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Vertumnus is primarily known in Roman mythology as the god of the sea and storms.
Answer: False
Explanation: Roman mythology identifies Vertumnus primarily as the deity presiding over the changing seasons, transformation, gardens, and the growth of plants. While some interpretations suggest an older association with controlling watercourses, his primary domain is not the sea and storms.
Gardening tools are the primary symbols associated with Vertumnus.
Answer: True
Explanation: Gardening tools are indeed listed among the symbols associated with Vertumnus, reflecting his patronage of gardens and agriculture.
Vertumnus is associated with the cyclical changes of nature and the progression of seasons.
Answer: True
Explanation: A fundamental aspect of Vertumnus's domain is his association with the cyclical transformations of nature and the progression of the seasons, embodying change and renewal.
According to Roman mythology, what is Vertumnus the god of?
Answer: The changing seasons, transformation, and gardens
Explanation: Vertumnus is recognized in Roman mythology as the deity presiding over the changing seasons, the process of transformation, and the cultivation of gardens and fruit trees. His domain encompasses the cyclical shifts in nature and the growth of plants.
The defining characteristic of Vertumnus was his ability to change his physical form at will.
Answer: True
Explanation: A central attribute of Vertumnus in Roman mythology was his capacity for shapeshifting, allowing him to alter his physical form at will. This ability is intrinsically linked to his role as the god of change, embodying the transitions found in nature, such as the progression of seasons and the cycles of plant growth.
Ovid's Metamorphoses recounts how Vertumnus courted Pomona by openly declaring his love and offering her gifts.
Answer: False
Explanation: Ovid's Metamorphoses details Vertumnus's courtship of Pomona not through direct declaration, but by employing his transformative abilities. He disguised himself as an elderly woman to gain access to her orchard and subsequently persuaded her through a cautionary tale, rather than by openly offering gifts or love.
Pomona is identified as Vertumnus's rival, not his consort.
Answer: False
Explanation: In Roman mythology, Pomona is consistently identified as Vertumnus's consort, the object of his courtship and eventual union, not his rival.
Ovid's Metamorphoses describes Vertumnus's kisses in disguise as being cold and unconvincing.
Answer: False
Explanation: Ovid's Metamorphoses suggests the opposite: Vertumnus's kisses, even in disguise, were notably passionate, described as 'hot kisses' that ill-suited the old woman's guise, implying a deliberate seduction rather than coldness.
What unique ability did Vertumnus possess that was central to his myths?
Answer: The power to change his form at will
Explanation: A central attribute of Vertumnus in Roman mythology was his capacity for shapeshifting, allowing him to alter his physical form at will. This ability is intrinsically linked to his role as the god of change, embodying the transitions found in nature.
How did Vertumnus famously court Pomona, according to Ovid's Metamorphoses?
Answer: He disguised himself as an old woman to gain entry and then seduced her with a story.
Explanation: Ovid's Metamorphoses details Vertumnus's courtship of Pomona not through direct declaration, but by employing his transformative abilities. He disguised himself as an elderly woman to gain access to her orchard and subsequently persuaded her through a cautionary tale, rather than by openly offering gifts or love.
Vertumnus's festival was known as the Floralia and was celebrated in the spring.
Answer: False
Explanation: Vertumnus's festival was called the Vertumnalia and was celebrated on August 13th, not the Floralia which is associated with Flora and occurs in the spring.
The name Vertumnus is believed to have Etruscan origins, possibly linked to the deity Voltumna.
Answer: True
Explanation: Linguistic analysis strongly suggests that the name Vertumnus derives from Etruscan origins, with a probable connection to the Etruscan deity Voltumna.
Ancient etymologies linked the name Vertumnus solely to the concept of damming rivers.
Answer: False
Explanation: While Ovid alluded to a possible connection with diverting rivers ('averso amne'), ancient etymologies more broadly linked the name Vertumnus to the concept of change, often referencing the Latin verb 'vertere' (to turn or change), rather than solely to river management.
The cult of Vertumnus was established in Rome after the fall of the Roman Empire.
Answer: False
Explanation: The cult of Vertumnus was established in Rome during the Republican period, arriving around 300 BC, long before the fall of the Roman Empire.
