Weddings in ancient Rome

Weddings in ancient Rome were a sacred ritual involving many religious practices. In order for the wedding to take place the bride and the groom or their fathers needed to consent to the wedding. Generally, the wedding would take place in June due to the god Juno. Weddings would never take place on days that were considered unlucky. During the wedding the groom would pretend to kidnap the bride. This was done to convince the household guardians, or lares, that the bride did not go willingly. Afterwards, the bride and the groom had their first sexual experiences on a couch called a lectus. In a Roman wedding both sexes had to wear specific clothing. Boys had to wear the toga virilis while the bride to wear a wreath, a veil, a yellow hairnet, chaplets of roses, sex crines, and the hasta caelibaris. All of the guests would wear the same clothes as the groom and the bride. The Romans believed that if bad omens showed up during a wedding it would indicate the couple was evil or unlucky. In order for a marriage to be successful there needed to be no evil omens and everyone must follow the traditional customs.

A depiction of two lovers at a wedding. From the Aldobrandini Wedding fresco

Ancient Roman bulla

Clothing

Bridal clothing

Tunics and belts

The 1st-century CE writer Pliny the Elder claims that both brides and tirones, new recruits into the Roman army, wore a piece of clothing called the tunica recta. Pliny states that Tanaquil, the wife of the 5th King of Rome Tarquinius Priscus, weaved the first of such tunics. Festus, a 2nd-century grammarian, also mentions that brides and tirones wore a type of tunic, although he refers to the garment as "regillae tunicae" ("royal tunics") and claims that brides wore it alongside yellow hairnets called "reticula lutea." According to Festus, the tunicae were woven by "those standing," possibly referring to the bride herself. The tunic may have been tied together using a type of belt called the cingulum or the zona, which possibly functioned as some variety of chastity belt. In Roman poetry, a belt is sometimes used as shorthand for the either the wedding or the virginity of the bride: Catullus describes a father dishonoring his son's bride by untying her belt and mentions the "zonula_," a "little girdle" untied by the brides for the god Hymen. Marcus Terentius Varro, a 1st-century BCE Roman polymath, claims that the groom would untie the belt and remain silent for the duration of the task. Festus also describes the presence of a belt in the Roman wedding, claiming that the goddess Juno Cinxia was "sacred" to weddings since the ceremony began with the "unloosing of the belt." The 4th-century BCE Christian theologian Augustine of Hippo also references a wedding belt when he satirically implores the remaining Roman polytheists to replace their many gods with one version of Jupiter worshipped under many epithets, advising the Romans "As the god Iugatinus let him [Jupiter] unite married couples, and when the bride’s girdle is loosed let him be invoked as Virginensis."

Festus mentions another garment called the nodus Herculaneus ("knot of Hercules"), which Festus claims is untied by the husband whilst the couple is lying in bed. According to Festus, the knot represented the bond between the bride and the groom, claiming that the husband shall be bound to the wife as the tufts of wool are bound together to create the knot. It thus may have served as some variety of love charm for the bride, although was also said—by Festus—to ensure the groom could be as fruitful as Hercules, who had 70 children. Pliny mentions that the knot in a medical context, declaring that binding wounds with the knot "makes the healing wonderfully more rapid" and mentioning an unspecified "certain usefulness" that "is said" to derive from tying a girdle with the knot daily. All of the marriage's guests wore the same clothes as the groom and the bride, to prevent evil spirits from identifying the wedding couple. As the wedding was a sacred affair, an improperly dressed bride would be an attack on Roman morality and chaste Roman women. To prove to the gods that the wedding was in good faith, many people had to view the bride in her garb. The bride's clothes were similar to a priestess' clothing. The bridal couple also wore chaplets of roses.

Sex Crines

Festus claims that Roman brides wore a hairstyle referred to within the text as senibus crinibus, an inflected form of either sex crines or seni crines. It is possible that "sēnī" is an adjective deriving from the numeral "sex," meaning six. According to this view, the "sēnī crīnēs" likely would have comprised six locks of hair. The 1st-century Roman poet Martial mentions a wife adorned with a septem crinibus. This unusual bridal hairstyle, likely containing 7 locks instead of 6, has been argued—by the classicist Laetitia La Follette—to be an intentional discrepancy used to portray the bride as aberrant and unfaithful. Another possibility is that the word, at least in this context, derives from proposed reconstructions of the Proto-Indo-European verbs "*seh₁-," meaning "to bind," or "*sek-," meaning "cut." If these theories are correct, then it could indicate that the hairstyle involved bounded or cut hair respectively. However, evidence from comparative linguistics strongly suggests that the first reconstruction is inaccurate. The second reconstruction, suggesting that the bride's hair was cut, is incongruent with Roman standards of beauty: long hair was considered to be a component of the ideal feminine physique, indicating that—if the practice of cutting the bride's hair did occur—this ritual would have been shameful for the bride. Other components of the bridal attire functioned to honor the bride in some manner: the tunica recta was woven by the bride herself, showcasing her skill at weaving, and the yellow-red wedding veil—known as the flammeum—symbolized faithfulness and fertility. According to Festus, brides favored the style due to its age; he also stated that it was used by the vestal virgins, lending some credence to the theory that the bridal hairstyle was cut as vestal virgins certainly wore short hair. However, the vestal virgins may have worn a fillet to compensate for their shortened hair, allowing the analogy between the bridal and vestal hair to remain compatible with long bridal hair and short vestal hair. In Miles Gloriosus, a play by the Roman 3rd-century BCE comic playwright Plautus, the author portrays a woman dressed like a standard married Roman woman: her hairstyle is described as having "locks with her hair arranged, and fillets after the fashion of matrons" as part of an effort to disguise the woman as another character's wife. This apparently contradicts the idea of short bridal hair, as Plautus explicitly describes the woman as wearing long hair.

In his description, Festus leaves the proper origins of the sex crines ambiguous: he does not clearly indicate whether the vestal virgins coopted the style from brides or vice versa. Another passage from Festus appears to support the idea that the brides copied the style from vestals: Festus mentions that brides adopted a veil called the flammeum due to its usage by the Flaminica Dialis, the high-priestess of Jupiter and the wife of the Flamen Dialis. The similar nature of both these scenarios indicates that, just as bride's may have coopted the flammeum from a religious order, they may have coopted the sex crines. Mary Beard, an English classicist, argued that both vestal virgins and brides embodied a liminal state between youthful virginity and adulthood as a Roman matron; Beard proposed that vestal virgins copied bridal attire due to these shared connotations. The German classical philologist August Rossbach argued that the sex crines were a typical component of the attire of a Roman matron, and that brides wore the headgear merely because it marked their transition into marriage and matronhood. Rossbach cited the section of Miles Gloriosus by Plautus, in which the author describes a woman dressed to look like a married woman wearing a hairstyle with fillets modeled after those worn by matrons. The fillets mentioned by Plautus, called "vittae," are not definitively supported by any other evidence to be a component of the bridal hairstyle in ancient Rome. Furthermore, it is unlikely that the crines mentioned by Plautus are the same cosmetic as the sex crines described by Festus. The 1st-century BCE Roman poet Horace utilizes the same word, "crinis," completely unrelated to Roman brides when he describes the hairstyle of the mythical figure of the Trojan War, Paris. To reinforce the connection between the bridal hairstyle and the vestal virgins, the number of locks likely present in the hair exactly corresponds to the number of vestal virgins during reliably recorded parts of Roman history: 6. Although, the 1st CE historian Plutarch records that the number of vestal virgins changed from 2 to 4 to 6 during the regnal period.

Hasta caelibaris

Festus mentions a spear called the hasta caelibaris ("celibate spear") that was supposedly used in wedding rituals to separate locks of hair. The 1st-century BCE Roman poet Ovid possibly references this spear in his writings when he instructs his female audience to, during the wedding ceremony, let a "hasta recurva" ("bent-back spear") arrange their "virgin locks." Since the ultimate source for Festus' account is the earlier 1st-century BCE author Verrius Flaccus, it is possible unclear exactly how accurately his account reflects Roman practices during both his lifetimes and that of Ovid. If the spear had become an outdated ritual, Ovid may have been intentionally invoking an archaic practice or utilizing a phrase that had become shorthand for the wedding ceremony. Plutarch, a 1st-century Greek philosopher, implies that spears remained involved in Roman weddings during his lifetime: In his Questiones Romanae, Plutarch inquires, "Why do they part the hair of brides with the point of a spear?" Tertullian, a 2nd-century Christian theologian, describes a type of pin called the "acus lascivior" ("lascivious needle") being used to fashion women's hair. Although, it is still not explicitly stated to be a hasta caelibaris used for wedding ceremonies, merely a hairpin used by Roman women. The 4th-century Christian apologist Arnobius mentions the hasta caelibaris by name as an antiquated custom. He attempts to defend the abandonment of pagan traditions and shift towards Christian religion by citing many older, forgotten customs, including the usage of a spearpoint in wedding ceremonies, asking the readers if they still "stroke the hair of brides with the hasta caelibaris?" However, the spear possibly appears in the wedding epithalamium of the 4th-century poet Claudian. During his description of the wedding of two royals, Claudian mentions that the goddess Venus utilizes an acus to split the hair of the bride.

