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There is ample documentation of the Roman house in Pompeii, from
modest dwellings to large and magnificent villas with sumptuous
decorations, from simple workmen's houses to the elegant residences
of the noble class, from the homes of merchants which were built
around their workshops, to those with their own vegetable garden and
plots of land used for agricultural purposes.
The typical house is variable in size and has a rectangular plan. It
is almost totally devoid of windows on the outside, since all the
rooms face onto the inner courtyards.
Typical house of the first period: "Tuscan" atrium: the entrance or
vestibulum, often closed off by a wooden door, gave access to the
atrium. This was covered by a sloping roof (compluvium) open in such
a way as to channel rainwater into the impluvium . In subsequent
periods it was known as tetrastyle, because it was embellished with
four columns which held up the implucium. Around this room ran a
colonnade and a series of rooms known as cubicula, which were the
family's sleeping quarters.
The atrium was followed by the tablinium (meeting and reception
room) and the triclinium or dining room.
The garden opened onto the back of the house and was surrounded by a
colonnade or peristylium. The latter, adopted from Hellenistic
models, was the result of the transformation of the old kitchen
garden (several villas had a garden as well as a vegetable patch)
and led to the expansion of the residence and to the creation of
rooms used for receiving guests (oecus). At the back of the house
were the kitchens and storehouses. With the passing of time the
house greatly increases in terms of size, the spaces and rooms being
doubled, to the point that it occupies almost an entire
insula. At the same time it becomes particularly refined and pays
special attention to embellishments and elegant decorations.
With the gradual development of the middle-class, the model house
saw further modifications dictated by the new needs of the resident
families. First and foremost, workshops were added in which the
owner could carry out his activity.
The apartment lay at the back of these and above and, in most
houses, is linked to the rest by staircases and accessways.
In this case the house shows a more simplified plan, since part of
the space was taken up by the workshops.
HOUSE OF THE WILD BOAR
(ins. 3, no.8) This house contains the remains of some very
interesting mosaics. Particularly worthy of mention is the one which
gives the house its name and which, placed on the floor of the
atrium, depicts a hunting scene showing a "wild boar assailed by
dogs". There is also a precious mosaic decoration distinguished by
geometric motifs. The marble floors and the area around the garden
are of immense beauty.
HOUSE OF HOLCONIUS RUFUS (ins. 4, no.4)
It belonged to one of Augustus' tribunes, a prestigious personage of
the age. The house is spacious and elegant. The remains allow us to
guess at the architectural structure, which must have been
particularly beautiful in the area of the tablinium and the
peristyle characterized by an airy open gallery. Precious pictorial
decoration covered a large part of the walls of the house. Of
additional interest would have been the summer triclinium, adorned
with fountains and a cycle of paintings. The frescos, which must
once have been splendid, are now only partly visible as a result of
deterioration: they depict "mythological scenes and characters".
HOUSE OF THE CITHARIST
This is one of the largest houses in Pompeii and is made up several
houses merged into one. The name derives from the statue depicting
"Apollo the citharist" found here and housed in the Archaeological
Museum in Naples, as is the very fine mosaic showing a "Wild Boar
assailed by dogs". Notwithstanding the fairly poor state of
preservation, this house allows us to guess at the magnificence of
the architecture of the interiors and the richness of the
decorations which once made it splendid. Of great spectacular effect
are the three superimposed peristyles.
HOUSE AND WORKSHOP OF VERECUNDUS
(ins. 7, no.7-5) This complex is of the greatest interest in that it
provides an example of a typical workshop belonging to the sellers
and dyers of cloth, an activity which in Pompeii was particular
ly well developed and so renowned that a building in the Forum
square was dedicated to
them, the Building of Eumachia. Precious paintings embellish the
workshop and depict the activity carried out there and the protector
gods. Note in particular: "Mercury with a moneybag", "Venus on a
carriage", "The cloth sellers" and "The weaving of cloth". They are
all depicted with great immediacy.
