Mary Harrsch © 2024
The vibrant painting of a venatione in the peristyle of the House of the Ancient Hunt is almost gone now. At least we still have Henri Roux's pre-1846 painting of it and one by Niccolini, too, as well as a detailed 1843 drawing of it by G. Malderelli. The early excavators referred to it as an ancient hunt although it appears to be a venatione rather than a hunt out in the countryside since it includes non-native felines.
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House of the Ancient Hunt (VII 4,48) Pompeii Pre-1846 painting by Henri Roux showing hunt on south wall of peristyle
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| House of the Ancient Hunt (VII 4,48) Pompeii 2015 Room 11 (tablinum), detail from south end of west wall in tablinum courtesy of Buzz Ferebee |
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| House of the Ancient Hunt (VII 4,48) Pompeii 2015 Room 11 (tablinum), detail from east wall of tablinum in southeast corner courtesy of Buzz Ferebee |
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| House of the Ancient Hunt (VII 4,48) Pompeii 2015 Room 11 (tablinum), detail from south wall of tablinum in southwest corner courtesy of Buzz Ferebee |
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| House of the Ancient Hunt (VII 4,48) Pompeii 2015 Room 11 (tablinum), detail from south wall of tablinum courtesy of Buzz Ferebee |
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| House of the Ancient Hunt (VII 4,48) Pompeii 2015 Room 11 (tablinum), detail from south wall in southeast corner courtesy of Buzz Ferebee |
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| House of the Ancient Hunt (VII 4,48) Pompeii 1889 Watercolor by Luigi Bazzani, looking southwest across peristyle garden |
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| House of the Ancient Hunt (VII 4,48) Pompeii 1916 Watercolor looking south from atrium across tablinum towards portico area by Luigi Bazzani |
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| House of the Ancient Hunt (VII 4,48) Pompeii 1899 Watercolor of tablinum by Luigi Bazzani, looking towards west wall at south end |
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| House of the Ancient Hunt (VII 4,48) Pompeii detail from south wall in southeast corner of tablinum courtesy of Giuseppe Ciaramella |
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| House of the Ancient Hunt (VII 4,48) Pompeii 1957 Room 11 (tablinum),detail from west wall of tablinum at north end courtesy of Stanley Jashemski |
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| House of the Ancient Hunt (VII 4,48) Pompeii 201. Peristyle, lion in centre of south wall courtesy of Buzz Ferebee |
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| House of the Ancient Hunt (VII 4,48) Pompeii 2007 Peristyle, east end of south wall of south wall Hunt scene courtesy of pompeiiinpictures.com |
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| House of the Ancient Hunt (VII 4,48) Pompeii 2009 Peristyle, lower middle section of south wall Hunt scene with hunter and boar, on the right courtesy of pompeiiinpictures.com |
ChatGPT seemed to agree with me:
"The inclusion of non-native felines, such as lions, leopards, or tigers, in the hunting murals could indeed hint at a connection between the homeowner and the procurement of exotic animals, particularly for public spectacles like those held in Roman arenas. Here's why this is a plausible interpretation:
Exotic Animals in Roman Spectacles: Exotic animals were highly valued in the Roman Empire for their role in gladiatorial games, venationes (beast hunts), and public displays. Lions, leopards, and other foreign species symbolized Rome’s dominance over distant lands and were a potent display of wealth, power, and connection to the empire's global reach.
"A mural prominently featuring such animals, could signify:
"The homeowner's involvement in the logistics of acquiring and transporting exotic beasts.
"A connection to the arena economy, whether through animal procurement, event organization, or sponsorship of public games.
"Wealth and Prestige: Displaying exotic animals in a domestic context reflected both wealth and access to imperial trade networks. Exotic beasts were incredibly costly to procure, requiring connections to merchants, imperial agents, or military officials stationed in far-flung provinces where these animals were captured.
"A patron with murals depicting exotic animals might have wanted to:
"Signal their elite status and access to rare resources.
"Align themselves with the grandeur of imperial spectacles, which were key tools for Roman political and social influence.
Connection to Venationes: The murals could serve as a subtle advertisement of the patron's role in providing or managing venationes. These public games were often funded or organized by elites seeking to gain favor with the local population or higher-ranking officials. The homeowner might have been:
"A magistrate who sponsored games.
"A merchant or intermediary who supplied animals for provincial or even imperial events.
"Someone with ties to provincial governors, soldiers, or agents tasked with capturing these animals.
