In Etruscan mythology, Charun (also spelled Charu, or Karun) acted as one of the psychopompoi of the underworld (not to be confused with the god of the underworld, known to the Etruscans as Aita). He is often portrayed with Vanth, a winged figure also associated with the underworld.
His name was imported from Greek Charon, [1] although it is uncertain whether Etruscans had a native name for a god of the underworld before this. As suggested by alternations in the Etruscan language such as θu "one" changing to θunśna "first", lev "lion" (from Greek leōn) and Apulu (from Greek Apóllōn), words ending in -n after u were disappearing from the language which is why we see his name spelled Xarun and later Xaru.
The Etruscan Charun was fundamentally different from his Greek counterpart. Guarding the entry to the underworld, he is depicted with a hammer (his religious symbol) and is shown with pointed ears, snakes around his arms, and a blueish coloration symbolizing the decay of death. In some images, he has enormous wings. He is also depicted as a large creature with snake-like hair, [2] a vulture's hooked nose, large tusks like a boar, [3] heavy brow ridges, [4] large lips, fiery eyes, [5] pointed ears [6] a black beard, enormous wings, [7] discolored (pale cream, bluish or greyish) [8] skin, and snakes around his arm. [9]
Larissa Bonfante and Judith Swaddling have this to say about Charun: "Many scenes feature the two purely Etruscan underworld demons, Vanth and Charu, whose job is not to punish the dead but rather to escort them to their final destination." [10] However, there are at least two examples, on the sarcophagus of Laris Pulenas as well as a red figure stamnos from Orbetello, that do illustrate Charun in a menacing fashion. [11] Each depicts Charun threatening a male figure with his hammer.
The grotesque nature of the depiction of Charun appears to have been at least partly apotropaic in nature. Apotropaic art was the practice of the neighboring Greeks at this time, as represented by the exaggerated eyes painted on drinking vessels in the 6th century BC to ward away spirits while drinking or the monstrous depiction of Medusa whose image was said to turn men to stone. Through these images of the grotesque, violence, and blood-letting, the Etruscans may have believed that they helped to fend off evil spirits from the tomb as well as sanctify the tomb perhaps in place of the actual ritual sacrifice of an animal usually performed in funerary rites. [12]
Nancy de Grummond offers a different view. The relief on the sarcophagus of Laris Pulenas at Tarquinia, shows two Charuns swinging their hammers at a person's head, though the head (probably that of Pulenas, the nobleman whose sarcophagus it is) no longer survives in the relief due to an accident of preservation. Years later, in the Colosseum, a Charun-like figure called Dispater would hit the loser with a hammer to make sure he was dead, perhaps in reflection of Charun. [13] The hammer might also be used to protect the dead; it is sometimes swung at serpents attacking the deceased (as shown on the Orvieto amphora). Most often it is simply held, or the handle planted on the ground and the mallet head leaned upon (above). [14] De Grummond notes that the ferry of Charon appears only once in surviving Etruscan art, and that some Etruscan demons are equipped with oars, but they typically use them as weapons rather than in their maritime function.
Many authors tend to take a more sensationalist view of Charun, speaking of him as a "death-demon". Such authors may be inspired by Christian views of Hell and moral punishment. For the Etruscans, as with the Greeks, Hades was merely a morally neutral place of the dead. Neither the "good" nor the "bad" could escape the clutches of death, and both were assembled there together.
Ron Terpening, a professor of Italian literature at the University of Arizona, cites Franz de Ruyt, who claims Charun is similar to Chaldean demons or the Hindu divinities Shiva and Kali. [15] He is presumed to be the servant of Mantus and Mania, and, like Charon, is comparable to the Greeks' Thanatos, the Erinyes, and the Keres. [16] The author, like de Grummond, feels that some later Renaissance paintings of Greek Charon may show the continuity of pre-Christian Etruscan beliefs. [17] Later on when the deity had evolved into the Greek Charon, [18] or Caronte in Italian, [19] Terpening notes that Charun's hammer or mallet is sometimes replaced with an oar, although it does not fit with his duties.
