The house that is known as Dura-Europos' brothel is a part of the Block G5 agora of Dura-Europos, and specifically refers to the house G5-C. It was the workplace of a guild of entertainers, which likely encompassed the surrounding buildings as well. [1]
The brothel's architectural structure is similar to the other houses excavated at this site, but several other factors have been used to identify this building to be a brothel. Generally, brothels have been identified in other Greco-Roman sites, like Pompeii and Athens, based on the architecture of the building. [1] However, in this case, a dipinto was found in G5- C2 that details the members of the guild of entertainers, what they could do, and a list of the notices of their travel to and from Zeugma. [1] In addition, the erotic art, graffiti, and painted relief of Aphrodite identifies the building as a brothel. [1]
Most of the entertainers came from Zeugma, and likely traveled to Dura-Europos with the Roman military. [1] The dipinto lists 63 names total, listed under different groups. Some of these groups consisted of those officially in the organization, new arrivals and departures, and slaves. A few of the listed occupations of these entertainers were tragedians, dancers, a dice-player, and several performers of mime. [1]
Due to the sheer number of people listed on this dipinto, it is likely that many of these entertainers lived in the nearby houses. Evidence for this includes a reserve of coins, many of which were from Zeugma, that was found in the adjacent house, G5-D. The proximity of the location to the military quarters lends a lot of credit to the idea that the purpose of the building was to be a brothel. 'Sexual service' was a necessity for the Roman army in their provinces, so it is incredibly likely that Dura-Europos would have a building for this purpose.
There is some argument over whether or not this site should be referred to as a brothel, considering that it was home to several other entertainers that were not prostitutes. The traditional architecture of this building contributes to this argument, as most brothels at the time had a unique architecture, as is seen in those found in Pompeii and Athens. [1] Although it is clear that prostitutes did in fact work in this building, this was ultimately a house of entertainment in several forms. However, the idea of it as a brothel has caught on and become sensationalized in the archeological world, leading to its name today.
Also found in the G5-C house was a relief of Aphrodite, made from the same mold as three others found at the Dura-Europos site. It depicts Aphrodite, clad in only breast ornamentation and bracelets, staring at herself in a mirror. [2] This relief is made of plaster and used to be brightly painted, as is evident from the red markings that remain. It has been theorized that this depiction of the fertility goddess found in the brothel was symbolic of the professions of the prostitutes working there, but the fact that similar depictions have been found all over the Dura-Europos site discredits this. [1]
The depictions of deities in Dura-Europos tended to be a mixture of cultures, as Dura-Europos itself was a place of mixed cultures. The city was founded by the Greeks, then taken over by Parthians, then by the Romans, under whose occupation the city eventually fell to a Sassanian siege. [3] This led to a highly diverse population that had mixed imagery of deities. Despite the fact that the Greeks were far removed from most of the development of Dura-Europos, Aphrodite and Heracles remained the two most frequently portrayed deities. [2]
Atargatis was the chief goddess of northern Syria in Classical antiquity. Primarily she was a fertility goddess, but, as the baalat ("mistress") of her city and people she was also responsible for their protection and well-being. Her chief sanctuary was at Hierapolis, modern Manbij, northeast of Aleppo, Syria.
Erotic art in Pompeii and Herculaneum has been both exhibited as art and censored as pornography. The Roman cities of Pompeii and Herculaneum around the bay of Naples were destroyed by the eruption of Mount Vesuvius in 79 AD, thereby preserving their buildings and artefacts until extensive archaeological excavations began in the 18th century. These digs revealed the cities to be rich in erotic artefacts such as statues, frescoes, and household items decorated with sexual themes.
Dura-Europos was a Hellenistic, Parthian, and Roman border city built on an escarpment 90 metres above the southwestern bank of the Euphrates river. It is located near the village of Al-Salihiyah, in present-day Syria. Dura-Europos was founded around 300 BC by Seleucus I Nicator, who founded the Seleucid Empire as one of the Diadochi of Alexander the Great. In 113 BC, Parthians conquered the city, and held it, with one brief Roman intermission, until 165 AD. Under Parthian rule, it became an important provincial administrative centre. The Romans decisively captured Dura-Europos in 165 AD and greatly enlarged it as their easternmost stronghold in Mesopotamia, until it was captured by the Sasanian Empire after a siege in 256–257 AD. Its population was deported, and the abandoned city eventually became covered by sand and mud and disappeared from sight.
