Orpheus mosaics are found throughout the Roman Empire, normally in large Roman villas. The scene normally shown is Orpheus playing his lyre, and attracting birds and animals of many species to gather around him. Orpheus was a popular subject in classical art, and was also used in Early Christian art as a symbol for Christ.[2]
The standard depiction in Roman mosaic scenes (for the Romano-British variant see below) shows him seated and playing a lyre or cithara, wearing a Phrygian cap, often beside a tree, and includes many animals drawn and pacified by his playing. The fox was considered Orpheus's special animal and may be placed beside him. In large examples the animals spread to occupy the whole floor of a room. Titles such as Orpheus Charming/Taming the Beasts may be used.[3] Usually the whole scene occupies the same space, but sometimes Orpheus and the animals are each in compartments separated by borders with geometrical decoration. In such cases the compartments with animals are very similar to those in other mosaics with no central figure. An alternative composition shows Dionysus (Bacchus) as the central figure, surrounded by animals, more lively than those around Orpheus.
An example of the usual composition with animals in the 6th-century Gaza synagogue is identified as David by an inscription in Hebrew, and has added royal attributes.[4] Another adaptation is a Christian mosaic of Adam giving names to the animals (Genesis 2: 19–20) in a church of around 486–502 in Apamea, Syria.[5] Some of the mosaics seem to relate to the rather elusive philosophical or religious doctrines of Orphism.[6]
In Byzantine mosaic large scenes with animals tended to be hunting scenes (one of the largest being again at Apamea). These are, at least initially, drawn from the popular venatio ("hunting") displays in the amphitheatres, where a variety of exotic beasts were released to fight and be killed.[7] Despite the contrast in atmosphere, the Berlin mosaic from a house in Miletus manages to combine both a venatio and an Orpheus with animals in its two parts.[8] An arena programme recorded by Martial combined an acted-out scene of Orpheus charming the animals with the punishment of criminals by damnatio ad bestias.[9]
- ^ "Orpheus Mosaic – Turkey and Dallas Museum of Art"
- ^ Hachlili, 74
- ^ Hachlili, 72-74; Henig, 153
- ^ Hachlili, 72-74
- ^ Hachlili, 74
- ^ Henig, 152, but see Drijvers, H. J. W., Cults and Beliefs at Edessa, p. 191, 1980, Brill Archive, ISBN 9004060502, 9789004060500
- ^ Kondoleon, 271-314
- ^ Kondoleon, 282
- ^ Kondoleon, 310-311