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Posts tagged #Erotes

Anthony Majanlahti
Anthony Majanlahti
@anthonymajanlahti.bsky.social
3 weeks ago
CHILD'S SARCOPHAGUS WITH EROTES, 175-200 CE. PALAZZO MATTEI DI GIOVE This beautiful little sarcophagus was given pride of place in the disposition of Asdrubale Mattei's antiquities collection in the courtyard of his palace. It sits atop two little lion-headed trapezophoroi (carved supports) and has a lid much too small for it, with a reclining child on it. The front is framed on both ends with spiral-fluted columns, and four internal pilasters create five square panels in which five delightful Erotes with wings and chlamys dance. The first at left is holding up a string from which hangs a drum and the second brandishes a baton tied with a ribbon. The central Eros is a sort of Orpheus, holding a lyre in one hand and a plectrum in the other. The fourth bears a thyrsus and the last Eros, or the first if they are in procession, is carrying a reversed torch, symbolising death.

CHILD'S SARCOPHAGUS WITH EROTES, 175-200 CE. PALAZZO MATTEI DI GIOVE This beautiful little sarcophagus was given pride of place in the disposition of Asdrubale Mattei's antiquities collection in the courtyard of his palace. It sits atop two little lion-headed trapezophoroi (carved supports) and has a lid much too small for it, with a reclining child on it. The front is framed on both ends with spiral-fluted columns, and four internal pilasters create five square panels in which five delightful Erotes with wings and chlamys dance. The first at left is holding up a string from which hangs a drum and the second brandishes a baton tied with a ribbon. The central Eros is a sort of Orpheus, holding a lyre in one hand and a plectrum in the other. The fourth bears a thyrsus and the last Eros, or the first if they are in procession, is carrying a reversed torch, symbolising death.

A child's #sarcophagus is always sad, even when it's part of a gigantic #spolia centrepiece at the back of the courtyard of #palazzoMattei di #Giove in #Rome. This one, from 175-200 CE, has #Erotes dancing between pilasters, evoking the innocent joys of a childhood cut short. #AncientBluesky 🏺

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Aphro ♡
Aphro ♡
@aphroditeourania.bsky.social
1 month ago
Post image

Happy Valentine’s Day from the Erotes to you!

#GPOSERS || #EorzeaPhotos || #ffxivsnaps || #FFXIVgpose || #Erotes

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Anthony Majanlahti
Anthony Majanlahti
@anthonymajanlahti.bsky.social
1 month ago
SARCOPHAGUS FRONT WITH THE THREE GRACES, C. 140-150 CE. PALAZZO MATTEI DI GIOVE This sarcophagus front is incorporated into the wall decoration of the courtyard of the splendid palazzo Mattei di Giove. Its themes of love and beauty are a compliment to the deceased, a beloved wife. The Three Graces at centre are known in several versions as free-standing statues. The central Grace has turned her back to us and has her arms extended to embrace her two sisters against a knotted cloth background. Two little Erotes are helping the two side Graces with their toilette. To right and left are two winged couples, Cupid and Psyche, the latter with moth wings. The kissing couple at right resembles a little statue group from Ostia now in the Capitoline Museums. Two more Erotes at either end complete the relief. This sarcophagus is a carved poem to a lost woman of surpassing grace, much loved.

SARCOPHAGUS FRONT WITH THE THREE GRACES, C. 140-150 CE. PALAZZO MATTEI DI GIOVE This sarcophagus front is incorporated into the wall decoration of the courtyard of the splendid palazzo Mattei di Giove. Its themes of love and beauty are a compliment to the deceased, a beloved wife. The Three Graces at centre are known in several versions as free-standing statues. The central Grace has turned her back to us and has her arms extended to embrace her two sisters against a knotted cloth background. Two little Erotes are helping the two side Graces with their toilette. To right and left are two winged couples, Cupid and Psyche, the latter with moth wings. The kissing couple at right resembles a little statue group from Ostia now in the Capitoline Museums. Two more Erotes at either end complete the relief. This sarcophagus is a carved poem to a lost woman of surpassing grace, much loved.