The Dura-Europos synagogue was an ancient Jewish former synagogue discovered in 1932 at Dura-Europos, Syria. The former synagogue contained a forecourt and house of assembly with painted walls depicting people and animals, and a Torah shrine in the western wall facing Jerusalem. It was built backing on to the city wall, which was important in its survival. The last phase of construction was dated by an Aramaic inscription to 244 CE, making it one of the oldest synagogues in the world. It was unique among the many ancient synagogues that have emerged from archaeological excavations as the structure was preserved virtually intact, and it had extensive figurative wall-paintings, which came as a considerable surprise to scholars. These paintings are now displayed in the National Museum of Damascus.
The Lupanar is the ruined building of an ancient Roman brothel in the city of Pompeii. It is of particular interest for the erotic paintings on its walls, and is also known as the Lupanare Grande or the "Purpose-Built Brothel" in the Roman colony. Pompeii was closely associated with Venus, the ancient Roman goddess of love, sex, and fertility, and therefore a mythological figure closely tied to prostitution.
In late Classical Greek art, an ichthyocentaur was a centaurine sea being with the upper body of a human, the lower anterior half and fore-legs of a horse, and the tailed posterior half of a fish. The earliest example dates to the 2nd century BC, among the friezes in the Pergamon Altar. There are further examples of Aphros and/or Bythos, the personifications of foam and abyss, respectively, depicted as ichthyocentaurs in mosaics and sculptures.
Pompeii was a city in what is now the municipality of Pompei, near Naples, in the Campania region of Italy. Along with Herculaneum, Stabiae, and many surrounding villas, the city was buried under 4 to 6 m of volcanic ash and pumice in the eruption of Mount Vesuvius in 79 AD.
The Dura-Europos church is the earliest identified Christian house church. It was located in Dura-Europos, Syria, and one of the earliest known Christian churches. It is believed to have been an ordinary house that was converted to a place of worship between 233 and 256 AD, and appears to have been built following the Durene tradition, distinguished by the use of mud brick and a layout consisting of rooms encircling a courtyard, which was characteristic of most other homes built in the Dura-Europos region. Prior to the town being abandoned in 256 during the Persian siege, the Romans built a ramp extending from the city wall which buried the church building in a way that allowed for the preservation of its walls, enabling its eventual excavation by archaeologists in 1933. It was less famous, smaller, and more-modestly decorated than the nearby Dura-Europos synagogue, though there are many similarities between them.
The House of the Centenary was the house of a wealthy resident of Pompeii, preserved by the eruption of Mount Vesuvius in 79 AD. The house was discovered in 1879, and was given its modern name to mark the 18th centenary of the disaster. Built in the mid-2nd century BC, it is among the largest houses in the city, with private baths, a nymphaeum, a fish pond (piscina), and two atria. The Centenary underwent a remodeling around 15 AD, at which time the bath complex and swimming pool were added. In the last years before the eruption, several rooms had been extensively redecorated with a number of paintings.
Parthian art was Iranian art made during the Parthian Empire from 247 BC to 224 AD, based in the Near East. It has a mixture of Persian and Hellenistic influences. For some time after the period of the Parthian Empire, art in its styles continued for some time. A typical feature of Parthian art is the frontality of the people shown. Even in narrative representations, the actors do not look at the object of their action, but at the viewer. These are features that anticipate the art of medieval Europe and Byzantium.
Sasanian art, or Sassanid art, was produced under the Sasanian Empire which ruled from the 3rd to 7th centuries AD, before the Muslim conquest of Persia was completed around 651. In 224 AD, the last Parthian king was defeated by Ardashir I. The resulting Sasanian dynasty would last for four hundred years, ruling modern Iran, Iraq, and much territory to the east and north of modern Iran. At times the Levant, much of Anatolia and parts of Egypt and Arabia were under its control. It began a new era in Iran and Mesopotamia, which in many ways was built on Achaemenid traditions, including the art of the period. Nevertheless, there were also other influences on art of the period that came from as far as China and the Mediterranean.
