VI.17.25 Pompeii. Casa del Leone or Casa di Polibio or House of Polybius. Also known as House with three floors. Linked to VI.17.23.
First excavated in 1764. New investigation 2019.
Damaged by bombing in 1943.
VI.17.23-26 was also known as Casa di Polibio, La Maison à trois étages, and Maison des cadavres moulés, see CTP II, p.268, and Fiorelli, below.
Fiorelli
Secondo Fiorelli -
“Segue un grandioso edifizio a tre piani, cui
fu imposto il nome di Casa di Polibio, da un programma che vi era scritto,
simile a quello riferito piu innanzi al numero 2.
Aveva sulla
fronte sei botteghe e due ingressi, il secondo de’quali (no.25) preceduto da
vestibolo, ch’era seguito dall’atrio tuscanico privo di stanze nei lati, e con
tablino nel fondo situato tra due fauci, di cui una con la scala pel piano
inferiore.
L’altro adito
minore (no.23) dava accesso ad un peristilio, circuente il giardino, e
contenente nei suoi ambulacri un grandiose triclinio, con apotheca allato, due
oeci, un cubicolo finestrato, ed una gradinata dalla quale montavasi ad altre
stanze superiori, e discendevasi parimenti nel piano sottoposto, ov’erano
visibili gl’impianti di molte stanze, e l’area di un grande orto con piscina
nel mezzo, circondato da portici.”
See Fiorelli, G.
(1875). Descrizione di Pompei,
(p.433-434)
See Pappalardo, U., 2001. La Descrizione di Pompei per Giuseppe Fiorelli (1875). Napoli: Massa Editore. (p.159).
(translation – According to Fiorelli, -
“Following was a large three-floored building, which was given the name of the House of Polybius, from a programma that was written there, similar to that reported previously at VI.17.2.
On the front, this building had six shops and two entrances, the second of which (VI.17.25) was preceded by a vestibule, which was followed by the Tuscan Atrium without rooms at its sides, and with a tablinum at the rear situated between two corridors, one with the stairs to a lower level.
The other minor entrance (VI.17.23) gave access to a peristyle surrounding the garden, its walkway containing a grandiose triclinium with small room/cupboard at its side, two oeci, a windowed cubiculum, and a staircase which went up to other upper rooms, and descended also to the floor below, where the arrangement of many rooms was visible, and a large garden area with pool in the middle surrounded by porticoes”.
Agyagfalva
Ein Haus in Ruinen, (eigentlich nur ein Hofraum), das
seine jetzige Benennung daher bekam, weil auf der Schwelle der
Haupteingangsthüre die Figur eines Löwen in Mosaik erscheint. Ich hatte diess
schöne Mosaik-Bild vor zwei Jahren fast noch ganz erhalten gesehen, vor einigen
Wochen aber erkannte ich kaum mehr die Spuren davon. Es ist wahrlich betrübend,
in diesem Heiligthume der Vorzeit allenthalben Merkmale muthwilliger, liebloser
Beschädigung anzutreffen. Gar manche Reisende, von einer unsinnigen Vorliebe
für das Allerthum eingenommen, suchen dieselbe durch Ausbröckelung und andere
Verletzungen der schönen Mosaik-Böden zu befriedigen, um mit Stückchen und
Spänchen davon ihre DuodezCabinete zu schmücken.
Neben diesem Hause führt abwärts ein gewölbter Gang zu
den Ruinen der Häuser, welche einst am Abhange des Hügels amphitheatralisch
gereihet waren.
Weiter südwärts, auf derselben rechten Seite der Straße,
siebt man die Häuser mit den Namen Julius, Aequanus und Suettius. Diese
Inschriften bestehen noch ganz, die Häuser aber nur in Ruinen. Weit besser sind
jene, (wie schon erwähnt), auf der linken oder östlichen Seite der Hauptgasse
erhalten. ........
(Translation
– according to Agyagfalva - Casa del Leone –
“A house in ruins (actually
just a courtyard), which got its current name from the fact that a mosaic lion
figure appears on the threshold of the main entrance doorway. Two years ago, I
had seen this beautiful mosaic picture almost completely preserved, but a few
weeks ago I hardly recognized any traces of it. It is truly sad to find in this
sanctuary of prehistoric times signs of wilful, unkind damage. Many travellers,
taken by a senseless predilection for all things, try to satisfy them by
crumbling and other injuries to the beautiful mosaic floors, in order to
decorate their unimportant collections with bits and pieces of it.
Next to this house, an arched
corridor leads down to the ruins of the houses which were once
amphitheatrically lined up on the slope of the hill.
Further south, on the same
right side of the street, you can see the houses with the names Julius,
Aequanus and Suettius. These inscriptions are still intact, but the houses are
only in ruins. The ones on the left or east side of the main street (as already
mentioned) are far better preserved. …………”
See Agyagfalva, Ludwig G von,
1825. Wanderungen
durch Pompeii. Wien: Mörschner und Jasper, (pp. 101-2.)
The
white building hidden behind the trees, on the skyline below Vesuvius, is
VI.17.27.
Behind
that, on its north side, hidden by the trees and bushes, below the slope, would
be the area of the portico of VI.17.25, as described below.
Photo
courtesy of Rick Bauer, from Dr George Fay’s slides collection.
