Ganymede or Paris? The eponymous fresco from the House of Ganymede in Pompeii

 By Mary Harrsch © 2025Ganymede or Paris? The eponymous fresco from the House of Ganymede

This morning in my research, I happened upon an 1840 drawing by Wilhelm Zahn of a fresco found in the so-called House of Ganymede (VII 13,4) in Pompeii. When I first saw the drawing and had not yet found its source, I assumed it was a sleeping Paris due to the youth wearing a Phrygian cap, an iconic attribute of Paris.

1840 drawing by Wilhelm Zahn of a fresco of a sleeping Ganymede (or Paris) found in an oecus of the House of Ganymede (VII 13,4) in Pompeii

House of Ganymede VII 13,4 Pompeii Painting by James William Wild, from north wall of oecus showing painting of Ganymede in central panel and a floating Spring on the left.

When I found which house held the fresco, and that it was named for the fresco, I was curious why early excavators identified the sleeping figure as Ganymede and not Paris. I asked both ChatGPT and ClaudeAI and they were both adamant it was Paris and had been misidentified as Ganymede. I pointed out to them the presence of the bird, assumed to be Zeus' eagle, but both AIs insisted the presence of the Phrygian cap was more symbolic.

I asked since both Paris and Ganymede originated from Troy, why would Ganymede not wear a Phrygian cap.

ChatGPT explained: "While both Paris and Ganymede are Trojan figures, their representations in ancient art often differ based on the roles they play in mythology and their associated attributes.

"The Phrygian cap is a standard symbol of Eastern origin or "Trojan-ness" in ancient art, often used to identify figures like Paris or other Trojan warriors. However, Ganymede’s depiction typically emphasizes his role as a divine cupbearer or his abduction by Zeus rather than his Trojan heritage. For this reason, he is often shown in a more idealized, youthful form, sometimes nude or semi-nude, with no specific regional markers like the Phrygian cap. The focus is on his beauty and the dramatic elements of his abduction, aligning with his mythological narrative as a divine favorite rather than a Trojan prince per se.

"Paris, on the other hand, is frequently tied to his identity as a Trojan prince in stories like the Judgment of Paris or his role in the Trojan War. The Phrygian cap serves as a visual shorthand to identify him and his cultural background. This contrast reflects how ancient artists tailored iconography to highlight the specific roles or themes associated with each figure.

"So, the lack of a Phrygian cap on Ganymede isn't a denial of his Trojan identity but rather a way to emphasize other aspects of his mythological significance, particularly his relationship with Zeus and his role in Olympus."

I pointed out that the sleeping figure is also holding a spear and asked if this would be more representative of Paris rather than Ganymede, too.

ClaudeAI replied: "The inclusion of the spear held by the sleeping figure does suggest this is more likely a depiction of Paris rather than Ganymede. The spear is a common attribute associated with Paris, representing his role as a warrior and his upcoming involvement in the Trojan War. In contrast, Ganymede is not typically portrayed with weapons. The combination of the Phrygian cap and spear provides stronger iconographic evidence that this fresco depicts the Trojan prince Paris, rather than the cupbearer Ganymede."

I asked if Eros is usually present in scenes depicting Ganymede and Zeus and ClaudeAI responded, "No, Eros is not typically depicted in scenes identified as Ganymede. Eros is more commonly associated with scenes involving Paris and Helen, representing the love and desire between the Trojan prince and the daughter of Zeus. The presence of Eros in this fresco provides further evidence that this is likely a depiction of Paris, rather than the cupbearer Ganymede. The eagle may symbolize Zeus's interest in this pivotal event in the Trojan War saga."

I asked if the sleeping figure is Paris, who would be the female observing him from the overhang and Claude AI replied:

"The female figure observing Paris from the overhang is likely meant to represent Aphrodite, the goddess of love. Aphrodite is often associated with Paris and the events leading up to the Trojan War, as she promised Paris the most beautiful woman in the world (Helen) in exchange for judging her the fairest goddess. Her presence here would symbolize her interest and influence over Paris's fateful encounter with Helen."

If you enjoyed this post, never miss out on future posts by following me by email!