House of the Faun

by Ancient Roman VillasArtMosaicsPowerpointsRoman Art
The Latin inscription HAVE, translated as Welcome in English, salutes visitors to the largest and most luxurious residence in Pompeii, The House of the Faun, 2nd century BC to 79 AD, Pompeii, Italy
http://pompeiisites.org/en/archaeological-site/house-of-the-faun /

The House of the Faun is the grandest and most lavishly decorated private residence in ancient Pompeii. Originally serving as the home of a privileged family, this remarkable house, constructed in the latter part of the second century BC, circa 180 BC to be specific, occupied an entire city block and boasted an expansive interior spanning approximately 3,000 square meters. Home to many spectacular pieces of art, the House of the Faun stands out for its opulent floor mosaics, some of which remain in their original positions, while others are exhibited at the National Museum of Naples.

House of the Faun, the large Tuscan Atrium of the House of the Faun in Pompeii with a central impluvium (rainwater basin) and the bronze statue of the Dancing Faun, a Roman copy of a Hellenistic original bronze statue, 0.64 cm, National Museum of Naples, Italy https://www.worldhistory.org/image/11263/the-atrium-of-the-house-of-the-faun-in-pompeii/

The title, House of the Faun, derived from an original bronze figurine portraying a dancing Faun situated at the heart of a white limestone Impluvium (Plan No. 27), a basin for collecting water. Fauns, ethereal beings associated with untamed forests, were frequently linked by Romans to Pan and Greek satyrs, who were followers of Dionysus, the Greek deity associated with wine and agriculture. The original bronze statuette of the Dancing Faun is in the National Museum of Naples, thus the statue seen in the house’s ruins today is a copy.

The elaborate and sophisticated architectural plan of the House of the Faun reflects the wealth and social status of its occupants and follows the standard Roman architectural style of a Domus (private family house) but on an exceptionally grand scale. The House had, for example, two main Entrances, (Plan No 2bold and No 5bold). The principal Entrance (Plan No. 2bold) led to the Tuscan Atrium (Plan No. 27), while a secondary Entrance (Plan No. 5bold) led directly to the Tetrastyle Atrium (Plan No. 7)  and the service areas. The Tuscan Atrium, with a large open hall, the heart of the house, had the impluvium in the center, a basin that collected rainwater, with a small bronze statue of a Dancing Faun, giving the house its name.

Around the Tuscan Atrium were various rooms including cubicula (bedrooms), a tablinum (office or study), and triclinia (dining rooms). A special room, the Exedra (Plan No. 37), was off the smaller Peristyle (Plan No. 36) and contained the famous Alexander Mosaic.

Mosaic of Alexander and Darius, 2nd century BC, Naples Archaeological Museum, Italy https://mann-napoli.it/en/mosaici-2/#gallery-4

The house had two Peristyles (Plan No. 36 and No. 39) or colonnaded courtyards. The larger one (Plan No. 39), was essentially a garden surrounded by a colonnade. The second smaller Peristyle (Plan No. 36) was more private and was linked to the private living areas. Separate service quarters were attached to the secondary entrance and the Tetrastyle Atrium (Plan No. 5bold and No. 7). These included the kitchen, a small bathing complex, slave quarters, and storerooms. On the exterior, the house had tabernae or shops (Plan No. 1, No 2, No 3, and No 4). These were leased out to generate additional income.

The House of the Faun represents a clear example of how the Romans valued both private and social aspects of life, and how they incorporated this into their architecture.

This residence is most famous for its intricate and beautifully preserved mosaics, which not only demonstrate the wealth and status of its inhabitants but also provide an insight into the aesthetic tastes of the Roman elite during this period. The mosaics serve as invaluable examples of the ancient Roman mosaic tradition, each one unique in design and execution.

The most famous mosaic found in the House of the Faun is the Alexander Mosaic, which covered the floor of the Exedra (Plan No. 37). The mosaic, dated during the 2nd century BC, is believed to depict the Battle of Issus (333 BC) between Alexander the Great and Darius III of Persia. The mosaic is lauded for its attention to detail, dramatic energy, and sophisticated use of perspective, showcasing a high degree of artistic skill.

The mosaic I find particularly touching presents one word only. It was placed in front of the main entrance to the House (Plan No. 2bold), reading HAVE, a Latin word meaning ‘Greetings’ or ‘Welcome’. Isn’t it a particularly welcoming touch to the grandeur of this spectacular Pompeiian house?

The PowerPoint I prepared for my new BLOG POST the House of the Faun has two Parts. The first consists of photos of the House itself. The second part of the PowerPoint presents photos of its famous Mosaics. For the PowerPoint, please… Check HERE!

This Video dedicated to the House of Faun is worth seeing… https://www.youtube.com/watch?v=-X4i0psJ2p0

Roman Enameled Glass

by ArtPowerpointsRoman Art
Goblet with a Gladiator, Begram Hoard, 1st century AD, Enameled Glass, Height:  cm, Guimet Museum, Paris, France https://twitter.com/AntiokhosE/status/1615092377340846089
Vase fragment depicting African Hunt, Begram Hoard, 1st century AD, Enameled Glass, Guimet Museum, Paris, France https://depts.washington.edu/silkroad/museums/mg/begram.html
Goblet with the abduction of Europe, Begram Hoard, 1st century AD, Enameled Glass, Height: 16 cm, Guimet Museum, Paris, France https://commons.wikimedia.org/wiki/File:Goblet_Abduction_of_Europa_Begram_Hoard_Guimet_MG21228_n01.jpg

The earliest glass vessel decorated with enameling, write the Corning Museum experts, dates from about 1425 BC. It successfully combines one of humankind’s oldest creative urges (the desire to draw on things) with one of the most advanced technologies of the ancient world (glassmaking). Interestingly, and surprisingly, the next step in decorating with enameling takes fourteen centuries to occur. The absence of enameling on Greek and Hellenistic glass, with no surviving artifacts or documentary descriptions, up until now, directs us to assume that both the concept of this type of decoration and the means to realize it were simply lost and long-awaited rediscovery. All changed during the early decades of the 1st century AD. The gap was bridged, and the technical challenges were achieved. The creation of luxurious Roman Enameled Glass vessels started and lasted over a period of about 300 years. https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

Roman enameled glass artifacts fascinate me. They showcase a unique combination of glass craftsmanship and enamelwork, resulting in stunning decorative pieces. While I am not an expert in glass, I am eager to learn. The Corning Museum of Glass website provides valuable information on enameled glass, so allow me to address some questions, starting with “What” and “How.” A valuable addition will be the PowerPoint presentation I have compiled, featuring significant examples of Roman enameled glass artifacts from museums around the world… Click HERE! and judge for yourselves!  https://home.cmog.org/ and https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

