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Vertumnus: Master of Seasons and Change

An academic exploration into the Roman deity embodying transformation, nature's cycles, and the art of disguise.

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The Deity: Vertumnus

Domains of Influence

In the pantheon of Roman mythology, Vertumnus presides as the god of the changing seasons, the cycles of plant growth, gardens, and fruit trees. His essence is intrinsically linked to the transformations observed in nature throughout the year.

The Power of Metamorphosis

Vertumnus possesses the remarkable ability to alter his form at will. This divine power of shapeshifting is central to his character, enabling him to appear in myriad guises to achieve his objectives, most notably in his pursuit of the nymph Pomona.

Etruscan Roots

The name "Vertumnus" likely originates from the Etruscan deity Voltumna. The Latin form is thought to have been influenced by the verb vertere, meaning "to change," reflecting his core attribute. This connection highlights the Etruscan origins of his cult before its integration into Roman tradition.

The Narrative: Vertumnus and Pomona

The Orchard's Guardian

According to Ovid's Metamorphoses, Vertumnus, desiring the beautiful nymph Pomona, guardian of orchards and fruit trees, found his direct advances rebuffed. Pomona, devoted to her gardens, was reluctant to entertain suitors.

Vertumnus employed his metamorphic abilities, first appearing as a farmer, then a soldier, a reaper, and eventually an aged woman. In this guise, he gained entry to her orchard, where he recounted the tragic tale of Iphis and Anaxarete to subtly warn Pomona against rejecting a suitor.

Having delivered his cautionary narrative, Vertumnus shed his disguise, revealing his true, divine form. He then passionately wooed Pomona, who, captivated by his persistence and perhaps the tale's lesson, finally consented to his advances.

A Latin Tale

The narrative of Vertumnus and Pomona is significant as it is considered by scholars to be one of the earliest, if not the first, exclusively Latin myth. This suggests a unique Roman contribution to mythological storytelling, distinct from Greek influences.

Themes of Seduction and Consent

Ovid's telling explores themes of disguise, persuasion, and the negotiation of desire. While Vertumnus uses trickery, the narrative ultimately leads to Pomona's willing acceptance, framing the story as a complex interplay of divine will and mortal (or nymphal) agency.

Cult and Worship

Arrival and Establishment

Vertumnus's cult arrived in Rome around 300 BC. A temple dedicated to him was constructed on the Aventine Hill by 264 BC, coinciding with the fall of the Etruscan city of Volsinii, a significant Etruscan center.

The Statue of Vortumnus

Ancient sources, including the poet Propertius, describe a significant bronze statue of Vortumnus located in a shrine near the Vicus Tuscus in the Forum Romanum. This statue, possibly replacing an older wooden idol, was adorned seasonally and served as a focal point for his worship.

The statue was attributed to the legendary craftsman Mamurius Veturius, also credited with crafting the ancilia (sacred shields) for Mars's priests. Its base was rediscovered in the 16th century, though it is now lost. An inscription indicates a restoration under Emperors Diocletian and Maximian in the early 4th century AD.

The Vertumnalia Festival

The festival honoring Vertumnus, known as the Vertumnalia, was celebrated on August 13th. This date likely marked a significant point in the agricultural calendar, perhaps related to the harvest or the transition between seasons.

Artistic Depictions and Interpretations

Neo-Classical Resonance

The myth of Vertumnus and Pomona proved a compelling subject for European artists from the 16th to 18th centuries. The theme of disguise and seduction, often with an underlying erotic subtext, allowed for nuanced artistic expression, contrasting youthful beauty with the aged guise of Vertumnus.

Master Artists and Works

Notable interpretations include Peter Paul Rubens's c. 1618 depiction, tapestries designed by Jan Vermeyen and François Boucher, and works by Luca Giordano and Camille Claudel. Giuseppe Arcimboldo famously depicted Emperor Rudolf II as Vertumnus in a composite portrait, symbolizing the emperor's multifaceted nature.

  • Peter Paul Rubens: Vertumnus and Pomona (c. 1618)
  • Giuseppe Arcimboldo: Vertumnus (c. 1590), depicting Rudolf II
  • François Boucher: Designs for Gobelins tapestry series (1775–1778)
  • Jean-Baptiste Lemoyne: Rococo sculpture Vertumne et Pomone (1760)
  • Luca Giordano: Vertumnus and Pomona (1682–1683)

Scholarly Perspectives

Modern interpretations analyze the myth's complexities. David Littlefield views the tale as a progression from coercion to mutual desire within a civilized landscape. Conversely, Roxanne Gentilcore emphasizes the elements of deception and veiled threat, noting Pomona's lack of an independent voice in Ovid's telling.

Enduring Legacy

Literary and Cultural Impact

Vertumnus has inspired poets like Joseph Brodsky and has been referenced in various literary and theatrical contexts, often exploring themes of transformation, nature's bounty, and the art of disguise. His story continues to be a subject of academic and artistic inquiry.

Archival Resources

Further exploration of Vertumnus and related iconography can be found in various collections and databases. Resources include the Lowe Museum, the Museu Calouste Gulbenkian, the J. Paul Getty Museum, and the Warburg Institute's Iconographic Database.

  • Lowe Museum: Statue of Vertumnus
  • Museu Calouste Gulbenkian: Tapestry
  • J. Paul Getty Museum: Tapestry
  • Warburg Institute Iconographic Database
  • Wikimedia Commons: Vertumnus Media

Symbol of Change

As a deity embodying constant change and the cyclical nature of existence, Vertumnus remains a potent symbol. His story reflects fundamental aspects of the natural world and the human experience of transformation, making him a figure of enduring relevance in classical studies.

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References

References

  1.  " Vertumnus then, that turn'st the year about," (Thomas Nashe, Summer's Last Will and Testament (1592, printed 1600)).
  2.  Eytmology in Propertius, Elegy 4; commentary by L. Richardson Jr. (1977), noting that the etymology is not philologically sound.
  3.  Varro, De lingua latina V.46: "Ab eis [the Etruscans] dictus Vicus Tuscus, et ideo ibi Vortumnum stare, quod is deus Etruriae princeps"
  4.  Daniel P. Harmon, "Religion in the Latin Elegists", Aufstieg und Niedergang der römischen Welt 2.16.3 (1986), pp. 1960–61; W.A. Camps, Propertius: Elegies Book IV (Cambridge University Press, 1968), p. 77.
  5.  Michael C. J. Putnam, "The Shrine of Vortumnus" American Journal of Archaeology vol 71,  2, pp 177-179 (April 1967).
  6.  E. C. Marquis (1974) "Vertumnus in Propertius 4, 2". Hermes, vol 102, no 3, pp 491-500.
  7.  CIL VI.1.804: VORTUMNUS TEMPORIBUS DIOCLETIANI ET MAXIMIANI
  8.  Qualia numquam vera dedisset anus — Ovid, Metamorphoses.
  9.  David Littlefield (1965) "Pomona and Vertumnus: a fruition of history in Ovid's Metamorphoses" Arion vol 4, p 470.
A full list of references for this article are available at the Vertumnus Wikipedia page

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