The Rape of Hylas: a cautionary tale about the risks of distraction from one's responsibilities?

 by Mary Harrsch © 2024 

Henri Roux found "The Rape of Hylas" depicted in the House of the Terracotta Shapes (VII 4,62).

Hylas ravaged by the Nymphs from House of the Terracotta Shapes (VII 4,62) Pompeii  by Henri Roux lithography by Raoul Rochette

ChatGPT provided background information about the house:

"This house is notable for its association with a pottery workshop, evidenced by the discovery of numerous terracotta molds and forms, which gave the house its modern name. These molds were used to produce a variety of clay objects, likely including vessels, figurines, and other small household items.

"Excavations revealed that this house, while residential, was also a space of artisanal production, with several rooms dedicated to work-related activities. The presence of the terracotta molds suggests that the owner of the house was involved in pottery or clay production, possibly as a business, and may have used the residence as both a home and a workshop. Such dual-purpose spaces were relatively common in Pompeii, where many residents combined living quarters with commercial or industrial activities.

"The house itself includes a typical atrium layout but is somewhat modest in size, reflecting a focus on functional, productive space rather than luxury. Its architectural and decorative features are simpler compared to elite residences in Pompeii, aligning with its mixed residential and industrial use.

"The Casa delle Forme di Creta provides valuable insights into the daily lives of Pompeian artisans and the integration of trade and domestic life within urban settings. It highlights how economic activities were closely intertwined with domestic environments in Pompeii, with artisans and tradespeople often working within or adjacent to their homes. The discovery of molds also sheds light on the types of small-scale manufacturing that contributed to the local economy."

I then asked "What symbolism would such artisans perceive from a painting of the rape of Hylas found in the triclinium there?"

ChatGPT replied:

"The painting of The Rape of Hylas found in the triclinium of the Casa delle Forme di Creta could carry several layers of symbolic meaning, particularly in the context of the artisan household. In mythology, Hylas was a companion of Heracles who, while fetching water, was abducted by water nymphs enchanted by his beauty. This myth involves themes of allure, danger, and the disruption of duty, which might resonate with artisans or workers.

"For artisans, the story could serve as a cautionary tale about the risks of distraction from one's responsibilities. Hylas was drawn away from his task by something beautiful and enticing, resulting in his disappearance and causing Heracles considerable grief. For a craftsman or artisan in Pompeii, whose livelihood depended on discipline, focus, and labor, this scene might reflect a reminder of the consequences of being led astray by desire or beauty, symbolizing the potential disruptions that distractions can bring to one’s work or life.

"Additionally, the myth emphasizes the vulnerability of even the strong and beautiful, suggesting that unexpected forces can disrupt stability or security—an especially relevant theme for a city like Pompeii, where artisans and merchants faced economic uncertainties. The triclinium, used for social gatherings, may also have been an ideal place for such a painting to subtly remind viewers of the unpredictability of life, thereby encouraging them to appreciate their own circumstances.

"Lastly, The Rape of Hylas could reflect the artisan's engagement with the broader cultural and mythological knowledge of Roman society. Displaying this myth in their home may have served to demonstrate cultural literacy and a familiarity with mythological themes that were popular across all social classes in Pompeii, bridging the gap between the working and elite classes in terms of cultural expression."

House of the Terracotta Shapes VII 4,62 Pompeii Triclinium 7 (pompeiiinpictures floorplan), north wall reproduction of the fresco of the rape of Hylas, attributed to Giuseppe Marsigli

House of the Terracotta Shapes VII 4,62 Pompeii Triclinium 7, north wall, 1843 drawing of fresco of the rape of Hylas, by Nicola La Volpe

House of the Terracotta Shapes VII 4,62 Pompeii Triclinium 7, north wall. Drawing by Giuseppe Marsigli, 1833, a copy of the painting of the rape of Hylas

House of the Terracotta Shapes VII 4,62 Pompeii Triclinium 7, north wall, drawing by Giuseppe Abbate showing the decoration now lost

House of the Terracotta Shapes VII 4,62 Pompeii old photograph of Triclinium 7, north wall, fresco of the rape of Hylas

House of Pompeius Axiochus VI 13,19 Pompeii Triclinium on north side of atrium, south wall Drawing by A Sikkard of the painting of Hylas and the Nymphs (appears to be a drawing of a mosaic to me)

Upon examining other structures in Pompeii with some version of this depiction, I noticed the myth was included in the artwork of both the Stabian and Sarno bath complexes. I wondered if these frescos were thought to address the tastes or daily concerns of artisans or industrial workers who visited the baths regularly.

