The House of the Five Skeletons: Is one of the murals Priam and Cassandra or Aeneas consulting Anio?

 By Mary Harrsch © 2024

In the House of the Five Skeletons (VI 10,2) in Pompeii, Henri Roux found a fresco depicting Priam and his prophetic daughter, Cassandra.

Cassandra and Priam from House of the Five Skeletons (VI 10,2) Pompeii  by Henri Roux lithography published by Raoul Rochette

House of the Five Skeletons (VI 10,2) Pompeii original fresco Archaeological Museum of Naples Inv no 8999

House of the Five Skeletons (VI 10,2) Pompeii Painting by Giuseppe Marsigli, 1830, copy of Priam and Cassandra

House of the Five Skeletons (VI 10,2) Pompeii Drawing by Giuseppe Marsigli, 1829, of wall painting of Aeneas consulting Anio or Cassandra prophesizing the fall of Troy

Initially, the fresco was identified as Aeneas consulting Anio so I asked ChatGPT about this misidentification.

"The myth of Aeneas consulting Anio is not part of the traditional Greco-Roman canon found in major sources like Virgil’s Aeneid or Homer’s works. Anius, a mythical figure, was a seer and king of Delos in Greek mythology. He was a son of Apollo and could be sought by Aeneas for prophecy or guidance during his journey."

However, the center of attention in the fresco is a female figure and no explanation is given for her. She appears to be the seer, not the elderly man. So I asked why early excavators may have favored the Aeneas interpretation.

"The myth of Aeneas was central to Roman identity, linking the founding of Rome directly to the gods and the noble lineage of Troy. Interpreting the fresco as Aeneas’s flight from Troy would align with this national mythos and elevate the artistic and cultural significance of the house.

"Early archaeological interpretations often lacked rigorous analysis and were influenced by preconceived notions about Roman art and its themes. Familiarity with the Aeneid could have led excavators to impose an Aeneas-based reading on the scene.

"Augustus heavily promoted the Aeneas myth as part of his cultural program. Even if the fresco predates Augustus, early excavators might have assumed the painting reflected Augustan ideals, given the strong presence of such imagery in later Roman art."

I uploaded Roux's image of the fresco to ChatGPT and pointed out the soldiers in the background of the fresco wear Phrygian caps as does the small child (Astyanax?) Their attention, as well as the attention of the elite warrior and elderly male is focused on the female priestly figure on the right. Then asked, "What other attributes clearly point to Priam and Cassandra?"

ChatGPT replied, "...several attributes clearly identify the figures as Priam and Cassandra rather than Aeneas and Anio. Let’s analyze the fresco further:

"Key Attributes Supporting Priam and Cassandra

Elderly Male Figure as Priam:

"The seated elder with white hair and beard is a common representation of Priam, the aged king of Troy. His regal yet sorrowful demeanor aligns with Priam’s tragic role in the Homeric epics and other Trojan War narratives.

Female Priestess as Cassandra:

"The standing female figure, wearing laurel wreaths, has a commanding presence consistent with depictions of Cassandra, the prophetic daughter of Priam. Laurel wreaths often symbolize prophecy and divine connection, supporting her identification as a seer.

The Phrygian Caps:

"The Phrygian caps worn by the figures in the background and the child signify their Trojan origin. Phrygia, located near Troy, was culturally associated with the Trojans in Greco-Roman art. The small child in the foreground could represent Astyanax, the son of Hector and Andromache, linking the fresco’s context to the royal family of Troy.

Focus of Attention on Cassandra:

"The gestures and expressions of the figures—including the elite warrior (possibly Hector or another Trojan noble)—emphasize their deference to the priestess. This aligns with Cassandra’s role as a prophetic figure whose warnings were critical (though unheeded) in Trojan mythology.

Cultural and Stylistic Context:

"In Pompeian art, Cassandra is a common figure associated with the Trojan War, often depicted in moments of prophecy or futile warnings to her family. Aeneas, by contrast, is rarely depicted in such direct consultation with river gods or priestly figures, making the earlier identification of Anio unlikely.

Context in Mythology

"The scene could represent Cassandra warning Priam and the Trojans about an impending disaster, potentially the introduction of the Trojan Horse into the city. Her role as a tragic prophet who is never believed adds emotional depth to the fresco and aligns it with the moral and symbolic themes often depicted in Roman domestic art.

