by Mary Harrsch © Emphasizing duty, loyalty, and reverence for the gods in the triclinium of a Greek freedman who has transformed into a Roman citizen
Before I could attempt a suggested theme of the paintings in the triclinium of the House of Cornelius Diadumenus (VII 12,27) that included the fresco I believe to be Aeneas and Dido, I needed to attempt to decipher another of the images in that grouping. Early excavators had dubbed the painting "Aphrodite in a Nest of Cupids."
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| House of Cornelius Diadumenus VII 12,26 Pompeii Painting of "Aphrodite in a nest of cupids" that I think is a depiction of Hermaphrodite and Salmacis found on east wall in triclinium room on left hand side behind atrium |
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| House of Cornelius Diadumenus VII 12,26 Pompeii. Stereoview by Sommer and Behles, c 1860-1870 showing Aphrodite and a nest of cupids that I think is Hermaphrodite and Salmacis |
I found this identification a puzzle because I could not see any wings on any of the figures. Furthermore, the central figure has its groin exposed that you normally see in representations of male figures. Looking at the 1860-1870 stereoview of the original painting I find it also depicts the central figure with darker skin, usually used in ancient Roman art to depict a male figure who spends more time outdoors than a female. The languid posture is often seen in paintings of Hermaphroditus as well.
Hermaphroditus was a son born to Hermes and Aphrodite but was transformed when he encountered the naiad Salmacis. Chat GPT explains:
"Hermaphroditus, a beautiful youth born of Hermes and Aphrodite, attracted admiration wherever he went. In one myth, while traveling, he encountered Salmacis, a nymph associated with a sacred spring. Salmacis became enamored with him, but her love was unrequited.
"Salmacis' Desire: Salmacis tried to seduce Hermaphroditus, but he rejected her advances. Salmacis, as a naiad, represents both the nurturing and entrapping aspects of nature. Her role as the catalyst for the transformation underscores the interplay between human desire and divine intervention.
"She waited until he was bathing in her spring, then seized him and prayed to the gods that they would never be separated.
"Union into One Being: In response to Salmacis' plea, the gods merged their bodies into one, creating a being that was both male and female. This is how Hermaphroditus became the symbol of androgyny, blending masculine and feminine traits.
"This myth was a popular subject in ancient art, including Roman frescoes and sculptures, often depicting Salmacis clinging to Hermaphroditus as he attempts to resist her."
Although the central figure's gender is difficult to see in the fresco's current degraded state and I didn't see any drawings of it on pompeiiinpictures.com, I think this scenario may be a more fitting identification. If the scene depicted is Hermaphroditus, the two figures in the background on the left could represent Hermes and Aprodite watching their son's transformation, as described by Ovid in Metamorphoses (Book 4, lines 285-388).
ChatGPT explains: "While Hermes and Aphrodite are not explicitly mentioned as present during the transformation in Ovid's version, they are critical figures in Hermaphroditus' origin:
"Hermes, the god of transitions, boundaries, and male youth, represents the masculine aspect.
"Aphrodite, the goddess of love, beauty, and desire, embodies the feminine side.
"Aftermath: Hermaphroditus, in his new form, calls upon his divine parents to curse the pool. He asks that anyone entering it be similarly weakened, reinforcing the transformative power associated with the myth."
The other two background figures on the right could be Pan with the shepherd's crook and another naiad who seems to be gently restraining Pan, whose desire for Hermaphroditus has been ignited by the transformation.
I asked ChatGPT why the deity Pan frequently occurs in frescos depicting Hermaphroditus and it replied:
"The deity Pan often appears in depictions of Hermaphroditus because of his symbolic associations with nature, fertility, and sensuality, which resonate with the themes of duality and transformation present in Hermaphroditus's myth.
"Pan as a Symbol of Unrestrained Desire: Pan, the rustic god of shepherds and flocks, is closely linked to untamed and primal aspects of nature, including unrestrained sexual desire. Hermaphroditus, being a fusion of male and female characteristics, embodies a kind of boundary-breaking identity, which aligns with Pan’s role as a transgressive figure who operates outside societal norms.
