THE RELIGION OF THE ETRUSCANS

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2 THE RELIGION OF THE ETRUSCANS

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4 THE RELIGION OF THE ETRUSCANS Nancy Thomson de Grummond and Erika Simon, Editors University of Texas Press Austin

5 Selections from volumes in the Loeb Classical Library are reprinted in Appendix B (p. 191). The Loeb Classical Library is a registered trademark of the President and Fellows of Harvard College. Copyright 2006 by the University of Texas Press All rights reserved Printed in the United States of America First edition, 2006 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX The paper used in this book meets the minimum requirements of ansi/niso z (r1997) (Permanence of Paper). Library of Congress Cataloging-in-Publication Data The religion of the Etruscans / Nancy Thomson de Grummond and Erika Simon, editors. 1st ed. p. cm. Includes bibliographical references and index. isbn (cloth : alk. paper) 1. Etruscans Religion Congresses. I. De Grummond, Nancy Thomson. II. Simon, Erika. bl740.r '.9294 dc

6 CONTENTS Editors Note vii List of Abbreviations viii Contributors to This Volume ix Preface xi W. Jeffrey Tatum I. Introduction: The History of the Study of Etruscan Religion 1 Nancy Thomson de Grummond II. Etruscan Inscriptions and Etruscan Religion 9 Larissa Bonfante III. Prophets and Priests 27 Nancy Thomson de Grummond IV. Gods in Harmony: The Etruscan Pantheon 45 Erika Simon V. The Grave and Beyond in Etruscan Religion 66 Ingrid Krauskopf VI. Votive Offerings in Etruscan Religion 90 Jean MacIntosh Turfa VII. Ritual Space and Boundaries in Etruscan Religion 116 Ingrid E. M. Edlund-Berry VIII. Sacred Architecture and the Religion of the Etruscans 132 Giovanni Colonna Glossary 169 Appendix A: The Etruscan Brontoscopic Calendar 173 Jean MacIntosh Turfa Appendix B: Selected Latin and Greek Literary Sources on Etruscan Religion 191 Nancy Thomson de Grummond Index 219

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8 EDITORS NOTE In TheReligionoftheEtruscansthe abbreviations of journals and series as well as of basic reference works in classical studies are those used by the American Journal of Archaeology and listed in aja 104 (2000), An updated version is on the website: s info contrib 7.html. A glossary of technical terms and words that may be otherwise unfamiliar to the reader is provided at the back of this book. Words that are included in the glossary are regularly marked with an asterisk in the text the first time the term is used in a particular chapter (e.g., templum*).there is also a glossary of the most important Etruscan gods by Erika Simon in Chapter IV. The spellings used for the names of the gods in Chapter IV are used as much as possible throughout the book. Etruscan orthography, however, was by no means consistent,andreferencesmaybemadetoinscriptionsinwhich a name has an alternate spelling. A different kind of problem arises for nomenclature because we do not know the names in Etruscan of many of the archaeological sites mentioned in this book. Many scholars use a blend of modern Italian, ancient Roman (i.e., Latin), and occasionally, Etruscan, names for Etruscan cities and other sites, and this book is no exception. Maps showing the major Etruscan cities and mountains may be found on page 124. As much as possible we have attempted to use ancient names; these are mainly Roman. Thus we refer to Caere, Populonia, Veii, Vetulonia, and Vulci, in accordance with established custom, and also the less common forms of Tarquinii and Volaterrae. The names Cerveteri, Tarquinia, and Volterra are used to refer to the modern cities with those names. Some scholars refer to Orvieto as the ancient Volsinii and to Bologna as Felsina. When no ancient name is known or agreed upon, we use the modern Italian name. For the names of tombs, we have opted for translating the many Italian names into English as a policy that will help make the vocabulary of Etruscan scholarship more readily accessible to students and to others who may be beginning the study of the Etruscans. The appendices provide a Greek text and an English translation of the Etruscan Brontoscopic Calendar, as well as key original texts in Latin and Greek, with English translations. The standard chronology of the periods of Etruscan culture is as follows: Iron Age/Villanovan 1000/ /700 bce Orientalizing 750/ bce Archaic /450 bce Classical 475/ bce Hellenistic 300 bce first century bce For dates of Latin and Greek authors and of selected texts, see the appropriate entries in the index. vii

9 LIST OF ABBREVIATIONS The following works are so frequently used throughout the book that it seemed appropriate to give abbreviations to them: anrw = Aufstieg und Niedergang der römischen Welt, ed. H. Temporini. Berlin, cie = Corpus Inscriptionum Etruscarum. cse = Corpus Speculorum Etruscorum. Dizionario = Dizionario della Civiltà Etrusca, ed. M. Cristofani. Florence, ehca = An Encyclopedia of the History of Classical Archaeology, ed. N. T. de Grummond. 2 vols. Westport, es = Etruskische Spiegel, ed. E. Gerhard, G. Körte, and A. Klügmann. 5 vols. Berlin, et =H.Rix,Etruskische Texte. 2 vols. Tübingen, Etruscan Painting = S. Steingräber, Etruscan Painting: CatalogueRaisonnéofEtruscanWallPaintings, ed. D. Ridgway and F. R. Ridgway. New York, limc = Lexicon Iconographicum Mythologiae Classicae lprh = Les Étrusques, les plus religieux des hommes: État de la recherche sur la religion étrusque. Actes du colloque international Grand Palais , ed.d.briquel and F. Gaultier. Paris, Rasenna = Rasenna: Storia e civiltà degli etruschi, ed. M. Pallottino et al. Milan, ThLE = Thesaurus Linguae Etruscae, ed. M. Pandolfini Angeletti. Rome, tle = Testimonia Linguae Etruscae, ed. M. Pallottino. 2nd ed. Florence, viii

10 CONTRIBUTORS TO THIS VOLUME Larissa Bonfante is Professor of Classics at New York University. She is the author of Etruscan Dress (new ed., 2003) and TheEtruscanLanguage(2nd ed., 2002, with Giuliano Bonfante) and is author and editor of Etruscan Life and Afterlife: A Handbook of Etruscan Studies (1986). Since 1974 she has served as the chair of the U.S. Committee for the Corpus of Etruscan Mirrors (Corpus Speculorum Etruscorum). She is the author of numerous articles on Etruscan civilization, dress, language, and art. Giovanni Colonna is Professor of Etruscology and Italic Archaeology at the University of Rome La Sapienza. He has directed the excavations at the Etruscan sanctuary of Pyrgi since its inception in the 1950s and has published numerous reports on his results. He is the author of Bronzi umbro-sabellici (1970) and, with Elena di Paolo, Castel d Asso (1970) and Norchia (1978).Many of his more than three hundred articles on various topics are now collected in Italia ante Romanum Imperium, I IV, Pisa/Rome, He has curated a number of museum exhibitions, the most notable of which was his Santuari d Etruria (1985). Nancy Thomson de Grummond is the M. Lynette Thompson Professor of Classics at Florida State University (fsu). She specializes in Etruscan, Roman, and Hellenistic art and archaeology, with a particular concentration on Etruscan myth and religion. She serves as director of excavations at Cetamura del Chianti under the auspices of the fsu Archaeology Programs in Italy. Her publications include A GuidetoEtruscanMirrors(Tallahassee, FL, 1982) and EtruscanMythology,SacredHistoryandLegend:AnIntroduction (forthcoming, Publications of the University of Pennsylvania Museum). Ingrid E. M. Edlund-Berry is Professor of Classics and Classical Archaeology at the University of Texas at Austin. She is the author of The Iron Age and Etruscan Vases in the Olcott Collection at Columbia University, New York (1980), TheGodsandthePlace(1987), and TheSeatedandStandingStatueAkroteriafromPoggioCivitate(Murlo)(1992). She has completed a publication of the Central Sanctuary of Morgantina in Sicily and in collaboration with Lucy Shoe Meritt has recently published a reissue of Etruscan and Republican Roman Mouldings (2003). Ingrid Krauskopf is Professor at the University of Heidelberg and associate of the Heidelberg Academy of Science, where she has guided the work of the Lexicon Iconographicum Mythologiae Classicae (limc). She has published numerous articles and books on Etruscan mythology and religion, including the basic book on Etruscan demonology, Todesdämonen und Totengötter in der vorhellenistischen Kunst (1987), and numerous articles on Etruscan mythology in the limc. Erika Simon, who served as Langford Family Eminent Scholar in Classics at Florida State University in 1999, is Professor Emerita of Würzburg University, where she held the chair for Classical Archaeology and served as director of the antiquities section of the Martin-von-Wagner Museum. She is the author or editor of many books on Greek, Roman, and Etruscan art, myth, and religion, including Ara Pacis Augustae (1968), Augustus:KunstundLebeninRomumdieZeitenwende (1986), Schriften zur etruskischen und italischen Kunst und Religion (1996). W. Jeffrey Tatum is the Olivia Dorman Professor of Classics at Florida State University. A specialist in the literature and history of the Late Roman Republic, he is the author of numerous articles and of the volume The Patrician Tribune: Publius Clodius Pulcher (Chapel Hill, NC, 1999). He is currently writing a commentary on the Commentariolum Petitionis foroxforduniversitypress. Jean MacIntosh Turfa is a Research Associate at the University of Pennsylvania Museum. Recent publications have been in the fields of Etruscan architecture, Etruscan votive offerings, art and myth in the Greek colonies, and parasols in Etruscan art. She served as consultant for the installation of the new galleries of Etruscan and Faliscan antiquities in the University Museum, now published as Catalogue of the Etruscan Gallery of the University of Pennsylvania Museum of Archaeology and Anthropology (2005). ix

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12 PREFACE W. Jeffrey Tatum During the spring term of 1999, the Department of Classics at The Florida State University organized and hosted a conference, the title of which was The Religion of the Etruscans, in honor of Erika Simon, who was in that year the Langford Eminent Scholar in Classics. The Eminent Scholar s chair and the expenses of the conference were made possible by funding from the George and Marian Langford Family Endowment in Classics. The smooth running of the conference was owed to the congeniality of the participants and to the industry of several individuals: Susan Stetson, the department s office manager; Kimberley Christensen, Harry Neilson, and Sarah Stinson, graduate students in the department; and Nancy de Grummond and Leon Golden, who were the faculty coordinators of the conference. It is difficult to imagine a more important, or more formidable, subject than Etruscan religion. Readers of this collection will not need telling that the Etruscans were without question the pivotal people of central Italy during the Archaic period or that their effect on later Italian culture, owing to their influence on Roman civilization, was considerable, if not yet quite completely sorted out to everyone s satisfaction. The religion of any society is crucial to its proper apprehension. All the more so for a nation that, as Livy put it, was more than any other dedicated to religion, the more as they excelled in practicing it (Livy 5.1.6; cf. Appendix B: Selected Latin and Greek Literary Sources on Etruscan Religion, Source no. i.1).the significance of this remark is underscored by the fact that, from the perspective of the Greeks, the Romans themselves were quite exceptional in their scrupulous religiosity, a quality that Polybius deemed one of the strengths of the Roman constitution. Etruscan religion can hardly be said to be an unexplored topic, though it is far too little discussed in Anglophone scholarship, a state of affairs this collection will go a long way toward correcting. The extent to which past examinations of Etruscan religion have resulted in infallible conclusions, on the other hand, must remain an arguable matter. The impediments to the recuperation of any alien religion are several and severe, and this must especially be so for an extinct tradition. Which means that the study of any ancient religion demands an inordinately high degree of methodological self-consciousness, a resistance to neat and easy conclusions that must be reinforced even more when the information for that tradition tends to derive from material evidence and from secondary sources scattered over a considerable period of history, which is the state of affairs that obtains for the study of Etruscan religion. Indeed, it is fair to say that the problematic nature of all literary sources for Etruscan culture constitutes the principal difficulty confronting Etruscan studies, a difficulty that is sometimes finessed by a perhaps too ready recourse to speculation or at least a recourse to speculation that is too ready to carry conviction among minds of an Anglo-Saxon bent. The study of Roman religion can be illuminating in this regard. The Late Republic supplies an abundance of written sources historical, philosophical, oratorical, and literary for the religious practices and the religious mentalities of the Roman elite. Ample material exists from a variety of genres, all originating in a well-defined and reasonably well understood milieu. Yet only in the past twenty years have students of Roman religion succeeded in recognizing the Christianizing assumptions that have colored their interpretation of these sources, an important step forward. One may still insist, however, that scholars have to too large an extent tended to swap their Christian framework for an anthropological one, by which I mean the anthropology of the 1970s and not of the 1990s (or of the current decade), which is far from the same thing. 1 Still, the current state of affairs is a healthy agnosticism or at the very least a sane confusion. To take only one instance, it would be a rash scholar these days who, after reading Beard or Schofield, claimed to know exactly what were Cicero s views on divination. 2 Moreover, it is becoming increasingly clear that we must be more careful in our attenxi

13 xii W. Jeffrey Tatum tion to the plurality of voices that speak to us from the past, not least because, even on fundamental issues such as augural law, Romans of the elite classes held strongly conflicting opinions, none of which can legitimately or meaningfully be discarded as wrong. 3 In sum, the recuperation of Roman religiosity in the Late Republic, a period of extraordinarily rich documentation, remains elusive and challenging, to say the very least. How much harder, then, is the recuperation of Etruscan religion. And how suggestive, though inconclusive, are our sources! Let me avoid becoming bogged down in distinguishing Etruscan from Hellenic patterns of worship and of religious representation and turn directly to Etruscan divination. Though we enjoy an abundance of references to the Etrusca disciplina* and its practitioners, whom the Romans called haruspices,* we are confronted by difficulties at every turn. In the middle of the second century, the elder Cato wondered how a haruspex could pass a colleague on the street without giving him a wink (Cicero, De div. 2.52). At about the same time, Ti. Gracchus, the consul of 177, spurned the instructions of the haruspices by sneering, Who are you Etruscan barbarians to know the Roman constitution? (Cicero, nd 2.11). Yet these events transpired, if Cicero is honest in recounting them, at the very time when Polybius was informing the Greek world of the Romans punctiliousness in all matters religious, an attitude he described as their fear of the gods. The apparent contrast matters. By the end of the century, however, the consultation of Etruscan haruspices had been assimilated to the mechanisms of civic religion: the Senate could consult the haruspices through the mediation of the Decimviri (later the Quindecimviri) sacris faciundis, the college that also consulted the foreign Sibylline books. In this regard, Etruscan religion was treated by the Romans little differently from Greek religion, which, as Denis Feeney has made clear, the Romans appropriated sometimes without comment and without historical memory but sometimes through elaborate and selfconscious mechanisms for preserving a sense of distance and difference from the Greek element in their religious life. 4 Indeed, it was by carefully maintaining Greek, and Etruscan, religion as simultaneously integral and marginal that the Romans made it Roman, all of which highlights an approach to religion that must render all Roman practices, and all Roman references to Etruscan religion, an interpretive challenge of the highest order. Inscriptions are hardly more straightforward. Though we possess an inventory of Tarquinian haruspices, it is by no means clear that we have to do with anything more than a local organization, despite the more powerful claims that have been made for this information. We do not even know if there was a formal ordo during Cicero s day. 5 The orator s serious attempt to interpret the most famous of all haruspical responses in the speech De haruspicum responso tells us next to nothing about its authors. Nor does Cicero denigrate the importance of the responsum itself, the proper interpretation of which was deemed by the whole of the Roman elite to be a matter of vital concern. Indeed, Cicero s enemy, Clodius Pulcher, was endeavoring to exploit this responsum so as to overturn nothing less than a previous decision of the pontifical college and a decree of the Senate pertaining to (Roman) religion, strong evidence of the value placed by the Roman elite in the Etrusca disciplina. 6 No surprise, then, that Late Republican antiquarians, some with Etruscan credentials, endeavored to provide accounts of Etruscan religion. Let us hope they were more successful than Varro in avoiding the Hellenizing and philosophical influences that permeated the intellectual life of the time. The status of theharuspices, high in the first century bce, continued to rise. The emperor Claudius established a formal collegium, which he removed to the supervision of the pontiffs. As is well known, it was also the opinion of his attending haruspices, whether members of a state collegium or not we cannot say, that inspired Diocletian s distaste and distrust for Christianity. Even the haruspices, however, could not withstand the grey-eyed Galilean: Constantine crushed Maxentius despite their advice, and, the support of Julian notwithstanding, the disciplina was outlawed at the end of the fourth century by Theodosius. Even the Christians were impressed: Arnobius, in an expression that does his Latin little credit, described Etruria as genetrix et mater superstitionum (Adv. nat. 7.26; Appendix B, Source no. i.2). Much, then, can be said about the haruspices, and much else about Etruscan religious practices circulating in Roman writings. But the provenance of this material ought at least to give one pause, and the dangers of selecting information from various periods of Roman history ought to be too evident to require comment. All of which is to say that the contributors to this volume were faced with a task as daunting as it is important. I think it is fair to say, however, that their efforts show a good measure of success. Whatever the weaknesses of modern times, we are, thankfully, no longer at the mercy of the shapes and the patterns of entrails. Diligence is the mother of good fortune, as Cervantes put it, and, in the absence of a visitation by Vegoia (cf. Source no. ii.1), diligence and good fortune must remain essential elements in the endeavor to recover the nature of the Etruscans beliefs and practices.

14 Preface xiii NOTES 1. A brief selection of recent and fundamental work (with further literature): Beard 1994; Beard, North, and Price 1998; Liebeschuetz, 1979; Linderski 1997; North 2000; Price Beard 1986; Schofield, 1986, Tatum 1999b. 4. Feeney 1998, Rawson 1991, Discussion of this episode: Tatum 1999a, BIBLIOGRAPHY Beard, M Cicero and Divination: The Formation of a Latin Discourse. jrs 76, Beard, M Religion, in TheCambridgeAncientHistory,eds. J. A. Crook, A. Lintott, and E. Rawson, vol. 9, 2nd ed. Cambridge Beard, M., J. North, and S. Price 1998.Religions of Rome. 2 vols. Cambridge. Feeney, D LiteratureandReligionatRome:Cultures,Contexts and Beliefs. Cambridge. Liebeschuetz, J. H. W. G Continuity and Change in Roman Religion. Oxford. Linderski, J Roman Questions. Stuttgart. North, J. A Roman Religion. Oxford. Price, S Rituals and Power: The Roman Imperial Cult in Asia Minor. Cambridge. Rawson, E Roman Culture and Society. Oxford. Schofield, M Cicero for and against Divination, jrs 76, Tatum, W. J. 1999a. The Patrician Tribune: Publius Clodius Pulcher. Chapel Hill b. Roman Religion: Fragments and Further Questions. In Veritatis Amicitiaeque Causa: Essays in Honor of Anna LydiaMottoandJohnR.Clark,eds. S. N. Byrne and E. P. Cueva. Wauconda

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16 CHAPTER I INTRODUCTION: THE HISTORY OF THE STUDY OF ETRUSCAN RELIGION Nancy Thomson de Grummond Religion is in fact the best known facet of the Etruscan civilization. 1 In making this statement, Massimo Pallottino noted that very many of the archaeological remains of the Etruscans and the literary sources about the Etruscans in Latin and Greek have a connection, in one way or another, with religion. The well-known statement of Livy describing the Etruscans as being the nation most devoted to religion, excelling others in their knowledge of religious practices (5.1.6; see Appendix B, Source no. i.1), provides evidence that the ancients also recognized the pervasiveness of religion in Etruscan civilization. It is a little odd, given the acknowledged importance of this subject, that there are relatively few general, sustained accounts of Etruscan religion, and there is as yet none today in the English language. It is also surprising that there does not seem to exist a critical review of the history of the study of Etruscan religion, which might help to evaluate the original sources and frame the problems and methodology for current study of the topic. In this introduction we shall consider the latter subject the history of scholarship on Etruscan religion and at the end attempt to show how this particular book relates to the former topic: the need for a comprehensive treatment in English. Here and throughout the book, there will be an emphasis on the evidence from written sources, and accordingly, frequent reference will be made to a special feature of this volume, the appendix on Selected Latin and Greek Literary Sources on Etruscan Religion (Appendix B). In antiquity the study of and theorizing about Etruscan religion was already well developed, with scholarship that we may distribute into three main categories: canonical texts, philosophical treatises, and historical/antiquarian writings. the canonical texts There were studies of the many different Etruscan texts having to do with the Etrusca disciplina,*that body of original Etruscan religious literature describing the cosmos and the Underworld, as well as prescribing various rituals and ways to interpret and act upon messages from the gods. The names of the texts that have survived include the Libri rituales, Libri fatales, Libri de fulguratura ( on lightning ) and Libri Acheruntici (concerning Acheron, i.e., the Underworld), as well as books named after the two principal Etruscan prophets, who were called Tages and Vegoia in Latin: Libri Tagetici and Libri Vegoici. Both Etruscans and Romans were involved in this study, which included translating and interpreting the old texts and teaching them to appropriate individuals. The practitioners of this type of study perhaps relate to their material in a manner similar to that of the Jewish and Early Christian scholars who studied, taught, and commented on their religious literature. Unfortunately, we know so little of these writings and teachings that we are unable to discern what, if any, may have been their theological concerns or what debates may have enlivened their encounters. 2 Further, it is a perennial frustration in studies of Etruscan religion that little about Etruscan prophetic or priestly texts can be confidently traced back earlier than the first century bce, when in fact Etruscan civilization had become fully submerged in the dominant Roman culture. 1

17 2 Nancy Thomson de Grummond Among the names that have survived are individuals who lived in the first century bce, such as Aulus Caecina from Volaterrae, friend of Cicero, who wrote De Etrusca disciplina, a publication that has been described as a major event in the intellectual life of the Late Republic; 3 the admired and erudite Nigidius Figulus, who composed books on dreams, private augury, and divining from entrails, and a brontoscopic calendar (the latter surviving in a Greek translation; see Appendix A for the text and a full account of Figulus); and Tarquitius Priscus, 4 friend of Varro, known to have written an Ostentarium Tuscum, a translation of an Etruscan work on prodigies and signs, as well as a book on prognosticating from trees. Tarquitius also produced a translation of the cosmic prophecies of the nymph Vegoia, a fragment of which has survived (Appendix B, Source no. ii.1). 5 Another figure in this category is Cornelius Labeo, whose date is unknown but who seems to have written translations and commentaries, in fifteen books, on the prophecies of Vegoia and Tages. 6 Also in this category are the many shadowy figures who are mentioned as being consulted for advice by the Romans, the soothsaying priests or haruspices,* as for example, Umbricius Melior, described as most skilled, the Early Imperial soothsayer of Galba. 7 Sulla had his haruspex Postumius, and the famous Spurinna tried to warn Caesar about the Ides of March. 8 TheremusthavebeenmanymoreRomanized Etruscans involved in these pursuits (there are a few more such figures whose names alone have come down to us), for we know that as a general principle, the Romans thought the Etruscan teachings to be so important that they had a practice of sending their sons to Etruria to study this ancient lore. 9 philosophical texts The foregoing individuals we have mentioned may be recognized as real practitioners of Etruscan or Etruscan-style religion, and as such they had their own bias. Our second division is related, but it manifests a different approach: intellectuals with a concern for philosophy. There is no more significant surviving text for the study of Etruscan religious practice than the treatise on divination by Cicero, written around the time of the death of Caesar, ca. 44 bce. InDe divinatione Cicero presents a vivid debate on the reliability of divination in its various manifestations, with the principal interlocutors represented as his brother Quintus and himself. 10 The evidence presented on both sides is all the more interesting because Cicero had intimate knowledge of the subject from his own experiences as an augur of state religion. This first-century Roman debate is of course sophisticated and probably shows some thought patterns well beyond any present in Etruscan religious teaching. Quintus Cicero supports credence in divination from the standpoint of Stoic philosophy, and Marcus Cicero, while rejecting actual faith in divination, in the end admits the importance of traditional rites and ceremonies solely for political aims. He has great contempt for most divinatory practices and heaps scorn upon, for example, the important Etruscan revelation myth of the prophetic child Tages. 11 What is most important in the treatise for our purposes is the abundant evidence about the principal Etruscan methods of divining, by reading of entrails and by interpretation of lightning (cf. Appendix B, Section viii). When we can sort these out from Roman interpolation, we have some of the most meaningful reports from antiquity on Etruscan practices. The treatise of Seneca, Quaestiones naturales, written shortly before his death in 65 ce, also promotes philosophy but is fascinating for its sympathetic presentation of the point of view of Etruscan priests. We have a clear statement of the contrast of thought between the two sides, in the famous declaration that this is the difference between us [philosophers] and the Etruscans, who have consummate skill in interpreting lightning: we think that because clouds collide, lightning is emitted; but they think the clouds collide in order that lightning may be emitted (Appendix B, Source no. viii.1). In fact, we know little about the Etruscan studies of the natural sciences, but the passage in Seneca tends to confirm suspicions that their observation of natural phenomena was carried out with religious premises and conclusions. historical/antiquarian texts A third and rather different brand of scholarship is that of the historians, philologists, and antiquarians. Livy (d. 12 or 17 ce) transmitted a great deal of information in his narratives of Roman/Etruscan politics and war, such as in his frequent references to the Etruscan federal sanctuary of the shrine of Voltumna (3.23.5, 25.7, 61.2; ; 6.2.2). Verrius Flaccus, the tutor of the grandsons of Augustus, wrote a treatise on Etruscan matters (Libri rerum Etruscarum) that has not survived, but we do have some of his observations as preservedintheepitomebyfestusofhisde significatu verborum, which contained rare and obsolete words and accompanying archaic antiquarian lore. Vitruvius, a practicing

18 The History of the Study of Etruscan Religion 3 architect of the time of Augustus, has left a precise account of the theoretical and practical aspects of building and locating an Etruscan temple (De architectura , 4.7; Appendix B, Source nos. v.2, v.3). The pure antiquarians are especially useful. They were intrigued with the past and recorded information objectively about Etruscan religion out of curiosity. A great variety of Etruscan topics was treated by the most learned of all Romans, Varro ( bce), ranging from the practice of sacrificing a pig for a ritual pact (De re rustica 2.4.9),tothe Etruscan rite for laying out a city (Etruscus ritus*; De lingua Latina 5.143; see Appendix B, Source no. iv.2). He wrote a treatise on human and divine matters of antiquity (i.e., what was ancient at that time, 47 bce), the loss of which is most unfortunate. It contained fascinating material on the lore of lightning, such as that other gods beside Jupiter, for example, Minerva and Juno, were allowed to throw lightning bolts (Appendix B, Source no. viii.7). It was Varro who provided the famous and precious reference to Vertumnus as the chief god of Etruria (De lingua Latina 5.46; Appendix B, Source no. vi.3). He was of course frequently quoted by other antiquarians, such as Pliny the Elder (d. 79 ce), who drew from him information about the decoration of Etruscan shrines, in his book on painting and modeling sculpture (hn ), and about the tomb of Porsena, in his section on building stones and architecture (hn 36.91; Appendix B, Source no. V.5). Pliny included a good bit of Etruscan material in his encyclopedic Historia Naturalis as part of his goal of being compendious, and in this way he preserved many interesting fragments of information from various sources, such as lore about signs from the birds in his sections on zoology; he refers to an illustrated Etruscan treatise (hn 10.28, 30, 33, 35 49). Among the antiquarians we may also classify selected Latin poets who drew on early Roman and Etruscan antiquities for one reason or another, during that period of the first century bce when we detect so much other activity regarding Etruscan religion. Vergil, exposed to Etruscan culture in his native Mantua, has left us his stirring description of the warrior priest from Pisa, Asilas, skilled in the interpretation of all the signs from the gods, embracing entrails, the stars, birds, and lightning (Aeneid ). No text from the Romans is more important for studying Etruscan divinity than the poem of Propertius of Perusia about the statue of Vertumnus set up in Rome (4.2; Appendix B, Source no. vi.1). It expresses vividly the Etruscan tendency to be vague or ambivalent about the gender and other characteristics of a particular deity. Ovid, too, has related the myth of Vertumnus, and interestingly has the god change sex to appear as an old woman in the story of the courtship of Pomona (Meta ; see Appendix B, Source no. vi.2). His calendar in the Fasti, replete with lore of early religion in Rome, is relevant but must be used with caution, both because the poet is sometimes inaccurate in his citations (and he does not tell his sources) and because the material on the Etruscans is certainly colored by the Roman context. Of course, all the poetic literature of Vergil, Propertius, Ovid, and others must be read critically as just that, rich in allusions, sometimes created for the occasion by the poet and not necessarily reflecting Etruscan belief or practice. After this, we can note a crowd of later Roman polymaths who took an interest in Etruscan culture, probably most often using some of the writers we have already cited. Festus (second century ce), as noted, prepared an epitome of Verrius Flaccus, and this was in turn epitomized by Paulus Diaconus in the eighth century. The grammarian Censorinus(thirdcenturyce) wrote on a wide range of topics such as the origin of human life and time (Appendix B, Source no. iii.6). The indefatigable and generally trustworthy Servius (fourth century ce) 12 has left an abundance of observations on the Etruscans in his commentary on Vergil s works. He took a great interest in augural lore, and though he did not always refer directly to the Etruscans, his comments are useful in augmenting our knowledge of this important branch of Etruscan religious praxis. 13 Macrobius (probably fifth century ce), whose Saturnalia is a potpourri of antiquarian, scientific, and especially philological lore, provides in his dilettante s way little nuggets of Etruscan information, for example, on the use of the sacred bronze plow in founding a city(sat [Appendix B, Source no. iv.5]) or on the good omen seen in the wool of sheep when it was naturally tinted purple or golden (Sat [Appendix B, Source no. iv.6]). Finally, we may include in this group Arnobius, a rhetorician and Christian convert living in Africa in the late fourth and early fifth century ce, who assembled his text intelligently from other sources, as shown by his passage quoting Varro on the group gods such as the Penates recognized by the Etruscans (Adv. nat., 3.40 [Appendix B, Source no. ix.3]). An absolutely singular case is that of Martianus Capella. He, too, flourished in the atmosphere of North Africa in the fifth century, leaving as his chief work a compendious pedantic allegory on the marriage of Mercury and Philology (DenuptiisMercuriietPhilologiae). 14 Regarded as eccentric, tedious, and superficial in its discourse on the seven liberal

19 4 Nancy Thomson de Grummond arts, the text of Martianus is nonetheless of the greatest importance for Etruscan studies. It contains the single most significant text in Latin for understanding the Etruscan pantheon and cosmos ( ; Appendix B, Source no. iii.4). Martianus sets the stage for the wedding of Mercury and Philology by sending out invitations to gods all around the sky, and he depicts them as inhabiting sixteen main divisions. Scholars are united in regarding this number as a clue that Martianus was following the Etruscan system of dividing the sky (cf. Cicero, De div , Appendix B, Source no. iii.3), and have found that the scheme agrees in some striking details with that other famous document of the Etruscan cosmos, the bronze model of a sheep s liver found near Piacenza (see Fig. ii.2). 15 The use of deities who may be readily equated with well-known Etruscan gods, along with divinities who are completely obscure in Roman religion, suggests that we may indeed have here a reflection of an original Etruscan doctrine. The antiquarian trend continues in the Middle Ages in isolated instances, such as the writings of the Byzantine scholar Johannes Lydus, who taught Latin philosophy and championed that language in sixth-century Constantinople. It is he who recorded the thunder calendar of Nigidius Figulus (Appendix A; note the discussion of the career and writings of Lydus there). In addition, he left a quite lengthy discussion of Tages (De ostentis, 2.6.B; Appendix B, Source no. ii.5). The texts that had come to be associated with the name of Tages continued to be of interest long after Etruscan and Roman religion were no longer operative. Isidore of Seville also mentions Tages (Etymol , seventh century). The encyclopedic text, the Suda, has left a strange account of creation, undoubtedly affected by biblical precedents, attributed to the Etruscans (tenth century; Appendix B, Source no. iii.5). The Etruscans were largely forgotten during the medieval centuries. When interest in them was reborn during the Renaissance in the former Etruscan territories, 16 it was some time before their religion became a focus of study. That famous old fraud Annio da Viterbo (d. 1502) was interested in the mythology of Etruria, but he had as distorted a view of the gods 17 as he had of the Etruscan language, which he translated quite wrongly. In the seventeenth century, the Scotsman Thomas Dempster, 18 serving as a law professor in Pisa, pioneered serious research on the Etruscans with his treatise DeEtruriaregalilibriseptem( Seven Books on Etruria of the Kings ). A section near the beginning was devoted to Etruscan religion, drawing on various texts he had available. The work was not published until over a century later and thus had little impact until the following century. In spite of the veritable mania for the Etruscans (Etruscheria) of the eighteenth century, 19 few yet took an interest in the topic of religion. The Accademia Etrusca, 20 founded at Cortona in 1726, met regularly and heard papers and reports, but its members and other contemporary scholars seem to have been more interested in Etruscan architecture and material antiquities, along with the Etruscan language. 21 Their studies often embraced Roman archaeology, and of some interest for our theme is a treatise on the origins and development of shrines in the ancient world, based on Roman numismatics especially, presented by the academician Filippo Venuti and published in 1738 among the Saggi di dissertazioni of the Accademia Etrusca. 22 A remarkable study of Etruscan philosophy by Giovanni Maria Lampredi, a young priest and tutor in Florence, also belongs to this period. SaggiosopralafilosofiadegliantichiEtruschi (1756) drawing on Seneca especially, argues that the Etruscans had an emanative system for the cosmos tied to Pythagoreanism and Stoicism. Lampredi went to some pains to explain the contradiction he perceived between Seneca and the account in the Suda. 23 In the nineteenth century, as part of the scientific trend manifest in various branches of Etruscan studies, 24 we find the first extended consideration of Etruscan religion based on a rigorously critical assemblage of texts. The great classic handbook on the Etruscans, Die Etrusker, published by Karl Otfried Müller (1828) and significantly augmented by Wilhelm Deecke (1877), devoted Book 3 to a lengthy survey of Etruscan gods and spirits, the Etrusca disciplina, and the various branches of divination. Following this product of German scholarship came the basic formulation of the various categories of the disciplina by the Swede Carl O. Thulin ( ). His two essays on lightning (1905) and haruspicy (1906) and a third on the ritual books and the haruspices in Rome (1909) were gathered together as Die Etruskische Disciplin (Darmstadt, 1968). The works of Müller and Deecke and of Thulin are almost exclusively philological and historical and thus do not take into account the vast amount of archaeological material with bearing on the subject of Etruscan religion. Nor does either contain very much evidence derived from the study of the Etruscan language, which was still a pioneer discipline in the nineteenth and early twentieth century. Nevertheless, Thulin did utilize the bronze liver found near Piacenza in 1877 (see Fig. ii.2), 25 though his listings of the inscriptions were very rudimentary. Moreover, Deecke,

20 The History of the Study of Etruscan Religion 5 who was quite interested in the Etruscan language, drew upon the evidence of Etruscan mirrors, using the volumes of Gerhard s corpus of Etruskiche Spiegel, 26 a rich repository of representations of gods identifiable by their names labeled in Etruscan or else recognizable by their resemblance to Greek orromangods (e.g.,seefigs. ii.8, 11, 16 19). Of great significance in this period for the study of original Etruscan texts was the recognition and publication (1892) of the astonishing linen book, an Etruscan ritual calendar, found reused as bandages for a mummy deposited in the National Museum of Zagreb (see Fig. ii.1). 27 the study of etruscan religion in the twentieth century In the twentieth century, development in the study of Etruscan religion was not linear, but some trends and certainly major developments may be detected. In 1984, Pallottino summed up the scholarship by listing the chief researchers on the topic: almost all of the literature was in German, Italian, or French. 28 A further and excellent guide to this literature was provided by the nota bibliografica of Mario Torelli, written for his chapter on Etruscan religion in the massive summa of Etruscan studies, Rasenna (1986). 29 Historians of religion may be noted, such as Carl Clemen, who wrote the first true monograph on this topic, Die Religion der Etrusker (Bonn1936).AseriesofarticlesinStudi e MaterialidiStoriadellaReligione(4, 1928 and 5, 1929) featured articles by a number of different experts on ancient religion (Clemen, H. J. Rose, C. C. Van Essen, H. M. R. Leopold, Franz Messerschmidt), including such topics as the relationship between Etruscan and Greek and Roman religion. Stefan Weinstock published a series of seminal articles, including his masterful study of the text of Martianus Capella and a basic study of the books on lightning, 30 based on his careful scrutiny of the texts and intimate knowledge of the comparative religious material from the Near East. Missing from the bibliographies of Pallottino and Torelli but worth mentioning here is the study by the comparativist Georges Dumézil, originally published in French (1966) and then translated into English as The Religion of the Etruscans, a lengthy appendix to his Archaic Roman Religion. 31 At the time, the book introduced a novel attitude toward the Etruscans, rather contemptuously removing them from forming background to Roman religion and placing them at the end of his study. Dumézil was eager to prove that Roman religion conformed to an Indo-European scheme and found the Etruscans inconvenient for his theory. 32 A useful contribution to the study of sources was the Fontidistoriaetrusca compiled by Guilio Buonamici, translations of various basic Greek and Latin texts, with a fairly full section on religion. 33 The greatest advances were being made by scholars who were strong philologists, especially those who were on the front lines in the study of the Etruscan language. Pallottino himself, Jacques Heurgon, and in particular Ambros J. Pfiffig brought to bear the ever-increasing scientific advances in the study of the language. In addition, they placed, for the first time, appropriate emphasis on the insertion of material culture into the dialogue. The best general account in English to date, albeit brief, is that of Pallottino (1975, ch. 7). Likewise, his articles in the encyclopedic Roman and European Mythologies 34 are all basic authoritative accounts. Pfiffig s Religio etrusca (1975) remains the only lengthy, systematic exposition of Etruscan religion that takes into account Greek and Roman literary sources, the Etruscan language, and the archaeological evidence. 35 His bibliography was exhaustive (369 items). The basic integrated methodology of Pallottino and Pfiffig has become standard today, and those who seek to be effective in the study of religion need global knowledge of the field of Etruscan studies. The latest generation of Italian scholars exemplifies well this ideal: Mario Torelli, Mauro Cristofani, Adriano Maggiani, Francesco Roncalli, and Giovanni Colonna. But the international character of Etruscan religious studies today was clearly evident in the conference organized in Paris in 1992 by Françoise Gaultier and Dominique Briquel, Les Plus religieux des hommes: État de la recherche sur la religion étrusque ( The Most Religious of Men: The State of Research on Etruscan Religion ), which included sessions on iconography, the pantheon, comparative religion, cults and rituals, and the relationship between Etruscan civilization and religion. The resulting publication (Paris, 1997) has a brief preface that sums up the state of research. In combination with use of the most current archaeological discoveries, we see light shed on an increased chronological arc (the earliest periods of the Villanovan and Orientalizing phases are now clearer), and scholars are investigating the ties of the Etruscans with external cultures: Italic, Greek, and Oriental. For the rest, the reader may deduce the state of the field from the manifold articles; twentytwo scholars of international status published their latest insights there, all translated into French. Not one native speaker of English was on the program. As of the year 2005 there still does not exist a substantial general account of the Etruscan religion in the English language. To fill this lacuna, the present volume of The Reli-

21 6 Nancy Thomson de Grummond gion of the Etruscans was planned as a handbook, intended to be used as an introduction to the subject, but with sufficient scholarly apparatus to be of interest and use to more advanced students and scholars as well. The chapters of the book are based largely on papers given in 1999 at the Sixth Annual Langford Conference of the Department of Classics at Florida State University. Erika Simon, in her capacity as the Langford Family Eminent Scholar of Classics for the year 1999, selected the participants for the conference from leading scholars in the field of Etruscan studies. With coordinator Nancy de Grummond, Prof. Simon requested that the presenters give a general introduction to their individual subjects and include as well some of their own latest frontline research in the field. The participants fulfilled their assignments admirably and, after lively discussions and ideas for further additions to the book, proceeded to do a formal written version of their papers, taking into account the contributions of others. The table of contents for TheReligionoftheEtruscansreveals the range of topics. The aim is to be systematic and comprehensive. The chapter by Larissa Bonfante lays out the most important surviving Etruscan inscriptions and explains how they are relevant for Etruscan religion, including points from her latest research relating inscriptions to religious iconography. The next chapter, by Nancy de Grummond, presents information on the sacred books of the Etruscan prophets and the activities of priests in divining the will of the gods; her work on Etruscan mirrors has brought up some new ideas about the Etruscan rituals of prophecy. Erika Simon discusses her concept of the harmonious pantheon of gods, pointing out how much cooperation and friendship there was among Etruscan deities and how versatile individual gods were, especially in regard to their ability to come and go from the Underworld to the upper sphere. Her chapter concludes with an alphabetical listing of the most significant Etruscan gods and brief characterizations of them. Next, Ingrid Krauskopf gives a full survey of concepts of the Underworld and the intriguing demons inhabiting that part of the cosmos. Jean MacIntosh Turfa reviews the fascinating range of votive objects found in Etruscan sanctuaries and sacred areas, providing a most useful site-by-site summary of votive deposits of Etruria. Ingrid Edlund-Berry then discusses the delineation of space and boundaries in the cosmos, including some of her own original conclusions about the nature of Etruscan federal sanctuaries. The text concludes with a chapter on altars, shrines and temples, in which Giovanni Colonna provides a thorough overview and includes considerable detail about his own latest discoveries at Pyrgi and the nature of worship as revealed by offerings to the gods. His information about turf altars at Pyrgi, used in popular religion as opposed to the state patronage of grand temples, is integrated into the study of Etruscan religion for the first time here and provides a window on the ordinary, pious Etruscan people who sought to live in harmony with the gods. Every chapter has its own bibliography, so that the reader may follow up the scholarship on each particular topic. We hope that the many illustrations for the book will provide an album of primary material. A parallel special feature of the work lies in the appendices of Greek and Latin texts, with English translations, that provide written primary source material for the study of Etruscan religion. Appendix C, a concordance of Etruscan inscriptions, helps the reader find all the references within the book that refer to a particular inscription. A glossary furnishes definitions of key terms. NOTES 1. Pallottino 1975, Cicero provides a notable exception to this generalization, but he is to be classified with the philosophers. See below, p Cicero, Ad fam ; Pliny, hn 2; Seneca, qn 2.3.9); Schofield 1986, 49 (quoting E. Rawson). 4. For a collection of Latin passages relevant to Tarquitius Priscus, see Thulin 1909, There were other, later Tarquitii, from whom it is not always easy to distinguish the Late Republican figure. 5. For a full discussion of Vegoia, see below, pp On Labeo, see Müller and Deecke For a full discussion of Tages, see below, pp Pliny, hn , describes him as haruspicum in nostro aevo peritissimus ( the most skilled haruspex of our time ). 8. Cicero, De div ; Suetonius, Caesar Johannes Lydus, De ostentis, 2.6.B, mentions as authors and translators Capito the priest, Fonteius, and Apuleius Vicellius, but we know only the names. On the education of Romans in Etruria, cf. Heurgon 1964, 231, who argued that the literary tradition was scrambled in antiquity and that it was only young Etruscans who were sent to study the Etrusca disciplina. Valerius Maximus 1.1 (Appendix B, Source no.iv.9) states that Roman noble youths were thus educated, but passages in Cicero support Heurgon s idea: De leg. 2.21, De div. 1.92; Appendix B, Source no. iv.8. Cf. Livy , on the sending of Roman boys to Etruria to be educated. 10. Beard 1986; Schofield 1986.

22 The History of the Study of Etruscan Religion Providing along the way some very worthwhile detail on the myth; told in full below, p Perhaps augmented by a later commentator, the so-called Danielis; certainly drawing extensively on earlier authors, such as Aelius Donatus. 13. Festus also preserved many short observations in this area. See the collection of texts in Regell Martianus Capella 1977; Ramelli See van der Meer 1987 and the discussion by Bonfante below, pp For a detailed discussion of Martianus Capella, see de Grummond, forthcoming, ch. III, Creation, Time and the Universe. 16. For the following section, see the account in de Grummond For Annio, founders of the Etruscans included biblical figures along with Isis and Osiris, Ajax, Electra and Tyrrhenus, see de Grummond 1986, 28. See also N. T. de Grummond, Annio da Viterbo, ehca 1996,1, C.Sowder, SirThomasDempster, inehca 1996,1, N. de Grummond Etruscheria, in ehca 1996,1, N. de Grummond, Accademia Etrusca, in ehca 1996, 1, For listings of books published in the early centuries of Etruscan studies, see esp. Barrocchi and Gallo , , and Les Étrusques et l Europe 1992, Venuti s Dissertazionesopraitempiettidegliantichiwas followed by a treatise on the temple of Janus in Rome (1740). See Barocchi and Gallo 1985, It is impossible to say if any Etruscans outside Rome had real knowledge of Greek philosophical systems. What is interesting about Lampredi s attempt is that he has used the basic texts critically and, in the end, describes an Etruscan cosmos not so different from that envisioned by Pallottino (1975, 140): the vague evidence seems to point toward an original belief in some divine entity dominating the world through a number of varied, occasional manifestations which later became personified into gods. 24. F. Delpino, L âge du positivisme, Les Étrusques et l Europe, 1992, ; de Grummond 1986, See also N. T. de Grummond, Etruscan Tombs, in ehca 1996, 1, ; Pallottino 1975, On the liver, see his monograph, Thulin es; volumes 1 through 4 were issued by The fifth and final volume, edited by Klügmann and Körte, appeared in Krall 1892; Roncalli 1985, Pallottino 1984, 323, lists C. Thulin, G. Herbig, R. Pettazzoni, C. Clemen, G. Furlani, C. C. Van Essen, H. M. R. Leopold, B. Nogara, G. Q. Giglioli, A. Grenier, R. Herbig, S. Weinstock, J. Heurgon, R. Bloch, and A. J. Pfiffig. 29. Rasenna, ; bibliographical note, Weinstock 1932; Weinstock Dumézil 1970, For a modern critique of Dumézil s theory, see Beard, North, and Price 1998, vol. 1, Buonamici 1939, Bonnefoy and Doniger 1992, 25 45; articles on Etruscan demonology, Etruscan and Italic divination, Etrusca disciplina, and other topics. 35. The recent book by J.-R. Jannot (1998) is much better illustrated than Pfiffig and constitutes a very useful album of pictures. Philologically, the book is insufficiently critical. At the time of this writing, an English translation of this work, Religion in Ancient Etruria, has been announced by the University of Wisconsin Press. BIBLIOGRAPHY Barocchi, P., and D. Gallo, eds L Accademia etrusca. Milan. Beard, M Cicero and Divination: The Formation of a Latin Discourse. jrs 76, Beard, M., J. North, and S. Price Religions of Rome, 2 vols. Cambridge. Bibliotheca Etrusca, Bibliotheca Etrusca, Fonti letterarie e figurative tra XVIII e XIX secolo nella Bibliotheca dell Istituto NazionalediArcheologiaeStoriadell arte.rome. Bonnefoy and Doniger = Roman and European Mythologies, ed. Y. Bonnefoy, tr. W. Doniger et al. Chicago. Buonamici, G Fontidistoriaetrusca.Florence. De Grummond, N. T Chapter I, Rediscovery. In Etruscan Life and Afterlife, A Handbook of Etruscan Studies, ed.l.bonfante. Detroit Forthcoming. Etruscan Mythology, Sacred History and Legend: An Introduction. Philadelphia. Dumézil, G Archaic Roman Religion. Tr.P.Krapp.2vols. Baltimore. ehca 1996 = An Encyclopedia of the History of Classical Archaeology, ed. N. T. de Grummond, 2 vols. Westport. es = Etruskische Spiegel. Ed. E. Gerhard (vols. 1 4); A. Klügmann and G. Körte (vol. 5). Berlin Les Étrusques et l Europe Catalogue of exhibition. Paris. Heurgon, J DailyLifeoftheEtruscans.Tr. J. Kirkup. London. Jannot, J.-R Devins, dieux et démons: Regards sur la religion de l Étrurie antique. Paris. Krall, J DieetruskischenMumienbindendesAgramerNationalmuseums. In Denkschriften der Kaiserlichen Akademie der Wissenschaften der Kaiserlichen Akademie der Wissenschaften. Philosophisch-historische Klasse, 41, Vienna. Martianus Capella Martianus Capella and the Seven Liberal Arts. Tr. W. H. Stahl and R. Johnson. New York. Müller and Deecke = Die Etrusker, by K.-O. Müller, ed. W. Deecke. 2 vols. Repr. Graz Pallottino, M The Etruscans. Tr. J. Cremona, ed. D. Ridgway. Bloomington, in Etruscologia. 7th ed. Milan. Pfiffig, A. J Religio etrusca. Graz. Ramelli, I Marziano Capella: Le Nozze di Filologia e Mercurio. Milan. Rasenna = Rasenna: Storia e civiltà degli etruschi, Milan Regell, P Fragmenta auguralia (Fragments of the Books of the Augurs). Hirschberg. Repr. in Roman Augury and Etruscan Divi-

23 8 Nancy Thomson de Grummond nation, in the series Ancient Religion and Mythology, ed. W. R. Connor and R. E. A. Palmer. New York, Roncalli, F Scrivereetrusco:Scritturaeletteraturaneimassimi documenti della lingua etrusca. Milan. Schofield, M Cicero for and against Divination. jrs 76, Thulin, C. O Die Götter des Martianus Capella und der Bronzleber von Piacenza. Gieszen Die Etruskische Disciplin. Repr. of I. Die Blitzlehre (1905); II. Die Haruspicin (1906); III. Die Ritualbücher und zur Geschichte und Organisation der Haruspices (1909). Darmstadt. VanderMeer,L.B.1987.The Bronze Liver of Piacenza: Analysis of a Polytheistic Structure. Amsterdam. Weinstock, S Templum. MDAI(R) 47, Martianus Capella and the Cosmic System of the Etruscans. jrs 36,

24 CHAPTER II ETRUSCAN INSCRIPTIONS AND ETRUSCAN RELIGION Larissa Bonfante We have no Etruscan literature, no epic poems, no religious or philosophical texts. We learn about Etruscan life and civilization including language and religion, the two basic aspects of a people s identity from the remains of their cities and cemeteries. These include highly important evidence from their inscriptions, written in their own peculiar language, that reveal much about their religious rituals and beliefs. These inscriptions are so central to the study of Etruscan religion that they will naturally be referred to frequently throughout the book. In this chapter we present an overview of this source material, including a list of the most important inscriptions and a survey of some of the intriguing religious themes that have emerged in recent studies. We shall make frequent reference to the new standard collection of Etruscan inscriptions, Helmut Rix s Etruskische Texte (et), 1 and include Rix s numbers for all inscriptions possible. By consulting the index of inscriptions in Appendix C, below, the reader can locate references to other discussions of particular inscriptions throughout the book. Rix gives a revised count for the total number of Etruscan inscriptions that have come down to us. Taking into account duplicate publications of the same inscription, counting each coin legend once and not counting the glosses, which give us Etruscan words explained in Latin or Greek texts but which are not inscriptions the author comes to a total of fewer than 10,000 inscriptions (some 8,600, to be precise, though a good many more have been discovered in the years since et appeared). 2 These range in date from the seventh to the first century bce. Therearesome75inscriptions from the seventh century, a very respectable quantity, even when compared to the 500 or so Greek inscriptions of the Archaic period (from a far wider geographical area). 3 Any boundaries we set between religious and nonreligious areas of Etruscan civilization are artificial at any time, but this is especially true in the early period. Giovanni Colonna has pointed out the sacral and aristocratic character of writing in the Orientalizing and Archaic periods. 4 Indeed, some of the earliest and most intriguing archaic inscriptions are found in rich tombs of southern Etruria. Many present the sequence of the Greek alphabet, evidently a sign of status, adopted from the Euboean Greeks of Pithekoussai. 5 This alphabet was in time adapted to the Etruscan language, with a few changes indicating geographical or chronological differences, and was then passed on to various peoples of Italy and Europe (such as the Latins, Umbrians, and Gauls). 6 All the inscriptions can be read, and so they need not be deciphered. Not all can be understood, however, partly because of the nature of the language, which is not Indo- European and is different from any known language, ancient and modern; and partly because of the nature of the evidence, which is fragmentary. Yet they reveal much about Etruscan religion. Four types of Etruscan inscriptions ritual, legal, funerary, and votive deal with religious rituals and the gods. Other inscriptions deal with myth, notably those on Etruscan mirrors, which illustrate stories of Greek and Etruscan mythological figures and which are, as Ambros Pfiffig called them, picture bilinguals. 7 Most of the nine thousand or so Etruscan inscriptions are brief, consisting of only a few words: they are epitaphs or dedications, recording the names of the deceased, the donor, 9

25 10 Larissa Bonfante ii.1. Zagreb mummy wrappings bce. Zagreb,NationalMuseum.(AfterBonfanteandBonfante2002,fig.57.) the god to whom the object is dedicated, or the mythological character depicted. The longer texts are technical, religious, and ritual, confirming the reputation of the Etruscans as being skillful in dealing with the gods, and related to the various books of the Etrusca disciplina.* Many of these longer inscriptions have been the objects of recent studies. 8 Let us briefly survey them here and then follow with some of the more revealing short inscriptions. the longer inscriptions Zagreb Mummy Wrappings The longest and most exotic Etruscan text that survives is not, properly speaking, an inscription. It is a religious text of the Hellenistic period, originally a sacred linen book, parts of which were preserved by being used as wrappings on an Egyptian mummy (et, ll; Fig. ii.1). 9 The original book, which was cut up into bandages, is of a type referred to in Roman historical sources as a liber linteus, a linen book, often illustrated on Etruscan funerary statues as the attribute of a priest. In 1985 Francesco Roncalli had the wrappings restored they were spotted and damaged by blood and the unguents used for mummification and photographed in a specialized laboratory in Switzerland. Roncalli, having worked at the Vatican, was familiar with religious texts and was able to add new readings as well as to reconstruct the original form of the book by following the folds of the cloth and the red guidelines for the text. Rubrics in red ink (cinnabar) indicated how it was used as a liturgical text, like some modern Catholic missals. The neatly inked text, with some twelve hundred words laid out in twelve vertical columns, contains a liturgical calendar of sacrifices, offerings and prayers to be made on specific dates. A typical passage runs (col. viii, line 9, Roncalli 1985, 40): celi (the month of September) huθiś zaθrumiś (the 26th [day]) flerχva (all the offerings) neθunsl (to the god Nethuns) śucri (should be declared) θezric (and should be made). Piacenza Liver Another very strange object also contains the names (abbreviated, but recognizable) of divinities who received cult. This is the life-sized bronze model of a sheep s liver from northern Italy, near Piacenza, made around 100 bce (et, Pa 4.2; Fig. ii.2). 10 It may have been used by a priest in the Roman army. (Other ritual inscriptions are from an earlier period.) The model was clearly used as a device to teach (or remind) Etruscan priests of the divinatory practice of reading the entrails of animals. As Nancy de Grummond discusses below (Chap. III) priests or seers are shown using it in Etruscan art, including representations on several mirrors. According to the place where the liver of a sacrificed animal showed some special mark, the priest could guess the future or even bend it to his will. The Etruscans were particularly skilled in this haruspicina,* or science of reading omens, and the Romans respected, hired, and imitated them. The sections of the liver correspond to the sections of the sky that were under the protection of each of the gods. There

26 Etruscan Inscriptions 11 for example, the right lobe contains the gods of heaven and lights (Tin, Uni, Cath, Fufluns); the god of water Nethuns (Neptune, whose name appears so frequently on the mummy wrappings); and Cilens, perhaps a god of Fate. Bouke van der Meer 14 finds that this constellation of divinities came together in the fourth century bce and that about half of the approximately twenty-eight different names of gods inscribed on the liver are of Etruscan origin. The other half came into Etruria from the surrounding Italic world, Umbria, and the area of Rome (Uni, Neth, and other deities). ii.2. Bronze model of a sheep s liver from Piacenza. Hellenistic period. Piacenza, Museo Civico. (After Rasenna, 211.) was a mystic correlation between the parts of a sacred area, like the sky, and the surface of the liver of a ritually sacrificed animal. Such a correlation allowed those who had mastered the technique to read, as it were, the god s writing in the sky. 11 Each of the forty-two sections of the liver contains the names of one or more gods; there are fifty-one names, but several are mentioned two or three times. The sixteen sections in the margin of the upper (visceral) side correspond to the sixteen regions of the heavens, according to Martianus Capella (fifth century ce). Further, a numberof names of divinities on the liver appear in the description of the skies by Martianus. (See Appendix B, Source no. iii.4.) 12 The lower (venal) side of the liver has two names: Usil, the name of the Sun god, and Tivr, the Moon. 13 A number of the names of these gods are familiar from various sources: Tin (Tinia), Uni, Hercle, Cath (Cautha/Kavtha), Usil, and Tivr. Others may represent epithets of gods. The placement of the different clusters of divinities indicates their function: so, Terracotta Tile from Capua The Capua Tile, a large terracotta tile used as a tablet, found at Santa Maria di Capua and now in the Berlin Museum, records a religious calendar, like the Zagreb mummy wrappings or the Roman Fasti (et, TC; Fig. ii.3). The nail holes have been taken to show that it was publicly exhibited in a sanctuary, but they can better be explained as holes for spikes to keep a series of similar documents stored or filed horizontally, the raised edges intended to protect the text incised on the inner surface. With sixty-two lines and almost three hundred legible words, this is the longest strictly epigraphical Etruscan inscription. Cristofani s study of 1995 dates it to the early fifth century (ca. 470 bce). There were ten months, as in the earliest Roman calendar, in which the year began in March. Listed are offerings and sacrifices made to various divinities, including gods of the Underworld such as Letham (who appears on the Piacenza liver), Laran, Tin, and Thanr (who appears in birth scenes on Etruscan mirrors; see also Chap. 4), as well as to Uni, the mother goddess to whom the famous local cult was dedicated. 15 LeadStripfromSantaMarinella A text written on both sides of a strip of lead, found in fragments at Punta della Vipera near Santa Marinella on the sea, dates from around 500 bce (et, Cr 4.10; Fig. ii.4). Inscribed in a miniature style, it is incomplete but contains traces of at least eighty words. Little of the text can be understood, but we can read the word cver, gift. 16 LeadPlaquefromMagliano A small lead plate found at Magliano, probably dating from the fifth century bce, has a strange spiral inscription on each side, running from the exterior margin inwards toward the center (Fig. ii.5). There are about seventy words (et, av 4.1). Thewordfor gods, aiser, which occurs here, in the Zagreb mummy wrappings, and elsewhere, seems to refer to a group

27 ii.3. Terracotta tile from Capua. Ca. 500 bce. Berlin, Staatliche Museen. (After Cristofani 1995, fig. 2.)

28 Etruscan Inscriptions 13 ii.4. LeadplatefromSanta Marinella (near Pyrgi). Fifth century bce. Rome, Museo Nazionale di Villa Giulia. (After Santuari d Etruria, fig. 8.1c1.) with Uni, rather than with Turan-Aphrodite, is particularly striking. Another tablet mentions Thesan. The longer Etruscan inscription has sixteen lines, thirty-six or thirty-seven words. ii.5. Lead tablet from Magliano, ca. 500 bce. Florence, Archaeological Museum. (After Morandi 1982, 36.) or college of gods, something like the dii consentes, Penates, or other collective divinities. 17 GoldTabletsfromPyrgi The three gold tablets, two written in Etruscan and one in Phoenician, found in 1964 at the sanctuary at Pyrgi, the harbor of Caere, record a dedication with important historical implications (et, Cr ; Fig. ii.6). 18 They date from around 500 bce and constitute the nearest thing to the longsought Etruscan bilingual. They record in both Etruscan and Phoenician a religious event: the dedication of a gift, perhaps a statue, by the king of Caere, in gratitude for the protection of the goddess. The identification of the goddess Astarte Sarcophagus of Laris Pulenas Another long inscription is funerary: the elogium or epitaph of L(a)ris Pulenas (or Pulena) of Tarquinii, engraved on a scroll that the figure of the dead man holds in his hands (et, Ta 1.17; Fig. ii.7). 19 The date is the Hellenistic period, third century bce, and the text contains nine lines and fifty-nine words. The text can be in part interpreted by means of a comparison with the Latin elogia (honorary epitaphs) of the Scipios at Rome. Laris Pulenas was the great-grandson of Laris Pule, the Greek (Creice; the latter was possibly related to the famous Greek seer, Polles). Pulenas wrote a book on divination, like the scroll or volumen he is proudlyexhibiting to the viewer. Like his great-grandfather, he devoted himself to religious duties, perhaps including the cult of ancestors. Recorded are the titles he held in his lifetime, most of them religious, including the priesthoods of Catha and Pacha, the latter equivalent to Fufluns or Dionysos (Pacha is Etruscan for Bacchus). Catha and Fufluns are connected elsewhere too in a joint worship. The name of Culśu can also be recognized.

