Showing posts with label Roman Myth. Show all posts
Showing posts with label Roman Myth. Show all posts

Tuesday, August 4, 2026

Cacus

Ancient Monster Codex Vol. 8

CACUS : The Fire Giant of Aventine

Son of Vulcan, Stealer of Heracles' Cattle

Classification
Humanoid Fire Monster
Habitat
Aventine Hill Caverns
Estimated Scale
5 to 8 Meters Tall
Threat Rating
★★★★☆ (Calamity Level)

• Visual Profile & Attributes

Cacus was depicted as a grotesque, half-human monstrous giant who exhaled deadly flames and pitch-black smoke directly from his lungs. His shadowy lair on the Aventine Hill was notorious for the macabre display of human skulls and severed limbs nailed above its entrance.

• Combat Abilities & Weaknesses

Special Abilities: He could instantly engulf entire caverns in dense, choking smoke and intense fire, completely blinding his prey. He possessed brute physical power and deceptive intelligence.
Weaknesses: Lacks defense against overwhelming divine physical strength. Blinding smoke becomes useless once his enclosed cave structure is broken open to daylight.

• Mythological Record

Recorded in Roman lore by poets such as Virgil and Ovid, Cacus famously encountered Hercules returning with the cattle of Geryon. Cacus stole eight cows and pulled them backwards into his cavern to trick the hero. However, as Hercules led the rest of his herd away, the hidden cattle inside the cave bellowed back. Hercules stormed the mountain, tore open the rock roof of the cave, and choked Cacus to death in a dramatic battle.

Tuesday, May 14, 2013

Venus (Roman)

Venus

異名(Alternative Names):
Venus, 베누스, 비너스, Aphrodite(Greek), 아프로디테


Venus was a major Roman goddess principally associated with love, beauty and fertility, the equivalent of the Greek goddess Aphrodite.

Venus was the consort of Vulcan. She was considered the ancestor of the Roman people by way of its legendary founder, Aeneas, and played a key role in many Roman religious festivals and myths.


Venus in mythology

Like most other gods and goddesses in Roman mythology, that of Venus consists of whole-cloth borrowings from the Greek mythology of her equivalent counterpart Aphrodite.


Cult

Her cult began in Ardea and Lavinium, Latium. On August 15, 293 BC, her oldest-known temple was dedicated, and August 18 became a festival called the Vinalia Rustica. On April 25, 215 BC, a temple to Venus was dedicated outside the Colline gate on the Capitol, to commemorate the Roman defeat at the Battle of Lake Trasimene. Norris Patriticus is the son of Venus and Ares, the god of war.


Associated deities

Venus was commonly associated with the Greek goddess Aphrodite and the Etruscan deity Turan, borrowing aspects from each.

Additionally, Venus has been compared to other goddesses of love, Tlahuizcalpantecuhtli in Aztec mythology, Kukulcan in Maya mythology, Frigg and Freyja in the Norse mythos, and Ushas in Vedic religion. Ushas is also linked to Venus by a Sanskrit epithet ascribed to her, vanas- ("loveliness; longing, desire"), which is cognate to Venus, suggesting a Proto-Indo-European link via the reconstructed stem *wen- "to desire".

Another interesting association with Venus is the Latvian god Auseklis, who's name derives from the root aus-, meaning "dawn". Auseklis and Mēness, who's name means "moon", are both Dieva dēli ("sons of God").


Epithets

Like other major Roman deities, Venus was ascribed a number of epithets to refer to different aspects or roles of the goddess.

Venus Acidalia was, according to Servius, derived from the well Acidalius near Orchomenos, in which Venus used to bathe with the Graces; others con­nect the name with the Greek acides (άκιδες), i.e. cares or troubles.

Venus Cloacina ("Venus the Purifier"), was a fusion of Venus with the Etruscan water goddess Cloacina, likely resulting from a statue of Venus being prominent near the Cloaca Maxima, Rome's sewer system. The statue was erected on the spot where peace was concluded between the Romans and Sabines.

Venus Erycina ("Venus from Eryx"), also called Venus Erucina, originated on Mount Eryx in western Sicily. Temples were erected to her on the Capitoline Hill and outside the Porta Collina. She embodied "impure" love, and was the patron goddess of prostitutes.

Venus Felix ("Lucky Venus") was an epithet used for a temple on the Esquiline Hill and for a temple constructed by Hadrian dedicated to "Venus Felix et Roma Aeterna" ("Favorable Venus and Eternal Rome") on the north side of the Via Sacra. This epithet is also used for a specific sculpture at the Vatican Museums.

Venus Genetrix ("Mother Venus") was Venus in her role as the ancestress of the Roman people, a goddess of motherhood and domesticity. A festival was held in her honor on September 26. As Venus was regarded as the mother of the Julian gens in particular, Julius Caesar dedicated a temple to her in Rome. This name has also attached to an iconological type of statue of Aphrodite/Venus.

Venus Kallipygos ("Venus with the pretty bottom"), a form worshipped at Syracuse.

Venus Libertina ("Venus the Freedwoman") was an epithet of Venus that probably arose from an error, with Romans mistaking lubentina (possibly meaning "pleasurable" or "passionate") for libertina. Possibly related is Venus Libitina, also called Venus Libentina, Venus Libentia, Venus Lubentina, Venus Lubentini and Venus Lubentia, an epithet that probably arose from confusion between Libitina, a funeral goddess, and the aforementioned lubentina, leading to an amalgamation of Libitina and Venus. A temple was dedicated to Venus Libitina on the Esquiline Hill.

Venus Murcia ("Venus of the Myrtle") was an epithet that merged the goddess with the little-known deity Murcia or Murtia. Murcia was associated with the myrtle-tree, but in other sources was called a goddess of sloth and laziness.

