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Turms

Turms (Etruscan: Turms) was a major deity in Etruscan mythology corresponding to the Greek god Hermes and the Roman god Mercury, serving as the messenger of the gods, patron of trade, commerce, and travelers, and a psychopomp guiding souls to the underworld.^[1]^[2] In Etruscan art and iconography, Turms is the most frequently depicted divinity, appearing in over 200 representations across bronze mirrors, paintings, sculptures, and other artifacts dating from the late 6th century BCE onward.^[2] He is characteristically portrayed as a youthful male figure wearing a winged or broad-brimmed hat (petasos), a short cloak (chlamys), winged sandals (talaria), and carrying a caduceus staff entwined with serpents, attributes directly borrowed from his Greek counterpart.^[1] These depictions often place him in mythological scenes, such as the Judgment of Paris or as a herald facilitating divine communications, underscoring his intermediary role between the mortal world, the divine realm, and the afterlife.^[2] The name Turms derives linguistically from the Greek Hermēs, adapted through the definite article tó to form to Hermēs, which Etruscans rendered as Turms in their non-Indo-European language.^[1] Inscriptions confirming his identity include the genitive form Turms on a late 4th-century BCE bronze weight from Caere and the variant Turamas on a mid-5th-century BCE mirror from Vulci, among at least 13 documented instances on artifacts.^[1] Despite his prominence in visual culture, there is scant evidence of dedicated cult worship for Turms, suggesting his role was more symbolic and influenced by Hellenistic Greek traditions assimilated into Etruscan religion during the Orientalizing and Archaic periods.^[1]

Name and Etymology

Etruscan Spelling and Variations

In Etruscan inscriptions, the name of the god Turms is most commonly rendered in the Etruscan alphabet as 𐌕𐌖𐌓𐌌𐌑, transliterated into Latin script as Turmś or Turms.^[1] This orthography appears predominantly on bronze mirrors, with at least 13 documented instances labeling depictions of the deity.^[1] The final -ś reflects a characteristic Etruscan sibilant, often simplified to -s in modern transliterations, and the name's consistency underscores its role as a standardized divine identifier across artifacts.^[1] Variations in spelling occur, often due to regional or scribal differences, including Turmus (found on a mirror inscribed as Vs S.12), Turm (on a late mirror, Vs S.26), and the extended form Turamas (on a mirror from Vulci dated 460–450 BCE, cataloged as Meiser ET Ve S.4 and CIE 11177).^[1] These orthographic shifts may stem from phonetic adaptations or local conventions, but they remain infrequent compared to the dominant Turms form.^[1] The name also appears in compounded forms denoting specific aspects, such as Turms Aitas, referring to the underworld variant of the god, inscribed on artifacts like mirrors where Turms interacts with chthonic figures.^[3] Beyond mirrors, a notable example is a bronze weight from Caere (end of the 4th century BCE), featuring a ten-line inscription with the genitive form of Turms paired with raQs, marking the only known dedicatory use of the name.^[1] These inscriptional examples, primarily from southern Etruscan sites like Vulci and Caere, highlight minor regional differences in letter forms while maintaining the core Turms structure.^[1]

Linguistic Origins and Interpretations

The name Turms (often spelled Turmś in Etruscan inscriptions) is a borrowing from the Greek Hermēs, adapted through crasis with the definite article tói or tó to form to Hermēs, rendered in Etruscan as Turms. In this process, Etruscan u represents Greek ω, as seen in other adaptations like qutun from kōthōn. The final -s follows Etruscan patterns for divine names, such as Fufluns and Culsans.^[1] As Etruscan belongs to the Tyrsenian language family, potentially originating from pre-Indo-European substrates in the Italic peninsula around the late Bronze Age, the adaptation of Turms reflects Etruscan phonetic and morphological processes applied to Greek borrowings during periods of cultural contact. Scholarly analyses note influences from neighboring non-Indo-European groups, such as early Raetic or Lemnian speakers, but the name's core derives directly from Greek.^[1]^[4]^[5] Interpretations of Turms emphasize its Greek origins over indigenous roots, with debates centering on the unusual inclusion of the Greek article in the borrowing—unique among known Etruscan adoptions—and the explanation for the final -s. Spelling variations in inscriptions, such as the addition of the genitive marker -s, further illustrate the name's adaptability in ritual texts. These analyses highlight how the name encapsulates cultural exchanges in commerce and communication within the Etruscan worldview.^[1]