HOUSE OF CASCA LONGUS
(ins. 6, no. 1 1) The group of workshops which occupy part of insula
no.6, belong to a single owner, a certain Casca Longus who had his
house built in close communication with the shop. On the walls of
the atrium a delightful decoration showing scenes related to the
theatre can be admired, and in one of the rooms, another one with
floral motifs. The house owes its name to the inscription borne by
the trapezophori, that is the statues which
support the table, and probably belonged to that Casca Longus who
was one of the protagonists
in the conspiracy which led to the assassination of Caesar.
HOUSE OF THE LARARIUM
(ins. 6, no.4) A room near the tablinium and commonly known as the
Lararium shows refined decoration with depictions of "scenes from
the Iliad". The blue colouring of the background is interesting and
creates an intensely atmospheric effect. There is a large painting
in the so-called Hall of the Elephants. From an examination of the
plastered walls and the material found in the rooms, we can infer
that, at the moment of the catastrophic tragedy, the house was in
the process of being decorated.
HOUSE OF THE CRYPTOPORTICUS
(ins. 2)It takes its name from the cryptoporticus - a room of
startling
effect thanks to apertures which allow shafts of light to filter in
- which was the underground cellar of the house used for storing
wine. It contains an exhibition of plaster casts of people who died
during the eruption of Vesuvius. The house also contains pictorial
decoration related to the II style. It consists of Episodes taken
from the Iliad incorporated into a frieze (in the colonnade). In
addition there are some admirable caryatids painted in red and still
lives.
HOUSE OF LUCIUS CEIUS SECUNDUS OR HOUSE OF THE CEII
(ins. 6, no.15) The house stands along the lane which leads off to
the right from Via dell'Abbondanza. Its name can be inferred from
the electoral inscriptions found on the front of the house. This
dwelling is distinguished by the panelled decoration on the facade.
It has a precious tetrastyle atrium. Inside there are several
ornaments and some furniture - particularly noteworthy is the cast
made of the wardrobe - as well as the staircase which joined the
ground floor to the top floor In the garden a delightful picture
depicting animals and plants can be admired.
HOUSE OF MENANDER (ins. 10, no.4)
This is one of the largest and most elegant houses in Pompeii, very
rich in its decoration and highly complex in the division of the
rooms. Its name derives from the portrait of Menander, but is it
also known as the "house of the silverware" because of the copious
collection of pieces found in a chest in the cellars of the house: a
total of 118 pieces of silver as well as numerous others made of
gold and coins. The house belonged to the Poppei family and
underwent various building phases. Begun in the 3rd century B.C., it
was later extended and embellished; at the moment of the eruption of
Vesuvius the building works were still underway. From the entrance -
distinguished by two pillars with Corinthian capitals - access could
be gained to the atrium (of Tuscan type), which is fairly well
preserved and atmospheric as a result of the decoration in the IV
style, the charming little temple placed in one corner and above all
because it preserves intact its jutting out wooden roof open at the
centre to allow light to pass through and to facilitate the
collection of water. The rooms to the left of the entrance contain
paintings showing scenes taken from Episodes of the Iliad. Beyond
the tablinium is the peristyle, an elegant and refined room with its
beautiful painted colonnade. A series of rooms leads off from here:
on the right is the kitchen and bathroom area; on the left is the
triclinium flanked by two rooms with frescoed walls. The exedrae
situated beyond the rooms set aside as servant accommodation contain
refined paintings of a mythological and theatrical nature (masks)
and the portrait of the poet Menander mentioned above. The western
area of the house is occupied by the quarters set aside for use as
bathrooms: there is a fine calidarium whose mosaic and pictorial
decoration is virtually intact. One section of the house was
reserved for the curator of the property, a freedman called Eros (we
have learnt his name from the seal found on his body), who
safeguarded the goods in the house and who bore the title of
Procurator.
HOUSE OF THE LOVERS (ins. 10, no. 1 1)
This house, albeit of modest proportions, is an architectural jewel.
The decoration of the walls shows great refinement and the peri
style surrounded by a double open gallery is truly delightful. The
ceilings and floors of several of the rooms are intact. In the
atrium is a collection of friezes, panels and painted medallions.
