Greco-Roman “Mystery” Initiation

Pompeii, Villa of the Mysteries, Diagram of Initiation Chamber

Pompeii, Villa of the Mysteries, Scenes 1 - 6

Pompeii, Villa of the Mysteries, Scenes 1 and 2 The First Scene on the long inner wall close to the small entrance shows the veiled figure of a listening initiate whose gestures surely have ritual significance. A naked boy reads to her from a scroll. A priestess who sites behind him directs him in doing so and, at the same time, looks attentively at the initiate.

Pompeii, Villa of the Mysteries, Scene 1, Detail: Initiate

Pompeii, Villa of the Mysteries, Scenes 1 and 2 The Second Scene is introduced by the figure of a woman, crowned with myrtle, who carries a cake to an altar table.

Pompeii, Villa of the Mysteries, Scenes 2 and 3

Pompeii, Villa of the Mysteries, Scenes 2 and 3 At the altar table a priestess is just beginning to carry out a ritual act. To the left of the priestess, a serving woman holds a covered basket. To her right a young priestess pours out water for a libation.

Pompeii, Villa of the Mysteries, Scenes 3 and 4 The Third Scene is introduced by the figure of a half-naked Silenus, who is playing the lyre. Next to Silenus, by a small group of rocks, sit a young faun and a panisk (a female pan figure). A little kid presses close to the faun, who plays the panpipes. A second kid sucks at the breast of the panisk. In the very front stands a young buck listening attentively.

Pompeii, Villa of the Mysteries, Scenes 3 and 4 The Fourth Scene contains only a single figure – the so-called terrified woman, who throws on her cloak and appears to flee. The long inner wall ends here.

Pompeii, Villa of the Mysteries, Scenes 5 and 6 In the Fifth Scene, on the back wall of the chamber, we see at first a seated Silenus, who seems to turn his attention back to the terrified woman. At the same time, he lists a metal vessel to his other side. A young faun behind him bends and gazes into the vessel. Behind this faun stands a second young faun who smilingly raises a Dionysian mask of terror. The Sixth Scene, in the middle of the back wall, is unfortunately greatly damaged. It shows the commanding picture of Dionysus, who leans against his beloved Ariadne. A beribboned thyrsus (staff) lies across his knees.

Pompeii, Villa of the Mysteries, Scenes 7 and 8 In the Seventh Scene we first see the figure of a kneeling woman with a cap. Her features are distorted, eyes widely staring. She carries a torch over her shoulder; before he stand the liknon, the Bacchic winnowing basket. Her gesture looks as if she were just trying to raise the cover from a great phallus within it. Behind her, only just visible, are two highly agitated figures of women.

Pompeii, Villa of the Mysteries, Scenes 7 and 8 In front of the petitioning woman hovers black-winged angel raising its hand against her, to ward her off. At the same time, with the other hand, which carries a whip, the angel lifts its arm for a blow. Here the back wall of the chamber ends.

Pompeii, Villa of the Mysteries, Scene 8. In the Eighth Scene, the half-naked figure of a despairing woman, kneels filled with terror, for it is she at whom the blow of the angel is aimed. She has laid her head in the lap of the woman sitting by her, who gazes at the angel. The next figure in this scene is a very erect, naked Bacchante, who turns her back to the viewer. A beautifully dressed woman who carries the thyrsus seems to dance around her. This scene takes up the space along the long outer wall up to the window.

Pompeii, Villa of the Mysteries, Scene 9 On the other side of the window, the Ninth Scene shows a lady whose hair is being dressed by her maid. And Erotes (a cupid figure) holds the mirror for her while a second Erotes, on the other side of the lady, looks placidly on. Here the long outer wall comes to an end.

Pompeii, Villa of the Mysteries, Scene 10 Along the short outer wall, on the other side of the large exit door which leads to the terrace in front of the house, there is only one scene. It portrays a richly dressed lady who rests in a reclining chair and leans one arm on a cushion. The picture is often designated as the Domina, because it is believed to be the portrait of the Lady of the House.