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Turan is the Etruscan goddess of love, sex, and beauty, associated with the concept of the mundus muliebris, “feminine world.”. Although she does not appear on the list of deities on the Piacenza Liver or in the description of the heavens by Martianus, her importance in Etruscan society is made clear by her presence on Etruscan bronze mirrors and in the Etruscan calendar. Turan lends her name to the month of July, which survives only in the Latin “Traneus.” Her name is thought to come from a non-Indo-European word root meaning “Mistress” or “Lady,” and would have likely been associated with the concept of benefaction, as seen in her epithet “Turan Ati,” meaning “Mother Turan.”

She occurs frequently on engraved Etruscan bronze mirrors in the company of other important Etruscan female deities such as Uni and Menrva, or along with her male lover Atunis. She is also often depicted with other Etruscan mythological figures of her retinue such as Zipna, her son Turnu, and sacred waterfowl or egg-bearing birds. Turan is usually portrayed as a young woman elaborately adorned with fine clothing and jewelry. Unlike her Greek and Roman counterparts, she is not often depicted in the nude, but is occasionally depicted with wings.

Cult
Festivals dedicated to Turan and the associated rituals of Atunis were celebrated in the high summer months, perhaps leading to the naming of July after her. She had a connection to two major cult centers at the temples of Gravisca near Tarquinii and the Portonaccio Temple at Veii. Despite Turan’s close associations with these sites, there have not been any bronze mirrors with her image associated with either. Other compelling evidence in inscriptions has been found at both sanctuaries.

At Gravisca, the oldest sacred building, dating back to the early 6th century, is a naiskos, or small temple. This building was dedicated by early Greek settlers in Italy to Aphrodite. A number of votive objects, including a louterion depicting a nude female goddess, were found within the early remains, confirming this theory. There is tenuous evidence of ritual prostitution at this site, which is more commonly seen as a feature of Near Eastern religions than in Etruscan or  Greek religion. When the Greeks abandoned this site during the Archaic Period, the Etruscans nativized the cult and began to worship Turan here. Later, the Etruscans expanded worship here to other deities including Uni, Vei, and Atunis, making “the cult ultimately about fertility and healing.” The cult here was in use from the early 6th century to 270 BCE at which time the site was abandoned by the Etruscans.

Though not the main goddess at Portonaccio, Turan was worshiped here in conjunction with Menrva and perhaps Aritimi in relation to cleansing rituals. An inscription reading “turan pi,” perhaps meaning “for Turan,” was found near the sanctuary outside of the city walls at Veii providing evidence for her worship in the area. Both the Portonaccio Temple and the sanctuary at Gravisca exemplify the separation of Turan’s sanctuaries from within the city walls. This pattern is supported by Vitruvius, a later Roman writer, who says that temples of Venus-Turan must be outside of the city walls so as not to pollute the city with salacious behavior. Modern scholars suggest that this tainted association might be the reason why Turan does not appear on the heavens demarcated on the Piacenza Liver or the Martianus List.

Appearance on Mirrors and Companions


Turan is one of the most frequently depicted deities on Etruscan mirrors, appearing on over 74 examples ranging in date from the 5th to 2nd century BCE. Many of these mirrors were found near Volsinii, i.e., Orvieto, but even more have no secure find spot. As the goddess of love, she is often portrayed embracing her young male lover Atunis, which becomes the most commonly replicated theme with Turan on Etruscan mirrors. Often she stands n the center of the mirror, slightly taller than Atunis, who appears in various stages of undress. Her slightly larger stature reinforces her power as a divinity presenting a paradoxical image of both dominance and devoted love. The couple is often surrounded by members of Turan’s “Circle,” also referred to as her ornatrices. On a mirror in the State Hermitage Museum in St. Petersburg, the sacred swan of Turan, named Tusna, appears to the left of the couple of Turan and Atunis and Zipna, a winged-goddess also associated with love and adornment, appears on the right carrying an alabastron of perfume. Tusna and Zipna appear on the mirror to help facilitate the romance between Atunis and Turan. Around the rim of the mirror flutter male and female winged spirits who are among the regular attendants of Turan: Mean, Munθχ, Aχvis-r, and Alpan.