What is Enameled Glass? Enameled glass is a type of glass that has been decorated with a layer, or more, of colored or opaque vitreous enamel. Enamel is a powdered glass material that is mixed with pigments or metallic oxides to achieve various colors and effects. The enameling process involves applying the enamel powder onto the surface of the glass and then heating it in a low-temperature muffle kiln (about 965°-1300°F or 500°-700°C). This heat fuses the enamel to the glass, creating a durable and permanent bond. Sometimes, several firings are required to fuse the different colors of an elaborately enameled object. https://allaboutglass.cmog.org/definition/enamel and Objects and Techniques | The Techniques of Renaissance Venetian Glassworking (cmog.org)

Why did artists use the Enameled Glass technique? Enameled glass is often used for decorative purposes due to its ability to add color, pattern, and texture to glass surfaces. It can be found in various applications, such as art glass, stained glass windows, decorative panels, glassware, and architectural elements. The enamel coating on the glass can be transparent, allowing light to pass through, or opaque, blocking the transmission of light. The choice of enamel color, texture, and design can be customized to suit specific aesthetic preferences or design requirements.

How did Enameled Glass develop, chronologically up and including the Renaissance period, in Europe? A. Roman Period: The discovery of glassblowing during the Roman period made glass affordable and widely available for ordinary domestic purposes. However, the Romans also produced some of the most lavish luxury glass ever made. This is also the time when luxurious glass enamel originated as well. B. 5th – 12th Century AD: The Early Middle Ages saw less advancement in Enameled Glass in Europe due to the fall of the Western Roman Empire and societal changes. There’s evidence, however, of continuous tradition in the Byzantine Empire. C. Late Medieval Period: The first major revival of enameled glass occurred during the late Medieval period. This is also when we see the first instances of stained glass windows in churches, which used enamel for detailed painting and shading. Venice, and the island of Murano to be specific, became the greatest European Glass-making center. D. Renaissance Period: The development of enameled glass greatly increased during the Renaissance. In Venice/Murano, the most important center for glassmaking, artists developed new enameling techniques that allowed for greater detail and more vibrant colours. https://www.cmog.org/article/enameled-glass-vessels-1425-bce-1800-decorating-process

How can Roman Enameled Glass production be described aesthetically? The aesthetic effects of Roman artifacts made from enameled glass can be described as opulent, vibrant, and intricate. These effects were intended to showcase the wealth, status, and refined taste of their owners. The combination of glass and enamel craftsmanship resulted in a unique fusion of materials, creating objects that exuded beauty and sophistication.

Bowl fragments depicting Combat Scenes, Begram Hoard, 1st century AD, Enameled Glass, Guimet Museum, Paris, France https://twitter.com/SusanRahyab/status/1554483598748749824/photo/4

The vibrant colors used in Roman enameled glass, achieved through the application of enamel, added a sense of liveliness and richness to the artifacts. The various shades of blues, greens, yellows, reds, and whites created a visually dynamic and eye-catching effect. The colors were often complemented by the addition of gilding or gold leaf, further enhancing the luxurious appearance of the pieces.

The Bird Cup, 20-50 AD, Enameled Glass, Civic and Archaeological Museum, Locarno, Switzerland https://hls-dhs-dss.ch/it/articles/002115/2010-03-30/

The intricate scenes found in Roman enameled glass artifacts showcased the high level of skill and attention to detail of the artisans. Geometric designs, floral motifs, organic patterns, and figurative compositions were meticulously executed, creating a sense of complexity, visual depth, delicacy, and refinement to the overall design.

The layered and multicolored effects, achieved by applying enamel in successive layers, added a sense of dimensionality and complexity to the artifacts. The juxtaposition of different colors and patterns created a captivating visual interplay, drawing the viewer’s attention and enhancing the overall aesthetic appeal.

The aesthetic effect of Roman enameled glass production also reflects the broader artistic sensibilities of the Roman Empire. It embodies the fusion of influences from various cultures, including Hellenistic, Egyptian, and Near Eastern, resulting in a unique and eclectic style that was distinctively Roman.

For a PowerPoint, please… Check HERE!

Persephone as Isis and Hades as Sarapis

by Ancient Greek ArtArtEducationGreek ArtMythologyRoman ArtStudent ActivitiesWorksheets
Statue Group of Persephone as Isis and Hades as Sarapis, 180-190 AD, Marble, from Gortyn, the island of Grete, Greece

Persephone, Daughter of Zeus, blessed / Only begotten, gracious Goddess, receive this good offering, / Much honoured, you, overpowered by Hades, / you are beloved and lifegiving, / You hold the doors of Hades under the depths of the earth; / Transactor of Justice, your beloved hair the sacred olive branch of the enemy / Mother of the Eumenides, Queen of the Underworld, / You, maiden from Zeus through secret begetting… / … Listen, blessed Goddess and send up fruits from the earth / In peace, flourishing in health from your soothing hand; / And, in life abundance, leading to richness of old age / Then to your realm O Sovereign, and to powerful Hades… and I am reminded of The Statue Group of Persephone as Isis and Hades as Sarapis in the Heraklion Archaeological Museum in Crete… some questions and answers! https://godofthemonth.livejournal.com/2759.html

Where were the statues of Persephone as Isis and Hades as Sarapis found? The statues were discovered on the Island of Crete, in the Temple of the Egyptian Gods in the ancient city of Gortyn.

Few words about the Temple of the Egyptian Gods in Gortyn… It is a significant monument from the ancient world that provides insight into the religious and cultural life of the city. The temple was built during the Roman period and was dedicated to the worship of Egyptian gods, including Isis, Serapis, and Anubis. The temple was likely constructed as a result of the influence of Egyptian culture in Gortyn, as well as the growing popularity of the Egyptian gods in the Roman world. It is a symbol of the cultural diversity of the city and its cosmopolitan nature. The Temple was first excavated by G. Oliverio, in 1914.

Few words about the ancient city of Gortyn… an ancient city located in Crete, Greece, and the capital of the Roman province of Crete and Cyrenaica. It was one of the most important cities in ancient Crete and was a center of politics, culture, and commerce. In its heyday, Gortyn was a thriving city with a diverse population. The city was known for its impressive architecture, including temples, like that of the Egyptian Gods, public buildings like the Roman Odeon, and impressive fortifications. The city was home to the Gortyn Code, a set of laws and regulations that governed the lives of the people of Crete and regulated everything from trade and commerce to marriage and family life.

