The myth of Hercules and Omphale: Popular with textile workers?

 By Mary Harrsch © 2024

Although Henri Roux found only the partial remains of a fresco depicting the myth of Hercules and Omphale in the Casa di M. Terentius Eudoxus (Pompeii VI 13,6), he chose to reproduce it for Raoul Rochette's book. While looking for it on pompeiiinpictures.com I came across a full fresco of the myth with a very similar portrayal found in the House of the Prince of Montenegro (Pompeii VII 16,10).

ChatGPT pointed out that the House of Terentius Eudoxus is thought to have included a workshop of weavers. Since the myth involves the hero Hercules being ordered to spin and weave by Queen Omphale as punishment for one of his more serious transgressions, it would seem to be quite an appropriate decoration for the structure.

Hercules with Omphale from Casa di M Terrentius Eudoxus (VI 13,6) Pompeii  by Henri Roux lithography by Raoul Rochette

Casa di M Terrentius Eudoxus VI 13,6 Pompeii Drawing by Giuseppe Abbate, 1840, of painting on west wall of tablinum, showing Hercules and Omphale, but only preserved on the lower part

House of the Prince of Montenegro VII 16,10 Wall painting of the drunken Hercules with Omphale, and cupids who are stealing his club

House of the Prince of Montenegro VII 16,10 Anonymous painting of the scene of drunken Hercules with Omphale

House of the Prince of Montenegro VII 16,10 Painting by Giuseppe Abbate, 1861, of the wall of the oecus, with painting of Hercules and Omphale in the centre which was found ten years previously

Another drawing from Casa di M Terrentius Eudoxus VI 13,6 Pompeii Drawing by Giuseppe Abbate, 1842, of a painting in a side panel of the west wall of the tablinum showing Venus and Adonis

"Inside the house, archaeologists found fragments of mosaic flooring, possibly from the upper level, as well as various luxury items, including jewelry. Interestingly, the presence of loom weights and inscriptions on the columns in the peristyle indicate that sections of the house may have been used as a workshop for textile production, with some of the residents or workers possibly being associated with weaving. The name "Maria" appears in one of the inscriptions, suggesting the presence of a female weaver who may have been of Jewish descent, providing a fascinating insight into the social and occupational diversity in Pompeii."

The fresco depicts what appears to be a drunken Hercules dressed in female clothes with erotes playfully stealing his club. Omphale with her attendants sits on her throne as the authority figure in the scene. I asked if the presence of the erotes indicates Hercules is drunk from love for Omphale and not from alcohol and ChatGPT agreed.

"The presence of Erotes (winged gods of love, often depicted as mischievous, playful figures similar to cupids) stealing Hercules’ club in a scene with Omphale would suggest that he is not simply drunk in the usual sense but intoxicated or overwhelmed by love and desire. In classical art, Erotes often symbolize romantic or erotic love, and their actions can signal that a character is under the influence of passion rather than merely alcohol. Hercules’ club, a symbol of his strength and heroic identity, being stolen by these playful figures further emphasizes his vulnerability and his submission to Omphale. This gesture illustrates that his usual attributes of power and masculinity have been temporarily "disarmed" by love.

In ancient Roman art and mythology, the story of Hercules and Omphale frequently explored themes of reversal—Hercules exchanging his typical heroic pursuits for domestic, even "feminine" activities under Omphale’s influence. The scene with Erotes would amplify this aspect by showing him not only subdued but also symbolically "disarmed" by love, rendering him a lover rather than a warrior. This depiction serves as a playful yet poignant commentary on how even the mightiest hero can be conquered by love, which might have been an entertaining, lighthearted message to the Roman viewer."

I also asked if Omphale's two attendants, rendered slightly smaller than the queen, were meant to emphasize Omphale's royal status and her superior status to Hercules in this instance.

"The two female attendants rendered slightly smaller than Omphale are likely intended to signify her royal status. In Roman art, hierarchical scale—where important figures are depicted larger than others—was often used to convey status and authority. By positioning Omphale larger than her attendants, the artist emphasizes her prominence and dignity as a queen.

"Additionally, having attendants accompany a figure was a visual cue in Roman art that reinforced noble or royal identity. This setup implies a level of importance and wealth since attendants, servants, or companions were typically associated with the elite. Omphale, as queen of Lydia, holds a socially superior position to Hercules in this scene, with the attendants underscoring her authority and control over him, both romantically and socially.

"In mythological scenes where Hercules is depicted in a subservient or "disarmed" role under Omphale’s influence, the presence of attendants could also serve as a reminder of the reversal of power dynamics, adding to the humor and irony of the scene for Roman audiences. Omphale is portrayed not only as a queen but as one who has temporarily subdued the mightiest hero, underlined by her royal attendants supporting her position.

Using the quality of paintings to determine social status

"In a workshop or domestic setting, this imagery could carry additional humor and moral implications, subtly reminding those viewing it of the power of love to soften even the strongest figures or, alternately, poking fun at the way love can disrupt one’s usual duties and identities."

The message of a very similar fresco in the so-called "elite" house of the Prince of Montenegro, however, could be more cautionary.