Festus claims that the spear held symbolic value to the Romans, that it displayed the husband's authority over his bride. He connects the spear to Juno Curitis, the goddess of marriage and childbirth whose epithet—Curitis—derives from the possibly Sabine word curis, meaning "spear." Evidence from Plutarch provides further support for this association: Plutarch asks if the spearpoint symbolizes "the marriage of the first Roman wives by violence with attendant war." This quote references the rape of the Sabine women, an event from Roman mythology in which the early Romans, desperately in need of a greater female population to ensure continued population growth, abducted Sabine women to marry them and then reproduce. Plutarch also proposes that the violent, distinctly unfeminine (in Roman society) connotations of a spearpoint may have conveyed that the groom was "brave and warlike." He concludes by suggesting a final possibility: that the spear signified that "with steel alone can their marriage be dissolved." The 1st-century BCE Roman historian Livy claims that the Sabine women embraced their newfound husbands and families, suggesting that the spear may have indicated that the bride would similarly submit to her new husband and family. Festus states that the spear must be drawn from the corpse of a gladiator, so that the bride and groom will be joined as close as the spear was to the gladiator. This claim remains unsupported in almost no other text, although the 1st-century CE writer Pliny the Elder mentions that spears drawn from human corpses without touching the ground can be thrown over the house to expedite the childbirth process if the pregnant woman is located inside the aforementioned house. Pliny further states that arrows drawn from cadavers, also without touching the ground, can be placed under the bed of an individual to act as a love-charm. He also attributes magical properties to the blood of gladiators, stating that it can be used as a treatment for epilepsy. These accounts from Pliny imply that the hasta caelibaris may had a similar role as a sign of fertility and a love-charm. It is possible that the hasta caelibaris may have been used to split the locks of sex crines, although there is no explicit connection between the spear and the sex crines with the possible exception of the "acus lascivior" mentioned by Tertullian. Tertullian states that this pin was used to separate the "crinibus," or women's hair. If the hasta caelibaris was connected to the sex crines, then it remains unclear exactly why no author mentions the item in connection to the Vestal Virgins, who were also linked to the sex crines.

Vittae and Infulae

Accounts from Propertius, a 1st-century BCE Roman love elegist, suggest that a type of woolen band or fillet called vittae were parts of the bridal attire. In of his poems, Propertius depicts the perspective of a deceased woman named Cornelia on Paullus, her still living husband, stating "Soon, the bordered (toga) yielded to wedding torches, and another altera vitta captured my bound hair, and I was joined to your bed, Paullus, destined to leave it." This passage may be interpreted as referring to Cornelia abandoning her childhood fillets for bridal fillets, or as Cornelia relinquishing her childhood fillets for matronal fillets. Another passage from Propertius details the misfortunes of Arethusa, who laments that their wedding was tainted as her vitta was not placed upon her head properly. The vittae, alongside the stolae, are used in Roman literature as shorthand for the Roman matron. Tibullus, a 1st-century BCE Roman elegist, implores Delia, his mistress, to behave like a proper Roman woman, saying "Teach her to be chaste, although no vitta binds her hair together." Similarly, Plautus describes an incident in which a slave named Palaestrio advised as old man named Periplectomenus to disguise the prostitute Acroteleutium as his wife, instructing him to adorn her with vittae styled after the "fashion of matrons." It is likely that vittae were considered to be representative of chastity and purity: the 4th-century grammarian Servius states that prostitutes were forbidden from wearing the garment and Ovid commands the "chaste" vittae to stay away from his sexually explicit poems. British-Canadian Classicist Elaine Fantham proposes that the vittae may have offered some variety of "moral protection" comparable to the "bulla," an apotropaic amulet used to protect Roman boys. The vittae are also mentioned as an ornament of the Vestal Virgins: Ovid describes the Vestal Virgin Rhea Silvia adorned with the garment, 4th-century Roman orator Quintus Aurelius Symmachus also describes the Vestal Virgins as decorated with the vittae, the 2nd-century Roman poet Juvenal mentions a priestess wearing the vitta. Two Christian authors, the 4th-century Christian writers Prudentius and Ambrose, also connect the vittae to the Vestal Virgins: Prudentius describes a Vestal Virgin sitting down whilst wearing a vitta and Ambrose describes the "veiled and filleted" head of Vestal Virgins.

The extent to which vittae were regularly worn by Roman women is disputed. Marcus Terentius Varro, a 1st-century BCE Roman polymath, describes the vittae as an ancient style of Roman dress, although he claims that it was, at one point, a regular component of the attire of a Roman woman. German classical philologist Jan Radicke interprets this past-tense description as a sign that, although the style had fallen out of favor by the time of Varro, it had remained preserved in the cultural consciousness and potentially in important religious ceremonies. However, vittae reappear in the later literature of the Augustan and Early Imperial period as, according to Radicke, an "artificial signifier" of matronal virtue in Roman society that was either "revived or invented" by Emperor Augustus himself. Ovid occasionally refers to the vittae with legalistic language, describing it as an "honor" and mentioning that the vittae protects its wearers "from touch." Radicke interprets this description as referencing either marriage or a possible sacrosanct status of matrons, concluding that the vittae possibly signified that the wearer was a married woman, and thus protected in some manner. Furthermore, in his Tristia, Ovid explicitly defends the legality of his writings, exclaiming "I shall sing of nothing but of what is lawful and of secret love that is allowed. There shall be no crime in my song. Did I not exclude rigorously from reading my Ars amatoria all women whom the wearing of stola and vitta protects from touch?" Such statements from Ovid may be further contextualized by the Augustan Leges Juliae ("Laws of Julia"), which largely concerned the punishment of acts considered by the Romans to constitute sexual immorality. Radicke suggests that, due to this legislation, the vittae may have been a "legal privilege" during the time of Ovid. The 1st-century Latin author Valerius Maximus describes—likely in an almost entirely pseudohistorical manner—an event from the life of Gnaeus Marcius Coriolanus, a legendary 5th-century BCE Roman general, in which the Senate honored various women by offering them vittae. Although this account is almost certainty an inaccurate historical description, it may provide insight into cultural perspectives on the vittae contemporary to Valerius Maximus himself. If this passage does offer such information, then it showcases by the lifetime of Valerius the vittae were offered by the Senate specifically as honorifics.

If vittae were a common component of the attire of Roman women, then it remains unclear why they are largely absent from Roman portraiture. Classicist Susan E. Wood theorized that vittae would have been identified on a sculpture by the colors, as the coloring could differentiate between individual strands of fabric and hair locks. However, the pigment of many Roman sculptures has been lost and thus it is impossible to clearly identify the vittae on any portrait. Elaine Fantham disputes this perspective, arguing that, given the precise detail in many other Roman portraits, it is unlikely that Roman artists would not have meticulously sculpted the vittae in three dimensions. Radicke argues that the vittae, over time, may have lost their social significance and decayed into a more common piece of female clothing in ancient Rome. According to Radicke, the vittae almost entirely disappeared from Roman literature following the account of Valerius, although they appear in the writings of the early 3rd-century jurist Ulpian.

Radicke suggests that there may have been two distinct types of vittae: virginal vittae, the type associated with religious and ritual functions, and the matronal vittae, the kind worn in the outfits of married Roman women. In literature from the early Imperial period onwards, the virginal vittae often appear in a mythological context, usually with some connection to virgin goddesses: Ovid mentions that the virgin goddess Phoebe had her hair bound by a vitta and that the nymph Callisto was adorned with a white vitta, Vergil describes them in connection to the goddess Vesta and the Vestal Virgins in the Aeneid, and Horace mentions that the Roman noblewomen Livia and Octavia wore the vittae during a ritual procession commemorating Augustus' return from military campaign in 24 BCE. Pliny the Elder mentions that a "white vitta" was used to wrap around a "garland of spikes," also providing evidence for a potential etymological connection between the word "vitta" and the Latin verb "viere," meaning "to twist, to plait." The matronal "vittae" is described as "tenuis," or "narrow," by Ovid. In the early 3rd-century BCE, the Roman jurist Ulpian mentions vittae ornamented with pearls.

According to Servius, vittae hung from the sides of another—potentially bridal—adornment: a red and white band-like crown called the infula. Servius provides additional descriptions of the infula, stating that they were worn like diadems and made from white or scarlet threads. Infula were connected to religious Rituals in ancient Rome: Festus claims they were a wool thread used to drape priests, temples, and sacrificial victims. Both infulae and vittae may have been used to consecrate both inanimate and animate objects. In a wedding poem authored by the 1st-century CE poet Statius, the goddess Juno gives the vittae to a bride and Concordia sanctifies them. In the Aeneid, Helenus is said to have removed his vittae after he was finished sacrificing oxen. Infulae appear much more frequently in standard literature than vittae, which are more common in poetry: the word infula appears only twice in the Aeneid while 1st-century BCE historian Livy mentions it often. At one point in his work Ab urbe condita, Livy describes diplomats from Syracuse came to Rome adorned with infulae. Fantham argued that this discrepancy regarding the usage of infulae and vittae between poetry and other works emerged as the limitations of dactylic verse permit only the nominative singular form of infula, making vitta a much more practical word to use for poetic purposes. Thus, Fantham concludes that Roman poets may have substituted the infula for vitta for poetic convenience. Fantham cites a line from the Epistulae ex Ponto of Ovid in which he mentions an "infula" that is replaced by the word "vittis" in the next line.

