PompeiiinPictures

VII.1.25 Pompeii. Casa dei Principi di Russia, Second entrance to VII.1.47 House of Siricus.

Linked to VII.1.46. Excavated 1851, 1857, 1862, and 1872. Restored and reopened 2017.

(Strada Stabiana 57).

 

According to PAH, the house was excavated on 17th May 1852 in the presence of the Grand Dukes of Russia, the sons of Czar Nicholas I.

See Fiorelli G., 1862. Pompeianarum Antiquitatum Historia Vol 2, 1819 to 1860, p. 524, 17 Maggio 1852.

 

Part 1      Part 2      Part 3      Combined plan of VII.1.25 VII.1.47 and VII.1.46      VII.1.47      VII.1.46

 

Please note that the numbers used for the rooms on pompeiiinpictures are based on the combined plan for VII.1.25, VII.1.47 and VII.1.46 (see link above) in PPM and not the earlier Niccolini plan shown below which gives ornamental details and room descriptions.

 

VII.1.25 Pompeii. 1854 drawing by Giuseppe Abbate of plan and ornamental details from Strada Stabiana Casa No. 57. See Niccolini F, 1854. Le case ed i monumenti di Pompei: Volume Primo. Napoli. Strada Stabiana Casa No. 57, Tav I.

VII.1.25 Pompeii. 1854 drawing by Giuseppe Abbate of plan and ornamental details from Strada Stabiana Casa No. 57.

See Niccolini F, 1854. Le case ed i monumenti di Pompei: Volume Primo. Napoli. Strada Stabiana Casa No. 57, Tav. I.

Key:

1:   VII.1.25 entrance fauces

2:   Shop

3:   Tuscanic atrium

4:   Room with holes in wall where 4 skeletons were found

5:   Room with rough painting of serpents in which a fifth skeleton was found in a tunnel through the wall

6:   Unadorned and rough room with traces of a door in the threshold

7:   Ala with various paintings

8:   Unadorned and rough room with traces of a door in the threshold

9:   Cubiculum with various paintings

10:  Peristyle

11:  Triclinium

12:  Exedra/Tablinum

13:  Cubiculum

14:  Second peristyle on a different level

15:  Cellarium

16:  Kitchen

17:  Reconstruction of roof tiles now in the museum

18:  Roof tile to give light

19:  Roof tile to give light

20:  Tile from angle of roof

21:  Tile from angle of roof

22:  Elegant antefissa

23:  Elegant antefissa

24:  Table from the atrium

25:  Painting from the side of the door of the exedra possibly Alcmaeon killing his mother Eriphyle.

 

Please note however that the numbers used for the rooms on pompeiiinpictures are based on the combined plan for VII.1.25 and VII.1.47 in PPM.

See Carratelli, G. P., 1990-2003. Pompei: Pitture e Mosaici: Vol. VI.  Roma: Istituto della enciclopedia italiana, p. 228.

 

According to Breton, this beautiful home, whose main entrance bears the No. 57 on the street of Stabia, was excavated in May 1852 in the presence of the sons of the Emperor of Russia, Nicolas I. Its plan presents a peculiar disposition, motivated no doubt by the shape of the land, which had more width and less depth than that of a regular House of equal importance. The atrium and the peristyle are broader rather than deeper and are separated only by a simple wall instead of by a tablinum and some other parts.

See Breton, Ernest. 1855. Pompeia, decrite et dessine: Seconde édition. Paris, Baudry, pp. 316-7.

 

VII.1.25 Pompeii. September 2004. Via Stabiana entrance, looking west. The door-jambs were made of brick, and the threshold was made from lava.

VII.1.25 Pompeii. September 2004. Via Stabiana entrance, looking west.

The door-jambs were made of brick, and the threshold was made from lava.

 

VII.1.25 Pompeii. May 2005. Entrance.

VII.1.25 Pompeii. May 2005. Entrance.

 

VII.1.25 Pompeii. September 2015. Entrance fauces 23. Looking west from entrance towards atrium, during restoration.

VII.1.25 Pompeii. September 2015.

Entrance fauces 23. Looking west from entrance towards atrium, during restoration.