According to Jeff Rovin [ who? ], Charun guided souls on horseback to the underworld and "brings horses to the newly-dead". He also claims that Charun appears to love violence and participates in warfare adding that Charun enjoys natural disasters as well. [20] An Etruscan krater from François Tomb (above) depicts Charun with Ajax or Achilles (left, cropped out) slaughtering Trojan prisoners. This urn is currently held in Cabinet des Médailles 920, Bibliothéque Nationale, Paris. Rovin says that some accounts depict him with a sword, and that he "slices" souls with it. At least one image shows him guiding a soul on horseback, equipped with both a hammer and a sword, though he is simply carrying it on his person. [21]
The Charon of Vergil in the Aeneid is particularly cruel; according to W.F. Jackson Knight, [22] "Vergil's Charon is not only the Greek ferryman of Aristophanes [in The Frogs ], but more than half his Etruscan self, Charun, the Etruscan torturing death-devil, no ferryman at all."
Charun is believed to have worked with many assistants in the Underworld, although they could be independent deities in their own right. Most of their names are lost to us, but at least one, Tuchulcha, is identified in the Tomb of Orcus II, and has hair and wings like a Gorgon. Tuchulcha, whose gender is debated among scholars, appears in a depiction of the story of Theseus (known to the Etruscans as "These") visiting the underworld. These and his friend Peirithous are playing a board game, attended by Tuchulcha. [23]
There are four Charuns shown in a fresco in the Tomb of the Charuns, and each appear to have sub-names. These are Charun Chunchules, the heavily blistered Charun Huths, Charun Lufe, and the fourth has crumbled away to illegibility. [24] On Laris Pulena's sarcophagus, there are also two Charuns and two Vanths on either side of the figure in the center who is presumably Laris Pulena himself. De Grummond does not cite these figures as assistants, but believes Charun may be a type of creature rather than a singular demon.
Many of Charun's other presumed assistants appear in the Tomb of the Blue Demons, which is also the home of the only Etruscan rendering of the aforementioned ferry of Charon. [25]
In contemporary times, Charun has never been as popular as his Greek counterpart, though there have been some occurrences.
The Etruscan civilization was an ancient civilization created by the Etruscans, a people who inhabited Etruria in ancient Italy, with a common language and culture who formed a federation of city-states. After conquering adjacent lands, its territory covered, at its greatest extent, roughly what is now Tuscany, western Umbria, and northern Lazio, as well as what are now the Po Valley, Emilia-Romagna, south-eastern Lombardy, southern Veneto, and western Campania.
In Greek mythology, Charon or Kharon is a psychopomp, the ferryman of the Greek underworld. He carries the souls of those who have been given funeral rites across the rivers Acheron and Styx, which separate the worlds of the living and the dead. Archaeology confirms that, in some burials, low-value coins known generically as Charon's obols were placed in, on, or near the mouth of the deceased, or next to the cremation urn containing their ashes. This has been taken to confirm that at least some aspects of Charon's mytheme are reflected in some Greek and Roman funeral practices, or else the coins function as a viaticum for the soul's journey. In Virgil's epic poem, Aeneid, the dead who could not pay the fee, and those who had received no funeral rites, had to wander the near shores of the Styx for one hundred years before they were allowed to cross the river. Charon also ferried the living mortals Heracles and Aeneas to the underworld and back again.
Etruscan religion comprises a set of stories, beliefs, and religious practices of the Etruscan civilization, heavily influenced by the mythology of ancient Greece, and sharing similarities with concurrent Roman mythology and religion. As the Etruscan civilization was gradually assimilated into the Roman Republic from the 4th century BC, the Etruscan religion and mythology were partially incorporated into ancient Roman culture, following the Roman tendency to absorb some of the local gods and customs of conquered lands. The first attestations of an Etruscan religion can be traced back to the Villanovan culture.
Aita, also spelled Eita, is an epithet of the Etruscan chthonic fire god Śuri as god of the underworld, roughly equivalent to the Greek god Hades.
