By Mary Harrsch © 2024
As luck would have it, last night I was researching a drawiing by Nicola La Volpe of Poseidon and Apollo observing the construction of the walls of Troy that was said to be from the House of the Tragic Poet only to discover it is from the House of Siricus (VII.1.47). But while examining the images of frescos in the House of the Tragic Poet, I discovered a fresco identified as either "Leda and Tyndareus" or "Venus and
Adonis" that is almost identical to the fresco identified as "Aphrodite in a nest of Cupids" in the House of Cornelius Diadumenus. Although the original fresco is even more degraded than the one in the House of Cornelius Diadumenus, 19th century artist, Wilhelm Zahn, had drawn the fresco shortly after it was excavated. I found a detailed drawing of the two central figures in the 1828 German text, "Die schönsten Ornamente und merkwürdigsten Gemälde aus Pompeji, Herculanum und Stabiae nebst einigen Grundrissen und Ansichten nach den an Ort und Stelle gemachten Originalzeichnungen = Les plus beaux ornemens et les tableaux les plus remarquables de Pompei, d'Herculanum et de Stabiae avec quelques plans et vues, d'après les dessins originaux exécutés sur les lieux."
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| House of the Tragic Poet VI 8,3-5 Pompeii. Room 12, (pompeiiinpictures floorplan) north wall of dining room original fresco of Leda and Tyndareus |
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| Leda and Tyndareus from Room 12, (pompeiiinpictures floorplan) The House of the Tragic Poet (VI 8,3-5) Pompeii by Wilhelm Zahn 1825 |
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| House of the Tragic Poet VI 8,3-5 Pompeii. Room 12, (pompeiiinpictures floorplan) north wall of dining room 1854 painting by Giuseppe Abbate published by Niccolini |
The drawing included some very interesting details I could not discern in the photograph of the degraded original fresco I had used to try to tease out the myth it could represent. In Zahn's drawing, The female figure is holding out a nest containing three children to the male figure who cradles two spears. This would tend to support the identification as Leda and Tyndareus although Tyndareus is not usually depicted with martial equipment and the nest contains only three children (without wings). After Leda's encounter with Zeus disguised as a swan, she gave birth to four children - Helen (of Troy), Clytemnestra, and the twins Castor and Pollux. So where is the fourth child?
ChatGPT reminded me, "Artistic depictions don't always adhere strictly to the number of children described in the myth [and] Leda's myth is a popular theme in Roman art and often includes the children to symbolize the divine and mortal origins of her progeny. [However,] As you point out, the myth explicitly involves four children (Helen, Clytemnestra, Castor, and Pollux). The absence of a fourth child is puzzling for this interpretation. The male figure with the two spears does not fit neatly with the representation of Tyndareus, [either] who is typically not depicted as a warrior but more as a mortal counterpart to Leda."
Then I asked about the possibility the couple represented could be Venus and Adonis. ChatGPT replied:
"Venus and Adonis are common subjects in Roman frescoes, particularly in domestic spaces, reflecting themes of love and beauty. Venus is often portrayed gifting or interacting with symbols of love, such as cupids.
"[But] The children lack wings, which makes it harder to identify them as cupids (typically winged attendants of Venus) [and] the inclusion of a male figure with two spears and another with a bow seems incongruous with the intimate, romantic dynamic usually portrayed between Venus and Adonis.
"While the fresco has elements reminiscent of both myths, the lack of specific visual cues (like a swan for Leda or winged cupids for Venus) makes either interpretation somewhat ambiguous. It's possible the scene represents a localized or personalized adaptation of these myths for the household that commissioned the fresco, blending familiar motifs without strict adherence to mythological narratives."
Then I pointed out the male figure appears to be wearing a diadem and that would be incongruous for Adonis.
ChatGPT replied: "You're absolutely right that a diadem is a significant detail that may influence interpretation. A diadem, symbolizing royalty or divinity, would indeed be incongruous with Adonis. In myth, Adonis is typically portrayed as a mortal youth of extraordinary beauty, beloved by Venus (Aphrodite), but not as a figure of royal or divine stature.
