VI.17 and VII.16 Pompeii Insula Occidentalis. Miscellaneous paintings and unprovenanced items.
Plans Bonucci Excavations Paintings found under the Cuomo property Paintings found under the Irace property
Plans
The haphazard method of excavation and imprecise locations given mean that we do not know the exact location of the ancient houses in relation to the Cuomo and Irace properties.
VII.6 was definitely under the Irace property, as was possibly VII.16.
The Cuomo property was north of this, which would include part of VI.17.
These plans are to help you with the items on this page.
They are very large in order to show the detail, and so will take longer to load than our usual plans. They will load in a separate window.
Plan of the Insula Occidentalis from VI.17 to VII.16 (1.1mb) 1807 plan of land ownership above Pompei by Scognamiglio (3.8mb)
1807 plan redrawn with clear
numbering by Kockel (2.6mb)
Bonucci
Le abitazioni, che son situate sul lato dritto della
strada non presentano, che rovine.
Esse sole, come le piu prossime al passaggio, che mena a
Nuceria e a Salerno, e per conseguenza le piu esposte, hanno sofferto le
ricerche, le devastazioni, ed i danni di 17 secoli d’avidita e di barbarie.
Malgrado cio, i loro avanzi offrono un interesse tutto
nuovo. Qui le case hanno tre piani, e sono costruite sull’antiche mura della
citta a tal’effetto demolite.
Discendevano in anfiteatro fino alla marina, ivi allor
sottoposta; e presentavano da lontano un colpo d’occhio il piu magnifico e
pittoresco. I Pompeiani formandosi cosi de’domicili interamente aparti da un
lato, godevano d’una vista piu estesa, d’un aria piu pura, d’una vista grande
liberta, e potevano passeggiare, e trattenersi co’loro amici ne’cortili, e
sulle terrazze, senz’esser veduti o ascoltati. Essi preparavano intorno a’loro
giardini, sotto i portici, le lorotavole, e pranzavo respirando le fresche aure
di mare, che pe’nostri climi cocentiera un vero piacere, un bisogno.
In una di queste abitazioni si rinvennero 10 teste di
morti; quella d’un fanciullo ci avvertiva, che is suoi genitori perirono con
esso.
(Translation - The houses, which are located on the right side of the road, show only nothing but ruins.
They alone, like the ones most
close to the roadway leading to Nuceria and to Salerno, and consequently which
were the most exposed, have suffered the searching, the devastation, and the
damage of 17 centuries of greed and barbarism.
Despite this, their remains offer a whole new interest. Here the houses have three floors and are built on the ancient wall of the city, which effectively was demolished. Descending towards to the seashore, which would have been there at the time; they would have had the most magnificent and far-reaching views. …… etc.
In one of these houses, 10
skeletons were found; that of a child telling us, that his parents perished
with him.
See Bonucci, C. (1827). Pompei descritta. 3rd ed.
(p.87-88)
Excavations
By the end of 1759, the excavations had moved over to the western edge of Pompeii, and they had begun to explore beneath the lands of the Irace and Cuomo families.
See PAH 1, 51, addendum 137 dated 21st May 1757, which says “Begun the excavations in the Masseria d’Irace.
«21 maggio [1757] – Cominciano gli scavi nella
masseria d’Irace. Questa si estendeva dal Tempio diruto verso ponente, fino
alla porta occidentale di Pompei, e dalla strada regia dov’è la Taverna del Rapillo
a mezzogiorno, fino alla masseria di D. Filippo porpora e Giosuè Vajano: verso
settentrione in linea parallela, ove oggi si è scoverto il Tempio della Fortuna
e la strada che lo fiancheggia, correndo verso oriente.»
This Masseria extended from the Doric Temple in the Triangular Forum (VIII.7) towards the western gate of Pompeii (Herculaneum Gate), and from the Royal Road where the Taverna del Rapillo was situated to the south, until the Masseria di D. Filippo Porpora and Giosue Vajano: towards the north in a parallel line, where today the Temple of the Fortuna and the road that borders it running towards the east have been discovered.”
According to Sandra Zanella, -
PAH I 2, Addenda, p. 137. On
remarque qu’un point de repère utilisé, le temple de la Fortune, ne sera
découvert officiellement qu’au début des années 1820.
(Translation: -PAH I 2, Addenda, p. 137. It is noted that a landmark used, the Temple
of Fortune, was not officially discovered until the early 1820s.)
See Zanella S., 2019. La caccia fu buona : Pour une histoire des fouilles à Pompéi de Titus à l’Europe. Naples : Centre Jean Bérard, p. 47-8.
Prior to digging in this area, from 1757 they had been excavating, still under the Irace lands but more towards VIII.2, moving across VIII.2 in a north-westerly direction and by February 1759 digging in the area of VII.16.22 (Fabius Rufus) on the edge of the Irace property. This area was described as “in the same steep place in front to the royal road” and “on the hill overlooking the royal road”.
On 13th October 1759, a large wall painting from VI.17.41, together with other paintings from the north and east walls of the same room (nap 9847, 9258, 9291) can be identified.
On 9th February 1760, excavations were begun in the Masseria of Diego Cuomo, which was attached to that of Irace, on its northern side.
On 23rd February 1760, PAH (1,1, p.104) reported “work continues partly in the Irace property and partly in that of Cuomo”.
At this stage some of the excavations were being carried out from pits or holes dug down into the lapilli, once the pits were dug out, some of them were then continued by digging tunnels around the area. These then would have been filled in again using the spoil from another hole or tunnel.
Many precious items that were found, beautiful paintings, wall plaster (even parts of complete walls) and mosaics have no exact provenance because, at this stage, there was no way of identifying exactly where they were digging in relation to anything else. There was not a lot of interest in the actual location of the finds, other than to pinpoint the area in the hope of finding more. The early excavators were only interested in finding treasures, paintings, golden, silver or bronze objects, and mosaics; all of these destined for the King’s new royal museum at Portici.
The King also only wanted prestigious and unique items, once too many objects or paintings of the same type had been found, many of them were destroyed on the walls, or thrown down and broken into the earth. Many of the paintings were not considered good enough, and they too were defaced. Nothing that could be stolen or used elsewhere was allowed to remain complete, thereby keeping the value and the uniqueness of the ones in the royal possession.
However, some of these items were given away to visiting dignitaries, and in that way were spread around the Courts of Europe, but always making sure the ones held by the King, were the best. These now are the world-famous paintings and items held in the Naples Museum.
It is thought that VII.16.22 (the House of Fabius Rufus) was to be found on the Irace property, as well as the Houses at VI.17.42, VI.17.41, VI.17.32-36, up until VI.17.23-25.
The Cuomo property must have been to the north of this, the most notable finds from here came in April and May 1760 when a painted frieze of tondi with busts of the gods representing the days of the week, the months and the seasons were removed in several sections from a large room which was painted with a yellow background.
