Academic literature on the topic 'House of Menander (Pompeii)'
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Journal articles on the topic "House of Menander (Pompeii)"
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Mora, Laura, Paolo Mora, Giorgio Torraca, and Virginia Anne Bonito. "A coordinated methodology for the treatment and study of the peristyle garden wallof the House of Menander, Pompeii: an interim report." Studies in Conservation 31, sup1 (1986): 38–43. http://dx.doi.org/10.1179/sic.1986.31.supplement-1.38.
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Strocka, Volker Michael. "Roger and Leslie Ling: The Insula of the Menander at Pompeii. Vol. II: The Decorations." Gnomon 80, no. 5 (2008): 437–42. http://dx.doi.org/10.17104/0017-1417_2008_5_437.
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Molly Swetnam-Burland. "Encountering Ovid's Phaedra in House V.2.10–11, Pompeii." American Journal of Archaeology 119, no. 2 (2015): 217. http://dx.doi.org/10.3764/aja.119.2.0217.
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Jones, Rick, and Damian Robinson. "The making of an élite house: the House of the Vestals at Pompeii." Journal of Roman Archaeology 17 (2004): 107–30. http://dx.doi.org/10.1017/s1047759400008187.
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Curtis, Robert I. "The Insula of the Menander at Pompeii. Vol. 4, The Silver Treasure. By Kenneth Painter." American Journal of Archaeology 110, no. 1 (2006): 184–85. http://dx.doi.org/10.1086/ajs40026378.
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Bergmann, Bettina, and I. Victoria. "The Roman House as Memory Theater: The House of the Tragic Poet in Pompeii." Art Bulletin 76, no. 2 (1994): 225–56. http://dx.doi.org/10.1080/00043079.1994.10786585.
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Bergmann, Bettina. "The Roman House as Memory Theater: The House of the Tragic Poet in Pompeii." Art Bulletin 76, no. 2 (1994): 225. http://dx.doi.org/10.2307/3046021.
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Goldhill, Simon. "A Writer's Things: Edward Bulwer Lytton and the Archaeological Gaze; or, What's in a Skull?" Representations 119, no. 1 (2012): 92–118. http://dx.doi.org/10.1525/rep.2012.119.1.92.
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There are on display at Knebworth House two skulls excavated from Pompeii that are labeled with names of characters from Edward Bulwer Lytton's novel The Last Days of Pompeii. This article shows how the exhibition of these objects goes to the heart of changing Victorian discourses about the display of objects, especially skulls, the self-representation of authors, and the history of archaeology. It locates Bulwer's display between Scott at the beginning of the century and Freud at the end to show how notions of science, nationalism, and history provide the frames necessary to understanding this changing style of exhibition in the writer's workplace.
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Trentin, Summer. "REALITY, ARTIFICE, AND CHANGING LANDSCAPES IN THE HOUSE OF MARCUS LUCRETIUS IN POMPEII." Greece and Rome 66, no. 1 (2019): 71–92. http://dx.doi.org/10.1017/s0017383518000323.
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In the 1855 edition of his guide to Pompeii, the French artist and archaeologist Ernest Breton begins a chapter on the city's houses and shops with a print showing tourists in a grand Pompeian residence (figure 1). At the rear of an atrium with an enormous impluvium, a man contemplates a raised garden while a well-dressed couple approaches from the right. Behind them, in the roofless remains of the house, the garden's ancient sculptural display remains in situ; animals and deities inhabit a landscape dominated by a shrine-like niche, a pool, and pillars painted with trees. Deep shadows and encroaching vegetation set a romantic, melancholic mood. This is the House of Marcus Lucretius (IX.3.5), excavated less than a decade prior and, at the time, one of the ancient city's most famous sights. As is typical of nineteenth-century illustrations of Pompeii, the size of the house is exaggerated: while the decorative scheme and arrangement of the rooms is accurate, the garden is too highly elevated and too large in proportion to the figures. The atrium's disproportionate impluvium is a complete fabrication, the actual impluvium having been dismantled in antiquity. Despite the artistic licence, Breton and his imagined tourists follow the same path as ancient visitors to the house, drawn toward the garden and its sculptures by the manipulation of space and decoration.
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Ling, Roger. "A Stranger in Town: Finding the Way in an Ancient City." Greece and Rome 37, no. 2 (1990): 204–14. http://dx.doi.org/10.1017/s0017383500028965.