The name of the house derives from an inscription which refers to
the sweetness of love and states that "lovers, like bees, wish life
to be as sweet as honey".
HOUSE OF PAQUIUS PROCULUS (ins. 7, no.1)
Paquius Proculus was a highly influential political figure in
Pompeii.
This complex structure underwent various phases of construction. The
mosaic decoration in the atrium with geometric panels depicting
animals is very elegant. The tablinium has a fine alabaster floor.
The pictorial decoration has partially survived and shows the
remains of some "still lives". Several skeletons of children were
found in this house.
HOUSE OF THE PRIEST AMANDUS (ins. 7, no.7)
In the fine triclinium is an admirable series of paintings with a
mythological subject: "Her
cules", "Polyphemus", "Perseus" and "Daedalus and Icarus". A
painting of the pre-Roman epoch can also be found near the entrance.
There is a noteworthy plaster cast of a tree in the garden of the
peristyle.
HOUSE OF THE EPHEBUS (ins. 7, no.10)
It takes its name from the statue of the Ephebus, a bronze copy of a
similar Greek work of the 5th century B.C., found here and
transported to the Museum in Naples. It is a very large house and
sumptuous both in terms of its architectural design (it consists of
three houses merged into one), and in the decoration which
characterises it. This confirms that it belonged to a family of the
rich middle-class who were keen on an ostentatious display of their
high standard of living.
Of the paintings preserved here, that of "Venus and Mars" is worthy
of mention. The marble covering of the floors is quite remarkable -
the one in the triclinium is particularly precious in that it was
executed with rather rare coloured marble - as is that of several
walls.
Among the objects found here are four statuettes - the placentarii -
which were used as sauce boats
and which are characterized by their provocative nature (Museum in
Naples). Worthy of attention is the small house connected to the
former where some outstanding paintings embellish the tablinium,
having as their subject "The marriage of Venus and Mars".
HOUSE OF THE ORCHARD (ins. 9, no.5) It owes its name to the
pictorial decoration showing "Trees and fruit" which adorns some of
the rooms, one of which has a blue background and one black. They
are paintings of extreme freshness and refined elegance.
Several types of trees (fig, plum, cherry, arbutus and lemon) are
faithfully reproduced; in the fascia below, a delightful garden is
depicted. Some experts have connected these paintings with the
Dionysian cult; others, more simply, have imagined that the owner
was a fruit-grower.
HOUSE OF TREBIUS VALENS
(ins. 2, no.1) The name of the owner can be inferred from an
inscription in the bedroom. Its facade was once covered by
inscriptions which almost certainly served as public announcements.
Inside is an admirable peristyle with an unusual pictorial
decoration of geometric motifs and a triclinium furnished with
fountains and a pergola. One bedroom contained a collection of small
bottles for ointments and jewels, which leads to the supposition
that the room belonged to the owner's wife.
HOUSE OF LOREIUS TIBURTINUS
(ins. 2, no.5) The house underwent two phases of construction: the
first relates to the area within the Tuscan atrium (Samnite epoch);
the second, centred around the peristyle area, is to be attributed
to the imperial age. The house is distinguished by its magnificent
garden consisting of an open gallery and a pergola embellished by
water channels, fountains and a temple as well as by pictorial
decorations and
sculptures. The mythological depictions bear the signature of their
author, a certain Lucius. Precious paintings adorn the triclinium
(Episodes from the Iliad). Other paintings, for the most part
belonging to the IV style, decorate one of the small rooms next to
the large hall. An interesting feature is provided by the cast made
of the great entrance portal to the house. The combination of the
decoration and the architectural layout of this house bear witness
to the prestige and affluence of the family who lived there.
HOUSE OF VENUS (ins. 3, no.3)
This was the residence of a well-to-do family, as can be inferred
from the richness of the materials used and from the decorations.
