Pompeii

by Mary Beard

  If all this were true, the Forum of Pompeii in 79 CE could only be described as a monument to dynastic and political loyalty, on a scale that would impress the most hard-line, one-party regimes of the modern world. Happily there is hardly a shred of evidence for any of it.

  Mighty Isis

  Were there Christians in Pompeii? By 79 it is not impossible. But there is no firm evidence for their presence, except for an example of a common Roman word game. This is one of those clever, but almost meaningless, phrases which read exactly the same backwards and forwards. It also turns out to be (almost) an anagram of PATER NOSTER (‘OUR FATHER’) written twice over, as well as two sets of the letters A and O (like the Christian ‘Alpha and Omega’). Some of the later examples of the same game do seem to have Christian connections. This one may too ... or it may not. The charcoal graffito which was said to include the word ‘Christiani’, but faded almost instantly, is almost certainly a figment of pious imagination. There is stronger evidence for the presence of Jews. No synagogue has been unearthed. But there is at least one inscription in Hebrew, a few possible references to the Jewish bible, including the famous reference to Sodom and Gomorrah (p. 25), and a sprinkling of possibly Jewish names – not to mention that kosher garum.

  There were nonetheless other religious options for the people of Pompeii beyond the traditions we have already looked at. From as early as the second century BCE, there were religions in Italy which offered a very different kind of religious experience. These often involved initiation and the kind of personal emotional commitment that was not a crucial element in traditional religion. They often held out the promise to the initiates of life after death. This again was not an issue of great importance within the traditional structures of religion, where the dead did have some shadowy continuing existence and might receive offerings at their tombs by pious descendants – but it was certainly not a very desirable existence. These religions were commonly served by priests, or occasionally priestesses, who were more or less full-time, had a pastoral role with their followers and – unlike the augures and pontifices of Pompeii – lived a specially religious life. They might, for example, wear distinctive clothes or be shaven-headed. They often had an origin overseas, or at least defined themselves with recognisably foreign symbols.

  It has proved very easy to misrepresent, and to glamorise, these religions. They were not direct precursors of Christianity. Nor did they arise in complete opposition to traditional religion, to provide the emotional and spiritual satisfaction that Jupiter, Apollo and so on did not. Nor were they practised predominantly by women, the poor, the slaves and other disadvantaged groups attracted by the promise of a blissful afterlife to make up for the wretched conditions of the here and now. They were very much part of Roman polytheism, not outside it, even if they had a shifting and sometimes awkward relationship with the authorities of the Roman state. So, for example, the worship of Bacchus (or Dionysos) and the Eastern goddess Cybele (also called the ‘Great Mother’) had both a civic and a more mystical version. The mystical, initiatory cult of Bacchus was severely restricted by the Roman authorities in 186 BCE, not far short of a total ban. Priests of the Egyptian goddess Isis were on several occasions expelled from Rome, but later Isiac religion received official sponsorship from Roman emperors.

  109. Bronze hands, like this one found in Pompeii, are commonly associated with the Eastern god Sabazius. Its meaning and use is uncertain, but it is decorated with symbols of the cult (for example, the pine cone at the end of the thumb). One idea is that these hands were displayed on poles and perhaps carried in procession.

  Several of these religions were known, even if not fully organised, at Pompeii. We have already looked at the frescoes in the Villa of the Mysteries which, though baffling and impossible to decode completely, certainly evoke some aspects of the cult of Bacchus, with its revelation of secret objects, and the sense of an ordeal that the initiate must undergo. One house not far from the Amphitheatre turned up various objects connected with the cult of the Eastern deity Sabazius (Ill. 109) – though whether the house was a fully fledged shrine of the god, as is often claimed, is a moot point. But by far the most prominent of these religions at Pompeii was the worship of Isis and other Egyptian deities.