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My subject concerns the practicalities of finding one's way round an ancient city. What aids were there to guide a stranger in town? How did he trace a particular house or other destination? I propose to examine the problem with reference to one of the best known of all ancient cities, Pompeii.
Dissertations / Theses on the topic "House of Menander (Pompeii)"
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Allison, Penelope Mary. "The distribution of Pompeian house contents and its significance." [S.l. : s.n.], 1992. http://catalog.hathitrust.org/api/volumes/oclc/56968037.html.
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Maree, Inandi. "Conspicuous consumption in ancient roman domestic space : the house of the Faun, Pompeii." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/67790.
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The study considers the different forms of conspicuous consumption displayed
within Roman domestic spaces, with particular focus on the House of the Faun in
Pompeii. Sumptuary laws aimed at women were used to identify how women
displayed conspicuous consumption, which is used to identify the domestic display
of conspicuous consumption from early second century BCE until 79 CE when
Pompeii was destroyed.
The house and the woman were equated because both are extensions of the
paterfamilias. Thus, by firstly indicating that women in fact displayed conspicuous
consumption and by utilising sumptuary laws, it is possible to demonstrate that
conspicuous consumption was displayed in the domus even though no sumptuary
laws existed aimed at the domus. The structure of the house is analysed as if it were
women’s clothing and parameters for the basic layout of the house are established
to indicate how those displaying conspicuous consumption deviated from the basic
plan. In addition, parameters are similarly determined to analyse wall and floor art,
furniture and sculptures, gardens, and water features that determine how
conspicuous consumption was displayed in the House of the Faun.
The concept of conspicuous consumption has to be understood as well as the socioeconomic
circumstances under which it manifested during the Republic. The next key
concept is Roman women and how they were a vehicle for conspicuous display in the
private and public sphere. An analogy is created that equates the woman to the
house in order to identify certain forms of conspicuous consumption. After
identifying the ways women displayed status, the display of status in the domus is
discussed from the outside inward, in other words, from the architectural structure
moving inward to art, gardens and movable features.<br>Dissertation (MA)--University of Pretoria, 2018.<br>Ancient Languages<br>MA<br>Unrestricted
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Trentin, Summer Rae. "Pompeian peristyles: form, function, and meaning." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/5665.
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This dissertation expands upon previous analyses of the social functions of Pompeian domestic architecture by articulating the essential role of the peristyle garden in communicating the status of the homeowner while structuring the interactions of residents and visitors with the art and architecture both of the peristyle itself and with the house as a whole. Peristyles provided light, air, and circulation space for the home, but their aesthetic function was just as significant; embellished with painting, sculpture, fountains, and plants, peristyles were important centers of display. Although typically the largest and most lavishly decorated architectural space in a Pompeian house, the peristyle is often treated summarily in studies of Pompeian domestic architecture. This study fills a lacuna in scholarship, examining the architecture of peristyles in conjunction with the paintings, sculptural ensembles, and other features that adorned them. This synthetic approach to the material remains allows for an examination of peristyles as lived spaces rather than as collections of disparate decorative elements.
The dissertation is divided into four chapters, each focusing on a specific problem related to the design and function of peristyles. The first chapter presents the characteristic architectural and decorative features of true, or fully colonnaded, peristyles in Pompeian houses. The second chapter consists of two case studies of true peristyles that demonstrate the role and function of the true peristyle within the Pompeian house. These case studies articulate the function of the peristyle relating to issues of status, access, and display in the House of the Vettii (VI.15.I) and the House of the Lovers (I.10.11). The third chapter addresses the architectural and decorative features of truncated peristyles, or those that are not fully colonnaded. This chapter also addresses differences in size, architecture, and decoration between true and truncated peristyles. The fourth chapter uses the truncated peristyles of the House of Marcus Lucretius (IX.3.5) and House of the Vettii (VI.15.1) as case studies to assess the various roles of truncated peristyles within the domestic setting. Together, these chapters bring about a more complete understanding of the social and aesthetic function of Pompeian residences and how domestic art and architecture shaped the experience of the viewer, enhanced the prestige of the owner, and affirmed social hierarchy.
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Maquinay, Alexia. "Le tablinum à Pompéi : formes, fonctions, décors." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL186.