Excavation in March – April 2019
Insula Occidentalis corresponds to the western sector of Pompeii, between Porta Ercolano and Porta Marina. The investigation area is concentrated in the area of Regio VI, in correspondence with the so-called Casa del Leone. From the first investigations it was possible to confirm the presence of a sizable portico located outside the line of the walls, in relation to the Casa del Leone, already investigated in the Bourbon era, of which traces had been lost, as it was partially hidden by the Bourbon spoil heap, as well as rooms with mosaics, never explored. This discovery provides new elements to the definition of the urban plan that characterized this side of the city with a system of house-villas close to the city walls, in a panoramic position towards the sea. The investigations are also aimed at identifying suitable access to the museum of organic finds to be built soon.
Scavi nel marzo – aprile 2019
L’Insula Occidentalis corrisponde al settore ovest
di Pompei, compreso tra Porta Ercolano e Porta Marina. L’area di indagine si
concentra nella zona della Regio VI, in corrispondenza della cosiddetta Casa del Leone. Dalle prime indagini si è potuta
confermare la presenza di un portico di considerevoli dimensioni posto
all'esterno della linea delle mura, in relazione alla Casa del Leone, già
indagato in età borbonica, del quale si erano perse le tracce, in quanto parzialmente
nascosto anche dal cumulo borbonico, nonché ambienti mosaicati mai esplorati.
Tale scoperta fornisce nuovi elementi alla definizione del progetto urbanistico
che caratterizzava questo versante della città con un sistema di case-villa a
ridosso della cinta muraria, in posizione panoramica verso il mare. Le indagini
sono finalizzate anche a individuare un accesso idoneo al museo di reperti
organici di prossima realizzazione.
Vedi http://pompeiisites.org/press-kit/nuovi-scavi-e-ricerche-nel-parco-archeologico-di-pompei/
VI.17.25/23 Pompeii. September 2017. Lowest level of the house, at the rear of VI.17.23.
Looking towards rooms on east side of portico at rear of house. Photo courtesy of Domenico Esposito.
VI.17.25/23 Pompeii. September 2017. Looking north across third and lowest level of the house.
The portico of the lower peristyle with remains of one of the columns can be seen in the centre of the above photo.
Photo courtesy of Domenico Esposito.
According to Luigi Cicala -
“This area of the building had been partially explored in the course of the second half of the 18th century, then reburied, and again brought to light by the workings of Maiuri.”
See Pompei Insula Occidentalis: Conoscenza
Scavo Restauro e Valorizzazione, ed by Greco, G; Osanna, M; Picone, R. (2020).
Rome – Bristol – “L’ERMA” di BRETSCHNEIDER, (p.533-4).
VI.17.25/23 Pompeii. September 2017.
Looking north-east towards walls of the lowest rooms near the lower peristyle.
Photo courtesy of Domenico Esposito.
VI.17.25/23 Pompeii. September 2017. Lower west side of house at rear.
Looking towards two windows in rear wall, and a vaulted room on the north side of the corridor, seen in the lower centre.
Photo courtesy of Domenico Esposito.
According to Luigi Cicala -
“The
development of the building on the hillside is characterised by a mighty
terracing wall in opus reticulata, a technique that also recurs in the upper
levels of the building. This structure, about 5.30m high, supports the second
level and reveals an organisation of construction that is not particularly
accurate …….”
See Pompei Insula Occidentalis: Conoscenza
Scavo Restauro e Valorizzazione, ed by Greco, G; Osanna, M; Picone, R. (2020).
Rome – Bristol – “L’ERMA” di BRETSCHNEIDER, (p.561-562).
VI.17.25/23 Pompeii. 1884. Plan showing lowest of the three floor levels.
See Overbeck J., 1884. Pompeji in seinen Gebäuden, Alterthümen und Kunstwerken. Leipzig: Engelmann. (p. 367 Fig. 180, part C).
The area shaded in yellow can be seen in the photo above.
VI.17.25/23 Pompeii. 1884. Plan showing the three floor levels.
See Overbeck J., 1884. Pompeji in seinen Gebäuden, Alterthümen und Kunstwerken. Leipzig: Engelmann. (p. 367 Fig. 180).
According to CTP, Mazois and Overbeck-Mau wrongly showed a doorway directly onto the street at VI.17.23 on the above plan, (see part A).
See Van der Poel, H. B., 1981. Corpus Topographicum Pompeianum, Part V. Austin: University of Texas. (p.307, note 1).
VI.17.25/23 Pompeii. Cross section of house showing the
three levels.
See Piranesi, F, 1804.
Antiquités de la Grande Grèce : Tome II.
Paris : Piranesi and Le Blanc, Tav LI.
VI.17.26, on lower left, 25, 24, 23, 22, 21, 20 and 19, on lower right Pompeii. c.1804.
Detail from plan, entitled “General plan of the continuation of the road, and the buildings adjacent (opposite) to the House of the Surgeon.
(Note: this house is usually described as being “opposite the House of Acteon”.)
See Piranesi, F,
1804. Antiquités de la Grande Grèce : Tome II. Paris : Piranesi and Le
Blanc, (Vol. II, Pl. XLIV).
VI.17.25/23 Pompeii. Plan showing from left to right entrances VI.17.26, 25, 24, 23, 22, 21, 20, 19.
According to Mazois -
One recognised in this vast house, on one side the public part, and on the other the private part where the domestic services were: two floors on terraces descended from the city to the ground level of the shore, which was not far away.
