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The mythologies in present-day Italy encompass the mythology of the Romans, Etruscans, and other peoples living in Italy, those ancient stories about divine or heroic beings that these particular cultures believed to be true and that often use supernatural events or characters to explain the nature of the universe and humanity.
Roman mythology is the body of myths of ancient Rome as represented in the literature and visual arts of the Romans. One of a wide variety of genres of Roman folklore, Roman mythology may also refer to the modern study of these representations, and to the subject matter as represented in the literature and art of other cultures in any period. Roman mythology draws from the mythology of the Italic peoples and ultimately from Proto-Indo-European mythology.
Roman mythology also draws directly on Greek mythology, potentially as early as Rome's protohistory, but primarily during the Hellenistic period of Greek influence and through the Roman conquest of Greece, via the artistic imitation of Greek literary models by Roman authors. [1] The Romans identified their own gods with those of the ancient Greeks—who were closely historically related in some cases, such as Zeus and Jupiter—and reinterpreted myths about Greek deities under the names of their Roman counterparts. Greek and Roman mythologies are therefore often classified together in the modern era as Greco-Roman mythology.
Latin literature was widely known in Europe throughout the Middle Ages and into the Renaissance. The interpretations of Greek myths by the Romans often had a greater influence on narrative and pictorial representations of "Greco-Roman mythology" than Greek sources. In particular, the versions of Greek myths in Ovid's Metamorphoses , written during the reign of Augustus, came to be regarded as canonical.
Because ritual played the central role in Roman religion that myth did for the Greeks, it is sometimes doubted that the Romans had much of a native mythology. This perception is a product of Romanticism and the classical scholarship of the 19th century, which valued Greek civilization as more "authentically creative." [2] From the Renaissance to the 18th century, however, Roman myths were an inspiration particularly for European painting. [3] The Roman tradition is rich in historical myths, or legends, concerning the foundation and rise of the city. These narratives focus on human actors, with only occasional intervention from deities but a pervasive sense of divinely ordered destiny. In Rome's earliest period, history and myth have a mutual and complementary relationship. [4] As T. P. Wiseman notes:
The Roman stories still matter, as they mattered to Dante in 1300 and Shakespeare in 1600 and the founding fathers of the United States in 1776. What does it take to be a free citizen? Can a superpower still be a republic? How does well-meaning authority turn into murderous tyranny? [3]
Major sources for Roman myth include the Aeneid of Virgil and the first few books of Livy's history as well as Dionysius's Roman Antiquities. Other important sources are the Fasti of Ovid, a six-book poem structured by the Roman religious calendar, and the fourth book of elegies by Propertius. Scenes from Roman myth also appear in Roman wall painting, coins, and sculpture, particularly reliefs.
The Aeneid and Livy's early history are the best extant sources for Rome's founding myths. Material from Greek heroic legend was grafted onto this native stock at an early date. The Trojan prince Aeneas was cast as husband of Lavinia, daughter of King Latinus, patronymical ancestor of the Latini, and therefore through a convoluted revisionist genealogy as forebear of Romulus and Remus. By extension, the Trojans were adopted as the mythical ancestors of the Roman people. [5]
The characteristic myths of Rome are often political or moral, that is, they deal with the development of Roman government in accordance with divine law, as expressed by Roman religion, and with demonstrations of the individual's adherence to moral expectations (mos maiorum) or failures to do so.
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. [11]
The mythology is evidenced by a number of sources in different media, for example representations on large numbers of pottery, inscriptions and engraved scenes on the Praenestine cistae (ornate boxes; see under Etruscan language) and on specula (ornate hand mirrors). Currently some two dozen fascicles of the Corpus Speculorum Etruscorum have been published. Specifically Etruscan mythological and cult figures appear in the Lexicon Iconographicum Mythologiae Classicae . [12] Etruscan inscriptions have recently been given a more authoritative presentation by Helmut Rix, Etruskische Texte. [13]
Important Gods and Goddesses of Italian Mythology:
The evil eye, in Italian malocchio, is not just a part of Italian folklore but is also present in many different cultures. The evil eye is a supernatural belief in a curse brought about by a malevolent glare, usually inspired by envy. [14] The belief in the evil eye among humans has existed since prehistory, [14] and amulets to protect against it have been found from dating to about 5,000 years ago. [14] It is estimated that around 40% of the world's population believes in the evil eye. [15]
It is found in many cultures in the Mediterranean region, the Balkans, the Middle East and Central Asia, with such cultures often believing that receiving the evil eye will cause misfortune or injury, [16] while others believe it to be a kind of supernatural force that casts or reflects a malevolent gaze back upon those who wish harm upon others (especially innocents). The idea appears multiple times also in Jewish rabbinic literature.
