Revised Rhetorical Analysis Essay

Ancient Versus Modern: An Analysis of Visual Medium and Written Word

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The art of the ancient city of Pompeii, once enjoyed by every member of the bustling society, now acts as a time capsule that provides insight into what Roman civilization was like in 79 A.D. Domenico Esposito’s paper on decorative principles highlights the frescoes found in Pompeii, and dives into why these works are so important to both the ancient Romans and modern art historians On the other hand, the fresco paintings in the Villa dei Misteri, or the Villa of the Mysteries, in Pompeii are a life sized storybook that directly shows us what was running through the minds of ancient Romans and what was important to them. While Esposito alludes to other cultures and juxtaposes depictions of scenes to share his claim about ancient works of art, the frescoes of the Villa of the Mysteries appeal emotionally to viewers through imagery and symbolism to convey both mythology and information.

The Villa of the Mysteries in Pompeii houses frescoes dated back to 70-60 BC. These famous works, adorned in bright red coloring that has coined the term “Pompeian Red,” are one of the most famous and iconic sites in the ancient city. The color, created from cinnabar, is very expensive and only wealthy members of the upper class would have been able to have it utilized within their commissioned works.[1] The coloring of this fresco sends a message to the viewer about the class of not only the building of where it is located, but also the commissioner or owner. This denotes that the artist used symbolism through the specific color of red to send a message of passion, power, and wealth. The bright red background of the frescoes draws the viewer in, intoxicating them with the surrounding story. It acts as a continual focal point of the piece, which creates a visual pathway for the observer. The frescoes of the Villa of the Mysteries were meant to be interactive, making whoever was looking at the work feel as though they themselves were experiencing the initiation.

Other examples of symbolic representations in the villa are the figures depicted within the frescoes themselves, which is how historians have concluded the meaning of the work. The frescoes in the Villa of the Mysteries employ a strong sense of visual symbolism in showing the initiation into the “mystery cult,” or religious school, of Dionysus who was the god of wine, fertility, and theatre.[2] The image of the bride in the center represents the qualities of spirituality and ritual which were highly embraced within Roman culture. Feminine images of both higher-class women as well as peasants were found, leading historians to believe that fertility and divinity were of major importance within royal and domestic life. The visual rhetoric within the layout, size, and colors of the frescoes allows the viewer to move through both the space and the stages of the initiation story and follow this bride on her journey. The life size scale of the work adds a dramatic effect and makes the story feel like a one-on-one experience with the beholder. This use of rhetorical symbolism and strong, compelling imagery led Roman citizens to internalize the work and be urged to participate in religious practices and ceremonies.

The general purpose of the famous frescoes inside of the Villa of the Mysteries was to invite the visitors of the villa to join in on ritual ceremonies and celebrate their culture. While the frescoes were created within a domestic environment, the audience of the work were most frequently members of the lower class such as clients and laborers visiting or doing business with the commissioner. This provides evidence that artistic works in the ancient city of Pompeii were crafted to be enjoyed by all classes of society. It allowed for the worlds of both religion and domestic affairs to merge with one another. Since the audience of the work was so broad, the impact of the message would have been exhaustive.

Domenico Esposito’s paper, written on the decorative principles within the ancient city of Pompeii, alludes to the culture of ancient Egypt when describing the works of art. The ancient Romans used Egyptian images in their art because they saw their culture as a representation of good fortune and bounty.[3] These repeated connections to this foreign culture provide insight that although the Roman Empire was impressively vast and influential during its reign, the Romans still found inspiration and looked up to another culture. Esposito emphasizes this connection strongly through imagery within his writing. The detailed descriptions of the decorations he is assessing provide both background information and a clear picture of what these works look like. Circling back, Esposito also uses allusion when describing the various Roman mythological stories depicted in the works of art. The character of Cupid, which originates from ancient Greek myths and is celebrated as the Roman god of love and desire, is observed to be featured as well. By utilizing these comparisons, Esposito appears to be a well-rounded, well-researched writer.