In order to avoid the multiplicity of plans, I have reunited the three floors in the same plan, but to distinguish them, I have indicated the upper part by a shade darker on the walls, and the rooms are designated by numbers; the floor below is just traced and shaded, and references are marked with capital letters; finally, at the level of the courtyard it is only punctuated and designed with cursive letters.
Key:
Upper part (unshaded)
1. Entrance doorway
2. Tuscan atrium
3. Impluvium
4. Tablinum, open onto the first terrace
5. Corridor, or passage linked to the terrace
6. Doorway of tablinum onto the terrace
7. Entrance to the passage or corridor A, with gentle ramp that descended from the street down to the lower floors
8. Another passage that seemed to serve as a communication of the private part with the lower part
9. Staircase up to the first floor from the street
10. Secondary entrance with two shops, where they sell the edible foodstuffs from the rural properties of the house owner.
11. Portico of the peristyle or private part of the dwelling with a pluteus or supporting wall between the columns, topped with flowers
12. Porter’s room
13. Courtyard of the peristyle
14. Several rooms
15. Communication from the peristyle with the terraces
16. Large triclinium
17. End of the passage 8 beneath the upper floor, and leading to a small courtyard E
18. Shops on the roadway (Via Consolare).
The second part (shaded), below the
previous, shows the following –
A. Passage which, by means of a gentle ramp, leads to the roadway
B. Room with a bath
C. Corridor linking with the apartments situated on one or the other side of this passageway
D. Passage in a gentle ramp leading from the interior of the house to the floor below
E. Small courtyard that was used by day
F. Baths
G. Baths rooms
H. Large room
I. Platform with steps to descend from room H onto the terrace O
K. Room
L. Room
M. Triclinium
N. Room
O. Terrace
P. Steps to descend from the terrace O to the terrace Q,
Q. Terrace established on a portico formed by columns of a lower height than those that support terrace O
R. and S. Stairs to descend to the level of the courtyard
t t. Underground baths, probably intended for the servants of the house;
Under the letter H. Shown with dotted lines, a large exedra or living room was recognized, which served as a living room during the summer.
V. Ground level peristyle garden with pool (shown on the plan but not explicitly identified by Mazois).
Different parts occupy the ground floor; but the ergastulum, or housing for the slaves is the most curious. Here one can recognize something of these spaces of underground prisons, where the Romans locked their slaves intended for the hard work. I never enter into these dark and humid dungeons, divided into small cells barely the length of a man, without experiencing a painful tightening of heart, in mind that these unfortunates had lived this sad asylum, that here they had suffered, and probably that the unhealthy place had shortened for them the days sentenced to work, misfortune and disdain. Nothing can give a more deplorable idea of the condition of slaves among the Romans, than the appearance of this place destined as their home.
The courtyard of the house probably had a view onto the shoreline, to which the building descended.
See Mazois, F., 1824. Les Ruines de Pompei : Second Partie. Paris : Firmin Didot. (p.72, pl. XXX.)
According to CTP, Mazois and Overbeck-Mau wrongly showed a doorway directly onto the street at VI.17.23 on the above plan.
See Van der Poel, H. B., 1981. Corpus Topographicum Pompeianum, Part V. Austin: University of Texas. (p.307, note 1).
For Jashemski’s description of gardens, see VI.17.23
See Jashemski, W. F., 1993. The Gardens of Pompeii, Volume II: Appendices. New York: Caratzas. (p.165 and plan)
VI.17.25 Pompeii. September 2021.
Entrance doorway to wide vestibule, with doorway into atrium. Photo courtesy of Klaus Heese.
VI.17.25 Pompeii. May 2005. Entrance doorway to wide vestibule.
According to PAH, 1, 1, 15th June 1780, (p.311) –
“Si continua a slargare la terra dal fianco
dell’abitazione gia scoperta, come nel passato rapporto.
Essendosi puliti li due gradi dell’ingresso
dell’abitazione gia scoperta, tra lo spazio del grado esterno all’interno vi e
il pavimento di musaico nero, di pal.15 ed on.9 di fronte per pal. 4 e 6
on. Nel mezzo di questo pavimento vi e
rappresentato un rettangolo con leone colorito in campo bianco; e di pal. 6 e 9
on. per pal. 3 ed 8 on.
Il grado esterno che vi esiste e di marmo bianco,
l’interno mancante dimostra che pure era dello stesso marmo”.
(translation – One continued to widen the soil at the side of the dwelling already discovered, as in the previous report.
Having cleaned the two steps of the entrance of the dwelling already discovered, between the space of the external step to the internal step, there was a black mosaic floor, approximately 4.15m in front, by 1.19m.
In the middle of this floor was a rectangle showing a coloured lion in a white background: it was approximately 1.78m by 0.97.
The external step that exists here is of white marble, the missing internal showed that it was of the same marble”.)
According to Fiorelli in PAH, 1, 15th June 1780, (Addenda, p.164) –
“Soglia dell’ingresso principale di un’abitazione
lungo la strada principale, sul margine della citta, con mosaico rappresentante
un leone:
questa trovasi dirimpetto a quella detta di
Atteone”.
(translation - The threshold doorstep of the principal entrance of a dwelling along the principal roadway on the edge of the city, with mosaic representing a lion: this was found opposite to that called “of Acteon”.)
VI.17.25 Pompeii. May 2011. Looking south into entrance vestibule. Photo courtesy of Michael Binns.
VI.17.25 Pompeii. March 2009. Remains of south side of vestibule and entrance corridor.