Role in Etruscan Mythology

Messenger of the Gods

In Etruscan mythology, Turms served as the primary messenger of the gods, acting as a swift courier who delivered communications among the major deities, including Tinia, the supreme sky god equivalent to Zeus, and Uni, the consort goddess akin to Hera.^[6] His role emphasized rapid mediation to maintain harmony within the pantheon. This function positioned Turms as an essential intermediary, ensuring the flow of divine directives and fostering coordination among the gods.^[2] Turms also bridged the gap between the divine and mortal realms, enabling interactions through prophetic means such as oracles and revelations.^[7] These roles are primarily inferred from artistic depictions, as Etruscan mythology lacks extensive textual narratives. Artistic representations from the 5th to 4th centuries BCE vividly illustrate Turms in his messenger capacity, particularly on engraved bronze mirrors where he conveys items or gestures between divine figures.^[2] For instance, on mirrors from Vulci and other sites, Turms appears alongside Tinia, often bearing symbols of communication like a caduceus, as he delivers messages or accompanies deities in narrative scenes such as the Judgment of Paris.^[2] These depictions, documented in the Lexicon Iconographicum Mythologiae Classicae (LIMC), highlight his dynamic role in transmitting divine will through visual storytelling.^[2]

Patron of Commerce and Travel

In Etruscan religion, Turms served as the primary patron of merchants and markets, invoked to ensure prosperous commercial exchanges within bustling urban centers like Tarquinia.^[8] His association with economic activities stemmed from his role as a mediator of transitions, extending to the facilitation of trade and wealth accumulation among the elite and trading classes.^[9] Turms also provided protection for travelers navigating both land routes and maritime paths, crucial to the Etruscans' expansive trade networks across the Mediterranean.^[7] This protective function aligned with Etruscan colonial ventures and resource exchanges, such as the transport of metals and goods from ports to inland cities, where his invocation safeguarded against perils like storms or banditry.^[9] Votive offerings further illustrate Turms' patronage, with dedications at key ports and roadsides featuring symbols of travel, such as winged figures or anchors.^[1] Similar offerings, including mirrors from roadside sanctuaries, reflect appeals for his guidance in commerce-related journeys, emphasizing his practical role in everyday Etruscan life. These aspects of his role are largely inferred from iconography and his equivalence to Hermes, with limited direct archaeological evidence of dedicated cult sites.^[2]

Guide to the Underworld

In Etruscan mythology, Turms exhibits a chthonic dimension through the variant form Turms Aitas, serving as an infernal messenger and psychopomp who escorts the deceased to the realm of Aita, the god of the underworld.^[10] This aspect adapts Turms' general role as a divine intermediary to the somber duties of the afterlife, where he facilitates transitions between the living world and the subterranean domain.^[10] Turms Aitas is depicted as a protector of wandering souls during their perilous journey, shielding them from harm and ensuring safe passage to Aita's kingdom, much like his Greek counterpart Hermes Psychopompos.^[10] Additionally, he conveys the needs and messages of these souls to higher deities, acting as a conduit for posthumous communications within the divine hierarchy.^[10] These functions underscore the Etruscans' elaborate beliefs in an active afterlife, where divine intervention prevented souls from becoming lost or tormented in limbo. Artistic representations of Turms Aitas appear prominently in funerary contexts, emphasizing his guiding role amid underworld scenes. Bronze mirrors from Etruscan sites, including Cerveteri, dating to the 6th-4th centuries BCE, often illustrate him escorting figures toward chthonic realms, as seen in a 4th-century BCE example from the Vatican Museums depicting Turms Aitas alongside Odysseus (Uthuze Hitinial) and the seer Tiresias (Terasias) in a necromantic ritual evocative of the Odyssey's underworld episode. Such engravings, typically found in tombs, served to invoke protection for the deceased, blending mythological narrative with ritual intent.^[10]

