Pompey’s return to Rome marks a shift from the religious programme that he adopted in the east. It goes from stressing his own divinity, in the way of a Hellenistic ruler, to honouring the Gods of Rome in a more traditional manner.
This particular post will focus on Pompey’s honouring of Venus.
Venus was an incredibly popular deity within Rome with a rise to prominence in the 1st century BC, Sulla promoted his divine patronage to Venus and perhaps most famously Caesar did also. This culminated in Virgil’s account of the founding of Rome in which Venus is seen as a divine ancestor of the Roman people.
Pompey was no different and was able to stress his own relationship with Venus through the construction of his Temple/Theatre complex in the Campus Martius. This was a large undertaking, the theatre was the only permanent theatre within the city, the traditional elite of Rome were sceptical of permanent theatres and Pompey managed to convince the elite that this was no theatre, but a temple with grandiose steps that happened to look like seats.
The temple at the top of these “stairs” was dedicated to Venus Victrix, Venus the Victorious. Within the complex there were also shrines, dedicated to Honos, Virtus, Felictas and an unnamed deity beginning with V, most likely to be Victoria. These are fairly traditional elements of a republican general, you need Honour, luck and Virtuous in order for victory to be brought.
This theatre/Temple complex then goes is a large monument to Pompey’s victory and achievement, this was also compounded by the Portico attached to the complex. This would have been filled with the spoils of war, potentially with garden landscapes of Pompey’s conquests.
Pompey then appears well versed in ensuring that his reputation with victories were well linked to Venus then, but Pompey appeared to go one step further. It appears that he built himself a new house either next to, or built into the side of the theatre complex.
By doing this Pompey was ensured that he was not only next to or close to Venus in a pious manner, but also physically.
Even prior to the complex being opened in 55 BCE we appear to see that Pompey was keen to stress his links to Venus. In 56 BCE a supporter of Pompey, who also happened to be his Son in law, issued coinage with Venus on the obverse and three victory trophies on the reverse. A timely reminder of Pompey’s three triumphs and the god that inspired them all.
Pompey, then, appears to be a shrewd mover when it comes to religious discourse in Rome, competing with the likes of Caesar for the claim that Venus was his patron god. This will only be furthered when we look at the relationship of Pompey and Hercules.
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