In his epithalamium for Peleus and Thetis, Catullus mentions an adornment called the filum. Within the poem, the Parcae predict that, following the wedding, the filum will no longer be worn around that bride's neck. It is possible that this metaphorically represented the loss of virginity upon the wedding day, and therefore it may be connected to the vittae due to their shared chastity connotations. Another possibility is that the filum was connected to girlhood in Roman culture, and therefore it was abandoned following the wedding and transition to adulthood. Otherwise, it may have been an entirely meaningless piece of clothing, and the main focus of the passage is actually on the nurse of the bride.

Flammeum

Scene from the Aldobrandini Wedding frescoes that possibly depicts a veiled Roman bride

The flammeum, a type of bridal veil, was a staple component of the bridal hairstyle in ancient Rome. During the 1st-century, the Roman author Catullus continues to utilize the term flammeum to refer to both the covering and the bride: in Catullus 61, he instructs children to "Raise high, O boys, the torches: I see the gleaming veil approach." In the Epigrams of Martial, the author utilizes the weaving of the flammeum as shorthand for the entire wedding ceremony, stating "The veils are a-weaving for your fiancée, the girl is already being dressed." In another one of his epigrams, he describes the wedding of two men named Calistratus and Afer, stating that Callistratus weds exactly like the virgin brides of traditional Roman weddings. To further emphasize his point, he mentions that he wears the flammeum, is accompanied by torches, and by the rude songs found in Roman wedding ceremonies.

The covering is mentioned throughout Roman literature, from its mention in the works of the 2nd-century BCE Celtic-Roman poet Caecilius Statius to the time of 4th-century CE during the time of Claudian. Pliny the Elder refers to the veil as "antiquissimus" (meaning "very old"), claiming that the color luteus was held in high regard during these ancient times and was thus reserved for bridal veils. Similarly, Festus cites two ancient authors called Cincius and Aelius, who—according to Festus—claim that the "ancients" (antiqui), call the practice of covering the bride's head with the flammeum "obnubere," or "the veiling." Jan Radicke argues that the flammeum likely remained in use by the lifetime of Catullus as it retained a strong sense of prominence in his poems, although he concludes that by the Augustan era the garment had fallen out of fashion. Literature from the Early Imperial era makes little reference to the garment; for instance, it is absent from Statius' wedding epithalamium for Lucius Arruntius Stella. The 1st-century CE Roman poet Lucan describes the functions of the flammeum, although Radicke interprets this as a historical account of a traditional Roman headdress, not a contemporary account of a piece of clothing that remained in use by the lifetime of Lucan. According to Radicke, later references to the garment are better explained as intentional invocations of an ancient practice designed to portray the individuals involved as staunch traditionalists.

Lucan mentions that the flammeum was used to conceal the blushing of the bride; he claims that during the wedding of a woman named Marcia, who lacked this veil, it was not present to disguise her "timid blushes." Improper, or "worn-out" flammea are usually mentioned in Roman literature alongside immodest, unvirtuous wives. Juvenal mentions that a woman has remarried many times "flies from one home to another, wearing out her bridal veil." The 2nd-century writer Apuleius disparages the wife of a man named Pontianus, saying that she has been deflowered, shameless, and wearing a worn-out veil. Festus mentions that, since the garment was also worn by the Flaminica Dialis (the priestess and wife of Jupiter), it was viewed as an auspicious charm designed to bring good fortune. Since the Flaminica was unable to divorce Jupiter, it is possible that the flammeum was worn by brides as a protective charm against divorce or ill fortune in marriage. Another possibility is that the Flaminica was viewed as a perpetual bride, henceforth she permanently wore the bridal headpiece.

Marriage scene from a Roman sarcophagus dated to around 170 CE

Sarcophagus from Mantua depicting the legend of Medea

Scene from the Sarcophagus of the Brothers in which a woman is crowned

The precise color of the flammeum is unclear, Lucan claims that it was of the luteus color and that it was used to shield the bride's shame and blushing, or pudor. This implies that either the veil was red, thus concealing the reddish blushing, or that it was thick enough to hide the skin underneath. The interpretation of the flammeum as red is supported by a later scholiast of Juvenal, who describes the veil as sanguine and resemblant of blood. However, Pliny the Elder, who stated that the color luteus was often used for bridal veils, compares this color to egg-yolk as luteum, implying that the color may have been orange-yellow shade. Festus mentions that the flammeum was worn by the Flaminica Dialis, the priestess and wife of Jupiter. He claims that the covering was the same color as the lightning of Jupiter, indicating that it was much closer to a yellow color than a red shade. Luteus is also used as an adjective for the bride, not just the flammeum: Catullus describes a bride whose face is "luteus as a poppy." Such a description conforms to a trend in Roman literature of depicting the blushing of the bride, as well as a general lack of yellow poppies, although only if it is assumed that the color luteus is reddish. Classicist Robert J. Edgeworth concluded that the word luteus may mean either pink or yellow depending upon the context.

Evidence from Roman literature suggests that the veil either entirely or almost entirely masked the bride's appearance: In the play Casina by Plautus, the plot requires that a male slave be effectively disguised as a female bride and Ovid describes a myth in which the god Mars is tricked into wedding the goddess Anna Perenna under the impression that he was marrying Minerva. However, wedding depictions in Roman artwork typically portray the faces of the brides uncovered, possibly because the artists wanted to ensure the viewers could recognize their faces or due to difficulty depicting a translucent material. Two examples of sarcophagi from the around 180 CE depict brides with their veils drawn so far back that their hair is visible. However, another sarcophagus dating to 170 CE shows the bride with her veil pulled forwards and her head tilted downwards, possibly in a submissive pose; her face is visible, although not as clearly as the other sarcophagi. Wedding scenes from a sarcophagus dated to 380-390 CE portray a bride with a towering veil; the veil is large enough to make her appear taller than her husband, presumably because it covers an intricate bridal coiffure underneath. One of the scenes from this sarcophagus portrays the woman with a cloak covering each shoulder and, like the other sarcophagi, drawn over the base of her throat.Jan Radicke argues that many artistic depictions portray the flammeum not as a veil, but as instead a "bridal scarf." For instance, a sarcophagus from Mantua portraying the story of Medea depicts Creusa, the bride of Jason, wearing a scarf that falls back on her head and covers the shoulders. Another Roman wedding depiction, this time from a late-Republican gravestone for Aurelia Philematium and her husband, portrays the bride with a scarf attached to her hair. In the Villa Imperiale, a fresco depicts a woman that may tentatively identified as the bride with an orange scarf. He further cites a passage from the 2nd-century BCE Roman author Caecilius Statius: "That yesterday he’d looked in from the roof, had this announced, and straight the flammeum was spread." In this passage, the flammeum is displayed within the house to signal that the wedding is going to occur soon. Radicke argues that it is more likely that the Romans would display a larger scarf rather than a small veil. Radicke cites another passage from Catullus in which the author describes the god Hymen—presumably—dressed like a bride. Catullus states that Hymen wears both the flammeum, and has their head covered by a wreath made from marjoram.

Corolla and Corona Turrita

Festus mentions that Roman brides wore a piece of headgear called the corolla, a crown made of herbs, flowers, and foliage personally handpicked by the bride. This account is supported by artistic evidence: the "Sarcophagus of the Brothers," an ancient Roman sarcophagus stored in Naples, depicts a ceremony in which a woman identified as Venus crowns either a bride or an already married wife with a garland of flowers. Other accounts of wreaths in other Roman depictions of wedding ceremonies portray the corolla as a piece of groomal attire: Plautus and Apuleius both mention grooms wearing crowns of an unspecified material and Statius depicts a groom with a crown made from roses, lilies, and violets. Another "towering crown" called the Corona Turrita, which is exclusively mentioned in the works of Lucan, is attested for as bridal gear by a later scholiast commentating upon his works. Whereas the original text only mentions a matron bedecked with the Corona Turrita, the scholiast refers to this individual as a bride. Baltic German archaeologist Hans Dragendorff argued that this type of crown connected to an ancient tradition of depicting goddesses such as Aphrodite or Astarte with large pieces of headgear. Dragendorff cites the 1st-century BCE Roman scholar Varro, who described the goddess Hera in bridal clothes; he also invokes a passage from Synesius, a 4th-century Greek bishop who claimed that brides wore crowns like those that adorned the goddess Cybele. Furthermore, Dragendorff proposed that these depictions, if not accurately reflective of Roman bridal gear by the lifetime of the authors, likely were distant memories of an ancient Italian-Greek bridal custom. Although the commentary of the scholiast indicates that the garment was indeed bridal gear, the classicist Karen Hersch rejects this analysis. Hersch argues that the interpretation of the scholiast is likely inaccurate as Roman authors never refer to a bride as a matrona and that it is unlikely Lucan would utilize the terms matrona and nupta interchangeably to describe the same character. Furthermore, there are no other instances of a "Corona Turrita" occurring as a bridal instrument in Roman literature. Hersch also rejects the proposal of Dragendorff, arguing that there is not sufficient evidence to connect goddesses such as Cybele to wedding rituals.