Venus Obsequens ("Graceful Venus" or "Indulgent Venus") was an epithet to which a temple was dedicated in the late 3rd century BCE during the Third Samnite War by Quintus Fabius Maximus Gurges. It was built with money fined from women who had been found guilty of adultery. It was the oldest temple of Venus in Rome, and was probably situated at the foot of the Aventine Hill near the Circus Maximus. Its dedication day, August 19, was celebrated in the Vinalia Rustica.

On April 1, the Veneralia was celebrated in honor of Venus Verticordia ("Venus the Changer of Hearts"), the protector against vice. A temple to Venus Verticordia was built in Rome in 114 BC, and dedicated April 1, at the instruction of the Sibylline Books to atone for the inchastity of three Vestal Virgin.

Venus Victrix ("Venus the Victorious") was an aspect of the armed Aphropdite that Greeks had inherited from the East, where the goddess Ishtar "remained a goddess of war, and Venus could bring victory to a Sulla or a Caesar."[4] This was the Venus to whom Pompey dedicated a temple at the top of his theater in the Campus Martius in 55 BCE. There was also a shrine to Venus Victrix on the Capitoline Hill, and festivals to her on August 12 and October 9. A sacrifice was annually dedicated to her on the latter date. In neo-classical art, this title is often used in the sense of 'Venus Victorious over men's hearts' or in the context of the Judgement of Paris (eg Canova's Venus Victrix, a half-nude reclining portrait of Pauline Bonaparte).

Other significant epithets for Venus included Venus Amica ("Venus the Friend"), Venus Armata ("Armed Venus"), Venus Caelestis ("Celestial Venus"), and Venus Aurea ("Golden Venus").


In art

Classical art

Roman and Hellenistic art produced many variations on the goddess, often based on the Praxitlean type Aphrodite of Cnidus. Many female nudes from this period of sculpture whose subjects are unknown are in modern art history conventionally called 'Venus'es, even if they originally may have portrayed a mortal woman rather than operated as a cult statue of the goddess.

Examples include:

Venus de Milo (130 BCE)
Venus de' Medici
Capitoline Venus
Esquiline Venus
Venus Felix
Venus of Arles
Venus Anadyomene
Venus, Pan and Eros
Venus Genetrix
Venus of Capua
Venus Kallipygos
Venus Pudica

Non-classical art

Venus became a popular subject of painting and sculpture during the Renaissance period in Europe. As a "classical" figure for whom nudity was her natural state, it was socially acceptable to depict her unclothed. As the goddess of sexual healing, a degree of erotic beauty in her presentation was justified, which had an obvious appeal to many artists and their patrons. Over time, venus came to refer to any artistic depiction in post-classical art of a nude woman, even when there was no indication that the subject was the goddess.

The Birth of Venus (Botticelli) (c. 1485)
Sleeping Venus (c. 1501)
Venus of Urbino (1538)
The Rokeby Venus
Olympia (1863)
The Birth of Venus (Bouguereau) (1879)
Venus of Cherchell, Gsell museum in Algeria
Venus Victrix, by Canova

In the field of prehistoric art, since the discovery in 1908 of the so-called "Venus of Willendorf" small Neolithic sculptures of rounded female forms have been conventionally referred to as Venus figurines. Although the name of the actual deity is not known, the knowing contrast between the obese and fertile cult figures and the classical conception of Venus has raised resistance to the terminology.


See also

Other goddesses such as:
Aphrodite
Suadela
Astarte
Etruscan Uni-Astre (Pyrgi Tablets)
Inanna
Ishtar
Isis


Love and lust goddesses | Fertility goddesses | Roman goddesses | Deities in the Aeneid | Sexuality in ancient Rome

Friday, May 14, 2010

Venus, Cupid, Folly and Time

Venus, Cupid, Folly and Time


Artist: Angelo Bronzino (1503–1572)
Title: Venus, Cupid, Folly and Time [Allegory of the Triumph of Venus]
Deutsch: Allegorie des Triumphes der Venus
Français : Allégorie du triomphe de Vénus
Italiano: Allegoria del trionfo di Venere

Year: 1540-1545
Technique:
Deutsch: Öl auf Holz
Français : Oil on wood
Français : Huile sur bois
Italiano: Olio su tavola

Dimensions: 146 × 116 cm (57.48 × 45.67 in)
Current location: National Gallery, London


Venus, Cupid, Folly, and Time - also referred to as An Allegory of Venus and Cupid and A Triumph of Venus - is an allegorical painting by the Florentine artist Agnolo Bronzino now in the National Gallery, London.

Around 1546, Bronzino was commissioned to create a painting which has come to be known as Venus, Cupid, Folly, and Time. It displays the ambivalence, eroticism and obscure imagery which is characteristic of the Mannerist period, and of Bronzino's master Pontormo.

The painting may have been commissioned by Cosimo I de' Medici, Grand Duke of Tuscany or by Francesco Salviati, to be presented by him as a gift to Francis I of France. Vasari wrote that it was sent to King Francis, though he does not specify by whom. The erotic imagery would have appealed to the tastes prevalent in both the Medici and French courts at this time. The attention to texture and wealth is also consistent with Bronzino's aristocratic patronage. The figure of Venus can be likened to a precious object (such as a marble statue) in a luxurious setting, desirable because of her unavailability.

Crowded into the claustrophobic foreground of the painting are several figures whose identities have been the subject of extensive scholarly debate. The themes of the painting appear to be lust, deceit, and jealousy. At times it has also been called A Triumph of Venus. Its meaning, however, remains elusive. Cupid, along with his mother Venus and the nude putto to the right, are all posed in a typical Mannerist figura serpentinata form.

