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The building The paintings |
Extensive remains of paintings were found in the cryptoporticus, the lower part of room 15. A socle, 0.20 m. high, imitated marble: on a white background were red and black smudges. After the installation of the wooden floor this part was no longer visible. On the upper part of the wall were garlands, vegetative motifs, and vessels and birds, again on a white background. In between these zones, so directly above the wooden floor, were panels with figurative scenes, 1.105 m. wide. Above the scenes were texts painted in black, unfortunately preserved only in a few cases. The paintings have been dated to the late second century.
Reconstruction of the cryptoporticus, seen from the east. Suter et al. 2004, Abb. 157.The paintings on the lower panels are unique: there are no good parallels anywhere in the Roman world. They seem to be riddles that have to be solved by using the images of people, animals and objects as well as the texts, which are a mixture of the Greek, Latin and Celtic languages. There may also be a religious undertone.
Plan of the cryptoporticus, with numbered figurative panels. Suter et al. 2004, Abb. 88.
On panel 1 only the lower part of a barefoot male figure wearing a tunic has been preserved. It could be a workman or slave, but also a deity.
Drawing of panel 1: a barefoot male figure wearing a tunic. Suter et al. 2004, Abb. 94.On the second panel are two animals, probably horses. One animal is red and ithyphallic, the other is yellow. The painting could be a caricature, but the phallus might be a symbol of good luck.
Drawing of panel 2: two animals from the horse family. Suter et al. 2004, Abb. 96.On panel 3 a dog is jumping from a cage or through a window. The scene is reminiscent of the hunting and killing of wild animals in the arena (venationes). This could be a word game, a depiction of the proper name Canidius, composed of canis, "dog", and diu, "by day": the dog emerges in the daylight.
Drawing of panel 3: a jumping dog. Suter et al. 2004, Abb. 99.On the fourth panel a lion emerges from a barrel. Again there might be a reference to venationes. Barrels were typically used for the storage of wine. The scene might represent the Celtic deity Sucellus, who was associated with agriculture and wine. Alternatively, this might be another word game, this time the proper name Leucadius, composed of leo, "lion", and cadus, "wine-jar".
Drawing of panel 4: a lion emerging from a barrel. Suter et al. 2004, Abb. 103.On panel 5 are a parading horse and a military standard. On top of the standard is a yellow bust, presumably of an Emperor, made of gold or gilded bronze. There seem to be two more standards. Part of the accompanying text has been preserved: [---]TEND[---]ANDVODVRO. TEND might be from tendere, "to travel, to march". The text may well end with the name of the city Epomanduodurum, Mandeure in France, about 100 km. to the north-west of Meikirch. The name of this city could mean "market of the small horse". The scene might be a reference to festivities.
Drawing of panel 5: a horse and a military standard. Suter et al. 2004, Abb. 106.On the sixth panel is a bull, accompanied by the text CATENI MIO TOMAPOBI. The text has not yet been explained with any confidence.
Drawing of panel 6: a bull. Suter et al. 2004, Abb. 112.On panel 7 is a bearded, barefoot man standing in front of a building that is surrounded by water. Part of the accompanying text has been preserved: [...]DOSES.V.OD..ODERITM.R..ONS. Again a good explanation has not been found. The man holds an object, perhaps a hammer or an axe, in one of his hands. He could be a worshipper or a priest. On the roof of the building seem to be two horse protomes. It might be a temple, but also a house, because there are no columns in the facade. Obviously the water provides a clue about the location. We could think of, for example, the Enge peninsula in Bern.
The painting of panel 7: a bearded, barefoot man in front of a building surrounded by water. Suter et al. 2004, Abb. 116.
Drawing of panel 7: a bearded, barefoot man in front of a building surrounded by water. Suter et al. 2004, Abb. 116.On panel 8 a man is standing in front of three ithyphallic herms, representations of Priapus. The man too is ithyphallic, bearded, and has a wreath on his head. The accompanying text is ISOVMONDVOCEDE. It has been interpreted as a mixture of Greek and Latin: iso(n) umôn duo cede, "give two (phalli) like yours". The scene could be a reference to prosperity, but also a parody, playing with numbers.
Drawing of panel 8: a man in front of three herms. Suter et al. 2004, Abb. 120.The ninth panel has a depiction of a goat standing in a wooden tub. The accompanying text is HOC EST CAPRATINA, "Here is Capratina" (where hoc is hic). This is clearly a word game, combining capra, "goat", and tina, "wine-vessel". Capratina is an epithet of Juno, but also a female proper name.
Drawing of panel 9: a goat in a tub. Suter et al. 2004, Abb. 124.On the remaining panels are depictions of vegetative motifs, a vessel with birds, a further animal (only the hooves are preserved), and an animal with a naked running person.
The building
The paintings
[29-Nov-2023]
