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Did the men of Pompeii have a penis problem?

A first century fresco in the ruins of Pompeii could reveal an embarrassing truth about ancient Roman men, an Italian researcher told The Local.

Did the men of Pompeii have a penis problem?
The Vettii fresco. Photo: Christine McIntosh

The fresco in question is found in the entrance to the House of the Vettii in Pompeii, which survived Mount Vesuvius's eruption in AD 79, and depicts minor Roman god Priapus and his famously large, erect penis.

Priapus was a Roman god of livestock, fruit, plants, gardens and male genitalia. 

But according to research by Dr Francesco Galassi, in the fresco, Priapus was suffering from a debilitating condition known as phimosis.

Phimosis is a medical condition where the foreskin fails to retract from the head of the penis, and its depiction in the fresco could suggest it was a problem that blighted the men of ancient Pompeii. 

The Vettii fresco is notable because in other surviving depictions of Priapus he is not shown to be suffering from the phimosis.

So why did the artist choose to give him the condition?

Perhaps a prominent member of the Vettii family suffered from the condition and wanted to hide their shame by having Priapus suffer from it too, Galassi said.

“Or it could be that the condition was so widespread that the artist chose to depict it,” he added.

Put like this the evidence seems a little flimsy and anecdotal, but when considered alongside archaeological finds it starts to become more convincing.

In the area around Pompeii a huge number of anatomical votives have been found. These are small penis-shaped objects, made from wood and stone that were believed to ward off evil.

There could be some mileage to the theory.

Jessica Hughes, a classics lecturer at the Open University, told Discovery news: “Anatomical votive offerings made in Italy between the fourth to second centuries B.C. do often show the penis with the foreskin closed around the top, as in the later Priapus painting from Pompeii.”

Perhaps these trinkets were a way for the ancient Romans to ward off even the condition itself, which can be quite debilitating.

“The Romans didn't have the technology to treat it. It is a condition that causes pain, infection and problems during sexual intercourse,” Galassi pointed out.

Today, the problem is easily treated, through steroid creams, stretching techniques or circumcision.

This is by no means the first time scholars have attributed Priapus with physical illnesses. In 2007, an academic writing in BJU International argued that Prapius suffered from Proteus syndrome, otherwise known as gigantism of the penis. 

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African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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