Additional Clues

"The Vessel and Laurel on the Table: These elements may signify a ritual or divine consultation, reinforcing Cassandra’s priestly and prophetic role.

"Absence of Aeneas-Specific Symbols: Aeneas is typically associated with his armor, shield, or companions like Anchises or Ascanius, none of which appear in this fresco.

Conclusion

"The combination of the elderly regal figure, the female priestly figure, the Phrygian caps, and the attention directed at Cassandra strongly supports the identification of this fresco as depicting Priam and Cassandra. It aligns with the broader Trojan War narrative, emphasizing themes of prophecy, tragedy, and ignored wisdom...Cassandra’s despair and the looming sense of doom fit the narrative of Hector’s refusal to leave Troy, while Aeneas’s story is more closely associated with piety, survival, and destiny."

I pointed out that we usually think of Astyanax as a babe so asked if there is another offspring the child may represent and ChatGPT replied:

"The child in the fresco could represent another offspring of the Trojan royal family, depending on the artistic interpretation and the mythological narrative intended. While Astyanax is the most iconic child of Troy due to his tragic fate, other offspring of Priam or Hector could be plausible candidates. Let’s explore possibilities:

1. A Younger Sibling of Cassandra or Hector

"Priam had numerous children with Hecuba and other wives, many of whom were lesser-known in mythology. The child could symbolize one of Priam’s unnamed or less-documented offspring, used here to evoke the broader theme of familial tragedy without specifying a particular child.

"Trojan princes and princesses were often portrayed in art to represent the royal family as a whole, emphasizing lineage and the impending doom of the Trojan race.

2. Polydorus

"Polydorus is a younger son of Priam, notable for his tragic end. In some versions of the myth, Polydorus was sent away from Troy to avoid the destruction but was later betrayed and killed. While he is typically depicted as a young adult in literature, the fresco might present him as a child to symbolize his vulnerability.

3. A Generalized Trojan Child

"It’s also possible the child represents no specific individual but rather a symbolic Trojan youth:

"The figure could embody the innocence and future of Troy, emphasizing the pathos of the city’s destruction.Artists often took liberties in Pompeian frescoes to focus on universal themes rather than strictly adhering to mythological specifics.

4. An Alternative Mythological Figure

"Troilus, one of Priam’s sons, could be another possibility. Although often depicted as a youth or adolescent in myths (particularly in his ill-fated encounter with Achilles), his presence in this scene might be interpreted more symbolically.

"If the child is indeed male and linked to Cassandra, it could also be a figure invented by the artist to balance the familial narrative.

Why Not Astyanax?

"As you noted, Astyanax is typically portrayed as an infant or toddler in both art and literature. While this fresco might show a slightly older child, the lack of clear maternal presence (Andromache) and the focus on Cassandra and Priam make this identification less certain.

Conclusion

"The child likely serves a symbolic function, either as an unnamed offspring of Priam or as a generalized figure representing Troy’s doomed younger generation. If the artist took creative liberties, they might have included the child to heighten the emotional resonance of the scene, emphasizing familial ties and the broader tragedy of the Trojan War."

Update: I examined another painting of Priam and Cassandra from the Casa dell'Atrio Tetrastilo (I 2,28) and the child in it is identified as a young Paris.

Casa dell’Atrio tetrastilo  (I 2,28) fresco of prophesizing Cassandra with Hector, Priam, and a young Paris

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Would the fresco of Medea contemplating killing her children serve as a cautionary tale of the consequences of infidelity in a (possibly) priestly household like the House of the Dioscuri or the House of Jason in Pompeii?

 By Mary Harrsch © 2024 

The scene of Medea contemplating the death of her children appears to have only occurred twice in Pompeii, in the House of the Dioscuri (VI 9,6) and the House of Jason (IX 5,18). However, Henri Roux captured this scene of Medea he found in the House of the Dioscuri when excavators worked there in 1837.

