stylistic:tone, quality:corruption
Signs, context and symbols

Images of Venus have been found in domestic murals, mosaics and household shrines (lararia). Petronius, in his Satyricon, places an image of Venus among the Lares (household gods) of the freedman Trimalchio 's lararium.

The Venus types known as Venus Pompeiana ("Venus of Pompeii") and Venus Pescatrice ("Venus the Fisher-woman") are almost exclusive to Pompeii. Both forms of Venus are represented within Pompeian homes of the well-off, with Venus Pompeiana more commonly found in formal reception spaces, typically depicted in full regalia, draped with a mantle, standing rigidly upright with her right arm across her chest. Images of Venus Pescatrice tend to be more playful, usually found in less formal and less public "non-reception" areas: here, she usually holds a fishing rod, and sits amidst landscape scenery, accompanied by at least one cupid.

Venus' signs are for the most part the same as Aphrodite's. They include roses, which were offered in Venus' Porta Collina rites, and above all, myrtle (Latin myrtus), which was cultivated for its white, sweetly scented flowers, aromatic, evergreen leaves and its various medical-magical properties. Venus' statues, and her worshipers, wore myrtle crowns at her festivals. Before its adoption into Venus' cults, myrtle was used in the purification rites of Cloacina, the Etruscan-Roman goddess of Rome's main sewer; later, Cloacina's association with Venus' sacred plant made her Venus Cloacina. Likewise, Roman folk-etymology transformed the ancient, obscure goddess Murcia into "Venus of the Myrtles, whom we now call Murcia".

Myrtle was thought a particularly potent aphrodisiac. As goddess of love and sex, Venus played an essential role at Roman prenuptial rites and wedding nights, so myrtle and roses were used in bridal bouquets. Marriage itself was not a seduction but a lawful condition, under Juno 's authority; so myrtle was excluded from the bridal crown. Venus was also a patron of the ordinary, everyday wine drunk by most Roman men and women; the seductive powers of wine were well known. In the rites to Bona Dea, a goddess of female chastity, Venus, myrtle and anything male were not only excluded, but unmentionable. The rites allowed women to drink the strongest, sacrificial wine, otherwise reserved for the Roman gods and Roman men; the women euphemistically referred to it as "honey". Under these special circumstances, they could get virtuously, religiously drunk on strong wine, safe from male intrusion and Venus' temptations. Outside of this context, ordinary wine (that is, Venus' wine) tinctured with myrtle oil was thought particularly suitable for women.

Venus' long association with wine reflects the inevitable connections between wine, intoxication and sex, expressed in the proverbial phrase sine Cerere et Baccho friget Venus (loosely translated as "without food and wine, Venus freezes). It was used in various forms, notably by the Roman playwright, Terence, probably by others before him, and certainly into the early modern era. Although Venus played a central role in several wine festivals, the Roman god of wine was Bacchus, identified with Greek Dionysus and the early Roman wine-god Liber Pater (Father of Freedom).

Roman generals given an ovation, a lesser form of Roman triumph, wore a myrtle crown, perhaps to purify themselves and their armies of blood-guilt. The ovation ceremony was assimilated to Venus Victrix ("Victorious Venus"), who was held to have granted and purified its relatively "easy" victory.