Stabian Baths VII 1,8 Pompeii Drawing by Nicola La Volpe, of the stucco showing the story of the myth of Hylas and the nymphs

Stabian Baths VII 1,8 Pompeii Watercolour by Giuseppe Abbate, 1859, of wall in southwest corner of gymnasium C

ChatGPT seemed to agree with my suggestion:

"The depictions of The Rape of Hylas in the Stabian and Sarno baths may indeed reflect messages intended for the artisans, laborers, and other patrons who frequented these public bath complexes. In Roman society, bathhouses were a social equalizer, welcoming people from various backgrounds. Therefore, the choice of mythological scenes often reflected themes relevant to a broad audience and included motifs with deeper meanings applicable to daily life.

"The Rape of Hylas could have resonated with artisans and industrial workers visiting the baths on several levels:

"Vulnerability and the Disruption of Duty: The abduction of Hylas, a young, strong companion of Heracles, illustrates that even the capable can be disrupted by unforeseen forces. For workers, the story might serve as a reminder of the need to remain vigilant and focused despite the allure of distractions. This was a theme that could have metaphorical relevance to people engaged in demanding physical labor, where discipline and attentiveness were crucial.

"Mortality and Impermanence: Public bathhouses often featured art that reminded patrons of the fleeting nature of life. For the working class, this message could resonate as a reminder to appreciate their brief moments of relaxation in the baths, given the hardships of daily life. Myths like that of Hylas highlight the unpredictable and sometimes capricious nature of fate, a theme that would have been poignant for those familiar with life’s uncertainties.

"Aesthetic Appreciation and Cultural Connection: Including scenes like The Rape of Hylas in public baths also introduced patrons to high cultural mythology, which may have offered a sense of shared cultural knowledge. This imagery allowed artisans and laborers to engage with stories that were not only the domain of the elite but also part of the collective Roman identity, reinforcing cultural bonds across classes.

"Dual Themes of Beauty and Danger: The figure of Hylas is often depicted as youthful and beautiful, embodying ideals of physical perfection and vulnerability. This mix of beauty and danger could serve as a reminder of the hazards that may come from naivety or the temptation to wander beyond one's limits—a message potentially relevant to those who faced physical risks in their work or were susceptible to the hardships of urban life.

"In these public settings, such images weren’t necessarily meant to impart overt moral lessons but rather to invoke thought and reflection through familiar myths. In this way, they subtly communicated themes of caution, vulnerability, and shared cultural values to bathers of all backgrounds."

Did economic status play a role in the choice of murals of the myth of Danae?

 by Mary Harrsch © 2024

Finding the location of Henri Roux's painting of Danae and infant Perseus on the island of Seriphos was definitely challenging. I searched all the links to depictions of Danae on pompeiiinpictures.com and none of them matched. There was a House of Danae and Perseus at Regio III 8,4 that, sadly, was reduced to rubble by Allied bombing in 1943. It was initially excavated in 1838 and, according to ChatGPT, contained a painting of Danae and Perseus that gave the structure its name and was reproduced by Henri Roux. So, I assume this painting is from that house. Other houses that include frescos of Danae at various points in the myth include the House of the Ancient Hunt, the House of the Wounded Bear, the House of Gavius Rufus, the House of Pansa, the House of Queen Margherita, the House of the Colored Capitals, and the House of the Epigrams.

Danae on the Island of Seriphos from Pompeii  by Henri Roux lithography by Raoul Rochette 

House of Danae and Perseus (III 8,4) Pompeii, May 2010 North wall of small room, with remains of painted plaster. It appears to me the faint figures of the two fisherman can be seen just to the lower left corner of the window opening.