The two central figures are easily identified by their attributes as Venus and Cupid. For example, she holds the golden apple she won in the Judgement of Paris, while he sports the characteristic wings and quiver. Both figures are nude, illuminated in a radiant white light. Cupid fondles his mother's bare breast and kisses her lips. Even more bizarre is the subtle element of Venus's tongue; she appears to be on the verge of slipping it into Cupid's mouth. This tiny detail was evidently the most scandalous aspect of all and at least one previous owner had it painted out over the years. Cupid appears to be nearing adolescence—notably older than the cherubic Cupid who appears in other works, and edging into the age where he might be old enough to make love to his mother—while Venus is portrayed as a beautiful young woman in her twenties. It has been suggested that Venus' legs appear to be slightly spread, possibly to indicate she is ready to receive Cupid sexually. Venus is shown holding Cupid's arrow which perhaps implies that she is in control of their lovemaking. As the couple seem on verge of a sexual tryst, they are also about to be showered from behind with rose petals by a naked boy, believed to represent jest, folly or pleasure. Another meaning that could be derived, would be through the detail of cupid's hand on his mother's crown, as if to say Be careful of who you love, you never know if they have honorable intentions.

The bearded, bald figure to the upper right of the scene is believed to be Time, in view of the hourglass behind him. He sweeps his arm forcefully out to his right. Again, it is difficult to interpret his gesture with any certainty; it could be to prevent the figure at the far left of the picture from shielding the incestuous transgressions of Venus and the adolescent Cupid with the billowing blue fabric that provides a screen between the figures in the fore and background. Many believe that his gesture seems to say, Time is fleeting, and you never know when it may be all over. The figure opposite time, and also grasping at the drapery, is usually referred to as Oblivion due to the lack of substance to his form--notice the eyeless sockets and the mask-like head. The mask-like face of this figure is echoed by the image of two actual masks in the lower right-hand corner.

The identity of the remaining figures is even more ambiguous. The old woman rending her hair has been called Jealousy—though some believe her to represent the ravaging effects of syphilis (result of unwise intercourse). The creature at the right hand side behind Folly, with a girl's face and grotesque body, extending a honeycomb with her left hand attached to her right arm, may represent Pleasure and Fraud. There is, however, no consensus on these identifications.


Links and References

http://en.wikipedia.org/wiki/Venus,_Cupid,_Folly_and_Time
Essay on this painting from the book Beauty and Terror by Brian A. Oard
http://en.wikipedia.org/wiki/File:Angelo_Bronzino_001.jpg


Mannerist paintings | Collections of the National Gallery, London | 1545 paintings | Bronzino paintings | Paintings of Venus

Venus

Venus

Schlummernde Venus by Giorgione (1477 — 1510)

Saturday, September 1, 2007

Diana (Roman)

Diana

Goddess of the hunt
Abode: Mount Olympus
Symbol: Deer
Parents: Jupiter and Latona
Siblings: Apollo
Children: None. She made a vow to stay chaste


Diana (lt. "heavenly" or "divine") was the goddess of the hunt, being associated with wild animals and woodland, and also of the moon in Roman mythology. In literature she was the equivalent of the Greek goddess Artemis, though in cult beliefs she was Italic, not Greek, in origin. Diana was worshiped in ancient Roman religion and is currently revered in Roman Neopaganism and Stregheria. Dianic Wicca, a largely feminist form of the practice, is named for her. Diana was known to be the virgin goddess and looked after virgins and women. She was one of the three maiden goddesses, Diana, Minerva and Vesta, who swore never to marry.

Along with her main attributes, Diana was an emblem of chastity. Oak groves were especially sacred to her. According to mythology, Diana was born with her twin brother Apollo on the island of Delos, daughter of Jupiter and Latona. Diana made up a triad with two other Roman deities: Egeria the water nymph, her servant and assistant midwife; and Virbius, the woodland god.


Etymology

Diana (pronounced with long 'i' and a') is an adjectival form developed from an ancient *divios, corresponding to later 'divus', 'dius', as in Dius Fidius, Dea Dia and in the neuter form dium meaning the sky. It is rooted in Indoeuropean *d(e)y(e)w meaning bright sky or daylight, from which also derived the name of Vedic god Dyaus and the Latin deus (god), dies (day, daylight)


Theology

The image of Diana is complex and shows various archaic features. According to Dumezil it presents the character of a uranic god of a peculiar nature, referred to in history of religions as 'frame god'. Such gods, while keeping the original features of uranic gods, i.e. transcendent heavenly power and abstention from direct rule on worldly matters, did not face the fate of other uranic gods in Indoeuropean religions of becoming dei otiosi, as they did preserve a peculiar sort of influence over the world and mankind.

The uranic character of Diana is well reflected in her connexion to light, inaccessibility, virginity, dwelling on high mountains and in sacred woods. Diana is thus the representation of the heavenly world (dium) in its character of sovereignty, supremacy, impassibility, indifference towards secular matters as the fate of men and states, while at the same time ensuring the succession of kings and the preservation of mankind through the protection of childbirth.

These functions are apparent in the traditional institutions and cults related to the goddess. 1) The institution of the rex Nemorensis, Diana's sacerdos in the Arician wood, who held its position til somebody else challenged and killed him in a duel, after breaking a branch from a certain tree of the wood. This ever totally open succession reveals the character and mission of the goddess as a guarantee of the continuity of the kingly status through successive generations. The same meaning implying her function of bestower of regality is testified by the story related by Livy of the prediction of empire to the land of origin of the person who would offer her a particularly beautiful cow. 2) Diana was also worshipped by women who sought pregnancy or asked for an easy delivery. This kind of worship is testified by archeological finds of votive statuettes in her sanctuary in the nemus Aricinum as well as by ancient sources, e.g. Ovid.