According to Pagano –
in VI.17.9/10, (Casa della Danzatrice or Casa di Diana I) paintings and mosaics found on 12th and 26th November 1763, were from “Fondo Cuomo”, described as from Masseria de Natale Adevico.
See Pagano M., 1997. I diari di scavo di Pompei, Ercolano e Stabia di Francesco e Pietro La Vega (1764-1810). Roma, (p.17).
From the properties at Insula Occidentalis, the excavators moved south-east towards the area of VII.6.3. and VII.6.38, (these also being under the Irace property).
UNKNOWN PROVENANCE but from Insula Occidentalis.
Insula Occidentalis, Pompeii. May 2024. Photo courtesy of Klaus Heese.
No.11,
fresco with travelling musicians. (1st century AD). (Affresco con musici ambulanti
(I sec. d.C).
On display in exhibition in Palaestra
entitled – “L’altra Pompei, vite comuni all’ombra del Vesuvio”.
No.10 below, flute made of bone and sheet bronze. (1st century AD), from I.12.6.
Insula Occidentalis, Pompeii. March 2024. Photo courtesy of Giuseppe
Ciaramella
No.11, fresco with travelling
musicians. (1st century AD). (Affresco con musici ambulanti (I sec.
d.C).
On display in exhibition in Palaestra entitled – “L’altra Pompei, vite
comuni all’ombra del Vesuvio”.
No.10 below, flute made of bone and sheet bronze. (1st century AD), from I.12.6.
Insula Occidentalis, Pompeii. October 2022.
Narcissus looking at his reflection in the water with a cherub at his side. Photo courtesy of Klaus Heese.
Photographed in an exhibition in the Palaestra 2022.
The information card at the exhibition only said –
“Narcissus looking at his reflection in the water and a cherub. Fresco, 1st century AD, Pompeii, Insula Occidentalis.”
According to Mastroroberto –
This painting of Narcissus (76 x 73 cms) may have the inventory number 17739.
See Pompei - Picta Fragmenta, exhibition catalogue 1997-98 curated by P.G. Guzzo, (p.122, no.74).
Insula Occidentalis, Pompeii. April 2022.
Narcissus looking at his reflection in the water with a cherub at his side. Photographed in an exhibition in the Palaestra 2022.
Photo courtesy of Giuseppe Ciaramella.
Paintings found under the Cuomo property
Pompeii Insula Occidentalis. Tondi (round medallions) found in May 1760 in the same room at Cività.
The information on the tondi given by AdE 3, p. 257-263 was quite detailed.
“A room was found in May 1760 in the excavations of the City whose walls were all painted yellow, and around these walls, at the height of about 1.58m from the ground, the tondi were painted, and other tondi:
- Placed in order on a wall were the seven tondi of the days of the week, which luckily were found in their entirety, as here you see recorded, with all the fascia of the plaster, which also was entirely preserved in the original painting:
- The tondi of the other walls were for the most part missing in the plaster, or totally lost their colour:
- In order that it is worthwhile, the drawings of the broken off fragments, that are observed here, unified or divided, are precisely as are the original pieces of the plaster.”
For more of this detail see our pictures below.
See Antichità di Ercolano: Tomo
Terzo: Le Pitture 3, 1762, pl. 50, pages 257 -263.
See PAH 1, 1,106-8, 19th April to 2nd May 1760.
Pompeii
Insula Occidentalis. October 2023.
Medallions
showing the days of the week, found beneath the Cuomo property, inv, 9519. Photo
courtesy of Giuseppe Ciaramella.
On display in “L’altra MANN” exhibition, October 2023, at Naples Archaeological Museum.
Pompeii Insula Occidentalis. Medallions showing the days of the week, found beneath the Cuomo property.
According to Grasso, this one large fragment which was found intact shows the divinities of the week.
See Bragantini, I & Sampaolo, V (eds).
2009. La Pittura Pompeiana, (Electa),
(p.530-1)
Now in Naples Archaeological Museum. Inventory number 9519.
From the left starting with Sabato (Saturday):
Greek: Cronos, Helios, Selene, Ares, Hermes, Zeus,
Aphrodite.
Roman: Saturno, Sole (sun), Luna (moon), Mars, Mercury, Giove, Venus.
Italian: Sabato, Domenica, Lunedi, Martedì,
Mercoledì, Giovedì, Venerdì.
English: Saturday, Sunday, Monday, Tuesday, Wednesday, Thursday, Friday.
According to Wikipedia, the order of the days was Sun, Moon, Ares, Hermes, Zeus, Aphrodite, and Cronos, named after the heavenly bodies that presided over the first daylight hour of each day, according to Hellenistic astrology. From Greece the planetary week names passed to the Romans and from Latin to other languages of southern and western Europe, and to other languages later influenced by them. See Wikipedia - Names of the days of the week
According
to Pagano and Prisciandaro, this was found 26th April - 2nd May 1760, in the
same room as 9518, 9520, and 9521. (PAH,1, 106)
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p.33)
Pompeii
Insula Occidentalis. October 2023. Description card for inv. 9519
and 9518. Photo courtesy of Giuseppe Ciaramella.
Pompeii
Insula Occidentalis. October 2023.
Two
medallions showing personification of Seasons, Summer and Autumn, inv. 9518. Photo
courtesy of Giuseppe Ciaramella.
On
display in “L’altra MANN” exhibition, October 2023, at Naples Archaeological
Museum.
Pompeii Insula Occidentalis. Calendar of seasons made of two medallions, found beneath the Cuomo property.
Left shows Summer with a kalathos (vase) in the left hand. Right shows Pan or a faun representing Spring.
Now in Naples Archaeological
Museum. Inventory number 9518.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p. 532)
According to Pagano and
Prisciandaro, this was found 26th April - 2nd May 1760, in the same room as
9519, 9520 and 9521. (PAH, 1, 106)
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p. 33).
Pompeii
Insula Occidentalis. October 2023.
Two
medallions with personification of deities and months, Vulcan (September) on
left, and Bacchus (October), on right.
Photo courtesy of Giuseppe Ciaramella.
On display in “L’altra MANN” exhibition, October 2023, at Naples Archaeological Museum.
Pompeii Insula Occidentalis. Calendar of seasons made of two medallions, found beneath the Cuomo property.
On the left, Vulcan in Phrygian cap (September) and on the right, Dionysus with crown of ivy (October).
Now in Naples Archaeological Museum. Inventory number 9520.
According to Grasso, these two separate medallions have been inserted into one picture-frame.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p. 533)
According to Pagano and
Prisciandaro, this was found 26th April - 2nd May 1760, in the same room as
9518, 9519 and 9521. (PAH, 1, 106)
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p. 33).
Pompeii Insula Occidentalis. October 2023. Description cards for inv.