Vertumnus's temple on the Aventine Hill was constructed around the same time Rome conquered the Etruscan city of Volsinii.
Answer: True
Explanation: The construction of Vertumnus's temple on the Aventine Hill by 264 BC coincided chronologically with the Roman conquest of the significant Etruscan city of Volsinii.
The Etruscan equivalent of Vertumnus is known as Voltumna.
Answer: True
Explanation: The Etruscan deity Voltumna is widely recognized as the equivalent or precursor to the Roman god Vertumnus.
The Latin verb 'vertere' means 'to destroy' or 'to conquer'.
Answer: False
Explanation: The Latin verb 'vertere' translates to 'to turn' or 'to change', which is linguistically relevant to the god Vertumnus's association with transformation.
The reference to 'averso amne' in Ovid's Fasti suggests Vertumnus's role was primarily related to seasonal changes.
Answer: False
Explanation: The phrase 'averso amne' (from a diverted river) in Ovid's Fasti suggests an older, more fundamental role for Vertumnus related to controlling or diverting water, rather than his primary association with seasonal changes.
What was the name of Vertumnus's festival, and when was it celebrated?
Answer: The Vertumnalia, celebrated on August 13th
Explanation: Vertumnus's festival was called the Vertumnalia and was celebrated annually on August 13th.
Which Etruscan deity is considered the most likely origin for the name Vertumnus?
Answer: Voltumna
Explanation: Linguistic analysis strongly suggests that the name Vertumnus derives from Etruscan origins, with a probable connection to the Etruscan deity Voltumna.
Around what year did the cult of Vertumnus arrive in Rome?
Answer: Around 300 BC
Explanation: The cult of Vertumnus was established in Rome during the Republican period, arriving around 300 BC.
What significant Etruscan city was conquered by Rome around the time Vertumnus's temple was built on the Aventine Hill?
Answer: Volsinii
Explanation: The construction of Vertumnus's temple on the Aventine Hill by 264 BC coincided chronologically with the Roman conquest of the significant Etruscan city of Volsinii.
According to Propertius, from which Etruscan city did Vertumnus originate?
Answer: Volsinii
Explanation: Propertius asserted that Vertumnus was of Etruscan origin, specifically hailing from the Etruscan city of Volsinii.
What does the reference to 'averso amne' in Ovid's Fasti suggest about Vertumnus's older role?
Answer: His association with controlling or diverting water.
Explanation: The phrase 'averso amne' (from a diverted river) in Ovid's Fasti suggests an older, more fundamental role for Vertumnus related to controlling or diverting water, rather than his primary association with seasonal changes.
What does the Latin verb 'vertere' mean?
Answer: To change or to turn
Explanation: The Latin verb 'vertere' translates to 'to turn' or 'to change', which is linguistically relevant to the god Vertumnus's association with transformation.
The story of Vertumnus and Pomona is considered one of the few myths in Latin literature that is directly adapted from Greek narratives.
Answer: False
Explanation: The narrative of Vertumnus and Pomona is recognized as a significant example of a myth that is exclusively Latin in origin, rather than being a direct adaptation of Greek mythology.
Marcus Terentius Varro identified Vortumnus as a minor deity associated with agriculture.
Answer: False
Explanation: The Roman scholar Marcus Terentius Varro identified Vortumnus not as a minor deity, but as a principal god of Etruria, indicating a significant status within the Etruscan pantheon.
The primary literary source for information on Vertumnus is the historian Tacitus.
Answer: False
Explanation: The primary literary source providing substantial information about Vertumnus is the Roman elegiac poet Sextus Propertius, not the historian Tacitus.
Propertius claimed that Vertumnus originated from the Greek city of Thebes.
Answer: False
Explanation: Propertius asserted that Vertumnus was of Etruscan origin, specifically hailing from the Etruscan city of Volsinii, not the Greek city of Thebes.
The story of Vertumnus and Pomona is found in Virgil's Aeneid.
Answer: False
Explanation: The narrative of Vertumnus and Pomona is recounted in Ovid's Metamorphoses, specifically Book XIV, not in Virgil's Aeneid.
Thomas Nashe's 'Summer's Last Will and Testament' is a known literary work that mentions Vertumnus.