29 14 Larissa Bonfante ii.6. GoldtabletsfromPyrgi,theharborofCaere.Endofsixthcenturybce. Copies in Rome, Museo Nazionale di Villa Giulia. (After Morandi 1991, figs ) some shorter inscriptions Boundary Stones from Tunisia Tin was a god who protected boundaries. His name appears as the guarantor on three boundary stones with identical inscriptions found in Tunisia, originally placed there by Etruscan colonists, perhaps in the time of the Gracchi: m vnata zvtas tvl dardanivm tinś Φ M. Unata Zutas. Boundaries of the Dardanians. Of Tin [paces] (et, Af ). 20 Bronze Mirror from Volaterrae Clearly religious in character is an engraved bronze mirror from Volaterrae (et, Vt S2; Fig. ii.8) whose inscription, a legal-religious document, has important implications. An imposingly regal, enthroned female figure, Uni, is pictured nursing a full-grown Hercle, while four gods stand by as witnesses. Among these are Apollo, recognizable by his laurel branch, and an older god holding a trident or lightning bolt, either Nethuns or Tinia. He points to a tablet on which the ii.7. Sarcophagus of Laris Pulenas bce. Tarquinia, Museo Nazionale. (After Morandi 1991, fig. 20.)

30 Etruscan Inscriptions 15 ii.8. Bronze mirror from Volaterrae with Hercle nursing at Uni s breast bce. Florence, Museo Archeologico. (After es, 5.60.) significance of the scene is explained: eca: sren: tva: iχnac hercle:unial clan: θra:sce, This picture shows how Hercle became Uni s son (or: drank milk). This mother goddess, Uni, is carrying out an adoption ritual witnessed by four other gods. While Greek myth tells the story of the nursing of Herakles by Hera, his jealous stepmother, in the context of the conflict between the goddess and the hero, the story is not illustrated in the Greek art that has come down to us. 21 In Etruria, in contrast, there are a number of representations of this mythological nursing scene: as on this mirror, Uni is reconciled with Hercle by means of a ritual familiar from the Near East and Egypt but downplayed in Greece. It is in fact the Etruscan version that best illustrates for us the meaning of his name in Greek, Glory of Hera. Bronze Chimaera from Arezzo The famed bronze Chimaera of Arezzo (Arretium), dating to the fourth century bce, depicts the Greek monster with the body of a lion and, on its back, the head of a goat. The tail shaped like a serpent is a restoration. On the leg is incised an inscription dedicating it to the god, tinścvil, gift to Tin (et, Ar 3.2; Fig. vi.1). This was indeed a splendid gift,

31 16 Larissa Bonfante for the animal, which is life size, was evidently a part of a large group representing Bellerophon and Pegasus attacking the monster. 22 Bronze Statuette of Culśanś A bronze statuette of a double-faced divinity from Cortona is dedicated to Culśanś (et, Co 3.4; Fig. ii.9): v. cvinti. arntiaś. culśanśl alpan. turce, V[elia] Cuinti, Arnt s (daughter) to Culśanś (this object) gladly gave. 23 Bronze Statuette Dedicated to Selvans Tularias A bronze statuette of an athlete, from an unknown provenance (Fig. ii.10), has the following inscription: ecn:turce: avle:havrnas:tuθina:apana: selvansl tularias, This gave Avle Havrnas [tuthina apana, meaning unknown] to Selvans of the Boundaries. 24 Bronze Mirror from Praeneste Not only are inscriptions in Etruscan useful. From Praeneste comes a mirror with Latin inscriptions, now in the Metropolitan Museum of Art, dated ca. 300 bce (Fig. ii.11), 25 that presents an Italic view of the relationship between Uni and Hercle. It shows Iovei (i.e., Jupiter, in the dative case), reconciling Iuno and Hercele. A female herm and a phallus put the picture in a sexual context that may be religious, though it is hard for us to interpret. Rectangular Boundary Stone from Perugia The protection of boundaries, tular,* was an important divine responsibility. It was mentioned in the text of the prophecy of Vegoia (Appendix B, Source no. ii.1) and serves as the epithet of the god Selvans in a votive inscription. It also occurs in the sharply chiseled inscription (forty-six lines and 130 words) on two of the four faces of a boundary stone (cippus*) from Perugia, dating from the second or first century bce (et, Pe 8.4; Fig. ii.12). 26 The inscription does not name any gods and would not be overtly religious according to our modern definition of the word. But Roncalli suggests that the two holes on the top were made for cippi, perhaps aniconic images of Silvanus-Terminus, and that there were two of them in relation to the two families, the Velthina and the Afuna, whose boundaries they protected. 27 Bronze Tablet from Cortona The context may be similar for a remarkable recent find, the Tabula Cortonensis, which takes its place, at sixty words, as one of the longest Etruscan inscriptions to have come down ii.9. Bronze statuette of Culśanś. Third century bce. Cortona, Museum.(AfterA.Pfiffig,Religio etrusca, Graz, 1975, fig. 108.) to us (Fig. ii.13). 28 The bronze tablet, of Hellenistic date, came to light in 1992 in Cortona but was publicly announced only in June 1999, causing a flurry of excitement in newspapers and on Italian television. It records a legal contract or religious ritual, including a long list of the names of the

32 Etruscan Inscriptions 17 ii.11. PraenestinemirrorwithJuno,Jupiter,andHercules.Ca. 300 bce. New York, The Metropolitan Museum of Art. (After cse usa 3.7.) parties involved and another list of the witnesses names. No gods seem to be mentioned, but the fact that it was folded over into eight pieces, apparently in a ritual destruction, suggests that the content was religious. ii.10. Bronze statuette dedicated to Selvans Tularias. End of fourth century bce. Malibu,CA.TheJ.PaulGettyMuseum. (After Bonfante 1991, 836, fig. 1.) DedicationstoHercle Several inscriptions came to light in the late 1970s and early 1980s to a cult in honor of Hercle. A votive inscription on a bronze base in the Manchester Museum (Fig. ii.14), incompletely preserved, tells us that a certain Prisnius gave it to Hercle on behalf of his son,...esip.ri.snius turce hercles clen ceχa munis en ca eluruve itruta: ala alpnina luθs inpa ulχn... Luθs may also be the name of a god, and ala alpnina may be compared to alpan turce, gladly gave (Latin: libens dedit). 29 A sanctuary at Caere seems to account for a number of inscriptions to Hercle. A large bronze club, a bronze statuette of Hercle in Toledo (Fig. ii.15), a bronze weight, and a red-

33 18 Larissa Bonfante ii.12. Rectangular boundary stone from Perugia. Third or second century bce. Perugia, Museo Archeologico. (Photo: Schwanke, dai Rome ) figured Attic cup by Euphronios (returned to Rome in 1999 by the J. P. Getty Museum) all have inscriptions that testify to an important cult place for Hercle. 30 DedicationstoOtherDeities Inscribed dedications at the sanctuary of Graviscae, the port of Tarquinii, point to the worship of Turan, Uni, Vei, Atunis (Adonis), and Aplu. 31 A group of bronze statues and statuettes with votive inscriptions also provide the names of gods to whom cult is paid. The inscriptions are incised on the ii.13. BronzetabletfromCortona,Tabula Cortonensis. Third or second century bce. Florence, Museo Archeologico. (After Agostiniani and Nicosia 2000, pls. 8 9.)

34 Etruscan Inscriptions 19 ii.14. Bronze base dedicated to Hercle. Hellenistic period. Manchester Museum. (After Bonfante and Bonfante 2002, fig. 52.) bodies of these figures, illustrating the continuity of an archaic custom that was usual in early Greek inscriptions but that in Greece was abandoned in favor of writing the names on a separate base, in order, no doubt, to avoid defacing the image. 32 This is one of the many cases in which the Etruscans maintain archaic customs, not a surprising tendency given the aristocratic character of their society. recurring themes Etruscan mirrors and wall paintings constitute a rich repertoire of Etruscan mythological scenes. Often the labels on the figures give us an insight into points of view of images, themes, and motifs that are either strictly Etruscan or differ in significant ways from Greek religious and mythological iconography. The following appear to be characteristically Etruscan: (1) the prevalence of couples and dyads, (2) the importance of mothers, (3) representations of scenes of the birth of gods, with related midwives and other medical subject matter, and (4) the frequent appearance of souls or ghosts. Let us now consider each of these themes at greater length. ThePrevalenceofCouplesand Dyads As regards gods in groups, we have already noted the implications of the word aiser. The tendency to put gods in pairs or dyads is also deduced through inscriptions. Besides Fufluns and Catha, couples include Turan and Atunis, often representing Turan as an older woman with Atunis as a boy or very young man; Aita (Hades) and Phersipnei (Persephone or Proserpina); Atmite (Admetus) and Alsctei (Alkestis). Some couples turn out to be mother-and-son groups like Semla and Fufluns. Other dyads, as Pallottino calls them, are twins like the Dioskouroi, tinas cliniiar, Castor and Pollux. 33 ii.15. Bronze statuette of Hercle. Ca 300 bce.toledomuseumof Art. (Acc , gift of Edward Drummond Libbey. Courtesy of Toledo Museum of Art.)

35 20 Larissa Bonfante TheImportanceofMothers The importance of mothers is shown by the frequent epithets of goddesses who are called ati, mother, such as cel ati, mother earth (Celsclan= son of Cel), turan ati, mother Turan. These parallel the early and frequent artistic representations of mothers and children, many of them nursing an image that was shunned in Greek art until the fourth century bce. 34 A good example of a mother is the third-century votive stone statue from Volaterrae known as the kourotrophos* Maffei. This life-sized marble statue of a standing woman holding a baby might be thought to be a cult statue, except for the votive inscription that runs along the figure s right arm and shoulder (et, Vt 3.3). Though the statue is based on a Greek fourth-century model, the baby is a peculiarly Etruscan addition. The inscription gives us the word for image, cana. 35 It reads mi: cana: larθiaś: zanl: velχinei: śe[lv]anśl[: tu]rce, I (am) the image of Larthia Zan. Velchina [to Selvans?] gave (me). The Birth of Gods As for the birth of gods, not only is the subject favored in Etruscan art but there are surprising twists and additions to the stories. The birth of Fufluns (Dionysos, Bacchus) has a precedent: a scene shows the conception of the god by Tinia and Semla. 36 Thalna, who appears on a number of mirrors of birth scenes together with Thanr, or Ethausva, as a divine midwife, also appears as a male, illustrating the ambiguity of the sex of certain divine figures and a different attitude towards their anthropomorphism. 37 Such a practical view of myths is typically Etruscan. Artists show the birth of Menerva (Athena), a scene that takes on special emphasis in Etruscan art because of her importance, with divine nurses Thalna, Thanr realistically assisting Tinia. Other medical scenes include Prumathe (Prometheus), at the moment of his liberation, who is assisted by Esplace (Asclepius), in what looks to us like a similarly realistic approach (Fig. ii.16). 38 The Frequent Appearance of Souls or Ghosts Ingrid Krauskopf discusses (below, Chap. 5) evidence of the importance of the afterworld in Etruscan religion. Around the area of the ancient Volsinii (modern Orvieto) we find the custom of dedicating an object to the dead, especially a precious object, by scratching on it the word suθina, for the grave. In the case of a mirror, scratching the word across the reflecting surface makes it useless for the living. One mirror at the Metropolitan Museum of Art has suθina on the disc, ii.16. Bronze mirror with Prometheus Unbound. Early third century bce. New York, The Metropolitan Museum of Art. (After cse usa 3.11.) while another has the word cracna in the same position; perhaps it is the name of the deceased. The custom of killing the object to make it unfit for use by the living is known from other cultures, and indeed elsewhere in Etruria as well. It belongs in the context of the world of the dead and of ghosts. 39 In fact, we have several depictions of ghosts, which can be identified because they are clearly labeled with one of the words we know best in Etruscan: hinθial, which means soul or image. There is hinθial teriasals (et, Ta 7.67), the ghost of Teiresias, and a vase painting shows the ghosts of two Amazons, pentasilaand aturmuca (et, Vc 7.36), Penthesilea and Andromache. 40 A mirror in the Metropolitan Museum with Odysseus and Kirke (Fig. ii.17) shows a thin, wan

36 Etruscan Inscriptions 21 ii.17. Bronze mirror with Uthste, Cerca, and Velparun bce. New York, The Metropolitan Museum of Art. (After cse usa 3.15.) ii.18. Bronze mirror with Lasa, Hamphiar, and Aivas bce. London, British Museum. (After cse Great Britain 1, I, 28.) figure of Velparun, that is, Elpenor, whose ghost comes up to Odysseus (Uthste) in the Underworld scene in the Odyssey: the ghost is present along with Cerca (Kirke) as two scenes from the epic are merged in the same picture. 41 Legends on Etruscan coins provide source material for the religious, as well as the political and commercial life of the Etruscan cities. The coins of Populonia show the Etruscan name of the city, Pupluna that is, Fufluna, the city of Fufluns. 42 conclusion: the place of writing in etruscan religion Because writing was so important for the Etruscans, our knowledge of Etruscan religion depends to a large extent on Etruscan inscriptions and their contexts. There is still much to learn from these texts ritual and funerary, votive, legal, and mythological, as recent studies have shown: the names of the gods and their contexts whether they are mythological figures from Greek or Etruscan traditions or gods who receive cult in local sanctuaries. Sometimes, as in the case of Hercle, they are clearly both. We learn the names of the donors, the ritual formulas, and forms of votive gifts and of funerary dedications. Writing defined and fixed the established channels of communication between gods and mortals. In a way, the signs of the gods were themselves a kind of writing that had to be deciphered by men. 43 After the 1985 exhibit on Etruscan texts at Perugia, Scrivere Etrusco, Massimo Pallottino remarked that we could well call the Etruscans, like the Hebrews, the People of the Book. When Livy tells us that the Romans used to send their children to Etruria to learn letters in the fourth century bce, as they later used to send them to Athens, we can assume that it was the children of aristocrats, the Roman oligarchy, who needed to learn the art of divination as part of their training, to be able to lead armies in the field and carry out religious rituals in peace. With the study of the Etruscan books of divination they received a technical training that might have been the ancient equivalent of going to mit to study engineering.

37 22 Larissa Bonfante ii.19. Bronze mirror with Athrpa, Turan, Atunis, Meliacr, and Atlenta. Ca. 320 bce Berlin,Antiquarium.(AfterG.Zimmer, Spiegel in Antikenmuseum, Berlin, 1987, pl. 19.) There were characteristic styles for religious texts, some of which we can recognize in spite of the loss of Etruscan literature and the paucity of long, continuous texts. The solemnity of the style occasionally comes through even in the limited amount of written material that has come down to us. In Etruscan art, moreover, a number of the longer texts echo the solemn rhythm characteristic of religious and legal documents, with their repeated symmetries, parallel clauses, and synonyms. When Laris Pulenas lists his titles and priesthoods, recording the ceremonies, sacraments, functions, and

38 Etruscan Inscriptions 23 sacrifices at which he has officiated, their ritual order seems to determine the rhythm of the repeated pul, pul, pul first, then, then.... InthePyrgitablets a similar rhythm appears from the beginning: itatmiaicacheramasva, This is the tmia and this is the heramasva..., andlater,ilacve...ilacve, sinceontheonehand...sinceontheother hand. In calendars such as those on the Zagreb mummy wrappings or the Capua tile, which prescribe specific sacrifices, libations, and prayers to be offered to particular divinities at given dates, the repetitions are necessitated by their very nature. On the Perugia boundary stone, the patterns, symmetries, and other rhetorical devices of ritual language are reflected in the spacing of the words and lines of the inscription. 44 Written texts books, scrolls, and tablets are frequently represented in Etruscan art, and the solemnity of the written style of religious and legal texts is also sometimes represented on the monuments themselves. One of the best examples of such a visual rendering of a document recording the ceremony is the mirror from Volaterrae with the symbolic ritual of the adoption of Hercle on the part of Uni (Fig. ii.8). This solemn moment is witnessed by an assembly of divinities, one of whom points to the tablet that records the ceremony and assures its legality, like the contracts and legal documents recorded on the Perugia cippus and Tabula Cortonensis (Figs. ii.12 and ii.13). This documentation of a divine rite of passage is paralleled by funerary scenes such as that of the Lasa holding out a scroll with the names of the dead heroes (Fig.ii.18), or of Laris Pulenas exhibiting his scroll on his sarcophagus (Fig. ii.7). An image similarly assuring the permanence of the destiny of an individual or a group may be the ritual gesture of the female divinity Athrpa (Atropos) hammering the nail of Fate on another mirror, as the two unfortunate couples, Turan and Atunis, Meliacr and Atlenta (Meleager and Atalanta), look on (Fig. ii.19). 45 The importance of the written word is underlined by the appearance of the word for writing, ziχ, on religious and legal documents. On the Capua tile, an individual whose name is lost has been responsible for the text, which he wrote down or ordered to be written, ziχunce. The Zagreb mummy wrappings have ziχne, as well as the phrase ziχri cn, Let this be written down. 46 The epitaph of Laris Pulenas refers to the book on divination he has written, the ziχ neθśrac. The cippus from Perugia ends with the solemn ruling, ceχa ziχuχe, as this sentence has been written down, prescribed the sentence has been written in stone. In the bronze tablet from Cortona, the Tabula Cortonensis, the verb ziχ- also refers to the contents of the document. The luxurious writing implements buried with the dead indicated the importance of writing in the seventh century, an importance emphasized in the fourth century and later by specific references to books and writing in the documents themselves and by their representation in art. Religion, the art of divination, the stability of boundaries, the security of the society all depended upon the inviolability of the written word. Prophecies, which were crucial to the Etruscan system of religion and life, were often spoken, or otherwise indicated. Many were written down, like the prophecies of Tages and of Vegoia. 47 The act of writing itself was important and defined the character of rituals or sacred law and the very nature of the religion concerned. 48 Etruscan religion provides a striking example of the symbolic, religious significance of writing. NOTES 1. Rix, in et. 2. Further, Rix (et) omits graffiti, the sigla of one, two or three letters that abound on pottery and other objects from Etruscan archaeological sites but are usually discounted by philologists because they do not have recognizable words. Cf. de Grummond, Bare and Meilleur Cristofani 1987, ; Cornell 1991, 21. Greek inscriptions: Guarducci 1987, Colonna 1976, 7 24, esp Cristofani 1979, Morandi Pfiffig 1969, 12; Fiesel 1928; De Simone ; Rix , Roncalli 1985; Rix 1985, 21 37; Christofani Roncalli 1985, Van der Meer 1987; Maggiani This was the case when the Etruscan princess Tanaquil, wife of Tarquin, read the signs of the bird s flight in different regions of the sky when they arrived in Rome and foresaw their future there. Indeed, her husband did become king and began the Etruscan dynasty at Rome as Tarquinius Priscus. For further discussions of the sky and its divisions, see the discussion by Ingrid Edlund-Berry below, Chap Van der Meer 1987, 22 26; Weinstock For the deities mentioned here and throughout this volume, the reader may refer to the fuller treatment by Simon in Chapter 4. See especially the glossary of gods (pp ) and Chart 1 (p. 46), which gives a list of selected Etruscan gods with conjectured identi-

39 24 Larissa Bonfante fications of the counterparts in Greece and Rome. As noted earlier, Etruscan spellings were not standardized, and so minor variations in the names may appear, depending on which inscriptions are referenced. Here we try to observe the versions of the names used on the liver, some of which, however, are surely abbreviations. 14.VanderMeer1987, Thanr: Cristofani 1995, 70, 119; Uni, unialθi: Santuari d Etruria Cver: Pfiffig 1969, , 284, votive gift, or boy ( Geschenk, Weihegabe, or Knabe ). 17. Pallottino 1975, Pyrgi tablets: cie Pallottino 1975, 170, with previous bibliography; Die Göttin von Pyrgi, cie Devoto 1936, 287; Heurgon 1957, ; Heurgon 1961, ; Pallottino 1984, 425, 441; Van der Meer 1987, , , 187, fig. 78; Morandi 1991, , no. 15, fig. 20 (drawing); Cataldi 1988: Beekes and van der Meer 1991, Heurgon 1969, ; Carruba 1976, For mothers and children in ancient art, see Bonfante 1989, ; Bonfante 1997b, See also van der Meer 1995, For reference to a statue of Juno nursing Hercules, see Anthologia Palatina Cristofani 1991a, 2 5. For such a group illustrated on a mirror in the Metropolitan Museum of Art, see Bonfante 1997a, Bonfante and Bonfante 2002, 166, source 48, fig For the Roman equivalent, Silvanus custos, see Dorcey 1992, esp , 28 32, 179. See also Collins Clinton, forthcoming. The epithet custos appears only in Rome and Italy. 25. Bonfante 1997a, no De Simone , ; Fabing 1988, ; Van der Meer 1987, 61; Bonfante 1991, ; Cristofani 1991b, 148, no Roncalli 1985, Agostiniani and Nicosia Manchester base: Turfa 1982, 183; Bonfante and Bonfante 2002, 175, source 61; Pallottino 1983, ; Colonna , 345; et, oa 3.9 (wrongly reads luθs as lusθ). On the cult of Hercle at Cerveteri, see Cristofani 1996, For the bronze statuette of Hercle in Toledo, hercales mi: de Grummond 1986, 20 21, fig. I-1; Cristofani 1996, 54. For the bronze club of Heracles with votive inscription to Hercle, from Cerveteri, see Cristofani 1996, 54, fig. 29, and 55 60; Moretti Sgubini 1999, For votive inscriptions, see Schrimer 1998, For Hercle in Etruscan art, see Bayet 1926; Uehlenbrock 1986; Schwarz 1990; Neils 1998, Torelli 1977, Bonfante and Bonfante 2002, sources Early Greek inscriptions on statues: Guarducci, 1987, 46 48, nude bronze male figure, Mantiklos Apollo, ca. 700 bce, Boston Museum of Fine Arts; 49 51, marble statue of kore* from Delos, Nikandre, ca. 650 bce. 33. Pallottino 1975, 143; De Puma, 1973, ; de Grummond Pallottino includes couples made up of a male god and an accompanying goddess, as in the case of Aita and Phersipnai, the infernal couple. I feel male-female couples are different in kind and in any case unequal: Bonfante 1981, (= Reflections, ). 34. Colonna , 45 62; Colonna 1994, ; Bonfante 1997b, ; de Grummond 2004; Renard cie 76; Bianchi Bandinelli 1982, Van der Meer 1995, (Menerva), (Fufluns); Bonfante 1993, Bonfante 1997a, no. 20; Cristofani 1993, Bonfante 1997a, no. 11; Dobrowolski 1991, ; Kerenyi 1963, Kerenyi points to the remarkable resemblance of the image of Prometheus to that of a Renaissance Christ taken down from the Cross. 39. Bonfante 1997a, no. 4. On suθina, see Fontaine 1995, ; Briquel Martelli 1987, no. 174B. 41. Bonfante 1997a, no. 15. See also Bonfante and Bonfante 2002, Tripp 1986, Much of the following is adapted from a section, The Written Word, in Bonfante and Bonfante 2002, De Simone 1997, ; et; Cristofani 1995, 85 87, 125. On the Perugia cippus, see Roncalli 1985, 81; and Roncalli 1985b, The Tabula Cortonensis givesusanewexampleoftheverb towrite. 45. On the importance of writing in Etruscan art and society, see Roncalli 1985a; Roncalli 1976, On the nail of Fate, see Aigner Foresti 1979, ; Bonfante 1998, New reading: Roncalli 1985, 52 (instead of zaχri, in ThLE, s.v., tle, 1). 47. De Grummond, below, Chap Beard 1991, 35 58: The simple fact, for example, that writing becomes used, even by a tiny minority, to define the calendar of rituals or sacred law inevitably changes the nature of the religion concerned ; and also her discussion of the primacy of writing and the clear determining power of the written word over the spoken (39). See also Corbier 1987, 27 60; Corbier 1991, BIBLIOGRAPHY Agostiniani, L., and F. Nicosia Tabula Cortonensis. Rome. Aigner Foresti, L Zur Zeremonie der Nagelschlagung in Rom und in Etrurien. ajah 4, Bayet, J Herclé: Étude critique des principaux monuments relatifs à l Hercule étrusque. Paris. Beard, M Ancient Literacy and the Function of the Written Word in Roman Religion. In Literacy in the Roman World. jra Suppl. 3, Beekes, R. S. P., and L. B. van der Meer De Etrusken Spreken. Muiderberg. Bianchi Bandinelli, R Marmora Etruriae, and La kourotrophos Maffei del museo di Volterra. In L arte etrusca. Rome; orig. publ. 1967, Bonfante, G., and L. Bonfante TheEtruscanLanguage:An Introduction. Manchester. Revised ed. Bonfante, Larissa Etruscan Couples and Their Aristocratic

40 Etruscan Inscriptions 25 Society. Women in Antiquity: Women s Studies 8, Reprinted in Reflections of Women in Antiquity, ed. Helene P. Foley. New York, 1981, Iconografia delle madri: Etruria e Italia antica. In LedonneinEtruria,ed. Antonia Rallo. Rome Un bronzetto da Bolsena (?). In Miscellanea etrusca eitalicainonoredim.pallottino.archclass43, Fufluns Pacha: The Etruscan Dionysos. In Masks of Dionysos, ed. Thomas Carpenter and Christopher Faraone. Oxford a. Corpus Speculorum Etruscorum [cse] usa 3. New York, The Metropolitan Museum of Art. Rome b. Nursing Mothers in Classical Art. In Naked Truths: Women, Sexuality and Gender in Classical Art and Archaeology, ed. Ann O. Koloski-Ostrow and Claire L. Lyons. London Il destino degli Etruschi. In Libertà o necessità? L idea del destino nelle culture umane, ed. A. Bongioanni and E. Comba. Turin Briquel, D Note sur les vases portant l inscription suthina et réputés provenir de Nola. rel 97, Carruba, O Nuova lettura dell iscrizione etrusca dei cippi di Tunisia. Athenaeum 54, Cataldi, M I sarcofagi etruschi delle famiglie Partunu, Curuna, e Pulena. Rome. Collins Clinton, J. Forthcoming. Stone Sculpture. In Catalogue of thestudycollectionoftheamericanacademyinrome. Colonna, G Il sistema alfabetico. L etruscoarcaico:attidel Colloquio. Florence La dea etrusca Cel e i santuari del Trasimeno. Rivista storica dell antichità 6 7, Rivista di epigrafia etrusca, StEtr 55, 345 (no. 126) A proposito degli dèi del Fegato di Piacenza, StEtr 59, 1993 [1994], Corbier, M L écriture dans l espace public romain. In L Urbs, ed. C. Pietri. Rome L écriture en quête de lecteurs. In Literacy in the Roman World. jra Suppl. 3, Cornell, T The Tyranny of the Evidence: A Discussion of the Possible Uses of Literacy in Etruria and Latium in the Archaic Age. In Literacy in the Roman World. jra Suppl. 3, Cristofani, Mauro Recent Advances in Etruscan Epigraphy and Language. In ItalybeforetheRomans,ed. D. Ridgway and F. R. Ridgway. London Appendice: Le iscrizioni del VII secolo a. C. In Saggi di storia etrusca arcaica. Rome a. Chimereide. Prospettiva 61, b. Introduzione allo studio dell etrusco. Florence Sul processo di antropomorfizzazione nel panteon etrusco, Miscellanea etrusco-italica 22, Tabula Capuana. Florence Appendice: Ancora sulla kylix ceretana con dedica a hercle nel J. Paul Getty Museum. In Due testi dell Italia preromana. Rome de Grummond, N. T Rediscovery. In Etruscan Life and Afterlife, ed. L. Bonfante. Detroit Etruscan Twins and Mirror Images. Bulletin of the Yale University Art Gallery, For the Mother and for the Daughter: Some Thoughts on Dedications from Etruria and Praeneste. XAPIΣ, Essays in Honor of Sara Immerwahr, ed. A. P. Chapin. Hesperia Suppl. 33. Princeton de Grummond, N. T., C. Bare, and A. Meilleur Etruscan Sigla ( Graffiti ): Prolegomena and Some Case Studies. Archaeologia Transatlantica 18, De Puma, R. D The Dioskouroi on Four Etruscan Mirrors in Midwestern Collections. StEtr 41, De Simone, C Die griechischen Enthlehnungen im Etruskischen. 2 vols. Wiesbaden Rivista di epigrafia etrusca. StEtr 55, La radice etrusca zich - ritzen. In EtruscaetItalica: ScrittiinricordodiMassimoPallottino.Pisa Devoto, G Problemi dell iscrizione di Pulena. StEtr 10, (= L iscrizione di Pulena. Scritti minori II. Florence ). Dobrowolski, W Il mito di Prometeo: Il limite tra il cielo e la terra nell arte etrusca. Miscellanea Pallottino, ArchClass 43, Dorcey,P.F.1992.TheCultofSilvanus:AStudyinRomanFolkReligion. Leiden. et = H. Rix, Etruskische Texte, editio minor. 2 vols. Tübingen Fabing, Susannah TheGodsDelight.Cleveland. Fiesel, Eva Namen des griechischen Mythos im Etruskischen. Göttingen. Fontaine, P A propos des inscriptions suthina sur la vaisselle métallique étrusque. In Vaisselle métallique, vaisselle céramique: Productions, usages et valeurs en Étrurie. rea 97. Ed. J.-R. Jannot Die Göttin von Pyrgi, 1981 = Die Göttin von Pyrgi: Akten des Kolloquiums Tübingen Ed. A. Neppi Modena and F. Prayon. Florence. Guarducci, M Epigrafiagrecadalleoriginialtardoimpero. Rome La vie quotidienne chez les Étrusques. Paris CRAI Heurgon, J rel 25, Kerenyi, Karl Prometheus, Archetypal Image of Human Existence. Bollingen Series 63. Princeton. Maggiani, A Qualche osservazioni sul Fegato di Piacenza. StEtr 50, Martelli, M., ed La ceramica degli etruschi. Novara. Morandi, A Epigrafia italica. Rome Nuovi lineamenti di lingua etrusca. Rome. Moretti Sgubini, A. M Euphroniusepoiesen:Undonod eccezioneadercolecerite.rome. Neils, Jenifer Hercle in Cleveland. Cleveland Studies in the History of Art 3, Pallottino, Massimo Testimonia Linguae Etruscae [tle]. 2nd ed. Florence The Etruscans. Tr. J. Cremona, ed. D. Ridgway. Bloomington, in Iscrizione etrusca sulla basetta di bronzo del Museo di Manchester. pbsr 50,

41 26 Larissa Bonfante Presentazione di due iscrizioni etrusche. StEtr 51 (1985), Etruscologia. 7th ed. Milan. Pfiffig, A Die etruskische Sprache. Graz. Renard, M Hercule allaité par Junon. In Hommages à Jean Bayet, ed. M. Renard and R. Schilling. Brussels Rix, Helmut Das Eindringen griechischer Mythen in Etrurien nach Aussage der mythologischen Namen. Schriften des Deutschen Archäologen-Verbandes 4 7= Aufnahme Descrizioni di rituali in etrusco e in italico. In L etrusco e le lingue dell Italia antica: Atti del Convegno della Società Italiana di Glottologia, Pisa 1984, ed. A. Moreschini Etrusco un,une,unu, te, tibi, vos e le preghiere dei rituali paralleli nel liber linteus. In Miscellanea Pallottino Roncalli, F Etrusco cver, cvera = greco agalma. pp 38, a. Scrivere etrusco. Milan b. StEtr 53, Santuari d Etruria = G. Colonna, ed., Santuari d Etruria. Catalogue of exhibition in Arezzo. Milan Schrimer, B muluvanice/turuce. pp 48, Schwarz, S. J Hercle/Herakles. limc V, tle = Pallottino Torelli, M Il santuario greco a Gravisca. pp 32, Tripp, David Coinage. In Etruscan Life and Afterlife, ed. L. Bonfante. Detroit Turfa, J. M The Etruscan and Italic Collection in the Manchester Museum. pbsr 50, Uehlenbrock, J Herakles: Passage of the Hero through 1000 Years of Classical Art. New Rochelle, ny. VanderMeer,L.B.1987.The Bronze Liver of Piacenza: Analysis of a Polytheistic Structure. Amsterdam InterpretatioEtrusca:GreekMythsonEtruscanMirrors. Amsterdam. Weinstock, S Martianus Capella and the Cosmic System of the Etruscans. jrs 36,

42 CHAPTER III PROPHETS AND PRIESTS Nancy Thomson de Grummond For an Etruscan, the starting point of religion lay in the revelations of the prophets. After that, the continuing practice of religion was guided by inquiry into the will of the gods, properly revealed and interpreted by individuals with skills in divination. Here we shall make a distinction between these two different categories of communication of the will of the gods, using the words prophet and prophecy to refer to the traditions in which a particular individual made revelations that then became basic sacred scripture for the Etruscans. We will reserve the term divination for the multitude of examples in which a priest or other individual interpreted a message from the gods by consulting the previously revealed body of divine knowledge known as the Etrusca disciplina.* 1 prophets We shall consider numerous references in Greek and Latin sources 2 to the utterances of Etruscan prophets, but unfortunately we do not have original Etruscan sources on this topic. As we consider these literary sources, we shall also look at evidence from the archaeological record that may help to confirm or expand ideas in the texts. Tages The central myth of Etruscan prophecy lies in the story of Tages, the wise child who sprang up from the freshly plowed earth and revealed in full the rules of the Etrusca disciplina. The form of the name Tages is Latin, employing the letter g, not used by the Etruscans. We may imagine that the prophet s name in Etruscan incorporated a hard c sound, a point to which we shall return. The most important sources for the myth are Cicero, ca. 44 bce (De div. 2.23; Appendix B, Source no. ii.3); Johannes Lydus, sixth century ce (De ostentis 2.6.B; Appendix B, Source no. ii.5) and Verrius Flaccus (epitomized by Festus, second century ce, De significatu verborum , Lindsay, p. 492, v.6; Appendix B, Source no. ii.2). These are a mixed lot, but all seem to have had access to antiquarian sources that may reflect original Etruscan writings. A number of other sources also make limited reference to the story. Flaccus related that Tages was the son of Genius and grandson of Jupiter (i.e., the Roman equivalent of the Etruscan god Tinia). According to both Cicero and Lydus, Tages imparted his knowledge when a plowman cut a furrow in the ground and the child sprang up and started singing; Tages was like a newborn but had characteristics that evoked the wisdom of an old man. Cicero says the event took place at Tarquinii and was promptly attended by all Etruria. Lydus tells us specifically that the plowman was none other than Tarchon, founder of the city. Flaccus noted that the child was responsible for teaching his message to the duodecim populi, the Twelve Peoples of Etruria. In Lydus version, Tarchon took the child away and set him in sacred places to learn from him. A recurrent feature in the sources is that the teachings were written down and that the leaders or lucumones*of Etruria were conduits for the transmission of the prophecy. What were the teachings of Tages? Cicero says that they pertained to haruspicina, that is, the interpretation of the will of the gods through scrutiny of the inner organs of a sacrificed animal; elsewhere (De div. 2.38), Cicero says simply that the teachings pertained to the disciplina of the Etruscans. Other sources mention lightning and entrails (Arnobius, Adv. nat. 2.69); city foundations made with the plow (Macrobius, Sat ; Appendix B, Source no.iv.5); earthquakes (Lydus, De ostentis 54c); the spheres of habitation of the gods (Lactantius, Comm.inStat.Theb.4.516); and a remedy for mildew, i.e., agricultural lore (Columella, De re 27

43 28 Nancy Thomson de Grummond iii.1. Channel of the shrine/ altar emptying into the cavity in the bedrock, Building Beta, Pian di Civita, Tarquinii. (After Moretti Sgubini 2001, fig. 35.) rustica 10.5, ; Appendix B, Source no. iv.4).thewritings derived from the revelation were sometimes referred to as Libri Tagetici, and these were described as containing Libri haruspicini and Libri Acherontici (on rituals pertaining to salvation and the Afterlife). From archaeology we glean other evidence relative to the mythical child prophet. Excavations by the University of Milan at Pian di Civita, the city site of ancient Tarquinii, from 1982 to 1985 produced a quite remarkable find in an area identified by the excavators as sacred. 3 They discovered the skeleton of a child, 7 8 years old, buried around the end of the ninth century bce by inhumation, a rite quite unusual at that time. The child, wearing a pendant or bulla around its neck, revealed a deformation of the bones that experts have associated with epilepsy. Near the body was a natural cavity in the earth (Fig. iii.1), obviously used in a cult, since it was connected to a nearby altar by a drainage channel, presumably for blood and drink offerings from the altar. There were many other signs of religious activity in the area, including strata of ashes indicating repeated acts of burning and segments of animal horns, sometimes in geometric shapes. Postdating the child burial were the scattered skeletal remains of other children, this time infants. In a pit nearby were found the remains of a bronze axe and a carefully folded shield and lituus*/trumpet (Fig. iii.2), all attributes of power and nobility. Quite apart from the disturbing question raised here about child sacrifice among the Etruscans, the find is very suggestive in regard to the founding myth of Etruscan prophecy. In antiquity epileptics were perceived to have special spiritual powers, manifested when they were under the effects of seizure, and the combination of this eccentric child with the cavity in the earth and the attributes of lucumones at Tarquinii provides a most suggestive backdrop for the myth of the wise child Tages. Also from the archaeological record comes another type of evidence, namely, representations in art that may show the myth. A number of scarabs, mostly dating to the fourth century bce, show a fascinating scene in which one or more figures stand over a being emerging from the ground. Sometimes only the head is shown, but at other times, more of the figure appears, as on an example of the fourth third century bce in the Villa Giulia (Fig. iii.3) 4 that seems to show Tarchon bending over and listening to Tages, the latter an amorphous figure, somewhat small in scale compared with the tall male figure. He raises his finger in a pointing gesture that is commonly used in Etruscan art by someone explaining a prophecy. 5 An equally important supplement to the literary sources

44 Prophets and Priests 29 iii.2. Votive bronze axe, shield, and lituus/trumpet, found in front of Building Beta, Pian di Civita, Tarquinii. Early seventh century bce. Tarquinia, Archaeological Museum. (After Bonghi Jovino and Chiaramonte Treré 1997, pl. 125.) is provided by the famous bronze mirror found in a tomb at Tuscania in 1898, dated to the third century bce (Fig. iii.4). 6 The identification of the figures has been thoroughly discussed since the seminal article by Pallottino in 1930, but scholars are far from final agreement on this subject. What is certain is that a youth labeled pavatarχies, 7 wearing a conical priest s cap, stands in a ritual pose with his left foot upon a rock and contemplates a liver. On the left, a bearded older man, with a similar conical hat laid back on his shoulder, assumes a position of listening and contemplating; he is labeled avl tarχunus. No better explanation has been found than Pallottino s suggestion that we have here a version of the myth of Tages ( pava may mean puer or child; tarχies could become Tages in Latin) instructing Tarchon (or perhaps his son, whose name would then be Avl) in haruspicina. The other figures present are somewhat difficult to account for. On the far right is a tall, bearded male, nude except for his boots and a mantle wrapped around his left arm; he holds a spear in his right hand. Labeled Veltune, he is often equated with the Etruscan god whom the Romans called Vertumnus (or Voltumna) and who was regarded as the principal deity of Etruria by Varro (De lingua Latina 5.46: Appendix B, Source no. vi.3). Since an overwhelming amount of evidence shows that Tinia was the chief Etruscan god (as noted, equivalent to Jupiter), some have argued that Veltune is simply another name for

45 30 Nancy Thomson de Grummond him; thus it is possible that we have here the god who was grandfather of Pava Tarchies. As for the remaining figures, frustratingly little is clear. In the middle of the scene is a rather conspicuous lady labeled Ucernei, whose identity and reason for participation are quite unknown, while on the far left is a youth, nude except for his cloak; above him is the word raθlθ. The god Rath is named in inscriptions, but little is known about him, and the locative ending of the word on the mirror is puzzling. 8 It may identify him as a personification of the place where the prophesying of Tages took place. iii.3. Carnelian scarab with image of Tarchon and Tages (?). Fourth century bce. Rome,MuseoEtruscodiVillaGiulia (Photo:CourtesyoftheSoprintendenzaperiBeniArcheologici dell Etruria Meridionale.) iii.4. Mirror with Pava Tarchies from Tuscania. Early third century bce Florence, Archeological Museum. (After Torelli 1988, fig. 1.) Vegoia (Vecuvia) Another highly important figure in Etruscan prophecy is the one called Nymph Begoe (or Vegoia ) in Latin texts. She is mentioned as the author or source of books on lightning that were kept in the Temple of Apollo (presumably on the Palatine; Servius, Ad Aen. 6.72) and is particularly recognized as a source for an account about the creation of the world. Her books are alluded to as Libri Vegoici. The thunder calendar attributed to the Roman savant Nigidius Figulus (surviving in a Greek translation; see Appendix A) may be derived from her prophecies. The Romanized expert on Etruscan lore, Tarquitius Priscus, a contemporary of Cicero, translated her books into Latin. A precious scrap of prophecy exists in Latin, perhaps derived from the translations made by Tarquitius Priscus; the text pertains to the sanctity of boundaries and thus is preserved in the writing of field surveyors (see Appendix B, Source no. ii.1). 9 Vegoia delivered her prophecy to a certain Arruns Veltymnus, sometimes equated with Arruns, an early prince of Clusium, though with little firm evidence. The name Veltymnus is remarkably similar to Veltune on the Etruscan mirror, and perhaps in this case it again refers to the principal Etruscan deity, Tinia (or Jupiter), indicating that Arruns had a special relationship with this god. The prophecy in Latin does make specific reference to Jupiter. It begins with the origin of the sea and sky and relates how Jupiter had worked out boundaries in Etruria. For those who violated these boundaries, disastrous consequences were predicted, including storms, whirlwinds, drought, hail, and mildew. Similar spectacular effects of weather are part of the predictions in the Brontoscopic Calendar of Nigidius, for example, for June 3, If in any way it should thunder, there will be a scorching and drying wind, such that not only grains but even the soft fruits will be parched through and through and shrivel up. Or again, from Oct. 3, If it thunders, it signifies hurricanes and dis-

46 Prophets and Priests 31 turbances by which the trees will be overturned; there will be a great disruption in the affairs of common people. (See Appendix A.) On the whole, the myth of the prophetess makes an interesting parallel to the story of Tages and Tarchon, with its combination of the instructor (Vegoia) and the disciple (Arruns) and with its reference to Veltune or Tinia, along with the connection with disasters of nature. The writing down of the prophecy of Vegoia has been thought to date from the first century bce (some five hundred years later than Arruns of Clusium), because it refers to the eighth saeculum or era of Etruscan history. The Etruscan doctrine of the periods of their sacred history is only dimly known and understood, but the eighth saeculum may be convincingly related to the last century of Etruscan civilization, when the Etruscans were being overrun by the Romans and a prophecy on boundaries might seem especially pertinent. The figure known to the Romans as the Nymph Begoe has been identified in Etruscan art, twice on mirrors and once on a gold ring bezel. On a mirror from Vetulonia, ca bce, a winged female figure appears, labeled Lasa Vecuvi(a), from which the translation to Latin of Nymph Begoe or Vegoia might easily have been made. 10 The figure appears in the exergue of the mirror, underneath an image of Tinia holding the thunderbolt, thus suggesting a connection between the two. On a mirror of unknown provenance in the Villa Giulia, of similar date, appears a winged figure in short chiton labeled Lasa Vecu. This time, however, the Lasa appears with Menrva (Fig. iii.5). She seems to stand and listen, holding in her hand an object that is sometimes identified as a small lightning bolt, though more often as a plant. Either attribute would be acceptable for the prophetess who left a book on lightning but also had concern for boundaries, a matter of agrarian significance. Finally, on the ring bezel, from Todi in Umbria (dated around the same time as the two preceding examples), the goddess is called Lasa Vecuvia, and is represented as a nude, nymphlike figure holding a mirror (Fig. iii.6). From the numerous scenes of prophecy that appear on Etruscan mirrors, it may be conjectured that the mirror itself was an instrument of prophecy, as in the examples of katoptromanteia (conjuring with mirrors) attested in Greek and Roman ritual. 11 Rather like making predictions by gazing in a crystal ball or a vessel filled with liquid (lekanomanteia), one could discern the future by looking at a reflected but somewhat mysterious image in the shiny surface of the mirror. Several Etruscan mirrors show a female figure gazing intently into a mirror, seemingly not in the act of grooming but rather as a part of katoptromanteia. It may be hypothesized that Lasa Vecuvia prophesied on occasion by means of a mirror. Cacu Among the other scenes of prophecy on mirrors, the best known is that on the handsome grip mirror from Bolsena (Fig. iii.7; ca. 300 bce) that shows the long-haired, youthful Cacu in the act of playing his lyre and evidently singing an oracular message. 12 His pupil Artile sits at his feet and follows the prophecy with the aid of a booklike diptych containing an enigmatic script. On the right and on the left, soldiers approach, one with sword drawn, evidently in an ambush of the prophet. They are labeled as Avle Vipinas and Caile Vipinas, two brothers who are known from other sources, both Roman and Etruscan, as real historical figures, contemporary with the sixth-century kings of Rome. The same story appears on at least four ash urns coming from the territory of Clusium (Chiusi) dating to the second century bce. All show the attempt to capture the prophet, but unfortunately we do not know the outcome of the situation. The ambush to catch a seer is a well-known topos in Greek and Roman myth and legend, according to which you must seize the prophet to learn his secrets (cf. Silenus in Vergil, Eclogue 6; Proteus in Vergil, Georgics 4, and Picus and FaunusinOvid,Fasti 2.385). Beyond this plausible hypothesis, there is little agreement. We do not know the subject of the prophecy, and though there are myths about Cacus in Latin literature (e.g., the brute of Vergil s Aen ), it is difficult to show how they may be related to the scene on the mirror. In the Roman versions, the threads of the myth have become so tangled that the fabric is no longer recognizable. Other Prophetic Figures A number of other little-known Etruscan figures appear in acts of prophecy or divination on Etruscan mirrors, both male and female. I have discussed these and the meager knowledge we have about them elsewhere. 13 There are also various figures from Greek mythology represented on mirrors as prophets or seers: Silenus, the seer Chalchas (Fig. iii.8; represented in Etruria with wings and practicing divination with a liver), Orpheus, Teiresias. For most of these, evidence of scripture is lacking. Orpheus is an exception, since scenes of his head popping out of the ground with open mouth (the motif recalls Tages) include a tablet with writing upon it. These date around the same time as many of the other mirrors and gems with scenes of prophecy or divination, ca. 300 bce. We have reviewed the principal evi-

47 32 Nancy Thomson de Grummond iii.5. Mirror with Lasa Vecu and Menrva. Early third century bce. Rome, Museo Etrusco di Villa Giulia. (After es, 1.37.) dence for prophets in Etruria, with particular attention to the major figures, one male and one female Tages (Pava Tarchies) and Nymph Begoe (Lasa Vecuvia). Their books, the Libri Tagetici and the Libri Vegoici, constituted a significant portion of Etruscan scripture. Given the scrappy nature of the evidence, it is not safe to attempt much generalization, but it is clear that these writings and related Etruscan myth and legend included themes of creation and history, as well as references to the power of the chief god in connection with the forces of nature. The writings were preserved and interpreted by patriarchal figures such as Tarchon and the leaders of individual city-states (the duodecim populi, or Twelve Peoples). Clearly the texts were thick with regulations on rituals and legal matters. One category of the books of Tages gave illumination concerning the Afterlife. Beyond that, the Etruscan ritual books focused on instructions concerning prognostication. Repeated references to thunder and lightning, haruspication, the flight of birds, unusual animals or plants, and other features of ritual make it clear that the chief

48 Prophets and Priests 33 iii.6. Gold ring bezel with Lasa Vecuvia from Todi. Early third century bce. Rome, Museo Etrusco di Villa Giulia. (Photo: CourtesyoftheSoprintendenzaperiBeniArcheologici dell Etruria Meridionale.) Discussions of Etruscan priests usually begin with the wellknown haruspices,* the Etruscan diviners who served the Romans during the period of the Roman Republic and even sometimes during the Empire as well. Here we shall make a different kind of start and inquire whether it is possible to give a more general account of priesthood within Etruria. How do we define or recognize an Etruscan priest? Who served as priests and in what contexts? How did Etruscan priests resemble or differ from those of Greece and Rome? What were their duties? The evidence is once again scanty, and barring spectacuiii.7. Mirror with Cacu being seized by Avle Vipinas and Caile Vipinas. Ca. 300 bce. London, British Museum. (After Bonfante 1990, fig. 18.) emphasis in the Etrusca disciplina lay in teaching divination, so that priests and others might assist in discerning the will of the gods. priests iii.8. Mirror with Chalchas as haruspex. Ca. 400 bce.vatican Museums. (After es, )

49 34 Nancy Thomson de Grummond lar new discoveries, we shall never be able to give very satisfactory answers to these questions or to come anywhere near the kind of responses provided in most of the chapters of Pagan Priests, Religion and Power in the Ancient World (1990), edited by Mary Beard and John North. They and their contributors make several points, however, that can illuminate our inquiry. The first has to do with the actual definition of priest, which they provisionally relate to the function of mediating between gods and men. 14 The mediation function, we shall see, is conspicuous in the surviving evidence about priests of Etruria. Also useful for our discussion is their generalization that the concept of such a mediator in ancient societies was very different from our own, beginning with the fact that the priest was not just a religious figure but often was a person of political or secular importance and duties; the separation of church and state was not an issue. 15 Another theme that recurs in Beard and North is the idea that priests would be marked out from ordinary people by some kind of distinctive, even paradoxical clothing, such as may be seen in modern priests, who may wear a skirt or turn their collar backwards, or nuns, who may wear medieval garments. 16 Terminology Was there an Etruscan word that would translate the Latin all-purpose term sacerdos? The most common word for priest in Etruscan was cepen (also ceepena, cipen; pl. perhaps cepar), a term that can already be found in the seventh century bce. 17 The meaning of cepen was first suggested by a gloss from Varro (Servius, Ad Aen ), noting that the Sabine word for priest was cupencus, and it has been confirmed by its frequent occurrence in the Liber Linteus of Zagreb. 18 Names for priestly office also may be learned from funerary inscriptions that list titles of the deceased in combination with cepen and other words. Four times cepen appears with another word whose root seems to refer to the activities of a magistrate 19 but may also be priestly: maru (occurring in Umbrian as maron-, the same word as Maro, the Latin cognomen of Vergil). This last term appears also in what seems tobeagrouppluralform, maruχva or marunuχva (tle,194; et, at 1.61; tle, 171;et, at 1.96.), which may be analogous to the Latin word collegium, used for a group of priests. 20 We also find marunuχ spurana cepen (tle,165;et, at 1.171), which makes a suggestive connection with the activity of the city-state (spur) and thus perhaps refers to a public priest. Yet another word for priest in general may be provided by eisnev (tle, 195; et, at 1.1). A rare term, not nearly as common as cepen, it is found in an epitaph that seems to give a list of offices held and may be etymologically related to the Etruscan vocabulary of words referring to the gods (ais-, god, aisna/eisna, pertaining to the gods ). 21 It has been recently argued that there is an Etruscan word for priestess, hatrencu, a term that occurs only in female graves and is limited in fact to the city of Vulci. 22 In the Hellenistic Tomb of the Inscriptions at Vulci were buried several women with the title but with different family names (et, Vc 1.47, 49, 50, 55, 58), giving rise to the hypothesis that they were priestess members of a collegium that had a right to burial in a specific place. The finding of objects of considerable prestige in the tomb adds to the idea that these were elite women who belonged to a special caste. Various other details emerge from close study of inscriptions. The famous funeral epitaph of L(a)ris Pulenas 23 gives a list of his achievements, including a phrase suggesting that he wrote a book on haruspication (ziχ neθśrac) 24 and referring to a rich life serving the gods Pacha (Fufluns), Catha, and (probably) Culśu. Elsewhere we have references to individuals as marunuχ cepen of Pacha (tle,137;et,ta1.184)or as maru of both Pacha and Catha (tle, 190; et, at 1.32). The evidence suggests that the Etruscans had a practice of naming individuals as being in charge of a particular cult. Roman religion is not lacking in parallels, but Beard has stressed thatthisisthebasicpatternforthegreekpriest(hiereus) or priestess, who attended only one deity and even only one sanctuary of that deity. 25 From Latin texts comes information to confirm the idea of the individual or family serving a particular cult. When the Romans sacked Veii, and the youths came to carry away the statue of Juno, they feared to touch the statue because no one was certae gentis sacerdos (Livy ; Appendix B, Source no. vi.5). We begin to think of a model like that in Rome of the families of the Potitii and Pinarii (Livy ), who served the Roman altar of Hercules from earliest times (though once again the context could be Hellenic, since the god himself and King Evander, who established the cult, were Greek). The idea of noble families handing down religious duties was certainly attested among the Etruscans, as we know from the sources regarding the Etrusca disciplina. In the story of Tages, Tarchon taught the other principes to use the disciplina in their own cities, and they in turn handed down the lore received from the child. Cicero (Ad fam. 6.6) referred to the idea that A. Caecina would learn about the Etrusca disciplina from his father. Claudius also noted the practice of families transmitting their knowledge (Tacitus, Annales 11.14), and earlier Cicero had talked about a decree of the sec-

50 Prophets and Priests 35 ond century (De div. 1.92; Appendix B, Source no. iv.8) in which the Senate had actually ordered that the noble families (of the individual Etruscan peoples?) should hand over six (or possibly ten) of their sons to study and preserve the disciplina. 26 It would help to know more about the priest of the Fanum Voltumnae, the central federal sanctuary of the Twelve Peoples. 27 Our references to the role are brief but suggestive. Livy (5.1.5) relates that at the time of the war with Veii, that is, the early fourth century, the Etruscans were voting for the sacerdos and declined to elect a wealthy, prominent leader from Veii who expected to receive the honor. In retaliation, he withdrew the performers in the games, most of whom were his own slaves. When the Veientines later made him king, the other Etruscan states, disgusted, refused to help Veii against the Romans. It is of interest to learn that the priest was chosen by election and that he was a man of high political standing, though not a king (Livy speaks of this role as being offensive to contemporary Etruscans). From the well-known inscription from Spello, dated to the reign of Constantine ( ce), used as evidence for the Fanum Voltumnae, 28 we also learn that the Etruscans elected the sacerdos annually. There is considerable evidence that games were an important part of the annual ceremonies, and it is likely that the priest was normally expected to contribute to these (though the Veii story stresses that their leader had provided entertainers before he was elected; maybe all candidates for the priesthood were supposed to contribute). Dress and Attributes of Priests For our question regarding how to recognize an Etruscan priest, we may turn especially to archaeological evidence. Scholars are unanimous in identifying a number of figures as priestly by their characteristic garb. 29 As we have already noted, Pava Tarchies and Avl Tarchunus, engaged in haruspication (Fig. iii.4), wear the special hat with a peak on top, often shown as twisted. Pava Tarchies wearing of his hat on his head actually indicates that he is a priest; likewise, the hat on the shoulder of Tarchunus is consistent with him being in the act of becoming one. Similar images of the hat, which seems to be the forerunner of the peaked apex* worn by the Roman flame priests ( flamines*), 30 can be found in a number of representations in Etruscan art. 31 To show the characteristic hat and other features of the costume of the haruspex, the favorite representative is the fourth-century bronze statuette of Vel Sveitus in the Vatican (tle, 736;et, Vs 3.7; Fig. iii.9). 32 It has an inscription: iii.9. Bronze statuette of priest, dedicated by Vel Sveitus. Fourth century bce. VaticanMuseums.(After Pfiffig 1975, 48, fig. 6.) tn turce vel sveitus, Vel Sveitus gave this, perhaps referring to a priest who made this a votive offering to his deity. The peak of the hat is tall and slightly flattened at the top; it makes a smooth transition downward, broadening into a tightly fitted cap with a slight brim, which seems to be tied on with rather large straps around the chin. The cap is clearer in some other specimens, for example, the alabaster ash urn of Arnth Remzna in the University Museum, Philadelphia (third century bce; Fig. iii.10). 33 Here the gentleman has a thick roll over the forehead and ears, held by straps that come down in front of the ears and are tied in a complex loop ending in a three-pointed tip. This kind of head covering seems to be the counterpart of the Roman galerus,* a close-fitting cap made from animal skin worn by priests of

51 36 Nancy Thomson de Grummond iii.10. Alabaster ash urn of Arnth Remzna. Late third century bce. Philadelphia, University Museum. (Photo: University of Pennsylvania Museum, neg. # ) various ranks, sometimes with theapex and sometimes with a knob. 34 The Vel Sveitus figure has other intriguing elements to his dress, especially the mantle with a rough fringe all along its edges; this, too, relates to an animal skin (probably sheep). The mantle is fastened with a large fibula of a type that goes back to the Archaic period. For comparison we may look at a statuette of a priest said to be from the Siena area and dating to the third century bce (Fig. iii.11). 35 For the animal skin, this remarkable figure substitutes the laena, a mantle worn from front to back so that a loop of drapery hangs down in front. In addition, he wears the apex and galerus, thus combining elements that appear together in the famous images of the flamines on the Ara Pacis Augustae. 36 The apex is of a different type here, however, as noted by Maggiani, with a soft pileus-type cap rather than the sharp point of the apex. 37 It is worth noting that all the images cited here show the priest as clean shaven. This may indicate not that the individuals had to be youths, like Pava Tarchies, but merely that the beard had to be shaved at the time of initiation into the priesthood. Avl Tarchunus, a priest in training, is still bearded. One of the well-known attributes of the Etruscan priest is the magic wand known in Latin as the lituus, 38 the curved staff especially associated with religious activity in Roman literature and appearing in Etruscan archaeological contexts that support the oft-repeated association with augury. The basic texts of Cicero (De div. 2.80; Appendix B, Source no. iv.7), Livy (1.18.7), and Vergil (Aeneid 7.187) describe it as a curved stick without knots, used first in Rome by Romulus. Servius (Ad Aen ) adds the interesting details that the wand was considered royal, and that it was used in settling disputes. The Archaic usage of the staff and probable origin in Etruria are indicated by its presence on the plaque from Murlo with seated dignitaries (ca. 570 bce) 39 and on an oft-reproduced sandstone cippus* from Fiesole (second half of the sixth century bce; Fig. iii.12), 40 which shows a figure with rather unusual dress: he wears high boots and a tall hat from which the locks peek out at the bottom, and he seems to have something draped across his left arm. He holds the wand aloft in his right. A handsome bronze model of a lituus comes from a burial, no doubt elite, at Caere, also dating to the sixth century (Fig. iii.13). 41 The wand is 36 cm. high but very thin, suggesting that it either was attached to a wooden frame or was in fact not intended for usage except as insignia in the Afterlife of the priest or magistrate who would have been buried with it. There are numerous other representations of the lituus in Etruria, and the wand continues to appear in Roman representations, for example, of the god Jupiter, and as an instrument of priests on coins and gems. 42 Without doubt, there were other ritual wands or staffs in Etruria, such as the bifurcated stick carried by priests represented on a black-figured amphora from Orvieto. 43 In this intriguing scene, four men seem to be involved in a ritual connected with a lightning bolt lodged upright in the

52 Prophets and Priests 37 iii.11. Bronze statuette of priest. Third century bce. Göttingen, Archäologisches Institut der Universität. (Photo: Stephan Eckhart.) iii.12. Cippus with relief of a priest (?) with lituus. Second half of sixth century bce. Berlin, Antikensammlung, Staatliche Museen zu Berlin. (Photo: Bildarchiv Preussischer Kulturbesitz/Art Resource, NY.) ground. Their placement suggests that they formed a magic circle around it, perhaps in an act of rendering harmless the spot hit by the lightning. One priest standing next to the lightning bolt faces away from it and extends his right arm backward toward the bolt while he lifts in front of himself a wand with a bifurcation at the top. There is one more reference to the attributes of Etruscan priests that cannot be omitted: the passage in Livy in which he describes the priests as marching to war ( ; Appendix B, Source no. iv.10). The Tarquinians and (non- Etruscan) Faliscans routed the Romans in 356 bce by a simple but remarkable strategy, arming their priests (sacerdotes) with torches and serpents, rushing down upon the Roman troops, and throwing them into a panic. The sight is recalled by the parade in the Tomb of the Typhon at Tarquinii, which probably features Etruscan priests or else performers dressed

53 38 Nancy Thomson de Grummond iii.13. Bronze model of a lituus, from Caere. Rome, Museo Etrusco di Villa Giulia. (After Pfiffig 1975, 48, fig. 5.) up as Underworld characters, with demonic faces and carrying serpents, torches, and lituus-shaped musical instruments (admittedly, they proceed at a more leisurely pace). 44 Etruscan Priestesses There is relatively little evidence for the appearance of Etruscan priestesses. A female figure on a sarcophagus in the British Museum, said to have come from the Tomb of the Triclinium at Tarquinii, has been referred to as a priestess of Fufluns (Bacchus); the hypothesis is not based on inscriptional evidence but rather on her appearance (Fig. iii.14). She has the appropriate equipment for a Bacchant, or follower of Bacchus: a thyrsos* and kantharos.* In addition, a fawn is attending her, whom she seems to nurture by offering a drink, just as maenadic followers of Bacchus might have a small animal at hand for offering to the god. 45 Unfortunately, the date of the sarcophagus, probably third century bce, is slightly too early to match with the famous description of the mania for Bacchus described by Livy that started in Etruria, spread to Rome, and led to the decree of the Roman Senate de Bacchanalibus (186 bce; Livy ; see Appendix B, Source no. vii.1). 46 A group of five impressive stone sarcophagi for women s burials, also from Tarquinii and of the same date as the British Museum sarcophagus, may well show a number of priestesses. No comparable male sarcophagi have been reported from the tomb. These sarcophagi, discovered in the Tomba Bruschi in 1963, were not studied fully and put on display until 2004, when they were all shown at Viterbo in iii.14. Sarcophagus of a Bacchant. Third century bce. London, British Museum. (After Pfiffig 1975, 28, fig. 1.)

