DOCSLIB.ORG

Lecture 6 - Habitats at Herculaneum and Early Roman Interior Decoration Chapter 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lecture 6 - Habitats at Herculaneum and Early Roman Interior Decoration Chapter 1 HSAR 252 - Lecture 6 - Habitats at Herculaneum and Early Roman Interior Decoration Chapter 1. Introduction and the History of Herculaneum [00:00:00] Professor Diana E. E. Kleiner: Good morning. As you can see from the title of today’s lecture, “Habitats at Herculaneum and Early Roman Interior Decoration,” we’re going to be concentrating once again, at least in the first half of the lecture, on domestic architecture in Campania. We’re going to look at several houses in Herculaneum, and then we’re going to move from there to begin our discussion of early Roman interior decoration, namely the First and Second Styles of Roman wall painting. And what you’ll see makes them particularly relevant to what we’ve been discussing thus far this term is the fact that in both the First and Second Styles, architecture is depicted in these paintings, and we’re going to see some very interesting relationships between that and the built monuments that we’ve talked about thus far this semester. Just to remind you of the location of Herculaneum, which is usually called the sister city of Pompeii, because of that locale. We see it on the map here. Pompeii is down in this location. Herculaneum is to the northeast of Pompeii, closer to Naples than Pompeii is, as you can see. And note also the city of Boscoreale, Boscoreale, which is located between, almost equidistant – a little bit closer to Pompeii than Herculaneum – but in between the two. And I point it out to you now because we’re going to look at an important room, with paintings, from the city of Boscoreale today as well. Here you see a view, a Google Earth flyover, of Herculaneum, as it looks today. It’s very helpful because you can see a couple of things here that I want you to keep in mind, as we look at this city. One, that although most of the city of Pompeii has been excavated, only about a quarter or twenty-five percent of the city of Herculaneum has been excavated. So we have much less at Herculaneum than we do for Pompeii, and what we’re missing, for the most part, is the public architecture. We don’t have a great amphitheater from Herculaneum. We don’t have a theater and a music hall complex. We think we might have part of the basilica, but we’re not absolutely sure. We don’t have the great large forum space that we have in Pompeii. So we’re missing a lot of that public architecture at Herculaneum, which gives us less of a sense of what the city was originally like, at least in its public face, although there’s no doubt that that material still lies beneath the ground. So we have only a quarter of the city, mostly the residential part of the city, or part of the residential part of the city. But there are several houses there that are extremely–give us, provide information, especially about what was going on between the earthquake and the eruption of Vesuvius, 62 to 79, that are extremely valuable in terms of giving us a sense again of the evolution of Roman domestic architecture. The other issue that this particular view raises is the reason why Herculaneum is less well excavated than Pompeii, and the reason for that has to do–and you can see it well here–has to do with the fact that the modern city grew up on top of the ancient city. And they were able at one point to clear part of it, for excavation, but they have not been able to clear the rest. It’s a political nightmare to have to deal–you have to relocate all the people who live in this area and have lived in this area for a very long time. That’s politically a very difficult thing to do. It also is extremely costly. So thus far only twenty-five percent of Herculaneum revealed. Let’s all hope that at some point someday Italy can sort this out and find a way to excavate the rest of this extraordinary city. You can see from this view that I took as–this is one of the views that you get as you enter the site, the current location today. But I think you can see very well here again what I’m talking about: the relationship between the ancient city, lower ground level, that has been unearthed through excavation. You can see a peristyle court of one of the houses here, for example. But you can see the way in which the modern city rings the site, and again what a challenge it would be to remove that modern city and to reveal the rest of Herculaneum. Here’s another view where you can also see some of the remains of the ancient city, of these residences and so on, and their relationship to the rest of the town. With regard to the history of Herculaneum, it is very similar to the history of Pompeii. One difference is that the city of Herculaneum was supposedly founded by Hercules, hence its name Herculaneum. But in other respects the history again is quite comparable. We know, for example, that the city of Herculaneum was overseen for awhile by that same Italic tribe called the Oscans, who were then conquered by the Samnites, and the Samnites took over Herculaneum. And it was during the Samnite period in Herculaneum that we begin to see the same kind of architectural development that we saw also in Pompeii. We also know that those in Herculaneum, the citizens of Herculaneum, the leaders of Herculaneum, got involved in the Social Wars, as did those in Pompeii, and that the city of Herculaneum