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Relevant bibliographies by topics / House of the Vettii (Pompeii)

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Academic literature on the topic 'House of the Vettii (Pompeii)'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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Journal articles on the topic "House of the Vettii (Pompeii)"

1

Severy‐Hoven, Beth. "Master Narratives and the Wall Painting of the House of the Vettii, Pompeii." Gender & History 24, no. 3 (October 24, 2012): 540–80. http://dx.doi.org/10.1111/j.1468-0424.2012.01697.x.

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Joyce, Lillian B. "Dirce Disrobed." Classical Antiquity 20, no. 2 (October 1, 2001): 221–38. http://dx.doi.org/10.1525/ca.2001.20.2.221.

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The Punishment of Dirce was a theme that intrigued both artists and patrons of the Roman period. It appeared in diverse locations and media, notably as a wall painting in the House of the Vettii in Pompeii and the Toro Farnese once displayed in the Baths of Caracalla in Rome. In all representations, Dirce struggles with the bull that will trample her to death. Traditional studies of this imagery have focused on the formal characteristics of these representations, studying issues of workshop practice and the relationship between originals and copies. Scholars seldom analyze the meaning of the myth in depth. While most studies note that Dirce often appears in the guise of a maenad, they dismiss this observation. Additionally, it is rarely noted that Dirce's semi-nudity has any role in this story. In fact, her nudity is highly significant, for it was not part of the literary accounts. This study offers a fresh interpretation of Dirce's punishment considering the function of gender. Using literary sources such as Euripides, Plautus, Lucian, and Petronius, as well as visual images in a variety of media including wall painting, sculpture, gems, medals, and lamps, it is argued that artists and patrons combined maenadism and nudity to portray Dirce as a specifically female social transgressor. As a semi-nude maenad, the queen abandons accepted female decorum. These attributes allow the viewer readily to identify Dirce as guilty of hubris against family and society.

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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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Bergmann, Bettina, and I. Victoria. "The Roman House as Memory Theater: The House of the Tragic Poet in Pompeii." Art Bulletin 76, no. 2 (June 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 (June 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 (March 11, 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 (October 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.

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Benefiel, Rebecca R. "Dialogues of Ancient Graffiti in the House of Maius Castricius in Pompeii." American Journal of Archaeology 114, no. 1 (January 2010): 59–101. http://dx.doi.org/10.3764/aja.114.1.59.

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Dissertations / Theses on the topic "House of the Vettii (Pompeii)"

1

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.
Dissertation (MA)--University of Pretoria, 2018.
Ancient Languages
MA
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
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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5

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
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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7

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.
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
&lsquo
form&rsquo
&rsquo
and &lsquo
&lsquo
space&rsquo
&rsquo
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.

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Books on the topic "House of the Vettii (Pompeii)"

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author, Stella Marco Salvatore, ed. The House of Sallust in Pompeii (VI 2, 4). Portsmouth, Rhode Island: Journal of Roman Archaeology, 2014.

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2

The Christian inscription at Pompeii. Lewiston, NY: E. Mellen Press, 1995.

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3

Roger, Ling. The insula of the Menander at Pompeii. Oxford: Clarendon Press, 1997.

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Ballester, Carmina. Pompeya bajo Pompeya: Las excavaciones en la casa de Ariadna. Valencia]: Ajuntament de Valencia, 2007.

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Elena, Marcarini, ed. The house of the tragic poet ... =: La Casa del poeta tragico ... London: N. Wood, 1996.

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Wood, Nicholas. The house of the tragic poet =: La casa del poeta tragico. London: N. Wood, 1996.

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Zevi, Fausto. I mosaici della Casa del fauno a Pompei. Napoli: Luciano Pedicini, fotografo / Archivio dell'arte, 1998.

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La dimora degli Epidii: Una meraviglia architettonica ellenistica nel cuore di Pompei. Napoli: Giannini editore, 2021.

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Investigaciones pluridisciplinares en la Casa de Ariadna de Pompeya: Restauración e investigación arqueológica. Valencia]: Generalitat Valenciana, Consellería de Cultura i Esport, 2020.

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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. Arrone (TR) [i.e. Terni, Italy]: Thyrus, 2006.

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Book chapters on the topic "House of the Vettii (Pompeii)"

1

Severy-Hoven, Beth. "Master Narratives and the Wall Painting of the House of the Vettii, Pompeii." In Gender History Across Epistemologies, 20–60. Oxford, UK: 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, 201–13. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-00137-1_14.

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Carillo, Saverio. "From Amalfi to Pompeii: Utopia of the Twentieth Century Sacred. The Architectural Epithelium for the House of God." In Advances in Utopian Studies and Sacred Architecture, 51–63. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-50765-7_7.

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"House of the Vettii (VI.15.1, Figure 35)." In Pompeii. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350987555.0024.

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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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"House of the Faun (VI.12.2, Figure 34)." In Pompeii. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350987555.0023.

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"House of Loreius Tiburtinus (II.2.2, Figure 46)." In Pompeii. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350987555.0035.

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"House of the Tragic Poet (IV.8.3, Figure 57)." In Pompeii. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350987555.0044.

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"House of the Silver Wedding (V.2.1, Figure 59)." In Pompeii. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350987555.0045.

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"House of Venus in the Sea Shell (II.3.3, Figure 47)." In Pompeii. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350987555.0036.

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