Apart from the fresco depiction of "doves, fountains and flowers",
there is a remarkable large fresco of "Venus in a sea-shell" on the
garden wall. The scene is delightful in appearance: the Goddess is
ploughing through the waves in a shell escorted by Cupids. The
fresco is peopled with birds and flowers. On one side is a depiction
of the god "Mars with weapons". Other rooms contain paintings
including the particularly fine ones on a black background.
VILLA OF JULIA FELIX (ins. 4, no.3)
This is a magnificent construction and occupies the whole of insula
no.4: it consists of a villa, a thermal complex given over to public
use and a collection of workshops merged into one.
The house proper, furnished with two entrances, is spacious and
luxurious. At one time it was adorned with paintings, though these
have now been removed and are housed in the Louvre Museum. The
garden enlivened by fountains, bridges and columns is highly
atmospheric. In the triclinium the beds are made of marble and the
bath complex is furnished with every comfort - frigidarium,
tepidarium, calidarium and also a sauna facility - it is laid out ac
cording to the typical public bath design and also includes an
outdoor pool. Initially it belonged strictly to the villa, but was
later given over to public use upon payment of a fee, as
demonstrated by an inscription to this effect found here. The
complex of workshops and rooms situated along the lane to the west
was also created by the landlady with the intention of leasing them
out. A vast area lies at the back of the villa, set aside for the
cultivation of fruit and vegetables.
HOUSE OF THE BLACK WALL
(ins. 4, no.59) An elegant and refined dwelling characterised by a
magnificent decoration on a black background - hence its name - with
small painted putti representing Cupids. The peristyle is very
elegant and distinguished by columns decorated with plaster.
HOUSE OF THE FIGURED CAPITALS
(ins. 4, no.571) This belonged to a noble family. Its construction
dates back to the Samnite epoch, as can be appreciated by the sober
and severe architectural design. Of particular interest are the
sculptures of the capitals which are now housed in the Pompeii
Museum. These depicted "Bacchic scenes". Also worthy of mention is
the Lararium and the sundial in the garden.
HOUSE OF ARIADNE
(ins. 4, no.51) This is one of the oldest houses in Pompeii. Here it
is possible to admire some fine painted capitals - for this reason
the dwelling also bears the name of House of the Coloured Capitals -
as well as various other paintings executed in the Roman age and
belonging to the IV style.
HOUSE OF THE HUNT
(ins. 4, no.48) Constructed in the Samnite epoch, as witnessed by
the architecture as a whole and the choice of materials - worthy of
particular notice is the tuff facade - it is a noble house and
severe in its design. It houses precious pictorial works reproducing
for the most part "Mythological scenes and characters" and several
"Hunting scenes" which are particularly delightful. The paintings in
the tablinium with a mythological subject have been transferred to
the Museum in Naples.
HOUSE OF THE HANGING BALCONY
(ins. 10, no.28) It stands in the lane which takes its name from the
house. It is a truly delightful dwelling and especially interesting
for the balcony which adorns the facade. The terrace is a recurrent
feature in the architecture of Pompeii and it is widely found in the
area of the New Excavations especially.
HOUSE OF MARCUS LUCRETIUS (ins. 3, no.5)
It belonged to a notable of Pompeii who held, among others, the
office of priest of Mars. It is an elegant construction whose rooms
were finely decorated with pictures now housed in the Museum in
Naples. Those remaining show decorations with imaginary
architectural buildings, as well as Mythological scenes, depictions
of "Cupids" and a large painting representing "Bacchus". There is a
charming garden area, raised compared with the rest of the house,
and embellished with statues, niches and fountains.
HOUSE OF THE SILVER WEDDING
(ins. 2)The house takes its name from the fact that the remains were
brought to light on the oc
casion of the silver wedding of the royal family (1893). It is one
of the finest examples of a gentleman's residence: the architectural
design is extremely sober and classical, the decoration magnificent.
Executed in the Samnite epoch, it was renovated in the early 1st
century A.D. Worthy of particular attention is the atrium consisting
of a colonnade of the Corinthian order, grandiose in proportions and
soaring dynamically upwards. Worthy of note are the rooms which
flank the peristyle: these offer examples of decoration in the II
style. The exedra is elegantly ornamented with festoons; another
room shows the original barrel ceilings.
