by Mary Harrsch © 2024
This lithograph is a reproduction of the fresco Hercules and Iole (Auge) from the Casa di Ercole ed Auge Pompeii (VIII 3,4) by Henri Roux. I also found drawings of the same fresco by Wilhelm Zahn and Giuseppe Abbate as well as some high quality drawings of other floating figures possibly from the same room by Nicola La Volpe and two other drawings by Giuseppe Abbate of another fresco depicting Dionysus and Silenus. I found these frescos to be of high quality, especially when compared to some artwork in the House of the Dioscuri. So, I was surprised the excavators deemed the house not particularly important.
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Frescoed wall with Hercules and Iole from Pompeii VIII 3,4 Casa di Ercole ed Auge from cubiculum on west side of the peristyle pre-1846 by Henri Roux lithographyby Raoul Rochette
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| Casa di Ercole ed Auge VIII 3,4 Pompeii Old undated photo of painting of Bacchus with Silenus playing the lyre |
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| Casa di Ercole ed Auge VIII 3,4 Pompeii Drawing by Giuseppe Abbate, of a painting showing Bacchus with Silenus playing the lyre within architectural frame |
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| Casa di Ercole ed Auge VIII 3,4 Pompeii Drawing by Giuseppe Abbate, of a painting showing Bacchus with Silenus playing the lyre |
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| Casa di Ercole ed Auge VIII 3,4 Pompeii 1825 Drawing by Federico Maldarelli of painting of Bacchus with Silenus playing the lyre |
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| Casa di Ercole ed Auge VIII 3,4 Pompeii Drawing by Nicola La Volpe, 1860, of three figures probably found in the same unidentified room |
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| Casa di Ercole ed Auge VIII 3,4 Pompeii Drawing by Nicola La Volpe, 1860, of three figures probably found in the same unidentified room |
This house is thought to have been owned by the Popiddi. The Popidii were a prominent family in Pompeii, and their name appears frequently in election notices painted on walls throughout the city. These electoral endorsements, or programmata, were common in Pompeii and served as advertisements for political candidates, often painted by supporters or professional sign-painters on the façades of buildings. The Popidii, like other influential families in Pompeii, would have had members running for political office, such as aediles or duovirs (high-ranking local magistrates), which would necessitate these endorsements.
This family was likely involved in civic affairs and public life, and the frequent appearance of their name on election notices indicates their active role in Pompeian politics. Supporting these candidates in election notices would not only promote their chances but also reflect the alliances and social networks among Pompeii’s elite families.
I asked ChatGPT why early excavators would not have considered the house important.
"Early excavators of the Casa di Ercole ed Auge (House of Hercules and Auge) in Pompeii may have deemed it "unimportant" due to several factors, typical of the 18th and 19th-century excavation practices, which prioritized certain types of houses and artifacts over others.
"Modest Architectural Features and Decoration: The house lacked the grand architectural features, elaborate floor plans, or high-quality wall paintings seen in larger, more opulently decorated homes, such as the House of the Vettii or the House of the Faun. Archaeologists in the early excavation periods often focused on houses with more luxurious decorations, as they were thought to reflect the lives of the wealthy elite, which they assumed would offer more historical and cultural insights. [Although I found the decorations of high quality, the house did not seem to have any columns or elaborate peristyles. However, it is hard to ascertain this definitively now because the home suffered extensive damage in the 1943 Allied bombings.]
"Condition and State of Preservation: If the house was poorly preserved or had minimal decoration remaining when excavated, it would have been considered less significant. Early excavators frequently neglected or even disregarded structures that did not have extensive, well-preserved artworks or luxurious fixtures, which were easier to display to the public and more likely to attract scholarly interest.
"Focus on Mythological Frescoes and Rich Iconography: Excavators of that era were particularly drawn to houses with large, detailed frescoes depicting famous mythological scenes. While the Casa di Ercole ed Auge did contain frescoes, such as the scene of Hercules and Iole, these may not have been as extensive or as prominent as those in other well-known houses, making it less of a priority for study and preservation at the time.
