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2. The King as Jupiter

IN THE FIRST place, then, it would seem that the Roman king personated no less a deity than Jupiter himself. For down to imperial times victorious generals celebrating a triumph, and magistrates presiding at the games in the Circus, wore the costume of Jupiter, which was borrowed for the occasion from his great temple on the Capitol; and it has been held with a high degree of probability both by ancients and moderns that in so doing they copied the traditionary attire and insignia of the Roman kings. They rode a chariot drawn by four laurel-crowned horses through the city, where every one else went on foot: they wore purple robes embroidered or spangled with gold: in the right hand they bore a branch of laurel, and in the left hand an ivory sceptre topped with an eagle: a wreath of laurel crowned their brows: their face was reddened with vermilion; and over their head a slave held a heavy crown of massy gold fashioned in the likeness of oak leaves. In this attire the assimilation of the man to the god comes out above all in the eagle-topped sceptre, the oaken crown, and the reddened face. For the eagle was the bird of Jove, the oak was his sacred tree, and the face of his image standing in his four-horse chariot on the Capitol was in like manner regularly dyed red on festivals; indeed, so important was it deemed to keep the divine features properly rouged that one of the first duties of the censors was to contract for having this done. As the triumphal procession always ended in the temple of Jupiter on the Capitol, it was peculiarly appropriate that the head of the victor should be graced by a crown of oak leaves, for not only was every oak consecrated to Jupiter, but the Capitoline temple of the god was said to have been built by Romulus beside a sacred oak, venerated by shepherds, to which the king attached the spoils won by him from the enemy's general in battle. We are expressly told that the oak crown was sacred to Capitoline Jupiter; a passage of Ovid proves that it was regarded as the god's special emblem.

According to a tradition which we have no reason to reject, Rome was founded by settlers from Alba Longa, a city situated on the slope of the Alban hills, overlooking the lake and the Campagna. Hence if the Roman kings claimed to be representatives or embodiments of Jupiter, the god of the sky, of the thunder, and of the oak, it is natural to suppose that the kings of Alba, from whom the founder of Rome traced his descent, may have set up the same claim before them. Now the Alban dynasty bore the name of Silvii or Wood, and it can hardly be without significance that in the vision of the historic glories of Rome revealed to Aeneas in the underworld, Virgil, an antiquary as well as a poet, should represent all the line of Silvii as crowned with oak. A chaplet of oak leaves would thus seem to have been part of the insignia of the old kings of Alba Longa as of their successors the kings of Rome; in both cases it marked the monarch as the human representative of the oak-god. The Roman annals record that one of the kings of Alba, Romulus, Remulus, or Amulius Silvius by name, set up for being a god in his own person, the equal or superior of Jupiter. To support his pretensions and overawe his subjects, he constructed machines whereby he mimicked the clap of thunder and the flash of lightning. Diodorus relates that in the season of fruitage, when thunder is loud and frequent, the king commanded his soldiers to drown the roar of heaven's artillery by clashing their swords against their shields. But he paid the penalty of his impiety, for he perished, he and his house, struck by a thunderbolt in the midst of a dreadful storm. Swollen by the rain, the Alban lake rose in flood and drowned his palace. But still, says an ancient historian, when the water is low and the surface unruffled by a breeze, you may see the ruins of the palace at the bottom of the clear lake. Taken along with the similar story of Salmoneus, king of Elis, this legend points to a real custom observed by the early kings of Greece and Italy, who, like their fellows in Africa down to modern times, may have been expected to produce rain and thunder for the good of the crops. The priestly king Numa passed for an adept in the art of drawing down lightning from the sky. Mock thunder, we know, has been made by various peoples as a rain-charm in modern times; why should it not have been made by kings in antiquity?

Thus, if the kings of Alba and Rome imitated Jupiter as god of the oak by wearing a crown of oak leaves, they seem also to have copied him in his character of a weather-god by pretending to make thunder and lightning. And if they did so, it is probable that, like Jupiter in heaven and many kings on earth, they also acted as public rain-makers, wringing showers from the dark sky by their enchantments whenever the parched earth cried out for the refreshing moisture. At Rome the sluices of heaven were opened by means of a sacred stone, and the ceremony appears to have formed part of the ritual of Jupiter Elicius, the god who elicits from the clouds the flashing lightning and the dripping rain. And who so well fitted to perform the ceremony as the king, the living representative of the sky-god?