For #ValentinesDay2026 give her what she really wants: a #sarcophagus. After all, it's #SarcophagusSaturday. This unusual front shows the Three #Graces at centre, flanked by #Erotes and two couples of #Cupid and #Psyche, from c. 140-150 CE, in palazzo Mattei di Giove in #Rome. #AncientBluesky 🏺

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Anthony Majanlahti
Anthony Majanlahti
@anthonymajanlahti.bsky.social
1 month ago
MOSAIC EMBLEMA WITH LION, 70 BCE - 10 CE. THE BRITISH MUSEUM This mosaic emblema or central floor panel is made with small tiles, a style known as opus vermiculatum, "wormy work". This panel must once have decorated the floor of a room in a wealthy house. The panel, predominantly of tiny yellow tesseræ against a white background, with details in red and black, shows a lion with his tongue hanging out, at least three of his four limbs bound by resolute-looking Erotes of varying sizes. Behind one of his hind legs and the Eros who is binding it is a bowl on the ground: we might infer that the lion, symbol of strength, is drunk as a sailor. An Eros behind the lion seems to be about to prod or bash him with a kind of speargun. In front of the lion and above him are Erotes with cymbals and a red cloth to enrage him like a bull. In the background is a tall figure in long robes, Dionysus himself, holding a thyrsus. The message is clear: nothing is stronger than the god of wine.

MOSAIC EMBLEMA WITH LION, 70 BCE - 10 CE. THE BRITISH MUSEUM This mosaic emblema or central floor panel is made with small tiles, a style known as opus vermiculatum, "wormy work". This panel must once have decorated the floor of a room in a wealthy house. The panel, predominantly of tiny yellow tesseræ against a white background, with details in red and black, shows a lion with his tongue hanging out, at least three of his four limbs bound by resolute-looking Erotes of varying sizes. Behind one of his hind legs and the Eros who is binding it is a bowl on the ground: we might infer that the lion, symbol of strength, is drunk as a sailor. An Eros behind the lion seems to be about to prod or bash him with a kind of speargun. In front of the lion and above him are Erotes with cymbals and a red cloth to enrage him like a bull. In the background is a tall figure in long robes, Dionysus himself, holding a thyrsus. The message is clear: nothing is stronger than the god of wine.

For #MosaicMonday at the #BritishMuseum, an #emblema from an unknown #domus in #Naples with a #Dionysiac theme. A bound #lion is taunted by four #Erotes as the god himself watches from a hilltop. A bowl in the foreground may have contained wine. Strength cannot resist #Dionysus. #AncientBluesky 🏺

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Kasper
Kasper
@kvroseart.bsky.social
2 months ago
Aphrodite lounging on a lovely bed with her sons (L->R): Pothos, Himeros, Eros, Anteros, Hedylogos, and Hermaphroditus. Aphrodite is covered in deep red roses and pearl strings.

Aphrodite lounging on a lovely bed with her sons (L->R): Pothos, Himeros, Eros, Anteros, Hedylogos, and Hermaphroditus. Aphrodite is covered in deep red roses and pearl strings.

Posting art from 2025! This piece took me forever bc i was trying to decide the color schemes for each Erote and some were way harder than others. I might still play w the color schemes but Himeros, Hermaphroditus, and Hedylogos are pretty much done

#greekmyth #erotes #aphrodite

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Anthony Majanlahti
Anthony Majanlahti
@anthonymajanlahti.bsky.social
3 months ago
FLIRTING EROTES, DETAIL OF FOUNTAIN BASIN FROM THE HORTI MÆCENATIANI, C. 10 BCE - 20 CE. CAPITOLINE MUSEUMS What we have here is a pair of Erotes. The one at left is boldly advancing, bow in hand and fluttering drapery in the other, toward the Eros at right, who is exaggeratedly reacting with almost maidenly dismay, so presumably the first Eros is making some sort of indecent proposition to the second one. They're both rather chubby toddlers, but that never stopped Eros. But they are the same person. Is this a delicate allusion to masturbation? If so, we should remember that water was being poured over them from some unknown source, as this was a fountain. A cold shower to dampen the passions, perhaps.

