Accompanying CD-ROM contains ... "all relevant illustrations from the book, arranged in alphabetical order according to mythological character. To increase the usefulness of the [CD-ROM], supplementary images not in the book have been added[.]"--P. xv.

The Etruscan culture flourished for nearly 1000 years, playing an important part in the history of the Mediterranean alongside the Greeks, Phoenicians and Romans. This title explores their legacy in mythology and beliefs, as well as Etruscan art, which includes interpretations of scenes from Greek mythology.

The lively ferment in Etruscan studies, generated in part by recent archaeological discoveries and fostered by new trends in interpretation, has produced a wealth of information about the people historians traditionally considered as inaccessible. Now, scholars are reconstructing a portrait of the wealthy, sophisticated Etruscans whose territory once extended from the Po River to the Bay of Naples. Unfortunately, the wider English-speaking public has had no single resource which synthesizes these new findings and interpretations about the Etruscans. In fact, some sources continue to propagate the traditional myth of the "enigmatic and isolated Etruscans." In response, the eminent Etruscan scholar Larissa Bonfante asked seven other internationally known classicists to join her in providing this "handbook" for the non-specialist as an authoritative and readable guide to the burgeoning Etruscan scholarship. As Bonfante explains in the introductory chapter, "The Etruscans provide an excellent opportunity of turning archaeology into history: this we tried to do, in our chapters, according to our individual directions. Nancy Thomson de Grummond traces the interest in and knowledge of the Etruscans from the earliest days. Mario Torelli provides an independent account of Etruscan history, based on monuments and sources. Jean MacIntosh Turfa belies the cliche of the Etruscans' traditional 'isolation' by surveying the material evidence for their trade with the Phoenicians, Greeks, and other neighbors in the Mediterranean. Marie-Fran'oise Briguet, Friedhelm Prayon, David Tripp, and I survey Etruscan art, architecture, coinage, and daily lives, respectively, Emeline Richardson contributes what she calls a 'primer' in the Etruscan language, a basic archaeological introduction to the Etruscan language, meant to help newcomers read the inscriptions on many of the monuments illustrated and to see these with the interdisciplinary approach so characteristic of, and necessary in, Etruscan studies." The book is profusely illustrated with over 300 photos and maps. Notes and bibliographic references lead to standard texts on the Etruscans and to the more specialized literature in the field. The result is a reliable and lively volume which brings readers into the mainstream of the latest Etruscan scholarship.

This is the first book in which special atten-tion is paid to the Etruscan interpretation of Greek mythical representations on Etruscan bronze mirrors. The book focuses on representations with inscriptions (c. 480-250 B.C.). These epigraphic scenes raise many questions. Did the engravers and patrons understand Greek myths? Were the engravers inspired by visual, oral or literary sources or by a combination thereof? What was their modus operandi? In which art forms can visual precedents be found? Introductory chapters shed light on the status of Etruscan mirrors, their owners, givers and recipients; furthermore production centres, distribution, the influence of Attic and South Italian red figure vases and the shifting interest in themes are discussed. More than one hundred mirror-representa-tions are analysed in chronological order, according to general themes: lovewrestling, abduction, immortality, healing, purification, divination, rescue, birth, rebirth, adoption, rejuvenation, dilemma, contest, victory, the relationship between mother and sons, couples, toilet, music and suicide.

This is the first book in which special atten-tion is paid to the Etruscan interpretation of Greek mythical representations on Etruscan bronze mirrors. The book focuses on representations with inscriptions (c. 480-250 B.C.). These epigraphic scenes raise many questions. Did the engravers and patrons understand Greek myths? Were the engravers inspired by visual, oral or literary sources or by a combination thereof? What was their modus operandi? In which art forms can visual precedents be found? Introductory chapters shed light on the status of Etruscan mirrors, their owners, givers and recipients; furthermore production centres, distribution, the influence of Attic and South Italian red figure vases and the shifting interest in themes are discussed. More than one hundred mirror-representa-tions are analysed in chronological order, according to general themes: lovewrestling, abduction, immortality, healing, purification, divination, rescue, birth, rebirth, adoption, rejuvenation, dilemma, contest, victory, the relationship between mother and sons, couples, toilet, music and suicide.

Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 26. Chapters: Etruscan mythology, Founding of Rome, Tinia, Menrva, Fufluns, Nethuns, Artume, Voltumna, Vanth, Laran, Thesan, Nortia, Thalna, Tages, Tuchulcha, Aita, List of Etruscan mythological figures, Interpretatio graeca, Fanum Voltumnae, Vegoia, Haruspex, List of Etruscan names for Greek heroes, Chimera of Arezzo, Turan, Aulus Caecina Severus, Lucus Feroniae, Maris, Uni, Ani, Sethlans, Persipnei, Semla, Leinth, Selvans, Calu, Heracle, Cilens, These. Excerpt: This is a list of deities and legendary figures found in the Etruscan mythology. The names below were taken mainly from Etruscan "picture bilinguals," which are Etruscan call-outs on art depicting mythological scenes or motifs. Several different media provide names. Variants of the names are given, reflecting differences in language in different localities and times. Many of the names are Etruscan spellings (and pronunciations) of Greek names. The themes may or may not be entirely Greek. Etruscans frequently added their own themes to Greek myths. The same may be said of native Italic names rendered into Etruscan. Some names are entirely Etruscan. Which is which is often a topic of debate in the international forum of scholarship. AchlaeGreek river god, Achelous.Achle, AchileLegendary hero of the Trojan War, from the Greek Achilles.AchmemrunLegendary king of Mycenaean Greece, from the Greek Agamemnon.Achrum, AcharumLegendary Greek river of the underworld, the Acheron.Achvizr, Achuvesr, Achuvizr, AchviztrUnknown character associated with Turan.Aita, EitaThe Etruscan equivalent of the Greek god of the underworld and ruler of the dead, Hades.Aivas Tlamunus, Aivas VilatesAlso Eivas or Evas. Etruscan equivalents of the Greek heroes Ajax, son of Telamon and Ajax, son of Oileus.AlchumenaThe Greek legendary character, Alcmena.Alcstei, AlcstiThe Greek legendary character, ...

The Etruscans are one of history's great mysteries -- a sophisticated society that flourished at the heart of the Classical world and then vanished, leaving relatively few archaeological remains and few records of their culture. The Etruscans were adept at magic, and Etruscan books of spells were common among the Romans but they have not survived. While greatly influenced by the Greeks, the Etruscans retained elements of an ancient non-Western culture, and these archaic traits contributed greatly to the civilization once thought of as purely Roman (gladiators, for example, and many kinds of divination). Leland retrieves elements of Etruscan culture from the living popular traditions of remote areas of the Italian countryside where belief in "the old religion" survives to an astonishing degree. Recorded when many of these secret beliefs and practices were fading away, this remarkable volume deals with ancient gods, spirits, witches, incantations, prophecy, medicine, spells, and amulets, giving full descriptions, illustrations, and instructions for practice.