Ovid's Metamorphoses and the popularity of Narcissus wall paintings in the Roman Imperial Period

While reading a research paper on interpretations of Roman wall paintings of Narcissus, I learned forty different paintings of Narcissus have been found in the Campanian region testifying to the popularity and influence of the publication of Ovid's Metamorphoses during the Imperial Period. The article also included an image of the painting from the House of Marcus Lucretius Fronto and it is shown enclosed within a frame and facing the opposite direction from the photograph of the painting presented by pompeiiinpictures.com in my earlier post about the frescos of the House of Marcus Lucretius Fronto in Pompeii.

Image of the fresco of Narcissus from the House of
Marcus Lucretius Fronto in Pompeii provided by Scala Art Resource

The Scala Art Resource image was apparently inadvertently reversed when reproduced, though, because I found a new photograph on pompeiiinpictures.com taken just this year after the extensive restoration work completed in January 2023.

House of Marcus Lucretius Fronto Pompeii 2023. Room ‘i’, north wall of cubiculum, detail of Narcissus courtesy of Johannes Eber

Here is a translation of a portion of Ovid's retelling of the Narcissus myth:

"He is astonished at himself and, perfectly still, with unchanging expression, is transfixed, as if he were a statue carved of Parian marble. Lying on the ground, he gazes at his eyes, twin stars, his curls, worthy of Bacchus and even of Apollo, his beardless cheeks, his ivory neck, the beauty of his face, and his blush, mixed with snowy whiteness. He wonders at all that makes him wondrous: without knowing, he desires himself and he who praises is himself praised. While he seeks, he is sought, and equally inflames and burns with love." (Met. 3.418–26) - Hérica Valladares, Fallax Imago: Ovid's Narcissus and the seduction of mimesis in Roman wall painting.

Valladares concludes, "Ovid's poem and first century wall paintings of Narcissus postulate and enact an affective relationship between viewer and image that is best described in erotic, amatory terms. As in the Metamorphoses, Campanian representations of Narcissus depict a prolonged, almost indefinite moment of inaction, in which narrative is supplanted by a direct appeal to the senses and the emotions. Central to these games of poetic and pictorial illusion is an analogy between the viewer/reader and the depicted lover, whose elusive object of desire becomes a metaphor for one's sense of reality. What we find, then, in Ovid's Metamorphoses and Pompeian images of Narcissus is an instigation to believe in and also see through the mechanisms of illusion."

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Aphrodite Anadyomene's Special Symbolism

 My good friend Allan Gluck has been back to the Dumbarton Oaks Museum in Washington D.C. and sent us some more images from their ancient Roman collection. His images included this early 7th century necklace with a pendant depicting the Greek goddess of love Aphrodite Anadyomene crafted of gold with gemstones of lapis lazuli. Bard points out Aphrodite Anadyomene, meaning "rising from the sea" in ancient Greek, depicts a specific moment in the goddess of love and beauty's origin story.

Necklace with Pendant of Aphrodite Anadyomene, early 7th century CE photographed by Allan Gluck at the Dumbarton Oaks Museum in Washington D.C.

Necklace with Pendant of Aphrodite Anadyomene, early 7th century CE photographed by Allan Gluck at the Dumbarton Oaks Museum in Washington D.C.

Necklace with Pendant of Aphrodite Anadyomene, early 7th century CE photographed by Allan Gluck at the Dumbarton Oaks Museum in Washington D.C.

This sets her apart from other portrayals of Aphrodite in a few key ways:

1. Pose and gesture:

Emerging from the sea: Unlike many depictions of Aphrodite, which show her fully clothed or adorned, Anadyomene is emerging from the waves, often with water clinging to her skin and hair. This emphasizes her birth from the sea foam and her connection to the natural world.

Wringing her hair: A characteristic gesture of Anadyomene is wringing her wet hair, which symbolizes her emergence from the water and her newfound presence in the world. This dynamic pose adds a sense of movement and sensuality to the sculpture.

2. Symbolism:

While nudity is not uncommon in depictions of Aphrodite, Anadyomene's nudity in this context is particularly significant. It symbolizes her natural beauty and her emergence from the primal elements of the sea.