 

VII.1.25 Pompeii. May 2006. Looking west through fauces 23 to atrium 24.
According to Breton, via a prothyrum paved in opus signinum patterned symmetrically with small white stones, we enter the Tuscan atrium; at the centre is a very pretty impluvium of marble at the top of which is a covered square cippus of marble with a lead pipe that poured water into a basin.
See Breton, Ernest. 1855. Pompeia, décrite et dessine: Seconde édition . Paris, Baudry, p. 316.

VII.1.25 Pompeii. May 2006. Looking west through fauces 23 to atrium 24.

According to Breton, via a prothyrum paved in opus signinum patterned symmetrically with small white stones, we enter the Tuscan atrium; at the centre is a very pretty impluvium of marble at the top of which is a covered square cippus of marble with a lead pipe that poured water into a basin.

See Breton, Ernest. 1855. Pompeia, décrite et dessine: Seconde édition. Paris, Baudry, p. 316.

 

VII.1.25 Pompeii. May 2005. Entrance fauces 23. Looking west from entrance towards atrium 24.

VII.1.25 Pompeii. May 2005. Entrance fauces 23. Looking west from entrance towards atrium 24.

 

VII.1.25 Pompeii. May 2017. Looking west across impluvium in atrium 24, restored.
Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. Looking west across impluvium in atrium 24, restored. Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii. May 2006. Looking west across impluvium and marble podium in atrium 24.

VII.1.25 Pompeii. May 2006. Looking west across impluvium and marble podium in atrium 24.

 

VII.1.25 Pompeii. May 2017. Cistern mouth near impluvium in atrium. Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. Cistern mouth near impluvium in atrium. Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii. May 2017. Impluvium in atrium. Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. Impluvium in atrium. Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii. May 2017. Detail of impluvium in atrium. Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. Detail of impluvium in atrium. Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii. May 2017. Looking north-east across impluvium in atrium 24. Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. Looking north-east across impluvium in atrium 24. Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii. May 2017. Looking east across atrium 24.  The corridor 23 to the entrance at VII.1.25 is on the left, followed by a doorway to a small room 25, centre, and doorway to room 26 in south-east corner of atrium.  The doorway to room 29 is to the right. Photo courtesy of Buzz Ferebee.

According to Fiorelli -
On the left, we find a cupboard, a storeroom with a painting of serpents, under which was the shelf to deposit the offerings, and the stairs to go up above: there we could read several graffiti, not least the acclamation NVMMIANO FELICITER  written in red, and written in carbon -
SIICVNDVS
RIIGIMONI
VIIII TIINIIT
FIILICITIIR
which now we can no longer see/read. There follows another cubiculum, and an ala.
(A sinistra trovansi un’apotheca, una cella penaria con la dipintura dei serpi, sotto cui lo sporto per depositarvi le offerte, e la scaletta per montare di sopra: vi si leggevano varie eipigrafi graffite, nonche l’acclamazione NVMMIANO FELICITER scitta in rosso, e col carbone –
SIICVNDVS
RIIGIMONI
VIIII TIINIIT
FIILICITIIR
che ora piu non si vede. Seguono un altro cubicolo, ed un’ ala.) 
See Pappalardo, U., 2001. La Descrizione di Pompei per Giuseppe Fiorelli (1875). Napoli: Massa Editore. (p.76)

VII.1.25 Pompeii. May 2017. Looking east across atrium 24.

The corridor 23 to the entrance at VII.1.25 is on the left, followed by a doorway to a small room 25, centre, and doorway to room 26 in south-east corner of atrium.

The doorway to room 29 is to the right.

Photo courtesy of Buzz Ferebee.

 

According to Fiorelli -

On the left, we find a cupboard, a storeroom with a painting of serpents, under which was the shelf to deposit the offerings, and the stairs to go up above: there we could read several graffiti, not least the acclamation NVMMIANO FELICITER written in red,

and written in carbon -

SIICVNDVS

RIIGIMONI

VIIII TIINIIT

FIILICITIIR

which now we can no longer see/read. There follows another cubiculum, and an ala.

(A sinistra trovansi un’apotheca, una cella penaria con la dipintura dei serpi, sotto cui lo sporto per depositarvi le offerte, e la scaletta per montare di sopra:

vi si leggevano varie eipigrafi graffite, nonche l’acclamazione NVMMIANO FELICITER scitta in rosso, e col carbone –

SIICVNDVS

RIIGIMONI

VIIII TIINIIT

FIILICITIIR

che ora piu non si vede. Seguono un altro cubicolo, ed un’ ala.)

