Naples

I traveled down to Naples in order to find more Dionysian sarcophagi in the National Museum. I was surprised to find that Dionysus was interpreted in different ways through art. In one particular sarcophagus (1) the scene was much more wild than ones I found in the Louvre. It did not seem to relate directly to Dionysus as a fertility god but rather as a cult icon. Further more I started to look at different ways Dionysus was interpreted in other mediums, such as bowls, plates, statues, etc. In each medium the cult theme is present, in particular with the wall paintings in the Villa of Mysteries in Pompeii. 1.) Sarcophagus with Scene of Dionysian Cult, From the Farnese collection, during the Antonina age. This sarcophagus is situated directly outside the Chamber of Secrets, exotic room in the National Museum. It fits with this theme rather well. Dionysus is the central theme, shown very drunk and held up by young boys. To the right is a Maenad dancing, and to the far right is a rape/sex scene between two Satyrs, Phallic symbols are shown throughout the entire frieze. To the left of Dionysus is probably Ariadne, sleeping and a Satyr dancing on her left. The right side of the sarcophagus shows a man carrying a baby off while another is protesting. On the left side a woman is performing a type of ritual. As stated before, this sarcophagus is more exotic and sexual than any I have come across before. It does not seem to concentrate on the fertility of Dionysus (although the phallic symbols were a sign of fertility) instead it has a cultish theme, with women dancing, performing different rituals, and orgiastic acts. 2.) Independent friezes of Dionysian themes. , 1st. Century AD. There were two friezes that contains scenes with Dionysus. The first is of Dionysus and Ariadne. Again there is a wild overtone, Dionysus is drinking wine to the left and appears to be intoxicated, while Ariadne is lying down while a Maenad pours wine into her cup. The second frieze shows Ariadne being initiated into the cult of Dionysus. She is reclining in the center of the frieze with a Satyr approaching her and winged cupids at the sides. A woman is standing directly in front of her holding a spear. It is interesting to note that Dionysus is not present in this frieze and that it is strictly a scene of Ariadne being initiated into the cult. This again, carries the theme that the representation of the cult of Dionysus during this time, and place, was more important than the god himself. 3.) Vase, 1st Cent. AD This vase was found in a suburban villa in Pompeii, it shows Dionysian figures, such as cupids, Maenads, and animals. It was possibly used in a funerary context for the elite. 4.)This is a Sarcophagus with Centaurs and Maenads. Again Dionysus is not present but his associates are. They surround the patron of the sarcophagus. 5.) Sarcofogo a Ghirlande con Coperchio This Sarcophagus shows cupid figures with grape vines surrounding the patrons of the sarcophagus. Again Dionysus is not shown but his associates, the cupid figures, and signs of fertility are. It dates to the Mid. 3rd Century AD. 6.) Wall Painting in Pompeii. The Villa of Mysteries was a Villa situated outside of Pompeii. Within the Villa there is a a wall painting describing the cult that surrounds an entire room. From left to right the first figure shown is a young girl reading, perhaps a ritual. The second scene shows members of the cult giving a sacrifice and making a libation. The third is a pastoral scene with Silenus (the teacher of Dionysus) as a musician and goats and members of the cult. The fourth scene shows a woman looking terrified, The fifth shows Silenus again, this time offering drinks to satyrs. In the center of the painting is supposedly Dionysus reclining on Ariadne. The major part of the figures is missing but it would make sense in context. The 7th scene shows a flagellated girl and a phallus being unveiled. The 8th scene shows the same girl, still being flagellated and a bacchante, follower of Dionysus. She is dancing. The 9th scene shows a girl preparing for her wedding with Cupid at her side. And the last scene shows a woman reclining to the side, perhaps the mistress of the house. In this medium the main idea is the cult of Dionysus, while he is at the center of the painting the scenes involve rituals that the women of the cult must go through. It should also be noted that besides Silenus, the Satyrs, and Cupid, all of the figures are women. While the painting shows strong Dionysian iconography, such as the presence of his followers (the Maenads, Silenus, satyrs, Cupid, and pastoral animals) it also displays the importance of the cult through the rituals the members went through. Conclusion: While past trips have given me an idea of how Dionysus was interpreted as a fertility symbol in art, Naples had an entire different level for interpretation. First, this was the first time I saw an interpretation of Dionysus drunk on a sarcophagus, as well as associated with a wild frenzy of company. While they were the same mythological figures shown in other sarcophagi this theme of wild drunkenness was new. Secondly, the lack of Dionysus in some works, such as the frieze with Ariadne, and the sarcophagus of Satrys and Maenads gave me the idea that the followers of Dionysus played just as important of a role in his cult as the god did himself. This idea continues to the point that there was an entire room dedicated to the rituals of the cult, not necessarily directed towards the god, but perhaps more towards the society of worshippers.