This glossary of ancient Roman religion provides explanations of Latin concepts pertaining to religious practices and beliefs, with links to articles on major topics such as priesthoods, forms of divination, and rituals. The vocabulary of religion in ancient Rome was highly specialized, and often influenced later religious vocabulary in Europe, particularly that of the Western Church.

For theonyms, or the names and epithets of gods, see List of Roman deities. For public religious holidays, see Roman festivals. Individual temples and other landmarks of religious topography in ancient Rome are not included in this list; see Roman temple.

The verb abominari ("to avert an omen", from ab-, "away, off," + ominari, "to pronounce on an omen") was a term of augury for an action that rejects or averts an unfavourable omen indicated by a signum, "sign". The noun is abominatio, from which English "abomination" derives. At the taking of formally solicited auspices (auspicia impetrativa), the observer was required to acknowledge any potentially bad sign occurring within the templum he was observing, regardless of the interpretation. He might, however, take certain actions in order to ignore the signa, including avoiding the sight of them, and interpreting them as favourable. The latter tactic required promptness, wit and skill based on discipline and learning. Thus the omen had no validity apart from the observation of it.

Jozef van Wissem (born 1962 in Maastricht) is a Dutch minimalist composer and lute player.

Nika Roza Danilova (born April 11, 1989), better known by her stage name Zola Jesus, is an American singer-songwriter. Having released three EPs and three full-length albums, combining electronic, industrial, classical, goth, and experimental rock influences, she received generally positive reviews and was regarded as one of the names to watch out for in 2011.

Nika Roza Danilova was raised in Merrill, Wisconsin, on over 100 acres of forest. "I was delusional as a kid; I never spent a lot of time around other people my own age except for my brother, who's a year older," she remembered. Speaking of her childhood's harsh realities, she remembered the climate ("The cold is unbelievable. I try not to complain") and general wilderness, the lack of TV or internet. "When you live around a lot of people in a city and that synthesized stimulation, you can get lost in that's the hustle and bustle. When you grow up in the country you have nothing to stimulate you but what you seek," she said. Some of Danilova's later goth sensibilities might have come from the impressions of her early childhood when she was exposed to a hunter's environment and a survivalist's worldview. "My dad was a hunter so there would constantly be animal parts all over the place. He'd be out in the forest and bring back deer heads hoping that animals would eat the flesh and leave a skull. But it wouldn't happen. There would just be a deer head hanging from a tree branch you could literally bump into", she remembered. "Our milk was from the neighbor's cow. I am not a country bumpkin but this is how we live. We ate deer and pheasant and venison and all this meat that my dad would go out and kill", she added.

Johannes Ciconia (c. 1370 – between 10 June and 13 July 1412) was a Flemish composer and music theorist of the late Middle Ages who worked most of his adult life in Italy, particularly in the service of the Papal Chapels and at the cathedral of Padua.

Ciconia was born in Liège, the son of a priest also named Johannes Ciconia and a woman of high standing. The composer had the same name as at least three other men around Liège, and this has created confusion about his biography. A Johannes Ciconia, probably the composer's father, worked in Avignon in 1350 as a clerk for the wife of the nephew of Pope Clement VI. Another Johannes Ciconia is recorded in Liège in 1385 as a duodenus, generally a person of young age; scholars agree that this is the composer himself.

Papal records suggest that Ciconia was in the service of Pope Boniface IX in Rome in 1391. His whereabouts between the early 1390s and 1401 are unknown. From this time until his death in 1412, he remained connected with the cathedral of Padua. It is unclear whether he arrived in Padua earlier than 1401. His lament, Con lagrime bagnadome, is described in one source as written for the death of Francesco of Carrara. If this refers to Francesco il Nuovo, then it would date from after 1406. If, however, it was written for the death of Francesco il Vecchio, as scholars have assumed, then it would place him in Padua by 1393. The possibility of an intermediate stay in Pavia has also been suggested by Nádas and Ziino, on the grounds that this is where he would have formed his connection with the House of Visconti and acquired knowledge of the ars subtilior style and the compositions of Philipoctus de Caserta quoted in his Sus un fontayne (see below).