Few words about the statues of Persephone as Isis and Hades as Sarapis… The statues from the Temple of the Egyptian Gods at Gortyn combine iconographic elements and symbols of Hellenic and Egyptian deities alike. The figure of Persephone as Isis is depicted frontally holding a sistrum and wearing a mantle crowned with a disk, the symbol of the sun, between two horns. Hades as Sarapis stands frontally as well. He is crowned with the modius, or grain measure, and holds the scepter of his divine authority in his left hand. On his right is Cerverus, facing the viewer, ferocious-looking and fierce. https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

Who were the Greek Gods Persephone and Hades? Persephone and Hades are divine figures from ancient Greek mythology. Persephone was the daughter of Zeus and Demeter, the goddess of agriculture and harvest. Hades was the god of the underworld and the dead.

The myth of Persephone and Hades begins with the kidnapping of Persephone by Hades. According to the story, Hades was so enamored with Persephone that he abducted her and took her to the underworld to be his bride. This caused great distress for Demeter, who searched the earth for her daughter and caused the crops to wither and die. To resolve the situation, Zeus intervened and arranged for Persephone to spend half of the year with her mother and half of the year with her husband in the underworld. During the time that Persephone was with Demeter, the crops would grow and the earth would be fertile, but during the time she was with Hades, the earth would become barren.

This is why the ancient Greeks associated the myth with the changing of the seasons and the cycle of death and rebirth. In addition to being a story about the changing of the seasons, the myth of Persephone and Hades also symbolizes the journey of the soul and the transition from life to death. Hades represents the dark, mysterious, and unknown aspects of the afterlife, while Persephone represents the soul that must journey through this realm. The myth of Persephone and Hades is undoubtedly an important and enduring tale in Greek mythology that continues to captivate audiences to this day.

Why and How did the Greek Gods, Persephone, and Hades, connect with the Egyptian Gods Isis and Sarapis? The cult of the Egyptian Gods is attested at many sites of the ancient Greek world and became quite popular during the Hellenistic period. The amalgamation of the attributes of the Egyptian deities Isis and Sarapis with those of the Greek Persephone and Hades is a syncretic phenomenon observed during the Hellenistic and Roman periods. https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

One of the key similarities between Persephone and Isis is their association with the afterlife and the underworld. Persephone was abducted by Hades and became the queen of the underworld, while Isis was often depicted as the “Lady of the Tomb” and was associated with the afterlife and the dead. Both figures were also associated with the idea of rebirth and renewal and were revered as powerful, nurturing goddesses who could bring life and fertility to the earth. In both myths, the goddess was seen as a powerful figure who could help guide the souls of the dead through the afterlife and ensure that they reached their final resting place.

The Egyptian God Sarapis is thought to be a creation of Ptolemaic Egypt, an amalgama of Osiris, husband of Isis, Apis, and Hades. Sarapis was widely worshipped in the Hellenistic world and was particularly popular in the city of Alexandria in Egypt. He was depicted as a powerful and benevolent ruler of the underworld and was seen as a savior figure who could grant salvation to those who worshipped him. Despite their different origins, both Hades and Sarapis were seen as gods of the underworld who held sway over the fate of the dead. In this sense, they both represented the powers of death and the afterlife in the ancient world. https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

For a Student Activity, please… Check HERE!

Photo Credit: https://www.heraklionmuseum.gr/en/exhibit/isis-persephone-and-sarapis-hades/

Flora

by ArtMythologyRoman ArtRoman FrecoesStudent ActivitiesWorksheets
Villa Arianna Fresco of Flora, (Room W. 26),  1st century AD, fresco, 38×32 cm, from Villa Arianna in Stabiae, National Archaeological Museum of Naples, Italy
https://commons.wikimedia.org/wiki/File:Primavera_di_Stabiae.jpg

Love came to Flora asking for a flower / That would of flowers be undisputed queen, / The lily and the rose, long, long had been / Rivals for that high honor. Bards of power / Had sung their claims. “The rose can never tower / Like the pale lily with her Juno mien” — “But is the lily lovelier?” Thus between / Flower-factions rang the strife in Psyche’s bower. / “Give me a flower delicious as the rose / And stately as the lily in her pride” — But of what color?” — “Rose-red,” Love first chose, / Then prayed — “No, lily-white — or, both provide;”  / And Flora gave the lotus, “rose-red” dyed, / And “lily-white” — the queenliest flower that blows… writes the Indian poet Toru Dutt and I think of Flora my favorite fresco in Villa Arianna in Stabiae. https://allpoetry.com/Toru-Dutt

Where is Stabiae? Stabiae was an ancient Roman city, or rather a string of luxury villas stretching along the coast, located on the western side of Italy, in the modern-day region of Campania. It was well known for its luxurious villas and rich maritime trade. The city was destroyed by the eruption of Mount Vesuvius in 79 AD, along with the nearby city of Pompeii. The well-preserved remains of Stabiae, including frescoes and mosaics, offer a unique glimpse into the daily life and culture of ancient Rome. During the Archaic period (8th century BC) Stabiae already played an important strategic and commercial role. The city reached its highest population density between its destruction by Sulla (89 B.C.) and the eruption of Mount Vesuvius (79 A.D.). During this period, on the northernmost edge of the Varano hill, many Villas were built taking advantage of the panoramic views. They were mainly residential villas, with beautifully decorated large apartments, thermal baths, porticoes, and nymphaea. At present, only some of these villas, not entirely excavated yet, can be visited…

Information about Villa Arianna… On the western hills of Varano, and overlooking the Bay of Naples, Villa Arianna, is impressive, to say the least. It is estimated that it covered an area of over 11,000 sq.m., whereas its excavated parts cover only 2,500 sq.m. The villa has an unconventional layout, due in part to its continuous development but also to the sloping nature of the site. As much of the building is still buried, the original floor plan is quite difficult to interpret. Certainly, the main range of rooms was at the front of the highest of a series of terraces; some of these rooms featured views both of the sea on one side and of the mountains on the other. There was also a long tunnel (B) leading from the stables and farm court under the residential quarters to the shore. https://sites.google.com/site/ad79eruption/stabiae/villa-arianna

Excavations at Villa Arianna, When, How, and by Whom… Excavations in Villa Arianna started in 1757 and were conducted by the Swiss engineer Karl Weber, until 1762. At the time, the archaeological site of the Villa was seen more like a treasure hunt exploration site. The Weber team dug underground tunnels, explored the excavated areas, and whatever was discovered and considered of value, like furnishings and frescoes, were detached and taken to the Bourbon Museum at the Royal Palace of Portici. A lot, deemed unworthy or ruined, were left behind and much was ruined by the methods employed by the “archaeologists” of the time. Today, parts of the Villa nearest the sea have collapsed down the cliff and perished forever, extended areas of the site are still buried awaiting excavations, but thanks to a Bourbon-period map showing where tunnels were dug and thereafter re-buried, archaeologists resumed excavations in 1950, and proceed with proper scientific research.