Children from House of the Dioscuri (VI 9,6) Pompeii  by Henri Roux lithography published by Raoul Rochette

House of the Dioscuri (VI 9,6) original wall painting of Medea contemplating killing her children who are playing nearby

House of Jason IX 5,18 Pompeii Wall painting of Medea sitting contemplating killing her children who play nearby

House of Jason IX 5,18 Pompeii 2017 Room “e”, detail from painting on west wall of cubiculum, second room in southwest corner courtesy of Annette Haug

House of Jason IX 5,18 Pompeii 19th century drawing by Geremia Discanno of wall painting of Medea sitting contemplating killing her children who play nearby

I asked ChatGPT what messages a fresco of Medea and her children would impart to 1st century CE Roman viewers and it replied:

"A fresco of Medea with her children would have conveyed complex and potent messages to 1st-century Roman viewers, touching on themes of passion, betrayal, vengeance, and the destructive potential of intense emotions. This myth, rooted in the story of Medea, a sorceress who kills her children in revenge against her unfaithful husband, Jason, was highly resonant in the Roman context for several reasons:

"The Dangers of Excessive Passion and Wrath: Romans valued moderation and control over one's emotions, considering excessive passion (furor) as dangerous and destabilizing. Medea’s revenge on Jason—murdering their children—represented the extreme consequences of unchecked anger and betrayal. This cautionary element would resonate as a warning against letting emotions overpower reason, a theme that was relevant in a society that highly valued rationality and restraint.

"The Consequences of Betrayal in Marriage and Family: Roman society placed a high value on familial loyalty and the sanctity of marriage. Jason’s betrayal of Medea, choosing to marry another woman for political gain, would have appeared as a serious transgression. Medea’s extreme reaction highlighted both the expectations for marital loyalty and the catastrophic fallout when those bonds are broken. This would likely have served as a moral reminder of the importance of maintaining family integrity and honoring one’s commitments.

"The Role of Foreigners and Outsiders: Medea, as a foreign sorceress from Colchis, represents the "other" in Greek and Roman culture. Her identity as a foreigner with potent and feared powers might have reinforced Roman anxieties about outsiders and the influence of foreign customs. Medea’s destructive actions could be viewed as a caution against the dangers of mingling too closely with those outside traditional Roman or Greek norms, reflecting broader societal tensions about the influence of non-Roman individuals and ideas.

"Female Agency and the Role of Women: Medea’s actions represent an intense and dangerous assertion of female agency, particularly in a culture where women were expected to be subordinate in the household. Her ability to act decisively, albeit destructively, defied traditional gender roles, making her both a powerful and threatening figure. This might have served as a reminder of the perceived dangers when women stepped outside their prescribed roles, reinforcing the value Romans placed on female modesty and subordination.

"Symbolism of Sacrifice and the Role of Children: By killing her own children, Medea’s actions would have been seen as an affront to pietas (duty to family), a core Roman value. Children were seen as the future and a legacy to be nurtured; thus, Medea’s actions would be viewed as an extreme violation of the motherly duty to protect. This element could underscore the importance of familial duty and the tragic consequences of neglecting it, making her story a reminder of the sacred responsibility parents held to protect and raise their children.

"In sum, a fresco of Medea and her children would carry layered messages about the perils of unchecked passion, the sanctity of family bonds, the fear of foreign influences, and the consequences of violating social and familial duties. The story of Medea, with its powerful emotional and moral implications, would have served as a potent reminder of these values to its Roman viewers."

I pointed out to ChatGPT Roman males were not necessarily expected to be loyal to their wives as many elite marriages were relationships dictated by political gains. Divorce was also common among elite couples. Then asked, "So, how would these messages have been altered in Roman culture as opposed to Greek culture?"

ChatGPT responded, "In Roman society, the portrayal of Medea in art and literature would have been interpreted differently from its Greek origins, as Roman cultural norms around marriage, loyalty, and family were more pragmatic and politically driven. Here’s how these messages might have been altered for Roman audiences:

1. Marriage and Infidelity

"Greek Context: In Greek tradition, Medea’s rage is directed against Jason’s betrayal as a spouse, underscoring the personal and emotional bonds of marriage.

"Roman Context: Among Roman elites, marriage was often a tool for political alliances, and male infidelity was more tolerated, with little expectation of exclusive loyalty to a wife. However, Roman values emphasized the wife's chastity and her duty to the family. Medea's extreme reaction might have been less about marital fidelity and more about a failure of Jason to uphold his broader obligations to his family and household, a key Roman virtue (pietas).

2. Divorce as a Social Norm

"In elite Roman society, divorce was common and often mutual if the marriage no longer served its purpose, such as producing heirs or maintaining political ties. Medea's violent response to Jason’s abandonment could highlight the perceived dangers of failing to dissolve marital bonds amicably, emphasizing the importance of maintaining civility and public order in such transitions.

