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A. Audin connects the figure of Janus to Culśans and Turms (Etruscan rendering of Hermes, the Greek god mediator between the different worlds, brought by the Etruscan from the Aegean Sea), considering these last two Etruscan deities as the same. [249] This interpretation would then identify Janus with Greek god Hermes.
Janus, dual-faced god of gates, doors, doorways, beginnings and endings, for whom January is named; Mercury, messenger god and psychopomp; equivalent to the Greek Hermes and shares several of his functions, such as being a god of commerce, travelers, merchants, and thieves; Portunus, god of keys, doors, and livestock
In Roman mythology and religion, Quirinus (/ k w ɪ ˈ r aɪ n ə s / kwi-RY-nəs, [2] Latin: [kᶣɪˈriːnʊs]) is an early god of the Roman state. In Augustan Rome, Quirinus was also an epithet of Janus , as Janus Quirinus .
A Roman wall painting showing the Egyptian goddess Isis (seated right) welcoming the Greek heroine Io to Egypt. Interpretatio graeca (Latin for 'Greek translation'), or "interpretation by means of Greek [models]", refers to the tendency of the ancient Greeks to identify foreign deities with their own gods.
The main examples of "dying-and-rising gods" discussed by Frazer were the Mesopotamian god Dumuzid/Tammuz, his Greek equivalent Adonis, the Phrygian god Attis, and the Egyptian god Osiris. [204] [207] [208] Dumuzid/Tammuz was a god of Sumerian origin associated with vegetation and fertility who eventually came to be worshipped across the Near ...
This figure is more easily likened to representations of Janus, but some scholars have questioned the bust’s identification as Culśanś. [15] Culśanś also differs from Janus in most of his representations, in that he wears a special cap. [14] Some scholars have compared it to a petasos, the traveller’s hat worn by the Greek god, Hermes.
In comparison, Christ and Satan humiliates, condemns, and de-emphasizes Satan versus Christ, holding him as the epic enemy and glorious angel. [7] The text portrays Satan as a narrative character, giving him long monologues in the "Fall of Satan" and the "Harrowing of Hell", where he is seen as flawed, failing, angry, and confused.
Serapis was depicted as Greek in appearance but with Egyptian trappings, and combined iconography from a great many cults, signifying both abundance and resurrection. The Greeks had little respect for animal-headed figures, and so a Greek-style anthropomorphic statue was chosen as the idol, and proclaimed as the equivalent of the highly popular ...