Discuss the Fresco of Flora… Among the many treasures discovered in Villa Arianna is the fresco of Flora, exhibited today in the National Archaeological Museum of Naples. It is a 38×32 cm fresco, created for the triclinium area of the Villa (Room W. 26 in the Plan). The fresco depicts the goddess Flora, the Roman goddess of flowers and spring, surrounded by a variety of plants and flowers.

Villa Arianna Fresco of Flora (detail), (Room W. 26),  1st century AD, fresco, 38×32 cm, from Villa Arianna in Stabiae, National Archaeological Museum of Naples, Italy https://mariasannino.com/2021/03/08/la-fanciulla-che-coglie-fiori/

In vibrant colors, intricate details, and naturalistic depictions of plants and flowers, the lovely Flora, a young girl shown with her back to us, delicately gathering spring flowers, is a fine example of the 3rd Pompeian style in painting. Barefoot with a light step, her veil and the hem of her dress floating in the air, Flora turns suddenly to the side to pick a spring from a thin shrub with white flowers. Shown in a relaxed and carefree manner, the goddess is thought to reflect the changing cultural attitudes of the time, the increasing wealth and luxury of the Roman Empire, and may suggest a greater appreciation for the beauty and abundance of nature in ancient Campania!

For a Student Activity, please… Check HERE!

Cameo of two Emperors

by ArtRoman ArtStudent ActivitiesWorksheets
Busts of Two Emperors, late 3rd century – early 4th century, Chalcedony on Gold, 3.5 cm x 4.3 cm, Dumbarton Oaks, Washington DC, USA
http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%223671%22&sort=0&page=466

The period of the Tetrarchy in the Roman Empire began around 293 CE, twenty years into the rule of the emperor Diocletian. Due to the sheer size of the empire, Diocletian established four regions and appointed two augusti and two caesars, one to govern each section. During this time period, there was an explosion of art being produced emphasizing peace, or concordia. This trend is best shown in official artworks and coins presenting the four rulers in incredible similarities. Such artworks, displayed across the empire were intended to illustrate the unity of the empire despite the 4 rulers and the hierarchy of power ranking them. The Cameo of two Emperors in the Byzantine Collection of the Dumbarton Oaks is one such artwork of incredible beauty! https://sites.rhodes.edu/coins/imperial-imagery-tetrarchy

It was Christmas break 1977, a university student at the time when I first visited the Metropolitan Museum of Art in New York City and saw the Dumbarton Oaks Cameo of two Emperors. Visiting the Exhibition Age of Spirituality was a ‘Christmas gift’ I will never forget! Many years later… many ‘Exhibitions’ later, I am still surprised and excited when I stand in front of small ‘gems’ like the Dumbarton Oaks Cameo…

According to James D. Breckenridge, the Dumbarton Oaks Cameo presents… two male busts carved in dark stone against an opaque white background. The man on the left of the cameo is frontal, with head turned right, bearded and mustached; his chlamys is fastened at his left shoulder – apparently an arbitrary choice of the gem cutter – with a round brooch. The man on the right appears younger – beardless and without moustache; he is slightly behind his senior and slightly lower. Whereas the older man’s hair and beard are in short curls, his hair is in wavy strands. Pupils and irises of both men are incised. https://books.google.gr/books?id=efLuB7QPDm8C&printsec=frontcover&redir_esc=y#v=onepage&q&f=false  

Busts of Two Emperors, late 3rd century – early 4th century, Chalcedony on Gold, 3.5 cm x 4.3 cm, Dumbarton Oaks, Washington DC, USA
http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%223671%22&sort=0&page=466

Unfortunately, it is not clear who the depicted men are. The roughly incised inscription DIOCL(etianus) MAXim(ianus) AVG(ustus) on the gold plaque at the back of the gem, the style of execution and details of its iconography, identify, by the majority of scholars, the Cameo portraits, as a product of the Tetrarchy, and subsequently, the depicted men as members of it. Taking into added consideration that the Dumbarton Oaks gem is cut from a larger work, it is highly plausible that the original gem might have shown all four Tetrarchs.  

Back in 1956, Richter suggested Diocletian and Maximian as the represented Tetrarchs, and James D. Breckenridge put forward the names of Maximianus Herculeus and Maxentius. Interestingly, Dumbarton Oaks expert J. Hanson, sets forth the popular, among experts, identification of the two presented leaders as Diocletian and Galerius, who jointly ruled the Eastern half of the Empire from 293 to 305, and the two Western tetrarchs on the lost/missing section, as Maximian and Constantius Chlorus. https://books.google.gr/books?id=efLuB7QPDm8C&printsec=frontcover&redir_esc=y#v=onepage&q&f=false and http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%223671%22&sort=0&page=466

For a Student Activity on the Cameo of two Emperors, please… Check HERE!

Busts of Two Emperors, late 3rd century – early 4th century, Chalcedony on Gold, 3.5 cm x 4.3 cm, Dumbarton Oaks, Washington DC, USA
http://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%223671%22&sort=0&page=466
Map of the Roman Empire, The Period of Tetrarchy, around 293 AD https://sites.rhodes.edu/coins/imperial-imagery-tetrarchy

Astragaloi Players

by Ancient Roman VillasArtMythologyRoman ArtStudent ActivitiesWorksheets
Alexander of Athens, 1st cent BC-1st cent AD
Astragaloi players from Herculaneum, 1st cent BC-1st cent AD, Marble and Pigment, 47.6×50.5 cm, National Archaeological Museum of Naples, Italy https://mann-napoli.it/affreschi/#gallery-8

