Bellona, the formidable deity associated with war in ancient Rome, represented a potent force linked to conflict, devastation, and martial prowess. As a key figure in the Roman pantheon, she garnered significant attention in the artistic expressions of later eras. Often depicted in battle attire, adorned with a helmet, and wielding weaponry such as shields, swords, or spears, Bellona’s imagery has been a source of inspiration for painters, poets, and musicians alike.
She is commonly aligned with Mars, the Roman war god, yet the nature of their connection remains somewhat enigmatic—she has been portrayed variously as his spouse, sibling, offspring, or even charioteer. Additionally, she is sometimes associated with Neria, another ancient goddess of warfare closely linked to Mars.
Mythical Origins
The mythology surrounding Bellona suggests she is the progeny of Jupiter and Jove. Her role as a goddess of war sees her entwined with various interpretations, some positing that she was originally venerated by the Sabines, an Italic tribe residing in Central Italy. As Rome emerged, the Sabines brought Bellona’s worship to the new city, culminating in the construction of her initial temple in 296 BC.
In that same year, during the Roman conflict with the Samnites, the consul Appius Claudius Caecus made a vow to erect a temple dedicated to Bellona, fulfilling this promise with a shrine located in the southern section of the Campus Martius, adjacent to the Circus Flaminius.
The Temple of Bellona
The Campus Martius, located outside Rome’s fortified walls, was named in honor of Mars and served as a military hub. The temple itself played a crucial role in military affairs, functioning as a meeting place for the Roman Senate and victorious generals prior to their Triumphs. Additionally, it was also the site where formal declarations of war occurred.
A notable feature of the temple was a column marking Rome’s frontier, symbolizing enemy territory. When javelins were thrown past this column, it signified the official onset of war. Furthermore, since the temple grounds were considered neutral territory, it served as a venue for receiving foreign ambassadors.
The Bellonarii, a group of priests tasked with serving Bellona, held rituals on the 24th of March, known as dies sanguinis or ‘day of blood.’ During these ceremonies, the priests engaged in bloodletting, collecting their own blood to either present as an offering to Bellona or consume as a form of sacrificial fervor. Over time, these practices became more symbolic, transitioning away from actual bloodshed.
Artistic Representations
There are no surviving representations of Bellona from the Roman era; instead, later European artworks convey her image. These portrayals typically feature her as a warrior goddess, clad in armor with a plumed helmet and armed with various weapons.
Beyond visual art, Bellona has made her mark in performing arts and literature. She is referenced in the Prologue of Rameau’s opera-ballet “Les Indes galants,” as well as in multiple works by Shakespeare, including “Macbeth” and “Henry IV, Part I.”
In summary, Bellona stands as a complex representation of war, bridging cultural connections from ancient Rome to the artistic narratives of subsequent generations.
