Etruscan Religion
by Mario Torelli
From The Etruscans, edited by Mario Torelli
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The earliest secure evidence documenting prehistorical Etruscan religious ritual comes from an excavation made during the past few years, when there was the discovery of a place of worship with undoubted "political" connotations, dating to between the Later Bronze Age (tenth century BC) and the Hellenistic Age (third century BC) in the heart of ancient Tarquinia. [...] The original locus of this cult is a deep cavity in the ground where various kinds of sacrifices were made; the pit ha yielded unprecedented evidence suggesting sacrifical rites involving infants, a practice to which our sources attribute the origin of the Roman vestival of Compitalia performed for the cult of the domestic goods known as Lares (Macrobius, Saturnalia, I, 7, 35). Subsequently, in the seventh century BC a cult building was erected, complete with altars linked to the mouth of the shaft, and a large trapezoidal precinct, probably the site of collective rituals and gatherings: the deposits of bronze parade weaponry, ceremonially rendered unserviceable, suggest observances similar to those of the Roman rites of Iuppiter Feretrius.
Providing clues as to the Etruscans' conception of relgion during the protohistoric period are tettramorphic or nonetheless non-antropomorphic representations of deities found on cineary urn lids, such as the famous lid from Pontecagnano (ninth century BC), on which appears a couple from the underworld with elongated extremities and faces, caught in a sacred conjugal embrace; or the one from Bisenzio (eigth century BC), depicting a pyrric around a gigantic figure with monstrous features (or a deity than a bear-figure as suggested). Before the beginning of the Hellenization process it seems that deities were believed to be horrendous, animalesque figures (at least those concerned with death). This tradition arose in historical times in the guise of the monster Olta, who emerged from the land of Volsinii and was struck down by a thunderbolt summoned by Porsenna (Pliny, Naturalis qhistoria, XI, 140), a feature that survived in the underworld larvae and the subterranean dei indigetes-pisciculi (gods in form of fishes) of Roman tradition. There can be little doubt that in this early phase of Etruscan religion a fundamental role was entrusted to the elements of nature, housed in the sky, earth, and the underworld; not endowed with antropomorphic features they were of terrifying appearance, and often of ambiguous sexual connotation: ever since the remote past, this ambiguity attitrubed to the gods applied not only to the retinue of "demons" of historical Etruscan deities, but even to Velthumna-Vertumnus himself, deus Etruriae princeps and lord of the federal sanctuary of Volsinii (Varro, De lingua latina, V, 46),whose features are described in Propertius (IV, 2) as protean and sexually ambigous, despite the inevitable Hellenistic euhemerisms.
From the beginnings of class stratification in the eighth century BC, and the consequent cohesion into increasingly evolved complex settlements (eighth-sixth century), Etruscan society found its ideal counterpart in Greek civilization, which was soon adopted as a model for an emerging aristocratic social setup styled on the Greek poleis. This process of cultural induction, whose byproduct was the Hellenization of the Etruscan pantheon and religious ritual, generated a combination of Greek models forged with characteristics of traditional pre-orotohistorical cult practices, with a sprinkling of eastern elements introduced into Etruria by Phoenician trade dating to before the first significant impact of contact with the Greeks, at the start of the eighth century BC. This interchange was responsible for the Orientalizing features of Etruscan religion, epitomized by the Etrusco-Punic goddess Uni-Astarte in the sanctuary at Pyrgi; other manifeastations are the emergence of the haruspex, which thenceforth rapidly became a standard Etruscan means of divination in historical times, having indoubted roots in the Mesopotamian science of hepatoscopy. All these influences reached the Etruscans by means of the peninsula's varied contacts with the East in the earlry stages of the first millenium BC. This notwithstanding, it was primarily the Greek civilization in all its cultural complexity -- literature, visual arts, lifestyle, production techniques, military science, and hence the very material and cultural identity of both the individual and society -- that offered the pivotal reference point for the emerging Etruscan cities, which as early as the eighth century BC sifted through the vast legacy of Hellenic culture for aspects that were compatible with the existing society and culture.
One of the most crucial aspects of this assimilation process -- and one that guaranteed the Etruscan political future -- was the Greek religious legacy, whose absorption wrought a sweeping revolution of beliefs followed by the Hellenization of a large quota of the Etruscan pantheon and the assumption of a great many Greek myths; this fostered a manifest alignment of religious practices with the Greek system, and brought with it the Hellenization of the rituals and conceptions involved in indigenous worship, such that on the surface the Etruscan religion began to look like a provincial variant of its Greek counterpart. Roman culture was likewise being affected, with the piecemeal Hellenization of its gods and forms of worship in a manner similar to the process then under way in Etruria.
Thus we have Culsans, which appears to stem from the word *culs ("gate" or "doorway") representing a two-headed deity comparable to Janus, it too linked to the Latin word for gate, ianua. Meanwhile Laran is a war-like figure who features in many local myths and perhaps corresponds with Quirinus; Calu inhabits the underworld, and Pethan might be his paredra; Catha (or Cautha) is a sun-god with underworld connotations similar to the Latin (Sol) Indiges. Mlacuch is almost certainly equivalent to the Latin Bona Dea and to the Sabine Cupra; Rath appears to be a young god linked to the art of divination; Alpan belongs to the circle of Aphrodite, but inscriptional dedications assign her a cult of her own; Cilen may be linked to the god of Fate; in its Latinized form Velchumna becomes Vortumnus (perhaps linked to the Etruscan god Tevere-Volturnus?) and rather than represent an independent deity could be one of the (Tinia)Velchumna, i.e., a kind of youthful Zeus, protector of vegetation. Despite some reservations regarding the attributes of each deity, many of the non-Hellenized gods are indubitably allocated to the underworld, a relevant sphere in the Etruscan worldview, and one that found scant material for assimilation in the Greek pantheon.