was conquered by Rome in 89 B.C., in 89 B.C. So Herculaneum becomes a Roman colony in 89 B.C. Thereafter we know–and of course at that point, just as in Pompeii, the Romans begin to build buildings in the Roman manner. From that point on we know again comparable development. We know that at Herculaneum they also witnessed that very serious earthquake, an earthquake that also destroyed significant parts of the city of Herculaneum, and they too went through that frenzied seventeen-year period of rebuilding. But again, just as at Pompeii, it was for naught, because the city of Herculaneum was also covered by the ash and lava of Vesuvius. However, there’s one major difference that has to do with the way that ash and lava fell. We talked about the fact that at Pompeii there was actually quite a bit of notice, that the ash and lava came down on the city fairly gradually, and that there was time for people to escape, and that most of them did, except for those foolhardy souls who decided to wait it out, which we discussed a couple of lectures ago. But in Herculaneum, it happened much more rapidly, and in fact it became very clear, very quickly, that a huge blanket of lava was headed toward the city. And needless to say, that encouraged people to leave pronto, and we thought, at least for a very long time, that that’s in fact what had happened, that everybody had escaped the onslaught of Vesuvius. What happened after that blanket of lava engulfed the city is it hermetically sealed the city, hermetically sealed the city, in such a way that materials that have been lost at Pompeii were preserved at Herculaneum. And the best example of that is wood. We have almost no wood. Wood is not a material that withstands the test of time terribly well, and we have almost no wood from Pompeii. But from the city of Herculaneum, we have a considerable amount of wood, and this just has to do with the fact again that the city was so hermetically sealed by that blanket of lava. And I can show you a few examples of what survives in wood. For example, this bed, or part of a bed, that’s still preserved, as you can see here, with the wooden legs. A wooden partition in one of the houses, to divide one section, kind of like a modern pogo wall, to divide one section of the structure from another. You can see also the wooden frames around the doors and around the windows are also preserved, as are these wooden beams that you can see over the doorways and over the windows–mostly over the doorways– those wooden beams also made out of wood. And this is the most famous example, and one that everybody sees as you wander the streets of Herculaneum, the Casa a Graticcio, which we see here – and you can see that even the balcony, which is made out of wood, is extremely well preserved. So this provides evidence that we don’t have from Pompeii that’s extremely valuable in terms of understanding Roman building practice. I mentioned already though that we didn’t think anyone–we thought that all those who lived in Herculaneum had escaped from Vesuvius, but it turns out that was not in fact the case. As recently as the 1980s, some archaeologists were doing some excavating down at the sea wall of the city of Herculaneum, and lo and behold, they came upon a cache of skeletons. And I show you some of those skeletons here. And those skeletons are in the same kinds of positions as the bodies that we saw at Pompeii, in that clearly a number of them have huddled together for protection, futile protection as it turned out.
Load more

Recommended publications
  • Recent Work on the Stone at the Villa Arianna and the Villa San Marco (Castellammare Di Stabia) and Their Context Within the Vesuvian Area
    Recent Work on the Stone at the Villa Arianna and the Villa San Marco (Castellammare di Stabia) and Their Context within the Vesuvian Area Barker, Simon J.; Fant, J. Clayton Source / Izvornik: ASMOSIA XI, Interdisciplinary Studies on Ancient Stone, Proceedings of the XI International Conference of ASMOSIA, 2018, 65 - 78 Conference paper / Rad u zborniku Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) https://doi.org/10.31534/XI.asmosia.2015/01.04 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:123:583276 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-05 Repository / Repozitorij: FCEAG Repository - Repository of the Faculty of Civil Engineering, Architecture and Geodesy, University of Split ASMOSIA PROCEEDINGS: ASMOSIA I, N. HERZ, M. WAELKENS (eds.): Classical Marble: Geochemistry, Technology, Trade, Dordrecht/Boston/London,1988. e n ASMOSIA II, M. WAELKENS, N. HERZ, L. MOENS (eds.): o t Ancient Stones: Quarrying, Trade and Provenance – S Interdisciplinary Studies on Stones and Stone Technology in t Europe and Near East from the Prehistoric to the Early n Christian Period, Leuven 1992. e i ASMOSIA III, Y. MANIATIS, N. HERZ, Y. BASIAKOS (eds.): c The Study of Marble and Other Stones Used in Antiquity, n London 1995. A ASMOSIA IV, M. SCHVOERER (ed.): Archéomatéiaux – n Marbres et Autres Roches. Actes de la IVème Conférence o Internationale de l’Association pour l’Étude des Marbres et s Autres Roches Utilisés dans le Passé, Bordeaux-Talence 1999. e i d ASMOSIA V, J. HERRMANN, N. HERZ, R. NEWMAN (eds.): u ASMOSIA 5, Interdisciplinary Studies on Ancient Stone – t Proceedings of the Fifth International Conference of the S Association for the Study of Marble and Other Stones in y Antiquity, Museum of Fine Arts, Boston, June 1998, London r 2002.
