HERCULES SLAYING CACUS IN THE HYPOGEUM OF THE VIA DINO COMPAGNI, ROME

Considering Roman art as a cumulative process could help resolve a small iconographical problem. Cubiculum N in the burial hypogeum under the Via Dino Compagni in Rome ( c. 350–75 ce ) features a series of figure scenes referencing the exploits of the mythological hero Hercules. One of these scenes, presently entitled Hercules Slaying an Unknown Enemy, has no direct equivalent in extant Roman art and so has proved difficult to identify. This article suggests that Hercules’ battle with Cacus is most likely the incident referred to here. This is because Antonine medallions and coins, and third-century Roman sarcophagi, use imagery associated with the Cacus story that collectively could have contributed to the design of the Unknown Enemy panel. Further, identifying the defeated enemy as Cacus fits in with, and indeed helps to clarify, programmatic themes and associations already established in the other figure scenes in this funerary chamber.

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Publication Details

Journal
Greece and Rome
Published
2024-10-01
DOI
https://doi.org/10.1017/s0017383524000056
Primary Topic
Historical and Architectural Studies
Type
article
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article

HERCULES SLAYING CACUS IN THE HYPOGEUM OF THE VIA DINO COMPAGNI, ROME

Gail Tatham, Andrew Wood
Greece and Rome
Historical and Architectural Studies
article

HERCULES SLAYING CACUS IN THE HYPOGEUM OF THE VIA DINO COMPAGNI, ROME

Gail Tatham, Andrew Wood
article en

Abstract

Considering Roman art as a cumulative process could help resolve a small iconographical problem. Cubiculum N in the burial hypogeum under the Via Dino Compagni in Rome ( c. 350–75 ce ) features a series of figure scenes referencing the exploits of the mythological hero Hercules. One of these scenes, presently entitled Hercules Slaying an Unknown Enemy, has no direct equivalent in extant Roman art and so has proved difficult to identify. This article suggests that Hercules’ battle with Cacus is most likely the incident referred to here. This is because Antonine medallions and coins, and third-century Roman sarcophagi, use imagery associated with the Cacus story that collectively could have contributed to the design of the Unknown Enemy panel. Further, identifying the defeated enemy as Cacus fits in with, and indeed helps to clarify, programmatic themes and associations already established in the other figure scenes in this funerary chamber.

Greece and RomeVol. 71(2)
University of Otago (NZ)
Openalex Percentile: Top 79%
Historical and Architectural Studies
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HERCULES SLAYING CACUS IN THE HYPOGEUM OF THE VIA DINO COMPAGNI, ROME — Gail Tatham, Andrew Wood · Greece and Rome (2024) | TGRS Research Map | TGRS