Dictionary
EGERIA	100.00%
A goddess of fountains, who was also a goddess of birth, and possessed the gift of prophecy. It was from her fountain in the sacred enclosure of the Camenae, before the Porta Capena in Rome, that the Vestal Virgins brought the water necessary for the baths and purifications of their office. There was another fountain of Egeria in the precincts, of Diana at Aricia. In Roman story Egeria was the consort and counsellor of king Numa, who used to meet her in a grotto in the precincts of the Camenae. After the death of her beloved, she fled to the shrine of the Arician Diana, by whom, as her wailings disturbed the worship, she was changed into the fountain which bore her name. Married women worshipped her at Rome, as a goddess of childbirth.
VESTA	15.69%
Deprecated: Function split() is deprecated in /www/www-ccat/data/classics/myth/php/tools/dictionary.php on line 64 The Italian, particularly the Latin, goddess of the hearth and of its fire, corresponding in her name, as well as in her nature, to the Greek HESTIA(q.v.) Like Vesta, besides her special cult on the hearth of every home, she was also worshipped by the State. This worship was introduced by Numa from Lavinium, whither Aeneas had brought the Penates and the sacred fire from Troy. Hence it was that Roman consuls and dictators, on taking up and laying down their office sacrificed in the temple of Vesta at Lavinium. It was customary in Italy as in Greece for the colonies to kindle the fire of their own Vesta at the hearth of the mother city. The ancient round temple of Vesta, which served as the central point of the city, was built by Numa. In its neighbourhood was the so called atrium of Vesta, the abode of the virgin priestesses of the goddess, the Vestals (excavated in 1883-4; Middleton's Remains of Ancient Rome, i 307-329]. Here the goddess was worshipped not in the form of a statue, but under the symbol of the eternal fire, which it was the chief duty of the Vestals to keep alight. On every 1st March it was renewed. If it went out of itself, a great national disaster was held to have occurred, and the guilty Vestal was scourged by the pontifex. The fire could only be rekindled by a burning glass, or by the primitive method of friction by boring a piece of wood from a fruit tree. Corresponding to the lares and penates of the domestic hearth, there were, according to later usage, the penates of the State in the temple of Vesta; and similarly, on the temple-hearth, a sacrifice was offered daily, consisting of the plainest form of food in a simple vessel of clay. The daily purifications could only be made with flowing water, which the Vestals carried in pitchers upon their heads from the fountain of Egeria, or of the Muses. By day every one had the right of admission to all the temple, save only that part in which the palladium and other mystic relics were kept, where the Vestals alone had the right to enter. It was only by night that men were excluded. As goddess of the sacred fire of the hearth in every house, and for the city in general, Vesta was also the goddess of every sacrificial fire. Hence she was worshipped with Janus at every religion service, Janus being invoked at the opening, Vesta at the close. Her own festival, the Vestalia, was kept on July 9th. The matrons of the town walked barefooted in procession to her temple, to implore tba blessing of the goddess for their households, and to offer sacrifice to her in rude dishes, in remembrance of the time when the hearth served generally for the baking of bread. The millers and bakers also kept holiday. The mills were crowned, and the asses employed in them had garlands and loaves suspended about their necks. The worship of Vesta survived to the last days of paganism, and was abolished by Gratian in 382 A.D. Although there was no image of the goddess in the actual temples, her statues were not uncommon at Rome in later times. Like the Greek Hestia, she was represented sometimes as standing, sometimes as sitting, completely clothed and veiled, with chalice torch, sceptre, and palladium. For cut, see HESTIA.
MUSES	14.56%
Deprecated: Function split() is deprecated in /www/www-ccat/data/classics/myth/php/tools/dictionary.php on line 64 In Greek mythology originally the Nymphs of inspiring springs, then goddesses of song in general, afterwards the representatives of the various kinds of poetry, arts, and sciences. In Homer, who now speaks of one, and now of many Muses, but without specifying their number or their names, they are considered as goddesses dwelling in Olympus, who at the meals of the gods sing sweetly to the lyre of Apollo, inspire the poet and prompt his song. Hesiod [Theog. 52-,76-,] calls them the nine daughters of Zeus and Mnemosyne, born in Pieria, and mentions their names, to which we shall at the same time add the province and the attributes afterwards assigned to each (see cuts). (1) CALLIOPE (she of the fair voice), in Hesiod the noblest of all, the Muse of epic song; among her attributes are a wax tablet and a pencil. (2) CLIO (she that extols), the Muse of history; with a scroll. (3) EUTERPE (she that gladdens), the Muse of lyric song; with the double flute. (4) THALIA (she that flourishes), the Muse of comedy and bucolic poetry; with the comic mask, the ivy wreath, and the shepherd's staff. (5) MELPOMENE (she that sings), the Muse of tragedy; with tragic mask, ivy wreath, and occasionally with attributes of individual heroes, e.g. the club, the sword. (6) TERPSICHORE (she that rejoices in the dance), the Muse of dancing; with the lyre. (7) ERATO (the lovely one), the Muse of erotic poetry; with a smaller lyre. (8) POLYMNIA or POLYHYMNIA (she that is rich in hymns), the Muse of serious sacred songs; usually represented as veiled and pensive. (9) URANIA (the heavenly), the Muse of astronomy; with the celestial globe. Three older Muses were sometimes distinguished from these. MELETE (Meditation), MNEME (Remembrance), AOIDE (Song), whose worship was said to have been introduced by Aloidae, Otus and Ephialtes, near Mount Helicon. Thracian settlers, in the Pierian district at the foot of Olympus and of Helicon in Boeotia are usually mentioned as the original founders of this worship. At both these places were their oldest sanctuaries. According to the general belief, the favourite haunts of the Muses were certain springs, near which temples and statues had been erected in their honour: Castalia, at the foot of Mount Parnassus, and Aganippe and Hippocrene, on Helicon, near the towns of Ascra and Thespiae. After the decline of Ascra, the inhabitants of Thespiae attended to the worship of the Muses and to the arrangements for the musical contests in their honour that took place once in five years. They were also adored in many otherplaces in Greece. Thus the Athenians offered them sacrifices in the schools, while the Spartans did so before battle. As the inspiring Nymphs of springs they were early connected with Dionysus; the god of poets, Apollo, is looked on as their leader (Musagetes), with whom they share the knowledge of past, present, and future. As beings that gladden men and gods with their song, Hesiod describes them as dwelling on Olympus along with the Charites and Himeros. They were represented in art as virgin goddesses with long garments of many folds, and frequently with a cloak besides; they were not distingnished by special attributes till comparatively later times. The Roman poets identified them with the Italian Camence, prophetic Nymphs of springs and goddesses of birth, who had a grove at Rome outside the Porta Capena. (See EGERIA .) The Greeks gave the title of Muses to their nine most distinguished poetesses: Praxilla, Mcero, Anyte, Erinna, Te1esilla, Corinna, Nossis, Myrtis, and Sappho.