Another major theme concerning Turan is the Judgement of Paris, where the Greek myth is adapted to fit a truly Etruscan context. In the Etruscan myth, Turan is still the winner of the contest, but her opponents Uni and Menrva are much more at peace with the results than they are in Greece. A mirror in Bloomington, Indiana, is one of the best examples of this theme. Uni and Menrva help adorn Turan, while Elcsntre (the Etruscan name for Paris) looks on from the left side. To the right, Alθaia, a deity whose Etruscan mythology is unknown, stands by holding a leafy twig. The Judgment of Elcsntre becomes a popular theme on mirrors with many variations that survive today. The interpretation of the Etruscan myth is complicated by a mirror in the Petit Palais in Paris. This mirror shows a hermaphroditic figure, a deity with both female and male genitalia, in place of Turan. Some scholars, however, have doubted its authenticity and suggest that it is instead a modern forgery.

In addition to themes of love and beauty, Turan also has a connection to babies. On one mirror, Turan, Leinth (another figure whose Etruscan mythology is little known) and Laran, the Etruscan] deity of war, look on as [[Menrva pulls two babies, labeled here as Mariś, from an amphora. E. Simon has argued that this particular scene recalls a  Theban myth found in  Hesiod’s Theogony in which Aphrodite and Ares, here Turan and Laran, are a happily married couple with three children. Erika Simon has suggested that the two Mariś babies depicted in this mirror are two of the children of Turan and Laran. It is also suggested that Alpan, the Etruscan goddess of Harmony and another member of Turan’s Ccrcle, might be the third child of Turan and Laran, much like her Greek counterpart Harmonia. Turan’s connection to babies and fertility might also be related to the epithet “Turan Ati,” which translates to “Mother Turan.” [[File:Bronze mirror from Bolsena. London, British Museum. After ES 3.257b. Ca. 325-300 BCE.tif|thumb|Menrva helping Mari babies in amphora; (from left to right), Turms with Mariś Isminthians; Menrva with Mariś Husrnana; Turan; Laran; Amamtunia with Mariś Halna; upper exergue, goddess of the dawn with chariot. Lower exergue, the boy Hercle, carrying his club and kneeling on a raft. A continuity of theme can be noted in that the raft is supported by amphorae, tied together. With his left hand Hercle adjusts a hanging of cloth. He has a mantle wrapped around his waist and his lion skin tied around his neck.]]

In the 74 mirrors in which Turan is depicted, she almost always appears with another deity or member of her retinue, but scholars debate on the canon list of Lasa figures in the Circle of Turan. Guido A. Mansuelli argues that there are 16 canonical members: Anchas, Phaun, Pulthisph (3 male figures), Achvizr, Alpan, Altria, Evan, Mean, Munthuc, Phulsphna, Rescial, Snenath, Thanar, Tiphanati, Thalna, and Zipna (13 female figures). However, Antonia Rallo argues that while these Lasa figures are all related to the world of women, some of them never actually appear with Turan, and therefore, their connection to her is more tenuous. Outside of these figures, Turan clearly has a relationship with her son Turnu and Tusna, both of whom derive their name from her.

Counterparts
Turan is often compared to the Greek and Roman goddesses, Aphrodite and Venus, but these are not perfect comparisons. Turan has uniquely Etruscan characteristics, for example, in her association with infants. The etymology of Turan’s name and her characteristics embodied on mirrors suggests a much more benevolent character than either of the Graeco-Roman goddesses. In early Etruscan scholarship, she is often compared to the Near Eastern goddess of fertility and sex, Astarte. The discovery of the Pyrgi Tablets, however, has complicated this association. The tablets are inscribed with the same content in both Phoenician and Etruscan, giving us a unique opportunity to read the Etruscan. The text of the tablets ultimately compares Astarte with Uni and not Turan, suggesting that using non-Etruscan sources to understand Turan’s role in the Etruscan pantheon can lead to problematic interpretations.