"Hercules’ temporary service and humbling by Omphale may have carried a cautionary or moral message about overindulgence and loss of control, as Hercules was often depicted as drunk or in a subdued state in these scenes. This might have served as a reminder of the consequences of indulgence or lack of discipline."

Although the House of the Prince of Montenegro is referred to by some scholars as an elite residence, it, too, is connected to a workshop at VI.16.11 although there is no indication of the type of production there.

The similarities between the two frescos of Hercules and Omphale point to the use of a pattern book in the decoration of the two residences. A review of the drawings of other frescos found in the House of Terentius Eudoxus seems to reflect that too as they are of similar quality to those found in the House of the Prince of Montenegro. So, I would conclude the residents of the two houses were roughly of equal social status. Although Henri Roux found only the partial remains of a fresco depicting the myth of Hercules and Omphale in the Casa di M. Terentius Eudoxus (Pompeii VI 13,6), he chose to reproduce it for Raoul Rochette's book. While looking for it on pompeiiinpictures.com I came across a full fresco of the myth with a very similar portrayal found in the House of the Prince of Montenegro (Pompeii VII 16,10).

ChatGPT pointed out that the House of Terentius Eudoxus is thought to have included a workshop of weavers.

"Inside the house, archaeologists found fragments of mosaic flooring, possibly from the upper level, as well as various luxury items, including jewelry. Interestingly, the presence of loom weights and inscriptions on the columns in the peristyle indicate that sections of the house may have been used as a workshop for textile production, with some of the residents or workers possibly being associated with weaving. The name "Maria" appears in one of the inscriptions, suggesting the presence of a female weaver who may have been of Jewish descent, providing a fascinating insight into the social and occupational diversity in Pompeii."

The fresco depicts what appears to be a drunken Hercules dressed in female clothes with erotes playfully stealing his club. Omphale with her attendants sits on her throne as the authority figure in the scene. I asked if the presence of the erotes indicates Hercules is drunk from love for Omphale and not from alcohol and ChatGPT agreed.

"The presence of Erotes (winged gods of love, often depicted as mischievous, playful figures similar to cupids) stealing Hercules’ club in a scene with Omphale would suggest that he is not simply drunk in the usual sense but intoxicated or overwhelmed by love and desire. In classical art, Erotes often symbolize romantic or erotic love, and their actions can signal that a character is under the influence of passion rather than merely alcohol. Hercules’ club, a symbol of his strength and heroic identity, being stolen by these playful figures further emphasizes his vulnerability and his submission to Omphale. This gesture illustrates that his usual attributes of power and masculinity have been temporarily "disarmed" by love.

In ancient Roman art and mythology, the story of Hercules and Omphale frequently explored themes of reversal—Hercules exchanging his typical heroic pursuits for domestic, even "feminine" activities under Omphale’s influence. The scene with Erotes would amplify this aspect by showing him not only subdued but also symbolically "disarmed" by love, rendering him a lover rather than a warrior. This depiction serves as a playful yet poignant commentary on how even the mightiest hero can be conquered by love, which might have been an entertaining, lighthearted message to the Roman viewer."

I also asked if Omphale's two attendants, rendered slightly smaller than the queen, were meant to emphasize Omphale's royal status and her superior status to Hercules in this instance.

"The two female attendants rendered slightly smaller than Omphale are likely intended to signify her royal status. In Roman art, hierarchical scale—where important figures are depicted larger than others—was often used to convey status and authority. By positioning Omphale larger than her attendants, the artist emphasizes her prominence and dignity as a queen.

"Additionally, having attendants accompany a figure was a visual cue in Roman art that reinforced noble or royal identity. This setup implies a level of importance and wealth since attendants, servants, or companions were typically associated with the elite. Omphale, as queen of Lydia, holds a socially superior position to Hercules in this scene, with the attendants underscoring her authority and control over him, both romantically and socially.

"In mythological scenes where Hercules is depicted in a subservient or "disarmed" role under Omphale’s influence, the presence of attendants could also serve as a reminder of the reversal of power dynamics, adding to the humor and irony of the scene for Roman audiences. Omphale is portrayed not only as a queen but as one who has temporarily subdued the mightiest hero, underlined by her royal attendants supporting her position.

Using the quality of paintings to determine social status

"In a workshop or domestic setting, this imagery could carry additional humor and moral implications, subtly reminding those viewing it of the power of love to soften even the strongest figures or, alternately, poking fun at the way love can disrupt one’s usual duties and identities."

The message of a very similar fresco in the so-called "elite" house of the Prince of Montenegro, however, could be more cautionary.

"Hercules’ temporary service and humbling by Omphale may have carried a cautionary or moral message about overindulgence and loss of control, as Hercules was often depicted as drunk or in a subdued state in these scenes. This might have served as a reminder of the consequences of indulgence or lack of discipline."

Although the House of the Prince of Montenegro is referred to by some scholars as an elite residence, it, too, is connected to a workshop at VI.16.11 although there is no indication of the type of production there.

The similarities between the two frescos of Hercules and Omphale point to the use of a pattern book in the decoration of the two residences. A review of the drawings of other frescos found in the House of Terentius Eudoxus seems to reflect that too as they are of similar quality to those found in the House of the Prince of Montenegro. So, I would conclude the residents of the two houses were roughly of equal social status.

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