230. Sophocles: The Plays and Fragments, part 3, Antigone, trans. R. C. 234. This author was among the first to suggest the continuity of Jebb (Cambridge, 1900), 115s. Dionysian subjects in Italian amber objects from the 231. The literature on Dionysos in Italy is vast. Especially important Orientalizing period through Late Antiquity. See also for this study, in addition to the sections on the god in LIMC, Mastrocinque 1991; and D’Ercole 1995, n. 18. were D. Paleothodoros, “Dionysiac Imagery in Archaic Etruria,” 235. Herakles’s seminal role in amuletic magic is partly explained by Etruscans Now: The British Museum Twenty-Sixth Classical his ability, even as a baby, to overcome dangerous animals and Colloquium; An International Conference Hosted by the British monsters and to conquer Death. In Euripides’ Herakles Furens, Museum, Department of Greek and Roman Antiquities and the the hero repulses the attack of the demonic (Gorgon) and British Museum Friends, 9–11 December 2002, “assumes the same appearance and powers as the invading http://www.open.ac.uk/Arts/classtud/etruscansnow/index.htm force: issuing ‘terrifying looks,’ he rolls his Gorgon-like eyes”: (accessed April 28, 2004); Bonfante 1996; S. G. Cole, “Voices Steiner 2001, p. 171. Herakles’s survival of Nessus’s deadly from Beyond the Grave: Dionysus and the Dead,” in Masks of poison might have made him a “wounded healer” (similia Dionysus, ed. T. H. Carpenter and C. A. Faraone (Ithaca, NY, and similibus curantur). His role in spring cults and his sanative London, 1993), pp. 276–96 (with earlier bibl.); L. Bonfante, aspects relate to his successful cleansing with water of the “Fufluns Pacha: The Etruscan Dionsyus,” in Masks of Dionysus; Augean stables and other exploits. Water was a healing agent, A. Bottini, “Appunti sulla presenza di Dionysos nel mondo a carrier of omens, and a supporter of fertility. On Classical italico,” in Dionysos: Mito e Mistero; Atti del convegno spring cults, see F. Muthmann, Mutter und Quelle: Studien zur internazionale, Comacchio, 3–5 novembre 1989, ed. F. Berti Quellenverehrung im Altertum und im Mittelalter (Basel, 1975). (Ferrara, 1991), pp. 157–70; G. Colonna, “Riflessioni sul In private worship especially, Herakles was commonly dionismo in Etruria,” in Dionysos: Mito e Mistero, pp. 117–55; W. appealed to as a defender against evils and a victor over them. Burkert, Greek Religion, trans. J. Raffan (Cambridge, MA, 1985); SeeOxford Classical Dictionary (Oxford, 1949), s.v. “Herakles” E. Richardson, “The Story of Ariadne in Italy,” in Studies in (H. J. Rose), pp. 413–14. As Mottahedeh 1979, p. 201, outlines, Classical Art and Archaeology: A Tribute to Peter Heinrich von “Herakles was the first of the heroes to appear with a facing Blanckenhagen, ed. G. Kopke and B. Moore (Locust Valley, NY, head, and he remained the most prominent throughout Greek 1979), pp. 189–96; and J. D. Beazley, Etruscan Vase Painting coinage.” Faraone 1991, n. 6: “The locus classicus for the (Oxford, 1947). Bonfante 1996, pp. 162–63, summarizes: “In deadly Herakles is Od. 11.605–12, where he appears glaring Etruscan religion, Dionysos (Fufluns) is also god of the dead. about with his bow forever drawn.… He alone shares Ares’ Satyrs are images of Dionysos’ power as well as creatures of epithet πτολίπορθος as the traditional destroyer of Troy and the world of the dead.… The connection of sexual or Oechalea.” Faraone 1991, pp. 195, 203, no. 19, fig. 5 (with scatological activity with the circle of Fufluns in Etruscan tombs reference to A. Minto, “Curiosità archeologiche,” StEtr 1 [1927]: seems to urge a connection between sexuality and death that 475–76, pl. 72a), discusses a magically bound Etruscan bronze can present apotropaic meanings as well as notions of fertility figure of a male god or hero wearing a wolf- or dogskin hat and continuity between life and death.” The representations of and leaning on a knotty club; the head is completely twisted male figures disguised as satyrs on funerary objects, such as in about and the legs broken off below the knees. Faraone (and the dance of a woman and a man disguised as a satyr on the Minto) tentatively identifies him as the Etruscan Herakles. funerary cippus from Chiusi (Chiusi, Museo Archeologico Alternatively, this figure may represent Suri/Apollo or Aita/ Nazionale 2284), may shed light on amber imagery and the Hades, despite his lack of a beard, or Perseus, despite the role of amulets in the grave. Haynes 2000, pp. 246–47, presence of the club. For a dog-hatted Perseus, see A. Krug, discusses the Etruscan staged funerary performances “with “Eine etruskische Perseusstatuette,” in Festschrift für Frank satyrs or silenoi; the pairs of women (maenads?) with tall, Brommer,ed. U. Höckmann and A. Krug (Mainz, 1977), pp. draped headdresses; nude boys dancing with castanets.” 207–17, pls. 57–58. These are the same subjects that are found in fifth- and early- fourth-century amber carvings, the same subjects that are The literature on Herakles in Italy is extensive. In addition to found on vases painted by the Micali Painter and his followers. LIMC5 andLIMCsuppl. 1 (2009), s.v. “Herakles/Hercle,” Dionysos’s importance in the life of children in ancient Greece literature consulted includes Le Mythe grec 1999 (in n. 225, is evidenced by the spring festival of Anthesteria, one that above). celebrated new growth and transformation. His role in healing, Schwarzenberg 2002, p. 57, reminds us that elektron and magic, and protection (especially of children) deserves greater Herakleon, the name given in antiquity to magnetite (the attention. Dionysos’s own infancy and childhood were magnetic compound Fe3O5, formed when lightning strikes iron significant in myth, and he was a revered father. Might this ore) as well as to a plant that could cure wounds made by iron have contributed, too, to his place in the protection of the weapons, were first associated by Thales because of their young? magnetic, animate properties. Might an elektron amulet of 232. Cole 1993 (in n. 231, above), pp. 277–79. Herakles with a sword have incorporated multiple magical manners of animated healing? 233. E. R. Dodds, The Bacchae of Euripides (Oxford, 1944), p. xii. 76 INTRODUCTION