See Pappalardo, U., 2001. La Descrizione di Pompei per Giuseppe Fiorelli (1875). Napoli: Massa Editore. (p.76)

 

VII.1.25 Pompeii. May 2017. Looking east through doorway into small room/cupboard 25 on south side of entrance corridor.
Photo courtesy of Buzz Ferebee.
According to Niccolini –
The signs of many holes in the walls of the room No. 4, (our 25), point out that here were fixed several shelves placed to store unknown objects.
It seems to us this little room was too far from the kitchen of the house at VII.1.46, to be able to believe it was used as a room for serving up, as was the opinion of Sig. Minervini. Here at the height of approx. 4.5metres four skeletons were found, and a fifth was lying across a tunnel made in the wall that divides this from the adjoining room No. 5 (our 26).
(“I segni di molti buchi operati sulle pareti della stanzetta no.4, (nostro numero 25), additano che ivi eran collocati vari scaffali atti a riporvi chi sa quali oggetti. A noi sembra questa stanzetta troppo lungi dalla cucina della casa no.16 (forse ambiente 16) per poterla credere designata a servir di dispensa come opinasi dal sig. Minervini.  Quivi all’altezza di palmi 17 si rinvennero quattro scheletri, ed un quinto era giacente attraverso un traforo fatto nel muro che divide questa con la contigua stanzetta no.5.”)
See Niccolini F, 1854. Le case ed i monumenti di Pompei: Volume Primo. Napoli, Part 2, p.2.

VII.1.25 Pompeii. May 2017. Looking east through doorway into small room/cupboard 25 on south side of entrance corridor.

Photo courtesy of Buzz Ferebee.

According to Niccolini –

The signs of many holes in the walls of the room No. 4, (our 25), point out that here were fixed several shelves placed to store unknown objects.

It seems to us this little room was too far from the kitchen of the house at VII.1.46, to be able to believe it was used as a room for serving up, as was the opinion of Sig. Minervini. Here at the height of approx. 4.5metres four skeletons were found, and a fifth was lying across a tunnel made in the wall that divides this from the adjoining room No. 5 (our 26).

(“I segni di molti buchi operati sulle pareti della stanzetta no.4, (nostro numero 25), additano che ivi eran collocati vari scaffali atti a riporvi chi sa quali oggetti. A noi sembra questa stanzetta troppo lungi dalla cucina della casa no.16 (forse ambiente 16) per poterla credere designata a servir di dispensa come opinasi dal sig. Minervini.  Quivi all’altezza di palmi 17 si rinvennero quattro scheletri, ed un quinto era giacente attraverso un traforo fatto nel muro che divide questa con la contigua stanzetta no.5.”)

See Niccolini F, 1854. Le case ed i monumenti di Pompei: Volume Primo. Napoli, Part 2, p.2.

 

VII.1.25 Pompeii. May 2017. Looking east through second doorway into room 26 in south-east corner of atrium. 
Photo courtesy of Buzz Ferebee.
According to Niccolini – 
Only in the narrow passageway that leads from the atrium into room 5 (our 26), and forming almost one room with it, we see on the walls that make the corner, badly painted, the two usual serpents so often repeated in Pompeii with their heads in the corner, converging near a painted plant. 
In the opinion of Sig. Minervini, the domestic worship was performed here, because noticed below the serpents was a recess designed to be where it was easy to place the offerings; and some eggshells that the learned archaeologist asserts to have seen, mixed with the earth in such a recess, made him think those offerings were not there by accident.
(“Solo nell’angusto passagio che dall’atrio mena nella stanza no.5, e che con questa quasi una sola ne forma, veggonsi ne’muri che fanno angolo malamente dipinti i due soliti serpenti cosi spesso ripetuti in Pompei con le teste negli angoli convergenti presso una pianta. Il signor Minervina opina che quivi forse attuato si fosse il domestico culto, perocche si scorge al di sotto de’serpenti un incavo che sorregger poteva una tavola ove era facile poggiare le offerte;  e taluni gusci di uova che il dotto archeologo asserisce aver veduti frammisti alla terra in tale incavo, quando disotterravasi questa localita, lo inducono a pensare che, se non per fatto accidentale, a quelle offerte quei gusci poteano forse aver relazione.”) 
See Niccolini F, 1854. Le case ed i monumenti di Pompei: Volume Primo. Napoli, Part 2, p.2.