Niobe ((P. Ovidius Naso, Metamorphoses)… So many things / increased her pride: She loved to boast / her husband’s skill, their noble family, / the rising grandeur of their kingdom. Such / felicities were great delights to her; / but nothing could exceed the haughty way / she boasted of her children: and, in truth, / Niobe might have been adjudged on earth, / the happiest mother of mankind, if pride / had not destroyed her wit… and Leto’s anger fell hard on her… Childless— she crouched beside her slaughtered sons, / her lifeless daughters, and her husband’s corpse. / The breeze not even moved her fallen hair, / a chill of marble spread upon her flesh, / beneath her pale, set brows, her eyes moved not, / her bitter tongue turned stiff in her hard jaws, / her lovely veins congealed, and her stiff neck / and rigid hands could neither bend nor move.— / her limbs and body, all were changed to stone… The Astragaloi Players, the painted marble Pinax from Herculaneum, takes the viewer to moments of contentment when Leto and Niobe certainly they loved each other like true friend (Sappho Fragment 142)… before Niobe’s Ύβρις (transgression against a god) and Leto’s painful Wrath!  https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0028%3Abook%3D6 and https://digitalsappho.org/fragments/fr118-168/

The famous painting of the Astragaloi Players was discovered in the House of Neptune and Amphitrite, in Herculaneum, on Cardo IV, in May 1746. Not one of the largest houses in ancient Herculaneum, yet one of the most famous, and visited, as it boasts three masterpieces.

The Villa’s Garden Court, with a summer triclinium, veneered with marble, on the far end wall, the Nymphaeum, and the famous Neptune and Amphitrite mosaic.

First, the mosaic decorating the Nymphaeum, located in the Inner Garden Court of the house. Adorned with geometric and floral motifs and hunting scenes with dogs and deer composed of glass paste tesserae, shells, and designs of mother of pearl, the Nymphaeum mosaic is brightly colorful and elegant. Second, in the center of the east wall, the mosaic after which the house is named shows Neptune and Amphitrite surrounded by an exquisite frame of decorative motifs. Third, the Marble Pinax of the Astragaloi Players is detached and exhibited today in Naples Archaeological Museum.

The depicted scene in the marble Pinax, titled Astragaloi Players, presents the act immediately preceding the massacre of the Niobids. The myth, also told by Ovid (Metamorphoses, VI), narrates that Niobe, wife of Amphion, king of Thebes, and mother of many children, dared to declare herself even superior to the goddess Leto, mother of only two children, Apollo, and Artemis. Leto, angered by Niobe and her outrageous presumption, ordered the killing of the queen’s seven sons by Apollo and the killing of her seven daughters with arrows shot by Artemis. https://mann-napoli.it/wp-content/uploads/2022/05/10.-Giocatrici-di-astragali.pdf

Astragaloi players from Herculaneum, Drawing of the painting on marble, in Antichità di Ercolano: Tomo Primo: Le Pitture 1, 1757, 1,5
https://herculaneum.uk/Ins%205/Herculaneum%205%2007.htm

The inscriptions in capital Greek characters, placed next to each figure depicted in the Pinax, identify the members of the story by name. In the background, three women are identified as Leto (left), Niobe (middle), and Phoebe (right). In the foreground, kneeling and involved in a game of Astragaloi, the artist of the composition placed two of Niobe’s daughters, Aglaia (left) and Ilaria (right). Another inscription, placed in the upper left corner, introduces us to the artist, a man called Alexander from Athens (ΑΛΕΞΑΝΔΡΟΣ ΑθΗΝΑΙΟΣ ΕΓΡΑΦΕΝ).  

Antonio Coppa of the Naples Archaeological Museum believes that this marble painting is most likely a Neo-Attic remake of an original painting of the late 5th century BC, attributable to the famous Zeuxis. The archaeologist also believes that the presence of names identifying each figure depicted in the composition fits into the archaizing fashion of the Augustan age, allowing to date the work between the end of the 1st century BC and the beginning of the 1st century AD. https://mann-napoli.it/wp-content/uploads/2022/05/10.-Giocatrici-di-astragali.pdf

The painting of the Astragaloi Players was immediately defined as “monochrome”, believing it to be an example of those paintings in which the only color for their realization was the cinnabar. However, recent investigations into the picture pigment have highlighted the use of multiple colors: pink and yellow for the clothes, red for the sandals, and black for the hair; moreover, the different gradations of color gave volume to the figures, therefore the current monochrome is only the result of the action of time. https://mann-napoli.it/wp-content/uploads/2022/05/10.-Giocatrici-di-astragali.pdf

What a magnificent discovery!

For a Student Activity, please… Check HERE!

Murrhine Vases in the British Museum

by ArtRoman ArtStudent ActivitiesWorksheets
The Barber Cup, 50-100 AD, Fluorite, Diameter: 6.40 cm, Height: 15 cm (total), British Museum, London, UK https://www.artfund.org/supporting-museums/art-weve-helped-buy/artwork/9125/the-barber-cup
The Crawford Cup, 50-100 AD, Fluorite, Diameter: 10.70 cm, Height: 9.70 cm, British Museum, London, UK https://www.britishmuseum.org/collection/object/G_1971-0419-1

Fluorite(or Fluorspar) crystals were among the most highly prized gemstones in ancient Greece and Rome. In numerous Latin works, the word ‘murrina’ (today, known as murrhine) is used elliptically to designate a certain category of costly vessels, known as ‘vasa murrina.’ Suetonius, for example, tells us that Augustus, of all the royal riches he was presented with in Alexandria… he set aside for himself, one object only, a murrhine vase… The two Murrhine Vases in the British Museum, rare and precious, are worth exploring.  https://www.jstor.org/stable/24191123?read-now=1#page_scan_tab_contents Alain Tressaud and Michael Vickers, Ancient Murrhine Ware and Its Glass Evocations, Journal of Glass Studies, Vol. 49 (2007), pp. 143-152 (10 pages), Published by: Corning Museum of Glass

The two Murrhine Vases in the British Museum were discovered by an Austro-Croat officer during the First World War near the then border between Turkey and Syria, in what was once ancient Cilicia. Apparently, he first discovered a marble cist which contained a lead casket containing some gold medallions, a two-handled stone ‘cup’, covered with ashes, and a slightly taller stone ‘jug’ with one carved handle, also covered in ashes. Shortly after World War I, the officer who discovered this amazing treasure, sold both of ‘his’ stone vases, but to two different buyers.