The Dumbarton Oaks' curator observes:

"Standing in a blue shell, Aphrodite Anadyomene wrings seawater from her hair. The pose was well known in antiquity, referring to the goddess’s birth from the sea, of which the deep blue color of the lapis lazuli is a visual metaphor. The harmony of references—pose, shell, deep blue color, and the sea pearls on the short chains—displays the jeweler’s ability to adapt a venerated mythological image to the luxury materials of elite taste during the early Byzantine period.

"The delight and fascination with exquisitely crafted jewelry were undiminished at the end of late antiquity, and the appreciation of Greco-Roman mythology, even the most lascivious of all its goddesses, continued well after the Byzantine Empire had become an officially Christian society. Aphrodite’s fame as the goddess of beauty and physical desire are expressed by her seminudity and enhanced through the precious gold, lapis lazuli, and pearls of the necklace. Yet it might have been a magical property of the image that accounted for the figure’s allure. Amulets and charms, whether costly or cheap, had been worn for centuries as effective means of personal protection or for controlling the actions or emotions of other people. This elegant necklace may have been such an amulet (apotropaion), either against pervasive malevolent spirits or as a charm to grant an erotic wish."

The piece was purchased from an antiquities dealer in Paris in 1928 so, unfortunately, there is no information about the find site.

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Seventh century CE Roman coin jewelry

More interesting artifacts from the collections of the Dumbarton Oaks Museum in Washington D.C. photographed by my friend Allan Gluck - seventh century eastern Roman gold coin bracelets with each composed of a solidus (a gold denomination struck seventy-two to the Roman pound) surrounded by four tremissi (one third of a solidus). Coin jewelry, worn by the elite of ancient Greece and Rome, enjoyed a revival in what is often referred to as early Byzantine times with some pieces made of medallions or pseudo-coins, while others, like these made of real coins. The curators of the museum observe:

"The use of money in jewelry expresses in literal terms what is always true of jewelry, that it operates as social currency, displaying and negotiating the wearer’s position. The wearer of these bracelets, almost certainly male, was displaying his superior social status through the precious materials, and may even have been hinting at a certain relationship to the court of the emperors depicted on the coins.

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

7th century CE coin bracelet depicting eastern Roman emperors including Phocas and Heraclius photographed at the Dumbarton Oaks Museum by Allan Gluck

"The dating of Byzantine jewelry is difficult, but in this case there are two clues. One is the reigns of the emperors named on the coins, Maurice Tiberius (582–602), Phokas (602–10), and Herakleios (610–41), which indicate that the earliest possible date is 610, the accession of Herakleios. The other clue is technical. Both the construction of the hoops of tubular gold decorated with tiny rows of beading, as well as the use of trefoils to fill the gaps between the coins, are known from other seventh-century gold objects believed to have come from Antinoe in Egypt. If this is true, the bracelets probably date before 640, when Arab rule began asserting itself."

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The emergence of Roman marriage rings in the 4th-7th centuries CE

Dumbarton Oaks Museum in Washington D.C. has an interesting collection of Roman marriage rings that began to appear in the 4th century CE. The curators point out, "Marriage rings, embellished with busts of couples and inscriptions, are known in both Roman and early Byzantine society. No documents survive that describe how, or whether, they were used in the wedding ceremony, but gold, silver, and bronze examples testify that they were widespread in both the eastern and western halves of the Roman Empire. Such rings can be dated from the fourth through the seventh century."

Gold Marriage Ring 6th-7th century CE Eastern Mediterranean photographed at the Dumbarton Oaks Museum by Allan Gluck.

(My Favorite) Early Marriage Ring late 4th-5th century gold Roman also used as seal ring. Image courtesy of Dumbarton Oaks Museum.

Gold Marriage Ring 6th-7th century CE gold Roman courtesy of Dumbarton Oaks Museum

Marriage Ring 6th century gold Roman courtesy of Dumbarton Oaks Museum

Marriage Ring 6th-7th century gold Roman courtesy of Dumbarton Oaks Museum

Marriage Ring 6th-7th century CE gold Roman courtesy of Dumbarton Oaks Museum

Marriage Ring early 7th century CE Roman courtesy of Dumbarton Oaks Museum

Marriage Ring late 4th-early 5th century gold Roman courtesy of Dumbarton Oaks Museum

Marriage Ring late 6th-7th century gold Roman courtesy of Dumbarton Oaks Museum

Marriage Ring late 4th-early 5th century gold Roman courtesy of Dumbarton Oaks Museum

Octagonal Marriage Ring with Holy Site Scenes 7th century CE gold Roman courtesy of Dumbarton Oaks Museum

Hairstyles and the size of the crosses are used to date these pieces. A modest cross places a ring at an early stage of development of marriage rings, the later ones usually having larger crosses and often the figure of Christ between bride and groom.

