FP4 Pompeii. East tomb 4 at Fondo Pacifico.

Tomb of Caesius, Titia, Lucius Caesius Logus, Titia Vesbina and Titia Optata.

Excavated 1886-7. This part of the site is now buried.

FP4 Pompeii. Detail from late 19th century photo.

According to Mau, the tomb is of interest as showing the result of an attempt to blend the arch type with that of the temple.

A passage roofed with a flat vault runs through the middle of the first storey.

The second story had the appearance of a diminutive temple with four Corinthian columns in front.

The niche representing the cella was of the full width of the tomb and occupied two thirds of the depth; the other third was given to the portico.

Four 1.85m to 2.10m high statues of tufa coated with stucco were found.

Three were statues of men, one an old man, one middle aged and one a youth and the fourth was of a woman.

See Mau, A., 1907, translated by Kelsey F. W. Pompeii: Its Life and Art. New York: Macmillan. (p. 433).

See Mau, A., 1888. Mitteilungen des Kaiserlich Deutschen Archaeologischen Instituts, Roemische Abtheilung Volume III, p. 181.

FP3 Pompeii left and FP4 right. Late 19th century photo.

See Mau, A., 1908. Pompeji in Leben und Kunst, Lipsia, 1908, p. 452, fig. 266.

FP4 Pompeii. 1888 plan of tombs FP1 to FP6 by Mau.

The arrangement of the five bust stones found in the vaulted passage is indicated on the plan.

At the rear under the second niche, were two stones, that on the left being larger and with female characteristics.

According to Mau, “We are probably safe in assuming that the two inmost stones, without names, are those of Caesius and Titia, who gave Logus, Vesbina, and Optata their freedom, and built the monument.

It was not necessary to place the names of the builders upon the commemorative stones, because they were doubtless given in the memorial tablet in front, which has disappeared.

Coins of Augustus and Tiberius were found in the urns.”

The three nearest the street entrance bore the names of the freedman and two freedwomen.

See Mau, A., 1907, translated by Kelsey F. W. Pompeii: Its Life and Art. New York: Macmillan. (p. 433).

See Mau, A., 1888. Mitteilungen des Kaiserlich Deutschen Archaeologischen Instituts, Roemische Abtheilung Volume III, p. 181.

FP4 Pompeii. In front of the two rear stones, nearer the left side than the right, was the stone of L. Caesius L. I. Logus.

'Lucius Caesius Logus, freedman of Lucius Caesius'.

See Notizie degli Scavi di Antichità, 1887, p. 34.

See Mau, A., 1907, translated by Kelsey F. W. Pompeii: Its Life and Art. New York: Macmillan. (p. 433).

See Mau, A., 1888. Mitteilungen des Kaiserlich Deutschen Archaeologischen Instituts, Roemische Abtheilung Volume III, p. 181.

FP4 Pompeii. In the vaulted passage, at the front to the left, under the first niche, was the cippus of Titia Vesbina.

See Notizie degli Scavi di Antichità, 1887, p. 34.

FP4 Pompeii. In the vaulted passage, at the front to the right was the cippus of Titia Optata, opposite that of Titia Vesbina.

Both Titia Optata and Titia Vesbina were evidently freedwomen manumitted by a lady named Titia.

See Notizie degli Scavi di Antichità, 1887, p. 34.

Pompeii FP3 left, FP4, FP5 and FP6. Late 19th century painting showing tombs and painted graffiti.

See Niccolini F, 1896. Le case ed i monumenti di Pompei: Volume Quarto. Napoli, Nuovo Scavi, Tav.1.

FP4 Pompeii. C.1890. Tomb, centre, shortly after excavation. Photo by Paul Bette.

Collection de l'Institut d'Archéologie classique de Strasbourg (fonds Michaelis) inventory number It.IV.A.c.46.

FP3 Pompeii left, FP4, FP5 and FP6 before reburial. Old undated photo. Two tombs were found in 1886 and a further four in the following year.

FP3 Pompeii left, FP4, FP5 and FP6 before reburial. Old undated photo. Tombs found in 1887.

Pompeii FP3 left, FP4, FP5 and FP6. 1899 drawing of tombs.

See Gusman P., 1899. Pompei: La Ville, Les Mœurs, Les Arts. Paris: Société française d'éditions d'art, p. 41.

FP4 Pompeii. Painted graffiti found on the façade to the right of the passage.

According to Epigraphik-Datenbank Clauss/Slaby (See www.manfredclauss.de) this read

Paris unio scaenae

aci[      [CIL IV 3867]

According to Cooley this translates as

Paris, pearl of the stage.

See Mau, A., 1888. Mitteilungen des Kaiserlich Deutschen Archaeologischen Instituts, Roemische Abtheilung Volume III. (p. 147).

See Cooley, A. and M.G.L., 2004. Pompeii: A Sourcebook. London: Routledge. (D66, p. 70).

FP4 Pompeii. Painted graffiti found on the façade to the right of the passage and in part on the corner column.

According to Epigraphik-Datenbank Clauss/Slaby (See www.manfredclauss.de) this read

Acti Dominus

scaenicorum va(le)       [CIL IV 5399]

According to Cooley this translates as

Actius, master of stage performers.

See Mau, A., 1888. Mitteilungen des Kaiserlich Deutschen Archaeologischen Instituts, Roemische Abtheilung Volume III. (p. 147).

See Cooley, A. and M.G.L., 2004. Pompeii: A Sourcebook. London: Routledge. (D64, p. 70).

FP4 Pompeii. Painted graffiti found on the left of the entrance.

Sogliano records this as

ACTI · A///////

POPVLI CITO

REDI VA

Acti a ....

populi cito

redi, va(le)    [CIL IV 5395]

Actius, love of the people, come back soon. Take care.

Mau comments, it is curious that graffiti abounds on this monument, while there is little on all the others.

He attributes this inscription to the well-known pantomime actor Actius Anicetus in which it seems for some time he had left Pompeii.

See Mitteilungen des Kaiserlich Deutschen Archaeologischen Instituts, Roemische Abtheilung Vol. III, 1888, p. 147.

According to Cooley, troupes of performers went on tour to different towns in Campania.

Actius Anicetus and his troupe of actors inspired a number of graffiti at Pompeii and he is also recorded at Herculaneum.

A monumental inscription from Puteoli (CIL X 1946) records one Gaius Ummidius Actius Anicetus as pantomime actor (a single actor who mimed the whole scenario), and it seems likely that this is the same actor.

The actor Paris is also acclaimed in a number of graffiti (and it even seems that some supporters of a candidate for election to local political office identify themselves as fans of the actor Paris).

More striking yet is the fact that the actor Norbanus Sorex was publicly honoured with two portrait busts in the town.

See Cooley, A. and M.G.L., 2004. Pompeii: A Sourcebook. London: Routledge, p. 70-1, D63-70.