FLIRTING EROTES, DETAIL OF FOUNTAIN BASIN FROM THE HORTI MÆCENATIANI, C. 10 BCE - 20 CE. CAPITOLINE MUSEUMS What we have here is a pair of Erotes. The one at left is boldly advancing, bow in hand and fluttering drapery in the other, toward the Eros at right, who is exaggeratedly reacting with almost maidenly dismay, so presumably the first Eros is making some sort of indecent proposition to the second one. They're both rather chubby toddlers, but that never stopped Eros. But they are the same person. Is this a delicate allusion to masturbation? If so, we should remember that water was being poured over them from some unknown source, as this was a fountain. A cold shower to dampen the passions, perhaps.

At the centre of the basin is another #relief for #ReliefWednesday, two #Erotes who seem to be flirting with each other. Strictly speaking there is only one #Eros, god of romantic and sexual love, but he seems to have the power of self-multiplication. Is this self-love? #AncientBluesky 🏺

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Garstang Museum of Archaeology
Garstang Museum of Archaeology
@garstangmuseum.bsky.social
4 months ago
Post image

Our #ObjectoftheDay is this oil lamp with elongated spout and handle, round body, with small centre hole. The top is decorated with palmettes and volutes with Erotes and Dionysus head.

C.553

#oillamp #Erotes #Dionysius #museum

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Anthony Majanlahti
Anthony Majanlahti
@anthonymajanlahti.bsky.social
4 months ago
CHILD'S SARCOPHAGUS WITH EROTES, C. 240-250 CE. PALAZZO ALTEMPS This tiny sarcophagus of Luni marble was able to be replaced here in the courtyard fountain of palazzo Altemps, after the family had removed it when they sold the palace. Now it is dry, but it once had a jet of water pouring into it, and emerging from the hole at bottom centre to fall into a lower basin, also now dry. The inscription says "D. M. FYRMIUS METRAS ET AELIA CHRYSOTYCHE C. FYRMI METRAE FILIO DULCISSIMO FEC(ERUNT)", "to the departed shades. Fyrmius Metras and Ælia Chrysotyche made this for their sweetest son C. Fyrmius Metras." The central clipeus bearing the epitaph is held by two Erotes and supported by two winged sphinxes. At right and left are four other Erotes which represent the seasons, of which I can only identify one, Winter, at far right, because he's wearing a tunic and cloak instead of just a cloak. The seasons evoke circular time and the hope of rebirth.

CHILD'S SARCOPHAGUS WITH EROTES, C. 240-250 CE. PALAZZO ALTEMPS This tiny sarcophagus of Luni marble was able to be replaced here in the courtyard fountain of palazzo Altemps, after the family had removed it when they sold the palace. Now it is dry, but it once had a jet of water pouring into it, and emerging from the hole at bottom centre to fall into a lower basin, also now dry. The inscription says "D. M. FYRMIUS METRAS ET AELIA CHRYSOTYCHE C. FYRMI METRAE FILIO DULCISSIMO FEC(ERUNT)", "to the departed shades. Fyrmius Metras and Ælia Chrysotyche made this for their sweetest son C. Fyrmius Metras." The central clipeus bearing the epitaph is held by two Erotes and supported by two winged sphinxes. At right and left are four other Erotes which represent the seasons, of which I can only identify one, Winter, at far right, because he's wearing a tunic and cloak instead of just a cloak. The seasons evoke circular time and the hope of rebirth.