  Isis came in many guises, from protector of sailors to the mother of the gods. But one crucial element in her myth was her resurrection of her husband Osiris, who had been killed and dismembered by his brother Seth. Isis put his body together again and even went on to become pregnant by him with their child Horus. Hers was a story and a cult that offered hope of life after death. Something of the flavour of the religion for Roman worshippers is captured in the second-century CE novel by Apuleius, The Golden Ass. In this, after a series of terrifying adventures, the narrator Lucius is finally initiated into the Isiac cult. He describes the beginning of this process: the ritual washing, the abstinence (no meat or wine), the presents given by other worshippers, the dressing up in new linen. But of course he does not reveal the ultimate secret: ‘You may perhaps, attentive reader, ask anxiously what was then said and done. I would tell you if I could; you would find out if you could be told. But your ears and my tongue would be equally punished for such rash curiosity.’ But he does go on to make it clear enough that what was promised by the religion was the conquest of death: ‘Having reached the boundary of death ... I was borne through all the elements and returned.’

  Figure 21. Temple of Isis. Unlike the traditional civic cults of Pompeii, the Temple of Isis included room for a community of worshippers, and probably domestic quarters for the priests.

  The Temple of Isis at Pompeii is one of the best-preserved, and least looted, buildings in the town (Fig. 21). Tucked into a small site right next to the Large Theatre, which looms above it, it had been recently completely rebuilt and was in full working order in 79 CE. It was hidden from the street by a high curtain wall, broken by a single main entrance up two steps and with a large wooden door. Enough survived of this for the eighteenth-century excavators to see that this door was made in three pieces. Just the central section would have given day-to-day access. It would, presumably, have been thrown wide open on festival occasions.

  The door opened into a colonnaded courtyard (Ill. 110). In the centre stood a small temple, with other structures round about and further rooms off the courtyard. The temple was constructed of brick and stone, its outside stuccoed and painted. The walls of the courtyard itself were covered in frescoes. Hardly a spot was left undecorated. Statues were placed around the courtyard and in niches on the temple building itself. We quickly meet here again the old problem of labelling and reconstruction. Archaeologists have examined these remains for centuries, trying to match them up to descriptions given by ancient writers of the rituals and organisation of the cult of Isis, and to name the various parts. So, for example, the large room to the west is usually called by the Greek name ekklesi-asterion (‘assembly room’), and assumed to be the place where the initiates met. It may have been. But the important thing is to see how this complex differs from the traditional civic temples of the town, and how the different decorations and finds in the different areas may point to different functions.

  The first thing to emphasise is that it was not open to public view, and the entrance was not welcoming to all-comers. This was religion for initiates. Secondly the building was catering for more congregational religious use and possibly a resident priest or two. Whether or not the assembly room really was for meetings of the members of the cult, there were places here for people to congregate and do things together. There were also a large dining room and a kitchen, and spaces that could be used for sleeping. As we have seen in other places, lighting was an issue. Fifty-eight terracotta lamps were found in one of the back storerooms.

  The precise function of some parts is clear enough. The temple itself originally contained the cult statues of Isis and Osiris. These were not found in place on their podium inside. But an elegant marble head, found in the so-calle
d ekkle-siasterion near some other marble extremities (a left hand, a right hand and arm, the front of two feet), may well be the remains of the acrolithic cult statue from the temple. The temple’s altar is outside in the courtyard, and opposite it is a small square structure, marking out a sunken pool. Whether or not archaeologists are right to give this the title purgatorium, it does very likely relate to the stress on washing and cleansing we find in ancient discussions of Isiac rituals. And not just any water would do. In theory at least the initiates of Isis bathed themselves in water brought specially from the Nile.

  Meanwhile, whatever happened there, the decoration of the ekklesiasterion and that of the room next door marked them both as different from the rest. There were a few specifically Egyptian religious scenes in the decoration of the courtyard, but much of it seems to have had no particular relevance to the temple’s cult or Isiac myth. By contrast, in both these rooms the flavour is decidedly Egyptian. The ‘assembly room’ originally included at least two large mythological panels. One was a perfect emblem to greet new initiates: it depicts the Greek heroine Io, in flight from the goddess Hera, being welcomed to Egypt by Isis herself (Plate 18). The other room displays paintings of Isiac symbols, of the goddess herself and her rituals. In addition to the fifty-eight lamps, it was full of various pieces of religious equipment and Egyptian memorabilia, from a little sphinx to an iron tripod.