Implications of the Diadem
"Royal or Divine Status: The diadem suggests that the male figure might represent a divine or royal character rather than a mortal like Adonis. This could support the identification of the scene with Tyndareus, though Tyndareus is not typically depicted as a diadem-wearing figure in myth.
"Alternative Identities: The diadem could suggest another mythological figure with divine connections. If this is Leda, the diadem might point to Zeus (in human guise) or Castor/Pollux, both of whom have divine connotations.
"Artistic Liberty: It's also possible the artist included the diadem for aesthetic or symbolic reasons, emphasizing authority or protection without strictly adhering to mythological conventions.
Adonis Context: "Adonis is usually associated with themes of beauty, love, and tragic mortality rather than rulership or divine authority. His iconography typically includes a hunting spear or bow (symbols of his fatal hunt) but not a diadem. This detail would make it difficult to align the figure confidently with Adonis.
Likely Conclusion: "The diadem complicates the Venus and Adonis interpretation and leans the identification more toward a divine or royal pairing like Leda and Tyndareus, or possibly a generalized allegorical scene not tied strictly to a specific myth."
I asked if the diadem is just a simple ribbon would that still indicate royal status. ChatGPT replied:
"Yes, a simple ribbon tied around the head can indeed be considered a diadem in ancient contexts. In Greco-Roman art, a taenia or ribbon worn across the forehead was often associated with royalty, divinity, or heroic figures.
"Use of the Ribbon Diadem: Symbol of Status: While elaborate metal diadems could indicate kingship or divine authority, even a plain ribbon served the symbolic function of marking the wearer as significant. Greek gods, heroes, and rulers were often depicted with this type of headband in art.
"Examples in Myth and Art: Apollo and other Olympian gods are sometimes shown wearing ribbon diadems. Heroes like Achilles and Odysseus are occasionally depicted with a ribbon as a subtle mark of distinction. Mortals granted heroic honors might also be shown with a ribbon diadem in Roman iconography.
"In this fresco, the presence of a ribbon-like diadem on the male figure strengthens the argument that he is more than a mortal, lending weight to interpretations involving figures like Tyndareus, a mortal with divine associations, or even Castor or Pollux. It would, however, still seem unusual for Adonis, as his typical iconography does not include such headwear."
I reminded ChatGPT I interpreted the almost identical fresco in the House of Cornelius Diadumenus as Salmacis and Hermaphroditus because I did not have the level of detail this drawing reveals. How would the presence of the nest of children and the male holding spears adjust the possibility of the pair being Salmacis and Hermaphrodite?
"If the figures in the fresco are reconsidered as Salmacis and Hermaphroditus, the presence of the nest of children and the male figure holding spears introduces complications to that interpretation. Let’s examine these elements:
1. The Nest of Children
"Incompatibility with the Salmacis and Hermaphroditus Myth: In Ovid's Metamorphoses (Book 4), Salmacis and Hermaphroditus merge into a single being, and their story does not involve progeny or symbolic children. The nest of children could indicate themes of fertility, family, or divine gifts, which are absent in their myth.
"Alternate Associations: The children could symbolize offspring (as in Leda's myth) or allegorical "Cupids," suggesting themes of love and union, but this would deviate from the strictly transformation-focused narrative of Salmacis and Hermaphroditus.
2. The Male Figure Holding Spears
"Martial Elements: The spears introduce a martial or heroic dimension that is not typical of Hermaphroditus, who is more commonly associated with beauty, sensuality, and duality. Weapons are rarely, if ever, part of Hermaphroditus’ iconography.
"Possible Connection to Tyndareus or a Dioscuri: The spears might be a nod to Tyndareus' role as a warrior or to the martial nature of Castor and Pollux (the Dioscuri), who were born from Leda's eggs and were often depicted with spears.
3. Diadem on the Male Figure
"The diadem reinforces the idea of royalty or divine lineage, characteristics more in line with Tyndareus or a heroic figure like Castor or Pollux than Hermaphroditus, who was never portrayed as a ruler or a martial figure.
"The presence of the nest of children and the spears makes it difficult to sustain the identification as Salmacis and Hermaphroditus. These elements suggest a myth involving:
"Family or progeny (e.g., Leda and Tyndareus with the birth of their divine and mortal offspring).
