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From Palaces to Pompeii: the Architectural and Social Context of Hellenistic Floor Mosaics in the House of the Faun Alexis M

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From Palaces to Pompeii: the Architectural and Social Context of Hellenistic Floor Mosaics in the House of the Faun Alexis M Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 From Palaces to Pompeii: The Architectural and Social Context of Hellenistic Floor Mosaics in the House of the Faun Alexis M. Christensen Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES FROM PALACES TO POMPEII: THE ARCHITECTURAL AND SOCIAL CONTEXT OF HELLENISTIC FLOOR MOSAICS IN THE HOUSE OF THE FAUN By ALEXIS M. CHRISTENSEN A Dissertation submitted to the Department of Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2006 Copyright © 2006 Alexis M. Christensen All Rights Reserved The members of the Committee approve the Dissertation of Alexis M. Christensen defended on June 30, 2006. _________________________________ Nancy T. de Grummond Professor Directing Dissertation _________________________________ Marcia Rosal Outside Committee Member _________________________________ Daniel J. Pullen Committee Member _________________________________ David Stone Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to the memory of my grandmothers. M. Jane Grubb, 1921-1994 and Fonda I. Christensen, 1925-2005. iii ACKNOWLEDGEMENTS In the course of writing my dissertation and indeed throughout my academic career I have received no greater support and encouragement than that which I received from my parents and professors. I can think of no more fitting words of gratitude than those of Vitruvius: Itaque ego maximas infinitasque parentibus ago atque habeo gratias, probantes me arte erudiendum curaverunt, et ea, quae non potest esse probata sine litteratura encyclioque doctrinarum omnium disciplina. cum ergo et parentium cura et praeceptorum doctrinis auctas haberem copias disciplinarum… - 6 praef. 4 And so I offer the greatest and most profound thanks to my parents, as they took care that I should be taught an art, and that it be an art which cannot be excelled at without learning and a liberal education of all fields of education. Therefore, with the pains taken by my parents and the teachings of my professors, I am possessed of an abundance of knowledge… - author’s translation I owe the most immediate thanks to the members of my dissertation committee: Dr. Nancy T. de Grummond, my committee chair, Dr. Daniel J. Pullen, Dr. David Stone, and Dr. Marcia Rosal. Also, Dr. Christopher Pfaff and Dr. Svetla Slaveva-Griffin deserve my gratitude for their advice and encouragement at the beginning and end of this process. I cannot put a limit on the thanks I owe my parents, Charles and Ellen Christensen, for their unconditional support of all I have accomplished both in and out of my academic career. iv They, in addition to all the members of my extended family, have offered me encouragement throughout. In particular, my deepest gratitude goes to Audra Mayhan for getting me through the rough patches, not to mention her unwavering support. Thanks also go to her for creating my floor plans. Finally, I must thank my friends at Florida State University for being there throughout and sharing my joys and miseries: John Beeby, Britt Holderness, Harry Nielson, Wayne Rupp, and Mary Lou Vrendenburg. v TABLE OF CONTENTS List of Tables ...................................................................................................... Page viii List of Figures ...................................................................................................... Page ix Abstract ...................................................................................................... Page xv 1. Introduction ................................................................................................ Page 1 Excavation and Architectural History of the House of the Faun................ Page 6 History of Scholarships on the Mosaics...................................................... Page 9 Methodology............................................................................................... Page 11 Organization ................................................................................................ Page 14 2. The House of the Faun and the Pompeian Usage of Hellenistic Mosaics ...... Page 17 The Historical Context................................................................................ Page 18 Architectural Context.................................................................................. Page 19 Mosaics in Context ..................................................................................... Page 23 Access and View......................................................................................... Page 29 Conclusion ................................................................................................ Page 39 3. Mosaics in Hellenistic Palaces and Elite Residences ..................................... Page 41 Macedonian Palaces.................................................................................... Page 42 Alexandrian Palaces.................................................................................... Page 49 Pergamene Palaces...................................................................................... Page 56 Macedonian Elite Houses I: Olynthus ........................................................ Page 60 Macedonian Elite Houses II: Pella.............................................................. Page 76 Elite Houses on Delos................................................................................. Page 81 Summary of Mosaic Usage......................................................................... Page 88 4. Iconography and Meaning .............................................................................. Page 90 Iconography and Theme ............................................................................. Page 91 Mosaics and Paintings................................................................................. Page 97 Conclusion ................................................................................................ Page 99 vi 5. Conclusion ................................................................................................ Page 100 BIBLIOGRAPHY ............................................................................................... Page 188 BIOGRAPHICAL SKETCH .............................................................................. Page 200 vii LIST OF TABLES Table 1.1. Concordance of Room Numbers in the House of the Faun ............... Page 104 Table 2.1. Key to Pavements and Architectural Conventions. ........................... Page 106 Table 2.2. Relative Asymmetry and Control Values in the House of the Faun . Page 107 viii LIST OF FIGURES Fig. 1.1. Map of the Mediterranean with Sites Discussed in the Text................ Page 108 Fig. 1.2. Plan of the House of the Faun at Pompeii. ........................................... Page 109 Fig. 1.3. Plan of the First Phase of the House of the Faun at Pompeii ............... Page 110 Fig. 1.4. Plan of the House of the Faun at Pompeii Showing “Nested Squares” Design. .......................................................................... Page 111 Fig. 1.5. Alexander Mosaic from Exedra 37 in the House of the Faun at Pompeii. ................................................................................................ Page 112 Fig. 1.6. Fish Mosaic from Triclinium 35 in the House of the Faun at Pompeii. ................................................................................................ Page 113 Fig. 1.7. Cat with Hen and Water Fowl Mosaic from Ala 30 in the House of the Faun at Pompeii. .............................................................................. Page 114 Fig. 1.8. Lion Mosaic from Room 42 in the House of the Faun at Pompeii. ..... Page 115 Fig. 1.9. Nilotic Mosaic, Threshold Band Separating Peristyle 36 from Exedra 37 in the House of the Faun at Pompeii. ........................................ Page 116 Fig. 1.10. Tiger Rider Mosaic from Triclinium 34 in the House of the Faun at Pompeii. .................................................................................. Page 117 Fig. 1.11. Satyr and Nymph Symplegma Mosaic from Cubiculum 28 in the House of the Faun at Pompeii. ......................................................... Page 118 Fig. 1.12. Masks Mosaic, Threshold Band Separating Fauces 53 from Atrium 27 in the House of the Faun at Pompeii. ....................................... Page 119 Fig. 1.13. Detail, Opus Sectile Pavement from Fauces 53 in the House of the Faun at Pompeii. .................................................................................. Page 119 Fig. 1.14. Doves Mosaic from Ala 29 in the House of the Faun at Pompeii. .... Page 120 Fig. 1.15. View of the Impluvium in Tuscan Atrium 27 in the House of the Faun at Pompeii ................................................................................ Page 121 ix Fig. 1.16. Detail, Opus Sectile Pavement from the Impluvium in Tuscan Atrium 27 in the House of the Faun at Pompeii ......................................... Page 121 Fig. 1.17. View of Tablinum 33 in the House of the Faun at Pompeii............... Page 122 Fig. 1.18. Detail, Opus Sectile Floor from Tablinum 33 in the House of the Faun at Pompeii ...............................................................................
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