3. Loyalty to Family and Children

"Roman society placed immense importance on children as carriers of the family lineage and legacy. Medea’s murder of her children would have been viewed as the ultimate violation of familial duty (pietas), which encompassed responsibilities to one’s ancestors, descendants, and the broader social order. For Romans, this might have served as a cautionary tale about the dangers of letting personal vengeance or passion override these sacred duties.

4. Women’s Role and Power

"Medea’s character, as a powerful and assertive woman, would resonate differently in Roman society, where women were expected to exert influence within the domestic sphere but remain subordinate to male authority. Her ability to take drastic and independent action would have been seen as both fascinating and threatening, serving as a reminder of the need to regulate and control female power within the patriarchal framework.

5. Broader Social Messages

"Medea’s foreign origin (as a Colchian sorceress) would align with Roman anxieties about external influences corrupting Roman values. Her actions might have symbolized the potential dangers of allowing non-Roman customs or individuals to disrupt societal harmony.

"For Roman male viewers, Jason’s failure could also symbolize a caution against neglecting one’s duties to family and household in pursuit of ambition or personal desires.

Conclusion

"While Greek audiences might have focused on Medea as a figure of personal tragedy and divine vengeance, Roman audiences would likely have interpreted her actions within their own cultural framework of family, duty, and societal order. The myth could be seen as a multifaceted warning: about the dangers of emotional excess, the sanctity of familial roles, and the importance of maintaining Roman virtues in the face of personal betrayal and ambition."

As I have mentioned in previous posts about the House of the Dioscuri, I suspect the owner of the house may have had priestly responsibilities due to the number of large portraits of deities there including Zeus enthroned, Apollo, and Saturn. I asked ChatGPT about possible religous affiliation of the owner of the House of Jason and learned although there is no direct evidence confirming that the owner of the House of Jason served in a formal religious role, certain features of the house suggest the possibility.

"The mythological themes depicted in its frescoes, particularly those focusing on Jason, Medea, and other figures involved in divine or semi-divine narratives, may reflect a resident who had religious interests or affiliations. These themes, when coupled with the broader societal respect for mythology as a medium of moral and philosophical discourse, could imply a connection to religious practices or intellectual engagement with divine concepts.

"In Pompeian society, elites often showcased their education and alignment with Roman religious and philosophical ideals through their choice of domestic decoration. Houses with mythological imagery were sometimes associated with owners who played roles in local priesthoods or civic cults. The emphasis on dramatic and morally charged myths like those of Jason and Medea could reflect not only personal taste but also a desire to communicate religious or ethical messages to clients and guests.

"Additionally, the frescoes’ potential links to cautionary or didactic themes might have resonated with priestly functions, as religion in Roman culture was deeply intertwined with morality and public behavior. If the owner was indeed a priest or associated with religious activities, these artworks would complement the societal expectations of their role. However, without inscriptions or definitive archaeological evidence directly identifying the owner or their occupation, this remains speculative."

So then I asked if the residents of both houses were involved in priestly functions would this myth be included in the decorations to serve as a more cautionary tale of proper behavior for both wives and husbands from a religious standpoint.

"The inclusion of the scene of Medea contemplating the death of her children in two houses with potential priestly associations—the House of the Dioscuri and the House of Jason—suggests that the myth might have been interpreted within a more religious or moral framework by their residents. Here’s how the myth could serve as a cautionary tale from a religious standpoint. The AI replied:

1. Moral and Divine Retribution

"In Roman religious culture, myths often illustrated the consequences of impiety or excessive passions that disrupted divine or social order. Medea’s story, particularly her contemplation of infanticide, exemplifies the extremes of human emotion—wrath, betrayal, and despair—that violate the sacred bonds of family and community. For priestly families, this imagery could underscore the importance of temperance, restraint, and adherence to divine laws.

2. Pietas (Duty) as a Core Value

"Roman pietas emphasized duty to family, state, and the gods. Medea’s contemplation and eventual act of killing her children would represent the ultimate rejection of this virtue. By including this myth in the decoration of a house with possible priestly connections, the patron may have aimed to remind viewers of the consequences of failing to uphold such sacred responsibilities.

3. Religious Authority and Moral Oversight

"Priestly families were seen as exemplars of moral and social order, tasked with upholding the traditions and values of Roman religion. The inclusion of Medea’s myth could serve as a stark warning against allowing personal desires or emotions to override one’s duty to the gods and the community—a message especially relevant to those in religious roles.

