by Mary Harrsch © 2024
Henri Roux gave us two paintings of "Achilles at Skyros", one the reproduction of a mosaic from the House of Apollo (VI 7, 23) and the second, a well-preserved fresco from the House of the Dioscuri (VI 9,6). Achilles' attempt to elude his fate to die in the Trojan War by dressing in a woman's clothing and hiding amongst the daughters of King Lycomedes on the island of Skyros appears to have been a popular myth in Pompeii across different social classes as evidenced by its appearance in one of the wealthiest households, the House of the Vettii (VI 15,1), as well as a bakery, the Panificio di Aulus Rustius Verus (IX 10,1). However, the tale is not in Homer's Iliad but recounted in most detail in the 1st century poem The Achilleid by the Roman poet Statius. However, the Pompeii depictions would have had to have been based on references in earlier works since The Achilleid was not written until 94-95 CE and was unfinished when Statius died.
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Painting of a mosaic of Achilles at Skyros from House of Apollo (VI 7,23) Pompeii by Henri Roux lithography by Raoul Rochette
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| House of the Dioscuri VI 9,6 Room 9 (pompeiiinpictures floorplan), original wall painting of Achilles discovered by Odysseus at Skyros |
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It was known to have been included in 5th century BCE works of Polygnotos of Thasos and the late 4th and early 3rd centuries BCE works of Thracian artist Athenion of Maroneia. Since Pliny the Elder praised Athenion's work in the early 1st century CE and it is known Athenion painted a work entitled "Achilles, disguised as a Girl, discovered by Odysseus", I suspect that work was probably the basis for the various renditions of Achilles at Skyros in Pompeii. The story was also the basis for a now-lost play by Euripides.
Gemini pointed out the plays of Euripides were quite popular with Roman audiences of the 1st century CE:
"While the austere, lofty style of Aeschylus and Sophocles might have been less accessible to Roman tastes, Euripides' more realistic and emotionally charged dramas resonated strongly with Roman audiences. His exploration of human psychology, moral dilemmas, and social issues made his plays relevant and engaging.
"Here are a few reasons for Euripides' popularity in Rome:
"Emotional Depth: Euripides' plays delved deep into the emotions and motivations of his characters, often exploring complex and controversial themes. This emotional depth resonated with Roman audiences who were drawn to dramatic and passionate performances.
"Relatable Characters: Euripides' characters were often flawed and complex, making them more relatable to the audience.
"Social Commentary: His plays often contained social commentary, criticizing societal norms and questioning traditional values.
"Literary Merit: The literary quality of Euripides' plays, including his use of vivid language and innovative storytelling techniques, contributed to their enduring appeal.
"Roman audiences, particularly the educated elite, appreciated the intellectual and emotional depth of Euripides' work. His plays were performed in Roman theaters, adapted for Roman audiences, and studied by Roman writers and philosophers."
The mythical episode would provide reinforcement of several societal values in Roman culture as well. ChatGPT explains:
"The scene of Achilles on Skyros, where he is disguised as a girl among King Lycomedes' daughters, held several layers of symbolism for 1st-century Roman viewers, particularly in the context of honor, identity, and destiny. In Greek mythology, Thetis, Achilles' mother, hid him on Skyros to prevent him from joining the Trojan War, as she knew he was fated to die if he went. However, Odysseus discovered him by presenting gifts, including weapons, and observing that Achilles, unlike the girls, was drawn to the weapons, revealing his true nature as a warrior.
"For Roman viewers, this scene highlighted themes of virtus (courage and martial valor) and pietas (duty to one's destiny and people). Achilles' desire for arms, even while in disguise, resonated with Roman ideals of embracing one's duty, especially in the context of war. This symbolism would be powerful in a society that valued military achievement and the personal sacrifice of its soldiers.
"The story also emphasizes the inevitable nature of fate—Achilles cannot avoid his destiny as a warrior, just as many Romans believed in the fixed roles and destinies determined by their societal positions. In the 1st-century CE, during the early Roman Empire, these ideas were deeply ingrained, as citizens and soldiers alike were expected to fulfill their roles within the hierarchy of Rome, often at great personal cost. For an elite Roman patron, displaying this scene in a home would convey values of strength, loyalty to one's destiny, and acceptance of the duties of one's birthright, reinforcing the patron's own adherence to these virtues and their identification with a legendary figure like Achilles."
I can't help but think an adaptation of Euripides' play for a Roman audience would have included a little humor as well, making a discussion of the play in a triclinium setting like the one housing the mural in the House of the Vettii, enjoyable, too.
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| Achilles at Skyros mosaic from Zeugma now in the Gaziantep Zeugma Museum courtesy of Dick Osserman |
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| House of Holconius Rufus (VIII 4,4) Pompeii. Drawing by Nicola La Volpe of painting of Achilles at Skyros on east wall of triclinium, room 10 (pompeiiinpictures floor plan) |
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| House of Holconius Rufus (VIII 4,4) Pompeii 1870 photograph Room 10 (pompeiiinpictures floorplan), center of the east wall |
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| Hoouse of Achilles (IX.5.2) Pompeii. Room ‘u’, north wall with painting of Achilles discovered on Skyros courtesy of pompeiiinpictures.com |
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| House of Modestus (VI 5,13) Pompeii 1852 Painting by Wilhelm Zahn of atrium wall with Achilles on Skyros represented in the upper zone left of central image |
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| Panificio (Bakery) di Aulus Rustius Verus (IX 10,1) Pompeii September 2023 Tablinum 14 South wall painting of Achilles on Skyros courtesy of pompeiiinpictures.com |
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| House of the Vettii VI 15,1 Pompeii 2023 east wall, southeast corner and south wall of black triclinium “t” courtesy of Johannes Eber |
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