Objetivos de la Promoción de Ventas

It is clear that a major focus in the Achilles at Skyros myth in art and literature by the first century C.E. is on the love and heartbreak of the two lovers. There does not appear to be any tension in depicting and considering an amatory Achilles by exploring his more tender emotions; in fact, there appears to be a concerted interest in considering this aspect of the hero’s life. This is evidenced by the literary and artistic works which incorporate or depict this myth. Indeed, the Achilles at Skyros scene was relatively popular in Pompeii compared to other myths of Achilles, and more so than scenes from the Iliad, one of the most important pieces of ancient literature at the time.

While the Achilles at Skyros image at the House of the Dioscuri perhaps evoked multiple emotions, ideas, and interpretations from the Roman viewer, the image and its myth would have undoubtedly compelled the viewer to consider love, heartbreak, and loss. These remained consequential themes in the literature from the earliest full accounts of this myth on, and it is hard to dismiss them in these images. Achilles, in this moment, becomes aware of his future, and

34

especially cognizant that it is a future without Deidamia or his son. The surrounding imagery in the atrium and tablinum of the House of the Dioscuri would have also helped draw Roman viewers to this conclusion. The bucolic portraits and the focus on love, loss, and unveiling would have prepared the viewer entering the tablinum to consider these themes in the Achilles painting as well.

In the House of Apollo example, we see the scene stripped down to its bare essentials. Here, the narrative is made clear: Achilles is being pulled away from his love, Deidamia, by Ulysses and the Trojan War. The hero’s visage manifests his terror and heartbreak as he recognizes what has happened. There is not much to distract from the central message of this mosaic. Here, it is made explicit to the viewer that this scene is exploring the heartbreak and love of Achilles. This image will become increasingly popular in the second century C.E. where it will adorn sarcophagi, where the themes of love and loss are heavily present. While the

instability of gender and unveiling are also present, love and loss must also be acknowledged in these images.

35

APPENDIX: FIGURES

Fig. 1. Plan of the House of the Dioscuri, Pompeii with legend (left). Source: Trimble 2002, modified.

Fig. 2. Wrath of Achilles, tablinum, House of the Dioscuri. Source: Trimble 2002 .


Fig. 3. Achilles at Skyros, tablinum, House of the Dioscuri. Naples, National Archaeological Museum 9110 Source: Wikimedia Commons.

Fig. 4. Achilles at Skyros, Summer Triclinium, House of Apollo Source: Andy Hay, CC BY 2.0.

Fig. 5. Achilles at Skyros painting, House of Ubonis. Naples National Archaeological Museum 11608. Source: ArtStor; (https://library-artstor-org.libproxy.lib.unc.edu/asset/

LESSING_ART_10311440964). 


Fig. 6. Representation of the south wall of the tablinum, by Antonio Ala, 1861. Edited by author to insert correct central painting. Now in Naples Archaeological Museum. Inventory number

ADS 338. Source: Catalogo Generale dei Beni Culturali, CC BY-NC-SA 2.5 IT.

Fig. 7. Achilles and Briseis painting, House of the Tragic Poet, National Archaeological Musem, Naples. Source: Bergmann 1994 .

Fig. 8. Pastoral scene, tablinum, House of the Dioscuri. Source: Richardson 1955.


Fig. 9. Bacchus seated on throne, south wall of atrium. Source: Richardson 1955. 


Fig. 10. Pan and Hermaphroditus, atrium, House of the Dioscuri. Source: Romizzi 2006.

Fig. 11. House of the Apollo (unshaded area), Pompeii. Source: Baldassare 1993 


Fig. 12. Wrath of Achilles mosaic, House of the Apollo, National Archaeological Musem, Naples. Source: ArtStor; Coarelli, Filippo (Ed. ; Pompeii, New York: Riverside Book Company)

2002.

47

BIBLIOGRAPHY

Amedick, R. 1998. “Achilleus auf Skyros. Die Eikones des jüngeren Philostrat und die

Ikonographie römischer Sarkophage” in Akten des Symposiums "125 Jahre Sarkophag-Corpus" : Marburg, 4.-7. Oktober 1995, edited by G. Koch, 52-60. Mainz am Rhein : Philipp von Zabern Baldassare, I., ed., 1993. Pompei: Pitture e Mosaici 4. Rome: Istituto della enciclopedia italiana. Bergmann, B. 1994. “The Roman House as Memory Theater: The House of the Tragic Poet in Pompeii.” The Art Bulletin 76.2: p. 225-256.

Bergmann, B. and Kampen, N. 1996. Sexuality in ancient art : Near East, Egypt, Greece, and Italy. Cambridge: Cambridge University Press.

Brilliant, R. 1984. Visual narratives : storytelling in Etruscan and Roman art. Ithaca: Cornell University Press.

Burgess, J. S. 2001. The tradition of the Trojan War in Homer and the epic cycle. Baltimore: Johns Hopkins University Press.

Burgess, J. S. 2009. The death and afterlife of Achilles. Baltimore: Johns Hopkins University Press.

Clarke, J.R. 1998. Looking at Lovemaking : Constructions of Sexuality in Roman Art, 100 B.C.- A.D. 250. Berkeley: University of California Press.

Cyrino, M. S. 1998. “Heroes in D(u)ress: Transvestism and Power in the Myths of Herakles and Achilles.” Arethusa 31.2, 207-241.