Answer: True
Explanation: The literary work 'Summer's Last Will and Testament' by Thomas Nashe, written in 1592 and published in 1600, includes a mention of Vertumnus.
What is the literary significance of the Vertumnus and Pomona story?
Answer: It is recognized as the first story exclusively Latin in origin.
Explanation: The narrative of Vertumnus and Pomona is recognized as a significant example of a myth that is exclusively Latin in origin, rather than being a direct adaptation of Greek mythology.
According to Marcus Terentius Varro, what was the status of Vortumnus among Etruscan deities?
Answer: He was identified as a principal god of Etruria.
Explanation: The Roman scholar Marcus Terentius Varro identified Vortumnus not as a minor deity, but as a principal god of Etruria, indicating a significant status within the Etruscan pantheon.
Who is identified as the major literary source providing information about the god Vertumnus?
Answer: Sextus Propertius
Explanation: The primary literary source providing substantial information about Vertumnus is the Roman elegiac poet Sextus Propertius.
Which literary work by Thomas Nashe mentions Vertumnus?
Answer: Summer's Last Will and Testament
Explanation: The literary work 'Summer's Last Will and Testament' by Thomas Nashe, written in 1592 and published in 1600, includes a mention of Vertumnus.
The theme of Vertumnus and Pomona was particularly popular among European artists during the Renaissance and Baroque periods (16th-18th centuries).
Answer: True
Explanation: The mythological theme of Vertumnus and Pomona experienced significant popularity among European artists, particularly during the Renaissance and Baroque eras, spanning the 16th through the 18th centuries.
Artistic depictions of Vertumnus and Pomona primarily focused on the god's transformation abilities without any erotic undertones.
Answer: False
Explanation: Artistic interpretations of Vertumnus and Pomona frequently explored disguised erotic subtexts, contrasting the beauty of youth with the guise of age, and thus were not solely focused on transformation abilities without suggestive undertones.
François Boucher designed cartoons for a tapestry series depicting Vertumnus and Pomona for the Gobelins manufactory.
Answer: True
Explanation: François Boucher contributed designs for a tapestry series focusing on the 'Loves of the Gods,' which included depictions of Vertumnus and Pomona, produced for the esteemed Gobelins manufactory.
Giuseppe Arcimboldo's painting 'Vertumnus' depicted the Roman god in a traditional mythological scene.
Answer: False
Explanation: Giuseppe Arcimboldo's renowned painting 'Vertumnus' (circa 1590) does not depict the Roman god in a conventional mythological setting; instead, it portrays Emperor Rudolf II disguised as Vertumnus, symbolizing the emperor's connection to the cycles of nature and abundance.
Mme de Pompadour played the role of Vertumnus in a pastoral performance at Versailles.
Answer: False
Explanation: In a pastoral performance at Versailles, Mme de Pompadour assumed the role of Pomone, the nymph and consort of Vertumnus, not the god himself.
Roxanne Gentilcore interprets the Vertumnus and Pomona story as a narrative of deception and veiled threat.
Answer: True
Explanation: Scholarly interpretations, such as that of Roxanne Gentilcore, analyze the Vertumnus and Pomona narrative as one that involves elements of deception and underlying threat, particularly concerning Pomona's status as a 'tamed hamadryad'.
The sculpture 'Vertumne et Pomone' by Jean-Baptiste Lemoyne dates from the 19th century.
Answer: False
Explanation: The rococo sculpture 'Vertumne et Pomone' by Jean-Baptiste Lemoyne dates from the mid-18th century (1760), not the 19th century.
Francesco Penso's 1717 sculpture of 'Vertumnus and Pomona' is located in the Louvre Museum in Paris.
Answer: False
Explanation: Francesco Penso's 1717 sculpture titled 'Vertumnus and Pomona' is situated in an avenue within the Summer Garden in St. Petersburg, Russia, not in the Louvre Museum in Paris.
Luca Giordano's painting 'Vertumnus and Pomona' was created in the late 17th century.
Answer: True
Explanation: The painting 'Vertumnus and Pomona' by Luca Giordano was indeed created during the late 17th century, specifically between 1682 and 1683.
Giuseppe Arcimboldo's painting 'Vertumnus' depicts Emperor Rudolf II disguised as the god.
