frescoes considered prime showpieces for wealthy politicians and business owners
provided a refined setting for entertainment during convivial moments
Roman paintings discovered in Pompeii after 2000 years
A series of striking Roman paintings have been discovered in the ruins of Pompeii after nearly 2,000 years. The frescoes are considered prime showpieces for wealthy politicians and business owners when entertaining guests as they provided a refined setting for entertainment during convivial moments.
A banquet room with well-preserved frescoes depicting characters inspired by the Trojan war has been discovered in Pompeii. The 15-metre long, six-metre wide room was found in a former private residence on Via di Nola and is known as the 'black room' due to its dark walls that were probably intended to mask soot from burning oil lamps.
The frescoes include mythological figures such as Helen of Troy meeting Paris, prince of Troy, for the first time. Another depicts Apollo trying to woo Cassandra and includes a Greek inscription that reads 'Alexandros', the name of Prince Paris's other name.
Gabriel Zuchtriegel, director of Pompeii's archaeological park, said these mythological figures had the explicit function of entertaining guests and providing talking points during feasts. The artworks are third style or ornate style and dated between 15BC and AD40-50.
The room also contains a sophisticated mosaic floor with over one million tiny white tiles.
Accuracy
The mythological figures had the explicit function of entertaining guests and providing talking points during feasts.
Frescoes are considered prime showpieces for wealthy politicians and business owners when entertaining guests as they provided a refined setting for entertainment during convivial moments.
Deception
(50%)
The article is deceptive in several ways. Firstly, the author claims that the frescoes depict characters inspired by the Trojan war when they do not. The Helen of Troy and Paris meeting for the first time does not have anything to do with Greek mythology or history but rather a fictional story created by Homer's Iliad. Secondly, while it is true that these frescoes were meant to entertain guests during feasts, they also served as propaganda tools for the Roman Empire. The Trojan war was used as an excuse to invade Greece and conquer its people, which led to a significant shift in power dynamics between Rome and Greece. Therefore, this mythological story had political implications that went beyond mere entertainment purposes.
The frescoes depict characters inspired by the Trojan war when they do not.
Fallacies
(85%)
The article contains several examples of informal fallacies. The author uses an appeal to authority by stating that the mythological figures had the explicit function of entertaining guests and providing talking points during feasts without citing any evidence or expert opinions to support this claim. Additionally, the author uses inflammatory rhetoric when describing Helen and Paris as causing a war with their politically incorrect love affair. The article also contains examples of dichotomous depictions in the descriptions of Cassandra and Apollo's relationship, where they are portrayed as both having power to foresee the future but being unable to prevent tragic events from occurring.
The mythological figures had the explicit function of entertaining guests and providing talking points during feasts
Helen and Paris were causing a war with their politically incorrect love affair
Cassandra was portrayed as having power to foresee the future but being unable to prevent tragic events from occurring
Bias
(85%)
The article is biased towards the mythological figures depicted in the frescoes as they are used to entertain guests and provide talking points during feasts. The author also uses language that dehumanizes Cassandra by referring to her as a 'cursed priestess' who was unable to thwart tragic events, despite having been raped and enslaved.
Cassandra was cursed so that nobody would believe her predictions.
Cassandra who can see the future but no one believes her, Apollo who sides with the Trojans against the Greek invaders, Helen and Paris who, despite their politically incorrect love affair, are the cause of the war or perhaps merely a pretext.
The artworks depict characters inspired by mythology as they were used to entertain guests during feasts.
The mythological figures had the explicit function of entertaining guests and providing talking points during feasts.
A fresco depicting Helen of Troy with Paris, identified as 'Alexandros', was found among other works of art in a Pompeiian banquet hall.
The mythological figures had the explicit function of entertaining guests and providing talking points during feasts. The artworks are third style or ornate style and dated between 15BC and AD40-50.
