The libations to these divinities consisted of water, milk, and honey, but never of wine.

Their names and functions are as follows:—

CALLIOPE, the most honoured of the Muses, presided over heroic song and epic poetry, and is represented with a pencil in her hand, and a slate upon her knee.

CLIO, the muse of History, holds in her hand a roll of parchment, and wears a wreath of laurel.

MELPOMENE, the muse of Tragedy, bears a tragic mask.

THALIA, the muse of Comedy, carries in her right hand a shepherd's crook, and has a comic mask beside her.

POLYHYMNIA, the muse of Sacred Hymns, is crowned with a wreath of laurel. She is always represented in a thoughtful attitude, and entirely enveloped in rich folds of drapery.

TERPSICHORE, the muse of Dance and Roundelay, is represented in the act of playing on a seven-stringed lyre.

URANIA, the muse of Astronomy, stands erect, and bears in her left hand a celestial globe.

EUTERPE, the muse of Harmony, is represented bearing a musical instrument, usually a flute.

ERATO, the muse of Love and hymeneal songs, wears a wreath of laurel, and is striking the chords of a lyre.

With regard to the origin of the Muses, it is said that they were created by Zeus in answer to a request on the part of the victorious deities, after the war with the Titans, that some special divinities should be called into existence, in order to commemorate in song the glorious deeds of the Olympian gods.

PEGASUS.

Pegasus was a beautiful winged horse who sprang from the body of Medusa when she was slain by the hero Perseus, the son of Zeus and Danaë. Spreading out his wings he immediately flew to the top of Mount Olympus, where he was received with delight and admiration by all the immortals. A place in his palace was assigned to him by Zeus, who employed him to carry his thunder and lightning. Pegasus permitted none but the gods to mount him, except in the case of Bellerophon, whom, at the command of Athene, he carried aloft, in order that he might slay the Chimæra with his arrows.

The later poets represent Pegasus as being at the service of the Muses, and for this reason he is more celebrated in modern times than in antiquity. He would appear to represent that poetical inspiration, which tends to develop man's higher nature, and causes the mind to soar heavenwards. The only mention by the ancients of Pegasus in connection with the Muses, is the story of his having produced with his hoofs, the famous fountain Hippocrene.

It is said that during their contest with the Pierides, the Muses played and sang on the summit of Mount Helicon with such extraordinary power and sweetness, that heaven and earth stood still to listen, whilst the mountain raised itself in joyous ecstasy towards the abode of the celestial gods. Poseidon, seeing his special function thus interfered with, sent Pegasus to check the boldness of the mountain, in daring to move without his permission. When Pegasus reached the summit, he stamped the ground with his hoofs, and out gushed the waters of Hippocrene, afterwards so renowned as the sacred fount, whence the Muses quaffed their richest draughts of inspiration.

THE HESPERIDES.

The Hesperides, the daughters of Atlas, dwelt in an island in the far west, whence they derived their name.

They were appointed by Hera to act as guardians to a tree bearing golden apples, which had been presented to her by Gæa on the occasion of her marriage with Zeus.

It is said that the Hesperides, being unable to withstand the temptation of tasting the golden fruit confided to their care, were deprived of their office, which was henceforth delegated to the terrible dragon Ladon, who now became the ever-watchful sentinel of these precious treasures.

The names of the Hesperides were Aegle, Arethusa, and Hesperia.

CHARITES (Gratiæ) GRACES.

All those gentler attributes which beautify and refine human existence were personified by the Greeks under the form of three lovely sisters, Euphrosyne, Aglaia, and Thalia, the daughters of Zeus and Eurynome (or, according to later writers, of Dionysus and Aphrodite).

They are represented as beautiful, slender maidens in the full bloom of youth, with hands and arms lovingly intertwined, and are either undraped, or wear a fleecy, transparent garment of an ethereal fabric.

They portray every gentle emotion of the heart, which vents itself in friendship and benevolence, and were believed to preside over those qualities which constitute grace, modesty, unconscious beauty, gentleness, kindliness, innocent joy, purity of mind and body, and eternal youth.

They not only possessed the most perfect beauty themselves, but also conferred this gift upon others. All the enjoyments of life were enhanced by their presence, and were deemed incomplete without them; and wherever joy or pleasure, grace and gaiety reigned, there they were supposed to be present.

Temples and altars were everywhere erected in their honour, and people of all ages and of every rank in life entreated their favour. Incense was burnt daily upon their altars, and at every banquet they were invoked, and a libation poured out to them, as they not only heightened all enjoyment, but also by their refining influence moderated the exciting effects of wine.

Music, eloquence, poetry, and art, though the direct work of the Muses, received at the hands of the Graces an additional touch of refinement and beauty; for which reason they are always regarded as the friends of the Muses, with whom they lived on Mount Olympus.