It seemed to me that more elaborate homes tended to feature Danae receiving Zeus' shower of gold while more modest structures featured the scene of Danae first arriving on the island of Seriphos with infant Perseus and her discovery by one or more fishermen. One exception, perhaps, was the House of the Epigrams. The House of the Wounded Bear may be considered an exception, too, but scholars think in its later years, it was converted to a hotel hosting travelers that may have been from more modest circumstances. I also found a textual reference describing a fresco very similar to Roux's painting in a workshop at IX 2,13 but it was excavated in 1870, years after Raoul Rochette published Henri Roux's painting in 1846.

Considering these possible economic differences, I asked ChatGPT if the intended messages of Danae with infant Perseus rescued by fishermen on the island of Seriphos differ significantly from frescos of Danae being showered with gold by Zeus.

"Yes, the message conveyed by scenes of Danaë with the infant Perseus, like the one found in the House of Danaë and Perseus, would differ significantly from those depicting Danaë being showered with Zeus's golden rain. Each type of scene emphasizes a distinct part of Danaë's myth, with different moral and social implications.

House of Queen Margherita V 2,1 Pompeii. Room 9, north wall, painting by Geremia Discanno of Danae and Zeus

House of the Wounded Bear VII 2,45 Pompeii Drawing by Nicola La Volpe, 18th December 1865, from south wall of triclinium showing Danae and young Perseus

House of the Wounded Bear VII 2,45 Pompeii. Painting by Antonio Ala, 1865, reproduction of fresco of Danae and Perseus from south wall of triclinium

House of the Ancient Hunt VII.4.48 Pompeii. Room 14 (pompeiiinpictures floorplan), west wall of cubiculum painting of Danae and the Golden shower of Zeus

House of the Colored Capitals VII 4,31 Pompeii Drawing by Antonio Ala, of the seated figure of Danae from upper west wall of room 12 (pompeiiinpictures. floorplan)

House of Gavius Rufus VII 2,16 Pompeii 1867 Room 3, north wall of oecus, sketch by L Schulz of painting of Zeus and Danae and the golden rain

House of Pansa VI 6,1 Pompeii Pre-1828 Room 15, sketch by Zahn of Danae, on the left

"Danaë with the Infant Perseus" often emphasizes themes of survival, motherhood, and the protective aspects of Danaë's character. When Danaë is shown with her child, the focus shifts to her role as a nurturing mother who overcame adversity after Zeus’s intervention. This scene highlights the resilience of Danaë and her dedication to her son, Perseus, who would later grow up to become a hero. In a domestic setting, especially in private spaces, this type of imagery might resonate with viewers on a personal level, promoting values of maternal care and familial dedication.

"Danaë and the Golden Rain: Scenes that depict Danaë receiving Zeus's golden rain are far more focused on divine seduction, transformation, and the intervention of the gods in human affairs. These scenes emphasize Danaë's vulnerability, the allure of divine power, and the miraculous conception of Perseus. They often highlight themes of fate, as Zeus's visit set in motion a series of events that would shape Danaë and Perseus's lives. This type of depiction is more sensual and sometimes serves as a reminder of the power dynamics between mortals and gods, as well as the inevitable fulfillment of destiny.

"While both scenes involve Danaë and ultimately relate to the origins of Perseus, they each convey distinct messages. The Danaë with the Infant Perseus motif would likely promote familial bonds and survival themes, while the Golden Rain imagery highlights themes of divine seduction and fate, possibly intended to remind viewers of the irresistible influence of the gods over human lives."

I was also curious how early excavators identified paintings as Danae but without Zeus, a shower of gold, or the infant Perseus present in the scene. ChatGPT explained:

"Identifying a female figure as Danaë in Pompeian wall paintings without the presence of the golden shower or the infant Perseus can be challenging. However, artists might use other clues to help viewers recognize her character. Here are some attributes or contextual elements that could signal Danaë's identity:

"Setting and Scene Elements: Danaë is often depicted in confined or enclosed spaces, such as a tower or chamber, referencing the prison where her father, King Acrisius, kept her. An indoor setting, sometimes with bars or symbolic barriers, might hint at her seclusion.