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Le tablinum est une salle que l’on trouve dans presque toutes les demeures du monde romain : il s’agit de la pièce principale de l’atrium, entièrement ouverte sur celui-ci et située au terme de son axe longitudinal, en face de l’entrée. Son étymologie dérive du terme latin tabula, signifiant tablette, registre de comptes. On a donc déduit qu’il s’agissait d’un espace servant à conserver les documents administratifs et juridiques de la famille, inscrits sur ces tablettes et réunis sous forme d’archives. Les sources latines confirment, par ailleurs, cette hypothèse. Le tablinum serait alors un réceptacle de la mémoire officielle de la familia. Il existe toujours, néanmoins, plusieurs interprétations contradictoires sur la nature du tablinum, sa définition, son apparition dans la maison romaine ainsi que sur son évolution architecturale et stylistique. À travers les témoignages du genre les mieux conservés du monde romain : ceux de la cité campanienne de Pompéi, nous tentons dans la présente étude de retracer l’histoire du tablinum romain, son origine étrusque, ses différentes formules et articulations, d’exposer toute la gamme de décors qui ornaient ses murs et de revenir sur les différentes fonctions qu’il put occuper au cours des siècles<br>The tablinum is a room found in almost all homes in the Roman world: it is the main room of the atrium, fully open on it and located at the end of its longitudinal axis, in front of the entrance. Its etymology derives from the Latin word tabula, meaning tablet, account register. It was therefore deduced that this was a space used to store the family’s administrative and legal documents, inscribed on these tablets and collected in the form of archives. Moreover, Latin sources confirm this hypothesis. The tablinum would then be a receptacle of the official memory of the familia. There are still, however, several contradictory interpretations about the nature of the tablinum, its definition, its appearance in Roman houses as well as its architectural and stylistic evolution. In this study, through the best-preserved testimonies of the Roman world – those found in the Campanian city of Pompei –we attempt to retrace the history of the Roman tablinum, its Etruscan origin, its different forms and articulations, to expose all the range of decorations that adorned his walls and to rediscover the different functions that it could occupy over the centuries
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"Ancient Graffiti and Domestic Space in the Insula of the Menander at Pompeii." Tulane University, 2014.
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This thesis is a case study of the ancient graffiti found in a specific city block, the Insula of the Menander (I.X), in the ancient Roman city of Pompeii. Contrary to the late 19th and early 20th century treatment of graffiti in Pompeian scholarship, which dismissed ancient graffiti as casual inscriptions with little relevance to the archaeology of Pompeii, recent scholarship approaches ancient graffiti as artifacts, studying them within their context. Using this contextual approach, my thesis examines the spatial distribution of the graffiti in the Insula of the Menander to better understand the use of public and private space. Chapter 1 introduces the topic of ancient graffiti in context, providing a brief description of the current state of scholarship and of the history of the Insula of the Menander. Chapter 2 discusses the challenges of defining ancient graffiti, and the various approaches to their interpretation. The two hypotheses are: first, that graffiti frequency and public and private space are related, and second, that graffiti type and room function are related. Chapter 3 outlines the methodology for analyzing the graffiti in context, and introduces general comparisons of frequency and spatial distribution. Chapter 4 continues this analysis, describing the graffiti in the context of each house and unit in the insula. Chapter 5 concludes that ancient graffiti, when used along with related archaeological evidence, are an informative source for studying the conceptualization and use of public and private space in antiquity, and may be used in future studies for gaining insight into the functions of space in the Roman cultural mindset.<br>acase@tulane.edu
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Jones, Rick F. J., and Damian Robinson. "The Making of an Elite House: The House of the Vestals at Pompeii." 2004. http://hdl.handle.net/10454/4074.
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Jones, Rick F. J., and Damian Robinson. "Water, Wealth and Social Status at Pompeii, The House of the Vestals in the First Century AD." 2005. http://hdl.handle.net/10454/2876.
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No<br>The use of water in Roman private houses has been identified as a highly visible status symbol. The detailed study of the House of the Vestals at Pompeii reveals how water features were central to the house¿s structural changes from the late first century B.C. The owners of the house invested heavily in fountains and pools as key elements in the display of their wealth to visitors and passers-by alike. This article relates the structural development of the House of the Vestals to the social history of decorative water usage, from an initial investment exploiting the pressurized water provided by the new aqueduct early in the Augustan period to the responses to crises following the earthquake of A.D. 62
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Christensen, Alexis M. "From palaces to Pompeii the architectural and social context of Hellenistic floor mosaics in the House of the Faun /." 2006. http://etd.lib.fsu.edu/theses/available/etd-07272006-130323.