A C3 CE child's #sarcophagus for #SarcophagusSaturday, this one from the Altemps collection in #PalazzoAltemps in #Rome. Two #Erotes hold up a central #clipeus with a sad inscription on it, and on either side are two more, the other four representing the seasons. #AncientBluesky 🏺

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Anthony Majanlahti
Anthony Majanlahti
@anthonymajanlahti.bsky.social
5 months ago
CHILD'S SARCOPHAGUS WITH EROTES, C. 190-230 CE. PALAZZO VENEZIA This small but intact sarcophagus comes from the Mattei collection in the Villa Celimontana, once one of the greatest collections of any Roman noble family until it was put up for auction in the mid C18. Pope Benedict XIV Lambertini bought the best pieces, which are now in the nearly inaccessible Gallery of Statues in the Vatican Museums. The lesser pieces were scattered across Europe and a surprising amount are now in palazzo Venezia. This Severan-era box shows Erotes harvesting grapes and making wine, with the movement going from right to left, the opposite of the usual direction. At centre two Erotes are trampling grapes in a vat, then to the left another is leading a goat to sacrifice at an altar set before a phallic herm of Priapus holding a plate of fruits. The lid has a complex front of pediments with shallow reliefs showing griffins and Erotes holding wreaths, alternating with antefix-like forms with eagles and a youthful head (the deceased?) at centre.

CHILD'S SARCOPHAGUS WITH EROTES, C. 190-230 CE. PALAZZO VENEZIA This small but intact sarcophagus comes from the Mattei collection in the Villa Celimontana, once one of the greatest collections of any Roman noble family until it was put up for auction in the mid C18. Pope Benedict XIV Lambertini bought the best pieces, which are now in the nearly inaccessible Gallery of Statues in the Vatican Museums. The lesser pieces were scattered across Europe and a surprising amount are now in palazzo Venezia. This Severan-era box shows Erotes harvesting grapes and making wine, with the movement going from right to left, the opposite of the usual direction. At centre two Erotes are trampling grapes in a vat, then to the left another is leading a goat to sacrifice at an altar set before a phallic herm of Priapus holding a plate of fruits. The lid has a complex front of pediments with shallow reliefs showing griffins and Erotes holding wreaths, alternating with antefix-like forms with eagles and a youthful head (the deceased?) at centre.

This #SarcophagusSaturday finds us in the #viridarium or enclosed garden of Paul II in #palazzoVenezia in #Rome, where a #sarcophagus teeming with #Erotes evokes both fecundity and transformation. The #relief work is reminiscent of late-antique ivories. #AncientBluesky 🏺

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Anthony Majanlahti
Anthony Majanlahti
@anthonymajanlahti.bsky.social
5 months ago
FRIEZE/ARCHITRAVE, 113 CE. TRAJAN'S MARKETS This huge piece of Luni marble comes from Trajan's rebuilding of the temple of Venus Genetrix in the Forum of Julius Caesar. In fact the construction of the Forum of Trajan required a major reconstruction of the Forum Iulii and of the streets and neighbourhood behind it, including major structures like the Atrium Libertatis where the ceremony of manumission was held and the records of the freeing of slaves were kept. As a result, the already magnificent temple of Venus the Ancestress, Caesar's divine antecedent, was rebuilt in even grander style. Here we have a wonderful procession of Erotes, multiplications of the son of Venus and therefore a direct reference to Caesar's ancestry. At left an Eros is pouring wine from an amphora into a large bowl held by another Eros, while at centre two more cherubs are struggling with the arrows of Apollo and at right two more are holding the shield of Athena, with the Gorgoneion on it. This frieze once adorned the first order of an interior wall of the temple. A mirror below shows a decoration of coffers containing rosettes on the underside.

FRIEZE/ARCHITRAVE, 113 CE. TRAJAN'S MARKETS This huge piece of Luni marble comes from Trajan's rebuilding of the temple of Venus Genetrix in the Forum of Julius Caesar. In fact the construction of the Forum of Trajan required a major reconstruction of the Forum Iulii and of the streets and neighbourhood behind it, including major structures like the Atrium Libertatis where the ceremony of manumission was held and the records of the freeing of slaves were kept. As a result, the already magnificent temple of Venus the Ancestress, Caesar's divine antecedent, was rebuilt in even grander style. Here we have a wonderful procession of Erotes, multiplications of the son of Venus and therefore a direct reference to Caesar's ancestry. At left an Eros is pouring wine from an amphora into a large bowl held by another Eros, while at centre two more cherubs are struggling with the arrows of Apollo and at right two more are holding the shield of Athena, with the Gorgoneion on it. This frieze once adorned the first order of an interior wall of the temple. A mirror below shows a decoration of coffers containing rosettes on the underside.

