Diana is a Roman goddess of the hunt, the Moon, nature, associated with wild animals and woodland. She is equated with the Greek goddess Artemis, absorbed much of Artemis' mythology early in Roman history, including a birth on the island of Delos to parents Jupiter and Latona, a twin brother, though she had an independent origin in Italy. Diana was known as the virgin goddess of childbirth and women, she was one of the three maiden goddesses, along with Vesta, who swore never to marry. Oak groves and deer were sacred to her. Diana made up a triad with two other Roman deities. Diana is revered in modern Neopagan religions including Roman Neopaganism and Wicca. From the medieval to the modern period, as folklore attached to her developed and was adapted into neopagan religions, the mythology surrounding Diana grew to include a consort and daughter, figures sometimes recognized by modern traditions. In the ancient and modern periods, Diana has been considered a triple deity, merged with a goddess of the moon and the underworld.
Dīāna is an adjectival form developed from an ancient *divios, corresponding to dīvus, dius, as in Dius Fidius, Dea Dia, in the neuter form dium'sky'. It is derived from Proto-Indo-European *dyew-' sky'. On the tablets of Pylos a theonym di-wi-ja is supposed as referring to a deity precursor of Artemis. Modern scholars accept the identification; the ancient Latin writers Varro and Cicero considered the etymology of Dīāna as allied to that of dies and connected to the shine of the Moon.... People regard Diana and the moon as one and the same.... The moon is so called from the verb to shine. Lucina is identified with it, why in our country they invoke Juno Lucina in childbirth, just as the Greeks call on Diana the Light-bearer. Diana has the name Omnivaga, not because of her hunting but because she is numbered as one of the seven planets, she is invoked at childbirth because children are born after seven, or after nine, lunar revolutions... --Quintus Lucilius Balbus as recorded by Marcus Tullius Cicero and translated by P.
G. Walsh. De Natura Deorum, Book II, Part ii, Section c The persona of Diana is complex, contains a number of archaic features. Diana was considered to be a goddess of the wilderness and of the hunt, a central sport in both Roman and Greek culture. Early Roman inscriptions to Diana celebrated her as a huntress and patron of hunters. In the Hellenistic period, Diana came to be or more revered as a goddess not of the wild woodland but of the "tame" countryside, or villa rustica, the idealization of, common in Greek thought and poetry; this dual role as goddess of both civilization and the wild, therefore the civilized countryside, first applied to the Greek goddess Artemis. By the 3rd century CE, after Greek influence had a profound impact on Roman religion, Diana had been fully combined with Artemis and took on many of her attributes, both in her spiritual domains and in the description of her appearance; the Roman poet Nemesianus wrote a typical description of Diana: She carried a bow and a quiver full of golden arrows, wore a golden cloak, purple half-boots, a belt with a jeweled buckle to hold her tunic together, wore her hair gathered in a ribbon.
Diana was considered an aspect of a triple goddess, known as Diana triformis: Diana and Hecate. According to historian C. M. Green, "these were an amalgamation of different goddesses, they were Diana... Diana as huntress, Diana as the moon, Diana of the underworld." At her sacred grove on the shores of Lake Nemi, Diana was venerated as a triple goddess beginning in the late 6th century BCE. Andreas Alföldi interpreted an image on a late Republican coin as the Latin Diana "conceived as a threefold unity of the divine huntress, the Moon goddess and the goddess of the nether world, Hekate"; this coin, minted by P. Accoleius Lariscolus in 43 BCE, has been acknowledged as representing an archaic statue of Diana Nemorensis, it represents Artemis with the bow at one extremity, Luna-Selene with flowers at the other and a central deity not identifiable, all united by a horizontal bar. The iconographical analysis allows the dating of this image to the 6th century at which time there are Etruscan models; the coin shows that the triple goddess cult image still stood in the lucus of Nemi in 43 BCE.