If the kings of Rome aped Capitoline Jove, their predecessors the kings of Alba probably laid themselves out to mimic the great Latian Jupiter, who had his seat above the city on the summit of the Alban Mountain. Latinus, the legendary ancestor of the dynasty, was said to have been changed into Latian Jupiter after vanishing from the world in the mysterious fashion characteristic of the old Latin kings. The sanctuary of the god on the top of the mountain was the religious centre of the Latin League, as Alba was its political capital till Rome wrested the supremacy from its ancient rival. Apparently no temple, in our sense of the word, was ever erected to Jupiter on this his holy mountain; as god of the sky and thunder he appropriately received the homage of his worshippers in the open air. The massive wall, of which some remains still enclose the old garden of the Passionist monastery, seems to have been part of the sacred precinct which Tarquin the Proud, the last king of Rome, marked out for the solemn annual assembly of the Latin League. The god's oldest sanctuary on this airy mountain-top was a grove; and bearing in mind not merely the special consecration of the oak to Jupiter, but also the traditional oak crown of the Alban kings and the analogy of the Capitoline Jupiter at Rome, we may suppose that the trees in the grove were oaks. We know that in antiquity Mount Algidus, an outlying group of the Alban hills, was covered with dark forests of oak; and among the tribes who belonged to the Latin League in the earliest days, and were entitled to share the flesh of the white bull sacrificed on the Alban Mount, there was one whose members styled themselves the Men of the Oak, doubtless on account of the woods among which they dwelt.

But we should err if we pictured to ourselves the country as covered in historical times with an unbroken forest of oaks. Theophrastus has left us a description of the woods of Latium as they were in the fourth century before Christ. He says: The land of the Latins is all moist. The plains produce laurels, myrtles, and wonderful beeches; for they fell trees of such a size that a single stem suffices for the keel of a Tyrrhenian ship. Pines and firs grow in the mountains. What they call the land of Circe is a lofty headland thickly wooded with oak, myrtle, and luxuriant laurels. The natives say that Circe dwelt there, and they show the grave of Elpenor, from which grow myrtles such as wreaths are made of, whereas the other myrtle-trees are tall. Thus the prospect from the top of the Alban Mount in the early days of Rome must have been very different in some respects from what it is to-day. The purple Apennines, indeed, in their eternal calm on the one hand, and the shining Mediterranean in its eternal unrest on the other, no doubt looked then much as they look now, whether bathed in sunshine, or chequered by the fleeting shadows of clouds; but instead of the desolate brown expanse of the fever-stricken Campagna, spanned by its long lines of ruined aqueducts, like the broken arches of the bridge in the vision of Mirza, the eye must have ranged over woodlands that stretched away, mile after mile, on all sides, till their varied hues of green or autumnal scarlet and gold melted insensibly into the blue of the distant mountains and sea.

But Jupiter did not reign alone on the top of his holy mountain. He had his consort with him, the goddess Juno, who was worshipped here under the same title, Moneta, as on the Capitol at Rome. As the oak crown was sacred to Jupiter and Juno on the Capitol, so we may suppose it was on the Alban Mount, from which the Capitoline worship was derived. Thus the oak-god would have his oak-goddess in the sacred oak grove. So at Dodona the oak-god Zeus was coupled with Dione, whose very name is only a dialectically different form of Juno; and so on the top of Mount Cithaeron, as we have seen, he appears to have been periodically wedded to an oaken image of Hera. It is probable, though it cannot be positively proved, that the sacred marriage of Jupiter and Juno was annually celebrated by all the peoples of the Latin stock in the month which they named after the goddess, the midsummer month of June.

If at any time of the year the Romans celebrated the sacred marriage of Jupiter and Juno, as the Greeks commonly celebrated the corresponding marriage of Zeus and Hera, we may suppose that under the Republic the ceremony was either performed over images of the divine pair or acted by the Flamen Dialis and his wife the Flaminica. For the Flamen Dialis was the priest of Jove; indeed, ancient and modern writers have regarded him, with much probability, as a living image of Jupiter, a human embodiment of the sky-god. In earlier times the Roman king, as representative of Jupiter, would naturally play the part of the heavenly bridegroom at the sacred marriage, while his queen would figure as the heavenly bride, just as in Egypt the king and queen masqueraded in the character of deities, and as at Athens the queen annually wedded the vine-god Dionysus. That the Roman king and queen should act the parts of Jupiter and Juno would seem all the more natural because these deities themselves bore the title of King and Queen.