54 Prophets and Priests 39 an exhibition of materials from older excavations. 47 Each of the women wears a tall hat of some kind, and the hair seems to be arranged in a ritual way, with six major locks on each side of the head (like the seni crines of Roman brides and Vestal Virgins). 48 The clothing and jewelry are clearly indicative of elite status, and four of the ladies have an attribute that could imply some kind of special ritual activity. One holds a kantharos, two hold a sacrificial saucer ( patera*), and one holds a bird. It is tempting to relate this ensemble of sarcophagi to the group of burials in the Tomb of the Inscriptions at Vulci distinguished by the use of the term hatrencu and to hypothesize that those from the Tomba Bruschi may also relate to an agreement by which priestesses may be buried together. Duties of the Priests We turn now to the question of the duties of the priests of Etruria, a very difficult question indeed, and here at last we may consider more closely the haruspices. The name for haruspex in Etruscan, netsvis, is known from the bilingual inscription of a certain Larth Cafates, which is, to be sure, late and from outside Etruria proper (first century bce, Pesaro; tle,697;et, Um 1.7). 49 The word is etymologically related to that used to describe a book by Laris Pulenas, as noted above. But the interpretation of the inscription is complicated by the lack of a word-for-word translation: for the Etruscan we have netsvis trutnvt frontac, whereas in Latin we have haruspex fulguriator. It is exciting to see that we can learn another Etruscan name for a priest and that his duty has to do with interpreting lightning, but no one is sure exactly how to relate the one word fulguriator to the two trutnvt frontac. The second word sounds temptingly like the sound of thunder and in fact is like the Greek word for this phenomenon (brontē). 50 Perhaps Larth Cafates was one of those making use of the Brontoscopic Calendar of Nigidius Figulus, compiled around the same time (see Appendix A). We have abundant references to the duties of the haruspices in Rome. The modern literature tends to show that we are comfortable, probably too much so, in our understanding of the haruspices. On the one hand, we know more about them than any other kind of Etruscan priestly functionaries, because the Romans mention them so frequently. On the other hand, they obviously were quite integrated into Roman culture, and it is all too easy to assume that evidence from Rome is transferable to Etruria. 51 The literary evidence for haruspices in the Archaic period is meager, 52 though the passage from Livy (1.56.4) about the finding of the human head on the Capitoline, interpreted by Etrusci vates, has an authentic ring to it, especially since the seers were invited by the Etruscan king Tarquinius Superbus. The story of the old nobleman of Veii captured by the Romans and interpreting the omen of the overflow of the Alban Lake as portending the fall of Veii, told by both Cicero and Livy (De div ; Livy ; Appendix B, Source nos. ii.10 and ii.11), 53 is absolutely believable, involving as it does a priest talking about how the water could be drained by a ritual act. Etruscan hydraulic skills were well known, and some of the most spectacular examples of the famous rock-cut channels known as cuniculi have been noted precisely around Veii. 54 While there is no specific reference to a ritus Etruscus* connected with water control, it is likely enough that the Etruscan discipline contained instructions for this kind of problem associated with a very specific and fatal prophecy. This incident occurred in connection with the fall of Veii in 396 bce. MacBain argues, however, that the systematic interpretation of prodigies at Rome by the haruspices did not begin until the third century bce, at the time when Etruria had been pacified by the Romans. He notes the persistence of the theme that these priests were of aristocratic birth and stresses that their presence in Rome was of considerable political significance. the nature of omens Among the many phenomena interpreted by Etruscan haruspices are listed lightning (numerous times), the sound of a trumpet in the sky, a sparrow with a grasshopper, the collapse of a rostrate column, a talking cow, oxen climbing stairs, and the birth of an androgyne (surprisingly numerous). 55 Undoubtedly the activity for which the haruspices were best known was the examining of entrails, in particular the liver. There is abundant evidence that the Etruscans themselves practiced the art, ranging from the representations of Pava Tarchies and Chalchas (Figs. iii.4 and iii.8) to the gem of Natis, which shows a colossal organ under interpretation (Fig. iii.15), 56 to that quintessential monument of Etruscan culture, the Piacenza liver, discussed fully above by Larissa Bonfante (Fig. ii.2 and pp ). 57 The study of entrails, of course, depended on the sacrifice of victims, and for the Romans at least, we know that the sacrifice often related to politics or war. 58 Thunder and Lightning In addition, we know that the haruspices employedavery rich lore of thunder and lightning, as can now be seen most vividly from Turfa s translation of the Brontoscopic Calendar (Appendix A). The sound of thunder could signal a wide

55 40 Nancy Thomson de Grummond iii.16. Mirror with Menrva, Thesan, Tinia, and Thethis. Ca. 470 bce. Vatican Museums. (After es, ) iii.15. Carnelian scarab with image of a haruspex; inscription: natis. Fourth century bce. Berlin, Antikensammlung, Staatliche Museen zu Berlin (Photo: Bildarchiv Preussischer Kulturbesitz/Art Resource, NY.) variety of effects, good and bad, concerning the weather, crops, animals, disease, war, government, and social conflict. As for lightning, Pliny and Seneca provide us with extensive information (Appendix B, Source nos. viii.1,viii.2,viii.4, and viii.8), so that we learn there were supposedly nine gods who threw the sacred thunderbolt (manubia). Using various sources, we have identified six of these by their Roman names: Jupiter, Juno, Minerva, Vulcan, Mars, and Saturn. 59 Jupiter was said to be in control of three main types of bolts, and he often used his power in close consultation with group gods, such as the ones in the heavens of Martianus. The three types of bolts he might throw are (1) a benign bolt that served only to give warning; the god could decide on his own whether to send it; (2) a bolt that did both good and harm, for which he needed the approval of the Dii Consentes; and iii.17. MirrorwithMenrva.Thirdcenturybce. Berlin, Antikenmuseums. (After cse, Bundesrepublik Deutschland 4.24.)

56 Prophets and Priests 41 iii.18. Painting of Vel Saties, from the François Tomb, Vulci. Watercolor copy by C. Ruspi, Vatican Museums. Fourth century bce. (After Buranelli 1992, 85.) (3) a completely destructive bolt, for which he had to have permission from the Dii Involuti, perhaps the same as the Favores Opertanei of Martianus (Secret Gods of Favor). The Etruscan belief in a wide variety of lightning bolts is reflected in the many different sizes and shapes of such bolts depicted with Tinia, the Etruscan Jupiter, in art. On a late Archaic mirror in the Vatican (ca. 470 bce; Fig. iii.16), he clutches two types, and seems to contemplate which one to hurl. The theme is Greek, showing the chief god entreated on the left by Thesan, the mother of Memnon, and on the right by Thethis (Thetis), the mother of Achilles. 60 Naturally, he has two very different kinds of bolts to determine the fate of the two heroes. It is disappointing that there is so little evidence from art of the usage of the bolt by other deities; in fact, only Menrva appears with the bolt, again on a number iii.19. Bronze handle of a pitcher (Schnabelkanne) withreliefof Priest gazing upward. Fifth century bce. Arezzo, Museo Archeologico Mecenate. (Photo: Soprintendenza Archeologica per la Toscana-Firenze.) of mirrors. One splendid example shows the goddess carrying a huge combination spear/lightning bolt (Fig. iii.17). 61 Birds Ranking in importance with the disciplina concerning entrails and thunder and lightning was the use of augury from birds. This is a topic still insufficiently investigated in Etruscan art and religion, 62 but it is certain that it was a fairly important form of divination. Dionysios of Halikarnassos

57 42 Nancy Thomson de Grummond refers to Etruscan ornithoscopy (τυρρηνική ορνιθοσκοπία) and Pliny notes (hn ) that there were types of birds depicta in Etrusca disciplina that could no longer be seen in his day; the passage has been taken to mean that there were illustrated bird books in the Etruscan sacred corpus. 63 Here he also refers to the observations about birds by Etruscan religious scholars such as Labeo and Nigidius, and in adjoining sections of the Historia Naturalis he makes observations about the omens from various birds: the crow has a persistent croak that is inauspicious (hn 10.30), and a gulping noise by a raven can be a very bad sign (hn ); the eagle owl, bubo, was the worst abomination (hn 30.34). Nigidius stated that the night owl (noctua) had nine cries (hn 10.39), though nothing is reported about the meaning of the various cries. He also noted a type of bird that broke eagles eggs; again, we are not told the augural meaning, but the connection with Etruscan lore is evident. Along with these citations we may mention the wellknown passage in Livy ( ; Appendix B, Source no. ii.8) describing the omen of the eagle removing the cap of Tarquinius Priscus, then replacing it on the head of the kingto-be. The passage is noteworthy because it shows Roman recognition of the use of such a prodigy in an Etruscan political context. It gives evidence that Romans thought that it was not unusual for an Etruscan woman such as Tanaquil, Tarquin s wife, to be skilled in the interpretation of such a sign. A parallel image is provided by the famous painting at Vulci of the distinguished figure Vel Saties (Fig. iii.18), in which the figure, surely a magistrate in his ceremonial garment, is involved in reading the omen supplied by one or more birds of the picus family. 64 The motif of the augur with his head turned up may be found in several other key representations, including an image on a Schnabelkanne (Fig. iii.19), a type of pitcher known to be of ritual usage (see for example, the Chalchas mirror, Fig. iii.8). 65 Etruscan diviners, as we have seen, might serve as mediators to convey information from the gods transmitted by many different signs in nature, always with an eye on guides such as the various sacred texts we have mentioned. We have, however, no way of knowing if the Etruscans themselves were like the Romans in placing emphasis on the distinctionbetweensignsaskedfor (impetrativa) and signs that appeared voluntarily from the gods (oblativa; Servius ad Aen ). From the evidence we do have it is nevertheless possible to recognize this broad subdivision in divination. Thus the impetrativa embrace the signs of augury from birds and haruspication from entrails, while the oblativa include the occurrences of lightning and thunder and various prodigies; perhaps some omens of birds could also fall in this category. NOTES 1. Cf. the discussion of the distinction (and similarities) between these two categories in Overholt 1989, and Nissinen 2000, See below Appendix B, Sources, and my discussion of various authors who wrote about Etruscan religion in antiquity, above, pp The basic books for studying such sources are Buonamici 1939 and Thulin Bonghi Jovino, 1986, esp , 89 91, , Torelli 2000, 637 (no. 325) and pl. p de Grummond, 2000, e.g., figs The bibliography is considerable. See especially Pallottino 1979; Cristofani 1985, 4 20; de Grummond 2000, For the inscriptions on this mirror, see et, at s On Rath, see especially Colonna 1987, , Heurgon 1959; Harris 1971, In general on the meaning of Lasa and in particular on Lasa Vecuvia, see Rallo 1974, 32, 35 36; de Grummond 2000, See de Grummond 2000, 56 62; de Grummond 2002, See Small 1982 for a full review of the evidence. More recently, see Luschi 1991; de Grummond 2000, de Grummond 2000, passim. 14. Beard and North 1990, Beard and North 1990, Beard and North 1990, 41, 105, Basic review with list of inscriptions in Torelli 1986, 221; see also Pallottino 1975, 226; Pfiffig 1975, 44. Jannot (1998, 139) lists plurals of cepenar and cepnar, but these do not occur in et. 18. See et, vol. 1, 87, for indexing of cepen (15 occurrences in the LL; at 1.108; AV 4.1; cepar in LL VII.19). 19. tle, 133,137,165,171;et, Ta 1.34, 1.184, at 1.171, at Torelli 1986, 221; Pallottino 1975, 229; Pfiffig 1975, Pfiffig 1975, 44; Pallottino 1975, Torelli 1986, 222; Nielsen 1990; Haynes 2000, tle, 131; et, Bonfante and Bonfante 2002, , is an excellent summary of the information to be obtained from the inscription. 24. For further discussion of words that have to do with haruspication, see below, p Beard 1990, 45. Cf. Garland 1990, 77: The most striking feature of Athenian priests and priestesses is their isolation. 26. Heurgon 1964, See also Valerius Maximus 1.1 (Appendix B, Source no. iv.9), following Cicero closely, except that he seems to say that Roman boys were handed over to the Etruscans to study the discipline. He definitely uses ten for the number of youths, and some have corrected the reading in Cicero to be consistent with Valerius. Cf. p. 6, above, note The location is still unknown, but promising excavations have been undertaken in the Fairgounds (Campo della Fiera) on

58 Prophets and Priests 43 the plain below the plateau of Orvieto, under the direction of Simonetta Stopponi and her collaborator Claudio Bizzarri. For earlier results in the Campo della Fiera, see Bruschetti Pfiffig 1975, 70. One must always keep in mind that the edict does not actually name the Fanum Voltumnae, only Volsinii, where itwassupposedtobelocated. 29. Maggiani Bonfante 2003, 53 54, 69, 75; Capdeville 1999, See Bonfante 1973, 587, Besides the ones discussed here, note the Tomba Golini delle due Bighe : PitturaetruscaaOrvieto,1982, fig. 18 (fourth century bce; the deceased rides in his chariot); various ash urns from Chiusi: Jannot 1998, figs. 18, 78. It appears also on Etruscan coins of the Hellenistic period: Pfiffig 1975, 45, fig Bonfante 2003, 53 54, fig. 137; Bonfante and Bonfante 2002, 165; Pfiffig 1975, 48 49; Jannot 1998, 137, pl. K. 33. Turfa 2005, Bonfante 1973, Four statuettes from the same source were published in the catalog of the Venice show, Torelli 2000, pl. pp , , cat. nos (all now in Göttingen). The discussion in the text focuses on no. 153, but it is worth noting that two of these have the rough, skinlike mantle. Three of the four wear the apex, having in this case a rather conical shape. 36. Kleiner 1992, fig Maggiani 1989, Thulin 1968, pt. III, ; Pfiffig 1975, 48, 99; Torelli 1986, 220; Jannot 1998, Gantz Die Welt der Etrusker 1988, 211 (no. B.9.5). 41. Pfiffig 1975, 99; de Grummond 1996, Relief from Chiusi: Jannot 1998, fig. 21. Bronze statuette from the stips of the Lapis Niger, Roman Forum, ca. 550 bce: Torelli 2000, 591 (no. 146) Coins: Pfiffig 1977, 99. Julius Caesar is associated with the lituus on the Mettius denarius, Augustus (as Jupiter) carries the lituus on the Gemma Augustea, and there are various other Roman examples: Kleiner 1992, figs. 25, Massa-Parault 1999, and fig. 1. Another ritual staff, covered with knots, appears in funerary scenes as part of the equipment of the deceased, for example, in scenes of the journey of the dead from the Vanth Group of vessels from Orvieto (Pfiffig 1975, 177, fig. 73a b). Here the deceased is shown once lying in a wagon and holding the knotted staff and another time on foot, led by Charu, using the staff to support himself as he walks. The knotted staff also appears in the Tomb of the Jugglers, Tarquinii, held by an elderly man who walks along with a boy, probably also in a journey of the deceased (Steingräber 1986, pl. 90). 44. Steingräber 1986, Banti 1973, 241 and pl. 40b; Pfiffig 1975, 28 and fig. 1. For the fawn drinking, cf. another possible priestess in the museum of Barbarano Romano, and a male sarcophagus from Tarquinii: Cristofani 1978, fig I thank Larissa Bonfante for assisting with documentation of these items. 46. See also Beard, North, and Price 1998, vol. 2, , for the relevant passages from Livy and the surviving text of the senatorial decree. 47. Moretti Sgubini 2004, Bonfante 1973, 596, Torelli 1986, 221; Bonfante and Bonfante 2002, Bonfante and Bonfante 2002, 124, n See esp. the salutary warnings of Jeffrey Tatum, in the Preface (above, p. xii). The haruspices were organized into a well-known collegium by the Romans, which reached the rather surprising size of sixty members. It is entirely possible that Etruscan city-states depended likewise on a large group of such seers, but so far the evidence is nonexistent. For a nuanced discussion, see Beard, North, and Price 1998, vol. 1, For a general treatment of haruspices under the Romans, including the personal names of many priests, see Thulin 1968, III, Thulin 1968, pt. III, See also MacBain 1982, 45, for an evaluation of the evidence. 53. Beard, North, and Price, 1998, vol. 1, The story is another example of the theme of capturing the prophet to learn his secrets. 54. Barker and Rasmussen 1998, See Dumézil 1966, vol. 2, esp MacBain 1982, esp. the index of prodigies, , for a wide assortment. 56. Torelli 2000, 593 (no. 156, wrongly given as in Munich); et, Vt G1. 57.VanderMeer Beard, North, and Price 1998, vol. 1, 188, ; vol. 2, Thulin 1968, I, For a healthy skepticism concerning various contradictory scraps of information about which gods could throw lightning, see Capdeville He dismisses literary sources that suggest tantalizingly that the list of gods ought to include Auster (the West Wind), Hercules (Hercle), and Summanus (a Tinia of the Night). 60. Bloch and Minot 1986, 795, no. 33; (no. 33); es, IV,pl es, III, pl Interesting comments in Pairault-Massa 1985, 60 66, 78; Pfiffig 1975 has a short section, , and likewise Jannot 1998, 43 44; Dumézil 1970 ignores it. Basic for the study of the Roman tradition: Linderski Heurgon 1964, See recently McDonough 2003, Goidanich Maggiani 1984, 144. BIBLIOGRAPHY Banti,L.1973.TheEtruscanCitiesandTheirCulture.Berkeley, CA. Barker, G., and T. Rasmussen The Etruscans. Oxford. Beard, M Priesthood in the Roman Republic. In Beard and North 1990, Beard, M., and J. North Pagan Priests, Religion and Power in the Ancient World. London. Beard, M., J. North, and S. Price Religions of Rome. 2 vols. Cambridge.

59 44 Nancy Thomson de Grummond Bloch, R., and N. Minot Eos/Thesan. limc iii, Bonfante, G., and L. Bonfante TheEtruscanLanguage.2nd ed. Manchester. Bonfante, L Roman Costumes: A Glossary and Some Etruscan Derivations. anrw I.4, Etruscan Dress, new ed. Baltimore. Bonghi Jovino, M., ed Gli etruschi di Tarquinia. Modena. Bonghi Jovino, M., and C. Chiaramonte Treré Tarquinia: Testimonianze archeologiche e ricostruzione storica: Scavi sistematici nell abitato: Campagne Rome. Bruschetti, P Indagini di scavo a Campo della Fiera presso Orvieto. AnnFaina 6, Buonamici, G Fontidistoriaetrusca.Florence. Buranelli, F TheEtruscans:LegacyofaLostCivilization.Ed. and tr. N. T. de Grummond. Memphis, TN. Capdeville, G Les dieux fulgarants dans la doctrine étrusque. In Secondo Congresso Internazionale Etrusco, Firenze, 26 maggio 2 giugno, 1985, Atti. III, Voltumna ed altri culti del territorio Volsiniese, AnnFaina 6, Colonna, G Note preliminari sui culti del Portonaccio a Veio, Scienze dell Antichità 1, Christofani, M L arte degli etruschi, produzione e consumo. Turin Il cosidetto specchio di Tarchon: Un recupero e una nuova lettura, Prospettiva 41, de Grummond, N. T Etruscan Italy Today. In Etruscan Italy, ed.j.hall.provo,ut Mirrors and Manteia: Themes of Prophecy on Etruscan Mirrors. In Aspetti e problemi della produzione degli specchi figurati etruschi, ed. M. D. Gentili. Rome Mirrors, Marriage and Mysteries. jra, Suppl. 47, Dumézil, G Archaic Roman Religion. 2 vols. Paris. es = Etruskische Spiegel, ed. E. Gerhard (vols. 1 4); A. Klügmann and G. Körte (vol. 5). Berlin et =H.Rix.1991.Etruskische Texte, editio minor. 2. vol. Tübingen. Les Étrusques et l Europe Catalogue of exhibition. Paris. Gantz, T. N Divine Triads on an Archaic Frieze Plaque from Poggio Civitate (Murlo). StEtr 39, Garland, R Priests and Power in Classical Athens. In Pagan Priests, Religion and Power in the Ancient World, ed.m.beard and J. North. London Goidanich, P. G Rapporto culturali e linguistici fra Roma e gli Italici: Del dipinto vulcente di Vel Saties e Arnza. StEtr 9, Harris,W.V.1971.Rome in Etruria and Umbria. Oxford. Haynes, S Etruscan Civilization: A Cultural History. Los Angeles. Heurgon, J The Date of Vegoia s Prophecy. jrs 49, DailyLifeoftheEtruscans.Tr. J. Kirkup. London. Jannot, J.-R Devins, dieux et démons: Regards sur la religion de l Étrurie antique. Paris. Kleiner, D Roman Sculpture. New Haven. Linderski, J The Augural Law. anrw II.16.3, Luschi,L Cacu,Faunoeiventi. StEtr 57, MacBain, B Prodigy and Expiation: A Study in Religion and Politics in Republican Rome. Brussels. Collection Latomus 177. Maggiani, A Il pensiero scientifico e religioso. In Gli etruschi: Una nuova immagine, ed. M. Cristofani. Florence Immagini di aruspici. In Secondo Congresso Internazionale Etrusco, Firenze 26 maggio 2 giugno Vol. 3. Rome Martianus Capella 1977 = Martianus Capella and the Seven Liberal Arts. Tr. W. H. Stahl and R. Johnson. New York. Massa-Pairault, F. H Mito e miti nel territorio volsiniese. AnnFaina 6, McDonough, C. M The Swallows on Cleopatra s Ship. cw 96, Moretti Sgubini, A. M., ed Tarquiniaetrusca,unanuovastoria. Rome Scavo nello scavo, gli etruschi non visti. Catalogue of exhibition. Viterbo. Nielsen, M Sacerdotesse e associazioni cultuali femminili in Etruria: Testimonianze epigrafiche e iconografiche. AnalRom 19, Nissinen, M The Socioreligious Role of the Neo-Assyrian Prophets. In Prophecy in Its Ancient Near Eastern Context: Mesopotamian, Biblical and Arabian Perspectives, ed. M. Nissinen. Atlanta, ga Overholt, T. W Channels of Prophecy: The Social Dynamics of Prophetic Activity. Minneapolis. Pairault-Massa, F.-H La divination en Etrurie: Le IVe siècle, periode critique. In La divination dans le monde étrusco-italique, Caesarodunum Suppl. no. 52, Pallottino, M The Etruscans. Tr. J. Cremona, ed. D. Ridgway. Bloomington, in Uno specchio di Tuscania e la leggenda etrusca di Tarchon. In SaggidiAntichità.Vol. 2. Rome Pfiffig, A Religio etrusca. Graz. PitturaetruscaaOrvieto,1982 = PitturaetruscaaOrvieto:Letombe disettecaminiedeglihescanasaunsecolodallascoperta.documentiemateriali.rome. Rallo, A Lasa iconografia e esegesi. Florence. Small, J. P CacusandMarsyasinEtrusco-RomanLegend. Princeton. Steingräber, S Etruscan Painting: Catalogue Raisonné of Etruscan Wall Paintings. English ed., ed. D. and F. Ridgway. New York. Thulin, C. O Die Etruskische Disciplin. Repr. of I. Die Blitzlehre (1905); II. Die Haruspicin (1906); III. Die Ritualbücher und zur Geschichte und Organisation der Haruspices (1909). Darmstadt. Torelli, M La religione. In Rasenna: Storia e civiltà degli etruschi, Milan Gli etruschi. Catalogue of exhibition, Venice. Milan. Turfa, J. M Catalogue of the Etruscan Gallery of the University of Pennsylvania Museum of Archaeology and Anthropology. Philadelphia. VanderMeer,L.B.1987.The Bronze Liver of Piacenza: Analysis of a Polytheistic Structure. Amsterdam. Die Welt der Etrusker Catalogue of exhibition. Berlin.

60 CHAPTER IV GODS IN HARMONY TheEtruscanPantheon Erika Simon It is well known that the Etruscan religion was not monotheistic like the Jewish, Christian, and Islamic faiths but recognized many gods. The members of that pantheon lived in the sixteen regions of the Etruscan heaven, with which the priests, especially the haruspices,* were well acquainted. The animals killed for the gods carried that heaven in small scale within them, on their livers. The highest god of this divine assembly, Tin or Tinia, 1 wasrestrictedinhispowerincomparison with Yahweh or Allah. He was not the only wielder of the lightning bolt, because besides him some other gods used it. 2 Another difference was that Tinia, like the Greek Zeus but unlike Yahweh, had not created the world but was a relatively young god. In Etruscan art he may be represented as a beardless youth or as a bearded man, as in a bronze statuette in Heidelberg (Fig. iv.1). 3 Such statuettes of divinities were mostly votives; they have been studied in our generation especially by Giovanni Colonna, Emeline Richardson, Mauro Cristofani, and Martin Bentz. 4 A second great field for representations of gods are the Etruscan bronze mirrors. Here we will consult especially the old nineteenth-century compendium of Eduard Gerhard; the new Corpus Speculorum Etruscorum, still in process; and the Guide, edited by Nancy T. de Grummond. 5 Because of their inscriptions, the mirrors are especially useful. A third group of monuments in which gods appear are the architectural terracottas, a well-known phenomenon of Etruscan temples. These three groups represent the main bulk of material for our purpose, but there are also single monuments like vases, wall paintings, and ash urns. For the characterization of Etruscan gods it is often necessary to look at their Greek and Roman counterparts thus to look from Tinia to Zeus or Jupiter (see Chart 1, p. 46). We shall be interested here in the Etruscan core that remains in such comparisons. To find it, other areas aside from the visual arts must be examined and combined, such as linguistics, comparative studies of religion, observations of cult practices, and the topography of excavated Etruscan sanctuaries. Helpful in keeping names of Greek, Italic, and Etruscan origin apart is the linguistic method. Beside genuinely Etruscan names like Tinia, Turan, and Thesan, there are names of Greek origin likeaplu/apulu and Aritimi/Artumes.Still others, such as Uni, Menerva, Nethuns, are thought to come from the Latin or Italic names Juno, Minerva, Neptunus. In this category we are dealing not with subordinated gods but with important Etruscan cult deities. The opposite development, namely, that the Etruscan Uni later became the Latin Juno, is not possible, according to linguistic research, and the same seems to be true for Menerva and Nethuns. These deities and others must have been already worshiped by the Latins and their Italic neighbors before the Etruscans took them over. Thanks to Carlo De Simone, Ambrose J. Pfiffig, Gerhard Radke, Helmut Rix, and others, we now know much more than earlier generations about those important questions. 6 In polytheistic religions, cults could wander; there was no conflict because of different faiths as we know from monotheism. The Etruscan pantheon, like the Roman one, had a special power to integrate gods from outside, which was strengthened by the tendency for harmony among the members, as we shall see in works of the visual arts. 7 Besides the gods, priests also could wander and take cults and cult practices with them. This leads clearly the other way round, 45

61 46 Erika Simon chart 1. A Selected List of Etruscan Deities and Their Greek and Roman Comparisons Listed below are some of the principal deities of the Etruscans within their spheres of influence. The spelling of their names varies in Etruscan inscriptions, and some of the major variants are supplied here, but it is not possible to include all of them. A word of caution is also in order regarding the equations with gods from Greece and Rome. Rarely is any Etruscan deity exactly equivalent to a Greek or Roman divinity, and it is best to think of these non-etruscan mythological figures only as comparisons and in general to use Etruscan forms of the name to avoid making unwarranted assumptions. Etruscan Greek Roman iv.1. Bronze statuette of Tinia. Fifth century bce. Heidelberg University, Antikenmuseum. (Photo: Archäologisches Institut der Universität Heidelberg, N.S. 867.) because the Latins and their Italic neighbors were strongly influenced by Etruscan rituals and priesthoods, as exemplified by Roman haruspices and augurs. Soothsaying by help of the livers of victims was an Etruscan custom inherited from Anatolia, as the clay models of livers from Hittite sites in the Museum of Ancient Anatolian Civilizations in Ankara suggest. 8 Prophecy from the flight of the birds was in antiquity thought to be an invention of the Phrygians (Isidore of Seville, Etymol ), who had entered Anatolia in the late second millennium bce. But recent excavations show that watching the birds for prophecy had already been practiced by the Hittites. 9 For Greeks and Romans the Hittites as well as the Trojans were Phrygians. 10 In the newly discovered Olympian Deities Aplu, Apulu Apollon Apollo Artumes, Aritimi Artemis Diana Fufluns, Pacha Dionysos Bacchus Laran Ares Mars Mariś Genius? Menrva, Menerva Athena Minerva Nethuns Poseidon Neptunus Sethlans Hephaistos Vulcanus Tinia, Tin Zeus Jupiter Turan Aphrodite Venus Turms Hermes Mercurius Turnu Eros Cupid, Amor Uni Hera Juno Vei Ceres? Demeter? Cosmic Deities Catha, Kavtha, Cath Solis filia Cel Gaia Terra Mater Culśanś Janus Thesan Eos Aurora Tivr, Tiur Selene? Luna? Usil Helios Sol Hero Gods Hercle Herakles Hercules Tinas Cliniiar (Cliniar), Dioskouroi, Dioscuri, or Castur or Kastor and or Castor and Pultuce Polydeukes and Pollux Underworld Deities and Demons Aita, Calu Hades Pluto Charu? Charon Phersipnei Persephone Proserpina

62 Gods in Harmony: The Etruscan Pantheon 47 town of Sarissa, at modern Kuśaklı in northeast Turkey, two clay letters with cuneiform inscriptions were found, written by high Hittite officials, containing their observations of flying birds. 11 These are mentioned with their names, including eagles and falcons. In one case, the augurium of Sarissa is for the son of a lady of high status, while in the other case, it is for the king s daughter, because she had a bad dream. The writer did not make a detailed interpretation of their meaning, which was to be made by the addressee of the letter, a high official himself. Thus, soothsaying was teamwork for the Hittites, and the same is true for the Etruscans, as may be seen in images of the diviners such as Pava Tarchies and Cacu (Figs. iii.4 and iii.7). 12 We know that among the Roman priesthoods the augurs had a high rank. After all, they used a practice that was more than one millennium old, coming to Rome from the late Hittite courts via Etruria. The early Romans who had taken over this practice must have felt the superiority of the Etruscans in this field, which was associated, as the Hittite letters show us, with the usage of writing. One high official wrote the record without interpreting it; another high official had to explain it. In Italy, of course, that record was not written in cuneiform but in letters that the Etruscans had learned from the Chalcidian Greeks at the Bay of Naples. Writing and religion in Etruria were closely tied, and this connection must have fascinated their Italian neighbors. In earlier research, the topography of Etruscan sanctuaries was examined primarily through the writings of ancient authors such as Vitruvius, Dionysius of Halicarnassus, Livy, and Pliny the Elder. What excavations can contribute may be seen from the findings of Gravisca, Marzabotto, Pyrgi, Veii, and the Ara della Regina at Tarquinii, 13 to name only some examples. Thus the ongoing excavations of Pyrgi have shown that the ancient written sources about the main goddess of the sanctuary are far from being complete.they speak about Leukothea or Mater Matuta, but the main goddess was actually Uni, the Latin Juno, who could be also worshiped as Astarte, the great goddess of the Phoenicians. In addition, Tinia, the husband of Uni, is named in inscriptions from Pyrgi along with Thesan, the goddess of dawn, and Śuri- Apollo, the god of the south precinct. 14 Neither Eos nor Aurora, the Greek and Roman pendants of Thesan, were cult deities, but she did receive cult. On a Classical mirror with name inscriptions from Tuscania in the Vatican (Fig. iv.2), 15 Thesan is grouped with the sun god Usil and the seated Nethuns, who is shown like the Greek god Poseidon holding a trident. The name Usil, which appears also on the bronze liver from Piacenza, 16 is written near the nimbus* of the youth in the center. Mythical scenes on Etruscan mirrors can be taken from the Greek and/or Latin tradition or they can be genuinely Etruscan. The latter may be the case here, because Usil carries in his right hand a bow, which points to his equation with Apollo. 17 Nowweknowthatthis god in Homer is never equated with Helios, the Greek sun god, but that both Apollo and Helios are regularly equated in the Sibylline oracles. Some of these were known in fifthcentury Rome and perhaps also in Etruria. 18 Thus the mirror from Tuscania (Fig. iv.2) may show an Etruscan myth of daybreak: Thesan, the goddess of dawn together with Usil rising from the sea and saying farewell to seated Nethuns. The close connection between dawn and sun Thesan puts her arm on Usil s shoulder is never shown in Greek art. Another Etruscan myth of daybreak is represented in the Pyrgi terracotta antefixes* (Fig. iv.3).these I have discussed elsewhere, following Krauskopf s interpretation of the running youth as Usil (Fig. iv.3:a). 19 His cock-headed companion on another antefix type (Fig. iv.3:a) may be the personification of the morning dew, whose unknown name is perhaps hidden among the many Etruscan words we do not yet understand. The two stars in the hands of a running winged goddess in the same series (Fig. iv.3:d) may be the morning star and the evening star carried by Thesan. 20 All the antefixes from Pyrgi (six types in all) have an Oriental flavor and thus go together with the inscriptions on the famous golden tablets from the sanctuary, in which the equivalent of Uni is the Phoenician goddess Astarte. 21 Her equation with a goddess of central Italy is much earlier attested by bronze statuettes from Satricum. 22 They were defined by Richardson as Orientalized Geometric and must represent the main deity of the sanctuary, Mater Matuta, in the shape of the great naked Phoenician goddess. The astral disc above her head is, according to Richardson, perhaps borrowed from the Phoenician and Cypriote Astarte. 23 Between these statuettes and the golden tablets from Pyrgi stands chronologically the large marble statuette from the Cannicella sanctuary of Orvieto, undoubtedly a real cult image (Fig. iv.4). 24 The naked goddess makes the same gesture as one of the bronze statuettes from Satricum, a gesture borrowed from Oriental prototypes. 25 Her sanctuary, however, was situated among graves. She was called Turan by J.-R. Jannot and others, 26 but this seems to me problematic. Inscriptions from the Cannicella cult place have the name of the goddess Vei, whom others rightly equate with the Greek Demeter. 27 She was, among the Olympians, the only deity who took care of the dead, who in Greece could even be called Demetreioi, Demeter s property. The Cannicella

63 48 Erika Simon iv.2. Mirror with Nethuns, Usil, and Thesan. Fourth century bce. Vatican Museums. (After es, 1.76.) goddess must be, like her, a mother deity who took the life she had borne back to her womb. Perhaps the mother goddess Cel Ati, Mother Earth, whose name is known from votives, 28 was very near to Vei or identical with her. In any case, sanctuaries among graves, as we know them from the Christian religion, are a typical central Italian custom in pagan antiquity. The Etruscan gods seem to have been nearer to the chthonic sphere than the Greek Olympians and the Roman pantheon. Deities mighty in the realms of both the living and the dead are characteristic for Etruscan religion. This may be specially said about Apulu/Aplu, whose most powerful representation comes from the Portonaccio sanctuary at Veii (Fig. viii.38). 29 In the Iliad ( ) the god Apollo takes care of the body of fallen Sarpedon as well as the dead Hector ( ). This may be due to his Oriental connections, 30 which were given up in Greek Apolline myths. Thus in the beginning of Euripides Alkestis, Apollo leaves the house of his friend Admetos, whose wife is dying. In Etruria, however, he was the god of Mount Soracte north of Rome, who is called in Latin sources Apollo Soranus and Dis Pater, god of the Underworld. In the Aeneid of Vergil (11.785) the Etruscan Arruns prays to him: Summe deum,sancticustossoractisapollo. 31 Colonna has convincingly identified Soranus with Śuri, who is known by many votive inscriptions from different regions of Etruria. 32 His connection with the Underworld may possibly be explained by the equation of Apulu with Usil, as he is represented on the mirror from Tuscania (Fig. iv.2). His forerunners, the Oriental sun gods, were connected not only with the daylight. For example, the Egyptian sun god Re went through the Underworld during the night. 33 Thus also the Etruscans

64 Gods in Harmony: The Etruscan Pantheon 49 iv.3. Terracotta antefixes with Daybreak : Usil, a Mistress of Horses, a dew demon, and Thesan. Late sixth century bce. Pyrgi, Antiquarium, and Rome, Museo Etrusco di Villa Giulia. (After Haynes 2000, fig. 153.) wished their dead to have light. They gave them amulets with astral symbols and painted the holy laurel grove of Apulu/ Usil on the walls of their tombs. 34 As shown elsewhere, those laurel groves were combined with the ivy of Fufluns, the Etruscan Dionysos, Apulu s very different brother. 35 In spite of this, Apollo and Dionysos were in Greece also synnaoi, that is, they shared the important Apolline sanctuaries in Delphi and Delos. 36 The Etruscans, who had close relations with Delphi, imitated the Greeks in this respect. On a mirror from a workshop in Vulci of the second quarter of the fourth century in Berlin (Fig. iv.5), 37 the Delphian festival Herois is represented in a typically Etruscan manner. That festival commemorated Dionysos descending to the Underworld in order to guide his mother Semele to heaven. The mirror shows Semla and Fufluns embracing, along with Apulu who has a small piping satyr by his side looking at them. The Delphian festival Herois can show that Dionysos was also mighty in the Underworld, and this was the reason why the Etruscans painted his ivy in their graves. iv.4. Naked goddess from Cannicella sanctuary. Late sixth century bce. Orvieto, Museo Faina. (Photo: Felbermeyer. dai R.)

65 50 Erika Simon iv.5. Mirror with Apulu, saytr, Fufluns, Semla. Fourth century bce. Berlin.(Afteres, 1.83.) It was a great surprise when a Late Classical mirror was found in 1989 in the necropolis of Castel Viscardo near Orvieto (Fig. iv.6). It has the same composition as the mirror from Vulci, but some of the names are different. 38 Apulu in the center remained, but he is accompanied not by a satyr boy but by the winged god of love, who is called Turnu child of Turan (Aphrodite) and is playing with an iynx.* 39 The group on the right side is labeled Turan, also holding an iynx, and Atunis. The latter, in Greek Adonis, was the young lover of Aphrodite-Turan. His cult is attested in Gravisca from later Archaic times onward. 40 The newly excavated mirror shows what is often forgotten, namely, that the type of a figure and the name need not be identical even though the compositions are very similar. Fufluns and Semla, son and mother, can be represented like Atunis and Turan, the beautiful boy and his divine lover. This romantic couple was an ideal theme for mirrors, of which we look only at one other (Fig. iv.7), not much later in date, in St. Petersburg. 41 Here not Turnu, but a very big goose and a winged goddess called Zipna are shown together with Turan and Atunis. The border is filled with winged boys and girls, attendants of Turan, among them Alpan, towhomwe shall return later. Atunis was mortal like plants and flowers. His festival was in high summer, in July, a month that was

66 Gods in Harmony: The Etruscan Pantheon 51 iv.6. Mirror with Apulu, Turnu (Eros), Atunis, Turan. Fourth century bce. Orvieto, Museo Nazionale. (After Feruglio 1998, fig. 2.) named after Turan in Etruria. 42 Atunis had to leave her and go to the Underworld. It was through love for him that the great goddess fell under the laws of time and death. There was another figure of the Etruscan pantheon belonging to life and Afterlife: Turms, the Greek Hermes. 43 Eric Hostetter has commented on a beautiful bronze handle from Spina with two Turms figures (Fig. iv.8), one connected with Tin and one with Calu-Aita. 44 We even have an inscription on a mirror naming the latter Turmś Aitaś, the Hermes of Hades (Fig. iv.9). 45 He accompanies a figure called Hinthial Teraśiaś shadow of Teiresias before Uthuze, that is Odysseus-Ulixes seated at the entrance to the Underworld. The scene is described in the Nekyia of the Odyssey ( ) but without the presence of Hermes, who would correspond to Turms. 46 Whereas the Homeric Teiresias is an old man, Teraśiaś has a young, female face: he was in a part of his life a woman. 47 As far as we know, the old tradition of the double gender of the great Theban prophet was nowhere represented in Greek visual art. 48 The artist of this Vulci mirrorhasdaredtoshowit. The most beautiful representation of Turms is among the clay statues from Veii, though only his head is preserved. 49 Here he is surely the messenger of Tin, who has sent him to make peace between Hercle and Apulu. The expression of his smiling face shows that he will succeed in spite of all quarreling. If we look for other groupings of Etruscan deities in Archaic art, we find quite often scenes of saber-rattling, which will end in reconciliation. One of the most original Etruscan vase painters, the Paris Painter, depicted the scene of a quarrel between Hercle and Uni on a Pontic amphora in London (Fig. iv.10). 50 Uni is shown as Seispes or Sospita, as her Latin name was, wearing a goat skin over her head and a shield on her side. 51 She brandishes a lance against Hercle, who threatens with his club. In Etruria he was not a hero as in Greece but a god from the beginning. That he belonged to the Etruscan pantheon is shown, for example, by his name on the liver from Piacenza (Fig. ii.2). In the Etruscan myth represented on this amphora, Hercle has intruded into Uni s sanctuary, perhaps to rob the precious cauldrons with protomai* of snakes. They are dedications such as those that Hera received at Argos, Samos, and Olympia. 52 The accompanying figures of the picture show that a reconciliation will grow from this mutual threatening. Behind Hercle stands his protectress Menerva, the Greek Athena, in the Early Archaic version of the unarmed goddess, 53 because an additional lance would be too much; behind Uni stands her husband Tin. The attribute in his left hand is not a scepter but an arrow-shaped lightning bolt. Tin, out of concern for a peaceful pantheon, grabs Uni by her arm. On a bronze relief from a chariot in Perugia (Fig. iv.11) Tin has even thrown two bolts of lightning between Hercle and Uni, who has riled up the Amazons against Hercle. 54 The bolts here do not hurt anybody they are the signals of divine will. With such a signal ends the Odyssey (24.539): Zeus throws a lightning bolt between the people of Ithaka and Odysseus to show he wishes an end of their enmities. The artist of the Late Archaic bronze relief in Perugia, one of the best Etruscan metal artists we know, has represented Tin with the peace-making lightning bolt in the sense of the end of the Odyssey. The Etruscans must have known that ending and liked it. Thefigureinlongdressandwithcalcei repandi* behind the Amazons (Fig. iv.11) can be restored as Uni in the form of Juno Sospita, as on the amphora in London (Fig. iv.10). She and Hercle will be reconciled by the will of Tin. They will become such good friends that Hercle even shelters Uni against attacking satyrs, a beloved theme in Etruscan bronze art, 55 and Uni makes peace even with them. Otherwise we could not understand why her head, with the goat skin of

67 52 Erika Simon iv.7. Mirror with Turan and Atunis and her retinue. Fourth century bce. St.Petersburg,Hermitage.(Afteres, ) Juno Sospita, is to be seen together with satyr heads on the terracotta roofs of many central Italian temples. 56 Turan at peace with the other two rival goddesses in the Judgment of Paris is the astonishing theme of a mirror of the late fourth century in the Indiana University Art Museum (Fig. iv.12). 57 The winner Turan is the only seated goddess, whereas the losers Uni and Menrva approach her as if she were a bride visited by friends. That the judgment is certainly the background for this meeting is shown by Elcsntre (=Paris) standing on the left. The figure on the right side has the inscription Althaia, whom we know as Meleager s mother. She should not be taken as an error of this very able artist 58 but as an anti-theme to the peace within the family of the gods. In Althaia s family there is war between her son Meleager and his uncles, her brothers. She is on their side, and this will cause Meleager s death. On an Early Hellenistic mirror in Berlin we see him under the wings of the goddess of fate. 59 To understand this mirror (Fig. ii.19) we should remember that the Etruscans expressed the inexorability of human fate through the symbol of the hammering of nails. Every year they repeated this ritual in the Nortia sanctuary at Vol-

68 Gods in Harmony: The Etruscan Pantheon 53 iv.8. Bronze handle with Turms of Tin and Turms of Calu. Fourth century bce. Ferrara. (After Hostetter 1986, pl. 6a.) sinii, the capital of their league of Twelve Peoples. The nails that were hammered in formed the basis of their time reckoning (Livy 7.2.7; see Appendix B, Source no. v.1). In the center of the mirror stands a half-naked winged goddess who holds in her left hand a nail to be pounded in by the hammer in her right hand. The inscription identifies her as Athrpa, a name coming from Atropos, Greek goddess of fate, one of the three Moirai. On the right side of the picture are seated Meleager and Atalanta both names written with Etruscan spelling and on the other side, Turan and Atunis. Both of these loving pairs were involved with a fateful boar hunt; because of this there is a boar s head at the peak of the composition. Both pairs were separated by death; in Meleager s case, we heard, his own mother was guilty. In spite of the Greek protagonists, this is a purely Etruscan scene, which was never showninthisshapeingreece. The wild boar like other wild animals belonged to the realm of deities, which occur in Etruscan art already in the seventh century bce. There is a mistress of animals and also a master of animals. We do not know their Etruscan names, but perhaps for the female deity we can use a name that was early imported from Greece: Aritimi or Artumes. 60 In Archaic Greek and Etruscan art she may be winged, holding two wild mammals or birds in her hands, a heraldic piciv.9. Mirror with Uthuze, Turmś Aitaś and Hinthial Terasiaś. Fourth century bce. Vatican Museums. (After es, ) iv.10. Etruscan ( Pontic ) amphora, Hercle (with Menerva) fights against Uni (with Tinia). Late sixth century bce. London, British Museum. (After Hampe and Simon 1964, pl. 6.1.)

69 54 Erika Simon iv.11. Bronze relief from a chariot. Hercle (with Tinia) fightsagainstamazons(with Uni). Perugia, Museum. (Courtesy of E. Simon.) ture that can appear repeated in the same composition. This is the case on two silver reliefs from an identical mold of the time around 600 bce, now in the Vatican (Fig. iv.13). 61 The goddess is wingless here, but her arms are spread like wings to the shoulders of two young men on her sides. This is certainly not Helen with the Dioskouroi, as she was called by scholars, because two wolves are leaping up to her, defining her as mistress of wild animals. At the same time she is, like the Greek Artemis and the Latin Diana, a goddess of human assemblies: the Latin League met in Diana s grove near Aricia; 62 on the silver relief she shelters young men. Her connection with wolves instead of lions or panthers is typical for Italy. 63 A winged female bronze statuette of the later seventh century in Cortona, 64 which Emeline Richardson called Artumes, carries a bird on her head. With her hands, today empty, she may have held animals (wolves?). The Etruscan name of the Dioskouroi was Tinas Cliniar, sons of Tin. Because one of them was mortal and the other was immortal, they were especially appropriate in tomb art, as perhaps in the Tomba del Barone in Tarquinii. 65 This grave is contemporary with the famous Oltos cup in the Archaeological Museum of Tarquinii, which has an Etruscan votive inscription for the divine twins; 66 Giovanni Colonna has shown that their hats are represented at Tarquinii in the Tomba del Letto Funebre. 67 Like Turms, they were great helpers in the transition from life to death. They must have been deeply venerated in Tarquinii and elsewhere until Late Hellenistic times, when they were represented again and again on mirrors, frequently at the door of transition. 68 iv.12. Mirror with Judgment of Paris. Fourth century bce. Bloomington, Indiana University Art Museum. (After cse U.S.A. 1.4a.)

70 Gods in Harmony: The Etruscan Pantheon 55 iv.13. Silver relief. Artumes as mistress of animals (wolves) and goddess of human assemblies. Seventh century bce.vatican Museums. (After Cristofani and Martelli 1983, pl. 115.) The name of the Etruscan god of war was not Mariś, as earlier scholars thought, but Laran (Figs. iv.14 and iv.16). 69 He fights on a mirror from Populonia in Florence against the giant Celsclan, the son of the earth goddess Cel. 70 Laran wears a cuirass and is bearded, whereas in votive bronzes he is mostly beardless. 71 Instead of a sword as on the mirror, he brandishes a lance like his female pendant Menerva in a number of statuettes. 72 Because Laran appears just as a warrior, it is often unknown if the god himself is meant. This is also valid for the life-sized bronze statue of a warrior from Todi in the Vatican (Fig. iv.15), which according to F. Roncalli was made in Orvieto. 73 He has a votive inscription on his cuirass, held an iron lance in his left hand, and in his right a patera* for libations. Laran and Menerva appear together with their names inscribed on an early Hellenistic mirror (Fig. iv.14). Also present is Turan with other figures, among them two male babies. 74 This seems to be again an Etruscan myth, which in this case is shaped after a Greek more exactly a Theban prototype. Myths of Thebes were especially popular in Etruria, on vases of clay and bronze, on gems, mirrors, cinerary urns, and in architectural sculpture from Pyrgi to Talamone. 75 In Thebes, according to Hesiod s Theogony (lines ), Aphrodite and Ares, the pendants for Turan and Laran, were a wedded couple with three children: two demons of war and a daughter called Harmonia. This goddess, who became the wife of the Theban king Kadmos, personified peace and amiability. She does not appear with her Greek name Harmonia in Etruscan inscriptions, but there is Alpan, who may be her Etruscan equivalent, as Cheryl Sowder has iv.14. MirrorwithLeinth,Turan,Menrva,Laran,andtwo Mariś babies. Early third century bce. Berlin, Antikensammlung. (After es, )

71 56 Erika Simon iv.15. Bronze statue of Mars from Todi. Fourth century bce. Vatican Museums. (Photo: Schwanke. dai Rome ) noted. 76 We have seen her on the Atunis mirror in St. Petersburg (Fig. iv.7), and there are other mirrors with Alpan belonging to the realm of Turan. 77 The Theban myth of Harmonia, daughter of the war god and the goddess of love, must have appealed to the Etruscan mentality very much. A Hellenistic sarcophagus from Tuscania may be placed into the same Theban context. 78 An old man and a young woman, both naked, are attacked by warriors at an altar. Behind it appear the deities of the sanctuary: Laran and Turanasalovingcouple.Thescenehadbeeninterpretedasa human sacrifice, whereas I have argued for Teiresias and his daughter Manto fleeing to the altar of Ares and Aphrodite during the capture of Thebes by the Epigonoi. The prophetessmantowassaidtohavelatercometoitaly,whereher son founded Mantua. 79 In the divine couple behind the altar, the well-known groups of Mars and Venus in Roman art are anticipated. 80 Another Etruscan parallel for a Roman deity is Culśanś, 81 the god with two faces like Janus. He is represented in an Early Hellenistic bronze statuette in Cortona (Fig. ii.9). 82 The inscription on his left leg calls him a votive gift for Culśanś. His left arm is akimbo; the lost rodlike attribute in his right hand could have been a key, because Culśanś was connected with doors, and this statuette was found near a door of the town. His two faces are beardless, whereas terracotta double heads from Vulci 83 show the god bearded like the Roman Janus. As many other gods in Hellenistic Etruria, especially Tin, Culśanś may appear with or without a beard. The two-faced head of the statuette in Cortona (Fig. ii.9) wears a helmetlike cap. It seems to be a galerus,* the sacral cap of the Roman flamines,* which consisted of the hide of an animal victim. It is known that the Romans imported this cap from Etruria like many other cult implements. 84 For certain sacral services, the galerus had an apex,* which is represented on the double head of Culśanś on coins of Volterra, 85 contemporary with the statuette in Cortona. This young god, after all, appears as a priest, small wonder since an important attribute of ancient priests and priestesses was the key with the power to open and shut a temple. 86 Asagodmaybecomeapriest,apriestinEtruriamay also become a god or demon. On a well-known mirror from Vulci in the Vatican (Fig. iii.8), a winged haruspex is shown studying a liver. 87 The inscription labels him Chalchas. Kalchas was the name of the Achaean seer in the Trojan War, who never had wings. The haruspex Chalchas, announcing the divine will from a liver, is thus shown as a superhuman being, a mediator between humans and gods. He may be compared with Turms, the messenger god with wings on head and/or shoes, who is quite different from the Roman Mercury. Turms could even split into twins (Fig. iv.8), to be a messenger of Tin as well as of Aita. Others, such as the Dioskouroi, were real twins who helped especially at the door of transition between life and death. In Archaic representations, members of the pantheon like Uni and Hercle (Figs. iv.10 and iv.11) may be in conflict, but Tin with his messenger Turms promotes reconciliation. The lightning bolt in Tin s hand is less a weapon than a signal of his will. A special goddess of peace was Turan, the wife of the war god Laran. According to Theban mythology, which was always popular in Etruria, they were the parents of Harmonia, who in Etruscan was perhaps called Alpan. Thus over

72 Gods in Harmony: The Etruscan Pantheon 57 and over we find themes that create a picture of the Etruscan gods as seeking a balance in the universe, of striving for peace and harmony, a paradigm for men as well as gods. a glossary of etruscan gods The following survey presents the Etruscan gods in alphabetical order. The selection of the deities for inclusion emphasizes those for whom there is evidence of an actual cult and those that have been discussed or mentioned in the text above. As in the text, boldface type indicates that a god has an entry in the glossary. Only the briefest bibliography is given here (mostly articles in limc), to provide a portal to fuller bibliography elsewhere. Aita God of the Underworld (=Greek Hades). In tomb paintings he may be represented together with his consort Phersipnei (=Greek Persephone). They are mythological figures, whereas Calu is a genuine Etruscan Underworld god with a cult (see also Śuri). In tomb paintings Aita is shown with a wolf s cap, while his consort may have serpents in her hair. His messenger is Turms or Turmś Aitaś, the Hermes of Hades (Fig. iv.8). Krauskopf 1988a. Alpan Name of a special spirit, perhaps a Lasa,aservantofTuran. She may be represented with wings (Fig. iv.7) or without. She seems to symbolize harmony (see nn ). Lambrechts Aplu/Apulu Coming to Etruria from Greece via Latium, Aplu/Apulu (=Greek Apollon) remained a god from abroad, mainly the god of the Delphic oracle. His foreign character strengthened his authority. His best-known representation in art is the Veii Apollo (Fig. viii.38). In cult, as Giovanni Colonna has shown, Aplu could be equated with Śuri (=Latin Soranus), who, like Aita, had the wolf as his attribute. In his Greek appearance, Aplu may have his attributes of bow, lyre, and laurel. He shared the sanctuary of Delphi with his brother Dionysos (Fufluns); see also Usil and Figure iv.2. A special Etruscan aspect is his friendship with Uni. Krauskopf 1984a. Aritimi/Artumes Her name is directly borrowed from Greek Artemis (Latin Diana), a hunting deity of Neolithic origin. Though in myth she is the sister of Aplu, the goddess was often venerated as a single figure. She was a mistress of animals in Italy especially of wolves (Fig. iv.13) and a goddess sheltering human assemblies (cf. Diana from Aricia). In Archaic art she often appears with wings. Krauskopf 1984b and Simon 1984b. Athrpa Goddess of fate (=Greek Atropos). See Nortia; see Fig. ii.19. Atunis The name comes from Greek Adonis, the beautiful youth beloved by Aphrodite, Greek goddess of love. His cult, together with that of Turan, is attested at Gravisca, the harbor of Tarquinii (see n. 40). He is often represented with Turan on mirrors (Figs. iv.6 7). Servais-Soyez 1981 (unfortunately, in this article, Etruscan representations are mixed in with Greek ones). Calu God of the Underworld known from many inscriptions, because the dead went to Calu. Representations of Calu under this name are unknown; if he appears in visual art, he is called Aita. Krauskopf 1988a. Catha/Kavtha (and other spellings) Goddess who shared cult with Śuri at Pyrgi. Etruscan inscriptions refer to her as daughter, and she has been connected with a reference in Martianus Capella (Appendix B: Source no. iii.4) to the daughter of the Sun. Colonna 1992, 98 99; de Grummond 2004, Cel Name of the earth goddess, as Colonna ( ) has shown. Cel appears on the Piacenza liver and in votive inscriptions to Cel Ati, mother earth (see n. 28). No representations are certain (cf., however, Vei), but we do have a representation of Celsclan ( son of Cel, i.e., a Giant) on a mirror from Populonia in Florence (see n. 70). Chalchas A figure represented on an Etruscan mirror (Fig. iii.8), shown as a winged haruspex reading a liver, obviously the Etruscan counterpart of a Greek priest and seer, Kalchas, in the Iliad ( , ). Charu(n) Demon of death. His name is taken from the Greek ferryman of the souls, who is, however, an old man, not a demon.