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Thesis (Ph. D.)--Florida State University, 2006.<br>Advisor: Nancy T. De Grummond, Florida State University, College of Arts and Sciences, Dept. of Classics. Title and description from dissertation home page (viewed Jan. 19, 2007). Document formatted into pages; contains xv, 202 pages. Includes bibliographical references.
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Seker, Ilgin Aysegul. Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609731/index.pdf.
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This study investigates two significant components of architectural design, &lsquo<br>&lsquo<br>form&rsquo<br>&rsquo<br>and &lsquo<br>&lsquo<br>space&rsquo<br>&rsquo<br>and the basic design elements and principles used in their creation in the context of Roman domestic architecture. It more specifically examines how, by which means and for which purposes certain form and space defining tools such as the column, wall, floor, ceiling and opening with their architectural equivalents as the point, line, plane and volume were used in the atrium houses exemplified in Pompeii in Italy. The study discusses how Romans organized their daily life in reference to certain domestic spaces and how the form and spatial qualities of these spaces contributed to the architectural articulation of the private sphere. By concentrating on a group of recurring domestic spaces including the atrium, garden, and banqueting room and by illustrating the form and spatial composition of these, the study presents an architectural reading of the Roman atrium house.
Books on the topic "House of Menander (Pompeii)"
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author, Stella Marco Salvatore, ed. The House of Sallust in Pompeii (VI 2, 4). Journal of Roman Archaeology, 2014.
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Elena, Marcarini, ed. The house of the tragic poet ... =: La Casa del poeta tragico ... N. Wood, 1996.
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Wood, Nicholas. The house of the tragic poet =: La casa del poeta tragico. N. Wood, 1996.
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Zevi, Fausto. I mosaici della Casa del fauno a Pompei. Luciano Pedicini, fotografo / Archivio dell'arte, 1998.
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Alberto, Custodi, and Sciortino Lino, eds. Rilievo, modellazione e restauro di murature antiche: Il caso dell'Insula del centenario a Pompei : atti della giornata di studio : Bologna, 16 settembre 2005. Thyrus, 2006.
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Caro, Stefano De. I mosaici, la Casa del Fauno: Guida alla collezione. Electa Napoli : Soprintendenza archeologica di Napoli e Caserta, 2001.
Find full textBook chapters on the topic "House of Menander (Pompeii)"
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Severy-Hoven, Beth. "Master Narratives and the Wall Painting of the House of the Vettii, Pompeii." In Gender History Across Epistemologies. John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118508206.ch1.
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Watts, Carol Martin. "The Square and the Roman House: Architecture and Decoration at Pompeii and Herculaneum." In Architecture and Mathematics from Antiquity to the Future. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-00137-1_14.
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"House of Menander (I.10.4, Figure 56)." In Pompeii. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350987555.0043.
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Allison, Penelope M. "House I 10,8." In The Insula of the Menander at Pompeii. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199263127.003.0017.
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Giornale degli Scavi A,VI,6 (May 1912–Mar. 1929): 465 (15–20 Jan.) A,VI,7 (Apr. 1929–Dec. 1935): 242–96 (18 Nov. 1932–Feb. 1933) Elia 1934: 308–20. This house was excavated for the most part between November 1932 and January 1933. Hence excavations began here a little earlier than in the Casa del Fabbro but continued concurrently for some time. The standard of recording is similar. The excavators noticed numerous breaches in the walls and disturbed volcanic deposit to c.1 m above the pavement (GdSc A,VI,7: 244). Present location: unknown, not inventoried at time of excavation. Discussion: see discussion on studs. Dimensions: diam.: 41 mm; h.: 25–6 mm. Description: three studs consisting of hemispherical bronze boss and iron shaft (max. preserved l.: 26 mm) of rectangular section, slightly tapering (c.17 × 17 mm). Present location: Pompeii Collection, CB (inv. no. 3832). Discussion: Probably studs from a structural door. See discussion on studs. Dimensions: diam.: 29 mm. Description: bronze ring of circular section (diam.: 5 mm). Present location: Pompeii Collection, CB (inv. no. 5155). Discussion: Similar to cat. no. 1107. See discussion on rings. Dimensions: diam.: 40 mm; h. of boss: c.25.4 mm; thickness of lamina: 2.5 mm; preserved l. of shaft: 27 mm. Description: stud with hemispherical bronze boss and iron shaft of square section (c.5 mm × 5 mm). Present location: Pompeii Collection, CB (inv. no. 5157). Discussion: Similar to cat. no. 1567. See discussion on studs. Dimensions: h.: 240 mm (GdSc). Present location: unknown, not inventoried at time of excavation. Discussion: Probably part of hand-mill, similar to cat. no. 1358. Possibly part of cat. no. 1596. Dimensions: diam.: 13–20 mm; h.: 12–19 mm. Description: six turquoise melon beads, of various sizes. Present location: Pompeii Collection, CB (inv. no. 5158). Discussion: Same type as cat. no. 343. See discussion on bottone. Dimensions: l.: 72 mm; h.: 38 mm. Description: helmet shell (Casside undulata or Phalium granulatum undulatum). Present location: Pompeii Collection, CB (inv. no. 5159). Reference: Reese 2002: 298, no. 15. Discussion: see discussion on shells. Description: one quadrans of Nero (c. ad 64); one illegible. Present location: Naples, Coll. Med. (Pompeii inv. no. 5156: not reinventoried).