Whether that was so or not, the legend of Numa and Egeria appears to embody a reminiscence of a time when the priestly king himself played the part of the divine bridegroom; and as we have seen reason to suppose that the Roman kings personated the oak-god, while Egeria is expressly said to have been an oak-nymph, the story of their union in the sacred grove raises a presumption that at Rome in the regal period a ceremony was periodically performed exactly analogous to that which was annually celebrated at Athens down to the time of Aristotle. The marriage of the King of Rome to the oak-goddess, like the wedding of the vine-god to the Queen of Athens, must have been intended to quicken the growth of vegetation by homoeopathic magic. Of the two forms of the rite we can hardly doubt that the Roman was the older, and that long before the northern invaders met with the vine on the shores of the Mediterranean their forefathers had married the tree-god to the tree-goddess in the vast oak forests of Central and Northern Europe. In the England of our day the forests have mostly disappeared, yet still on many a village green and in many a country lane a faded image of the sacred marriage lingers in the rustic pageantry of May Day.

Chapter 14. The Succession to the Kingdom in Ancient Latium

IN REGARD to the Roman king, whose priestly functions were inherited by his successor the king of the Sacred Rites, the foregoing discussion has led us to the following conclusions. He represented and indeed personated Jupiter, the great god of the sky, the thunder, and the oak, and in that character made rain, thunder, and lightning for the good of his subjects, like many more kings of the weather in other parts of the world. Further, he not only mimicked the oak-god by wearing an oak wreath and other insignia of divinity, but he was married to an oak-nymph Egeria, who appears to have been merely a local form of Diana in her character of a goddess of woods, of waters, and of child-birth. All these conclusions, which we have reached mainly by a consideration of the Roman evidence, may with great probability be applied to the other Latin communities. They too probably had of old their divine or priestly kings, who transmitted their religious functions, without their civil powers, to their successors the Kings of the Sacred Rites.

But we have still to ask, What was the rule of succession to the kingdom among the old Latin tribes? According to tradition, there were in all eight kings of Rome, and with regard to the five last of them, at all events, we can hardly doubt that they actually sat on the throne, and that the traditional history of their reigns is, in its main outlines, correct. Now it is very remarkable that though the first king of Rome, Romulus, is said to have been descended from the royal house of Alba, in which the kingship is represented as hereditary in the male line, not one of the Roman kings was immediately succeeded by his son on the throne. Yet several left sons or grandsons behind them. On the other hand, one of them was descended from a former king through his mother, not through his father, and three of the kings, namely Tatius, the elder Tarquin, and Servius Tullius, were succeeded by their sons-in-law, who were all either foreigners or of foreign descent. This suggests that the right to the kingship was transmitted in the female line, and was actually exercised by foreigners who married the royal princesses. To put it in technical language, the succession to the kingship at Rome and probably in Latium generally would seem to have been determined by certain rules which have moulded early society in many parts of the world, namely exogamy, beena marriage, and female kinship or mother-kin. Exogamy is the rule which obliges a man to marry a woman of a different clan from his own: beena marriage is the rule that he must leave the home of his birth and live with his wife's people; and female kinship or mother-kin is the system of tracing relationship and transmitting the family name through women instead of through men. If these principles regulated descent of the kingship among the ancient Latins, the state of things in this respect would be somewhat as follows. The political and religious centre of each community would be the perpetual fire on the king's hearth tended by Vestal Virgins of the royal clan. The king would be a man of another clan, perhaps of another town or even of another race, who had married a daughter of his predecessor and received the kingdom with her. The children whom he had by her would inherit their mother's name, not his; the daughters would remain at home; the sons, when they grew up, would go away into the world, marry, and settle in their wives' country, whether as kings or commoners. Of the daughters who stayed at home, some or all would be dedicated as Vestal Virgins for a longer or shorter time to the service of the fire on the hearth, and one of them would in time become the consort of her father's successor.