73 58 Erika Simon Charu has an ugly face, and unlike any depiction of Charon animal s ears, and often wings. He appears in tomb paintings, on sarcophagi, on urns, and in other tomb art. Mavleev and Krauskopf Cilens Deity whose name is inscribed on the Piacenza liver in three different sections, once paired with Tin, perhaps to be equated with the Latin god of the night, Nocturnus. A terracotta relief from Bolsena shows Cilens, dressed in rich, ample female clothing, attending Mera (=Menerva). Unfortunately, the head is lacking. Camporeale Culśanś Double-faced god of the gates, whose name is connected with the Etruscan word for gates and doors (Culśu). Culśanś corresponds to the Roman god Janus, who also had two faces, looking east and west. Whereas Janus was bearded, Etruscan Culśanś may be a youth (Fig. ii.9). Krauskopf 1986a and Simon Culśu A demonic female guardian of the gate to the Underworld, represented with label only once, on the sarcophagus of Hasti Afunei from Chiusi (Fig. v.1). Culśu does not show a double face, as does Culśanś, whose name has the same root, very likely something to do with the word for door. (Cf. Latin ianua.) She wears a short dress, crossed ribbons over the breast, and high boots like those of the female demon Vanth standing nearby. Culśu appears within a gate and carries a torch in one hand and what is probably a key in the other. Krauskopf 1986b. Fufluns Etruscan name for Dionysos. God of wine, ecstasy, and mysteries, brother of Aplu, with whom he shared the sanctuary at Delphi (Fig. iv.5). Another name for Fufluns was Pacha (Greek Bakchos). Like Hercle, Fufluns and his retinue of satyrs and maenads are beloved themes of Etruscan art. Cristofani Hercle Etruscan name for the Greek Herakles (Latin Hercules). His appearance in Archaic Etruscan art is strongly influenced by representations of the Cypriote (Phoenician) Melqarth. Hercle was not, like Herakles, a hero, but a god from the beginning. He had many sanctuaries in Etruria and Latium, where he was more an oracular god than in Greece. Hercle was popular and often represented in Etruscan art (Figs. ii.8, ii.15). Uni is sometimes his adversary (Figs. iv.10, iv.11), but Tinia reconciles them. Schwarz Laran God of war, counterpart of the Greek Ares and the Latin Mars. (The Etruscan equivalent of Mars was not Mariś, as earlier scholars thought.) On a mirror from Populonia, Laran is fighting against the giant Celsclan (Cel). Often represented as heavily armed; his consort is Turan (Fig. iv.14). Simon 1984a. Lasa Divine female servant (Fig. ii.18) of Turan, alone or in a group of similar secondary goddesses, who all may have, like Alpan, individual names (Fig. iv.7). If they are winged, they sometimes look like female Erotes, but they may also be wingless. As love is connected with fate, Lasa may also appearasafategoddess,thusonamirrorinlondon,british Museum 622. Lambrechts 1992a. Leinth Secondary figure represented on mirrors, sometimes male (a naked youth), sometimes female. Perhaps the name Leinth indicates a personification that relates more to a function than to an actual mythological being. Camporeale 1992a. Letham This deity (male or female?) appears in several votive inscriptions and was represented on a late Etruscan mirror in Como with the birth of Menerva from the head of Tinia (not preserved). Thus, if female, she may be a deity connected with birth, like Ethausva and Thanr, and thus a counterpart of Greek Eileithyia. Krauskopf 1992a. Mariś Pfiffig (1975, 249) has shown that this god is not identical with Mars, whose Etruscan name was Laran. Onmirrors, the name Mariś is given to several babies (Fig. iv.14) together with an individual name: Mariśhalna, Mariśhusrnana, and Mariśisminthians. They could be the sons of Turan and Laran, educatedbymenerva. Mariś may also be a youth, but his functions are not well known. Nancy de Grummond (forthcoming) argues that Mariś is equivalent to the Latin Genius ; Cristofani 1992b.

74 Gods in Harmony: The Etruscan Pantheon 59 Mean Secondary divine female, winged or unwinged, known only from mirrors. Like the Greek Nike, she sometimes crowns a hero for victory. Lambrechts 1992b. Menerva/Menrva One of the most important goddesses, though her name is not genuine Etruscan (it comes from Latin Minerva) and though she does not appear on the Piacenza liver. The latter object relates to a north Etruscan pantheon, whereas Menerva is south Etruscan. She had important sanctuaries like the temple at Veii (Portonaccio) and at Lavinium (Pratica di Mare). From the votives found there we know that Menerva was, in spite of her warlike appearance (Fig. iii.17), also a peaceful goddess who educated children (see also Fig. iv.14). Her Greek pendant Athena, born from the head of the highest god, had been a Bronze Age palace goddess, who educated the children of royal families like Erichthonios in Athens. Menerva often accompanies Hercle. Colonna 1984; Simon 1998c, Nethuns The Piacenza liver and the liber linteus of Zagreb show that Nethuns, whose name comes from Latin Neptunus (Neptune), was an important Etruscan god. On mirrors he resembles the Greek Poseidon, bearded and holding a trident (Fig. iv.2). Like Poseidon, Nethuns has sway over the sea. Krauskopf Nortia Latin name for an Etruscan goddess whose name was perhaps Nurtia. Livy (Appendix B, Source no. v.1) writes about the nails in the temple of this goddess atvolsinii (probably Orvieto). Each year a new nail was added by hammering.nortiawasagoddessperhapsrelatedtomenerva, for in the Capitoline Temple in Rome, between the cellas* of Minerva and Jupiter, the same nailing ritual was observed. For Etruscans and Romans, hammering a nail was also a symbol of necessity and fate (see Horace, Carm ). Thus on a superb mirror (Fig. ii.19), Athrpa is shown hammering a nail between two couples of lovers who will soon be separated by death. Camporeale 1992b. Pacha Cult name for Fufluns in later Etruria. The god is sometimes connected with Catha/Kavtha, a deity related to the sun god (Usil). Like the Greek Bakchos, Pacha was especially the god of the Dionysiac mysteries. These rituals came to Rome via Etruria (Livy 39.9; see Appendix B, Source no. vii.1) and were forbidden by the Senate; the senatus consultum de Bacchanalibus (186 bce) ispreserved. Satre Name of a deity on the Piacenza liver. He was formerly thought to be the same as the Latin Saturnus (Saturn), but Saturnus seems to be a genuine Roman god. The cult could have migrated to Etruria like the cults of Menrva, Nethuns, or Uni. But the names of Satre and Saturnus may sound similar by chance, like Mariś and Mars. As there is no known representation of Satre in visual art, this deity remains a riddle. Latte 1960, 132; Pfiffig 1975, 312. Selvans Votive inscriptions and the Piacenza liver show that Selvans (from Latin Silvanus) was a popular god in Etruria, a god of pastures and forests. There is, however, only one certain representation (Fig. iv.16): a bronze statuette, found together with a statuette of Culśanś in Cortona. Selvans wears high boots and the hide of a bear s head as his cap. He is a youth, whereas Silvanus is normally a bearded man. Jentel Sethlans Etruscan god corresponding to Greek Hephaistos. The name of the Roman god Volcanus/Vulcanus (Vulcan) seems to be of Etruscan origin (cf. Vulca, Vulci; velχ- on the Piacenza liver). Perhaps, like Fufluns, the god had various names. Sethlans, the mythological name, appears on mirrors. To the realm of this god belonged fire, metal, and forging. Small wonder that he was important in a metal-rich land like Etruria. Krauskopf 1988c. Śuri According to votive inscriptions, often to father Śuri, the god was well known in Etruria. The Etruscan name of Viterbo, Surrina, comes from him, similarly Mount Soracte, where Soranus (=Śuri, Latin Dis Pater) was venerated (see Vergil, Aen ). Giovanni Colonna has equated Śuri convincingly with Aplu, who in Etruria also had connections with the Underworld. Cherici 1994; Colonna Thanr/Thanur The goddess was venerated in Caere and Clusium, where vessels with votive inscriptions have been found. Like Ethausva, on mirrors she has the function of a birth goddess (especially at the birth of Menrva) and of a kourotrophos.* Weber- Lehmann 1994.

75 60 Erika Simon Tinas Cliniar On the foot of the famous Oltos cup from Tarquinii is an Etruscan votive inscription for the Tinas Cliniiar, the sons of Tinia/Tin. The Greeks called them Dioskouroi, sons of Zeus, with the individual names Kastor and Polydeukes, while in Rome they were the Castores (Castor and Pollux). They were important gods in Etruscan mythology and cult. In the Tomba del Letto Funebre at Tarquinii, a lectisternium* for them is painted, as Colonna has shown (Fig. v.15). There, their presence is symbolized by their pointed caps crowned with laurel. They are very commonly represented on late Etruscan mirrors. De Puma 1986; Steingräber 1985, pl. 110; Colonna Tinia/Tin Highest god in the Etruscan pantheon, counterpart of Zeus and Jupiter. His consort is Uni; his attribute is the lightning bolt (Fig. iv.1),whichwasused,however,alsobyanumberof other Etruscan gods. In art he may be bearded or (typically Etruscan) a beardless youth. He is much concerned with harmony among the gods (Fig. iv.10). Camporeale iv.16. BronzestatuetteofSelvans.Thirdcenturybce. Cortona, Museo dell Accademia Etrusca. (After Cristofani 1985, fig. 105.) Thesan The goddess of the morning dawn (Greek Eos, Latin Aurora) was much beloved in ancient poetry. In Etruria Thesan was also a cult goddess, who received offerings together with the sun god Usil in the liber linteus. She was especially venerated at Caere and its harbor Pyrgi, where a singular series of daybreak antefixes was excavated (Fig. iv.3). Bloch and N. Minot Turan The goddess of love (= Greek Aphrodite, Roman Venus), along with Uni and Menrva, was one of the most important Etruscan goddesses. She had her festivals in summer the Etruscan month Traneus (July) was named after her. In Archaic art and sometimes also later, she may be winged. Like Tinia, she likes harmony, even after her victory in the Judgment of Paris (Fig. iv.12). On mirrors she is often represented with Atunis (Figs. iv.6 7), whose festival was also in summer. Her son, as we know from a newly discovered mirror (Fig. iv.6), was called Turnu (Greek Eros); her servant is Lasa (also in the plural; see also Alpan). The peaceful Turan livesoninthevenusoftheaeneid: Vergil knew about Etruscan religion. Bloch and Minot 1984; Wlosok Turms The god whose Greek and Roman equivalents are Hermes and Mercury appears in Etruria only in mythological context. This is strange, as he was much venerated by the Greeks, mostly in the shape of a herm (a form that does not play a role in Etruria). Perhaps Turms had a special cult name that has not been identified up to now. The herald Turms was a mediator between gods and humans as well as between this world and the Underworld (Aita; Calu). In this function Turms may be called Turmś Aitaś (Fig. iv.9; see also Fig. iv.8). Harari 1997.

76 Gods in Harmony: The Etruscan Pantheon 61 Turnu Son of Turan, whom we know thanks to a newly excavated mirror (Feruglio 1998; Fig. iv.6; not in limc). Like the Greek Eros, he is represented as a winged boy. The name can now be given to other Erotes in Etruscan art. Krauskopf 1988b. Uni The Etruscans took the name of this most important goddess (Greek Hera, wife of Zeus) from the Latin/Faliscan Juno, who was much venerated in central Italy. The bilingual gold tablets found at Pyrgi have shown that Uni was equated there with the Phoenician goddess Astarte. This powerful astral deity was warlike; thus Uni was also often represented fighting, especially in the form of Juno Sospita (Fig. iv.10). But Tinia, her husband, does not like fights between Uni and Hercle (Figs. iv.10 11); they are reconciled on a famous mirror that shows Uni adopting Hercle by nursing him (Fig. ii.8). In Greece, Astarte was more equivalent to Aphrodite; Turan, the Etruscan equivalent, was perhaps too peaceful to be Astarte s counterpart, whereas Uni was warlike. In Vergil the great Phoenician goddess from Carthage, Juno, is the divine enemy of Aeneas. A typical Etruscan combination is Uni and Aplu. The votive inscription of Sostratos of Aegina, a dedication to Apollo, was found at the sanctuary of Uni at Gravisca; at Pyrgi the same combination between these two deities is found; and in Livy the Roman general Camillus, before taking Veii, prays to Apollo Pythicus and Juno Regina. The relations between Uni and Aplu, which are not known in Greece, have perhaps astral reasons (Usil). Colonna and M. Michetti 1997; Simon 1984c, 167. Usil The sun god (Greek Helios, Latin Sol) known from representations and inscriptions. He is already represented on an Archaic mirror rising from the sea. As Krauskopf has shown he appears on the antefixes from Pyrgi (Fig. iv.3a). An important representation is on a mirror from Tuscania (Fig. iv.2) whereusilisgroupedwithseatednethuns and accompanied by Thesan. Usilhasanimbus around his head and a bow in his raised right hand, and he is thus equated with Aplu. Later on, this equation would be normal but not in the fourth century bce. There is no similar representation in Classical Greece, but in the Sibylline oracles, used by the Romans in questions of cult, Apollo and Helios were regularly equated. Krauskopf Vanth Female demon connected with death and the Underworld, who may be winged or wingless and may wear a short or long dress. Vanth sometimes holds snakes and is very stern, though not frightening like Charu. Generally she helps the dead, carrying a torch on their hard way to the Underworld. Weber-Lehmann Vei Inscriptions from the Cannicella sanctuary at Orvieto mention a goddess Vei, perhaps a name for the mother earth (Cel). It is possible that Vei, whom we do not know from mirrors or other monuments, is represented in the unusual marble image of a naked goddess found in that sanctuary (Fig. iv.4). NOTES [Editor s Note: At the end of this chapter is a glossary of Etruscan gods (pp ). The presence of a deity within the glossary is indicated in boldface type the first time it is mentioned in the text and in each glossary entry.] 1. Pfiffig 1975, ; Richardson 1983, 249, ; Simon 1984c, ; Camporeale Servius, Ad Aen ; Appendix B, Source no. viii.7. Pliny, nh 2.138; see Appendix B, Source no. viii Heidelberg, University, Antikenmuseum Inv. F 148. Hampe and Gropengiesser 1967, 56, pl. 22; Richardson 1983, 357, figs. 855 and 856; Camporeale 1997, no Colonna 1970; Richardson 1983, , ; Cristofani 1985, ; Bentz 1992, See the full review of votives by J. M. Turfa, below, Chap. VI. 5. De Grummond 1982; see also Bonfante 1986, Index 286, s.v. mirrors and cse. 6. De Simone 1968; Pfiffig 1975; Radke 1979; Rix See below, esp. Figs. iv Pfiffig 1975, I would like to thank warmly my Würzburg colleague Gernot Wilhelm, through whom I learned about those excavations before their publication. See Wilhelm Priam, Paris, Ascanius, and other Trojans were represented in Classical Greek as well as in Roman art in Phrygian dress. 11. Wilhelm 1998 (cf. above, n. 9). 12. See N. T. de Grummond in this volume, above, Chap. III. During my stay at Florida State University in Tallahassee (January April 1999) I learned much from Nancy de Grummond about such Etruscan problems, for which I am deeply grateful. 13. Generally,see Santuari d Etruria. For convenient surveys, see Cristofani 1985b, ss. vv. Marzabotto, Gravisca, Veio; for recent excavations at the Ara della Regina, see Cataldi 1994; Bonghi Jovino 1997; for Pyrgi, see Colonna 1992, and below, Chap. VIII.

77 62 Erika Simon 14. For Thesan, see Bloch 1986; for recently found inscriptions in Pyrgi: Colonna 1992, 92 97, and below, p Vatican Museums Inv Herbig 1965, 4, pl. 4; Fischer- Graf 1980, 2, no. 4 (north Etruscan); Simon 1984c, 162, after Gerhard, es, 1.76; Krauskopf 1994; Jannot 1998, 168, fig. 93 (wrongly located in Villa Giulia); see also below, n Richardson 1986, 222, fig. vii.13; Simon 1984c, 155, s.v. Cavtha/Cautha/Cath, must now be corrected, because it is clear that Cavtha is female rather than a male sun god: Cristofani For Cavtha, see also Colonna in this volume, below, pp , 149; for Usil, see Krauskopf 1990; for the Piacenza liver, see the discussion, with bibliography by Bonfante in this volume, above, pp Simon 1998a, 127, pl. 17; see also above, n The first Roman temple which was erected according to Sibylline oracles (496 bce) was the temple for Ceres: Simon 1998d, Krauskopf, 1991; Krauskopf 1997; Simon 1996, She was also interpreted as the goddess of night (Greek Nyx); for an alternate candidate for the deity of the night, see p. 58, s.v. Cilens. For Thesan, who is often shown running in art, see above, n Turfa 1986, 76 78, and Richardson 1986, 222; Simon 1998d, 95, fig Richardson 1983, 23, figs. 28 and 29; Simon 1998d, 153, figs. 192 and Richardson 1983, Orvieto, Museo Claudio Faina. Andrén 1967; Cristofani 1987, and 41 45; Cordischi 1987; Colonna 1987; Bentz 1992, 23 24; Colonna 1997a. 25. For the gesture, see one of the Orientalizing statuettes from Satricum (above, n. 22); for the Etruscan character of the Cannicella Venus, see Boehm 1990, Jannot 1998, 158, fig Jannot 1998, 160. For the goddess Vei, see also Colonna 1997, For Cel, see Colonna ; Colonna 1997, 174; Simon 1984c, Krauskopf 1984a, no. 12, and other Etruscan representations of this god; Pfiffig 1975, ; Simon 1984c, ; Simon 1998a; Jannot 1998, About Apollo s Oriental connections: Simon 1998c, Most worshipful god, Apollo, guardian of blessed Soracte. Mount Soracte belonged to the Faliscan region; the language of the Faliscans was very near to Latin, but their culture was, as in Latin Praeneste, Etruscanized. 32. On earlier literature for Śuri, see Bentz 1992, 20. Recently, other Śuri inscriptions have turned up, even at the Ara della Regina (above, n. 13): Cataldi 1994, pl. 2; for Pyrgi, see StEtr 1989/1990, , nos ; Colonna 1992, and esp. Colonna, below, p Helck Astral amulet: Cristofani and Martelli 1983, no. 92; Apolline laurel in tomb painting: Simon 1996, 63; see also below, n For ivy connected with laurel in Etruscan tomb painting, see among others the Tomba del Triclinio in Tarquinii: Steingräber 1985, 360, no. 121; Brendel 1995, 270, fig The ivy is better preserved in the copies by Carlo Ruspi; see Blanck and Weber Lehmann 1987, For Fufluns, see Cristofani 1986; Jannot 1998, That the temple in Delphi also belonged to Dionysos is well known. For the temple in Delos, see Simon 1998b, esp Berlin Inv. Fr. 36 from Vulci. Herbig 1965, 6 7, fig. 2; Fischer- Graf 1980, 64 72, pl. 18 (according to her, from the same workshop as the mirror below, n. 45); de Grummond 1982, fig. 91; Simon 1984c, 158; Cristofani 1986, 537; Kossatz-Deissmann 1994, 723, no. 25; Brendel 1995, , fig. 281; Simon 1996, 64 66, fig. 8 (interpretation as Delphic festival Herois); lprh 1997, (F.-H. Massa-Pairault). The drawing in Gerhard, es, pl. 83, remains valuable because the mirror is not well preserved. 38. Feruglio 1998, 301, fig. 2. For Turan, see Bloch and Minot Feruglio 1998, ; see also Paul-Zinserling 1994, ; Boehr Torelli 1997; Feruglio St. Petersburg, Hermitage Inv. V 505. Herbig 1965, 25 27, fig. 9; Servias-Soyez 1981, 225, no. 17; de Grummond 1982, fig. 98; Brendel 1995, 364, fig Pfiffig 1975, 94 (Traneus). 43. Pfiffig 1975, ; Harari Hostetter 1986, 20 27; Harari 1997, no Vatican Museums Inv from Vulci. Fischer-Graf 1980, 72 73, pl. 19 (same workshop as the mirror above, n. 37); de Grummond 1982, fig. 92; Harari 1997, no. 103; Zimmerman 1997, no In the Nekyia tragedy Psychagogoi by Aeschylus, however, of which only fragments remain (TrGF III, pp Radt), Hermes played an important role. 47. Hesiod, frgs , Merkelbach and West; Ovid, Meta Perhaps the artist of the mirror was influenced by a mask of Teiresias in the Aeschylean Nekyia tragedy (above, n. 46). 49. Brendel 1995, 240, fig. 167; Harari 1997, no. 76. For the problems of the reconstruction of the temple roof, see Simon 1996, London, British Museum B57. Hampe and Simon 1964, 5, pl. 6.1; Hannestad 1974, 45, no. 11; Colonna 1997a, no. 67; Camporeale 1997, no. 81. Colonna identifies the god behind Uni as Nethuns, because of his tridentlike attribute. But the scepter or the lightning bolt of Tin may have this shape. 51. For Juno Sospita, see Richardson 1983, , figs. 864 and 865; Haeussler 1995, 24 26; Colonna 1997a, nos. 3 8 and 66 73; Simon 1998d, Cauldrons with griffin heads as votives for Hera: Simon 1998c, Menerva appears without weapons, for example on the Loeb tripods in Munich: Colonna 1984, no. 215; Brendel 1995, 162, fig Perugia, from Castel S. Mariano. Hampe and Simon 1964, 11 17, pl. 21; Mavleev 1981, 661, no. 51; Höckmann (1982, , n. 593) tries to maintain the old Kyknos interpretation, but her argument that Amazons do not fight with lances is wrong; see the Amazons on the Euphronios krater* in Arezzo, compared by Hampe and Simon 1964, 12, fig. 2; Colonna (1997, no. 74) follows the interpretation of Hampe and Simon. Uni in our reconstruction drawing (Hampe and Simon 1964, 16, fig. 3) should be changed into the Sospita type (see Simon 1996, 17, fig. 1). 55. Herbig 1965, 14, pl. 18 (Mainz); Brendel 1995, , figs. 146 and 147 (Copenhagen). 56. Simon 1997, 1126, no. 169.

78 Gods in Harmony: The Etruscan Pantheon Bloomington, Indiana University Art Museum Inv Bonfante 1977, , pls ; Simon 1981; de Grummond 1982, 107, , figs. 50 and 51; cse usa It is usual to assume that Althaia, the mother of Meleager, has nothing to do with the Judgment of Paris: Bonfante 1977, 152. I should like to thank Helmut Rix, who advised me that the name Althaia could be taken into the Etruscan language without change. 59. Berlin fr. 146, from Perugia. Herbig 1965, 20 21, pl. 7; Fischer- Graf 1980, 4, no. 30 (northern Etruscan); Simon 1986, no. 1; Brendel 1995, , fig Krauskopf 1984b; Krauskopf Cristofani and Martelli 1983, 285, no. 115, with literature. The two wolves at the sides of the goddess are not hunter s prey, as Cristofani thought, but alive. 62. Diana of Aricia: Simon 1986b. 63. For the importance of the wolf in Italy, see Richardson 1977, ; Elliott 1995, 17 31; Simon 1996, Cortona 1571; Richardson 1983, 339, fig The whereabouts were not known at that time. Giovanni Colonna told me that in the meantime it has been learned that the statuette was found near Perugia. 65. Steingräber 1985, 293, no. 44; Simon 1996, 63, n De Puma Colonna 1996, ; Steingräber 1985, , no De Grummond Pfiffig 1975, ; Simon 1984a; Bentz 1992, Florence, Archaeological Museum, from Populonia. Simon 1984a, no. 17; Simon 1984c, Richardson 1983, ; Simon 1984a, , nos. 7 12; Brendel 1995, , figs Richardson 1983, ; Colonna 1984, , nos Vatican Museums, Inv Roncalli 1973; Simon 1984a, , no. 1; Haynes 1985, no. 146; Cristofani 1985a, 292, no. 116; Bonfante 1986, 93, fig. iv-1; Brendel 1995, 317, fig A second mirror with this theme in London has three babies: de Grummond 1982, fig On the Mariś babies, see also Simon 1984b, nos. 19 and 20; Colonna 1984, nos. 165 and 166; Simon 1996, 36 40, figs. 4 and Hampe and Simon 1964, 18 28; Krauskopf 1974; Freytag gen. Loeringhoff 1986; Krauskopf 1994, , nos. 7 11; gems, 741, no. 47; Pyrgi antepagmentum, and , nos ; Camporeale 1997, 407, no In de Grummond 1982, The Hermitage mirror: above, n. 41; other Alpan representations: Lambrechts 1981, nos. 1 5; for the name, see also Feruglio 1998, Simon 1984a, no Krauskopf 1992, For the Tuscania sarcophagus, see no. 4. The source for Manto as mother of the founder of Mantua is Vergil, Aeneid , with the commentary of Servius. 80. Groups of Venus and Mars: Schmidt 1997, 225; interpretation: Simon 1984d, Mars and Venus appear in such groups as parents of Concordia (Harmonia). They appear also as a married couple on a classicizing votive relief in Venice: Boehm 1999, pl Krauskopf 1986; Simon 1996, Cortona, Museo Accademia Etrusca Inv Cristofani 1984, 157; Cristofani 1985, , pl. 104; Krauskopf 1986a, no. 1; Bentz 1992, 188; Simon 1996, 46, pl A statuette of Selvans found with it (Fig. iv.16): Small 1994, 718, no Rome, Villa Giulia. Krauskopf 1986, nos. 8a and b. 84. Hats of Etruscan priests with apex: Cristofani 1984, 151 (A. Maggiani). 85. Krauskopf 1986a, nos For Etruscan priests, see above, n. 12, and this volume, pp Vatican Museums Inv Herbig 1965, 9, pl. 5; Fischer- Graf 1980, 42 44, pl. 10.3; Bonfante 1986, 248, fig. viii.23. BIBLIOGRAPHY Andrén, A Il santuario della necropoli di Cannicella ad Orvieto, StEtr 35, Bentz, M Etruskische Votivbronzen des Hellenismus. Biblioteca di Studi Etruschi 25. Florence. Blanck, H., and C. Weber Lehmann Malerei der Etrusker in Zeichnungen des 19. Jahrhunderts. Mainz. Bloch, R., and N. Minot Turan. limc ii, Eos/Thesan. limc iii, Boehm, S Die Nackte Göttin : Zur Ikonographie und Deutung unbekleideter weiblicher Figuren in der frühgriechischen Kunst. Mainz Römische eklektische Weihreliefs nach griechischem Vorbild. AntKunst 42, Boehr, E A Rare Bird on Greek Vases: The Wryneck. In Athenian Potters and Painters, ed. J. H. Oakley, W. D. E. Coulson, and O. Palagia. Oxbow Monograph 67. Oxford Bonfante, L The Judgment of Paris, the Toilette of Malavisch and a Mirror in the Indiana University Art Museum, StEtr 45, , ed Etruscan Life and Afterlife. Detroit. Bonghi Jovino, M La phase archaïque de l Ara della Regina à la lumière des recherches récentes. In lprh, Brendel, O. J Etruscan Art, 2nd ed., with bibliography by F. R. Serra Ridgway. New Haven. Camporeale, G Cilens. limc iii, a. Leinth. limc vi, b. Nortia. limc vi, Tinia. limc 8, Cataldi, M Nuova testimonianza di culto sulla civita di Tarquinia. In Tyrrhenoi philotechnoi: Atti della giornata di studio, Viterbo, 1990, ed. M. Martelli. Rome Cherici, A Suri. limc vii, Colonna, G Bronzi votivi umbro-sabellici a figura umana. Vol. I. Florence.

79 64 Erika Simon La dea etrusca Cel e i santuari del Trasimeno. Rivista storica dell antichità 6 7, Menerva. limc ii, I culti del santuario della Cannicella. AnnFaina 3, Altari e sacelli: L area sud di Pyrgi dopo otto anni di ricerche. RendPontAcc 64, Il dokanon, il culto dei Dioscuri e gli aspetti ellenizzanti della religione dei morti nell Etruria tardo-arcaica. In ScrittidiantichitàinmemoriadiSandroStucchiII(=StMisc 29) Divinités peu connues du panthéon étrusque. In lprh, Colonna, G., and M. Michetti Uni. limc viii, Cordischi, D Identificazione della provenienza di marmi mediante la tecnica di risonanza di spin elettronico: Analisi dei frammenti della Venere di Cannicella. AnnFaina 3, Cristofani, M., ed Gli Etruschi: Una nuova immagine. Florence I bronzi degli Etruschi. Novara Fufluns/Dionysos. limc iii, La Venere della Cannicella. AnnFaina 3, a. Celeritas Solis Filia. In Kotinos:FestschriftE.Simon, ed. H. Froning, T. Hölscher, and H. Mielsch. Mainz, Cristofani, M. 1992b. Mariś I. limc vi, Cristofani, M., and M. Martelli L oro degli Etruschi. Novara. de Grummond, N. T., ed A Guide to Etruscan Mirrors. Tallahassee, FL Etruscan Twins and Mirror Images: The Dioskouroi at the Door, Yale University Art Gallery Bulletin, For the Mother and for the Daughter: Some Thoughts on Dedications from Etruria and Praeneste, XAPIΣ, Studies in Honor of Sara A. Immerwahr, ed. A. P. Chapin. Princeton Forthcoming. Mariś, the Etruscan Genius. In Across Frontiers: Studies in Honour of David Ridgway and Francesca R. Serra Ridgway, ed. I. Lemos et al. London, Accordia Research Institute. De Puma, R Tinas Cliniar. limc iii, De Simone DiegriechischenEntlehnungenimEtruskischen. Tübingen. Elliott, J The Etruscan Wolfman in Myth and Ritual. Etruscan Studies 2, Emiliozzi, A., ed Carri da guerra e principi etruschi. Catalogue of exhibition. Rome. Feruglio, A. E Uno specchio della necropoli di Castel Viscardo, presso Orvieto, con Apollo, Turan e Atunis. In Etrusca et Italica: Scritti in ricordo di Massimo Pallottino. Pisa Fischer-Graf, U Spiegelwerkstätten in Vulci. Archaeologische Forschungen 8. Berlin. Freytag gen. Loeringhoff, B. von Das Giebelrelief von Telamon und seine Stellung innerhalb der Ikonographie der Sieben gegen Theben. rm-eh 27. Mainz. Haeussler, R Hera und Juno: Wandlungen und Beharrung einer Göttin. Stuttgart. Hampe R., and H. Gropengiesser WerkederKunstinHeidelberg. Vol. 1. Berlin. Hampe R., and E. Simon GriechischeSageninderfrühenetruskischen Kunst. Mainz. Hannestad, L The Paris Painter. Copenhagen. Harari,M Turms. limc viii, Haynes,S.1985.Etruscan Bronzes. London Etruscan Civilization: A Cultural History. Los Angeles. Helck, W Re. In Götter und Mythen im Vorderen Orient. W. Haussig, ed. Vol. 1. Stuttgart Herbig,R.1965.Götter und Dämonen der Etrusker, 2nd ed., ed. E. Simon. Mainz. Höckmann, U Die Bronzen aus dem Fürstengrab von Castel San Mariano. Munich. Hostetter, E BronzesfromSpinaI. Mainz. Jannot, J.-R Devins, dieux et démons: Regards sur la religion de l Étrurie antique. Paris. Jentel, M.-O Selvans. limc vii, 718. Kossatz-Deismann, A Semele. limc vii, Krauskopf, I Der thebanische Sagenkreis und andere Sagen in der etruskischen Kunst. Mainz a. Apollon/Aplu. limc ii, b. Artemis/Artumes. limc ii, a. Culśanś. limc iii, b. Culśu. limc iii, a. Aita/Calu. limc iv, b. Eros (in Etruria). limc iv, c. Sethlans. limc iv, Helios/Usil. limc v Addenda, Ex oriente Sol. Zu den orientalischen Wurzeln der etruskischen Sonnenikonographie. In MiscellaneaetruscaeitalicainonorediM.Pallottino.Rome a. Letham. limc vi, b. Manto. limc vi, a. Nethuns. limc vii, b. Septem. limc vii, Influences grecques et orientales sur les représentations de dieux étrusques. In lprh, Artemis. AnnFaina 5, Lambrechts, R Alpan. limc i, a. Lasa. limc vi, b. Mean. limc vi, Latte, K Römische Religionsgeschichte. Munich. lprh = F. Gaultier and D. Briquel, eds., Les Étrusques, les plus religieuxdeshommes:étatdelarecherchesurlareligionétrusque. Actes du colloque international Grand Palais novembre XII er Rencontres de l École du Louvre. Paris. Mavleev, E. Amazones Etruscae. limc i, Mavleev, E., and I. Krauskopf Charu(n). limc iii, Nagy, H Votive Terracottas from La Vignaccia. Rome. Paul-Zinserling, V Der Jena-Maler und sein Umkreis. Mainz. Pfiffig, A. J Religio etrusca. Graz. Radke, G Die Götter Altitaliens. 2nd ed. Münster. Richardson, E. H The Wolf in the West. JournaloftheWalters Art Gallery 36, Etruscan Votive Bronzes: Geometric, Orientalizing, Archaic. Mainz An Archaeological Introduction to the Etruscan Language. In Bonfante 1986, Rix, H Teonimi etruschi e teonimi italici. AnnFaina 5,

80 Gods in Harmony: The Etruscan Pantheon 65 Roncalli, F Il Marte di Todi. MemPontAcc 11. Santuari d Etruria = G. Colonna, ed., Santuari d Etruria. Catalogue of exhibition in Arezzo. Milan Schmidt, E Venus. limc viii, Schwarz, S Hercle/Herakles. limc v, Servais-Soyez, B Adonis. limc i, Simon, E Althaia. limc i, a. Ares/Laran. limc ii, b. Artemis/Diana. limc ii, c. Le divinità di culto. In Cristofani 1984, d. Ares/Mars. limc ii, Athrpa. limc iii, Ianus. limc v, Schriften zur etruskischen und italischen Kunst und Religion. Stuttgart Silenoi. limc viii, a. Apollo in Etruria. AnnFaina 5, b. Apollon und Dionysos. InMemoriadiEnricoParibeni, ed. G. Capecchi. 2 vols. Rome c. Die Götter der Griechen. 4th ed. Munich d. Die Götter der Römer. 2nd ed. Munich. Small, J. P Selvans. limc vii, 718. Sowder, C Etruscan Mythological Figures. In de Grummond 1982, Steingräber, S Etruskische Wandmalerei. Stuttgart. Torelli, M Les Adoneis de Gravisca, archéologie d une fête. In lprh, Turfa, J. M International Contacts: Commerce, Trade and Foreign Affairs. In Bonfante 1986, Weber-Lehmann, C Thanr. limc vii, Vanth. limc viii, Wilhelm, G Zwei mittelhethitische Briefe aus dem Gebäude C in Kuśaklı. Mitteilungen der Deutschen Orientgesellschaft 130, Wlosok, A Die Göttin Venus in Vergils Aeneis. Heidelberg. Zimmerman, K Teiresias. limc viii,

81 CHAPTER V THE GRAVE AND BEYOND IN ETRUSCAN RELIGION Ingrid Krauskopf About twenty years ago, Larissa Bonfante remarked that Etruscan concepts of the Afterworld are not clear. 1 This statement still holds true today, if perhaps to a lesser degree, after many years of further intensive research. 2 One reason for this persisting lack of knowledge is obvious: we know that books about death, the grave, and the Afterlife existed in Etruria; they were known in Roman tradition as Libri Acheruntici. But we know almost nothing about their contents, except for one aspect: Servius (quoting Cornelius Labeo) and Arnobius (Appendix B, Source nos. ix.1 and ix.2) reveal that the Etruscans believed that certain animal sacrifices existed that could transform human souls into gods. These gods were known as dii animales, because they were transmuted souls and were assumed to be equivalent to the Penates, the elusive ancestral gods of the Roman household. 3 Obviously, these texts include a good portion of Roman interpretation and cannot be taken at face value for Etruscan ideas of the sixth or fifth centuries bce. We shall see, however, that these passages are by no means merely random fragments preserved by chance; on the contrary, they hand down to us a central element of Etruscan beliefs about life after death. Another reason for our lack of knowledge lies in the basic human fact that everything having to do with death, burial, and the grave in general concerns emotional acts and customs. We cannot rationally analyze these acts and customs down to the most minute detail and thus create a logically coherent conception of the Afterlife and of the way to get there. A modern example could make the meaning clearer: almost no one would be able to explain the act of planting flowers on the graves of one s grandparents. Do we really believe that the dead can see the flowers? And why do we plant flowers and not, for instance, an apple tree? Most people would be extremely surprised when asked these questions and would not show the least interest even in looking for an explanation. The reasons they might give, in any case, would be many, in spite of the uniformity of this custom in some countries. The nineteenth and twentieth centuries are, of course, not comparable to the time of the Etruscans. Traditional beliefs have now become a private matter and also somewhat superficial. Today, graves are memorials devoted to remembrance from the viewpoint of the living. For many people, this remembrance obviously has to be bound to a concrete place. Ritual needs of the deceased that have to be satisfied by the living to insure the dead soul s well-being in the hereafter are of no importance in our times. Nonetheless, the other side of the coin the emotional needs of the mourners would have been just as strong in antiquity as today. 4 Particularly in this respect, individual embellishments are possible, which even in the case of strictly canonized rites would be inexplicable without knowledge of the specific circumstances. Thus we will never be able to fit every single grave gift or every picture painted on a tomb wall into the framework of a logically consistent and uniform conception of the Underworld and of the transition into that realm. It is not possible to avoid a certain degree of uncertainty in the interpretation of all the material excavations have provided. The simultaneous usage of cremation and inhumation shows that there was obviously leeway for individual preferences in Etruscan 66

82 TheGraveandBeyond 67 burial practices. 5 At different times and in different places, one or the other method of burial predominates; there are, however, exceptions observable everywhere. Jean-Réné Jannot has shown that the themes of reliefs on the numerous Archaic urns, as well as on the relatively rare sarcophagi from Clusium (Chiusi) are basically identical and show the same burial rituals and the same concepts of life after death. 6 Much the same could apply for all of the Etruscan cemeteries. In no case can the different methods of burial be interpreted as evidence for divergent beliefs about the hereafter. Even if a synthesis of all those beliefs concerning death, burial, grave, and the netherworld was laid down in the Libri Acheruntici (by a time unknown to us, but probably not too early) as a part of the Etrusca disciplina,* 7 we are forced to interpret the archaeological sources without the help of texts, since they are not preserved to us. We may assume that the depictions used to decorate urns, sarcophagi, or the walls of the tomb chambers transform at least a part of the ideas held by the artists and their employers into a generally intelligible form. This is actually true, easily understandable particularly in the case of several representations dating to the later epochs, that is to say, to the Late Classical (fourth century bce) and Hellenistic (third first centuries bce) periods, with which we should like to begin. After considering these relatively clear examples, we shall proceed to examine the more problematic earlier Etruscan material. the late classical and hellenistic periods The Way On the sarcophagus of Hasti Afunei, 8 originating from Chiusi, we see a half-open gate (Fig. v.1). A demoness is shown stepping out of the gateway. Her inscribed name, Culśu, 9 brings her into connection with it: she obviously opens, locks, and guards this gate, which possibly leads to the Realm of the Dead. Beside the gate, a second demoness, Vanth, 10 is waiting. At the opposite end of the relief, a third demoness, whose name is no longer legible, is coercing the deceased in the direction of the gate. Along the way stand a number of people, probably relatives of the deceased, but it remains uncertain whether they belong to the realm of the living or to that of the dead. Both of the persons immediately to the left of Hasti Afunei, and to whom she is apparently saying good-bye, are most probably living. We see, therefore: (1) There is a Realm of the Dead surrounded by walls and a gatekeeper. 11 (2) A journey to the Afterlife, accompanied by demons, begins at the moment of death. Gates and thresholds are important as passages or places of transition, and they must be guarded. This principle applies not only to the gate to the Realm of the Dead but to the door of the tomb as well, which also had to be guarded by demons, depicted, for instance, near the doors of the Tomb of the Aninas 12 (Fig. v.2) and the Tomb of the Caronti 13 (Figs. v.3 and v.4) at Tarquinii. (3) There are male and female demons who apparently have different functions, which we can only occasionally discover. By means of epithets, for example, the demon Charun can be divided into various beings, each of which probably has particular functions. 14 (4) The journey into the hereafter begins with the rites celebrated at burial among the living. This can be seen most clearly on the Hellenistic urns and sarcophagi that depict a funeral procession similar to the Roman pompa funebris*; it depicts an event in the world of the living but already accompanied by demons. 15 The procession continues to the frontier where the living have to stay behind and at the end of which the gate to the Realm of the Dead comes into sight. On a sarcophagus from Tarquinii 16 and the fresco in Tomb 5636, 17 also from Tarquinii, two persons are waiting for the deceased outside that gate. More clearly than on Hasti Afunei s sarcophagus, we have the impression that they have come through the gate to welcome the new arrival. Another conception of the journey to the Underworld diverges widely from the belief that it could be reached by land, inasmuch as it presupposes a sea voyage. Many funerary monuments decorated with sea monsters, and on which the deceased is sometimes portrayed as a rider, make reference to this idea. 18 The same is true of the stylized waves in some tombs, which can look back on a long tradition, beginning with the Tomb of the Lionesses. 19 Sometimes, most clearly on a sarcophagus in Chiusi 20 (Fig. v.5), it seems that the journey to the Afterlife has to be taken in a series of stages. There we see, on the right, the moment of death; 21 then, the deceased on horseback; and on the left, a sea monster waits to carry him further. Herbig rejects this simple explanation and describes the sarcophagus as an atelierpattern book (Werkstattmuster) or as the quite artless work of a bungler. Even a bungler, however, would have to make the figures he chiseled out of the stone at least minimally significant for or appropriate to the situation or assign them names. The assumption of a collection of atelier-patterns would merely question the necessity of combining a sea route and a land route. Originally, these may well have been two different concepts; it seems, however, not implausible, that in Etruria, where both versions were known, attempts would be undertaken to combine them. Exactly that, or so it seems

83 68 Ingrid Krauskopf v.1. Sarcophagus of Hasti Afunei, with Culśu. From Chiusi. Second century bce. Palermo. (Photo: Archäologisches Institut der Universität Heidelberg.) to me, was undertaken on this humble sarcophagus, if in a somewhat naive manner of execution. The same concept maybeseenongravestelai* from Felsina/Bologna dating about 400 bce, where waves or sea monsters are combined with a journey by coach. 22 What follows out of all this, in any case, is that for the Etruscans, the journey into the Underworld, and not only the destination, was of great importance. A detailed portrayal of many different persons on their way into the Underworld, which may have been based on literary sources, has survived in the Tomb of the Cardinal. 23 Unfortunately,itis in a poor state of preservation, and so the details of interpretation remain quite disputable. It apparently treats the different routes and the various types of accompaniment by different demons. It also shows the prologue or preliminary stage: the death of the various individuals, including the mother, the child, and men killed in a surprise or in combat an ancient version of the medieval danse macabre. For our purposes, it is important to note how very detailed and how very differently ideas about the passage into the hereafter could be imagined. It is, however, inconceivable that the last journey was believed to be as harmless and as unproblematic as it is shown in many representations. What is depicted there is doubtless the ideal case. The quite frightening appearance of some demons can only partially be explained by the universal human fear of death, and in spite of all promises of reunion the pain of the surviving. Figures like Tuchulcha, with his birdlike beak (Fig.v.6), show that there were threats and dangers along the way, 24 which possibly not everyone mastered. Sup-

84 TheGraveandBeyond 69 porting rites might be helpful. Servius and Cornelius Labeo mentioned sacrifices that transform the dead into dii animales. 25 If we combine this information with the pictorial representations shown and discussed to this point, we could venture to say that certain sacrifices were necessary to insure that the dead reached their goal: the symposium with their ancestors and the gods of the Underworld, Aita and Phersipnei (Figs. v.7 8). A sacrifice of this type is probably shown in the Tomb of Orcus II and in a quite similar way on a Hellenistic urn from Volaterrae, now in the British Museum. 26 v.2. Tomb of the Aninas, with CharuandVanth.Thirdcentury bce. Tarquinii. (Photo: Schwanke. dai Rome ) The Destination Which fate awaited the newly deceased behind the walls of the Underworld? Here, too, the pictorial representations come to our assistance: In the Tomb of Orcus I (Fig. v.9), we see a sort of banquet of the members of the gens* in the presence of demons. 27 The same theme, integrated in a Greek Nekyia scene, evidently was represented in the Tomb of Orcus II, where only the table displaying the vessels, the kylikeion,* is preserved, with young demons as cup bearers 28 (Fig. v.10). Life after death, therefore, can be a banquet, as we v.3. Tomb of the Caronti. Third century bce. Tarquinii. (Photo: Schwanke. dai Rome )

85 70 Ingrid Krauskopf also see it in the Tomb of the Shields at Tarquinii 29 and even more clearly in the Golini Tomb I of Orvieto, where Eita and Phersipnai 30 take part. Here, as in the Golini Tomb II and the Tomb of the Hescanas, 31 newly deceased are just starting on their way into the Realm of the Dead; relatives who arrived v.4. Tomb of the Caronti. Third century bce. Tarquinii. (Photo: Schwanke. dai Rome ) earlier are waiting for them at the banquet. They do not go to meet them, as in some of the depictions we have seen earlier, but, in some way, the dead are taken into the society of their ancestors who died before them and now participate in an eternal banquet. The numerous reclining figures on the lids of sarcophagi and urns from all around Etruria evidently allude to this symposium in the hereafter. Those who are depicted as not reaching the goal of the banquet because of their crimes or misdeeds are Greek heroes, for example, Theseus and Sisyphos. 32 The notion that misdemeanors would be punished in the Underworld is, as far as we know, among the Etruscan paintings reflected only in scenes of Greek origin, and the concept itself might be Greek. 33 We have no evidence at all that judgment and punishment in the hereafter were a native element of Etruscan religion. 34 Messages Intended for the Living The depiction of a gens, ancestors and newly deceased, in the Realm of the Dead serves as a kind of self-portrait of a clan, a message addressed to the living but discernible only during the few hours they spent in the tomb. More or less farreaching political statements could also be combined with this self-portrayal (they were obviously disguised in the form of myths), most strikingly in the François Tomb at Vulci 35 (Fig. v.11). But messages of this type, addressed to the living and intended to influence the life on earth, are of less interest v.5. Sarcophagus from Chiusi, withjourneytounderworld. Second century bce. Chiusi, MuseoEtrusco.(Alinari37521.)

86 TheGraveandBeyond 71 v.6. Tomb of Orcus II, with Tuchulcha. Fourth century bce. Tarquinii. (After MonInst 8, 1870, pl. 15.) v.7. Tomb of Orcus II, Aita and Phersipni. Fourth century bce. Tarquinii. (Hirmer ) for our topic, and for that reason, I would prefer to refrain from discussing the François Tomb in detail here. Tomb or Underworld? One phenomenon may, at first sight, seem to be incompatible with the relatively simple and presumably generally accepted view of Etruscan beliefs about the Underworld: some graves in the late period, which we have treated up to this point above all, the Tomb of Reliefs at Caere (Cerveteri), 36 are so lavishly furnished that the deceased would have everyv.8. Tomb of Orcus II, Aita. Fourth century bce. Tarquinii. (Photo: Schwanke. dai Rome )

87 72 Ingrid Krauskopf v.9. Tomb of Orcus I, Banqueting Scene. Fourth century bce. Tarquinii. (Photo: Schwanke. dai Rome ) thing he (or she) needed to continue life as if on earth. In the case of the Tomb of the Reliefs (Fig. v.12), this meant a fully equipped household. Similar evidence for a continuation of life in the tomb is plentiful in earlier times, 37 down to the house urns of the ninth and eighth centuries bce. 38 Ambros Pfiffig 39 tried to explain these contradictions on the one hand, life as usual in the tomb; on the other, a Realm of the Dead, a long journey away by postulating a dualism of the soul, that is to say, by dividing whatever part is supposed to survive the body s death in two. Just as living people are made up of body and soul, he argued, the soul itself is now supposed to consist of two elements: the corpse-soul, bound more closely to the body in the grave or tomb, and the I- or self-soul, more freely mobile, which could go into the Afterlife and could be heroized or deified. These souls would not continue to exist completely independently of one another but would remain bound to one another by a sort of sharing. Pfiffig s explanation is extremely complicated, hardly a basis for understanding a popular funeral rite, and conceivable only as a modern philosophical interpretation of a no v.10. Tomb of Orcus II, Kylikeion. Fourth century bce. Tarquinii. (Photo: Schwanke. dai Rome )

88 TheGraveandBeyond 73 v.11. Painting in François Tomb, sacrifice of prisoners. From Vulci. Fourth century bce. Rome, Villa Albani. (Istituto CentraleperilCatalogoela Documentazione, NY E 8186.) longer fully comprehensible custom or of an ancient, complex, elaborate system, as we find in the Egyptian religion. The belief that sacrifices offered at the grave comfort a dead soul in the grave or at least in a place where he can perceive them is widespread in early times. The idea of a faraway Realm of the Dead may well have superceded that of an Afterlife in the tomb. In most cases, people accept new ideas without necessarily wanting to abandon old ones. Of course, we do need to look for models that help us to explain such a striking juxtaposition of beliefs as we find in Etruria. It is unlikely, however, that we would come nearer the truth by setting up hypotheses that are too complicated to ever have found a place in ancient popular religion. 40 the archaic and classical periods Tomb, Underworld, and the Vestibulum Orci In the search for such a model, it might be useful to go back a step and take a look at graves of the sixth and fifth centuries bce. As late as the 1980s, scholars generally assumed that something must have happened between this phase and the subsequent Late Classical and Hellenistic periods, which resulted in a radical change of older beliefs. Before the Archaic and Classical periods there were cheerful symposia and dancing in the realm of the living or of the dead; after, there were sinister, melancholic gatherings in the Underworld, in the company of frightful, threatening demons. 41 Gradually, the conviction gained ground that the postulated change was not really so fundamental, and in fact perhaps did not take place at all. 42 The discovery of the Tomb of the Blue Demons finally closed the supposed gap perfectly 43 (Fig. v.13). We learned v.12. Tomb of the Reliefs, with Kerberos. Ca. 300 bce. Caere. (Photo: Schwanke. dai Rome ) that death demons existed already at the end of the fifth century. Their representations had been developed even earlier on the basis of Greek models: Charon, the Greek ferryman of the dead; 44 Thanatos ( Death ) on Attic white-ground lekythoi*; 45 Eurynomos, a demon known from the fresco of Polygnotos at Delphi; 46 and the Erinyes (Furies). 47 These figures were noted particularly in Etruscan settlements of the Po Valley and in North Etruria 48 (cf. Fig. v.16) and immediately adapted to Etruscan needs. 49 Etruscan predecessors for these

89 74 Ingrid Krauskopf v.13:a,b,andc.tombofthebluedemons.ca.400bce. Tarquinii. (After Pittura etrusca, figs. 108, 109, 110.) hellenized demons can be found in the sixth century, however, in creatures that combine a generally human shape with the heads of wolves or predatory birds 50 (Fig. v.14). Further, in the Tomb of the Blue Demons, the journey to the Underworld and the welcome among the ancestors are depicted in a similar way (Fig. v.12c), as we had already seen them on Hellenistic sarcophagi and frescoes. 51 Francesco Roncalli 52 has convincingly shown that the scene takes place in a sort of antechamber to the Underworld, which is bounded on the one side by the dead souls ferryman, Charun (? the figure is not well preserved), and on the other by a rock or cliff, which marks the threshold to the earthly world of the living, analogous to some Greek representations of the Nekyia. Demons have driven the dead into this antechamber and lead her to the ship that will take her to the final destination. Obviously, it is also possible to gain entrance to this anteroom from the other side, as the two figures on the left, who come to meet the newly deceased, show. If we replace the ship with the walls and gate of the Underworld, we have exactly the same scene as on the sarcophagus discussed above. The ship in the Tomb of the Blue Demons is seaworthy and not a mere skiff, like that of the Greek Charon. On Hellenistic sarcophagi and in tombs we have already seen allusions, in the sea monsters and stylized waves, to a sea that had to be crossed on the way to the Realm of the Dead. These can be traced back to the sixth century, with the waves to the

90 TheGraveandBeyond 75 v.14. Black-figured vessel with Wolf god. Sixth century bce. Rome, Museo Etrusco di Villa Giulia. (Photo: Courtesy of the Soprintendenza per i Beni Archeologici dell Etruria Meridionale.) Tomb of the Lionesses, 53 the riders on sea monsters to the Tomb of the Bulls 54 and the nenfro* statues from Vulci. 55 The man in the biga* on the left wall of the Tomb of the Blue Demons, moving toward the kylikeion (Fig. v.12a) is an early forerunner of the processions known from Hellenistic urns and sarcophagi; comparable scenes are found also among the frescoes in the tombs of Orvieto. 56 In the fifth century, we encounter the same motif in other Tarquinian tombs, 57 on Felsinian grave stelai, 58 whereas the real pompa funebris, the ekphora,* that is, the transport of the corpse from the house to the burial place, seems to be represented only in the funerary monuments of Chiusi. 59 The symposium 60 depicted on the back wall is a key motif of earlier and subsequent funerary art. The context of both side walls suggests that the symposium depicted in the Tomb of the Blue Demons (Fig. v.12b) takes place in the Afterlife, as does that in the Tomb of Orcus I and all its descendants. On the basis of these observations, we must take a second look at the numerous symposia in the Archaic and sub- Archaic tombs in Tarquinii. In the case of the frescoes, they are slightly earlier than those of the Tomb of the Blue Demons; from the Querciola Tomb I up to the Tomb of the Black Sow, 61 there is no concrete evidence that would forbid an analogous interpretation. Trees, which are abundant on the frescoes in Tarquinii, 62 also grow in the Underworld, as the Tomb of Orcus I 63 shows. A location in the Realm of the Dead is more problematic where tentlike constructions can be seen sheltering the symposium guests. 64 Such constructions could easily be explained as provisional shelters built for the burial rites, but they would be almost inexplicable in the Underworld. Localization in the Realm of the Dead can be excluded whenever doors are shown standing amid the symposium or the dance scenes. 65 Doors 66 obviously have the same function as the ship in the Tomb of the Blue Demons and the city gates on the Hellenistic monuments. They mark the transition from an antechamber (in this case, the tomb) into the Afterlife. We have seen that such doors and thresholds can apparently open for a short time in the opposite direction as well, when the dead cometogreetnewcomers.thisisalsotrueofthedoorsin Tarquinian tombs: the deceased has to pass through them but under certain circumstances can return for a while not to the earth but to the tomb or to the anteroom of the Underworld, in Latin, vestibulum Orci. A vestibule of this type is described by Vergil in the Aeneid: 67 monsters and spirits who can endanger living human beings, and even drive them into the Realm of the Dead, dwell there: War, Disease, Anxiety, Grief, Fear, Discord, Poverty, Hunger, and other figures. The spirits who have their abode here can exercise their powers above all on earth, which is why they live in an intermediate zone. In a more abstract manner, they have a function similar to that of the Etruscan demons: they conduct men into the Underworld. Of course we cannot equate Vergil s vestibulum Orci directly with the intermediate zone shown in the Tomb of the Blue Demons and on Hasti Afunei s sarcophagus. Related conceptions, however, probably form the basis for both of these representations. If the hypotheses we have discussed so far are correct, then the question where the banquet is thought to take place is no longer so important. In many cases, the location was probably felt to be ambivalent. 68 The feast as depicted took place as part of the burial rites, and one hoped that the deceased and all the others who were then still among the living would be able to enjoy it further in the Afterlife. The symbol of a door, which is not quite as impenetrable as a wall, guarantees that the deceased could take part in the festivities celebrated to his (or her) benefit. Possibly the Etruscans also believed that the deceased needed a certain amount of time for the journey into the Underworld corresponding to the Roman novendiale (the nine days of display of the body) and remained in the grave for the duration of the funeral ceremonies. 69 At the outset, I mentioned the uncertainty in regard to our understanding of many burial rites and customs. No attempt to explain the tomb frescoes of the fifth century can really succeed without taking this uncertainty principle into consideration. When it is employed, even singularities

91 76 Ingrid Krauskopf v.15. Tomb of the Funeral Couch, Tarquinii, back wall. Watercolor copy in the Ny Carlsberg Museum. Ca. 460 bce. (Photo:Archiveofthe Archäologisches Institut der Universität Heidelberg.) like the hunting tent in the Tomb of the Hunter 70 become less problematic. This tent has been interpreted as having been set up to shelter the body laid out on the bier. The reason it was decorated with game hung up on it remained enigmatic. This fresco becomes more intelligible if we assume that the mourners wanted to surround the deceased, whom they believed to be present in the tomb as long as the body was lying in state, or also on other occasions, with the things he had appreciated in life. The ship in the Tomb of the Ship 71 or the scenes in the Tomb of Hunting and Fishing 72 could possiblybeinterpretedinthissense. Sacrifices and Helping Gods In the case of the hunting scenes, another aspect has been emphasized in recent scholarship: one sees in them an allusion to the sacrifices of animals, which Roman sources 73 have handed down to us. Taking into account the uncertainty principle that I postulated, this conjecture does not seem utterly impossible, but I find it improbable that such an extremely vague hint should be the sole purpose of the hunting scenes. 74 The real meaning of the hunt as a popular aristocratic pastime would hardly have let itself be so easily overshadowed. Nevertheless, the belief that blood was necessary to placate the anger of the dead on the one hand, and to strengthen and to protect their souls magically against the dangers of the transition to the Afterlife on the other, was a widespread ancient conception. 75 It probably forms the basis for the Etruscan sacrifices to the dead and becomes tangible in the blood-thirsty Phersu game, 76 in other dangerous games, 77 and, in mythical guise, in the sacrificing of the Trojans in the François Tomb and other monuments of funerary art. 78 The striking similarity to altars of the kingposts in the pediments in some Archaic tombs can best be explained as an allusion to those sacrifices, 79 in much the same way as can the impending death of Troilos in the Tomba dei Tori 80 and the animal-combat groups in the pediments. 81 Theselastcan of course be more simply interpreted as a symbol of death, which suddenly overwhelms human beings. It will be prudent to formulate the argument very cautiously: kingposts and animal-combat groups may have been seen sometimes in this way, but there are also other possible interpretations, which may have been intended more frequently. We might logically see the gods of the Underworld and the demons who lead the dead as the beneficiaries of the sacrifices under discussion. This view would fit well with the dedicatory inscription χarus, of Charu(n), found on a sixth-century vessel of unknown provenance (et, oa 0.4). 82 But, as Giovanni Colonna 83 has demonstrated, other gods could also be invoked as companions on the last journey: Castur (Castor) and Pultuce (Pollux), who, as far as we know, did not have any such function in Greece. According to their myth, however, which had them constantly migrating between the Underworld and immortality, they were predestined to serve as guides in this zone of transition. The dedi-

92 TheGraveandBeyond 77 v.17. Grave stele with deceased escorted by demons. Fourth century bce. Bologna, Museo Civico Archeologico. (Photo: ArchiveoftheArchäologischesInstitutderUniversität Heidelberg.) v.16. Stone tomb figure from Chiusi. Ca. 600 bce. Florence, Museo Archeologico. (Photo: Archive of the Archäologisches Institut der Universität Heidelberg.) cation to the tinas cliniiaras ( sons of Tinia ; et, Ta 3.2) 84 as well as the lectisternium* in the Tomb of the Funeral Couch (Fig. v.15) 85 clearly point out this interpretatio Etrusca of the Greek divinities. Another god who, in complete contrast to his Greek nature, could play a role in the funerary cult is Apollo, as Erika Simon has shown. 86 On the other hand, the Dionysus/Bacchus worshipers among the Etruscans had apparently seen their god as a helpful guide and guard for their way to the desired destination in the Underworld in much the same manner as the Greeks did. Mario Torelli attempted to ascribe the new emphasis given to the symposium in the Tarquinian tombs of the late sixth century to the introduction of Dionysian cults into Etruria, noting the moving of the symposium from the pediment to the main part of the rear wall, a change that allowed the representation of a larger number of participants. 87 But inasmuch as (1) the conception of a banquet in the Afterlife or in the tomb was an ancient Etruscan tradition and (2) the Greek symposium was, above all, a social phenomenon and not a religious one, the general attribution of the new symposia to the introduction of special Dionysian cults would probably be an overinterpretation. The Etruscans may have recalled Fufluns/Dionysos whenever satyrs are shown taking part in the symposium 88 or possibly also when a large, winefilled krater* (not a cinerary urn in the shape of a krater) stands in the midst of the rear wall; 89 adoorismorefrequently shown on this wall, symbolizing the passage into the Underworld and, at the same time, the deceased. A Dionysiac symbol in this particular location could indicate that the deceased was a follower of Fufluns/Dionysos, as the vases with dedications to fufluns paχies found in tombs at Vulci (et, Vc 4.1 4) also indicate. 90 To sum it all up: we could repeatedly confirm Greek influences, but these merely supplemented fundamental Etruscan beliefs, without completely transforming them. The concep-

93 78 Ingrid Krauskopf tion of an Afterlife, which can be thought of as a banquet, and the idea of a journey into the Underworld, which was probably subdivided into a series of stages and was replete with dangers, most likely belong to the Etruscan substratum. The dangers had to be averted by means of sacrifices, which either the living had to bring on behalf of the dead or the deceased themselves could carry out in the tomb: this is probably the purpose of the small, altarlike objects found, for example, in the Tomb of the Five Chairs 91 and in the Campana Tomb 92 in Caere. Giovanni Colonna and Stephan Steingräber have compiled any and all allusions found in Archaic tombs to places where the survivors could make sacrifices 93 and to venues for games (e.g., Grotta Porcina; Fig. viii.12), for games 94 were also believed to fortify the dead for the journey into the Underworld. It would seem that these sacrifices and games not only secured a safe journey into the hereafter but also gave the souls of the dead the possibility to come back, under certain circumstances, to receive ritual honors and (as ancestors) to assist their descendants in one manner or another. This aspect may indicate what was meant by the dii animales of Roman tradition. the earliest phase Now that we have reviewed the evidence of the later periods of Etruscan culture, in which we find the clearest articulation of concepts of the Afterlife, we may examine briefly the earliest period of Etruscan culture and make several conjectures about the first manifestations of these concepts. The terracotta statuettes from the Tomb of the Five Chairs at Caere and the sculptures in the Tomb of the Statues in Ceri 95 and in the Pietrera Tumulus at Vetulonia 96 could be interpreted as ancestors, whereas the so-called xoanon* figures from Chiusi 97 (Fig. v.16), which are always feminine, and the statues from the Isis Tomb of Vulci 98 more probably depict a goddess or a demoness, an early form of Vanth (whose name has been discovered in a dedicatory inscription of the seventh century). 99 The famous urn from Montescudaio 100 can probably be seen as an early example of the Afterlife symposium. The Sardinian ship models in the tombs of Vetulonia, 101 the chariots found in some tombs, and the scene on the Pietra Zannoni 102 may already have been allusions to a journey into the Underworld. A chariot or a depiction of it can also be used to indicate the social status of the deceased, which does not necessarily conflict with this interpretation. The discussion could be extended to the Villanovan tombs with miniature chariots and boats that also could be meant as a magical and symbolic instrument of the deceased s journey into the after life. 103 All these early monuments could hardly have been understood on the basis of internal criteria alone. They can, however, with all due caution, be interpreted as early evidence for Etruscan beliefs about death and the Afterlife, some of which, in Greek disguise, were retained into the later periods. To close this chapter, I would like to return to the beginning of this paper concerning the difficulties of interpretation, and close with the words of Arnold van Gennep, taken from the English translation of his noted book Les rites de passage, one of the incunabula of anthropology and the history of religion: Funeral rites are further complicated when within a single people there are several contradictory or different conceptions of the afterworld which may become intermingled with one another, so that their confusion is reflected in the rites. 104 NOTES 1. Bonfante 1986, An extensive listing of publications since 1984 is included in the bibliography, which therefore contains not only the literature cited in the notes but all the studies concerning Etruscan funeral rites and eschatology since 1984 that were accessible to me. Publications of excavations of necropoleis or of single tombs are listed only when combined with discussion of rites or eschatological concepts, not when confined to the presentation of the material or to sociological aspects. Likewise, only a selection of studies concerning the typesofarchitectureisgiven. 3. See esp. Briquel 1985 (1987), ; Briquel 1997, 19, Generally on death, burial, and mourning: Humphreys and King 1981; Metcalf and Huntington 1991; Barley 1995; see also Burkert 1972, For Greece: Kurtz and Boardman 1971; Vermeule 1979; Garland 1985; Sourvinou-Inwood 1995; Díez de Velasco 1995; Johnston The best summary of types of burial and of tombs: Dizionario, , s.v. tomba (G. Nardi). Important considerations on the coexistence of inhumation and cremation at Tarquinii and the use of different types of vases in different Etruscan cities: de La Genière 1986 (1987). See also Coen 1991, ; Izzet 1996; Bruni 1995; Prayon 1975a; Prayon 1989; Steingräber Jannot 1984a, See above, n. 3. Generallyon theetrusca disciplina: Pfiffig 1975, 36 43, and the series dealing with ancient authors as sources for the disciplina in Caesarodunum Suppl. 61 (1991), Suppl. 63 (1993), Suppl. 64 (1995), Suppl. 65 (1996), and Suppl. 66 (1999).

