by Mary Harrsch © 2024
This lithograph from a painting by Henri Roux, from the House of the Colored Capitals in Pompeii is a scene of Bacchus and Ariadne on Naxos. This painting is echoed in almost all details by a drawing of the fresco by Nicola La Volpe, active in Pompeii from 1865-1871. The only difference I could find was a wreath on the head of the winged figure behind Ariadne depicted by La Volpe but missing in the painting by Roux.
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| Bacchus and Ariadne on Naxos from Pompeii by Henri Roux lithography by Raoul Rochette (d 1854) |
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| Caasa di Capitali Colorati VII 4,31-51 Pompeii. Room 20, west wall. Drawing by N. La Volpe of painting of Ariadne abandoned on Naxos |
It replied: "A mural of Bacchus (Dionysus) finding Ariadne on the island of Naxos in the House of the Colored Capitals could indeed suggest something significant about the residents' interests, values, or perhaps even their aspirations. This myth carries themes that were appealing in Roman culture and could reflect various symbolic connections with the household:
"Prosperity and Joy: Bacchus, the god of wine, revelry, and transformation, symbolized abundance, pleasure, and the enjoyment of life. His union with Ariadne was associated with renewal and the triumph over despair, as he rescued her after she was abandoned by Theseus. Displaying this scene could indicate that the residents valued Bacchus’s gifts of prosperity, happiness, and renewal, wishing to embody these ideals in their own lives and household.
"Marriage and Fidelity: The story of Bacchus and Ariadne also has strong marital associations, as Bacchus not only rescues but also marries Ariadne, making her his divine consort. For residents of the House of the Colored Capitals, this could symbolize loyalty and enduring love, possibly reflecting their views on marriage or aspirations for a harmonious and committed partnership.
"Artistic and Cultural Refinement: The tale of Bacchus and Ariadne was popular among Roman elites and frequently depicted in high-quality art due to its dramatic narrative and emotional depth. Choosing this scene might indicate that the residents were connoisseurs of mythological art or wished to convey a sense of cultural sophistication and connection to the elite tastes of the period.
"Transformation and New Beginnings: Bacchus rescuing Ariadne from abandonment and leading her to a new, divine life resonates with themes of transformation and renewal. Residents of the house may have identified with the idea of rising from difficulties or starting anew, reflecting personal values or aspirations.
"Thus, this mural could hint at a household that appreciated Bacchus’s themes of joy, renewal, and cultural refinement and perhaps viewed themselves as participants in the elite, cultured world of Pompeii. If the mural was indeed finely executed, it might also suggest that the residents valued or had access to high-quality art, further underscoring their refined tastes."
I then pointed out a number of frescos of Ariadne on Naxos portray her watching tearfully as Theseus sails away but the departing ship of Theseus is not included in this scene. Would this indicate the irrelevance of the past heartbreak?
ChatGPT: "Yes, the exclusion of Theseus’s departing ship from a fresco of Ariadne on Naxos could indeed emphasize a shift away from her past heartbreak. By omitting the image of Theseus sailing away, the focus turns fully to Ariadne's moment of transformation and newfound love with Bacchus (Dionysus), highlighting her transition from abandonment to divine partnership.
"Here’s how this choice deepens the significance of the scene:
"Emphasis on Renewal Over Loss: Leaving out the ship visually removes the cause of her sorrow, allowing the viewer to focus on Bacchus’s arrival and Ariadne’s imminent happiness. This shifts the emotional tone from one of loss to one of anticipation and joy, marking Theseus’s betrayal as irrelevant to her future.
"Symbol of Destiny and Transformation: Without Theseus’s ship, the fresco underscores Bacchus’s role as a divine rescuer. Bacchus and Ariadne’s love becomes the central narrative, representing her ultimate destiny and reinforcing themes of divine favor and renewal. The lack of reference to Theseus suggests that Ariadne’s journey was always meant to lead her to Bacchus.
"Encouragement of Positive Themes: For Roman viewers, this framing aligns with Bacchic ideals of celebration, prosperity, and divine union. The choice to portray her without the departing ship could indicate a conscious focus on positive themes, perhaps appealing to residents who valued joy, fidelity, and transformation, as opposed to sorrow or betrayal.
"This artistic decision subtly affirms that Ariadne's past is no longer relevant, drawing all attention to her future with Bacchus and the blessings associated with this union."
This made me wonder if the ship's absence could point to the residents being freedmen who wished to emphasize their current success and improvement in social standing without dwelling on their former servitude.
ChatGPT: "Absolutely, this interpretation aligns well with the symbolism of Ariadne’s transformation and could suggest that the residents of the House of the Colored Capitals were freedmen eager to highlight their current status and prosperity while distancing themselves from a past of servitude. In Roman society, freedmen often sought to showcase their success, wealth, and integration into respectable social circles, and choosing a myth that highlights personal elevation and divine favor would resonate with such aspirations.
"Here’s how this fresco might align with a freedman household's values:
"Transformation and Social Advancement: Ariadne’s transition from abandonment to divine favor mirrors the freedman experience of moving from enslavement to freedom and, often, significant economic success. Bacchus’s intervention symbolizes not just salvation but an elevation to a higher status, much like the freedman’s journey from servitude to social participation.
"Divine Blessing and Legitimacy: Freedmen often aspired to legitimize their status by emphasizing themes of divine blessing and favor. A scene that ignores Ariadne’s past sorrow and focuses on her divine acceptance could metaphorically communicate that the household, too, has left the hardships of the past behind, now enjoying the favor and benefits of the present.
"Avoiding Stigma: Roman society sometimes stigmatized freedmen, particularly in social and political spheres. By selecting a narrative that celebrates joy, love, and acceptance without visible references to past misfortune, the residents could be reinforcing their right to their newfound status and success, subtly encouraging visitors to recognize their present identity and achievements over their origins.
"Alignment with Bacchic Themes: Bacchus was a popular figure among freedmen, especially within Pompeii, where Bacchic mysteries and rites were embraced as symbols of community and transformation. Celebrating Bacchus’s transformative power through a scene like this could indicate the residents’ identification with Bacchic values, blending personal and spiritual rebirth in a way that freedmen, in particular, found appealing.
"Thus, the choice of this fresco in the House of the Colored Capitals could indeed reflect the residents’ focus on their current prosperity, symbolic rebirth, and integration into society, quietly setting aside any allusion to a past that may have been restrictive or challenging."
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