This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as (...) well are copies of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing seems to be a Roman creation and that they were part of a larger narrative program. The paintings are compositional opposites and share the narrative technique of depicting moments of quiet tension; this choice of narrative moment is one that began in the Greek world; particularly during the Hellenistic period, and was developed and enhanced by the Romans. Moreover, this interest in creating tension for the spectator, and in the relationship between viewer and image, is also demonstrated by the inclusion of a spectator figure in the Penelope painting. Although the other paintings do not survive, their subjects are known from a nineteenth-century drawing and from nineteenth-century descriptions, and these too share the same narrative technique. If the lost paintings are copies of Greek originals, then the Macellum may have served as a picture gallery for Pompeii's inhabitants. A careful reading of the Macellum paintings of Greek myths, their juxtaposition and relationship to each other, and their reception in Roman literature and society reveals that the paintings were arranged as a program, a moralizing ensemble, designed to instruct the viewer on the proper behavior of Roman matrons. (shrink)

Philo's attitude to the mythologizing activities of the Greeks is well known. In many passages he contrasts the practices of Greek writers unfavourably with that of Moses. In one passage , for example, he condemns those who see the Tower of Babel story asa reflection of that of Otus and Ephialtes' assault on Olympus; the truth, he asserts, is quite the contrary — the Greeks have borrowed the story from Moses. On the other hand, Philo is himself prepared on (...) occasion to allegorize figures of Greek mythology, though never explicitly on a subject of central doctrinal importance. For instance, he appears to be acquainted with the allegorization of various parts of the Odyssey. In his treatise On Mating with the Preliminary Studies , he makes use of the allegorization of the Suitors' mating with the handmaidens because they cannot gain Penelope, first employed, it seems, by the Cynic Bion of Borysthenes, but no doubt of wide currency by Philo's time, as a figure of those who cannot attain to Philosophy consoling themselves with ta enkyklia . Again, the use here and there in his writings of compounds of the verb νήχω, ‘swim’, particularly νανήχομαι in connection with descriptions of our struggle through the storms and shipwreck of material existence, suggests his acquaintance with the allegorizing of Odysseus' shipwreck off Phaeacia in Odyssey V, where Homer employs this verb repeatedly. Other, more specificallegories include Scylla as ροσύνη a ‘deathless evil’ , at Det. 178; Odysseus' escape from Charybdis at Somn. 2. 70, to symbolize our escape from the cares of mortal existence; and Castor and Pollux at Somn. 1.150, as an image of the life of the askêtês or prokoptôn. (shrink)

Philo's attitude to the mythologizing activities of the Greeks is well known. In many passages he contrasts the practices of Greek writers unfavourably with that of Moses. In one passage, for example, he condemns those who see the Tower of Babel story asa reflection of that of Otus and Ephialtes' assault on Olympus; the truth, he asserts, is quite the contrary — the Greeks have borrowed the story from Moses. On the other hand, Philo is himself prepared on occasion (...) to allegorize figures of Greek mythology, though never explicitly on a subject of central doctrinal importance. For instance, he appears to be acquainted with the allegorization of various parts of the Odyssey. In his treatise On Mating with the Preliminary Studies, he makes use of the allegorization of the Suitors' mating with the handmaidens because they cannot gain Penelope, first employed, it seems, by the Cynic Bion of Borysthenes, but no doubt of wide currency by Philo's time, as a figure of those who cannot attain to Philosophy consoling themselves with ta enkyklia. Again, the use here and there in his writings of compounds of the verb νήχω, ‘swim’, particularly νανήχομαι in connection with descriptions of our struggle through the storms and shipwreck of material existence, suggests his acquaintance with the allegorizing of Odysseus' shipwreck off Phaeacia in Odyssey V, where Homer employs this verb repeatedly. Other, more specificallegories include Scylla as ροσύνη a ‘deathless evil’, at Det. 178; Odysseus' escape from Charybdis at Somn. 2. 70, to symbolize our escape from the cares of mortal existence; and Castor and Pollux at Somn. 1.150, as an image of the life of the askêtês or prokoptôn. (shrink)