Iconography and Depictions

Artistic Representations

Turms stands as the most frequently depicted deity in Etruscan art, recognized across a wide array of artifacts that illustrate his prominence in the visual culture of ancient Etruria.^[2] These representations, spanning the 6th to the 3rd centuries BCE, appear predominantly on bronze mirrors, but also on vases, gemstones, and tomb paintings, where the god is often identifiable by his distinctive attributes such as the winged petasos, caduceus, and traveler's cloak.^[1] While inscribed examples bearing the name "Turms" number around 16, primarily on mirrors from sites like Vulci and Tarquinia, unlabeled depictions of the figure are far more common, underscoring his ubiquity in mythological and daily-life iconography.^[1] Common scenes featuring Turms emphasize his roles as messenger and guide, showing him alone in heraldic poses or interacting with other deities. For instance, he appears solo on numerous bronze mirrors, standing or striding forward with caduceus in hand, as seen in examples from the British Museum.^[11] Paired representations occasionally depict two Turms figures, symbolizing duality in his intermediary functions. These vignettes often draw from adapted Greek myths, adapted to Etruscan contexts without direct cultic references.

Symbols and Attributes

In Etruscan art, Turms is characteristically represented with attributes emphasizing his role as a swift messenger, including a petasos, a broad-brimmed traveler's hat that is occasionally depicted with wings to symbolize rapid movement.^[12] He is also shown wearing winged sandals, known as talaria, which further underscore his speed and ability to traverse distances quickly.^[1] A prominent symbol associated with Turms is the caduceus, a staff entwined with two serpents, often held in his hand as a herald's implement denoting authority and mediation.^[12] Turms appears in iconography as a youthful, unbearded male figure, typically portrayed nude or lightly clad in a short belted chiton or draped with a chlamys cloak, conveying vitality and agility.^[12] These depictions, common on bronze mirrors and reliefs from the 5th to 3rd centuries BCE, highlight his dynamic posture, such as standing or in motion, sometimes carrying the caduceus over one shoulder.^[1] In certain representations, he may hold a simple herald's staff without serpents, varying slightly across artifacts but consistently evoking his communicative function.^[12] His attributes also feature in underworld scenes on mirrors, where he guides figures between realms, reinforcing his liminal role without altering core symbols.^[12]

Worship and Cult

Archaeological Evidence

Archaeological evidence for the veneration of Turms primarily consists of inscriptions, sculptural fragments, and engraved artifacts recovered from Etruscan sanctuaries and necropolises, dating mainly to the 6th through 4th centuries BCE. These finds highlight his presence as a deity associated with multiple sanctuaries, though no exclusively dedicated temples have been identified, suggesting worship occurred within broader polytheistic complexes. Votive offerings, including statues and mirrors, indicate dedications linked to personal protection, commerce, and funerary rites. In Vulci, evidence includes a bronze mirror from circa 460–450 BCE inscribed with "Turamas," a genitive form of Turms, depicting mythological scenes that align with his attributes as messenger and guide. Votive bronzes from the 5th century BCE, such as small statuettes with winged elements and caduceus-like staffs, have been attributed to Turms based on iconographic parallels to Hermes, recovered from sanctuary deposits near the city's necropolis. These artifacts, often found in groups with offerings to other gods, reflect Turms' inclusion in communal worship sites without isolated cult structures.^[1] The necropolises of Tarquinia provide the most abundant funerary evidence, with over a dozen bronze mirrors unearthed as tomb goods from the 5th to 4th centuries BCE featuring engraved images of Turms, typically winged and holding a staff, guiding figures toward the underworld. Examples from the Banditaccia necropolis, such as a 4th-century BCE mirror showing Turms with a goddess, emphasize his psychopompic role and were likely deposited to ensure safe passage in the afterlife. This concentration in burial contexts, absent dedicated shrines, points to Turms' prominence in personal and familial veneration rather than state-sponsored cults. Offerings like these mirrors imply rituals of dedication for divine intercession.^[1]