"Hermaphroditus as an Object of Desire: In art, Hermaphroditus is often depicted in moments that highlight their dual sexuality, which can provoke curiosity, attraction, or confusion. Pan’s inclusion in these scenes reflects his role as a pursuer and instigator of sensuality, emphasizing Hermaphroditus's allure and the tension between attraction and ambiguity.
"Pan's Mythical Context: In broader mythology, Pan is often portrayed in scenes involving nymphs and other nature deities, such as Salmacis, the nymph who becomes entwined with Hermaphroditus in their myth. His presence connects Hermaphroditus to the wider world of pastoral and erotic mythologies, creating a narrative link to themes of transformation and union.
"Visual and Narrative Dynamics in Roman Art: In Roman frescoes and sculptures, Pan’s grotesque and animalistic features can serve as a foil to Hermaphroditus’s ethereal and ambiguous beauty. This contrast enhances the dramatic and symbolic tension in artistic representations, emphasizing the complexities of identity and desire.
"In sum, Pan’s presence in depictions of Hermaphroditus reinforces themes of transformation, sensuality, and the interplay between nature and culture, making his inclusion both symbolic and visually evocative."
So, the mere presence of Pan could point to the central figure being Hermaphroditus?
ChatGPT: "Yes, the presence of Pan in a fresco or artistic representation can be a significant indicator that the central figure might be Hermaphroditus. Pan's frequent association with themes of eroticism, nature, and transformation aligns closely with the mythological narrative of Hermaphroditus, making his inclusion highly suggestive."
I also think the other fresco in the triclinium is also misidentified. It is said to be Ariadne abandoned on Naxos but I think it is Dido abandoned by Aeneas. Most frescos of Ariadne abandoned I have seen depict Ariadne with Cupid on the shore while Theseus departs on a ship. One rare fresco from the House of the Colored Capitals includes Dionysus approaching with his retinue but, other than that one, the number of other figures in images of abandoned Ariadne are usually few. The fresco from the House of Cornelius Diadumenus, however, is crowded with figures, not related to Dionysus.
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| House of Cornelius Diadumenus VII 12,26 Pompeii Drawing by Nicola La Volpe, of painting of Ariadne abandoned, now faded and lost, which would have been seen on the north wall of triclinium |
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| House of Cornelius Diadumenus VII 12,26 Pompeii undated photograph, of painting of Ariadne abandoned, that I think is Dido abandoned by Aeneas, now faded and lost, which would have been seen on the north wall of triclinium |
On the right are two human attendants, one with an oar. Looking at the drawing of the departing ship I thought it may be one of the sailors from the ship who may have lept overboard to return to his queen, Dido. The bank of oars seems to be missing at least one oar toward the front of the ship.
ChatGPT said: "Your observation of a missing oar and a potential connection to a sailor abandoning the ship to return to Dido is intriguing and aligns with some broader symbolic elements in Roman depictions of maritime myths. In the context of the story of Dido and Aeneas, elements like oars, ships, and sailors can carry deeper meanings about duty, loss, and the tension between personal desires and divine or historical imperatives.
"In Virgil's Aeneid, Aeneas is commanded by Mercury to leave Dido and continue his fated journey to found a new Troy, which underscores themes of duty over personal attachments. Ships and their crew often symbolize this forward movement and commitment to destiny. However, the imagery of abandonment—whether it's Dido's despair or a sailor symbolically choosing to stay behind—can serve to highlight the human cost of such a divine mission. Missing oars might visually suggest hesitation, incompleteness, or the consequences of abandoning one's path.
"The maritime imagery could also reflect the tension in Dido's narrative, where her love for Aeneas is both a source of hope and the catalyst for her downfall. The missing oar and your interpretation of a sailor leaping overboard might evoke the idea of resistance or regret in the face of fateful separation. This kind of artistic nuance often appeared in Roman depictions of mythological scenes, encouraging viewers to reflect on the complexities of the story."