I asked Bard about earlier symbolic jewelry used in Roman weddings and it responded with:

"There's no concrete evidence that marriage rings as we know them today were used in Roman weddings before the 4th century CE. However, the concept of an exchanged token symbolizing a marital bond did exist, albeit in different forms:

Engagement rings (annuli pronubi): While not exactly wedding rings, simple iron rings were exchanged during a pre-wedding ceremony called sponsalia. These symbolized a formal betrothal commitment, often made years before the actual wedding.

Hand-joining (dextrarum iunctio): During the wedding ceremony itself, the couple's right hands were formally joined together, representing the physical and symbolic union of their lives. This practice was considered the central act of the ceremony and held more significance than any object exchange.

Emergence of gold rings: While iron rings dominated for centuries, gold rings gradually gained popularity throughout the 2nd and 3rd centuries CE, especially among wealthier classes. These rings, though still not universally associated with weddings, served as more ostentatious symbols of commitment and wealth.

It's important to note that archaeological evidence for actual wedding rings from this period is scarce. Most of our knowledge comes from literary sources and artistic representations, which often depict symbolic imagery rather than specific objects.

Here's a timeline summarizing the key points:

Before 4th century CE:

No evidence of wedding rings used in ceremonies.

Engagement rings (iron) used in pre-wedding ceremony (sponsalia).

Hand-joining (dextrarum iunctio) the central act of the wedding ceremony.

4th century CE onward:

Gold rings become more common, especially among the wealthy.

Rings still not definitively associated with weddings but may have served as additional symbols of commitment and wealth.

So, while marriage rings weren't a prevalent custom in Roman weddings before the 4th century CE, the seeds of the tradition were certainly sown through engagement rings and symbolic hand-joining ceremonies. The shift towards gold rings and their increasing association with weddings laid the groundwork for the practice we know today."

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Frescos in the House of Marcus Lucretius Fronto in Pompeii

I have been working on images of frescos from the House of Marcus Lucretius Fronto in Pompeii (V 4,a) and this morning I finished uploading the images to Wikimedia Commons:

https://commons.wikimedia.org/.../Category:Ancient_Roman...

The images in the category are arranged by File Description. All of those i uploaded begin with "House of Marcus Lucretius Fronto" and there are dozens of them. I was amazed at the quality of preservation of the frescos in this house. The house was initially excavated between 1899-1900 then again from 1972-1974. The name of the structure was derived from electoral inscription found on the façade of the house promoting the magistrate Marcus Lucretius Fronto. The home, although relatively modest in size, is decorated with Third Style paintings characterized by ornate frameworks of pseudo-architectural elements that enclose central panel paintings illustrating the myths of Narcissus, Bacchus and Ariadne, the love between Mars and Venus, Ariadne giving Theseus the ball of thread to help him escape the labyrinth, and Orestes killing Neoptolemus on the altar of Apollo, a scene from Euripedes' tragedy "Andromache."

House of Marcus Lucretius Fronto Pompeii 2005 Room 'i', north wall of cubiculum, with center wall painting of Narcissus at the fountain courtesy of pompeiiinpictures

House of Marcus Lucretius Fronto Pompeii 2010 Room 'i', wall painting of girl from west wall of cubiculum, on south side of doorway courtesy of Michael Binns

House of Marcus Lucretius Fronto Pompeii 2015 Room 'i', wall painting of boy with the attributes of Mercury (winged helmet and caduceus), from west wall of cubiculum courtesy of pompeiiinpictures

House of Marcus Lucretius Fronto Pompeii 2015 Room ‘h’, Detail from central panel on north wall courtesy of Buzz Ferebee

House of Marcus Lucretius Fronto Pompeii 2015 Room ‘h’, Detail from central panel on north wall courtesy of Buzz Ferebee

House of Marcus Lucretius Fronto Pompeii 2015 Room ‘h’, Detail from central wall painting on north wall of tablinum courtesy of Buzz Ferebee

House of Marcus Lucretius Fronto Pompeii 2015 Room ‘h’, Detail from central wall painting on north wall of tablinum (2) courtesy of Buzz Ferebee

