The south wall presents a small eros looking at the scene on the east wall that shows the woman with her maid and the little cupid holding a mirror. This eros on the south wall stands as a witness and seems to anchor the events of the cycle. Next to the eros there is a space that empties onto the portico that adjoins the chamber and right of it, on the southwest corner wall, nearest the entry/exit portal is a fresco of a seated matron who is looking backward, as if reflecting on the entire rite of passage depicted in the scenes that lead up to her.
This circumambulation (or sequence of frescos that have been read in a clockwise pattern) is presented here according to Fierz-David & Hall's book as well as pompeiiinpictures.com. Virtual space is much more rigid than the experience of being there but Fierz-David & Hall have made it seem much more tangible. Also the photographs we've been able to gather from other visitors have helped to make this more visually defined. Maybe someday google's artproject will add the villa to their virtual museum tour as well.
The sequence of frescos suggests that the south wall could be the conclusion of the initiate's passage (clockwise from the west wall and around again). The matron seated in the south corner (final scene) who is looking back in remembrance at the scenes behind her. Memory is non-linear and I imagine a tangle of threads that connect various symbols and themes from one fresco or architectural detail to another. Elliptically spinning and adding to the mix there is the floor that offers a mosaic of on and off the grid patterns, the arching ceiling with the skies beyond, and views out the window and portico. The narrow corridor that leads into the entrance portal is of interest to me. Who would have been ushered through that confining space? Were all the initiates willing participants? Who decided? Do the fresco portraits reveal something about who used this space and who did not? What rites do we continue to foster and promote today and at what cost and/or benefit?Entry - narrow corridor, anticipation, sacrifice, conformation
Floor - ground of knowledge
Wall 1 - west wall - physical endurance, preparation, sacrifice, discipline, guidanceWall 2 - north wall - fantastic realm, knowledge, intellect, acceptance of unknown psyche, creative principleWall 3 - east wall - physical transformation, pain of acknowledging/questioning, reflection(Window - acts as a mirror as well when light doesn't penetrate from behind, view to garden, nature and other areas of villa)Wall 4 - south wall - understanding through witnessing and remembrance
Portico - annex, relationship to community
Ceiling - possibilities, confinement
Exit - narrow corridor, confirmation
Majena, what is your take on this?
The south wall presents a small eros looking at the scene on the east wall that shows the woman with her maid and the little cupid holding a mirror. This eros on the south wall stands as a witness and seems to anchor the events of the cycle. Next to the eros there is a space that empties onto the portico that adjoins the chamber and right of it, on the southwest corner wall, nearest the entry/exit portal is a fresco of a seated matron who is looking backward, as if reflecting on the entire rite of passage depicted in the scenes that lead up to her.