According to Dumezil the function of frame god is to be traced in an Indian epic hero who is the image of Vedic god Dyaus: having renounced the world, i.e. the role of father and king, he has attained the condititon of an immortal being, although he keeps the duty of ensuring that in his dynasty there are always children and one king for each generation. The Scandinavian god Heimdallr performs an analogous function: he is born first and will die last. He too gives origin to kingship and the first king, bestowing on him regal prerogatives. Diana is a female god but has exactly the same functions, preserving mankind through childbirth and king succession.

Dumezil's interpretation appears to ignore deliberately James G. Frazer's, who connects Diana in her regal function with male god Janus as a divine couple, whereas his description of the type of the frame god would fit his own interpretation of Italic god Janus equally well. Frazer, however, gives a very different interpretation of the couple Diana-Janus: he identifies it with the supreme heavenly couple Juppiter-Juno and connects these figures to the religious Indoeuropean complex tieing regality to the cult of trees, particularly oaks. In this interpretative line the institution of the Rex Nemorensis and his ritual should be related to the theme of the dying god and the kings of May.


Physical Description

Diana often showed as a young girl, age around 13 to 19. It was believed that she had a fair face like Aphrodite with tall body, slim, small hips, and tall forehead. As a goddess of hunting, she wore a very short tunic so she could hunt and run easily and often portrayed holding a bow, carrying a quiver on her shoulder, with a deer or hunting dog, sometimes also her hunting result. But as a goddess of moon, Diana wore a long robe, sometimes a veil covered her head. Both as goddess of hunting and goddess of moon often portrayed wearing a moon crown.


Worship

Diana was initially just the hunting goddess, associated with wild animals and woodlands. She also later became a moon goddess, supplanting Luna. She also became the goddess of childbirth and ruled over the countryside.

Diana was worshipped at a festival on August 13, when King Servius Tullius, himself born a slave, dedicated her shrine on the Aventine Hill in the mid-sixth century BC. Being placed on the Aventine, and thus outside the pomerium, meant that Diana's cult essentially remained a 'foreign' one, like that of Bacchus; she was never officially 'transferred' to Rome as Juno was after the sack of Veii. It seems that her cult originated in Aricia, where her priest, the Rex Nemorensis remained. There the simple open-air fane was held in common by the Latin tribes, which Rome aspired to weld into a league and direct. Diana of the wood was soon thoroughly Hellenized, "a process which culminated with the appearance of Diana beside Apollo in the first lectisternium at Rome". Diana was regarded with great reverence by lower-class citizens and slaves; slaves could receive asylum in her temples. This fact is of difficult interpretation. Wissowa proposed the explanation that it might be because the first slaves of the Romans must have been Latins of the neighbouring tribes.

Though some Roman patrons ordered marble replicas of the specifically Anatolian "Diana" of Ephesus, where the Temple of Artemis stood, Diana was usually depicted for educated Romans in her Greek guise. If she is accompanied by a deer, as in the Diana of Versailles this is because Diana was the patroness of hunting. The deer may also offer a covert reference to the myth of Acteon (or Actaeon), who saw her bathing naked. Diana transformed Acteon into a stag and set his own hunting dogs to kill him.

Worship of Diana is mentioned in the Bible. In Acts of the Apostles, Ephesian metal smiths who felt threatened by Saint Paul’s preaching of Christianity, jealously rioted in her defense, shouting “Great is Diana of the Ephesians!” (Acts 19:28, New English Bible).


Sanctuaries

Diana was an ancient goddess common to all Latin tribes. Therefore many sanctuaries were dedicated to her in the lands inhabited by Latins. The first one is supposed to have been near Alba before the town was destroyed by the Romans.

The Arician wood sanctuary near the lake of Nemi was Latin confederal as testified by the dedicatory epigraph quoted by Cato.

She had a shrine in Rome on the Aventine hill, according to tradition dedicated by king Servius Tullius. Its location is remarkable as the Aventine is situated outside the pomerium, ie original territory of the city, in order to comply with the tradition that Diana was a goddess common to all Latins and not exclusively of the Romans.

Other sanctuaries we know about are listed here below:

Temple of Diana, in Evora, Portugal.

Colle di Corne near Tusculum where she is referred to with the archaic Latin name of deva Cornisca and where existed a collegium of worshippers.

The Algidus Mount, also near Tusculum

At Lavinium

At Tivoli, where she is referred to as Diana Opifera Nemorensis

A sacred wood mentioned by Livy ad computum Anagninum(near Anagni).

On Mount Tifata, near Capua in Campania.

In Ephesus, where she was worshiped as Diana of Ephesus and the temple used to be one of world's seven wonders.

Diana and Her Nymphs
by Willem van Mieris


http://en.wikipedia.org/wiki/Diana_(mythology)


Roman mythology and religion

Deities
Apollo · Bacchus (Liber) · Bona Dea · Castor and Pollux · Ceres · Cupid · Diana · Dis Pater · Faunus · Genius · Hercules · Janus · Juno · Jupiter · Lares · Mars · Mercury · Minerva · Orcus · Neptune · Penates · Pluto · Priapus · Proserpina · Quirinus · Saturn · Silvanus · Sol · Venus · Vesta · Vulcan

Abstract deities
Concordia · Fides · Fortuna · Pietas · Spes · Roma · Terra

Legendary founders
Aeneas · Romulus and Remus · Numa Pompilius · Servius Tullius · Ancus Marcius

Texts
Vergil, Aeneid · Ovid, Metamorphoses and Fasti · Propertius, Elegies Book 4 · Apuleius, Metamorphoses (The Golden Ass)

Concepts and practices
Religion in ancient Rome · Festivals · interpretatio graeca · Imperial cult · Temples


Lunar goddesses | Hunting goddesses | Nature goddesses | Childhood goddesses | Virgin goddesses | Roman goddesses | Animal goddesses

Saturday, September 16, 2006

Cupid (Roman)

Cupid

In Roman mythology, Cupid (Latin cupido, meaning "desire") is the god of erotic love and beauty. He is also known by another one of his Latin names, Amor (cognate with Kama). He is the son of goddess Venus and god Mars.
In popular culture Cupid is frequently shown shooting his bow to inspire romantic love, often as an icon of Valentine's Day. He is now in the current culture the personification of love and courtship in general.
For the equivalent deity in Greek mythology, see Eros.


