by Mary Harrsch © 2024
Today's fresco is from the House of Meleager in Pompeii (VI 9,2) on the north wall of room 27 (pompeiiinpictures plan). The lithograph was produced from Henri Roux's painting pre-1846. I had a heck of a time trying to find a decent picture of the original fresco. Wikimedia Commons contributor Miguel Hermoso Cuesta did an admirable job capturing the wall where the painting is still in situ from a distance considering the low light. He uploaded a high resolution image of it that I took and did my best to correct the perspective slightly and sharpen as best I could with my Topaz AI Sharpener software. I also tried to find any drawings of it by Wilhelm Zahn, Giuseppe Marsigli, or Nicolas La Volpe who made drawings of other murals in the house but not this one, apparently.
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| House of Meleager VI 9,2 pre-1846 Reproduction painting of Judgement of Paris on north wall of triclinium, by Henri Roux with lithography by Raoul-Rochette |
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| House of Meleager VI 9,2 Room 27 (pompeiiinpictures floorplan), north wall courtesy of Wikimedia Commons contributor Miguel Hermoso Cuesta |
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| House of Meleager VI 9,2 Room 27 (pompeiiinpictures floorplan), north wall courtesy of Wikimedia Commons contributor Miguel Hermoso Cuesta |
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| House of Jupiter V 2, 15 Pompeii. Room 4 (pompeiiinpictures floorplan), west wall painting of the Judgement of Paris |
ChatGPT describes the scene:
"In the image, Aphrodite (Venus), the goddess of love and beauty, stands to the right and is partially nude, a common way to convey her allure and sensuality in Roman art. Hera (Juno) is seated with her arm raised to her head in a gesture of command or majesty, symbolizing her queenly authority, while Athena (Minerva), armored and holding her helmet, represents wisdom and war. Paris, in the foreground, holds a shepherd's staff and points to Aphrodite, signifying his choice. Hermes, identified by his winged hat and caduceus, stands behind Paris as the divine messenger.
"This fresco would have held particular resonance in the dining area (triclinium) of the House of Meleager. It served not only as a beautiful decoration but also as a subtle nod to themes of judgment, choice, and reward—topics that might have sparked engaging discussions among diners. The choice of Paris might also reflect the social pressures or moral decisions that Pompeian citizens, particularly those in elite households like this one, encountered in their public and private lives. The fresco could symbolize the allure and consequences of choice, a theme that would resonate with Roman ideals of virtue and the responsibilities of decision-making."
I asked about the background figure reclining on a rock and ChatGPT replied:
"The reclining figure in the background of this "Judgment of Paris" fresco is often identified as Apollo. Depicted with a lyre or holding a laurel, he embodies the god of music, poetry, and prophecy. His inclusion might symbolize divine oversight or approval, acting as a witness to the pivotal judgment Paris must make. Apollo’s presence is not common in all versions of this myth but was sometimes added in Roman art to enrich the scene with another layer of divine participation.
"Alternatively, some scholars suggest that the reclining figure could be associated with the idea of the setting or rising sun, subtly referencing the broader cosmic or divine implications of Paris's choice. This figure may remind viewers of the pervasive influence of the gods over both mortal and immortal realms, highlighting the far-reaching consequences of seemingly personal decisions.
"In Pompeian frescoes, background figures like this were often used to create depth, framing the main action with a secondary narrative element or a symbolic onlooker, which could prompt viewers to think about the moral and cultural weight of the myth depicted."
I have also examined another version of the Judgement of Paris from the House of Jupiter (V 2,15). It includes all but the background figure but does includes Hermes just like the painting from the House of Meleager. I asked ChatGPT about the importance of Hermes in the myth:
"Hermes is usually included as a mediator and messenger, underscoring his role in facilitating divine interactions. In the myth, Hermes was commanded by Zeus to escort the three goddesses—Hera, Athena, and Aphrodite—to Mount Ida, where Paris would judge them in a contest for the golden apple, a prize for the "fairest" goddess. His presence signifies the official nature of the event, as Zeus's messenger, and adds an air of impartiality and order to the scene. Hermes’s role also emphasizes his status as a guide and intermediary between gods and mortals, which would have been a familiar and respected concept to viewers in Roman society.
"Artistically, Hermes's presence introduces a balance to the composition, often standing opposite Paris and interacting with the goddesses, which adds both structure and narrative clarity. His iconic attributes—the winged sandals, caduceus, and traveler's hat—help viewers identify him easily, setting the stage for the other divine figures and their roles in the judgment"
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