Lake Nemi was called Triviae lacus by Virgil, while Horace called Diana montium custos nemoremque virgo and diva triformis. Two heads found in the sanctuary and the Roman theatre at Nemi, which have a hollow on their back, lend support to this interpretation of an archaic triple Diana; the earliest epithet of Diana was Trivia, she was addressed with that title by Virgil and many others. "Trivia" comes from the Latin trivium, "triple way", refers to Diana's guardianship over roadways Y-junctions or three-way crossroads. This role carried a somewhat dark and dangerous connotation, as it metaphorically pointed the way to the underworld. In the 1st-century CE play Medea, Seneca's titular sorceress calls on Trivia to cast a mag
Publius Ovidius Naso, known as Ovid in the English-speaking world, was a Roman poet who lived during the reign of Augustus. He was a contemporary of the older Virgil and Horace, with whom he is ranked as one of the three canonical poets of Latin literature; the Imperial scholar Quintilian considered him the last of the Latin love elegists. He enjoyed enormous popularity, but, in one of the mysteries of literary history, was sent by Augustus into exile in a remote province on the Black Sea, where he remained until his death. Ovid himself attributes his exile to carmen et error, "a poem and a mistake", but his discretion in discussing the causes has resulted in much speculation among scholars; the first major Roman poet to begin his career during the reign of Augustus, Ovid is today best known for the Metamorphoses, a 15-book continuous mythological narrative written in the meter of epic, for works in elegiac couplets such as Ars Amatoria and Fasti. His poetry was much imitated during Late Antiquity and the Middle Ages, influenced Western art and literature.
The Metamorphoses remains one of the most important sources of classical mythology. Ovid talks more about his own life than most other Roman poets. Information about his biography is drawn from his poetry Tristia 4.10, which gives a long autobiographical account of his life. Other sources include Seneca the Quintilian. Ovid was born in Sulmo, in an Apennine valley east of Rome, to an important equestrian family, on 20 March, 43 BC; that was a significant year in Roman politics. He was educated in rhetoric in Rome under the teachers Arellius Fuscus and Porcius Latro with his brother who excelled at oratory, his father wanted him to study rhetoric toward the practice of law. According to Seneca the Elder, Ovid tended to not the argumentative pole of rhetoric. After the death of his brother at 20 years of age, Ovid renounced law and began travelling to Athens, Asia Minor, Sicily, he held minor public posts, as one of the tresviri capitales, as a member of the Centumviral court and as one of the decemviri litibus iudicandis, but resigned to pursue poetry around 29–25 BC, a decision his father disapproved of.
Ovid's first recitation has been dated to around 25 BC. He was part of the circle centered on the patron Marcus Valerius Messalla Corvinus, seems to have been a friend of poets in the circle of Maecenas. In Trist. 4.10.41–54, Ovid mentions friendships with Macer, Horace and Bassus. He married three times and divorced twice by the time he was thirty years old, he had one daughter, who bore him grandchildren. His last wife was connected in some way to the influential gens Fabia and would help him during his exile in Tomis; the first 25 years of Ovid's literary career were spent writing poetry in elegiac meter with erotic themes. The chronology of these early works is not secure, his earliest extant work is thought to be the Heroides, letters of mythological heroines to their absent lovers, which may have been published in 19 BC, although the date is uncertain as it depends on a notice in Am. 2.18.19–26 that seems to describe the collection as an early published work. The authenticity of some of these poems has been challenged, but this first edition contained the first 14 poems of the collection.
The first five-book collection of the Amores, a series of erotic poems addressed to a lover, Corinna, is thought to have been published in 16–15 BC. 8–3 BC. Between the publications of the two editions of the Amores can be dated the premiere of his tragedy Medea, admired in antiquity but is no longer extant. Ovid's next poem, the Medicamina Faciei, a fragmentary work on women's beauty treatments, preceded the Ars Amatoria, the Art of Love, a parody of didactic poetry and a three-book manual about seduction and intrigue, dated to AD 2. Ovid may identify this work in his exile poetry as the carmen, or song, one cause of his banishment; the Ars Amatoria was followed by the Remedia Amoris in the same year. This corpus of elegiac, erotic poetry earned Ovid a place among the chief Roman elegists Gallus and Propertius, of whom he saw himself as the fourth member. By AD 8, he had completed his most ambitious work, the Metamorphoses, a hexameter epic poem in 15 books; the work encyclopedically catalogues transformations in Greek and Roman mythology, from the emergence of the cosmos to the apotheosis of Julius Caesar.