9520 and 9521. Photo courtesy of Giuseppe Ciaramella.
Pompeii
Insula Occidentalis. October 2023. Seven
medallions with personifications of months and seasons.
Now in Naples Archaeological
Museum. Inventory number 9521. Photo courtesy of
Giuseppe Ciaramella.
On display
in “L’altra MANN” exhibition, October 2023, at Naples Archaeological Museum.
Pastiche of calendar of the months made from 4 separate fragments making 7 medallions, found beneath the Cuomo property.
From the left the pieces are
1: Genius Augusti, a youth in yellow cloak holding a rake, elderly person with yellow clothes and covered head.
2: Head of Diana with crescent moon.
3: Giove with long sceptre and Venere.
4: Naked youth with crown of vine leaves and swollen mantle of seasonal fruits.
According to Grasso these represent:
Agosto, Settembre, Gennaio, Febbraio, Novembre, Luglio, Aprile e Settembre.
(August, September, January or February, November, July, April and September.)
The fragments were detached from a wall in Pompeii in May 1760 and would have been part of a medallion frieze with blue backgrounds, in a room with walls painted in yellow ochre.
The picture frame contains four fragments which make up the seven medallions.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p. 530-1)
According to Pagano and
Prisciandaro, this was found 26th April - 2nd May 1760, in the same room as
9518, 9519, and 9520. (PAH,1,106)
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p.33)
From a nearby room came the painted medallions of the young man with a scroll and a young woman with a stylus, the “Sappho”.
Pompeii Insula Occidentalis.
Architectural scene, found 17 May 1760, beneath the Cuomo property.
Now in Naples Archaeological Museum. Inventory number 9709.
According to Grasso, these two architectural painted panel-ends would have had the function of separating the central panel of the wall from the side panels, the mythological painting of Andromeda and Perseus would have been displayed in the middle of the central panel. Found in the centre of the side panels would have been the medallions with the painting called “Sappho” and the youth with the scroll.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.524-5)
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 May 1760.
Pompeii Insula Occidentalis.
Architectural scene found 17 May 1760 beneath the Cuomo property.
Now in Naples Archaeological Museum. Inventory number 9710.
According to Grasso, these two architectural painted ends would have had the function of separating the central panel of the wall from the side panels, the mythological painting of Andromeda and Perseus would have been displayed in the middle of the central panel. Found in the centre of the side panels would have been the medallions with the painting called “Sappho” and the youth with the scroll.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.524-5)
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 May 1760.
Pompeii Insula Occidentalis.
Pastiche of fragments from the same room, found 17 May 1760, beneath the Cuomo property.
Now in Naples Archaeological Museum. Inventory number 9866.
According to Grasso, these fragments of painted plaster were detached from the same room as the two previous paintings, and then inserted into one frame.
The top fragment showed three ships in a false sea-battle. Originally it would have been seen at the top of the architectural panel-ends.
The fragment underneath belonged to the lower part of one of the architectural panel-ends
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.525)
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 May 1760.
Pompeii Insula Occidentalis. October 2023.
Sappho or young woman with
tablet and stylus, found beneath the Cuomo property on17th May 1760.
On display in “L’altro MANN”
exhibition, October 2023. Photo courtesy of Giuseppe Ciaramella.
Pompeii Insula Occidentalis. Found 17th May 1760.
Sappho or young woman with tablet and stylus, found beneath the Cuomo property.
Now in Naples Archaeological Museum. Inventory number 9084.
According to Grasso, this medallion found in June 1760 is one of the most noted frescoes of the Naples Museum.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.526-7)
According to AdE, it was found with the medallion showing the youth with a scroll (9085).
See Antichità di Ercolano: Tomo
Terzo: Le Pitture 3, 1762, p. 237, Tav. 46.
Pompeii Insula Occidentalis. Found 17th May 1760. Youth with scroll, found beneath the Cuomo property.
According to Grasso, along with the Sappho picture, this picture decorated the middle area of a side panel with a white background, of an elegant wall painted in the IV Style.
Now in Naples Archaeological
Museum. Inventory number 9085.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.528)
According to AdE, it was found with the medallion showing the woman with tablet and stylus (9084).
See Antichità di Ercolano: Tomo
Terzo: Le Pitture 3, 1762, p. 237, Tav. 46.
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 May 1760.
Pompeii Insula Occidentalis. Found 24th May 1760. Casa della Saffo?
Perseus and Andromeda with the head of Medusa, (found in the ‘vicinity’ of the medallions).
Now in Naples Archaeological
Museum. Inventory number 8995.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.528)
See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, p. 63-9, pl. 7. (Found Cività 24th June 1760)
According to Pagano and Prisciandaro, this was found on the 24th May 1760.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 34-5.
See PAH, 1, 109-110, 24 May 1760.
Pompeii Insula Occidentalis. AdE says found 24th June (PAH says 24th May) 1760 at Civita.
Perseus and Andromeda with the head of Medusa.
See Antichità di Ercolano: Tomo
Terzo: Le Pitture 3, 1762, p. 63-9, pl. XII.
Pompeii Insula Occidentalis. Found beneath the Cuomo property 17th May 1760. Hunt scene.
Predella of a side panel in the centre of which were the medallions 9084 or 9085.
Now in Naples Archaeological Museum. Inventory number 8804.
According to Grasso, this fragment showed a hunting scene with two lions attacking two goats.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.529)
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 May 1760.
Pompeii Insula Occidentalis.
Found beneath the Cuomo property 17th May 1760. Hunt scene. Predella from below the central panel, found beneath the Cuomo property.
Now in Naples Archaeological Museum. Inventory number 8805.
According to Grasso, this fragment also showed a hunting scene.
The fragment is not from the same wall from which the architectural views (9709 and 9710) were taken.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.529)
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 May 1760.
By July 1760, the excavators had returned to the Irace property and by the last months of 1760, the excavators were once more in the Cuomo property, (according to PAH 1,1,115-7, 2nd August – 6th September 1760, excavations took place on the properties belonging to De Fillipis, Imperato, and Balzano (also known as the Cuomo/Balzano property – Balzano was the tenant at this time), but when the “pickings” dwindled to a stand-still, attention was once more turned southwards towards the Irace property, where they discovered the atrium of the house where the statue of Diana had been found (VII.6.3).
According to Parslow, “further tunnelling in this area over the next year led to more spectacular finds, (VII.6.38 lararium PAH 1, 1, 133 6th June 1761, and VII.6.7 large garden painting of Venus, PAH 1, 1, 140 6th March 1762) and eventually led to a shift towards open-air trenches as the preferred means of excavating this area.”
See Parslow, C.C. (1998). Rediscovering Antiquity: Karl Weber and the Excavation of Herculaneum, Pompeii and Stabiae. UK, Cambridge UP
In mid-December 1762 excavations resumed on the Cuomo property where an ancient paved street had been found.