    [Show full text]
  • Roman Art: Pompeii and Herculaneum
    Roman Art: Pompeii and Herculaneum August 24, 79 AD A Real City with Real People: The Everyday Roads & Stepping Stones Thermopolia …hot food stands Pistrina Pistrina = bakery Aerial view of the forum (looking northeast), Pompeii, Italy, second century BCE and later. (1) forum, (2) Temple of Jupiter (Capitolium), (3) basilica. The Forum Aerial view of the amphitheater, Pompeii, Italy, ca. 70 BCE. Brawl in the Pompeii amphitheater, wall painting from House I,3,23, Pompeii, Italy, ca. 60–79 CE. Fresco, 5’ 7” x 6’ 1”. Museo Archeologico Nazionale, Naples. Pompeii was surrounded by a wall about 2 miles long Outside the Wall • Pompeians buried their dead outside the city wall. Inside the Walls • Buildings are packed close together Houses Restored view and plan of a typical Roman house of the Late Republic and Early Empire (John Burge). (1) fauces, (2) atrium, (3) impluvium, (4) cubiculum, (5) ala, (6) tablinum, (7) triclinium, (8) peristyle. Floor Plan – Villa of the Mysteries • The main entrance often included mosaics “CAVE CANEM” House of the Tragic Poet Atrium An atrium had a compluvium and an impluvium What was the purpose of these features? Purposes: • Collect rain water • Allow light to come in Reconstruction of the atrium at the Villa of the Faun Peristyles (court yards) House of the Vettii Villa of the Mysteries Wall Paintings • Generally, elaborate paintings covered the walls of every room Studious Girl, Fresco from a Pompeii Home. Not a portrait of an individual. Its purpose is too show that the inhabitants of the house were literate and cultured people. The Four Pompeian Styles • Division = Based on differences in treatment of wall and painted space First Pompeian Style • began 2nd century BCE • Goal: imitate expensive marble House of Sallust Samnite House, Herculaneum Second Pompeian Style • Began early 1st century BCE • Goal: create a 3D world on a 2D surface Villa of the Mysteries (oecus – banquet hall) Dionysiac mystery frieze, Second Style wall paintings in Room 5 of the Villa of the Mysteries, Pompeii, Italy, ca.
    [Show full text]
  • The Roman House
    THE ROMAN HOUSE 1. FAUCES, the main entrance, consisting of a passageway between the front door and the ATRIUM, sometimes with a vestibule. 2. ATRIUM, the social and religious center of the house. It is the first open space that confronts the visitor entering from the street, and was often colonnaded and decorated to impress upon the visitor the importance of the family that owns the house. 3. IMPLUVIUM, located in the Atrium directly beneath the COMPLUVIUM (open skylight) in the ceiling, collects rainwater. 4. ALAE, recesses often used for the display of imagines or ancestor portraits. 5. TABLINUM, or reception room, where the leader of the household (almost always the pater familias , or father of the family) conducts business and meets clients. It is the axis of the house, in the sense that the rooms that preceded it were public or semi-public, and the rooms behind it (below) were for more private use. 6. PERISTYLE, often with a small reflecting pool or garden 7. PRIVATE / SERVANT ENTRANCE 8. CUBICULUM, a bedroom. In fact, the function of the rooms in the private area of the house vary greatly from house to house, or even season to season, so most of these rooms could also be used as a cubiculum. 9. TRICLINIUM, the dining room. Again, the location varies, and any of numerous rooms could have been used for dining, with seasonal considerations in mind. But the hallmark of a dining room in Roman (and in Greek) architecture is the off-center door. Central doors do not allow for an optimal spacing of dining couches.