Their special function was to act, in conjunction with the Seasons, as attendants upon Aphrodite, whom they adorned with wreaths of flowers, and she emerges from their hands like the Queen of Spring, perfumed with the odour of roses and violets, and all sweet-scented blossoms.

The Graces are frequently seen in attendance on other divinities; thus they carry music for Apollo, myrtles for Aphrodite, &c., and frequently accompany the Muses, Eros, or Dionysus.

HORÆ (Seasons).

Closely allied to the Graces were the Horæ, or Seasons, who were also represented as three beautiful maidens, daughters of Zeus and Themis. Their names were Eunomia, Dice, and Irene.

It may appear strange that these divinities, presiding over the seasons, should be but three in number, but this is quite in accordance with the notions of the ancient Greeks, who only recognized spring, summer, and autumn as seasons; nature being supposed to be wrapt in death or slumber, during that cheerless and unproductive portion of the year which we call winter. In some parts of Greece there were but two Horæ, Thallo, goddess of the bloom, and Carpo, of the corn and fruit-bearing season.

The Horæ are always regarded as friendly towards mankind, and totally devoid of guile or subtlety; they are represented as joyous, but gentle maidens, crowned with flowers, and holding each other by the hand in a round dance. When they are depicted separately as personifications of the different seasons, the Hora representing spring appears laden with flowers, that of summer bears a sheaf of corn, whilst the personification of autumn has her hands filled with clusters of grapes and other fruits. They also appear in company with the Graces in the train of Aphrodite, and are seen with Apollo and the Muses.

They are inseparably connected with all that is good and beautiful in nature, and as the regular alternation of the seasons, like all her other operations, demands the most perfect order and regularity, the Horæ, being the daughters of Themis, came to be regarded as the representatives of order, and the just administration of human affairs in civilized communities. Each of these graceful maidens took upon herself a separate function: Eunomia presided more especially over state life, Dice guarded the interests of individuals, whilst Irene, the gayest and brightest of the three sisters, was the light-hearted companion of Dionysus.

The Horæ were also the deities of the fast-fleeting hours, and thus presided over the smaller, as well as the larger divisions of time. In this capacity they assist every morning in yoking the celestial horses to the glorious chariot of the sun, which they again help to unyoke when he sinks to rest.

In their original conception they were personifications of the clouds, and are described as opening and closing the gates of heaven, and causing fruits and flowers to spring forth, when they pour down upon them their refreshing and life-giving streams.

THE NYMPHS.

The graceful beings called the Nymphs were the presiding deities of the woods, grottoes, streams, meadows, &c.

These divinities were supposed to be beautiful maidens of fairy-like form, and robed in more or less shadowy garments. They were held in the greatest veneration, though, being minor divinities, they had no temples dedicated to them, but were worshipped in caves or grottoes, with libations of milk, honey, oil, &c.

They may be divided into three distinct classes, viz., water, mountain, and tree or wood nymphs.

WATER NYMPHS.

OCEANIDES, NEREIDES, AND NAIADES.

The worship of water-deities is common to most primitive nations. The streams, springs, and fountains of a country bear the same relation to it which the blood, coursing through the numberless arteries of a human being, bears to the body; both represent the living, moving, life-awakening element, without which existence would be impossible. Hence we find among most nations a deep feeling of attachment to the streams and waters of their native land, the remembrance of which, when absent in foreign climes, is always treasured with peculiar fondness. Thus among the early Greeks, each tribe came to regard the rivers and springs of its individual state as beneficent powers, which brought blessing and prosperity to the country. It is probable also that the charm which ever accompanies the sound of running water exercised its power over their imagination. They heard with delight the gentle whisper of the fountain, lulling the senses with its low, rippling tones; the soft purling of the brook as it rushes over the pebbles, or the mighty voice of the waterfall as it dashes on in its headlong course; and the beings which they pictured to themselves as presiding over all these charming sights and sounds of nature, corresponded, in their graceful appearance, with the scenes with which they were associated.

OCEANIDES.

The Oceanides, or Ocean Nymphs, were the daughters of Oceanus and Tethys, and, like most sea divinities, were endowed with the gift of prophecy.

They are personifications of those delicate vapour-like exhalations, which, in warm climates, are emitted from the surface of the sea, more especially at sunset, and are impelled forwards by the evening breeze. They are accordingly represented as misty, shadowy beings, with graceful swaying forms, and robed in pale blue, gauze-like fabrics.

THE NEREIDES.

The Nereides were the daughters of Nereus and Doris, and were nymphs of the Mediterranean Sea.

They are similar in appearance to the Oceanides, but their beauty is of a less shadowy order, and is more like that of mortals. They wear a flowing, pale green robe; their liquid eyes resemble, in their clear depths, the lucid waters of the sea they inhabit; their hair floats carelessly over their shoulders, and assumes the greenish tint of the water itself, which, far from deteriorating from their beauty, greatly adds to its effect. The Nereides either accompany the chariot of the mighty ruler of the sea, or follow in his train.