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Allison, Penelope M. "Introduction." In The Insula of the Menander at Pompeii. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199263127.003.0008.
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As outlined in the introduction to the first volume of this series, this third volume contributes to the investigations of the British project in Pompeii with a study of the finds excavated from the Insula del Menandro during the 1920s and 1930s. It includes a systematic documentation and functional analysis of these artefactual remains, that can enrich our understanding of Pompeian society. My involvement with this project grew out of my study of the house-floor assemblages in thirty Pompeian ‘atrium’ houses. This earlier study reappraised past interpretations of the depositional processes at Pompeii and past spatial and functional analyses of Pompeian domestic behaviour. It used the published reports, excavation notebooks and inventories to compile a primary database of some 16,000 Pompeian artefacts, which were systematically analysed to assess patterns of residential behaviour and abandonment processes, within each house and within each room type. This study relied on the documentation of the finds from these houses that had been carried out at the time of excavation. It soon became apparent that, to understand the precise types of artefacts, described in Italian in the reports, and their functional characteristics, greater familiarity with the actual artefacts was needed. Study of the artefacts from the Insula del Menandro, whose four larger ‘atrium’ houses (the Casa del Menandro, Casa del Fabbro, House I 10,8, and Casa degli Amanti) were included in my previous study, provided an opportunity for a more in-depth knowledge of Pompeian artefacts. A finds catalogue was, therefore, compiled which catalogued not only the artefacts excavated from these four houses but also those from the other establishments in this Insula—Houses I 10,1, I 10,3, and I 10,18 and Units I 10,5–6, I 10,9, I 10,12, and I 10,13. This catalogue is the core data for this volume. Unlike more standard studies of the ‘loose finds’ from excavations of Roman period sites, this catalogue does not consist of a series of artefactual typologies. A common, although not exclusive, pattern of post-excavation processing of excavated artefacts is to divide excavated artefacts into what are now well-established categories, selected largely on criteria attributable to the formal, or manufacturing, characteristics of the artefact (for example, pottery, glass, metal).
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Allison, Penelope M. "House I 10,1." In The Insula of the Menander at Pompeii. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199263127.003.0012.
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Giornali degli Scavi: A,VI,6 (May 1912–Mar. 1929): 452 (29 Nov. 1926); 458 (3 Dec. 1926). A, VI,7 (Apr. 1929–Dec 1935): 209 (28–29 July 1932); 210 (29, 31 July 1932); 215 (2–3 Aug. 1932); 216 (3 Aug. 1932); 218 (10 Aug. 1932); 218–19 (13 Aug. 1932). Elia 1934: 265–70. The façade of this house was excavated in November 1926, the entrance on 29 November (GdSc A,VI,6: 451–3). The house was completely excavated between 28 July and 13 August 1932 (GdSc A,VI,7: 209–18). Present location: unknown, not inventoried at time of excavation. Description: presumably cylindrical pivot lining to line the base of the wooden pivot pole of the main entrance door. See cat. no. 285. Present location: unknown, not inventoried at time of excavation. Discussion: possibly door handle for the main entrance. Present location: unknown, not inventoried at time of excavation. Discussion: probably from main entrance door and frame. Dimensions: l.: 45 mm. Description: small bronze slide key with a large suspension ring (diam.: c.20 mm) and L-shaped bit. Three remaining teeth. Present location: Pompeii Collection, CB (inv. no. 5093). Discussion: This probably originally had five teeth (see Stead 1986: 137 fig. 59, nos. 371–2), similar to Manning type 2 (1985: 93, fig. 25.7), and was used in a tumbler lock. Its small size suggests that it was from storage furniture. See discussion on locks and keys. Dimensions of case: 85 mm × 85 mm × 30 mm. Description: Fragmentary iron lock consisting of a lock case and the remains of iron fastening bars (max. preserved l. of fragment: 120 mm), iron key and bronze bolt. Lock case with iron attachment nails in the corners and in the middle of each side. Iron key (l.: 70 mm), with suspension ring (diam. c.23 mm) and L-shaped bit, preserved in the lock. Bronze bolt made from a solid strip of bronze (dimensions: 70 mm × 15 mm × 6 mm) with a key pattern of five triangular holes arranged in two rows. Small cylindrical bronze rod (l.: 16 mm), probably part of a tumbler, inserted into one of the triangular holes.
