The myth of Daedalus and Pasiphae: the dangers of excessive ambition, unnatural desires, and attempts to manipulate nature beyond ethical boundaries

 by Mary Harrsch © 2024 

Henri Roux's depiction of the scene of Daedalus showing the wooden cow to Pasiphae that she plans to use to lure her husband's prize bull into a relationship with her was found in the tablinum of the House of the Ancient Hunt (Pompeii VII 4,48). . The monstrous minotaur was to be the unfortunate offspring.

House of the Ancient Hunt VII 4,48 Room 11 (pompeiiinpictures floorplan), 1846 reproduction by Henri Roux of a painting of Daedalus showing Pasiphae the wooden cow

House of the Ancient Hunt VII 4,48 Room 11 (pompeiiinpictures floorplan), wall painting from west wall of Daedalus showing Pasiphae the wooden cow

House of the Ancient Hunt VII 4,48 Room 11 (pompeiiinpictures floorplan), Drawing by Giuseppe Marsigli, March 1834, of painting of Daedalus and Pasiphae

House of the Ancient Hunt VII 4,48 Room 11 (pompeiiinpictures floorplan), 2014 looking south along west wall courtesy of Annette Haug. The square indicating where the mural of Daedalus and Pasiphae was removed.

House of the Ancient Hunt VII 4,48 Room 11 (pompeiiinpictures floorplan), 1899 Watercolour by Luigi Bazzani, looking towards west wall. Square cutout indicates the location of the Daedalus and Pasiphae fresco before its removal to the museum.

House of the Vetti VI 15,1 2023 Painting of Daedalus showing Pasiphae the wooden cow, from center of north wall of exedra courtesy of Johannes Eber

First, I asked ChatGPT for background on the house and it replied:

"The House of the Ancient Hunt, also known as Casa della Caccia Antica (Regio VII, Insula 4, No. 48), is a well-preserved domus in Pompeii, notable for its vibrant frescoes and architectural layout. The house gets its name from a series of hunting-themed frescoes, including a particularly famous painting of a boar hunt, which is considered emblematic of the home. These frescoes feature scenes of wild animals, hunters, and landscapes, which reflect both the Roman elite’s appreciation for nature and the symbolic value of hunting as a demonstration of skill and control over nature.

"The house itself is relatively modest compared to larger elite homes in Pompeii but is beautifully decorated. Built during the 2nd century BCE, it was updated over time, incorporating elements of the popular Fourth Style of Pompeian wall painting that included ornate and fantastical landscapes. The main atrium and surrounding rooms are adorned with colorful frescoes and mythological scenes, demonstrating the taste and wealth of the homeowner despite the modest size of the property.

"The hunting scenes in this home are particularly interesting because hunting was not only a common pastime among the Roman elite but also had symbolic associations with virtues like courage, discipline, and the mastery of natural forces. Additionally, in Roman culture, depicting such scenes could imply a form of cultural refinement and knowledge of the world’s exotic landscapes."

Then I asked, "One of the frescos in the house is a scene of Daedalus showing the wooden cow to Pasifae that she plans to use to have intercourse with her husband's favorite bull. Would this be considered a myth that cautions viewers about the consequences of trying to control nature unnaturally or would you suggest a different message?

ChatGPT replied: "The fresco of Daedalus presenting the wooden cow to Pasiphae in the House of the Ancient Hunt would indeed carry strong cautionary undertones, particularly regarding the consequences of violating natural boundaries. In the myth, Pasiphae, queen of Crete and wife of King Minos, falls under a curse that causes her to desire a bull. She commissions the master craftsman Daedalus to construct a wooden cow, which allows her to satisfy her unnatural desire. This ultimately results in the birth of the Minotaur, a monstrous creature that brings tragedy to Crete and leads to the need for a labyrinth to contain it.

"This story can be interpreted as a cautionary tale about the dangers of excessive ambition, unnatural desires, and attempts to manipulate nature beyond ethical boundaries. For a Roman audience, such myths highlighted the perils of overreaching, a concept rooted in the Greek idea of hubris—the defiance of natural or divine order, often with disastrous consequences. The fresco might thus serve as a moral reminder of the consequences of trying to defy or manipulate nature for personal gain, leading to chaos and suffering.

"Alternatively, it could reflect Roman views on self-control and moderation. The myth warns that unchecked desires, particularly those that conflict with nature or propriety, lead to ruin and scandal. In a domestic setting, this fresco might subtly remind viewers of the virtues of restraint and the dangers of indulgence, which align with Roman values like pietas (duty) and temperantia (moderation).

"The inclusion of this myth in the House of the Ancient Hunt would likely resonate with themes already present in the home’s hunting frescoes, which themselves symbolize control over wildness and mastery over nature. The myth of Pasiphae and the wooden cow adds a darker twist to this theme, showing what happens when natural boundaries are not respected. Thus, the fresco could function as both a narrative caution and a reinforcement of values important to Pompeian society."

