Category Archives: Mysteries

Paintings of Pompeii 1: Villa of the Mysteries of Dionysos (Villa Item)

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I was lucky enough to have the opportunity to visit Pompeii and Herculaneum a few weeks back in connection with the Society of Biblical Literature conference in Rome (where I presented a paper from my upcoming book).  The populations of both of these ancient towns were wiped out by the volcanic eruption of mount Vesuvius in 79 CE, and no subsequent building was done over the ruins.  So these are among the best preserved ancient cities to see.  One major result of the trip is that I now have about 1000 new photos relating to artifacts from the Roman era.  Among these are many photos of mosaics and paintings or frescoes from Pompeii (and some from Herculaneum).  So I’ll have a series of posts on some of these paintings (also drawing on some information found in Irene Bragantini and Valeria Sampaolo, La pittura pompeiana Naples: Museo Archeologico Nazionale di Napoli, 2009).

The majority of paintings from Pompeii are now removed from Pompeii and preserved in the National Archeological Museum of Naples (Museo archeologico nazionale di Napoli).  However, some are still in their original find-spots (in situ).  One of the most incredible wall-paintings from antiquity can still be found within a rather large home on the outskirts of the original town of Pompeii.

Mysteries of Dionysos

This home is known as Villa Item or Villa of the Mysteries, due to the paintings that decorated one of its banqueting halls.  This banqueting hall may also have been used in connection with initiations in the mysteries of Dionysos (Bacchus).  I have discussed the mysteries and Dionysos’ mysteries specifically on one of my websites, so I would suggest you read that first.  Right now I’d like to supplement my earlier discussion of the mysteries by supplying photos of the paintings which seem to depict stages in the initiation process and related mythological scenes.

The paintings seem to depict both the devotees of Dionysos in various stages of participation in initiation rites and mythological scenes which intersect with the progress of initiation itself.  The exact interpretation of these paintings is, of course, debated, but I will give a basic description with some consultation of M.P. Nilsson (The Dionysiac Mysteries of the Hellenistics and Roman Age [Lund: Gleerup, 1957], 66-78) and Walter Burkert (Ancient Mystery Cults [Cambridge: Harvard UP, 1987], 95-96).

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Scene 1 Villa of the Mysteries

Scene 1 – Preparations (north wall, on your left as you enter):

A naked boy reads from a papyrus scroll as two women of the house listen and a third woman carries a dish towards the next scene.

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Scene 2 – Preparations and segue to mythical or revelation scenes (north wall, on your left as you enter):

A seated woman (with back facing us) uncovers a tray with her left hand while receiving liquid into a dish with her right hand, perhaps cleaning her hands (Burkert) or making an offering to the god (Nilsson).  To her right is a mythical scene depicting a silenos playing the lyre, a boy playing a flute, and a girl suckling a goat.  Further to the right, a partially clothed woman runs in fear (perhaps running from the flogging scene on the opposite side).

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Scene 3 – Mythical scene with Silenos, Dionysos, and threatening winged female figure (east wall, straight ahead as you enter):

This may be a depiction of the revelation of the god Dionysos to the initiate.  A drunken and scantily clad god Dionysos, accompanied by Ariadne, is seated in the centre as a Silenos shows something (or offers a drink) to a boy (satyr?) while another boy holds up a theatrical mask.  To the right, a partially clothed woman lifts a veil to reveal the contents of a basket, likely the phallic symbol associated with initiation into the mysteries of DIonysos.  A threatening mythical figure appears on the far right (see next photo).

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Scene 4 – Flagellation and dancing woman (east and south walls):

A winged, mythical figure winds up to flog a woman (initiate-to-be?) with a rod or wand (thyrsos).  The woman lays her head in the lap of another woman for protection from the threatening figure.  To the right, a woman (same initiate who was previously flogged?) dances naked while playing finger-cymbals over her head and another woman holds a reed or wand (thyrsos), a symbol of the god Dionysos.

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Scene 5 – Seated woman being adorned by cupids

Banqueting under the protection of your gods

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Down in a dusty basement of the British Museum, where few will ever see it, is a very interesting monument involving an association devoted to Zeus Hypsistos (“Most High”; GIBM IV.2 1007; from Panormos, near Kyzikos in Asia Minor).

The “three-storey” relief on this monument depicts the gods to whom the association was devoted, with Zeus (left) alongside Artemis (middle) and Apollo (right). All three deities hold out a libation bowl in their right hands, symbolic of the libations (drink-offerings) which humans offer in honour of these figures.