VII.1.25 Pompeii. May 2017. Looking east through second doorway into room 26 in south-east corner of atrium.

Photo courtesy of Buzz Ferebee.

According to Niccolini –

Only in the narrow passageway that leads from the atrium into room 5 (our 26), and forming almost one room with it, we see on the walls that make the corner, badly painted, the two usual serpents so often repeated in Pompeii with their heads in the corner, converging near a painted plant.

In the opinion of Sig. Minervini, the domestic worship was performed here, because noticed below the serpents was a recess designed to be where it was easy to place the offerings; and some eggshells that the learned archaeologist asserts to have seen, mixed with the earth in such a recess, made him think those offerings were not there by accident.

(“Solo nell’angusto passagio che dall’atrio mena nella stanza no.5, e che con questa quasi una sola ne forma, veggonsi ne’muri che fanno angolo malamente dipinti i due soliti serpenti cosi spesso ripetuti in Pompei con le teste negli angoli convergenti presso una pianta. Il signor Minervina opina che quivi forse attuato si fosse il domestico culto, perocche si scorge al di sotto de’serpenti un incavo che sorregger poteva una tavola ove era facile poggiare le offerte;  e taluni gusci di uova che il dotto archeologo asserisce aver veduti frammisti alla terra in tale incavo, quando disotterravasi questa localita, lo inducono a pensare che, se non per fatto accidentale, a quelle offerte quei gusci poteano forse aver relazione.”)

See Niccolini F, 1854. Le case ed i monumenti di Pompei: Volume Primo. Napoli, Part 2, p.2.

 

VII.1.25 Pompeii. May 2017. Looking south through doorway to room 29 in south-east corner of atrium. 
Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. Looking south through doorway to room 29, cubiculum, in south-east corner of atrium.

Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii. May 2017. Looking south across threshold to room 29 in south-east corner of atrium.  Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. Looking south across threshold to room 29 in south-east corner of atrium.

Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii. May 2017. Looking south-east across room 29 in south-east corner of atrium.  Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. Looking south-east across room 29, cubiculum, in south-east corner of atrium.

Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii. May 2017. Looking south-east across atrium 24 to rooms 29, cubiculum, and room 30, an ala. 
Photo courtesy of Buzz Ferebee.
According to Niccolini –
The other two small rooms which give onto the atrium marked by numbers 7 and 9 (our rooms 30 and 28) were decorated with several paintings.
The very spacious entrance to the one in the wall located to the right, (think he is talking about our room 30) has no vestiges of closure on its marble threshold. The zoccolo/plinth, however, was adorned with green painted plants and birds. On the walls, are painted panels in yellow, red, and white, and candelabra, and festoons, and domestic birds, and the human-headed Sphinx, and whimsical architectures and landscapes.
All this makes this little room rather charming, which certainly would have been an ala of the atrium, while the room that was facing and corresponding to the ala across the atrium on its wall to the right, was a cubiculum 9 (our room 28). 
(“Le altre due piccole stanze che dan sull’atrio segnate co’numeri 7 e 9 ornate sono da svariati dipinti. (nostri ambienti 30 e 28).
L’ingresso assai spazioso di quella nel muro a destra situata, non ha vestigia di chiusura sulla sua soglia di marmo.
Lo zoccolo pero era ornato da verdi piante e da augelli. Sulle pareti scompartite di giallo, di rosso, e di bianco son dipinti e candelabri, e festoni, e domestici uccelli, e l’androsfinge, e capricciose architetture e paesaggi.
Tutto cio fa vaga assai questa stanzetta che certo un ‘ala dell atrio esser doveva, mentre l’ala che ;e sta rimpetto e che pur nell’atrio corrisponde, sul suo muro a destra, era un cubicolo 9 (ambiente 28 sulla nostra pianta”.)
See Niccolini F, 1854. Le case ed i monumenti di Pompei: Volume Primo. Napoli, Part 2, p.2.

VII.1.25 Pompeii. May 2017. Looking south-east across atrium 24 to rooms 29, cubiculum, and room 30, an ala.

Photo courtesy of Buzz Ferebee.

According to Niccolini –

The other two small rooms which give onto the atrium marked by numbers 7 and 9 (our rooms 30 and 28) were decorated with several paintings.

