Thursday, December 5, 2024

Mars and Venus in Roman art

 by Mary Harrsch © 2024

After several digressions I finally got back to Henri Roux's reproductions of frescos in ancient Pompeii and the next fresco from Raoul Rochette's text is Roux's take on one of the Mars and Venus frescos from the House of Meleager. I didn't realize it was coming up so didn't share it when I discussed the three murals of Mars and Venus in the House of Meleager in my November 25th Facebook post.
Pre-1846 Reproduction of Mars and Venus fresco from the tablinum of the House of Meleager (VI 9,2) by Henri Roux, lithograph published by Raoul Rochette

Original fresco of Mars and Venus from the tablinum of the House of Meleager (VI 9,2), now in the collections of the archaeological museum in Naples, Italy.


Just as a refresher, here's what ChatGPT observed about the popularity of depictions of Mars and Venus in ancient Roman art:
"Mars and Venus in Mythology: Mars (the god of war) and Venus (the goddess of love and beauty) are often depicted as lovers in Roman mythology, symbolizing the union of opposing forces: war and peace, destruction and creation, masculinity and femininity.
"Their union is thought to represent a harmonious balance, suggesting that war (Mars) ultimately brings about stability, peace, and prosperity (Venus).
"Message in Domestic Contexts: In elite Roman homes, depictions of Mars and Venus could celebrate the homeowner's martial prowess while highlighting the rewards of victory: wealth, luxury, and domestic bliss."
One thing I did notice about this fresco of Mars and Venus is Mars' placement on the left, rarely seen in other frescos of Mars and Venus around Pompeii I examined. I asked ChatGPT about this unusual aspect and it pointed out:
"The placement of Mars on the left and Venus on the right in the fresco from the House of Meleager is indeed unusual compared to traditional depictions of the two deities, where Venus often takes a more prominent position on the left. This arrangement might carry specific symbolic or contextual significance tied to the patron who commissioned the work or the intended function of the room (the tablinum) in which it was displayed.
"In Roman art, such reversals of conventional positioning sometimes occur to emphasize particular narrative or symbolic elements. For example:
"Mars as the Dominant Figure: Placing Mars on the left could signify his primary role in this representation, perhaps aligning with the values or identity of the house owner, such as an emphasis on martial valor or military associations.
"Venus as the Supportive Partner: The placement of Venus on the right might highlight her complementary relationship to Mars, suggesting balance or harmony between love and war, a common theme in Roman depictions of the pair."
I reminded ChatGPT I had previously suggested the number of portrayals of Mars and Venus along with scenes of Venus admiring jewelry boxes full of treasure may point to the patron of the house being a successful military commander. Then asked, "Would this be reinforced by Mars' placement on the left?"
ChatGPT replied: "The placement of Mars on the left in this fresco, particularly within the Roman context, may indeed reinforce a military or martial identity for the patron of the house. Here’s why:
"Left-Side Placement and Viewer Focus: In Roman visual composition, the left side of an image often holds prominence because it is where the viewer’s gaze typically begins. Placing Mars on the left would draw immediate attention to the god of war, emphasizing his importance.
"This arrangement subtly prioritizes Mars over Venus, suggesting that the martial virtues represented by Mars—such as strength, valor, and leadership—are central to the patron's identity or aspirations.
"Mars as the Active Principle: In representations of Mars and Venus, Mars often embodies the active, dominant principle, while Venus represents the complementary, harmonious principle. By positioning Mars on the left, the fresco might emphasize his role as the initiating force, reflecting the patron's achievements in military or public life.
"Symbolism in Roman Art: Mars’ left-side placement might also allude to Roman military traditions and values, where the left-hand side was often associated with carrying shields (defense) while the right wielded weapons (offense). This could metaphorically align Mars with the notion of power, readiness, and honor.
"Context in the House: The House of Meleager’s decorations repeatedly draw attention to themes of wealth, prestige, and victory. With Mars prominently placed, the patron could be signaling that their success (symbolized by Venus' treasures) is fundamentally rooted in martial prowess.
"Contrasting with Venus: The right-side placement of Venus might symbolize the rewards of Mars’ actions—peace, beauty, and prosperity. Together, the composition tells a story of balance, but Mars being placed first reflects the sequence: war (Mars) leads to the spoils and harmony (Venus).
"This visual prioritization of Mars, reinforced by his left-side placement, would likely resonate with guests, particularly if the patron had a military background. It asserts martial strength as the foundation of their success while highlighting the complementary role of Venus, who brings beauty and abundance. This arrangement subtly communicates the patron’s identity as both a warrior and a cultured individual."
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Interpreting Roman frescos - it's all in the details!!