This cautionary use of a fresco reminded me of the fresco depicting the sacrifice of Iphigeneia located just outside the triclinium in the House of the Tragic Poet. I interpreted it as a warning to the patron of the house each day not to sacrifice his family's needs for his own ambition. It did not turn out well for Agamemnon!

I then pointed out the fresco was found in the tablinum where the patron of the house would meet with clients each morning and asked if this would add another layer to the myth's message for subordinates.

"Yes, the placement of the fresco in the tablinum—the formal reception room where the head of the household met clients—adds a powerful social and moral dimension to the myth’s message. In a Roman home, the tablinum was a semi-public space where the patron conducted daily business and received visitors and clients, or clientes. The setting was highly symbolic, reinforcing the patron’s authority, wisdom, and moral integrity as he presided over his social and economic responsibilities.

"Displaying a scene like Daedalus presenting the wooden cow to Pasiphae in the tablinum would likely convey a cautionary tale to clients and visitors regarding the consequences of unethical or unnatural pursuits. For clients who depended on their patron’s guidance and support, the myth could serve as an implicit reminder to act in accordance with nature and propriety, emphasizing the virtues of self-control and respect for established boundaries. The scene reflects the dangers of hubris and excessive ambition, perhaps subtly warning clients against compromising their morals or overreaching for personal gain. In the Roman patron-client relationship, trust and ethical behavior were crucial, and a patron might wish to project these values through the decor of his home.

"Additionally, since patrons were often expected to provide moral and practical guidance to their clients, the fresco might also underscore the patron’s role as a wise advisor. By showcasing a myth that highlights the disastrous results of unethical actions, the patron could be presenting himself as a figure who values and upholds traditional Roman virtues. The presence of such a fresco in the tablinum could reinforce the idea that true power and respectability lie in self-restraint and moral integrity—a lesson particularly relevant for clients who may be seeking advancement or favors from their patron."

Then I asked, "Would the numerous hunt scenes in this house serve as reminders of the patron's ownership of large tracts of land in the countryside?"

"Yes, the numerous hunting scenes in the House of the Ancient Hunt likely served as visual symbols of the patron’s wealth, status, and land ownership, possibly indicating control over substantial tracts of countryside where hunting was practiced. In the Roman world, hunting was more than a pastime; it was closely tied to elite status, reflecting not only the economic power to maintain large estates and game reserves but also a culturally valued lifestyle associated with virtues like courage, discipline, and mastery over nature.

"Hunting imagery in Roman homes often served to emphasize the owner’s aristocratic identity and connection to rural virtues. By displaying these scenes in a prominent part of the home, the patron could subtly remind visitors and clients of his authority and influence both within the urban environment and in the rural territories beyond Pompeii. These scenes could also reflect the Roman ideal of otium, or leisure spent in noble pursuits, which was a key marker of elite identity. For the owner, the hunting frescoes would have underscored a connection to the land, a hallmark of the Roman elite, who were often significant landholders and agricultural producers.

"Furthermore, the hunt scenes might evoke symbolic associations with prowess and the mastery of challenging tasks—qualities that could translate into the patron’s role in both private and public affairs. By positioning themselves as capable stewards of nature and land, the house’s owner could project an image of a leader who is able to control and manage resources effectively, a desirable quality for someone in a patron-client relationship. This display would signal the owner’s strength and self-sufficiency, perhaps enhancing his social standing and reputation among his visitors and dependents.

"Thus, the hunt frescoes could serve as both a testament to the patron’s economic and social influence and as a subtle reminder of the lifestyle and power that comes with significant land ownership, creating an aura of authority and privilege for all who entered the home."

In reviewing scenes of this myth in other houses in Pompeii I was surprised to learn that the House of Tullius actually has an exact duplicate of the fresco. I realize artist workshops used pattern books to create various scenes but to reproduce a scene exactly between houses is apparently rare based on archaeological findings. So, I asked ChatGPT if an exact duplicate would point to a possible familial relationship between the residents of both houses.

"The identical frescoes of Pasiphaë in both the House of Tullius and the House of the Ancient Hunt could indeed hint at a familial or otherwise close relationship between the residents of these two properties. While Roman artists commonly used pattern books and replicated popular designs, exact duplicates of complex mythological scenes, particularly in the same city, are relatively rare. This repetition might suggest that the residents shared more than just artistic tastes—possibly social connections, familial ties, or even a shared ownership or commissioning of the same workshop.

"Family members in ancient Rome often lived in close proximity, with connected homes or shared estates, and wealthier families sometimes replicated specific artistic themes across their properties to reflect a unified identity. If the Tullius family and the owners of the House of the Ancient Hunt were related or closely connected, they might have used similar decor to highlight their shared values, status, or heritage. Furthermore, mythological scenes like that of Pasiphaë could have carried personal significance or family legends that the residents wanted to convey or pass down, explaining why the fresco might appear in more than one residence.

"Moreover, exact replication suggests that the residents might have commissioned the same artist or workshop, implying not only a shared artistic source but possibly also coordinated decisions regarding decorative themes. This connection would align with practices among Pompeian elites, who often used their home decor to project family identity, values, and social standing."