For #ReliefWednesday we're in the #MuseodeiForiImperiali in #TrajansMarkets, to look at an exquisite fragment showing a #relief of #Erotes from the temple of #VenusGenetrix in the Forum of #Caesar, rebuilt by #Trajan. #AncientBluesky 🏺

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Anthony Majanlahti
Anthony Majanlahti
@anthonymajanlahti.bsky.social
6 months ago
CHILD'S SARCOPHAGUS WITH EROTES MAKING ARMS AND ARMOUR, C2 CE. BATHS OF DIOCLETIAN This small sarcophagus was found in 1900 during excavations for the Tiber embankment at the level of the Ponte Rotto and is missing one short side. It might have been reused to repair the bridge. It refers to its child occupant with its use of Erotes, and we might imagine the deceased was a boy, given that these Erotes are busy making weapons and armour. At left, a badly-damaged Eros works the bellows of the forge, inside which a high fire burns. This is a quadrangular structure with a vaulted hood. A group of three Erotes is concentrated on hammering out an indecipherable item, probably a sword. At centre, where we would expect a clipeus with a portrait of the deceased, another Eros is hammering out a round shield held up on the right by an Eros who is standing as if holding a clipeus. At right, a final group of three Erotes is struggling mightily to carry a helmet.

CHILD'S SARCOPHAGUS WITH EROTES MAKING ARMS AND ARMOUR, C2 CE. BATHS OF DIOCLETIAN This small sarcophagus was found in 1900 during excavations for the Tiber embankment at the level of the Ponte Rotto and is missing one short side. It might have been reused to repair the bridge. It refers to its child occupant with its use of Erotes, and we might imagine the deceased was a boy, given that these Erotes are busy making weapons and armour. At left, a badly-damaged Eros works the bellows of the forge, inside which a high fire burns. This is a quadrangular structure with a vaulted hood. A group of three Erotes is concentrated on hammering out an indecipherable item, probably a sword. At centre, where we would expect a clipeus with a portrait of the deceased, another Eros is hammering out a round shield held up on the right by an Eros who is standing as if holding a clipeus. At right, a final group of three Erotes is struggling mightily to carry a helmet.

Are these #Erotes working for the Department of #Defence or the Department of #War? For #SarcophagusSaturday we're pondering children working at the #forge, in this small #sarcophagus at the #BathsofDiocletian in #Rome. All the recognisable items are armour. So... Defence? #AncientBluesky 🏺

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Anthony Majanlahti
Anthony Majanlahti
@anthonymajanlahti.bsky.social
6 months ago
SARCOPHAGUS WITH VICTORIES AND EROTES, C. 140-150 CE. BATHS OF DIOCLETIAN This Antonine sarcophagus is in almost pristine condition, thanks to a recent cleaning which has, correctly, kept traces of red in the wings of the two Victories. The lid riser has a central tabula or place for an inscription, though one was never carved in, and on either side are hunting scenes rendered in crisp relief. The riser's right side shows Erotes, or children, chasing deer into a net toward the centre, while at left similar Erotes or children are goring a little bear at far left while another, on horseback, is about to drive a spear into a deer, with the action moving rightward toward the centre. The main box has a central clipeus or tondo with an unfinished portrait of the deceased being held up by two beautiful winged Victories. Below the clipeus are two crossed cornucopiæ. To right and left, groups of three Erotes are performing sacrifices.

