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."