Pan, the god of shepherds and hunters, leader of the nymphs, president of the mountains, patron of a country life, and guardian of flocks and herds, was likewise adored by fishermen, especially those who lived about the promontories washed by the sea. There is scarcely any of the gods to whom the poets have given a greater diversity of parents. The most common opinion is, that he was the son of Mercury and Penelŏpe. As soon as he was born, his father carried him in a goat's skin to heaven, where he charmed all the gods with his pipe, so that they associated him with Mercury in the office of their messenger. After this he was educated on Mount MÆnălus, in Arcadia, by Siŏne and the other nymphs, who, attracted by his music, followed him as their conductor.

Pan, though devoted to the pleasures of rural life, distinguished himself by his valor. In the war of the giants he entangled Typhon in his nets. Bacchus, in his Indian expedition, was accompanied by him with a body of Satyrs, who rendered Bacchus great service. When the Gauls invaded Greece, and were just going to pillage Delphi, Pan struck them with such a sudden consternation by night, that they fled without being pursued: hence the expression of a Panic fear, for a sudden terror. The Romans adopted him among their deities, by the names of Lupercus and LycÆus, and built a temple to him at the foot of Mount Palatine.

He is represented with a smiling, ruddy face, and thick beard covering his breast, two horns on his head, a star on his bosom, legs and thighs hairy, and the nose, feet, and tail of a goat. He is clothed in a spotted skin, having a shepherd's crook in one hand, and his pipe of unequal reeds in the other, and is crowned with pine, that tree being sacred to him.

Pan probably signifies the universal nature, proceeding from the divine mind and providence, of which the heaven, earth, sea, and the eternal fire, are so many members. Mythologists are of opinion that his upper parts are like a man, because the superior and celestial part of the world is beautiful, radiant, and glorious: his horns denote the rays of the sun, as they beam upwards, and his long beard signifies the same rays, as they have an influence upon the earth: the ruddiness of his face resembles the splendor of the sky, and the spotted skin which he wears is the image of the starry firmament: his lower parts are rough, hairy, and deformed, to represent the shrubs, wild creatures, trees, and mountains here below: his goat's feet signify the solidity of the earth; and his pipe of seven reeds, that celestial harmony which is made by the seven planets; lastly, his sheep-hook denotes that care and providence by which he governs the universe.

SILENUS. As Bacchus was the god of good humor and fellowship, so none of the deities appeared with a more numerous or splendid retinue, in which Silēnus was the principal person; of whose descent, however, we have no accounts to be relied on. Some say he was born at Malea, a city of Sparta; others at Nysa in Arabia; but the most probable conjecture is, that he was a prince of Caria, noted for his equity and wisdom. But whatever be the fate of these different accounts, Silēnus is said to have been preceptor to Bacchus, and was certainly a very suitable one for such a deity, the old man being heartily attached to wine. He however distinguished himself greatly in the war with the giants, by appearing in the conflict on an ass, whose braying threw them into confusion; for which reason, or because, when Bacchus engaged the Indians, their elephants were put to flight by the braying of the ass, it was raised to the skies, and there made a constellation.The historian tells us that Silēnus was the first of all the kings that reigned at Nysa; that his origin is not known, it being beyond the memory of mortals: it is likewise said that he was a Phrygian, who lived in the reign of Midas, and that the shepherds having caught him, by putting wine into the fountain he used to drink of, brought him to Midas, who gave him his long ears; a fable intended to intimate that this extraordinary loan signified the faculty of receiving universal intelligence. Virgil makes Silēnus deliver a very serious and excellent discourse concerning the creation of the world, when he was scarcely recovered from a fit of drunkenness, which renders it probable that the sort of drunkenness with which Silēnus is charged, had something in it mysterious, and approaching to inspiration.

He is described as a short, corpulent old man, bald-headed, with a flat nose, prominent forehead and long ears. He is usually exhibited as over-laden with wine, and seated on a saddled ass, upon which he supports himself with a long staff in the one hand, and in the other carries a cantharus or jug, with the handle almost worn out with frequent use.

SYLVANUS. The descent of Sylvānus is extremely obscure. Some think him son of Faunus, some say he was the same with Faunus, whilst others suppose him the same deity with Pan, which opinion Pliny seems to adopt when he says that the Ægipans were the same with the Sylvans. He was unknown to the Greeks; but the Latins received the worship of him from the Pelasgi, upon their migration into Italy, and his worship seems wholly to have arisen out of the ancient sacred use of woods and groves, it being introduced to inculcate a belief that there was no place without the presence of a deity. The Pelasgi consecrated groves, and appointed solemn festivals, in honor of Sylvānus. The hog and milk were the offerings tendered him. A monument consecrated to this deity, by one Laches, gives him the epithet of Littorālis, whence it would seem that he was worshipped upon the sea-coasts.