4. Myth as Allegory for Leadership

"The story of Medea might also have served as an allegory for leadership and control. Just as Medea’s unrestrained emotions led to tragedy, leaders (including religious leaders) were expected to exercise self-control, rationality, and justice to maintain harmony within the household, community, and broader society.

5. The Role of the Dioscuri and Jason

"The Dioscuri, associated with protection and divine order, and Jason, whose leadership ultimately falters, provide contrasting figures to Medea’s story. The patrons of these houses might have used these myths to frame the dangers of neglecting divine guidance or succumbing to personal ambition over communal responsibility.

Conclusion

"The presence of the Medea fresco in these houses likely reinforced the importance of moral and religious discipline, aligning with the roles of priestly families as custodians of both divine and social order. For Roman viewers, it could have offered a powerful visual lesson on the destructive consequences of forsaking one’s obligations, framed within the broader religious and cultural values of the time."

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The broad appeal of the myth of Achilles at Skyros even though not retold in the Iliad

 by Mary Harrsch © 2024

Henri Roux gave us two paintings of "Achilles at Skyros", one the reproduction of a mosaic from the House of Apollo (VI 7, 23) and the second, a well-preserved fresco from the House of the Dioscuri (VI 9,6). Achilles' attempt to elude his fate to die in the Trojan War by dressing in a woman's clothing and hiding amongst the daughters of King Lycomedes on the island of Skyros appears to have been a popular myth in Pompeii across different social classes as evidenced by its appearance in one of the wealthiest households, the House of the Vettii (VI 15,1), as well as a bakery, the Panificio di Aulus Rustius Verus (IX 10,1). However, the tale is not in Homer's Iliad but recounted in most detail in the 1st century poem The Achilleid by the Roman poet Statius. However, the Pompeii depictions would have had to have been based on references in earlier works since The Achilleid was not written until 94-95 CE and was unfinished when Statius died.

Painting of a mosaic of Achilles at Skyros from House of Apollo (VI 7,23) Pompeii  by Henri Roux lithography by Raoul Rochette 

House of Apollo VI 7,23 Pompeii 2023 mosaic of Achilles recognized by Odysseus at Skyros, from exterior east wall of a bedroom courtesy of Johannes Eber

Painting of Fresco of Achilles at Skyros from House of the Dioscuri (VI 9,6) Pompeii  by Henri Roux lithography by Raoul Rochette

House of the Dioscuri VI 9,6 Room 9 (pompeiiinpictures floorplan), original wall painting of Achilles discovered by Odysseus at Skyros

House of the Dioscuri VI 9,6 Room 9 (pompeiiinpictures floorplan), drawing of detail of south wall of tablinum, with central painting of Achilles on Skyros by Niccolini

It was known to have been included in 5th century BCE works of Polygnotos of Thasos and the late 4th and early 3rd centuries BCE works of Thracian artist Athenion of Maroneia. Since Pliny the Elder praised Athenion's work in the early 1st century CE and it is known Athenion painted a work entitled "Achilles, disguised as a Girl, discovered by Odysseus", I suspect that work was probably the basis for the various renditions of Achilles at Skyros in Pompeii. The story was also the basis for a now-lost play by Euripides.

Gemini pointed out the plays of Euripides were quite popular with Roman audiences of the 1st century CE:

"While the austere, lofty style of Aeschylus and Sophocles might have been less accessible to Roman tastes, Euripides' more realistic and emotionally charged dramas resonated strongly with Roman audiences. His exploration of human psychology, moral dilemmas, and social issues made his plays relevant and engaging.

"Here are a few reasons for Euripides' popularity in Rome:

"Emotional Depth: Euripides' plays delved deep into the emotions and motivations of his characters, often exploring complex and controversial themes. This emotional depth resonated with Roman audiences who were drawn to dramatic and passionate performances.

"Relatable Characters: Euripides' characters were often flawed and complex, making them more relatable to the audience.

"Social Commentary: His plays often contained social commentary, criticizing societal norms and questioning traditional values.

"Literary Merit: The literary quality of Euripides' plays, including his use of vivid language and innovative storytelling techniques, contributed to their enduring appeal.

"Roman audiences, particularly the educated elite, appreciated the intellectual and emotional depth of Euripides' work. His plays were performed in Roman theaters, adapted for Roman audiences, and studied by Roman writers and philosophers."