  110. The little Temple of Isis still captures the modern imagination much as it did that of eighteenth-century visitors. Because it was in full working order at the time of the eruption, and not looted in the years that followed, it offers the most vivid picture of a religious centre in the town.

  The overall impression is one of cultural mix. Here, for example, standard classical portraits (such as the bronze of mime actor Norbanus Sorex) and sculptures of traditional deities such as Venus rub shoulders with ‘real’ Egyptian bric-a-brac, such as a fourth-century BCE tablet from Egypt inscribed in hieroglyphs – presumably intended to evoke ‘authentic’ Egypt. We see this mixture too in the best-preserved image of Isis from the complex (Ill. 111). This statue was made in the first century CE, adopting a Greek style of sculpture of several hundred years earlier. She is hardly Egyptian at all, but for the characteristic rattle or sistrum she carries in one hand, and the ankh, or Egyptian cross, she once carried in the other. It is hard to resist the feeling that this cult is treading a fairly safe line between its traditional civic Italian links and its mystical Egyptian ‘otherness’. That is the message too from all those Egyptian deities who shared space on the household lararium with little models of Lares, or Hercules, or Mercury.

  The traditional aspects of the Isiac cult are well illustrated by the inscription above the main entranceway, recording the restoration. It reads: ‘Numerius Popidius Celsinus, the son of Popidius, restored with his own money the Temple of Isis, from its foundations, after it had collapsed in the earthquake. On account of his generosity, the decurions co-opted him onto the town council, without fee, although he was only six years old.’ There are other signs of this family’s benefactions in the temple. Celsinus’ father, ‘Numerius Popidius Ampliatus, senior’ donated a statue of Bacchus. Their names also used to appear in black and white mosaic, along with that of Corelia Celsa (presumably wife and mother) on the floor of the ekklesiasterion.

  As we have already seen, it looks as if the elder Popidius was using the restoration of this temple to launch his young son into the Pompeian political elite. We do not know for sure that Popidius Ampliatus was an ex-slave and so precluded himself from political advancement in the town, but a man of that name does appear among the ‘attendants of Augustus’, who were predominantly slaves or ex-slaves. So that seems very likely. What is more interesting though is that restoration of the Temple of Isis so easily counts in the game of benefaction and generosity that characterised civic advancement in Pompeii. Initiatory, foreign and strange, the Isiac cult may have in some respects been. But the bottom line was that it was a public cult, on public land, as plausible a vehicle for social advancement as that of Fortuna Augusta. Isis was one religious option among several for the inhabitants of Pompeii.

  In the 1760s, the Temple of Isis was among the first buildings fully excavated on the site. It was a lucky find and it instantly captured the imagination of European travellers. True, a few killjoys found it disappointingly small. But for most it offered double excitement: simultaneously a glimpse of ancient Egypt and of ancient Rome. Exotic and a little bit sinister, it gave Mozart, who visited Pompeii in 1769, ideas for the Magic Flute. Fifty years later, it gave Bulwer-Lytton the idea for the nasty conniving villain of his Last Days, the Egyptian Arbaces – who was written up with all the predictable racial stereotypes. But it was responsible for even more powerful myths too. For it was the pristine state of the temple, almost undisturbed, that helped to create ‘our’ myth of Pompeii, a city interrupted in mid-flow.

  111. A nice illustration of the cultural mix represented by the cult of Isis at Pompeii, straddling the traditions of Egypt, Greece and Rome. This nineteenth-century painting shows a statue of the goddess herself, holding Egyptian symbols. But the figure itself looks back to a recognisably Greek style of sculpture.

  In fact, the last sacrifice was still burning on the altar here when the pumice started to fall. Or so they said.