Inferred Practices and Sites

Based on Turms's established role as a divine messenger and patron of commerce and travel in Etruscan religion, scholars infer that his worship likely included invocations during trade fairs and rites associated with journeys, as merchants would seek protection for safe passage and prosperous dealings.^[13] This deduction draws from the broader context of Etruscan protective practices, where amulets depicting or invoking deities like Turms were carried by traders to ward off dangers on roads and seas, reflecting his attributes of speed and guidance. Turms's function as a psychopomp, guiding souls to the underworld, further suggests involvement in funerary rituals aimed at ensuring safe passage for the deceased, with offerings or depictions placed in tombs to invoke his aid during the transition to the afterlife.^[3] Archaeological evidence from necropolises, such as a late 5th-century BCE red-figure krater from Bettolle depicting Turms Aitas (Turms of the Underworld) escorting a traveler-like figure, supports this inference, indicating that such imagery served ritual purposes in burial contexts to symbolize protection and mediation between worlds.^[14] Tomb placements of related artifacts, including mirrors and bronzes showing Turms in chthonic scenes, imply that families positioned these items near the deceased to facilitate his guiding role, aligning with Etruscan beliefs in ongoing post-mortem journeys.^[13] Potential worship sites for Turms are inferred primarily from sculptural remains at Veii, a major Etruscan center, where a terracotta head of the god, dating to around 520 BCE, was discovered in a temple context, suggesting localized cult activity tied to his multifaceted roles.^[15] This find points to Veii as a key location for Turms's veneration, possibly integrated into broader sanctuary practices at nearby sites like the Portonaccio complex, where shared rituals with deities such as Minerva and Apollo may have incorporated invocations to Turms during communal festivals or processions.^[16] Artifacts showing offerings, such as votive bronzes, occasionally feature Turms alongside other gods, hinting at collective rites at these urban sanctuaries.^[3]

Comparisons and Syncretism

Equivalence to Greek Hermes

Turms, the Etruscan deity, is widely recognized as the counterpart to the Greek god Hermes, sharing core mythological roles as a divine messenger and psychopomp who facilitates communication between the realms of gods, humans, and the dead.^[1] This equivalence is evident in Etruscan art and inscriptions from the 6th century BCE onward, where Turms appears as a herald guiding souls to the underworld, much like Hermes' function in escorting the deceased across boundaries in Greek lore.^[2] Both figures embody the archetype of the boundary-crosser, navigating liminal spaces such as thresholds between life and death, as well as between divine and mortal domains, a trait reflected in their protective roles over travelers and commerce.^[1] Iconographic parallels further underscore this connection, with Turms depicted wearing a winged hat (petasos), winged sandals, and carrying a staff akin to Hermes' caduceus, often entwined with serpents and used to ward off harm or resolve disputes.^[1] These attributes appear consistently on Etruscan bronze mirrors and funerary art from the late 6th century BCE, such as those from Tarquinia, where Turms is shown intervening in mythological scenes like the Judgment of Paris or accompanying underworld figures.^[2] The trickster aspect of Hermes—evident in Greek myths as a cunning thief who steals Apollo's cattle shortly after birth—is implicitly extended to Turms through this syncretism, though Etruscan sources lack textual narratives and emphasize visual motifs of agility and mediation rather than explicit tales of deception.^[2] Etruscan adaptations of the Hermes archetype diverge in emphasis, placing greater focus on Turms' underworld duties and his role in rituals tied to death and transition, with less attestation of inventive or musical attributes like Hermes' lyre.^[2] Turms occasionally appears in duplicate within single compositions, a multiplicity not typical of Greek Hermes depictions, suggesting localized interpretations of his intermediary function.^[2] The name "Turms" itself derives directly from Greek "Hermēs," adapted phonetically in Etruscan script as 𐌕𐌖𐌓𐌌𐌑 (Turmś), likely through crasis with the Greek article "τώι Hermēs" becoming "τωρμάι," and reflecting broader linguistic borrowing.^[1] This equivalence arose amid intensifying Greek-Etruscan interactions via maritime trade in the 7th and 6th centuries BCE, when Etruscan ports like Gravisca hosted Greek merchants and sanctuaries, facilitating the import of mythological motifs and artisanal techniques.^[17] Archaeological evidence, including imported Greek pottery and joint cult sites, indicates that such exchanges introduced Olympian figures like Hermes into Etruscan iconography by the late 6th century, adapting them to fit indigenous emphases on prophecy and the afterlife.^[18] This syncretism later influenced Roman Mercury, evolving Turms' traits into a more commerce-oriented deity.^[2]