HOUSE OF THE CENTENARY
(ins. 8, no.3) This is one of the largest of the houses among those
excavated in Pompeii, being made up of several houses merged into
one, which gives it an extremely complex structure. Brought to light
on the occasion of the centenary of the eruption of Vesuvius - hence
its name - it shows several styles, both in its architecture and in
its decoration, indicative of the various building phases. As well
as remembering the "The young Satyr with wineskins", a statuette
housed in the Archaeological Museum in Naples, worthy of mention are
the decoration of the colonnade on a yellow background with the
depictions of several divinities and floral motifs
which embellish the two rooms next to the tablinium and the
peristyle with a series of decorative motifs consisting of fish and
birds. The peristyle was also furnished with a pool and fountains.
HOUSE OF LUCRETIUS FRONTO
(ins. 4, no.10) It is one of the most elegant and well-balanced
dwellings in Pompeii. It is of modest dimensions, but the rooms are
harmonious and the decoration of the various rooms extremely
refined. Let us mention among the numerous works present, a series
of pictures showing delightful "landscape views", the depiction of
"Venus", "Mars" and "Bacchus", "Narcissus gazing at his reflection
in the spring", "Theseus and Ariadne" and "Venus bathing". The large
fresco in the garden portrays "African-type flora and fauna".
HOUSE OF THE GLADIATORS
(ins. 5, no.3) This is an actual gladiators' barracks. When the
gymnasium in Pompeii was specially built for them to train in, this
building was used to provide accommodation for their families. Of
interest are the numerous inscriptions found on the columns, all
concerning the gladiatorial games and some providing a record of
their successes.
HOUSE OF THE FAUN
(ins. 12, no.2-5) It is a dwelling of remarkable proportions,
harmonious and well-balanced in its design and elegantly decorated
in its various rooms. It represents the classical type of Roman
house. It undoubtedly belonged to one of the most prominent local
figures, that is the nephew of Sulla who dealt with the political
organization of the city. Its original structure dates back to the
Samnite period, that is to the 5th century B.C.; its present-day
condition should be dated to the transformations of the 2nd century
B.C. The Tuscan atrium belongs to the first period and has a stone
floor. The second atrium is, on the other hand, of the Hellenistic
type and has four Corinthian columns. Its reputation and its name
are linked essentially to the small bronze of the "Dancing Faun"
found here, a small masterpiece of ancient statuary. Not to be
forgotten, however, is the mosaic housed in the Archaeological
Museum in Naples showing the "Battle of Alexander", exceptional in
terms of its size - it does in fact measure 3.5 m x 6 m - but also
in its expressive power: it shows a throng of soldiers, lances and
horses captured at the moment when Alexander, by now the victor and
proud of his troops, is just about to inflict the decisive blow on
the routed enemy. This mosaic paved the tablinium.
Among the rooms particularly worthy of mention are the two
peristyles: the first has an Ionic colonnade partly decorated with
stuccos and with a magnificent exedra, which is also decorated with
mosaics, the subject being "flora and fauna from the Nile region".
The second, the larger of the two, has a Doric colonnade disposed
around the garden.
HOUSE OF THE GOLDEN CUPIDS
(ins. 16, no.7) This particularly sumptuous and elegant dwelling
belonged to the Poppei family. its state of preservation allows for
particular appreciation of the pictorial complex as well as of the
wellbalanced and harmonious architectural layout. It takes its name
from the decoration depicting "Cupids" situated in one of the
cubicula: the graceful figures are painted on gold leaf. A fairly
recurrent feature in this house is the presence of theatrical masks.