In September 1763, the north side of the Herculaneum gate was found, affirming the importance of the street.
As a consequence of this, the gate’s facade and the three tombs situated immediately outside were not reburied and so became the first Pompeian monuments left permanently exposed.
On the 11th February 1764, at the Masseria of Natale Adevico, in the vicinity of the ancient Gate, two rooms were found together with 13 fragments of fallen plaster.
(According to a report from Weber to Alcubierre, these were from the fondo Cuomo).
See Pagano, M. (1997). I Diari di Scavo di Pompei Ercolano e Stabiae di Francesco e Pietro La Vega (1764-1810). Rome, L’Erma di Bretschneider, (p.18)
According to Pagano and Prisciandaro, some of the fragments are shown below, and they provenance these fragments from VI.17.9-10, together with others found there in August 1778. By March 1764, the Villa of Cicero was also being excavated.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p. 45)
Pompeii Insula Occidentalis. Above a garland of grapes are the busts of two Bacchantes.
One is dressed in white and is playing a double flute.
The other is dressed in yellow and is playing the cymbals.
Now in Naples Archaeological Museum. Inventory number 9266.
See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 461.
Pompeii Insula Occidentalis. Above a garland of grapes are two female musicians.
On the left are two fragments, where amongst the vines a goat is grazing, and a panther/tiger is walking.
See Real Museo Borbonico: vol. VII,
1831, tav. 22.
See Antichità di Ercolano: Tomo
Setto: Le Pitture 5, 1779, p. 22.
Pompeii Insula Occidentalis, or Villa of Cicero? Fragments framed in the same frame.
Now in Naples Archaeological
Museum. Inventory number 9926.
Tigre con rami e frutti in campo nero. Tiger with branches and fruits on black background.
Vaso coricato in campo nero. Vase on black background.
Due pigne, rami e fiori in campo nero. Two pinecones, branches and flowers on black background.
Pompeii Insula Occidentalis. Fragments with black background, framed in the same frame.
Now in Naples Archaeological
Museum. Inventory number 9926.
See Antichità di Ercolano: Tomo
Setto: Le Pitture 5, 1779, p. 54.
Pompeii Insula Occidentalis. Found 11th February 1764. Pastiche of painted plaster fragments.
Now in Naples Archaeological Museum. Inventory number 9915.
According to Pagano and Prisciandaro, a fragment of 0.11m square, half an eagle with wings outstretched, is inventory number 9915.
They give the reference AdE VII, 24, 107.
Several other fragments are in the same frame.
A four-legged animal painted on a black background.
Basket with two tied ribbons and flowers, painted on a coloured background.
Two panthers that seem to have been gilded, on a coloured background.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici
del regno di Napoli. Naples: Nicola Longobardi, p. 45.
See Antichità di Ercolano: Tomo
Setto: Le Pitture 5, 1779, p. 107.
Pompeii Insula Occidentalis. Found 11th February 1764. Pastiche of fresco fragments.
Now in Naples Archaeological Museum. Inventory number 9885.
According to Pagano and Prisciandaro, a fragment of 0.11m square, parrot on coloured background, is inventory number 9885.
They give the reference AdE VII, 19, 85.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici
del regno di Napoli. Naples: Nicola Longobardi, p. 45.
See Antichità di Ercolano: Tomo
Setto: Le Pitture 5, 1779, p. 85.
According to Pagano and Prisciandaro, the paintings/drawings below were found in VI.17.9-11,
(Note: however, in Helbig (numbers 1159 and 1402), he described it as from Pompeii, Farm/land di Irace, presumably from the south side of Via Consolare, the question being was VI.17.9-11 under the property of Irace or was it under the property of Cuomo?).
14th July 1764, PAH I, 1, 157:
We continue to excavate in the house mentioned in the last report, where we have found two portions of painted plaster that decorated the same wall of a room.
The first: the zoccolo that was on all of the wall had a black background, in the middle was shown a woman with mantle and crown of flowers on her head, she held a thyrsus in her left hand and a disc/circle in her right hand, below her was a painted panel of a small landscape. Above this decoration was a painting (that had been transported from another place by the ancients, and which had only recently been stuck to the plaster) in which various figures were seen. (Helbig 1402, Ornati I, tav.21 or tav.30).
VI.17.9/11, or Irace at VI.17.00. Painting
of family greeting a winning hero followed by several warriors.
See Gli ornati
delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame:
1796, tav. 21.
See Gli ornati
delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame:
1838, tav. 30.
Described as -
Pl.30 “Famiglia che si prostra ad un eroe vincitore
seguito da diversi guerrieri: parete incisa dal Cepparoli”.
(Family
greeting a winning hero followed by several warriors: wall incised by
Cepparoli.)
VI.17.9/11, or Irace at VI.17.00. Pre-1843.
Drawing by Abbate of wall, as above.
See Raccolta de più interessante Dipinture e di più
belle Musaici rinvenuti negli Scavi di Ercolano, di Pompei, e di Stabia.
1843. Napoli.
VI.17.9/11, or Irace at VI.17.00. Pre-1838.
Drawing by Abbate of detail of central painting, as above.
See Gli ornati
delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame:
1838, pl. 30 detail.
The second (see, Note 226, below): also on a black zoccolo like the other painting, in the middle of which was woman with butterfly wings in the act of flying, totally clothed other than her arms, with a crown on her head and pendants in her ears, carrying in her right hand a basket of flowers and a branch in her left hand. The said woman rested inside a doorway, which was surrounded by two thyrsi and various branches. Remaining above the zoccolo, we see, as in the other on a red background, two pedestals at the extremities, both of which hold a portion of column between which, above the zoccolo, stood a vase. (NAP 8600, AdE VII, 16, 75).
(Note: 226 – Masseria Irace, 14 July 1764 – This wall with described painting was reported in a volume of Ornati delle pareti e pavimenti, published in 1808. PAH I, addendum 149).
VI.17.9/11, or Irace at VI.17.00. Same
as other drawings below.
See Duban F. Album de dessins d'architecture effectués
par Félix Duban pendant son pensionnat à la Villa Medicis, entre 1823 et 1828:
Tome 2, Pompéi, pl. 109.
INHA Identifiant numérique NUM PC 40425 (2)
https://bibliotheque-numerique.inha.fr/idurl/1/7157
« Licence Ouverte / Open Licence » Etalab
VI.17.9/11,
or Irace at VI.17.00. As below and above.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, Tav. 16, p. 75.
VI.17.9/11, or Irace at VI.17.00. Same
as below by Poirot. (Candelabra added to above drawing)
See Raccolta de più interessante Dipinture e di più
belle Musaici rinvenuti negli Scavi di Ercolano, di Pompei, e di Stabia.
