Sculptures of an erect phallus are another popular form of Roman erotic art that did not only have a sexual meaning.
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1 [ ur word "erotic" derives from the name of the Greek god of sexual love, Eros, son of Aphrodite. The Romans called him Cupid and the Latin word for desire shares the same root. Roman erotic art occurs in many different exposed by a fitful sleep in which her mantle has become uncovered, providing a salacious voyeuristic image. It is only when viewers walk around the statue to the other side that they see the beautiful woman has male genitals and is, in fact, a herforms, from large-scale sculptures, reliefdecorated luxury vessels of glass and precious metals to wall paintings and more humble works of bronze and terra-cotta, displaying a vigorous interest in sex at many different levels of society. Today some of these works may seem offensive, but it is important to view them in their ancient contexts. In Roman times, erotic art had a respected place and served a variety of purposes. Ancient Greek sculptures were influential on Roman works. Sometimes Greek works were carefully copied, as with the famous Sleeping Hermaphrodite of the third or second century B.C. This surprising sculpture known through several Roman replicas depicts what appears from one view to be a beautiful woman with idealized features, sleeping on her side. Her voluptuous body is Sculptures of an erect phallus are another popular form of Roman erotic art that did not only have a sexual meaning. maphrodite. Hermaphroditos was a minor Greek deity, born of the gods Hermes and Aphrodite, and worshipped by the Greeks at least from the fourth century B.C. Livy ( ) tells us, however; that a hermaphrodite in Republican Rome was considered a congenital deformity and an abhorrent portent of divine ill will. For the ancient Roman viewer, the troubled sleep of the Hermaphrodite was surely caused by its ambiguous sexuality. Roman sculptors also adapted Greek works to their own tastes. A particularly fine example is the Aphrodite of the so-called Venus Genetrix type from the Palatine Hill in Rome. The diminutive scale and overt sensuality of the figure favor its identification as a Roman creation of the late first century B.C. inspired by a fifth century B.C. Greek work. 10 SC U L PT UR E REV I E W
2 The most unusual erotic Roman sculpture preserved today is the marble Pan and the Goat from the Villa of the Papyri at Herculaneum, and now exhibited in the erotic art collection of the Naples Archaeological Museum. Discovered during the excavations of the villa in 1752, it immediately caused a scandal and was kept off view for years. Even the famous art historian Johannes Wincklemann was not allowed to see it. In this carefully executed and strangely tender sculpture, the god copulates with a she-goat. At Pan's dual nature-part-man, part- Pompeii, beast-is emphasized by the human sexual giant erect phposition of the goat. The statue was openly displayed in the large peristyle of the on the wall c villa as part of a major private collec- ensure the bre tion of bronze and marble statuary, including portraits of Hellenistic rulers, famous statesmen, athletes, gods, and animals that were erected at the villa and its gardens for private contemplation. The subject of bestiality occurs in Roman art most frequently in representations of myths such as the union of Leda and Zeus in the form of a swan, known from representations., in sculpture, on mirrors, mosaics, wall paintings, gems, and in jewelry. This coupling led to the birth of Helen, the most beautiful woman in the world. A very different but erotically charged statue type is the portrait of a Roman matron with a nude body of the goddess Venus. While the portrait heads follow contemporary style of naturalistically rendered features, the bodies replicate the idealized immortal flesh of the goddess. Role-playing was also indulged in by Roman men who could be portrayed in a relief of a Ilus was hung the guise of the gods. Excavations at Pompeii and in Rome, notably at the Villa Farnesina, have f a bakery to id would rise. revealed a large number of erotic wall paintings in private villas, taverns, and brothels, but occasionally also in public spaces, such as the changing room of the Suburban Baths at Pompeii, affirming that some Romans had a passionate interest in erotic art and that erotic art was not considered shameful. A particularly lavish example of private display occurs in Pompeii in the House of the Vettii, which belonged SC U L PT UR E REV I E W 11
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4 A;4E to two brothers who were wealthy freedmen. A painting of the ithyphallic god Priapus weighing his own considerable phallus (a symbol of prosperity) greets visitors at the entrance. Additional erotic paintings decorate some of the walls of this house and farther inside, a marble fountain statue of Priapus stands guard over the garden, his phallus doubling as a weapon, as the obscene short poems, the Priapeia, describe. Roman texts and images of Priapus, who is closely associated with sexuality and human fertility, are typically prurient and often contain elements of humor. The occurrence of Priapus in Roman funerary contexts, as, for example, in his cult scenes carved in Neo-Attic style on a sepulchral altar from Aquileia of the first century A.D., attest to a different aspect of his cult that contrasts the procreative force of life with death. Sculptures of an erect phallus are another popular form of Roman erotic art that did not only have a sexual meaning. The phallus was associated with prosperity and the cult of the fertility god Fascinus, who was capable of warding off the "evil eye." Pendants of bronze with one or more phalli were worn as charms by Roman soldiers and other citizens across the empire. SC U L PT UR E REV I E W 13
5 Sometimes the phallus is represented with wings or emerging from a shell. Elaborate examples also had bells attached to them, known as tintinnabufla (wind chimes). At Pompeii, a relief of a giant erect phallus was hung on the wall of a bakery to ensure the bread would rise. Erotic scenes occur on small-scale luxury works, especially relief-decorated drinking vessels that were objects of display as well as services for banquets. A particularly fine illustration with a male/female couple is an Early Imperial cameo glass fragment of a drinking cup in the collection of The Metropolitan Museum of Art in New York. Male/male lovemaking scenes are much less common. Two of the finest occur on a relief-decorated silver cup now in the collection of the British Museum. This cup, known as the Warren Cup after its previous owner Edward Perry Warren, was for many years thought to be a forgery because the scenes were so explicitly homoerotic. Recent scholarly and technical analysis has confirmed its authenticity and early first century A.D.
6 date. The high artistic quality of many of the works selected for discussion here, together with the abundant less expensive and less carefully executed minor erotic arts such as mold-made terra-cottas known from all over the Roman empire, demonstrate a broad, complex, and open interest in sex that formed an integral part of Roman life. 1X Sean Hemingway is associate curator in the Department of Greek and Roman Art at The Metropolitan Museum of Art in New York and the author of The Horse and Jockey fromn Artemision: A Bronze Equestrianz Monument of the Hellenistic Period (University of California Press, Berkeley 2004). Oz page 10-11: Statue of Sleeping Hermaphrodite, 7narble, Louvre, Paris, France. On page 12, left: Portrait of Marcia Furnilla, mtarble, Roman, Flavian period, A.D., Ny Carlsberg Glyptotek, Copenhagen, Denmark; right: Statite of Aphrodite fromn the Palatine Hill, marble, Rome, Muiseo Palatino, Italy. On page 13: Statuie of Pan and the Goat, marble, Museo Archeologico Nazionale, Naples, Italy. Opposite, top: Leda and the Swan fromn the Treasure of Boscoreale; bottom: Roman sarcophaguis with bacchanalia relief, marble, detail, Archaeological Museium, Naples, Italy. On this page, right: Tintinnabulum Gladiator Figure, bronze, Museo Archeologico Nazionale, Naples, Italy.
7 COPYRIGHT INFORMATION TITLE: Roman Erotic Art SOURCE: Sculpt Rev 53 no4 Wint 2004 WN: The magazine publisher is the copyright holder of this article and it is reproduced with permission. Further reproduction of this article in violation of the copyright is prohibited. To contact the publisher: Copyright The H.W. Wilson Company. All rights reserved.
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