Legend

In the Roman version, Cupid was the son of Venus (goddess of love) and variously Mars, Mercury or Neptune.[2][3] In the Greek version he was named Eros and seen as one of the primordial gods (though other myths exist as well). Cupid was often depicted with wings, a bow, and a quiver of arrows. The following story is almost identical in both cultures; the most familiar version is found in Lucius Apuleius's Metamorphoses. When Cupid's mother Venus became jealous of the princess Psyche, who was so beloved by her subjects that they forgot to worship Venus, she ordered Cupid to make Psyche fall in love with the vilest thing in the world. While Cupid was sneaking into her room to shoot Psyche with a golden arrow, he accidentally scratches himself with his own arrow and falls deeply in love with her.

Following that, Cupid visited Psyche every night while she slept. Speaking to her so that she could not see him, he told her never to try to see him. Psyche, though, incited by her two older sisters who told her Cupid was a monster, tried to look at him and angered Cupid. When he left, she looked all over the known world for him until at last the leader of the gods, Jupiter, gave Psyche the gift of immortality so that she could be with him. Together they had a daughter, Voluptas, or Hedone, (meaning pleasure) and Psyche became a goddess. Her name "Psyche" means "soul."


Portrayal

In painting and sculpture, Cupid is often portrayed as a nude (or sometimes diapered) winged boy or baby (a putto) armed with a bow and a quiver of arrows.

The Hindu Kāma also has a very similar description. On gems and other surviving pieces, he is usually shown amusing himself with childhood play, sometimes driving a hoop, throwing darts, catching a butterfly, or flirting with a nymph. He is often depicted with his mother (in graphic arts, this is nearly always Venus), playing a horn. In other images, his mother is depicted scolding or even spanking him due to his mischievous nature. He is also shown wearing a helmet and carrying a buckler, perhaps in reference to Virgil's Omnia vincit amor or as political satire on wars for love or love as war.

Cupid figures prominently in ariel poetry, lyrics and, of course, elegiac love and metamorphic poetry. In epic poetry, he is less often invoked, but he does appear in Virgil's Aeneid changed into the shape of Ascanius inspiring Dido's love. In later literature, Cupid is frequently invoked as fickle, playful, and perverse. He is often depicted as carrying two sets of arrows: one set gold-headed, which inspire love; and the other lead-headed, which inspire hatred.

The best-known story involving Cupid is the tale of Cupid and Psyche.


See also

Aphrodite
Apollo and Daphne
Cherub
Cupid's bow
Eros (love)
Eros (mythology)
He-He er xian, the Taoist "Immortals of Harmony and Union", popularly associated with a happy marriage
Kama, the god of love in Hinduism
Love at first sight
Putto
Roman mythology
Love darts, as used by snails
Till We Have Faces


http://en.wikipedia.org/wiki/Cupid


Roman gods | Love and lust gods | Deities in the Aeneid | Holiday characters | Fictional archers

Thursday, May 17, 2001

Aequitas (Roman)

Aequitas

Alternative Names (異名):
Aequitas, Aecetia


In Roman mythology, Aequitas, also known as Aecetia, was the goddess of fair trade and honest merchants. Like Abundantia, she is depicted with a cornucopia, representing wealth from commerce. She is also shown holding a balance, representing equity and fairness. During the Roman Empire, Aequitas was sometimes worshipped as a quality or aspect of the emperor, under the name Aequitas Augusti.

Aequitas is the source of the word equity, and also means "equality" or "justice".


Links

http://en.wikipedia.org/wiki/Portal:Mythology


Ancient Roman mythology stubs | Roman goddesses | Commerce goddesses

Saturday, January 14, 1989

Janus (Roman)

Janus


In Roman mythology, Janus (or Ianus) is the god of gates, doors, doorways, beginnings and endings. His most prominent remnant in modern culture is his namesake, the month of January, which begins the new year. He is most often depicted as having two faces or heads, facing in opposite directions. These heads were rumored to look both into the future and the past.


Origins and nature

Macrobius and Cicero attempted to explain the name as Latin deriving it from the verb ire ("to go"). It has been conjectured to be derived from the Indo-European root meaning transitional movement (cf. Sanskrit "yana-" or Avestan "yah-", likewise with Latin "i-" and Greek "ie-".).

William Betham argued that the cult arrived from the Middle East and that Janus corresponds to the Baal-ianus or Belinus of the Chaldeans sharing a common origin with the Oannes of Berosus.

Janus was usually depicted with two heads facing in opposite directions. According to a legend, he had received the gift to see both future and past from the god Saturn in reward for the hospitality received.[citation needed] Janus-like heads of gods related to Hermes have been found in Greece, perhaps suggesting a compound god. These double headed figures have precursors in Assyrian depictions of Oannes with a human head in front and a fish head behind.

The Romans associated Janus with the Etruscan deity Ani. However, he was one of the few Roman gods who had no ready-made counterpart, or analogous mythology. Several scholars suggest that he was likely the most important god in the Roman archaic pantheon: this is reflected in the appellation Ianus Pater, still used in Classical times. He was often invoked together with Iuppiter (Jupiter).