VI.17.25 Pompeii. March 2009. Looking west into site of atrium.
According to Garcia y Garcia, in 1943 a bomb fell down into the lower rear area and exploded.
It demolished some (at least two) of the dividing walls. The house has remained a complete ruin since.
See Garcia y
Garcia, L., 2006. Danni di guerra a Pompei. Rome: L’Erma di Bretschneider. (p.96)
VI.17.25 Pompeii. March 2009. Looking west across atrium towards site of tablinum and corridors to rear.
According to Breton – “One found on entering a vast atrium which had no rooms on its sides,
on the left is the modern wall of the school of archaeology,
on the right, the ancient wall is decorated with niches with marble shelves, 1.34m wide and only 21cm deep.
Beyond the entrance of the tablinum, everything had collapsed, but the enormous ruins indicated that this house, like all those on the same line, had two floors where one descended by a vaulted passage from the street and was also linked by a door with the atrium.”
VI.17.25 Pompeii. March 2009. North-west corner of atrium.
VI.17.25 Pompeii. March 2009. Remains of large marble clad niches on north side of atrium.
VI.17. 1 – 28, Insula Occidentalis, dated 9th January 1954, detail from RAF Aerial photo. Photo courtesy of Rick Bauer.
Starting from the right, the white reconstructed dwelling would be VI.17.27/8, House of the Skeletons, opposite the Vicolo di Mercurio.
On its left would be VI.17.25/26, opposite the House of Sallust, and next to that, on its left, would be the street level peristyle of VI.17.23, with a view of the remaining floors beneath which would have been visible then, all part of the House of the Lion.
On its left, divided by a wall, front to back, would be VI.17.17/16, the House of C. Ceio.
On its left, another dividing wall would separate VI.17.13, the House of C. Nivillio
On its left would be VI.17.10/9, the House of the Danzatrice or House of Diana I, with some of the rear remaining floors underneath no.10 which would have been still visible then, opposite the House of the Surgeon.
Then there is the small house at VI.17.5, the House of Popidius Rufus
On the left of the photo is the rear of the area from VI.17.1/2/3/4.
VI.17.9, on left with letter G, then 10, followed by 13, 16-17, and 23-25, on right.
Part of a plan by Francesco La Vega, c.1800-1810. Now in Naples Museum.
DAIR 76.1262. Photo © Deutsches Archäologisches
Institut, Abteilung Rom, Arkiv.
VI.17.9-27 Pompeii. Detail from 1827 plan by Ing.
del. R: Officio Topografico, Gaspare Marchesi.
Now in the Istituto Geografico Militare, Corpo di
Stato Maggiore, Sezione di Napoli, Cartella 82.24.
See Kockel V. 2005. Un capitolo dimenticato
della cartografia di Pompei Gaspare Marchesi e il Reale Officio Topografico di
Napoli:
Rivista di Studi Pompeiana 16, pp. 11-36.
According to the plan by La Vega, excavations began on 23rd January 1764, beginning in rooms, presumably on one of the lower levels, and specifically near to the peristyle. In this sector, the statue of the boy with the goose was found. The atrium, which was found 20th March 1764, corresponded to room 28 of the Giornale, appeared to be without any plaster decoration, "much of this courtyard had been discovered. The floor was of black mosaic, scattered with white stones regularly placed, with white band around: the basin for the water in the middle had not been found, but only the area where this would have been located: and a band all around with interweaving in various colours."
Fresco
of a wall showing a painting in the centre 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.
VI.17.25? Pompeii.
According to Pagano and Prisciandaro, this painting was found 15th September 1764, with 12 other paintings in “Podere di Irace”.
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), with reference to PAH, I, 1, 161-2.
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.
Si fatto 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 to that in 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.
(Note: this may or may not be from this house, perhaps from VI.17.32-36? or even from the area of the Temple of Isis or a nearby house.
See painting by Raoul Rochette, below.)
Although attributed by various sources to VI.17.25, the House of the Lion, or paintings from “Podere di Irace”, it should be pointed out that digging was taking place in various points in the city at the same time, so we have included them here and VI.17.32-36, and also in VI.17.00 under the Irace paintings, but with no specific provenance/location.)
1843
drawing of a wall with a central painting of Chiron playing his lyre to Achilles.
VI.17.25 Pompeii? C.1824?
This painting by Raoul Rochette is very similar to the above, but may even be from the Temple of Isis, or a nearby room.
See Fiorelli G., 1860. Pompeianarum antiquitatum historia, Vol. 1: 1748 - 1818, Naples, Pars Prima, p. 190 dated 19th July 1766.
According to Pagano and Prisciandaro, a painting was found 19th July 1766 –
3.“L’intonaco più grande dell’altro
stanzino era diviso egualmente da due compartimenti: nel mezzo dell’inferiore,
attorniato da una leggiera architettura e da alcuni ramoscelli, vi era un
quadro di circa 1 pal. e ½ con un Chirone, che insegna a suonare la lira ad
Achille, il quale non differisce dal già pubblicato nel I volume delle Antichità
di Ercolano.