The stories follow each other in the telling of human beings transformed to new bodies: trees, animals, constellations etc. At the same time, he worked on the Fasti, a six-book poem in elegiac couplets on the theme of the calendar of Roman festivals and astronomy; the composition of this poem was interrupted by Ovid's exile, it is thought that Ovid abandoned work on the piece in Tomis. It is in this period, if they are indeed by Ovid, that the double letters in the Heroides were composed. In AD 8, Ovid was banished to Tomis, on the Black Sea, by the exclusive intervention of the Emperor Augustus, without any participation of the Senate or of any Roman judge; this event shaped all his following poetry. Ovid wrote that the reason for his exile was carmen et error – "a poem and a mistake", claiming that his crime was
In Roman religion, the genius is the individual instance of a general divine nature, present in every individual person, place, or thing. Much like a guardian angel, the genius would follow each man from the hour of his birth until the day he died. For women, it was the Juno spirit; each individual place so did powerful objects, such as volcanoes. The concept extended to some specifics: the genius of the theatre, of vineyards, of festivals, which made performances successful, grapes grow, celebrations succeed, respectively, it was important in the Roman mind to propitiate the appropriate genii for the major undertakings and events of their lives. The Christian theologian Augustine equated the Christian "soul" with the Roman genius, citing Varro as attributing the rational powers and abilities of every human being to their genius. Although the term genius might apply to any divinity whatsoever, most of the higher-level and state genii had their own well-established names. Genius applied most to individual places or people not known.
Houses, gates, districts, each one had its own genius. The supreme hierarchy of the Roman gods, like that of the Greeks, was modelled after a human family, it featured a father, the supreme divine unity, a mother, queen of the gods. These supreme unities were subdivided into genii for each individual family; the male function was a Jupiter. The juno was worshipped under many titles: Iugalis, "of marriage" Matronalis, "of married women" Pronuba, "of brides" Virginalis, "of virginity"Genii were viewed as protective spirits, as one would propitiate them for protection. For example, to protect infants one propitiated a number of deities concerned with birth and childrearing: Cuba and Rumina. If those genii did not perform their proper function well, the infant would be in danger. Hundreds of lararia, or family shrines, have been discovered at Pompeii off the atrium, kitchen or garden, where the smoke of burnt offerings could vent through the opening in the roof. A lararium was distinct from the penus, another shrine where the penates, gods associated with the storerooms, was located.
Each lararium features a panel fresco containing the same theme: two peripheral figures attend on a central figure or two figures who may or may not be at an altar. In the foreground is one or two serpents crawling toward the genius through a meadow motif. Campania and Calabria preserved an ancient practice of keeping a propitious house snake, here linked with the genius. In another, unrelated fresco the snake-in-meadow appears below a depiction of Mount Vesuvius and is labelled Agathodaimon, "good daimon", where daimon must be regarded as the Greek equivalent of genius; the word is loaned from genius, deriving from gēns from the Indo-European root *gene-, "give birth, produce". The genius appears explicitly in Roman literature as early as Plautus, where one character in the play, jests that the father of another is so avaricious that he uses cheap Samian ware in sacrifices to his own genius, so as not to tempt the genius to steal it. In this passage, the genius is not identical to the person, as to propitiate oneself would be absurd, yet the genius has the avarice of the person.
Horace, writing when the first emperor was introducing the cult of his own genius, describes the genius as "the companion which controls the natal star. Octavius Caesar on return to Rome after the final victory of the Roman Civil War at the Battle of Actium appeared to the Senate to be a man of great power and success a mark of divinity. In recognition of the prodigy they voted. In concession to this sentiment he chose the name Augustus, capturing the numinous meaning of English "august." The household cult of the Genius Augusti dates from this period. It was propitiated at every meal along with the other household numina, thus began the tradition of the Imperial cult, in which Romans worshipped the genius of the emperor rather than the person. If the genius of the imperator, or commander of all troops, was to be propitiated, so was that of all the units under his command; the provincial troops expanded the idea of the genii of state. Inscriptional dedications to genius were not confined to the military.
