entourage. Is the hare held by a maenad in the presence fertility amulet combining a hare and a cowrie.58 In of Dionysos on the black-figure neck-amphora in Paris magical terms, the hares of 77.AO.82 may have mirrored, (attributed to the Amasis Painter) a gift to the god or an increased, or focused the fertility and healing aspects of emblem of the wild nature of the god’s followers?50 the divinity they refer to, accelerating the speed with However, as T. H. Carpenter points out, there does not which the pendant could ward away danger (a hare’s foot seem to be a “consistent pattern of use for the hare in gives the owner the animal’s fleetness of foot) or promote early Dionysian scenes.”51 rapid healing. The Etruscan aspects of 77.AO.82 suggest that the subject NOTES had particular relevance in Etruria, and more particularly in central, internal Etruria. Might it represent a native 1. J. V. Canby, “The Child in Hittite Iconography,” in Ancient Italian divinity such as that represented by the Vatican Anatolia: Aspects of Change and Cultural Development: Essays in “Herakles” or the Portonaccio terracotta? Or could it be a Honor of Machteld J. Mellink, ed. J. V. Canby, E. Porada, B. rare illustration of one of the indigenous male hero- Ridgway, and T. Stech (Madison, WI, 1986), p. 68. divinities that became absorbed into the Etruscan Hercle 2. The Ducktail is described by Richardson 1983, p. 34, as “a of the fifth century B.C.? smooth cap of hair that makes a low arch across the forehead, On balance, given the ancient connection between amber leaves the ears uncovered, and ends in a point at the top of the and divinities of light, and the iconographic and stylistic shoulders.” She notes that it is worn by the later group of connections of 77.AO.82 to the Artemis Orthia ivories, the perizoma-clad spearmen and is “a stiff version of the Laconian Grächwilhydria, the Lusoi bronzes, and the characteristic haircut of the kouroi of the Middle Archaic period, [which] helps to date these figures in the middle or third Samian bronze girl, the evidence seems to support a quarter of the sixth century.” Compare also the hair of the female identity for the figure. The pendant may represent bronze kouroi in Siena (Museo Archeologico Nazionale di Siena the Greek (Laconian?) Artemis accommodated to a native 38720: ibid., p. 122, figs. 250–51) and in Volterra (Museo Etrusco female hunting divinity, one traditionally represented in Guarnacci 4: ibid., p. 121, figs. 252–53). the Potnia Theron schema. Whichever hunting divinity is 3. Painted wall panel of a youth before an altar from the represented, the pendant would offer protection. If Banditaccia Necropolis, Cerveteri (Louvre Cp 6626): Haynes Artemis, she would offer special protection for women in 2000, p. 220. childbirth, not just because of her skill in midwifery, but also because she offers death to women for whom the 4. Frankfurt, Liebieghaus 436: V. Mitsopoulos-Leon, “The Statue of pain of childbirth would be too great.52 In the Iliad, Hera Artemis at Lousoi: Some Thoughts,” in Sculpture from Arcadia reminds Artemis, “It was against women that Zeus made and Laconia: Proceedings of an International Conference Held at you a lion, and granted that you might kill whichever the American School of Classical Studies at Athens, April 10–14, ones you choose.”53 This more violent side of Artemis, 1992, ed. O. Palagia and W. Coulson (Oxford, 1993), pp. 33–39, from as early as the seventh century B.C., fueled with earlier bibl., including P. Bol, “Die ‘Artemis von Lousoi’: apotropaic magic, and medicine.54 In late antiquity, Eine klassische Wiedergabe eines frühgriechischen Kultbildes,” Artemis the bow-bearer was called upon in “aggressive” in Kanon: Festschrift Ernst Berger = AntK Beiheft 15 (1988): 76–88; magic and medicine as quite literally a “pain-killer.”55 So, R. Tölle-Kastenbein, Frühklassische Peplosfiguren: Originale (Mainz, 1980), pp. 149–52; and LIMC 2 (1984), s.v. “Artemis” (L. too, were Apollo and Herakles. In the rituals of death and Khalil), pp. 633, 738–40, no. 104, pl. 450. in the tomb itself, this ornament-amulet would have offered protection of the most powerful sort. Still to be 5. For the ivory and bone plaques representing feather-crowned resolved is the possible relationship of this image with the goddesses in various actions, see Marangou 1969, pp. 9–17, nos. iconography of the Hittite child. Might this figure, too, 1–4, fig. 15. On feathered crowns in Etruscan art, see Bonfante incorporate something of the miraculous-child concept? 2003, pp. 69–70, 135–38, 139, 147. Throughout antiquity, the hare’s proverbial fertility made 6. LIMC2 (1984), s.v. “Artemis” (L. Khalil), pp. 86–98, 631–32, it a rejuvenating symbol, and it was used in direct magic 742–43, with reference to J. Boardman, “Artemis Orthia and 56 Chronology,” Annual of the British School at Athens 58 (1963): to ensure regeneration. As an ornament, this large, 1–17; and Dawkins 1929. shining amber carving must have made a great impression with its potent imagery; as an amulet, it would 7. On Figure A as a female, see Bonfante 2003, pp. 219, 226, n. 36. have served its owner(s) well in life and death.57 Among The pair may be mourners but perhaps not ancestors: see F. R. the few examples of amber hare pendants is another S. Ridgway, “Near-Eastern Influences in Etruscan Art,” in Italy pendant in the Getty (79.AO.75.28, cat. no. 30), a “doubled” and Cyprus, 1500–450 B.C., ed. L. Bonfante and V. Karageorghis (Nicosia, 2001), p. 354. L. Bonfante refers to A. Maggiani, “Le Cat. no. 4 117