Hellenistic culture at Pompeii (A15-21)

Sanctuary of Dionysus, ‘S. Abbondio’ (A15—17)

A sanctuary to Dionysus (Bacchus) was uncovered by bombardment in the Second World War, just to the south-east of Pompeii, under a kilometre beyond the Amphitheatre. An inscribed altar stands in front of the Doric temple. The temple’s pediment depicts Dionysus holding a bunch of grapes and a wine cup, together with other figures commonly associated with him (such as a panther) and a female figure who has been variously interpreted as Ariadne or Aphrodite. The following inscriptions show that Pompeii’s magistrates were directly involved in establishing the cult, perhaps in the second half of the third century BC. Despite the Roman Senate’s decree in 186 BC banning worship of Bacchus not only at Rome but also among Rome’s Italian allies, there is no evidence that the cult at Pompeii was interrupted. This may be one indication of how deeply culture and society in Pompeii were influenced by Hellenistic traditions during the second century BC. The temple was still in use in AD 79.

Figure 1.3 A15 Plan of the Sanctuary of Dionysus

Inscribed altar (A16)

This inscription appears on both front and back of the tufa altar. Traces of the red paint highlighting its lettering were still visible when it was found. The same individual is named as quaestor (kvaisstur) on the inscribed sundial in the Stabian Baths (A10b).

A16 Poccetti (1979) no. 107

Maras Atinius, son of Maras, aedile, at his own expense.

Mosaic inscription on ramp leading into temple (A17)

A17 Poccetti (1979) no. 108

Ovius Epidius, son of Ovius, and Trebius Mettius, son of Trebius, aediles.

House of the Faun (A18—21)

Figure 1.4 A18 Plan of the House of the Faun

Plate 1.2 AI9 The Alexander mosaic (NM inv. 10020)

The Alexander mosaic (Plate 1.2), consisting of over one and a half million tiny tesserae, or coloured cubes, is one of the artistic highlights of Pompeii. Experts agree that the use of colour, foreshortening, and the treatment of light and shade in the mosaic all show that it copied, in mosaic form, a Hellenistic (third century BC) painting. This original may have been the picture painted for King Cassander of Macedonia (ruled 316—297 BC) mentioned by Pliny the Elder in his chapters on art history (A21).

The mosaic depicts the turning-point in a battle between Alexander the Great and the Persian king Darius, as the latter turns to flight. Its depiction of the equipment used by the two armies is accurate. Whether the artist intended to depict an actual moment of a particular battle cannot be determined. A20 is a Roman historian’s account of the Battle of Issus in 333 BC, probably written in the mid-first century AD, based on historical accounts from Alexander’s time. The mosaic and this account have some details in common, but also differences.

It was prominently situated in the house where it could be viewed from the peristyles on either side. Around it were mosaics depicting scenes of life on the River Nile, near Alexandria, one of the great cities founded by Alexander. For excavation reports relating to the House of the Faun, see J55-58.

Plate 1.2 AI9 The Alexander mosaic

A20 Quintus Curtius Rufus, History of Alexander, 3.11.7—12

Alexander took the role of a soldier as much as that of a leader in actively pursuing the highest honour, that of killing the king. Darius indeed stood high in his chariot, a great incentive for his men to defend and for his enemy to attack. Therefore Darius’ brother, Oxathres, on seeing Alexander pressing on the king, interposed the cavalry under his command right in front of the king’s chariot. Towering above the others in weapons and his own strength, and conspicuous among the few for his bravery and loyalty, Oxathres certainly achieved renown in that battle and laid low some who pressed on recklessly and turned others to flight. But the Macedonians around their king, shouting encouragement to one another, broke into the ranks of cavalry with Alexander himself. Then men fell like a collapsed building. Darius’ noblest leaders lay around his chariot, killed bravely before the eyes of their king, all lying on their faces just as they had fallen in the fight, with wounds on their fronts. Notable among them were commanders of great armies: Atizyes, Rheomithres and Sabaces, governor of Egypt; around them were heaped less famous infantry and horsemen. As for the Macedonians, not many, but some of the boldest were slain; and Alexander was slightly wounded in the right thigh by a sword.

Now the horses which were pulling Darius, struck by spears, and wild with pain, had began to throw off their yoke and shake the king from the chariot. Then he, fearing being taken alive by the enemy, leapt down and mounted a horse which followed for that very purpose, dishonourably throwing away his royal regalia so that it would not betray his flight. Then indeed the rest were scattered in terror. . .

A21 Pliny the Elder, Natural History, 35.110

Nicomachos, son of Aristides, had as a pupil Philoxenos of Eretria, whose picture, painted for King Cassander, Battle of Alexander with Darius, is second to none.