    [Show full text]
  • The Casa Della Regina Carolina (CRC) Project, Pompeii: Preliminary Report on 2018 and 2019 Field Seasons
    The Journal of Fasti Online (ISSN 1828-3179) ● Published by the Associazione Internazionale di Archeologia Classica ● Palazzo Altemps, Via Sant’Appolinare 8 – 00186 Roma ● Tel. / Fax: ++39.06.67.98.798 ● http://www.aiac.org; http://www.fastionline.org The Casa della Regina Carolina (CRC) Project, Pompeii: Preliminary Report on 2018 and 2019 Field Seasons Caitlín Barrett - Kathryn Gleason - Annalisa Marzano - with additional contributions on palynology by Dafna Langgut Questo articolo presenta i risultati delle prime due campagne di scavo (2018-2019) condotte nel giardino della “Casa della Regina Carolina’ a Pompei (VIII.3.14) nell’ambito di un progetto scientifico multidisciplinare che investiga la relazione tra cultura materiale, ruoli sociali e cambiamenti storici. La domus oggetto di studio fu scavata nel XIX secolo, ma il giardino, tra i più ampi giardini domestici di Pompei, non fu investigato e questo ha consentito di effettuare vari saggi stratigrafici mi- rati, da un lato, ad individuare la superficie coltivata in antico e dall’altro a chiarire come lo spazio fosse utilizzato e vissuto da parte dei vari ‘utenti’ dal diverso ceto sociale (ad es. il padrone di casa, lo schiavo-giardiniere, etc.). Lo scavo ha restitui- to non solo dati interessanti sulla natura del giardino distrutto nel 79 d.C., ma ha anche rivelato i resti monumentali di una domus a peristilio di età sannitica. Il diverso orientamento di questa domus che, date le dimensioni e vicinanza al foro pro- babilmente apparteneva ad un membro di spicco della Pompei repubblicana, indica che l’intera insula subì un drastico ri- maneggiamento. I dati attualmente a nostra disposizione suggeriscono che tale rimaneggiamento risalga al periodo suc- cessivo al terremoto del 62 d.C.
    [Show full text]
  • The Idea of the City and the Excavations at Pompeii Martin Goalen
    10 The idea of the city and the excavations at Pompeii Martin Goalen O what a great adventure of our times that we discover not just another ancient monument but a city.1 Scippione Maffei, 1748 Introduction “The ancients”, Moses Finley tells us, “were firm in their view that civilized life was thinkable only in and because of cities.” To the ancients a city “must be more than a mere conglomeration of people; there are necessary conditions of architecture and amenity”.2 The discovery and excavation of the two buried ancient cities of Herculaneum and Pompeii in the 18th century offered, for the first time since antiquity, a glimpse into just those “conditions of architecture and amenity” referred to by Finley—that is to say, into the physical structure of the ancient city,3 with its walls, streets, tombs, public and private buildings. It is all the more surprising therefore that it took half a century after the identification of Pompeii in 1763 (digging had been in progress since 1748),4 for Pompeii to be published as a city in François Mazois’s (1783–1826)5 magnificent Les ruines de Pompéi, published from 1812 onwards.6 At Pompeii, wrote the authors of a work claiming7 to be the first in English to describe the ruins (Sir William Gell and John Gandy’s Pompeiana, of 1817–19), “in the mind of the liberal antiquary the loneliness of the ruins may be animated by learned recollection”. It is a sense of that “civilized life…thinkable only in and because of cities”, noted by Finley, that Mazois, Gell and Gandy seek to recreate.