Another piece of Esposito’s writing includes a juxtaposition between Nilotic and mythological scenes. Nilotic, meaning pertaining to the Nile region of Egypt was a place that historians continue to find referenced by the ancient Romans. Depictions of pygmies, or people who are descended from this region, are described in the essay as to have been featured within calming, nature reflecting scenes. Esposito directly addresses this type of imagery in relation to the works of the locally worshipped gods and goddesses of Pompeii. Ancient Roman mythological stories were commonly painted as a way of visually expressing culture and religion, so the parallels of these works with Nilotic scenes shows the importance of them to ancient Romans. Although the two types of imagery were used in unison, Esposito contrasts the distinct characteristics of both kinds of work. For example, he specifically mentions the god Mars is found painted inside one of the bath houses, directly above a Nilotic landscape with an included sea battle.[4] 

The purpose of Esposito’s writing is to decipher the differences between painted works in the ancient city of Pompeii and to give a clear understanding of their impact and meaning. His audience may include other researchers who are attempting to gain knowledge or a deeper understand of these influential works of art. Esposito would not be appealing to everyday citizens, only to those who specifically search for his work. Even of those who do read his paper, without previous understanding of the topics discussed, the reader may be lost when it comes to the details mentioned throughout the writing. Therefore, the scope of his audience would be smaller than that of the frescoes found inside of the Villa of the Mysteries.

Ultimately, both works were rhetorically persuasive in their time of creation. While the frescoes inside of the Villa of the Mysteries did include stories for the erudite, or for the highly educated, which was a theme commonly found later in mannerist works, many of the viewers would have been able to differentiate the overall message of the piece. Due to the overall nature of the frescoes, they would have been very persuasive in getting Roman citizens to participate in ritual ceremonies and religious functions. In comparing the two artifacts, the progression of how information is shared to a mass number of people can be observed from ancient to modern times. Since many people were illiterate when the frescoes in the Villa of the Mysteries were created, the visual depiction of the message or story was the most persuasive. Many people who observed the work would have been able to decipher what was happening with the induction and could infer the deeper meaning behind it. They would have known the work had religious intent. When analyzing Esposito’s writing, since readers in modern times may not be education on symbols of the past, a written description of the works that includes background information is more influential. The development of written language has become so strong that the use of visual mediums to portray stories, religious idols, myths, or information has weakened. Therefore, both artifacts were and can successfully persuade an audience, only the time of creation determines the relative differences.

                                                                Works Cited

Ellen Spindler, “The Story of Cinnabar and Vermilion at The Met,” The Met, February 28, 2018, https://www.metmuseum.org/perspectives/cinnabar-vermilion

Tulika Bahadur, “The Villa of the Mysteries, Pompeii,” Melbourne Art Class, January 28, 2021, https://melbourneartclass.com/the-villa-of-the-mysteries-pompeii/

Department of Greek and Roman Art, “Roman Egypt,” The Met, October 1, 2000, https://www.metmuseum.org/essays/roman-egypt 

Esposito, Domenico. “Decorative Principles Between the Public and Private Spheres in Pompeii: Contexts, Patrons, and Artisans.” In Principles of Decoration in the Roman World, edited by Annette Haug and M. Taylor Lauritsen, 53-67. Berlin/Boston: Degruyter, 2021.

[1] Ellen Spindler, “The Story of Cinnabar and Vermilion at The Met,” The Met, February 28, 2018, https://www.metmuseum.org/perspectives/cinnabar-vermilion

[2] Tulika Bahadur, “The Villa of the Mysteries, Pompeii,” Melbourne Art Class, January 28, 2021, https://melbourneartclass.com/the-villa-of-the-mysteries-pompeii/

[3] Department of Greek and Roman Art, “Roman Egypt,” The Met, October 1, 2000, https://www.metmuseum.org/essays/roman-egypt 

[4] Esposito, Domenico. “Decorative Principles Between the Public and Private Spheres in Pompeii: Contexts, Patrons, and Artisans.” In Principles of Decoration in the Roman World, edited by Annette Haug and M. Taylor Lauritsen, 53-67. Berlin/Boston: Degruyter, 2021.