes quite popular at Athens: but not in this context: only here is he seen pursuing a boy. 375 The Greek goat hybrid Pan was appropriated by the people of Italy and sometimes associated with their native, sylvan god Faunus. Juno Sospita, who wore the goat skin as the most conspicuous part of her iconography, was one of the most widely worshipped Latin goddesses, and her image appears on numerous antefixes as part of the decorative program of many temples. In each of these cases, the goat is associated with the power to induce both fear, in order to repel both men and evil spirits, and also fertility, in order to increase the growth of vegetation and the 373 Borgeaud 1988, 128-9. 374 Beazley 1974, 2. 375 Beazley 1974, 2. 77
eproduction of animals. 376 These are characteristics that appear to be common to the liminal, theriomorphic and therianthropic deities. In the previous chapter, we encountered the problem of defining Faunus’ animal associations. While examining many facets of Faunus’ character, I proposed that he was not strictly the Roman equivalent of Pan and may even have originally taken the form of a lupine deity. As Wiseman notes, “It was never clear to the Romans whether or not Pan and Faunus were identical. Silvanus, too, was not easy to distinguish from either of them.” 377 This problem is discussed by Pouthier and Rouillard, who proposed that a fixed iconography for Faunus, including a horn of plenty and goat or panther skin, was an invention of nineteenth-century classical scholars 378 and not a product of the ancient world. Thus we must be skeptical when Schilling proposes that “Faunus is merely a Latin disguise for Pan” 379 or Palmer states, “Faunus, of course, was a goat god.” 380 Palmer also asserts that Faunus’ caprid character is supported by his association with other deities, which, as demonstrated earlier in Chapter Three, may instead support a lupine nature for this god. In our subsequent pursuit of the origins of Roman Vediovis, certain goatish divinities of Gaulish influence will clarify the relationship and character of incubation and the oracular gods Faunus, Vediovis, Jupiter, and Silvanus, as well as the goddesses normally called Fauna and Silvana. 381 No other scholar indicates that Vediovis (Veiovis) was conceived of as a goat; he is generally linked to wolves through his connection to Apollo Soranus. Thus, associating Latin divinities such as Faunus and Veiovis with Gallic divinities does not really clear matters up. 382 376 Several of these ideas are embodied in the scene of Pan chasing the goatherd in Fig. IV.1. Perhaps we may look upon the image of the young shepherd chased by Pan as comic, but Borgeaud’s description of the tension between wild nature and civilization is surely closer to the mark. In this instance, the fleeing shepherd represents the effect that goat-man hybrids have on those who face them; the shepherd runs in fear. The argument for the fearsome nature of this scene is strengthened by the artist’s choice to paint a scene of the death of Actaeon on the other side of this vase. 377 Wiseman 2005, 79-80. Nagy (1994, 769) notes that Silvanus can sometimes take the form of a goat-man hybrid, but this phenomenon is sporadic and typically isolated to the region of Dalmatia. 378 Pouthier and Rouillard 1986, 105-6. Dorcey (1992, 34) seems to agree with this suggestion when he states, “Further complicating matters is the complete lack of iconographical evidence for Faunus.” 379 Schilling 1992, 127. 380 Palmer 1974, 147. Palmer (1974, 167) also asserts that “Vediovis and Faunus were principally concerned with Netherworld oracles, fertility and birth. Their bestial associations tended toward the goat after whom Faunus was physically modeled.” 381 Palmer 1974, 139. 382 See Ch. 3 no. 32. Veiovis is sometimes interpreted as an infant Jupiter (Ov. Fas. 3.437-8, 447-8) who was nursed by a goat, and a goat did sometimes accompany images of this god. See Aul. Gel. Att. Noct. 1-12 for a full discussion of Veiovis’ name and his association with the goat. The presence of the goat in this god’s mythical 78
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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
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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: narrative and alternative iconograp
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
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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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