Such are the more ancient and simple features of the character of Pan. He assumed a higher significance when men began to regard him as the companion of the “Mighty Mother,” and assigned him a place in the Bacchic circle. Men now saw in him a productive force of nature like the Phrygian Attis; indeed, in consequence of a misinterpretation of his name, he was made the creator and god of the universe. He seems to have originally signified the “purifying” breeze, which at one time whistled through the reeds, or at another moaned dismally in the forest, frightening the belated traveller.
After he had once been introduced into the company of Dionysus, poets and artists alike set themselves to work to invent a number of Panes and little Pans (Panisci), who were easily confounded with the Satyrs and Sileni.
The chief shrine of Pan was at Acacesium in Arcadia. Cows, goats, and sheep were sacrificed to him, besides offerings of milk, honey, and new wine.
Fig. 43.—Pan. From a Mural Painting at Herculaneum.
In art we must distinguish the earlier and later types of the god. In the former, which dates from the best days of Greek art, he is conceived as entirely human in appearance, with the exception of two sprouting horns on either side of the forehead. Later, he was depicted with larger horns, a long goat’s beard, and goat’s feet. We give an engraving of this later conception (Fig. 43), which is taken from a mural painting at Naples. The usual attributes of Pan are a Syrinx and shepherd’s crook, sometimes also a pine garland.
2. Silvanus.—Among the Roman wood-deities, Silvanus occupies a position most akin to that of Pan, although they are not exactly identical. His name, derived from silva (wood), points him out as the god of the forest, where he was supposed to dwell, a deity kindly disposed towards mankind, and propitious to the welfare of trees, plants, and cattle. At times, however, he appears, like Pan, as a mischievous sprite, who delights to trick and terrify the lonely traveller. His sphere of activity was not confined to the woods, since he was also regarded as the author of fruitfulness in gardens and orchards. In this character Silvanus bears a close resemblance to Terminus, the god of boundaries and landed property, inasmuch as he preserves fields, gardens, and houses from harm. The first of the fruits of the field were offered to him. He had two shrines in Rome, one on the Viminal and another on the Aventine.
Artists and poets agree in representing Silvanus as an old man with a rustic head-gear, scattering blooming lilies and other flowers. He is usually distinguished by a pruning-knife.
3. Faunus and Fauna.—Closely resembling Silvanus is another deity called Faunus, one of the most ancient national gods of Italy. He appears as the good spirit of the mountains, pastures, and plains. He was regarded by the shepherds as their best protector, since he made their cattle fruitful and drove off noxious beasts of prey. In the former character he was also called Inuus (the fertiliser); in the latter Lupercus (the warder-off of wolves).
Like Pan, he appears to have his seat in the woods, whence he sometimes terrifies and annoys travellers. At night, too, he creeps into men’s houses, and torments them with evil dreams and horrible apparitions (Incubus).