From Gallia Cisalpina under the empire are numerous dedications to the genii of persons of authority and respect. Sometimes the dedication is combined with other words, such as "to the genius and honor" or in the case of couples, "to the genius and Juno."Surviving from the time of the empire hundreds of dedicatory and sepulchral inscriptions ranging over the entire t
In ancient Roman religion and myth, Janus is the god of beginnings, transitions, duality, doorways and endings. He is depicted as having two faces, since he looks to the future and to the past, it is conventionally thought that the month of January is named for Janus, but according to ancient Roman farmers' almanacs Juno was the tutelary deity of the month. Janus presided over the beginning and ending of conflict, hence war and peace; the gates of a building in Rome named after him were opened in time of war, closed to mark the arrival of peace. As a god of transitions, he had functions pertaining to birth and to journeys and exchange, in his association with Portunus, a similar harbor and gateway god, he was concerned with travelling and shipping. Janus had no flamen or specialised priest assigned to him, but the King of the Sacred Rites himself carried out his ceremonies. Janus had an ubiquitous presence in religious ceremonies throughout the year; as such, Janus was ritually invoked at the beginning of each ceremony, regardless of the main deity honored on any particular occasion.
The ancient Greeks had no equivalent to Janus. Three etymologies were proposed by ancient erudites, each of them bearing implications about the nature of the god; the first one is based on the definition of Chaos given by Paul the Deacon: hiantem, hiare, be open, from which word Ianus would derive by loss of the initial aspirate. In this etymology, the notion of Chaos would define the primordial nature of the god. Another etymology proposed by Nigidius Figulus is related by Macrobius: Ianus would be Apollo and Diana Iana, by the addition of a D for the sake of euphony; this explanation has been accepted by A. B. Cook and J. G. Frazer, it supports all the assimilations of Janus to the sun and the moon. It supposes a former *Dianus, formed on *dia- < *dy-eð2 from Indo-European root *dey- shine represented in Latin by dies day and Iuppiter. However the form Dianus postulated by Nigidius is not attested. A third etymology indicated by Cicero and Macrobius, which explains the name as Latin, deriving it from the verb ire is based on the interpretation of Janus as the god of beginnings and transitions.
Modern scholars have conjectured that it derives from the Indo-European root meaning transitional movement. Iānus would be an action name expressing the idea of going, formed on the root *yā- < *y-eð2- theme II of the root *ey- go from which eō, ειμι. Other modern scholars object to an Indo-European etymology either from Dianus or from root *yā-. From Ianus derived ianua, hence the English word "janitor". While the fundamental nature of Janus is debated, in most modern scholars' view the god's functions may be seen as being organized around a single principle: presiding over all beginnings and transitions, whether abstract or concrete, sacred or profane. Interpretations concerning the god's fundamental nature either limit it to this general function or emphasize a concrete or particular aspect of it or else see in the god a sort of cosmological principle, interpreting him as a uranic deity. All of these modern explanations were formulated by the ancients, his function as god of beginnings has been expressed in numerous ancient sources, among them most notably Cicero and Varro.
As a god of motion, Janus looks after passages, causes actions to start and presides over all beginnings. Since movement and change are interconnected, he has a double nature, symbolised in his two headed image, he has under his tutelage the stepping in and out of the door of homes, the ianua, which took its name from him, not vice versa. His tutelage extends to the covered passages named iani and foremost to the gates of the city, including the cultic gate of the Argiletum, named Ianus Geminus or Porta Ianualis from which he protects Rome against the Sabines, he is present at the Sororium Tigillum, where he guards the terminus of the ways into Rome from Latium. He has an altar a temple near the Porta Carmentalis, where the road leading to Veii ended, as well as being present on the Janiculum, a gateway from Rome out to Etruria; the connection of the notions of beginning, movement and thence time was expressed by Cicero. In general, Janus is at the origin of time as the guardian of the gates of Heaven: Jupiter himself can move forth and back because of Janus's working.
In one of his temples that of Forum Holitorium, the hands of his statue were positioned to signify the number 355 365, symbolically expressing his mastership over time. He presides over the concrete and abstract beginnings of the world, such as religion and the gods themselves, he too holds the access to Heaven and to other gods: this is the reason why men must invoke him first, regardless of the god they want to pray to or placate, he is the initiator of human life, of new historical ages, financial enterprises: according to myth he was the first to mint coins and the as, first coin of the liberal series, bears his effigy on one face. Janus symbolized change and transitions such as the progress of past to future, from one condition to another, from one vision to another, young people's growth to adulthood, he represented time, because he could see in
Religion in ancient Rome
Religion in Ancient Rome includes the ancestral ethnic religion of the city of Rome that the Romans used to define themselves as a people, as well as the religious practices of peoples brought under Roman rule, in so far as they became followed in Rome and Italy. The Romans thought of themselves as religious, attributed their success as a world power to their collective piety in maintaining good relations with the gods; the Romans are known for the great number of deities they honored, a capacity that earned the mockery of early Christian polemicists. The presence of Greeks on the Italian peninsula from the beginning of the historical period influenced Roman culture, introducing some religious practices that became as fundamental as the cult of Apollo; the Romans looked for common ground between their major gods and those of the Greeks, adapting Greek myths and iconography for Latin literature and Roman art, as the Etruscans had. Etruscan religion was a major influence on the practice of augury.