    [Show full text]
  • AR7074 - Approaches to Pompeii and Herculaneum | Readinglists@Leicester
    09/30/21 AR7074 - Approaches to Pompeii and Herculaneum | readinglists@leicester AR7074 - Approaches to Pompeii and View Online Herculaneum 1. Berry, J. Berry, J. 2007.The complete Pompeii. (Thames & Hudson, 2007). 2. Bon-Harper, S. & Jones, R. Bon-Harper, S. and Jones, R. 1997. Sequence and space in Pompeii. vol. Oxbow monograph (Oxbow, 1997). 3. Coarelli, F., Foglia, A., Foglia, P. & Cockram, P. A. Coarelli et al. Pompeii. (Riverside Book Company, Inc, 2002). 4. Cooley, A. Pompeii. (Duckworth, 2003). 5. De Carolis, E. & Patricelli, G. De Carolis, E. and Patricelli, G. 2003. Vesuvius, A.D. 79: the destruction of Pompeii and Herculaneum. (L’Erma di Bretschneider, 2003). 6. Dobbins, J. J. & Foss, P. W. Dobbins, J. J. and Foss, P. The world of Pompeii. vol. The Routledge worlds (Routledge, 2007). 1/16 09/30/21 AR7074 - Approaches to Pompeii and Herculaneum | readinglists@leicester 7. Dunbabin, K. M. D. Dunbabin, K.M.D. 2003. The Roman banquet: images of conviviality. (Cambridge University Press, 2003). 8. Gazda, E. K. et al. Gazda, E. et al. 2000. The Villa of the Mysteries in Pompeii: ancient ritual, modern muse. (Kelsey Museum of Archaeology and the University of Michigan Museum of Art, 2000). 9. Jashemski, W. M. F. & Jashemski, S. A. Jashemski, W. 1979. The gardens of Pompeii: Herculaneum and the villas destroyed by Vesuvius. (Caratzas Brothers, 1979). 10. Jashemski, W. Jashemski, W. F. 1981. Recently excavated gardens and cultivated land of the Villas at Boscoreale and Oplontis. in ANCIENT ROMAN GARDENS 31–76 (1981). 11. Jashemski, W. M. F. & Meyer, F. G. Jashemski, W.
    [Show full text]
  • Art and Rhetoric in Roman Culture Edited by Jaś Elsner , Michel Meyer Frontmatter More Information
    Cambridge University Press 978-1-107-00071-1 — Art and Rhetoric in Roman Culture Edited by Jaś Elsner , Michel Meyer Frontmatter More Information Art and Rhetoric in Roman Culture Rhetoric was fundamental to education and to cultural aspiration in the Greek and Roman worlds. It was one of the key aspects of antiquity that slipped under the line between the ancient world and Christianity erected by the early Church in late antiquity. Ancient rhetorical theory is obsessed with examples and discussions drawn from visual material. This book mines this rich seam of theoretical analysis from within Roman culture to present an internalist model for some aspects of how the Romans understood, made and appreci- ated their art. The understanding of public monuments like the Arch of Titus or Trajan’s Column or of imperial statuary, domestic wall painting, funerary altars and sarcophagi, as well as of intimate items like children’s dolls, is greatly enriched by being placed in relevant rhetorical contexts created by the Roman world. jas´ elsner is Humfry Payne Senior Research Fellow at Corpus Christi College, Oxford, Visiting Professor of Art History at the University of Chicago and Senior Research Keeper at the British Museum. His publications include numerous articles and books, among them Imperial Rome and Christian Triumph: The Art of the Roman Empire ad 100–450 (1998) and Roman Eyes: Visuality and Subjectivity in Art and Text (2007). michel meyer is Professor of Rhetoric, Philosophy and Aesthet- ics at the Université Libre de Bruxelles. He has published many works of philosophy, covering literary criticism, rhetoric, the passions, art, theatre and Roman art.