Dover, K. 1989. Greek homosexuality. Cambridge, Mass.: Harvard University Press.

Fantuzzi, M. 2012a. “Achilles at Scyros, and one of his fans: the Epithalamium of Achilles and Deidameia (Buc. Gr. 157-158 GOW)” in Brill's companion to Greek and Latin epyllion and its reception, edited by M. Baumbach and S. Bär, 283-305. Leiden : Brill

Fantuzzi, M. 2012b. Achilles in love : intertextual studies. Oxford: Oxford University Press. Frederick, D. 1995. “Beyond the Atrium to Ariadne: Erotic Painting and Visual Pleasure in the Roman House.” Classical Antiquity, 14.2, 266-288.

Goldhill, S. 1991. “Framing, polyphony and desire: Theocritus and Hellenistic poetics” in The Poet's Voice: Essays on Poetics and Greek Literature. 223-283. Cambridge: Cambridge University Press.

Heslin, P. 2005. The transvestite Achilles : gender and genre in Statius’ Achilleid. Cambridge: Cambridge University Press.

48

Heslin, P. 2015. The Museum of Augustus : the Temple of Apollo in Pompeii, the Portico of Philippus in Rome, and Latin poetry. Los Angeles: J. Paul Getty Museum Press.

Hopkinson, N. 1987. A Hellenistic anthology. Cambridge: Cambridge University Press.

Hopkinson, N. 2015. Theocritus, Moschus, Bion (Loeb Classical Library Edition). Cambridge, Mass.: Harvard University Press.

Hunter, R. 1999. Theocritus, A Selection. Cambridge: Cambridge University Press.

Jones, K. R. 2014. “Lycophon’s ‘Alexandra’, the Romans, and Antiochus III.” JHS 134: 41-55. Kampen, N. 1996. “Omphale and the Instability of Gender.” in Sexuality in ancient art : Near East, Egypt, Greece, and Italy, edited by B.A. Bergmann and N. Kampen, 233-246. Cambridge: Cambridge University Press.

Koortbojian, M. 1995. Myth, meaning, and memory on Roman sarcophagi. Berkeley: University of California Press.

Lorenz, K. 2014. “The Casa del Menandro in Pompeii.” In Art and Rhetoric in Roman Culture, edited by J. Elsner & M. Meyer, 183-210. Cambridge: Cambridge University Press.

MacLachlan, Bonnie. 1993. The Age of Grace : Charis in Early Greek Poetry. Princeton, N.J.: Princeton University Press.

Mayer, R. 2012. Horace, Odes, Book I. Cambridge: Cambridge University Press.

Monsacré, H. 1984. “Weeping Heroes in the Iliad.” History and Anthropology 1:1: 57-75. Mozley, J.H. (trans.) and Ovid, 1929. Art of Love. Cosmetics. Remedies for Love. Ibis. Walnut- tree. Sea Fishing. Consolation (Loeb Classical Library). Cambridge, MA: Harvard University Press.

Muth, S. 1998. “Hylas oder ‘der ergriffene Mann.’ Zur Eigenständigkeit der Mythenrezeption in der Bildkunst.” in Im Spiegel des Mythos, edited by F. de Angelis and S. Muth, 109-29.

Wiesbaden: Dr. Ludwig Reichert Verlag.

Platt, V. 2014. “Agamemnon’s grief.” In Art and Rhetoric in Roman Culture, edited by J. Elsner & M. Meyer, 183-210. Cambridge: Cambridge University Press.

Richardson, L. 1955. Pompeii : the Casa dei Dioscuri and its painters. Rome: American Academy in Rome.

Romizzi, L. 2006. “La Casa dei Dioscuri di Pompei (VI 9, 6.7): Una Nuova Lettura” in

49

Rosenmeyer, P. 1999. “Tracing medulla as a locus eroticus.” Arethusa 35.1: 19-47.

Sanna, L. 2007. “Achilles, the wise lover, and his seductive strategies (Statius, Achilleid, 1.560- 92).” CQ 57.1: 207-215.

Severy-Hoven, B. 2012. “Master Narratives and the Wall Painting of the House of the Vettii, Pompeii.” Gender & Sexuality 24.3: 540-580.

Shackleton Bailey, D.R. and Statius, P. Papinius (Publius Papinius), 2003. Statius. Cambridge, Mass.: Harvard University Press.

Taylor, R. 2008. The Moral Mirror of Roman Art. New York: Cambridge University Press. Trimble, J. 2002. “Greek Myth, Gender, and Social Structure in a Roman House: Two Paintings of Achilles at Pompeii.” in The Ancient Art of Emulation, edited by E. Gazda., 225-48. Ann Arbor: University of Michigan Press.

Valladares, H. 2011. “Fallax Imago: Ovid's Narcissus and the seduction of mimesis in Roman wall painting.” Word & Image 27.4: 378-395

West, D. 1995. Carpe Diem : Horace Odes I. Text, Translation, and Commentary. Oxford: Clarendon Press.

Wilkinson, P. 2017. Pompeii : an archaeological guide. New York: I. B. Tauris. Zanker, P., Ewald, B. C., & Slater, J. 2012. Living with myths : the imagery of Roman sarcophagi. Oxford: Oxford University Press.