House of Suonatrici (aka Marcus Lucretius) Pompeii IX 3.5 Room 14 (PiP floorplan), 1852 painting of east wall of triclinium,.jpg
Wilhelm Zahn
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House of Suonatrici (aka Marcus Lucretius) Pompeii IX 3.5 Room 14 (PiP floorplan), 1852 painting of east wall of triclinium,, Frescos in the Casa di Marco Lucrezio (Pompeii)
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House of Suonatrici (aka Marcus Lucretius) Pompeii IX 3.5 Room 14 (PiP floorplan), 1852 painting of east wall of triclinium,, House of Suonatrici (aka Marcus Lucretius) Pompeii IX 3.5 Room 14 (PiP floorplan), 1852 painting of east wall of triclinium,, House of Suonatrici (aka Marcus Lucretius) Pompeii IX 3.5 Room 14 (PiP floorplan), 1852 painting of east wall of triclinium; Full plate description:
"The central picture of this magnificent wall of the room already mentioned belongs both in its size and in its careful execution as well as through the peculiar treatment of the represented object, to the most remarkable paintings, which are found in Pompeii. The heads of the individual figures are reproduced in natural size on plates 61, 62. The saga according to which Hercules, in order to atone for a fatal blow, fell into the service of the Lydian queen Omphale as a slave, and was weakened and effaced here by every kind of sensual pleasure, was completely subjugated by her, that he did women's work in women's clothes, while Omphale with her flaunted his lion's skin and club as mistress is interesting because of the peculiar manner, like traits of Asiatic customs and religion intertwined in Greek myth. Later poetry and art, attracted by this strange coloring of the saga and the striking appearance of the most powerful of all heroes whom a woman makes a woman, has often, and generally, portrayed this subject with a cheeky sense of humour, which also originally resembled the Asiatic Cult moments treated with great freedom. The present picture is one of the peculiar proofs of this.
"The mighty, towering figure of Hercules, who is shown in unusual costume, immediately draws the eye. He is wreathed with ivy, and around his neck slings a bulging ribbon filled with fragrant substances, such as one used to wear at drinking bouts: a wide ribbon he has carelessly thrown on his original purple cloak, his feet are not only clad in delicately embroidered shoes, the feminine ornament of a golden ring is placed around his ankles, he also wears a signet ring on his finger. In his left hand he holds a staff with colorful ribbons, with which he hastens to reach for the fruit, which his companion—to be examined more closely later—carries in her lap, around whose neck he has wrapped his arm
Despite the strong limbs expresses the hero's entire bearing of fatigue and oversaturation; how reluctantly does he turn his head away from the double flute of a little Amor, who, leaning on his shoulder, blows with all his might into his ears, while on the other side a woman bangs hard on the tympanum right in front of his ear to rouse his slackened senses. At his feet lies not his quiver, but also the large cup, which a little Cupid tries in vain to rule with comical effort.
"At his side stands his ruler Omphale, a powerful, voluptuously beautiful female figure in a calm, firm pose, her eyes fixed on the subjugated Hercules with proud certainty of victory. Over a light-colored chiton, which leaves the left breast free, she wears a yellow, blue-lined and bordered boar robe, but also the lion's skin, whose jaws she has pulled over her head, like Hercules, so that the fur, with the forepaws above the chest knotted, falling down the back. She has also appropriated the hero's sandals and his club, which she rests lightly on with her left hand while she braces her right hand on her side, a picture of youthful strength, even if her beauty is not transfigured by spiritual nobility. Behind her stands a youth, on whose knee the queen is comfortably resting her arm. To her side are two women, one curious, the other—who is emphasized by a veil and wreath of ivy—looks not without compassionate sympathy for Hercules.
"If the figures considered so far represent the object in the most expressive way in all its significance, a peculiar striking figure on which Hercules is leaning adds an element of drama. It is a man with blond hair and a beard, whose face and expression betray an unmistakably oriental character, which is also clearly indicated by his draped robe, the headscarf and especially his earrings. He has thrown on a deer skin, the tip of which he is holding in one hand and whose bulge is filled with fruit. With an expressive expression in which cunning and subservience are mixed, he looks up at Hercules, whose arm is resting on his neck and whose unsteady step he is supporting. Beside him stands Cupid, who curiously picks up his robe and with a naïve gesture expresses his amazement at the sight he creates for himself through his intrusiveness. All these features leave no doubt that the companion of the god is Priapus, an originally Asiatic form of the procreative principle in nature, which has been used here with bold humor to give a crude indication of the powers to which the mighty hero has succumbed as well as the exchange of male and female clothing between Hercules and Omphale, which has a symbolic meaning in Asiatic cult, but is used here only as a motif to illustrate Hercules' complete subjugation under female rule.