"A martial or heroic figure (e.g., Tyndareus, Castor, or Pollux).
"The fresco’s composition and iconography thus seem to align more closely with Leda and Tyndareus (or a related myth) rather than Salmacis and Hermaphroditus, whose myth lacks these symbolic elements. The children further emphasize themes of lineage and divine favor, which would be at odds with the myth of Hermaphroditus."
I then asked if the two spears held by the male figure foreshadow the development of Castor and Pollux into warriors. ChatGPT replied:
"Yes, the two spears held by the male figure in the fresco could symbolically foreshadow the development of Castor and Pollux into renowned warriors. In Roman and Greek mythology, the Dioscuri (Castor and Pollux) are often associated with military prowess, heroism, and brotherly loyalty.
"Interpretive Possibilities: Martial Identity: Spears are archetypal symbols of war and combat. Their presence could allude to Castor’s skill as a horseman and Pollux’s prowess as a boxer, both of which are central to their mythological roles.
"These weapons might suggest their future participation in various heroic exploits, such as the Calydonian Boar Hunt and the voyage of the Argonauts.
"Prophetic Symbolism: If the figure is Tyndareus, the spears might reflect his role as a warrior-king and the martial legacy passed down to his sons.
"If the figure is Zeus (as some interpretations suggest), the spears could imply the divine lineage and heroic destiny of Castor and Pollux as semi-divine beings.
"Duality and Unity: The pairing of two spears might symbolize the bond between Castor and Pollux, often portrayed as inseparable twins despite one being mortal (Castor) and the other immortal (Pollux). This duality underscores their complementary skills in warfare and their ultimate unity, even in death.
"Iconographic Intent: In a Roman context, the presence of military symbols like spears would resonate with societal values of courage, loyalty, and martial excellence, ideals embodied by the Dioscuri and admired in Roman culture.
"Contextual Connection: If this fresco was displayed alongside scenes from the Aeneas and Dido myth, the spears could enhance the theme of heroic destiny and familial bonds. While Aeneas sacrifices personal happiness for Rome's future, the Dioscuri epitomize the strength of family ties and shared destiny, even in warfare.
"This layered symbolism would have been compelling in a Roman household, where such imagery would reflect the patrons' values and aspirations, emphasizing themes of legacy, valor, and divine favor."
Thinking about the presence of only three children in the nest, I asked, "Could the three children in the nest only represent the mortals born to Leda while the immortal Pollux is only represented by the second spear? ChatGPT agreed:
"Yes, the presence of only three children in the nest and the second spear might symbolize a division between the mortal and immortal offspring of Leda and Zeus, specifically highlighting Pollux's unique immortal status.
"Three Children in the Nest: If the children in the nest represent only the mortal offspring (Helen, Clytemnestra, and Castor), their inclusion might emphasize the human legacy of Leda’s union with both Zeus and Tyndareus. Pollux, as the only immortal sibling, would be excluded from this representation, his identity perhaps symbolized instead by the second spear.
"Second Spear as Pollux: The two spears may serve a dual symbolic purpose: they represent the martial prowess of both Castor and Pollux but also highlight Pollux’s distinction as an immortal warrior.
"In myth, Pollux shares his immortality with Castor upon his brother’s death, and the spears might foreshadow their eventual unity as the Dioscuri, protectors of seafarers and symbols of fraternal loyalty.
Mythological Significance: The absence of Pollux in the nest may indicate his divine origins as Zeus’s son, setting him apart from his mortal siblings. This artistic choice could emphasize the dual parentage of Leda’s children: mortal Tyndareus fathering Clytemnestra and Castor, while Zeus fathers [the mortal]Helen and [the immortal] Pollux.
"Helen of Troy was generally considered mortal in Greek mythology, though she had divine parentage. She was the daughter of Zeus and Leda, making her a demi-god. However, unlike her brother Pollux, who was granted immortality, Helen is typically described as mortal.
"Despite her mortality, Helen’s exceptional beauty was often portrayed as divinely endowed, elevating her status in myth to nearly divine levels. She did not undergo death in a traditional sense in some versions of her myth. For example, in the Iliad, Helen lives in Troy during the Trojan War, and later myths describe her as either living out her days in Sparta or being taken to the Elysian Fields, a realm reserved for the blessed dead or those favored by the gods.