We are told by the poets that the lonely mariner watches the Nereides with silent awe and wondering delight, as they rise from their grotto-palaces in the deep, and dance, in joyful groups, over the sleeping waves. Some, with arms entwined, follow with their movements the melodies which seem to hover over the sea, whilst others scatter liquid gems around, these being emblematical of the phosphorescent light, so frequently observed at night by the traveller in southern waters.

The best known of the Nereides were Thetis, the wife of Peleus, Amphitrite, the spouse of Poseidon, and Galatea, the beloved of Acis.

THE NAIADES.

The Naiades were the nymphs of fresh-water springs, lakes, brooks, rivers, &c.

As the trees, plants, and flowers owed their nourishment to their genial, fostering care, these divinities were regarded by the Greeks as special benefactors to mankind. Like all the nymphs, they possessed the gift of prophecy, for which reason many of the springs and fountains over which they presided were believed to inspire mortals who drank of their waters with the power of foretelling future events. The Naiades are intimately connected in idea with those flowers which are called after them Nymphæ, or water-lilies, whose broad, green leaves and yellow cups float upon the surface of the water, as though proudly conscious of their own grace and beauty.

We often hear of the Naiades forming alliances with mortals, and also of their being wooed by the sylvan deities of the woods and dales.

DRYADES, OR TREE NYMPHS.

The tree nymphs partook of the distinguishing characteristics of the particular tree to whose life they were wedded, and were known collectively by the name of the Dryades.

The Hamadryades, or oak nymphs, represent in their peculiar individuality the quiet, self-reliant power which appears to belong essentially to the grand and lordly king of the forest.

The Birch Nymph is a melancholy maiden with floating hair, resembling the branches of the pale and fragile-looking tree which she inhabits.

The Beech Nymph is strong and sturdy, full of life and joyousness, and appears to give promise of faithful love and undisturbed repose, whilst her rosy cheeks, deep brown eyes, and graceful form bespeak health, vigour, and vitality.

The nymph of the Linden Tree is represented as a little coy maiden, whose short silver-gray dress reaches a little below the knee, and displays to advantage her delicately formed limbs. The sweet face, which is partly averted, reveals a pair of large blue eyes, which appear to look at you with wondering surprise and shy mistrust; her pale, golden hair is bound by the faintest streak of rose-coloured ribbon.

The tree nymph, being wedded to the life of the tree she inhabited, ceased to exist when it was either felled, or so injured as to wither away and die.

NYMPHS OF THE VALLEYS AND MOUNTAINS.

NAPÆÆ AND OREADES.

The Napææ were the kind and gentle nymphs of the valleys and glens who appear in the train of Artemis. They are represented as lovely maidens with short tunics, which, reaching only to the knee, do not impede their swift and graceful movements in the exercise of the chase. Their pale brown tresses are fastened in a knot at the back of the head, whence a few stray curls escape over their shoulders. The Napææ are shy as the fawns, and quite as frolicsome.

The Oreades, or mountain nymphs, who are the principal and constant companions of Artemis, are tall, graceful maidens, attired as huntresses. They are ardent followers of the chase, and spare neither the gentle deer nor the timid hare, nor indeed any animal they meet with in their rapid course. Wherever their wild hunt goes the shy Napææ are represented as hiding behind the leaves, whilst their favourites, the fawns, kneel tremblingly beside them, looking up beseechingly for protection from the wild huntresses; and even the bold Satyrs dart away at their approach, and seek safety in flight.

There is a myth connected with one of these mountain nymphs, the unfortunate Echo. She became enamoured of a beautiful youth named Narcissus, son of the river-god Cephissus, who, however, failed to return her love, which so grieved her that she gradually pined away, becoming a mere shadow of her former self, till, at length, nothing remained of her except her voice, which henceforth gave back, with unerring fidelity, every sound that was uttered in the hills and dales. Narcissus himself also met with an unhappy fate, for Aphrodite punished him by causing him to fall in love with his own image, which he beheld in a neighbouring fountain, whereupon, consumed with unrequited love, he wasted away, and was changed into the flower which bears his name.

The Limoniades, or meadow nymphs, resemble the Naiades, and are usually represented dancing hand in hand in a circle.

The Hyades, who in appearance are somewhat similar to the Oceanides, are cloudy divinities, and, from the fact of their being invariably accompanied by rain, are represented as incessantly weeping.

The Meliades were the nymphs who presided over fruit-trees.

Before concluding this subject, attention should be drawn to the fact that, in more modern times, this beautiful idea of animating all nature in detail reappears under the various local traditions extant in different countries. Thus do the Oceanides and Nereides live again in the mermaids, whose existence is still believed in by mariners, whilst the flower and meadow nymphs assume the shape of those tiny elves and fairies, who were formerly believed to hold their midnight revels in every wood and on every common; indeed, even at the present day, the Irish peasantry, especially in the west, firmly believe in the existence of the fairies, or "good people," as they are called.