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."

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

Leda and Tyndareus from Room 12, (pompeiiinpictures floorplan) The House of the Tragic Poet (VI 8,3-5) Pompeii by Wilhelm Zahn 1825

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.
Revised Interpretation
"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.
Interpretive Breakdown:
"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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Tuesday, December 3, 2024

Emphasizing duty, loyalty, and reverence for the gods in the triclinium of a Greek freedman who has transformed into a Roman citizen

by Mary Harrsch © Emphasizing duty, loyalty, and reverence for the gods in the triclinium of a Greek freedman who has transformed into a Roman citizen
Before I could attempt a suggested theme of the paintings in the triclinium of the House of Cornelius Diadumenus (VII 12,27) that included the fresco I believe to be Aeneas and Dido, I needed to attempt to decipher another of the images in that grouping. Early excavators had dubbed the painting "Aphrodite in a Nest of Cupids."

House of Cornelius Diadumenus VII 12,26 Pompeii Painting of "Aphrodite in a nest of cupids" that I think is a depiction of Hermaphrodite and Salmacis found on east wall in triclinium room on left hand side behind atrium

House of Cornelius Diadumenus VII 12,26 Pompeii. Stereoview by Sommer and Behles, c 1860-1870 showing Aphrodite and a nest of cupids that I think is Hermaphrodite and Salmacis