Groomal clothing

There is limited information regarding the groomal attire as Roman authors tended to focus on describing the bride, leaving only scant descriptions of groomal clothing available to modern scholars. Whereas the bride is often identifiable due to various pieces of clothing, such as the flammeum or sex crines, the groom is never recognized by their choice of garb. Classicist Karen Hersch assumes that the groom likely wore clean clothes, "probably a toga if he owned one," however Lucan mentions that Cato the Elder maintained an "untended beard" during his wedding. This dearth of detail could represent the difference between the symbolism of the wedding ceremony for the bride and the groom: the wedding seemingly functioned as a coming-of-age ritual for the bride, but likely lacked such significant symbolism. It is possible that, for a Roman boy, their coming-of-age ceremony occurred before the wedding, when they relinquished their bulla and toga praetexta, and donned their toga virillis. Boys usually started wearing togae virilles around puberty, or when the boy's parents believed he was sexually mature. The bulla was dedicated to Lares, household spirits and guardian deities in Roman religion. Arnobius, a 3rd-century CE Christian apologist, describes a practice—which supposedly occurred long before the life of Arnobius—in which Roman girls surrendered their togulae (or "little togas") to Fortuna Virginalis before the wedding. The epithet "Virginalis" is exclusively given to Fortuna by Arnobius. Another, similar practice is mentioned by the 1st-century Roman poet Persius, who describes Roman girls offering their dolls to Venus. In another account by a scholiast of Persius, it is mentioned that this practice occurred an unspecified amount of time prior to the wedding. Pseudo-Acro, a scholiast of the poet Horace, mentioned a custom of girls and boys dedicating their bullae and dolls respectively, although he claims the items were offered to the Lares and makes no mention any connection with the Roman wedding.

Organization

A groom encourages his demure bride while a servant looks on (wall painting, Casa della Farnesina, ca. 19 BCE)

The Roman engagement was known as sponsalia. In the sponsalia, the maiden was promised to the groom by her father or her tutor. The promise could be made directly to the groom, although it was usually made directly to the groom's father. As part of the engagement, the groom would place an engagement ring known as the annulus pronubus on the bride's ring finger. This finger was chosen as it was believed that a vein known as the vena amoris connected it directly to the heart. During the sponsalia the bride's family would pay the groom dowry.

To promise his daughter to the groom, the bride's father told the groom's father: Spondesne Gaiam, tuam filiam (or Gaiam, Lucii filiam), mihi (or filio meo) uxorem dari? Di bene vortant! Spondeo, Di bene vortant! However, the bride's father could cancel the wedding at any time. For a wedding to take place, the bride and groom, or the father in each family, needed to consent. Augustus decreed that if the bride's father did not agree to the marriage, he must provide a reason. Marriage between children was also outlawed. The youngest marriageable ages were fourteen for men and twelve for women. The Romans never practiced polygamy, so both parties had to be unmarried; the bride and groom also could not be related.

Although the groom chose the wedding date, he could not choose any day of the year, as many were considered unlucky. June was the preferred month, as it was the month of Juno, the god of childbirth and marriage. Before the wedding, the bride's family sought the protection of the gods by performing small sacrifices and giving coins to Lares.

Romans giving their wedding vows

The wedding took place at the house of the bride's father. There was a large feast, at which the attendees were served a special cake, a mustaceum, made with grape juice. In the play Casina by Plautus, the mother of the bride performs the preparations for the wedding feast; however, in Aulularia, another Plautine play, the feast is organized at the behest of the father. This play provides further details about the wedding feast: a female tibia-player and cooks to prepare dishes such as fish, bread, roosters, lambs, and wine. Later in the same play, the protagonist Euclio remarks on the ludicrousness of the idea of cancelling the wedding after the wedding feast and other nuptial accoutrements were prepared. Juvenal mocks grooms who expend much effort or resources on extravagant meals and cakes called mustacea for women who do not reciprocate their love, declaring that the wedding indulgences were merely a waste of time in such a scenario. Augustus limited the cost of these feasts to one thousand sesterces. By evening, the groom pretended to take the bride by force from her mother's arms, so the household gods would not think the bride was willingly leaving them. The Romans believed the only bride of value was a virgin who had to be stolen from her family. Because of this, the Romans simulated the bride being abducted from her family. The tradition dictated that the bride cry out in pain as she was herded along the route to her new house. The Romans believed the only bride of value was a virgin who had to be stolen from her family. Because of this, the Romans simulated the bride being abducted from her family. The tradition dictated that the bride cry out in pain as she was herded along the route to her new house. As the bride was taken to her new home, guests sang the Hymenaeus and carried a whitehorn torch, a spina alba, to honor Ceres. When the procession reached the groom's house, the groom entered first; the bride then entered after smearing the doorway with sheep's wool covered in oil and fat, as bride would have no gods protecting her until she arrived at the groom's house. When the bride arrived at the house of the groom, she may have spoken the words "Ubi tu Gaius ego Gaia". The bride was officially taken in to her husband's family by fire and water, an act symbolic of life. To visualize the consummation of marriage, the groom broke a loaf of bread over the bride's head. Sheaves of wheat could also be thrown at the bride.

Once at the groom's house, the married couple relaxed on a richly ornamented couch or bed called a lectus or genialis, and had their first sexual experiences together. As soon as the couple entered either the bedroom or the groom's house they were considered married.

Customs

Ideal Bride and Groom

The Roman wedding was designed to ensure the legitimate transfer of the bride into a legal marriage. In Rome, the ideal bride was supposed to lack prior sexual experience and be simultaneously frightened and joyful about the upcoming wedding. Depictions of the Roman wedding emphasize the misery and fear of the bride; literary accounts sometimes describe the tears and blushes beneath the bridal veil and artistic portrayals depict brides with turned town faces or eyes. Catullus, a 1st-century BCE Latin poet, describes the bride as "eager for her new husband," but also as sobbing because "she must go." In an epithalamium by the 4th-century CE poet Claudian, the bride is explicitly commanded by Venus to love her husband despite her initial fear of the wedding: Venus instructs her, "whom you now fear you will love." The imagery of a suffering bride may have exaggerated for artistic purposes, although it is also possible that real Roman brides did indeed feel significant discomfort as the wedding marked a transitory period in their lives in which they were separated from the family figures. However, marriage was a pivotal time in the lives of Roman women; there was tremendous social pressure to become married and women were raised with this pressure surrounding them. Thus, it is possible that Roman women in reality faced little sadness at the thought of the wedding ceremony as it was a normalized aspect of Roman culture. Catullus himself appears to recognize the sorrow of the bride as insincere, exclaiming that "Their groans are untrue, by the gods I swear!" and asking if "the parents' joys turned aside by feigned tears, which they shed copiously within the threshold of the bedchamber?" Little attention was paid to the autonomy or will of the bride in Roman wedding rituals: Catullus instructs the bride to avoid displeasing her husband, stating "You also, bride, what your husband seeks beware of denying, lest he go elsewhere in its search." In another section of the Carmina of Catullus, a bride is told to obey their husband as her father has arranged the marriage, and that rightful ownership of their virginity is split in thirds between their father, mother, and themselves. The ideal Roman groom was in many ways the opposite of the ideal bride: they were supposed to be both desirous of the wedding and sexually experienced. Statius, in one of his epithalamia, mocks Stella—the groom—for failing to act upon his love for Violentilla and take her as his bride, stating "Sigh no more, sweet poet, she is thine. The door lies open, and thou can come and go with fearless step." Differing cultural attitudes towards the groom and the bride are reflected in the Latin language itself: brides were said to "nubere viro," or "to veil [themselves] for a man," while grooms were said to "ducere uxorem," or "to lead a wife."

Auspices and Sacrifices

Hymen, God of marriage

The taking of omens was possibly a necessary, or at least highly preferred, part of the Roman wedding. When describing wedding ceremonies, Roman authors frequently note either the presence of favorable omens or augurs at a wedding ceremony. For instance, Catullus describes an individual named Manlius wedding a virgin named Vinia while blessed by good omens and describes the Fates themselves offering prophecies at the wedding of Peleus and Thetis. Conversely, authors often describe the lack of such boons at doomed or improper weddings. In the Troades of Seneca, Helen of Troy laments that any wedding "bred of evil fate" and "full of joyless omens" is deserving of her "baleful auspices." Servius wrote that the thunder and lightning present at the wedding of Aeneas and Dido signified that their union would be unfortunate. In his Metamorphoses, Ovid writes that a screeching owl appeared at the wedding of Tereus and Procne, presumably signifying the impending transformation of Procne and Philomela into birds.

