Initiation through flagellation - Fresco from Villa of the Mysteries
Analysis of the artefact:
This fresco depicts some sort of initiation rites into the Dionysian Mysteries, or Bacchic Mysteries (as they were called in Rome). In this particular fresco, a wealthy or patrician woman is being flagellated, (whipped) by a winged demon, which was one of the final steps that was taken before someone could enter into the cult. We can tell that this woman is a patrician due to the richer style of robes that she is wearing - they are of a dark, almost burgundy coloured red, which was one of the colours of nobility and aristocracy in Rome. They wore this colour as it was the most expensive dye that could be brought into Rome, so those of a higher class would then get the most expensive dye. This indicates that women of a higher class joined the religious cult of the Bacchic Mysteries, not just slaves or plebeians for which it was widely known for. In this fresco, a woman is also seen holding what is called a thyrsus - a wand made out of fennel with ivy vines and leaves covering it, topped with a pine cone. The thyrsus symbolized fertility, prosperity, and pleasure in general, and because of this it was also a phallus symbol. The woman who is holding the thyrsus is a Bassarid. Bassarids were followers of Bacchus and were well-known throughout Rome for being both wild and frenetic. These women dressed in fawns skins (as seen in the fresco) and wore ivy wreaths in their hair. These women were avoided by the public and focused mainly on getting women initiated into the sect, not men. This is different to usual social groups and religious events in Rome where it was usually only men that were allowed to join, while women were excluded from the rites and festivities. This suggests that women were not always treated as inferiors in Roman society, especially noble or aristocratic women.
This fresco depicts some sort of initiation rites into the Dionysian Mysteries, or Bacchic Mysteries (as they were called in Rome). In this particular fresco, a wealthy or patrician woman is being flagellated, (whipped) by a winged demon, which was one of the final steps that was taken before someone could enter into the cult. We can tell that this woman is a patrician due to the richer style of robes that she is wearing - they are of a dark, almost burgundy coloured red, which was one of the colours of nobility and aristocracy in Rome. They wore this colour as it was the most expensive dye that could be brought into Rome, so those of a higher class would then get the most expensive dye. This indicates that women of a higher class joined the religious cult of the Bacchic Mysteries, not just slaves or plebeians for which it was widely known for. In this fresco, a woman is also seen holding what is called a thyrsus - a wand made out of fennel with ivy vines and leaves covering it, topped with a pine cone. The thyrsus symbolized fertility, prosperity, and pleasure in general, and because of this it was also a phallus symbol. The woman who is holding the thyrsus is a Bassarid. Bassarids were followers of Bacchus and were well-known throughout Rome for being both wild and frenetic. These women dressed in fawns skins (as seen in the fresco) and wore ivy wreaths in their hair. These women were avoided by the public and focused mainly on getting women initiated into the sect, not men. This is different to usual social groups and religious events in Rome where it was usually only men that were allowed to join, while women were excluded from the rites and festivities. This suggests that women were not always treated as inferiors in Roman society, especially noble or aristocratic women.
Developed conclusions
This fresco and its counterparts were found in the Villa of the Mysteries in approximately 1910, and have proved to be significant in adding to our knowledge of the Roman world and their society, because never before have any illustrations been found in regards to religious rites, especially those belonging to mystery cults. While these rites and secret cults have often been written about - by Livy, by Ovid, and by other ancient historians and authors, there has never been any physical artistic proof to back up the written works to then suggest that the rites into the secret cults were real. At the time in which they were painted, the pictures were controversial as the Dionysiac rites were kept a close secret. This then makes these frescoes even more unique as they were not supposed to have even been painted, so it is extremely lucky that they were preserved during the eruption. Generally, the only paintings or sculptures that have been found have been of Bacchus with his thyrsus or large groups of Maenads, but for the first time a complete set of frescoes depict the complete initiation rites, from the beginning where the initiate first enters the house, through the different steps of the rite, finally to its completion. As these frescoes were found in Pompeii, it also shows the modern world that even in high-class luxury cities such as Pompeii, these cults did exist, considering that it was banned in Rome by the emperor. As these women were flagellated as a part of the ritual, this gives us a background into what being initiated into the Bacchic Mysteries involved - something that has hardly ever been written about in regards to joining religious groups in Roman society. The fresco is also unique, as it has been preserved in almost perfect condition, with the original vibrant colours still in place. The frescoes are exemplary of the third style of painting, and the original detail remains for society almost 2000 years on to marvel at and observe the intricate details artists made in their paintings. The eruption can then be seen as significant because if it were not for the eruption, the frescoes would not have been left in such a perfect condition and therefore the modern world would not be able to comprehend the lengths that people would go to so that they could be members of a secret cult, and who could become members - whether they were patrician, plebeian, slave, man or woman.
This fresco and its counterparts were found in the Villa of the Mysteries in approximately 1910, and have proved to be significant in adding to our knowledge of the Roman world and their society, because never before have any illustrations been found in regards to religious rites, especially those belonging to mystery cults. While these rites and secret cults have often been written about - by Livy, by Ovid, and by other ancient historians and authors, there has never been any physical artistic proof to back up the written works to then suggest that the rites into the secret cults were real. At the time in which they were painted, the pictures were controversial as the Dionysiac rites were kept a close secret. This then makes these frescoes even more unique as they were not supposed to have even been painted, so it is extremely lucky that they were preserved during the eruption. Generally, the only paintings or sculptures that have been found have been of Bacchus with his thyrsus or large groups of Maenads, but for the first time a complete set of frescoes depict the complete initiation rites, from the beginning where the initiate first enters the house, through the different steps of the rite, finally to its completion. As these frescoes were found in Pompeii, it also shows the modern world that even in high-class luxury cities such as Pompeii, these cults did exist, considering that it was banned in Rome by the emperor. As these women were flagellated as a part of the ritual, this gives us a background into what being initiated into the Bacchic Mysteries involved - something that has hardly ever been written about in regards to joining religious groups in Roman society. The fresco is also unique, as it has been preserved in almost perfect condition, with the original vibrant colours still in place. The frescoes are exemplary of the third style of painting, and the original detail remains for society almost 2000 years on to marvel at and observe the intricate details artists made in their paintings. The eruption can then be seen as significant because if it were not for the eruption, the frescoes would not have been left in such a perfect condition and therefore the modern world would not be able to comprehend the lengths that people would go to so that they could be members of a secret cult, and who could become members - whether they were patrician, plebeian, slave, man or woman.