94 TheGraveandBeyond Herbig 1952, 41, no. 76, pls a; Colonna 1993a, , , pls ; Jannot 1993, pl The root culś is also contained in Culśanś, the name of a double-faced god corresponding evidently to the Roman Janus; culś probably has the same meaning as the Latin ianua, door, gateway. For Culśanś and Culśu, see Simon, Chap. 4, glossary of gods. 10. The name Vanth is more frequent: it occurs seven times with pictures of female demons, but we are not yet certain whether it is a collective name for all female demons of death (ultimately derived from the name of an old divinity of death [see below, n. 47]) or if Vanth has special functions. If Vanth is the collective name, Culśu would mean Vanth Culśu, the Vanth of the gate. See Spinola 1987; Krauskopf 1987, 78 85; Scheffer 1991; Haynes 1993; Jannot 1997; Weber-Lehmann There has been a long discussion on the interpretation of the arched door. Some see it as a city gate (most decidedly Jannot 1998, 81 82: La cité des morts ; the mallet of Charun as instrument for opening and closing the bars of gates: Jannot 1993, 68 76). Others prefer to interpret it as the door of the tomb (most decidedly Scheffer 1994). Cypresses decorated with garlands growing on the sides of it (Scheffer 1994, 198, fig. 18.3) probably mean that the door of a tomb is intended. It is, however, difficult to identify the door as belonging to the tomb when the door has merlons (e.g., sarcophagus of Hasti Afunei) and a procession of men and demons is moving towards it, while others, evidently coming out of the gate, wait for the newly arriving person. But, of course, both doors, the gate of the Underworld and the door of the tomb, can be guarded by demons. The first door the deceased has to pass, the door to the tomb, might in its shape and its surroundings foreshadow the second one, the city gate of the Realm of the Dead. Generally on the topography of the Underworld: Roncalli Etruscan Painting, 282, no. 40, figs , pls Etruscan Painting, 300, no. 55, pls The T-shaped false doors that the Charuns flank are an old motif of the tombs of the late sixth and fifth centuries (see below, n. 66), resumed here. 14. For the four Charuns of the Tomba dei Caronti (et, Ta ), see Jannot 1993, For Charun generally, see Mavleev 1986; Krauskopf 1987, 73 78; Jannot 1997, ; Jannot Sarcophagi and urns: Lambrechts 1959, ; Weber 1978, ; Moscati 1997; frescoes (Tomba Bruschi, Tomba del Cardinale, Tomba del Convento, Tomba del Tifone): Cristofani 1971, Especially in German literature, the interpretation of the socalled Beamtenaufzüge as voyages to the Realm of the Dead has been contested (Höckmann 1982, ; Schäfer 1989, 36), but the decisive argument is the presence of demons as Weber (1978, ) correctly points out. It is not possible to separate the representations with demons from those without the demons. 16. Tarquinia, Museo Nazionale Archeologico, Inv. 1424: Herbig 1952, 60, no. 116, pl. 74c; Mavleev and Krauskopf 1986, 231, no. 71*; Jannot 1993, pl Tomb 5636: Colonna 1985a, 156, fig. 29; Etruscan Painting, 371, no. 165, pl. 180; Jannot 1993, pl See also Tomba Querciola II (Colonna 1985a, 154, fig. 25; Etruscan Painting, 339, no. 107, fig. 286). 18. Etruscan sea monsters: Boosen Riders: Boosen 1986, (nos ), , 206 (no. 79), 220 (pl. 29). 19. Waves are to be found in the following tombs (with the numbers of the catalogue of Etruscan Painting, 259ff.): Tarquinii, Leonesse (no. 77), Triclinio (no. 121), 5513 (no. 162; see also Weber- Lehmann 1989, pl. 1a); Letto Funebre (no. 82), Scudi (no. 109), Bruschi (no. 48), Querciola II (no. 107), Tifone (no. 118); Blera, Grotta dipinta (no. 1); Bomarzo, Grotta dipinta (no. 2); Cerveteri, Tomba delle Onde Marine (no. 8); dei Sarcofagi (no. 10); del Triclinio (no. 11); Orvieto, Tomba degli Hescanas (no. 34); Populonia, Tomba del Corridietro (no. 35). The motive occurs also on sarcofagi (e.g., from Viterbo, locality of San Francesco-La Cipollara, Proietti 1977, 293, no. 24, pl. 43; Colonna 1985a, 161, fig. 41; Pairault Massa 1988, 82, pl. 15.2) and on other objects of funeral character (bronze krater* from the Tomba dei Curunas of Tuscania (Moretti and Sgubini Moretti 1983, 28 29, pls. 21, 22, 25). 20. Chiusi, Museo Nazionale Archeologico Inv. 860: Herbig 1952, 18, no. 15, pl. 49; Boosen 1986, 189, no. 17, pl. 25; Colonna 1993a, The wounded warrior has a long, Gallic shield, and therefore G. Colonna proposes that originally a Galatomachia had been intended and changed into the more modern theme of the voyage to the Realm of the Dead. This seems plausible, but nevertheless the actual state of the sarcophagus gives, in a rather careless way, the sequence fight, voyage by horse, sea monster, which can be understood as continuous. 22. E.g., a stele* (Ducati 1910, 437, no. 164, pl. ii; Rasenna, fig. 570) gives the sequence (from below) lady with demon announcing the moment of the death, voyage by car, sea monsters ; another (Ducati 1910, 439, no. 168, pl. iv; Bonfante 1986, 117, fig. iv:30) fightwitha Gaul, voyage by car, sea monsters. 23. Morandi 1983, with rich parallels and bibliography for all the themes represented; Etruscan Painting, , no. 54, pls , figs For the dangers of the way, see Roncalli 1997, 41; Bonamici The common demons of death such as Charun and Vanth usually are more friendly, they accompany the deceased, and eventually they even defend them against threatening monsters and demons. Attributes such as swords and other arms may be explained in this way (Jannot 1997, 156; Jannot 1993, 68, 76, pl. 7.3). Pictures in which Charun or Vanth seem to attack the dying or dead persons are extremely rare; some are discussed in the still useful book of De Ruyt 1934, 89 91, 202. Vanth(?) seems to be aggressive especially on a stamnos from Vulci (Greifenhagen 1978, 70 71, no. 8, pl. 41) and has been interpreted as watching a prisoner (Peirithoos?) in the Underworld on a stamnos of the Funnel Group in the British Museum with a very aggressive Charun at the other side of the vase(f 486: DelChiaro1974,41 42,no.3,pls.46 47;Mavleev1986,233,no.102; Weber-Lehmann 1997, no. 11), but Marisa Bonamici (1998, 8, 10 11, 8, fig. 14) has shown that even the interpretation of these demons as malignant is not unequivocal. The most famous victim, Laris Pulenas on his sarcophagus in Tarquinia (Herbig 1952, 59, no. 111, pl. 70a; Mavleev 1986, 233, no. 103; Jannot 1993, pl. 7.1; Roncalli 1996, 46, fig. 1), has been interpreted in a completely different and convincing way by F. Roncalli 1996 as crossing calmly the threshold of the Underworld, unworried by the flanking demons. This Roncalli sees as an allusion to the sacrifices held for Laris Pulenas in the figure of the young man with the knife (in the left part of the relief ), and an allusion to the destiny of less happy individuals, in this case, Sisyphos (in the right part). For the frescoes of the Tomba del Cardinale, see above, n. 23.

95 80 Ingrid Krauskopf For Tuchulcha, see Krauskopf 1987, 72 73, pl. 13; Jannot 1993, 78 80, pl. 11.3; Harari 1997a. The only evidence for the name is the fresco in the Tomb of Orcus II, where the demon is watching over and threatening Theseus and Peirithoos. Demons with the same birdlike features occur in some vase paintings (e.g., volute krater Paris, Bibliothèque Nationale, Cabinet des Médailles Inv. 918 with Admetos and Alkestis: Krauskopf 1987, pl. 13b; Roncalli 1996, 56 57, fig. 11; Harari 1997a, 97 98, no. 2) and may be also named Tuchulcha. In the Tomb of Orcus, the menacing, frightening character Tuchulcha is evident and well justified; it should be studied to determine whether reasons for a similar menace can be found in other representations of the demon with the birdlike features. For the Alkestis krater, Roncalli (1996, 56 57; 1997, 43, 47) proposes the interpretation that one of the demons is making the way between the entrance of the Underworld and the final goal of the journey dangerous, just as a successor of the two demons is doing on the left side of the Tomba dei Demoni Azzurri (see below); the same could apply to the demon on the kalyx krater of the same painter at Trieste Museo Civico Inv (Mavleev and Krauskopf 1986, and n. 85; Cristofani 1992, 98, pl. 37; the different gestures of the two demons are convincingly interpreted by Bonamici 1998, 8, fig. 8). 25.Seeabove,n Cristofani 1987a, 198, pl. 49; Roncalli 1997, 44 45, fig. 5. The urn: Scott Ryberg 1955, pl. 5.11; Felletti Maj 1977, pls. 7, 12a. The scene in the Tomb of Orcus has also been interpreted as Ulysses sacrifice at the entrance to Hades, as his position (right next to the Greek Nekyia) might suggest (Weber-Lehmann 1995, 91). It is extremely difficult, however, to see Ulysses in the left figure with the wide cloak (Weber-Lemann s explanation for this divergence from his usual iconography is not convincing), and the small scale of the right figure (reconstruction Cristofani 1986 [1987] pl. 49, 12) is inappropriate for the supposed companion of Ulysses. For a possible allusion to the sacrifice on the sarcophagus of Laris Pulenas, see above,n Etruscan Painting, , no. 93, figs , with preceding bibliography. A good reconstruction of the original chamber: Torelli 1975, 45 56, pls A new inscription: Morandi and Colonna Kylikeion: Etruscan Painting, pl. 132; Cristofani 1987a, pl The main part of the banquet scene (not preserved) must have been painted at the right wall of the so-called corridor, in continuation of the kylikeion. A mythological interpretation of it seems to be extremely difficult (hypothesis discussed by Weber-Lehmann 1995, ). At first view, it is difficult to understand why the banquet is separated from the sacrifice, which has opened the way to the banquet, by Underworld scenes with the punishment of Theseus, Peirithoos, and Sisyphos (the best survey of the location of the scenes is Weber-Lehmann 1995, fig. 2.10). The distribution of the scenes is more intelligible if one combines the sacrifice with the arrival of the deceased in the Underworld, as supposed by Cristofani 1987, 199, pl Etruscan Painting, , no. 109, pls The direct participation of Eita and Phersipnai at the banquet of the gens in the Golini Tomb I is unparalleled and could eventually be influenced by Orphic-Pythagorean ideas emphasizing the intimacy of the mystai (initiates) and the gods of the Underworld in the common symposium (see Graf 1974, ). The couple of the sovereigns of the Realm of the Dead may have been conceived, as their names are, under Greek influence with some originally Etruscan ingredients, e.g., the affinity of Aita to the wolves, which Hades did not share. The old Etruscan name of the ruler of the Underworld was probably Calu; Phersipnei may have been preceded by a single Vanth, eventually but here we enter the region of complete hypothesis a divinity of dying, i.e., the passage from life to death, but nothing points to the presumption that they were imagined as a couple. The existence of a great goddess of death in the archaic Etruscan religion, which had been postulated especially by A. Hus (1961, ; 1976, 181), is difficult to prove. For Etruscan divinities of death: Pfiffig 1975, ; Hostetter 1978, esp ; Krauskopf 1987, 61 68; Krauskopf 1988; Mavleev For the three Orvietan tombs, see PitturaOrvieto;Etruscan Painting, , nos , figs , pl. 3 10; Pairault Massa Theseus, Peirithoos, watched by Tuchulcha, and Sisyphos in the Tomb of Orcus II, and Sisyphos and Tantalos(?) in the François Tomb: Etruscan Painting, 331, figs. 254, 259, 261, pl. 131; Etruscan Painting, 379, fig. 408; Cristofani 1987a, 200, pls ; Tomba François 1987, 103, fig. 16; Roncalli 1997, 46 48, figs. 7 8; Manakidou 1994, 238, no. 86; Oakley 1994, , nos ; Weber-Lehmann 1994, 955, no. 39; Harari 1997a, 97, no. 1. For other eventual pictures of Peirithoos in Etruscan vase painting, see Manakidou 1994, , nos. 85, 88 (but for the stamnos London F 486, cf. the different interpretation Bonamici 1998, 10 11). 33. Graf 1974, The only possible representation of one of the Greek judges over the dead, Rhadamanthys, on an Etruscan mirror at Boston incorporateshiminacontextofgreekgods:depuma1993,41 43, no. 21. pl. 21a, b, d; De Puma In the first half of the twentieth century there was a long discussion on punishment in the Etruscan Underworld, beginning with the book of Weege 1921 (esp ), who saw Orphic influence especially in supposed scenes of punishment, and the critique of van Essen From that time on, Weege s corpus of pretended punishment scenes has been more and more reduced until it is nonexistent. What remained may be classified as the dangers of the way (see n. 24), and of course, it is possible that those dangers may be caused not only by missing or false sacrifices and rites of passage but also by a misguided life. Because we lack any written sources, however, we know absolutely nothing about this point. 35. Pallottino 1987; Coarelli 1985; on the Tomba Giglioli, see Pairault Massa 1988 and generally Pairault Massa Considering our poor knowledge of Etruscan history, all these studies must remain highly hypothetical, but this does not mean that they should not be done. 36. Blanck and Proietti E.g., the canopic urns from Chiusi: Gempeler; Colonna and von Hase 1984, 37; Maetzke 1989 (1993); Damgaard Andersen 1993, 37, fig. 44, 42 43, nos , fig Urns in the shape of a hut or a house, Orientalizing period: Buranelli 1985, 34 77; Coen 1991, ; earlier: Bartoloni, Buranelli, D Atri, and De Santis 1987, esp ; cf. also Damgaard Andersen 1993, 7 29.

96 TheGraveandBeyond Pfiffig 1975, 13 15, The contradiction between offerings in or upon the tomb and the belief in an Afterlife in a faraway world is nearly ubiquitous in antiquity; for Greece, see, e.g., Vermeule 1979, The discussion began with the studies of Weege and van Essen (see above, n. 34). A short summary can be found in Pensa 1977, 14 15; Manino 1980, esp ; Krauskopf 1987, Krauskopf 1987, passim. 43. Cataldi Dini 1986 (1987); Cataldi Dini in Pittura etrusca, , pls ; Krauskopf 1987, ; Roncalli 1997, 37 44, figs. 1 4; Rendeli 1996, 12 25, figs. 6 10, 12, 14, 17, 20, 23, 24, Sourvinou-Inwood 1986; Sourvinou-Inwood 1987; Sourvinou-Inwood 1995, ; Mugione 1995; Díez de Velasco 1995, Bažant The demon on the right in the Tomb of the Blue Demons (Fig. v.12c) is similar, even if far larger, to the Thanatos on the white-ground lekythos Louvre ca 1264 (Bažant 1994, 906, no. 27; Krauskopf 1987, pl. 7a; Díez de Velasco 1995, 57 60, fig. 2.24; Rendeli 1996, 20, fig. 23). Evidently the type was more widespread than one might assume: a demon very similar to the Etruscan one occurs in a painted tomb at Paestum, dating about bce: Gaudo tomb 2/1972 (Pontrandolfo-Rouveret 1992, 63, 264, fig. 2.3, 387). Thanatos and Hypnos carrying a corpse (Bažant 1994, , nos. 2 25) have parallels in Etruria, too, but only for a short period in the fifth century: Krauskopf 1987, 25 30, pls. 2a.b, Pausanias ; Robertson Among the figures in the Tomb of the Blue Demons, the demon with the snakes, sitting on a rock, is the figure most likely influenced by the Eurynomos of Polygnotus Nekyia, even if the latter has no snakes. Snakes appear in the hands of a related Etruscan demon on a stele from Felsina/Bologna, not sitting but also seen frontally, in the middle panel of the stele, isolated and surely not belonging to the group of demons escorting men, frequent on the stelai from Felsina. Therefore, this demon possibly belongs to the same category of demons as Eurynomos and the sitting demon of the Tomb of the Blue Demons (Ducati 1910, 449, no. 182, fig. 5; Krauskopf 1987, 44 45). The vase in the shape of a demon s head with black skin, made by the Attic potter Sotades and found at Spina (Krauskopf 1987, 40 44, pl. 4), may also represent Eurynomos; E. Paribeni (1986, 46 47, figs. 4 6) gives another, nonfunerary interpretation, but whatever the head may have meant for Sotades, for the Etruscan owner it rather probably had a demonic aspect. At least vases like this one furnished the model for the Etruscan vase in the shape of Charun s head at Munich (Mavleev and Krauskopf 1986, 227, no. 29; Krauskopf 1987 pl. 4c d; Elliot 1986, 41, 283, fig. 72, Donderer 1998, pl. 1). 47. Sarian 1986; Aellen 1994, 24 90, especially in relation to the Etruscan demonesses: von Freytag 1986, , The Erinyes may have furnished the model already for the first type of Vanth (see the bibliography above, n. 10) in a long garment, but the demoness or goddess Vanth is certainly older, as the inscription on an aryballos* of the second half of the seventh century (see below, n. 99) clearly proves. Weber-Lehmann 1997 stresses too much the Greek influence in the genesis of Vanth. Vanth originally was, as far as a demon of death can be that, a kind guide, like the Greek Hermes Psychopompos, and not an interpretatio etrusca of the Erinyes. She maintained this manner even when the West Greek huntress type of the Erinyes with a short chiton or skirt and crossed shoulder straps and boots was adopted for her. Only slowly, under the influence of those West Greek Furies, her character began to include less benevolent aspects. 48. Within that geographical and chronological horizon the Greek Hermes Psychopompos, too, entered Etruscan iconography and religion (Hostetter 1978; Krauskopf 1987, 45 60; Harari 1997b, ). For the various types of demons on the stelai from Felsina, see Sassatelli 1984; Stucchi 1986; Krauskopf 1987, 35 45; Mastrocinque 1989 (1991); Morigi Govi and Sassateli 1993; Cerchiai For the stelai, see further Sassatelli 1989; Sassatelli This applies to all the types, but the case of Charon and Charun (Sassatelli 1984; Krauskopf 1987, 38 44, 73 78) is especially interesting. Considering the Etruscan idea of a voyage to the beyond by sea, it is a little surprising that the Etruscans did not use the figure of the Greek ferryman more extensively. This might be caused by two factors: (1) Charon was a ferryman and no sailor and therefore not precisely the figure needed to substitute for the Etruscan sea monsters and (2) the Etruscans probably looked for a representable appearance for demons already existing in their concept of demonic powers, guiding the deceased to the gates of the Netherworld, and they found it, with some modifications, in Charon. It makes no great difference whether they imagined two or more completely different types of Charun the ferryman with the oar and the guide of the overland route with the mallet or the torch (Jannot 1993, 60 61) or used different attributes to characterize the actual function of Charun in the respective pictures. It is nevertheless important to realize that in the later Etruscan periods, Charun is not a single figure but a plurality. Whether he was originally one or many beings is not clear. The dedicatory inscription χarus on an Attic cup seems to point to a single demon, possibly even with an original Etruscan name (Louvre F 126, by Oltos: cva Paris Louvre 10, France 17, iii ib, pls ; Briquel and Gaultier , , no. 78, pl. 66, with a critical commentary by M. Cristofani; Jannot 1993, 64 65, with summary of discussion; Colonna 1996, , fig. 21, connecting the name with the Greek Charon). 50. There are a considerable number of possible combinations; the inverse scheme, human head, including Gorgoneia, with animal s body, has also been used. Cf. Krauskopf 1987, 20 25, pls. 1b d, 2c d. For the demons with the heads of wolves or lions, see also Simon 1973; Richardson 1977; Prayon 1977; Elliott For late Etruscan reminiscences of these mixed creatures, see Simon Above, nn Roncalli 1997, Less convincing is the interpretation of Rendeli (1996), who sees theanagoghe ( leading up ) of Persephone (the woman on the right), who is met by Demeter (the woman on the left), and the boy Eubouleus, based on the resemblance of this group to that of the great Eleusinian relief. Rendelli s interpretation is not, however, very compelling: the figures on the relief are not walking, Eubouleus as a guide to the Netherworld should not be a boy, and the generally accepted interpretation of the goddess on the left as Demeter and the figure on the right as Persephone had to be reversed. In addition, the demons are the dominant figures in the painting, which seems improbable in the supposed presence of the queen of the Underworld and her mother. Rendelli himself (1966, 23) already mentioned the main problem with the interpretation:

97 82 Ingrid Krauskopf we have absolutely no evidence for a katabasis (descent) of Demeter and Eubouleus in Classical Greek art, which usually represented the anodos (ascent) of Persephone. Even if a version of the myth including a katabasis of Demeter should have existed in Classical literature (Rendeli 1996, nn ; Harrison and Obbink 1986), it is hard to see how anybody could have recognized the Underworld as the place of the meeting in the Eleusinian relief. The only motive for such a locale is the supposed resemblance of the scene to the Etruscan fresco, and there, the only argument to identify the figures as the Eleusinian goddesses is the (not very strong) resemblance to the Greek relief, evidently a kind of circular reasoning. 53. Above, n Etruscan Painting, pl. 165; Boosen 1986, 158, no. 78, pl ; Torelli 1997a, 144, fig. 126 (= Torelli 1997b, 80, fig. 38). 55. Hus 1961, 39, no. 5, pl. 21 (Rome, Villa Giulia; Boosen 1986, 158, no. 77, pl ); Hus 1961, 51, nos. vi--vii, pl. 8 (lost), ; Bonfante 1986, 112, fig. iv.23. Hippocamp without rider: Comstock and Vermeule 1976, 252, no with illustration (= Boosen 1986, 138, no. 5). 56. Above, nn. 15 (sarcophagi) and 31 (Orvieto). 57. All of the same period of transition as the Tomb of the Blue Demons: Tomba Querciola I (Etruscan Painting, , no. 106, figs ; Adam 1993), where the chariot with the warrior, directly above the entrance, is inserted in a line of dancing figures moving to the banquet on the rear wall, as a newcomer is arriving at the place of the eternal banquet; the Tomb of Francesca Giustiniani (Etruscan Painting, 305, no. 65, pl. 70); and the Tomb of the Pygmies (Etruscan Painting, 333, no. 97, fig. 265, pl. 135), where riders are on the way to the eternal banquet. Problematic is the Tomb of the Warrior (Etruscan Painting, 313, no. 73, figs ), where the biga on the entrance wall is being used in acrobatic performances, and the action of the warriors on the right wall is not clear. 58. Ducati 1910, ; Weber 1978, Jannot 1984a, Generally on the reliefs from Chiusi, realistic scenes like the prothesis,* the ekphora anddancesandgames in honor of the deceased, seem to be preferred to more symbolic ones. 60. The term symposium is used here, because in the majority of the tombs, indeed only drinking vessels are represented. A meal may also have been imagined, as the preparations for a meal in the Golini Tomb I (see above, nn. 30 and 31, and L alimentazione 1987, 107, 109, 112, , ) clearly prove. Probably the symposium was the last part of a complete banquet. For banquets and symposia, see De Marinis 1961; Cristofani 1987, ; Rathje 1994, 95 99; Small 1994, 85 94; Rathje 1995, For Chiusi: Jannot 1984a, For Archaic tombs of Tarquinii: Weber-Lehmann 1985; d Agostino 1987, For these tombs, see Stopponi 1983, 62 65, with a list of all tombs with banqueting scenes at p A range of interpretations exists for the trees in the frescoes: as elements marking the boundaries of the templum,* as the sacred place of the rituals of passage in the period immediately after death (Rouveret 1988), as sacred groves of Aplu/Apollo (Simon 1973, 28 38, with a list of tombs with laurel trees at p. 28), or as the trees of the Elysian Fields. Given that more than one hundred years separate the Tomb of the Bulls from the Tomb of Orcus, however, trees may have changed their meaning more than once. 63. Etruscan Painting, 330, fig. 244; Torelli 1975, pl The most famous examples are the Tomb of the Lionesses and the Tomb of the Funeral Couch: Stopponi 1968, 60 62; Rouveret 1988, , with further bibliography; Jannot 1988, 59 65, with a reconstruction of a tent. For the tent in the Tomb of the Hunter, see below, n Only once, in the Tomb of the Biclinium (Etruscan Painting, 288, no. 46, figs ), is the false door combined with a symposium; the false door is often combined with dances (komos in Torelli s terminology: Torelli 1997a, table on p. 127) that cannot be separated from the symposia, because the two scenes fuse very often in Tarquinian frescoes (see Torelli 1997a, table on p. 143). 66. The meaning of the painted or sculptured false doors is one of the most intensively discussed problems of Etruscan funerary art. For the arched doors of the Hellenistic period, see above, n. 11. For the T-shaped doors of earlier periods, see Staccioli 1980, 1 17; Jannot 1984b; D Agostino 1987, 215, ; Camporeale 1993, ; Torelli 1997a, ; Dobrowolski 1997, 133, with bibliography for both types of doors in n. 42. The T-shaped door is one of the oldest and most important motifs of Etruscan funerary art that is not connected directly with the banquet, dance, games, or voyage. It occurs in the following Tarquinian tombs, always in the middle of the rear wall and in the oldest tombs (the tombs of the Hut, Marchese, 6120, Jade Lions, and Labrouste); in the Tomb with Doors and Felines, there are three doors, one door on each wall; the door occurs as the only or main motif, among trees (the Tomb of the Mouse) and sometimes flanked by persons turning towards it (Augurs, Cardarelli, Bronze Door, Skull). Doors may be combined with dances or games: Olympiads, Inscriptions and Flagellation=1701 (both with three doors, one on each wall), Citheroid and 4255 (both with two doors on the rear wall, evidently destined for two persons buried there) and Biclinium (symposium). A loculus* is framed as a T-shaped door in 3098; the motif of the door has a Hellenistic revival in the Tomb of the Charons at Tarquinii. Tombs at Chiusi with the false door: Colle Casuccini, Poggio al Moro (Camporeale 1993, pls. 1 2). Stelai of Felsina: Ducati 1910, fig. 65; Sassatelli 1989, 935, no. 16, pl. 3b. 67. Aeneid The various models of interpretation (realistic, magic, and social) and the difficulties that result if one strictly uses only one of these models are discussed by d Agostino This concept has been elaborated very convincingly by Torelli 1997a, There the tomb, too, in a slightly different sense, is interpretedasanintermediateroom. 70. Etruscan Painting, 295, no. 51, figs , pls ; Bonfante 1986, 158, fig. iv.90; Rouveret 1988, 212, fig. 49.2: tend à créer autour du mort un lieu familier ; Roncalli 1987, 237. A different interpretation: Torelli 1997a, 131, 134, fig Moretti 1961; Etruscan Painting, , no. 91, figs , pls ; Pittura etrusca, 145, fig. 100, pl. 37, with further bibliography. Torelli (1997a, 134) sees in the ships on the left wall an allusion to the voyage of the deceased by sea, but a harbor scene with a cargo vessel and its crew seems to me too realistic scenery for a voyage to the beyond; it would be better compared with the warship on the stele of Vele Caicna from Felsina, likewise realistic (Ducati 1910, , no. 10 fig. 82; Bonino 1988, 76 77, fig. 7 with bibliography).

98 TheGraveandBeyond 83 The case of the Tomb of the Ship I of Caere (Etruscan Painting, 262, no. 7, fig. 5), dating from the end of the seventh century, is different. The ship is represented in the middle of the rear wall, where usually the most important theme is placed. 72. Etruscan Painting, , no. 50, figs , pl ; Pittura etrusca, , figs , pls , with further bibliography; Cerchiai 1987; Rouveret 1988, Above,p Tombs with hunting scenes: Stopponi 1983, For the funerary hunts: Jannot 1984a, ; Roncalli 1990, 237; Adam 1993, It cannot be excluded that in some cases, hunts were part of the funerary games (Jannot, Adam), but the other aristocratic aspect must also be taken into consideration in the huntingscenes of the fifth century. The aristocratic aspect is certainly the only one in the fresco with the returning from the hunt in the Tomb of Hunting and Fishing (Etruscan Painting, pl. 50). 75. Dobrowolski (1997, 135, n. 46) and Blome (1986, 99) give references to the literature. Blome (1986, ) insists that the living have an interest in blood for calming the Trauerwut, that is, the rage of the surviving relatives because of the loss. Blome cites Burkert 1972, 64 65, and Meuli 1946, (= Meuli 1975, ), but this is, of course only the other side of the coin and not a contradiction. 76. In the tombs of the Augurs and Olympiads (Etruscan Painting, pls. 20, 122; Bonfante 1986, 160, fig. iv-93). For the interpretation of these and other Phersu figures: Elliott 1986, 22 26; Blome 1986; Jannot 1993; Adam 1993, For these games: Jannot 1993, , ; Adam 1993, passim. Other athletic games: Jannot 1984a, ; Thuillier 1985; Jannot 1986 and various contributions in Jeux 1987, and in Spectacles. For games of dexterity: d Agostino Bonfante 1986, 162, fig. iv-96; Camporeale 1981, , 211; Blanck 1985, 83 84; Roncalli in Tomba François, 85 89, fig Roncalli 1990, , figs. 1 (Bulls), 2 (3098), 4 (Bacchants), 6 (Little Flowers), 9 (Deer Hunt). 80. Bonfante 1986, 236, fig. viii-3; Cerchiai 1980, 25 39; for the machaira, seealsoadam1993, Jannot 1982, ; Roncalli 1991, 236; Dobrowolski 1997, Above, n Colonna Colonna 1996, , fig. 15; see also Cristofani , Colonna 1996, , figs ; Roncalli 1990, , fig. 12; Etruscan Painting, pl For the tomb, see also Jannot Simon Torelli 1997a, 135, 138, with tables on pp. 127, 143; Torelli 1997b, For various observations on the tombs of Dionysos and the Silenoi, of Hunting and Fishing, of the Inscriptions and Number 1999, cf. Weber-Lehmann 1985, 27, 37 38, fig. 1 and pl. 11; pl. 20.1; pl. 21.1; Torelli 1997a, 135, , fig. 119 (= Torelli 1997b, 75 76, fig. 26). 89. Tombs of the Lionesses, of the Dead Man, of the Chariots. Normally the krater for the symposium is placed at the side, close to the kylikeion. Nevertheless, the central kraters,too, are thought to contain wine and not ashes, since in the Tomb of the Lionesses, a ladle hanging down near the krater and a jug on the floor (Etruscan Painting, pl. 97) and in the Tomba delle Bighe cupbearers (Etruscan Painting, 290, fig. 79) demonstrate the intended use of the krater (see also d Agostino 1987, ). Of course, the association with the vessel containing the ashes of the deceased is not impossible, but this is only an analogy and not a reality. Kraters as cinerary urns: Valenza Mele 1981, ; de la Genière 1986 (1989), ; Pontrandolfo 1995, Cristofani and Martelli For the cult of Fufluns, see further Colonna 1991; Cristofani 1995; Krauskopf forthcoming. For the Orphic-Pythagorean influences, which did exist but not in the manner supposed by Weege and others (above, n. 34), see Harari 1988 (with bibliography) and above, n For the reconstruction of the tomb: Prayon Prayon 1975a, , pl ; Colonna 1986, fig. 278; Colonna 1996, 166, fig Colonna 1986, passim; Colonna 1993b; Colonna 1996, ; Colonna and Di Paolo 1997, ; Steingräber 1982, ; Steingräber 1995, 74; Steingräber See also Rafanelli 1997; Zamarchi Grassi 1992, (English summary by M. Torcellan Vallone in EtrSt 2, 1995, ); Zamarchi Grassi 1998; Rastrelli 1998, For the Cuccumella tomb at Vulci, see Sgubini Moretti 1994, Above, nn. 76 and Prayon 1975b, , pls ; Colonna and von Hase 1984, with a discussion of the other statues of maiores (Pietrera, Five Chairs) at 35 41, and a list of thrones in tombs at 55 59; Damgaard Andersen 1993, 45 49, figs. 56a 57d. 96. Hus 1961, 23 35, , , pls. 1 3, 17 18: goddess of death, with male demons? (see also above, n. 30); Damgaard Anderson 1993, 49 50, no. 45, fig Hus 1961, 58 65, no. 1 17, , pls , Damgaard Anderson 1993, 50 52, nos , fig. 60 interprets them as ancestors, too, but also notes that they have always been found at the entrance of the tombs. In my opinion, the placement at the entrancefitsbetterwithaninterpretationofthe xoanon figures as tomb guardians or demonic guides, like the later figures of Vanth and Charun at the doors of tombs. For a goddess in the tomb, cf. also the winged figurines in Damgaard Anderson 1993, 43, fig. 55b. Especially the busts from Chiusi, but sometimes also the Pietrera statues, have been interpreted as mourners or wailing women, perpetuating the ritual lamentation (e.g., Camporeale 1986, ). That interpretation, however, is made difficult by their gestures, which are not unequivocal. Further, in the case of the Pietrera statues, men are present, and the Chiusi busts are apparently only single figures, not parts of a group, and in both cases their large size raises questions (some of the Chiusi busts measure more than 50 cm, the Pietrera statues are even taller). 98. Haynes 1965, 13 25, pls. 6 11; Cristofani 1985, 289, no. 111, pl. 217; Haynes 1991, 3 9, pls. 1 3; Roncalli It seems plausible to reconstruct the bronze bust from the Isis Tomb with a cylindrical lower part resembling that of the Chiusi statues, but it is impossible to combine the bust with the damaged alabaster stand, as proposed by Roncalli, since the latter is a companion piece to the alabaster pyxis from the same tomb and not only has identical measure-

99 84 Ingrid Krauskopf ments but also shows the beginning of the flaring top of the pyxis ; see Haynes 1991 and Bubenheimer-Erhart forthcoming. 99. Aryballos from Marsigliana d Albegna, ca bce: et, av 2.3; Colonna 1996, 182, with bibliography in n. 83; Weber- Lehmann 1997, Nicosia 1969, , pls ; Damgaard Andersen 1993, 30 32, no. 24, fig. 37; Bonfante 1986, 99, fig. iv.7; Torelli 1997a, 33, fig Camporeale 1967, , pl. C.5; Lilliu 2000, , ; F. LoSchiavo and M. Bonino in Mache 2000, and The concept of a Realm of the Dead beyond the sea usually has been traced back to the Greek idea of the Isles of the Blest. At least in the Archaic and Classical periods, however, the isles are imagined only as the mythic residence of a few heroes (for the discussion of a supposed voyage by sea in Minoan times, see Sourvinou-Inwood 1995, 45 49) and therefore an improbable model for the Etruscan Beyond. Frequently in ancient religions we find the idea of crossing a river or a lake but not the sea. In the Near East we have the immense mass of fresh water under the earth, the isle of Uta-napishti beyond the ocean, and the Waters of Death in the Epic of Gilgamesh, which may have furnished the model for the Greek Isles of the Blest (for the text telling the search for and the story of Uta-napishti, see George 1999, 75 95) but not for a general Realm of the Dead beyond the sea. For a first survey of Near Eastern concepts of death and beyond, see various articles in DeathinMesopotamia1980; Kappler 1987, ; and Mort 1982, ; Chiodi An initial list of models of chariots and chariots in tombs: Ducati 1943, , but see also Colonna 1980, 188, n. 39. An extensive catalogue of the chariots found in Italy and the problems involved: Carri 1997; Adam 1993, 88. Pietra Zannoni : Ducati 1910, , fig. 46; Meller Padovani 1977, 52 56, no. 25, figs A chariot is also represented on the stele of Via Tofane, second phase: Meller Padovani 1977, 44 45, no. 20, figs The tendency of the interpretation has been moved in the past decades to a more realistic meaning, an aristocratic parade: Colonna 1980, 188; Sassatelli 1988, 208; Cerchiai 1988, , fig. 57.1, who compares Assyrian friezes with the royal chariot (fig. 56.1; the whole frieze: Thureau-Dangin and Dunand 1936, Album pl. 49), but that comparison shows exactly the important difference between the two pictures: the Assyrian warrior, who does not hold the reins but a lance, is no taller than the horses and in no case could his head be higher than that of the person in the chariot. The excessive size of the man leading the horses on the stele of Zannoni, however, which nearly exceeds the frame and certainly is not attributable to a lack of skill of the sculptor, makes him the dominant figure; he cannot be a groom. Torelli (1986, 173) interpreted the chariot scene on the ivory pyxis from the Tomba della Pania at Chiusi in an eschatological sense; contra: Cristofani 1996, 8 9 (= Scripta selecta II 903) Iaia 1999, 142 (English summary); Van Gennep 1960, 146. BIBLIOGRAPHY This bibliography includes some items not referred to in the text, but cited here to make it more useful for the study in general of the Etruscan Underworld. Adam, A.-M Vegetation et paysage dans la peinture funérare étrusque. Ktema 15, Les jeux, la chasse et la guerre: La tomba Querciola I de Tarquinia. 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Rystedt, and O. Wikander. Stockholm The Arched Door in Late Etruscan Funerary Art. In Murlo 1994, Scott Ryberg, I RitesoftheStateReligioninRomanArt, maar 22. Scripta selecta = M. Cristofani, Scripta selecta: Trenta anni di studi archeologici sull Italia preromana II. Pisa Sgubini Moretti, A. M Ricerche archeologiche a Vulci: In Tyrrhenoi philotechnoi: Atti della giornata di studio Viterbo , ed. Marina Martelli. Rome Simon, E Die Tomba dei Tori und der etruskische Apollonkult. JdI 88, Sentiment religieux et vision de la mort chez les Étrusques dans les derniers siècles de leur histoire. In lprh, Small, J. P. Eat, Drink, and Be Merry: Etruscan Banquets. In Murlo 1994, Sourvinou-Inwood, C Charon I. limc iii, Images grecques de la mort: représentations, imaginaire, histoire. aion 9, Reading Greek Death: To the End of the Classical Period. Oxford. Spectacles = Spectacles sportifs et scéniques dans le monde étrusqueitalique: Actes de la table ronde Rome Rome Spinola, G Vanth: Osservazioni iconografiche. RdA 11, Staccioli, R. A Le finte porte dipinte nelle tombe arcaiche etrusche. Quaderni dell Istituto di Archeologia e Storia Antica, Libera Università Abbruzzese degli Studi G. d Annunzio, Chieti 1, Steingräber, S Überlegungen zu etruskischen Altären. In Miscellanea Archaeologica Tobias Dohrn dedicata. Rome (1997). Le culte des morts et les monuments de pierre des nécropoles étrusques. In lprh, Funerary Architecture in Chiusi. EtrSt 2, (= L architettura funeraria chiusina. In LaciviltàdiChiusiedel suo territorio: Atti del XVII convegno di studi etruschi ed italici Chianciano Terme Florence ) New Discoveries and Research in Southern Etruscan Rock Tombs. EtrStud 3, Stopponi, S Parapetasmata etrusche. BdA 53, La Tomba della Scrofa Nera. Rome. Stucchi, S Il motivo del prosbainein su una nuova stele di Bologna. 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104 TheGraveandBeyond La religione. In Rasenna, a. Il rango, il rito e l immagine:alle origini della rappresentazione storica romana. Milan b. Limina Averni: Realtà e rappresentazione nella pittura tarquiniese arcaica. Ostraka 6, 1997, (= Torelli 1997a, , with minor corrections). Valenza Mele, N La necropoli cumana di VI e V A.C. o la crisi di una aristocrazia. In Nouvelle contribution à l étude de la société et de la colonisation Eubéennes: Cahiers du centre Jean Bérard 6. Naples van Essen, C. C DidOrphicInfluenceonEtruscanTombPaintings Exist? Studies in Etruscan Tomb Paintings 1. Amsterdam. van Gennep, A The Rites of Passage, tr. M. B. Vizedom and G. L. Caffee, Chicago. Vermeule, E AspectsofDeathinEarlyGreekArtandPoetry. Berkeley, ca. Walberg, C The Tomb of the Baron Reconsidered. StEtr 54, Weber, W Die Darstellungen einer Wagenfahrt auf römischen Sarkophagen und Loculusplatten des 3. und 4. Jahrhunderts n. Chr. Rome. Weber-Lehmann, C Spätarchaische Gelagebilder in Tarquinia. rm 92, Beobachtungen zur Tomba 5513 in Tarquinia. In Atti del Secondo Congresso Internazionale Etrusco Firenze , 2. Rome Theseus/These. limc vii, Polyphem in der Unterwelt? Zur Tomba dell Orco II in Tarquinia. rm 102, Die sogenannte Vanth von Tuscania: Seirene anasyromene. JdI 112, Weege, F Etruskische Malerei. Halle. Zamarchi Grassi, P., ed La Cortona dei Principes. Catalogue of exhibition, Cortona, Palazzo Casali Cortona Un edificio per il culto funerario: Nuovi dati sul tumulo II del Sodo a Cortona. RdA 22,

105 CHAPTER VI VOTIVE OFFERINGS IN ETRUSCAN RELIGION Jean MacIntosh Turfa Votive religion touches upon basic human needs and the innermost prayers of all, from rulers to slaves. The material remnants of Etruscan votives, after two millennia in Tuscan soil, represent only a tiny fraction of all the ceremony, belief, and sacrifice that went into their dedication. In 1981, Comella was able to count 161 deposits of the fourth to first century bce in Etruria and Latium, and in 1985, the exhibition Santuari d Etruria considered nearly 80 sanctuary sites of all periods. 1 By now the number of significant votive deposits of all periods exceeds 200. Unfortunately, most were either exposed and dispersed long ago or occur in areas like Tarquinii or Vulci, where the subsequent history of a rich metropolis has written over the earlier traces. In our efforts to interpret votive gifts, our understanding is easily colored by modern beliefs; we expect that acts of kindness and proselytizing will most please the divine, but, from the archaeological evidence, it appears as though the gods of the Mediterranean wanted things. As Barker and Rasmussen put it, No-one approached the gods emptyhanded. 2 In fact, it is not so much the gifts but the activity, the public ceremony of a majority of worshipers, that defines ancient votive religion. A survey of major votive deposits within Etruria, followed by possible interpretations of votive offerings in their artistic and religious contexts, is offered here to augment the analysis of Etruscan religion. The survey is prefaced by a general description of Mediterranean votive practices, including votive offerings of other cultures. The origins of Etruscan votive religion are to be sought in protohistoric Italy. Excavation at Tarquinii Pian di Civita has shown that votive offerings were made at sacred places during the Protovillanovan and Villanovan periods, as will be discussed below. A continuity of preference for certain types of objects characterizes the earliest days to the latest, and by the time foreign sanctuaries were established in Italy (as at Greek colonies or at Graviscae), votive cult had been flourishing in Etruria for centuries. When, near the end of the fourth century, healing requests escalated dramatically, these were not attached to Greek Asklepios but to native gods like Vei, Uni, Turan, and Menerva. It appears that these functions had already been the province of Italian (Etruscan and Italic) gods and that models of body parts simply became popular as urban populations rose and, with them, industrial production of terracottas. The terracotta anatomical models depicted a number of types and organs not found in Greek sanctuaries, with regional styles of medical illustration distinguishing the coroplastic industries of different Etruscan/Latin cities, again, a token of a longstanding native tradition. It is no wonder, if Etruscans had been presenting their native gods with gifts for centuries, that when they learnt to inscribe them, the formulae of dedication showed an easy familiarity. For instance, votaries addressed cel ati (Mother Cel), as in the set of five bronze figurines from a deposit at Castiglione del Lago, which all proclaim mi celś atial celθi (et, Co 4.1 5). 3 A bronze bird from Volaterrae announces that Fel Supri gave him to Grandmother Cel (clz tatanus; et, Vt 4.5). 4 The inscriptions demonstrate that votives were the material tokens of a very lengthy public and personal process, which today must be interpreted with reference to Greek and Roman literary and epigraphic documentation. 90

106 Votive Offerings 91 the classical vow The public act of dedicating an offering was the core of a personal ritual, to judge from ancient terminology. Ample similarities in the record of Etruscan and Latin deposits are grounds for extrapolating from known Roman terms. 5 Votum* represents a formal vow, made publicly, and couched in somewhat legalistic language. The Roman prayer was accompanied with a promise: do ut des, I am giving so that you will give. A suppliant might inscribe the promise on a tablet and tie it to the knee of a statue; if the god fulfilled the bargain, a public offering was made. There was a formal succession of events: proclamation and inscription of the vow, fulfillment of the god s implied promise, and public recognition of this with the display of the promised offering. Extra promises made on the battlefield, in shipwreck, or in childbirth presumably occasioned a single, public trip to make a thank offering. On the level of the city, a general might vow a temple worthy of victory in battle, as attributed to Themistokles and Gelon at the battles of Salamis and Himera in 480, or the temple dedicated to Bellona Victrix by Appius Claudius Caecus in The Pyrgi plaques might be our one Etruscan token of such an event, possibly the erection of a temple by the mlk lkysry( ruler of Caere ) after Astarte supported him [in his reign]. 7 As Pfiffig and others have indicated, 8 we seek in vain for certainty in Latin terms such as stips, which contained coins; or favissae,* underground vaults or cisterns, yet now often used of any pit or trench in which votives were buried; or mundus,* a special hole in the earth through which offerings were passed to the chthonic gods. Greek terminology includes bothros* for a formal offering pit and anathemata for objects, specifically, statues, set up in sanctuaries, emphasizing the aspect of public display of the gifts. Since none of the terms is strictly Etruscan, it is safer to eschew them. Often, votives in considerable numbers have been found lying in spread fill, atop or around altars, as at Lavinium, Tredici Altari. 9 (Insomecases,worshipersmusthavecrunched old votives underfoot as they walked in a temenos.*) Roman inscriptions show formulae for votive dedications that illustrate the public oath and the timing of the gift, as a thank offering and proof that the request had been fulfilled. Common phrases or acronyms include v(otum) s(olvit) ( [he] fulfilled the vows ); v(otum) s(olvit) l(aetus) l(ibens) m(erito) ( [he] fulfilled the vows willingly, deservedly ); v(otum) p(osuit) l(ibens) m(erito) ( [he] completed the vows willingly, deservedly ). This condition of donation of the votive after the request had been granted fits not only human nature but the evidence of the ancient tabella votiva recordedinverseinbook6ofthepalatine Anthology. 10 While not Etruscan, these verses do illustrate general conditions of vows, as well as the ephemeral or perishable nature of many offerings. To Glaukos, Nereus, and Melikertes... and to the Samothracian gods, do I, Lucillius, saved from the deep, offer these locks clipped from my head, for I have nothing else (Lucian 6.164). The head-kerchief and water-blue veil of Ampharete rest on thy head, Eileithyia; for them she vowed to thee when she prayed thee to keep dreadful death far away from her in her labor (Nicias 6.270). The two oxen are mine and they helped to grow the corn. Be kind, Demeter, and receive them, though they be of dough and not from the herd. Grant that my real oxen may live, and fill my fields with sheaves...for the years of thy husbandman...are already four-score and four. He never reaped rich Corinthian harvests, butnevertastedbitterpoverty...(macedonius6.40). Once more, Eileithyia, come at Lykainis call, easing thus the pangs of labor. This, my Queen, she bestows on thee for a girl, but may thy perfumed temple afterwards receive from her something else for a boy (Callimachus 6.146). Vertumnus, in Propertius elegy (Propertius 4.2; Appendix B, Source no. vi.1), says that he is given the first fruits and that here the grafter pays his vows with a wreath of orchard stuff, when his pear tree has lent an unwilling stock of apples. His allusions to being clothed like people of various occupations probably refer to gifts left by members of these trades: silk of Kos, toga, sickle, arms, reaper s basket, birding twig, fishing rod, peddler s tunic, shepherd s crook, baskets of roses, or vegetables. As yet, there are no offerings to Vertumnus/Voltumna inscribed in Etruscan. Extant inscriptions are generally terse, as in a secondcentury bronze figurine from Montalcino, which proclaims: θa: cencnei: θuplθaś / l. calzniś śuvluśi zana menaχe ( Thana Cencnei: of Thufltha. Of Larth Calzni for Suvlu the offering was made. ). 11 Modern Christian votives placed in churches in Europe and the Mediterranean are generally thank offerings, too. 12 Their inscribed acronyms proclaim v.f.g. or v.r.g.: votofatto grazie and voto ricevuto grazie ( Vow made, thanks. Vow received, thanks. ). A tantalizing hint of lost archaeological treasure are the shrines of Malta and shops of Cyprus, where votive images of wax are displayed. Many ancient vota

107 92 Jean MacIntosh Turfa vi.1. Bronze Chimaera statue from Arezzo, inscribed tinścvil. Fourth century bce. Florence, Museo Archeologico Nazionale Inv (Photo: Florence, Museo Archeologico.) or tabellae votivae commemorated the ending of something, such as a dangerous voyage or a lifetime of work, when writing, fishing, or medical equipment was left at the sanctuary upon the retirement of a scribe, a fisherman, or a doctor. Other occasions were passage to puberty, offering of a prize just won, victory in or survival of war, illness, childbirth, or a good harvest. 13 sites and types of offerings Votive offerings, tokens of individual vows, appear in urban and rural, extramural or extraurban, spring-, lake-, mountain-, cave-, and seashore-oriented sites, as well as state and private cults, thus all the categories of sacred places recognized by Edlund (1987a). Nearly all cultic gods received individuals gifts. Even after the abandonment of shrine and city, as at Pyrgi, Graviscae, and Veii, votive rites continued in ruined cult buildings, even when there were no cult functionaries on hand to care for the offerings. 14 A sacred place may have incorporated pits, a temple or less formal cult building, an altar, enclosure wall, or natural landmark such as a spring or cave. A single one of these features was sufficient to occasion the placement of offerings by multiple visitors. Few objects were considered inappropriate for dedication, although mirrors are among the few deliberate omissions. 15 Admitting differences of style and economics, nearly all the Etruscan offerings have counterparts in the well-documented Greek cults. Cult equipment may be differentiated from private offerings, because the majority of votives almost certainly were never used again. Donors sometimes gave useful metalware, vi.2. Bronze statuette, small boy, from the region of Lake Trasimene, inscribed flereś tec sanśl cver. Third century bce. VaticanMuseums.(Photo,dai Rome f1 254.) like the fifth-century bronze incense shovel in New York, which proclaims mi selvansel: smucinθiunaitula. 16 Many vases may have been personal items brought for celebration and deliberately left behind. At Greek sanctuaries, anything used in the course of a ceremony became sacred and could not be removed from the temenos. 17 Many familiar bronze sculptures today viewed as emblems of Etruscan culture were created or deposited as votive objects, and thus they were the products of a commercial, as well as an ideological, system, for instance: Fig. vi.1. The fourth-century Chimaera of Arezzo, discovered in 1553, and probably part of a large group, had been inscribed in the wax before casting, tinścvil, gift of Tin[ia]. 18 The over-life-sized Arringatore ( Orator ), found in 1566, probably came from a sanctuary of the god Tece near Trasimene; his cloak, inscribed in letters of the first century bce, notes that he was given in honor of Aule Meteli. 19 Statuettes of chubby little boys, dedicated to Tec Sanś (Fig. vi.2) and Thufltha, are offerings of the Hellenistic period, the type known from Trasimene, Tarquinii, Vulci, Cortona and Caere. 20 The so-called Mars of Todi (Fig. iv.15) is a votive. Its inscription in the Umbrian language (ahal trutitis donum dede) takes it into the realm of Italic cult. 21

108 Votive Offerings 93 vi.3. Bronze statuette, female offrant with bunch of flowers. Late fifth century bce. London, British Museum. (By permission,trusteesofthebritishmuseum.) Figs. vi.3 and 5. Figurines portray gods, worshipers, and priests, such as the Plowman from Arezzo (Fig. vii.2) 22 and the dedication by Vel Sveitus (Fig. iii.9); the janiform dedication of Velia Cvinti to Culśanś (Fig. ii.9); 23 and the figurine of Apulu, given to Spulare Aritimi by Fasti Riufri, on behalf of her son. 24 Uninscribed bronzes such as the graceful ladies now in the British Museum (Fig. vi.3), a refined female offrant in Florence (Fig. vi.4) and a wreathed male with patera* in the British Museum (Fig. vi.5), 25 though bereft of provenance, must have been offered at Etruscan shrines. Famous names appear among the dedicators of the sixth century bce, evoking images of the heyday of Etruscan foreign trade with the anchor dedicated (in Greek) by Sostratos vi.4. Bronze figurine, female offrant. Third century bce. Florence, Museo Archeologico Nazionale Inv. 554 (Photo: Sopintendenza Archeologica per la Toscana-Firenze.) at Graviscae, 26 or vases placed at Veii by the Vipenas brothers from the era of the condottieri. 27 The offerings of generations of the Tulumnes (Tolumnii) family 28 and large monuments like the Elogia tarquiniensia 29 are part of a continuum with Roman votive worship, for which Roman authors acknowledged Etruscan inspiration. background: votive religion in italic, greek, and levantine/punic cults A review of other cultures shows how much Etruscan votive religion was part of a general Mediterranean phenomenon, as well as where it differed.