Yarhibol or Iarhibol is an Aramean god who was worshiped mainly in ancient Palmyra, a city in central Syria. He was depicted with a solar nimbus and styled "lord of the spring". He normally appears alongside Bel, who was a co-supreme god of Palmyra, and Aglibol, one of the other top Palmyrene gods.
Several non-native societies had an influence on Ancient Pompeian culture. Historians’ interpretation of artefacts, preserved by the Eruption of Mount Vesuvius in 79, identify that such foreign influences came largely from Greek and Hellenistic cultures of the Eastern Mediterranean, including Egypt. Greek influences were transmitted to Pompeii via the Greek colonies in Magna Graecia, which were formed in the 8th century BC. Hellenistic influences originated from Roman commerce, and later conquest of Egypt from the 2nd century BC.
The Temple of the Gadde is a temple in the modern-day Syrian city of Dura-Europos, located near the agora. It contained reliefs dedicated to the tutelary deities of Dura-Europos and the nearby city of Palmyra, after whom the temple was named by its excavators. The temple was excavated between 1934 and January 1936 by the French/American expedition of Yale University, led by Michael Rostovtzeff.
The Temple of Bel, also known as the Temple of the Palmyrene gods, was located in Dura Europos, an ancient city on the Euphrates, in modern Syria. The temple was established in the first century BC and is celebrated primarily for its wall paintings. Despite the modern names of the structure, it is uncertain which gods were worshipped in the structure. Under Roman rule, the temple was dedicated to the Emperor Alexander Severus. In that period, the temple was located within the military camp of the XXth Palmyrene cohort.
The Statue of Hercules was discovered in the Temple of Zeus Megistos in Dura-Europos during the 1935–1937 excavations undertaken by Yale University and the French Academy. The statue dates from the period of Roman rule at Dura-Europos. It is now in the possession of the Yale Art Gallery.
The Temple of Aphlad was an ancient temple located in the southwestern corner of Dura Europos, and dedicated to the god Aphlad. Aphlad was originally a Semitic Mesopotamian god from the city of Anath, and presence of his cult in Dura is revealing of its religious and cultural diversity. The temple itself consists of an open courtyard with multiple scattered rooms and altars, similar to the Temple of Bel, which was located in an analogous position in the northwestern corner of Dura.
The Temple of Atargatis in Dura-Europos was one of the main temples of the city. The temple was built in the first century AD, when the city was under Parthian rule, and excavated in 1928–1929 under the direction of Maurice Pillet.
The Homeric shield is one of three figural painted shields found together in an embankment within a Roman garrison during the excavations of Dura-Europos. Dura-Europos was a border city of various empires throughout antiquity, and in modern archaeology is noteworthy for its large amount of well-preserved artifacts. Having been virtually untouched for centuries, and with favorable soil, an unusual amount of organic material has been preserved at Dura-Europos. This shield and those found alongside it date from the middle of the 3rd century CE, a period in which a large portion of the city was co-opted as a Roman military base. The shields were deliberately discarded unfinished during the Sassanian siege of Dura Europos. It is widely believed to depict two scenes from the Trojan war: the admission of the Trojan horse into Troy, and the subsequent sack of the city. It is one of few examples of Roman painting on wood, and one of very few Roman painted wooden shields to have survived from antiquity. The shield has now deteriorated beyond most detail being discernible to the naked eye. This is due to the unintended adverse effects of a binding agent applied to the shield in the 1930s in the hopes of preserving the pigmentation.
The building that is referred to as the Priests' House, or House of Priests, at Dura-Europos near the village of Salhiyah in eastern present-day Syria, is one of three buildings that was excavated in block H2. It is hypothesized to be the home of priests from the Temple of Atargatis based on its proximity to the two neighboring temples and graffiti found in the third Excavation season.
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