Abstract
Roman painting is full of items associated with religious practice. Garlands, in particular, are found represented in Roman frescoes, often draped over different panels to enliven the painted surface with the semblance of abundant fresh flowers. There are indications, however, that in Roman domestic spaces, latrines, and streets, physical garlands were actually attached to the frescoes as votive offerings that mimic the painted garlands behind them. This paper considers how Roman paintings worked in tandem with garlands and other physical objects, and how Pompeiians engaged in mimetic acts. The two-dimensional painted surface depicting “mimetic votives” should be viewed within a three-dimensional space inhabited by people and objects. The mimetic act of hanging a garland was part of ancient lived religion, and, as such, enables us to examine past religious experiences, focusing on the individual and communication with the divine. The relationship between these various visual media would have created unique experiences in the daily lives of ancient Romans that are rarely considered today.
Highlights
Roman wall paintings provide us with intimate glimpses into the daily life of the ancient Romans.From domestic interiors to street corners, the decorated surfaces of Pompeii, in particular, offer insight into the shared experiences of the inhabitants of that city, especially through scenes with religious subjects
Many of these scenes are draped with vibrant floral garlands, which signify the actual garlands that were offered by the Pompeiians performing religious rituals
The two-dimensional painted surface depicting “mimetic votives” should be viewed within a three-dimensional space inhabited by people and objects
Summary
Roman wall paintings provide us with intimate glimpses into the daily life of the ancient Romans. In scenes that represent religious activity, such as sacrifices associated with the lares, we can see a variety of religious paraphernalia, from altars, sacrificial victims, attendants, divinities, and floral decorations. The two-dimensional painted surface depicting “mimetic votives” should be viewed within a three-dimensional space inhabited by people and objects.. The two-dimensional painted surface depicting “mimetic votives” should be viewed within a three-dimensional space inhabited by people and objects.1 These spaces invited individuals to perform the mimetic act of hanging a votive garland. The approach of lived religion allows us to question how an ancient individual used space and practiced religious rites in a variety of contexts, bridging the gap between two-dimensional surfaces with the three-dimensional spatial experiences.. The preliminary observations made here can aid our understanding of everyday religious practices throughout the Roman world
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