"Costume and Gestures: Artists sometimes portray Danaë in a reclined or seated position, often looking introspective or melancholy, which could suggest her isolation or longing before Zeus's intervention. Her attire might vary, but depictions of Danaë often show her in relatively simple, draped garments, emphasizing her humanity and vulnerability.

"Accompanying Figures: If the painting includes a figure of Zeus in any form (even as a person or symbol rather than as a shower of gold), it can suggest Danaë's identity by association. Also, a maid or servant may accompany her, symbolizing her confinement and limited interactions with the outside world.

"Jewelry or Gifts: Some depictions include jewelry or lavish gifts surrounding Danaë, which might allude to Zeus’s wealth and power or the transformation of gold. Artists could subtly use golden tones or jewelry to hint at the myth without depicting the full golden rain.

"Expression and Composition: Artists often imbue Danaë with a contemplative or expectant expression, potentially symbolizing her waiting or desire for freedom and connection. The overall composition might evoke themes of seclusion and anticipation, aligning with Danaë’s story.

"While these elements alone may not always definitively identify Danaë, a combination of these contextual cues in a Pompeian fresco could suggest her identity, especially within a narrative series or home with mythologically themed decor."

The myth of Daedalus and Pasiphae: the dangers of excessive ambition, unnatural desires, and attempts to manipulate nature beyond ethical boundaries

 by Mary Harrsch © 2024 

Henri Roux's depiction of the scene of Daedalus showing the wooden cow to Pasiphae that she plans to use to lure her husband's prize bull into a relationship with her was found in the tablinum of the House of the Ancient Hunt (Pompeii VII 4,48). . The monstrous minotaur was to be the unfortunate offspring.

House of the Ancient Hunt VII 4,48 Room 11 (pompeiiinpictures floorplan), 1846 reproduction by Henri Roux of a painting of Daedalus showing Pasiphae the wooden cow

House of the Ancient Hunt VII 4,48 Room 11 (pompeiiinpictures floorplan), wall painting from west wall of Daedalus showing Pasiphae the wooden cow

House of the Ancient Hunt VII 4,48 Room 11 (pompeiiinpictures floorplan), Drawing by Giuseppe Marsigli, March 1834, of painting of Daedalus and Pasiphae

House of the Ancient Hunt VII 4,48 Room 11 (pompeiiinpictures floorplan), 2014 looking south along west wall courtesy of Annette Haug. The square indicating where the mural of Daedalus and Pasiphae was removed.

House of the Ancient Hunt VII 4,48 Room 11 (pompeiiinpictures floorplan), 1899 Watercolour by Luigi Bazzani, looking towards west wall. Square cutout indicates the location of the Daedalus and Pasiphae fresco before its removal to the museum.

House of the Vetti VI 15,1 2023 Painting of Daedalus showing Pasiphae the wooden cow, from center of north wall of exedra courtesy of Johannes Eber

First, I asked ChatGPT for background on the house and it replied:

"The House of the Ancient Hunt, also known as Casa della Caccia Antica (Regio VII, Insula 4, No. 48), is a well-preserved domus in Pompeii, notable for its vibrant frescoes and architectural layout. The house gets its name from a series of hunting-themed frescoes, including a particularly famous painting of a boar hunt, which is considered emblematic of the home. These frescoes feature scenes of wild animals, hunters, and landscapes, which reflect both the Roman elite’s appreciation for nature and the symbolic value of hunting as a demonstration of skill and control over nature.

"The house itself is relatively modest compared to larger elite homes in Pompeii but is beautifully decorated. Built during the 2nd century BCE, it was updated over time, incorporating elements of the popular Fourth Style of Pompeian wall painting that included ornate and fantastical landscapes. The main atrium and surrounding rooms are adorned with colorful frescoes and mythological scenes, demonstrating the taste and wealth of the homeowner despite the modest size of the property.

"The hunting scenes in this home are particularly interesting because hunting was not only a common pastime among the Roman elite but also had symbolic associations with virtues like courage, discipline, and the mastery of natural forces. Additionally, in Roman culture, depicting such scenes could imply a form of cultural refinement and knowledge of the world’s exotic landscapes."