THE WINDS.

According to the oldest accounts, Æolus was a king of the Æolian Islands, to whom Zeus gave the command of the winds, which he kept shut up in a deep cave, and which he freed at his pleasure, or at the command of the gods.

In later times the above belief underwent a change, and the winds came to be regarded as distinct divinities, whose aspect accorded with the respective winds with which they were identified. They were depicted as winged youths in full vigour in the act of flying through the air.

The principal winds were: Boreas (the north wind), Eurus (the east wind), Zephyrus (the west wind), and Notus (the south wind), who were said to be the children of Eos and Astræus.

There are no myths of interest connected with these divinities. Zephyrus was united to Chloris (Flora), the goddess of flowers. Of Boreas it is related that while flying over the river Ilissus, he beheld on the banks Oreithyia, the charming daughter of Erechtheus, king of Athens, whom he carried off to his native Thrace, and there made her his bride. Boreas and Oreithyia were the parents of Zetes and Calais, afterwards famous in the expedition of the Argonauts.

There was an altar erected at Athens in honour of Boreas, in commemoration of his having destroyed the Persian fleet sent to attack the Greeks.

On the Acropolis at Athens there was a celebrated octagonal temple, built by Pericles, which was dedicated to the winds, and on its sides were their various representations. The ruins of this temple are still to be seen.

PAN (Faunus).

Pan was the god of fertility, and the special patron of shepherds and huntsmen; he presided over all rural occupations, was chief of the Satyrs, and head of all rural divinities.

According to the common belief, he was the son of Hermes and a wood nymph, and came into the world with horns sprouting from his forehead, a goat's beard and a crooked nose, pointed ears, and the tail and feet of a goat, and presented altogether so repulsive an appearance that, at the sight of him, his mother fled in dismay.

Hermes, however, took up his curious little offspring, wrapt him in a hare skin, and carried him in his arms to Olympus. The grotesque form and merry antics of the little stranger made him a great favourite with all the immortals, especially Dionysus; and they bestowed upon him the name of Pan (all), because he had delighted them all.

His favourite haunts were grottoes, and his delight was to wander in uncontrolled freedom over rocks and mountains, following his various pursuits, ever cheerful, and usually very noisy. He was a great lover of music, singing, dancing, and all pursuits which enhance the pleasures of life; and hence, in spite of his repulsive appearance, we see him surrounded with nymphs of the forests and dales, who love to dance round him to the cheerful music of his pipe, the syrinx. The myth concerning the origin of Pan's pipe is as follows:—Pan became enamoured of a beautiful nymph, called Syrinx, who, appalled at his terrible appearance, fled from the pertinacious attentions of her unwelcome suitor. He pursued her to the banks of the river Ladon, when, seeing his near approach, and feeling escape impossible, she called on the gods for assistance, who, in answer to her prayer, transformed her into a reed, just as Pan was about to seize her. Whilst the love-sick Pan was sighing and lamenting his unfortunate fate, the winds gently swayed the reeds, and produced a murmuring sound as of one complaining. Charmed with the soothing tones, he endeavoured to reproduce them himself, and after cutting seven of the reeds of unequal length, he joined them together, and succeeded in producing the pipe, which he called the syrinx, in memory of his lost love.

Pan was regarded by shepherds as their most valiant protector, who defended their flocks from the attacks of wolves. The shepherds of these early times, having no penfolds, were in the habit of gathering together their flocks in mountain caves, to protect them against the inclemency of the weather, and also to secure them at night against the attacks of wild animals; these caves, therefore, which were very numerous in the mountain districts of Arcadia, Bœotia, &c., were all consecrated to Pan.

As it is customary in all tropical climates to repose during the heat of the day, Pan is represented as greatly enjoying his afternoon sleep in the cool shelter of a tree or cave, and also as being highly displeased at any sound which disturbed his slumbers, for which reason the shepherds were always particularly careful to keep unbroken silence during these hours, whilst they themselves indulged in a quiet siesta.

Pan was equally beloved by huntsmen, being himself a great lover of the woods, which afforded to his cheerful and active disposition full scope, and in which he loved to range at will. He was regarded as the patron of the chase, and the rural sportsmen, returning from an unsuccessful day's sport, beat, in token of their displeasure, the wooden image of Pan, which always occupied a prominent place in their dwellings.

All sudden and unaccountable sounds which startle travellers in lonely spots, were attributed to Pan, who possessed a frightful and most discordant voice; hence the term panic terror, to indicate sudden fear. The Athenians ascribed their victory at Marathon to the alarm which he created among the Persians by his terrible voice.