According to legends, most of Rome's religious institutions could be traced to its founders Numa Pompilius, the Sabine second king of Rome, who negotiated directly with the gods. This archaic religion was the foundation of the mos maiorum, "the way of the ancestors" or "tradition", viewed as central to Roman identity. Roman religion was practical and contractual, based on the principle of do ut des, "I give that you might give". Religion depended on knowledge and the correct practice of prayer and sacrifice, not on faith or dogma, although Latin literature preserves learned speculation on the nature of the divine and its relation to human affairs; the most skeptical among Rome's intellectual elite such as Cicero, an augur, saw religion as a source of social order. As the Roman Empire expanded, migrants to the capital brought their local cults, many of which became popular among Italians. Christianity was in the end the most successful of these, in 380 became the official state religion. For ordinary Romans, religion was a part of daily life.
Each home had a household shrine at which prayers and libations to the family's domestic deities were offered. Neighborhood shrines and sacred places such as springs and groves dotted the city; the Roman calendar was structured around religious observances. Women and children all participated in a range of religious activities; some public rituals could be conducted only by women, women formed what is Rome's most famous priesthood, the state-supported Vestals, who tended Rome's sacred hearth for centuries, until disbanded under Christian domination. The priesthoods of public religion were held by members of the elite classes. There was no principle analogous to separation of state in ancient Rome. During the Roman Republic, the same men who were elected public officials might serve as augurs and pontiffs. Priests married, raised families, led politically active lives. Julius Caesar became pontifex maximus; the augurs read the will of the gods and supervised the marking of boundaries as a reflection of universal order, thus sanctioning Roman expansionism as a matter of divine destiny.
The Roman triumph was at its core a religious procession in which the victorious general displayed his piety and his willingness to serve the public good by dedicating a portion of his spoils to the gods Jupiter, who embodied just rule. As a result of the Punic Wars, when Rome struggled to establish itself as a dominant power, many new temples were built by magistrates in fulfillment of a vow to a deity for assuring their military success; as the Romans extended their dominance throughout the Mediterranean world, their policy in general was to absorb the deities and cults of other peoples rather than try to eradicate them, since they believed that preserving tradition promoted social stability. One way that Rome incorporated diverse peoples was by supporting their religious heritage, building temples to local deities that framed their theology within the hierarchy of Roman religion. Inscriptions throughout the Empire record the side-by-side worship of local and Roman deities, including dedications made by Romans to local gods.
By the height of the Empire, numerous international deities were cultivated at Rome and had been carried to the most remote provinces, among them Cybele, Isis and gods of solar monism such as Mithras and Sol Invictus, found as far north as Roman Britain. Foreign religions attracted devotees among Romans, who had ancestry from elsewhere in the Empire. Imported mystery religions, which offered initiates salvation in the afterlife, were a matter of personal choice for an individual, practiced in addition to carrying on one's family rites and participating in public religion; the mysteries, involved exclusive oaths and secrecy, conditions that conservative Romans viewed with suspicion as characteristic of "magic", conspiratorial, or subversive activity. Sporadic and sometimes brutal attempts were made to suppress religionists who seemed to threaten traditional morality and unity, as with the senate's efforts to restrict the Bacchanals in 186 BC; because Romans had never been obligated to cultivate one god or one cult only, religious tolerance was not an issue in the sense that it is for competing monotheistic systems.