The mythical episode would provide reinforcement of several societal values in Roman culture as well. ChatGPT explains:

"The scene of Achilles on Skyros, where he is disguised as a girl among King Lycomedes' daughters, held several layers of symbolism for 1st-century Roman viewers, particularly in the context of honor, identity, and destiny. In Greek mythology, Thetis, Achilles' mother, hid him on Skyros to prevent him from joining the Trojan War, as she knew he was fated to die if he went. However, Odysseus discovered him by presenting gifts, including weapons, and observing that Achilles, unlike the girls, was drawn to the weapons, revealing his true nature as a warrior.

"For Roman viewers, this scene highlighted themes of virtus (courage and martial valor) and pietas (duty to one's destiny and people). Achilles' desire for arms, even while in disguise, resonated with Roman ideals of embracing one's duty, especially in the context of war. This symbolism would be powerful in a society that valued military achievement and the personal sacrifice of its soldiers.

"The story also emphasizes the inevitable nature of fate—Achilles cannot avoid his destiny as a warrior, just as many Romans believed in the fixed roles and destinies determined by their societal positions. In the 1st-century CE, during the early Roman Empire, these ideas were deeply ingrained, as citizens and soldiers alike were expected to fulfill their roles within the hierarchy of Rome, often at great personal cost. For an elite Roman patron, displaying this scene in a home would convey values of strength, loyalty to one's destiny, and acceptance of the duties of one's birthright, reinforcing the patron's own adherence to these virtues and their identification with a legendary figure like Achilles."

I can't help but think an adaptation of Euripides' play for a Roman audience would have included a little humor as well, making a discussion of the play in a triclinium setting like the one housing the mural in the House of the Vettii, enjoyable, too.

Achilles at Skyros mosaic from Zeugma now in the Gaziantep Zeugma Museum courtesy of Dick Osserman

House of Holconius Rufus (VIII 4,4) Pompeii. Drawing by Nicola La Volpe of painting of Achilles at Skyros on east wall of triclinium, room 10 (pompeiiinpictures floor plan)

House of Holconius Rufus (VIII 4,4) Pompeii 1870 photograph Room 10 (pompeiiinpictures floorplan), center of the east wall

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Hoouse of Achilles (IX.5.2) Pompeii. Room ‘u’, north wall with painting of Achilles discovered on Skyros courtesy of pompeiiinpictures.com

House of Modestus (VI 5,13) Pompeii 1852 Painting by Wilhelm Zahn of atrium wall with Achilles on Skyros represented in the upper zone left of central image

Panificio (Bakery) di Aulus Rustius Verus (IX 10,1) Pompeii September 2023 Tablinum 14 South wall painting of Achilles on Skyros courtesy of pompeiiinpictures.com

House of the Vettii VI 15,1 Pompeii 2023 east wall, southeast corner and south wall of black triclinium “t” courtesy of Johannes Eber

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The myth of Hercules and Omphale: Popular with textile workers?

 By Mary Harrsch © 2024

Although Henri Roux found only the partial remains of a fresco depicting the myth of Hercules and Omphale in the Casa di M. Terentius Eudoxus (Pompeii VI 13,6), he chose to reproduce it for Raoul Rochette's book. While looking for it on pompeiiinpictures.com I came across a full fresco of the myth with a very similar portrayal found in the House of the Prince of Montenegro (Pompeii VII 16,10).

ChatGPT pointed out that the House of Terentius Eudoxus is thought to have included a workshop of weavers. Since the myth involves the hero Hercules being ordered to spin and weave by Queen Omphale as punishment for one of his more serious transgressions, it would seem to be quite an appropriate decoration for the structure.

Hercules with Omphale from Casa di M Terrentius Eudoxus (VI 13,6) Pompeii  by Henri Roux lithography by Raoul Rochette

Casa di M Terrentius Eudoxus VI 13,6 Pompeii Drawing by Giuseppe Abbate, 1840, of painting on west wall of tablinum, showing Hercules and Omphale, but only preserved on the lower part

House of the Prince of Montenegro VII 16,10 Wall painting of the drunken Hercules with Omphale, and cupids who are stealing his club

House of the Prince of Montenegro VII 16,10 Anonymous painting of the scene of drunken Hercules with Omphale

House of the Prince of Montenegro VII 16,10 Painting by Giuseppe Abbate, 1861, of the wall of the oecus, with painting of Hercules and Omphale in the centre which was found ten years previously

Another drawing from Casa di M Terrentius Eudoxus VI 13,6 Pompeii Drawing by Giuseppe Abbate, 1842, of a painting in a side panel of the west wall of the tablinum showing Venus and Adonis

"Inside the house, archaeologists found fragments of mosaic flooring, possibly from the upper level, as well as various luxury items, including jewelry. Interestingly, the presence of loom weights and inscriptions on the columns in the peristyle indicate that sections of the house may have been used as a workshop for textile production, with some of the residents or workers possibly being associated with weaving. The name "Maria" appears in one of the inscriptions, suggesting the presence of a female weaver who may have been of Jewish descent, providing a fascinating insight into the social and occupational diversity in Pompeii."