Pan was gifted with the power of prophecy, which he is said to have imparted to Apollo, and he possessed a well-known and very ancient oracle in Arcadia, in which state he was more especially worshipped.

The artists of later times have somewhat toned down the original very unattractive conception of Pan, as above described, and merely represent him as a young man, hardened by the exposure to all weathers which a rural life involves, and bearing in his hand the shepherd's crook and syrinx—these being his usual attributes—whilst small horns project from his forehead. He is either undraped, or wears merely the light cloak called the chlamys.

The usual offerings to Pan were milk and honey in shepherds' bowls. Cows, lambs, and rams were also sacrificed to him.

After the introduction of Pan into the worship of Dionysus, we hear of a number of little Pans (Panisci), who are sometimes confounded with the Satyrs.

FAUNUS.

The Romans had an old Italian divinity called Faunus, who, as the god of shepherds, was identified with the Greek Pan, and represented in a similar manner.

Faunus is frequently called Inuus or the fertilizer, and Lupercus or the one who wards off wolves. Like Pan, he possessed the gift of prophecy, and was the presiding spirit of the woods and fields; he also shared with his Greek prototype the faculty of alarming travellers in solitary places. Bad dreams and evil apparitions were attributed to Faunus, and he was believed to enter houses stealthily at night for this purpose.

Fauna was the wife of Faunus, and participated in his functions.

THE SATYRS.

The Satyrs were a race of woodland spirits, who evidently personified the free, wild, and untrammelled life of the forest. Their appearance was both grotesque and repulsive; they had flat broad noses, pointed ears, and little horns sprouting from their foreheads, a rough shaggy skin, and small goat's tails. They led a life of pleasure and self-indulgence, followed the chase, revelled in every description of wild music and dancing, were terrible wine-bibbers, and addicted to the deep slumbers which follow heavy potations. They were no less dreaded by mortals than by the gentle woodland nymphs, who always avoided their coarse rough sports.

The Satyrs were conspicuous figures in the train of Dionysus, and, as we have seen, Silenus their chief was tutor to the wine god. The older Satyrs were called Silens, and are represented in antique sculpture, as more nearly approaching the human form.

In addition to the ordinary Satyrs, artists delighted in depicting little Satyrs, young imps, frolicking about the woods in a marvellous variety of droll attitudes. These little fellows greatly resemble their friends and companions, the Panisci.

In rural districts it was customary for the shepherds and peasants who attended the festivals of Dionysus, to dress themselves in the skins of goats and other animals, and, under this disguise, they permitted themselves all kinds of playful tricks and excesses, to which circumstance the conception of the Satyrs is by some authorities attributed.

In Rome the old Italian wood-divinities, the FAUNS, who had goats' feet and all other characteristics of the Satyrs greatly exaggerated, were identified with them.

PRIAPUS.

Priapus, the son of Dionysus and Aphrodite, was regarded as the god of fruitfulness, the protector of flocks, sheep, goats, bees, the fruit of the vine, and all garden produce.

His statues, which were set up in gardens and vineyards, acted not only as objects of worship, but also as scarecrows, the appearance of this god being especially repulsive and unsightly. These statues were formed of wood or stone, and from the hips downwards were merely rude columns. They represent him as having a red and very ugly face; he bears in his hand a pruning knife, and his head is crowned with a wreath of vine and laurel. He usually carries fruit in his garments or a cornucopia in his hand, always, however, retaining his singularly revolting aspect. It is said that Hera, wishing to punish Aphrodite, sent her this misshapen and unsightly son, and that when he was born, his mother was so horrified at the sight of him, that she ordered him to be exposed on the mountains, where he was found by some shepherds, who, taking pity on him, saved his life.

This divinity was chiefly worshipped at Lampsacus, his birthplace. Asses were sacrificed to him, and he received the first-fruits of the fields and gardens, with a libation of milk and honey.

The worship of Priapus was introduced into Rome at the same time as that of Aphrodite, and was identified with a native Italian divinity named Mutunus.

ASCLEPIAS (Æsculapius).

Asclepias, the god of the healing art, was the son of Apollo and the nymph Coronis. He was educated by the noble Centaur Chiron, who instructed him in all knowledge, but more especially in that of the properties of herbs. Asclepias searched out the hidden powers of plants, and discovered cures for the various diseases which afflict the human body. He brought his art to such perfection, that he not only succeeded in warding off death, but also restored the dead to life. It was popularly believed that he was materially assisted in his wonderful cures by the blood of the Medusa, given to him by Pallas-Athene.

It is well to observe that the shrines of this divinity, which were usually built in healthy places, on hills outside the town, or near wells which were believed to have healing powers, offered at the same time means of cure for the sick and suffering, thus combining religious with sanitary influences. It was the custom for the sufferer to sleep in the temple, when, if he had been earnest in his devotions, Asclepias appeared to him in a dream, and revealed the means to be employed for the cure of his malady. On the walls of these temples were hung tablets, inscribed by the different pilgrims with the particulars of their maladies, the remedies practised, and the cures worked by the god:—a custom undoubtedly productive of most beneficial results.