Then I asked, "One of the frescos in the house is a scene of Daedalus showing the wooden cow to Pasifae that she plans to use to have intercourse with her husband's favorite bull. Would this be considered a myth that cautions viewers about the consequences of trying to control nature unnaturally or would you suggest a different message?

ChatGPT replied: "The fresco of Daedalus presenting the wooden cow to Pasiphae in the House of the Ancient Hunt would indeed carry strong cautionary undertones, particularly regarding the consequences of violating natural boundaries. In the myth, Pasiphae, queen of Crete and wife of King Minos, falls under a curse that causes her to desire a bull. She commissions the master craftsman Daedalus to construct a wooden cow, which allows her to satisfy her unnatural desire. This ultimately results in the birth of the Minotaur, a monstrous creature that brings tragedy to Crete and leads to the need for a labyrinth to contain it.

"This story can be interpreted as a cautionary tale about the dangers of excessive ambition, unnatural desires, and attempts to manipulate nature beyond ethical boundaries. For a Roman audience, such myths highlighted the perils of overreaching, a concept rooted in the Greek idea of hubris—the defiance of natural or divine order, often with disastrous consequences. The fresco might thus serve as a moral reminder of the consequences of trying to defy or manipulate nature for personal gain, leading to chaos and suffering.

"Alternatively, it could reflect Roman views on self-control and moderation. The myth warns that unchecked desires, particularly those that conflict with nature or propriety, lead to ruin and scandal. In a domestic setting, this fresco might subtly remind viewers of the virtues of restraint and the dangers of indulgence, which align with Roman values like pietas (duty) and temperantia (moderation).

"The inclusion of this myth in the House of the Ancient Hunt would likely resonate with themes already present in the home’s hunting frescoes, which themselves symbolize control over wildness and mastery over nature. The myth of Pasiphae and the wooden cow adds a darker twist to this theme, showing what happens when natural boundaries are not respected. Thus, the fresco could function as both a narrative caution and a reinforcement of values important to Pompeian society."

This cautionary use of a fresco reminded me of the fresco depicting the sacrifice of Iphigeneia located just outside the triclinium in the House of the Tragic Poet. I interpreted it as a warning to the patron of the house each day not to sacrifice his family's needs for his own ambition. It did not turn out well for Agamemnon!

I then pointed out the fresco was found in the tablinum where the patron of the house would meet with clients each morning and asked if this would add another layer to the myth's message for subordinates.

"Yes, the placement of the fresco in the tablinum—the formal reception room where the head of the household met clients—adds a powerful social and moral dimension to the myth’s message. In a Roman home, the tablinum was a semi-public space where the patron conducted daily business and received visitors and clients, or clientes. The setting was highly symbolic, reinforcing the patron’s authority, wisdom, and moral integrity as he presided over his social and economic responsibilities.

"Displaying a scene like Daedalus presenting the wooden cow to Pasiphae in the tablinum would likely convey a cautionary tale to clients and visitors regarding the consequences of unethical or unnatural pursuits. For clients who depended on their patron’s guidance and support, the myth could serve as an implicit reminder to act in accordance with nature and propriety, emphasizing the virtues of self-control and respect for established boundaries. The scene reflects the dangers of hubris and excessive ambition, perhaps subtly warning clients against compromising their morals or overreaching for personal gain. In the Roman patron-client relationship, trust and ethical behavior were crucial, and a patron might wish to project these values through the decor of his home.

"Additionally, since patrons were often expected to provide moral and practical guidance to their clients, the fresco might also underscore the patron’s role as a wise advisor. By showcasing a myth that highlights the disastrous results of unethical actions, the patron could be presenting himself as a figure who values and upholds traditional Roman virtues. The presence of such a fresco in the tablinum could reinforce the idea that true power and respectability lie in self-restraint and moral integrity—a lesson particularly relevant for clients who may be seeking advancement or favors from their patron."

Then I asked, "Would the numerous hunt scenes in this house serve as reminders of the patron's ownership of large tracts of land in the countryside?"

"Yes, the numerous hunting scenes in the House of the Ancient Hunt likely served as visual symbols of the patron’s wealth, status, and land ownership, possibly indicating control over substantial tracts of countryside where hunting was practiced. In the Roman world, hunting was more than a pastime; it was closely tied to elite status, reflecting not only the economic power to maintain large estates and game reserves but also a culturally valued lifestyle associated with virtues like courage, discipline, and mastery over nature.

