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Nevertheless, literary evidence beginning in the Augustan period presents Faunus as a hybrid of man and goat. 383 It is my position that we must not forget the evidence of the lupine character of the god, and that he actually had a dual nature, as a “wolf in goat's clothing,” so to speak. In the tale of Numa’s capture of Faunus and Picus, Ovid refers to Faunus as quatiens cornua, shaking his horns. 384 Elsewhere, Ovid describes him as semicaper deus, or half-goat god. 385 As mentioned earlier, I believe this is either a part of an iconographic shift that fully linked Faunus to one aspect of Arcadian Pan or the continuation of a dual conception of this god as both the protector and ravager of flocks. It is worth noting that even when depicted as a humorous character by Ovid, Faunus never fully loses the fearsome, chthonic aspect demonstrated in Chapter Three. If we remember that Faunus was associated with Inuus, a god who sexually assaults women in their sleep, then Horace’s depiction of Faunus as a Nympharum fugientum amator, a “lover of fleeing Nymphs,” takes on a new dimension. 386 A second hint of the less-than-benevolent nature of Faunus can be found in Horace’s Ode 1.17. In this example, the poet mentions sacrificial offerings to Faunus in his role as protector of the herd. Often swift Faunus exchanges Mt. Lycaeon For pleasurable Lucretilis And wards off the fiery heat and the constant wind And rains from my she-goats. They, straying safely through the grove, Seek arbutes and thyme, wives of a smelly Husband, and they do not fear greenish vipers, Nor the savage wolves of Mars. 387 In this example, Horace mentions Mt. Lycaeon, a clear reference to the Arcadian cult of Lycaeon Pan, whom we have met earlier in the context of werewolf cults. This epithet reminds us of the dual nature of this god, which Horace perhaps reinforces in his remark regarding the wolves of tradition does not, however, make him a goat god anymore than Aesculapius or Zeus who were both nursed by goats. 383 Schilling 1992, 127. 384 Ov. Fas. 3.312. 385 Ov. Fas. 4.752. 386 Hor. Car. 3.18.1. For Inuus as a nighttime terror see Holleman 1974, 95. This pursuit of fleeing nymphs also brings to mind Pan and the shepherd as depicted on Fig. IV.1. 387 Hor. Car. 1.17.1-10. Latin Text taken from Horace Odes and Epodes, Vol. 3, edited by G.P. Goold, Loeb Classical Library, Cambridge, MA: Harvard <strong>University</strong> Press, 1999, p. 52. (Translation by Author.) Velox amoenum saepe Lucretilem / mutat Lycaeo Faunus et igneam / defendit aestatem capellis / usque meis pluviosque ventos. / inpune tutum per nemus arbutos / quaerunt latentis et thyma deviae / olentis uxores mariti / nec viridis metuunt colubras / nec Martialis haediliae lupos… 79
Mars in line nine. Similarly, Turcan notes in regard to the dedication of the temple of Faunus on the Tiber Island, which took place on February 13, 196 BCE. The god of woods and flocks, Faunus deifies the forces of nature which the peasant both fears and entreats. So in this instance he was propitiated on the fringes of the city and civilized life, in a temple built with the product of fines inflicted on farmers of public grazing land. 388 The date of this dedication in February also stresses the possibility of the dual aspect of the god. Pouthier and Rouillard note that Faunus retains his “infernal” nature in addition to being a fertility god. 389 The dedication of a temple to this god in the month of February is particularly appropriate due to this month’s association with the dead. 390 Of course, the dedication of a temple to Faunus is not the only reason that the month of February is significant to the god, for the Lupercalia also takes place in that month. By the time the ritual activities of the Lupercalia are recorded with any consistency, it is a goat-skin that is donned by the Luperci. The connection between the goat and Faunus is further strengthened by the ritual of using a thong made of goat-skin to purify Rome’s matrons and instill fertility in them. This thong is referred to as the amiculum Iunonis, 391 a name that links Faunus to the goddess Juno, a goddess also conceived of in goat form. In his treatment of the Lupercalia in the Fasti, Ovid again exploits Faunus in a comic light in a farcical etiology for the nudity of the Luperci, priests who participated in one of Rome’s most ancient religious rituals. 392 Faunus is lusting after Omphale: He [Faunus] enters and the reckless paramour wanders to and fro, And he stretches out his cautious hands in pursuit. He had come to the longed for beds where they were stretched out And at his first chance, he is almost lucky. As he feels the skin, shaggy with the hairs of a tawny lion, He holds back his hand and fears for himself, Thunderstruck he pulls back in fear, as a traveler often Takes a step back, shocked by seeing a serpent. Then, he touches the soft veils of the other bed, Which is very close, and he is deceived by a false sign. 388 Turcan 2000, 64. The edge of the city was the place for outsiders and outlaws, and as noted in Chapter 3, both this location and its inhabitants are associated with wolves. 389 Pouthier and Rouillard 1986, 106. 390 Fowler 1925, 306-7. 391 Festus 76,1; Ov. Fas. 2.429-46. 392 The exact “costume” of the Luperci is a matter of debate as mentioned earlier. The Luperci are depicted in art as wearing a garment wrapped around their waist, but references to the nudity of the Luperci (such as in Ovid) confuse the issue. 80
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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
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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 and 90: narrative and alternative iconograp
Page 91: eproduction of animals. 376 These a
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
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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
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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.
Page 237 and 238:
Winter, N. 2006. “Gorgons, Minota
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