Influence on Roman Mercury

During the period of intense Etruscan-Roman cultural exchanges from the 6th to 4th centuries BCE, the Roman deity Mercury emerged through syncretism with the Etruscan god Turms, adopting key attributes associated with trade and communication. This assimilation occurred as Rome transitioned from Etruscan monarchical rule around 509 BCE to republican governance, yet maintained strong ties with Etruscan cities like Veii and Tarquinia, facilitating the transfer of religious practices. Mercury inherited Turms' roles as a protector of merchants and a swift messenger, reflecting the Etruscans' prominence in Mediterranean commerce networks.^[19] Iconographic continuity between Turms and Mercury is evident in the shared depiction of winged elements, such as the petasos (a broad-brimmed hat) and talaria (winged sandals), which first appear prominently in Etruscan art from the 6th century BCE onward. These attributes, seen on Etruscan bronze figurines and mirrors from sites like Caere, symbolized speed and divine intervention in travel and negotiation, directly influencing Roman sculptural representations of Mercury as a dynamic figure carrying the caduceus. This visual lineage underscores how Etruscan artisans shaped the visual identity of Roman gods during early temple constructions, such as Mercury's Aventine shrine dedicated in 495 BCE.^[1]^[19] The role of Turms in safeguarding Etruscan merchants evolved into Mercury's central position within Roman commerce cults, where he became the patron of traders, transporters, and financial gain. An Etruscan dedication to Turms, such as a late 4th-century BCE bronze weight from the port city of Cerveteri (Caere), emphasized protection for seafaring and overland trade routes, a function that Romans amplified through festivals like the Mercuralia on May 15, involving merchants sprinkling water from sacred wells for prosperity. This continuity highlights Turms' legacy in fostering economic rituals that integrated into Rome's expanding imperial trade systems.^[1]^[19]

Legacy and Modern Views

Transition to Roman Religion

Following the Roman conquest of Etruria in the 4th and 3rd centuries BCE, Turms underwent syncretism with the Roman god Mercury, as both deities shared domains over trade, travel, and boundaries. This process intensified post-3rd century BCE, with archaeological evidence from dedications and tomb goods illustrating merged Etruscan and Roman religious elements in sanctuaries.^[20] Such assimilation reflected broader cultural integration, where Etruscan elites adapted to Roman administrative structures while retaining aspects of local worship.^[20] Worship of Turms as a distinct entity faded during the 2nd and 1st centuries BCE, coinciding with the rise of Latin inscriptions invoking Mercury across Etruria. Etruscan-language dedications to Turms, such as those on bronze weights from Caere, become scarce after the 3rd century BCE, while Latin epigraphy dedicated to Mercury proliferates in urban and commercial contexts.^[21]^[20] This shift underscores the Romanization of religious expression, with Turms' cult sites increasingly featuring Roman-style altars and votives.^[21] In peripheral Italic regions, including rural northern Etruria, Turms' veneration persisted into the 2nd century BCE through hybrid Etrusco-Roman temples that blended indigenous and imperial architectures. Notable examples include the Temple A at S. Antonio in Caere, a ponderarium linked to trade deities and functioning as a sacred-commercial space, and the sanctuary at Gravisca, where Etruscan ritual practices fused with Roman temple forms.^[20] These sites, often tied to markets and transhumance routes, demonstrate localized survival amid Roman expansion.^[20] The decline of Turms' independent cult around the 1st century BCE aligned with Roman centralization of religious authority under the late Republic, which standardized cults and reduced regional autonomy. As imperial administration consolidated, Etruscan practices were subsumed into the Roman pantheon, leading to Mercury's dominance in both inscriptions and iconography—though Turms contributed to Mercury's visual motifs, such as the caduceus and winged attributes.^[20]^[1]^[21]