1843. Napoli.
VI.17.9/11, or
Irace at VI.17.00. 1826 drawing by P-A Poirot.
See Poirot, P. A., 1826. Carnets de dessins de Pierre-Achille Poirot. Tome 2 : Pompeia, pl. 79.
See
Book on
INHA Document
placé sous « Licence
Ouverte / Open
Licence » Etalab
21st July 1764, PAH I, 1, 158:
In the same house we have found a plaster in the same disposition to the other already described in the report of 14th July, with a picture in the middle of the zoccolo, which shows a woman, crowned with flowers and holding a bucket and a basket of flowers. (NAP 8514, ADE VII, 79, 353).
Above the zoccolo, amongst columns, we see a beautiful painting that contains 9 figures, which we could see, similarly, to have been brought from another place. (Helbig 1159, Ornati I, 1796, pl. 20)
VI.17.9/11, or Irace at VI.17.00. 1796
painting by Vanni described as Admetus and Alcestis or Iphigenia in Tauris.
See Gli ornati
delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame:
1796, pl. 20.
In Ornati, 1838, pl. 29, it was described as “Ifigenia
in Tauride”, Quadro pregevolissimo pel soggetto eper la composizione: parete
incisa dal Campana.”
See Gli ornati
delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame:
1838, pl. 30.
According
to Grimaldi – this painting was from Masseria Irace, VII.6, a painting of
Admetus and Alcestis
Now
in Naples Archaeological Museum, inventory number SN 16.
See
Grimaldi, M. (ed): The Painters of Pompeii, MondoMostre, Rome,
(p.114/115, no.24).
28th July 1764, PAH I, 1, 158:
In the aforementioned podere of D. Giacomo Irace, we have found two black zoccolo, in line with the past reports of the 14th of July.
One, with decoration similar to the second zoccolo mentioned in the report of 14th July. In the middle was a flying figure, who carried a stick in the left hand, and some flowers in the right hand. (NAP 8514, 8516, ADE VII, 79, 353, Ornati I, 1796, pl. 21.)
VI.17.9-11 Pompeii or Via Consolare. One zoccolo at the top, and the second below. ADE VII, 79, 353.
28th July 1764, PAH I, 1, 158 (cont’d from above):
The other, not different to the other, other than the figure in the middle which was a of a nude woman carrying flowers in her hands. (NAP 9318).
Above the first zoccolo, the plaster was very faded and we were only able to distinguish a winged celebrity on a red background. (NAP 8951).
Above the second zoccolo the plaster was also nearly all ruined, nothing remained other than the head of a man with a garland of flowers, on an equally red background. (NAP 9846).
According to ADE, VII, LXXIX (79), p.351-2:
“This painting, on a black background, was of a supreme delicacy, and finish. In the upper panel the frame was white; the band under the frame was yellow; and the shield was green, from which the branches come out, which were also green with white flowers; and the birds were red.
The band, which comes next, was red with white stripes.
The niche outside, and the dolphins, and the other ornaments above, are yellow; the tholos and the dome inside were green; and green again were the garlands/festoons; the side rods were yellow, with green foliage, and with white florets; the base of the niche was red.
The Cupid had green wings, blonde hair; the cloth hanging from his arm was red; the fronds with which he was crowned seem to be of pine; and he held the pedum in one hand, and the panpipes in the other."
(Questa pittura, in campo nero, era di una
somma delicatezza, e finitura. Nel riquadro superiore la cornice era bianca; la
fascia sotto la cornice era gialla; e verde era lo scudetto, ond’escono i
ramuscelli, i quali son verdi anch’essi co’fiori bianchi; e gli uccelli son
rossi.
La fascia, che vien dopo, era rossa con
liste bianche.
La nicchia al di fuori, e i delfini, e gli
altri ornati al di sopra, son gialli; il tolo, o sia la cupoletta al di dentro
era verde; e verdi ancora sono i festoncini; le bacchette laterali son gialle,
con fogliamo verdi, e con fioretti bianchi; il zoccolo della nicchia era rosso.
L’Amorino ha l’ali verdine, i capelli
biondi; il panno sospeso al braccio era di color rosso; le frondi di cui era
coronato sembran di pino; e tiene il pedo in una mano, e la siringa
nell’altro.)
“The painting below was in all respects similar to the one above.
The Psyche in the niche, which is recognized by the usual butterfly wings, had blonde hair encircled with fronds and flowers; had green clothing; and held a garland/festoon of fronds and flowers in the right hand, and in the left hand, a thyrsus intertwined with ribbons, and flowers.”
(Il riquadro di sotto era in tutto simile
a quel di sopra.
La Psiche nella nicchia, che si riconosce
alle solite ali di farfalla, ha il capelli biondi cinti di frondi, e fiori; ha
il panno di color verde; e tiene colla destra un festoncino di frondi, e fiori,
e nella sinistra un tirso intrecciato con nastri, e fiori.)
VI.17.9-11 Pompeii or Via Consolare. Painting with tholos, dolphins and winged cupid with a pedum.
Now in Naples Archaeological Museum. Inventory number 8516.
VI.17.9-11
Pompeii. Pre-1843. Drawing of several wall decorations by Abbate.
These
may or may not be from this house but look very similar.
See Raccolta de più interessante Dipinture e di più
belle Musaici rinvenuti negli Scavi di Ercolano, di Pompei, e di Stabia. 1843.
Napoli.
According
to Guidobaldi and Esposito -
“The
drawing of the “candelabra” on the left, is from the Villa of the Royal Stables
at Portici.”
Original
now in Naples Archaeological Museum, inventory number: 9762.
See Guidobaldi, M.P. and Esposito, D. (2013). Herculaneum, Art of a Buried City. Abbeville Press, New York, (p. 124).
(This has also been copied to VI.17.10, and to Via Consolare.)
Paintings found under the Irace property
By July 1760, the excavators had returned to the Irace property and removed a set of three panel paintings.
One was the myth of Phryxus and Helle, another was the Hermaphrodite and Satyr, and the third was the Three Graces.
From a nearby colonnaded garden (VII.6.3), came the marble statue of Diana on the 19th July 1760,
See PAH 1, 1, 113-4, add. 140, 19th July 1760.
VI.17 Ins Occ. Masseria d’Irace. Found 8th July 1760. Phryxus and Helle.
Now in Naples Archaeological Museum. Inventory number 8889.
However, according to Helbig, this was found under the Masseria di Cuomo, south (=west) side of Strada Consolare.
See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 1251.
VI.17 Ins Occ. Masseria d’Irace. Found at Cività on the 8th July 1760
See Antichità di Ercolano: Tomo
Terzo: Le Pitture 3, 1762, tav. IV, p. 19-23.