"Hunting imagery in Roman homes often served to emphasize the owner’s aristocratic identity and connection to rural virtues. By displaying these scenes in a prominent part of the home, the patron could subtly remind visitors and clients of his authority and influence both within the urban environment and in the rural territories beyond Pompeii. These scenes could also reflect the Roman ideal of otium, or leisure spent in noble pursuits, which was a key marker of elite identity. For the owner, the hunting frescoes would have underscored a connection to the land, a hallmark of the Roman elite, who were often significant landholders and agricultural producers.

"Furthermore, the hunt scenes might evoke symbolic associations with prowess and the mastery of challenging tasks—qualities that could translate into the patron’s role in both private and public affairs. By positioning themselves as capable stewards of nature and land, the house’s owner could project an image of a leader who is able to control and manage resources effectively, a desirable quality for someone in a patron-client relationship. This display would signal the owner’s strength and self-sufficiency, perhaps enhancing his social standing and reputation among his visitors and dependents.

"Thus, the hunt frescoes could serve as both a testament to the patron’s economic and social influence and as a subtle reminder of the lifestyle and power that comes with significant land ownership, creating an aura of authority and privilege for all who entered the home."

In reviewing scenes of this myth in other houses in Pompeii I was surprised to learn that the House of Tullius actually has an exact duplicate of the fresco. I realize artist workshops used pattern books to create various scenes but to reproduce a scene exactly between houses is apparently rare based on archaeological findings. So, I asked ChatGPT if an exact duplicate would point to a possible familial relationship between the residents of both houses.

"The identical frescoes of Pasiphaë in both the House of Tullius and the House of the Ancient Hunt could indeed hint at a familial or otherwise close relationship between the residents of these two properties. While Roman artists commonly used pattern books and replicated popular designs, exact duplicates of complex mythological scenes, particularly in the same city, are relatively rare. This repetition might suggest that the residents shared more than just artistic tastes—possibly social connections, familial ties, or even a shared ownership or commissioning of the same workshop.

"Family members in ancient Rome often lived in close proximity, with connected homes or shared estates, and wealthier families sometimes replicated specific artistic themes across their properties to reflect a unified identity. If the Tullius family and the owners of the House of the Ancient Hunt were related or closely connected, they might have used similar decor to highlight their shared values, status, or heritage. Furthermore, mythological scenes like that of Pasiphaë could have carried personal significance or family legends that the residents wanted to convey or pass down, explaining why the fresco might appear in more than one residence.

"Moreover, exact replication suggests that the residents might have commissioned the same artist or workshop, implying not only a shared artistic source but possibly also coordinated decisions regarding decorative themes. This connection would align with practices among Pompeian elites, who often used their home decor to project family identity, values, and social standing."

Themes of judgment, choice, and reward in the House of Meleager (Pompeii VI 9,2)

 by Mary Harrsch © 2024 

Today's fresco is from the House of Meleager in Pompeii (VI 9,2) on the north wall of room 27 (pompeiiinpictures plan). The lithograph was produced from Henri Roux's painting pre-1846. I had a heck of a time trying to find a decent picture of the original fresco. Wikimedia Commons contributor Miguel Hermoso Cuesta did an admirable job capturing the wall where the painting is still in situ from a distance considering the low light. He uploaded a high resolution image of it that I took and did my best to correct the perspective slightly and sharpen as best I could with my Topaz AI Sharpener software. I also tried to find any drawings of it by Wilhelm Zahn, Giuseppe Marsigli, or Nicolas La Volpe who made drawings of other murals in the house but not this one, apparently.