Contemporary Scholarship and Culture

Contemporary scholarship on Turms emphasizes his central role in Etruscan religious art and mythology, with Nancy Thomson de Grummond providing seminal analyses in her 2006 publication Etruscan Myth, Sacred History, and Legend. De Grummond identifies Turms as the most frequently represented Etruscan deity, often depicted in dynamic scenes such as the Judgment of Paris, where he appears multiple times in a single composition to underscore his multifaceted attributes as messenger and psychopomp.^[2] She further explores how Turms embodies a blend of indigenous Etruscan elements and Greek influences, retaining his native name while adopting characteristics akin to Hermes, including guidance of souls and facilitation of divine-human interactions.^[2] In her co-edited volume The Religion of the Etruscans (2006), de Grummond and contributors examine Turms within the broader pantheon, highlighting his prominence in ritual and iconographic contexts that reveal Etruscan views on the afterlife and intermediary roles. Turms also appears in literature as an inspirational figure, most notably in Mika Waltari's historical novel The Etruscan (originally Turms kuolematon, 1955), which centers on a protagonist named Lars Turms—an immortal exile navigating Iron Age Mediterranean conflicts, including the Ionian Revolt against Persia.^[22] The narrative fictionalizes Turms-inspired elements, portraying the character as a wanderer and divine intermediary whose journeys mirror the god's mythic roles in commerce, prophecy, and boundary-crossing.^[22] Literary scholarship interprets the work as an exploration of clashing civilizations, using Turms to evoke themes of cultural transition and existential quest in the ancient world.^[22]

