Corinium Museum Schools and Families Officer Rebecca Shellenberger pieces together the possible meanings contained in a Romano-British mosaic
There’s no disputing that the study of history has been interesting to humans since, well, humans began, but why are we compelled to look back and how has this cosmic navel gazing changed through time? And how do the professionals wade through not only historical context, but how do they avoid warping context through their own modern lens?
I do not have the answers, but pondering the questions is an interesting exercise. I’d like to frame this first in a modern context. In a recent interview Emerald Fennel gave concerning her film Wuthering Heights, she made a point that that within novels we see thematic literary devices that writers and directors use to create their interpretations. For example, in some of the film adaptations of Austin’s Emma, you may see literary themes of inner dialogue, or social stratigraphy. These themes will work themselves into all aspects of the film – the wardrobe may be very constricting, or the soundtrack may be tight. The films that we watch are not a verbatim ‘play’ of the book, but the images that live in the heads of those producing the adaptations.
When we look at Roman myths, we need to consider what messages the Romans were most eager to promote. Roman myths are also frequently an adaptation from Greek myths. We can see parallels in the stories told, and we can see immediate differences such as the names of the Gods. One device that the Romans use in the re-telling of the myths is the change in perspective. In Greek myths, a focus can be individuality – being a good citizen. Rome sometimes altered the myths imperceptibly from individuality to loyalty to the State – a cog in the machine instead of personal development. It can be a small change, but one with enormous ripple effects. So, within these frameworks, let’s look at the Orpheus mosaic and what themes would an owner of a villa want us to know about their lives.
Some common themes of the mosaic are music, the journey to the afterlife (religion), nature and the taming of, and the presence of a stranger – Orpheus himself as a magic-bringer, which is a common theme the world over. In our mosaic and many more like it across the UK, we see a circular shape. This could rise from a very simple explanation such as, the mosaic artists were working from a template of a charger or plate, so the circular theme came organically. Or, this shape could be a nod to a familiar circular journey to the underworld that Orpheus will take to try to save his beloved Eurydice. We have about ten known examples of the Orpheus myth set in mosaic here in the UK alone, and nearly all of them are nestled into a circular motif. Other examples of this mosaic all over the Roman empire are set into a circle, but others are not. It is important to note here that this could be a coincidence; all of the variations of shape may be lost or simply undiscovered to date. But it is interesting that the known examples follow this template particularly because we know that the ten mosaics are produced by different ‘schools’ and/or hands. Maybe it was just a trend specific to Britain, or maybe they were trying to tell us something about the time in which they were created. For example, another similarity is that Orpheus is in the centre of nature, but separate from the flora and fauna that he is subduing with his preternatural lyre skills. He is encircled with laurel leaves or trees – protected perhaps from the beasts and cloistered by a fraternity of birds. This image may also have something to do with the Good Shepherd figure of early Christianity. As most of the mosaics are attributed to the 4th century, this is a plausible explanation.
Like many classics, Orpheus lives outside of his time. The feelings of taming nature while still being a part of it, the joy of music that wells emotion inside your chest, or the reminder that we all play a part in life encircled by the greater world, are themes that we still experience today.
