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VI.16.36 Pompeii. Casa di Q. Poppaeus Sabinus.

Linked to VI.16.37. Excavated 1904.

 

VI.16.36 Pompeii. December 2005. Entrance doorway.

VI.16.36 Pompeii. December 2005. Entrance doorway.

      

VI.16.36 Pompeii. May 2005. Entrance doorway

VI.16.36 Pompeii. May 2005. Entrance doorway.

 

VI.16.36 Pompeii. May 2006. Looking east from entrance.

VI.16.36 Pompeii. May 2006. Looking east from entrance.

 

VI.16.36 Pompeii. September 2004. Looking east from entrance.
According to Garcia y Garcia, because of the night bombardment of 16 September 1943, it suffered the destruction of the western ala of the portico and of 3 adjoining rooms. This caused the loss of wall paintings in the IV style.  At the moment of Garcia’s control for the RICA maps in January 1983, the house was in the course of restoration. 
See Garcia y Garcia, L., 2006. Danni di guerra a Pompei. Rome: L’Erma di Bretschneider. (p.96)

VI.16.36 Pompeii. September 2004. Looking east from entrance.

According to Garcia y Garcia, because of the night bombardment of 16 September 1943, it suffered the destruction of the western ala of the portico and of 3 adjoining rooms.

This caused the loss of wall paintings in the IV style.

At the moment of Garcia’s control for the RICA maps in January 1983, the house was in the course of restoration.

See Garcia y Garcia, L., 2006. Danni di guerra a Pompei. Rome: L’Erma di Bretschneider. (p.96)

 

VI.16.36 Pompeii. May 2005. Looking east from entrance doorway.

VI.16.36 Pompeii. May 2005. Looking east from entrance doorway.

 

VI.16.36 Pompeii. December 2007. Looking east towards peristyle.

VI.16.36 Pompeii. December 2007. Looking east towards peristyle, and doorway to triclinium on its east side.

 

VI.16.36 Pompeii. December 2007. East wall of triclinium.

VI.16.36 Pompeii. December 2007. East wall of triclinium.

 

VI.16.36 Pompeii. 1908, painting of a contest of four poets found in the triclinium. According to Sogliano this is undoubtedly a poetic audition. According to Richardson, this is a painting of the contest of four poets. See Richardson, L., 2000. A Catalog of Identifiable Figure Painters of Ancient Pompeii, Herculaneum. Baltimore: John Hopkins. (p.45) See Notizie degli Scavi di Antichità, 1908, p. 366, fig. 3.

VI.16.36 Pompeii. 1908, painting of a contest of four poets found in the triclinium.

According to Sogliano this is undoubtedly a poetic audition.

According to Richardson, this is a painting of the contest of four poets.

See Richardson, L., 2000. A Catalog of Identifiable Figure Painters of Ancient Pompeii, Herculaneum. Baltimore: John Hopkins. (p.45)

See Notizie degli Scavi di Antichità, 1908, p. 366, fig. 3.

 

VI.16.36 Pompeii. December 2007. Looking south-east towards peristyle. According to Jashemski, the garden toward the rear of the house, was enclosed on the east, north and west by a portico supported by nine columns, including the two columns which are partly walled in, at the south end of the east and west walls.  The columns were connected by a low masonry wall, with a space in the top for plantings.  This wall, which was very low on the west, formed a step to permit entrance to the garden. The low wall was interrupted on the south end of the east side by the mouth of the cistern.  There was a gutter at the edge of the garden on the east, north and west.  Standing against the south wall of the garden was an aedicula shrine.  In front of the aedicula was a rectangular white marble table (0.75m high) with a travertine support. See Sogliano, NSc (1908) pp. 364 and fig 1 (plan) on p.360  See Jashemski, W. F., 1993. The Gardens of Pompeii, Volume II: Appendices. New York: Caratzas. (p.164)

According to Boyce, against the south wall of the peristyle stood an aedicula of unusually heavy proportions. Above a rectangular podium and before a rectangular niche cut into the walls, stood two thick and heavy columns. The inside walls of the niche were coated with white stucco and upon each painted a large bird holding something in its beak.
Above them were garlands. On the ground in front of the aedicula stood a table of white marble with travertine support. Within the shrine were found two large terracotta lamps. See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14. (P.59, no.229, and Pl.33,2). 
See Fröhlich, T., 1991. Lararien und Fassadenbilder in den Vesuvstädten. Mainz: von Zabern. (L76, Picture 39,3, painting in niche very faded).
See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari in ambito domestico.  Milano: LED Edizioni. (p.278)

VI.16.36 Pompeii. December 2007. Looking south-east towards peristyle.

According to Jashemski, the garden toward the rear of the house, was enclosed on the east, north and west by a portico supported by nine columns, including the two columns which are partly walled in, at the south end of the east and west walls. 

The columns were connected by a low masonry wall, with a space in the top for plantings. 

This wall, which was very low on the west, formed a step to permit entrance to the garden.

The low wall was interrupted on the south end of the east side by the mouth of the cistern. 

There was a gutter at the edge of the garden on the east, north and west. 

Standing against the south wall of the garden was an aedicula shrine. 

In front of the aedicula was a rectangular white marble table (0.75m high) with a travertine support.

See Sogliano, NSc (1908) pp. 364 and fig 1 (plan) on p.360

See Jashemski, W. F., 1993. The Gardens of Pompeii, Volume II: Appendices. New York: Caratzas. (p.164)

 

According to Boyce, against the south wall of the peristyle stood an aedicula of unusually heavy proportions.

Above a rectangular podium and before a rectangular niche cut into the walls, stood two thick and heavy columns.

The inside walls of the niche were coated with white stucco and upon each painted a large bird holding something in its beak.

Above them were garlands.

On the ground in front of the aedicula stood a table of white marble with travertine support.

Within the shrine were found two large terracotta lamps.

See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14. (P.59, no.229, and Pl.33,2).

See Fröhlich, T., 1991. Lararien und Fassadenbilder in den Vesuvstädten. Mainz: von Zabern. (L76, Picture 39,3, painting in niche very faded).

See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari in ambito domestico.  Milano: LED Edizioni. (p.278)