The priests of Sylvānus constituted one of the principal colleges of Rome, and were in great reputation, a sufficient evidence of the fame of his worship. Many writers confound the Sylvāni, Fauni, Satyri, and Silēni, with Pan.Some monuments represent him as little of stature, with the face of a man, and the legs and feet of a goat, holding a branch of cypress in his hand, in token of his regard for Cyparissus, who was transformed into that tree. The pineapple, a pruning-knife in his hand, a crown coarsely made, and a dog, are the ordinary attributes of the representations of this rural deity. He appears sometimes naked, sometimes covered with a rustic garb which reaches down to his knee.

Sylvānus, as his name imports, presided over woods, and the fruits that grew in them; agreeable to which, (in some figures) he has a lap full of fruit, his pruning-hook in one hand, and a young cypress tree in the other. Virgil mentions the latter as a distinguishing attribute of this god: the same poet, on another occasion, describes him as crowned with wild flowers, and mentions his presiding over the cornfields as well as the woods.

SATYRI, or SATYRS, a sort of demi-gods, who with the Fauns and Sylvans, presided over groves and forests under the direction of Pan. They made part of the dramatis persōnÆ in the ancient Greek tragedies, which gave rise to the species of poetry called satirical.

There is a story that Euphēmus, passing from Caria to the extreme parts of the ocean, discovered many desert islands, and being forced by tempestuous weather to land upon one of them, called Satyrĭda, he found inhabitants covered with yellow hair, having tails not much less than horses. We are likewise told, that in the expedition which Hanno the Carthaginian made to the parts of Lybia lying beyond Hercules' pillars, they came to a great bay called the Western Horn, in which was an island where they could find or see nothing by day-light but woods, and yet in the night they observed many fires, and heard an incredible and astonishing noise of drums and trumpets; whence they concluded that a number of Satyrs abode there.

It is pretended there really were such monsters as the pagans deified under the name of Satyrs; and one of them, it is said, was brought to Sylla, having been surprised in his sleep. Sylla ordered him to be interrogated by people of different countries, to know what language he spoke; but the Satyr only answered with cries, not unlike those of goats and the neighing of horses. This monster had a human body, but the thighs, legs, and feet of a goat. To the above stories may be added that of the Satyr who passed the Rubicon in presence of CÆsar and his whole army.

The Satyrs of the ancients were the ministers and attendants of Bacchus. Their form was not the most inviting; for though their countenances were human, they had horns on their foreheads, crooked hands, rough and hairy bodies, feet and legs like a goat's, and tails which resembled those of horses. The shepherds sacrificed to them the firstlings of their flocks, but more especially grapes and apples; and they addressed to them songs in their forests by which they endeavored to conciliate their favor. When Satyrs arrived at an advanced age they were called Silēni.

FAUNI, or FAUNS, a species of demi-gods, inhabiting the forests, called also Sylvāni. They were sons of Faunus and Fauna, or Fatua, king and queen of the Latins, and though accounted demi-gods, were supposed to die after a long life. Arnobius, indeed, has shown that their father, or chief, lived only one hundred and twenty years. The Fauns were Roman deities, unknown to the Greeks. The Roman Faunus was the same with the Greek Pan; and as in the poets we find frequent mention of Fauns, and Pans, or Panes, in the plural number, most probable the Fauns were the same with the Pans, and all descended from one progenitor.

The Romans called them Fauni and Ficarii. The denomination Ficarii was not derived from the Latin ficus a fig, as some have imagined, but from ficus, fici, a sort of fleshy tumor or excrescence growing on the eyelids and other parts of the body, which the Fauns were represented as having. They were called Fauni, a fando, from speaking, because they were wont to speak and converse with men; an instance of which is given in the voice that was heard from the wood, in the battle between the Romans and Etrurians for the restoration of the Tarquins, and which encouraged the Romans to fight. We are told that the Fauni were husbandmen, the Satyrs vine-dressers, and the Sylvāni those who cut down wood in the forests.

They were represented with horns on their heads, pointed ears, and crowned with branches of the pine, which was a tree sacred to them, whilst their lower extremities resembled those of a goat.

Horace makes Faunus the guardian and protector of men of wit, and Virgil, a god of oracles and predictions; but this is, perhaps, founded on the etymology of his name, for φωνειν in Greek, and Fari in Latin, of which it has been supposed a derivative, signify to speak; and it was, perhaps, for the same reason, they called his wife Fauna, that is, Fatidica, prophetess. Faunus is described by Ovid with horns on his head, and crowned with the pine tree.