The peristyle - perhaps the most beautiful part of the house - is
partly raised and almost takes the form of a stage:
this reveals a certain tendency by the owner to search for new and
effective solutions which,
however, are not lacking in sobriety and elegance. This space was
perhaps intended for theatrical representations, as can be inferred
from the presence of a flight of steps and three entrances. Worthy
of note is the decoration of several rooms, for the most part
belonging to the III style, and having as their sub ject
"Mythological episodes and char
acters". Among the curiosities present worthy of mention are the
temple dedicated to the cult of the Egyptian goddess Isis - very
rarely found in Roman society -, one dedicated to the cult of the
Lares and finally the remains of an obsidian mirror.
HOUSE OF THE VETTII
(ins. 15, no.1) This provides a very precious record of Pompeian
painting and is one of the most beautiful and interesting houses in
the town. The excellent state of preservation allows us, from a
distance of centuries, to appreciate the magnificence attained by
the dwellings belonging to the most well-to-do class in Pompeii and
to observe how the rich local middle-class tended to display their
prestige and their high standard of living by their extravagant
construction of sumptuous buildings, equal, if not superior, in
terms of decorative richness, to those of the aristocracy. The house
of the Vettii, belonged to Aulus Vettius Restitutus and to Aulus
Vettius Conviva, and expresses as few others do, the economic posi
tion which they had attained at the end of the 1st century A.D.
Actually, the execution of a large part of the pictorial decoration,
a dazzling testimony of painting in the IV style, should be
attributed to the period after the earthquake of 62 A.D.
We shall now examine in greater detail the various rooms and their
painting cycles. The dwelling has remained virtually intact, or has
been minutely renovated, and this contributes to the unforgettable
atmosphere and impression of stepping back into the past. In the
entrance is "Priapus", a very common pornographic figure in Pompeian
houses, in that it symbolized fertility, but most importantly served
to ward off evil influences from the house. The decoration of the
Atrium - here there are two safes where
the owners kept their valuables - takes for its subject "Cupids" and
"Psyche". The roof has been completely rebuilt so as to recreate the
most accurate picture possible of that time, as well as a highly
evocative atmosphere. The rooms which open off the atrium contain
paintings showing mythological scenes, some of which are very
interesting in terms of their expressive immediacy. There is a
magnificent peristyle, which skilful renovation has restored to its
original form, even as far as the vegetation which characterized it
is concerned. It is a precious complex in terms of charm and the
admirable fusion of architectural, sculptural and pictorial, as well
as naturalistic, features. The triclinium is the room which has
become quite rightly famous for its paintings. The latter, which
almost entirely cover the walls (one part has been lost) are on a
red background and the depictions are incorporated into mock panels.
The large scenes reproduce mythological characters. "Perseus and
Andromeda", "Ariadne and Dionysus", "Daphne and Apollo" and "Neptune
and Amymone". Of particular interest is the long frieze which runs
round the perimeter of the walls: it contains depictions in
miniature depicting "Cupids intent on various activities", and is of
the most refined workmanship. Let us look at them in detail: "Cupids
at target practice, Cupids with garlands of flowers, Cupids selling
perfumes, Cupids with chariots, goldsmith Cupids, Cupids
manufacturing cloth, Cupids celebrating sacred rites, Cupids
gathering grapes, Cupids celebrating Bacchus and Cupids selling
wine". The large
fascia lower down bears depictions of "Psyche" intent on weaving
garlands of flowers and
"Mythological scenes". Other rooms show precious pictorial
decoration, for the most part belonging to the IV style. A room in
the east section contains pictures representing "Daedalus and
Pasiphae" and " lxion being tortured", together with large fascias
decorated with marine flora and fauna another room in the same
section there are paintings on mock architecture enclosing
depictions of "Hercules pilling the serpent", the "Torture of Dirce"
and the "Torment of Pentheus". Of novel interest are the servants'
quarters and the kitchen in particular which allow for a
reconstruction of domestic life.
HOUSE OF THE LABYRINTH
(ins. II, no.9-10) This house, which takes its name from the subject
of the mosaic "Theseus in the labyrinth" - dates back to the Samnite
period, as can be
inferred from the style and from the Tuscan atrium in particular.