House of Marcus Lucretius Fronto Pompeii 2018 Room 'h', detail from central painting on south wall of tablinum, triumph of Bacchus and Ariadne courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room 'h', detail from central painting on south wall of tablinum, triumph of Bacchus and Ariadne courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room 'h', detail from central painting on south wall of tablinum, triumph of Bacchus and Ariadne courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room 'h', detail from central painting on south wall of tablinum, triumph of Bacchus and Ariadne courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room 'h', detail from central painting on south wall of tablinum, triumph of Bacchus and Ariadne courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room 'h', detail from central painting on south wall of tablinum, triumph of Bacchus and Ariadne courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room 'h', detail from painted predella above zoccolo on north wall at west end courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room 'h', detail of painted separating panel on east end of south wall courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room 'h', detail from central painting on south wall of tablinum, triumph of Bacchus and Ariadne courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room 'h', painted decoration below small panel at west end of south wall courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room 'h', painted detail from black side panel at east end of south wall courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room ‘f’, central painting from east wall
of Orestes killing Neoptolemus on the altar of Apollo courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room ‘f’, central painting from east wall
of Orestes killing Neoptolemus on the altar of Apollo courtesy of Wikimedia Commons.

House of Marcus Lucretius Fronto Pompeii 2018 Room ‘f’, detail of painted figure from panel at south end of east wall courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room ‘g’, detail of head and body of Theseus courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room ‘h’, detail from central panel on north wall (2) courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room ‘h’, detail from central panel on north wall (3) courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room ‘h’, detail from central panel on north wall courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2018 Room ‘h’, detail of Mars and Venus from central panel of north wall of tablinum courtesy of Annette Haug

House of Marcus Lucretius Fronto Pompeii 2023 RCentre panel of north wall of tablinum, wall painting of the wedding of Mars and Venus courtesy of Johannes Eber

House of Marcus Lucretius Fronto Pompeii 2023 Room 'g', detail from upper center of west wall of cubiculum courtesy of Johannes Eber

House of Marcus Lucretius Fronto Pompeii 2023 Room 'h', detail of painted decoration above black side panel on upper south wall at east end courtesy of Johannes Eber

House of Marcus Lucretius Fronto Pompeii 2023 Room ‘g’, central wall painting from west wall of cubiculum on south side of atrium courtesy of Johannes Eber

Bard offered some interesting suggestions as to the messages meant to be conveyed by images of these myths:

"The intended message of the Narcissus painting in the House of Marcus Lucretius Fronto is multifaceted and open to interpretation, even considering the context of the Third Style. Here are some possibilities:

1. Vanity and self-obsession: This remains a prominent interpretation, aligned with the traditional moral of the Narcissus myth. The Third Style's penchant for theatricality could amplify this message, showcasing Narcissus's exaggerated gestures and entranced expression as a cautionary tale against excessive self-admiration.

2. Ephemeral beauty and illusion: The Third Style's emphasis on illusionism and playful decoration could enhance the theme of beauty's transience. The focus on Narcissus's reflection, rendered with delicate detail and shimmering water, could serve as a reminder that outward appearances are fleeting and ultimately deceptive.

3. Narcissistic tendencies and their consequences: The story of Narcissus can be seen as a reflection on human tendencies towards self-absorption and neglecting others. The Third Style's use of vignettes and close-ups might draw viewers into Narcissus's isolated world, emphasizing the loneliness and self-destruction that result from his narcissistic behavior.

4. Psychological introspection and self-discovery: While less traditional, some interpretations see the myth as a metaphor for introspection and self-discovery. The Third Style's focus on intimate narratives could invite viewers to identify with Narcissus's self-absorption, but also see it as a necessary stage in understanding one's own identity and flaws.

5. Artistic expression and stylistic influence: Beyond specific messages, the painting showcases the artistry of the time. The Third Style's use of vibrant colors, delicate brushstrokes, and intricate details could be appreciated for their aesthetic value, regardless of the underlying message.

Ultimately, the "message" of the Narcissus painting remains open to personal interpretation. The Third Style context contributes additional layers of theatricality, illusionism, and psychological depth, offering viewers a rich and nuanced experience as they engage with the artwork.

The Triumph of Bacchus and Ariadne mural in the House of Marcus Lucretius Fronto likely held several intertwined messages for its Roman viewers:

1. Celebration of wine and revelry: Bacchus, the Roman god of wine, intoxication, and religious ecstasy, takes center stage, riding a chariot drawn by panthers or tigers. This prominent depiction glorifies the pleasures associated with wine and the Dionysian cult, which emphasized uninhibited joy and release.