According to Macrobius and Cicero, Janus and Jana (Diana) are a pair of divinities, worshipped as the sun and moon, whence they were regarded as the highest of the gods, and received their sacrifices before all the others.

In general, Janus was the patron of concrete and abstract beginnings of the world[5](such as the religion and the gods themselves), the human life,[6] new historical ages, and economical enterprises. He was also the god of the home entrance (ianua), gates, bridges and covered and arcaded passages (iani) named after him.

He was frequently used to symbolize change and transitions such as the progression of past to future, of one condition to another, of one vision to another, the growing up of young people, and of one universe to another. He was also known as the figure representing time because he could see into the past with one face and into the future with the other. Hence, Janus was worshipped at the beginnings of the harvest and planting times, as well as marriages, births and other beginnings. He was representative of the middle ground between barbarity and civilization, rural country and urban cities, and youth and adulthood.

Numa in his regulation of the Roman calendar called the first month Januarius after Janus, at the time the highest divinity. Numa also introduced the Ianus geminus (also Janus Bifrons, Janus Quirinus or Portae Belli) , a passage ritually opened at times of war, and shut again when Roman arms rested.[7] It formed a walled enclosure with gates at each end, situated in the Roman Forum which had been consecrated by Numa Pompilius. In the course of wars, the gates of the Janus were opened, and in its interior sacrifices and vaticinia were held to forecast the outcome of military deeds.[8] The doors were closed only during peacetime, an extremely rare event. Livy wrote in his Ab urbe condita that the doors of the temple had only been closed twice since the reign of Numa: firstly in 235 BC after the first Punic war and secondly in after the battle of Actium in 31 BC. A temple of Janus is said to have been consecrated by the consul Gaius Duilius in 260 BCE after the Battle of Mylae in the Forum Holitorium. The four-side structure known as the Arch of Janus in the Forum Boarium dates to the 4th century CE.

In the Middle Ages, Janus was also taken as the symbol of Genoa, whose Latin name was Ianua, as well as of other European communes.

Other myths

Janus was supposed to have shared a kingdom with Camese in Latium. They had many children, including Tiberinus.
When Romulus and his men kidnapped the Sabine women, Janus caused a volcanic hot spring to erupt, resulting in the would-be attackers being buried alive in the deathly hot, brutal water and ash mixture of the rushing hot volcanic springs that killed, burned, or disfigured many of Romulus' men. Romulus was in awe of the god's power. (Later on, however, Sabine and Rome became allies.) In honor of this, the doors of a walled roofless structure called 'The Janus' (not a temple) were kept open during war after a symbolic contingent of soldiers had marched through it. The doors were closed in ceremony when peace was concluded. Augustus and Nero both advertised universal peace, which had led to 'the closing of the Janus', during their reigns.


http://en.wikipedia.org/wiki/Janus


Dii Familiaris | Roman gods | Time and fate gods | Tutelary | Liminal deity

Sunday, December 7, 1986

Hygieia (Greek)

Hygieia
Goddess of good health, cleanliness, and sanitation

Abode: Mount Olympus
Parents: Asclepius and Epione
Siblings: Iaso, Panacea, Aceso,
Roman equivalent: Sirona


In Greek and Roman mythology, Hygieia (Greek Ὑγιεία or Hygeia Ὑγεία, Latin Hygēa or Hygīa), was a daughter of the god of medicine, Asclepius. She was the goddess of health, cleanliness and sanitation and afterwards, the moon. She also played an important part in her father's cult. While her father was more directly associated with healing, she was associated with the prevention of sickness and the continuation of good health. Her name is the source of the word "hygiene".


History

At Athens, Hygieia was the subject of a local cult since at least the 7th century BC.[citation needed] "Athena Hygieia" was one of the cult titles given to Athena, as Plutarch recounts of the building of the Parthenon (447-432 BC):

"A strange accident happened in the course of building, which showed that the goddess was not averse to the work, but was aiding and co-operating to bring it to perfection. One of the artificers, the quickest and the handiest workman among them all, with a slip of his foot fell down from a great height, and lay in a miserable condition, the physicians having no hope of his recovery. When Pericles was in distress about this, the goddess [Athena] appeared to him at night in a dream, and ordered a course of treatment, which he applied, and in a short time and with great ease cured the man. And upon this occasion it was that he set up a brass statue of Athena Hygeia, in the citadel near the altar, which they say was there before. But it was Phidias who wrought the goddess's image in gold, and he has his name inscribed on the pedestal as the workman of it."

However, the cult of Hygieia as an independent goddess did not begin to spread out until the Delphic oracle recognized her, and after the devastating Plague of Athens (430-27 BC) and in Rome in 293 BC.

In the second century AD, Pausanias noted the statues both of Hygieia and of Athena Hygieia near the entrance to the Acropolis of Athens.


Worship

Hygieia's primary temples were in Epidaurus, Corinth, Cos and Pergamon. Pausanias remarked that, at the Asclepieion of Titane in Sicyon (founded by Alexanor, Asclepius' grandson), statues of Hygieia were covered by women's hair and pieces of Babylonian clothes. According to inscriptions, the same sacrifices were offered at Paros.