I found this identification a puzzle because I could not see any wings on any of the figures. Furthermore, the central figure has its groin exposed that you normally see in representations of male figures. Looking at the 1860-1870 stereoview of the original painting I find it also depicts the central figure with darker skin, usually used in ancient Roman art to depict a male figure who spends more time outdoors than a female. The languid posture is often seen in paintings of Hermaphroditus as well.
Hermaphroditus was a son born to Hermes and Aphrodite but was transformed when he encountered the naiad Salmacis. Chat GPT explains:
"Hermaphroditus, a beautiful youth born of Hermes and Aphrodite, attracted admiration wherever he went. In one myth, while traveling, he encountered Salmacis, a nymph associated with a sacred spring. Salmacis became enamored with him, but her love was unrequited.
"Salmacis' Desire: Salmacis tried to seduce Hermaphroditus, but he rejected her advances. Salmacis, as a naiad, represents both the nurturing and entrapping aspects of nature. Her role as the catalyst for the transformation underscores the interplay between human desire and divine intervention.
"She waited until he was bathing in her spring, then seized him and prayed to the gods that they would never be separated.
"Union into One Being: In response to Salmacis' plea, the gods merged their bodies into one, creating a being that was both male and female. This is how Hermaphroditus became the symbol of androgyny, blending masculine and feminine traits.
"This myth was a popular subject in ancient art, including Roman frescoes and sculptures, often depicting Salmacis clinging to Hermaphroditus as he attempts to resist her."
Although the central figure's gender is difficult to see in the fresco's current degraded state and I didn't see any drawings of it on pompeiiinpictures.com, I think this scenario may be a more fitting identification. If the scene depicted is Hermaphroditus, the two figures in the background on the left could represent Hermes and Aprodite watching their son's transformation, as described by Ovid in Metamorphoses (Book 4, lines 285-388).
ChatGPT explains: "While Hermes and Aphrodite are not explicitly mentioned as present during the transformation in Ovid's version, they are critical figures in Hermaphroditus' origin:
"Hermes, the god of transitions, boundaries, and male youth, represents the masculine aspect.
"Aphrodite, the goddess of love, beauty, and desire, embodies the feminine side.
"Aftermath: Hermaphroditus, in his new form, calls upon his divine parents to curse the pool. He asks that anyone entering it be similarly weakened, reinforcing the transformative power associated with the myth."
The other two background figures on the right could be Pan with the shepherd's crook and another naiad who seems to be gently restraining Pan, whose desire for Hermaphroditus has been ignited by the transformation.
I asked ChatGPT why the deity Pan frequently occurs in frescos depicting Hermaphroditus and it replied:
"The deity Pan often appears in depictions of Hermaphroditus because of his symbolic associations with nature, fertility, and sensuality, which resonate with the themes of duality and transformation present in Hermaphroditus's myth.
"Pan as a Symbol of Unrestrained Desire: Pan, the rustic god of shepherds and flocks, is closely linked to untamed and primal aspects of nature, including unrestrained sexual desire. Hermaphroditus, being a fusion of male and female characteristics, embodies a kind of boundary-breaking identity, which aligns with Pan’s role as a transgressive figure who operates outside societal norms.
"Hermaphroditus as an Object of Desire: In art, Hermaphroditus is often depicted in moments that highlight their dual sexuality, which can provoke curiosity, attraction, or confusion. Pan’s inclusion in these scenes reflects his role as a pursuer and instigator of sensuality, emphasizing Hermaphroditus's allure and the tension between attraction and ambiguity.
"Pan's Mythical Context: In broader mythology, Pan is often portrayed in scenes involving nymphs and other nature deities, such as Salmacis, the nymph who becomes entwined with Hermaphroditus in their myth. His presence connects Hermaphroditus to the wider world of pastoral and erotic mythologies, creating a narrative link to themes of transformation and union.
"Visual and Narrative Dynamics in Roman Art: In Roman frescoes and sculptures, Pan’s grotesque and animalistic features can serve as a foil to Hermaphroditus’s ethereal and ambiguous beauty. This contrast enhances the dramatic and symbolic tension in artistic representations, emphasizing the complexities of identity and desire.
"In sum, Pan’s presence in depictions of Hermaphroditus reinforces themes of transformation, sensuality, and the interplay between nature and culture, making his inclusion both symbolic and visually evocative."
So, the mere presence of Pan could point to the central figure being Hermaphroditus?
ChatGPT: "Yes, the presence of Pan in a fresco or artistic representation can be a significant indicator that the central figure might be Hermaphroditus. Pan's frequent association with themes of eroticism, nature, and transformation aligns closely with the mythological narrative of Hermaphroditus, making his inclusion highly suggestive."
I also think the other fresco in the triclinium is also misidentified. It is said to be Ariadne abandoned on Naxos but I think it is Dido abandoned by Aeneas. Most frescos of Ariadne abandoned I have seen depict Ariadne with Cupid on the shore while Theseus departs on a ship. One rare fresco from the House of the Colored Capitals includes Dionysus approaching with his retinue but, other than that one, the number of other figures in images of abandoned Ariadne are usually few. The fresco from the House of Cornelius Diadumenus, however, is crowded with figures, not related to Dionysus.

House of Cornelius Diadumenus VII 12,26 Pompeii Drawing by Nicola La Volpe, of painting of Ariadne abandoned, now faded and lost, which would have been seen on the north wall of triclinium


House of Cornelius Diadumenus VII 12,26 Pompeii undated photograph, of painting of Ariadne abandoned, that I think is Dido abandoned by Aeneas, now faded and lost, which would have been seen on the north wall of triclinium

On the right are two human attendants, one with an oar. Looking at the drawing of the departing ship I thought it may be one of the sailors from the ship who may have lept overboard to return to his queen, Dido. The bank of oars seems to be missing at least one oar toward the front of the ship.