House of Meleager VI 9,2 pre-1846 Reproduction painting of Judgement of Paris on north wall of triclinium, by Henri Roux with lithography by Raoul-Rochette

House of Meleager VI 9,2 Room 27 (pompeiiinpictures floorplan), north wall courtesy of Wikimedia Commons contributor Miguel Hermoso Cuesta

House of Meleager VI 9,2 Room 27 (pompeiiinpictures floorplan), north wall courtesy of Wikimedia Commons contributor Miguel Hermoso Cuesta

House of Jupiter V 2, 15 Pompeii. Room 4 (pompeiiinpictures floorplan), west wall painting of the Judgement of Paris

ChatGPT describes the scene:

"In the image, Aphrodite (Venus), the goddess of love and beauty, stands to the right and is partially nude, a common way to convey her allure and sensuality in Roman art. Hera (Juno) is seated with her arm raised to her head in a gesture of command or majesty, symbolizing her queenly authority, while Athena (Minerva), armored and holding her helmet, represents wisdom and war. Paris, in the foreground, holds a shepherd's staff and points to Aphrodite, signifying his choice. Hermes, identified by his winged hat and caduceus, stands behind Paris as the divine messenger.

"This fresco would have held particular resonance in the dining area (triclinium) of the House of Meleager. It served not only as a beautiful decoration but also as a subtle nod to themes of judgment, choice, and reward—topics that might have sparked engaging discussions among diners. The choice of Paris might also reflect the social pressures or moral decisions that Pompeian citizens, particularly those in elite households like this one, encountered in their public and private lives. The fresco could symbolize the allure and consequences of choice, a theme that would resonate with Roman ideals of virtue and the responsibilities of decision-making."

I asked about the background figure reclining on a rock and ChatGPT replied:

"The reclining figure in the background of this "Judgment of Paris" fresco is often identified as Apollo. Depicted with a lyre or holding a laurel, he embodies the god of music, poetry, and prophecy. His inclusion might symbolize divine oversight or approval, acting as a witness to the pivotal judgment Paris must make. Apollo’s presence is not common in all versions of this myth but was sometimes added in Roman art to enrich the scene with another layer of divine participation.

"Alternatively, some scholars suggest that the reclining figure could be associated with the idea of the setting or rising sun, subtly referencing the broader cosmic or divine implications of Paris's choice. This figure may remind viewers of the pervasive influence of the gods over both mortal and immortal realms, highlighting the far-reaching consequences of seemingly personal decisions.

"In Pompeian frescoes, background figures like this were often used to create depth, framing the main action with a secondary narrative element or a symbolic onlooker, which could prompt viewers to think about the moral and cultural weight of the myth depicted."

I have also examined another version of the Judgement of Paris from the House of Jupiter (V 2,15). It includes all but the background figure but does includes Hermes just like the painting from the House of Meleager. I asked ChatGPT about the importance of Hermes in the myth:

"Hermes is usually included as a mediator and messenger, underscoring his role in facilitating divine interactions. In the myth, Hermes was commanded by Zeus to escort the three goddesses—Hera, Athena, and Aphrodite—to Mount Ida, where Paris would judge them in a contest for the golden apple, a prize for the "fairest" goddess. His presence signifies the official nature of the event, as Zeus's messenger, and adds an air of impartiality and order to the scene. Hermes’s role also emphasizes his status as a guide and intermediary between gods and mortals, which would have been a familiar and respected concept to viewers in Roman society.

"Artistically, Hermes's presence introduces a balance to the composition, often standing opposite Paris and interacting with the goddesses, which adds both structure and narrative clarity. His iconic attributes—the winged sandals, caduceus, and traveler's hat—help viewers identify him easily, setting the stage for the other divine figures and their roles in the judgment​"

How mythological murals distinguished public spaces from more private spaces in the Casa di Adone Ferito (Pompeii VI 7,18)

 by Mary Harrsch © 2024

Another fresco reproduced by Henri Roux portrays Adonis dying in the arms of Venus giving the Casa di Adone Ferito (Pompeii VI 7,18) its name. In addition, a large fresco of the Toilette of Hermaphrodite was also found in the home.