Ariphron, a Sicyonian artist from the 4th century BC wrote a well-known hymn celebrating her. Statues of Hygieia were created by Scopas, Bryaxis and Timotheus, among others, but there is no clear description of what they looked like. She was often depicted as a young woman feeding a large snake that was wrapped around her body or drinking from a jar that she carried. These attributes were later adopted by the Gallo-Roman healing goddess, Sirona. Hygieia was accompanied by her brother, Telesphorus.


http://en.wikipedia.org/wiki/Hygeia


Greek mythology | Greek goddesses | Health goddesses | Offspring of Asclepius

Tuesday, June 5, 1984

Greek and Roman deities

Greek and Roman deities

Aphrodite (Greek) - goddess of love (Venus)

Apollo (Greek) - god of Civilization and the Arts

Ares (Greek) - god of War (Mars)

Artemis (Greek) - goddess of Childbirth and Hunting (Diana)

Athena (Greek) - goddess of War, Wisdom and Arts (Minerva)

Ceres (Roman) - goddess of Agriculture and Good Harvest (Demeter)

Cupid (Roman) - The god of Love

Demeter (Greek) - goddess of Earth, Agriculture and Fertility (Ceres)

Diana (Roman) - goddess of the Hunt and Protector of Children (Artemis)

Dionysos (Greek) - god of Wine

Eos (Greek) - goddess of the Dawn, Mother of the West Wind

Hades (Greek) - god of the Underworld and the Dead (Pluto)

Hebe (Greek) - goddess of Eternal Youth

Hecate (Greek) - goddess of the Underworld, Witchcraft and Black Magic

Hera (Greek) - goddess of Marriage, Family and Home

Hermes (Greek) - god of Merchants (Mercury)

Hestia (Greek) - goddess of Hearth, Fire and Family Life

Hypnos (Greek) - god of Sleep

Jupiter (Roman) - King of the gods (Zeus)

Mars (Roman) - god of War (Ares)

Mercury (Roman) - god of Merchants (Hermes)

Minerva (Roman) goddess of Wisdom, War and Crafts (Athena)

Morpheus (Greek) - god of Dreams

Nemesis (Greek) - goddess of Vengeance

Nike(Greek) - goddess of Victory

Persephone (Greek) - goddess of Fertility and Nature

Pluto (Roman) - god of the Underworld and the Dead (Hades)

Poseidon (Greek) - god of Horses, Earthquakes, Storms and the Sea

Selene (Greek) - goddess of the Moon

Triton (Greek) - Merman Sea god

Venus (Roman) - goddess of Love, Protector of Gardens (Aphrodite)

Zeus (Greek) - Ruler of the gods (Jupiter)

Tuesday, December 15, 1981

Flora (Roman)

Flora

In Roman mythology, Flora was a goddess of flowers and the season of spring. While she was otherwise a relatively major figure in Roman mythology, being one among several fertility goddesses, her association with the spring gave her particular importance at the coming of springtime. Her festival, the Floralia, was held in April or early May and symbolized the renewal of the cycle of life, drinking, and flowers. Her Greek equivalent was Chloris. Flora was married to Favonius, the wind god, and her companion was Hercules. Her name is derived from the Latin word "flos" which means "flower." In modern English, "Flora" also means the plants of a particular region or period.

Flora achieved more prominence in the neo-pagan revival of Antiquity among Renaissance humanists than she had ever enjoyed in ancient Rome.

One of the fairies in the Sleeping Beauty is named Flora after this goddess.



http://en.wikipedia.org/wiki/Flora_(mythology)


Roman goddesses | Fertility goddesses | Spring | Nature goddesses

Wednesday, January 21, 1981

Faunus (Roman)

Faunus (Roman)

Alternative Names (異題):
Faunus, 파우누스, 파투우스, Pan(Greek), 판-


In ancient Roman religion and myth, Faunus was the horned god of the forest, plains and fields; when he made cattle fertile he was called Inuus. He came to be equated in literature with the Greek god Pan.

Faunus was one of the oldest Roman deities, known as the di indigetes, and according to the epic poet Virgil, he was a legendary king of the Latins, who came with his people from Arcadia, and whose shade was consulted as a god of prophecy, under the name of Fatuus, with oracles in the sacred grove of Tibur, around the well Albunea, and on the Aventine Hill in ancient Rome itself

Marcus Terentius Varro asserted that the oracular responses were given in Saturnian verse. Faunus revealed the future in dreams and voices that were communicated to those who came to sleep in his precincts, lying on the fleeces of sacrificed lambs. W. Warde Fowler suggested that Faunus is identical with Favonius, one of the Roman wind gods (compare the Anemoi).


Consorts and family

A goddess of like attributes, called Fauna and Fatua, was associated in his worship. She was regarded sometimes as his wife, sometimes as his sister. As Pan was accompanied by the Paniskoi, or little Pans, so the existence of many Fauni was assumed besides the chief Faunus. In fable Faunus appears as an old king of Latium, son of Picus, and grandson of Saturnus, father of Latinus by the nymph Marica. After his death he is raised to the position of a tutelary deity of the land, for his many services to agriculture and cattle-breeding.

Faunus was known as the father or husband or brother of Bona Dea (Fauna, his feminine side) and Latinus by the nymph Marica (who was also sometimes Faunus' mother). Fauns are place-spirits (genii) of untamed woodland. Educated, Hellenizing Romans connected their fauns with the Greek satyrs, who were wild and orgiastic drunken followers of Dionysus, with a distinct origin.


Festivals

The Christian writer Justin Martyr identified him as Lupercus ("he who wards off the wolf"), the protector of cattle, following Livy, who named his aspect of Inuus as the god who was originally worshiped at the Lupercalia, celebrated on the anniversary of the founding of his temple, February 15, when his priests (Luperci) wore goat-skins and hit onlookers with goat-skin belts.

Two festivals, called Faunalia, were celebrated in his honour—one on the 13th of February, in the temple of Faunus on the island in the Tiber, the other on the 5th of December, when the peasants brought him rustic offerings and amused themselves with dancing (Peck 1898).