The Barber Cup, 50-100 AD, Fluorite, Diameter: 6.40 cm, Height: 15 cm (total), British Museum, London, UK https://www.artfund.org/supporting-museums/art-weve-helped-buy/artwork/9125/the-barber-cup

The ‘jug,’ today known as the Barber Cup, went to a Greek dealer of antiquities who sold it to Baron Adolphe Stoclet, the wealthy Belgian engineer, financier, and noted collector, from whose estate the British Museum acquired it in 2004, thanks in part to the British Museum Friends and it is now named in honour of their former Chairman, Nicholas Barber. The acquisition of the Barber Cup was generously funded by the Art Fund and the Caryatid Fund as well. https://artsandculture.google.com/asset/the-barber-cup/2wEO5TvohhMDUw

The Barber Cup (details), 50-100 AD, Fluorite, Diameter: 6.40 cm, Height: 15 cm (total), British Museum, London, UK
https://www.britishmuseum.org/collection/object/G_2003-1202-1
The Barber Cup (detail), 50-100 AD, Fluorite, Diameter: 6.40 cm, Height: 15 cm (total), British Museum, London, UK
https://www.britishmuseum.org/collection/object/G_2003-1202-1

According to Dyfri Williams, the shape of the Barber Cup has been carved from a single piece of a mineral known as fluorspar and is richly veined with purple, green, yellow, and white. The cup has been further decorated with a low-relief panel of vine leaves, grapes, and tendrils, with a bearded head presumably Dionysus or one of his companions, under the handle. The Barber Cup is unusual, and it is likely that the craftsman intended to create a two-handled ‘kantharos,’ but for some reason changed his mind during the carving. The decoration is very carefully cut and can be found in both in Roman silverware and in glass. The date is probably the 1st century AD, and the find-spot in Roman Cilicia and the high quality of the object suggests the rich and cosmopolitan city of Antioch as a place of manufacture. https://ocean.exacteditions.com/issues/92787/spread/49

The Crawford Cup, 50-100 AD, Fluorite, Diameter: 10.70 cm, Height: 9.70 cm, British Museum, London, UK https://www.britishmuseum.org/collection/object/G_1971-0419-1

The two-handled ‘cup,’ today known as the Crawford Cup went to a private collector, who published the story of its discovery. In 1971, the ‘cup’ was presented to the British Museum, a gift by the Art Fund in honour of David Lindsay, 28th Earl of Crawford, chairman of the Fund between 1945-1970. The Crawford Cup was also carefully cut from a single piece of fluorspar, and is richly veined with purple, green, and yellow, but has no additional, like the Barber Cup, low-relief decoration.  It has the shape of a two-handled goblet, or to be more precise, the shape of the ancient Greek drinking cup known as Kantharos. The shape of the Crawford Cup has been compared to the Hellenistic agate Cup of the Ptolemies in the Cabinet des Médailles at the Bibliothèque Nationale de France in Paris. https://ocean.exacteditions.com/issues/92787/spread/49

For a Student Activity on the Barber Cup, please… Check HERE!

House of the Deer in Herculaneum

by Ancient Roman VillasArtRoman ArtRoman FrecoesStudent ActivitiesWorksheets
Still Life with Peaches and Water Jar, detail of a Fourth Style wall painting from the House of the Deer in Herculaneum, c. 62-69 C.E., fresco, 35.56 x 34.29 cm, Archaeological Museum, Naples, Italy https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/wall-painting/a/still-life-with-peaches

According to the Food and Agricultural Organization of the United Nations, a sustainable world is one where everyone counts. Governments, the private sector, academia, and civil society and individuals need to work together in solidarity to prioritize the right of all people to food, nutrition, peace and equality. Indeed, every one of us, including youth, can work towards an inclusive and sustainable future, showing greater empathy and kindness in our actions. On World Food Day, October 16, we need to build a sustainable world where everyone, everywhere has regular access to enough nutritious food. I would like to commemorate this important day by presenting a Still Life painting from the House of the Deer in Herculaneum. https://www.fao.org/world-food-day/en

Panoramic View of the House of the Deer in Herculaneum, Italy https://sites.google.com/site/ad79eruption/herculaneum-1/insula-iv/house-of-the-deer

The House of the Deer in Herculaneum, built during the reign of Emperor Claudius, is one of the most opulent houses in ancient Herculaneum. Its name comes from a set of statues depicting deer attacked by hounds. The marble sculptural decoration of the Villa, discovered in 1930, was part of its landscaped garden. Apart from the two statues of deer attacked by hounds, archaeologists discovered the statue of a Satyr carrying a Wineskin on his back, and a Drunken Hercules. https://brunelleschi.imss.fi.it/giardinoantico/egar.asp?c=24027&k=24013&rif=24021            

Discovered in 1930, in the House of the Deer, this loaf of sourdough bread was baked on the morning of the 24th of August, 79 CE. It carries the stamp of Celer, a former slave of Quintus Granius Verus. https://bitesizedancienthistory1.wordpress.com/2020/09/05/the-bread-loaf-from-herculaneum/

Interestingly, we know the name of the owner of this house. This was done after the discovery of a bread cake with the seal of a certain Seler, a former slave of Granius Veria. Shortly before the death of Herculaneum, Celer was released by his master with all the rights of a free citizen. https://ermakvagus.com/Europe/Italy/herculaneum/deer_house_herculaneum.html

House of the Deer in Herculaneum Plan
Garden area (32), looking north to the central doorway into Cryptoporticus (28)
Garden area (32), detail of the mosaic decoration of the Great Portal.
Photo courtesy of Robert Hanson
Statue of a deer attacked by four hounds, 1st century AD, white Luna marble. The original statues are exhibited in Soprintendenza Archeologica di Pompei, in Italy https://herculaneum.uk/Ins%204/Herculaneum%204%2021%20p9.htm and https://twitter.com/planetpompeii/status/1113189803204411399 and https://herculaneum.uk/Ins%204/Herculaneum%204%2021%20plan.htm

The House of the Deer, one of the most luxurious waterfront dwellings so far discovered in Herculaneum, has an interesting layout. It focuses on the axis that runs from the triclinium (5) through the peristyle/garden area (32), and the tablinum (15) to the gazebo (18) set in the center of the panoramic terrace overlooking the Bay of Naples to the south. https://sites.google.com/site/ad79eruption/herculaneum-1/insula-iv/house-of-the-deer

An important part of the House of the Deer was the Cryptoporticus (28-31), a corridor that enclosed the central peristyle/garden (32) area, and opened onto the atrium (24), the triclinium (5), and the tablinum (15). The Cryptoporticus was decorated in the 4th Pompeian Style, featuring more than sixty individual panels. These panels (partly removed in the 18th century) represent scenes with tiny cupids, still-lifes, and various architectural landscapes. https://sites.google.com/site/ad79eruption/herculaneum-1/insula-iv/house-of-the-deer