ChatGPT said: "Your observation of a missing oar and a potential connection to a sailor abandoning the ship to return to Dido is intriguing and aligns with some broader symbolic elements in Roman depictions of maritime myths. In the context of the story of Dido and Aeneas, elements like oars, ships, and sailors can carry deeper meanings about duty, loss, and the tension between personal desires and divine or historical imperatives.
"In Virgil's Aeneid, Aeneas is commanded by Mercury to leave Dido and continue his fated journey to found a new Troy, which underscores themes of duty over personal attachments. Ships and their crew often symbolize this forward movement and commitment to destiny. However, the imagery of abandonment—whether it's Dido's despair or a sailor symbolically choosing to stay behind—can serve to highlight the human cost of such a divine mission. Missing oars might visually suggest hesitation, incompleteness, or the consequences of abandoning one's path.
"The maritime imagery could also reflect the tension in Dido's narrative, where her love for Aeneas is both a source of hope and the catalyst for her downfall. The missing oar and your interpretation of a sailor leaping overboard might evoke the idea of resistance or regret in the face of fateful separation. This kind of artistic nuance often appeared in Roman depictions of mythological scenes, encouraging viewers to reflect on the complexities of the story."
I also pointed out that one of the figures in the ship appears to be wearing a wide-brimmed petasos traveling hat like the one Hermes is often shown wearing. ChatGPT pointed out the signficance of this detail:
"The observation of a wide-brimmed petasos traveling hat in the ship could indeed be a deliberate artistic choice to evoke Hermes (Mercury in Roman mythology). Hermes is often depicted wearing a petasos, along with winged sandals and sometimes a caduceus (staff). In Virgil's Aeneid, Mercury is the god who conveys Jupiter's command to Aeneas to leave Dido and continue his destined journey to Italy.
"The presence of a figure resembling Hermes in this scene could reinforce the divine intervention aspect of Aeneas's departure. It would align with the theme of divine will overriding personal choice, as Mercury's message is a pivotal moment in the narrative, reminding Aeneas of his fated duty to establish Rome. Artistic representations often include symbolic or narrative elements that emphasize such divine roles, and this depiction would make the connection between Aeneas's actions and the will of the gods clear to viewers familiar with the story.
"If this figure is indeed Hermes/Mercury, it adds a layer of narrative immediacy to the fresco, suggesting that the divine directive is not just an unseen force but actively present and watching over Aeneas's journey.
I also asked about the winged female figure and pointed out that she appears to be consoling Dido.
ChatGPT observed: "In Roman mythology, Iris is the winged goddess of the rainbow and a messenger of the gods. She often acts as a psychopomp, accompanying souls to the afterlife, as she does with Dido in Virgil’s Aeneid. Iris’s role in consoling or releasing Dido's soul as part of her tragic fate makes her a plausible candidate."
At the top of the image is an armored figure that I thought may be Mars, the god of war. Again, ChatGPT agreed:
"The armored figure at the top of the fresco could plausibly represent Mars, the Roman god of war, particularly given his importance in Aeneas' mythological narrative as a divine ancestor. Mars is often depicted in armor, symbolizing his martial nature, and his presence in this fresco might underscore themes of destiny, duty, and conflict central to Aeneas’ story.
"In Virgil’s Aeneid, Mars indirectly plays a role in guiding Aeneas' journey, as Aeneas is fulfilling the destiny of founding Rome, a city that Mars would later claim as his own through the lineage of Romulus and Remus. If this interpretation holds, the figure could be a divine reminder of Aeneas' obligation to prioritize his fated mission over his personal desires or attachments, such as his love for Dido."
I found a second Cupid figure reclining next to Mars, curious though. ChatGPT explains:
"The presence of a reclining Cupid figure next to the armored deity, possibly Mars, carries rich symbolic meaning. Cupid, as the Roman god of love and desire, often represents the complex interplay between love, duty, and destiny in Roman art and literature.
"In this context, the reclining Cupid could signify:
"Love's Influence on War and Duty: If the armored figure is Mars, Cupid's proximity might symbolize the tension between love and duty. This reflects themes in the Aeneid, where Aeneas must navigate his obligations to the gods and his people, despite his love for Dido. Mars' association with Venus (Cupid's mother) further emphasizes the intertwined nature of love and conflict in Roman mythology.
"Reconciliation of Opposites: Cupid beside Mars could suggest the reconciliation of opposites—love (Cupid) and war (Mars). This would be particularly poignant in the context of Aeneas' story, as his journey involves both conquest and the forging of new alliances for the future of Rome.