Groves, temples, and altars were dedicated to Asclepias in many parts of Greece, but Epidaurus, the chief seat of his worship,—where, indeed, it is said to have originated,—contained his principal temple, which served at the same time as a hospital.

The statue of Asclepias in the temple at Epidaurus was formed of ivory and gold, and represented him as an old man with a full beard, leaning on a staff round which a serpent is climbing. The serpent was the distinguishing symbol of this divinity, partly because these reptiles were greatly used by the ancients in the cure of diseases, and partly also because all the prudence and wisdom of the serpent were deemed indispensable to the judicious physician.

His usual attributes are a staff, a bowl, a bunch of herbs, a pineapple, a dog, and a serpent.

His children inherited, for the most part, the distinguished talents of their father. Two of his sons, Machaon and Podalirius, accompanied Agamemnon to the Trojan war, in which expedition they became renowned, not only as military heroes, but also as skilful physicians.

Their sisters, HYGEIA (health), and PANACEA (all-healing), had temples dedicated to them, and received divine honours. The function of Hygeia was to maintain the health of the community, which great blessing was supposed to be brought by her as a direct and beneficent gift from the gods.

ÆSCULAPIUS.

The worship of Æsculapius was introduced into Rome from Epidaurus, whence the statue of the god of healing was brought at the time of a great pestilence. Grateful for their deliverance from this plague, the Romans erected a temple in his honour, on an island near the mouth of the Tiber.

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ROMAN DIVINITIES.

JANUS.

From the earliest ages Janus was regarded by the Romans with the utmost affection and veneration, as a divinity who ranked only second to Jupiter himself, and through whom all prayers and petitions were transmitted to the other gods.

He was believed to preside over the beginnings of all things, hence it was he who inaugurated the years, months, and seasons, and in course of time came to be considered as specially protecting the beginnings of all human enterprises. The great importance which the Romans attached to an auspicious commencement, as contributing to the ultimate success of an enterprise, accounts for the high estimation in which Janus was held as the god of beginnings.

This divinity would appear to have been the ancient sun-god of the Italian tribes, in which capacity he opens and closes the gates of heaven every morning and evening. Hence he was regarded as the door-keeper of heaven, and also as the presiding deity over all gates, entrances, &c., on earth.

The fact of his being the god of city gates, which were called Jani after him, is ascribed, however, to the following myth:—After the abduction of their women by the Romans, the Sabines, in revenge, invaded the Roman state, and were already about to enter the gates of the city, when suddenly a hot sulphur spring, which was believed to have been sent by Janus for their special preservation, gushed forth from the earth, and arrested the progress of the enemy.

In his character as guardian of gates and doors, he was also regarded as a protecting deity of the home, for which reason little shrines were erected to him over the doors of houses, which contained an image of the god, having two faces.

Janus possessed no temples in the ordinary acceptation of the word, but all the gates of cities were dedicated to him. Close to the Forum of Rome stood the so-called temple of Janus, which, however, was merely an arched passage, closed by massive gates. This temple was open only in time of war, as it was supposed that the god had then taken his departure with the Roman army, over whose welfare he personally presided. It is worthy of notice, as an evidence of the many wars in which the Romans were engaged, that the gates of this sanctuary were only closed three times during 700 years.

As the god who ushers in the new year, the first month was called after him, and on the 1st of January his most important festival was celebrated, on which occasion all entrances of public and private buildings were decorated with laurel branches and garlands of flowers.

His sacrifices, consisting of cakes, wine, and barley, were offered to him at the beginning of every month; and before sacrificing to the other gods his name was always invoked, and a libation poured out to him.

Janus is usually represented with two faces; in his special function as door-keeper of heaven he stands erect, bearing a key in one hand, and a rod or sceptre in the other.

It is supposed that Janus was the most ancient king of Italy, who, during his life, governed his subjects with such wisdom and moderation that, in gratitude for the benefits conferred upon them, his people deified him after death and placed him in the foremost rank among their divinities. We have already seen in the history of Cronus that Saturn, who was identified with the Greek Cronus (god of time), was the friend and colleague of Janus. Anxious to prove his gratitude to his benefactor, Cronus endowed him with the knowledge of past and future events, which enabled him to adopt the wisest measures for the welfare of his subjects, and it is on this account that Janus is represented with two faces looking in opposite directions, the one to the past, the other to the future.

FLORA.

Flora was the goddess of flowers, and was regarded as a beneficent power, who watched over and protected the early blossoms.

She was held in the highest estimation by the Romans, and a festival, called the Floralia, was celebrated in her honour from the 28th of April to the 1st of May. This festival was a season of universal merriment, in which flowers were used profusely in adorning houses, streets, &c., and were worn by young girls in their hair.