The very spacious entrance to the one in the wall located to the right, (think he is talking about our room 30) has no vestiges of closure on its marble threshold. The zoccolo/plinth, however, was adorned with green painted plants and birds. On the walls, are painted panels in yellow, red, and white, and candelabra, and festoons, and domestic birds, and the human-headed Sphinx, and whimsical architectures and landscapes.

All this makes this little room rather charming, which certainly would have been an ala of the atrium, while the room that was facing and corresponding to the ala across the atrium on its wall to the right, was a cubiculum 9 (our room 28).

(“Le altre due piccole stanze che dan sull’atrio segnate co’numeri 7 e 9 ornate sono da svariati dipinti. (nostri ambienti 30 e 28).

L’ingresso assai spazioso di quella nel muro a destra situata, non ha vestigia di chiusura sulla sua soglia di marmo.

Lo zoccolo pero era ornato da verdi piante e da augelli. Sulle pareti scompartite di giallo, di rosso, e di bianco son dipinti e candelabri, e festoni, e domestici uccelli, e l’androsfinge, e capricciose architetture e paesaggi.

Tutto cio fa vaga assai questa stanzetta che certo un ‘ala dell atrio esser doveva, mentre l’ala che ;e sta rimpetto e che pur nell’atrio corrisponde, sul suo muro a destra, era un cubicolo 9 (ambiente 28 sulla nostra pianta”.)

See Niccolini F, 1854. Le case ed i monumenti di Pompei: Volume Primo. Napoli, Part 2, p.2.

 

VII.1.25 Pompeii. 2005. Looking south across impluvium and marble podium in atrium 24.

VII.1.25 Pompeii. 2005. Looking south across impluvium and marble podium in atrium 24.

 

VI.1.25 Pompeii. 1957. Atrium 24. South side of table near impluvium, with podium. Looking north.
According to Breton, there was a marble impluvium, a square cippus of marble, a basin on a small base of marble adorned with large acanthus leaves and a white marble table engraved with the number LXXIX.
See Breton, Ernest. 1855. Pompeia, décrite et dessine: Seconde édition . Paris, Baudry, p. 316.
Photo by Stanley A. Jashemski.
Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non-Commercial License v.4. See Licence and use details.
J57f0124

VI.1.25 Pompeii. 1957. Atrium 24. South side of table near impluvium, with podium. Looking north.

According to Breton, there was a marble impluvium, a square cippus of marble, a basin on a small base of marble adorned with large acanthus leaves and a white marble table engraved with the number LXXIX.

See Breton, Ernest. 1855. Pompeia, décrite et dessine: Seconde édition. Paris, Baudry, p. 316.

Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non-Commercial License v.4. See Licence and use details.

J57f0124

 

VII.1.25 Pompeii. Old undated 19th century photo. Looking north-west across atrium 24. 
According to Breton, via a prothyrum paved in opus signinum patterned symmetrically with small white stones, we enter the Tuscan atrium; at the centre is a very pretty impluvium of marble at the top of which is a covered square cippus of marble with a lead pipe who poured water into a basin on a small base of marble adorned with large acanthus leaves. The fountain is accompanied by a white marble table with two feet of very fine workmanship, each composed of the anterior part of a chimera and a griffon. On the side top of the table is engraved the number LXXIX and we found a small bronze group representing Hercules armed with his club and a young Phrygian kneeling in front of him.
See Breton, Ernest. 1855. Pompeia, décrite et dessine: Seconde édition . Paris, Baudry, p. 316.

VII.1.25 Pompeii. Old undated 19th century photo. Looking north-west across atrium 24.

According to Breton, via a prothyrum paved in opus signinum patterned symmetrically with small white stones, we enter the Tuscan atrium; at the centre is a very pretty impluvium of marble at the top of which is a covered square cippus of marble with a lead pipe that poured water into a basin on a small base of marble adorned with large acanthus leaves. The fountain is accompanied by a white marble table with two feet of very fine workmanship, each composed of the anterior part of a chimera and a griffon. On the side top of the table is engraved the number LXXIX and we found a small bronze group representing Hercules armed with his club and a young Phrygian kneeling in front of him.

See Breton, Ernest. 1855. Pompeia, décrite et dessine: Seconde édition. Paris, Baudry, p. 316.

