---
title: "House of D. Octavius Quartio II.2.2 - Pompeii Online"
description: "The ancient city of Pompeii: Information on visiting hours, tickets, guides, online tickets, tourist itineraries, news and much more."
url: "https://www.pompeionline.net/en/buildings-and-places/regio-ii/house-of-d-octavius-quartio-ii-2-2"
date: "2026-09-15T08:44:57+00:00"
language: "en-GB"
---

#  House of D. Octavius Quartio II.2.2

The **House of D. Octavius Quartio** lies on Via dell’Abbondanza in Regio II. It combines the traditional front rooms of a Pompeian house with an extensive garden organised around water, sculpture and painted mythology. The contrast is striking: an urban entrance and atrium lead towards a landscape that recalls the leisure spaces of a much larger country villa.

A seal found in the house bears the name **Decimus Octavius Quartio**, whom the Park identifies as the owner and a member of the Augustales, a body associated with the imperial cult. The residence is also known by the older name House of Loreius Tiburtinus. These alternative modern names refer to the same archaeological property and should not be mistaken for two different houses.

The front section retains an **atrium** and rooms belonging to a more conventional domestic arrangement. Their scale and organisation differ from the expansive garden behind them. The house developed through successive alterations, and its final appearance brought older structures together with the elaborate decoration and water installations favoured in Pompeii’s last decades.

The garden occupies **two levels**. Its principal features are two ornamental watercourses, or *euripi*, set at right angles to one another. The upper channel runs across a terrace close to the house; the lower channel establishes a long axis through the larger garden. Fountains, small cascades, planted areas and sculpture were arranged around them.

These channels were architectural devices as well as sources of water. They directed views, linked particular rooms and created places to pause, sit or dine. The movement and sound of water would have contributed to the experience of the garden, while the planting provided a changing setting for the sculptures. The surviving channels make the organisation of this landscape especially easy to recognise.

At the eastern end of the upper channel is a **biclinium**, an outdoor dining arrangement with two reclining couches. Beside it, a niche imitates a grotto and carries mythological paintings. This setting brought diners close to the water while giving them a view across the garden. The arrangement differs from the more familiar three-couch triclinium, although both were intended for reclining meals.

Paintings in this area include **Pyramus and Thisbe** and **Narcissus**. Both stories connect human desire with a natural setting, and Narcissus’s reflection has a particularly immediate relationship to the water nearby. The subjects were part of a cultured domestic environment in which familiar myths could be recognised and discussed by the owner and guests.

The painter **Lucius** left his signature on the decoration. This is valuable evidence for the people who made Pompeian wall paintings, most of whom remain anonymous. The signature identifies an individual craftsman involved in the work; it does not justify attributing every painted room or every decorative phase in the house to him.

At the western end of the upper channel is a small room interpreted as a shrine connected with **Isis**. Egyptian references occur elsewhere in the paintings, sculpture and garden design. The identification of this room is an archaeological interpretation, and should be distinguished from the stronger claim that the entire house was an Isis sanctuary.

The combination of water and Egyptian imagery contributed to the garden’s distinctive character. Copies of sculptures have been placed in positions corresponding to their archaeological findspots, helping visitors understand the original arrangement while protecting the ancient works. The visible setting therefore combines ancient structures with modern conservation and presentation.

The house is often described as a country villa in miniature, but it remained part of the city. Via dell’Abbondanza ran outside its entrance, and nearby stood other large garden properties as well as the Amphitheatre and Large Palaestra. Its particular form of luxury lay in the amount of urban space devoted to planting, water and outdoor hospitality.

Excavations took place in **1916, 1918 and 1921**, with further campaigns in **1933–1935 and 1973**. The Park’s chronology is followed here. During a visit, the most revealing sequence is from the atrium to the upper water channel and dining area, followed by the long view across the lower garden. This makes the relationship between the older house and its carefully designed landscape clear.

The house appears on the Park’s current list of open buildings. Conservation work can affect individual areas, so consult the official opening information and follow the signed visitor route. [Check official building openings](https://pompeiisites.org/en/houses/).

[Archaeological Park of Pompeii: official site guide](https://pompeiisites.org/wp-content/uploads/Guida_agli_scavi_di_Pompeii.pdf#page=30).

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[View this location on the Pompeii Buildings and Places map](https://www.pompeionline.net/en/buildings-and-places)

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