
Artemis - Diana
Diana is a goddess in Roman and Hellenistic religion, primarily considered a patroness of the countryside, hunters, crossroads, and the Moon. She is equated with the Greek goddess Artemis, and absorbed much of Artemis' mythology early in Roman history, including a birth on the island of Delos to parents Jupiter and Latona, and a twin brother, Apollo, though she had an independent origin in Italy.
Diana is considered a virgin goddess and protector of childbirth. Historically, Diana made up a triad with two other Roman deities: Egeria the water nymph, her servant and assistant midwife; and Virbius, the woodland god.
Unlike the Greek gods, Roman gods were originally considered to be numina: divine powers of presence and will that did not necessarily have physical form. At the time Rome was founded, Diana and the other major Roman gods probably did not have much mythology per se, or any depictions in human form. The idea of gods as having anthropomorphic qualities and human-like personalities and actions developed later, under the influence of Greek and Etruscan religion.
By the 3rd century BCE, Diana is found listed among the twelve major gods of the Roman pantheon by the poet Ennius. Though the Capitoline Triad were the primary state gods of Rome, early Roman myth did not assign a strict hierarchy to the gods the way Greek mythology did, though the Greek hierarchy would eventually be adopted by Roman religion as well.
Once Greek influence had caused Diana to be considered identical to the Greek goddess Artemis, Diana acquired Artemis's physical description, attributes, and variants of her myths as well. Like Artemis, Diana is usually depicted in art wearing a short skirt, with a hunting bow and quiver, and often accompanied by hunting dogs. A 1st-century BCE Roman coin (see above) depicted her with a unique, short hairstyle, and in triple form, with one form holding a bow and another holding a poppy.
Artemis - Diana Stamp Collection

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Poseidon, Apollo and Artemis in the meeting of gods.
Bas-relief from the east frieze of Parthenon. Marble. 440 BCE.
Athens, New Acropolis Museum

Greece 2007
Artemis in the meeting of gods.
Bas-relief from the east frieze of Parthenon.

The piece shown here is a reproduction of a Roman copy of a marble statue of Diana (Artemis) by the Greek sculptor Praxiteles. Praxiteles was active between 375-340 BCE. Thus, he worked during the Late Classical period, about one hundred years after the great classical sculptors Pheidias and Polykleitos.Many Greek and Roman statues of Artemis/Diana show her reaching over one shoulder to retrieve an arrow from a quiver. Here, the goddess is shown reaching toward one shoulder in order to fasten her diplax (a kind of cloak). This is unusual; ancient statues of gods and goddesses do not typically show them in the act of dressing.
Italy 1951 Statue of Diana of Gabii , After 4th century BCE original, ca. 1850 After Praxiteles (Greek) Carved marble. for the 10th Exhibition of Textile Art and Fashion, Turin.
Artemis is wearing a long garment (peplos) belted beneath her breasts and an elaborately draped mantle (himation). The quiver strap which runs diagonally across her chest allows her identification as the goddess of the hunt; the quiver itself was probably made of metal, as suggested by the dowel hole above her right shoulder-blade. The right hand, which has been broken off, is said to have been extant at the time the statuette was found and to have held the recognisable remains of a torch. Artemis is resting her left arm on a female figure with a high, basket-like headdress(kalathos); the figure is wearing the attire of late Archaic korai, familiar to us as votive offerings at the Acropolis in Athens. This small statue likely depicts a female cult servant or the ancient cult idol of the goddess herself. The motif of the goddess standing quietly, emphasised by the heavy, vertical folds on the right side, contrasts with the dynamic rhythm of the body.

Cyprus 1976 Hellenistic statuette of Artemis, from Kition (Larnaca, Cyprus), late 2nd century BC, Vienna Kunsthistorisches Museum, Austria

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Cyprus 1976 Artemis Head, White marbe, Apollonia 4th century BC
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Libian, Italia colonie 1924 Artemis of Ephesus.
While In Greece Artemis (Diana) was regarded as the goddess of hunt, the goddess Artemis that was worshipped in Ephesus was regarded as the goddess of fertility. Hence, she was depicted with multiple breasts symbolyzing fertility and prosperity.
Austria 2010 Artemis of Ephesus statue called "Beautiful Artemis", Ephesus Museum in Selçuk, issued by Austria on April 17, 2020 to commemorate the 125th anniversary of excavations in Ephesus by the Austrian Archaeological Institute.

This Artemis statue from the 2nd cen BC was found in Caesarea and and is standing in Israel museum in Jerusalem.
Artemis' dress depicts winged goddesses, lions, bees and mythological figures, and around the chest are 43 bull testicles - a symbol of fertility.

Turkish Cyprus 1986 Artemis of Ephesus statue 2nd cen BC. Breasts or bull testicles?

Greece 1974 Artemis, Apollo and Leto - their mother (vase, 5th cent. B.C.)