According to Fiorelli –

The atrium walls are decorated with painted tripods in golden colour, some of which are of particular workmanship, showing various figurines on the border of the aenum.

(“Le pareti sono fregiate di tripodi a color d’oro, alcuni de’quali di particolare fattura, mostrando varie figurine sull’orlo dell’ahenum.”)

See Pappalardo, U., 2001. La Descrizione di Pompei per Giuseppe Fiorelli (1875). Napoli: Massa Editore. (p.76)

 

VII.1.25 Pompeii. Old undated 19th century photo. Atrium 24.

Enlarged detail of painted decoration in north-west corner of atrium.

 

VII.1.25 Pompeii. May 2006. Looking west across atrium through peristyle 31 to exedra 33 and triclinium 32.

VII.1.25 Pompeii. May 2006. Looking west across atrium through peristyle 31 to exedra 33 and triclinium 32.

 

VII.1.25 Pompeii. May 2006. Looking west from atrium across peristyle, towards triclinium 32.

VII.1.25 Pompeii. May 2006. Looking west from atrium across peristyle, towards triclinium 32.

 

VII.1.25 Pompeii. May 2017. Looking towards north-west corner of atrium. 
On the left is the entrance to the peristyle 31, and on the right are the doorways to rooms 28 and 27, on the north side of the atrium 24.
Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. Looking towards north-west corner of atrium.

On the left is the entrance to the peristyle 31, and on the right, are the doorways to rooms 28 and 27, on the north side of the atrium 24.

Photo courtesy of Buzz Ferebee.

According to Fiorelli –

On the right of the atrium, are two cubicula, and the Niche of the Penates.

(“Stanno a destra dell’atrio due cubicoli e la nicchia de’Penati.”)

See Pappalardo, U., 2001. La Descrizione di Pompei per Giuseppe Fiorelli (1875). Napoli: Massa Editore. (p.76)

 

VII.1.25 Pompeii. Old undated 19th century photo. Looking north-west across atrium 24 through peristyle 31 to triclinium 32. 
The marble tables, 24 on the Niccolini plan, can be seen on the impluvium.
Photo courtesy of Drew Baker.

VII.1.25 Pompeii. Old undated 19th century photo. Looking north-west across atrium 24 through peristyle 31 to triclinium 32.

The marble tables, 24 on the Niccolini plan, can be seen on the impluvium.

Photo courtesy of Drew Baker.

 

VII.1.25 Pompeii. May 2017. 
Remains of painted fourth style plaster (as can be seen in photo above this one) on west wall in north-west corner of atrium 24. 
Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017.

Remains of painted fourth style plaster (as can be seen in photo above and below this one) on west wall in north-west corner of atrium 24.

Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii.

Enlarged detail of painted figure seen in old photograph on west wall of atrium 24.

 

VII.1.25 Pompeii. May 2017. Doorway to small room 28 in north-west corner of atrium. Photo courtesy of Buzz Ferebee.
According to Niccolini –
The other two small rooms which give onto the atrium marked by numbers 7 and 9 (our rooms 30 and 28) were decorated with several paintings.
(see room 30 above) ……… while the room that was facing and corresponding to the ala across the atrium on its wall to the right, was a cubiculum 9 (our room 28). I point out the doors which would have closed it, whose vestiges are distinct on the threshold.
Like those of the ala, placed facing, the pretty walls of the cubiculum decorated with beautiful ornamentation painted over a white background in which among compartments of yellow, green, and red lines, and with several whirled patterns, there are various flying Cupids, as well as a Candelabra and an ideal architecture surmounted by a winged monster with horned dragon head, and with leonine paws.
(“Le altre due piccole stanze che dan sull’atrio segnate co’numeri 7 e 9 ornate sono da svariati dipinti. (nostri ambienti 30 e 28).
(vedi room 30 sopra) ……………mentre l’ala che e sta rimpetto e che pur nell’atrio corrisponde, sul suo muro a destra, era un cubicolo 9 (nostro ambiente 28),
Io additano gli usci che lo chiudevano, le cui vestigie sono sulla soglia distinte.
Come quelle dell’ala, posta di faccia, son vaghe assai le mura di un tal cubicolo per leggiadri ornati sopra bianco fondo dipinti nel quale fra scompartimenti di linee gialle, verde, e rosse, e con svariati rabeschi, si veggono vari Amorinii svolazzanti, oltre ad un candelabro e ad una ideale architettura sormontata da alato mostro con testa di cornuto drago, e con leonine zampe.”)
See Niccolini F, 1854. Le case ed i monumenti di Pompei: Volume Primo. Napoli, Part 2, p.2.