PAH 1, 1,
113, 12 Luglio 1760, said:
(Number 4.) de 25 on. por 22 on. (approx. 0.55m x 0.48m) - representa un
carnero con los cuernos a la frente, y sobre el carnero un hombre a caballo
desnudo, y con la mano izquierda esta abrazado al cuello del animal, y con la
derecha pareze tomar una muger de un rio, y el campo es de azul claro;
Add. 140 added:
12 Luglio - Pittura di Frisso ed Elle, un Satiro che scovre una Ninfa, le
tre Grazie. Lucerna di creta con suo stoppino ancora nel buco, trovata dentro
una pignatta, coverta come un incensiere.
According to Quaranta, it is a “Dipinto Ercolanese”
See Real Museo Borbonico, Vol. VI, 1830, Tav XIX.
According to Helbig, this was found under the Masseria di Cuomo, south (=west) side of Strada Consolare.
See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 1251, p. 266-7.
VI.17
Ins Occ. Pre-1843 drawing by Abbate of Phryxus and Helle. Found 8th July 1760.
See Raccolta de più interessante Dipinture e di più
belle Musaici rinvenuti negli Scavi di Ercolano, di Pompei, e di Stabia.
1843. Napoli, p. 85 of 260.
VI.17 Ins Occ. Masseria d’Irace. Found at Cività on the 8th of July 1760
Satyr discovering/uncovering a nymph or Hermaphrodite and Satyr,
Now in Naples Archaeological Museum. Inventory number 27691.
VI.17 Ins Occ. Masseria d’Irace. Found at Civita on the 8th July 1760
Satyr discovering/uncovering a nymph or Hermaphrodite and Satyr,
See Antichità di Ercolano: Tomo
Setto: Le Pitture 5, 1779, tav. 32, p.141-3.
PAH 1, 1, 113 said -
(Number 5.) de 25 on. por 22 on. (approx. 0.55 x 0.48m) - que representa un
pano extendido por tierra, y una muger echada sobre de ello con la boca debajo,
y sobre esta un satiro con los cuernos a la frente, y con la mano derecha
abierta esta como si fuese sorprendido, y con la izquierda tiene una punta del
mismo pano, sobre que esta la muger;
(Number 5.) This showed a cloth extended on the ground, and a woman face down on it, and above her is a satyr with horns on his forehead, and with the open right hand as if he were surprised, and in the left he has a tip of the same cloth, on which the woman rests.
VI.17.31 or 36 Pompeii? Found on 12 July 1760 below the Irace property.
Painting of the three graces.
This was found in VI Ins. Occ. and may have been from one of VI.17.31-36.
Now in Naples Archaeological
Museum. Inventory number 9231.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici
del regno di Napoli. Naples: Nicola Longobardi, p. 35.
See Antichità di Ercolano: Tomo Terzo, 1762, p. 57-61, pl. 11. (28th July 1760)
According to Mattusch, this may be from VI.17.31.
See Mattusch C., 2008. Pompeii and the Roman Villa. Thames and Hudson, p. 243.
VI.17.31-36 Pompeii? Found on 12 July 1760 below the Irace property. Painting of the three graces.
See Antichità di Ercolano: Tomo Terzo, 1762, p. 57-61, pl. 11. (28th July 1760)
PAH 1, 1, 113
said -
(Number 6.) de 25 on. por 22 on. - representa tres mugeres desnudas, la del
medio tiene abrazadas las otras dos, y las de los lados tienen abrazado la del
medio, y con la otra mano una palma, y es en campo azul claro, y todo es en
campo rojo.
(Number 6.) approx. 0.55 x 0.48m - represents three nude women, the central woman has embraced the other two, and the two at the sides have embraced the woman in the middle, and with their other hand hold a palm, and it is in light blue, and set in a red field.
Irace property Pompeii. Predella of Aeneas and Romulus and small figurines on a black background, found 21 June 1760.
Now in Naples Archaeological Museum. Inventory number 8588.
(Found with another 5 paintings, see report of 21st and 28th June in PAH, 1, 1, 111-112).
Irace property Pompeii. Egyptian landscape.
Now in Naples Archaeological Museum. Inventory number 9503.
According to Pagano & Prisciandaro, found 12/7/1760, with other paintings.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p.34-5)
(Probably from under the Irace property as it was listed with the others from there, but the excavations could have been carried out in more than one location under the Irace property, at the same time).
Irace property Pompeii. Landscape with man tending four animals
See Antichità di Ercolano: Tomo
Setto: Le Pitture 5, 1779, tav. 2, p. 7.
According to PAH 1. 1. 113 -
(Number 3.) de 19 on y ½ pr 11 on. - che representa otro paysote y una pequeña
figura de hombre bestido y sentado, que pareze mirar quatro animales;
(Number 3.) approx. 0.43 x
0.24m - which represents another landscape with the small figure of a dressed
and seated man, who watches over four animals.
Irace property Pompeii. Architectural landscape.
Now in Naples Archaeological Museum. Inventory number 9438.
(probably from under the Irace property, as were listed with the others from there).
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p. 34-5)
According to Spinazzola these were from IX.12.4 and found around 1912.
See Spinazzola V., 1953. Pompei alla
luce degli Scavi Nuovi di Via dell’Abbondanza (anni 1910-1923). Roma: La
Libreria della Stato, Vol.2, p.719, fig.690.
Found
during excavations in 1764 “Nel podere di Irace”
(According to Pagano &
Prisciandaro, these may have been from VI.17. (Ins.Occ)
25?).
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p. 48-50)
8th September 1764 – 5
painting found. (See PAH, 1,1,160).
·
A zoccolo/dado of a room with red background, in
the middle of which was a duck, and in the side parts were two Satyrs inside
two doors, on which there were two landscapes with various figures. NAP 9747,
9749, (Ade VII, 72, 323) (NR 1234, 1235).
Irace property, Pompeii. Pre-1779.
Part of a painting described above, as a Satyr inside a doorway with landscape above.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, (Tav. LXXII, p. 323)
·
A square panel which showed a mask. (NR 1240)
(see Note 1)
· A painting in which one could see a young child with a bent knee, throwing water into a basin with a jug which he held in his hand, and a deer that is in the act of drinking. NAP 9215, (AdE, VII, 60, 269), (NR 1246), (MB X, 6), (Helbig 795).
Irace property, Pompeii. Pre-1779.
Painting showing the Genius of Diana to whom the deer was sacred, described above as a young child giving a drink to a deer.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, (Tav. LX, p. 269).
·
Another showing a “flying” figure with red
mantle swirling above a blue tunic, carrying a club with the right hand that
was leaning against the shoulder, and holding a mask in the left hand. NAP
8847, (AdE VII, 20,93), (NR 1248), (Helbig 877).
Irace property, Pompeii. Pre-1779.
Painting showing a flying/floating figure carrying a tragic mask.
According to AdE, described as –
A woman on a white background,
carrying a club and a tragic mask, with a light blue mantle, with tunic which
reached to the wrists, iridescent between red and blue, and also with blue
shoes. It might show the Muse Melpomene.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, (Tav. XX, p. 93).