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Allison, Penelope M. "House I 10,18." In The Insula of the Menander at Pompeii. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199263127.003.0022.
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Giornale degli Scavi A,VI,6 (May 1912–Mar. 1929): 451–2 (12 Nov. 1926) A,VI,7 (Apr. 1929–Dec. 1935): 207–8 (25–6 July 1932); 216–17 (4–7 Aug. 1932); 219 (13 Aug. 1932); 220 (18 Aug. 1932); 221 (19 Aug. 1932). Elia 1934: 341–4. The excavation of this house began from the rear of House I 10,2–3, and the area of the latrine and kitchen. Later excavation proceeded from the upper storey in the front of the house. The recording was possibly less careful than in the larger houses in the insula which were considered more important. For example, Elia did not mention any of the finds from here. Since excavation, the house has been used as a workshop for the gardeners and labourers working on the site but was being restored in 2001. No recorded finds. Vases of various types. i. Preserved h.: c.1.2 m; diam.: c.240 mm; neck diam.: c.100 mm. Fabric: orange, relatively fine. Description: Amphora with a pointed base, cylindrical body, and marked shoulder. Strap handles attached to the shoulder and neck. Large rolled, and vertically flattened, rim. Present location: one left in situ, others unknown, possibly left in room 10. Not inventoried at time of excavation. Discussion: Arthur identifies the remaining amphora as an unprovenanced Italian wine amphora, of form Dressel 1B. He notes that the type was late Republican, the latest dated examples of which bear the consular date for 13 bc (CIL, xv. 4539 and 4575). He therefore notes that this amphora is of considerable interest as it survived in use for at least ninety years after its date of manufacture. Arthur suggests that its longevity, perhaps explained by its use as a container for an ageing vintage, adds a note of caution to the adoption of single artefacts for the dating of archaeological contexts. Dimensions: total l.: 331 mm; dimensions of case: 95 mm × 85 mm × 25 mm. Description: Rectangular iron lock-box and parallel iron bars. Box decorated on upper surface with iron bosses in the form of broad-brimmed hats (head diam.: 18 mm). Each corner boss is part of an attachment nail.
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Allison, Penelope M. "House I 10,1." In The Insula of the Menander at Pompeii. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199263127.003.0028.
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In November 1926 the excavators recorded moving lapilli from in front of this house and from the entrance but no finds were reported in these areas. On 8 July 1932 they recorded removing disturbed volcanic deposit from the middle levels in the northeast area of this insula. A breach (min. h.: 2 m), now patched, in the south end of the west wall of room 2 and 1.05 m above the floor, presumably penetrated into this space and documents disturbance after ad 79. Elia observed that the room had been covered and had been divided for all or part of its length by a ‘tramezzo ligneo’ which Ling interprets as a wooden partition to screen the stairway. In the north-east corner, are three masonry steps from a stairway which Ling argued ascended along the east wall. Ling argues that the installation of this stairway would have put out of commission the recess and lararium painting (dimensions: 0.55 m × 0.4 m) behind it. The remains of a late Third Style decoration are found on the walls. The loose finds from near the north entrance of this space and from near the entrance to room 3 were predominantly door-fittings, with the possible exception of a small marble base. A small key reported in the latter location may originally have been from storage furniture but was unlikely to have been in use as no other remains of such furnishings were recorded. The only other find in this area was a glass vessel of unknown type. Elia called this room an ‘atrium’. The finds are not particularly diagnostic but, even if this area was disturbed, they hint that it had been relatively unencumbered with furnishings, probably serving predominantly as a reception and access area for the rest of the house. The breach in the south end of the west wall of this room implies that it may have been disturbed after ad 79. The walls had a simple painted decoration but this room had no evident fixtures. According to Elia it was an ‘oecus’. The limited ceramic finds (a jug, a terra sigillata dish, and a lamp) are associated with lighting and probably with the serving or storage of foodstuffs.
