Final Draft - Preview Matter - Florida State University

More documents

Recommendations

Info

the ability of horns to ward off evil. 413 The belief in the evil-eye and the powers of malevolent spirits was quite prominent on the Italian peninsula, and there is further evidence of attempts to ward off the evil-eye in tomb painting. 414 A second example of this goddess’ presence in an Etruscan context appears on a “Pontic” vase (Fig. IV.5), on which Uni is again represented with the iconography of Juno Sospita. 415 The upper register of decoration on one side of the belly of this “Pontic” amphora represents one facet of the relationship between Uni and Hercle. The enmity between Herakles and Hera is well known in Greek mythology, as Hera often sought to punish Zeus’ illegitimate child for his father’s transgressions, 416 and perhaps this enmity is reflected on this “Pontic” vase. It may be that we are meant to interpret this scene as an Etruscan attribution of this aspect of Hera’s character to the goddess Juno Sospita. This scene is reminiscent of the battle between Herakles and Apollo for the tripod of Delphi as the conflict between Hercle and Uni is here set amongst two large dinoi decorated with snake protomes. Perhaps Hercle and Uni are struggling for dominance over a shrine. Hercle and Uni are not the only deities depicted in this register of decoration; Menerva appears behind Hercle, Tinia 417 behind Uni, perhaps to support the combatants or to end the fight between them. The role of the supporting deities is not clear. Thus while the earliest recognizable images of this goddess date to the Archaic Period, the image of Juno clad in a goat skin persisted through the Hellenistic Period, as can be seen on Etruscan bronze mirrors (Fig. IV.6.), and into the High Empire (Figs. IV.8).The unchanging nature of Juno Sospita’s iconography is reflected not only in art but also in literature. Cicero describes her iconographic type briefly in the De Natura Deorum I.82. And why indeed do you think that Apis, sacred bull of the Egyptians, seems to be a god to them? For, by Hercules, just such a goddess is your Sospita, whom you never see, not even in sleep, without a goat skin, spear, shield, and shoes with turned up toes. But Argive Hera is not like this, and neither is Roman Juno. Therefore, there is one likeness of Juno for the Argives, another for the men of 413 Moss and Cappannari 1976, 9. 414 Moss and Cappannari (1976, 5,8) note that the belief in the evil-eye was present on the whole of the Italian peninsula and that “horning the fingers” is an apotropaic gesture made to avert this baleful force. This gesture is made by one of the dancers in the Tomb of the Lionesses. 415 De Grummond (2006a, 81) states “She [Uni] does appear with weapons, however; like Astarte, Uni had a warlike aspect. She was sometimes represented armed, and instead of a helmet and breastplate, she wore the skin of a horned goat, occurring elsewhere in Italy in the Latin cult of Juno Sospita at Lanuvium.” 416 Euripides’ tragedy, The Madness of Herakles, in which the goddess Lyssa, at Hera’s request, drives Herakles mad and forces him to murder his wife and children, is perhaps the most vivid example of Hera’s hatred for her stepson. 417 Douglas (1913, 62) identifies the god standing behind Uni as Poseidon. 85
Lanuvium, and indeed there is one likeness for us on the Capitoline, and another for the Africans of Jupiter Ammon. 418 The Romans appropriated this goddess after conquering the Latins and making Lanuvium a part of the Roman federation in 338 BCE. 419 Juno Sospita then received a temple in the Forum Holitorium in 194 BCE as the fulfillment of a vow made by Cornelius Cethegus, consul in 197 BCE, when he routed the Cenomani and the Insubres. 420 Unfortunately, no literary narratives recording myths of Juno Sospita survive for us. Yet, the visual evidence provides us hints at several stories. In Etruscan art, Juno Sospita is sometimes shown in conflict with satyrs and occasionally aided by her step-son, Hercle, even though he can also replace the Satyrs as her enemy. 421 It is tempting to see a connection between this conflict and the use of both Juno Sospita’s image and images of Satyrs as antefixes that decorated the beams of many temples throughout Italy. Simon suggests that the use of the head of Juno Sospita as an antefix is in accordance with a myth in which Uni makes peace with the Satyrs, who had previously been her enemy, 422 but as mentioned earlier, no such myth is known in literature. A concord between “goat divinities” may exist in the connection between Juno and Faunus through the rites of the Lupercalia, but, as I have stated earlier, I am not convinced that Faunus was conceived of as a goat deity in the Archaic Period in Italy unless he was simultaneously thought of as both goat and wolf. On the other hand, we may just as easily attribute the combining of images of Juno and Satyrs to the scenes of their conflict, for which we at least do have visual representations. Perhaps we may contextualize the combination of images 418 Cic. Nat. D. I.29.82. Latin Text taken from Cicero Nature of the Gods, Academics, Vol. 19, edited by J. Henderson, Loeb Classical Library, Cambridge, MA: Harvard <strong>University</strong> Press, 2000, p. 78. (Translation by Author.) Quid igitur censes? Apim illum sanctum Aegyptiorum bovem nonne deum videri Aegyptiis? Tam, hercle, quam tibi illam vestram Sospitam. Quam tu numquam ne in somnis quidem vides nisi cum pelle caprina, cum hasta, cum scutulo cum calceolis repandis : at non est talis Argia nec Romana Iuno. Ergo alia species Iunonis Argivis, alia Lanuinis. Et quidem alia nobis Capitolini, alia Afris Hammonis Iovis. 419 Shields 1926, 67. Gordon (1938, 22) points out that the city was given Roman citizenship only after they agreed to allow the Romans share in the worship of this goddess. Citizenship was an important political tool used by the Romans during the conquest of Italy, and this underlines the significance of the goddess. 420 Livy 32.30.10. 421 De Grummond 2006a, 82. 422 Simon 2006, 51-2. 86
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 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 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: appear as Juno Sospita, clad in a g
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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?