Flora, who typified the season of Spring, is generally represented as a lovely maiden, garlanded with flowers.

ROBIGUS.

In opposition to Flora we find an antagonistic divinity, called Robigus, a worker of evil, who delighted in the destruction of the tender herbs by mildew, and whose wrath could only be averted by prayers and sacrifices, when he was invoked under the title of Averuncus, or the Avertor.

The festival of Robigus (the Robigalia) was celebrated on the 25th of April.

POMONA.

Pomona was the goddess of orchards and fruit-trees, who, according to Ovid, cares not for woods or streams, but loves her gardens and the boughs that bear the thriving fruit.

Pomona, who typifies Autumn, is represented as a lovely maiden, laden with branches of fruit-trees.

VERTUMNUS.

Vertumnus was the god of garden and field produce. He personifies the change of seasons, and that process of transformation in nature by means of which the leaf-buds become developed into blossoms, and the blossoms into fruit.

The change of seasons is symbolized in a myth which represents Vertumnus as metamorphosing himself into a variety of different forms in order to gain the affection of Pomona, who so loved her vocation that she abjured all thoughts of marriage. He first appears to her as a ploughman, typifying Spring; then as a reaper, to represent Summer; afterwards as a vine-gatherer, to indicate Autumn; and finally as a gray-haired old woman, symbolical of the snows of Winter; but it was not until he assumed his true form, that of a beautiful youth, that he succeeded in his suit.

Vertumnus is generally represented crowned with wheat-sheaves, and bearing in his hand a cornucopia.

PALES.

Pales, a very ancient Italian divinity, is represented sometimes as a male, sometimes as a female power.

As a male divinity he is more particularly the god of shepherds and flocks.

As a female deity, Pales presides over husbandry and the fruitfulness of herds. Her festivals, the Palilia, were celebrated on the 21st of April, the day on which the city of Rome was founded. During this festival it was customary for shepherds to ignite a mass of straw, through which they rushed with their flocks, believing that this ordeal would purify them from sin.

The name Palatine, which originally signified a pastoral colony, is derived from this divinity. Her offerings were cakes and milk.

PICUS.

Picus, the son of Saturn and father of Faunus, was a woodland divinity, gifted with prophetic powers.

An ancient myth relates that Picus was a beautiful youth, united to a nymph called Canens. The sorceress Circe, infatuated by his beauty, endeavoured to secure his love, but he rejected her advances, and she, in revenge, changed him into a woodpecker, under which form he still retained his powers of prophecy.

Picus is represented as a youth, with a woodpecker perched upon his head, which bird became henceforth regarded as possessed of the power of prophecy.

PICUMNUS AND PILUMNUS.

Picumnus and Pilumnus were two household divinities of the Romans, who were the special presiding deities of new-born infants.

SILVANUS.

Silvanus was a woodland divinity, who, like Faunus, greatly resembled the Greek Pan. He was the presiding deity of plantations and forests, and specially protected the boundaries of fields.

Silvanus is represented as a hale old man, carrying a cypress-tree, for, according to Roman mythology, the transformation of the youth Cyparissus into the tree which bears his name was attributed to him.

His sacrifices consisted of milk, meat, wine, grapes, wheat-ears, and pigs.

TERMINUS.

Terminus was the god who presided over all boundaries and landmarks.

He was originally represented by a simple block of stone, which in later times became surmounted by a head of this divinity. Numa Pompilius, the great benefactor of his people, anxious to inculcate respect for the rights of property, specially enjoined the erection of these blocks of stone, as a durable monument to mark the line dividing one property from another. He also caused altars to be raised to Terminus, and instituted his festival (the Terminalia), which was celebrated on the 23rd of February.

Upon one occasion, when Tarquin wished to remove the altars of several deities, in order to build a new temple, it is said that Terminus and Juventas alone objected to being displaced. This obstinate refusal on their part was interpreted as a good omen, signifying that the city of Rome would never lose her boundaries, and would remain ever young and vigorous.

CONSUS.

Consus was the god of secret counsel.

The Romans believed that when an idea developed itself spontaneously within the mind of an individual, it was Consus who had prompted the suggestion. This applied, however, more particularly to plans which resulted satisfactorily.

An altar was erected to this divinity on the Circus Maximus, which was kept always covered, except during his festival, the Consualia, which was celebrated on the 18th of August.

LIBITINA.

Libitina was the goddess who presided over funerals. This divinity was identified with Venus, possibly because the ancients considered that the power of love extended even to the realms of death.

Her temple in Rome, which was erected by Servius Tullius, contained all the requisites for funerals, and these could either be bought or hired there. A register of all deaths which occurred in the city of Rome was kept in this temple, and in order to ascertain the rate of mortality, a piece of money was paid by command of Servius Tullius, on the demise of each person.