"This mortal-yet-special status placed her at the intersection of the human and divine worlds, which was a significant narrative element in the Trojan War cycle and her broader mythology."
"Context in Roman Art: In a Roman household, this distinction between mortal and immortal could carry moral and cultural significance. The mortal children represent human excellence, while Pollux symbolizes divine favor and the transcendence of death through heroism and loyalty. This layered iconography would resonate with Roman values of duty, family, and the aspiration for divine legacy.
"This interpretation aligns with the mythological tradition where artistic elements often symbolize nuanced themes rather than depicting literal narrative details. The spear, as a symbol, elegantly conveys both identity and destiny."
So, if this depiction is related to Leda and Tyndareus, I wondered how the theme in the House of Cornelius Diadumenus's triclinium would be interpreted if it is displayed with Aeneas meeting Dido and Aeneas abandoning Dido. ChatGPT suggested:
"If the myth of Leda and Tyndareus (or a variation featuring Leda and Zeus) were displayed alongside Aeneas meeting Dido and Aeneas abandoning Dido, this pairing could offer rich thematic connections. Here’s how the myths might interact:
Themes of Betrayal and Abandonment
"Aeneas and Dido: These frescoes encapsulate love, trust, and ultimate betrayal. Aeneas, guided by destiny, leaves Dido despite their deep bond, leading to her despair and eventual death. The focus is on the consequences of betrayal in the name of duty.
"Leda and Tyndareus: If Leda and Tyndareus (or Leda and Zeus) are depicted, this myth could emphasize themes of loyalty and family. Tyndareus, Leda’s husband, remained by her side despite Zeus’s violation and its consequences (the miraculous eggs leading to divine children). Alternatively, if Zeus is shown, the fresco could highlight divine seduction and its fallout, akin to Aeneas's divine mandate to leave Dido.
"Connection: The juxtaposition of these stories could contrast mortal and divine relationships, exploring how betrayal or fidelity shapes destinies in love.
"Destiny and Progeny: Aeneas and Dido: Aeneas’s departure is driven by his destiny to found Rome, prioritizing legacy over personal bonds. His actions ensure the continuation of a lineage tied to divine will.
"Leda’s Offspring: The myth of Leda emphasizes progeny and their roles in mythological narratives. Helen of Troy (one of Leda's children) directly connects to themes of love, betrayal, and war, echoing Dido's role in the Aeneid. Castor and Pollux, as embodiments of loyalty and heroism, might contrast with Aeneas’s perceived abandonment.
"Connection: Displaying these myths together could emphasize the importance of lineage and destiny, whether through divine children or the foundation of civilizations.
Divine Will and Mortal Struggles
"Aeneas and Dido: Aeneas’s abandonment of Dido is a direct result of divine intervention (Jupiter reminding him of his destiny). The gods’ influence overrides mortal desires, illustrating the conflict between personal happiness and divine mandate.
"Leda’s Encounter with Zeus: If Leda’s union with Zeus is depicted, it similarly reflects the gods’ intrusion into mortal lives, altering destinies and causing ripple effects (e.g., Helen sparking the Trojan War).
"Connection: Both myths explore the tension between human agency and divine control, with Leda as a victim of Zeus and Aeneas as an instrument of Jupiter.
"Visual Interpretation: In a triclinium or other communal setting, these frescoes might invite diners to contemplate broader questions:
Love vs. Duty: Should personal bonds be sacrificed for higher purposes?
Divine Favor and Costs: How do relationships with the divine impact mortal lives, for better or worse?
The Legacy of Betrayal: How does betrayal shape history, from Dido’s curse leading to the Punic Wars to Helen’s role in the Trojan War?
"By placing Leda and Tyndareus (or Zeus) alongside Aeneas and Dido, the room would create a visual narrative about the complexities of love, the influence of fate, and the consequences of divine interaction in human affairs. These frescoes would likely resonate deeply with Roman viewers, who valued themes of duty, family, and the intricate interplay of mortal and divine will."
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