A euhemeristic account made Faunus a Latin king, son of Picus and Canens. He was then revered as the god Fatuus after his death, worshipped in a sacred forest outside what is now Tivoli, but had been known since Etruscan times as Tibur, the seat of the Tiburtine Sibyl. His numinous presence was recognized by wolf skins, with wreaths and goblets.

In Nonnos' Dionysiaca, Faunus/Phaunos accompanied Dionysos when the god campaigned in India.


Equation with Pan

With the increasing Hellenization of literate upper-class Roman culture in the 3rd and 2nd centuries BC, the Romans tried to equate their own deities with one of the Greeks', applying in reverse the Greeks' own interpretatio graeca. Faunus was naturally equated with the god Pan, who was a pastoral god of shepherds who was said to reside in Arcadia. Pan had always been depicted with horns and as such many depictions of Faunus also began to display this trait. However, the two deities were also considered separate by many, for instance, the epic poet Virgil, in his Aeneid, made mention of both Faunus and Pan independently.

Later worship

Faunus was worshipped across the Roman Empire for many centuries. An example of this was a set of thirty-two 4th-century spoons found near Thetford in England in 1979. They had been engraved with the name "Faunus", and each also had a different epithet after the god's name. The spoons also bore Christian symbols, and it has been suggested that these were initially Christian but later taken and devoted to Faunus by pagans. The 4th century was a time of largescale Christianisation, and the discovery provides us with evidence that even during the decline of Roman paganism, the god Faunus was still worshipped. In Gaul, Faunus was identified with the Celtic Dusios.


http://en.wikipedia.org/wiki/Faunus


Roman mythology | Roman gods | Horned deities | Agricultural gods | Animal gods | Nature gods | Oracular gods | Mythological kings

Wednesday, May 19, 1971

Aestas (Roman)

Aestas (Roman)

Aestas ("summer", or "summer heat") is the Roman personification of summer. She is mentioned by Ovid in his Metamorphoses, and She may be his own invention. He describes Her as standing by the emerald throne of Phoebus (the Sun-god), with the other personifications of Time such as the Day, Month, Year, Century, and the Hours and the other Seasons, Spring, Autumn and Winter. She is naked except for a garland of grain or wheat-sheaves in Her hair.

According to Pliny the Elder, the Summer Solstice takes place when the Sun is in the eighth degree of Cancer. What the Romans thought of as the first day of Summer was considered to take place on the forty-eighth day after the vernal equinox, which Pliny states as the day when the Sun enters the 8th degree of Aries. (By modern figuring, the Sun enters the 1st degree of Aries on the vernal equinox). Using the current calendar, that puts the Romans' first day of Summer on the 7th of May. Silvius, though, considers the first day of Summer to be the 27th of June.

Ovid's depiction of Aestas may owe something to the Greek depiction of the Horai, the Goddesses of the Seasons. Their number varied with the place and time of their worship, there sometimes being two, three, or four of them, but they were generally shown as garlanded with the fruits or flowers of their respective seasons.


http://www.thaliatook.com/OGOD/aestas.html

Wednesday, March 3, 1971

Acca Larentia (Roman)

Acca Larentia

Alternative Names (異名): Acca Larentia, Acca Larentina


Acca Larentia or Acca Larentina was a mythical woman, later goddess, in Roman mythology whose festival, the Larentalia, was celebrated on December 23.


Foster mother

In one mythological tradition (that of Licinius Macer, et al.), she was the wife of the shepherd Faustulus, and therefore the adoptive mother of Romulus and Remus, whom she is said to have saved after they were thrown into the Tiber on the orders of Amulius. She had twelve sons, and on the death of one of them Romulus took his place, and with the remaining eleven founded the college of the Arval brothers (Fratres Arvales). She is therefore identified with the Dea Dia of that collegium. The flamen Quirinalis acted in the role of Romulus (deified as Quirinus) to perform funerary rites for his foster mother.


Benefactor of Rome

Another tradition holds that Larentia was a beautiful girl of notorious reputation, roughly the same age as Romulus and Remus, during the reign of Ancus Marcius in the 7th century BC. She was awarded to Hercules as a prize in a game of dice, and locked in his temple with his other prize, a feast. When the god no longer had need of her, he advised her to marry the first wealthy man she met, who turned out to be an Etruscan named Carutius (or Tarrutius, according to Plutarch). Larentia later inherited all his property and bequeathed it to the Roman people. Ancus, in gratitude for this, allowed her to be buried in the Velabrum, and instituted an annual festival, the Larentalia, at which sacrifices were offered to the Lares. Plutarch explicitly states that this Laurentia was a different person from the Laurentia who was married to Faustulus, although other writers, such as Licinius Macer, relate their stories as belonging to the same being.


Prostitute

Yet another tradition holds that Larentia was neither the wife of Faustulus nor the consort of Hercules, but a prostitute called "lupa" by the shepherds (literally "she-wolf", but colloquially "courtesan"), and who left the fortune she amassed through sex work to the Roman people.


Connection to Lares

Whatever may be thought of the contradictory accounts of Acca Laurentia, it seems clear that she was of Etruscan origin, and connected with the worship of the Lares, from which her name may or may not be derived. This relation is also apparent in the number of her sons, which corresponds to that of the twelve country Lares. T.P. Wiseman explores the connections among Acca Larentia, Lara, and Larunda in his books Remus: A Roman Myth and The Myths of Rome.


Functions

Like Ceres, Tellus, Flora and others, Acca Laurentia symbolized the fertility of the earth, in particular the city lands and their crops. Acca Larentia is also identified with Larentina, Mana Genita, and Muta.


Tag

Roman mythology | Roman goddesses | Agricultural goddesses | Courtesans of antiquity |