Most of the urban area in #Pompeii consisted in private households. Therefore, the city provides an excellent vantage point to learn more about Roman housing and its evolution over time.
The upper classes mainly lived in #domus, large houses sometimes covering an area of about 3,000 sq. m. The domus were usually based on the same main structure. The front door led into the #atrium, a large central hall open at the roof.
Around the atrium the other rooms of the house were located: the bedrooms (#cubicula), the servants’ quarters, the dining rooms (#triclinia) and living rooms.
A drain pool (impluvium) was situated at the centre of the atrium, to collect rainwater draining inwards from a roof opening (compluvium) that also let in light. From the impluvium,the water was channelled into an underground cistern and could then be drawn for household purposes
The #tablinum, a study where visitors were received, was aligned with the front door and separated from the atrium by a curtain or partition.
From the 2nd century BC, due to the increasing Hellenistic influence, the number of rooms in the domus increased. Thus, around the typical #garden of the Italic house (#hortus), a porch formed by a row of columns (#peristyle) was built, with walkways to access the living rooms.
The domus were often richly decorated, with bright, colourful #frescoes.
The houses of middle and lower-class families, on the contrary, were much smaller and had simpler structures.
Outside the cities, in the countryside and along the coasts, there were many different #villas. Urban villas were mainly used as residences. They had porticoes, living rooms and dining rooms, richly decorated and surrounded by large #gardens adorned with sculptures and fountains.
Usually, these villas were built on natural or artificial terraces (basis villae), or on a hillside where panoramic views could be enjoyed. Those located near the sea sometimes had pools and facilities for the breeding of fish and molluscs.
On the contrary, country villas (villa rustica) were more similar to modern #farms. They had a simple plan, with a central portico surrounded by the rooms of the house, including quarters for the production of agricultural products and large storage rooms for such goods.
More often, however, the same villa fulfilled both purposes: rich residential quarters coexisted with large areas dedicated to agricultural production, like the Villa of the Mysteries in #Pompeii.
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La Villa di Anteros, anche detta del Fauno, in località Cappella S. Marco, fu la prima delle ville stabiane ad essere indagata: fu infatti scavata già a partire dal 1749, sotto la direzione di K. Weber e R.J. d’Alcubierre.
L’ambiente più interessante è il larario nel peristilio piccolo nel quale si rinvennero un busto di donna e una piccola ara di terracotta, sopra al quale era un’iscrizione di dedica ai Lari e alla Famiglia da parte di Anteros ed Heracleo, che plausibilmente donarono l’ara stessa
L’assenza dell’indicazione nel testo della gens di cui i due erano rispettivamente liberto e servo potrebbe indicare l’estrema notorietà dei proprietari della villa, tanto famosi da non necessitare menzioni:
New discovery: two skeletons found beneath a collapsed wall in #Pompeii.
Turmoil, confusion, attempted escapes and, in the meantime, an earthquake, showers of pumice, volcanic ash and hot gases.
This was the inferno of the eruption of AD 79, the living hell in which the inhabitants of the ancient city of Pompeii found themselves, including the two victims whose skeletons were recently discovered during the excavation of the insula of the House of the Chaste Lovers.
They were the victims of an earthquake that accompanied the eruption, discovered beneath a wall that had collapsed between the final phase of the deposition of pumice and prior to the arrival of the pyroclastic flows that buried Pompeii for good.
The recently restored House of the Vettii is one of the most famous houses in Pompeii renowned for its vibrant and exquisite frescoes and its grand architecture including an ornately decorated garden but here are some things you may not know about it and details to look out for.
The house was discovered in 1894 by the then director of the excavations in Pompeii, Giulio de Petra, who made the novel decision to reconstruct the roofs and retain the frescoes within the house rather than prise them from the walls and display them in the Museum in Naples.
On the 11th December 1894 two seal rings were found in the peristyle of the house that bore the names of two former enslaved men or freedmen (liberti), Aulus Vettius Restitutus and Aulus Vettius Conviva, and were presumed to have belonged to the owners of the House.
Nuove scoperte a #Pompei.
La vita immobile di Pompei che riaffiora alla luce: ultimi istanti di vita fotografati negli arredi sconquassati dall’eruzione del 79 d.C.
Piatti, vasi, anfore, oggetti in vetro e terracotta lasciati in bauli e armadi, abbandonati frettolosamente durante la catastrofe e recuperati oggi con gli strumenti dello scavo stratigrafico.
Ma anche oggetti meno documentati come un prezioso bruciaprofumi decorato, e il gruppo unico di sette tavolette cerate raccolte da un cordino, di cui è stato possibile realizzare un calco.
Comune e Parco Archeologico insieme per lo sviluppo turistico-economico di Pompei e dell’intero territorio vesuviano.
Siglato questa mattina il patto tra il Sindaco Carmine Lo Sapio e il Direttore Generale @GZuchtriegel. ✍️
“Si tratta di un accordo storico – tiene a precisare il primo cittadino Carmine Lo Sapio - nessun sindaco era mai riuscito ad unire le sinergie dei due enti, sempre distanti e divisi, per lo sviluppo turistico ed economico della città”.
Il commento di @GZuchtriegel: "Parco archeologico di Pompei è un patrimonio dell’umanità, a cominciare da chi risiede attorno."
Villa Arianna: The villa was named after a large mythological fresco on the far wall of the triclinium, and the excavations conducted by the Swiss engineer Karl Weber between 1757 and 1762 almost completely unearthed it.
At the time, the excavation method consisted in a series of underground explorations aimed at recovering objects deemed worthy, as opposed to a survey of the whole architectural context.
Hence, the better preserved furnishings and frescoes were detached and brought to the Bourbon Museum at the Royal Palace of Portici.
The paintings deemed unworthy or ruined were instead left in place and often damaged further by the excavators.