  EPILOGUE

  CITY OF THE DEAD

  Ashes to ashes

  Early visitors to the remains of Pompeii entered the city through its cemeteries. We now buy our tickets, maps, guidebooks and bottles of water in a modern ‘visitor centre’, which could just as well be the entrance to a busy train station as to a buried city. Our eighteenth-century predecessors usually followed one of the ancient roads into the town, lined as they were with imposing and affecting monuments to the dead.

  Romans kept the dead out of their towns. There were no city-centre cemeteries or village graveyards, putting the dead in the middle of things. Instead, here at Pompeii just like in Rome itself, the memorials to earlier generations hugged the routes in and out of the town outside the walls. Ancient travellers entered Pompeii past the often imposing residences of those who had lived decades, maybe centuries before. For although cremation was the normal funerary practice during the heyday of Pompeii (at least since the arrival of the Roman colonists in the early first century BCE), this did not discourage extravagant memorials. Tiny urns holding the ashes of the dead were lodged in a whole range of grand designs – in the shape of altars, elegant semi-circular seats or benches, (convenient resting places for the living too), multi-storey constructions with columns and statues of the departed.

  For the early tourists this set the tone for their visit. Pompeii was a site of human tragedy, a city of the dead. The tombs they first saw as they started their visit (albeit the memorials of those who, likely as not, had died safely in their beds) offered the prompt to a good deal of reverie on the transience of human existence, and on the inevitabity of death for all of us, high or low. Dust to dust, and – appropriately for Pompeii – ashes to ashes.

  But, of course, death and commemoration was anything but equal in ancient Pompeii. The memorials reflected exactly those hierarchies and inequalities that we have seen repeatedly in the life of the town. We already spotted (pp. 2–4) the irony of that little party of unsuccessful fugitives, with some 500 sesterces between them, being finally overwhelmed next to the tomb of Marcus Obellius Firmus, aedile and duumvir, whose funeral alone had cost ten times that amount. His tomb was typical of the grander designs, though by no means the most splendid: a simple walled enclosure, within which the single urn was buried, with a terracotta pipe installed next to it, to channel offerings made to the dead man by his descendants. Unless they had been convinced by the more optimistic claims of some of the newer religions, most Romans had, it seems, a rather hazy and grey picture of what happened after death. Nonetheless, as here, they might take the trouble to provide some kind of sustenance for their ancestor – though how often the t
ube was used we do not know.

  Other members of the Pompeian elite, both male and female, were commemorated with more flashy monuments than Obellius Firmus. In fact, the tomb of the priestess Eumachia is the biggest so far uncovered, standing high above the road on its own terrace and including – a wry reflection on her gender, as it must now seem – a marble sculpture of Amazons (mythical female warriors), a large seating area and the burial plots of Eumachia herself and some of her relations and dependants. On some, the honours or benefactions of the deceased were displayed in images as well as words. We have already seen (Ill. 72) the bisellium or seat of honour carefully carved onto the tomb of the Augustalis Caius Calventius Quietus, as proud an assertion of status as any made by the richest aristocratic landowners. Others carry sculptures or paintings of gladiatorial contests – presumably intended to represent those financed by the dead man during his lifetime.

  Many of these monuments ended up marked with graffiti of the usual demotic type, or covered with publicity notices for games and shows. Their plain walls must have provided a convenient space for messages and adverts in a prominent roadside location. But it is hard not to suspect that there was also an element of ‘getting your own back’ at work here. How satisfying it must have been to deface these aggressive memorials to wealth, power and privilege.

  Needless to say, the poorer sections of Pompeian society did not enjoy such luxurious final resting places – unless they were among those slaves and ex-slaves lucky enough to be granted space in their masters’ monument. For the rest, some would have been able to afford a small part of a large communal tomb. The ashes of others ended up in cheap containers inserted directly into the earth, marked with just a simple stone. Even that would have been too good for those at the very bottom of the social pile. At Pompeii, as elsewhere in the Roman world, their bodies were probably unceremoniously dumped or burnt, with not a funeral celebration or permanent marker at all.