Paintings from "a well-adorned house"
Early in 1868 the Viscontis were working on the Field of the Magna Mater, just inside the Porta Laurentina. In the middle of that work the discovery is reported "in a well-adorned house [ben ornata casa], of a small picture, in which a sacred feast of Diana is painted with exquisiteness of the brush" (Giornale di Roma, April 3 1868). It is not clear from the text where this building might be: presumably on or near the Field, but not a tomb. Actually, two parts of a much larger painting were found, measuring 1.10 x 0.59 and 0.98 x 0.49 metres. Both are now in the Vatican Museums.
Henri Stern argues that feasts are depicted per month. In the left part of the first painting is a reference to a feast of Diana on August 13. A statue of Diana on a column has been painted. She holds a bow and is taking an arrow from the quiver on her back. She is flanked by two tall torches, connected by a cross-bar above her head. To the right of the statue are four children, raising torches towards Diana. To the left of the statue are traces of two children with sacrificial animals.
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The first fragment. Left: August, feast of Diana. Right: September, Vendemia.
Detail of the left part of the first fragment: August, Diana.The feast is described by the Augustan poet Grattius Faliscus in his Cynegetica ("The Chase"), lines 479-496. The feast is mentioned in relation to cures for plagues:
"A thousand plagues hold their victims, and their power transcends our care. Come, dismiss such cares (our confidence is not so great in our own resources), dismiss them, my mind: the deity must be summoned from high Olympus and the protection of the gods invoked by suppliant ritual. For that reason we construct cross-road shrines in groves of soaring trees and set our sharp-pointed torches hard by the woodland precinct of Diana, and the whelps are decked with the wonted wreath, and at the centre of the cross-roads in the grove the hunters fling down among the flowers the very weapons which now keep holiday in the festal peace of the sacred rites. Then the wine-cask and cakes steaming on a green-wood tray lead the procession, with a young goat thrusting horns forth from tender brow, and fruit even now clinging to the branches, after the fashion of a lustral ritual at which all the youth both purify themselves in honour of the Goddess and render sacrifice for the bounty of the year. Therefore, when her grace is won, the Goddess answers generously in those directions where you sue for help; whether your greater anxiety is to master the forest or to elude the plagues and threats of destiny, the Maiden is your mighty affiance and protection" (translation Loeb, Minor Latin Poets).
In the right part of the painting are five children. Two are carrying bowls with grapes. One of these and another child carry poles with a small cross-bar from which bunches of grapes are hanging down, and with a bust on top. The busts probably depict Jupiter and Liber Pater-Bacchus. The child at the right end holds a stick with a small cross-bar in his right hand and a large object in his left. The feast that is depicted is the Vendemia, feast of the grape harvest, taking place on September 5.
Detail of the right part of the first fragment: September, Liber Pater.In the left part of the second fragment the Navigium Isidis ("Ship of Isis"), a feast taking place on March 5, is depicted. The opening of the sailing season is celebrated, and that is why a ship has been transported to the sea and set afloat. The empty wagon for the transport is returning.
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The second fragment. Left: March, Navigium Isidis. Right: April, birthday of Septimius Severus.
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Detail of the left part of the second fragment: March, Navigium Isidis.On the right part of the second fragment is a reference to a feast related to the Emperor, in view of the presence of a banner (vexillum). On top of the banner are three busts, probably of Septimius Severus and his two sons, Caracalla and Geta. It is then a reference to the birthday of Septimius Severus, April 9.
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Detail of the right part of the second fragment: April, birthday of Septimius Severus.According to Stern the paintings have to be dated to the years 209-211 AD. The length of the entire painting must have been 6 to 7 metres.