4. Nel mezzo del compartimento superiore
vi era un giovane, che credo un bacco, nudo dalla mezza vita in sopra, coronato
di palme, che tiene con la sinistra un tirso, il destro braccio lo appoggia
sopra la testa, e sta assiso in un nobile sedile o letto con spalliera. Questa
figura viene compresa da un’architettura, sopra la di cui cornice vi era una
maschera,
5. dai lati vi sono due donne alate, una
che porta una canestra di fiore ed un festone, e l’altra, che porta una palma
ed un festone
(NAP 9204, AdE VII, 17, 79); il restante
del compartimento era tutto in campo bianco, viene coronato da architetture
grottesche e da ramoscelli e festoni, e da alcuni piccioli riquadri con
paesini, e vi sono sospesi de’ nastri, de’ corni, de’ cembali, a de’ canestri.”
(trans:
3."The larger stucco of the other room was divided equally by two compartments: in the middle of the lower, surrounded by a light architecture and some leaves/twigs, there was a picture of about 1 pal. and 1/2 with Chiron teaching Achilles to play the lyre, which does not differ from that already published in the first volume of the Antiquities of Herculaneum.
4. in the middle of the upper compartment there was a young man, who I believe to be Bacchus, naked from the middle waist upwards, crowned with palms, holding a thyrsus with his left hand, his right arm resting on his head, and sitting in a noble seat or bed with a back. This figure is included in an architecture, above whose frame there was a mask,
5. at the sides there are two winged women, one carrying a basket of flowers and a garland, and the other, carrying a palm tree and a garland (NAP 9204, AdE VII, 17, 79); the rest of the compartment was all on a white background, crowned with grotesque architectures and leaves/twigs and garlands, and with some small panels of landscapes, and there are ribbons, horns, cymbals and baskets suspended.”
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p.57), with reference to PAH, I, 1, 190.
VI.17.25 Pompeii. Fresco of maritime scene with villas, found 15th September 1764, with 12 other paintings in “Podere di Irace”.
Now in Naples
Archaeological Museum. Inventory number 9481.
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)
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, an architectural landscape. Now in Naples Archaeological Museum. Inventory number 9415.
This may or may not have been found in this house.
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).
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.
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.
This may or may not have been found in this house.
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).
VI.17.19-26 Pompeii.
Found in the week to 17th May 1783 in a room of a lower apartment. Mosaic of skeleton holding a jug in each hand.
Now in Naples Archaeological Museum. Inventory number 9978.
The parts of the walls that remained were painted black. In the middle was a red panel in which were painted some figures.
The room had a window with a threshold of ordinary white mosaic and here rested clearly a skeleton that held in each hand a jug made with black mosaic.
The floor of this room was of ordinary white mosaic with some black bands around it and many items of bronze, terracotta, glass, and bone were found here.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, (p. 80).
VI.17.19-26 Pompeii. Painting of Apollo instructing a female Citharist (muse?) while another woman listens while leaning on a low pillar.
Photo © Trustees of the British Museum. Inventory number 1867, 0508.1353.
See Richardson, L., 2000. A Catalog of Identifiable Figure Painters of Ancient Pompeii, Herculaneum. Baltimore: John Hopkins, p. 65, p. 67.
According to Fiorelli, 10th July 1783 -
“A painting was discovered in the plaster of a room, showing three figures, one of a sitting man with a woman, who was playing the harp on her lap, and the other woman was watching and listening in admiration.
The entire painting was 2 and three/quarters pal. by 1 and ten/twelfths pal (approximately 0.73m by 0.48m).“
See PAH, 1, 2, (p.16).
According to Pagano and Prisciandaro, the painting found on 10th July 1783, was found in a room near to the portico on a wall with a black background with painted architectural paintings above. The painting showed three figures, a man and a woman sitting on a seat, with a standing woman nearby, shown at the rear of the painting was a room with a window.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p.80).
According to La Vega, the 12th July 1783 –
(translation: we are working to lift the earth from outside the portico of the house noted in the preceding report, and also we have lifted a portion of earth from a room immediate to that portico. In this room, the portion of the façade excavated has plaster with a black background, with some grotesque architecture above: and in the middle there was a painting in which three figures were painted.)
See Pagano,
M.1997. I Diari di Scavo di Pompei,
Ercolano e Stabiae di Francesco e Pietro La Vega (1764-1810). L’Erma di
Bretschneider, (p.77): SAP book – Monografie 13.
According to BdI,
In una stanza piccola ma alta e coperta a volta
dell’infimo piano della casa detta di Polibio, decorata in una maniera affine
al terzo stile, esistono due quadri su fondo bianco, di cui nessuno, per quanto
io sappia, ha fatto menzione.
(And Note 1) – Mi era sfuggito questo passo della
PAH: 10 Luglio 1783 –“Si e scoverta nella tonaca d’una stanza una pittura che
esprime tre figure, una d’uomo sedente con una donna, che sonando l’arpa gli
siede in seno, e l’altra par di donna in atto di ammirazione……..” Non dimeno ritengo per certo che la figura
seduta sia femminile.
Il primo e più importante (alto m.0.64, largo
0.50) che sta sul muro sinistra, e assai svanito, ma grazie ai contorni
impressi nello stucco ancora molle si riconosce perfettamente non soltanto il
soggetto, ma purance il disegno ed il carattere della rappresentanza. …………..
(translation - In a small but high room and covered by a vault in the lowest floor of the house called “of Polybius”, decorated in a manner akin to the third style, there are two paintings on a white ground, of which no-one, as far as I know, has made any mention.
(And Note 1) – I had missed this passage in PAH: 10 July 1783 – "Found on the plaster of a room was a painting showing three figures, a man sitting with a woman, playing the harp sitting on her lap and the other woman showing admiration ........" I am not at all certain that the seated figure is female.
