Decoding a 2,000-Year-Old Theatrical Mystery from Herculaneum or Pompeii

 by Mary Harrsch © 2025

I was searching through an 1839 publication of frescos found in Pompeii and Herculaneum and came upon this print made from copper engravings produced by 19th century artist Henri Roux the Elder. I was impressed by the realism of their poignant facial expressions so I translated the related text by Louis Barré to try to gain more insight into the scene portrayed and the structure in which the scene was painted. Unfortunately, there was no clue provided as to where in Pompeii or Herculaneum this painting was found. I did a keyword search for the word "tragic" and found no indications this fresco was represented in the corpus of either pompeiiinpictures.com or herculaneuminpictures.com.

Print from a copper engraving by Henri Roux the Elder of a fresco found in either Herculaneum or Pompeii of characters in a tragic play included in an 1839 text by Louis Barré

Barré mentioned the scene could represent mourners in a funeral procession or the chorus of a tragic play. He then mentions some early 19th century scholars thought the figure on the left represented a hero with disheveled hair and the central figure could be Telemachus because his hands were covered by his draped cloak. Neither of these seemed plausible to me since all figures appeared to be female especially due to the length of their garments. I checked my memory with ClaudeAI:

"In both Greek and Roman theater and art, male characters - even when portraying tragic heroes or kings - typically wore shorter garments that fell somewhere between the knee and mid-calf. The chiton or tunic worn by men was distinctly shorter than women's clothing.

"The long, floor-length robes we see on all three figures here are characteristic of female dress. Women's clothing (the peplos, chiton, or stola) was designed to reach the ankles and often had the elaborate draping we see in this fresco. Even high-status male characters like kings would not typically be depicted in such long, flowing garments."

I also pointed out the center figure appears to be wearing a sakkos, a common head covering for women in ancient Greek and Roman art - a soft cap or hood that covered the hair and often tied under the chin or at the back of the neck.

ClaudeAI agreed saying: "The way the fabric drapes around the center figure's head and face, creating that enveloping hood-like effect, is very characteristic of how the sakkos was typically depicted in ancient art. This head covering was particularly associated with older women, married women, and those in domestic or religious roles - exactly the kind of character you've identified as the nurse figure.

"This detail further supports your interpretation of this figure as the nurse or old woman character type from tragic drama. The sakkos would have been an immediately recognizable visual cue to ancient audiences about this character's identity and function in the scene - the wise, older female attendant or confidante to the tragic heroine.

"It's exactly the kind of costume detail that ancient artists used to help viewers instantly "read" the dramatic roles and relationships in a scene.

"This costume evidence strongly supports your reading of these as female figures - the tragic queen/princess (Jocasta), the old woman/nurse, and the female servant or attendant. Male servants or messengers in tragic drama would also have worn shorter garments.

"The only exception might have been certain priests or very elderly, venerable male characters who sometimes wore longer robes, but the body language, facial features, and overall presentation of these figures all suggest women rather than men."

I had read old nurses were a common character in Greco-Roman plays. I also thought the larger size of the character on the left could indicate a person of higher status such as a queen or princess. The smaller figure to the far right was probably a royal attendant.

I checked my theory with ClaudeAI and it said my interpretation sounded very compelling and aligned well with the conventions of ancient tragic theater.

"The old woman (or nurse) was indeed a standard character type in tragic drama, often serving as a confidante, messenger, or voice of wisdom. These characters frequently wore distinctive masks and would be positioned as intermediaries between the main tragic figures and the chorus or audience. The central figure's posture and drapery do suggest an older, more matronly character."

Your reading of the left figure as a tragic heroine makes perfect sense - the dramatic pose, flowing hair, and larger scale would be typical of a principal tragic character. The disheveled hair that the original text mentions could indicate she's in the midst of her tragic crisis - perhaps like Medea in her fury, Cassandra in prophetic madness, or Electra in grief.

The third figure as a mourning servant or attendant is a perceptive observation. The smaller scale and more subdued posture would fit a supporting character, and servants/attendants were common in tragic plays to witness and respond to the main characters' suffering. The positioning suggests deference to the heroic figure.

This grouping - tragic heroine, wise old woman/nurse, and faithful servant - would represent a classic tragic tableau, showing the heroine surrounded by the typical supporting figures who would help drive the narrative forward through their reactions, advice, and lamentations. The hierarchical sizing emphasizes the dramatic importance of each role."

I then expressed my opinion that the tableau could represent Oedipus' mother learning her husband/son's true identity and asked if the Oedipus play was popular during the 1st century CE.

"The Oedipus story, particularly focusing on Jocasta's discovery of the horrific truth, would make perfect sense for this tableau. The tragic heroine (Jocasta) realizing she has married her own son, with the old woman/nurse who might have been present at Oedipus's birth and abandonment, and a faithful servant witnessing the royal family's destruction - this would be an intensely dramatic moment perfectly suited to tragic theater.

"Regarding the play's popularity in the 1st century CE - absolutely! The Oedipus story remained one of the most performed and referenced tragedies throughout the Roman period. While Sophocles' original "Oedipus Rex" was from the 5th century BCE, Roman playwrights like Seneca wrote their own versions (Seneca's "Oedipus" dates to around 40-65 CE, right in line with your Herculaneum [or Pompeii] fresco's dating).

"Roman audiences were particularly drawn to the psychological horror and family dysfunction elements of the story. The theme of fate versus free will, the investigation/detective elements, and the spectacular tragic reversal made it enduringly popular. Roman tragic actors were known for their intense, emotional performances of such scenes.

"The moment of Jocasta's realization - that moment of anagnorisis or recognition - would have been one of the most powerful and memorable scenes in ancient theater, making it a natural choice for artistic representation."