2. Divine favor and earthly blessings: The triumphal procession, with its accompanying Satyrs, Maenads, and musical instruments, evokes a sense of divine favor and abundance. This imagery might have reassured the homeowner and guests of Bacchus' blessings, promising fertility, prosperity, and protection from misfortune.

3. Love and metamorphosis: Ariadne, abandoned by Theseus on Naxos but later claimed by Bacchus, symbolizes the transformative power of love. Her inclusion suggests the possibility of finding joy and solace even after heartbreak, potentially offering comfort or hope to viewers facing similar challenges.

4. Mortality and acceptance: In some interpretations, the triumphal procession can be seen as a metaphor for the cycle of life and death. As Bacchus, the god of wine and revelry, leads the way, it could remind viewers to embrace the fleeting pleasures of life, accepting its impermanence.

5. Social status and cultural context: The presence of such a lavish mural in a wealthy household like the House of Marcus Lucretius Fronto also signifies the owner's cultural awareness and appreciation for Greek mythology. It served as a statement of their refined taste and potentially their connection to Dionysian cults or similar social circles.

6. Artistic expression and individual interpretation: Beyond specific messages, the mural showcases the artist's skill and the Roman fascination with mythological narratives. The vibrant colors, dynamic composition, and detailed figures demonstrate the artistic prowess of the time. Ultimately, the interpretation of the mural's message could vary depending on the individual viewer's perspective and personal experiences.

In conclusion, the Triumph of Bacchus and Ariadne mural in the House of Marcus Lucretius Fronto offered a multifaceted experience for its viewers. It celebrated life's pleasures, alluded to divine blessings, explored themes of love and transformation, and potentially reminded one of their mortality. At the same time, it served as a testament to the artistic skill of the time and the homeowner's cultural sophistication. Understanding these layers of meaning allows us to appreciate the mural not just as a beautiful artwork, but also as a window into Roman life and beliefs.

The marriage of Mars and Venus, depicted in the House of Marcus Lucretius Fronto's tablinum (formal reception room), presents a captivating and complex image whose message unfolds on several layers:

1. Harmony and Order: On the surface, the painting celebrates the union of two powerful deities—Mars, the god of war, and Venus, the goddess of love—representing a balance between strength and beauty, valor and passion. This harmony signifies the importance of maintaining cosmic order and ensuring the continuation of life, themes deeply ingrained in Roman beliefs.

2. Fertile Union and New Beginnings: The marriage also symbolizes fertility and procreation, vital for the prosperity of the Roman state. Venus, associated with vegetation and springtime, alongside Mars, representing agriculture and warfare, embodies the cyclical nature of life and death, ensuring renewal and bounty.

3. Power Dynamics and Gender Roles: However, the depiction is not without tension. While Venus sits regally on a couch, Mars stands before her, holding his helmet, suggesting a potentially unequal power dynamic. This could reflect Roman gender roles, where masculine authority prevailed, or allude to the civilizing influence of love over the raw power of war.

4. Private and Public Spheres: The location of the painting in the tablinum, a space used for both business and socializing, further adds to its interpretation. It could be seen as a reminder of the interconnectedness of public and private life, how the harmonious balance between love and war is crucial for both individual families and the Roman state.

5. Artistic Interpretation and Individual Perception: Ultimately, the "message" of the painting is open to individual interpretation. The artist's choices, such as the composition, color palette, and facial expressions, contribute to the overall mood and can evoke different emotions and thoughts in viewers.

6. Artistic Significance and Roman Context: Beyond its thematic complexities, the painting showcases the artistic skill of the Pompeian era. The vibrant colors, detailed figures, and use of perspective demonstrate the technical mastery and aesthetic preferences of Roman art during the Third Style.

In conclusion, the marriage of Mars and Venus in the House of Marcus Lucretius Fronto is more than just a beautiful decoration. It serves as a multifaceted tapestry woven with themes of harmony, fertility, power dynamics, and interconnectedness. By understanding these layers of meaning, we gain a deeper appreciation for the cultural and artistic context of Roman life and the enduring resonance of mythological narratives.

he intended message of the Ariadne and Theseus painting in the House of Marcus Lucretius Fronto, considering both the myth and the Third Style context, offers a captivating puzzle with multiple potential interpretations:

1. Trust and collaboration: At its core, the scene depicts a crucial moment of trust and collaboration. Ariadne, despite potential betrayal, entrusts Theseus with the vital tool for escape. The Third Style's focus on decorative elements and theatrical gestures could elevate this theme, highlighting the importance of cooperation and selflessness in achieving shared goals.