109 94 Jean MacIntosh Turfa Greek settlements in its use of Greek vase types and terracotta figurines, but even in the late period (fourth second century bce), strong similarities to contemporary Etruria remain, in the form of terracotta statues and anatomical models,asatthebelvedereoflucera. 34 vi.5. Bronze figurine, male offrant. Second century bce London,BritishMuseum.(Bypermission,TrusteesoftheBritish Museum.) Italic and Related Cults In the large Sant Omobono deposit in Rome, precursor to the famous temples of Mater Matuta and Fortuna, in addition to vases and valuables were the bones of sacrifices, meals with the remains of food (mainly legumes and grain), or both, a reminder of a bounty of first fruits, homemade treats, and perhaps communal meals, now vanished. 30 This is paralleled in other Latin sites and suggestive of the public and participatory aspect of votive rites. 31 The Venetic peoples evinced a distinctive character, in a preference for the use of bronze for figurines and cut-out plaques depicting human organs such as eyes and limbs. 32 Special designs have been recognized for the Adriatic territory, for instance, an Archaic anatomical votive in a composite style, a leg with architectural molding, and a bird finial. 33 Southern Italic votive religion reflects the proximity of Greece and East Greek Deposits GreekvotivetraditionwasrootedinitsownBronzeAge practices. Hägg has pointed out the ideological continuity of votives made of foil or in miniature and deposited in Aegean caves with the sculptural array dedicated during the Classical period. 35 Snodgrass and Simon have commented on a dramatic increase in votive offerings at many Ionian and mainland sanctuaries during the later eighth and seventh centuries, 36 when the varied aspects of Greek life were reflected in offerings, as if the identity of the donor was relevant to the gift. These comprise jewelry, combs, mirrors, arms and armor, fishing and weaving equipment, musical instruments, and magical and symbolic offerings. The majority of votives were ceramics obtained on site, which has suggested to some that the cult s hierarchy had some tangible interest in manufacture and exchange of votives. 37 In the Samian Heraion, the offerings of the common man or sailor often appear, with wooden boat models and naturalia of seashells, minerals, or rare animal bones, from hippo teethtoleopardskins; 38 similar things fill the treasuries of Medieval cathedrals. The find of a small votive deposit of coral in a vase at Graviscae may have significance within the gardens of Adonis. 39 Terracotta figurines were common votives from the end of the seventh century through the Hellenistic period; many in Greek sanctuaries are more carefully executed than those found in Etruscan or Levantine cults. 40 Etruria has yet to provide examples of votive display in houses, as known for Greece and Rome, although occasionally figurines found in residential districts have been attributed to domestic cult. Dedications were often inscribed and displayed for centuries or protected by their home cities in treasuries at Greek international and panhellenic sanctuaries. (Might there have been treasuries at Lucus Feroniae or the Fanum Voltumnae?) 41 Trophies of war or adventure, such as the chest that saved Kypselos or ships taken in naval battles, were favored by the politically inclined Greek elite. 42 Graphic examples are the helmets taken from Etruscan marines at the battle of Cumae, inscribed in Olympia by Hieron and the Syracusans. 43 Still earlier Etruscan arms and armor have been identified in many Greek sanctuaries.villanovan crested helmets, a sword, greaves, spears, and many shields in Delphi, Olym-

110 Votive Offerings 95 pia, and Samos were almost certainly trophies of Greek colonialist aggression. 44 Fibulae probably represent offerings of pilgrims or merchants from Italy, donations of their clothing or native costume. 45 The phenomenon of Greek dedication of bucchero pottery may be explained as fascination with an alien fabric. 46 Many sanctuaries were peopled with monumental sculpture like the korai* of the Athenian Acropolis or Kleobis and Biton at Delphi. Greek dedicants were more inclined than Etruscans to offer stone monumental sculpture and relief plaques. 47 The presence of (fragmentary) Vulcian tripods on the Athenian Acropolis might stem from an official presentation. 48 In the seventh sixth century, Greek sanctuaries received Phoenician silver bowls, bronze griffin cauldrons, tridacna shell cosmetic compacts, and bronze hand mirrors. 49 All these goods are well known in Etruria in tombs yet seldom seen in votive contexts. Levantine, Punic Cults In the Levant, Cyprus, and Punic regions, vanished elements such as incense, music, musicians and dance were indispensable parts of the cult. Dedications of personal belongings, valuables, and statues appeared beside small terracottas of execrable aesthetic quality, such as the dea Syria gravida from Archaic Dor. 50 A Bronze Age tradition of gilded or silver flesh on bronze votive figures was continued for centuries. 51 Phoenico-Punic votives were inscribed with the exact purpose of the dedication, in stock phrases that signal the votive act, for example, because she has heard his prayer. 52 The offering of the best loved in the tophet (infant sacrifice shrine) was not accompanied by more than a token vase, amulet, or small animal, and the ritual has no archaeological correlate in Etruria. 53 chronological survey of major etruscan votive contexts Funerary Cult Funerary cult in Etruria and Latium offers some of the earliest indications of votive ritual. The grave goods of Villanovan burials might be considered offerings to the deceased, the ancestors, or the gods of the Underworld: they are not always personal belongings, and they had to be given by survivors. The use of a separate niche for goods in a Villanovan tomba a pozzo (tomb in a well) burial symbolically places the offerings beyond the hands of the deceased, as does their condition: they were not cremated with the body. 54 The use of miniatures and models such as hut urns not in human scale extends the donor s intentions to a realm beyond the physical. Certain gifts were selected with regard to the identity of the deceased: a knife for men, weaving implements for women. Weaving would become a favored association of famous women in the Latin sanctuaries of Archaic times and beyond, as shown in the dedication by Tanaquil of her weaving tools and wool in the temple of Semo Sancus on the Quirinal (seen by Varro) and possibly in the secondcentury bronze statuette, probably from Nemi, as suggested by Haynes. 55 Miniature razors and arrowheads of sheet bronze interred with men foreshadow the transfer of symbolic votives to sanctuaries. The most telling votive objects may be the impasto figurines found in rare Latin graves, as at Osteria dell Osa (Gabii). 56 The standing figure extends a right hand in what has been interpreted as an act of worship. The scale of the figure is appropriate to the hut urn and miniature vessels and led Bietti Sestieri to interpret them as images of the deceased in ritual pose. Another buried at San Lorenzo Vecchio holds a tiny bowl on his hand. 57 In Osa grave 126, cult activity is shown by an amphora deliberately broken and miniature vases carefully placed on the mouth of the dolio (large jar) and on the upper surface of the grave s fill. This would have been a public act, witnessed by those present. The act of giving and, with the breaking of the amphora, of dedicating, altering seemingly mundane objects exclusively for deposition, constitutes votive ritual. The funerary version of a votum is an implied covenant with the ancestors. 58 One purpose of some Villanovan ripostigli (hoards) was probably votive, especially when they were buried in vases or trenches at some distance outside the village. 59 Tools, utensils, arms, ornaments, or ingots could have indicated a donor s occupation. (The value inherent even in scrap bronze would make any hoard a worthy gift.) Survey of Representative Etruscan Votive Deposits Tarquinii Pian di Civita This site illustrates an urban cult of longstanding tradition extending into the Roman period. 60 Protovillanovan structures were erected near a natural cavity in bedrock (Fig.iii.1). Burnt material, containing sherds and workedbitsofdeerantler,hasbeeninterpretedasavotive deposit laid down in the cavity and in an adjacent fossa.*

111 96 Jean MacIntosh Turfa vi.6. Votive terracotta types, fromdepositofthearadella Regina, Tarquinii. Fourth to first century bce. Tarquinia, Museo Nazionale. Top row: (a) male portrait head, (b) female bust, (c) face plaque, (d) breast, (e) male genitals. Bottom row: (f) crouching child statuette, (g) swaddled infant, (h) hand, (i) foot, (j) human heart, (k) uterus (multiparous cervix), (l) polyvisceral plaque. (Drawing by author after objects in Comella 1982, plates, passim.) From the ninth century on, constant ritual activity focused on the cavity, with the unusual burial of an epileptic boy who died of an aneurism after a life of seeing and hearing things that others could not. During the course of the eighth century, offerings continued amid thatched structures. Burials of infants with cranial deformities may represent the offering of prodigia,* on analogy with Roman state rituals of supplication for healthy offspring. A special votive deposit was made early in the seventh century when a pit was stacked with three bronze emblems: an old-fashioned axe, with at least part of its wooden handle attached; the sheet armor of a round shield folded into quarters and stacked atop the axe; and above it, a lituus*/trumpet originally 1.5 m long (Fig. iii.2) but folded into three segments so that it could never be used again. The excavators interpret this offering as representing the civic, military and religious authority of a grande personaggio. The axe is of a type identified by G. Carancini as sacrificial, developed in the tenth century and paralleled in eighth century hoards from central Italy. 61 The careful folding of the objects must have been a dramatic labor: dismantling the shield s wooden backing, perhaps breaking the axe handle, and bending shield and lituus over a board or rock. The fossa of the bronzes, and a second votive deposit of the seventh century, held vases as well, and these offerings were to continue for centuries. Ara della Regina By the fifth century, the Pian di Civita site was marked by a city crossroads and the nearby building of the Ara della Regina. This sanctuary illustrates votive conditions of the fourth first century bce, performed in the general vicinity of the temple and monuments like the Elogia tarquiniensia. A votive deposit excavated in the 1960s produced over a thousand objects placed within a large fossa, perhaps segregated by type (Fig. vi.6). 62 A spear point bears a dedication to Artumes, but in addition to pottery and lamps, most items are of a healing character: terracotta anatomical models and statues of the third second century bce.coins,too,begantoappear,inatrend parallel to their increasing frequency in the hands of consumers. There are statues and heads of men, women, boys, and swaddled babies; male and female half-heads and busts; and a full array of moldmade anatomical models: facial masks, arms, hands, fingers, legs, feet (adult, child, and sandaled), parts of torsos, female breasts, male and female genitals, and internal organs, including gravid uteri, hearts, and polyvisceral plaques. One adult leg and knee model was inscribed before it was

112 Votive Offerings 97 fired, showing that the process of votive dedication could be a prolonged affair and perhaps controlled by cult authorities, since many days must elapse between a client s order and the firing and finishing of a terracotta. Of course, if a suppliant made his votum in the format of a promise, there would have been plenty of time between vow, cure, and the day of thank offering for a terracotta to be produced. The inscription says alce:vel:tiples:, according to Colonna, Vel Tiples dedicated, the name an Etruscan version of Diphilos, indicating a Greek formerly of the servile class. 63 Other dedicated objects include terracotta animals, animal parts and fruit, and bronze figurines. Animal bones indicate sacrifice, and pottery and lamps imply meals and nighttime rituals. Some of the heads and statues are fine works of art, even if it is popular art, such as the near-life-sized head that probably came from a statue modeled freehand in the style of the second century bce. 64 Brolio A tradition of aristocratic cults at home in the country is represented in the find in 1863 of a deposit of at least forty-six bronze artifacts of the seventh sixth century bce at Brolio in Val di Chiana. These had been buried in a swamp, where excavation in the 1930s uncovered more bronzes and traces of wood interpreted as a palisade. Romualdi was able to restore the deposit on paper long after its dispersal. 65 In addition to the well-known statuettes, actually finials of furniture in the Orientalizing tradition, there were figurines of warriors, votaries, wild animals (deer, hare), griffin cauldrons and other vessels (cups, basins, ladles) appropriate to banquet or libation ritual. There were also tools, arms and personal ornaments, and pieces of bronze, perhaps aes rude.* The character of these votives, a rare analogy for the contents of the princely tombs, recalls visits of local nobles to a rural shrine. The emblems of their lifestyles link them to war, the hunt, and the symposium. Such personal possessions put their mark on this sacred place, as if it were their home or the home of a fellow aristocrat whom they honor with their princely gifts. Graviscae The sanctuary at the Tarquinian port of Graviscae fits a very different model. 66 It seems to have been founded by foreigners Greeks and continued by the native Etruscan population. Continuously undergoing a long series of remodeling campaigns, the seashore agglomeration of cult rooms and courtyards was used from the early sixth century until ca. 270 bce, when the settlement ceased to exist and the shrine was mostly dismantled. Votives were still brought here after the buildings were gone, to judge from the style of the anatomical terracottas deposited in a courtyard. Although its Archaic donations express the concerns of merchants and adventurers, the cult ultimately showed aspects of fertility and healing. Inscriptions of various periods identify three goddesses, Aphrodite-Turan, Hera-Uni, and Demeter-Vei, the earliest donations made by Greeks (some famous), the later ones by Etruscans. 67 Building β held dedications to Demeter/Vei, about a thousand lamps and plowshares, analogous to offerings common in Greek Demeter cults. After the fifth-century nativization of these cults, dedications to Uni and Vei continued, including terracotta figurines portraying two seated goddesses, possibly Demeter and Kore. Two inscribed vases name Apollo; the famous stone anchor model of Sostratos specifies, in Greek, Aeginetan Apollo. While many dedicants were evidently foreign merchants or affluent natives, including women, some seem to have had humbler origins or occupations, perhaps prostitution, yet were still literate. 68 Other goods in a separate deposit of bce include a bronze nuragic (Sardinian) boat model, stones from abroad, and a dish containing mural painters pigments. While many or most votives may have been heaped up in courtyards, stacked on tables, or buried in pits or wells, some, on the evidence of large stone bases, were kept on view for generations. When, in the fourth century, the cult shrank to a small courtyard, worshipers offered anatomical models from the workshops that produced for the city cults. Many models of gravid uteri, in fact the largest category of anatomical votives in Graviscae, were cast into the water of a cistern near Building α. In Courtyard I of Building γ, bronzes, figurines, and anatomical models (ears, hands, feet, hearts, breasts, external and internal female genitals) were found lying symmetrically along the NW SE walls. In Room G, terracottas lay parallel to the walls, uteri on the north side and center, and broken heads, statues, figurines and aedicula models along the south and west sides. Such multiple examples of the same types placed in the same or adjacent deposits may indicate contemporaneous dedications, all supplied from the same manufacturer, perhaps on the occasion of a festival. Lamps are evocative of the nighttime mass rituals of the Demeter cult; grain and bones of a piglet in an early cist (Courtyard A) may show affinities with the Thesmophoria of Athens or similar Greek rituals. In room M, only models of uteri and swaddled babies were found, one of the few associations of these organs with their desired product.

113 98 Jean MacIntosh Turfa vi.7. BronzefigurineofboarfromdepositatFonteVeneziana, Arezzo. Late sixth early fifth century bce. Florence, Museo Archeologico Nazionale. (Photo: Sopintendenza Archeologica per la Toscana-Firenze.) Punta della Vipera Near the sea north of Punicum, a shrine was excavated in 1964, with a temple built in the late sixth century and completely refurbished in the fourth, no doubt the result of the predations of Dionysios of Syracuse. 69 Votives range from the sixth to second century bce, including inscriptions naming Menerva, along with pottery, terracotta figurines, and anatomical models. A fourth-century altar has been interpreted as a mundus with two interconnecting channels communicating with the earth. Model uteri include the deflated type, with appendage (this is a congenital malformation, a vestigial second uterus), and there is one possible example of pathology, a pair of breasts, one of which is swollen, with lesions around the nipple. A long sixth-century inscription on a lead sheet has been interpreted as a votum (Fig. ii.4), although no god s name is recognized in it. 70 Veii: Portonaccio Another example of a major city cult, perhaps political in nature, was at the Portonaccio site of Veii, an extramural shrine featuring elaborate waterworks and a large pool. 71 Offerings illustrate aspects of military, healing, and perhaps purification rites of a cult of Menerva, Turan, and possibly Aritimi, as indicated by inscribed dedications. Votives were deposited continuously from the seventh century (before vi.8. Bronzefigurineoffemale,fromdepositatFonte Veneziana, Arezzo. Late sixth early fifth century bce. Florence, Museo Archeologico Nazionale. (Photo: Sopintendenza Archeologica per la Toscana-Firenze.) there was a temple) until the demise of the city in 396 bce and thereafter as well. Pottery, including miniatures, was the most common offering, and terracotta sculpture also seems to have been popular, including standard, moldmade types and fine statuary like the Testa Malavolta. 72 Votive heads show the beginning of this tradition in the early fifth century, following models set by architectural terracottas. 73 The Portonaccio attracted famous worshipers. Fine bucchero vases of the first half of the sixth century bear dedications by Avile Vipiennas (mini muluv[en]ece avile vipiennas [ Avile Vipiennas dedicated me. ]). A member of the Tulumnes family, a relation of the king Tolumnius of Livy s story of 428 bce, dedicated

114 Votive Offerings 99 vi.9. Votivebronzehead,female,fromdepositatFonte Veneziana, Arezzo. Late sixth early fifth century bce. Florence, Museo Archeologico Nazionale. (Photo: Sopintendenza Archeologica per la Toscana-Firenze.) vi.10. Bronze figurine of nude, elongated youth, from deposit at Fonte Veneziana, Arezzo. Late sixth early fifth century bce. Florence, Museo Archeologico Nazionale. (Photo: Sopintendenza Archeologica per la Toscana-Firenze.) a jug to Menerva in the fourth century. 74 Therichseriesof votives shows the double names of important families, inscribed in the same formulae as gifts made from one aristocrat to another. Arretium: Fonte Veneziana and Monti Falterona Two sanctuaries illustrative of the differences between north and south, coast and interior, are the Fonte Veneziana and Monti Falterona at Arretium (Arezzo). Fonte Veneziana The Fonte Veneziana deposit (Figs. vi.7 10), at a gate shrine, comprising bronzes of bce,was associated in 1869 with a round masonry construction that may have been a votive pit. Bocci was able to reconstruct the original inventory in Florence: about two hundred male and female bronze figurines, some originally decorated (in Levantine style?) with gold foil. 75 There were also anatomical plaques (eyes, limbs, busts), ceramics, and a large amount of aes rude. The images of korai wearing the tutulus, kouroi,* and domestic animals are the gifts of citizens as opposed to the aristocratic emblems of war and hunt at Brolio. Monti Falterona The deposit at Falterona (Laghetto Ciliegeta), discovered in 1838 and revisited in 1972, is indicative of mountain sanctuaries. Offerings of the sixth to third century bce were thrown into the lake and dramatize both military and healing requests. 76 Fortuna and Giovannoni reassembled 1,000 pieces of aes rude, 2,000 arrowheads, fragmentary terracottas, vases, and 620 bronzes including kouroi, korai, draped worshippers, domestic animals, and anatomical models. This list includes a very fine bearded male head and an armored male figure now in the British Museum

115 100 Jean MacIntosh Turfa vi.11. Votive bronze head, bearded man, from votive deposit at Falterona. Late fifth century bce. London, British Museum. (By permission,trusteesofthebritishmuseum.) (Figs. vi.11 12). 77 The Falterona worshipers may be seen as affluent, some military, many able to purchase pretty statuettes from the same workshop, but not people who favored cities and coinage. Volsinii (Orvieto): Cannicella shrine A funerary setting the Cannicella necropolis of Orvieto provides another votive sanctuary with distinctive structures (spring, basins, altar, and roofed chapel with an unusual nude female statue), epigraphic documents, and standard offerings. 78 It was visited throughout the life of the necropolis: mid sixth to first century bce (thuslongafterorvieto/ Volsinii was abandoned ca. 264). A plaque associated with the third centuryaltar readsθval veal Vei who is going to reveal, according to van der Meer. 79 The votives are a standard accumulation of bronzes, personal belongings, pottery, coins, terracotta figurines, and two anatomicals: male genitals and a heart. All the votives were very battered, even those found near the altar, as if all had been repositioned, perhaps more than once before the site was abandoned. vi.12. Votive bronze statuette, warrior, from deposit at Falterona. Late fifth century bce. London, British Museum. (By permission,trusteesofthebritishmuseum.) Sovana Bianchi Bandinelli noted the discovery of a sanctuary with altar and favissa in the Sovana necropolis, where there were votives common also in Hellenistic healing deposits: model heads, limbs, viscera, and a uterus. Figurines at Sovana portray a nude goddess, a patron of fertility, perhaps the same as the lady of the Cannicella. 80 Marzabotto: Santuario Fontile Short lived though the extramural Marzabotto Santuario Fontile was (essentially just the fifth century), it has provided an interesting array of votives. 81 The cult received locally cast bronzes, especially figures standing with arms extended in worship, a model leg and foot, fibulae, and bronze vessels made in Vulci, in addition to local pottery and an Attic blackfigured kylix.* An inscribed basin rim names Tiur. Several stone cippus* bases that once held figurines were scattered

116 Votive Offerings 101 around the building; they are characteristic of the Bologna sanctuaries but are less common in other regions. Caere (Cerveteri): Pyrgi The cult of Uni/Eileithyia/Astarte at Pyrgi offers the closest parallel yet to any of the Greek international sanctuaries. The gold plaques of Thefarie Velianas (Fig. ii.6) mark the one sure instance of a public votum by a city or its erstwhile ruler, comparable to the dedication of a temple after a battle. The Punic formula is paralleled by the Etruscan version because Astarte has supported him by her hand, a thank offering for a wish granted as much by Punic marines as by the Punic goddess, conflated with Uni as Unialastres. 82 Votive objects were buried in one of the wells, apparently when the sanctuary was dismantled, but most of the terracottas had been placed in the vicinity of the dilapidated temples after their abandonment. These are a diverse selection of at least three hundred statues and organs in the style of the second first century bce. Wells also held pottery and wood from furniture and ships tackle. A menagerie of animal bones indicates exotic sacrifices; Iberian painted vases may have held honey from Ibero-Punic Spain, while a hoard of nine silver Greek tetradrachms is a hint of the international wealth for which Pyrgi was famous. Two bronze plaques and two Spurinas bowls name Uni, Tinia, and Thesan as recipients of sixth fifth century vota. One plaque shows a woman, Thanachvil Catharnai, as maker of the votum. Veii: Campetti A large extramural shrine at Veii named Campetti and excavated in the 1930s and 1960s incorporated a bothros and small cave, although today these cannot be traced, according to Vagnetti s exhaustive study. 83 Two buildings of several rooms within a temenos wall evoke the character of South Italian and Sicilian Demeter or chthonic shrines. The goddess at Campetti is identified as Ceres, on a Roman jug of the third century bce. Of approximately three thousandex votos, most are terracotta heads and figurines of the sixth second century, including some of the earliest votive heads. Of two hundred fifth-century figurines, just four are male (warriors). Among the others are several kourotrophoi,* types favored by Italic cults. Later terracottas depict animals, fruit, soldiers with rectangular and oval shields, and the famous Aeneas group. 84 A pocolom (cup) inscribed L. Tolonio. Ded. Menerva/ Crere L. Tolonio D., from one of the citizens transferred after Roman conquest, bears the name of the fifth-century rogue king, also named in a sixth-century dedication at Veii Portonaccio. Is the tradition represented one of family piety or just of a family accustomed to inscribe dedications more than most? Vulci Porta Nord Vulci has provided several large votive deposits, such as the rural shrine at Tessennano. 85 At the Porta Nord site, the deposit includes terracotta statues of gods, worshipers, children, swaddled babies, heads and janiform busts, figurines, and model arms and breasts. 86 There are also models of temples and other buildings. The shrine was frequented during the third century bce to the second century ce. In about 80 bce, relatively fresh votives were layered with clean dirt in a deep, elliptical trench at the edge of a little temenos just outside the city wall. Fontanile di Legnisina The extraurban sanctuary at Fontanile di Legnisina was just outside a city gate, near an altar in an area of little rock outcrops and a spring. A deposit was placed in a small cave during the fourth and third centuries, with inscriptions naming Uni and Vei. The hand-sized votives came from the same urban workshops as those of the other Vulcian sanctuaries. Noteworthy are the bronzes of the fifth fourth century: a female with pomegranate and egg, a togate man, a Hercle, and a simple male offrant of the later fourth century dedicated to Uni: ecn:turce:pivepatrus:unialhuinθnaias. 87 Suggestive of either cost saving or some especially significant possession or event is a female figure originally the finial of a candelabrum, now converted to a simple figurine. 88 Three little nenfro* bases show how many bronzes must originally have been displayed standing. Anatomical models include a large number of uteri of several distinctive types. Some are rendered like vases on stands. 89 One expects a somewhat provincial rendering in the countryside, as at Ghiaccio Forte, 90 but since more sophisticated products were available in Vulci, this vessel style must have been a deliberate choice of the worshiper. It does indicate eloquently, albeit in schematic fashion, the vessel-like character of the uterus. Other uterine models are types common at Tarquinii, showing a triangular, sectioned cervix (Fig. vi.6k), and schematized fibroid tumors. Of five examples of a deflated uterus, clearly indicating its recently emptied condition, two were inscribed prior to firing: vei. 91 The Legnisina uteri are among the rare inscribed anatomicals; Vei is a logical protector for wombs and childbirth. The others are the man s knee from the Tarquinii Civita deposit (alce:vel:tiples [ Vel Tiples gave (it). ]), and a thirdcentury heart at Lavinium inscribed in Latin (?) to Menerva

117 102 Jean MacIntosh Turfa vi.13. The type of the capite velato offrant, drawings after votive terracottasfoundinthetiberatrome:(left)figurineofdraped youth,(top)votiveheadofyouth,(bottom)half-headofyouth, all Hellenistic/Late Republican period. (Drawings by author, after Tevere, pls. 45, 73, 85.) by a certain Senenia. 92 A sporadic find in the vicinity of Veii s Campetti sites was a knee, but its dedication was fragmentary. 93 Such models illustrate the close relationship between cults and artisans: incised before firing, the models could not be changed and must have been commissioned in advance. It was in the third century that the haruspices,* according to Pliny (hn ) began officially to include hearts in their readings of victims entrails, and this may have stimulated interest in this organ in the popular imagination. 94 Caere: Manganello A single-cella* temple above the valley of the Manganello stream at Caere was excavated by Mengarelli in A large votive deposit of the fourth second century is today knownonlyfromasamplesaidtoberepresentative,including pottery, weaving equipment, arulae,* terracotta figurines (enthroned goddesses), statues, and anatomical models. Heads include veiled types often associated with Roman rites (performedcapite velato*; Fig. vi.13), and the common bareheaded Etruscan version. They offer a rare confirmation of identity in votive images, since veiled heads must represent a worshiper rather than a god. The male Manganello head vi.14. Votiveterracottamalehead,fromsanctuaryonthe Manganello stream, Caere. First century bce. Rome, Museo di Villa Giulia. (dai Rome f0 426.) (Fig. vi.14), with its asymmetrical stiffness, has often been proposed as an example of a stroke victim. 96 conclusions Votive Ritual What can votive deposits reveal about Etruscan popular religion? First, how Etruscan was votive ritual? Riva and Stoddart view the emporia sanctuaries Graviscae, Pyrgi, Punta della Vipera as representing the symbolic boundaries of Etruscan civilization. 97 Such sanctuaries would have prompted emulation of foreign customs, perhaps including votive ritual. We know, in the case of the Graviscae dedications, that a number of local women frequented the shrines after Greek observance waned. Yet votive ritual was practiced by Italian natives long before any of the metic settlements were founded. The finds at Tarquinii Civita place religious ritual securely in Protovillanovan and Villanovan times. The early use of anatomi-

118 Votive Offerings 103 cal votives, among the bronzes of Arretium, Marzabotto, and Falterona, precedes the anatomical phenomenon in Greece, by a century or more, and speaks to the independence of Italian cults. The question of regional preferences for materials, bronze in the North and terracotta in the South, cannot be resolved without more confidence in our sampling. It might be an ecological effect, the result of differential access to materials. Some northern deposits did contain terracottas. Might southern or later, highly trafficked shrines have practiced melting down metals, as in the Greek sanctuaries? Without the Athenian Asklepieion inventories, for instance, we would not have guessed the large amounts of metal gifts converted to bullion by temple administrators. In 384 bce, the raiders of Pyrgi took a thousand talents of silver, probably in the form of bullion. 98 TheNatureofVotives Casting goods into a lake or well effectively takes them out of circulation yet preserves them intact, whereas valuables are more likely to be dispersed or looted from land or urban shrines. Poor men must have brought gifts of wood, wax, cloth, or food. 99 Naturalia, favorites at the Samian Heraion, are less common in Etruscan shrines. Perhaps for Etruscans veneration of the place makes its natural products like stones and shells less prized when handled by men. The repertoire of objects specially designed for votive dedication does seem to have increased over time, for instance, the quantities of terracotta anatomical models usually eclipse all but pottery in later deposits. We cannot know if this was a strategy to prevent looting or merely a consequence of the growth of a large, affluent middle class (see below). Vases were probably the most common votives, but unless they were inscribed, we cannot be sure that they were gifts and not the sanctified equivalent of picnic plates. Important people, such as Avile Vipiennas, dedicated mere pottery, albeit bucchero, yet one might have expected the condottiere to bring armor or statuary. He may have done both, but perhaps the vase, a footed chalice, was marked because it functioned in a libation or other public ceremony. It is very neatly incised: are we to imagine this was the handwriting of Avile, or was it written by a scribe during or after the ritual? Gran-Aymerich, in his analysis of vases related to sanctuaries, 100 notes that the preferred fabrics were dark impasto, bucchero, and imitations of Greek painted imports. Impasto and bucchero represented a tradition rooted in prehistoric Italy and must have seemed conservatively appropriate to Etruscan consumers. Shapes are usually those of the banquet, as well as cups, oinochoai,* and phialai* for libations, although many aryballoi* and balsamarii* were dedicated for their contents. A few were exclusively votive designs, like mesomphalic phialai, globular aryballoi too big for personal use, and footless askoi,* which continued a Villanovan tradition. At the Portonaccio of Veii, Avile s pedestal cup is unusual, as is a bucchero casket (for sortes*?) inscribed laris velkasnas [mini muluvenike] menervas. 101 Veii in fact shows the highest percentage of inscribed vases: three-quarters are bucchero. There are few complete omissions in the Etruscan votive repertoire. Valuable Orientalizing and Archaic imports such as cauldrons, silver bowls, or ivories are rare, as are amber carvings (which do appear at Rome, Sant Omobono). Small terracotta altars (arulae), common in Sicilian deposits, appear only occasionally in Etruria, more often in Latium and Falerii. 102 Symbolic miniatures, seen in Greece and at Tivoli, are not Etruscan, presumably because the real cakes and winnowing trays they depict were not used in Etruscan mysteries. 103 Full busts in terracotta, characteristic of the Punic sphere, Sicily, and South Italy, are less common in Etruscan shrines, in spite of a Late Villanovan Orientalizing tradition of schematic bronze busts in tombs. 104 Further to terracottas, the protomai* so common in Greek cults were not routinely produced in Etruria, yet cults of Vei/ Ceres abound. 105 Perhaps the Vei cult is so old that its votive types were formalized before East Greek protomai began to circulate at the end of the sixth century. Nor do the relief plaques (typoi in Greek inventories) 106 or stelai* favoredby Greek cults occur. Since the architectural revetment industry at Veii, which manufactured relief frieze plaques, probably developed the votive head, we may assume that Etruscans, unlike the Lokrians, did not wish to see images of themselves enacting cult scenes. Yet individual, generic figures of worshipers in bronze or terracotta were common. Mirrors, important offerings in Greece, are so far completely lacking, except for a funerary offering: a silver mirror shown hanging from a tree in the Tomb of Hunting and Fishing. 107 In bronzes and figurines, only a few designs were reserved for votive use. The so-called Ombra della sera types known for Volaterrae and the North seem to have been favorites at Latin Nemi, perhaps brought by Etruscan pilgrims? 108 Whom do all the normal figures represent? Some must be gods the janiform figures cannot be human, and others shownenthroned,suchasthekourotrophoi, are divine. 109 Men depicted capite velato must be worshipers (Fig. vi.13). 110 Swaddled infants in terracotta do not occur outside votive contexts and can represent only mortal children, although

119 104 Jean MacIntosh Turfa Fridh-Haneson has proposed that their oddly mature faces were intended to evoke the identity of reborn, adult initiates of an Orphic cult. 111 Anatomical votives, on the other hand, must depict mere mortals, and so too the heads and half-heads (Fig.vi.15) that were rendered in the same scale and style as body parts. The mortality of other statue types is expressed, as at Veii, Rome, Nemi and Capua, in their exposed abdominal organs, and by analogy, statues available in identical types but without exposed viscera ought to be mortals as well. The style of the teardrop incisions of some statues matches that of a class of polyvisceral plaques associated with Veii. 112 What of the purpose of votives? Some inscriptions suggest that protection of a child (clen ceχa) wasrequested, while the names of Vipiennas and Velianas carry the connotation of political or military favors received. Finds of actual trophies such as armor are rare in Etruria, although a set of fifth-century greaves inscribed in a Volsinian sanctuary did turn up in the tomb of the Roman who probably sacked it. 113 The hundreds of swaddled babies and gravid human uteri at many Hellenistic shrines can have commemorated only birth or conception of a child. While many gifts are ambiguous, the anatomical votives must acknowledge healing by gods. The dearth of images of diseased organs is consonant with the use of anatomicals as post facto gifts. 114 Many earlier offerings probably also rendered thanks for healing. I note that in the Brontoscopic Calendar of Nigidius Figulus, a high percentage of ostenta* (over 80 of 360) relate to the health or disease of humans and animals. 115 By the time terracotta anatomical models (Figs. vi.6, vi.16) became widespread, urban centers with large populations and sophisticated infrastructure were the rule, and politics may have influenced the healing cults, 116 although sanctuaries of Asklepios, known at Rome (Tiber Island) and Fregellae, are not well attested in Etruria proper. It seems Etruscans did not usually add Asklepios to the repertoire because they already had, for centuries, been supplicating native goddesses such as Vei and Menerva. Something seems to have influenced the Etruscan and Italic populations, in the Early Hellenistic period, to prefer the pseudo-realism of anatomical models to the prettiness of figurines or reliefs. Etruscan medical knowledge was highly developed, albeit different from Greek traditions. Several major cities had idiosyncratic traditions of medical illustration: a Tarquinian artist modeled an obliquely sectioned, multiparous uterus, while a Veientine coroplast saw a different surgical section. 117 The deliberate display of anatomical knowledge in the Manchester Museum s uterus model, vi.15. Votive terracotta, female head. Fourth century bce. London,BritishMuseum.(Bypermission,TrusteesoftheBritish Museum.) which slightly resembles the coroplastic types of Veii and Rome, must have been specially commissioned. It probably represents a postmortem C-section to save an infant whose mother died in labor. 118 What made the family give an offering if the mother had died? They would have known that infants thus rescued were at great risk, physically, and perhaps metaphysically, 119 and so might there have been vota made on their behalf for protection by a kourotrophic goddess? The independent creation of anatomical illustrations in several cities at about the same time shows that artists could witness medical or funeral procedures and that they worked in close association with the healing cults. The men and women who purchased anatomical models or other terracottas, while perhaps donating cash or produce to the sanctuary, were probably not offering personal belongings or cult equipment (in Greece, instrumenta were the prerogative of priests). These donors represent a class affluent enough to purchase gifts, yet confident enough to retain their personal valuables. Might they fit some of the classes of the Brontoscopic Calendar? Did the freed persons (lautni) or the affluent servile class criticized by Greeks 120 find terracottas

120 Votive Offerings 105 vi.16. Votive terracotta statues and figurines showing incision and internal organs. (Left) torso, drawing by author after Holländer 1912, 200, fig. 111, 205, fig. 117, also Tevere, pl. 96, no. 581; (right)polyvisceralplaquetypefoundin Latium, Veii sphere. (Drawing by author after Tevere, pl. 98, no. 584.) more appropriate offerings than other signs of wealth? Such goods express human needs without revealing the identity of the suppliant. 121 Of course, the autonomous outsider class of the calendar, the women, constituted the best market for such offerings. Etruscan women did not offer their hand mirrors, and the numbers of uteri and female heads in many deposits are quite high. 122 Many Etruscan head types were made with customized earrings, presumably to appeal to female consumers. 123 Potter and Wells have analyzed the medical aspects of nearly 8,400 terracottas from the trench at Ponte di Nona near Rome. 124 While the ratios of different body parts varied from those in Etruscan sanctuaries (which show more internal organs), general epidemiological data apply. In rural or preindustrial populations, walking and working are of prime importance, and healing of hands and feet is commonly sought. The external genitals, usually male, are concentrated in urban areas, and some scholars suggest that venereal diseases were more common in densely populated centers. It is possible that votives were also offered for the onset of delayed puberty, as Reilly has suggested for naked and limbless Greek terracottas previously classified as dolls. 125 The shrines whose votives came from big-city workshops (Caere, Pyrgi, Tarquinii, Vulci, Veii) are the only ones that received polyvisceral plaques or statues with exposed organs. Might this reflect formal education or greater access to organized medicine? We are left to wonder whether hypochondria was a facet of Etruscan urban life. What is the rationale behind the sculptural portrayal of human organs? Arms, legs, hands, and feet were occasionally modeled even in the Geometric period in Greece and Italy, but the medically motivated portrayal of organs is a later phenomenon. The terracotta versions first appeared in the late fourth century, apparently subsequent to the use of body parts in Greek Asklepieia. Greek depiction of internal organs does not seem to have been common, although some references appear in the Athens inventories. 126 There seems to have been no Greek tradition of polyvisceral plaques. Bronze plaques in the deposits of Arretium and Marzabotto have been dated on stylistic grounds to the fifth century, and some Venetic plaques are distinctly older than Greek anatomical sculpture. 127 Certainly the anatomical tradition burgeoned in Italy, but what did internal organs mean as a visual symbol? By the fourth century, images of haruspices holding sheep livers would have been familiar to worshipers attending traditional sacrifices. There were even models of exposed sheep livers, as preserved in the fourth-century terracotta from the deposit

121 106 Jean MacIntosh Turfa The map to a human life s unfolding might be perceived as written in the person s bodily configuration and health. In the Etruscan universe, as in many societies, ill health or deformity may have been a sign that moral status is likewise imperiled. The sacrificing of prodigia might have derived from this belief. The placement of offerings, presumably part of a public ceremony, might be instructive for the interpretation of the objects, but none have been found in completely undisturbed contexts. At Graviscae, some terracottas of the late period seem to have been aligned to the walls of the dilapidated rooms and segregated by types. It is evident that half-heads and organ models had to be propped up or set on flat surfaces, and so we must assume that most votives were heaped up and never examined again. Metal or terracotta statues and polyvisceral plaques are unwieldy and must have required special care even to erect them at the time of dedication. vi.17. Votive bronze figurine of male holding sheep s liver, inscribedbyarnthalitlepumpus,frompaternodivallombrosa, Arezzo. Third century bce. Florence, Museo Archeologico Nazionale. (Photo: Florence, Museo Archeologico.) at Falerii Scasato or the more complex Piacenza model (cf. the discussion by Larissa Bonfante in Chapter 2). 128 Etruscan augury was familiar to Roman authors for its practice of extispicy, excision of the victim s entrails for scrutiny. Haruspices are portrayed on urns and in statuettes as holding the liver in a special orientation (Fig. vi.17). The liver (and later the heart, according to Pliny) was seen as a virtual model of the universe. 129 The anatomical votives approximate actual human size, in marked contrast to most other votive sculptures. A votary carrying his red-painted heart or multicolored viscera plaque to the altar would have resembled the haruspex, about to perform his divination, or a votive figurine, such as that of Arnth Alitle Pumpus from the territory of Arretium, who proclaims: eitviscriturearnth alitle pumpus. 130 (Since Pumpus is not costumed as a haruspex, might he be the donor of the sheep whence these viscri came, and this bronze his token of the more valuable gift of a victim?) Perhaps models were viewed as metaphors of the human suppliant as sacrificial victim, a vulnerable, natural creature. TheRecipientsofVotives Which gods received votive offerings? While figures of worshipers were inscribed, even at the expense of their appearance, images displaying divine attributes were less often marked. Tinia s thunderbolt and Menerva s armor are easily read, but in other cases it is difficult to match a divine name with an image. Many sanctuaries show the practice that Alroth has termed visiting gods, 131 although we cannot be sure in Etruria if there was a single, formal dedication of a sanctuary; it seems more likely that the place was sacred and gods accrued to it. Inscriptions are our only sure indication of divine recipients. But of thousands known, only five anatomical models are inscribed: two to Menerva and two to Vei. (The fifth does not name a god.) The gods to whom objects have been inscribed tend to be protectors, healers, feeders, and comforters. Perhaps even warrior figurines were offered for these activities or perhaps warriors just did not inscribe the gifts to their patron gods. Many deposits lack inscriptions; votives at Lucus Feroniae, for instance, are presumed to have been offered to the eponymous goddess. Major dedications were inscribed for Tinia, Uni, Menerva, Turan, Vei, Catha, Culśanś, Cel Ati, Tec Sanś/ Tecvm, and Selvans. 132 In Rome, Silvanus had no female offrants, but many women in Etruria inscribed gifts to him. 133 Other gods are Thufltha, to whom a Hellenistic middle class offered bronze utensils and statuettes, Fufluns, and Artumes, but the only dedications to Aplu are Greek, like the Sostratos anchor. Further, there are the Tinas Cliniar, 134 Atunis, and Hercle. 135 Tiur received some offerings, such as a basin at Orvieto Cannicella and a sixth-century bronze crescent from Acquasanta di Chianciano. 136 Inscriptions on votives

122 Votive Offerings 107 are thus far lacking for some gods, for instance, Usil, Cilens, and Nethuns. While this may be indicative of radically different cults, arguments from negative evidence are especially precarious with archaeological materials. 137 The Cannicella and Sovana necropolis shrines received the same kinds of offerings to the same gods as the sanctuaries of the living. The Cortona lamp, designed in a local foundry for funerary use, was later dedicated with a plaque to Tinia (tinścvil) by the Muśni family at Fratta. 138 To summarize, in early Etruria, the nonperishable votivesweregivenbyaristocratsasiftheywerepartofthe princely gift-giving process of mortals (cf. Brolio, Falterona). Gradually, as urbanization accelerated and more people acquired wealth, common citizens, too, gave gifts of metal and ceramics (Arretium, Marzabotto), alongside powerful worshipers (Veii Portonaccio), and they increasingly, yet tersely, inscribed these gifts. In later Etruria (Tarquinii, Ara della Regina, Veii Campetti, Vulci various, Caere Manganello), the nonperishable and inscribed objects were probably given by self-sustaining urban families, gentry, women with family and health concerns, and perhaps the affluent common and servile classes. We cannot see the offerings of the common man, because truly poor people probably never had the wherewithal to obtain manufactured votives. Even the best biological analyses cannot tell us about the donors of cloth, wood, or bread, or a mother s most prized possession. With all the variety of visible offerings and recorded vows, we still are left to confront the universality of human need and gratitude that shaped the lengthy process of vowed promise, hopeful purchase, happy outcome, and generous offering that were the votive experience for thousands of Etruscans. NOTES 1. See the ongoing CorpusdellestipivotiviinItalia,published as volumes of Bretschneider s Archaeologica series, such as Comella 1981 and For an extensive table of anatomical votive types indexed by site, see Fenelli For references on individual sanctuary sites, see Edlund 1987a. For more background, see also Lowe Early works on votives include Maule and Smith 1959; Bonghi Jovino 1976; Santuari d Etruria; and Civiltà degli Etruschi. Subsequent finds of votive deposits are published in the monographs cited below and in excavation journals. 2. Barker and Rasmussen 1998, Fourth century bce: van der Meer 1987, 72 73, figs. 32, 33. See Colonna ; cf. Haynes 1985, 294, no Second century bce: van der Meer 1987, 73; after the translation of G. Colonna, Fel Supri dedicated (?) on behalf of Vipinei (daughter) of Ulchni to Grandmother Cel. See Santuari d Etruria, 34,49,no OCD, 3rd ed., 1996, , s.v. votive offerings (I. Malkin); and RE Suppl. 14 (1974), , s.v. Votum, (W. Eisenhut); see also OLD (1982) s.v. mundus, stips, favissa; Hackens 1963; Tevere, Plutarch, Themistocles 22; Diodorus Siculus (Gelon); Livy (Appius Claudius Caecus). 7. See for background, including find spots of inscribed votives, Ridgway See also G. Colonna in this volume, below, pp On the Pyrgi tablets, see the discussion by Bonfante and Bonfante 2002, Pfiffig 1975, Lavinium II, 11, fig. 4, 26 27, figs , 29, fig. 24, 68, fig. 70; also Enea nel Lazio, , figs.; Tevere, Most such finds are deposits of the Hellenistic period containing terracottas of little value to ancient looters. For images of other types of offerings involving libations, burning, and altars, see Thuillier The quotations that follow are from Paton 1960, , , , and respectively. 11. tle, 447; the text here follows the amended reading by Rix in et, As 3.4 and As 6.1; Cristofani 1985, , 276, no. 78. Van der Meer (1987, , 102, figs ) noted that, although Thufltha may be a deity of punishment and the Underworld in texts such as the Zagreb linen and Piacenza liver, the votives indicate a more complex identity for this god. 12. Modern plaques add material well-being, symbolized by cars and houses, as in tin plaques sold in Athens today. Many modern votives are already collectors items; I am grateful to Stella Miller- Collett and Alice Donohue for sharing theirs with me. See Inturrisi 1989, who recommends Italian plaques as displayed in San Crisogono in Trastevere. 13. See Anthologia Palatina 6; ancient authors cited above, n. 10; and, e.g., Hesiod, Works and Days Edlund-Berry 1994, See Barker and Rasmussen 1998, 277. The Portonaccio sanctuary of Veii was used well after 396, and some dedications are in Latin; the Cannicella continued for more than a century after Orvieto/Volsinii was destroyed in 264; and the Scasato deposit at Falerii was used into the first century bce, although Falerii had been conquered/relocated in 241 bce. 15. See Nijboer 1998, , with reference to the votive depositatsatricum. 16. New York, Metropolitan Museum of Art, from the Bastis Collection: Haynes 1985, 183, , no. 104, dated ca bce; et, oa 4.1. Also van der Meer 1987, 63, 60, fig. 24. Colonna (1978) proposed the reading I belong to Selvans Smucinthiunaitule. He noted that the Etruscan name of this utensil was persie, source of the Latin instrument, the persillum. (Note the iconography of a nude girl and pomegranate, which we might not have associated with Selvans, god of boundaries, flocks, and healing.) On cult equipment, see Pfiffig 1975, , A ladle at Pyrgi was inscribed to Farthan: Santuari d Etruria, 32, no Standard bronze vessels for libation or sacrificial meals would have resembled a simple banquet service: basin, jug such as a Schnabelkanne or S-handle oinochoe,* ladle or small jug, strainer, cup or phiale,* as Santuari d Etruria, Aleshire (1989, 44) has even indicated entries on the invento-

123 108 Jean MacIntosh Turfa ries of the Athens Asklepieion noting lumps, which may be things that fell to the ground inside the boundary and then were considered dedicated the place conferring sanctity on the thing. See also Aleshire 1991; useful background is offered by Dillon tle, 663; et, Ar3.2; Santuari d Etruria, , no Cristofani 1985, , , no. 121, ca bce. Small bronzes were also present in this deposit excavated at Arezzo s Porta Laurentina under Medici jurisdiction. See Haynes 1985, 76, 302, no. 156, who identifies it as the work of an Aretine artist; Brendel 1995, 327. On the formula tinścvil, see van der Meer 1987, 37, and Bonfante and Bonfante 2002, , source tle, 651(et, Pe 3.3), found at Pila near Perugia. Cristofani 1985, , 300, no As Haynes notes (1985, 244, , no. 200), the interpretation of the full inscription remains controversial, since it may have been funerary. The date was established at bce on evidence of the portrait style and Etruscan letter forms. See Brendel 1995, ; Bonfante and Bonfante 2002, , source Cristofani 1985, 238, 299, no. 126 ( bce); , , nos. 127, 128 ( bce) = Haynes 1985, 238, 319, no. 192; Santuari d Etruria, 37 38, 49 no Dedication to Tec Śanś: tle, 624, et, Co 3.8; to Selvans: tle, 148,et, Ta 3.7; to Thuflthas: tle, 652, et, Co3.6. One must wonder why, if the child or image was now in the care of the god, it still needed the bulla amulet worn on the neck. The winged horses of the Ara della Regina columen,* however,also wear bullae, and they presumably are immortal. Note bullae worn by Apollo, a goddess, and a horse/bucephalus in bronze figurines: Cristofani 1985, , 284, nos ; 164, 271, no. 56; and , 272, no. 59. See Palmer 1996 and Warden Haynes 1985, 208, 299, no. 146; Cristofani 1985, , 292, no. 116 (ca. 400 bce). 22. Cristofani 1985, 166, 270, no. 54 ( bce), there identified as a farmer, although he is surely a priest. Rasenna, fig. 30; Civiltà degli Etruschi, , no tle, 640; et, Co 3.4. Cristofani 1985, 209, , no. 104; also from Cortona is Velia s dedication to Selvans: Cristofani 1985, 212, 286, no tle, 737;et, ob 3.2. Cristofani 1985, 206, 284, no. 100; Rasenna, fig British Museum: Haynes 1985, 199, 293, no. 129; 198, , no. 128, both dated bce. Cristofani 1985, , 270, nos. 52, 51. Dress as well as attitude and attributes may distinguish the images of worshipers from their gods: both these figures are barefoot, their hair fastened up beneath a half-diadem. The so-called, and probably misnamed, Fogg Turan, however, wears shoes and a wreath, perhaps markers of a different cult, such as a pilgrimage shrine, symbolized by her traveling costume. See Florence: Cristofani 1985, 274, no. 170; also Cristofani 1985, 162, 270, no. 53, probably from Populonia, ca bce. 26. Cf. Torelli 1982 and Cristofani 1996, tle, 35; et, Ve See Cornell 1995, 135, , for background. Also F. Boitani in Buranelli 1987, 234, no. 93; Grande Roma, 19 20, no. 12. Civiltà degli Etruschi, , no (tle, 942;et, Vc 3.9, which has the name avles vpinas, is discussed by Buranelli 1987, ,no.94.) 28. tle, 36; et, Ve 3.6. mine mulvanice karcuna tulumnes. On the fourth-century inscription L. Tolonio(s) ded(et) Menerva, see Santuari d Etruria, 107, no. 5.1.F Torelli 1975; see Cornell 1978 (review of Torelli 1975). 30. Coarelli 1988, ; Fayer 1982, chap. 4 ( ), passim. Grande Roma, (on Sant Omobono deposit), also color plates, and passim for other Latin deposits. On politics at Sant Omobono, cf. Smith E.g., Melis and Quilici Gigli For later deposits, see Gatti Lo Guzzo 1978; Tevere; also Ponte di Nona (here, below, nn. 110, 124). On the Lapis Niger deposit in the Roman forum, see Cristofani 1985, ; on social and political aspects of Latin sanctuaries such as Nemi, see Blagg 1985 and Lowe For a good selection of votives from one deposit (Rome, Via Prenestina), see Guzzo, Moscati, and Susini 1994, 168 (photo) and cat. nos E.g., Maioli and Mastrocinque Gualandi 1974, 42, fig. 2 (fig. 1 illustrates a likely parallel, from the Bologna, Villa Cassarini deposit). 34. For instance, D Ercole For background on votives of other Italian ethnics, see Prosdocimi For the Geometric formation of panhellenic sanctuaries, see Morgan 1997, also Morgan 1993; Morgan For bibliography on Greek sanctuaries, see Ostby 1993 and de Polignac 1995, Snodgrass and Snodgrass 1980, 52 63; also Simon 1997, with earlier references. 37. How was the exchange effected? Since for the seventh and sixth centuries, most people did not have access to coinage, how did they obtain, at some distance from home, a little terracotta figurine or miniature vase to place at an altar or tack on a wall? Were they expected to bring something of greater value, such as metal, cloth, or food, the surplus worth to be considered a donation and the votive merely a token thereof? What could a family have carried to Olympia, for instance, in addition to their journey s food and shelter, which could have been a worthy offering? Evidence of metalworking on site at Olympia and elsewhere may represent exchange as well as production of offerings. Etruria presents some relevant analogies, since coinage became common there even later. Recent studies suggest that smelting/casting of metal was also practiced in Etruscan/Latin sanctuaries: see Nijboer The presence of large numbers of terracottas manufactured from the same molds or workshops at sites like Kirrha, the staging port for Delphi, suggests seasonal production or supply from factory to sanctuary, and thus the sanctuary as the retail supplier of votives. (For illustration, see Luce 1992; cf. Uhlenbrock 1985.) 38. Kyrieleis Torelli See, e.g., Iacobone Dedication of figurines in large quantities is attested at Delphi, Olympia, the Argive Heraion, Perachora, Corinth, and the Theban Ptoion, among others. Cf. the Etruscan figurines from Caere: Nagy 1988; Nagy For the proposed sites of these sanctuaries, see Pfiffig 1975, 51, 69 71, 309; Edlund 1987a, 85 87, with full references; Sgubini Moretti and Bordenache Battaglia 1975, References to such votives, occasionally alluded to by historians, are scattered throughout the account of Pausanias, especially for Delphi and Olympia; they were also famous on Rhodes, Samos, and Ephesus. 43. See Civiltà degli Etruschi,

124 Votive Offerings Herrmann 1983; in addition to shields, helmets, and horse tack, there were also large vessels of Orientalizing type, similar to those of the princely tombs perhaps official offerings from rulers of Etruscan cities? 45. Von Hase 1997, with earlier bibliography; also Gras 1985, , and passim. 46. MacIntosh 1974; Gras 1985, Some examples found in the Corinthian Potters Quarter were associated with the potters domestic and roadside shrines. 47. See van Straten Tripods: Kunze A fifth-century Vulcian incense burner is attested by the find of one of its figurine legs in Olympia, near the Altis, where it must have been dedicated: see Haynes 1985, 189, , no See Strøm 1992, with earlier bibliography. 50. See Stern A shipwrecked cargo of rather shabby female figurines found off Shave Zion, Israel, has been identified as commercial shipment from a seaport factory to sanctuaries along the coast: Linder See also the deposit at Kharayeb, which produced 1,100 terracottas of the fourth through first centuries bce: Chéhab ; Chéhab E.g., a bronze Ptah figure with gold foil on the face, from Cadiz (eighth seventh century bce): Martín Ruiz 1995, 50. For others from the Levant, and references, see Falsone 1992, and color pl. iia. On Phoenician/Punic religion, see Lipinski 1992; Clifford 1990; Lancel 1995, See also entries in Religio Phoenicia. 52. A convenient reference is Vance 1994, with votive inscriptions passim; see esp Baalshillem, and 118, the Astarte from El Carambolo (Seville). 53. Brown 1991, 21 75; also Day Offerings of prodigia cited in the Roman annals noted by Livy and the finds of infant skeletons at Tarquinii Civita reflect a different practice, not the sacrifices of the common man made en masse in a springtime, nocturnal festival. 54. Bartoloni 1989, 77 81; illustrated with tomb groups from Veii, Quattro Fontanili (201, fig. 7.13, and 202, fig. 7.14, with full references). 55. Haynes 1985, , , no. 196; Haynes Bietti Sestieri, De Santis, and Regina , 65 88; and Bietti Sestieri 1992: chaps. 6 8 and passim. See another analysis in Smith The relative homogeneity of the material culture of Etruria and Latium during the Late Villanovan and Orientalizing periods makes it appropriate to cite Latian evidence here, in the absence of Etruscan burials of figurines: by the time of Orientalizing showpieces such as the Olmo Bello and Montescudaio urn, such figures do emerge. See Torelli 1986, ; also Maggiani 1997; Tuck 1994; Damgaard Andersen San Lorenzo Vecchio: Civilità del Lazio Primitivo 1976, 82 83, pls. 6D, 7g. Also Bietti Sestieri 1992, 56, 59, fig The attitude of the statuettes from the Tomba delle Cinque Sedie at Caere (Rasenna, fig. 462) surely derives from this type of image. 58. In Classical sanctuaries, the conspicuous to modern eyes, disfiguring inscribing of objects may have been analogous to the breaking of funerary goods. It certainly occurred from the earliest epigraphic periods, as seen in the Mantiklos Apollo, for instance. Osteria dell Osa also held a discreet, later, votive deposit (periods iii--iv) of over sixty vessels, including miniatures, perhaps the remnant of a communal offering ceremony (Bietti Sestieri 1992, 85). Different evidence for funerary, votive cult was found in the Valle Trebba necropolis of Spina, in the form of Attic vases with Greek inscriptions naming Hermes, Dionysos and Apollo: see Civiltà degli Etruschi, Bartoloni 1989, Is it possible, on analogy to the theories of de Polignac 1995 for early Greek sanctuaries, such as the Argive Heraion, that some Villanovan hoards marked community boundaries with a gift to their divine patron? The literature on early Greek sanctuaries and city territory is summarized critically by Sourvinou-Inwood Bonghi Jovino and Chiaramonte Treré 1987, ; Bonghi Jovino and Chiaramonte Treré Bonghi Jovino and Chiaramonte Treré 1987, 67 68, nn , For further discussion of the burial, the boy with the aneurism, and the cult of Tages, see N. de Grummond in this volume, above, pp Yet if this was the site of the Tages apparition, the preserved votives do not reflect any difference in the type or importance of this cult. 62. Dimensions of the fossa: 20 x 14.5 m. Comella See also Bonghi Jovino Also Santuari d Etruria, 70 78; Bonghi Jovino and Chiaramonte Treré 1987, G. Colonna, ree in StEtr 34 (1966), , pl. 51; Comella 1982, 112, 115, no. D9Fr.I. Other instances of foreign worshipers integrated into Etruscan cults are the inscriptions of Larth Telicles and Rutile Hipukrates of the seventh century bce = tle, 761, 155 (Tarquinii); et, oa 2.2 and Ta Bonghi Jovino 1976, pl. 21, fig. 3; Pallottino 1975, pl Romualdi 1981; Santuari d Etruria, , no. 9.2; Cristofani 1985, , 78 87, nos Santuari d Etruria, ; Civiltà degli Etruschi, , no Torelli 1977; Torelli 1997; Moretti et al. 1970; Pianu The location and types of the terracottas have been studied and discussed by Comella 1978, Early pieces include two armed Aphrodite statuettes in bronze and an imported griffin cauldron. Painted vases inscribed in Ionian Greek of the sixth century feature names that also appear on votives at Naukratis. One cup was inscribed Here anetheke Paktyes [ Paktyes dedicated (this) to Hera. ], thus commemorating a visit from a Lydian, presumably a relation of that Paktyes who was treasurer of Kroisos. 68. Torelli 1977, 422, Santuari d Etruria, , no tle, 878; et, Cr 4.10; Santuari d Etruria, , no. 8.1.c.1. The formula muluvenice is characteristic of sanctuary dedications (the numerals read MMMCCC or 3300). 71. Santuari d Etruria, See also the group of Menerva and Hercle: Colonna Cf. Veii (Campetti) votive head, Civiltà degli Etruschi 279, no L. Tolonio[s] ded[et] Menerva, Santuari d Etruria, 105, 107, no. 5.1.F.4; F. Coarelli in Roma Medio Repubblicana, , no Santuari d Etruria, , no. 10.2; Bocci 1980, with earlier bibliography; Bocci Also illustrated in Cristofani 1985, , and Richardson 1983, Fortuna and Giovannoni Illustrated Cristofani 1985, , , nos ; Civiltà degli Etruschi, , no

125 110 Jean MacIntosh Turfa 77. Haynes 1985, 182, 283, no. 103; 207, 209, , nos. 143, Andrén 1967; Andrén 1984, 30 33; Santuari d Etruria, , no. 6.1; Pfiffig 1975, tle, 905; et, Vs 8.2. Santuari d Etruria, , no. 6.1.D; van der Meer 1987, ; G. Colonna, ree in StEtr 34 (1966), ; Colonna 1967, Bianchi Bandinelli 1929, 36 37, , pl Santuari d Etruria, , no. 5.4; Cristofani 1985, See for background, Gualandi 1974 and See also G. Colonna, in this volume, below, pp Civiltà degli Etruschi 255, 259, no Site reports in NSc 1959, ; 1970 Suppl. 2; and Also Colonna For background, see Santuari d Etruria, , and above, n. 7; also Pfiffig 1975, For the inscriptions, see Bonfante and Bonfante 2002, 64 68; Bartoloni Vagnetti 1971; see review by Martelli (1972). Comella and Stefani 1990; see also Torelli and Pohl Pfiffig 1975, , fig. 140; Vagnetti 1971, 88, no. N1, pl Tessennano, recognized in the nineteenth century near the village of Canino and excavated in the 1950s, had a small structure, now lost, and ceramics spread over this rural site. Pottery of the sixth century bce to fifth century ce (much of the second third century ce) is punctuated by 567 terracotta figurines of humans and animals, statues of swaddled babies, heads, model arms, legs, breasts, uteri,andadistinctivegroupofpolyvisceralmodelsdisplayedasif heaped within a latticelike frame, more resembling the organs of sacrificed animals placed in baskets than emblems of human medicine. The terracottas are stylistic types of the third second century bce. There were also 14 small bronzes, 94 coins, and a Latin inscription Marti, the only identification of the god venerated here. Although rural, Tessennano seems as sophisticated as the urban shrines, with a large number of coins and anatomical models. See Costantini Pautasso Massabò 1985; Colonna 1988; Massabò and Ricciardi 1988; Massabò ; and Ricciardi On the altar at Fontanile di Legnisina, see the discussion by Colonna in Chapter VIII. 88. First half of the third century: NSc , , no At Falerii, similar stands correspond to vases made in the decades around 300 bce: Ricciardi , , figs Del Chiaro 1976, 27 28, pl. 11, nos ; Santuari d Etruria, , for background. Cf. Turfa 1994, 239, n This type is known from several examples in Caeretan sanctuaries (Manganello, Pyrgi, Punta della Vipera: Santuari d Etruria, 153, no. 8.1.B.13; Turfa 1994, 227, fig H). I suggest that it was understood as depicting a uterus from which the infant had just been extracted. The organ still shows the ridges of third stage labor contractions, but it is not convex like the usual types: in life this configuration results from either rigor mortis or is temporarily visible in a live, healthy C-section. 92. sen nia. menrva. me isa. Fenelli 1984, 336, fig Ambrosetti 1954, fig Incidentally, the presentation of this organ in the polyvisceral plaques of Caeretan design seems to fit Pliny s description of it at NH See Turfa 1994, 226, 235, n Mengarelli Santuari d Etruria, 38 41, no Santuari d Etruria, 39, 49, no A.6; Rasenna, fig A few handmade or retouched heads seem to render a sort of Italian folk style, although, following Mengarelli, they might have been understood as expressing the characteristics of severe physical and mental handicap: eyes that are too small or other abnormalities of the skull speak to a profound congenital deformity. (I am indebted to Dr. Deborah Goldberg for discussion of juvenile anomalies.) Might this be reminiscent of the burial of real prodigia at Tarquinii Civita? (Other seeming primitivisms or deformities are merely the result of shoddy manufacture, the attempt to retouch a mold or cast that was damaged before firing. See Turfa forthcoming, text discussing fig. 13.) 97. Riva and Stoddart ,000 kg, by Greek weight standards, is a large figure to derive from the culling of individual offerings, since it would take 1.5 million tetradrachms to produce this weight of bullion. The find of nine silver tetradrachms associated with Temple A (Santuari d Etruria, , no. 7.1.O) is sometimes interpreted as part of the city treasury and does represent complex commercial ties (Athens, Syracuse, Messana, Leontinoi), if not Greek pilgrims of the fifth century. Clearly much of the precious metals at rich shrines must have been in the form of bullion or monumental art objects. 99. Terracottas were not the gifts of poor persons either; their clay and labor may have come cheap, but they represent a lengthy process of curing, handling, firing, and consumption of expensive fuel. Except for members of a coroplast s family, customers would have had to purchase them with currency or surplus Gran-Aymerich Laris Velkasnas (dedicated me) to Menerva. Gran-Aymerich 1997, , fig. 6c; Colonna, ree in StEtr 51 (1983), For Greek/Italiote material, see van der Meijden For Latian deposits, see F. Coarelli in Roma Medio Repubblicana, 72 99, pls For examples of model food and miniature trays, see Bookidis 1993, 56, fig For Italic examples, see Grande Roma, 68 69, no. 3.6 (Capitoline deposit), (Valvisciolo), and , no (Satricum) Cristofani 1985, , , nos. 107, 109. Cf. the famous bust from Ariccia and related sculptures: A. Z. Gallina in Roma Medio Repubblicana, , nos , pls Cf. Rasenna, fig.597,fromcaere The first Greek-style female protome has been found at Pyrgi s southern shrine, as indicated by Colonna in this volume, below, p For background, references, and comparisons, see Uhlenbrock I thank Björn Forsén for the gift of his invaluable book (Forsén 1996). See Aleshire 1989, , for identification of Greek terms with artifact types. Almost three-quarters of the dedications in the Athenian Asklepieion were model body parts, coins, or typoi (plaques with clothed images of worshipers). For more references on the Greek healing cults, see Chaniotis A fragmentary Lokritype plaque was found at Graviscae: Torelli 1977, 411, fig. 9. For illustration of the variety of Lokrian plaques, see Pruckner 1968; Zancani Montuoro (reprints of collected articles) Anthologia Palatina 6.1, the dedication of Lais, the aged courtesan, supposedly recorded by Plato. Greek examples from sanctuary deposits (Hera): Perachora I, , , 180 = pls. 34 (figs. 3 5), 44 (fig. 12), 46, 80 (figs. 3, 9 14). See de Grummond 1982, 170, , fig For the painted funerary offering, Stein-