SARCOPHAGUS WITH VICTORIES AND EROTES, C. 140-150 CE. BATHS OF DIOCLETIAN This Antonine sarcophagus is in almost pristine condition, thanks to a recent cleaning which has, correctly, kept traces of red in the wings of the two Victories. The lid riser has a central tabula or place for an inscription, though one was never carved in, and on either side are hunting scenes rendered in crisp relief. The riser's right side shows Erotes, or children, chasing deer into a net toward the centre, while at left similar Erotes or children are goring a little bear at far left while another, on horseback, is about to drive a spear into a deer, with the action moving rightward toward the centre. The main box has a central clipeus or tondo with an unfinished portrait of the deceased being held up by two beautiful winged Victories. Below the clipeus are two crossed cornucopiæ. To right and left, groups of three Erotes are performing sacrifices.

I've got a blank space, baby, and I'll write your name. #SarcophagusSaturday takes us to the #BathsofDiocletian in #Rome to admire a mid-C2 white #marble box which has everything except the occupant's identity. #Erotes are hunting on the lid and piously sacrificing below. #AncientBluesky 🏺

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Anthony Majanlahti
Anthony Majanlahti
@anthonymajanlahti.bsky.social
8 months ago
SARCOPHAGUS WITH EROTES AND GARLANDS, C. 200 CE. POLDI PEZZOLI MUSEUM, MILAN The rich Milanese nobleman Gian Giacomo Poldi Pezzoli built up an astonishing collection of art in the C19, including this one-person sarcophagus resting on two C2 Roman trapezophoroi (table supports) with lion paw feet. It's fairly intact though someone has unsexed the three Erotes that are holding up two garlands heavily laden with fruit and drill holes to create lines of punctuated deep shadow in full Severan style. The busy-ness of this box suggests it was carved in Asia Minor, and indeed there's a lot going on. The three heroic Erotes have adolescent musculature and bear the weight of the garlands with effort. In the half-moons above the garlands are four theatrical masks, in sets of two masks facing each other. These masks allude to the great drama of life itself: in death we can finally set aside the masks we wear in life. At bottom centre two little wingless boys bring baskets of fruit to the central Eros, alluding, like the garlands, to abundance in the afterlife. Below the right-hand garland is a bunny nibbling at some fruit.

SARCOPHAGUS WITH EROTES AND GARLANDS, C. 200 CE. POLDI PEZZOLI MUSEUM, MILAN The rich Milanese nobleman Gian Giacomo Poldi Pezzoli built up an astonishing collection of art in the C19, including this one-person sarcophagus resting on two C2 Roman trapezophoroi (table supports) with lion paw feet. It's fairly intact though someone has unsexed the three Erotes that are holding up two garlands heavily laden with fruit and drill holes to create lines of punctuated deep shadow in full Severan style. The busy-ness of this box suggests it was carved in Asia Minor, and indeed there's a lot going on. The three heroic Erotes have adolescent musculature and bear the weight of the garlands with effort. In the half-moons above the garlands are four theatrical masks, in sets of two masks facing each other. These masks allude to the great drama of life itself: in death we can finally set aside the masks we wear in life. At bottom centre two little wingless boys bring baskets of fruit to the central Eros, alluding, like the garlands, to abundance in the afterlife. Below the right-hand garland is a bunny nibbling at some fruit.

#SarcophagusSaturday brings us to the house-museum of Gian Giacomo #PoldiPezzoli in #Milan, where we find a marble box with a #relief of #garlands and #Erotes, a bunny, musical instruments, and #theatrical #masks, a dream of peace, plenty, and pleasure in the #afterlife. #AncientBluesky 🏺

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Antinous the Gay God
Antinous the Gay God
@antinousgaygod.bsky.social
11 months ago
Post image

🪷 #April1st is the Roman #Veneralia feast of #Venus/#Urania who blesses LGBTQIA+ love with her sons, the #Erotes, the spirits of love, lust, passion and desire. #Hadrian's temple of Venus and Roma stresses love as Rome's mother. We are all her Erotes: antinousstars.blogspot.com/2025/04/the-... 🪷

