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VII.4.10 Pompeii. Casa di Bacco. Direzione degli Scavi .

Linked to VII.4.8. Excavated 1824, 1826. Bombed in 1943.

 

VII.4.10 Casa di Bacco. Linked to VII.4.8 Direzione degli Scavi

VII.4.10 Pompeii. December 2005. Entrance.

In August 1823, graffiti were found painted in black on the red plaster on the pilaster between VII.4.9 and VII.4.10 (on the left). They read –

 

Sabinum    [CIL IV 514]

 

Pansam aed(ilem)

<E=S>u<h=LI>odus rog(at)    [CIL IV 515]

 

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples : Nicola Longobardi.

(p. 126)

 

According to Della Corte, he thought CIL IV 515 should have read – Euhodus rog(at) 

See Della Corte, M., 1965.  Case ed Abitanti di Pompei. Napoli: Fausto Fiorentino. (p. 146)

 

VII.4.10 Casa di Bacco. Linked to VII.4.8 Direzione degli Scavi

VII.4.10 Pompeii. September 2005. Entrance

 

VII.4.10 Casa di Bacco. Linked to VII.4.8 Direzione degli Scavi VII.4.10 Looking towards entrance

VII.4.10 Pompeii. September 2005. Looking west towards entrance, along long entrance corridor or fauces.

 

VII.4.10

VII.4.10 Pompeii. September 2005. Modern restoration, site of impluvium in atrium.

This house took its name from a life-size painting of a sitting Bacchus with a panther at his feet, which decorated the atrium. (Helbig 391)

In the exedra nearby were another three paintings, found August 1826 –

Venus and Adonis (Helbig 339), Cimon and Pero (Helbig 1376), and Hector, Andromache and Astyanax (Helbig 1314). 

A beautiful marble floor was transported to the museum on 22nd July 1828.

See Breton, Ernest. 1870. Pompeia, Guide de visite a Pompei, 3rd ed. Paris, Guerin.

See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel.

 

VII.4.10 Pompeii. 1824. Drawing of original painting of Pero (or Perona) and Cimon (or Micone). Pero is presenting her breast to her aged father Cimon, condemned to die of hunger in prison. The Roman Charity (or Carità Romana) is the exemplary story of a daughter, Pero, who secretly breastfeeds her father, Cimon, after he is incarcerated and sentenced to death by starvation. She is found out by a jailer, but her act of selflessness impresses officials and wins her father's release. See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel. (p. 307, 1376). See Real Museo Borbonico, 1824, Volume I Table 5.

 

VII.4.10 Pompeii. 1824. Drawing of original painting of Pero (or Perona) and Cimon (or Micone).

Pero is presenting her breast to her aged father Cimon, condemned to die of hunger in prison. 

The Roman Charity (or Carità Romana) is the exemplary story of a daughter, Pero, who secretly breastfeeds her father, Cimon, after he is incarcerated and sentenced to death by starvation.

She is found out by a jailer, but her act of selflessness impresses officials and wins her father's release.

See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel. (p. 307, 1376).

See Real Museo Borbonico, 1824, Volume I Table 5.