Accuracy
No Contradictions at Time
Of
Publication
Deception
(50%)
The article is deceptive in several ways. Firstly, the author claims that these frescoes are exceptionally preserved when they are not. The images provided show visible damage and deterioration to the paintings which contradicts this claim.
A fresco depicting Helen of Troy with Paris, identified as "Alexandros," with a third figure was found among other works of art in a Pompeiian banquet hall. (all images courtesy Parco Arcaeologico di Pompei)
The fresco of Apollo attempting to seduce an unwilling Cassandra
Fallacies
(70%)
The article contains several examples of informal fallacies. The author uses inflammatory rhetoric by describing the Trojan War as a 'myth' and Helen of Troy as being abducted by Paris despite her supposed love for him. This is an example of emotional appeal, which is not supported by evidence or facts.
The article describes the Trojan War myth in inflammatory language
Helen of Troy's supposed love for Paris despite being abducted by him is described as a 'myth'
Bias
(85%)
The article contains examples of religious bias and monetary bias. The author uses language that depicts the subjects in a way that is extreme or unreasonable.
A fresco depicting Helen of Troy with Paris, identified as "Alexandros," with a third figure was found among other works of art in a Pompeiian banquet hall. (all images courtesy Parco Arcaeologico di Pompei)
Rhea Nayyar (she/her) is a New York-based teaching artist who is passionate about elevating minority perspectives within the academic and editorial spheres of the art world.
The fresco of Apollo attempting to seduce an unwilling Cassandra
The dining room was found in an excavation campaign to shore up an area of the site, which was destroyed by a powerful volcanic eruption.
Painted dark black so that soot from candle smoke wouldn't stain them, experts said.
People would meet to dine after sunset; the flickering light of lamps had effect making images appear move especially after few glasses good Campanian wine.
Accuracy
No Contradictions at Time
Of
Publication
Deception
(50%)
The article is deceptive in several ways. Firstly, the author claims that the dining room offers a glimpse of how some of the wealthier denizens lived or at least what art they could meditate on as they munched. However, there is no evidence to suggest that this was actually true for all wealthy individuals living in Pompeii during this time period. Secondly, the author quotes Gabriel Zuchtriegel stating that people would meet to dine after sunset and the flickering light of lamps had the effect of making images appear to move. However, there is no evidence to suggest that this was actually true for all dining rooms in Pompeii during this time period. Lastly, the author uses quotes from a news release about the dining area without disclosing where these quotes came from.
The article claims that people would meet to dine after sunset and the flickering light of lamps had the effect of making images appear to move. However, there is no evidence to suggest that this was actually true for all dining rooms in Pompeii during this time period.
The discovery of a series of striking paintings in Pompeii has been made after nearly 2000 years.
Frescoes are considered prime showpieces for wealthy politicians and business owners when entertaining guests as they provided a refined setting for entertainment during convivial moments.
Aulus Rustius Verus, a rich politician mentioned in political propaganda of the period is believed to be the villa owner based on initials found on wall.
High Roman society was steeped in Greek mythology and these stories were very much part of their foundation because they actually believed that their whole people had descended from those at Troy.
Accuracy
The discovery of a series of striking paintings in Pompeii has been made after nearly 2000 years. The frescoes were inspired by the Trojan War and depict Helen of Troy, Paris, Cassandra and Apollo.
Deception
(50%)
The article is deceptive in several ways. Firstly, the author claims that the frescoes were inspired by Homer's Trojan War recounting but does not provide any evidence to support this claim. Secondly, the author states that these paintings are a prime showpiece for wealthy politicians and business owners when entertaining guests but fails to mention anything about their role in daily life or how they influenced society at large. Thirdly, the article mentions some less impressive artwork found nearby which could be interpreted as evidence of abandonment tools and building materials, suggesting that the villa was abandoned before Vesuvius erupted. However, this interpretation is not supported by any concrete evidence presented in the article.
The fresco depicting Helen of Troy and other Greek heroes has been uncovered in Pompeii after nearly 2000 years.