Another atrium, the one which opens out after the entrance to no.10,
is tetrastyle. The pictorial decoration is very fine. That on the
walls in the reception area is particularly outstanding and
provides, perhaps, one of the most important examples of painting in
the 11 style, characterized by admirably executed mock architecture.
In the course of the renovations undergone over the years, the house
was equipped with a system of private baths and its own shop for the
grinding of grain and for the baking of bread.
HOUSE OF APOLLO
(ins. 23, no.7) The structure and the materials used bear witness to
the fact that this dwelling belongs to the most ancient type and
that, at a later stage, it was embellished with decorations in
the IV style. The name derives from the depictions of "Apollo and
Marsyas" which decorate the walls of a cubiculum where mock
buildings reminiscent of the structure of a theatre can also be
found. Of interest are the mosaics situated outside the
above-mentioned room and those which once embellished the fountain.
HOUSE OF MELEAGER
(ins. 2, no.9) This was built in the Samnite epoch, but transformed,
especially as far as the decorative part is concerned, in the
following era. Worthy of attention is the room used for receptions,
characterized by an elegant colonnade with Corinthian capitals.
There is also a delightful peristyle with a colonnade which follows
the perimeter of the central pool.
HOUSE OF ADONIS
(ins. 7, no.18)lt takes its name from the marvellous painting
entitled "Adonis wounded" which is one of the most beautiful and
interesting examples of ancient painting. It occupies one of the
garden walls and is incorporated in the midst of paintings of a
landscape nature. Other paintings depicting "The Toilet of
Hermaphroditus" decorate one of the rooms looking out onto the same
garden.
HOUSE OF CASTOR AND POLLUX
(ins. 7, no.6-7) The dwelling consists of a number of smaller
houses, renovated at one time or another, merged into one. Of
noteworthy interest is the atrium where a magnificent colonnade with
Corinthian columns stands out, as does the pictorial decoration of
several rooms, including the series of pictures with mythological
scenes depicting "Apollo and Daphne", "Adonis", "Silenus" and
"Scylla". The House of Castor and Pollux or of the Dioscuri, owes
its name to the depiction of the "Dioscuri" which decorated the
entrance and which is now housed in the National Museum in Naples,
together with other paintings which embellished the other rooms.
HOUSE OF THE SMALL FOUNTAIN AND HOUSE OF THE LARGE FOUNTAIN
(no.22-23-24) Both have a fountain, absolute masterpieces of the
mosaic art.
The one in the House of the Large Fountain consists of a niche which
is completely covered with polychrome tesserae it is embellished
with a bronze statue and theatrical masks. These nymphaea, made of
glass paste stones, are rare examples of non-floor mosaics. Of
additional interest is the pictorial decoration in the first of the
two houses, which contains some delightful small pictures inspired
by the landscape.
HOUSE OF THE TRAGIC POET
(ins. 8, no.5) Its name derives from the mosaic scene depicting
a "Master of the theatre". It dates back to the imperial age and is
luxurious and refined, especially in terms of the fine decoration of
some of the rooms. The architectural design is composite and
harmonious: it is of modest but well-balanced proportions. The
presence of workshops adjacent to the dwelling leads us to suppose
that the owner was involved in commerce. At the entrance is the
characteristic "cave canem" (beware of the dog), one of the
best-known images from Pompeii. The depiction of the "tragic poet"
was found in the tablinium and has given its name to the dwelling
and several paintings. The series of paintings in the triclinium
take as their subject scenes from
mythology: Theseus and Ariadne and Venus and cupids. Other paintings
with a mythological subject decorate the walls of the cubicuIa.
There is a very fine fresco showing the "Sacrifice of tphige nia"
housed in the Archaeological Museum in Naples. Some experts have
identified it as a House o f the Tragic Poet: in the entrance is the
well-known depiction of the "cave canem" in mosaic. copy of the work
by the famous Greek painter Timante of the 5th century B.C.