Cicero, writing in the 1st-century BCE, describes the practice of utilizing augurs and diviners at weddings as if it had already become antiquated by his lifetime, mentioning that, although augurs still appeared in Roman weddings, they lacked the same religious significance. Other writings of Cicero imply that augurs or other officiating priests remained pivotal to the Roman wedding: he lambasts an individual named Sassia for marrying her son without anyone "to bless" or "to sanction the union" and amidst "nought but general foreboding." Valerius Maximus, a 1st-century CE Roman rhetorician, also reinforces the dated nature of augurs at Roman weddings, stating "Amongst the ancients nothing, either private or public, was held without auspices consulted." In his description of the various illegitimate weddings of Messalina and Nero, the 1st-century CE Roman historian Tacitus highlights the ritualistic taking of the auspices, possibly as part of an attempt to convey the debauchery of these figures. His account is almost certainly inaccurate as a piece of historical documentation; however, his writing may accurately reflect and convey the cultural values of his time, thus rendering it somewhat useful to modern historians. Whilst describing Nero as a licentious individual, Tacitus mentions that the emperor, alongside performing other components of the wedding ritual, also observed the auspices during his wedding to the freedman Pythagoras, in which Nero appeared as the bride. At the wedding of Messalina and Gaius Silius, Tacitus also mentions that they performed all the traditional rites of a Roman wedding, including the consultation of the auspices. Classicist Karen Hersch hypothesizes that Tacitus may have been infuriated that these individuals choose to include all the elements of a legitimate wedding within their own, in his opinion, perverted ceremonies. Hersch further suggests that, assuming the rituals were indeed antiquated by the time of Tacitus, he may have been illustrating the eccentricity of these figures by describing them utilizing an ancient practice. Alternatively, as Tacitus more specifically states that Messalina had heard the words of the auspex, Hersch suggests that Tacitus may have been attempting to imply that she was failing to heed dire omens. Juvenal similarly satirizes the wedding of Messalina, claiming that she attempted to emulate a legitimate marriage by bringing along witnesses, an augur, and a wedding dowry of one million sesterces in the "ancient fashion." It is possible that Juvenal's emphasis on the "ancient fashion" is intended to induce outrage at a perceived defilement of the mos maiorum, or the customs and traditions of ancient Rome.

Varro claims that the "ancient kings" and "eminent persons" of the Etruscan civilization sacrificed pigs to sanctify treaties, including wedding rites. Varro believes that this custom was also adopted by the Latin tribes and the Greek inhabitants of Italy, and that remnants of this custom persisted in the usage of the term "porcus" as a slang term for female genitalia. Servius, writing in the 4th or 5th centuries, treats the custom of animal sacrifice as an antiquated custom, claiming that "amongst the ancients no wife was able to be wed nor field able to be plowed without the sacrifices completed." Another reference to pre-nuptial animal sacrifice derives from the Aeneid: Queen Dido, prior to her wedding, attempts to acquire assistance from various deities by—in isolation—pouring a libation between the horns of a white cow and sacrificing sheep to Apollo ("Phoebus"), "lawgiving Ceres ("legiferae Cereri")," the "father Lyaeus ("patrique Lyaeo")," and, most importantly ("ante omnis"), Juno, who governs marriage bonds ("cui vincla iugalia curae"). Karen Hersch states that the precise details of Dido's involvement in this sacrifice remain unclear: Dido possibly personally scarified the animals, although the text also allows for the interpretation that she instead let priests perform the deed for her. Hersch proposes that Virgil may have intended to emphasize the "foreignness" of Dido, perhaps hoping to communicate that no Roman woman would similarly engage in a sacrifice. Alternatively, Virgil may have wished to emphasize the "doomed" nature of her wedding by showing Dido partake in an improper ritual. Sheep specifically are mentioned as part of the wedding ritual by Plutarch, who claims that, upon introducing the bride, the Romans would lay a fleece underneath her and then the bride would proceed to hang a thread of woolen yarn from her husband's door using a distaff and a spindle. However, in the Roman play Octavia, a bloodless sacrifice of material possessions is depicted, in which Poppaea Sabina, the second wife of Nero, coats an altar in wine and offers incense to unspecified gods. Other evidence from Roman literature indicates that the groom was primarily responsible for wedding sacrifices: In The Golden Ass of the 2nd-century writer Apuleius, a character called Tlepolemus travels through the city accompanied by his relatives to sacrifice at public shrines and temples prior to his wedding. Another account of a pre-nuptial sacrifice performed by the groom derives from the play Hercules Oetaeus by Seneca: In the play, Deianira—the wife of Hercules—becomes enraged upon hearing that Hercules would take another woman, Iole, as a new wife and prays to become the sacrificial victim, hoping that Hercules would kill her and that her corpse could fall upon the lifeless body of Iole. The bride was the focus of the wedding, and because of this her face was painted red. The gods of the Roman wedding were Juno, Venus, Hymen, and occasionally Terra. The bride was the focus of the wedding, and because of this her face was painted red. The gods of the Roman wedding were Juno, Venus, Hymen, and occasionally Terra.

Domum Deductio

The Roman wedding incorporated a ceremony called the "domum deductio" ("leading to the home"), which functioned as a ritualistic public kidnapping of the bride from her home to the house of the groom, possibly intended to demonstrate the wealth and prestige of the families involved as well as provide conclusive proof that the wedding had occurred. According to Festus, the ceremony involved seizing the bride from her mother's "gremium" (meaning either "lap" or, figuratively, "embrace"), or—if her mother was not present—the next closest female relative, and then transferring her over to the groom. This claim is further substantiated by accounts from Claudian, who describes the bride Celerina also being pulled from her mother's "gremium" by the goddess Cytherea, another name for Aphrodite. It is unclear at precisely which time the taking of the bride occurred: the groom is not mentioned accompanying the bride on her journey to the new house, leading Hersch to propose that the seizing did occur until the bride had already arrived at the home of the groom. Hersch supports her interpretation with a passage from Catullus in which he describes Hesperus, the evening star (which itself is the planet Venus in the evening), stealing the bride from her family. The bride was expected to at least feign fear of the wedding ceremony and despondency at the prospect of marriage. Hersch argues that by demonstrating a reluctance to abandon their homes, the bride was signifying that they had, prior to the wedding, "lived a cloistered life among her female relatives" and therefore was a chaste bride suitable to become a wife. Hersch cites the lack of the bride's "father or male guardian" at the seizing of the bride, which—in Hersch's opinion—reinforced the absence of men from the bride's life and consequently her virginity. Hersch further proposes that since the flammeum likely either completely or almost completely veiled the bride's face, they may have been forced to convey their discontent through mime—more specifically, Hersch suggests such performance could have included loud crying, hanging the head dejectedly, and walking with visible trepidation. Physical violence is described in the play Casina, in which the slave Olympio notes that when he entered the bedroom with the bride. who is the slave Chalinus disguised as Casina, Chalinus physically assaulted him by kicking him off the bed and then pummeling his face. Despite the extreme reaction, Hersch notes that the groom does not find this behavior incongruent with that of an actual bride; he remains convinced that Chalinus is in fact Casina.

In the Digests of Justinian, it is said that the Roman marriage must occur within the house of the groom, not of the bride, because his home is the "abode of matrimony" ("domicilium matrimonii"). However, this ritual is seemingly absent from the wedding of Cato and Marcia as described in the Pharsalia of Lucan as well as the wedding of Pudentilla to Apuleius recounted in the autobiographical telling of Apuleius himself. Another wedding without such a ritual appears to be documented in the Digests, in which the 2nd-century jurist Ulpian mentions that another jurist, Cinna, recorded an incident in which an individual who married a woman whilst away and then perished while returning from dinner by the Tiber. Despite the apparent omnipresence of this notion of a groom leading his wife, it is unclear if the groom physically led the bride during the ceremony: Roman literature provides few, if any, actual descriptions a groom genuinely leading the bride. Karen Hersch proposes that the "earliest forms of the Roman wedding" may have involved a literal leading of the bride that vanished from later versions of the Roman wedding ceremony, although the language describing the leading of the bride persisted. Hersch further theorizes that the absence of the groom could be partially explained by the potential origins of the Roman wedding in the rape of the Sabine Women, an event in Roman mythology in which Romulus kidnapped Sabine women and brought them to Rome as brides. According to Hersch, the evocation of the myth of the Sabine women was intended to convey to the bride that she singlehandedly had the capacity to bring "concordia," meaning "union" or "harmony," to the Roman marriage by emulating the submissiveness and loyalty the Sabine brides demonstrated to their newfound Roman husbands. Festus explicitly supports the interpretation of the domum deductio as a ritual originated from the Rape of the Sabine Women, declaring that the kidnapping was reenacted during the wedding ceremony as Romulus garnered great benefits from the rape of the Sabines. Dionysius of Halicarnassus, a 1st-century BCE Greek rhetorician, records that, after the rape, Romulus attempted to alleviate the despair of the captured girls by informing them that it was a Greek custom and the most illustrious manner of marriage for women, before imploring them to thank Tyche (the Greek equivalent of the Roman goddess Fortuna) for allotting them husbands.

The existence of ornaments decorating the groom's house in preparation for the arrival of the bride is strongly hinted at by the mention of their absence at the wedding of Cato and Marcia: Lucan claims that—at this wedding—no festal wreath crowned the gate, a gleaming infula was not entangled around the posts, ivory steps were not present, a wedding torch was not carried, the couch was not embroidered with gold, and the bride herself was not adorned with the wedding garland, the flammeum, a necklace ("monile"), or a jeweled girdle ("balteus") to confine her "flowing robe;" her arm was also not covered by a type of linen garment called a "supparum." Hersch claims that such opulence and decor, in particular the parts related to the bride, likely conveyed her value as the manager of domestic affairs.