Another square panel showing a
“flying” griffin/horse. NAP 9957, (NR 1239).
(Note 1 –
NAP 9788, (NR 1242, 1241) showing Masks, could have come from the same room).
15th September 1764 – 13
paintings found. (See PAH, 1,1, p.161-2).
· Painting of a “flying” nude child, with a cloth around his shoulders, with a stick in his left hand and a basket on his right arm, leading a goat (NR 1244)
· Painting of another “flying” nude child with his left hand leading a deer pulling a cart. NAP 9226
· Painting of another “flying” nude child holding a goat with his right hand. (NR 1243, Arditi said it was very faded/perished)
· Painting of a woman in the air, dressed in a green mantle and shoes. (NR 1249)
· Painting of another woman in the air, with a yellow tunic, mantle and shoes of turquoise. (AdE VIII, 20. 93)
Irace property, Pompeii. Pre-1779. Painting of another flying/floating figure.
According to AdE, described as –
In the other companion painting crowned only with laurel, wearing a tunic mainly of yellow but with the inside at the neck in a purple/blue colour, and with green shoes: it might show the Muse Polyhymnia
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, (Tav. XX, p. 93).
· Painting of a small landscape of the sea and other buildings. NAP 9481.
· Painting showing a centaur in the act of a playing a lyre and a youth in front of him. (NR 1238)
Irace property, Pompeii. Pre 1796. (also entered at VI.17.25?, but perhaps from VI.17.32-36).
Painting of a wall with a
central painting of Chiron
playing his lyre to Achilles, the wall decorated with arabesques, figures and
several animals.
See Gli ornati delle pareti ed i pavimenti delle
stanze dell'antica Pompei incisi in rame: 1838, no. 48.
Also, in Gli
Ornati, 1808, pt.2.
Also, in Gli Ornati,
1796, pt.1.
According to PAH,
“un quadro che rappresenta un centauro in atto di suonare la lira, ed
avanti a questo un fanciullo, il campo era d’aria. Sifatto dipinto era molto
simile a quello pubblicato dagli Accademici Ercolanesi nel vol.1 delle pitture,
rappresentante Chirone ed Achille, benché molto inferiore a quello nel merito,
oltre all’essere molto patita: si riconobbe questa pittura essere stata
trasportata da altro luogo, e posta sul muro dove era stata trovata,
dall’unione che vi si osserva intorno.”
(Trans: "A painting
representing a centaur in the act of playing the lyre, and in front of him a
young person, the background was in the open air. This painting was very similar to that
published by the Herculaneum Academics in vol.1 of the paintings, representing
Chiron and Achilles, although much inferior than that of merit, in addition to
it having suffered: it was recognized that this painting had been transported
from another place, and placed on the wall where it had been found, from the
join that is observed around it."
See Fiorelli G., 1860. Pompeianarum
antiquitatum historia, Vol. 1: 1748 - 1818, Naples, Pars Prima, p.161-2.
1828
painting by Raoul Rochette of a wall with a
central painting of Chiron playing his lyre to Achilles.
1843
drawing of a wall with a central painting of Chiron
playing his lyre to Achilles.
15th September 1764 – cont’d
· Painting of two figures, one sitting, totally nude, with garland of flowers and fronds in his hair, in the act of talking to the other who is standing dressed in a mantle, and under the left arm carried a shepherd’s crook (pedum). The background is empty. NAP 9032 and see 1871 sketch below.
Podere di Irace. Painting by
Gregorio Mariani, 1871. A poet giving
instructions to an actor. (Helbig 1456)
DAIR: Pompeji
Wandmalerei 34, p. 117. Photo © Deutsches Archäologisches Institut, Abteilung
Rom, Arkiv.
See Fiorelli G., 1860. Pompeianarum antiquitatum historia, Vol. 1:
1748 - 1818, Naples, 1,
15th September 1764, Podere di Irace, no. 8 out of 13 pictures found.
At the top is a note "Napoli
Museo Nazionale – Parete XXXV"
The original wall painting is now
in Naples Archaeological Museum. Inventory number 9032.
(Note: A very similar drawing by A.
Aureli can be seen in IX.3.5, Helbig 1455, and MANN 9038)
15th September 1764 – cont’d
· Two masks (not identified).
· Painting of a bird, which seems to be a swan with open wings and above this, a small arch or canopy coloured yellow, the background was red. NAP 9649, 9642
· Two paintings of which they show portions of zoccolo/dado which in the middle have a mask placed in a doorway above which is a landscape.
In the remains of the plaster was a pedestal and above this, some columns with cornices, on which posed a griffin, and between the columns a vase with handles could be seen. NAP 9936, 9940.
29th September 1764 – 14
paintings found. (See La Vega, 20)
· Portion of plaster from a room, with its zoccolo/dado, in the middle of which was a painting with three figures, the main one being a man wearing a garland sitting on a bed; the second was a woman nearly all nude other than her legs and turning towards the man; the other figure was also a woman standing behind the bed; this painting was on a rough plaster, and from the side parts another two figures could be seen, with various columns and panels, in one of which was a paper and pen, and in another panel there were two open books: the zoccolo/dado was with a black background, and in the middle was a panel with some fruit, and on the sides two pedestals and various birds. NAP 9731 (NR 1311) MB XIV, 22.
· Painting showing two figures – the first of a man lying on a bed talking to a woman. (We know the ancients had searched to take this painting, as all around it we can see the plaster had been cut). NR 1285.
· Painting showing three figures, one of a young man on a bed and the other two were women talking amongst themselves. NR 1286
· Painting showing a “flying” woman dressed in a blue mantle holding a cloth in her hands, which she makes into an arch around her head, the background was yellow. NAP 9287 (AdE VII,15,71) Helbig, 930.
Podere di Irace. Pre-1779. Painting of another flying/floating figure.
According to AdE, described as –
A winged woman, which can be seen in this painting with a yellow background, with blonde loose hair; the pink wings fading to white; the tunic of iridescent colour between light red and green; and the cloth which made an arch on the head was a peacock blue colour.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, (15,
p.71).
· Painting of a nude “flying” child playing two pipes; the background was yellow. (NR 1291)
· Three, showing countryside landscapes (NAP 9463, 9415 (AdE VII,3,13, 29,91), (NR 1290, 1292)
VI.17.25 Pompeii? Found on 29th September 1764 along with 14 other pictures in the Masseria di Don Giacomo Irace.
Wall painting of country scene.
Now in Naples Archaeological
Museum. Inventory number 9415.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples : Nicola Longobardi. (p. 48-9).
(Pagano & Prisciandaro list this as from VI.17.25?, but was this under the Irace property?)
Wall painting of country scene.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, p. 13.