Answer: True
Explanation: Giuseppe Arcimboldo's celebrated painting, known as 'Vertumnus,' portrays Emperor Rudolf II adopting the guise of the Roman god, symbolizing the emperor's connection to the cycles of nature and abundance.
Camille Claudel's sculpture of Vertumnus and Pomona is made of bronze.
Answer: False
Explanation: Camille Claudel's sensual sculpture of 'Vertumnus and Pomona,' created in 1905, is rendered in marble, not bronze.
Roxanne Gentilcore describes Pomona as a 'tamed hamadryad', linking her to tree spirits.
Answer: True
Explanation: In her analysis, Roxanne Gentilcore characterizes Pomona as a 'tamed hamadryad,' thereby connecting her to the spirits of trees and orchards, and interpreting her role within the narrative as potentially symbolizing silenced nature.
The Neo-classical tradition section suggests the Vertumnus and Pomona story appealed artistically due to its depiction of divine battles.
Answer: False
Explanation: The appeal of the Vertumnus and Pomona story within the Neo-classical tradition, as suggested by the source material, stemmed from its potential for exploring themes of disguise, eroticism, and the contrast between youth and age, rather than divine battles.
During which centuries did the theme of Vertumnus and Pomona become particularly popular in European art?
Answer: 16th through 18th centuries
Explanation: The mythological theme of Vertumnus and Pomona experienced significant popularity among European artists, particularly during the Renaissance and Baroque eras, spanning the 16th through the 18th centuries.
What thematic element did the Vertumnus and Pomona motif often explore in art?
Answer: Disguised erotic subtexts and contrasts of age and youth
Explanation: Artistic interpretations of Vertumnus and Pomona frequently explored disguised erotic subtexts, contrasting the beauty of youth with the guise of age, and thus were not solely focused on transformation abilities without suggestive undertones.
Which artist designed cartoons for a tapestry series of 'Loves of the Gods', including Vertumnus and Pomona, for the Gobelins manufactory?
Answer: François Boucher
Explanation: François Boucher contributed designs for a tapestry series focusing on the 'Loves of the Gods,' which included depictions of Vertumnus and Pomona, produced for the esteemed Gobelins manufactory.
What did Giuseppe Arcimboldo's painting 'Vertumnus' (ca. 1590) depict?
Answer: Emperor Rudolf II disguised as Vertumnus
Explanation: Giuseppe Arcimboldo's celebrated painting, known as 'Vertumnus,' portrays Emperor Rudolf II adopting the guise of the Roman god, symbolizing the emperor's connection to the cycles of nature and abundance.
In a pastoral performance at Versailles, who took on the role of Pomone?
Answer: Mme de Pompadour
Explanation: In a pastoral performance at Versailles, Mme de Pompadour assumed the role of Pomone, the nymph and consort of Vertumnus, not the god himself.
How does Roxanne Gentilcore interpret Pomona in the context of the Vertumnus story?
Answer: As a 'tamed hamadryad,' symbolizing silenced nature.
Explanation: In her analysis, Roxanne Gentilcore characterizes Pomona as a 'tamed hamadryad,' thereby connecting her to the spirits of trees and orchards, and interpreting her role within the narrative as potentially symbolizing silenced nature.
What is the location of Francesco Penso's 1717 sculpture titled 'Vertumnus and Pomona'?
Answer: The Summer Garden, St. Petersburg
Explanation: Francesco Penso's 1717 sculpture titled 'Vertumnus and Pomona' is situated in an avenue within the Summer Garden in St. Petersburg, Russia.
Which of the following artists created a marble sculpture of 'Vertumnus and Pomona' in 1905?
Answer: Camille Claudel
Explanation: Camille Claudel sculpted a sensual marble version of 'Vertumnus and Pomona' in 1905, which is housed in the Musée Rodin in Paris.
Mamurius Veturius is credited with crafting the bronze statue of Vortumnus and also the twelve ritual shields known as the ancilia.
Answer: True
Explanation: According to tradition, Mamurius Veturius was the legendary craftsman responsible for creating the bronze statue of Vortumnus, as well as the twelve sacred shields known as the ancilia.
The bronze statue of Vortumnus replaced an original statue made of marble.
Answer: False
Explanation: The bronze statue of Vortumnus replaced an older cult image, which was a primitive wooden statue known as a 'xoanon', believed to have been brought to Rome during its early history.