In Etruscan religion, Fufluns or Puphluns was a god of plant life, happiness, wine, health, and growth in all things. He is mentioned twice among the gods listed in the inscriptions of the Liver of Piacenza, being listed among the 16 gods that rule the Etruscan astrological houses. He is the 9th of those 16 gods. He is the son of Semla and the god Tinia. He was worshipped at Populonia and is the namesake of that town.
Menrva was an Etruscan goddess of war, art, wisdom, and medicine. She contributed much of her character to the Roman Minerva. She was the child of Uni and Tinia.
In Etruscan mythology, Tuchulcha was a chthonic daemon with pointed ears, hair made of snakes, and a beak. Tuchulcha lived in the underworld known as Aita.
Vanth is a chthonic figure in Etruscan mythology shown in a variety of forms of funerary art, such as in tomb paintings and on sarcophagi.
Turan was the Etruscan goddess of love, fertility and vitality and patroness of the city of Velch.
Usil is the Etruscan god of the sun, shown to be identified with Apulu (Apollo). His iconic depiction features Usil rising out of the sea, with a fireball in either outstretched hand, on an engraved Etruscan bronze mirror in late Archaic style, formerly on the Roman antiquities market. On Etruscan mirrors in the Classical style, Usil appears with an aureole.
The Tomb of Orcus, sometimes called the Tomb of Murina, is a 4th-century BC Etruscan hypogeum in Tarquinia, Italy. Discovered in 1868, it displays Hellenistic influences in its remarkable murals, which include the portrait of Velia Velcha, an Etruscan noblewoman, and the only known pictorial representation of the daemon Tuchulcha. In general, the murals are noted for their depiction of death, evil, and unhappiness.
The Tomb of the Blue Demons is an Etruscan tomb in the Necropolis of Monterozzi near Tarquinia, Italy. It was discovered in 1985. The tomb is named after the blue and black-skinned demons which appear in an underworld scene on the right wall. The tomb has been dated to the end of the fifth century BC.
Catha is a female Etruscan lunar or solar deity, who may also be connected to childbirth, and has a connection to the underworld. Catha is also the goddess of the south sanctuary at Pyrgi, Italy.
Leinth is an Etruscan deity. Within Etruscan iconography, it is difficult to distinguish mortals from divine figures without inscriptions. Inscriptions to the god Leinth have only been identified on two bronze mirrors and a single fragment of ceramic, found within an artisan’s zone on an Etruscan site in Italy. It is difficult, with such little evidence, to determine what may seem to be even the most rudimentary qualities of the deity, because the Etruscans did not consistently assign specific genders or attributes to their gods. Leinth appears both as a male and a female on two different bronze mirrors, and aside from the inscription, there seem to be no distinguishing traits to connect the figures.
Culsans (Culśanś) is an Etruscan deity, known from four inscriptions and a variety of iconographical material which includes coins, statuettes, and a sarcophagus. Culśanś is usually rendered as a male deity with two faces and at least two statuettes depicting him have been found in close association with city gates. These characteristics suggest that he was a protector of gateways, who could watch over the gate with two pairs of eyes.
Śuri, Latinized as Soranus, was an ancient Etruscan infernal, volcanic and solar fire god, also venerated by other Italic peoples – among them Capenates, Faliscans, Latins and Sabines – and later adopted into ancient Roman religion.
Manth, latinized as Mantus, is an epithet of the Etruscan chthonic fire god Śuri as god of the underworld; this name was primarily used in the Po Valley, as described by Servius, but a dedication to the god manθ from the Archaic period was found in a sanctuary in Pontecagnano, Southern Italy. His name is thought to be the origin of Mantua, the birthplace of Virgil.
The Sarcophagus of Laris Pulenas, also known as "The Magistrate," dates from the 2nd or 3rd century BCE. It was discovered in Tarquinia in Italy and is now in the Tarquinia National Museum. It features a reclining figure, Laris Pulenas, before whom is a stone carving of a long strip of cloth (volumen), half-unrolled, inscribed with one of the longer continuous inscriptions in Etruscan, nearly 60 words, making it of particular linguistic value.
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