Pomona is the Roman goddess of fruit, orchards, and gardens, uniquely Roman in origin and associated with the abundance of the harvest. She is one of the few Roman deities who has no clear Greek counterpart, and her name derives from the Latin word pomus, meaning fruit or orchard.
Origins and Role in Roman Religion
Pomona was a minor but distinct deity in Roman religion, with her own priest (the flamen Pomonalis) and a sacred grove called the Pomonal, located about 12 miles from Rome along the Via Ostiensis. Her festival, the Pomonalia, was held on November 1, marking the end of the fruit harvest. Unlike many agricultural gods who presided over fields or grain, Pomona was specifically concerned with tree-borne fruits—apples, pears, plums, cherries, and nuts—and with the art of grafting and pruning. She was often depicted holding a pruning knife and a cornucopia, symbols of her role in nurturing and harvesting fruit. Her worship was part of the Roman state religion, and she was invoked by orchard keepers and gardeners for a bountiful yield.
Mythological Depictions and the Legend of Vertumnus
The most famous myth involving Pomona comes from Ovid’s Metamorphoses (Book 14). In this tale, Pomona is a beautiful nymph who devotes herself entirely to her orchards, avoiding the company of men and the advances of rustic gods. The god Vertumnus, who could change his shape at will, falls in love with her. He tries to woo her by disguising himself as a reaper, a soldier, and an old woman. As an old woman, he tells her the story of Iphis and Anaxarete, warning her of the dangers of rejecting love. Finally, he reveals his true form, and Pomona, moved by his devotion, accepts him. This myth is often read as an allegory for the changing seasons and the transformation of fruit from blossom to ripe harvest. Vertumnus embodies the turning of the year, while Pomona represents the constant care of the orchard.
Symbolism and Iconography
In Roman art, Pomona is typically shown as a young woman carrying a cornucopia overflowing with fruit, or holding a pruning knife and a branch laden with apples or pears. Her attributes—fruit, a sickle, and a vine—emphasize her connection to cultivation and abundance. She is sometimes accompanied by a goat, a symbol of fertility, or by the god Priapus, who was also associated with gardens. In later European art, particularly during the Renaissance and Baroque periods, Pomona became a popular allegorical figure representing autumn and the harvest. Paintings by artists such as Rubens and Boucher depict her in pastoral settings, often with Vertumnus nearby. Her image also appears in garden statuary and on the façades of buildings, symbolizing the bounty of nature.
Worship and Cult Practices
Pomona’s cult was modest but enduring. Her priest, the flamen Pomonalis, was one of the twelve minor flamens who served specific deities. The Pomonal, her sacred grove, was a place of ritual observance, though little is known about the specific ceremonies performed there. The Pomonalia on November 1 was a time for giving thanks for the fruit harvest and offering the first fruits to the goddess. Unlike the grand festivals of Jupiter or Mars, Pomona’s rites were likely simple and agricultural, reflecting her role as a deity of everyday abundance. Her worship was closely tied to the Roman calendar and the rhythms of the farming year, and it persisted through the Republican and Imperial periods.
Comparisons with Greek and Other Deities
Pomona is often compared to Greek goddesses like Demeter (goddess of grain) and Persephone (queen of the underworld), but these comparisons are imperfect. Demeter presided over cereal crops, not tree fruits, and Persephone’s myth is tied to the seasonal cycle of death and rebirth. A more direct Greek parallel might be the nymphs of the Hesperides, who tended a sacred orchard of golden apples, or the goddess Carpo, one of the Horae, who personified autumn and ripening. However, Pomona is uniquely Roman in that she has no direct Greek equivalent. This has led scholars to suggest that she may have originated from an earlier Italic or Etruscan deity, though evidence is scarce. The myth of Vertumnus and Pomona is also distinctly Roman, celebrating the union of two native gods.
Pomona in Later Literature and Culture
After the fall of Rome, Pomona survived as a literary and artistic figure. In the Middle Ages, she appeared in allegorical works as a symbol of the harvest. During the Renaissance, humanists revived interest in classical mythology, and Pomona became a favorite subject for poets and painters. In John Milton’s Paradise Lost, Pomona is mentioned as one of the deities who adorned Eden. In the 17th century, the French painter Nicolas Poussin depicted Pomona and Vertumnus in a pastoral landscape, and the subject was popular in the decorative arts, including tapestries and porcelain. Today, Pomona’s name lives on in the city of Pomona, California, and in the botanical term Pomona used for fruit-related studies. She remains a symbol of horticultural abundance and the gentle art of cultivation.
Common Misconceptions
A common misconception is that Pomona was a Greek goddess or that she was the Roman equivalent of the Greek goddess of apples, but no such Greek goddess existed. Another error is to confuse her with Flora, the Roman goddess of flowers and spring; while both are agricultural deities, Flora presides over blossoms and the season of renewal, whereas Pomona is specifically concerned with fruit and the autumn harvest. Some sources also claim that Pomona was a virgin goddess, but this is not attested in ancient texts; the myth of Vertumnus suggests she was initially chaste but eventually married. Additionally, Pomona is sometimes depicted as a dryad or tree nymph, but Ovid describes her as a hamadryad (a tree spirit) in some translations, though the original Latin calls her a nymph. These nuances are often lost in popular retellings.
Frequently Asked Questions
Who was Pomona in Roman mythology?
Pomona was a Roman goddess of fruit, orchards, and gardens. She was one of the few native Roman deities without a Greek counterpart, and her name comes from the Latin pomus (fruit). She was worshipped to ensure a good harvest of tree-borne fruits.
What is the story of Pomona and Vertumnus?
The story, told by Ovid in the Metamorphoses, is that Vertumnus, the god of seasons and change, fell in love with Pomona. He disguised himself in various forms to approach her, finally appearing as an old woman to tell her a cautionary tale. When he revealed his true form, Pomona was won over, and they married.
How was Pomona worshipped?
Pomona had her own priest, the flamen Pomonalis, and a sacred grove called the Pomonal. Her festival, the Pomonalia, was held on November 1. Offerings of first fruits were likely made to her, though specific rituals are not well-documented.
What are Pomona’s symbols?
Pomona is typically depicted with a pruning knife and a cornucopia filled with fruit. She may also hold a branch of apples or pears, and sometimes a goat is shown beside her as a symbol of fertility.
Is Pomona the same as the Greek goddess of fruit?
No, there is no Greek goddess of fruit. Pomona is uniquely Roman. The closest Greek figures are the Hesperides (nymphs of a golden apple orchard) or the Horae, but none directly correspond to Pomona.
What does Pomona’s name mean?
Pomona’s name derives from the Latin pomus, meaning fruit or orchard. It is related to the word pomum (fruit), and the modern botanical term pomology (the study of fruit) comes from the same root.
Related
- Surya in Hindu Mythology: The Sun God
- Pan in Greek Mythology: God of the Wild
- Thoth in Egyptian Mythology: God of Wisdom
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