Even more interesting is the rare picture of an association’s banquet which is depicted under the benevolent protection of the gods. Here we see a number of members of the association reclining for the meal in a customary manner as they watch a female dance, perhaps performing in honour of the gods. She is accompanied by a seated man playing a Phrygian flute and a percussionist (using reeds) while, off to the right, a man takes care of the wine bowl for the symposium (drinking party).

A monument like this illustrates well the interconnected social and religious purposes of the associations. Partying and honouring the gods went together quite well in antiquity.

 

The inscription in the triangular shape at the top reads as follows: “To Zeus Hypsistos and the place. Thallos, eponymous official, dedicated this relief.”

There will be more to come from my recent visit to the British Museum, and perhaps more on Zeus Most High, whose connections with Judaism are somewhat controversial. (I would like to thank Dr. Peter Higgs, curator of Greek and Roman Antiquities, for arranging access to the monument).

An invitation from the god Sarapis: Banqueting with the gods

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When the members of associations or guilds in the Roman empire gathered together for a meal, much more than simply satisfying the appetite or merely socializing was going on. Things that we moderns might separate into the categories of “social” and “religious” were intimately intertwined in antiquity, and the sacrificial meal is a case in point. The main way to honour the gods or goddesses was to make offerings of food or animal sacrifices, and in the majority of cases this, by default, included the accompanying meal of the worshipers.

In fact, in some cases it was even imagined that the god threw the banquet and was present with devotees as they shared in a communal meal. One banquet invitation on papyrus (ancient paper made from plants in Egypt) shows that the (Greco-Egyptian) god Sarapis sometimes sent out personal invitations for dinner: “The god calls you to a banquet being held. . . tomorrow from the 9th hour” (trans. by G.H.R. Horsley, New Documents Illustrating Early Christianity, vol. I no. 1). And this is one of those rare cases when an upper-class author (in this case Aelius Aristides of Smyrna) happens to clarify how the members of an association devoted to Sarapis might think about their god’s presence, whether in Egypt or in Asia Minor:

“And mankind exceptionally makes this god [Sarapis] alone a full partner in their sacrifices, summoning him to the feast and making him both their chief guest and host, so that while different gods contribute to different banquets, he is the universal contributor to all banquets and has the rank of mess president for those who assemble at times for his sake . . . he is a participant in the libations and is the one who receives the libations, and he goes as a guest to the revel and issues the invitations to the revelers, who under his guidance perform a dance.  Orations 45.27-28; trans. by Charles A. Behr, P. Aelius Aristides: The Complete Works. Leiden: E.J. Brill, 1981 (second century).

Worshiping the Beast / Honouring the Emperor

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Quite well-known is the book of Revelation’s (aka John’s Apocalypse) condemnation of “worshiping the beast” in his writing to the Christians in Asia Minor:

[The beast rising from the sea] was given authority over every tribe and people and language and nation, and all the inhabitants of the earth will worship it, everyone whose name has not been written from the foundation of the world in the book of life of the Lamb that was slaughtered (13:7-8 [NRSV]).

Scholars have for a long time recognized in this a reference to worship of the Roman emperor, with the emperor being cast as a chaotic beast in this passage. In the Greek part of the empire (including Asia Minor), in particular, the emperor and the imperial family were granted honours equivalent to those offered traditional deities, like Zeus or Artemis. They were referred to as the “revered ones” (Sebastoi), the Greek equivalent of the title “Augusti”. This worship included temples in their honour as well as sacrifices at both the city and the provincial levels.

Yet quite often those who have studied these “imperial cults” tend to see them as primarily political and lacking in religiosity, or as “public” rather than “private”. This problematic view is partly due to the neglect of the many monuments and inscriptions set up by small, informal groups or associations at the local level in many cities of Asia Minor. Many of these groups worshiped the emperors without anyone imposing that on them. One such association at Pergamum was called the “hymn-singers” (hymnodoi). Once in a while they participated in special provincial celebrations in honour of god Augustus and his heirs, but they also engaged in special “mysteries” that lasted three days in honour of the “revered ones” within their local meetings. Similarly, an association at Ephesus in the time of emperor Domitian had “mysteries and sacrifices” which they performed each year “to Demeter…and to the Sebastoi gods”.

Click on the Books / Articles tab at the top of the page to read some scholarly articles on this topic.