The Rape of Hylas: a cautionary tale about the risks of distraction from one's responsibilities?

 by Mary Harrsch © 2024 

Henri Roux found "The Rape of Hylas" depicted in the House of the Terracotta Shapes (VII 4,62).

Hylas ravaged by the Nymphs from House of the Terracotta Shapes (VII 4,62) Pompeii  by Henri Roux lithography by Raoul Rochette

ChatGPT provided background information about the house:

"This house is notable for its association with a pottery workshop, evidenced by the discovery of numerous terracotta molds and forms, which gave the house its modern name. These molds were used to produce a variety of clay objects, likely including vessels, figurines, and other small household items.

"Excavations revealed that this house, while residential, was also a space of artisanal production, with several rooms dedicated to work-related activities. The presence of the terracotta molds suggests that the owner of the house was involved in pottery or clay production, possibly as a business, and may have used the residence as both a home and a workshop. Such dual-purpose spaces were relatively common in Pompeii, where many residents combined living quarters with commercial or industrial activities.

"The house itself includes a typical atrium layout but is somewhat modest in size, reflecting a focus on functional, productive space rather than luxury. Its architectural and decorative features are simpler compared to elite residences in Pompeii, aligning with its mixed residential and industrial use.

"The Casa delle Forme di Creta provides valuable insights into the daily lives of Pompeian artisans and the integration of trade and domestic life within urban settings. It highlights how economic activities were closely intertwined with domestic environments in Pompeii, with artisans and tradespeople often working within or adjacent to their homes. The discovery of molds also sheds light on the types of small-scale manufacturing that contributed to the local economy."

I then asked "What symbolism would such artisans perceive from a painting of the rape of Hylas found in the triclinium there?"

ChatGPT replied:

"The painting of The Rape of Hylas found in the triclinium of the Casa delle Forme di Creta could carry several layers of symbolic meaning, particularly in the context of the artisan household. In mythology, Hylas was a companion of Heracles who, while fetching water, was abducted by water nymphs enchanted by his beauty. This myth involves themes of allure, danger, and the disruption of duty, which might resonate with artisans or workers.

"For artisans, the story could serve as a cautionary tale about the risks of distraction from one's responsibilities. Hylas was drawn away from his task by something beautiful and enticing, resulting in his disappearance and causing Heracles considerable grief. For a craftsman or artisan in Pompeii, whose livelihood depended on discipline, focus, and labor, this scene might reflect a reminder of the consequences of being led astray by desire or beauty, symbolizing the potential disruptions that distractions can bring to one’s work or life.

"Additionally, the myth emphasizes the vulnerability of even the strong and beautiful, suggesting that unexpected forces can disrupt stability or security—an especially relevant theme for a city like Pompeii, where artisans and merchants faced economic uncertainties. The triclinium, used for social gatherings, may also have been an ideal place for such a painting to subtly remind viewers of the unpredictability of life, thereby encouraging them to appreciate their own circumstances.

"Lastly, The Rape of Hylas could reflect the artisan's engagement with the broader cultural and mythological knowledge of Roman society. Displaying this myth in their home may have served to demonstrate cultural literacy and a familiarity with mythological themes that were popular across all social classes in Pompeii, bridging the gap between the working and elite classes in terms of cultural expression."

House of the Terracotta Shapes VII 4,62 Pompeii Triclinium 7 (pompeiiinpictures floorplan), north wall reproduction of the fresco of the rape of Hylas, attributed to Giuseppe Marsigli

House of the Terracotta Shapes VII 4,62 Pompeii Triclinium 7, north wall, 1843 drawing of fresco of the rape of Hylas, by Nicola La Volpe

House of the Terracotta Shapes VII 4,62 Pompeii Triclinium 7, north wall. Drawing by Giuseppe Marsigli, 1833, a copy of the painting of the rape of Hylas

House of the Terracotta Shapes VII 4,62 Pompeii Triclinium 7, north wall, drawing by Giuseppe Abbate showing the decoration now lost

House of the Terracotta Shapes VII 4,62 Pompeii old photograph of Triclinium 7, north wall, fresco of the rape of Hylas

House of Pompeius Axiochus VI 13,19 Pompeii Triclinium on north side of atrium, south wall Drawing by A Sikkard of the painting of Hylas and the Nymphs (appears to be a drawing of a mosaic to me)

Upon examining other structures in Pompeii with some version of this depiction, I noticed the myth was included in the artwork of both the Stabian and Sarno bath complexes. I wondered if these frescos were thought to address the tastes or daily concerns of artisans or industrial workers who visited the baths regularly.

Stabian Baths VII 1,8 Pompeii Drawing by Nicola La Volpe, of the stucco showing the story of the myth of Hylas and the nymphs

Stabian Baths VII 1,8 Pompeii Watercolour by Giuseppe Abbate, 1859, of wall in southwest corner of gymnasium C

ChatGPT seemed to agree with my suggestion:

"The depictions of The Rape of Hylas in the Stabian and Sarno baths may indeed reflect messages intended for the artisans, laborers, and other patrons who frequented these public bath complexes. In Roman society, bathhouses were a social equalizer, welcoming people from various backgrounds. Therefore, the choice of mythological scenes often reflected themes relevant to a broad audience and included motifs with deeper meanings applicable to daily life.

"The Rape of Hylas could have resonated with artisans and industrial workers visiting the baths on several levels:

"Vulnerability and the Disruption of Duty: The abduction of Hylas, a young, strong companion of Heracles, illustrates that even the capable can be disrupted by unforeseen forces. For workers, the story might serve as a reminder of the need to remain vigilant and focused despite the allure of distractions. This was a theme that could have metaphorical relevance to people engaged in demanding physical labor, where discipline and attentiveness were crucial.

"Mortality and Impermanence: Public bathhouses often featured art that reminded patrons of the fleeting nature of life. For the working class, this message could resonate as a reminder to appreciate their brief moments of relaxation in the baths, given the hardships of daily life. Myths like that of Hylas highlight the unpredictable and sometimes capricious nature of fate, a theme that would have been poignant for those familiar with life’s uncertainties.

"Aesthetic Appreciation and Cultural Connection: Including scenes like The Rape of Hylas in public baths also introduced patrons to high cultural mythology, which may have offered a sense of shared cultural knowledge. This imagery allowed artisans and laborers to engage with stories that were not only the domain of the elite but also part of the collective Roman identity, reinforcing cultural bonds across classes.

"Dual Themes of Beauty and Danger: The figure of Hylas is often depicted as youthful and beautiful, embodying ideals of physical perfection and vulnerability. This mix of beauty and danger could serve as a reminder of the hazards that may come from naivety or the temptation to wander beyond one's limits—a message potentially relevant to those who faced physical risks in their work or were susceptible to the hardships of urban life.

"In these public settings, such images weren’t necessarily meant to impart overt moral lessons but rather to invoke thought and reflection through familiar myths. In this way, they subtly communicated themes of caution, vulnerability, and shared cultural values to bathers of all backgrounds."