According to Pliny the Elder, pig's fat was sacred to the "ancients" and, during his lifetime, continued to be smeared upon doorposts by brides when they were entering the house of the groom. He also cites an author named Masurius, who claims that the "ancients" gave the "palm" to wolf fat and that, likewise, brides coated doorposts with wolf fat to safeguard themselves against any "evil medicine" ("mali medicamenti"). Servius similarly states that the fat and limbs of wolves were viewed as remedies for various medical ailments. Furthermore, Servius explains that this tradition derives from the myth of Romulus and Remus, the two legendary founders of Rome who were nursed by a she-wolf; he clarifies that these rituals were performed to ensure the bride knew that she was entering into a sacred household and because of the loyalty of the wolf, leading Karen Hersch to speculate that the tradition may have symbolized the faithfulness of the bride. Servius also claims that was considered a baleful omen for the bride to trample over the threshold ("limen") of the house, because it was the "thing of Vesta" ("rem Vestae") and therefore sacred. This tradition is also seemingly referenced by Catullus, who commands a bride to cross the threshold (also called a "limen") with "a good omen" and her "golden feet." In another one of Catullus's poems, he describes a lady standing upon this border with a worn-out shoe, potentially indicating—according to Karen Hersch—that this woman may have been of impure morality. In the play Casina by Plautus, the maid Pardalisca instructs the bride—the slave Chalinus disguised as Casina—to lift her feet over the threshold, explaining that this ritual must occur for her to always remain more powerful than the groom, to conquer him, and to despoil him. The historian Gordon Williams suggests that this speech was likely given by the mater familias Cleustrata and functioned as an intentional subversion of a legitimate Roman nuptial speech; therefore, he concludes that the inverse of these claims, the idea of a bride being subservient to their husband, must have been the genuine advice offered to the bride. Karen Hersch adds that the proposition of Williams is unprovable, and that—even if true—the wedding depicted in Casina may more accurately reflect Greek wedding customs than Roman practices. The Roman author Plutarch proposes that the ritual carried almost the opposite significance: that the bride was involuntarily carried across the border by other individuals, symbolizing either that she was unwilling to enter the house where she would lose her virginity or that she was unwilling to enter abandon her family and therefore needed to be forcefully brought into the new home.

According to various Roman sources, there was some mention of the names "Gaia" during the Roman wedding ceremony. Plutarch—the comprehensive source available on this matter—suggests that it occurred during the domum deductio, stating that when the bride was led to their new home, the phrase "Ubi tu Gaius, ego Gaia" ("Where you are Gaius, I am Gaia") was uttered. Hersch argues that Plutarch implies that the bride did not necessarily utter this phrase of her own volition, as he utilizes the verb "κελεύουσιν" ("keleúousin," "to urge, command") to describe the ritual. Furthermore, Hersch notes that the specific adverb utilized by Plutarch, "ὅπου" ("hópou," "where"), could be translated into a Latin either as "ubi" or "quando" (both of which could mean "when"), which Hersch suggest could convey significantly distinct meanings. Plutarch proposes two possible explanations for the ritual: one suggests that it may originated to suggest that the couple had equitable control over the household, and thus–in Plutarch's view—the phrase could be rendered as "Wherever you are lord and master, there I am lady and mistress." Alternatively, he indicates that the phrase derives from Gaia Caecilia, the name adopted by Tanaquil according to some Roman sources, who is herself inaccurately labeled by Plutarch as the wife of one of Tarquin the Elder's sons even though other Roman authors label her as the wife of Tarquin. Festus also cites Tanaquil as the origin of this tradition, adding that Roman brides honored Tanaquil—whose spindle and distaff were alleged by Pliny to have been stored in the Temple of Sancus—because they sought a good omen for their wool-working skills. According to Hersch, Plutarch further indicates that the names "Gaius" and "Gaia" may have functioned as placeholder names, equivalent to terms such as John or Jane Doe. Hersch suggests that the writings of the 1st-century CE rhetorician Quintilian carry a similar connotation, as they note that the names "Gaius" and "Gaia" were used at the wedding ceremony—in Hersch's view—"presumably to mean simply 'man and woman.'" Another reference to the name "Gaia" being invoked at weddings appears in the works of Cicero, who mocks overly pedantic lawyers by remarking those who excessive attention to semantics might believe that the bride is literally renamed "Gaia" after the type of Roman marriage known as "coemptio."

Fire and Water

Dionysius of Halicarnassus, writing in the 1st-century BCE, claims that the marriages subsequent to the rape of the Sabine women were performed via a "communion of fire and water," a ritual which—according to Dionysius—remained prevalent "even down to [his] times." The earliest references to the presence of fire and water and the Roman wedding ceremony derive from the Augustan period, with the author Varro claiming that fire and water were the conditions of procreation and thus important in the wedding ceremony. Varro explains that fire was connected to masculinity due to an association with the semen and that water is feminine because the embryo swims in a fluid substance. According to Varro, Venus—presumably also referring to love as a concept—is necessary to overcome the opposing forces of fire and water and bring about the union of marriage. Plutarch, among many other hypotheses, inquires whether fire and water were utilized at Roman weddings because fire and water are imperfect when separated, as fire without water is arid while water without heat is inert and unproductive; however, when they brought together, Plutarch suggests that they produce a more ideal union symbolic of a more ideal life. Alternatively, he proposes that the substances represented that the couple would remain together even if they lacked anything other than fire and water to share with each other. Ovid, writing during the lifetime of Varro, suggests that, because the combination of fire and water contains the source of life, the "ancients" may have denied it to exiles and used it to mark new brides. However, he implies that this tradition continued to be practice during his lifetime as he utilizes the present tense to describe the creation of new brides. Festus provides two separate possible explanations for this ritual: he states that the bride was sprinkled with water either so that she may approach her husband morally pure ("casta puraque") or to share the fire and water with him. Connotations of purity are also apparent in one of Plutarch's suggested explanations: Plutarch postulates that fire purifies and water cleanses, thus they were used to ensure the bride remained "pure and clean." Servius provides additional details on the nature of the ritual, claiming that the water was taken from a "pure fountain" ("puro fonte") by a most fortunate ("felicissimum") boy or girl and used to wash the bride's feet. He also mentions that lightning, which seemingly represents a type of fire at the wedding, was simultaneously considered by some to be an ill-omen and a propitious sign. This tradition is also depicted in the legal comments of the 2nd-century CE jurist Scaevola, who notes that—if a couple divorced— then any gift of money made before the bride had "crossed over to the groom" (possibly referring to the domum deductio) and had been "accepted by water and fire," could not be demanded to be returned from the wedding dowry.

Wedding Torches

Although Plutarch claims that "neither more or less" than 5 torches were carried at the Roman wedding, he is unable to offer a definitive explanation for why this number was chosen. He proposes that it may connected the number of wedding deities: Zeus Teleios, Hera Teleia, Peitho, Aphrodite, and Artemis, whom—according to Plutarch—is often invoked by women in childbirth. Plutarch also suggests that the usage of torches stems from cultural associations between light and birth while the specific number of 5 derives from the maximum of 5 children Plutarch believed women were capable of having in one birth. Alternatively, Plutarch proposes that 5 was chosen because the indivisible nature of odd numbers, such as 5, precluded them from the symbolism of strife found in even numbers. Furthermore, 5 specifically is the combination of the first even number, 2, and the first odd number, 3; therefore, according to Plutarch, it represents a symbolic union akin to marriage. This claim is seemingly consistent with other depictions of odd and even numbers in Roman literature: For instance, Virgil once claims that "The god is pleased by the odd number" ("numero deus impare gaudet"). Another hypothesis posited by Plutarch is that it may derive from the Aediles, who had the right to possess more torches than the Praetors, who could only carry three. This claim is possibly connected to the Lex Ursonensis, a Roman law which mentions that Aediles are allowed to hold wax tapers called "cereos," a term similar to the word Plutarch claims is used to refer to the Roman wedding torches: "cereones" ("κηρίωνας"). Another possibility is that this relates to a claim asserted by Festus: that one wedding torch once honored the goddess Ceres. This insinuation, which is entirely unsupported by other texts, could—according to Karen Hersch—connect to the proposition of Plutarch as one of the original functions of the Aediles was to manage worship at the Temple of Ceres.

