This blog post has been written by Syd Howells, the Volunteer Manager at the Egypt Centre. Syd visited Pompeii in April 2023 and reports here on some of the Egyptological highlights at the site.
A visit to Pompeii makes clear the influence other civilisations had upon the city and its people. As an example, there is evidence of Hellenistic architecture and decoration, including the Alexander mosaic depicting Alexander the Great, which was originally discovered at the House of the Faun, as well as the worship of Greek gods such as Apollo and Dionysus. In 30 BC, Egypt was brought into the Roman Empire and as would be expected began to be frequently featured in Roman art, with Pompeii being no exception. Perhaps the most obvious connection to ancient Egypt within the city is the Temple of Isis (fig. 1).
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| Fig. 1: Temple of Isis |
Originally constructed during the late second century BC, the temple was destroyed during the earthquake of AD 62. It was later rebuilt and following the volcanic eruption of AD 79 was relatively well preserved underground. It was rediscovered in 1764. The composer Wolfgang Amadeus Mozart as a young man visited in June 1770, a brief time after Pompeii had begun to be uncovered. It is believed his visit to the city, and in particular, the Temple of Isis, had an influence upon his later work, the Magic Flute, an opera set in ancient Egypt and infused with Freemasonry. It seems entirely likely the young Mozart would have gained inspiration from his visit to the Temple, particularly as it was one of the first complete buildings uncovered from the debris. Its excavation and its exotic nature, in perhaps the same way as the opening up of Egypt, inspired the imagination of others. For example, in 1818 the poet Percy Bysshe Shelley also visited and mentioned the temple in glowing terms.
Why was there a
Temple of Isis at Pompeii? The Romans were enamoured with some ancient Egyptian
deities, in particular Isis and Bes. It is not surprising that conquerors adopt
aspects of those they rule. Initially viewed with suspicion by the likes of
Augustus, eventually, the cult of Isis was to rival the homegrown gods of Rome. Introduced
into Pompeii during the second century BC, this initiate cult based upon the
myth of Isis resurrecting her husband Osiris, following his death at the hands
of Seth, was very much an affirming and reassuring entity to those who wished
to continue to exist after death. Besides her
role in resurrection and the belief of a life beyond death, Isis was also
considered to be a patron of sailors and a goddess related to safety; aspects
particularly useful to a port city such as Pompeii.
All of the reliefs
and artefacts from the Temple of Isis can now be found at the Naples National
Archaeological Museum/Museo Archeologico Nazionale di Napoli (MANN). An
essential place to visit if you are in the area, it also contains an
exceptional Egyptological collection created from formerly private collections
including that of the Borgia family.
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| Fig. 2: Sistra from the site |
The
Temple of Isis had two main parts. The sistra above (fig. 2) were discovered at the Ekklesiasterion
(ritual area). The faience statue (fig. 3) was found within the Sacrarium (the shrine).
Fig. 3: Faience figure from the shrine
This relief of a priest (or priestess, according to the museum label) wearing an Anubis mask (fig.
4) also originated at the Temple of Isis in Pompeii. It is an interesting
connection to our collection at the Egypt Centre as at present we have a
cartonnage (a mixture of bandages and plaster then decorated) mask of Anubis on
display in our House of Death gallery in our mummification case (fig. 5). It is on loan
from Harrogate Museums and is thought to be the only known surviving example of
a cartonnage Anubis mask.
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| Fig. 4: Priest(ess) dressed as Anubis |
Fig. 5: Anubis mask (HARGM10686)
It was not just the appropriation of the odd Egyptian god that appeared in Pompeii. Domestic decoration is a key element of this cultural synergy. There are examples of gardens being modelled upon branches of the Nile, shrines to Egyptian gods in houses, etc. Many of these surviving relics can now be seen at the Naples Archaeological Museum. At the House of the Faun, a table stand in the form of a sphinx was discovered. The House of Julia Felix meanwhile is believed, within its garden water features, to have featured a branch of the Nile Delta.
Nilotic scenes
were particularly popular, for example, the previously mentioned House of the
Faun contained an exceptional mosaic of the Nile featuring exotic Egyptian
creatures such as a hippo, crocodile, snake, waterfowl, and ibises (fig. 6).
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| Fig. 6: Nilotic scene |
The Casa dell’Efebo
(the House of the Ephebus) is another example that features images of the
Nile, for example, this painted fresco of fish (fig. 7).
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| Fig. 7: Fresco of fish |
While these Nilotic images were often of flora and fauna to be found on the Nile, other examples were diverse. For example, the House of Menander featured an image of pygmies boating on the Nile.
The Casa del
Frutteto (the House of the Orchard) features several Egyptian-influenced
frescos such as this image of the Apis Bull (fig. 8).
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| Fig. 8: The Apis Bull |
As can be seen,
ancient Egyptian themes and motifs can be found throughout Pompeii (at least
those parts that have been excavated). Professional and proportional excavation
continues throughout the site. What unknown treasures may we one day see?
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| Fig. 9: Figure of Bes |
Bibliography
Beard, Mary 2010. Pompeii:
the life of a Roman town. London: Profile Books.
Berry, Joanne 2013.
The complete Pompeii. London: Thames & Hudson.
Butterworth, Alex
& Ray Laurence 2006. Pompeii: The Living City. New York: St.
Martin's Press.
Ellis, Simon P.
1992. Graeco-Roman Egypt. Buckinghamshire: Shire.
Sadie, Stanley
2006. Mozart: the early years 1756–1781. Oxford: Oxford University Press.
Witt, R. E. 1997. Isis
in the ancient world. Baltimore; London: Johns Hopkins University Press.
Wilkinson, Richard
H. 2003. The complete gods and goddesses of ancient Egypt. London:
Thames & Hudson.
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