The first and most important (0.64 m high by 0.50 wide) which is on the left wall, and quite faded, but thanks to the outline impressed in the stucco, one can still recognise not only the subject, but the design and character of representation. …………
See Bullettino dell’Instituto di
Corrispondenza Archeologica (DAIR), 1875, (p.236)
According to Sogliano,
No.19-26, in una piccola stanza coperta a volta
dell’infimo piano della casa detta di Polibio, alto m. 0.64, largo 0.50.
Distrutto, perché caduto l’intonaco.
“A sinistra sta seduta una donna interamente
vestita e rivolta a destra che tiene in grembo una fanciulla con veste lunga,
alla quale insegna a suonar la cetra. ……..Un’altra fanciulla sta incontro a
tale gruppo avanti ad una base o altare ……… La figura principale e alta m.0.33.
Graziosa invenzione e composizione. E a deplorare che sia pressoché svanita,
dovendosene la descrizione ai contorni impressi nello stucco ancora molle.” (Mau).
(translation: In house no.19-26, in a small room covered with a vault of the lowest floor of the house called “of Polibius”. 0.64m high, 0.50 wide, Destroyed because the plaster fell.
“To the left is a fully clothed woman sitting and facing right holding a girl on her lap with long robe, who she is teaching to play the cithara. ……
Another girl is with this group next to a base or altar. ………
The main figure is 0.33m high. Gracious invention and composition. It is to be
deplored that it is almost vanished, owing the description to the impressed
outlines in the still soft stucco.” (Mau).
See Sogliano, A.,
1879. Le pitture murali campane scoverte
negli anni 1867-79. Napoli: Giannini. (p.132, no.645, “Musica”).
Continuation of BdI, 1875, (p.236-7) above,
La pittura del muro di fondo mostra una figura con
lunga veste che pare femminile e tiene sopra un altare la sinistra colla parte
interna in su e colle dita spiegate, mentre colla destra abbassata versa in
terra un liquido da un vaso non abbastanza riconoscibile. Non si può pensare a
Bacco colla pantera, perché quest’ultima manca decisamente.
(translation: The painting of the rear wall showed a figure with a long robe that seems feminine and held the left hand with the inside part upwards and with spread fingers, above an altar, while with the right hand lowered downwards towards the earth, poured a liquid from a vase, not easily recognisable. One cannot think of Bacchus with his panther, because the latter is significantly missing.)
See Bullettino dell’Instituto di Corrispondenza
Archeologica (DAIR), 1875, (p.236-7).
VI.17.19-26 Pompeii. Pre-1828. Drawing by Zahn, and described by him as –
Plate 70. Three people; one playing the lyre;……….
This painting was first, when I drew it, in the Portici Museum;
but it has belonged to the King of France for the past 3 years.
See Zahn, W., 1828. Die schönsten Ornamente und merkwürdigsten Gemälde
aus Pompeji, Herkulanum und Stabiae: I. Berlin: Reimer, Taf. 70.
VI.17.19-26 Pompeii. Painting, on right, by A. Chenavard of a wall in a room of the “Grande Rue” (Via Consolare).
It seems to us that this painting would seem to fit the description of the decoration in the room where the painting of the three people were found.
We have also included this painting in Via Consolare.
See Chenavard, Antoine-Marie (1787-1883) et al. Voyage
d'Italie, croquis Tome 3, pl. 121.
INHA Identifiant
numérique : NUM MS 703 (3). See Book on INHA
Document placé
sous « Licence Ouverte / Open Licence » Etalab
According to PAH –
“7th August 1783:
We have excavated the entire room in the underground area noted in the report of 17th July, (Note- correct date is 10th July) where we lifted the picture: this room had a floor of black mosaic with two small lines of white mosaic around its edges.
The zoccolo was painted black, and was decorated with yellow and turquoise with birds, fronds and flowers.
The background was also black and was divided by painted architectural columns and grotesques and in the middle of these paintings were figures and landscapes with trees.
In the corner of this room, 62 pans were found. Also found – Bronze …: Marble …: Terracotta …: At the rear, that is opposite this room, there was a niche made of stucco, which was decorated with bands and decoration of various colours, and in its vault, there was stucco relief.”
See Fiorelli G., 1860. Pompeianarum antiquitatum historia, Vol. 1: 1748 - 1818, Naples, 1,2 p.16 above.
According to BdI, 1875, above, the paintings in this room were found on a white background.
See Bullettino dell’Instituto di Corrispondenza Archeologica (DAIR),
1875, (p.236)
VI.17.23 Pompeii. Second (lower) peristyle. Marble fountain statuette of a boy with a goose.
Now in Naples Archaeological Museum. Inventory number 6111.
The marble fountain statuette of a boy with a goose reported as being from this house would have been a garden decoration.
See Jashemski, W. F., 1993. The Gardens of Pompeii, Volume II: Appendices. New York: Caratzas. (p.165, and plan)
See Carrella, A;
D’Acunto, L.A; Inserra, N and Serpe, C. (2008). Marmorea Pompeiana nel Museo Archeologico
Nazionale di Napoli; SAP no.26, p.101-102, and B37.
See Fiorelli, G. (1860): Pompeianarum Antiquitatum Historia, Vol 1, 1748-1818, (extracts included here).