LAVERNA.

Laverna was the presiding goddess of thieves, and of all artifice and fraud. There was an altar erected to her near the Porta Lavernalis, which was called after her, and she possessed a sacred grove on the Via Salavia.

COMUS.

Comus was the presiding genius of banquets, festive scenes, revelry, and all joyous pleasures and reckless gaiety.

He is represented as a young man crowned with flowers, his face heated and flushed with wine, leaning against a post in a half-sleepy and drunken attitude, with a torch falling from his hand.

THE CAMENÆ.

The Camenæ were prophetic nymphs held in high veneration by the ancient Italians. They were four in number, the best known of whom are Carmenta and Egeria.

Carmenta was celebrated as being the mother of Evander, who led an Arcadian colony into Italy, and founded a town on the river Tiber, which became afterwards incorporated with the city of Rome. Evander is said to have been the first who introduced Greek art and civilization into Italy, and also the worship of Greek divinities.

A temple was erected to Carmenta on the Capitoline Hill, and a festival, called the Carmentalia, was celebrated in her honour on the 11th of January.

Egeria is said to have initiated Numa Pompilius in the forms of religious worship, which he introduced among his people. She was regarded as the giver of life, and was therefore invoked by women before the birth of their children.

The Camenæ are frequently identified by Roman writers with the Muses.

GENII.

A comforting and assuring belief existed among the Romans, that each individual was accompanied through life, from the hour of his birth to that of his death, by a protecting spirit, called his genius, who prompted him to good and noble deeds, and acted towards him as a guardian angel, comforting him in sorrow, and guiding him throughout his earthly career.

In the course of time a second genius was believed to exist, of an evil nature, who, as the instigator of all wrong-doing, was ever at war with the beneficent genius; and on the issue of the conflict between these antagonistic influences, depended the fate of the individual. The genii were depicted as winged beings, greatly resembling our modern representations of guardian angels.

Every state, town, or city, (as well as every man), possessed its special genius. The sacrifices to the genii consisted of wine, cakes, and incense, which were offered to them on birthdays.

The genius which guided a woman was called, after the queen of heaven, Juno.

Among the Greeks, beings called Dæmons were regarded as exercising similar functions to those of the Roman genii. They were believed to be the spirits of the righteous race which existed in the Golden Age, who watched over mankind, carrying their prayers to the gods, and the gifts of the gods to them.

MANES.

LEMURES (LARVÆ) AND LARES.

The Manes were the spirits of the departed, and were of two kinds, viz., Lemures (or Larvæ) and Lares.

The Lemures were those Manes who haunted their former abodes on earth as evil spirits, appearing at night under awful forms and hideous shapes, greatly to the alarm of their friends and relatives. They were so feared that a festival, called the Lemuralia, was celebrated in order to propitiate them.

It appears extremely probable that the superstitions with regard to ghosts, haunted houses, &c., which exist even at the present day, owe their origin to this very ancient pagan source.

The Lares Familiares were a much more pleasing conception. They were the spirits of the ancestors of each family, who exercised after death a protecting power over the well-being and prosperity of the family to which they had in life belonged. The place of honour beside the hearth was occupied by the statue of the Lar of the house, who was supposed to have been the founder of the family. This statue was the object of profound veneration, and was honoured on all occasions by every member of the family; a portion of each meal was laid before it, and it was believed to take an active part in all family affairs and domestic events, whether of a sad or joyful nature. Before starting on any expedition the master of the house saluted the statue of the Lar, and, on his return, a solemn thanksgiving was offered to this, the presiding deity of his hearth and home, in grateful acknowledgment of his protection; whereupon the statue was crowned with garlands of flowers, these being the favourite offerings to the Lares on all occasions of especial family rejoicing.

The first act of a bride on entering her new abode was to do homage to the Lar, in the belief that he would exercise over her a protecting influence and shield her from evil.

In addition to those above enumerated there were also public Lares, who were guardians of the state, highroads, country, and sea. Their temples were always open for any pious worshipper to enter, and on their altars public sacrifices were offered for the welfare of the state or city.

PENATES.

The Penates were deities selected by each family, and frequently by its individual members, as a special protector. Various causes led to this selection. If, for instance, a child were born on the festival of Vesta, it was thought that that deity would henceforward act as its special guardian. If a youth possessed great business talents he adopted Mercury as his tutelary deity; should he, on the other hand, develop a passion for music, Apollo was selected as his patron god, and so forth. These became regarded as the special divinities of the household, small images of them adorned the surroundings of the hearth, and honours similar to those paid to the Lares were accorded to them.

Just as there were public Lares so there were public Penates, which were worshipped by the Roman people under the form of two youthful warriors, who, in later times, were regarded as identical with Castor and Pollux. They are generally represented on horseback, with conical caps on their heads, and bearing long spears in their hands.