I also pointed out that one of the figures in the ship appears to be wearing a wide-brimmed petasos traveling hat like the one Hermes is often shown wearing. ChatGPT pointed out the signficance of this detail:
"The observation of a wide-brimmed petasos traveling hat in the ship could indeed be a deliberate artistic choice to evoke Hermes (Mercury in Roman mythology). Hermes is often depicted wearing a petasos, along with winged sandals and sometimes a caduceus (staff). In Virgil's Aeneid, Mercury is the god who conveys Jupiter's command to Aeneas to leave Dido and continue his destined journey to Italy.
"The presence of a figure resembling Hermes in this scene could reinforce the divine intervention aspect of Aeneas's departure. It would align with the theme of divine will overriding personal choice, as Mercury's message is a pivotal moment in the narrative, reminding Aeneas of his fated duty to establish Rome. Artistic representations often include symbolic or narrative elements that emphasize such divine roles, and this depiction would make the connection between Aeneas's actions and the will of the gods clear to viewers familiar with the story.
"If this figure is indeed Hermes/Mercury, it adds a layer of narrative immediacy to the fresco, suggesting that the divine directive is not just an unseen force but actively present and watching over Aeneas's journey.
I also asked about the winged female figure and pointed out that she appears to be consoling Dido.
ChatGPT observed: "In Roman mythology, Iris is the winged goddess of the rainbow and a messenger of the gods. She often acts as a psychopomp, accompanying souls to the afterlife, as she does with Dido in Virgil’s Aeneid. Iris’s role in consoling or releasing Dido's soul as part of her tragic fate makes her a plausible candidate."
At the top of the image is an armored figure that I thought may be Mars, the god of war. Again, ChatGPT agreed:
"The armored figure at the top of the fresco could plausibly represent Mars, the Roman god of war, particularly given his importance in Aeneas' mythological narrative as a divine ancestor. Mars is often depicted in armor, symbolizing his martial nature, and his presence in this fresco might underscore themes of destiny, duty, and conflict central to Aeneas’ story.
"In Virgil’s Aeneid, Mars indirectly plays a role in guiding Aeneas' journey, as Aeneas is fulfilling the destiny of founding Rome, a city that Mars would later claim as his own through the lineage of Romulus and Remus. If this interpretation holds, the figure could be a divine reminder of Aeneas' obligation to prioritize his fated mission over his personal desires or attachments, such as his love for Dido."
I found a second Cupid figure reclining next to Mars, curious though. ChatGPT explains:
"The presence of a reclining Cupid figure next to the armored deity, possibly Mars, carries rich symbolic meaning. Cupid, as the Roman god of love and desire, often represents the complex interplay between love, duty, and destiny in Roman art and literature.
"In this context, the reclining Cupid could signify:
"Love's Influence on War and Duty: If the armored figure is Mars, Cupid's proximity might symbolize the tension between love and duty. This reflects themes in the Aeneid, where Aeneas must navigate his obligations to the gods and his people, despite his love for Dido. Mars' association with Venus (Cupid's mother) further emphasizes the intertwined nature of love and conflict in Roman mythology.
"Reconciliation of Opposites: Cupid beside Mars could suggest the reconciliation of opposites—love (Cupid) and war (Mars). This would be particularly poignant in the context of Aeneas' story, as his journey involves both conquest and the forging of new alliances for the future of Rome.
"Aeneas’ Divine Heritage: As Aeneas is the son of Venus (Cupid’s mother), the presence of Cupid reinforces his divine lineage. This detail might remind viewers of Aeneas' fated mission, which carries both the blessing and the burden of the gods.
"Mockery or Irony: In some artistic contexts, a Cupid accompanying a figure like Mars might also convey a playful or ironic commentary on the power dynamics between love and war, perhaps hinting at the futility or folly of human struggles when compared to the whims of divine forces."
Overall, though the AI appeared to agree with my identification as Dido abandoned by Aeneas, not Ariadne abandoned by Theseus.
