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."