Different cultures have pursued measures to protect against the evil eye. [17] Some of the most famous talismans against the evil eye include the nazar amulet, itself a representation of an eye, and the hamsa, a hand-shaped amulet. Older iterations of the symbol were often made of ceramic or clay; however, following the production of glass beads in the Mediterranean region in approximately 1500 BC, evil eye beads were popularised with the Phoenicians, Persians, Greeks, Romans and Ottomans. [18] Ancient Romans used representations of phallus, such as the fascinus, to protect against the evil eye, while in modern-day Southern Italy a variety of amulets and gestures are used for protection, including the cornicello, the cimaruta, and the sign of the horns.
The cornicello, "little horn", also called in Italian the cornetto ("little horn", plural cornetti), is a long, gently twisted horn-shaped amulet. Cornicelli are usually carved out of red coral or made from gold or silver. The type of horn they are intended to copy is not a curled-over sheep horn or goat horn but rather like the twisted horn of an African eland or a chili pepper. [19] A tooth or tuft of fur of the Italian wolf was worn as a talisman against the evil eye. [20]
One idea that the ribald suggestions made by sexual symbols distract the witch from the mental effort needed to successfully bestow the curse. Another is that since the effect of the eye was to dry up liquids, the drying of the phallus (resulting in male impotence) would be averted by seeking refuge in the moist female genitals. Among the ancient Romans and their cultural descendants in the Mediterranean nations, those who were not fortified with phallic charms had to make use of sexual gestures to avoid the eye. Such gestures include scratching one's testicles (for men), as well as the mano cornuta gesture and the fig sign; a fist with the thumb pressed between the index and middle fingers, representing the phallus within the vagina. In addition to the phallic talismans, statues of hands in these gestures, or covered with magical symbols, were carried by the Romans as talismans.
The wielder of the evil eye, the jettatore, is described as having a striking facial appearance, high arching brows with a stark stare that leaps from his eyes. He often has a reputation for clandestine involvement with dark powers and is the object of gossip about dealings in magic and other forbidden practices. Successful men having tremendous personal magnetism quickly gain notoriety as jettatori. Pope Pius IX was dreaded for his evil eye, and a whole cycle of stories about the disasters that happened in his wake were current in Rome during the latter decades of the 19th century. Public figures of every type, from poets to gangsters, have had their specialized abilities attributed to the power of their eyes. [21]
Hercules is the Roman equivalent of the Greek divine hero Heracles, son of Jupiter and the mortal Alcmena. In classical mythology, Hercules is famous for his strength and for his numerous far-ranging adventures.
Acantha is often claimed to be a minor character in Greek mythology whose metamorphosis was the origin of the Acanthus plant. Acantha's myth however does not appear in any classical source.
Febris, or Dea Febris, is the Roman goddess of fevers, who embodied, but also protected people from fever and malaria. Because of this, Febris was a feared goddess whom people wanted the favour of. She does not have a myth of her own nor is she mentioned in a myth. Among her characteristic attributes are "shrewdness" and "honesty", according to Seneca the Younger's Apocolocyntosis.
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.
The evil eye is a supernatural belief in a curse brought about by a malevolent glare, usually inspired by envy. The belief in the evil eye among humans has existed since prehistory, and amulets to protect against it have been found dating to about 5,000 years ago. It is estimated that around 40% of the world's population believes in the evil eye.