"The secondary images on this wall present two of the scenes from the circle of Cupid and Psyche that we have already considered." - Otto Jahn, 1852
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スオナトリキ家 ポンペイ9号 3.5号室 14号室 床プラン、1852年、トリクリニウムの東壁の絵画、カサ・ディ・マルコ・ルクレツィオのフレスコ画
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スオナトリキ家 ポンペイ9 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5 3.5個々の図像の頭部は、61,62枚のプレートに自然の大きさで複製されている。ヘラクレスが致命傷を負わされるために、リュディアの女王オンファレに仕えることになったサガは、あらゆる官能的な喜びによって衰弱し、ここでも衰退し、完全に服従し、女装して女性の仕事を行った。一方、オンファレはライオンの肌とクラブを愛人として誇示している。ギリシャ神話に織り交ぜられたアジアの慣習や宗教の特徴のような独特の作風のために興味深い。後の詩や芸術は、この奇妙な色のサガと、女性が女性を作るすべての英雄の中で最も強力な者の印象的な外観に惹き付けられ、しばしば、この主題を、もともと非常に自由で扱われたアジアのカルトの瞬間に似たとしたユーモアの感覚で描写した。現在の写真はこのことの特異な証拠の一つだ。「ヘラクレスの威厳のある姿は、珍しい衣装で示され、すぐに目を引いている。でせており、首の周りには飲食の際に着用していた香料で満たされた膨らんだリボンが垂れ下がっている。左手には色鮮やかなリボンのついた杖を持ち、その杖で早速、果物を手にする。彼の仲間は、より詳しく調べるために、彼女の膝に乗せられ、腕を包んでいる。 強い手足が疲れと過飽和の英雄の全体的な持ち主を表しているにもかかわらず、彼はどうやら、肩に寄りかかって、すべての力で頭を吹き飛ばす小さなアモールの二重フルートから首を離す。反対側では、女性がいている。足元には、キューピッドのキューバーではなく、コミカルな努力で支配しようとする小さなキューピッドの大きなカップがある。「彼の側には、力強く、勇敢で、頑固なポーズをとっている力強く、勇敢に美しい女性像である彼の支配者オンファレが立っており、服従したヘラクレスに目が当てられ、勝利の確信が持たれている。左胸を空けて明るい色の千鳥の上に、黄色の青い縁取りの猪のローブを身に着けているが、顎がヘラクレスのように頭の上を引っ張っているライオンの肌も付けており、胸の上の前顔を結って後ろに落ちている。また、主人公のサンダルとそのクラブを、精神的な高貴さによって美貌が変わらなかったとしても、彼女の右手を横に振る舞っている間、彼女は軽く休んでいる。後ろには若い女性が立っており、その上には女王が安心して腕を休んでいる。彼女の側には2人の女性がいるが、一方は好奇心盛で、もう一方はヴェールと象牙の花輪によって強調されているが、ヘラクレスに慈悲の心がないように見える。「これまでの人物が、その意味において最も表現力のある方法で対象を表している場合、ヘラクレスが傾いている独特の印象的な人物がドラマの要素を追加している。金髪で髭を生やした男性で、顔や表情が東洋的な性格を裏切っているが、これは垂れ衣、頭髪、特に耳飾りにも明らかである。鹿の皮をかぶったまま、片手に持ったまま膨らませた果実をはじいた。と従順さが混ざった表情で、腕が首にかかっていて、足が安定していないヘラクレスを見上げる。傍に控えているキューピッドは、奇妙なことに彼の衣服を拾い、素朴なジェスチャーで、侵入することで自分自身のために作り出す光景に驚きを表している。これらの特徴はすべて、神の伴侶がもともとは自然界の繁栄の原則のアジア的な形態であるプリアポスであることに疑いを投げかけない。ここでは、大胆なユーモアとともに、強大な英雄が屈服した力の原初的な兆候と、ヘラクレスとオンファレの間の男性と女性の衣服の交換を示すために使用されてきた。ヘラクレスとオンファレは、アジアのカルトにおいて象徴的な意味を持っているが、ここではヘラクレスが女性統治下で完全な服従を示すためにのみモチーフとして使用されています。「この壁の二次画像は、キューピッドとプシューケーの円からすでに検討していた2つのシーンを示している」。-オットー・ヤーン、1852年
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compassionate leave calm expression subservience finger-painting transfigure light purple hair thyrse bearing wall roman times ancient rome light purple eyes reluctantly pleasure principle dionysus drinking bout voluptuously anciently blue-purple hair bacchus lucretius ground ivy victory lap pompeii strong-arm house-proud flaunt light blue skin unmistakable unmistakably ancient sensationalism lion's-ear hair coloring draw away yellow wall hercules'-club woman’s chest ancientness slacken cunningly cunning pip queen's cup leaning back light blue hair wall plate succumb yellow work clothes hard shoulder atonic atonicity atonement double-breasted female chest expiate hand-pick golden cup room light make bold purple hair wreathe naive double knot naively effacement finger plate chest hair priapus colorful hands yellow woman compassionate priapic golden eyes quiver light blue eyes blow up