The statue of Vortumnus stood in a prominent location within the Roman Forum.
Answer: False
Explanation: The shrine and statue of Vortumnus were located in the Vicus Tuscus, a street near the Forum Romanum, rather than directly within the Forum itself.
Propertius famously used the statue of Vortumnus in his poetry by having it speak in the first person.
Answer: True
Explanation: In his poetry, Sextus Propertius employed the statue of Vortumnus as a literary device, having it address a passerby in the first person, thereby bringing the deity and the artifact to life within the text.
The base of the statue of Vortumnus was discovered in the 18th century.
Answer: False
Explanation: The base of the statue of Vortumnus was discovered in the year 1549, not the 18th century.
An inscription found with the statue's base commemorates a restoration during the reign of Emperor Nero.
Answer: False
Explanation: The inscription found with the statue's base commemorates a restoration that took place during the reigns of Diocletian and Maximian in the early 4th century AD, not during the reign of Emperor Nero.
The Vicus Tuscus was a street in ancient Rome where Vertumnus's shrine and statue were located.
Answer: True
Explanation: The Vicus Tuscus, a street situated near the Forum Romanum in ancient Rome, served as the location for the shrine and statue dedicated to Vortumnus.
The inscription CIL VI.1.804 refers to a dedication made to Vertumnus during the reign of Augustus.
Answer: False
Explanation: The inscription CIL VI.1.804 actually commemorates Vortumnus during the reigns of Diocletian and Maximian in the early 4th century AD, not during the reign of Augustus.
A 'xoanon' refers to a bronze statue of a deity.
Answer: False
Explanation: A 'xoanon' is specifically a primitive cult image typically made of wood, not a bronze statue. The original statue of Vortumnus was described as a xoanon.
The discovery in 1549 related to Vertumnus involved finding the complete bronze statue.
Answer: False
Explanation: The discovery made in 1549 concerning the statue of Vortumnus was specifically the base of the statue, not the complete bronze artifact.
Who was Mamurius Veturius credited with creating, besides the statue of Vortumnus?
Answer: The twelve ritual shields known as the ancilia
Explanation: According to tradition, Mamurius Veturius was the legendary craftsman responsible for creating the bronze statue of Vortumnus, as well as the twelve sacred shields known as the ancilia.
What type of statue did the bronze statue of Vortumnus replace in its shrine?
Answer: An ancient maple statue (a xoanon)
Explanation: The bronze statue of Vortumnus replaced an older cult image, which was a primitive wooden statue known as a 'xoanon', believed to have been brought to Rome during its early history.
In which street of ancient Rome was the shrine and statue of Vortumnus located?
Answer: Vicus Tuscus
Explanation: The Vicus Tuscus, a street situated near the Forum Romanum in ancient Rome, served as the location for the shrine and statue dedicated to Vortumnus.
How did Propertius utilize the statue of Vortumnus in his poetry?
Answer: He had the statue speak in the first person, addressing a passerby.
Explanation: In his poetry, Sextus Propertius employed the statue of Vortumnus as a literary device, having it address a passerby in the first person, thereby bringing the deity and the artifact to life within the text.
What was discovered in 1549 related to the statue of Vortumnus?
Answer: The base of the statue
Explanation: The discovery made in 1549 concerning the statue of Vortumnus was specifically the base of the statue, not the complete bronze artifact.
What historical period is associated with the restoration commemorated by the inscription found with the statue's base?
Answer: The early 4th century AD (Diocletian and Maximian)
Explanation: The inscription found with the statue's base commemorates a restoration that took place during the reigns of Diocletian and Maximian in the early 4th century AD.
The Latin pronunciation of Vertumnus is given as [wɛrˈtʊmnus].
Answer: True
Explanation: The reconstructed classical Latin pronunciation of Vertumnus is indeed rendered phonetically as [wɛrˈtʊmnus].
Authority Control databases provide standardized identifiers to help uniquely identify information about Vertumnus.
Answer: True
Explanation: Authority Control databases, such as VIAF and WorldCat, serve the crucial function of assigning standardized identifiers to entities like Vertumnus, thereby facilitating precise identification and linkage of information across various bibliographic and archival systems.