Still Life with Peaches and Water Jar (left), Still Life with a Silver Tray with Prunes, Dried figs, Dates, and Glass of Wine (center), and Still Life with Branch of Peaches (right)
Still Life with Hen (left), Still Life with Two Cuttlefish, a Silver Jug, Bird, Shells, Snails, and Lobster (center), and Still-life with a Hare and Grapes (right)
Still-Life with Chicken and Hare (left), Still Life with Partridge, Pomegranate, and Apple (second from left), Still Life with Thrushes and Mushrooms (third from left), Still-Life with Partridges and Eels (far right)
Fourth Style wall paintings from the House of Deer in Herculaneum, Italy, c. 62-69 C.E., fresco, 35.56 x 34.29 cm, Archaeological Museum, Naples, Italy
https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/wall-painting/a/still-life-with-peaches

My favorite panel presents Peaches and a transparent glass Water Jar. It was meant to be seen as a group of three Still Life paintings.  According to Dr. Lea Cline, all ten Still Life panels discovered in the Villa belong to a category of still life paintings known as xenia, that is as hospitality gifts. It is interesting to know that the ancient Greek and Roman hosts were expected to gift their guests with xenia, tokens of their hospitality, instead of receiving gifts as the tradition is today. https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/wall-painting/a/still-life-with-peaches

For a Student Activity inspired by the House of the Deer in Herculaneum, please… Check HERE!

Treu Head

by ArtPowerpointsRoman ArtSculpture
The Treu Head, c. 140-150 AD, Parian Marble, H. 38.10 cm, British Museum, London, UK
https://www.britishmuseum.org/collection/object/G_1884-0617-1  

Ancient Greek and Roman sculpture was once colorful, vibrantly painted and richly adorned with detailed ornamentation. Chroma: Ancient Sculpture in Color reveals the colorful backstory of polychromy—meaning “many colors,” in Greek—and presents new discoveries of surviving ancient color on artworks in The Met’s world-class collection. Exploring the practices and materials used in ancient polychromy, the exhibition highlights cutting-edge scientific methods used to identify ancient color and examines how color helped convey meaning in antiquity, and how ancient polychromy has been viewed and understood in later periods… write the Metropolitan Museum experts as they introduce their Chroma: Ancient Sculpture in Color (Through March 26, 2023) Exhibition. A modern study of the color scheme of the so-called Treu Head in the collection of the British Museum is interesting to explore. https://www.metmuseum.org/exhibitions/listings/2022/chroma

The Treu Head was found on the Esquiline Hill in Rome in 1884 and soon after its discovery was acquired for the British Museum. It is a high-quality Parian marble sculptural piece from a statue of Venus or Minerva, with extraordinarily rich traces of black and red paint on the eyebrows and eyes, and yellow paint on the hair and brow. The flesh is remarkably rendered in pinkish skin colour. This is an insert head. It is finished and painted only on the front side because it was inserted into a larger-than-life sculpture, which was made of a different material. This extraordinary mid-2nd century AD Roman Head was named after the late nineteenth-century German archaeologist Georg Treu who first published his investigations of its preserved colour. https://www.researchgate.net/publication/262324723_The_’Treu_Head’_a_case_study_in_Roman_sculptural_polychromy and https://www.britishmuseum.org/collection/object/G_1884-0617-1  

The Treu Head (black and white photo), c. 140-150 AD, Parian Marble, H. 38.10 cm, British Museum, London, UK https://www.britishmuseum.org/collection/object/G_1884-0617-1

Ulrike Koch-Brinkmann and Vinzenz Brinkmann, fascinated by ancient Greek polychromy and supported by Stiftung Archäologie, are instrumental in coloured reconstructions of famous Greco-Roman statues. The Brinkmanns worked hard in the making of polychrome casts of ancient sculptures, as well as publications and scientific documentation (e.g. in the form of film documentaries) on the subject in question. A chief aim of the Stiftung Archäologie was to promote the creation of didactic (cognitive) objects on the basis of scientific research. http://www.stiftung-archaeologie.de/reconstructionsen.html  

Reconstruction Process: Memos and a colour study of the so-called Treu Head (c. 140-150 AD, Parian Marble, H. 38.10 cm) in the British Museum https://www.liebieghaus.de/en/insights/looking-back-40-years-research and https://www.britishmuseum.org/collection/object/G_1884-0617-1

A key piece in their research is the Treu Head in the collection of the British Museum since the late 19th century. According to Vinzenz Brinkmann, it is remarkable that the Treu Head was not cleaned following its discovery, as was the usual practice at the time. As a result, the clear evidence for an evenly applied skin tone over the entire face is of central importance for our basic understanding of the polychromy of ancient statuary. https://www.metmuseum.org/exhibitions/listings/2022/chroma/exhibition-objects

Study 1 of the color scheme of the Treu Head, (c. 140-150 AD, Parian Marble, H. 38.10 cm, British Museum, London, UK) 2014 (2022 recreated after loss in 2021), by Vinzenz Brinkmann and Ulrike Koch-Brinkmann, Marble stucco on a plaster cast after a 3-D scan, natural pigments (chromatographically calibrated) in egg tempera, H. 37 cm, Liebieghaus Skulpturensammlung (Liebieghaus Polychromy Research Project), Frankfurt am Main, inv. Dep.64 https://www.metmuseum.org/exhibitions/listings/2022/chroma/exhibition-objects  

Remarkably rich in traces of different coloured pigments, Treu Head is a valuable source of information in Roman sculptural polychromy. According to Giovanni Verri, Thorsten Opper, and Thibaut Deviese, the head retained extensive traces of its original polychromy, including otherwise rarely preserved skin pigments. Ever since the German scholar Georg Treu published the sculpture in 1889, it has played a significant part in the discussion on ancient sculptural polychromy and in particular the question of whether or not the flesh parts of marble sculptures were originally painted. Examining the Treu Head, the above mentioned scholars, found that complex mixtures of pigments, and selected pigments for specific areas, were used to create subtle tonal variations. The conclusion of their research confirmed beyond doubt the authenticity of the preserved pigments and thereby the sculpture itself, which can now rightfully reassume its important place in the art historical discussion of the polychromy of ancient sculpture. https://www.academia.edu/5842238/G_Verri_T_Opper_and_T_Deviese_The_Treu_Head_a_case_study_in_Roman_sculptural_polychromy_The_British_Museum_Technical_Bulletin_4_2010_39_54

For a PowerPoint on Polychromy, please… Check HERE!