PRIAPUS is said, by some, to have been the son of Bacchus and Nais, or as others will have it, of Chiŏne; but the generality of authors agree, that he was son of Bacchus and Venus. He was born at Lampsăchus, a city of Mysia, at the mouth of the Hellespont, but in so deformed a state, that his mother, through shame, abandoned him. On his growing up to maturity, the inhabitants of the place banished him their territories, on account of his vicious habits; but being soon after visited with an epidemic disease, the Lampsacans consulted the oracle of Dodōna, and Priāpus was in consequence recalled. Temples were erected to him as the tutelar deity of vineyards and gardens, to defend them from thieves and from birds.

He is usually represented naked and obscene, with a stern countenance, matted hair, crowned with garden herbs, and holding a wooden sword, or scythe, whilst his body terminates in a shapeless trunk. His figures are generally erected in gardens and orchards to serve as scarecrows. Priāpus held a pruning-hook in his hands, when he had hands, for he was sometimes nothing more than a mere log of wood, as Martial somewhat humorously calls him. Indeed the Roman poets in general seem to have looked on him as a ridiculous god, and are all ready enough either to despise or abuse him.

Trimalchio, in his ridiculous feasts described by Petronius, had a figure of this god to be held up during his dessert: it was made of paste, and, as Horace observes on another occasion, that he owed all his divinity to the carpenter, Petronius seems to hint that he was wholly obliged for it to the pastry cook in this. Some mythologists make the birth of Priāpus allude to that radical moisture which supports all vegetable productions, and which is produced by Bacchus and Venus, that is, the solar heat, and the fluid whence Venus is said to have sprung. Some affirm that he was the same with the Baal of the Phoenicians, mentioned in scripture.

ARISTÆUS, son of Apollo, by the nymph Cyrene, daughter of Hypseus, king of the LapĭthÆ, was born in Lybia, and in that part of it where the city Cyrene was built. He received his education from the nymphs, who taught him to extract oil from olives, and to make honey, cheese, and butter; all which arts he communicated to mankind. Going to Thebes, he there married Autonŏe, daughter of Cadmus, and, by her, was father to ActÆon, who was torn in pieces by his own dogs. At length he passed into Thrace, where Bacchus initiated him into the mysteries of the Orgia, and taught him many things conducive to the happiness of life. Having dwelt some time near Mount Hemus, he disappeared, and not only the barbarous people of that country, but the Greeks likewise decreed him divine honors.

It is remarked by Bayle, that AristÆus found out the solstitial rising of Sirius, or the dog-star; and he adds, it is certain that this star had a particular relation to AristÆus; for this reason, when the heats of the dog-star laid waste the Cyclădes, and occasioned there a pestilence, AristÆus was entreated to put a stop to it. He went directly into the isle of Cea, and built an altar to Jupiter, offered sacrifices to that deity, as well to the malignant star, and established an anniversary for it. These produced a very good effect, for it was from thence that the Etesian winds had their origin, which continue forty days, and temper the heat of the summer. On his death, for the services he had rendered mankind, he was placed among the stars, and is the Aquarius of the Zodiac.

TERMINUS was a very ancient deity among the Romans, whose worship was first instituted by Numa Pompilius, he having erected in his honor on the Tarpeian hill a temple which was open at the top. This deity was thought to preside over the stones or land-marks, called Termĭni, which were so highly venerated, that it was sacrilege to move them, and the criminal becoming devoted to the gods, it was lawful for any man to kill him. The Roman Termĭni were square stones or posts, much resembling our mile-stones, erected to show that no force or violence should be used in settling mutual boundaries; they were sometimes crowned with a human head, but had seldom any inscriptions; one, however, is mentioned to this effect, “Whosoever shall take away this, or shall order it to be taken away, may he die the last of his family.”

VERTUMNUS, the Proteus of the Roman ritual, was the god of tradesmen, and, from the power he had of assuming any shape, was believed to preside over the thoughts of mankind. His courtship of Pomōna makes one of the most elegant and entertaining stories in Ovid. The Romans esteemed him the god of tradesmen, from the turns and changes which traffic effects. There was no god had a greater variety of representations than Vertumnus. He is painted with a garland of flowers on his head, a pruning hook in one hand, and ripe fruits in the other. Pomōna has a pruning hook in her right hand, and a branch in her left. Pliny introduces this goddess personally, even in his prose, to make her speak in praise of the fruits committed to her care. We learn from Ovid that this goddess was of that class which they anciently called Hamadryads.

Both these deities were unknown to the Greeks, and only honored by the Romans. Some imagine Vertumnus an emblem of the year, which, though it assume different dresses according to the different seasons, is at no time so luxuriant as in autumn, when the harvest is crowned, and the fruits appear in their full perfection and lustre; but historians say that Vertumnus was an ancient king of the Tuscans, who first taught his people the method of planting orchards, gardens, and vineyards, and the manner of cultivating, pruning, and grafting fruit-trees; whence he is reported to have married Pomōna. Some think he was called Vertumnus, from turning the lake Curtus into the Tiber.