"Class Bias in Excavations: There was a tendency among early excavators to concentrate on houses believed to belong to the social elite, under the assumption that these provided the "most important" insights into Roman life. The Casa di Ercole ed Auge might have been viewed as a middle-class residence, and thus early archaeologists may have seen it as less valuable in terms of understanding the high society of Pompeii.
"As archaeological practices evolved, scholars began to recognize the value in studying a broader range of homes, including those of modest size or decoration, as they provide a more comprehensive picture of daily life in Pompeii. Modern archaeology places greater importance on these "lesser" houses for understanding the social dynamics and lifestyles of Pompeii's diverse population."
I asked ChatGPT what message the fresco of Hercules and Iole may have sent to guests of the home.
"In the Casa di Ercole ed Auge (House of Hercules and Auge) at Pompeii, a fresco depicting Hercules and Iole would convey layered themes of passion, desire, and potentially, the consequences of unrestrained appetites. In mythology, Iole was a woman of extraordinary beauty who became the object of Hercules’s desire, leading to a series of tragic events. Hercules's intense attraction to Iole not only caused conflict with his wife, Deianira, but also led to his eventual downfall, as his desire for Iole contributed to the circumstances surrounding his tragic death.
"For the Roman viewer, a fresco of Hercules and Iole would likely resonate with complex meanings. Hercules was revered as a hero and symbol of strength, yet his relationship with Iole highlights the human vulnerability of even the mightiest figures. This would serve as a reminder of the power of passion and the dangers of letting it override duty and reason. In a domestic setting, such as the Casa di Ercole ed Auge, this depiction might have functioned as both a cautionary tale about the consequences of excessive desire and as a celebration of beauty and attraction, essential elements of Roman life and values.
"Additionally, in Pompeii, where Hercules was venerated as a guardian and founder figure, his portrayal with Iole might have had a local significance, symbolizing the strength and vitality of Pompeii itself. However, by including the figure of Iole, the fresco could underscore the idea that even revered heroes are susceptible to their passions, presenting a nuanced view of strength tempered by human flaws.
"Overall, the fresco’s intended message would blend admiration for Hercules’s strength with a subtle warning about the consequences of uncontrolled desire, echoing themes of virtue, excess, and the complexities of human nature that were familiar in Roman culture.
As for this particular portrayal of the myth:
"The depiction of Hercules and Auge, showcases refined artistry and a strong narrative style that suggests skilled craftsmanship. Frescoes from this house often depicted mythological themes, which were popular among Pompeii's wealthier classes, even if the house itself was less grand in architectural terms compared to others like the House of the Colored Capitals.
The contrast you noted between the frescoes here and those in larger, more famous houses reflects how artistic quality in Pompeii didn’t always correlate with the size or grandeur of a house. The House of the Dioscuri, despite being more expansive and better known, features frescoes of varying quality. This suggests that the owners of smaller or less architecturally distinguished houses, like the Casa di Ercole ed Auge, sometimes invested specifically in high-quality frescoes, possibly to emphasize certain cultural or personal values, or as a display of taste and knowledge of mythological themes.
It’s possible that the residents of the Casa di Ercole ed Auge placed significant importance on the story of Hercules and Auge, both for its mythological appeal and for any symbolic meanings that could resonate with their personal or social identity.
Considering the political implications of this fresco:
"The Popidii, as a politically active family in Pompeii, would have had a vested interest in promoting messages of restraint and moral propriety. In the competitive political environment of Pompeii, public figures and their families needed to project a persona that appealed to the values of the broader community. Restraint, particularly in personal behavior and public office, was seen as an essential quality for maintaining social harmony and stability. This kind of messaging would also align well with the Roman virtue of modestia, which emphasized humility, discipline, and self-control—qualities that were desirable in political leaders.
"The depiction of mythological scenes in the family’s home could serve as a subtle way of reinforcing these values. The myth of Hercules, for example, carries multiple layers of meaning, including strength, bravery, and the need for restraint, as Hercules often had to control his immense power and overcome personal flaws. By choosing to depict scenes that emphasize these qualities, the Popidii could subtly communicate their alignment with these ideals to guests, reinforcing a political image of strength balanced by self-discipline.
"Displaying scenes that reflect virtus (virtue) and temperantia (temperance) would help shape the family's public perception, aligning them with the traditional values expected of leaders in Roman society."
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