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I.3.23 Pompeii. Casa di Anicetus or House of Anicetus

or House of the Gladiator Actius Anicetus or Casa della pittura dell’ Anfiteatro.

Excavated c.1868.

Part 2                                                  Part 3

 

Part 1

 

I.3.23 Pompeii. December 2006. Looking over wall into room to north of peristyle, from I.3.22

I.3.23 Pompeii. December 2006. Looking over wall into room to north of peristyle from I.3.22.

According to Warscher’s plan, this photo shows the triclinium “p”.

 

I.3.23 Pompeii. December 2006. Looking over wall into room to north of peristyle, from I.3.22

I.3.23 Pompeii. December 2006. Looking over wall into room “triclinium p”, on north side of peristyle from I.3.22.

 

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher. The hollow for the couch in triclinium “p”.
See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.51), Rome, DAIR, whose copyright it remains.

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher.

The hollow for the couch in triclinium “p”.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.51), Rome, DAIR, whose copyright it remains. 

 

I.3.23 Pompeii. December 2006. South-west side of peristyle from I.3.22

I.3.23 Pompeii. December 2006. South-west side of peristyle from I.3.22.

 

I.3.23 Pompeii. December 2006. Looking south across peristyle with west wall on right side of photo, the original position of the site of painting “Riot in the Amphitheatre”.

I.3.23 Pompeii. December 2006.

Looking south across peristyle with west wall on right side of photo.

This was the original position of the site of painting “Riot in the Amphitheatre”.

Looking south across room “k” to peristyle, on Warscher plan.

 

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher.

Looking north from peristyle towards room “k”, at rear of puteal.

According to Warscher:

“Peristilio: Il parapetto che unisce le colonne laterizie del peristilio è indubbiamente costruito in epoca posteriore: nel parapetto è incluso un altare formato di tre pietre di tufo poste l’una sopra l’altra.

A destra l’entrata nel triclinio “p”.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.46), Rome, DAIR, whose copyright it remains. 

(translation: “The peristyle: the parapet that united the brick columns of the peristyle was undoubtedly built in a later time: an altar formed by three stones of tufa in the parapet and placed one above the other, was included. In the photograph, on the right (in fact on the left), was the doorway to the triclinium “p”, and the altar can be seen in the wall.)

(Note: on the right was the doorway to room “i”).

 

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher.

Parapet of peristyle. An altar formed by three stones placed one above the other, now neglected.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.47), Rome, DAIR, whose copyright it remains. 

 

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher.

Detail of altar stones.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.47a), Rome, DAIR, whose copyright it remains. 

 

I.3.23 Pompeii. 1937-39. The terracotta puteal in the peristyle. Photo courtesy of American Academy in Rome, Photographic Archive.  Warsher collection no. 1049

I.3.23 Pompeii. 1937-39. The terracotta puteal in the peristyle.

Photo courtesy of American Academy in Rome, Photographic Archive.

Warsher collection no. 1049.

 

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher.

The terracotta puteal in the peristyle.

According to Warscher “Il foro sembra provare che il puteale fosse connesso con un tubo”.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.49), Rome, DAIR, whose copyright it remains. 

(translation: “The hole seemed to prove that the puteale was connected to a pipe”.)

 

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher.

Looking west across north side of peristyle.

On the west wall, marked with a red line, was the site of the painting called “The riot in the ampitheatre”.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.44), Rome, DAIR, whose copyright it remains. 

Warscher listed other paintings that had been found in the peristyle, according to Sogliano -

(p.137, no.662 – destroyed), Rappresentanze atletiche distrutte fin dal tempo dei Pompejani, giacchè nel centro di questa parete sopra nuovo strato d’intonaco venne eseguita la rappresentanza dell’Anfiteatro (no.604). Bull. Inst, 1869, p.240.

Athletic offices destroyed since the time of Pompejani, in the center of this wall over a new plaster layer was the representation of the amphitheatre (No. 604).