2. Divine guidance and destiny: The myth features Dionysus, who falls in love with Ariadne after Theseus abandons her. The Third Style's playful portrayal of deities within the scene could emphasize the role of divine forces in shaping Ariadne's and Theseus's destinies. This reading suggests that Ariadne's act of trust is not just towards Theseus, but also towards the unpredictable path laid out by destiny.

3. Vulnerability and transformation: Ariadne's vulnerability in sharing the thread, potentially risking her own fate, could be a key message. The Third Style's focus on close-up expressions and intimate narratives could amplify this vulnerability, portraying her not as a passive giver but as a powerful agent choosing her own path through sacrifice. This interpretation might suggest that Ariadne's vulnerability leads to transformation, both through her connection with Dionysus and her potential journey beyond the labyrinth.

4. The power of knowledge and feminine wisdom: The thread can be seen as a symbol of Ariadne's intelligence and resourcefulness. The Third Style's decorative motifs and intricate details could be interpreted as metaphors for knowledge and cleverness. This reading highlights the power of feminine wisdom and its crucial role in overcoming challenges, regardless of external forces like divine intervention.

5. Artistic expression and aesthetic beauty: Beyond specific messages, the painting showcases the artist's skill and the Third Style's unique aesthetic. The vibrant colors, dynamic composition, and delicate brushstrokes enhance the scene's visual impact. This appreciation of the artwork's beauty allows viewers to connect with the story on an aesthetic level, regardless of their interpretation of the underlying message.

Ultimately, the "message" of the Ariadne and Theseus painting remains a fascinating open question. The Third Style context adds layers of theatricality, symbolism, and decorative beauty, inviting viewers to explore themes of trust, destiny, vulnerability, knowledge, and the human journey through challenging obstacles.

The painting of Orestes killing Neoptolemus at the altar of Apollo in Pompeii's House of Marcus Lucretius Fronto is a complex scene rife with potential interpretations. While a definitive "message" might elude us, here are some key layers to consider:

1. Vengeance and Justice: The scene depicts a pivotal moment from Greek mythology, where Orestes, guided by the god Apollo, avenges the murder of his father Agamemnon by slaying Neoptolemus, who took part in the act. This emphasizes the theme of divine-sanctioned vengeance and justice prevailing over wrongdoing.

2. Cycle of Violence: However, the act of vengeance itself perpetuates the cycle of violence. Neoptolemus, though complicit in Agamemnon's death, was merely a pawn in a larger web of betrayal and revenge. This ambiguity raises questions about the morality of retribution and its potential to spiral into endless bloodshed.

3. Fate and Prophecy: The painting's placement in the House of Fronto, likely a space for reflection and conversation, suggests it might have served as a prompt for contemplating fate and prophecy. Orestes' actions were driven by Apollo's oracle, blurring the lines between free will and destiny. This could have sparked discussions about the role of divine intervention in human affairs.

4. Artistic Expression and Style: Beyond thematic interpretations, the painting showcases the artistic skill of the time. The dramatic composition, use of color and perspective, and detailed figures demonstrate the technical prowess and aesthetic preferences of Pompeii's Third Style.

5. Cultural Context and Roman Values: The choice of this particular myth might reflect Roman anxieties about familial duty, honor, and the consequences of unchecked violence. It's possible the painting served as a reminder of the importance of upholding social order and the potential pitfalls of succumbing to vengeful impulses.

Ultimately, the "message" of Orestes killing Neoptolemus remains open to individual interpretation. The painting's enduring power lies in its ability to evoke questions about justice, violence, fate, and the human condition, themes that resonate across cultures and time periods.

It's important to note that some interpretations of the painting might touch upon sensitive topics like violence and death. However, by focusing on the broader themes and artistic aspects, we can appreciate the work's complexity and historical significance without venturing into insensitive or harmful territory."

Images: I have included here detail images of these works and others I found particularly beautiful. My image editing included sharpening, straightening, as well as adjusting perspective, highlights, shadows, tone, color and texture.

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