VI.17.25 Pompeii?
Wall painting of an architectural landscape. Now in Naples Archaeological Museum. Inventory number 9416.
This may or may not have been found in this house.
According to Lucio Rocco –
“9415 and 9416 – The two paintings provenanced from the same wall are united, as well as by the subject of river landscape with buildings among trees, by the shape of the frame with short curved sides.”
According to the index (p.544), these are from Casa del Leone, VI.Ins.Occ.25 (?).
See La Pittura Pompeiana, ed by Irene Bragantini and Valeria
Sampaolo, (p.402-3)
VI.17.25 Pompeii? Wall painting of an architectural landscape.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, p. 19.
VI.17.25? Pompeii. Found on 29th September 1764 along with 14 other pictures in the Masseria di Don Giacomo Irace.
Wall painting of boats and fishermen and buildings.
Now in Naples Archaeological
Museum. Inventory number 9463.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples : Nicola Longobardi. (p.48-9).
(Pagano & Prisciandaro list this as from VI.17.25?, but was this under the Irace property?)
29th September 1764 (cont’d)
· Painting showing the usual countryside, NAP 9432.
· Painting showing a countryside landscape above which was an eagle on a garland, the background was black. NAP 9712 (AdE VII, 77, 345)
Podere di Irace. Pre-1779. Painting, according to AdE described as –
The background of this painting was dark red; the Eagle, the garland, and all the architecture was yellow;
the landscape with sea view, boats and fishermen was natural.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, (Tav. LXXVII, p. 345).
· Two, in each of which was a garland on which posed a bird and above was a canopy, with a black background. NAP 9743, 9740
· Painting of a door, in the middle of which was a goat, the background was black. NAP 8807
· Painting of an eagle with open wings, on a black background (NR 1260)
6th October 1764 – 9 paintings found in one room, (See La Vega, 20-21)
(perhaps also provenanced from
the same room might be NAP 9745 (or NR 1394) – “a frieze
with a red background decorated with various compartments, arabesques and a
small painting with fish" (frieze of IV style).
·
Two,
both similar, in each of which were seen 5 doors, with the one in the middle
containing a woman wearing a mantle and with a garland on her head and thyrsus
in her hand, in the doors on either side were “flying” masks, and in each of
the other two doors two children could be seen; between these doors were
various decorations of flowers and panels (NAP 9872, 9873 (or NR 1393, 1391)
(note 1, below).
·
Two,
each showing a landscape painting, and with various decorations around, with a
peacock (NAP 9639, 9766, (or NR 1261, 1263) or AdE VII, 78, 349) (note 2,
below).
Podere di Irace. Pre-1779. Painting, according to Ade described as –
The background of this painting was also red: the architecture above was yellow, and likewise the garlands were yellow, and all the ornaments. The lines were all white: the landscape was painted natural: the peacock was white; the other bird was a yellow colour.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, (78,
349).
· Painting of 3 doors, with the one in the middle showing a woman with a thyrsus in her hand, and in the two side doors were “flying” masks, the remainder was decorated with various panels and branches (NAP 9748 (or NR 1392)
(NOTE: The 5 paintings above were parts of a zoccolo/dado and had a red background).
· Painting of a nude man, holding a stick in his right hand, and a basket in his left hand; the background was white (NAP 9139 (or NR 1255)
· Painting of another nude man, holding a stick in his right hand above his shoulders, from which hangs an animal (NAP 9115 (or NR 1256)
· Two, each one showing two children, on a white background (NAP 9227 (or NR 1288) AdE VII,1,4.
According to Pagano and Prisciandaro –
(Note 1 – certainly provenanced from the same room, were NR 1389, 1390)
(Note 2 - perhaps provenanced from the same rooms, were NAP 8673, 8671, (NR 1269, 1276, 1279).
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples : Nicola Longobardi. (p. 49)
27th October 1764 – 7 paintings found. (See La Vega, 22).
· A woman wearing a mantle on a black background (NAP 9650 or NR 1254)
· Two, in one a goat, and on the other a sheep, both on a black background (NR 1297)
· A seahorse, on a black background (painting not identified).
· A rooster, on a blue background (NR 1296)
· A siren, on a black background (NAP 9158 or NR 1295)
· A door, in the middle of which was a mask, and under this was a landscape painting (NR 1284)
3rd November 1764 – 1 painting, (NAP 9688 and Helbig 1541) which was the zoccolo (dado) of a room, in the middle of which was a painting with some sea animals. on each side of it was a herm, and at the side of each herms was a paintings with views of the sea, and some boats …..(wrote Paderni).
(See La Vega, 23)
VI.17.25 Pompeii? Zoccolo painting found on 3rd November 1764.
Now in Naples Archaeological Museum. Inventory number 9688.
(Pagano & Prisciandaro list this as from VI.17.25, but was this under the Irace property?)
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 50.
According to CulturaItalia, this is a marine scene on a black plinth with three white bordered interior frames.
The central frame has a marine bull and a centaur with a lobster body.
The side frames have scenes with pygmies that are barely legible.
Between the frames there are two herms with satyrs with crowns of foliage and wearing short tunics.
The left satyr has a cup in his left hand and a stick placed on the right shoulder.
The right satyr has a patera in his right hand and a stick resting in his left shoulder.
See CulturaItalia - Mostri Marini
VI.17.25 Pompeii? Top painting - Zoccolo painting found on 3rd November 1764.
Painted
in Naples Museum, August 1832, by Charles Auguste Questel.
See Charles-Auguste Questel (1807-1888) Voyage
en Italie et Sicile. Août 1831 - novembre 1832, pl. 42/120.
INHA
identifiant numérique : NUM MS 512. Document placé sous « Licence Ouverte / Open Licence » Etalab
VI.17.25 Pompeii? Detail of small pygmy figures from left end of zoccolo painting found on 3rd November 1764.
VI.17.25 Pompeii?
Detail of left side herm like satyr holding a cup in the left hand and a stick or staff on the right shoulder.
From zoccolo painting found on 3rd November 1764.
VI.17.25 Pompeii? Detail from centre of zoccolo painting found on 3rd November 1764.
Sea bull and centaur with the body of a lobster.
The lobster appears to be holding a weapon and fighting but the remaining part of the painting is lost.
VI.17.25 Pompeii?
Detail of right-side herm like satyr holding a patera in the right hand and with a stick on the left shoulder.
From zoccolo painting found on 3rd November 1764.
VI.17.25 Pompeii? Detail of small pygmy figures from right end of zoccolo painting found on 3rd November 1764.
10th November 1764 – 6 paintings (NAP 9643, 9644, 9645, 9647, 9648, 9692) –
(all similar, which showed an ornament, and above this was a bird on a black background)
(See La Vega, 23).
Plans Bonucci Excavations Paintings found under the Cuomo property Paintings found under the Irace property