    [Show full text]
  • Copyrighted Material
    INDEX Achilles (subject) 42–43, 140, 156, 161, 170, 291; Arches Basilica 81 Figs. 2.23, 6.26, 10.19 Arc de Triomphe, Paris 359–360; Aemilia 135–136; Fig. 5.22 acroterion 33, 37, 39; Fig. 2.14 Fig. 12.26 Constantine, Trier 338–339; Figs. 12.4–12.5 Actaeon (subject) 176, 241; Figs. 6.33, 8.34 Arcus Novus, Rome 311 Nova, Rome 340; Figs. 12.6–12.7 Adamclisi, Tropaeum Traiani 229–230; of Argentarii, Rome 287; Figs. 10.14, 10.15 Pompeii 81–83; Figs. 4.5, 4.6 Figs. 8.20–8.21 of Constantine, Rome 341–346; Severan, Lepcis Magna 296, 299; adlocutio 116, 232, 256; Figs. 5.2, 8.24, 9.13 Figs. 12.8–12.11 Figs. 10.26–10.27 adventus 63, 203, 228, 256, 313, 350; of Galerius, Thessalonica 314–315; Ulpia, Rome 216; Fig. 8.5 Figs. 7.25, 8.23 Figs. 11.15–11.16 Baths aedicular niche 133; Fig. 5.20 of Marcus Aurelius, Rome 256; Fig. 9.13 of Agrippa, Rome 118, 185, 279 aedile 12 of Septimius Severus, Lepcis of Caracalla, Rome 279–283; Aemilius Paullus 16, 65, 126 Magna 298–299; Figs. 10.28, 10.29 Figs. 10.7–10.10 Victory Monument 16, 107–108; of Septimius Severus, Rome 284–286; of Cart Drivers, Ostia 242–244; Fig. 8.37 Figs. 4.30, 4.31 Figs. 10.11–10.13 of Diocletian, Rome 320–322; Aeneas 27, 121, 122, 126, 127, 135, 140, 156, of Titus, Rome 201–203; Figs. 7.22–7.24 Figs.
    [Show full text]
  • Writing and Drawing on the Walls of Pompeii (Article)
    Writing and Drawing on the Walls of Pompeii: How the study of graffiti relates to the HSC Ancient History Core Syllabus for 2006 admiror, paries, te non cecidisse ruinis, ‘I am amazed, wall, that you have not fallen in ruins, qui tot scriptorum taedia sustineas. you who support so many boring inscriptions.’1 When the teacher of Ancient History in New South Wales first scans the listing of examinable content relating to the Core Unit on the Cities of Vesuvius newly introduced for the 2006 Higher School Certificate, the usefulness of incorporating graffiti2 into a program of study as one of the range of available sources may not be readily apparent. This article aims to survey the nature of graffiti at the site of ancient Pompeii as a category of material culture incorporating written and archaeological features and as a useful primary and supplementary source for evidence about the economy, social structure, politics, religion and daily life in Roman Campania of the Republican and early Imperial historical period. This discussion will touch incidentally on issues regarding the limitations, reliability and evaluation of graffiti as a source and as evidence. 1. Graffiti: Text and Artifact One of the enduring images many Sydneysiders associate with the 1999 New Years’ Eve ‘millenium’ celebration is that of the word ‘Eternity’ appearing in large illuminated letters on the Harbour Bridge. This word – also seen by over four billion people worldwide at the end of the opening ceremony of the Sydney Olympic Games in September of 2000 – represents a significant instance of how a single practitioner of graffiti writing can ‘speak’ to a vast number of the simple and the sophisticated alike about a variety of historical, social and cultural issues.
    [Show full text]
  • A Guide to the Pompeii Excavations
    A Guide to the Pompeii Excavations BOARD OF CULTURAL HERITAGE OF POMPEII © 2015 Board of Cultural Heritage of Pompeii This guide contains brief introductory texts with reference to the more significant areas of the excavations. Some of them may be temporarily closed. It is strictly forbidden to distribute this leaflet if no regular permit has been issued by the Board of Cultural Heritage of Pompei. A Guide to the Pompeii Excavations BOARD OF CULTURAL HERITAGE OF POMPEII Index A brief history of the ancient city and the excavations . p. 8 Overall plan of the Pompeii Excavations . p. 10 Regio I . p. 12 1 House of the Citharist . 14 2 House of Casca Longus or Quadretti teatrali . 15 3 Fullery of Stephanus . 16 4 House of the Lararium of Achilles. 17 5 House of the Cryptoporticus . 18 6 House of the Ceii . 19 7 House of the Menander . 20 8 House of Paquius Proculus . 21 9 House of the Ephebe. 22 10 House and Thermopolium of Vetutius Placidus 23 11 House of the Orchard or of the Floral Cubicles 24 12 House of the Europa Ship . 25 13 Osteria of the Gladiator . 26 14 Garden of the Fugitives . 27 Regio II. p. 28 1 House of Octavius Quartio . 30 2 House of Venus in the shell . 31 3 Praedia of Giulia Felice . 32 4 Forum Boarium . 33 5 Amphitheater . 34 6 Large Palaestra . 35 7 House of the Triclinium outdoors or summer . 36 8 House of the Garden of Hercules. 37 9 Nocera Gate and walls . 38 10 Necropolis of Nocera Gate .