The fresco depicts what appears to be a drunken Hercules dressed in female clothes with erotes playfully stealing his club. Omphale with her attendants sits on her throne as the authority figure in the scene. I asked if the presence of the erotes indicates Hercules is drunk from love for Omphale and not from alcohol and ChatGPT agreed.

"The presence of Erotes (winged gods of love, often depicted as mischievous, playful figures similar to cupids) stealing Hercules’ club in a scene with Omphale would suggest that he is not simply drunk in the usual sense but intoxicated or overwhelmed by love and desire. In classical art, Erotes often symbolize romantic or erotic love, and their actions can signal that a character is under the influence of passion rather than merely alcohol. Hercules’ club, a symbol of his strength and heroic identity, being stolen by these playful figures further emphasizes his vulnerability and his submission to Omphale. This gesture illustrates that his usual attributes of power and masculinity have been temporarily "disarmed" by love.

In ancient Roman art and mythology, the story of Hercules and Omphale frequently explored themes of reversal—Hercules exchanging his typical heroic pursuits for domestic, even "feminine" activities under Omphale’s influence. The scene with Erotes would amplify this aspect by showing him not only subdued but also symbolically "disarmed" by love, rendering him a lover rather than a warrior. This depiction serves as a playful yet poignant commentary on how even the mightiest hero can be conquered by love, which might have been an entertaining, lighthearted message to the Roman viewer."

I also asked if Omphale's two attendants, rendered slightly smaller than the queen, were meant to emphasize Omphale's royal status and her superior status to Hercules in this instance.

"The two female attendants rendered slightly smaller than Omphale are likely intended to signify her royal status. In Roman art, hierarchical scale—where important figures are depicted larger than others—was often used to convey status and authority. By positioning Omphale larger than her attendants, the artist emphasizes her prominence and dignity as a queen.

"Additionally, having attendants accompany a figure was a visual cue in Roman art that reinforced noble or royal identity. This setup implies a level of importance and wealth since attendants, servants, or companions were typically associated with the elite. Omphale, as queen of Lydia, holds a socially superior position to Hercules in this scene, with the attendants underscoring her authority and control over him, both romantically and socially.

"In mythological scenes where Hercules is depicted in a subservient or "disarmed" role under Omphale’s influence, the presence of attendants could also serve as a reminder of the reversal of power dynamics, adding to the humor and irony of the scene for Roman audiences. Omphale is portrayed not only as a queen but as one who has temporarily subdued the mightiest hero, underlined by her royal attendants supporting her position.

Using the quality of paintings to determine social status

"In a workshop or domestic setting, this imagery could carry additional humor and moral implications, subtly reminding those viewing it of the power of love to soften even the strongest figures or, alternately, poking fun at the way love can disrupt one’s usual duties and identities."

The message of a very similar fresco in the so-called "elite" house of the Prince of Montenegro, however, could be more cautionary.

"Hercules’ temporary service and humbling by Omphale may have carried a cautionary or moral message about overindulgence and loss of control, as Hercules was often depicted as drunk or in a subdued state in these scenes. This might have served as a reminder of the consequences of indulgence or lack of discipline."

Although the House of the Prince of Montenegro is referred to by some scholars as an elite residence, it, too, is connected to a workshop at VI.16.11 although there is no indication of the type of production there.

The similarities between the two frescos of Hercules and Omphale point to the use of a pattern book in the decoration of the two residences. A review of the drawings of other frescos found in the House of Terentius Eudoxus seems to reflect that too as they are of similar quality to those found in the House of the Prince of Montenegro. So, I would conclude the residents of the two houses were roughly of equal social status. Although Henri Roux found only the partial remains of a fresco depicting the myth of Hercules and Omphale in the Casa di M. Terentius Eudoxus (Pompeii VI 13,6), he chose to reproduce it for Raoul Rochette's book. While looking for it on pompeiiinpictures.com I came across a full fresco of the myth with a very similar portrayal found in the House of the Prince of Montenegro (Pompeii VII 16,10).

