Calderón Sánchez, MacarenaCalderón Sánchez, MacarenaEspaña Chamorro, SergioBenito Lázaro, Estefanía A.2024-02-022024-02-0220169781407315638https://hdl.handle.net/20.500.14352/98093In Pompeii traces of worship of three triads have been found: one of them relates to Hercules, Bacchus and Venus. Devotion for represent the Dionysiac is visible through the gardens of the Pompeian domus, the most representative environment associated with Dionysus, because the naturalism and growth are elements, among others, that related to Pompeian people with the God; sometimes, the correspondence between the room and the divinity was achieved by masks and garlands that decorated columns and stucco and, even, statuettes of animals. The garden represented a place of rest, refuge and salvation in the Antiquity; it was a room into the domus that stimulated the connection between the religious conception and primitive naturalism. For example, the house of the Vettii (VI, 15, 1) summarises very well what was explained above. However, mural painting of interior of the houses is exactly the best way to convey the Dionysian taste: the union of Dionysus and Ariadne, their history and myth were widely covered in the walls of the Pompeian domus (as is known, the abandonment of the the girl by Theseus and the subsequent discovery of the youth by the God). There is also an abundance of iconography of the couple with their respective attributes. Of course, representations of Dionysus like sovereign and triumphant God are evident, as it can be seen in the famous mosaic of Dionysus child on beast found in the house of the Faun (VI, 12, 2). It is common to find frescos with his entourage and his faithful companions: for instance, in the houses of Lucrezio Frontone (V, 4, a) and Gavius Rufus (VII, 2, 16-17). The lararios were also appropriate places to recreate the Dionysian atmosphere, because Lar was introduced in the cortege of the God, as it can be seen in the caupona of Lucius Vetutius Placidus (I, 8, 9) or in the house of Centenary (IX, 8, 3). The oscilla, given their propitiatory intentions for festivals or planting and harvest time, were a sculptural way by which the divinity also represented; like pinakes of marble, that represented theatrical masks and Dionysus himself, subtle indicators that the festive mood inherent divinity was present in the daily lives of Pompeian people. Even in the temple of the goddess Isis (VIII, 7, 28), the guarantee testimony of oriental cult in Pompeii, there was also Dionysian presence, which should not be surprising, on the other hand, because there is an identification of Dionysus with the Egyptian God Serapis. Without any doubt, the two clearest manifestations of the Dionysism was developed in Pompeii are the temple of the deity, was built around the 3rd Century B.C., outside the city walls, and the famous frescos from the villa of the Mysteries, some paintings that appear to narrate the initiation of one (or two) women in the Bacchic Mysteries. However, if Bacchanalia were forbidden in Rome and Campania in 168 B.C. and the frescos of the Mysteries have been dated around 60-50 B.C., are fully accepted the Consult Senate de Bacchanalibus? Was, therefore, the cult of Dionysus settled and forgotten?spaAttribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/book parthttps://www.barpublishing.com/estudios-arqueologicos-del-area-vesubiana-ii-archaeological-studies-of-the-vesuvian-area-ii.htmlrestricted accessDionisoDionisismoPompeyaIconografíaArqueologíaHumanidades5505.01 Arqueología