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Antinous the Gay God
Antinous the Gay God
@antinousgaygod.bsky.social
11 months ago
Post image

🪷 #April1st is the Roman #Veneralia feast of #Venus/#Urania who blesses LGBTQIA+ love with her sons, the #Erotes, the spirits of love, lust, passion and desire. #Hadrian's temple of Venus and Roma stresses love as Rome's mother. We are all her Erotes: antinousstars.blogspot.com/2025/04/the-... 🪷

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Antinous the Gay God
Antinous the Gay God
@antinousgaygod.bsky.social
11 months ago
Post image

🪷 #April1st is the Roman #Veneralia feast of #Venus/#Urania who blesses LGBTQIA+ love with her sons, the #Erotes, the spirits of love, lust, passion and desire. #Hadrian's temple of Venus and Roma stresses love as Rome's mother. We are all her Erotes: antinousstars.blogspot.com/2025/04/the-... 🪷

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Antinous the Gay God
Antinous the Gay God
@antinousgaygod.bsky.social
1 year ago
Post image Post image Post image

🪷❤️ #ValentinesDay aftermath! The #Erotes (sons of Venus) are hard at work at the Hollywood Temple of #Antinous, as Priest #AntoniusSubia can verify. They're cleaning up, drinking all leftover sacrificial wine & eating all leftover chocolate candy. It's a thankless task. But someone has to do it. ❤️🪷

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Anthony Majanlahti
Anthony Majanlahti
@anthonymajanlahti.bsky.social
1 year ago
EROTES AT WORK, 62-79 CE. HOUSE OF THE VETTII, POMPEII The long chair-level frieze in the triclinium of the House of the Vettii in Pompeii shows Erotes performing various activities, sometimes described as "humorous", but I think a better word would be "adorable". This detail shows a perfume workshop. Against a black background, two cherubs at right are pounding ingredients in a large mortar, while to the left a third cherub, at a workbench covered with phials, flowers, and tools, is holding a glass bottle of oil and looking at the other two as if waiting for them to call him over and add it to their mixture. Further to the left is a large cabinet with its doors open, in which we can see more containers holding presumably scented ingredients, all presided over by a little white statuette of Venus on the top shelf. At far left a pot of perfumed oil is cooking over a little fire. Offscreen at left, a little Psyche is sitting and judging the results. "More bergamot, I think!"

EROTES AT WORK, 62-79 CE. HOUSE OF THE VETTII, POMPEII The long chair-level frieze in the triclinium of the House of the Vettii in Pompeii shows Erotes performing various activities, sometimes described as "humorous", but I think a better word would be "adorable". This detail shows a perfume workshop. Against a black background, two cherubs at right are pounding ingredients in a large mortar, while to the left a third cherub, at a workbench covered with phials, flowers, and tools, is holding a glass bottle of oil and looking at the other two as if waiting for them to call him over and add it to their mixture. Further to the left is a large cabinet with its doors open, in which we can see more containers holding presumably scented ingredients, all presided over by a little white statuette of Venus on the top shelf. At far left a pot of perfumed oil is cooking over a little fire. Offscreen at left, a little Psyche is sitting and judging the results. "More bergamot, I think!"

For #FrescoFriday we return to the #triclinium of the #HouseoftheVettii in #Pompeii to marvel at the endless, detailed activity of #Erotes at work. #Perfumery was an abiding interest in Pompeian #frescoes, probably because the production of #perfume was an important industry in #Campania.

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Fad 🇲🇺🦤🇨🇦 💜✌🏾🌈
Fad 🇲🇺🦤🇨🇦 💜✌🏾🌈
@pepepopom.bsky.social
1 year ago

Listen to L'Espiral songs

🔥 Troy 🔥

🔥 Erotes 🔥

Wherever you stream from

Rosanna Arquette's daughter Zoë Bleu Sidel Arquette's band 💕🌈

She's got a sensational voice and superbly talented

Follow her on Instagram

#zoëbleuarquette #zoëbleusidel #lespiralband #troy #erotes

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