By the end of this fervid phase of interpretatio Graeca of a number of the local deities -- a process that ended in the seventh century BC -- the Etruscan pantheon had established its definiteve state. From the seventh to the end of the fourth century BC the repertoire for decoration of whatever articles with intrinsic ideological significance -- from the parade items and luxury goods to the sculpted ornament of the large sanctuaries -- is dominated without exception by Greek mythology. The mythical themes of Hellenic stamp adorning the monuments in the early Antique period (seventh century BC) are unequivocally of a political nature, celebrating the sovereigny and aristeia of the noble families, declaring the mythical origins of their ghenos and the conquest of power. As a result, considerable space was given over to the myths of Theseus and Heracles, to the THeban and Trojan cycles, in which the thematic material mentioned above found easy correspondence; whereas representations of such myths as battles against giants, titans and amazons -- at the time very popuar in contemporary Greece to portray the triumph of cosmic order over the chaos and barbarity of mankind -- are surprisingly few and far between. From this distinguishing fact one can reasonably surmise inherent differences in the Etruscan view of celestial and cosmic order from that of the Greeks.
[...]
While the interpretatio Graeca that took place in the Archaic period -- favored by successive outside philosophical and religious influences upon Etruscan religion (particularly Orphism and Pythagoreanism spreading from Magna Graecia) -- helped establish a theological framework explaining the balance of powers, spheres of influence, and divinities, it never entirely obscured the original and often ambiguous nature intrinsic to the Etruscan gods, whose distinguishing feature was their uncanny ability to shift freom heaven to earth, to switch from one type of power to another, to trespass between domains and, not least, their sexual ambivalence.
Thanks to this pecularity of the Etruscan religious mentality, the ambiguity of the indigenous gods allowed them to transit from one sphere to another and therefore assimilate the corresponding powers of wherever they went. The result was the development of a concept essential to Etruscan and Italic culture, known to us through the art of divining: the mysical correspondence between templa, in caelo, in terris, and sub terra, that is, the coexistence of supernal forces in the celestial spheres, on the earth, and in the underworld. This analogy was transferred to the haruspicy, by which the subdivisions of heven and earth were identified on the surface of the liver of the victim. Arising at source from the pan-Italic branch of the practice of interpreting omens and portents -- probably influenced by Mesapotamian concepts during the Orientalizing period of the eighth and seventh centuries BC -- haruspicy was a political and religious pecularity refined by the Etruscan priesthood, which systematically developed three distinct kinds of divining in parallel: the scrutiny of entrails or livers (hepatoscopy), of lightning (fulguratoria), and thunder (brontoscopy). The class of priests developed within the larger clans and soon saw the emergence of an oligarchy, a characteristic of Etruscan society from the fifth century BC onward, which developed the esteric science of reading omens reputed unintelligible to the common man, and whose interpretation was reseverd to the priestly members of the ruling class. In the Hellenistic period this elite of expert consultants, composed of heirs of the aristcracy of the Etruscan dodecapolis, established a collegium lx harusicum based in Tarquinii, the sacred town where Tages was born.
At any event, the progressive "normalization" of Etruscan religious culture as it succumbed to the influence of the Hellenic world resulted in a more clearly defined, less protean and ambiguous pantheon. Thus prompted to conform with their Greek counterparts, the Etruscan gods gradually acquired more stable theological attributes, compatible with the prevailing characteristics of the original deities -- whether hostile or benign, chthonic or celestial -- according to their appointed sedes and to the ability of the haruspices to deliver interpretations of prodigious natural events requested of them. Thanks again to Greek influence during the late Classical and above all Hellenstic periods, these doctrines steadily absorbed input from the Orphic-Pythagorean tradition and from astrological practices of varying nature and significance, a process that gradually saw the Etrusca disciplina evolve into a complex corpus of religious knowledge. That science was managed by professoinal haruspices based in each town of the Dodecapolis, gathered into a corporation of sixty priests, the collegium lx haruspicum, with its headquarters in Tarquinii, the birthplace of the fabled child-like seer Tages. The resulting corpus of doctrines was systematically enhanced with the colege's collective responsa together with the specific prognostications made each time by individual diviners (generally a member of the collegium) and complied in volumes.
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Though scarce, what fragments survive of the written sources provide vital insights into the fundamental features of the Etruscan spiritual ethos. The gods themselves are distant, their sedes remote, whence, either alone or concomitant with others in a groupor divine compound, they make their will manifest to mankind. However, whereas the Greek and Roman religions of this same period theorized on the pax deorum, the peaceful balance between the divine and human spheres and the need to reestablish harmony whenever man's actions upset the balance, the Etruscans' idea of order -- attested by their disregard for such cosmogonic myths as Gians and Titans -- answers to criteria whose theoretical basis is still largely obscure, but at all events obeys a different logic to Greek thought in the Classical and Hellenistic ages. Etruscan mentality has been effectively described by Seneca in a famous passage from the Naturales quaestiones (II, 32, 2): "We believe that thunderbolts are the outcome of a collision of clouds; instead, [the Etruscans] believe that the clouds collide in order to produce thunderbolts: since they attribute all phenomena to the will of the gods, they are convinced that things have meaning not because they happen, but because they are bearers of portents."