References

[1]
[PDF] ETRUSCAN TURMS AND TURAN - Studi Etruschi
The Etruscan deity Turms is well known from artistic representations, but does not appear to have been the subject of cult4.
[2]
Etruscan Myth, Sacred History, and Legend
Jun 16, 2007 · TURMS, the Etruscan Hermes, is the most represented of all Etruscan gods. Sometimes there are two TURMS in a single picture. He is present ...
[3]
[PDF] Gods and Demons in the Etruscan Pantheon
38: Turms discusses with his underworld counterpart Turms Aitas. Photo Mus ... L., “Etruscan Inscriptions and Etruscan Religion” in de. Grummond/Simon ...
[4]
[PDF] The Etruscan Language: An Introduction
Bonfante, Etruscan (1990) 23 26. M. Pallottino, 'Lingua ¢ letter- atura ... Bonfante, The Origin of the Romance Languages (Heidelberg, 1999), ruria ...
[5]
[PDF] Theories on the Origin of the Etruscan Language - Purdue e-Pubs
There are even some Etruscan inscriptions in which the spelling varies between <χ> and <h>. However, these inscriptions were only found in Perusia, written.Missing: Turms | Show results with:Turms
[6]
[PDF] The Origin of the Etruscans - Robert S.P. Beekes
The question of the origin of the Etruscans is one of the most debated problems of antiquity. Nowadays most scholars are convinced that they came from Asia ...
[7]
[PDF] The religion of the Etruscans / Nancy Thomson de Grummond and ...
His messenger is Turms or Turmś Aitaś, ''the Hermes of Hades'' (Fig ... Nancy de Grummond for drawing my attention to this passage. 70. Colonna 1988 ...
[8]
https://mythus.fandom.com/wiki/Turms
[9]
[PDF] Gods and Demons in the Etruscan Pantheon
38: Turms discusses with his underworld counterpart Turms Aitas. Photo Mus. IV ... Besides the articles in LIMC VIII and LIMC Suppiementum 2009 see also M.
[10]
mirror | British Museum
Main scene is of Menerva (Athena) in the centre holding up the head of the Gorgon Medusa, with Ferse (Perseus) seated left and Turms (Hermes) seated right.
[11]
Bronze mirror - Etruscan - The Metropolitan Museum of Art
Bronze mirror, Etruscan, early 4th century BCE. On view at The Met Fifth Avenue in Gallery 170. Inscribed: Alcsentre (Paris/Alexandros), Turan (Aphrodite), ...
[12]
https://ufdcimages.uflib.ufl.edu/UF/E0/01/34/02/00001/UFE0013402.pdf
[13]
Etruscan Pantheon - World History Encyclopedia
Mar 2, 2017 · Turms. The herald of the gods and equivalent to Hermes/Mercury. He acted as an intermediary between the upper world and the Underworld ...
[14]
Etruscan Art - The Metropolitan Museum of Art
Oct 1, 2004 · While some 13,000 Etruscan texts exist, most of these are very short. Consequently, much of what we know about the Etruscans comes not from ...
[15]
[PDF] the dioskouroi on four-figure etruscan mirrors - UFDC Image Array 2
mirrors stand out as one of the primary extant sources to help scholars understand daily. Etruscan cultural beliefs and values.7 Numerous Hellenistic mirrors ...Missing: messenger | Show results with:messenger
[16]
Material Aspects of Etruscan Religion - Bryn Mawr Classical Review
A bearded man dressed for travel is assisted by Turms Aitas, the Hermes of Hades. Other vases from this workshop also seem to have been made (with unglazed ...
[17]
Veii - Livius.org
Aug 10, 2020 · Veii: city in the south of Etruria, one of the first targets of Roman expansion, modern Isola Farnese. Veii. Head of the god Aplu (Apollo).
[18]
Turms from Veii - The Mysterious Etruscans
Head of Turms from Veii. Head of a former lifesize statue of Turms (Hermes), from a temple in Veii, Approx 520 BCE.
[19]
[PDF] Trading Gods. Greek Sanctuaries in the Mediterranean and their ...
the Northern Sanctuary consisted of cult places for the Etruscan deities ... also evidence of interpretationes or “interna- tional syncretisms of cults”.41.
[20]
Gravisca (Chapter 2) - Negotiating Identity in the Ancient ...
The inscribed votive offerings here were dedicated to Aphrodite and were discovered together with other objects: pottery; statuettes; unguent boxes depicting a ...Missing: Turms | Show results with:Turms
[21]
Mercurius | Oxford Classical Dictionary
Dec 22, 2015 · Mercurius (Mercury), patron god of circulation, known as well in Campania (at Capua and in the Falernus ager, Vetter nos. 136, 264) and Etruria.
[22]
[PDF] Production, Trade, and Connectivity in Pre-Roman Italy
to Turms, the Etruscan corollary of Mercury, and Rath, who was associ- ated with Apollo.101 The Greeks believed that Mercury was the inventor of weights and ...
[23]
[PDF] Sacerdotes piae - UvA-DARE (Digital Academic Repository)
small group of magistri of Mercury Lanarius (Mercury of the clothiers) was found. ... Etruscan Turms and the Greek Hermes.376 Numerous inscriptions attest to ...
[24]
Varieties of Neo-Paganism, by Frederic Lamond - CESNUR
As a popular liberation ideology from feudal and capitalist oppression witchcraft reconstruction was pipped to the post by Marxist communist atheism, but it ...
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Contemporary Pagan and Native Faith Movements in Europe - jstor
Michael Strmiska's (2005) influential model incorporating an 'eclectic' and a 'reconstructionist' version of neo-Paganism constitutes a main point of departure ...
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https://www.degruyterbrill.com/document/doi/10.1515/9780228015765-021/html