Greece 1972 Gods against the Giants. Apollo and Artemis on the left from the north frieze of the Siphnian Treasury

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Greece 1986 Diana the hunteress

Diana the hunteress on a Lekythos pouring libation
The persona of Diana is complex, and contains a number of archaic features. Diana was originally considered to be a goddess of the wilderness and of the hunt, a central sport in both Roman and Greek culture. Early Roman inscriptions to Diana celebrated her primarily as a huntress and patron of hunters. Later, in the Hellenistic period, Diana came to be equally or more revered as a goddess not of the wild woodland but of the "tame" countryside, or villa rustica, the idealization of which was common in Greek thought and poetry. This dual role as goddess of both civilization and the wild, and therefore the civilized countryside, first applied to the Greek goddess Artemis (for example, in the 3rd century BCE poetry of Anacreon).By the 3rd century CE, after Greek influence had a profound impact on Roman religion, Diana had been almost fully combined with Artemis and took on many of her attributes, both in her spiritual domains and in the description of her appearance. The Roman poet Nemesianus wrote a typical description of Diana: She carried a bow and a quiver full of golden arrows, wore a golden cloak, purple half-boots, and a belt with a jeweled buckle to hold her tunic together, and wore her hair gathered in a ribbon.

Russia 2002 Diana of Versailles in front of Museum-Estate Arkhangelskoye
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Paraguay 1967 Artemis with a hind, better known as "Diana of Versailles". Marble, Roman artwork, Imperial Era (1st-2nd centuries CE). Found in Italy.

Manama 1971 Diana the huntress

Paraguay 1971 Diana the huntress

Ajman 1973 Diana the huntress

Ajman 1973 Diana the huntress
Diana the Huntress Masters of the Fontainebleau School (1550-1560) Musee du Louvre, ParisTemple of Apelles

Ajman 1972 Diana the huntress, with Her Bow
Roman fresco recovered from Vesuvian Ash in Stabiae 1st century BC

Soviet union 1978 Diana , 450th Birth Anniversary of Paolo Veronese (1528-1588) Hermitage Museum

Manama 1970 Diana is a painting from 1867 by the French painter Pierre-Auguste Renoir. It depicts the painter's lover Lise Tréhot as the Roman goddess Diana.
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Fujera 1970 Diana by the French painter Pierre-Auguste Renoir
Diana and Cupid by Pompeo Batoni
The subject is Diana from Roman mythology in her capacity as a huntress. The nude goddess sits on a large stone with her right foot on an elevated perch. Her stretched arms lean on her bow. Below her is a deer with its neck pierced by an arrow.
The painting began as a nude study with a posed model in a studio. It follows the conventions of academic art as typified by the Salon at the time. The model was Renoir's mistress and recurring model Lise Tréhot. According to the painter, he added the attributes of Diana because "the picture was considered pretty improper", and turning it into a mythological subject would make it more acceptable. Details such as the blood coming from the deer's mouth and the moss on the rock's surface, as well as the use of a palette knife to apply paint, show influences from the Realist painter Gustave Courbet. The bright green colours and red accents are however more reminiscent of the Impressionism Renoir would become associated with a few years later.

Ghana 1996 Diana and Cupid by Pompeo Batoni (Italian, Lucca 1708–1787)

Diana and Cupid by Batoni - The whole painting
The painting was executed for Sir Humphrey Morice (1723–1785), son of a wealthy merchant and director of the Bank of England. Morice was a great animal lover and commissioned from Batoni a portrait of himself reclining in the Roman countryside after the hunt as a pendant to this canvas, which shows the goddess of the hunt withholding the bow from Cupid. Although full of extraordinary warmth and feeling, the figure of Diana is based on a celebrated ancient statue of the sleeping Ariadne in the Vatican. The painting may have been conceived as Batoni's response to his rival, Anton Raphael Mengs, who championed the Neoclassical style.


St vincent and Grenadines 1994 Huntress Diana (Diana cazadora) by Rubens 1617 - 1620. Museo del Prado

Diana cazadora by Rubens - The whole painting
This painting shows a hunt for Diana with her nymphs, a repeated theme in Rubens' painting and also in royal collections. Thus, it also appears in the decoration of the Torre de la Parada and in the new Hall of the Alcázar , as part of the eight works that the artist brought with him on his second visit to Spain between 1628-1629. In this case, unlike others, we do not see the moment in which the hunt occurs, with the dogs attacking the prey and the goddess and her nymphs with their arrows and spears, but the moment just before. Diana, in the center with the identifying crescent on her head, she appears accompanied by her entourage. One of its nymphs plays a horn, an instrument commonly used on hunting days.
Liechtenstein 2020 The Hunt of Diana by Pieter Paul Rubens From the right and left Diana and her huntresses are rushing at a stag, which, held at bay by the hounds and wounded by a spear, is sinking to the ground. In the background a hind is attempting to escape. In 1628 Peter Paul Rubens travelled to Madrid on a diplomatic mission, taking eight paintings with him for King Philip IV of Spain which were subsequently hung in the salón nuevo of the Alcazár in Madrid. The description of a "Stag hunt with Diana and five of her nymphs" given in the inventory of the Alcazár in Madrid from 1636 corresponds with the representation in this oil sketch.
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Greece 2017 Amarynthus was in Greek mythology a hunter of Artemis, from whom the town of Amarynthus in Euboea was believed to have derived its name. From this hero, or rather from the town of Amarynthus, Artemis derived the surname Amarynthia or Amarysia, under which she was worshipped there and also in Attica.
The Temple of Artemis Amarynthia was a sanctuary dedicated to the goddess Artemis. It was a significant shrine of Artemis and arguably the foremost center of her cult in Northern Greece.