ChatGPT pointed out that the House of Terentius Eudoxus is thought to have included a workshop of weavers.

"Inside the house, archaeologists found fragments of mosaic flooring, possibly from the upper level, as well as various luxury items, including jewelry. Interestingly, the presence of loom weights and inscriptions on the columns in the peristyle indicate that sections of the house may have been used as a workshop for textile production, with some of the residents or workers possibly being associated with weaving. The name "Maria" appears in one of the inscriptions, suggesting the presence of a female weaver who may have been of Jewish descent, providing a fascinating insight into the social and occupational diversity in Pompeii."

The fresco depicts what appears to be a drunken Hercules dressed in female clothes with erotes playfully stealing his club. Omphale with her attendants sits on her throne as the authority figure in the scene. I asked if the presence of the erotes indicates Hercules is drunk from love for Omphale and not from alcohol and ChatGPT agreed.

"The presence of Erotes (winged gods of love, often depicted as mischievous, playful figures similar to cupids) stealing Hercules’ club in a scene with Omphale would suggest that he is not simply drunk in the usual sense but intoxicated or overwhelmed by love and desire. In classical art, Erotes often symbolize romantic or erotic love, and their actions can signal that a character is under the influence of passion rather than merely alcohol. Hercules’ club, a symbol of his strength and heroic identity, being stolen by these playful figures further emphasizes his vulnerability and his submission to Omphale. This gesture illustrates that his usual attributes of power and masculinity have been temporarily "disarmed" by love.

In ancient Roman art and mythology, the story of Hercules and Omphale frequently explored themes of reversal—Hercules exchanging his typical heroic pursuits for domestic, even "feminine" activities under Omphale’s influence. The scene with Erotes would amplify this aspect by showing him not only subdued but also symbolically "disarmed" by love, rendering him a lover rather than a warrior. This depiction serves as a playful yet poignant commentary on how even the mightiest hero can be conquered by love, which might have been an entertaining, lighthearted message to the Roman viewer."

I also asked if Omphale's two attendants, rendered slightly smaller than the queen, were meant to emphasize Omphale's royal status and her superior status to Hercules in this instance.

"The two female attendants rendered slightly smaller than Omphale are likely intended to signify her royal status. In Roman art, hierarchical scale—where important figures are depicted larger than others—was often used to convey status and authority. By positioning Omphale larger than her attendants, the artist emphasizes her prominence and dignity as a queen.

"Additionally, having attendants accompany a figure was a visual cue in Roman art that reinforced noble or royal identity. This setup implies a level of importance and wealth since attendants, servants, or companions were typically associated with the elite. Omphale, as queen of Lydia, holds a socially superior position to Hercules in this scene, with the attendants underscoring her authority and control over him, both romantically and socially.

"In mythological scenes where Hercules is depicted in a subservient or "disarmed" role under Omphale’s influence, the presence of attendants could also serve as a reminder of the reversal of power dynamics, adding to the humor and irony of the scene for Roman audiences. Omphale is portrayed not only as a queen but as one who has temporarily subdued the mightiest hero, underlined by her royal attendants supporting her position.

Using the quality of paintings to determine social status

"In a workshop or domestic setting, this imagery could carry additional humor and moral implications, subtly reminding those viewing it of the power of love to soften even the strongest figures or, alternately, poking fun at the way love can disrupt one’s usual duties and identities."

The message of a very similar fresco in the so-called "elite" house of the Prince of Montenegro, however, could be more cautionary.

"Hercules’ temporary service and humbling by Omphale may have carried a cautionary or moral message about overindulgence and loss of control, as Hercules was often depicted as drunk or in a subdued state in these scenes. This might have served as a reminder of the consequences of indulgence or lack of discipline."

Although the House of the Prince of Montenegro is referred to by some scholars as an elite residence, it, too, is connected to a workshop at VI.16.11 although there is no indication of the type of production there.

The similarities between the two frescos of Hercules and Omphale point to the use of a pattern book in the decoration of the two residences. A review of the drawings of other frescos found in the House of Terentius Eudoxus seems to reflect that too as they are of similar quality to those found in the House of the Prince of Montenegro. So, I would conclude the residents of the two houses were roughly of equal social status.

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