Lead tablet from Magliano, ca. Florence, Archaeological Museum. After Morandi , 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 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 proudly exhibiting to the viewer.
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Like his great-grandfather, he devoted himself to religious duties, perhaps including the cult of ancestors. Gold tablets from Pyrgi, the harbor of Caere. End of sixth century bce. Unata Zutas. Boundaries of the Dardanians. Of Tin. 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. Tarquinia, Museo Nazionale. Florence, Museo Archeologico. After es, 5. Near East and Egypt but downplayed in Greece.
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The tail shaped like a serpent is a restoration. This was indeed a splendid gift,. From Praeneste comes a mirror with Latin inscriptions, now in the Metropolitan Museum of Art, dated ca. It shows Iovei i. 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. It was mentioned in the text of the prophecy of Vegoia Appendix B, Source no. 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.
Third century bce. Cortona, Museum. After A. It records a legal contract or religious ritual, including a long list of the names of the. Praenestine mirror with Juno, Jupiter, and Hercules. After cse usa 3. 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.
Dedications to Hercle. Bronze statuette dedicated to Selvans Tularias. End of fourth century bce. Malibu, CA.
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The J. Paul Getty Museum. Several inscriptions came to light in the late s and early s to a cult in honor of Hercle. A votive inscription on a bronze base in the Manchester Museum Fig. A large bronze club, a bronze statuette of Hercle in Toledo Fig. Rectangular boundary stone from Perugia. Third or second century bce. Perugia, Museo Archeologico. Photo: Schwanke, dai Rome Getty Museum all have inscriptions that testify to an important cult place for Hercle.
The inscriptions are incised on the. Bronze tablet from Cortona, Tabula Cortonensis.
After Agostiniani and Nicosia , pls. Bronze base dedicated to Hercle. Manchester Museum. Let us now consider each of these themes at greater length.
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The tendency to put gods in pairs or dyads is also deduced through inscriptions. Bronze statuette of Hercle. Ca bce. Toledo Museum of Art. Courtesy of Toledo Museum of Art. Though the statue is based on a Greek fourth-century model, the baby is a peculiarly Etruscan addition. Velchina [to Selvans? 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. Bronze mirror with Prometheus Unbound. Early third century bce.
It belongs in the context of the world of the dead and of ghosts. Bronze mirror with Uthste, Cerca, and Velparun. Bronze mirror with Lasa, Hamphiar, and Aivas. London, British Museum. After cse Great Britain 1, I, 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.
In a way, the signs of the gods were themselves a kind of writing that had to be deciphered by men. 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. After G. Zimmer, Spiegel in Antikenmuseum, Berlin, , pl. 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.
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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.
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. 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.
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.
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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.
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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.
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