The Etruscan World (Routledge Worlds)

• chapter 60: Animals in the Etruscan household –

its mouth; 4) the bucchero model boat from Capena circa 675–650 bc illustrating a
drowning man, which serves to remind us that not only the animals but the means by
which they are caught can be life threatening; 5) the terracotta panel from Arezzo circa
500 bc depicting a horseman galloping after a fl eeing enemy; 6) the bronze statuette
from Vulci circa 425–400 bc of Herakles wrestling with the Nemean lion (Haynes 1985:
204 no. 136), and 7) the large bronze vessel with lid from Bisenzio (Necropoli Di Olmo
Bello – tomb 22) adorned by seven men with spears attacking a chained animal, perhaps a
bear or a wolf (circa 730–700 bc) – something that may depict a form of sport, but could
equally be read as a ritual (Haynes 1985: no. 5).

Snakes

The serpent was an important part of general Mediterranean iconography and Etruscan
religion, and whilst overlooked, they have a prominent place in funerary art. In the
Tomba dell’Orco II at Tarquinia (fourth century bc), there is a clear depiction of the
demon Tuchulcha, who is shown holding a bearded snake in his left hand and with two
smaller snakes in his hair (Hostetler, 2007). The markings on the snake depicted in this
tomb are similar to those of the adder, which is indigenous to Italy and most of Europe.
A number of examples of Etruscan representative art depicting snakes have survived. In
Bologna, a gravestone with a relief of a snake fi ghting a hippocamp was found (circa 400
bc, Bologna Museum; Haynes 2000: 307 Fig. 247). Another motif from a sarcophagus
from Vulci (circa 350–300 bc) depicts a griffi n protecting a serpent (Ny Carlsberg
Glyptotek, Copenhagen, Moltesen and Nielsen 1996: 44 no. 7). On a red-fi gured krater
for mixing wine, found at Civita Castellana (circa 400 bc), the infant Herakles is shown
strangling snakes with his bare hands (see Fig. 60.2k, = GR 1888.10–15.13, British
Museum). Finally, note the bronze votive statuette of a winged female Vanth found near
Mount Vesuvius (circa 425–400 bc) which shows her holding snakes in either hand –
perhaps a symbolic protective role towards the souls of the departed (GR 1772.3–2.15;
British Museum; Bonfante and Swaddling, 2006: Fig. 53; Haynes 1985: no. 142). Snakes
have a close association with the earth, inhabiting subterranean lairs, and as such they
have a cross-cultural association with death and the Underworld. The Etruscans shared the
hilltops with such snakes as the adder, and their stone dwellings, which would have been
relatively dark, cool and moist, would have been enticing for snakes (Hostetler, 2007).
Hostetler (2007) also points out that in the Tomba dei Caronti at Tarquinia (third
century bc, Steingräber 1985: color pls. 61–63) the wall paintings depict several male
demons, some labeled as Charu(n), which have a very distinctive blue colored skin. This
apparently odd form of skin coloration may either symbolize the change in skin coloration
that occurs with an adder bite, which is typically a blue to purple or black discoloration
associated with the hemorrhage that follows the injection of venom. Alternatively, it may
serve to symbolize the typical blue skin coloration that one fi nds with decaying fl esh.

Animals: protectors of souls and wealth

Many of the Etruscan tombs and indeed funerary urns either depict or incorporate
animal motifs. Moreover, a great many of these animal motifs appear to have performed
a protective role, serving to stand guard over the entrance to a family tomb or to play a
similar role with regard to an urn. Take for example the British Museum cinerary urn