The monotheistic rigor of Judaism posed difficulties for Roman policy that led at times to compromise and the granting of special exemptions, but sometimes to intractable conflict. For example, religious disputes helped cause the First Jewish -- the Bar Kokhba revolt. In the wake of the Republic's collapse, state religion had adapted to support the new reg
Juno was an ancient Roman goddess, the protector and special counselor of the state. A daughter of Saturn, she is the wife of Jupiter and the mother of Mars, Vulcan and Juventas, she is the Roman equivalent of queen of the gods in Greek mythology. Her Etruscan counterpart was Uni, she was said to watch over the women of Rome; as the patron goddess of Rome and the Roman Empire, Juno was called Regina and was a member of the Capitoline Triad, centered on the Capitoline Hill in Rome. Juno's own warlike aspect among the Romans is apparent in her attire, she is shown armed and wearing a goatskin cloak. The traditional depiction of this warlike aspect was assimilated from the Greek goddess Athena, who bore a goatskin, or a goatskin shield, called the'aegis'; the name Juno was once thought to be connected to Iove as Diuno and Diove from *Diovona. At the beginning of the 20th century, a derivation was proposed from iuven-, through a syncopated form iūn-; this etymology became accepted after it was endorsed by Georg Wissowa.
Iuuen- is related to Latin aevum and Greek aion through a common Indo-European root referring to a concept of vital energy or "fertile time". The iuvenis is he. In some inscriptions Jupiter himself is called Iuuntus, one of the epithets of Jupiter is Ioviste, a superlative form of iuuen- meaning "the youngest". Iuventas, "Youth", was one of two deities who "refused" to leave the Capitol when the building of the new Temple of Capitoline Jove required the exauguration of deities who occupied the site. Juno is the equivalent to the Greek goddess for love and marriage. Juno is the Roman goddess of marriage. Ancient etymologies associated Juno's name with iuvare, "to aid, benefit", iuvenescere, "rejuvenate", sometimes connecting it to the renewal of the new and waxing moon implying the idea of a moon goddess. Juno's theology is one of the most complex and disputed issues in Roman religion. More than other major Roman deities, Juno held a large number of significant and diverse epithets and titles representing various aspects and roles of the goddess.
In accordance with her central role as a goddess of marriage, these included Cinxia. However, other epithets of Juno are less thematically linked. While her connection with the idea of vital force, fullness of vital energy, eternal youthfulness is now acknowledged, the multiplicity and complexity of her personality have given rise to various and sometimes irreconcilable interpretations among modern scholars. Juno is the divine protectress of the community, who shows both a sovereign and a fertility character associated with a military one, she was present in many towns of ancient Italy: at Lanuvium as Sespeis Mater Regina, Tibur, Veii as Regina, at Tibur and Falerii as Regina and Curitis and Norba as Lucina. She is attested at Praeneste, Ardea, Gabii. In five Latin towns a month was named after Juno. Outside Latium in Campania at Teanum she was Populona, in Umbria at Pisaurum Lucina, at Terventum in Samnium Regina, at Pisarum Regina Matrona, at Aesernia in Samnium Regina Populona. In Rome she was since the most ancient times named Lucina and Regina.
It is debated whether she was known as Curitis before the evocatio of the Juno of Falerii: this though seems probable. Other epithets of hers that were in use at Rome include Moneta and Caprotina, Fluonia or Fluviona, the last ones associated with the rites of purification and fertility of February, her various epithets thus show a complex of mutually interrelated functions that in the view of Georges Dumézil and Vsevolod Basanoff can be traced back to the Indoeuropean trifunctional ideology: as Regina and Moneta she is a sovereign deity, as Sespeis and Moneta she is an armed protectress, as Mater and Curitis she is a goddess of the fertility and wealth of the community in her association with the curiae. The epithet Lucina is revealing since it reflects two interrelated aspects of the function of Juno: cyclical renewal of time in the waning and waxing of the moon and protection of delivery and birth; the ancient called her Covella in her function of helper in the labours of the new moon. The view that she was a Moon goddess though is no longer accepted by scholars, as such a role belongs to Diana Lucifera: through her association with the moon she governed the feminine physiological functions, menstrual cycle and pregnancy: as a rule all lunar deities are deities of childbirth.
These aspects of Juno mark the worldly sides of her function. She is thus associated to all beginnings and hers are the kalendae of every month: at Laurentum she was known as Kalendaris Iuno. At Rome on the Kalends of every month the pontifex minor invoked her, under the epithet Covella, when from the curia Calabra announced the date of the nonae. On the same day the regina sacrorum sacrificed to Juno a white lamb in the Regia, she is associated with Janus, the god of passages and beginnings who after her is named Iunonius. Some scholars view this concentration of multiple functions