It is unclear exactly who held the wedding torches during Roman weddings: In his Eclogues, Virgil instructs the groom—an individual named Mopsus—to "cut fresh torches" because he must prepare for the arrival of the bride to his home. However, Seneca mentions Agripinna the Younger—the mother of Nero—carrying torches during the wedding of Octavia; Catullus commands young boys to lift up torches during one wedding ceremony. In Roman poetry, it was common for a mythical figure to be depicted carrying the torches: Catullus mentions the god Hymen shaking pine torches and Ovid describes either Juno or Hymen at propitious unions. Iphis, a woman raised as a man in Greek mythology, fell madly in love with Ianthe, another woman whom she was intended to wed, however this situation threatened to expose her true sex. Iphis laments the unfortunate nature of her predicament, including that she be the only woman to ever feel attraction towards another woman, leading the gods to respond to her cries by transforming her into a man. At the following wedding, the deities Venus, Juno, and Hymen are all present and congregate at the wedding torches. However, Ovid describes the furies bearing the torches at weddings for ill-omened couples: Canace, a Thessalian princess in Greek mythology who mothered a child with her own brother, exclaims that, although Hymen must flee with his wedding torches from her "nefarious home" ("tecta nefanda"), the Furies are permitted to enter so they could light her funeral pyre. Ovid mentions that both Hymen and Juno were absent from the wedding of Procne, an Athenian princess who murdered her child; instead, he claims that the furies brought wedding torches taken from funerals. According to Ovid, Procne and the Thracian king Tereus were wedded and conceived their child under this omen. Ovid also chooses to convey the doomed nature of a wedding if the wedding ritual is carried out improperly: Hymen arrives to the wedding of Orpheus and Eurydice with a displeased countenance and an unlit torch and the deity is described as fleeing from the wedding altars of Cydippe, an Athenian girl set to marry Acontius; Cydippe complains that Hymen has failed to light the torches and has carried them with a lazy hand. In the Thebaid, Statius conveys the unlucky nature of a wedding by highlighting the presence of Hymen and an "ill-omened Juno" ("infausta Iuno") with an "inauspicious torch" ("sinistram facem"). Martial appears to invoke Hymen as a blessing for his friends in one of his letters: While describing the wedding of Claudia Peregrina and Pudens, he declares "A blessing for your torches, o Hymen!" According to Hersch, Festus's unique claim that one wedding torch formerly honored Ceres may derive either from Ceres's connections to fertility, and therefore the potential to bring fertility to the bride, or her absence from the wedding of her daughter—Prosperina—to Pluto.

Pliny the Elder also refers to a "spina" ("thorn") that is the "most auspicious of all the nuptial torches" ("nuptiarum facibus auspicissima"), because—according to another author named Masurius—they were once used by the shepherds who participated in the rape of the Sabine women. This torch is likely related to the torch of "spina albina" ("white thorn," presumably the whitethorn plant) described by Festus, who claims that during the wedding one of the patrimi and matrimi carried such a torch while two others carried a bridal torch because the ceremony used to occur at nighttime. Festus adds that this torch was confiscated by friends to prevent the groom from burning it in a sepulcher or both the bride and the groom (for the groom, specifically at night) from placing the torch underneath the wedding bed because, according to Festus, both acts were thought to bring premature death to one another. Although Festus describes the torches in the present tense, indicating the tradition was contemporary to his lifetime, Varro—as recorded by the 4th or 5th century grammarian Nonius Marcellus—utilizes the imperfect past tense to describe the whitethorn torches, indicating the opposite. Varro claims that—of the two torches used during the wedding—one was lit by the bride using fire from her household hearth and the other was whitethorn and carried by a freeborn boy. Despite the apparent prevalence of whitethorn torches in the Roman wedding during some part of Roman history, other authors mention torches made of various different materials: Servius writes that the cornel tree was used to create wedding torches and other authors, often in poetry, mention pine as the source of nuptial torches. Aside from the previously mentioned description by Catullus, Seneca mentions Medea, a Greek mythological figure, carrying a pine torch and the "bridesmaid's torch into the bedroom" ("pronubam thalamo feram"). Seneca, in the same text, mentions the god Hymen kindling pine torches shortly prior to the Fescennine Verses.

Depiction of the dextrarum iunctio from a Roman sarcophagus.

Dextrarum Iunctio

See also: Dexiosis

Roman art offers numerous depictions of the bride and groom joining hands during the wedding ceremony, a ritual reflected in literature by various accounts of the physical joining of the couple. Although the practice of joining right hands—referred to as the dextrarum Iunctio in the Latin language—is prevalent in artistic depictions, few pieces of Roman literature contain explicit descriptions specifically of the clasping of the hands. Classical scholars Karl Sittl and Gordon Williams argued that this ritual was connected to the Roman concept of a manus marriage (manus means "hand" in Latin), in which a marriage "cum manu" ("with a hand") ensured that the bride was transferred from the authority of her father to her husband. Thus, the dextrarum iunctio may have been a physical expression of this transfer of power, the defining moment in which the bride officially left the authority of their father. Evidence for this theory can be found in one of the few explicit mentions of the dextrarum iunctio in Roman writing: in the works of Claudian. Claudian describes Stilicho, who was one of the most prominent figures in Roman politics during this time period, performing the "father's office" and uniting the groom, Emperor Honorius with his bride, Empress Maria, using his "illustrious hand" to demonstrate his support for the marriage. Another potential account of a dextrarum iunctio in Roman literature derives from the Controversiae of Seneca, which recounts a hypothetical scenario involving a contubernium marriage (a type of marriage involving slaves), in which slave is unable to touch the right hand of the bride. Karen Hersch postulates that the scarcity of references to the ritual in Roman literature indicates that rather than describing a genuine practice, the idea of clasping of the hands served as visual shorthand for the idea of union in marriage.

Wedding Chants

Fescennine Verses

Main article: Fescennine Verses

The Fescennine Verses, known in Latin as the "Fescennini versus" or, alternatively, the "Fescennina iocatio" ("Fescennine Joke"), were a set of lewd and derisive songs performed during the Roman wedding ceremony. These songs were likely intended to ridicule the bride or the groom by highlighting embarrassing details of the individual's lives: In the Controversiae of the 1st-century BCE writer Seneca the Elder, an individual criticizes an acquaintance's decision to award one of his slaves with freedom and his daughter's hand in marriage, stating that during the Fescennine verses it will be joked that the groom would be crucified. However, the 2nd-century rhetorician Calpurnius Flaccus indicates that the groom could pronounce their own verses: Flaccus, while disputing the idea that a child born of rape should not be considered the son of the rapist, remarks that "if he does not kindle the torches and sing the Fescennine verses, then he is not able to be the father." Festus further mentions another type of abusive song called the "sermo praetextus," which were directed towards the bride; he claims that this tradition originates either from a supposed tendency of young boys to shout obscene language towards the bride who had discarded the toga praetexta.

The origins of these songs are unclear: Horace claims that they derived from earlier "ancient farmers' ("Agricolae prisci"), who had a custom of—after the grain harvest—propitiating tutelary deities by offering a pig for the Earth, milk for Silvanus, and flowers and wine for memory of their short lives. Horace further claims that the offensiveness of the verses led to the enactment of a law designed forbidding the songs, which was enforced by "terror of the cudgel" ("formidine fustis"). Lucan implies that the verses were Sabine in origin, mentioning that the "morose husband did not receive the festal abuses by the Sabine custom." Livy, on the other hand, attributes the origin of the song to the Etruscans: he claims that Etruscan actors used to perform the Fescennine verses. Servius states that the songs derive from an Athenian people and the 3rd-century philosopher Porphyry, while commenting upon the works of Horace, claims that the Fescennine Verses were called "Atellan." Festus notes that the songs were designed to repel the fascinus, a type of apotropaic phallic symbol in ancient Rome; he further suggests that the two terms were etymologically connected. The phallic imagery of the fascinus is, according to Karen Hersch, possibly connected to the aforementioned agrarian origins of the verses through the form of some variety of fertility ritual. If the Fescennine verses did indeed have a connection to fertility rituals, then it is possible its inclusion in the Roman wedding was motivated by a desire to bring fertility to the wedding couple. However, according to Hersch, this theory appears incongruent with the existence of Fescennine songs that had no connection to sexually explicit themes or lyrics.

Pliny the Elder mentions that walnuts accompanied the Fescennine verses during weddings, citing two possible explanations: either because the protective shell of the nut signified the protection of offspring—the argument Pliny finds the most convincing—or because the noise the nuts made when thrown upon the floor constituted a good omen. Servius opts for the former explanation of the tradition, claiming that—according to his source: Varro—it was believed that the nuts were under the protection of Jupiter and that the rattling noise of children yearning for the nuts would drown out the noise of the bride losing her virginity on the wedding night. Festus supports the latter interpretation of the ritual, explaining that the custom of throwing nuts to boys at the wedding emerged because the nuts constituted an auspicious sign for the bride upon entering the home of the groom.