"Aeneas’ Divine Heritage: As Aeneas is the son of Venus (Cupid’s mother), the presence of Cupid reinforces his divine lineage. This detail might remind viewers of Aeneas' fated mission, which carries both the blessing and the burden of the gods.
"Mockery or Irony: In some artistic contexts, a Cupid accompanying a figure like Mars might also convey a playful or ironic commentary on the power dynamics between love and war, perhaps hinting at the futility or folly of human struggles when compared to the whims of divine forces."
Overall, though the AI appeared to agree with my identification as Dido abandoned by Aeneas, not Ariadne abandoned by Theseus.
Based on the artistic elements we’ve discussed, it is reasonable to interpret this fresco as representing Dido abandoned rather than Ariadne abandoned. Here are the key points supporting this interpretation:
The Ship: The prominent inclusion of a ship sailing away strongly aligns with the narrative of Aeneas abandoning Dido in the Aeneid. While Ariadne's story involves Theseus leaving her on Naxos, most ancient depictions of Ariadne's abandonment focus on her isolation, with Dionysus’ arrival typically emphasized rather than a ship.
The Armored Figure: The armored figure at the top of the fresco (possibly Mars) ties strongly to Aeneas' divine and militaristic mission to establish Rome, a central theme in Dido's story. This element does not align with Ariadne's myth, where divine intervention comes from Dionysus rather than a warlike deity.
Cupid Figures: The presence of multiple Cupids in the fresco aligns with the theme of conflicted love and fate, which permeates the story of Dido and Aeneas. Cupid's involvement is crucial in the Aeneid, as he initially inflames Dido's love for Aeneas, setting up the tragic conclusion.
The reclining Cupid figure next to the armored character could symbolize the tension between love and duty. In Roman art and literature, Cupids often represent love's influence, whether nurturing, playful, or bittersweet. Given the context of Aeneas's departure from Dido, this particular Cupid might emphasize how love (represented by the reclining Cupid) is subordinated or set aside in favor of martial or divine obligations (as represented by the armored figure, possibly Mars).
If the fresco does depict Dido’s abandonment, this juxtaposition aligns well with Virgil's Aeneid. Aeneas was torn between his love for Dido and his destined mission to establish Rome, which ultimately led to his tragic departure. The second Cupid could underscore Dido's heartbreak and the lingering, unfulfilled presence of love within the scene​.
The Winged Female Figure: While this figure might represent Nike, her [Iris'] consoling gesture toward the central female figure (Dido) aligns better with themes of loss and abandonment in Dido's narrative. In Ariadne's story, divine figures often herald her forthcoming union with Dionysus, emphasizing triumph and transformation rather than consolation.
The Attendant with the Oar: An oar held by an attendant could symbolize loyalty to Dido or the abandonment by Aeneas’ sailors. This detail more clearly links to Dido's maritime abandonment than to Ariadne's myth, where such a maritime connection is peripheral.
Dido's Emotional State: The central female figure's posture and expression—seated in grief and despair—more closely evoke the tragic image of Dido mourning Aeneas' departure rather than Ariadne, whose narrative soon transitions to joy with Dionysus.
Given these elements, the fresco seems more likely to depict Dido abandoned, emphasizing themes of betrayal, duty, and divine intervention central to her story.
So, for thematic comparison, using my interpretations of the three frescos present in the triclinium, we have a meeting of Aeneas and Dido, Dido abandoned by Aeneas, and the transformation of Hermaphroditus. I asked ChatGPT to summarize the themes these images could represent:
"Your thematic interpretation of the three frescoes in the triclinium is compelling and highlights a sophisticated narrative progression, focusing on themes of transformation, duty, and loss:
"Aeneas and Dido Meeting: This fresco could symbolize the initial connection between two strong figures, their shared passions, and the brief moments of unity before fate intervenes. It reflects choices and desires in the face of destiny.
"Dido Abandoned by Aeneas: The portrayal of Dido after Aeneas' departure underscores the theme of sacrifice and the emotional cost of fulfilling a divine mission. For Aeneas, it highlights his struggle to prioritize duty over personal relationships, aligning with the Roman virtues of pietas (duty, loyalty, and reverence for the gods).
"Transformation of Hermaphroditus: This fresco contrasts the mortal struggles of Dido and Aeneas with a mythical tale of transformation, symbolizing the inevitability of change and the blending of identities. For the patron, this might emphasize the "transformation" from Greek origins to Roman identity, reflecting both personal and societal metamorphoses.

"Together, the three frescoes would provide a rich narrative for the triclinium, where guests could reflect on the tensions between personal desires and societal or divine obligations—a thematic undercurrent highly relevant in Roman cultural and moral frameworks." 

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