126 Votive Offerings 111 gräber 1985, , fig. 93 (first chamber, rear wall). An Archaic bronze figurine of a young woman carrying a mirror was probably avotive:enea nel Lazio, 180, no. D19; Grande Roma, 187, no See Terrosi Zanco 1961; other illustrations in Haynes 1985, 122, 243, 322, no. 199(third century bce); Cristofani 1985, , (no. 66), , 275 (nos ), 184, 276 (no. 79); Rasenna, figs They represent men, women, haruspices, youths both clothed and nude, and some with leaf crowns. Why the distorted shape? By analogy to the rare finds of wooden statuettes from Palma di Montechiaro and Roman Gaul, might they reflect a wooden origin? Some bronzes in the Arretium Fonte Veneziana deposit (e.g., Cristofani 1985, 96, 253, no. 3.22, bce) already show distinctive attenuation of body and limbs (cf. Colonna 1970, passim). The consensus is that the later ombre stem from an Italian tradition of abstract art, a substrate that survived for centuries as a reservoir of images. Certainly Greek artisans did not participate in this trend. Or are the images even more abstract; like the nearly contemporary stick figures in the Tomba del Orco, might they represent the hinthial (soul) or the ancestors seen in the Iron Age Latin funerary terracottas? 109. See Bonfante If the few veiled heads in Etruscan deposits are not the gifts of Italic ethnics, the custom does point to strong commercial ties between Etruscan and Italic sanctuaries. At Ponte di Nona, a single, unveiled male head among the local offerings might be an Etruscan pilgrim s gift. See Potter 1989, 58 59, figs a, discussed p. 52. I am grateful to the late Dr. Potter for sharing this information and his analysis with me in 1981 before the final publication of this deposit Fridh-Haneson Turfa 1994, 225, nn Others show an oval incision more like the Tarquinian-Caeretan versions of polyvisceral display. Cf. Tevere, pl. 96, nos ; cf. with polyvisceral plaques: pl. 98, nos. 584, I am indebted to Professor Colonna for this reference: Colonna forthcoming. Another instance of the Roman plundering of Volsinii is a pair of statue bases (fragmentary) inscribed in the sanctuary of Mater Matuta and Fortuna Virilis (Sant Omobono) by the triumphator M. Fulvius Flaccus: M. Torelli in Roma Medio Repubblicana, , no. 89. A possibly related phenomenon, discussed with full background references, is Flower E.g., a female head in the Minerva Medica deposit with hair regrown: D. R. Ricciotti in Roma Medio Repubblicana, , no. 230, pl. 39; knee or elbow with bumps: Gatti Lo Guzzo 1978, 139, nos. 8 9, pl An even greater number, about 180, predict food supplies, famine being the greatest worry for agricultural societies, with disease recognized as attendant upon hunger. See the calendar, Appendix A, under July 16, Feb. 11, or Aug See Edlund 1987b Turfa 1986 and Since Roman law of the Archaic period (attributed to Numa) required a family to attempt fetal salvage before the mother could be buried, this might represent some sort of proof that it had been accomplished. See Turfa 1994, Physical dangers are apparent even today: brain damage or breathing troubles could result, or there could be need for a wet nurse. Metaphysical conditions are suggested by the Etruscan preoccupation with boundaries of space and time: just as precise age is recorded by funerary epitaphs, might untimely birth, whether late or early, or the loss of the mother be interpreted as evidence of a moral failure? 120. For social background of the lautni and eterau ( client, serf ), see Torelli 1987, 87 95; Heurgon 1964, and The presence of curse tablets such as those found in Greek sanctuaries supports suspicions that personal belongings left in a public place might make the donor vulnerable to witchcraft; cf. Faraone 1991 and Versnel In fourth third century Athenian inventories, women s dedications were sometimes twice as frequent as men s; although all heads and feet were male, all other body parts were female. See Aleshire 1989, Again we see the hand of the revetment industry, which also produced antefixes* with the same applied earrings. See Andrén Potter and Wells 1985; Potter Reilly Turfa1994,232.TwoterracottaplaquessaidtobefromKos cannot be authenticated. The Corinth Asklepieion shows the only serious use of terracotta anatomicals, logical in this ceramic capital (Roebuck 1951) The finished upper end of the bronze leg from Marzabotto (Santuari d Etruria, , no. 5.4.B.6), like the bird finial on the Adria leg (see above, n. 33), shows that these were designed as anatomical models and not allusions to walking or serving Santuari d Etruria, 30 31, no Van der Meer 1987, , fig. 71; on the practice of haruspicy. Cf. Guittard Van der Meer 1987, 3 18, Human livers only appear in polyvisceral groups and are especially recognizable in the Caeretan design, less so in types from Vulci and Veii. Hearts and uteri are the only viscera commonly modeled in isolation, and they match Caeretan style. Turfa 1994, Arnth Alitle Pumpus gave these viscri. Santuari d Etruria, 31, no. 1.9; Dohrn 1968, 11, pl. 22, no. 3, there dated on stylistic grounds to the late third or first half of the second century bce Alroth 1989, Van der Meer 1987, 144 and passim: this work is of course limited to gods also associated with the Piacenza liver inscriptions; other references are Pfiffig 1975, ; Torelli 1977, ; also Colonna Van der Meer 1987, See Colonna On the sixth-century Oltos cup from Tarquinii, see tle,156; et, Ta 3.2; Rasenna, fig.247;v.olivottoinbonghijovino1986,51 52, no As, for instance, on the Manchester bronze base: Turfa 1982, 183, no. 72, pl. 22e; Pallottino 1982; M. Pallottino, ree in StEtr 51 (1983), Also G. Colonna, ree in StEtr 55 ( ), 345, no Santuari d Etruria, 29, no See van der Meer 1987, For instance, although no votive inscriptions to Letham have yet been identified, this deity is named several times on the Capua tile as a recipient of offerings, and other gods, too, appear as objects of worship in the Zagreb liber linteus, Capua tile, and/or the

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Milan Pruckner,H.1968.Die Lokrischen Tonreliefs: Beitrag zur Kunstgeschichte von Lokroi Epizephyrioi. Mainz am Rhein. Rasenna = G. Pugliese Carratelli, M. Pallottino, et al., eds Rasenna: Storia e civiltà degli Etruschi. Milan. ree = RivistadiEpigrafiaEtrusca,appearing continuously in StEtr. Reilly, J Naked and Limbless: Learning about the Feminine Body in Ancient Athens. In Naked Truths: Women, Sexuality and Gender in Classical Art and Archaeology, ed. O. Koloski-Ostrow and C. L. Lyons. New York Religio Phoenicia = Religio Phoenicia: Acta coloquii Namurcensis habitidiebus14e15mensisdecembrisanni1984,ed. C. Bonnet, E. Lipinski, and P. Marchetti. Namur Studia Phoenicia 4. Ricciardi, L L altare monumentale e il deposito votivo. NSc 42 43, Richardson, E. H Etruscan Votive Bronzes: Geometric, Orientalizing, Archaic. Mainz. Ridgway, F. R. S Etruscans, Greeks, Carthaginians: The SanctuaryatPyrgi. InGreek Colonists and Native Populations, ed. J.-P. Descoeudres. Oxford Riva, C., and S. Stoddart Ritual Landscapes in Archaic Etruria. In Approaches to the Study of Ritual, ed.j.b.wilkins.accordia Specialist Studies on the Mediterranean 2. London Roebuck, C The Asklepieion and Lerna. Corinth XIV. Princeton. Roma Medio Repubblicana = Roma Medio Repubblicana: Aspetti culturali di Roma e del Lazio nei secoli IV e III a.c Catalogue of exhibition. Rome Romualdi, A Catalogo del deposito di Brolio in Val di Chiana. Rome. Santuari d Etruria = G. Colonna, ed., Santuari d Etruria. Catalogue of exhibition in Arezzo. Milan Sgubini Moretti, A. M., and G. Bordenache Battaglia Materiali archeologici scoperti a Lucus Feroniae. In Nuove scoperte e acquisizioni nell Etruria meridionale, ed.m.moretti.rome Simon, C. G The Archaeology of Cult in Geometric Greece: Ionic Temples, Altars, and Dedications. In NewLightonaDark Age, ed. S. Langdon. Columbia, mo Smith, C Dead Dogs and Rattles: Time, Space and Ritual Sacrifice in Iron Age Latium. In Approaches to the Study of Ritual, ed. J. B. Wilkins. Accordia Specialist Studies on the Mediterranean 2. London Servius Tullius, Cleisthenes and the Emergence of the Polis. In TheDevelopmentofthePolisinArchaicGreece,ed.L.G. Mitchell and P. J. Rhodes. London Snodgrass,A.1980.ArchaicGreece:TheAgeofExperiment.London The Economics of Dedication at Greek Sanctuaries. Atti del Convegno Internazionale ANATHEMA. Scienze dell Antichità 3 4, Sourvinou-Inwood, C Early Sanctuaries, the Eighth Century and Ritual Space: Fragments of a Discourse. In Greek Sanctuaries, New Approaches, Steingräber, S CatalogueRaisonnéofEtruscanWallPaintings:

130 Votive Offerings 115 Etruscan Painting, ed. D. Ridgway and F. R. S. Ridgway. New York. Stern, E Two Favissae from Tel Dor, Israel. In Religio Phoenicia, Strøm, I Evidence from the Sanctuaries. In Greece between East and West, ed. G. Kopcke and I. Tokumaru. Mainz Terrosi Zanco, O Ex-voto allungati dell Italia centrale. StEtr 29, Tevere = P. Pensabene et al. Terrecotte votive dal Tevere. StMisc 25. Rome Thuillier, J. P Autels d Etrurie. In L Espace sacrificiel, ed. R. Étienne and M.-T. Le Dinahet. Paris tle = M. Pallottino Testimonia Linguae Etruscae. 2nd ed. Florence. Torelli, M Elogia Tarquiniensia. StMat 15. Florence Il santuario greco di Gravisca. PP 32, Per la definizione del commercio greco-orientale: Il caso di Gravisca. PP 37, La religione. In Rasenna, La società etrusca. Rome Les Adonies de Gravisca: Archéologie d une fête. In lprh, Torelli, M., and I. Pohl Veio: Scoperta di un piccolo santuario etrusco in località Campetti. NSc 1973, Tuck, A. S The Etruscan Seated Banquet: Villanovan Ritual and Etruscan Iconography. AJA 98, Turfa, J. M The Etruscan and Italic Collection in the Manchester Museum. pbsr 50, Anatomical Votive Terracottas from Etruscan and Italic Sanctuaries. In ItalianIronAgeArtefactsintheBritish Museum, ed. J. Swaddling. London Anatomical Votives and Italian Medical Traditions. In MurloandtheEtruscans,ed. R. D. De Puma and J. P. Small. Madison, WI Forthcoming. Figurines Are Bought and Sold, but not Art: The Sanctuary of Demeter and Kore on Acrocorinth, and Corinthian Terracottas in the West. In Art and Myth in the Colonial World, ed. G. Tsetskhladze and C. Morgan. Papers of symposium, Royal Holloway College, Uhlenbrock, J Terracotta Figurines from the Demeter Sanctuary at Cyrene: Models for Trade. In CyrenaicainAntiquity,ed. G. Barker, J. Lloyd, and J. Reynolds. BAR-IS 236. Oxford The Terracotta Protomai from Gela. Rome. Vagnetti,L.1971.Il deposito votivo di Campetti a Veio. StMat 11. Florence. Vance, D. R Literary Sources for the History of Palestine and Syria: The Phoenician Inscriptions, Parts I and II. BiblArch 57, 2 19, VanderMeer,L.B.1987.The Bronze Liver of Piacenza. Amsterdam. Van der Meijden, H Terrakotta-Arulae aus Sizilien und Unteritalien. Amsterdam. Van Straten, F. T Gifts for the Gods. In Faith, Hope and Worship, ed. H. S. Versnel. Leiden Versnel, H. S Beyond Cursing: The Appeal to Justice in Judicial Prayers. In Magika Hiera: Ancient Greek Magic and Religion, ed. C. A. Faraone and D. Obbink. Oxford von Hase, F.-W Présences étrusques et italiques dans les sanctuaires grecs (VIII e VII e siècle av. J.-C.). In lprh, Warden, P. G Bullae, Roman Custom and Italic Tradition. OpRom 14, Zancani Montuoro, P I pinakes di Locri. asmg ser. 3, vol. 3,

131 CHAPTER VII RITUAL SPACE AND BOUNDARIES IN ETRUSCAN RELIGION Ingrid E. M. Edlund-Berry ItremainsnowforustospeakoftheTyrrhenians.Forthey, excelling in vigor, in ancient times possessed much land and founded many noteworthy cities. Diodorus Siculus 5.40 The Greek historian Diodorus Siculus is one of the many ancient Greek and Latin authors who supply a wealth of observations about the Etruscan presence in Italy and the geography of the region known as Tyrrhenia or Etruria. 1 Depending on the type of text and the author s objectives, the tone of the narrative may range from statements of historical facts and mythological foundation stories to accounts of Etruscan lifestyle and society. With the additional help of the material remains from the Etruscan period and an awareness of the physical space of the area between the Arno and the Tiber primarily, it is also possible to supplement these written sources to identify a distinct pattern in the Etruscan definitions of ritual space and boundaries as experienced in many aspects of Etruscan life, but primarily in the sphere of Etruscan religion. definition of space and boundaries To appreciate the Etruscan concept of space, it is important to acknowledge the physical configuration of Etruria (Fig. vii.1). 2 While the wide open spaces of southern Italy or Sicily provide a sense of infinity, the Tuscan landscape presents a variety of smaller units, where valleys and rivers, fields and pastures alternate with wooded hills and high mountains. Depending on the area, one community would look out over an inviting set of rolling hills, continuing down into the plains along the Tyrrhenian shores, while others further inland were enclosed by steep mountain sides that provided protection but that also discouraged interaction with the inhabitants in the next valley over. All these spaces were part of the daily experience of the Etruscans. From the earliest evidence of human habitation in Etruria we find that some spaces were set aside for living, other spaces for burials, and yet others for the worship of deities. Within all these aspects of Etruscan activity, some spaces may be called ritual because of a religious act that took place there, such as a sacrifice or a procession, and such a place may be synonymous with, or exist parallel to, a space that is sacred in and by itself. Such ritual and sacred spaces exist in contrast to those that were designated for secular activities, independent of divine intervention or involvement. 3 Any space, whether sacred or secular, was defined by its shape and boundaries. In a landscape like that of Tuscany, these spaces are most commonly defined by the natural setting, the presence of rivers and lakes, narrow valleys, caves, and groves. The terms for such spaces and boundaries are usually known from the Latin vocabulary (templum,* auguraculum,* limes,* limitatio,* pomerium*) 4 butexistalsoin the limited Etruscan nomenclature preserved in inscriptions or referred to in Latin texts ( boundaries, tular,* 5 and perhaps also surveyor s pole, groma/gruma). 6 As with customs and traditions, more often than not there would have been no need to mark the boundaries of such spaces in any particular way since their existence was well known to the local 116

132 Ritual Space and Boundaries 117 vii.1. Etruscan landscape near Tarquinii; view from the temple of the Ara della Regina. (Photo: Ingrid Edlund-Berry.) inhabitants. The Latin texts indicate, however, that spaces and boundaries could be defined in some particular fashion, 7 such as by a plowed furrow (Fig. vii.2), and were thus made recognizable to any passerby. At other times a boundary was marked by especially designed boundary stones, inscribed in Etruscan with a form of the word tular translated as boundaries (Fig. vii.3). 8 As always, it is difficult to separate the original Etruscan traditions 9 from their distinctly Roman counterparts in the historical and literary tradition. According to the so-called prophecy of Vegoia, the division of land and the establishment of boundaries was the result of Jupiter s (i.e., Tinia s) interaction with humans. 10 The reason for his action was to create order and to prevent human greed for land from upsetting the established balance of ownership. In the specific case of boundaries, the Roman author Frontinus,bestknownforhistreatiseonaqueducts,quotes the polyhistor Varro as saying that boundaries were part of the Etruscan science or Etrusca disciplina* since the division of the world according to the cardinal points of north, south, east, and west was designed by Etruscan priests, the haruspices.* 11 As can be expected, boundaries, natural as well as artificial, needed to be under the protection of a deity. As will be discussed later, any number of deities could be entrusted with this task, but the names Tul, as inscribed on the bronze model of a sheep s liver known as the Piacenza liver (Fig. ii.2), 12 and Selvans (or Selans) 13 stand out. While there is no vii.2. Bronze statuette with priest and oxen from Arezzo. Early fourth century bce. Rome, Museo Etrusco di Villa Giulia. (Photo:SoprintendenzaperiBeniArcheologicidell Etruria Meridionale.) known anthropomorphic representation of Tul, the statuette of Selvans from Cortona (Fig. iv.16) illustrates this boundary deity as a young man, parallel to the companion piece depicting the two-faced Culśanś, like the Roman Janus a guardian of gates (Fig. ii.9). Selvans is usually equated with the Roman Silvanus, god of the woods or of wooded spaces defined by tree boundaries, rather than with Terminus, the abstract Roman boundary deity known from the Capitoline hill in Rome. 14 According to the accounts by the historians Livy and Dionysios of Halikarnassos of the selection of the

133 118 Ingrid E. M. Edlund-Berry vii.3. Stone boundary cippus, with inscription tular larna, boundariesofthelarnafamily. Secondcenturybce. Bettona, MuseoCivico.(Photo:SoprintendenzaperiBeniArcheologici dell Umbria.) proper location for the future temple to the triad Jupiter, Juno, and Minerva, Terminus refused to give up his rights to occupy the hill, and special arrangements had to be made to incorporate his space into the new temple. 15 appearance of ritual space in heaven and on earth In addition to the patchwork of the Tuscan landscape with its manifold divisions based on hills and valleys, plains and mountain peaks, there are two main examples of Etruscan perceptions of space and boundaries related to the deities. The first is the bronze liver found near Piacenza in northern Italy (Fig. ii.2), inscribed with names of Etruscan deities arranged in cells or irregular wedges of different sizes, separated by incised lines. There are sixteen cells along the edge of the upper side of the liver, forming a continuous band around the center, which is divided up into a total of twentyfour more segments. The underside of the liver has two additional inscribed names, separated by a line. 16 The second example is a set of Latin texts that describe a division of the sky into sixteen regions. In addition to brief references by Cicero 17 and Pliny, 18 the Late Roman author Martianus Capella provides a long description of the Etruscan system of dividing the sky into sixteen regions, each inhabited by one or more deities. 19 Despite both the liver and the texts including names of deities that are otherwise undocumented or less well known than those of the established Etrusco-Roman pantheon, there are immediate similarities in the configuration of spaces. Most importantly, the sixteen divisions around the edge of the liver correspond to the sixteen regions or houses described in the texts. It is possible to correlate at least some of the deities (Jupiter, Liber, and Juno) assigned to a division on the liver with those of the regions in the texts. 20 Complex as the Piacenza liver and the descriptions of the regions of the sky are, these testimonia stand out as examples of an Etruscan belief system about spaces and boundaries that are the key for our understanding of much of the Etruscan worldview. What they both illustrate is an absolute need for defining spaces as contiguous entities, related to each other by a common border, but also separate from each other because of the very same border and because of the deity in charge of each space. Regardless of the nature of each specific space, each gains its identity and strength by being part of a pattern, a design of molecules, with infinite possibilities for expansion. Furthermore, these contiguous spaces, as indicated on the liver and in the sixteen regions, not only extended horizontally on earth or in heaven but provided vertical links between heaven and earth, and between earth and the Underworld. In heaven the orientation of the regions was guided by the spatial directions: north, south, east, and west. On earth, these celestial spaces corresponded with a variety of spaces: first, the delimited, inaugurated spaces, templum or auguraculum, from which the sky was observed; second, the temenos,* or enclosed space around a sanctuary, including features such as altars and temples; and third, features in nature such as mountaintops, rivers, lakes, and groves. 21 As shown by the texts that describe the taking of auspices from such areas on earth, the orientation of their layout and the direction from which the celestial signs arrived were all tied to the division of the skies into the sixteen regions. The most fa-

134 Ritual Space and Boundaries 119 mous of these instances is the contest between Romulus and Remus for the right to become the sole founder of Rome, 22 but, as Cicero points out, this tradition was rooted in Etruscan principles. 23 Comparable to the compass orientation of the celestial sixteen regions is the orientation of the known Etruscan temples. Unlike Greek temples, which were usually oriented with the entrance towards the east, the Etruscan temples as a rule faced south to southeast or southwest. 24 According to the analysis by Prayon, there is a direct correlation between the types of deities worshiped in the temples and their orientation. 25 In the Archaic period, there existed a concentration of temples dedicated to female deities oriented towards the southwest, whereas a few temples dedicated to male deities faced toward the southeast. In addition to the compass orientation, we should also take into account the location of sanctuaries in relation to their surroundings, whether urban or rural. As evidence from recent excavations such as those in the area of Monte Falterona and Monte Giovi in northern Etruria shows, it is important to relate the orientation of any type of building, but sanctuaries in particular, to the layout of the land and to certain features in nature that connected sites, linking natural elements such as mountaintops to each other. 26 At other sites, the configuration of hilltops and means of access may have determined the orientation of a temple or other building such as the complexes at Murlo or Acquarossa. 27 The layout of the auguraculum and temples at the Etruscan site of Marzabotto 28 and later the Roman colony at Cosa further illustrates that the tradition of respecting the features of the landscape was carried into Roman times. 29 The connection between the heavens, the earth, and the Underworld is further expressed by terms referring to openings in the earth, such as a pit dug in the earth for offerings of fruits, known as mundus.* 30 In the setting of the Etruscan landscape, such openings were reflected in natural formations such as the lakes formed by extinct volcanic craters 31 or in caves set in the hill slopes. 32 Hot springs and sulphur fumes emanating from fissures in the ground were further indications of links between the earth and the Underworld, and as such they were venerated with votive offerings from the earliest times in the prehistory of ancient Italy. Among the most famous of these sulphurous smelling sites is the sanctuary of Apollo on Mount Soracte in the Faliscan territory of Etruria, where the priests known as Hirpi underwent an act of purification by fire each year in honor of the god. 33 Sites with sulphur springs appear all over Italy and not only in Etruria, and many were connected with the cult of the goddess Mephitis as a healing deity. 34 Whether or not sulphuric, many spring sanctuaries have been documented through place names and finds of votive deposits, with a concentration to the west of Lake Bracciano in southern Etruria. 35 As witnessed by the many health spas in modern Tuscany based on water cures, the tradition of places with healing waters still continues. 36 crossing of boundaries While boundaries serve to separate spaces, they also invite the crossing over from one space to another. Such a crossing between the celestial space and the space on earth was defined in the Latin term of religio,* or binding, which is another way of marking a contiguous vertical boundary or tie between heaven and earth. 37 The link between above and below provided strength and security, and a focal point, in Eliade s terminology, an axis mundi, whichservedasa corner stone for the stable world, for cosmos. 38 The interaction between heaven and earth required a language of communication. Mountaintops, such as those of Mount Soracte and Monte Falterona, provided a sense of proximity to the skies, and the ancient texts indicate that the language of interaction was usually dramatic. Depending on their role and the circumstances of their intervention, the deities in the skies would communicate with the humans on earth by signs such as thunder and lightning. 39 The sending and acceptance of signs were performed with birds as messengers, and it was the task of the priests, haruspices and others, to interpret these signs through augury. 40 The humans, in turn, sought the attention of the deities by using prayers and sacrifices and by observing the celestial signs from assigned spaces (templum, auguraculum). In the same way as the sun and the moon, lightness and darkness, rain and snow, provided the interaction between the celestial space and earth, the boundaries of time were also expressed in the Etruscan calendar. As documented in religious texts such as those preserved on the Zagreb mummy wrapping (Fig. ii.1) 41 and on the so-called Capua tile (Fig. ii.3), 42 the indications of segments of time in days, months, and parts of the year suggest that the Etruscans were as meticulous in their time management as they were in establishing the order of the universe through appropriate boundaries defining different kinds of spaces. 43 The months were divided into units equivalent to the Roman Kalends, Nones, and Ides, 44 and the days were numbered from one through twenty-nine (or thirty), as shown in the Zagreb mummy wrapping and other texts. 45 According to Servius, the late

135 120 Ingrid E. M. Edlund-Berry Roman commentator of Vergil, the Etruscan day began at twelve noon. 46 The months from March through October can be identified with their respective Etruscan names, but other names suggest that the calendars were local and that the nomenclature varied from city to city (Appendix B, Source no. iii.8). 47 Many of the time boundaries may have been perceived of as abstract entities, such as the saeculum, or generation, 48 which, according to the late Roman grammarian Censorinus, was calculated on the basis of the number of years lived by the last person born at the end of the previous timespan. 49 Other markers of time were more concrete and included the nail that, according to Livy, was hammered yearly into the temple wall of the Capitoline temple in Rome by the praetor maximus on the Ides of September. 50 As in so many instances of Early Roman practices, this event was part of an Etruscan tradition, documented also from the temple of Nortia at Volsinii. 51 boundaries on earth Once a carefully defined system of compartmentalization, or spaces and boundaries, had been established, and an effective system of interaction set up between the upper (the heavens), middle (the earth), and lower spheres (the Underworld) of the axis mundi, the Etruscans devoted their energy to setting up and defining the boundaries of their daily life. The different aspects of life pertained to governing their cities, cultivating their fields, establishing trade contacts, honoring their dead, and appeasing the deities. Boundaries of Landscape By utilizing as much as possible the boundaries provided by nature to separate the different spheres of their lives, the Etruscans were keen observers of the surrounding landscape, following in the footsteps of their predecessors in time and space. 52 In the cases where it was considered essential to supplement the natural boundaries by artificial ones, they used a plowed furrow or a boundary stone, thereby providing a precedent for the Romans, who continued the tradition of establishing boundaries for cities as well as for fields. Although the Greek geographer Strabo states that of all Etruscan cities, Populonia was the only one located directly on the sea, 53 the shoreline in antiquity indicates that such inland cities as Caere or Tarquinii were close to the sea and thus able to control the sea trade with Greeks and Carthaginians. 54 The natural barrier for Etruria was instead the Apennine mountain range, which effectively separated the western and the eastern shores of the Italian peninsula with only a few mountain passes to provide communication between the inhabitants on either side. 55 The Hills and Rivers as Boundaries for Cities As shown by the location of urban settlements, the Etruscans (and in many cases their Iron Age ancestors) took full advantage of the landscape. The natural space that became most important in establishing settlements was the hill, often separated from neighboring hills by rivers. The hill provided a defined space for habitation, further reinforced by the city wall, which, according to Servius limited the approach to the city through three city gates. 56 As a result, the outline of the natural boundary between the space above and the space below also became a useful tool in designating areas for the living, for the deities, and for the dead. Only when viewing the steep hill from below, or by finding that a nearby hill is separated by water, does an inhabitant of an area, or a visitor, friend or foe appreciate the pattern of boundaries vertical, as well as horizontal. These urban habitation spaces would not necessarily have needed any further protection. Political as well as religious concerns, however, seem to have led to the building of defensive walls as well as the construction of ritual spaces intended for strengthening the boundaries and for facilitating their crossing. This phenomenon of marking the boundaries of settlements also explains the location of the many extramural and extraurban sanctuaries (for example, at Veii or Civita Castellana), which are located along the line of a city hill and along the roads leading into a city. 57 Depending on the precise location of such sanctuaries in relation to the city and the roads, they may have been more closely related to protecting the city or to facilitating the journey to and from the city. Many of these sanctuaries include temples and altars and a temenos, whereas others preserve only the findspot for an offering of coins, miniature vases, or other votives. 58 Because of their location, these sanctuaries served two main functions, those of determining the boundaries between life and death and between political territories, as will be discussed below. Boundaries between Life and Death On earth, the most important division of space seems to have been that between the world of the living and the world of the dead. Usually, the cities located on hills were separated from the extraurban burial areas by rivers, such as at Veii, Tarquinii, and Caere. 59 The rivers separating the urban hills from the burial hills could be crossed by bridges and roads leading from the

136 Ritual Space and Boundaries 121 vii.4. View of Orvieto. (Photo: Simonetta Stopponi.) space of the living to the space of the dead. Once such a river boundary was crossed, the road would take the traveler to the city of the dead, passing by cemeteries or individual tombs and occasionally sanctuaries located along the way. Depending on the specific location and the layout of such cemeteries, they can be perceived as extramural or extraurban sanctuaries or as funerary sanctuaries. As shown by the monumental Montetosto sanctuary located next to a tumulus tomb on the road between Pyrgi and Caere, the funerary context here required an architectural layout that in other locations indicates gatherings of a political and religious nature. 60 Once within a funerary space, the roads led to tombs laid out in a pattern similar to that of the houses of the living, with a carefully designed layout of streets, as shown at Caere and Orvieto (Figs. vii.4 5) in particular. 61 As part of the concerns of the community, the family members would have good reason to frequent these tombs not only for burials but also for ceremonies related to the cult of the dead, including meals at the grave. 62 The link between the immediate survivors and the dead was further made by depictions of ancestors who may have been represented in the tombs. 63 As the survivors entered a family tomb, they may have made use of the tomb furniture carved in the tufa,* or they may have placed images of the deceased there, as has been suggested to explain the group of terracotta statuettes in the Tomb of the Five Chairs at Caere. 64 The Fields and Their Boundaries In addition to city hills and burial hills, the fields for agriculture and grazing were an important part of the Etruscan landscape. The size of the fields was determined by the layout of the land and perhaps identified by sighting from a central point, a centuriation system that the Romans used so successfully in the third century bce layout of colonies such as Cosa in the former Etruscan territory. 65 Since most of the farm sites are known from field surveys rather than from excavation, we can only estimate the size of the Etruscan farms compared to their Roman successors. 66 According to Vegoia s prophecy, it was the god Jupiter who deter-

137 122 Ingrid E. M. Edlund-Berry vii.5. PlanofnecropolisofCrocefissodelTufo,Orvieto.Latesixthcenturybce. (AfterD.andF.R.Ridgway,Italy before the Romans, London, 1979, 361, fig. 2.) mined the measuring and divisions of fields. 67 As mentioned earlier, another god who was in charge of overseeing the boundaries (tular) of sanctuaries, cemeteries, or territories was Selvans. 68 Although no direct parallel exists in the preserved evidence of the Etruscan calendar, comparisons with later Roman practices such as the purification of the boundaries, known as the Ambarvalia festival in late May, suggest that the divine protection of the fields, whether by Jupiter or by Selvans or some other deity, formed part of the agricultural cycle of the year. 69 RoadsasCommunicationToolsandasBoundaries As can be expected, boundary stones reinforced the division of territory marked by roads. 70 Furthermore, the roads that connected smaller settlements with the urban centers provided linear means of access that could serve as trade routes across the plains. 71 Depending on the region, such roads were cut into the tufa, as seen at the necropolis at Caere or at Tuscania, or as defensible ridgeways along the mountain ridges, as documented, for example, in the Chianti area 72 and in the Mugello north of Florence. 73 Cities and Their Territories Although there are many factors such as location, trade pattern, language, and artistic traditions that indicate the independence of each major Etruscan city in relation to its neighbors, the ancient texts are remarkably silent about identifying the division of Etruria into cities and territories. 74 In addition to isolated statements such as those of Servius, 75 and the historical accounts by Livy and others about the alliances and conflicts among the Etruscan cities, different criteria for analyzing the components of the Etruscan land and peoples must be used. As suggested by Banti, 76 it is the culture, defined as types of burials and pottery, that helps identify one city from another, but these cultural spheres of

138 Ritual Space and Boundaries 123 vii.6. Etruscan territories. (Prepared by Alys Thompson and Chris Williams in collaboration with Ingrid Edlund-Berry and John L. Berry.) influence should not be seen as synonymous with political boundaries. Surveys and topographical studies in recent years have provided more evidence for analyzing the location of cities and surrounding communities, both in terms of projecting a pattern of artificial boundaries by means of the so-called Thiessen polygons (Fig. vii.6) 77 and by studying the natural boundaries. For the purposes of correlating the ancient beliefs in boundary deities with the terrain, it is the presence of small streams and major rivers such as the Ombrone or the Fiora that provides evidence for the natural boundaries for the territory belonging to each urban center, 78 reinforced by the mountain ranges and lakes that provided reference points within the landscape. 79 Political Boundaries The cities came to define the political spheres within the setting of these natural boundaries. Although the extent of each city s power may surface only sporadically and incompletely in the historical sources, 80 there are other ways of measuring the boundaries that defined the major cities and that separated them from their neighbors. As can be expected, such boundaries were closely tied to the presence of sanctuaries that directly or indirectly reinforced both the natural and the political boundaries. The boundaries of life and death were often defined by doors, open or closed. 81 Similarly, the boundaries of a city, whether marked by a wall, boundary stones, a natural hill, or by an invisible pomerium, provided a defined space for the sacred and secular activities within a city community. 82 Sanctuaries or sacred spaces could appear within the city proper, but with limitations such as those suggested by the Roman architect Vitruvius, who specified that certain cults should be practiced outside the city limits. In his account of the location of temples, Vitruvius specifies that the shrines of Venus, Volcanus, Mars, and Ceres should be confined to an extramural or extraurban location. 83 The same practice may well have governed other extramural or extraurban locations, as seen in the cluster of sanctuaries at Falerii (Civita Castellana) and at other sites. 84 If then, the immediate area of the city nucleus was defined by a variety of boundaries, each protected by a sanctuary, the transition to the surrounding territory required special attention. Depending on the location of the city, and its control of the immediate countryside, the political boundaries could be provided by cippi* marked with tular, as seen at Poggio di Firenze southeast of Florence 85 or at Campaccio southeast of Cortona. 86 Although the countryside of Etruria has been explored to a lesser extent than other parts of Italy, evidence of roads, tombs, small settlements, and sanctuaries helps determine the population density around each city. 87 If we estimate the average distance for a one-day journey back and forth to market centers, and assume that the cities served also as such centers, the distribution of major cities suggests that there were points where two market territories met or overlapped, such as at Arretium and Cortona, Cortona and Clusium, Vulci and Tarquinii, Tarquinii and Caere, Caere and Veii, and Veii and Rome (Fig. vii.7, inner circles). Based on a two-day journey, Arretium and Clusium, Clusium and Volsinii, Pisae and Volaterrae, and Populonia and Rusellae have contiguous (or almost contiguous) or overlapping borders (corresponding to the outer circles, Fig. vii.7). By focusing on the boundaries between cities, whether identified as rivers or as manmade, the political conflicts between cities such as Rome and Veii fall into the pattern of neighborly rivalry, perhaps mainly economical, which ultimately was resolved by military conflict. 88 At other times, the location of sanctuaries, identified individually as rural because of their location, 89 takes on a political meaning, as seen for example in the string of sanctuaries in the Tolfa moun-

139 124 Ingrid E. M. Edlund-Berry vii.7. Map indicating travel to nearest Etruscan centers. (PreparedbyAlysThompsonandChrisWilliamsin collaborationwithingridedlund-berryandjohnl.berry.) vii.8. MapofmajorcitiesandmountainsofEtruria. (PreparedbyAlysThompsonandChrisWilliamsin collaborationwithingridedlund-berry.) tains, which provide a religious, hence also political, boundary between the two powerful cities of Caere and Tarquinii. 90 Political Confederations and Their Sanctuaries The purpose of the political and economic boundaries, reinforced by sanctuaries, was to identify and protect the interests of each city. But in Etruria, as also in the Greek and Roman lands, groups of cities were united in coalitions (leagues, federations) for the purpose of mutual benefit and support. 91 The presence of such coalitions in Etruria is well documented in the ancient sources, primarily Livy and epigraphical texts. The details of their activities, however, let alone the location for their meetings, have given rise to much debate and many differences in interpretation. 92 The coalition of Etruscan cities that is best known through the historical texts centers around meetings held at the Fanum Voltumnae, the shrine of Voltumna. 93 The number of peoples included in the coalitions seems to have varied between twelve and fifteen, and there is no unified agreement as to the names of their cities. Of those mentioned, Pisae and Faesulae are located north of the Arno; Volaterrae, Arretium, Cortona, Perusia, and Clusium in the inland of northern Etruria; Populonia, Vetulonia, and Rusellae closer to the coast; and Volsinii, Vulci, Tarquinii, Caere, and Veii in southern Etruria (Fig. vii.8). 94 The location of this coalition is usually identified as Volsinii (modern Orvieto), based on a late Roman inscription from Spello, but many other sites have also been suggested. 95 Since no archaeological site at this point can be identified with any degree of certainty as the sanctuary of Voltumna, several possibilities exist for defining a likely location for such a place. If we work under the assumption that a coalition of any number of Etruscan cities would meet within the territory of the city that at any given time was the most powerful, Veii would qualify for the time period bce, when, according to Livy, this city and Falerii summoned the assistance of the Twelve Cities against Rome. 96 At other times, inscriptions referring to the Chief of the Etruscan people (zilath mechl rasnal or praetor Etruriae) suggest that Tarquinii in particular held a leading position in the coalition since chiefs were appointed from this city. 97 The existence of a coalition of twelve (or fifteen) Etruscan cities meeting at the Shrine of Voltumna at Volsinii is based on historical references that cover a great span of up to nine hundred years (fifth century bce fourth century ce). 98 It is therefore important to recognize the obvious fact that although coalitions of Etruscan cities seem to have existed that at some point met at a Shrine of Voltumna and at the town of Volsinii, there is little evidence that allows us to identify once and for all the location of the meeting place.

140 Ritual Space and Boundaries 125 By looking at other sanctuaries in ancient Italy that served as gathering places for neighboring cities, we find that at least in Latium, such sites reflected a connection with nature, such as Mons Albanus (Monte Cavo), 99 Lake Nemi with the Grove of Diana, 100 and the Grove of Ferentina, probably located near the Lake of Turnus below Castelgandolfo. 101 In addition to their significance as sanctuaries in nature, it has also been suggested that the location of these sanctuaries coincided with the boundaries of the communities they served, including Rome. 102 By using the sanctuaries in Latium as a model, it is thus possible to suggest that the location of the Shrine of Voltumna should be sought either at the boundaries between Etruscan cities or at some central point in nature that did not interfere with any known political territory. We can seek such a sanctuary and meeting place near Veii if we assume that Livy s reference to the Shrine of Voltumna in the conflict between Rome and Veii in the late fifth century bce applies to a border sanctuary between these two cities, or at least to one within the domain of Veii as the dominant city at the time. 103 Since other texts referring to the meetings do not include references to Voltumna per se, we may assume that the coalition could meet at any appropriate point within the territory of the city in charge of the coalition. There may have been several or many sanctuaries to Voltumna as a boundary deity that have not been identified as such or that were shared also with other deities for which epigraphical and votive evidence provides an identification. 104 Which of these shrines were chosen for the meetings would then depend on the configuration of the coalition each time it met. On the other hand, if we assume that no single Etruscan city consistently had the leadership of the coalition of Etruscan cities, we should consider that each city, with its surrounding territory and boundaries, was an equal partner and that the only acceptable meeting place would be in politically neutral territory. Because of the location of the twelve (or fifteen) cities within the overall boundaries of Etruria, marked to the east by the river Tiber, there is no suitable area that is equidistant to all the members. By excluding Pisae and Faesulae as border cities to the north of the river Arno, the remaining cities fit into two reasonably neat clusters, a northern one, consisting of Volaterrae, Arretium, Cortona, Perusia, Clusium, Rusellae, Populonia, and Vetulonia, and a southern one, consisting of Volsinii (Orvieto), Vulci, Tarquinii, Caere, and Veii. The central point for these two clusters falls to the north/northeast of Sovana, south of Monte Amiata, an impressive mountaintop that dominates the surrounding area (Fig. vii.8), much like Mons Albanus (Monte Cavo) in Latium. On the basis of a central location in nature, Monte Amiata is a good candidate for a meeting point for the Etruscan coalition. In addition to forming a commanding landmark, it is also between the territories of Clusium and Rusellae and may have served as a natural boundary, whether or not marked with any boundary stones or a sanctuary. 105 Obviously, so far no site or building connected with the deity of Voltumna has been identified on Monte Amiata or further south in the area of Saturnia. Since there is no indication that the Latin term fanum* (sanctuary, shrine) necessarilyimpliedanyarchitecturalstructuressuchasatemple or meeting hall or even an unroofed enclosure, 106 we cannot immediately assume that material remains are going to provide the identification of the meeting place for the Etruscan coalition of cities. In addition to the texts that refer to a coalition for all or most of the major cities in Etruria, there is evidence that individual cities could support each other in smaller groups. 107 One example of such a coalition is the alliance of five major northern Etruscan cities, namely, Clusium, Arretium, Volaterrae, Vetulonia, and Rusellae (Fig. vii.8). According to Dionysios of Halikarnassos, these cities formed an alliance with the Latins in their struggles against the Etruscan king in Rome, Tarquinius Priscus, who according to tradition ruled bce. 108 Although no meeting place or name of a protecting deity such as Voltumna is mentioned for this coalition, the location of the five cities and their boundaries, calculated as Thiessen polygons, indicates that the central point, equidistant to all five, falls between the Crevole and Ombrone rivers, at the site near Murlo known as Poggio Civitate (Fig. vii.6). 109 Poggio Civitate (Fig. vii.9) is the local name of a hill located by the Crevole, a tributary to the Ombrone, some twenty-five km to the south of Siena. The hill is dominated by two building complexes, one from the Orientalizing period that, following a disastrous destruction by fire ca. 600 bce, was replaced by a monumental Archaic building. Seen in isolation, the square complex with rooms surrounding an open courtyard does not at first sight meet the criteria of a sanctuary or temple. In the context of spaces and boundaries, however, the organization of the rooms provides the contrast between open and closed, unroofed and roofed spaces, to which access is provided by narrow doorways. Once within the building, smaller rooms provided protected spaces for assemblies or banquets, as shown on the terracotta plaques that decorated the building, whereas the large courtyard, fully enclosed by the surrounding rooms, provided space for activities such as the horse races also depicted on the plaques. The immediate boundary of the build-

141 126 Ingrid E. M. Edlund-Berry ing, beyond the rooms and courtyard, is formed by the hill proper. As depicted in the plaques, this hill is crossed and the building approached by carriage. Once within sight of the building, the visitors view was guided by the roof decoration, including akroteria* of animals and well over twenty seated and standing figures providing the vertical connection between heaven and earth (Fig. vii.10). 110 These statues may represent those very deities, male and female, who protected the building and provided the link with the celestial regions but who also guarded the political, and hence religious, boundaries on earth. In its cenvii.10. Terracotta statue of male figure from Poggio Civitate. Ca. 570 bce. Murlo, Museum. (Photo: Soprintendenza Archeologica per la Toscana.) vii.9. Plan of Murlo, Poggio Civitate. Seventh and sixth century bce.(afters.stopponi,ed.,case e Palazzi d Etruria, Milan, 1985, fig. 3.2.) tral position, the monumental building provided a meeting place in a location at the very center of the area controlled by the framework of a coalition of cities. In this way, the blocks of territorial spaces, or territories, were tied to Poggio Civitate as its spatial, hence religious and political, center, much in the same way as the compartments of the Piacenza liver or the celestial sixteen regions defined by Martianus Capella provided a unified whole, under the protection of deities. DeitiesinChargeofBoundaries As mentioned throughout the previous discussion, both the boundaries and the areas defined by boundaries were considered to be under divine protection. While the wealth of sanctuaries and votive offerings connected with boundaries indicates the Etruscan involvement with boundary deities

142 Ritual Space and Boundaries 127 and their sacred spaces, only a few of these deities can be identified by name. As the chief god, Tin/Tinia controlled mountaintops and thus defined the vertical boundaries between the heavens and the earth. Examples of his sphere of power appear as place names (e.g., Monte Giovi) and in the presence of the major Etruscan temple in Rome dedicated to Jupiter, Juno, and Minerva, located on the Capitoline hill. 111 SelvansorSilvanus,asdiscussedabove,presidedover sacred boundaries. 112 As a nature goddess and protectress of groves, Artumes (Latin Diana) may also have guarded the boundaries, both those in nature and those established by the peoples of Etruria. 113 If indeed the coalition of Etruscan cities gathered at the Shrine of Voltumna, this deity, whether male or female, whether or not related to Vertumnus (according to Varro, the chief deity of Etruria ), 114 represented the focal point where boundaries met, either those protected by one dominant city or those that provided a neutral gathering place for a number of cities. Other boundary deities were undoubtedly acknowledged by the Etruscans. Because of the alignment of spaces on the Piacenza liver, the names that are written along the outside border may include such boundary deities. 115 Likewise, the deities worshiped in extramural or extraurban temples, at small roadside sanctuaries, or at river crossings may take on the role as protective boundary deities in addition to their other functions. conclusion Whether or not known to us by name, the deities of boundaries were as important in the Etruscan pantheon as was the Etruscan belief that all matters were in divine hands. By creating a system of boundaries with spatial contiguity, the Etruscans were able to control fully the natural landscape with the addition of artificial boundaries such as roads and boundary stones, where nothing existed in a vacuum. Whether or not part of a numerological system in units of twelve, sixteen, or more, the network of sacred spaces and boundaries in the skies as on earth ensured the stability of the society and its belief systems. 116 This tightly knit pattern in Etruscan life was broken when the boundaries were trespassed or just crossed by outsiders. The Etruscan principle of gathering to conduct political and religious business at a central point (the Shrine of Voltumna or somewhere else) stood in sharp contrast to the Roman system of forming alliances with one Etruscan city at a time. 117 Without its carefully designed pattern of spaces, the Etruscan world of religion, and therefore life, was shattered. 118 What was inherited by the Romans were the vertical links between heaven and earth, expressed by religio and to some degree by the respect for boundaries, 119 but, on the whole, Rome viewed itself as the center of a wheel, from which the spokes emerged. The abstract powers or numina* were isolated from each other and did not exist side by side, as did the deities in the spaces on the Piacenza liver. But, in spite of Roman political supremacy in Italy and the Mediterranean, the Romans were the first to acknowledge the strength of the Etruscan influence on Roman religious traditions. Throughout Roman history Etrusca disciplina and ritus Etruscus* thus became coupled with the highest symbol of military success as a Roman general was crowned with the golden Etruscan crown (corona ex auro Etrusca) in the triumphal procession through the city of Rome. 120 NOTES 1. Müller and Deecke 1877, ; Dennis 1848, introduction; Buonamici 1939; Aversa The variety of the Etruscan landscape has inspired writers and artists of all periods. For a recent evaluation of the geology and topography, appropriately prefaced with a quote from D. H. Lawrence, Etruscan Places, see Barker and Rasmussen 1998, For definitions of sacred and secular places, see Edlund 1987, Briquel 1987, ; Edlund 1987, Lambrechts 1970; De Simone ; Colonna 1988; Zifferero 1995, Thulin 1968, See, for example, Varro, De lingua Latina and Servius, Ad Aen ; Briquel 1987 (collection of ancient sources pp ); Edlund-Berry 1994, See Lambrechts 1970, tle, 2nd ed., s.v.; Colonna 1988; Morandi ; for illustrations, see also Rasenna, figs. 39, 71, and Here, as in the following discussion, the term Etruscan refers to the Etruscan culture as a political entity, separate from the Roman, as distinct from Tuscanicus used as a synonym for old and antiquated by Vitruvius in particular (see Edlund-Berry 1997). 10. See the text of the prophecy, Appendix B: Sources, no. ii.1, and the discussion by de Grummond in this volume, above, pp De limitibus F22, Van der Meer 1987, Small See, e.g., Simon 1990, ; Simon in this volume, above,

143 128 Ingrid E. M. Edlund-Berry p. 59; and Chiadini In contrast, however, Dorcey (1992, 10 11) states that the origin and meaning of Selvans is unknown. 15. Livy ; Dionysios of Halikarnassos ; see also Piccaluga See van der Meer 1987 and Jannot 1998, The liver is discussed in greater detail by Bonfante in this volume, above, pp De div See the text of Cicero, Appendix B, Source no. iii hn See the text of Pliny, Appendix B, Source no. iii DenuptiisMercuriietPhilologiae See the text of Martianus, Appendix B, Source no. iii Maggiani and Simon 1984, ; Prayon 1997, In my opinion, the physical landscape is the best indicator of how the Etruscans and their predecessors selected places for living, burial, and worship. As pointed out by Riva and Stoddart 1996, 106, there seems to have been a difference between northern and southern Etruria in that in the north the landscape played a greater role than in the south in determining areas of liminality or points of transition between life and death, city and country, sacred and secular. For an example of the use of a lake (Lake Trasimene) as a templum, see Colonna Cicero, De div ; Livy Cicero, De div For the characteristic features of an Etruscan temple, see Colonna in Santuari d Etruria, 60. For a discussion of the orientation of temples, see Aveni and Romano Prayon 1991 and See Warden, Thomas, and Galloway 1999, 231 and fig The importance of access has been studied by Meyers Sassatelli , , fig Brown 1980, 16 17, See, e.g., Ovid, Fasti Plutarch, Life of Romulus 11 (Appendix B, Source no. iv.3); Macrobius, Sat Lake Trasimene, Lake Bolsena, Lago di Mezzano, Lago di Vico, Lago di Bracciano; Barker and Rasmussen 1998, Many of these caves have been used as sanctuaries or as burial places since prehistoric times; see, e.g., Edlund 1987, 49 51; Guidi ; Whitehouse 1992; Whitehouse Jones 1963, 126; Edlund 1987, For the function of water and sulphur in the healing cults, see Edlund-Berry 1999 and Edlund-Berry forthcoming. 35. Gasperini 1988, 29, fig. 1. Chellini De Lorenzo KlPauly 4, (K. Ziegler). 38. Eliade 1959, 29 32, Cicero, De div (Appendix B, Source no. iv.8); Seneca, qn , (Appendix B, Source nos. viii.1 3 and viii.2); Nigidius Figulus, Diarium Tonitruale (tr. J. M.Turfa), forwhich, see Appendix A. Thulin 1968, ; Jannot 1998, See, e.g., Livy 1.34; Ovid, Fasti The depiction of Vel Saties and a young boy, Arnza, holding a bird on a leash, is usually interpreted as an example of augury (see, e.g., Jannot 1998, 43). Recently, the scene has also been interpreted as a genre scene of a child with his pet bird (Weber-Lehmann 1998). See the discussion by de Grummond in this volume, above, p Scrivere etrusco 1985, (F. Roncalli). 42. Scrivere etrusco 1985, (M. Guldan); Cristofani See, e.g., Edlund-Berry 1992; Cristofani 1995, The Etruscan equivalent of Kalends is ilacve or ilucve, as recorded in the Pyrgi plaques and the Capua tile. The Nones correspond with Etruscan saiuzie in the Capua tile, and the Ides correspond with ituna in the Capua tile, or itus/itis (according to Varro and Macrobius; Edlund-Berry 1992). 45. Edlund-Berry 1992, Servius, Ad Aen (Appendix B, Source no. iii.9). 47. Edlund-Berry 1992, Hall 1985, De die natali See the text of Censorinus, Appendix B, Source no. iii Livy Livy See the text of Livy, Appendix B, Source no. v.1. It has been suggested that this temple may correspond to the site of Pozzarello at Bolsena, but the evidence is not conclusive (Santuari d Etruria, 84 85). 52. Barker and Rasmussen 1998, Strabo Cristofani Potter 1987, 15 18; Barker and Rasmussen 1998, Servius, Ad Aen Edlund 1987, 64 66, Edlund 1987, 64, 80; Jannot 1998, See, e.g., Banti 1973, 16 17; Barker and Rasmussen 1998, Edlund 1987, Città etrusche 1973, 158 (Caere) and 272 (Orvieto). 62. Bonfante 1986, Bartoloni 2000, Colonna and von Hase 1986, See, e.g., Brown 1980; Barker and Rasmussen 1998, Barker and Rasmussen 1998, Gromatici Veteres, I, p See Appendix B, Source no. ii Above, nn See Scullard 1981, A reference in Columella mentions the head of an Arcadian donkey being used by the Etruscan soothsayer Tages to ward off Rubigo, the deity of mildew, at the edge of the field. See Appendix B, Source no. iv.4. I thank Nancy de Grummond for drawing my attention to this passage. 70. Colonna 1988, 26 28, discusses a boundary stone found alongside a road southeast of Cortona. Cf. below, n See, e.g., Barker and Rasmussen 1998, Stopani 1991, Warden, Thomas, and Galloway 1999, See, e.g., Banti 1973, 16 17; Barker and Rasmussen 1998, Servius, Ad. Aen , 183. Scullard 1967, Banti Renfrew 1991, 159. I thank John L. Berry, Alys Thompson, and Chris Williams for their valuable contributions to the study of Etruscan cities and their territories. 78. Zifferero Edlund 1984, (Mount Soracte); Prayon 1997, 366, fig. 7 (Lake Trasimene). 80. Buonamici 1939, Scheffer 1994; Torelli 1997, Briquel 1987, ; Edlund 1987,

144 Ritual Space and Boundaries De architectura Appendix B, Source no. V Edlund 1987, Colonna 1988, 17 19, fig Colonna 1988, 26 28, fig See, for example, Caere Livy Edlund 1987, 42; Jannot 1998, Caere 1990; Zifferero Seen as a focal point that combined political and religious concerns, the term political sanctuary can be applied to those places that are mentioned in the ancient texts in connection with political actions. When it comes to other such meeting places that have been documented archaeologically, however, the definition of a political sanctuary becomes much more complex and controversial. Although in one sense all sanctuaries are political in that they involve the citizens of a community, the problem of nomenclature becomes severe when the architectural form of a structure does not immediately identify it as a sanctuary with a designated space or set of artifacts implying worship of deities. 92. Edlund 1987, The literature on this sanctuary is vast; see AnnFaina The most recent discussion is that of a conference on La Lega Etrusca, held at Chiusi, October 9, The speakers included Francesco Roncalli ( I santuari Federali ) and Giovanni Colonna ( Porsenna, la lega etrusca e il Lazio ). The proceedings of the conference are forthcoming. 94. Müller and Deecke 1877, Edlund 1987, 86. The ongoing excavations at Campo Della Fiera, just outside Orvieto, conducted by Simonetta Stopponi, may ultimately clarify the problem. 96. Edlund 1987, 85, n Rosenberg 1913, 51 71; but see also G. Camporeale in Ann- Faina 1985, Edlund 1987, Finocchi Ghini 1993; Nemi Colonna For the relation of these sanctuaries to the assemblies of the Latins, see, e.g., Ampolo 1981; Colonna 1985; Colonna 1991; Ghini Edlund 1987, For the identification of Etruscan deities, see Jannot 1998, Edlund 1987, 47. For the location of Monte Amiata, see also Torelli 1992; Cambi 1996; Barker and Rasmussen 1998, 12. I am grateful to John L. Berry for exploring the Tuscan landscape with me and for his insightful observations For the etymology of the word, see Varro, De lingua Latina 6.54 and Festus (ed. Lindsay), Rosenberg 1913, Dionysios of Halikarnassos Edlund-Berry 1987, 87 92; Edlund-Berry Meyers As pointed out by Rowland 2001, the discussion of the function of the building complex and architectural decoration at Poggio Civitate has focused on concepts that have little or no foundation in the primary sources for Etruscan history and culture Camporeale Above, nn Krauskopf Varro, De lingua Latina 5.46; Small 1997; Harari For the names recorded on the liver, see van der Meer As an example of this system of order we can also look at Etruscan architecture where a detail such as the Etruscan round had its definite place on a base (or a crown) on tombs, podia, or altars, forwhichseeshoe Harris Cf. Simon Briquel Pliny, hn BIBLIOGRAPHY Ampolo, C Ricerche sulla lega Latina. ParPass 36, AnnFaina 1985 = Volsinii e la dodecapoli etrusca, relazioni e interventi nel convegno del In Annali della fondazione per il museo Claudio Faina, II. Orvieto. Aveni, A., and G. Romano Orientation and Etruscan Ritual. Antiquity 68, 260, Aversa, A. D L Etruria e gli Etruschi negli autori classici. Brescia. Banti,L.1973.Etruscan Cities and Their Culture. Berkeley, CA. Barker, G., and T. Rasmussen The Etruscans. Oxford. Bartoloni, G., ed La tomba. In Principi etruschi, Bologna. Bonfante, L., ed Etruscan Life and Afterlife. Detroit. Briquel,D Iritidifondazione. InTarquinia: Ricerche, scavi e prospettive, ed. M. Bonghi Jovino and C. Chiaramonte Treré. Milan Brown, F. E Cosa:TheMakingofaRomanTown.Ann Arbor, mi. Buonamici, G FontidistoriaEtrusca.Florence. Caere 1990 = A. Maffei and F. Nastasi, eds., Caere e il suo territorio da Agylla a Centumcellae. Rome. Cambi, F., ed Carta archeologica della provinicia di Siena. Siena. Camporeale, G Tinia. limc viii, Chiadini, G Selvans. StEtr 61, Città etrusche 1973 = F. Boitani et al., Le città etrusche. Verona. Colonna, G La dea etrusca CEL e i santuari del Trasimeno. Rivista storica dell Antichità 6 7, Il lucus Ferentinae ritrovato? Archeologia Laziale 7, Il lessico istituzionale etrusco e la formazione delle città, specialmente in Emilia Romagna. In La formazione della città preromana in Emilia Romagna, Bologna Acqua Acetosa Laurentina, l Ager Romanus Antiquus e i santuari del I miglio. In Scienze dell Antichità Storia Archeologia Antropologia 5,

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147 CHAPTER VIII SACRED ARCHITECTURE AND THE RELIGION OF THE ETRUSCANS Giovanni Colonna This chapter offers a panoramic survey, obviously brief, of the sacred architecture of the Etruscans, intended to bring out what it can teach us about the religion of that people. By sacred architecture I mean all the manifestations of the art of building that have a cultic scope, both in places and contexts specifically sacred (i.e., sanctuaries) 1 and elsewhere. I shall not be able to give a truly exhaustive account, for the material is too vast and rich in its ramifications, especially as regards the funerary aspects, so important in Etruria. I shall attempt, however, to put the problems in focus, referring to recent, even the very latest discoveries. Obviously I shall have much to say of the sanctuary at Pyrgi (Figs. viii.1 2), not only because I am and have been its excavator, up until 1980 by the side of Massimo Pallottino, and later as the sole responsible director; but because, considering the celebrated early discoveries and the no less remarkable ones of the last fifteen years, the site appears indisputably to be the main sanctuary of Etruria, revealing on the shore of the Tyrrhenian Sea a concentration of sacred architecture that does not have a comparison in the West, except in a few great sanctuaries of Sicily and Magna Graecia. 2 Pyrgi provides exemplars of the four major categories of Etruscan sacred architecture: altars, precincts, shrines, and temples. We shall review these, and particularly the first three, in considerable detail, as they provide much information about Etruscan cult practice, sometimes unknown from other sites in Etruria. But of course we shall collect comparisons from all other Etruscan sanctuaries, including those of the Po valley and Campania and sometimes also those of Latium. Since we shall make such frequent reference to Pyrgi, it will be helpful to have in mind the chronology that has been developed for the sacred areas there, showing activity ranging from around the middle of the sixth century to the war with Hannibal ( bce) and as late as the first century bce. Of particular importance was the momentous event that drastically affected the life of the sanctuary, the sack of it by Dionysios of Syracuse in 384 bce (main source: Diodorus Siculus ). altars To follow an ideal historical thread from the earliest material to the latest, in terms of typology, the discourse must begin with the altars. In regard to these it must be said that the relevant list of cases, already rather complex, 3 has been enriched in recent years thanks to the excavation of the South Area of the sanctuary of Pyrgi (Fig. viii.2), with a type new for Etruria and rare elsewhere: the altar of rough stones or unworked rubble altar of the amorphous variety. 4 These are lens-shaped mounds of broken stones, mostly calcareous, of small to medium size, drawn from river beds that are not nearby. The mounds are no more than 30 cm high and have a plan that is subcircular or elliptical, with the greatest diameter surpassing in one case 2 m. The two largest and most evident examples are located along the eastern limit of the sacred area, the perimeter of which was not actually marked with a precinct wall, in contrast to the well-known North Area brought to light during the 1950s, 60s and 70s. These are the features Zeta and Iota (Figs. viii.3 4), the identity of which as altars is assured for Zeta by the adjacent sacrificial fossa, * Omicron, containing animal bones and votive offerings (perhaps a magmen- 132

148 Sacred Architecture 133 viii.1. General plan, North Area, Pyrgi. Ca. 450 bce. (After Colonna 1986, pl. XXII.) tarium* in the sense of Varro, De lingua Latina 5.112), and for Iota by the contiguous block of tufo* set at ground level and pierced by a vertical quadrangular conduit, at least 2 m deep (Fig. viii.4). A boulder of sandstone was found over the opening, concealing and protecting it, apparently identical to the Roman lapis manalis ( stone of flowing water ), if it was primarily intended to block up the so-called ostium Orci ( the mouth of hell : Paulus ex Festo, p. 115 Lindsay). In any case, the conduit had the same function as those in the cylindrical altar of Area C of the Pyrgi sanctuary (see below), in the altar at Punta della Vipera near S. Marinella and in the Volsinian altars sacred to Tinia, as well as the one contiguous to the altar of Menerva in the Portonaccio sanctuary at Veii (a better comparison because it, too, was at ground level) that is, to conduct into the subsoil the blood of sacrificed victims or other possible liquid offerings that were poured into it. 5 A third altar of rough stones, Nu, not as large and not as well preserved as Zeta and Iota, is found more toward the interior of the sacred area, along the way that gave access to the oldest shrine of all, Beta. In contrast to the other mounds of rubble, this was finished off on the surface by a circular slab of sandstone, originally 1.2 m in diameter (only a segment of it survives), functioning as a table of sacrifice, as in some representations of altars of stones on Attic red-figured vases. 6 In this case, its presence is confirmed by a ring of dark

149 134 Giovanni Colonna viii.2. General plan, South Area (1998), Pyrgi. Ca. 350 bce. (Università di Roma La Sapienza, Pyrgi Excavations.) earth with ashes and animal bones surrounding it. Similar disks or wheels of stone have been found: one at the center of the shrine of Poggio Casetta at Bolsena and others out of position at the sanctuary of Pieve a Sòcana in the Casentino (Fig. viii.5), at Poggio della Melonta near Orvieto, and most recently in the locality of Fùcoli near Chianciano, which has yielded such extraordinary discoveries, well displayed in the local museum just inaugurated. 7 The upper surface of the slabs at Sòcana and at Melonta bear an inscription with the name not of the divinity but of the donor, which in the past has led to the erroneous idea that these were offerings. 8 Instead, they are ground altars, either not supported or raised on one or two layers of stones, dedicated, along with the sacrifices that took place on them, to a deity at once chthonic and solar, of which I shall soon say more. A fourth altar of stones in the South Area at Pyrgi, smaller than the others (ca. 90 cm in diameter), is inside of the shrine Alpha (Fig. viii.6), the latest of the three shrines brought to light, constructed around the middle of the fourth century bce and covered with a roof furnished with at least one viii.3. Altar Zeta, Pyrgi bce. (UniversitàdiRomaLa Sapienza, Pyrgi Excavations.)