(p.138, no.665 – on a white background, nearly vanished), A couple of gladiators. Bull. Inst, 1869, p.241-2, Fiorelli. Sc. p.148, no.427: Descr. p.56

(p.138, no.666 – on a white background), a similar couple of gladiators.

See Sogliano, A., 1879. Le pitture murali campane scoverte negli anni 1867-79. Napoli: Giannini.

 

I.3.23 Pompeii. Rear wall of the peristyle. Painting of “Riot in the Amphitheatre” depicting the fight between the Nucerians and the Pompeians. Now in Naples Archaeological Museum. Inventory number 112222.

I.3.23 Pompeii. Rear wall of the peristyle.

Painting of “Riot in the Amphitheatre” depicting the fight between the Nucerians and the Pompeians.

Now in Naples Archaeological Museum. Inventory number 112222.

 

I.3.23 Pompeii. 1885 drawing of painting of two gladiators (now lost) on west wall to left of Riot painting. According to Sogliano, the defeated gladiator has fallen and behind the victor a female figure in a short chiton seems to want to hold back the winner. See Schreiber T., 1885. Kulturhistorischer Bilderatlas: 1 Altertum. Leipzig: Selmann. pl. XXVIII fig.3. See Clarke J R., 2003. Art in the Lives of Ordinary Romans. University of California Press, London. p. 155, fig. 91. See Sogliano, A., 1879. Le pitture murali campane scoverte negli anni 1867-79. Napoli: Giannini. 666.

I.3.23 Pompeii. 1885 drawing of painting of two gladiators (now lost) on west wall to left of Riot painting.

According to Sogliano, the defeated gladiator had fallen and behind the victor a female figure in a short chiton seemed to want to hold back the winner.

See Schreiber T., 1885. Kulturhistorischer Bilderatlas: 1 Altertum. Leipzig: Selmann. pl. XXVIII fig.3.

See Clarke J R., 2003. Art in the Lives of Ordinary Romans. University of California Press, London. p. 155, fig. 91.

See Sogliano, A., 1879. Le pitture murali campane scoverte negli anni 1867-79. Napoli: Giannini. (no. 666).

 

I.3.23 Pompeii. 1885 drawing of painting of two gladiators (now lost) on west wall to right of Riot painting. According to Sogliano, the winner pursues the defeated gladiator who is on his knees waiting intrepidly for his death. See Schreiber T., 1885. Kulturhistorischer Bilderatlas: 1 Altertum. Leipzig: Selmann. pl. XXVIII fig.4. See Clarke J R., 2003. Art in the Lives of Ordinary Romans. University of California Press, London. p. 155, fig. 92. See Sogliano, A., 1879. Le pitture murali campane scoverte negli anni 1867-79. Napoli: Giannini. 665.

I.3.23 Pompeii. 1885 drawing of painting of two gladiators (now lost) on west wall to right of Riot painting.

According to Sogliano, the winner pursued the defeated gladiator who was on his knees waiting intrepidly for his death.

See Schreiber T., 1885. Kulturhistorischer Bilderatlas: 1 Altertum. Leipzig: Selmann. pl. XXVIII fig.4.

See Clarke J R., 2003. Art in the Lives of Ordinary Romans. University of California Press, London. p. 155, fig. 92.

See Sogliano, A., 1879. Le pitture murali campane scoverte negli anni 1867-79. Napoli: Giannini. (no. 665).

 

I.3.23 Part of the model of Pompeii. Now in Naples Archaeological Museum. The west rear wall of the peristyle can be seen at the centre top of photograph.

I.3.23 Part of the model of Pompeii. Now in Naples Archaeological Museum. 

The west rear wall of the peristyle can be seen at the centre top of photograph.

 

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher.

Looking west along the north portico. A niche for the lararium can be seen on the right.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.48), Rome, DAIR, whose copyright it remains. 

 

Part 3

 

Part 1