Excavations
House at VI.17.19-26
According to Anne Laidlaw, “around 1775-76, the excavators were still moving from one side of the roadway (Via Consolare) to the other, so it is generally impossible to pinpoint just where they were digging, except that when the winter weather arrived, they went back to the tunnels in the so-called Villa of Cicero. By the late 1770’s they were also investigating the lower levels (sotterranei) of VI.17, Insula Occidentalis, where the houses were built over the ancient wall on the west side of the city.”
And “Having finished the lower levels of the House of Polibius/Leone (VI.17.25) by the end of 1783, La Vega returned to the House of Vestals and in the next 6 years cleared the rest of VI.1.”
See Laidlaw, A. & Stella, M.S. (2014). The House of Sallust in Pompeii (VI.2.4), Journal of Roman Archaeology, (p.22) and (p.26).
We have made a page on this website showing the some of the relevant paintings found in the Cuomo and Irace properties, but of which there is no known provenance, some of these can be seen at VI.17.00
Part 1 showing the paintings found under the Cuomo property, Part 2 showing the ones under the Irace property.
From the 1808 excavations, there is often mention of the “other House of Polybius” (Nell’altra abitazione detta di Polibio…).
See Fiorelli G., 1860. Pompeianarum antiquitatum historia, Vol. 1: 1748 - 1818, Naples, 1, 3, 1 below, mentioning “the other House of Polybius”.
These below are also entered at VI.17.36, as there seems some confusion as to which house they were found in.
Copy of PAH, 1, 3, page 1, mentioning “the other House of Polybius” (Nell’altra abitazione detta di Polibio…).
1808
“1-18th
Maggio 1808 – Il giorno 15 del corrente venne il Re a Pompei, ed in sua
presenza si scavarono due stanze e due botteghe appartenenti alla casa di
Polibio.
In una di queste stanze la fabbrica era alquanto
diroccata, ed il pavimento in musaico bianco e nero, con un quadro nel mezzo di
musaico colorito rappresentante la figura di Atteone; detto quadro era di circa
palmi due in quadro. Nell’altre stanze le pareti sono tutte dipinte con varii
arabeschi, e vi sono due quadri, uno con figura di uomo sedente con puttino,
l’altro con due figure sedenti una di uomo a l’altra di donna con puttino. Detti quadri sono di palmi 1 3/4 in quadro.
In questa stanza e nelle due botteghe si era trovato quanto segue –”
(translation – "1-18th May 1808 –
On the 15th day of the current month the King came to Pompeii, and in his presence they dug two rooms and two shops belonging to the House of Polybius.
In one of these rooms the structure was somewhat dilapidated, and the floor in black and white mosaic, with a picture in the middle of colourful mosaic representing the figure of Actaeon; this picture was approximately 0.53m square). In the other rooms the walls were all painted with various arabesques, and there were two paintings, one with a figure of a sitting man with a small cherub, (NAP inv. no: 9382, Helbig 1357), the other with two sitting figures, a man and a woman, with a small cherub. These paintings are approximately 0.46m square.
In this room and in the two shops, the following were found, (see list p.4-6) –”
See Fiorelli G.,
1860. Pompeianarum antiquitatum historia,
Vol. 1: 1748 - 1818, Naples, 1,
3, (p.4)
VI.17.25 (or perhaps VI.17.36 Pompeii – both known as House of Polybius). c. 1800-1824. Painting of Actaeon Mosaic by F. Morelli.
According to Niccolini, this was one of the most beautiful mosaics found at Pompeii.
Rather than worked in mosaic, this floor would be said to be exquisitely painted, so great was the symmetry and equality of its details; and although it doesn't offer more than a geometric design, still it does not have the coldness, but has all the warmth of a composition.
In the square in the middle, we see Actaeon turned into a deer, being attacked by the dogs of Diana.
See Niccolini F,
1890. Le case ed i monumenti di Pompei:
Volume Terzo. Napoli, L’Arte in Pompei, tav. XIII.
According to Sampaolo,
“Probabilmente poco tempo dopo lo scavo Morelli
esegui il disegno del mosaico rinvenuto in una stanza “alquanto diroccata”
della grande casa denominata “di Polibio” da un iscrizione elettorale.
............... Come tutto il resto delle abitazione disposte a schiera sulla
mura occidentali, messe in luce nel periodo murattiano, anche questa casa fu
risepolta e non risulta che ne sia stato distaccato l’emblema.”
(translation:-
Probably a short time after the excavation, Morelli made the drawing of the mosaic found in a room “somewhat ruined” of the large House, called “of Polybius” because of an electoral inscription. ………………………….. Like all the rest of the houses arranged in a row on the western walls, brought to light during the period of Murat, this house was also reburied, and it is not apparent that the emblema had been detached.”
See Sampaolo, V. In Carratelli, G., 2003. Pompei: la documentazione nell’opera di disegnatori e pittori dei secoli XVIII e XIX. Roma: Treccani, (p.98)
In view of the uncertainty, we have included this Morelli mosaic in both VI.17.25 and VI.17.36.
It is a pity that these beautiful houses on the western escarpment cannot be further investigated, rescued and restored.
VI.17.25 or VI.17.36, Pompeii. July
1826. Sketch by P.A. Poirot of part of the Acteon mosaic
See Poirot, P. A., 1826. Carnets de dessins de Pierre-Achille Poirot.
Tome 2 : Pompeia, pl. 77.
See Book on INHA Document
placé sous « Licence Ouverte / Open Licence » Etalab
VI.17.25 or VI.17.36,
Pompeii. Mosaic floor as drawn by
Antoine-Marie Chenavard, c.1817.