Thalasssio and Feliciter

According to Livy, the Romans would chant "Thalassio" during weddings as, during the rape of the Sabine Women, a girl "conspicuous among them for all her grace and beauty" was designated for an individual named Thalassius, and thus, to uphold his claim, the Romans chanted "Thalassio" (meaning "for Thalassius"). Servius also connected the chant to the myth of the Sabine women, claiming that Thalassius was invoked as a protector of virginity, because—during the rape of the Sabine women—he aimed to prevent others for capturing the girl by pretending she was of a noble leader, by whose name her virginity was safeguarded. Plutarch inquired into the origins of this chant in his Quaestiones Romanae, theorizing that it may either derive from the aforementioned possibilities or that it may derive from wool-spinning; he cites the similarity between Thalassio and the Greek word "τάλαρος" (meaning "wool-basket"), the custom of spreading a fleece underneath the bride, and of using a distaff and a spindle to hang a woolen yarn from the door of the husband's house. Festus supports this argument, stating that the term "talassio" (Festus and his source, Varro, spell the word like Talassio instead of Thalassio) derived from a type of basket called the "quassilus" which was the equivalent of the calathus, a type of basket involved in wool-working. Catullus describes the groom serving an entity called Talasius, likely a personification or deification of Talassius or the "Thalassio" chant. Martial similarly personifies the chant, while describing the usage of the cry at a wedding ceremony, he directly addresses the entity of Talassius himself: "nor were the words of thy song, Talassius, unheard." Despite this singular reference to Talassius, Martial exclusively utilizes the standard term for the chant, "Talassio," throughout the rest of his writings. Karen Hersch interprets this abnormality as an intentional discrepancy or inaccuracy designed to highlight the unconventional nature of the wedding, which was a homosexual union between two men: Callistratus and Afer. Both Plutarch and Servius connect this chant to the Greek tradition of invoking Hymen during their weddings, with Servius more specifically citing that Hymen was also supposedly invoked as a defender of virginity. It is unclear whether Thalassio was sung, shouted, or chanted: Although Plutarch claims that it was sung, Livy refers to it as the "nuptialem vocem," literally meaning "nuptial voice" or, more figuratively, "nuptial chant." Accounts from Martial imply that there were multiple words involved in the chant, as he refers to the "verba" ("words") of the cry in the plural; in one section of his Epigrams, he ridicules the idea of removing profanity from his works, stating "You might as well order me to say Talassio without using the words of Talassio." Petronius, a 1st-century Roman author, mentions that during a wedding ceremony the entire household ("familia") began chanting "Gaio feliciter" ("Good luck for Gaius"). Juvenal implies that the interjection "feliciter" was uttered at some point during the wedding ceremony; he mentions it alongside a list of other events that occurred at the wedding, such as the signing of the tablets.

Wedding Assistants

Camillus and the Patrimi et Matrimi

According to Varro, "those who have interpreted difficult words" believe that there was once a type of a handmaid called the camilla, who functioned in "more secret" matters. Varro believes that another type of wedding guest, called the camillus, derives from the camilla; Varro further explains that the camillus carried some type of box called the cumerum which contained items unknown to most of those who partook in the ceremony. However, Festus claims that the term camillus was also used as a synonym for the cumerum, instead of exclusively for the individual. Furthermore, Festus does not leave the contents of this box so mysterious: he explains that the item, which—according to Festus—was an opened vase, actually held the "materials of the bride" ("nubentis utensilia").The camillus appears to have also functioned as some variety of religious assistant: Festus states the position was connected to a type of Greek figure called the "κάσμιλον," which held this exact role. More specifically, the camillus was potentially connected to the Flamen Dialis: Festus directly states that the camillus was a freeborn boy who aided this priest in sacrifices and Plutarch similarly claims that this individual was a boy with "both his parents living" who served in the Temple of Jupiter and that the term "camillus" derived from a Greek name for Mercury. The comment by Plutarch that the child must have living parents suggests a possible connection to the patrimi and matrimi mentioned by Livy, who—according to Livy—were a group of ten freeborn persons and ten virgins with living fathers and mothers respectively who and also functioned as assistants in sacrifices. If Plutarch was referring to the patrimi and matrimi, then this contrasts with a statement by Servius that they sing for Juno due to the Punic Wars. It also appears to clash with Festus's apparent differentiation between the patrimi and matrimi, who he claims helped carry the wedding torches, and the camillus, who he says helped carry bridal accoutrements. Festus further distinguishes the camillus from the camelis virginibus, who Festus claims were accustomed to helping the bride about the wed.

Pronuba

Although the pronuba was seemingly important to the Roman wedding, little is known about this role beyond that they likely functioned as an assistant for the bride. The earliest references to the pronubae derive from the Augustan period: One appears in the writings of Varro as recorded by Servius, another—the first reference to any specific individual labeled as the pronuba—derives from the Aeneid. In the Aeneid, during the wedding of Aeneas and Dido in the cave, Juno Pronuba is present alongside Tellus to "give the sign." Later, an enraged Juno declares that the wedding dowry for Lavinia shall be paid by Trojan and Rutulian blood, and the war goddess Bellona shall be the pronuba instead of her. Karen Hersch suggests that the original audience of the Aeneid may have been intended to view the wedding is illegitimate due to the wrath of Juno, as in the Digests it is stated that statements made in anger—such as a request for divorce—are not necessarily legally valid. Whereas in the writings of Ovid the presence of Juno Pronuba (for instance, at the ill-omened wedding of Jason and Hypsipyle) does not necessarily signify that the wedding will be fortunate, her absence is utilized to highlight the doomed nature of a wedding: She is absent from the wedding of Procne, who eventually murdered her son Itys, and from the wedding of Phyllis, who eventually commits suicide. Phyllis mentions that Tisiphone, an Erinys who punished murderers, served as the pronuba at her wedding instead of Juno. Throughout other Roman writings, the Erinyes appear as the pronubae at particularly cursed weddings: In the Oedipus of Seneca, the ghost of the former Theban King Laius threatens that he shall bring an Erinys as the pronuba and. in The Golden Ass of Apuleius, the character of Charite tells the villainous Thrasillus—who attempted to marry her—that he shall have only the blindness, the pain of his conscience, and the Erinyes as pronubae. Lucan, in his Pharsalia, notes that, during the wedding of Cornelia Metella, an Erinys was the pronuba alongside the ghosts ("umbrae") of slaughtered Crassi—a branch of the Licinia family. Servius, Tertullian, and Festus both provide definitions of the pronuba: All three claim that pronubae were summoned to the wedding and were required to have had only one husband. Isidore of Seville, a Medieval author writing after the fall of Rome, also offers a definition of the pronuba, stating that it is a type of paranymph who oversaw the wedding ceremony.

Wedding Couch

Festus explains that the term for the wedding couch, the lectus genialis ("genial couch"), is referred to as such because it derives from the genii—spirits for whom Festus claims the lectus was decorated or laid out. Arnobius, writing centuries later, provides a similar claim, mentioning that the Romans pagans in prior ages used to call upon genii of matrimony. In contrast, Varro claims that the couch was laid out in honor of the deities Pilumnus and Picumnus, two deities associated with children. Further connections to childbirth appear in the play Medea by Seneca, in which the titular character summons Lucina—a Roman goddess of childbirth—who is described in the text as being "of the marriage bed" ("genialis tori"). The couch was often described as lavishly ornamented: Juvenal mentions Messalina bringing a Tyrian genialis to her wedding and Claudian mentions that the wedding couch for Honorius and Maria was of the expensive Tyrian purple dye and would soon be splotched with blood following sexual intercourse. Tacitus—while describing the wedding of Nero and the freedman Pythagoras—implies that the emperor copulated with his partner in the wedding couch; he mentions that, after reclining amongst their guests, they spent their night acting in a manner permitted by the "conjugal license," presumably referring to sex. Another segment from Apuleius conveys a similar implication: a woman is condemned to be publicly humiliated by having sex with the protagonist Lucius, who has been transformed into a donkey. The punishment was set to imitate a wedding ceremony, including a nuptial couch stuffed with feathers, covered by a bedspread of flowers, and adorned with tortoiseshells. However, the reliability of these depictions is questionable: Karen Hersch notes that the wedding of Lucius was aberrant, and the weddings of Nero and Messalina lack explicit confirmations of sexual intercourse occurring on the couch. Furthermore, Augustine explicitly denies that the first act of intercourse between the bride and the groom was public, stating that when the wedding couple retire to the nuptial bed the wedding attendants withdraw from the ceremony.

Depictions in art and literature

The fresco in the Villa of the Mysteries

In the ancient city of Pompeii some of the frescoes in the "Villa of the Mysteries" may depict Roman weddings. However, it possible that they depict a woman being introduced into the Cult of Dionysus, a beauty pageant honoring Dionysus, or some combination of these. Depictions of weddings in ancient Rome generally allude to the Roman gods. Literary evidence for ancient Roman weddings is heavily biased towards the weddings of the upper-classes, with depictions of the weddings of the poor or rural folk excluded from the literary record. In Roman literature, a bride is usually portrayed as a grieving woman who needs to be persuaded or forced to marry. Literary evidence suggests that some of the most significant components of the Roman wedding were the veiling and the leading: the woman was said to "nubere viro," meaning "to put on a veil for the husband," and men were said to "ducere uxorem," meaning "to lead the wife." The wedding ceremony itself was called nuptiae in the Latin language, derived from the verb "nubere" (meaning "to veil"). This emphasis on the leading or veiling of the bride indicates the Roman wedding was primarily focused on the bride, a potential explanation for the comparative lack of information regarding the Roman groom.

The oldest Roman description of wedding practices derives from the play Casina by Plautus; in the play, he recounts a fictional tale of an elderly Athenian Lysidamus who attempts to begin an affair with the slave girl Casina by marrying one his own slaves to her. His wife uncovers the plot and attempts to fool Lysidamus by disguising one her male slaves, Chalinus, as Casina. In order to remain effectively disguised, Chalinus remains quiet, explaining this silence as a form of bridal modesty or an expression of grief over the loss of their original family. It is possible that the play accurately reflects at least some aspects of Roman slave weddings, primarily the possibility of their existence. However, Plautus explicitly calls slave weddings a rare event within the text. Furthermore, Plautus is considered a generally unreliable source for accurate descriptions of Roman society due to the strong Greek influence on many of his plays. Catullus is the only Roman author to describe a type of special shoes used as a bridal adornment.