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VI.7.9 Pompeii. House of Tullius. Linked to VI.7.8, VI.7.10, VI.7.11, VI.7.12.

Excavated 1825, 1835. Restored 1976. (Strada di Mercurio 32)

 

VI.7.9 Pompeii. May 2005. Entrance.

VI.7.9 Pompeii. May 2005. Entrance doorway.

 

VI.7.9 Pompeii. March 2009. Entrance doorway in centre. According to Della Corte, there were four paintings on the external pilasters, Minerva, Mercury and attributes of the Fortuna, group of Daedalus and Pasiphae, and a parade in honour of Minerva and Daedalus. He thought this proved that here was a carpenter’s workshop, and annexed dwelling. On the ground floor, encumbered by the operations of a carpentry workshop and by the deposits of raw wood, there was no place for a dwelling. This was located on the upper floor, accessible by steps. Due to the electoral recommendation written on the north (right) side of number 9, Della Corte concluded the proprietor’s name could have been Tullius – Tullius facit [CIL IV 214] See Della Corte, M., 1965. Case ed Abitanti di Pompei. Napoli: Fausto Fiorentino. (p.52 (VI.7.8-12) According to Epigraphik-Datenbank Clauss/Slaby (See www.manfredclauss.de) CIL IV 214 read as - Vedium Siricum quinq(uennalem) Tullius faci[at]

VI.7.9 Pompeii. March 2009. Entrance doorway in centre.

According to Della Corte, there were four paintings on the external pilasters, Minerva, Mercury and attributes of the Fortuna, group of Daedalus and Pasiphae, and a parade in honour of Minerva and Daedalus.

He thought this proved that here was a carpenter’s workshop, and annexed dwelling.

On the ground floor, encumbered by the operations of a carpentry workshop and by the deposits of raw wood, there was no place for a dwelling.

The dwelling would have been located on the upper floor, accessible by steps.

Due to the electoral recommendation written on the north (right) side of number 9, Della Corte concluded the proprietor’s name could have been Tullius –

Tullius facit    [CIL IV 214]

See Della Corte, M., 1965.  Case ed Abitanti di Pompei. Napoli: Fausto Fiorentino. (p.52 (VI.7.8-12)

 

According to Epigraphik-Datenbank Clauss/Slaby (See www.manfredclauss.de) CIL IV 214 read as -

 

Vedium Siricum

quinq(uennalem) Tullius faci[at]    [CIL IV 214]

 

VI.7.9 Pompeii. March 2009. Looking west from entrance along entrance corridor or fauces.

VI.7.9 Pompeii. March 2009. Looking west from entrance along entrance corridor or fauces.

 

VI.7.9 Pompeii. March 2009. South wall of fauces.

VI.7.9 Pompeii. March 2009. South wall of fauces.

 

VI.7.9 Pompeii. March 2009. North wall of fauces with entrance to stairs.

VI.7.9 Pompeii. March 2009. North wall of fauces, with entrance to stairs.

 

VI.7.9 Pompeii. March 2009. North wall of fauces. Stairs.

VI.7.9 Pompeii. March 2009. North wall of fauces, with stairs to upper floor.

 

VI.7.9 Pompeii. March 2009. Looking west from entrance corridor or fauces towards attrium.

VI.7.9 Pompeii. March 2009. Looking west from entrance corridor or fauces towards attrium.

 

VI.7.9 Pompeii. May 2005. South side of atrium, with doorway to cubiculum with two windows, and doorway to south ala.

VI.7.9 Pompeii. May 2005.

South side of atrium, with doorway to cubiculum with two windows, and doorway to south ala.

 

VI.7.9 Pompeii. May 2005. West wall of south ala, with niche with small painting of the head of the Gorgon. According to Frohlich and Giacobello, on the west wall of the atrium, was a niche with a painted mask on a white background. A painted lararium was also documented but of this there is no trace, according to them. See Fröhlich, T., 1991. Lararien und Fassadenbilder in den Vesuvstädten. Mainz: von Zabern. (L63, Picture 34,1) See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari in ambito domestico. Milano: LED Edizioni. (p.242) According to Sogliano, in the kitchen was a painted lararium of an altar and a serpent nearby. See Sogliano, A., 1879. Le pitture murali campane scoverte negli anni 1867-79. Napoli: (p.17, no.48). (The kitchen would have been on the north side, at the rear of the stairs, and has not yet been photographed). According to Boyce, Helbig wrongly assigned the shrine from VI.7.7, to VI.7.9 (see VI.7.7) See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14. (p.47, no.163, note 1)

VI.7.9 Pompeii. May 2005. West wall of south ala, with niche with small painting of the head of the Gorgon.

