The mythologies in present-day Italy encompass the mythology of the Romans, Etruscans, and other peoples living in Italy, those ancient stories about divine or heroic beings that these particular cultures believed to be true and that often use supernatural events or characters to explain the nature of the universe and humanity.

Roman mythology is the body of myths of ancient Rome as represented in the literature and visual arts of the Romans. One of a wide variety of genres of Roman folklore, Roman mythology may also refer to the modern study of these representations, and to the subject matter as represented in the literature and art of other cultures in any period. Roman mythology draws from the mythology of the Italic peoples and ultimately from Proto-Indo-European mythology.

Roman mythology also draws directly on Greek mythology, potentially as early as Rome's protohistory, but primarily during the Hellenistic period of Greek influence and through the Roman conquest of Greece, via the artistic imitation of Greek literary models by Roman authors. The Romans identified their own gods with those of the ancient Greeks—who were closely historically related in some cases, such as Zeus and Jupiter—and reinterpreted myths about Greek deities under the names of their Roman counterparts. Greek and Roman mythologies are therefore often classified together in the modern era as Greco-Roman mythology.

Latin literature was widely known in Europe throughout the Middle Ages and into the Renaissance. The interpretations of Greek myths by the Romans often had a greater influence on narrative and pictorial representations of "Greco-Roman mythology" than Greek sources. In particular, the versions of Greek myths in Ovid's Metamorphoses, written during the reign of Augustus, came to be regarded as canonical.

Because ritual played the central role in Roman religion that myth did for the Greeks, it is sometimes doubted that the Romans had much of a native mythology. This perception is a product of Romanticism and the classical scholarship of the 19th century, which valued Greek civilization as more "authentically creative." From the Renaissance to the 18th century, however, Roman myths were an inspiration particularly for European painting. The Roman tradition is rich in historical myths, or legends, concerning the foundation and rise of the city. These narratives focus on human actors, with only occasional intervention from deities but a pervasive sense of divinely ordered destiny. In Rome's earliest period, history and myth have a mutual and complementary relationship. As T. P. Wiseman notes:

The Roman stories still matter, as they mattered to Dante in 1300 and Shakespeare in 1600 and the founding fathers of the United States in 1776. What does it take to be a free citizen? Can a superpower still be a republic? How does well-meaning authority turn into murderous tyranny?

Major sources for Roman myth include the Aeneid of Virgil and the first few books of Livy's history as well as Dionysius's Roman Antiquities. Other important sources are the Fasti of Ovid, a six-book poem structured by the Roman religious calendar, and the fourth book of elegies by Propertius. Scenes from Roman myth also appear in Roman wall painting, coins, and sculpture, particularly reliefs.

The Aeneid and Livy's early history are the best extant sources for Rome's founding myths. Material from Greek heroic legend was grafted onto this native stock at an early date. The Trojan prince Aeneas was cast as husband of Lavinia, daughter of King Latinus, patronymical ancestor of the Latini, and therefore through a convoluted revisionist genealogy as forebear of Romulus and Remus. By extension, the Trojans were adopted as the mythical ancestors of the Roman people.