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Allison, Penelope M. "House I 10,8." In The Insula of the Menander at Pompeii. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199263127.003.0033.
Full textAbstract:
The surviving plaster on the walls of this entranceway consisted of a high pink socle, delineated in red, with a white zone above. Ling observed that this overlay an earlier First-Style decoration on the east wall and that it had been patched in antiquity. Breaches are found in both the east and west walls. Outside the entrance, to either side, is a masonry bench (east bench: l.: 2.1 m, d.: 380 mm; west bench: l.: 2.4 m, d.: 460 mm), both much damaged. Finds within the entranceway consisted of bronze and iron studs, undoubtedly from the house door. Remains of plastered decoration survive on the south wall. Elia recorded a yellow dado, surmounted by a red band, with white plaster above. There is a breach in the north-west corner through to Unit no. 9, above a blocked doorway. At the centre of this front hall is a tufa impluvium (2.4 m × 2.1 m). In the north-west corner, 1 m above the pavement, were found: a small bronze ring; a bronze stud, similar to those in the entranceway and probably also from the front door; a fragment of a stone mortar or hand-mill; some glass beads; a small shell; and two bronze quadrantes, one of Nero dated ad 64. The fragmentary or loseable nature of these items suggests that they were disturbed from the ground level. Other small loseable items were found in the north-east corner: a small glass bottle, probably a toilet item; and possibly five more coins. One metre from the west side of the impluvium were found: another part of a hand-mill; two large stone weights; at least fifty-three lead weights, probably from a loom; and two other spherical stones, possibly also weights. The large number of lead weights is comparable with the quantity found under the stairway in room i of the Casa del Principe di Napoli. Another comparable group of forty loom weights was found together in a pit at Zugmantel. As Jongman noted, this amount would be equivalent to that required for one or perhaps two warp-weighted looms. It is therefore commensurate with the existence of such a loom, or looms, in this area, or of replacement loom weights, for domestic use.
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Allison, Penelope M. "House I 10,18." In The Insula of the Menander at Pompeii. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199263127.003.0038.
Full textAbstract:
The walls outside this entrance were decorated with a high red socle with white fields above, on which were painted simple inscriptions in red. The entranceway itself had a simple pavement and remains of black decoration on the walls. Outside the entrance, on either side, are two plastered masonry seats (south seat—h.: 0.45 m; dimensions: 0.4 m × 1.2 m; north seat—h.: 0.5 m; dimensions: 0.37 m × 0.9 m). These seats are thought to have been for waiting clients but this is rather a small house to need such a facility. Such seats were probably used more generally by the householders and passers-by. No finds were recorded here. This front hall had a cocciopesto pavement and traces of wall decoration consisting of a high black socle with simple white fields above, similar to that in the entranceway. It had a cocciopesto impluvium (dimensions: 1.2 m × 0.9 m), inset with fragments of coloured marble. A wooden stairway along the south wall ascended to the east. Underneath was a cupboard (w.: 0.95 m; l.: 3.6 m) with plastered walls and wooden doors. The only finds recorded from this area were ceramic vessels of various types, including one large amphora. This contrasts with the plethora of finds from many other atria and suggests that this area had been abandoned, or at least its use had been restricted, during the last occupancy. According to Elia, this room was probably a ‘cubiculum’, its walls decorated with a low light red socle, and yellow central and upper zones. Parts of the upper zone, however, consisted of only coarse white plaster. No evidence remains of the original pavement. Finds from this room consisted of: an iron padlock, probably from the door; two small ceramic vases; one amphora; and an as of Claudius. In the disturbed volcanic deposit in this room were also found: another similar iron lock; a ceramic vase; and a ceramic basin, both of which may have been used for mixing, possibly in food preparation; a carpenter’s hammer; a bronze ring; and a dupondius of Vespasian (ad 74). The finds assemblage is unlike that commonly found in decorated rooms of this type, and is seemingly much more utilitarian.