150 Sacred Architecture 135 tile with an opaion (skylight) of horseshoe shape. The position of the altar very near the north wall of the shrine, on the side of the building off axis from the entrance, makes it very unlikely that this was an altar with fire, in contrast to the smaller circular eschara (hearth) placed almost at the center of the room, sufficient in itself to necessitate one or more roof openings. The prominence of the cult of the altar within the entire sector is nevertheless proven by the fact that the altar continued to be frequented, as shown by the votive offerings, and remained in use under the open sky, even after the roof of Alpha collapsed, around 270 bce, as a result of the general decline suffered by the sanctuary. The same continuation of devotional practices, at least to the end of the third century bce, was otherwise verified in particular by the presence of coins of the Roman Prow series in the peripheral altar Zeta, adjacent to the contiguous fossa Omicron. As for the chronology, all four secure examples, fortuviii.5. Altarstone,PieveaSòcana.Earlyfifthcenturybce. (Photo: Soprintendenza Alle Antichità-Firenze.) viii.4. Altar Iota, Pyrgi. After bce. (Universitàdi Roma La Sapienza, Pyrgi Excavations.) nately, are datable. For the altar of shrine Alpha, it has already been stated that it goes back to the middle of the fourth century bce when the shrinewas constructed. Zeta and Iota are stratigraphically later than the enlargement of the sacred area that took place ca bce. Nu, on the other hand, the only altar furnished with a sacrificial surface in the form of a stone slab (circular in shape), is placed in the first phase of activity in the area, which began around the middle of the sixth century bce. An exceptional discovery, made in the fall of 1998, now allows a precise dating of bce.i refer torho, a cylindrical bothros* dug into the yellow clay of the original rise of the land and filled with more than forty painted vases, exclusively Greek and in great part Attic black figure. Included as the latest material were twelve Floral Band Cups and some lekythoi* of the Phanyllis Group (Fig. viii.7). In the amphora placed in the middle were a silver necklace, with the largest bead in the shape of a tortoise, and an amber pendant with a miniature inscription, almost illegible; both objects imply a female divinity. Locatedjust2meastofthealtar, Rho is probably to be understood as a sumptuous offering buried at the occasion of its foundation. Nearby on the top of the east rise have been found some sheets of bronze in the form of leaves, pierced at the base to be bound into a bundle, like those found in the deposit Kappa (Fig. viii.8), of which I will speak shortly. These sheets may be interpreted as cleromantic sortes*(sors), precisely in the form of leaves (cf. Vergil, Aeneid ). This leads to the consideration that the altar was sacred to an oracular divinity, certainly the same to whom was dedicated the deposit cited. 9 The altars described, still unknown at the time of my Santuari d Etruria (1985) and of Edlund s book on extraur-

151 136 Giovanni Colonna viii.6. Plan, Shrine Alpha, Pyrgi. Ca. 350 bce. (Università di Roma La Sapienza, Pyrgi Excavations.) ban and rural sanctuaries (1987), have no comparisons that I know of in Etruria, except for the wheels found generally out of position in sanctuaries of inner Etruria, nor in the rest of ancient Italy. Nevertheless, these can be related to the tradition, remaining alive in the full Imperial age even for the most solemn and official occasions (Tacitus, Hist. 4.53), of altars of clods of grassy turf. Varro traced this tradition back to religion before Numa, when for the Romans there existed neither temples nor divine images. In that remote and mythicized age they would have had recourse to only temporaria de caespite altaria ( temporary sod altars ) for cult activity, as well as humble Samian or clay pots. 10 For the clods, if one substitutes rocks without any particular arrangement, the altars then become lasting and defy time, surviving down to our age, provided that the sacred areas have been excavated with due attention and above all in a thorough manner. The examples from Pyrgi are all the more interesting in that they do not go back, as do the few brought to light in Greece, to the Geometric or Early Archaic period. 11 Rather they belong to the Late Archaic and Classical periods, showing a phenomenon of conservatism worthy of the greatest attention. It is probable that this type of altar was favored in our case by the strongly symbolic value attributed in the Etruscan iconographic lexicon to boulders and rocks, as allusions to the threshold that separates the world of the living from that of the dead. 12 Particularly significant in this regard are the representations on the sarcophagus of Laris Pulenas (Fig. ii.7) and on that of Torre San Severo (Fig. viii.9), where the sacrifice of Polyxena takes place next to what seems to be a true and proper altar of stones, upon which the shadeofachillesplaceshisfoot. That ideological factors and conservatism were operative is shown by an equal number of other altars, of a different type and normal, so to speak, which we find in the same South Area of Pyrgi, probably consecrated to the same di-

152 Sacred Architecture 137 viii.8. Bronzesheetinshapeofleaf,propheticsors, from deposit Kappa, Pyrgi bce. (UniversitàdiRomaLa Sapienza, Pyrgi Excavations.) viii.7. GreekpotteryfoundinPitRho (including Floral Band Cups and lekythos of the Phanyllis Group), Pyrgi. Late sixth century bce. (Università di Roma La Sapienza, Pyrgi Excavations.) vinities, even if the rituals are presumed to be of another character. I refer to the altars Theta and Epsilon (see Fig. viii.2), placed in the service of the shrines Beta and Gamma and belonging respectively to the first and second phase of the sanctuary; and also to the altar Delta (Fig. viii.10), also of the second phase, demolished when the shrine Alpha rose there in the area immediately adjacent, during the successive phase. They are altars that, as far as can be judged from the surviving footing of the foundations (or in the case of Epsilon, from the remains of the first course of the elevation), were constructed in opus quadratum*of blocks of red tufo in the form of a parallelepiped tending toward a cube ( simple, built altars with a short rectangular plan, in the terminology of Rupp). 13 There was attached, on the northwest side of altar Epsilon, a small cista* of slabs of stone, found uncovered, whichfunctionedasa bothros, and perhaps at the same time viii.9. Relief from sarcophagus from Torre San Severo, Achilles standing with foot on rustic altar. Mid fourth century bce. Orvieto, Museo Claudio Faina. (dai Rome )

153 138 Giovanni Colonna asalowprothysis (altar base). 14 When it was uncovered, it still contained two miniature vessels related to libations (an unpainted krateriskos* and an Attic oinochoe* of late black figure); in the surrounding area was discovered a foundation offering of a parallelepiped ingot of lead. A fourth constructed altar, Lambda, was found at the south margin of the sacred area, thus in a position not unlike that of the rubble altars Zeta and Iota, but corresponding with a wide depression in the terrain. Perhaps to compensate for this situation, but certainly not only for that reason, the altar, of which remains only the rectangular footing for a foundation of compacted chips of tufo, had been placed on a podium of a circular form and almost4mindiameter. A wide ramp (Fig. viii.11) joined the altar to facilitate access, one might say for the sacrificial animals rather than for those making the sacrifice. This structure was stripped of the altar and of the mural facing of the podium at the time of the reworking of the entire south flank of the sanctuary, which occurred in the aftermath of the Syracusan sack of Pyrgi, around the middle of the fourth century bce.itretainsonly the ring of the foundation with the interior earthen nucleus, containing a dense concentration of offerings of rough lead, in the form of parallelepiped ingots in three different sizes, the smallest similar to that recorded in relation to the first course of the altar Epsilon. We have no parallels either in the sanctuaries of Pyrgi or in the others of Etruria and the Greek world, but the structure of Lambda strongly recalls the so-called Altar of Grotta Porcina, in a cemetery context near Blera, of the first half of the sixth century bce (Fig. viii.12). 15 The latter was in reality the rock-cut base of an altar, or alternatively of one or more cippi* (in the form of an obelisk?), sculptured on the sides of the drum and on the access ramp with a majestic procession of quadrupeds. It was located in the center of an area shaped like a theater, with risers cut out of the rock. Its proximity to the colossal tumulus that has given its name to the place leads one to think that the whole complex functioned for a funerary cult, suited for the ancestors of the members of the aristocratic gens* that owned the tumulus. The typological resemblance to a similar monument within the framework of the Pyrgi sanctuary probably signifies appropriation in the community of Caere of architectonic forms that arose to satisfy the needs of a gens for visibility but then came to be put to use for civic religion, taking a new significance (in this case, as I am about to relate, connected to the cult of the gods of the Afterlife). In fact, fortunately we know not only the date of altar Lambda at Pyrgi but also the divinities to whom it was conviii.10. Altar Delta, Pyrgi bce. (UniversitàdiRoma La Sapienza, Pyrgi Excavations.) viii.11. Altar Lambda, Pyrgi bce. (Universitàdi Roma La Sapienza, Pyrgi Excavations.) secrated. The open space surrounding the monument contained the remains of some offerings deposited in the bare earth, the most notable of which was the feature Kappa (Fig. viii.2), excavated in It consists of three groups of offerings, deposited in shallow pits separated by a few stones and covered over by a single mound of earth, a sort of small tumulus, pulled over the top of the deposit. Around the

154 Sacred Architecture 139 viii.12. Altar of Grotta Porcina, Blera. First half of fourth century bce. (Photo: Giovanni Colonna.) middle of the fourth century, the whole south flank of the sanctuary was reworked, as noted previously, reusing earth and materials for the construction of an open court on the opposite (i.e., north) side of the area. The offerings, of a quite varied nature, in contrast to those in the formerly noted deposit Rho, include crude lumps of bronze (aes rude*), worked bronzes, a bundle of probable sortes in sheets of iron and bronze in the shape of a leaf (Fig. viii.8), terracottas (two molded protomai* of a Magna Graecia type and of a female deity), glass vases, small alabastra*, and especially fictile objects, of both Attic (red figure) and in lesser quantity, Etruscan wares. The most easily datable vases M. P. Baglione assigned to the decade bce: a janiform kantharos* attributed to the Syriskos Painter and a colonnette krater* with the drinking Herakles served by a satyr, attributed to the Tyskiewicz Painter. 16 The dating may be extended to the altar on the podium Lambda, which belongs therefore to the second phase of the sanctuary. The krater bears on the underside of the foot the Etruscan inscription mi fuflunusra, 17 in which the adjective fuflunusra, or Fuflunian, is to be understood probably as an epithet of a masculine divinity. This is a divinity to whom a second and even more important inscription from the same deposit placed on the foot of an Attic kylix* (the rest is lost) gives the name of Śuri, associating it with that of the goddess Cav(a)tha, omitting a connective: mi śuris cavaθas, I am of Śuri (and) of Cavatha. The names of the gods Śuri and Cav(a)tha, both already noted in other sanctuaries but up until recently often misunderstood, reappear separately in numerous inscriptions on vases found at many points in the South Area. 18 Given the absence, now well confirmed, of different gods names, 19 there can be no doubt that reference here is to the two gods who were titulars of the cult in that area. Added to the explicit references are obviously epithets, which for the god are Apa, Father, and perhaps Lapse, given on two small bronze plaques probably once attached to offerings. 20 For the goddess we might think of the name Ecile, painted on the bottom of the foot of a late, local black-glazed cup, through a phonetic sequence *Eicle>*Ecle>Ecile, to the Greek Αἴγλη, The Shining One, 21 a name borne by, among others, a wife or daughter of Helios. This name is all the more suitable for Cavtha, given that a plant with a similar name (καυταμ, known also as the Millefolia or Achillea), is called Solis oculus ( Eye of the Sun ) in a gloss of Dioskorides. Since Śuri, whose name appears at Orvieto in the variant Śur (et, Vs 0.6), is certainly identical to the Soranus of the Faliscans, and through him not only to Apollo but also to Dis Pater

155 140 Giovanni Colonna of the Romans and to the Greek Hades, his female companion has a great likelihood of being a hypostasis of Persephone/Proserpina. Dis Pater and Proserpina were venerated together in Rome near the Comitium, in relation to a mundus* going back to the origins of the city, and at the Tarentum of the Campus Martius, where the Ludi saeculares were celebrated throughout Imperial times, with nocturnal rituals at arae temporales, 22 perhaps at the beginning not unlike those of rubble in the South Area of Pyrgi. 23 The verification of the identity proposed for Cavtha comes from the epithet śeχ, Daughter (clearly a calc of the Greek appellative Kore), given to the goddess in an Orvietan dedication of the mid fifth century bce. 24 Also instructive is the later dedication of a bronze cone to Espi, mother of Ca(v)tha, or, which is equivalent, to Espi, the mother (and) Ca(v)tha, published by Larissa Bonfante. 25 In this inscription Espi can only be an appellative, up to now unknown, of Vei/Demeter. The solar connotations of Cavtha are not so surprising, first because of the belief that the sun of night shone in Hades, as attested by Pindar and Aristophanes. 26 In addition, already in the Odyssey (24.12), not only are the gates of Hades called the Gates of Helios but it is Kirke, the daughter of Helios, who teaches Odysseus precisely how to descend to the dead. To this we can add the chthonic character assumed by Sol in central Italy, revealed by the most ancient epithet of Indiges accepted at Rome and at Lavinium, which made him the mythical ancestor of the Latins. 27 Even at Pyrgi, the most notable cults of the Roman colony were, to judge from inscriptions, those of Sol Juvans and of Pater Pyrgensis. 28 The identification of the goddess with Hekate, recently proposed, 29 is less convincing, given that although indeed the Underworld connection is retained, it does not rely on specific attributes made known by excavations, and it does not take into account either the pairing with Śuri or the epithet of Daughter. Continuing with the theme of the altar, in the South Area at Pyrgi the shrine Gamma, of which I will speak shortly, had an altar inside but of a type quite different from that of the shrine Alpha, although equally rudimentary: there were two awkwardly squared ashlar blocks of tufo, placed one beside the other in the cella,* on the right, each provided with a large cuplike depression carved in the upper face with a little channel for the run-off of liquid (Fig. viii.13).this is a simplified version, one might say, of the mensae ( tables ) for libations and blood offerings appropriate for the Etruscan cult of ancestors, whether domestic or funerary. Examples appear in the Campana Tomb (Fig. viii.14) and the Tomb of Five Chairs at Caere, on some fossa tombs in the territory viii.13. Shrine Gamma, Pyrgi. Ca. 450 bce. (Universitàdi Roma La Sapienza, Pyrgi Excavations.) of Bolsena (the largest one with a mensa of stone, set up in the shelter of the stele* grave marker and, significantly, bearing a dedication to Farth(ans), The Progenitor ), on the socalled fictile hearths of the tombs of the territory of Vulci, and on the so-called incense burners and presentation pieces of bronze of the Orientalizing tombs. 30 The only Etruscan temple in which excavators reported finding blocks with the cup depression is the temple of the Belvedere at Orvieto (see below, p. 160), although in this case the blocks were out of position. Not by chance has this temple yielded also dedications on pottery to Śur(i) and to Apa, to which later was added Tinia Calusna or a Tinia related to the Underworld deity Calu. Returning to the altars on a podium, Lambda of the South Area at Pyrgi has no comparison in the realm of sanctuaries, as noted, because of the circular form of the base and the access ramp. The comparison does not extend to the principle of placement on an appropriate raised platform that isolates it from the surrounding area. Functionally similar, in fact, are podiums B and D of the acropolis sanctuary at Marzabotto (Fig. viii.15). 31 Both have a square plan, provided with access stairs, and are completely independent of temples A and C along their sides. (The altars for these temples are to be considered lost or may be conjectured to have been lost in the collapse of the terrain in front of them.) Podium D, richly endowed with moldings in cut stone, seemingly had on its surface of more than 80 sq m not only one or two altars but also donations and perhaps a cult image. In other words, it was a sort of tiny raised temenos,* whose squared plan formally assimilated that of a templum minus* or templum in terra,* 32 in contrast to the one found at Monteguragazza in the last century. 33 Podium B, much smaller (17 sq m)

156 Sacred Architecture 141 and unadorned, extends considerably into the subsoil, enclosing a well inside in the center, some 6.5 m deep. It has been correctly recognized that it is a special type of altar for chthonic and catachthonic deities, functioning also as a foundation pit, which was a mundus. 34 Constructed when the nearby temples did not yet exist, to viii.14. Rock altar, Campana Tomb, Caere. Mid seventh century bce. (After Prayon, 1975, pl. 62:2.) judge from obvious structural evidence, Podium B is probably to be considered the first cult installation rising on the city acropolis. Because all the Etruscan cities of the Po River area, according to the tradition preserved by Aulus Caecina, were dedicated by the oikist* Tarchon to the god the Romans called Dis Pater, there can be no doubt that the mundus of podium B is sacred to this very god. The Etruscans of the Po area called him not Śuri but Mantus, as can be seen from Servius (ad Aen ) and from the very name of the capital Mantua/Mantova, the native city of Vergil. That we are talking about a homologue of Śuri is now proven by an Archaic dedication to the god manθ, 35 found in a bothros in a sanctuary at Pontecagnano (Via Verdi), which has also yielded three Greek dedications on pottery to Apollo, published some time ago. In fact, whether at Pyrgi or Arezzo, at Falerii or Mount Soracte, the contemporary interpretatio Graeca of Śuri/Soranus was that he was Apollo himself, as is shown by literary and epigraphical sources. Evidence of the first order is provided by the oracular capabilities of the indigenous god, attested by the sortes with his name found near Viterbo and at Arezzo; he is probably more the Underworld Apollo of Cumae than the god of Delphi. 36 Other altars on a podium, high and of quadrangular form and endowed with a complex set of moldings, arose at Vignanello (Faliscan territory) and at the Patturelli site viii.15. Plan, Acropolis Sanctuary, Marzabotto. Fifth century bce. (After Colonna 1986, pl. XXI, with modifications.)

157 142 Giovanni Colonna viii.16. Structure added to the Tumulus of Melone del Sodo II, Cortona. Mid sixth century bce. (Photo: Giovanni Colonna.) at Capua, in isolated spots just outside the city walls. They were probably built in relation to the contiguous necropolis (and we know that the altar at Capua was sacred to a funerary goddess similar to Venus Libitina). 37 The type of altar on a platform, like podiums B and D at Marzabotto, also had great prestige in funerary architecture. At the tumulus of the Melone del Sodo II at Cortona, with its 64 m diameter one of the greatest tumuli existing in Etruria, the discovery of a projecting body, of exceptional monumentality and decorative refinement (Fig. viii.16), has raised anew the question of the cultic significance that such furnishings, functional to reach the top surface of the tumulus, could assume. This is aterraceof5m 6.5m,2mhigh,withtenstepsleading to it. 38 The terrace and stairs are bordered by parapets surmounted by six great palmette akroteria* with double volutes and decorated at the bottom edge with the two sculptural groups of a lioness wrestling with a warrior who stabs her with his sword. Datable in the second quarter of the sixth century, the monument is surely inspired by the great Greco-Oriental altars such as that at Capo Monodendri near Miletos. The absence of the remains of an altar or of cippi at first sight renders problematic the supposed cultic function, as in the case of the terrace reconstructed at the portico of the tomb in the form of a house at Pian di Mola, Tuscania (Fig. viii.17), 39 and of the terrace carved at the corners with colossal heads of a lion and a ram on a tomb with three chambers in the necropolis of Castro at the Crocifisso del Tufo. 40 Neverviii.17. Tomb at Pian di Mola, Tuscania. Sixth century bce. (After Sgubini Moretti 1989, fig. 7.) theless, the presence of cippi on the surface of the tumulus and, in the case of the tomb at Tuscania, on the ridge beam of the gabled roofs, makes it likely that cult activities (prayers, libations) could take place just in sight of and not in direct contact with the markers of the deceased, probably by using appropriate cavities in the pavement. Their poor state of preservation does not allow us to verify their existence. The direct contact with cippi did regularly take place on the crowning terraces of the rock-cut façade tombs of the fourth third century bce at Norchia (Fig. viii.18), Castel d Asso, Sovana, and other sites, where the cippi are or

158 Sacred Architecture 143 viii.18. Terrace of rock-cut tomb, Norchia. Late fourth early third century bce. (Photo: Giovanni Colonna.) were fixed into the top floor. Monumental cippi of altarlike form are probably the two cylindrical monoliths, splendidly molded and carved with friezes of a Late Orientalizing style, found at Bologna in Via Fondazza, in what seems to be a small cemetery sanctuary (Fig. viii.19). 41 The altars on a podium mentioned so far are obviously different from those altars at times likewise furnished with moldings and of considerable mass such as, for example, that of Pieve a Sòcana. 42 The latter were not spatially isolated with respect to the remaining sacred area, nor were they out of line in relationship to the temple. These were altars on which one sacrificed while standing on the ground and thus at a low point with respect to the temple (Vitruvius, De architectura 4.9) but in a position so that the person making the sacrifice could see its façade and possibly as well the door of the cella in which the cult image was found. These altars are relatively unproblematic and need no further discussion. 43 precincts Further consideration is due to the type of altar inside a precinct specifically related to it, which seems to have been, at least in Etruria, the logical precedent of the altar on a podium. The smallest example (but quite clear) is the altar of the fifth fourth century bce at Fontanile di Legnisina on the outskirts of Vulci, which lay inside a narrow rectangular precinct (Fig. viii.20). It was next to a monumental temple with a triple cella, as in the case of the podiums B and D at Marzabotto. 44 Its back wall was nearly joined to the cliff, but also on that side it was closed off by a high wall of orthostates. The entrance was probably on the short side on the south, where the molding of the base seems to be lacking, though it is present on the two other sides exposed to view. viii.19. Monolithic cippus of Via Fondazza, Bologna. Ca. 600 bce. (Photo: Soprintendenza ai Beni Archeologici dell Emilia Romagna.) The evident intention to make the altar secret leads one to believe that of the two divinities mentioned in the exvotos Uni and Vei it was the latter, commonly assimilated to Demeter, the goddess of the Mysteries, who was the mistress of this minimal precinct. But the temple was dedicated to Uni, venerated here as Huinthnaia, perhaps with an allusion to the copious spring that has given its name to the place and constitutes the most characteristic element. 45 We are not acquainted with an altar for the temple here because the area in front of it appears to have been devastated. All this leaves aside the unique nature of the votive deposit, 46 which was favored by the availability of a site more or less predestined, the space between the altar precinct and the cliff. 47 I began drawing attention to such precincts in the 1960s, when I started excavating the structure in the monumental sanctuary at Pyrgi, which we call Area C. 48 It is near where

159 144 Giovanni Colonna viii.20. Plan, sanctuary of Fontanile di Legnisina, Vulci. Fifth fourth century bce. (After Massabò and L. Ricciardi 1988, pl. I.) the famous inscribed gold tablets were found, mentioning the cult of an Uni assimilated to the Phoenician Astarte (see the discussion above, pp ). This was in fact in origin none other than a precinct enclosing a well for water and two monolithic altars (Fig. viii.21). One was cylindrical and pierced by a vertical channel on the axis, already mentioned in regard to the analogous feature in altar Iota of the South Area. The other was instead of rectangular form, conserved only as far as the great rock of peperino,* irregularly trapezoidal, which functioned as their base. The enclosure was constructed at the same time as the contiguous temple B, for a probably double cult since there were two altars. The large plaque of bronze (Fig. viii.22) found along with the gold tablets (Fig. ii.6) mentions an Uni Chia and a Tina called Atalena Śea, as well as Thvariena and Spuriaze. 49 The cult was independent of the temple s cult of Uni assimilated to Astarte, even if also closely related. This is proved by the direct contact between the two structures, which was different than at Marzabotto and at Fontanile di Legnisina, where the temple and the podium or the precinct remained separated from each other. The same thing happened at Narce to the precincts with altars, bothroi, and cippi, filled with votive offerings. These were arranged, at the distance of only an ambitus,* along one of the long sides of a monumental temple, which has not yet been excavated. The temple is set at the foot of one of the hills of Narce, in the locality that bears the name Le Ròte ( The Mill-wheels ), perhaps not accidentally (Fig. viii.23). 50

160 Sacred Architecture 145 viii.21. AreaC,sacredprecinct, Pyrgi. Ca. 510 bce. (Courtesy of UniversitàdiRomaLa Sapienza, Pyrgi Excavations.) viii.22. Bronze plaque, found in Area C, Pyrgi. Ca. 510 bce. (Courtesy of Università di Roma La Sapienza, Pyrgi Excavations.) At the Civita of Tarquinii the complex brought to light by the University of Milan in a fully urban area consists almost exclusively of an agglomeration of such precincts set around a natural cleft in the rock, the focus of cult, as far as can be told, since the end of the Bronze Age. 51 In this case, the only altar so far identified lay inside a building, of which I will soon say more. The Late Archaic sanctuary at Montetosto along the Pyrgi-Caere road, only partially excavated, 52 is in substance a unique large precinct with a square plan of 54 m on a side, divided internally on at least three sides by rooms of various shapes and sizes and including one or more altars in the central court. It was erected around bce, perhaps for the heroic cult commemorating the Phokaians stoned after the battle of the Sardinian Sea. The

161 146 Giovanni Colonna viii.23. Precincts at Le Ròte sanctuary, Narce. Fifth third centuries bce.(afterm.a.deluciabrolli,bollarch 3, 1990, 66 fig. 8.) building complex, whose terracotta decoration was replaced many times in successive centuries, was apparently inspired by forms once customary for palatial architecture, now appropriated by the city. A form extremely simplified of the same typology is displayed in the third century bce by the sanctuary of the Pozzarello at Bolsena, consisting only of a precinct of 37.5 m 43.6 m, with an angular porch at one of the corners, an altar of the hourglass type, a great well, two stone repositories, and other features. 53 The sanctuary was sacred to a goddess assimilated in Roman times to Ceres, but its boundaries were under the protection of Selvans (et, Vs 4.8). Sacellum* is the one Latin word that would probably describe architectural structures as diverse as the precincts of Pyrgi (Area C), Monteguragazza, Narce, and Tarquinii, those reduced to the smallest possible area at Fontanile di Legnisina or, in contrast, grown gigantic at Montetosto and at Pozzarello, as well as the podiums, typologically later, of Marzabotto, Vignanello, and Capua. Sacellum is a technical term misunderstood already in the time of Cicero by Trebatius (who derived it from sacra cella,* an etymology rightly refuted by Gellius ). In fact, with this diminutive of the substantive adjective sacrum, equivalent to the Greek ἱερόν, sanctuary (though in Latin of the historic period the word was no longer used in that sense; it was replaced by fanum,* templum,* and even delubrum), 54 were designated the places without a roof, sacred to the gods (loca dis sacratasinetecto;festus, p. 422 Lindsay) or a little place with an altar consecrated to a god (locusparvus,deosacratuscum ara; Trebatius, in Gellius ). 55 To these definitions, which well suit the precincts and the podiums in question, if we leave aside the dimensions, one can add the consaeptum sacellum* ( fenced sanctuary ) adjacent to the Ara Maxima of Hercules in the Forum Boarium. In the Roman world, this sanctuary was the oldest and the most venerated of such structures open to the sky. 56 Their invention was attributed to the mythical progenitor and civilizer Phoroneus (Varro, Degentepopuliromani, fr. 13 Fr.), the same to whom was ascribed the invention of fire (Pausanias ), preliminary to that of sacrifice. In the Italic world this kind of structure, remaining far more central in religious architecture than in Etruria and Latium, was given the name of sakaraklúm, or place where sacred acts are made, 57 used by extension in the sense of sanctuary, in opposition to fíísnú, temple or shrine, set inside. 58 shrines In the reconstruction that Varro traced of the historical development of Roman religion, the shrine, or aedes,* makes its appearance with Numa. 59 At that time it was a place to accommodate not the cult image but a direct antecedent, which was in fact the nonanthropomorphic fetish, most commonly a stripped stake of wood. (The cult image was introduced only at the end of the reign of Tarquinius Priscus, with the fictile statue of Capitoline Jupiter commissioned to the Etruscan Vulca.) 60 At Rusellae, excavations have revealed a large precinct of mud bricks of the mid seventh century bce (ca m), oriented toward the east. Inside, the precinct accommodates a small building of square plan, constructed with mud bricks, and inside that, a circular room (diam. 4.5 m). 61 The room imitates, as did the Roman Temple of Vesta, primitive huts of wood and boughs (but perhaps, in

162 Sacred Architecture 147 viii.24. Building Beta of Pian di Civita, Tarquinii. Seventh century bce. (AfterM.Bonghi Jovino, in Roma, Romolo, Rema e la fondazione della città, ed.a.carandiniand R. Cappelli, Rome, 2000, 267.) consideration of the circular antechambers of the great contemporary Caeretan tombs, it is better to speak of the oldest form of the atrium*). As far as we can tell, the shrine/temple of the time of Numa already had a well-developed rectangular plan. Its chief characteristic (exemplified throughout antiquity by the aedes of Jupiter Feretrius on the Capitoline, built by Ancus Martiusonatemplum founded by Romulus) 62 was its complete inaccessibility to the faithful, owing to the absence of an open pronaos* and of a peristyle, the small dimensions, and the covering with a complete testudinate* roof (i.e., with four pitches, initially certainly of thatch). Basically we are talking about the kind of shrine we would define as oikos* type, given the more or less domestic aspect, but subject as time passed to decoration with sophisticated terracotta revetments, as first shown by the temple at Piazza d Armi at Veii. The oldest example, dated to the first half of the seventh century by the exceptional foundation offering found before it (a shield, an axe, and a lituus*/trumpet of bronze; Fig. iii.2), is now the building Beta of the complex investigated at the Civita of Tarquinii by the University of Milan (Fig. viii.24). The building, precisely oriented, measures m and is divided in two axial rooms, the inner containing a great constructed altar, which was leaning against the rear wall and linked to the sacral cleft by a channel (Fig. iii.1). The type and placement of the altar, together with the pierand-rubble construction 63 used for the walls, are probably viii.25. Terracotta antefix from temple of Piazza d Armi. Early sixth century bce. Veii. (Photo: Soprintendenza per i Beni Archeologici dell Etruria Meridionale.) inspired from Near Eastern (Phoenician) features, until now unknown elsewhere in Etruria. 64 At about the mid seventh century, the building was surrounded by a precinct of m, aligned to its rear wall, with an arrangement similar, apart from the dimensions, to that shown much later by the sanctuary of Poggio Casetta at Bolsena 65 and in part by that of the Cannicella at Orvieto.

163 148 Giovanni Colonna viii.26. Shrine of Grasceta dei Cavallari, Monti della Tolfa. Third century bce. (dai Rome ) At the beginning of the sixth century the temple of Piazza d Armi at Veii shows an oikos plan of larger size ( m), with internal supports, probably a pair, dividing the interior. The roof had a gable at least on the façade and was decorated with antefixes* (Fig. viii.25) and molded terracotta plaques. 66 Many sacred buildings share this typology in Etruria, in Latium, and in the Italic world, where it lasted longer, becoming combined at times, as we have seen for Etruria at the Civita of Tarquinii and at Poggio Casetta of Bolsena, with the precinct typical of the sakaraklúm. An example is the sanctuary of S. Giovanni in Galdo in Samnium, in which the squared shrine, set in the back of a porticoed precinct, has a podium but remains inaccessible. 67 In Etruria a similar disposition, with its shrine on a podium but here also lacking access stairs, may be found in the rural precinct of Grasceta dei Cavallari on Monti della Tolfa (Fig. viii.26), 68 on the boundary between Tarquinii and Caere. In this case, perhaps the shrine, dating to the third century bce, was surrounded not by a portico but by a series of small square altars, comparable to those in the North Area at Pyrgi, which faced the so-called building of the 20 cells. 69 An even better example might be those altars that presumably existed in the hortus ( garden ) of Ceres, mentioned in the Oscan tablets from Agnone. 70 But the most varied and instructive example of shrines of a relatively advanced period, contemporary with the manifestations of grand temple architecture, is provided for Etruria once again by the South Area at Pyrgi (Fig. viii.2), whose numerous and disparate altars are illustrated above. In truth, one could cite also the sanctuary at Gravisca, a coastal city and a port whose emporium aspect, tied up with the intense Greek traffic, was overwhelming. All concerns of an architectural or urbanistic character developed later and took always second place, with the result that the almost wild agglomeration of structures was strictly functional. In the South Area at Pyrgi (Fig. viii.2) we have instead a clearly organized space, with three shrines in chronological succession: Beta ( bce), Gamma (mid fifth century), and Alpha (mid fourth

164 Sacred Architecture 149 century). Of these, Beta wasthefirsttobedemolished,atthe same time as the construction of Alpha and the creation of the north open court, the main gutter of which traversed the area of the destroyed shrine. All lack a podium and are constructed with walls of stone rubble reinforced here and there with blocks of tufo, or in the case of Beta, with external walls in blocks (later carried away, for the most part) and with internal walls of rubble. The tile roofs were fitted with a partial figured decoration, of decreasing complexity from Beta (akroteria and antefixes), to Gamma (only antefixes), down to Alpha (total disappearance of decoration). Elements common to all were the entrance with a simple door, which opened on the façade but was off center from the axis of the building, evidently to maintain secrecy inside, and the presence of a bench placed against the façade on the exterior for the repose of the faithful, composed of a single line of blocks of tufo. In addition, Gamma and Alpha held, as noted, interior altars, these also off center; in the first was the type with the cup depression, in the second, that of rough stones. The plans of the buildings, each very different from the others, notwithstanding the rather similar dimensions (Beta: 32 sq m; Gamma: 49 sq m; Alpha: 44 sq m), have no precise parallels among other known shrines. Beta, the smallest and the oldest, 71 has an oblong plan, with two little cellas of unequal size and a portico in antis* standing behind, which does not communicate with the cellas. Excavators discovered a pair of gold earrings, hooked together, in the tufaceous beaten earth paving the left cella. Interpreted as a foundation offering, this find confirms that that cella, larger than the other, was sacred to a female divinity, to be identified certainly with Cavtha, considering all the evidence of the altars and inscriptions. The other cella, in whose beaten earth was found a small olpe* withonly the neck painted and of Ionic type, suitable for making a libation on the altar Theta standing in front, will have been the cella of Śuri. The two gods seem to have been venerated in separate cellas but under the same roof, decorated on the ridge pole and on the slopes with akroteria in the form of huge, extremely original rampant torsoesofacheloos (Fig. viii.27) and of poorly preserved animal figures. There were also the usual antefixes with female heads without nimbus* in an Ionianizing style, in this case surely representing Nymphs. The overall aspect of the building recalls, apart from the posterior location of the pronaos and the decoration of the roof, that of a well-known votive model from a Roman site of the territory of Velletri, which also has two cellas and dates viii.27. Terracotta akroterion withtorsoofachelous,south Area,Pyrgi.Latesixthcenturybce. (UniversitàdiRomaLa Sapienza, Pyrgi Excavations.) viii.28. Votive model of shrine from Velletri. Late sixth century bce. Rome, Museo Etrusco di Villa Giulia. (Photo: Soprintendenza per i Beni Archeologici dell Etruria Meridionale.)

165 150 Giovanni Colonna to the Late Archaic (Fig. viii.28). 72 One may propose as the point of its original location the sanctuary, also seemingly for a pair of divinities, located slightly farther along the Via Appia in the locality with the significant name of Soleluna. 73 At the Cannicella cemetery of Orvieto, a large shrine with viii.29. TerracottaappliquéofHadesandPersephone,fromthe shrineatthecannicellacemetery,orvieto.latefifthcentury bce.(aftersantuari d Etruria, 119.) an almost square plan (first decades of the fifth century bce) occupied the central sector of the terrace of the sanctuary and embraced two cellas of slightly unequal width; it lacked a pronaos and was constructed with walls in pier-and-rubble masonry. 74 The terracotta decoration included female-head antefixes with nimbus and akroteria with volutes, one of which represented perhaps the cruel sacrifice of Polyxena. 75 In the late fifth century, appliqués with busts of the couple Hades and Persephone were added (Fig. viii.29) 76 and perhaps also of the pair Demeter and Kore, which can explain the two cellas. 77 The shrine Gamma is an oikos with elongated rectangular plan (5.7 m 8.7 m), with a narrow entrance off axis and an ample cella that repeats the plan of the perimeter walls (Fig. viii.13). The cella is delimited by a thin socle of random stones, including half of a stone anchor stock, such that one imagines a lightweight superstructure of wood or wattle, similar to what must be postulated for the shrine existing at the back of the court at Murlo (Fig. vii.9). The two blocks of stone with cup depressions, mentioned earlier, were found on the ground in this adyton*orpenus,* recalling the penus Vestae, which was the most internal place, fenced by mats (locus intimus tegetibus saeptus: Festus, p. 296 Lindsay). In 1997 a trial trench dug behind the building on its axis brought to light a large parallelepiped ingot of lead, set up vertically in the earth, evidently both as a planimetric refer- viii.30. Antefix from shrine Gamma, South Area. Pyrgi. Ca. 450 bce. (Universitàdi Roma La Sapienza, Pyrgi Excavations.)

166 Sacred Architecture 151 ence for the projected construction and also as a foundation offering. It was surely addressed, as in the cases of the altar Epsilon standing in front and the altar Lambda, to the god of the Underworld, lord of the riches of the subsoil. The roof was decorated with antefixes of the lady s head with nimbus (Fig. viii.30) and of the Gorgon, of types presumably Campanian, not attested elsewhere in Etruria. It seems that in the middle of the fifth century, the cult of Śuri, disassociated from that of Cavtha, was transferred to this shrine, which must have been the location of the table of silver of Apollo that was carried away by Dionysios the Elder during the Syracusan sack in 384 bce (Aelian, Var. hist. 1.20). The rectangular plan recalls that of the most ancient shrines, such as the building Beta of the Civita at Tarquinii and that of the Piazza d Armi at Veii, both mentioned above, the one adjacent to the so-called regia* of Acquarossa, 78 and the one that preceded the famous temple of Juno Curites in the locality of Celle beneath the acropolis at Falerii, which was very small but contained an exceptional lifesized image carved in tufo, of which only the head survives. 79 In Latium one can cite the shrine of the eastern sanctuary at Gabii and the one that preceded the first peripteral temple of Mater Matuta at Satricum. 80 The plan is linked directly to the type of noble house of the Orientalizing period imitated in the tombs at Caere such as the Campana Tomb of Monte Abatone (Fig. viii.31). 81 Cellas equally long and narrow were found on monumental temples of Tuscanic type and also on many of those with only cella and pronaos, beginning with the oldest temple at the Ara della Regina at Tarquinii, recently identified. 82 The shrine Alpha at Pyrgi has a quadrangular plan (6.3 m 7 m), with entrance on the short side facing the sea (Fig. viii.6). Its construction coincided with the demolition of the altar Delta, oriented differently (Fig. viii.10), whose functions seem to have been continued by the altar in rough stones that was set inside the building, as mentioned above. The dedications on pottery, found inside or nearby, mention only the goddess Cav(a)tha, 83 who was summoned by the many pieces of jewelry (a very appropriate offering for the pulchra Proserpina [ lovely Proserpina ]; Vergil, Aeneid 6.142). It seems evident that much later, the goddess, left as the only inhabitant of Beta after the transfer of Śuri to Gamma, which was expressly constructed for him, received a shrine all to herself, when Beta was demolished as a consequence of the Syracusan sack. The absence of all roof decoration, including antefixes, probably means that there was a complete camouflaging of the building, when it was made to look like a normal house. The plan, almost squared, finds viii.31. Plan, Campana Tomb, Monte Abatone, Caere. Mid seventh century bce. (Photo: Soprintendenza per i Beni Archeologici dell Etruria Meridionale.) parallels in the little shrine in the court at Murlo, in the shrine of Menerva at the east corner of the Portonaccio sanctuary at Veii (Fig. viii.37), 84 and in the shrines, already noted, at the Cannicella at Orvieto and at Poggio Casetta at Bolsena. A different category of shrine has a more markedly domestic character, built this way also because it was foreseen that it would be opened for frequent visitation. This type has inside benches placed at right angles, evidently for the consumption of common meals during celebrations or other activities. Examples are the smaller shrine of the rural sanctuary of Grasceta dei Cavallari 85 and the one at the head of the Archaic bridge of San Giovenale (Fig. viii.32), whose sacral relevance is testified by the inscriptions found on vessels there, including a dedication to L[?urs] Larunita. 86 Of this type were in all probability the private shrines constructed by the great aristocratic families near their tumulus tombs, secure and consistent remains that have been discovered only recently. I refer to the shrines of the end of the seventh century whose foundations have been discovered at Vulci near the tumulus of the Cuccumelletta, having a rectangular plan, with vestibule 87 and to another of the first

167 152 Giovanni Colonna viii.32. Plan,shrineatthebridge,S.Giovenale.Sixthcenturybce. (After Forsberg 1984, fig. 37.) half of the sixth century attested by the architectural terracottas found near the tumuli of the Ara del Tufo at Tuscania. 88 Distant successors of these Archaic funerary shrines are the rooms, with or without benches and often with porticoes, of the rock-cut façade tombs at San Giuliano, Norchia, Castel d Asso, Falerii, and Corchiano 89 and also of the subterranean tombs of the two-story type, as at Tarquinii (in the Mercareccia, Tappezzeria, and Caronti Tombs) and at Caere (in the Torlonia Tomb). 90 The laying out of the dead did not take place in these shrines or ceremonial rooms, as is often asserted. That was a ceremony closely connected with the home and was disposed in the relevant vestibule, in a courtyard in front, in the shelter of porticoes, or under appropriate coverings. Instead, the funerary banquets with the connected games and blood sacrifices were held near the tombs, and for these banquets, monumental altars were created in the Archaic period, like the circular one of Grotta Porcina (Fig. viii.12) and the one at the Cuccumella of Vulci, which was of the type with antae.* 91 temples It remains to speak, very briefly, of the aedes with a more complex and articulated plan, normally monumental in dimensions, construction technique, and decoration, of which the most notable representative example is the temple of Tuscanic type described by Vitruvius (De architectura 4.6.6; ; see Appendix B, Source no. v.3), concerning which

168 viii.33. Plan, temple of Jupiter Optimus Maximus, Capitoline Hill, Rome. Sixth century bce. (After Mura Sommella 1998, fig. 6.)

169 154 Giovanni Colonna viii.34. Plan, temple of the Ara della Regina, Tarquinii. Fourth third century bce. (After Colonna 1986, pl. 29.) an imposing literature now exists. 92 The appearance of this and other new types of sacred architecture is linked by Varro with a connection that does not seem to be based solely on chronological order to the introduction of anthropomorphic cult images, according to him occurring more than 170 years after the foundation of the city of Rome, that is, around 580 bce. 93 From that moment the cella, holding the image and covered with the traditional testudinate roof, clearly now with only three pitches, would have been distinct from the pronaos, which was no longer provided with an entrance door but was left completely open. The pronaos, covered by a gabled roof with a front opening and well lighted, became quite accessible and attractive to the faithful, the very place ubi religio administraretur ( where religion must have been performed ; Varro, Ant. rerum divinarum Cardauns). 94 In truth, in temple architecture there was a turning point around 580 bce, documented by archaeology, in which occurred the introduction both of a pronaos with antae considerably prolonging the lateral walls of the cella, and of a podium, which raised the building above the surrounding area, giving a unique access marked by an axial staircase. At Rome this happened with the transposition to the temple of the plan of the grand house, with at least three chambers and a wider vestibule, often having columns inside: that is the Late Orientalizing house type, known in architecture mainly from Caeretan tombs such as those of the Capitals, Shields and Chairs, Giuseppe Moretti, and Greek Vases. 95 The result was the Tuscanic temple, a square or almost squared building showing a tidy division in halves, with the pars antica* in front serving the function of a columned vestibule and enclosed within walls (antae), prolonging the lateral walls of the pars postica.* This rear part was occupied either by three cellas provided with entrance doors or by a central cella and two lateral alae* ( wings ) directly connected to the pronaos. This last alternative considerably enlarged the space useful for cultic performances, display, and the storage of gifts, archives, and so on. For the ancients, the prototype of such monumental buildings was the Capitoline temple, made more majestic by the exceptional addition in front and at the sides of a peristyle and on the back, as it appears from the last investigations, of a sort of two-room posticum* (Fig. viii.33). 96 Initiated by Tarquinius Priscus (in the years bce) on

170 Sacred Architecture 155 an area exaugurated from the preexisting cults by the destruction of many altars and shrines, it was finished by Tarquinius Superbus ( bce) and dedicated by a consul of the first year of the Republic (509 bce). The temple, raised on a podium of m, housed a divine triad (Jupiter, Juno, and Minerva), but this was not always the case for such temples, in Etruria as at Rome: in fact, only the central cella always housed a divinity (or, as in the temple of Castores in the Forum, several divinities), the others having often merely practical functions (as treasuries, annexes, sacraria,* or other types of rooms). Until the excavation of the gigantic foundations of the Capitoline temple verifies the dating handed down by the annalists, the little Servian temple of Mater Matuta at S. Omobono in Rome remains for us the first evidence of a Tuscanic temple. This rose on a square podium, m on a side, clearly inspired by the plan of a templum minus, mhigh( bce), enlarged about 530, when the building received the famous group of Hercules and Minerva as central akroterion. 98 In the more traditionalist Etruria, the plan of the new kind of temple resulted initially from the adding of the pronaos to a building of the ancient oikos type, as is documented by the small rural temple at Punta della Vipera near S. Marinella, sacred to Menerva. 99 To this example we can now add also the first phase of the Ara della Regina, the colossal chief city temple of Tarquinii, datable around bce on the basis of the stratigraphic data and the few scraps of fictile revetment. 100 The temple, probably already at that time sacred to Artumes, a goddess whose cult was propagated in the West by the Phokaian Greeks, had imposing dimensions (12 27 m, on an enormous podium, lacking moldings and measuring m), with a cella and a deep pronaos in antis without columns (Fig. viii.34). At the end of the sixth century, it was greatly enlarged, occupying almost the entire surface of the podium. Two very long alae and a second, outer pronaos, much wider than the first, having four interior columns, were then added to it, according to the model of the Tuscanic temple. Temple B at Pyrgi (Fig. viii.35), sacred to Uni-Astarte, built around 510 bce thanks to King Thefarie Velianas, was the first Etruscan example of a great peripteral temple. It had an almost square cella, a deep, prostyle* pronaos with unmolded antae and a peristyle of 4 6 columns,with a contracted rear portico; walls and columns were of tufo covered by a white plaster. This kind of building, of a clear Greco-Campanian kind, already known in Latium at Satricum and, with regard to the peristyle only, in the Capitoline temple, 101 probably was the rare temple type, referred to viii.35. Plan, Temple B, Pyrgi. Ca. 510 bce. (Universitàdi Roma La Sapienza, Pyrgi Excavations.) by Vitruvius (3.3.5) with the Greek name araeostylos, with columns standing far apart. It had gables decorated Tuscanico more ( in the Tuscan fashion ) but did not conform to the Tuscanicae dispositiones ( the arrangements of the Tuscan order ), especially in the plan and in the proportions of the columns. 102 Not much later, to judge from the terracottas published in 1997, 103 is the so-called Great Temple of Vulci, located on what was surely the principal artery of the city, not far from the west gate (Fig. viii.36). This great urban temple, measuring m and perhaps sacred to Menerva, 104 pursued the tradition of Temple B of Pyrgi, having a single prostyle cella of m within a peristyle of4 6stonecolumns.Its huge podium, 2.40 m high, was dressed, perhaps only at the beginning of the fourth century, by a molded facing in nenfro,* extended to revet the front terrace with its large flight of steps. The same temple plan and dimensions appeared in the temple revealed by geophysical prospection at Marzabotto

171 156 Giovanni Colonna viii.36. Plan of the Great Temple, Vulci. Early fifth-fourth century bce.(aftersantuari d Etruria, fig. 4.5.) within the town 105 and also in temple A of the acropolis, as shown by the recent excavations. 106 The other monumental temples of the fifth century bce in Etruria are all of the Tuscanic type. At the head, and not only in terms of the chronology, is the temple at the Portonaccio of Veii (Figs. viii.37 40), a building exactly square like that of S. Omobono but greater (18.5 m on a side) and much more highly ornamented, with three cellas (for Aplu, Tina, and Hercle?) and an oblong pronaos with two columns only in the front, internally decorated with terracotta painted plaques featuring narrative mythological friezes. 107 The stone columns had capitals of Etruscan Doric style, with hawk s beak molding, echinus,* and abacus.* The roof and its beams shone with polychrome terracotta (Fig. viii.38), 108 including antefixes with heads of Medusa, Acheloos, Satyrs, and Maenads, as well as the akroteria of Apollo (Fig. viii.39), Herakles, Leto(?) (Fig. viii.40), and other figures. These akroteria can be ascribed to the same artists whom Tarquinius Superbus commissioned for the colossal quadriga* of the Capitoline temple. In fact, unique to this temple in all the panorama of Etruscan sanctuaries, and weakly imitated by the Gigantomachy of the later temple of Satricum, 109 is the extensive usage of akroteria in the form of over-life-sized statues of divine or heroic personages, displayed along the ridge beam and reciprocally connected in a complex figurative program. Certainly the authorities who commissioned the works intended to convey content and messages of great importance, but unfortunately for us, these remain in large part obscure. ThesecondtempleatPyrgi,A, 110 sacred to the goddess Thesan, corresponding to the Latin Mater Matuta, was built on the flank of the first around bce,aswasproved by the pottery found within the packing of the foundation. The building, m, was built according to the Tuscan scheme but having in the pronaos three rows of columns, the first extending to the entire façade and all founded on a regular grid of walls (Fig. viii.41). It is exactly the adaptation of the Tuscan scheme in the temple of Castor and Pollux in the Forum at Rome, which was similar also in its measurements and dedicated in 484 bce. 111 But at Pyrgi we have the first occurrence of an innovation clearly showing off the hierarchy existing between the cellas: those on the sides are now shortened by the cutting of a small inner chamber, reserved evidently for the storage of the most precious furnishings and donaria, beginning with gold and silver, coined or not (the Greek silver coins, residual from the sack of 384 bce, were unearthed in the area behind). 112 The columns and external walls were of tufo, while the interior walls seem to have been of mud bricks, plastered and decorated with paintings. Of the terracotta decorations, the best preserved are from the pediment on the back of the building, well visible from the road from Caere and for this reason no less sumptuous than those of the façade facing the sea. The central relief (Fig. viii.42), now almost completely reconstituted from numerous fragments, is the most important we have from an Archaic Tuscan temple. It measures m and it covered over the projecting end of the central beam of the gabled roof. The six figures in high relief, at three-fourths life size, are involved in episodes of the saga of

172 viii.37. Plan, temple and sanctuary of the Portonaccio, Veii: temple (A), pool (B), cistern (D) altar (δ) and shrine of Menerva (θ) Ca. 500 bce. (After Colonna 2002, fig. 9.) viii.38. Pedimental sima from the Portonaccio temple, Veii. Reconstruction by Claudia Carlucci. Ca. 500 bce. (Photo: Giovanni Colonna.)

173 viii.39. Akroterion of Aplu from the Portonaccio temple, Veii. Ca. 500 bce.(dai Rome ) viii.40. Akroterion of Leto (?) from the Portonaccio temple, Veii. Ca. 500 bce. (dai Rome )

174 viii.41. Plan, Temple A, Pyrgi bce. (UniversitàdiRoma La Sapienza, Pyrgi Excavations.)

175 160 Giovanni Colonna viii.42. Columen sculpture of thesevenagainstthebesfrom Temple A, Pyrgi bce. (UniversitàdiRomaLa Sapienza, Pyrgi Excavations.) the Seven against Thebes: Zeus hurls lightning against Kapaneus and Athena registers disapproval as Tydeus bites Melanippos on the back of the head. Temples similar to the bipartite plan of the lateral cellas and to the grid pattern of the foundations to temple A of Pyrgi, but with the normal two rows of columns in the pronaos, are that of Hercle, recently excavated at Caere in locality S. Antonio, 113 and the larger temple of the acropolis of Marzabotto, C, flanked by the already mentioned altar podium D (Fig. viii.15). In this case, a service room was also cut in the back of the central cella, but it was very narrow, perhaps better explained as a large base for multiple images. Strangely enough, the temple was decorated, as far as we know, only with painted eaves tiles and palmette antefixes, similar to ones found in the habitation area, not earlier than the second quarter of the fifth century. The complete absence of a figural program provides a measure of the practical mentality of the authorities of that provincial site. The numerous temples at Orvieto present a very different case, and they have yielded rich terracotta decorations. The only one whose plan we know is that at the Belvedere (Fig. viii.43), 114 on the extreme northwest of the cliff, the seat of a cult of Tinia as an Underworld god. It rose on sloping terrain, with a quadrangular court in front, quite large, recalling the ancient tradition of precincts with altars inside. The building had a Tuscan plan ( m), with a double file of columns in the pronaos, the location of which is certain because each column was provided with a footing of masonry isolated from the rest of the foundation. Of the terracotta decoration, little has survived from the time of the building during the first half of the fifth century bce, but a quite notable series of figures in high relief has been identified as decoration added to the rear of the temple (cf. again Pyrgi A) in the first half of the fourth century. Another version of the Tuscan temple was adopted in the fifth century in the Legnisina sanctuary at Vulci, already mentioned (Fig. viii.20), 115 and in temple E at Marzabotto, probably the latest of the three standing there (Fig. viii.15). In this case, the pars postica occupied only a third or slightly more of the length of the building, leaving the other twothirds to a doubled pronaos, with a row of two columns separating the outer from the inner space. This is the model elaborated upon at Ardea in Latium, where it occurs in all the three great temples of the city but with isolated foun-

176 Sacred Architecture 161 viii.43. Plan, Temple at the Belvedere, Orvieto. Fifth century bce. (AfterSantuari d Etruria, fig. 4.7.) dations for the columns. 116 It emphasizes the special function and importance that the pronaos had inside this type of temple, comparable to that of the atrium in the old Roman house. The greatest temple ever built in Etruria, symbol of the role of leadership attained by Tarquinii after the fall of Veii and the entrance of Caere into the Roman orbit, was the fourth-century Ara della Regina (Fig. viii.34). 117 At that time, the temple was entirely rebuilt and enlarged, with a posticum of two chambers at the back, almost a quotation of the Capitoline temple, and with a spectacular terrace in front, which prolonged the podium to a length of 77 m. The

177 162 Giovanni Colonna viii.44. Terracotta sculpture of winged horses, from temple of the Ara della Regina, Tarquinii. Ca. 350 bce. Tarquinia, Museo Archeologico Nazionale. (Photo: Soprintendenza per i Beni Archeologici dell Etruria Meridionale.) terrace, functioning also as a tribune towards the square in front of it, had two levels, with a large central staircase and a ramp to go up to the temple. At one corner there were an altar and a precinct, differently oriented, which duplicated Archaic structures once existing at a lower level. The columns and the antae, some 9 m high,were of an Italian- Ionic order; the podium had a facing molded at the bottom; and the terrace was bordered by a molded balustrade. The building, constructed before the middle of the fourth century, underwent an extensive reworking inside, perhaps at the same time as a partial renovation of the fictile revetments in the first half of the third century bce. In both phases, the cella featured three small chambers at the back, suggesting a cult for a triad or at least for a single divinity present in three different hypostases. This feature might fit well with Artumes, whose name is the only one to appear on the few votive objects found in the excavation. Among the terracottas are the handsome winged horses of a chariot in high relief, now in the Tarquinia museum (Fig. viii.44), which, to judge from their findspot and the size and shape of the supporting plaque ( m), covered the viii.45. TerracottapedimentalsculptureoftheSevenagainstThebes,fromthetempleatTalamone.Secondcenturybce. (AfterB.von Freytaggen.Löringhoff,Das Giebelrelief von Telamon, Mainz 1986, Suppl. 1.)