Classical mythology, also known as Greco-Roman mythology or Greek and Roman mythology, is the collective body and study of myths from the ancient Greeks and ancient Romans. Mythology, along with philosophy and political thought, is one of the major survivals of classical antiquity throughout later Western culture. The Greek word mythos refers to the spoken word or speech, but it also denotes a tale, story or narrative.
Bat is a cow goddess in Egyptian mythology who was depicted as a human face with cow ears and horns or as a woman. Evidence of the worship of Bat exists from the earliest records of the religious practices in ancient Egypt. By the time of the Middle Kingdom, after the unification of Lower Egypt and Upper Egypt, her identity and attributes were subsumed within that of the goddess Hathor, a similar goddess worshipped in another nome. The imagery of Bat persisted throughout the history of ancient Egypt on the sistrum, a sacred instrument that remained associated with religious practices.
In ancient Roman religion, the Liberalia was the festival of Liber Pater and his consort Libera. The Romans celebrated Liberalia with sacrifices, processions, ribald and gauche songs, and masks which were hung on trees.
Apotropaic magic or protective magic is a type of magic intended to turn away harm or evil influences, as in deflecting misfortune or averting the evil eye. Apotropaic observances may also be practiced out of superstition or out of tradition, as in good luck charms, amulets, or gestures such as crossed fingers or knocking on wood. Many different objects and charms were used for protection throughout history.
A cornicello, cornetto, corno, or corno portafortuna is an Italian amulet or talisman worn to protect against the evil eye and bad luck in general, and, historically, to promote fertility and virility. In Neapolitan, it is called curniciello or variants thereof. The amulet is also sometimes referred to as the Italian horn.
In ancient Roman religion and magic, the fascinus or fascinum was the embodiment of the divine phallus. The word can refer to phallus effigies and amulets, and to the spells used to invoke his divine protection. Pliny calls it a medicus invidiae, a "doctor" or remedy for envy or the evil eye.
An amulet, also known as a good luck charm or phylactery, is an object believed to confer protection upon its possessor. The word "amulet" comes from the Latin word amuletum, which Pliny's Natural History describes as "an object that protects a person from trouble". Anything can function as an amulet; items commonly so used include statues, coins, drawings, plant parts, animal parts, and written words.
Deities depicted with horns or antlers are found in many religions across the world. In religions that venerate animal deities, horned bulls, goats, and rams may be worshiped as deities or serve as the inspiration for a deity's appearance. Many pagan religions include horned gods in their pantheons, such as Pan in Greek mythology and Ikenga in Odinala. Some neopagan religions have constructed these deities as the Horned God, representing the male part of their duotheistic theological system.
In Greek mythology, Priapus is a minor rustic fertility god, protector of livestock, fruit plants, gardens, and male genitalia. Priapus is marked by his oversized, permanent erection, which gave rise to the medical term priapism. He became a popular figure in Roman erotic art and Latin literature, and is the subject of the often humorously obscene collection of verse called the Priapeia.
Greek mythology is the body of myths originally told by the ancient Greeks, and a genre of ancient Greek folklore, today absorbed alongside Roman mythology into the broader designation of classical mythology. These stories concern the ancient Greek religion's view of the origin and nature of the world; the lives and activities of deities, heroes, and mythological creatures; and the origins and significance of the ancient Greeks' cult and ritual practices. Modern scholars study the myths to shed light on the religious and political institutions of ancient Greece, and to better understand the nature of myth-making itself.
Roman mythology is the body of myths of ancient Rome as represented in the literature and visual arts of the Romans. One of a wide variety of genres of Roman folklore, Roman mythology may also refer to the modern study of these representations, and to the subject matter as represented in the literature and art of other cultures in any period. Roman mythology draws from the mythology of the Italic peoples and ultimately from Proto-Indo-European mythology.
In ancient Rome, a tintinnabulum was a wind chime or assemblage of bells. A tintinnabulum often took the form of a bronze ithyphallic figure or of a fascinum, a magico-religious phallus thought to ward off the evil eye and bring good fortune and prosperity.
Rhodanthe is the name of a supposed Corinthian queen in Greek mythology who attracted a great number of suitors due to her beauty. Her story however is not attested in any ancient Greek or Roman source, and is instead a case of pseudo-mythology.