An interesting, Metropolitan Museum Video titled The “Treu Head”: A Virtual Color Reconstruction…  https://www.youtube.com/watch?v=k5iEDtL2I8Y

If you are interested in visiting or browsing through the Metropolitan Museum of Art Exhibition Chroma: Ancient Sculpture in Color (Through March 26, 2023), please Check… https://www.metmuseum.org/exhibitions/listings/2022/chroma/visiting-guide and https://www.metmuseum.org/exhibitions/listings/2022/chroma/exhibition-objects

The Treu Head, c. 140-150 AD, Parian Marble, H. 38.10 cm, British Museum, London, UK https://www.britishmuseum.org/collection/object/G_1884-0617-1  

Villa Pisanella in Boscoreale

by Ancient Roman VillasArtPowerpointsRoman Art
Villa Pisanella, 40-20 BC, Fragment of a Fresco wall decoration from the upper floor of the Villa, featuring a Woman on a black background presenting fruits, Boscoreale Antiquarium, Italy https://commons.wikimedia.org/wiki/File:Women_villa_della_Pisanella_Pompeii_Museum_Boscoreale.jpg

Boscoreale, write the Metropolitan Museum experts, an area about a mile north of Pompeii, was notable in antiquity for having numerous aristocratic country villas. This tradition endured into the time of the Bourbon kings, as is attested by the region’s name, the “Royal Forest,” which implies that Boscoreale was a hunting preserve. Some of the most important Roman “treasures” surviving from antiquity come from Roman Villas at Boscoreale built shortly after the middle of the first century BC. Villa Pisanella in Boscoreale was buried by the eruption of Vesuvius in 79 AD, but in 1868 excavations by Modestino Pulzella brought it back to a “second” life. During the 1895 excavation period, archaeologists came across a large quantity of gold coins, a few pieces of jewellery and an exceptional collection of silverware afterwards presented to the Louvre by Count Edmond de Rothschild. https://www.metmuseum.org/toah/hd/cubi/hd_cubi.htm and https://sites.google.com/site/ad79eruption/boscoreale/villa-pisanella

Villa Pisanella (old photo), looking North across Area A, the courtyard/peristyle and cella vinaria.
https://www.pompeiiinpictures.com/pompeiiinpictures/VF/Villa_013%20Boscoreale%20Villa%20della%20Pisanella%20p1.htm

Villa Pisanella has been the subject of excavations, or rather of explorations, which date back to the last century, and were essentially aimed at the recovery of “treasures,” now dispersed in various museums, and at the preparation of building archaeological plans. During the 1894 and 1903 seasons, the famous Boscoreale Treasure of gold coins, jewellery, and silver tableware was unearthed, along with many bronze furnishings, household utensils, and parts of the Villa’s unpretentious fresco decoration in the Fourth Pompeian Style. All finds are now dispersed among the Louvre, where the gold and silver artefacts are housed, Berlin, the Field Museum in Chicago, and the Boscoreale Antiquarium in Italy. On completion of the 1894-1903 “excavations,” the villa was reburied. http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0006:entry=boscoreale

Plan and Model of the reconstruction of the Villa “alla Pisanella” before the volcanic eruption of 79 AD https://sites.google.com/site/ad79eruption/boscoreale/villa-pisanella

The Villa’s archaeological ground plan shows a modest “Villa Rustica.” It was the headquarters of a farming estate producing olive oil, grain, and enough wine to have two presses and 84 dolia (round fermentation vessels) in its court for fermentation. The owners lived in an apartment arranged in the Villa’s upper story. On the ground floor, archaeologists discovered a single big triclinium, a bath complex, a large kitchen, and the necessary rooms/areas for the management of the farm. http://www.deprisco.it/villapisanella/pisanella.htm

The most important Rooms/Areas in Villa Pisanella are: 1. The letter marks the Entrance of the Villa near the middle of the southwest side as shown in the plan. 2. The letter b marks the Inner Court, wide enough for carts and wagons. 3. Room d is the Villa’s large Kitchen with an open hearth almost in the center of the room, on which the remains of a fire were found, and Room k is the Bakery with a single mill and an oven. 4. Rooms e, f, and g indicate the Bath House of Villa Pisanella beautifully adorned with black and white, simple but elegant, floor mosaics. In the narrow area between Room g and Room i, opening to the Kitchen, archaeologists discovered the Villa’s Boiler Room with a lead-heated water reservoir standing on a masonry foundation. 5. Room i, is the Villa’s main Tool Room. 6. Room J marks the Villa’s only ground-floor Triclinium in which the remains of couches with luxurious bronze trimmings were discovered. 7. The long Room l on the northeast side of the court was the Torcularium where grapes were pressed to produce wine. At each end was a large press with a raised floor. 8. Room r and Room s were dedicated to the making of olive oil containing a small oil press in Room r and an olive crusher in Room s. 9. Area m is the Cella Vinaria, the area where 84 Dolia (round fermentation vessels) were discovered sunk in the ground. Local wine was stored in the Villa’s Dolia to ferment. According to Pliny’s ‘Natural History’ in Campania the best wine underwent fermentation in the open air, exposed to sun, wind, and rain.10. Area o is the Threshing Floor of Villa Pisanella. 11. Rooms marked c, are the Villa’s Cubicula (bedrooms). https://sites.google.com/site/ad79eruption/boscoreale/villa-pisanella

Boscoreale Treasure, 50 BC-50 AD, silver, Louvre Museum, Paris, France
https://commons.wikimedia.org/wiki/File:Tr%C3%A9sor_de_Boscoreale_%E2%80%93_Mus%C3%A9e_du_Louvre_%E2%80%93_Q178624_%E2%80%93_a.jpg

In 1895, while excavating Room l, the Villa’s Torcularium for wine, archaeologists discovered a Hoard consisting of a large quantity of aurei coins (aureus is a Roman gold coin valued at 25 pure silver denarii), a few pieces of valuable jewelry, and an exceptional collection of silverware. After the Hoard’s amazing discovery, Vincenzo de Prisco, the owner of the property where Villa Pisanella was discovered, travelled to Paris where he sold the Boscoreale Treasure, as the Villa’s Hoard was named, to Museums and wealthy collectors. Part of the treasure, 109 pieces of silverware and jewelry, was bought by Baron Rothschild, who donated it to the Louvre Museum. A POST dedicated to the Boscoreale Treasure will be the subject on another BLOG presentation.

For a PowerPoint on Villa Pisanella, please… Check HERE!