The Role of Hunting in Elite Culture: Hunting scenes in Roman art frequently served as metaphors for power, control, and the ability to tame the wild. Including exotic animals could underscore the patron's association with these ideals on a grander, almost imperial scale:
"The act of hunting foreign animals could parallel the subjugation of Rome's enemies or dominion over nature, ideals central to Roman identity.
"The mural might celebrate the skill and bravery of the hunter, whether real or metaphorical, elevating the patron's status.
"Regional Context: Pompeii was a bustling commercial hub with connections to maritime trade. Exotic animals from Africa, the Near East, or even India were often transported via Mediterranean ports to Rome and other cities. A patron in Pompeii with ties to trade or shipping might naturally feature these animals in their home to reflect their economic activities or social role in the broader empire.
"Possible Allusions to Imperial Favor: The inclusion of exotic animals might also be a way of evoking imperial power and aligning the patron with Rome’s rulers, who were often closely associated with grand public spectacles. By decorating their home with scenes of exotic hunts, the patron could suggest:
"A personal connection to imperial spectacle, whether through business or symbolic alignment.
"Their loyalty to and support of the emperor, who often hosted games as part of their public image.
"Conclusion: The depiction of non-native felines in a hunting mural strongly suggests that the patron of the House of the Ancient Hunt may have had ties to the procurement, trade, or sponsorship of exotic animals for public spectacles. This would position them as a figure of wealth, influence, and connection to Rome’s imperial power structures. Such imagery served both as a celebration of their status and a demonstration of their role in the wider Roman world."
Although now lost, early excavators describe a large Nilotic scene in the predella on the south wall of the tablinum and looking closely at Luigi Bazzani's watercolor of the west wall of the tablinum I think it includes a scene of exotic animals being collected in an African setting as well.
I asked ChatGPT to clarify if it would have also pointed to the patron having served as an aedile.
ChatGPT said:
"Yes, the presence of exotic animals in the hunting murals could indeed suggest that the patron of the house may have served as an aedile or aspired to such a position. Here’s how this interpretation aligns with Roman social and political practices:
"1. The Role of the Aedile: The aediles were responsible for organizing public games, festivals, and other spectacles, including venationes (beast hunts). They often used these events to:
"Entertain the public and earn political favor.
Demonstrate their wealth and generosity as benefactors.
"Build their political reputation and pave the way for higher offices in the cursus honorum (sequence of public offices in Roman politics).
"If the patron had been an aedile, their sponsorship of games featuring exotic animals would have been a noteworthy achievement and a source of local pride, which they might commemorate in their home's decoration.
"2. Exotic Animals as a Marker of Aedilician Achievement: The inclusion of exotic felines in the murals would have been a direct reference to the patron’s role in organizing games that showcased Rome's global reach. The rarity and cost of these animals meant their inclusion in public games was a significant symbol of prestige.
"The murals could serve as a visual record of the patron’s success as an aedile, emphasizing their contribution to the community.
It could also highlight their political aspirations if they were still in the process of climbing the cursus honorum.
"3. Aedileship and Self-Promotion: Roman elites often used their homes as extensions of their public personas. Aediles, in particular, were known for advertising their generosity and civic contributions:
"The tablinum or other prominent rooms in the house, where such murals might be displayed, were places where clients and guests were received.
'The murals would serve as a subtle reminder of the patron's role in bringing grand spectacles to the city and their suitability for further public office.
"4. Connections to Hunting and Roman Values: The hunting theme itself was deeply symbolic in Roman culture:
"It was associated with domination, courage, and leadership—qualities befitting a politician or public official.
"The exotic animals might specifically evoke the aedile’s ability to "tame" the chaos of the wild for the enjoyment of the populace, a metaphor for their role in civic order and governance.
"5. Political Messaging Through Art: In the context of Pompeii, where political competition among elites was intense, the murals could have been part of a broader strategy of political messaging:
"If the patron had already served as an aedile, the murals could commemorate their service and generosity.
"If they were seeking election, the imagery might emphasize their connections to imperial trade networks and ability to provide games on an impressive scale.
"6. Historical Precedent: There is historical precedent for former aediles commemorating their contributions through visual art and inscriptions:
"Wealthy patrons often erected public monuments or left dedications to celebrate their games.
"Private homes, however, were more intimate spaces for self-promotion, offering a way to impress potential voters or clients who visited.
Conclusion
"If the patron of the House of the Ancient Hunt had served as an aedile, the murals of exotic animal hunts would have been a fitting way to commemorate their civic service. The imagery would remind viewers of their generosity, organizational skill, and ability to provide spectacular entertainment, all while aligning them with Roman ideals of power, control, and leadership. Even if the patron had not yet held the position, the murals could serve as aspirational propaganda, hinting at their capability and ambitions."
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