Based on the artistic elements we’ve discussed, it is reasonable to interpret this fresco as representing Dido abandoned rather than Ariadne abandoned. Here are the key points supporting this interpretation:
The Ship: The prominent inclusion of a ship sailing away strongly aligns with the narrative of Aeneas abandoning Dido in the Aeneid. While Ariadne's story involves Theseus leaving her on Naxos, most ancient depictions of Ariadne's abandonment focus on her isolation, with Dionysus’ arrival typically emphasized rather than a ship.
The Armored Figure: The armored figure at the top of the fresco (possibly Mars) ties strongly to Aeneas' divine and militaristic mission to establish Rome, a central theme in Dido's story. This element does not align with Ariadne's myth, where divine intervention comes from Dionysus rather than a warlike deity.
Cupid Figures: The presence of multiple Cupids in the fresco aligns with the theme of conflicted love and fate, which permeates the story of Dido and Aeneas. Cupid's involvement is crucial in the Aeneid, as he initially inflames Dido's love for Aeneas, setting up the tragic conclusion.
The reclining Cupid figure next to the armored character could symbolize the tension between love and duty. In Roman art and literature, Cupids often represent love's influence, whether nurturing, playful, or bittersweet. Given the context of Aeneas's departure from Dido, this particular Cupid might emphasize how love (represented by the reclining Cupid) is subordinated or set aside in favor of martial or divine obligations (as represented by the armored figure, possibly Mars).
If the fresco does depict Dido’s abandonment, this juxtaposition aligns well with Virgil's Aeneid. Aeneas was torn between his love for Dido and his destined mission to establish Rome, which ultimately led to his tragic departure. The second Cupid could underscore Dido's heartbreak and the lingering, unfulfilled presence of love within the scene.
The Winged Female Figure: While this figure might represent Nike, her [Iris'] consoling gesture toward the central female figure (Dido) aligns better with themes of loss and abandonment in Dido's narrative. In Ariadne's story, divine figures often herald her forthcoming union with Dionysus, emphasizing triumph and transformation rather than consolation.
The Attendant with the Oar: An oar held by an attendant could symbolize loyalty to Dido or the abandonment by Aeneas’ sailors. This detail more clearly links to Dido's maritime abandonment than to Ariadne's myth, where such a maritime connection is peripheral.
Dido's Emotional State: The central female figure's posture and expression—seated in grief and despair—more closely evoke the tragic image of Dido mourning Aeneas' departure rather than Ariadne, whose narrative soon transitions to joy with Dionysus.
Given these elements, the fresco seems more likely to depict Dido abandoned, emphasizing themes of betrayal, duty, and divine intervention central to her story.
So, for thematic comparison, using my interpretations of the three frescos present in the triclinium, we have a meeting of Aeneas and Dido, Dido abandoned by Aeneas, and the transformation of Hermaphroditus. I asked ChatGPT to summarize the themes these images could represent:
"Your thematic interpretation of the three frescoes in the triclinium is compelling and highlights a sophisticated narrative progression, focusing on themes of transformation, duty, and loss:
"Aeneas and Dido Meeting: This fresco could symbolize the initial connection between two strong figures, their shared passions, and the brief moments of unity before fate intervenes. It reflects choices and desires in the face of destiny.
"Dido Abandoned by Aeneas: The portrayal of Dido after Aeneas' departure underscores the theme of sacrifice and the emotional cost of fulfilling a divine mission. For Aeneas, it highlights his struggle to prioritize duty over personal relationships, aligning with the Roman virtues of pietas (duty, loyalty, and reverence for the gods).
"Transformation of Hermaphroditus: This fresco contrasts the mortal struggles of Dido and Aeneas with a mythical tale of transformation, symbolizing the inevitability of change and the blending of identities. For the patron, this might emphasize the "transformation" from Greek origins to Roman identity, reflecting both personal and societal metamorphoses.
"Together, the three frescoes would provide a rich narrative for the triclinium, where guests could reflect on the tensions between personal desires and societal or divine obligations—a thematic undercurrent highly relevant in Roman cultural and moral frameworks."
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