See Chenavard, Antoine-Marie (1787-1883) et al. Voyage
d'Italie, croquis Tome 3, pl. 102.
INHA Identifiant
numérique : NUM MS 703 (3). See Book
on INHA
Document placé sous « Licence
Ouverte / Open
Licence » Etalab
VI.17.25 or VI.17.32/36 Pompeii. Drawing by Francesco Morelli, of the short wall of a room. (1808).
Now in Naples Archaeological Museum. Inventory number ADS 1201.
Photo © ICCD. https://www.catalogo.beniculturali.it
Utilizzabili alle condizioni della licenza Attribuzione
- Non commerciale - Condividi allo stesso modo 2.5 Italia (CC BY-NC-SA 2.5 IT)
According to Bragantini, the wall reproduced here cannot be accurately identified, but is probably the one containing “the figure of a seated man with cupid”.
See Fiorelli G., 1860. Pompeianarum antiquitatum historia, Vol. 1: 1748 - 1818, Naples, I,
3, p.4.
The room was excavated 15th May 1808 in the presence of Giuseppe Bonaparte, and from 25th to the 30th November 1808, Morelli had applied himself to take the whole of the decoration.
VI.17.25 or 36 Pompeii. Painting of a sitting man with a small cherub.
Now in Naples Archaeological Museum. Inventory number 9382.
See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 1357.
VI.17.25 or 36 Pompeii. Old undated photograph of painting of a sitting man with a small cherub.
Now in Naples Archaeological Museum. Inventory number 9382.
See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 1357.
VI.17.25 or 36, Pompeii. Painting by Francesco Morelli, 1810, showing the long wall of a room protruding onto a peristyle.
Now in Naples Archaeological Museum. Inventory number ADS 435.
Photo © ICCD. https://www.catalogo.beniculturali.it
Utilizzabili alle condizioni della licenza Attribuzione
- Non commerciale - Condividi allo stesso modo 2.5 Italia (CC BY-NC-SA 2.5 IT)
According to Sampaolo, this painting is identified as being from Masseria Cuomo with the painting of Phrixus and Helle in the centre.
However she wrote that in 1810, Morelli could not have reproduced the entire wall faithfully with all its paintings, as it had already been detached.
See Sampaolo, V. In Carratelli, G., 2003. Pompei: la documentazione nell’opera di disegnatori e pittori dei secoli XVIII e XIX. Roma: Treccani, (p.99)
According to Laidlaw, the five objects now in the Naples Museum found in 1781 in VI.17.19-26,
a balance (Nap 74054),
a plaster relief from a vault representing two cupids and a herm (Nap 9580),
a bronze pitcher (Nap 68991),
a circular turreted brazier (Nap 73997),
and a small bronze base decorated with a cow (Nap 71063)
will all have come from the “sotterranei” (underground
area) in Ins.Occ. VI.17.19-26, similarly the coloured mosaic and a painting of
Phrixus and Helle, which was in the same room as the balance found the year
before, were also from these sotterranei.
The balance found 18th January 1781 was found in the sotterranei, and the bronze pitcher is from the entrance to the same room. The stucco relief came from a vaulted room nearby. The location of the mosaic and the painting of Phrixus and Helle, found in 1782 in the same vaulted room as the balance had been a year before (11th July 1782). The turreted brazier and the statuette of the cow were found in another underground room.
See Laidlaw, A. & Stella, M.S. (2014). The House of Sallust in Pompeii (VI.2.4), Journal of Roman Archaeology, (p.26).
Perhaps this painting by Morelli shows the wall from a vaulted room of a lower floor of VI.17.19-26, with the painting of Phrixus and Helle. Perhaps we will never know.
PAH,1,
2, 12, dated 11th July 1782.
We have finished evacuating the room noted in the report of
18th January 1781 and others. This room had a floor of white mosaic, with two
strips of black mosaic around it. The plaster had all fallen, except for the
corner of that room on the east (levante) side, (modern, now described as the
south side) where it existed; of this portion one can see a black zoccolo. The
middle of the wall with red panels, and with a yellow band where it formed the
corner, and in the centre of the side a panel with a white background. The
frieze was all white with some architecture and pleasant vases, and in the
centre of the rear side hangs a painting. Above the frieze near the
barrel-shaped ceiling, there is a blue area (nella parte del siesto della lamia a botte, vi era il campo turchino):
in the middle there is a seated figure similar to a Narcissus, and in the
distance towards the right there is a swimming figure. It was very ragged to
preserve it. (Si era fatto tutto
lacertate per conservarlo).
At the rear of this room are two basin/vats made of masonry for curing limestone (calce), above the mosaic floor, and some residue of limestone (calce) exists here.
Outside of these two basin/vats, the following was found….. (see PAH, 1, 2, page 12 which can be seen in VI.17.25, Pt.2, dated 11th July 1782 for full list of finds).
VI.17.25, or VI.17.36, Pompeii. From an
album by Roberto Rive, dated 1868.
Central part of the long wall of a room with
central painting of Phrixus and Helle. Photo courtesy of Rick Bauer.
VI.17.25, or VI.17.36, Pompeii.
Central
part of the long wall of a room with central painting of Phrixus and Helle.
Photo courtesy of Rick Bauer.
(Note: the painting is attributed to wall at Pompei, Maison des Vestales, which is located at VI.1.7 on the other side of the road).