Janus had no temple, in the proper sense of the word, at Rome. His shrines consisted of gateways in common places of resort and at cross-roads, or of arched passages, in which the image of the god was erected. The Temple of Janus in the Forum at Rome, which has been already alluded to, was a sanctuary of this kind closed with doors, and was probably the most ancient in the city. Its doors stood open only in time of war.
Roman art never succeeded in executing a plastic representation peculiar to Janus, the double head being only an imitation of the Greek double Hermæ. In course of time entire figures of Janus appeared, but these always had a double face. They were generally bearded, but in later times one face was bearded, the other youthful. Not one specimen of these works of art has been preserved, so that we only know these forms from coins. The usual attributes of Janus were keys and staff.
12. Quirinus.—Quirinus was also a purely Roman divinity, but having been reckoned among the great deities of heaven, he must therefore be mentioned here. In his symbolic meaning he bore a great resemblance to Mars; and as Mars was the national god of the Latin population of Rome, so Quirinus was the national god of the Sabines who came to Rome with Titus Tatius. Together with Jupiter and Mars, he formed the tutelary Trinity of the Roman empire. His shrine was on the Quirinal, which was originally inhabited by the Sabines, and which was named after him. Numa gave Quirinus a priest of his own. He had a special feast on the 17th of February, but his worship appears to have assimilated itself more and more to that of Mars. He was subsequently identified with Romulus.
B.—SECONDARY DEITIES.
1. Attendant and Ministering Deities.
Fig. 23.—Head of Eros. Vatican.
1. Eros (Amor).—Of the deities who appear in the train of Aphrodite, Eros alone seems to have enjoyed divine honours; Longing and Desire being no more than allegorical figures typifying some of the influences that emanate from the goddess of love. Eros was commonly reputed the son of Aphrodite and Ares, and was generally depicted as a boy of wondrous beauty, on the verge of youth. His characteristic weapon is a golden bow, with which he shoots forth his arrows from secret lurking-places, with an unfailing effect that represents the sweet but consuming pangs of love. Zeus himself is represented as unable to withstand his influence—an intimation that love is one of the most terrible and mighty forces of nature.
As unrequited love is aimless, Anteros was conceived by the imagination of the poets as the brother and companion of Eros, and consequently a son of Aphrodite. As the little Eros, says the myth, would neither grow nor thrive, his mother, by the advice of Themis, gave him this brother as a playfellow; after which the boy was glad so long as his brother was with him, but sad in his absence.
Eros was not only venerated as the god who kindles love between the sexes, but was also regarded as the author of love and friendship between youths and men. On this account his statue was generally placed in the gymnasia between those of Hermes and Heracles; and the Spartans sacrificed to him before battle, binding themselves to hold together faithfully in battle, and to stand by one another in the hour of need.