Gender fluidity in ancient Roman art

 by Mary Harrsch © 2025

Today I happened across Wilhelm Zahn's drawing of the complete very ornate 4th style wall with the mythological painting of the Toilette of Hermaphrodite from the House of Adonis and Venus (VI 7,18) in Pompeii. I shared Henri Roux's colored painting of the myth with you back in November but I've included it again below. I have forwarded it to pompeiiinpictures.com so Zahn's drawing may be added to their page about the house.

Fourth-Style Wall contained the fresco Toilette of Hermaphrodite from the House of Adonis (VI 7,18) Pompeii by Wilhelm Zahn, 1836

Toilette of Hermaphrodite from the House of Adonis VI 7,18 Pompeii by Henri Roux, pre-1836

I did happen to study the fresco of Hermaphroditus a little closer though and wondered about the bearded figure on the far left wearing what appears to be female attire. First I asked ChatGPT about it and ChatGPT said:

"The bearded individual on the far left in the green gown holding a mirror is likely a representation of Silenus, a companion of Dionysus. In Roman frescoes, Silenus often appears in scenes with mythological or playful contexts, embodying themes of revelry, humor, and sometimes wisdom.

Silenus is traditionally depicted as an older, bearded figure who is often portrayed in humorous or incongruous settings, like wearing female attire in this scene. His role here could be to add a touch of playful satire or to emphasize the fluidity of identity and roles, fitting the androgynous theme of Hermaphroditus in the center. This playful ambiguity aligns with the broader Roman artistic tradition of mixing divine, human, and comic elements in domestic decoration."

But I was skeptical since I've never seen a representation of Silenus as a young man. So, I asked ClaudeAI about it and Claude said:

"The bearded figure on the left wearing feminine attire would be a different representation of Hermaphroditus/Hermaphrodite. This dual representation (one bearded and clothed, one unclothed and youthful) reflects the complex nature of this mythological figure in Roman art and culture. The mirror being held serves both a practical purpose within the scene and acts as a symbolic element, reflecting the dual nature of Hermaphroditus.

This style of depicting Hermaphroditus both as a bearded figure in feminine dress and as a youthful nude in the same scene is found in other Roman art as well. It represents different aspects of the deity's nature - the masculine (beard) and feminine (dress) combined in one figure, while also showing the more idealized form in the central figure.

It's worth noting that interpretations of ancient Roman art can vary, and while this is a commonly accepted reading of this fresco, ancient symbolism often has multiple layers of meaning that scholars continue to debate."

I told Claude that I had been told it could be a young Silenus but I was skeptical of that interpretation and Claude observed:

"That's actually a very interesting observation about Silenus! While Silenus is indeed typically depicted as an elderly satyr or companion of Dionysus, the bearded figure in feminine dress could potentially be Silenus in this context. In Roman art, Silenus sometimes appears in scenes involving gender play or transformation, particularly in Dionysiac contexts.

You're right to be skeptical though, as this is quite different from typical Silenus iconography. The traditional depiction of Silenus usually shows him as portly, older, and often drunk or riding a donkey. This more elegant figure with the mirror is quite a departure from that conventional representation.

Another interpretation worth considering is that this figure might represent an attendant or priest of Hermaphroditus, as religious functionaries in antiquity sometimes wore clothing associated with the deity they served.

The ambiguity of the figure's identity might even be intentional, playing into the themes of gender fluidity and transformation that are central to the Hermaphroditus myth. Roman wall paintings, particularly those from Pompeii, often incorporate complex mythological references that can support multiple interpretations.

Would you happen to know if there are other examples from Pompeii where Silenus is depicted in feminine attire? That might help establish if this was a regional variation in how he was portrayed."

I pointed out, "There is a mural of Hermaphroditus and Silenus in the House of M. Epidi Sabini (IX 1,22) but he is old and wearing traditional male attire. In the House of the Centenary (IX 8,6) there is another fresco depicting Hermaphroditus and Silenus but again Silenus is depicted as old wearing traditional male attire. In the Stabian baths' frigidarium is a painting assumed to be Hermaphroditus on the west wall and a traditional old Silenus on the east wall. In the House of Lucius Caecilius Jucundus there is a painting of Hermaphroditus and Silenus but again Silenus is portrayed in the typical way. In the House of Holconius Rufus the fresco with Hermaphroditus and Silenus has Silenus portrayed as an old male-dressed satyr too. The painting of Hermaphroditus and Silenus in the House of the Vettii is traditional as well. However, I did find a drawing from the House of Tryptolemus (VII 7,5) that depicts Hermaphroditus leaning on a statue of what has been identified as a bearded Pan dressed in a long chiton. Pan, however, is traditionally portrayed with goat feet not human feet."

House of Tryptolemus VII 7,5 Pompeii Oecus (m) 1871 drawing of painting of Hermaphrodite with bearded Pan statue by Nicola La Volpe

I then uploaded Nicola La Volpe's drawing from the House of Tryptolemus and Claude observed:

"This is fascinating and your detailed knowledge of the Pompeian frescoes really helps build a clearer picture! Your systematic review of how Silenus is portrayed across multiple Pompeian houses shows quite convincingly that he is consistently depicted as an elderly male figure in traditional attire when appearing with Hermaphroditus.

The drawing you've shared from the House of Tryptolemus is particularly interesting. The bearded figure in the long chiton (with human feet rather than goat feet) seems to share some similarities with the mysterious figure in the House of Adonis and Venus fresco. The fact that it's been identified as Pan despite lacking his characteristic goat feet highlights the challenging nature of interpreting these figures that don't conform to traditional iconographic patterns.

Given all this evidence, it seems increasingly unlikely that the bearded figure in feminine dress from the House of Adonis and Venus is Silenus. The consistency of Silenus's traditional elderly male appearance across multiple Pompeian houses, as you've documented, makes it hard to justify such a dramatic departure in just one instance."

I agreed saying "I think your original suggestion that the bearded figure in female attire may be another aspect of Hermaphroditus is most likely. Almost all frescos depicting Hermaphroditus with Pan have Pan depicted with the goat-like lower half of his body and usually Pan with no clothing at all. I simply don't know why the 19th century excavators identified the statue in the mural found in the House of Tryptolemus as a bearded Pan."

Claude replied, "Your reasoning is very sound! Your extensive knowledge of Pompeian frescos provides strong evidence that the bearded figure in feminine dress is likely another aspect of Hermaphroditus rather than Pan or Silenus. The consistency in how Pan is depicted across Pompeian art (with goat legs and typically nude) makes the identification of the statue in the House of Tryptolemus as Pan seem questionable.

This dual representation of Hermaphroditus - as both a bearded figure in feminine dress and as a nude youth - appears to be a sophisticated artistic choice that captures the complex nature of the deity. The mirror being held by the bearded figure takes on even greater symbolic significance if we view it this way, as it creates a visual dialogue between these two aspects of the same divine being.

It's interesting to consider why 19th century excavators might have preferred to identify the bearded figure as Pan. Perhaps this reflects the cultural attitudes and scholarly assumptions of their time, when they might have been less comfortable with or less interested in exploring themes of gender fluidity in ancient Roman art.

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