According to Frohlich and Giacobello, on the west wall of the atrium, was a niche with a painted mask on a white background.

A painted lararium was also documented but of this there is no trace, according to them.

See Fröhlich, T., 1991. Lararien und Fassadenbilder in den Vesuvstädten. Mainz: von Zabern. (L63, Picture 34,1)

See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari in ambito domestico.  Milano: LED Edizioni. (p.242)

According to Sogliano, in the kitchen was a painted lararium of an altar and a serpent nearby.

See Sogliano, A., 1879. Le pitture murali campane scoverte negli anni 1867-79. Napoli: (p.17, no.48).

(The kitchen would have been on the north side, at the rear of the stairs, and has not yet been photographed).

According to Boyce, Helbig wrongly assigned the shrine from VI.7.7, to VI.7.9 (see VI.7.7)

See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14. (p.47, no.163, note 1)

 

VI.7.9 Pompeii. December 2007. Niche in south ala, with head of the Gorgon.

VI.7.9 Pompeii. December 2007. Niche in south ala, with head of the Gorgon.

 

VI.7.9 Pompeii. December 2007. Painting of head of the Gorgon, in niche on west wall of ala.

VI.7.9 Pompeii. December 2007. Painting of head of the Gorgon, in niche on west wall of ala.

 

VI.7.9 Pompeii. March 2009. Exterior front façade on north side of entrance doorway.

VI.7.9 Pompeii. March 2009. Exterior front façade on north side of entrance doorway, with downpipe.

 

VI.7.9 Pompeii. December 2007. Pilaster between VI.7.8 and VI.7.9, which had the wall painting of the Procession of the Carpenters.

VI.7.9 Pompeii. December 2007. Looking north-west towards front façade.

The pilaster between VI.7.8 and VI.7.9 (left of center) had the wall painting of the Procession of the Carpenters.  

 

VI.7.9 Pompeii. December 2007. Pilaster between VI.7.8 and VI.7.9, which had the wall painting of the Procession of the Carpenters.

VI.7.9 Pompeii. December 2007.

Pilaster between VI.7.8 and VI.7.9, which had the wall painting of the Procession of the Carpenters.  

 

VI.7.9 Pompeii. Wall painting of the Procession of the Carpenters. Originally found on pilaster between entrances VI.7.8 and VI.7.9. Now in Naples Archaeological Museum. Inventory number 8991. See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel. (1480). According to Leach, figures of Minerva, Mercury and Daedalus painted on its exterior pilasters (6.7.8-12), as well as another painting of a procession advertising the craft of Daedalus under the protection of Minerva and Mercury, were taken by Mau as an indication that this was a Carpenter’s workshop. The sign showed 3 carpenters bearing a ferculum that included a figure of Daedalus and some workmen performing carpenters’ tasks. A dead figure lies before Daedalus’s feet: this may well be a reference to the nephew Perdix whom the legendary artisan murdered through jealousy for his invention of the rake. (PPM 4, p389-91, however, suggested that the sign indicated a perfumer’s shop that dealt in spices requisite to funeral rituals). See Leach, E.W: The Social Life of Painting in Ancient Rome and on the Bay of Naples.

VI.7.9 Pompeii. Wall painting of the Procession of the Carpenters.  

Originally found on pilaster between entrances VI.7.8 and VI.7.9.

Now in Naples Archaeological Museum. Inventory number 8991.

See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel. (1480).

According to Leach, figures of Minerva, Mercury and Daedalus painted on its exterior pilasters (6.7.8-12), as well as another painting of a procession advertising the craft of Daedalus under the protection of Minerva and Mercury, were taken by Mau as an indication that this was a Carpenter’s workshop.

The sign showed 3 carpenters bearing a ferculum that included a figure of Daedalus and some workmen performing carpenters’ tasks. 

A dead figure lies before Daedalus’s feet: this may well be a reference to the nephew Perdix whom the legendary artisan murdered through jealousy for his invention of the rake. 

(PPM 4, p389-91, however, suggested that the sign indicated a perfumer’s shop that dealt in spices requisite to funeral rituals).

See Leach, E.W: The Social Life of Painting in Ancient Rome and on the Bay of Naples.

 

VI.7.9 Pompeii. On the entrance pillar was a painting of Daedalus showing Pasiphae the wooden cow, See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel. (1207). See Real Museo Borbonico XIV, Ta. 1.

VI.7.9 Pompeii. On the entrance pillar was a painting of Daedalus showing Pasiphae the wooden cow,

See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel. (1207).

See Real Museo Borbonico XIV, Ta. 1.