section_path: Legacy/Cultural depictions/Depictions in ancient art/Paintings
section_name: Paintings
paragraph_text: Paintings
  
  In the House of Marcus Fabius Rufus at Pompeii, Italy, a mid-1st century BC Second Style wall painting of the goddess Venus holding a cupid near massive temple doors is most likely a depiction of Cleopatra as Venus Genetrix with her son Caesarion. The commission of the painting most likely coincides with the erection of the Temple of Venus Genetrix in the Forum of Caesar in September 46 BC, where Caesar had a gilded statue erected depicting Cleopatra. This statue likely formed the basis of her depictions in both sculpted art as well as this painting at Pompeii.
  
  The woman in the painting wears a royal diadem over her head and is strikingly similar in appearance to the Vatican Cleopatra, which bears possible marks on the marble of its left cheek where a cupid's arm may have been torn off. The room with the painting was walled off by its owner, perhaps in reaction to the execution of Caesarion in 30 BC by order of Octavian, when public depictions of Cleopatra's son would have been unfavorable with the new Roman regime.
  
  Behind her golden diadem, crowned with a red jewel, is a translucent veil with crinkles that suggest the "melon" hairstyle favored by the queen. Her ivory-white skin, round face, long aquiline nose, and large round eyes were features common in both Roman and Ptolemaic depictions of deities. Roller affirms that "there seems little doubt that this is a depiction of Cleopatra and Caesarion before the doors of the Temple of Venus in the Forum Julium and, as such, it becomes the only extant contemporary painting of the queen."
  
  Another painting from Pompeii, dated to the early 1st century AD and located in the House of Giuseppe II, contains a possible depiction of Cleopatra with her son Caesarion, both wearing royal diadems while she reclines and consumes poison in an act of suicide. The painting was originally thought to depict the Carthaginian noblewoman Sophonisba, who toward the end of the Second Punic War (218–201 BC) drank poison and committed suicide at the behest of her lover Masinissa, King of Numidia. Arguments in favor of it depicting Cleopatra include the strong connection of her house with that of the Numidian royal family, Masinissa and Ptolemy VIII Physcon having been associates, and Cleopatra's own daughter marrying the Numidian prince Juba II.
  
  Sophonisba was also a more obscure figure when the painting was made, while Cleopatra's suicide was far more famous. An asp is absent from the painting, but many Romans held the view that she received poison in another manner than a venomous snakebite. A set of double doors on the rear wall of the painting, positioned very high above the people in it, suggests the described layout of Cleopatra's tomb in Alexandria. A male servant holds the mouth of an artificial Egyptian crocodile (possibly an elaborate tray handle), while another man standing by is dressed as a Roman.
  
  In 1818 a now lost encaustic painting was discovered in the Temple of Serapis at Hadrian's Villa, near Tivoli, Lazio, Italy, that depicted Cleopatra committing suicide with an asp biting her bare chest. A chemical analysis performed in 1822 confirmed that the medium for the painting was composed of one-third wax and two-thirds resin. The thickness of the painting over Cleopatra's bare flesh and her drapery were reportedly similar to the paintings of the Fayum mummy portraits. A steel engraving published by John Sartain in 1885 depicting the painting as described in the archaeological report shows Cleopatra wearing authentic clothing and jewelry of Egypt in the late Hellenistic period, as well as the radiant crown of the Ptolemaic rulers, as seen in their portraits on various coins minted during their respective reigns. After Cleopatra's suicide, Octavian commissioned a painting to be made depicting her being bitten by a snake, parading this image in her stead during his triumphal procession in Rome. The portrait painting of Cleopatra's death was perhaps among the great number of artworks and treasures taken from Rome by Emperor Hadrian to decorate his private villa, where it was found in an Egyptian temple.
  
  A Roman panel painting from Herculaneum, Italy, dated to the 1st century AD possibly depicts Cleopatra. In it she wears a royal diadem, red or reddish-brown hair pulled back into a bun, pearl-studded hairpins, and earrings with ball-shaped pendants, the white skin of her face and neck set against a stark black background. Her hair and facial features are similar to those in the sculpted Berlin and Vatican portraits as well as her coinage. A highly similar painted bust of a woman with a blue headband in the House of the Orchard at Pompeii features Egyptian-style imagery, such as a Greek-style sphinx, and may have been created by the same artist.