House of Adonis and Venus VI 7,18 Pompeii 2006 Detail of large wall painting of Adonis ferito and Aphrodite in peristyle courtesy of pompeiiinpictures

House of Adonis and Venus VI 7,18 Pompeii pre-1846 reproduction painting of Adonis Wounded in the arms of Aphrodite by Henri Roux with lithography by Raoul-Rochette of central painting on rear north wall of peristyle

House of Adonis and Venus VI 7,18 Pompeii Pre-1846. Reproduction central wall painting of the Toilette of Hermaphroditus from east wall of oecus courtesy of  Henri Roux with lithography by Raoul-Rochette

House of Adonis and Venus VI 7,18 Pompeii 2006 East wall of oecus south of peristyle with remains of the original painting of the Toilette of Hermaphroditus courtesy of pompeiiinpictures.com

House of Adonis and Venus VI 7,18 Pompeii 19th century Pen and ink drawing by Serafino Mastracchio of central wall painting from east wall of oecus depicting the Toilette of Heramphroditus

I asked ChatGPT if there was a symbolic connection between these two paintings and it replied:

"The frescoes of Adonis Wounded in the Arms of Aphrodite and The Toilette of Hermaphroditus found in the House of Adonis Wounded in Pompeii reflect themes of love, loss, and transformation, common motifs in Pompeian art. These particular subjects would indeed have symbolic connections, as both Adonis and Hermaphroditus are figures tied to complex, transformative relationships with love and identity, and both stories carry resonances of vulnerability and metamorphosis.

"The image of Adonis Wounded represents a moment of tragic love, as Adonis, a beloved of Aphrodite, dies from a boar attack, and she mourns his death. Adonis’s wound and death symbolize the transient nature of beauty and desire, themes that were significant in Pompeian domestic contexts as reminders of life's fragility and the need to cherish the present.

"In The Toilette of Hermaphroditus, we see a figure embodying both male and female characteristics, born from the union of Hermes and Aphrodite. The myth of Hermaphroditus, who merges with the nymph Salmacis to become a dual-gendered figure, conveys ideas of transformation and the fluidity of identity, which may have symbolized unity and the breaking of conventional boundaries.

"Together, these scenes would reflect a broader theme in the house, emphasizing beauty, love’s power to transform or consume, and the dual nature of human existence—passion and vulnerability, life and death, male and female. Such themes would resonate within a Roman household as reminders of personal, emotional, and possibly even political transformation, given that these images adorned a private residence where guests could contemplate them. The frescoes would create an atmosphere in which viewers reflected on these complex relationships, celebrating the divine while acknowledging human impermanence.

"This layered symbolism was appreciated in elite Pompeian homes, where imagery served not just as decoration but as narrative cues for philosophical reflection and social signaling."

I then pointed out the Adonis Wounded fresco was found in the peristyle but the toilette of Hermaphroditus was found in a more private oecus and asked "Would this difference in display with the peristyle more public and the oecus more private add any nuance to the selection of these frescos by the home's owner?

ChatGPT replied: "Yes, the placement of these frescoes within different parts of the House of Adonis Wounded likely reflects nuanced choices by the owner, which align with Roman customs regarding public and private space within elite homes.

"In Roman domestic architecture, the peristyle was a semi-public area that guests could access, especially those invited into the household but not necessarily its most private areas. By displaying Adonis Wounded in the Arms of Aphrodite in the peristyle, the homeowner chose an image with themes of love, beauty, and heroic vulnerability that guests could view and interpret as reflective of universal experiences—love’s triumph and tragedy, as well as the fleeting nature of life and beauty. The story of Adonis would have evoked empathy and contemplation from viewers, fitting for a space meant to impress and engage guests.

"In contrast, the fresco of The Toilette of Hermaphroditus in a private oecus [used for more candid conversations with specially invited guests] would be intended for a more intimate, personal audience. This choice suggests a symbolic association with private identity and transformation that the homeowner may have seen as more appropriate for a secluded space. Hermaphroditus embodies dualities—male and female, mortal and divine—which could serve as a reminder of personal and internal transformations, themes better suited to the privacy of an oecus. This intimate setting allowed for contemplation of the myth’s nuanced themes of identity, unity, and the merging of opposites, topics likely considered too private or complex for open display in a semi-public area.

"Together, these choices show an awareness of the cultural and symbolic expectations for different spaces within the home. The peristyle frescoes speak to shared social values, while the private oecus fresco touches on more introspective, perhaps even philosophical, themes, creating a rich environment that catered both to public presentation and private reflection."