HOUSE OF PANSA
(ins. 6, no.1) A building of vast proportions, to the extent that it
alone occupies the whole of insula no. 6. The original structure
dates back to the Samnite period. Subsequently the dwelling was
subdivided into a series of small rooms intended to be let, as is
proved by an inscription to this effect and by the presence of an
independent entrance to each of these small apartments. This
conversion of the building is proof of the changing needs of
Pompeian society which, in the Ist century A.D., passed from being a
primarily agricultural economy - the inhabitants of the houses were
land-owners, as is indicated by the presence of the plot of land
behind the house - to one based on enterprise and commerce. There is
a beautiful Tuscan atrium (it is part of the original construction)
and a peristyle which is laid out around a pool. Behind it open out
the rooms set aside for service purposes, including kitchens, la
trines and a building for housing vehicles as well as the area
intended for use as a vegetable garden. The original decoration has
been completely lost.
HOUSE OF SALLUST
(ins. 4, no.2) An interesting construction of the Samnite epoch, as
demonstrated by the Tuscan atrium with its jutting out roof sloping
towards the impluvium to facilitate the collection of rainwater. The
decoration is primarily in the form of plaster coverings and belongs
to the I style. Some rooms show evidence of renovations and
paintings of a period subsequent to the date of construction. One
such example of this is the fresco depicting the myth of Actaeon
assailed by dogs which adorned the garden.
HOUSE OF THE SURGEON
(ins. 1, no.9-10) Its name derives from the series of surgical
instruments found here which are now housed in the Archaeological
Museum in Naples, and the nature of which leads us to suppose that a
doctor lived here. The structure corresponds to the type of the
oldest houses in Pompeii, both as regards the architectural design,
the distribution of the rooms, and the materials used in its
construction (4th-3rd century B.C.). The simple and severe facade is
covered with stone slabs.
VILLA OF THE MOSAIC COLUMNS
This takes its name from the magnificent and original columns
covered with mosaics found here during the excavation works. These
can be admired in the Archaeological Museum in Naples. There is a
beautiful mosaic fountain adorning the garden.
VILLA OF DIOMEDES
Here we have before us one of the masterpieces of Pompeian
architecture, especially in terms of the unusual design of the
building. Indeed, though it maintains certain important features of
the Roman-type house, it is laid out with an eye for space and light
and above all is spread over various floors, following the natural
inclination of the terrain, resulting in the
building being constructed in an airier and more original way. This
residence, situated along the Via dei Sepolcri, is of vast
proportions. The principal nucleus is that of the equally enormous
garden, surrounded by a long colonnade which creates a porticoed
space, furnished with a pool. The rooms lie on one side of the
garden itself and are arranged in their turn around a peristyle
which communicates directly with the outside. Worthy of particular
attention is the large apsed room, characterized by its airiness and
the wideranging view which it enjoys. There is a beautiful open
gallery which also shares views of the gulf, as does the terrace,
which at one time lay along the whole length of the colonnade. At
the corner of the entrance to the villa are the baths furnished with
a small pool. A series of little steps links the staggered floors to
one another, creating further interest. One of these staircases
leads to the cryptoporticus, that is to say the underground rooms of
the dwelling. Eighteen bodies were found in this house, a further
proof of the disaster which struck Pompeii in 79 A.D. The villa was
brought to light in the second half of the 1700s and thought -
though in an arbitrary way - to be the house of Arrius Diomedes
because it was situated opposite his tomb.
VILLA OF THE MYSTERIES
This villa stands right on the outskirts of Pompeii, beyond the
archaeological area proper. Grandiose in its proportions and famous
for its magnificent fresco cycle, it has, since the discovery of the
first rooms, created great excitement among the experts owing not
only to its complexity and the special nature of its architectural
design, but above all for the precious pictorial cycle and for the
interpretation of the latter, connected with the religious cults
which existed alongside the official religion. The villa was built
around the 2nd century B.C., but was renovated and embellished in
the imperial age, an epoch in which it assumed the splendid
appearance which is still recognisable today, even if somewhat
impoverished by the loss of certain furnishings and many precious
ornaments as a consequence of the earthquake of 62 A.D. when it was
abandoned by its owner.
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