entry & exit portal

This view shows the southwest corner of the chamber, with the west entry portal positioned between the first and last scenes of the fresco cycle. Outside this door is the access corridor through which the initiate would enter. This corridor was divided into two spaces, one that is believed to have been used as a cloakroom and another where a small cupboard in which bones of small animals were found (Fierz-David, 2005, p. 20). Who were ushered through that small passage? Were the initiates willing participants or were they forced to round the room? The frescos also suggest who used this space, and who didn't.

This is a picture taken from the south end of the chamber, from the south doorway that connects the red chamber to the portico (porch). Pictured in this image is the west entry portal and access corridor, west wall, and the corner of the north wall. Scenes I through V mark the beginning of the initiate's cycle.

The frescoes, like the initiate who might have followed them, exhibit a progression that marks the ritual passage.

Scenes I, II, III, IV

All of the following is based on my readings of Fierz-David & Hall's book.

The mystery rite is contextualized by the scenes on the North wall, particularly Scene VI of Dionysus and Ariadne. When the initiate steps across the threshold the small west portal, the north wall and north east corner of the wall will be what is seen on first glance. These scenes depict the terror of the unknown psyche and transformation to the known and self awareness. Read more about the symbolism of these in the North wall.

When the initiate enters the room, the fresco scene nearest is Scene 1 which establishes the direction of circulation in the room. Scene X, which is on the other side of the entry portal is a mature, seated woman who looks away reflectively. The portal's position seems to connect the beginning and completion of the circular progression depicted in the ten scenes. Each of these are presented here according to the walls.

SCENE I
-the initiate, is wearing a garment of a roman matron with veil that signifies she is screened from the world ahead of her. Roman women of the time would not need to conceal themselves therefore this is a costume used for the individuation ritual that isolates the initiate from other figures in the scene. Her portrait shows that she is not a young bride that Fierz-David makes the case that this ceremonial rite centers on a woman of middle age. The costume is emphasized by the non-action of the initiate's right hand on her hip, and her left hand that lifts drapery over her breast, possibly symbolizing her heart opening to new impressions.
-the initiate is listening to a naked boy who reads from a scroll. The child is teaching the listener sacred myths or theoria, the myth that perception brings inner knowledge and rebirth. The child wears cothurni laced boots of the Greek cult of Dionysus and is central in this scene as purity, innocence and annunciation.
- a priestess sits behind the boy and looks on as witness. Her eyes are focused on the breast of the initate, acknowledging that her heart is being opened (Fierz-David, p. 40).

SCENE II
- the initiate wears a crown of myrtle and her cloak falls revealing a light sleeveless tunic.
She carries sliced cake in a metal vessel in her left hand and holds a twig of laurel in her right. There is the suggestion that her clothes billow because she has just conceived. Fierz-David mentions that the cult of Sabazios believes that a snake pulled through her garment is significant in Greek mythology for Zeus, the bull god, begot Zagreus (another name for Dionysus) by approaching Persephone in the form of a snake. There is another version that Dionysus was formed from Zeus' thigh. The story of Zagreus is significant for snakes are sybmolic of the circle or spiral, considered honored domestic animals in Roman times, called 'lares' or guardians of boundaries, bearers of healing and wisdom, and dwellers of watery, strange, dangerous and unknown places. The unknown aspect of the psyche may be emphasized. "When an archetypal image rises to the surface and the human being realizes its effect, he can probably never find out which was first, the image or the effect" (Fierz-David, 2005, p. 45).

SCENE III

The initiate... 'initiates' passing through ... 'the something'

... and we  talked about both doing our research has been like an initiation, a death of the old self, a birth of something new that we haven't been able to name yet ...