    [Show full text]
  • Pompeii 1A the Physical Environment - Geographical Setting, Natural Features and Resources Text Chapter 1 "The Physical Environment of Campania" Pp.2-8
    Pompeii 1a The physical environment - geographical setting, natural features and resources Text Chapter 1 "The Physical Environment of Campania" pp.2-8 Describe the geographical setting and natural features of Pompeii and Herculaneum. Refer to sources in your answer. Outline the resources of Pompeii and Herculaneum. Refer to sources in your answer. Geographical setting . Pompeii and Herculaneum are in Campania: a volcanic plain which stretches from the Voltuno R. in the north to the Sorrentine Peninsula in the south. The plain divided by Mt Vesuvius into two regions, the northern region drained by the Volturno Riverand the southern region drained by the Sarno River. Pompeii was built on a volcanic spur, 25-40m above sea level, overlooking the mouth of the Sarno R. Pompeii was at a crossroads from North to South and to the east. Herculaneum was built on a steeply sloping spur which ended in a cliff, bounded on both sides by deep ravines. Its views and moderating maritime influence made it an ideal resort town. Strabo commented on Herculaneum. Phlegraean Fields – a volcanic area near Puteoli . The main Roman naval station was at Misenum. The next town is Herculaneum, which occupies a cape jutting out into the sea, where it feels the southwest wind to such an amazing extent that the settlement is a healthy one. Strabo, Geography 5.4.8 It is an area “incredibly favoured by nature.” Michael Grant, Cities of Vesuvius p.15 How [to describe] the Campanian coast and its happy, indeed blessed delightfulness, plainly the handiwork of Nature in her favourite spot! Pliny the Elder, Natural History Bk III 40 .
    [Show full text]
  • Roman Architecture with Professor Diana EE Kleiner Lecture 5
    HSAR 252 - Roman Architecture with Professor Diana E. E. Kleiner Lecture 5 – Lifestyles of the Rich and Famous: Houses and Villas at Pompeii 1. Title page with course logo. 2. Via dell’Abbondanza, Pompeii, cenaculae. Reproduced from Pompeii, Monuments Past and Present by Alfonso De Franciscis (1995), p. 37. 3. Domus Italica, restored view and plan. Reproduced from A History of Roman Art by Fred S. Kleiner (2007), fig. 3-2 (John Burge). 4. Tomb of the Shields and Seats, Cerveteri, plan. Reproduced from Etruscan Cities by Filippo Coarelli (1975). Tomb of the Shields and Seats, general view of room. Reproduced from Etruscan Cities by Filippo Coarelli (1975). 5. House of the Surgeons, Pompeii, surgical instruments [online image]. Wikimedia Commons. http://commons.wikimedia.org/wiki/File:Sommer,_Giorgio_(1834-1914)_-_n._11141_-_Museo_di_Napoli_- _Strumenti_di_chirurgia.jpg (Accessed January 27, 2009). 6. House of the Surgeon, Pompeii, plan. Credit: Yale University. 7. House of Sallust, Pompeii, plan. Credit: Yale University. 8. Hellenized Domus, restored view and plan. Reproduced from A History of Roman Art by Fred S. Kleiner (2007), fig. 3-5 (John Burge). 9. House of the Vettii, Pompeii, plan. Credit: Yale University. 10. House of the Vettii, Pompeii, restored view of exterior. Reproduced from Roman Towns by Ernest Nash (1944), fig. 43b. 11. House of the Vettii, Pompeii, atrium. Image Credit: Diana E. E. Kleiner. 12. House of the Vettii, Pompeii, garden. Image Credit: Diana E. E. Kleiner. 13. House of the Vettii, Pompeii, kitchen, pots on stove. 14. House of the Silver Wedding, Pompeii, plan. Credit: Yale University.
    [Show full text]