VII.1.25 Pompeii. May 2017. Doorway to small room 28 in north-west corner of atrium. Photo courtesy of Buzz Ferebee.

According to Niccolini –

The other two small rooms which give onto the atrium marked by numbers 7 and 9 (our rooms 30 and 28) were decorated with several paintings.

(see room 30 above) ……… while the room that was facing and corresponding to the ala across the atrium on its wall to the right, was a cubiculum 9 (our room 28). I point out the doors which would have closed it, whose vestiges are distinct on the threshold.

Like those of the ala, placed facing, the pretty walls of the cubiculum decorated with beautiful ornamentation painted over a white background in which among compartments of yellow, green, and red lines, and with several whirled patterns, there are various flying Cupids, as well as a Candelabra and an ideal architecture surmounted by a winged monster with horned dragon head, and with leonine paws.

(“Le altre due piccole stanze che dan sull’atrio segnate co’numeri 7 e 9 ornate sono da svariati dipinti. (nostri ambienti 30 e 28).

(vedi room 30 sopra) ……………mentre l’ala che e sta rimpetto e che pur nell’atrio corrisponde, sul suo muro a destra, era un cubicolo 9 (nostro ambiente 28),

Io additano gli usci che lo chiudevano, le cui vestigie sono sulla soglia distinte.

Come quelle dell’ala, posta di faccia, son vaghe assai le mura di un tal cubicolo per leggiadri ornati sopra bianco fondo dipinti nel quale fra scompartimenti di linee gialle, verde, e rosse, e con svariati rabeschi, si veggono vari Amorinii svolazzanti, oltre ad un candelabro e ad una ideale architettura sormontata da alato mostro con testa di cornuto drago, e con leonine zampe.”)

See Niccolini F, 1854. Le case ed i monumenti di Pompei: Volume Primo. Napoli, Part 2, p.2.

 

VII.1.25 Pompeii. May 2017. South-west corner of small room 28 in north-west corner of atrium.  Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. South-west corner of small room 28 in north-west corner of atrium. Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii. May 2017. Remains of painted decoration in small room 28 in north-west corner of atrium, on west and north wall.  Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. Remains of painted decoration on west and north walls, in small room 28 in north-west corner of atrium.   

Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii. May 2017. Remains of painted decoration in small room 28 in north-west corner of atrium, on north and east wall.  Photo courtesy of Buzz Ferebee.

VII.1.25 Pompeii. May 2017. Remains of painted decoration on north and east walls, in small room 28 in north-west corner of atrium.   

Photo courtesy of Buzz Ferebee.

 

VII.1.25 Pompeii. 1852 painting by Zahn of north wall of room 28 in north-west corner of atrium.  
See Carratelli, G. P., 1990-2003. Pompei: Pitture e Mosaici: Vol. VI.  Roma: Istituto della enciclopedia italiana, p. 320. 
See Zahn, W., 1852. Die schönsten Ornamente und merkwürdigsten Gemälde aus Pompeji, Herkulanum und Stabiae: III. Berlin: Reimer. Taf. 77.

VII.1.25 Pompeii. 1852 painting by Zahn of north wall of room 28 in north-west corner of atrium. 

See Carratelli, G. P., 1990-2003. Pompei: Pitture e Mosaici: Vol. VI.  Roma: Istituto della enciclopedia italiana, p. 320.

See Zahn, W., 1852. Die schönsten Ornamente und merkwürdigsten Gemälde aus Pompeji, Herkulanum und Stabiae: III. Berlin: Reimer. Taf. 77.

 

VII.1.25 Pompeii. Room 28, north wall. Drawing by Nicola La Volpe, of a cupid carrying a vase on his shoulder.  
Now in Naples Archaeological Museum. Inventory number ADS 522.
Photo © ICCD. http://www.catalogo.beniculturali.it
Utilizzabili alle condizioni della licenza Attribuzione - Non commerciale - Condividi allo stesso modo 2.5 Italia (CC BY-NC-SA 2.5 IT)

VII.1.25 Pompeii. Room 28, north wall. Drawing by Nicola La Volpe, of a cupid carrying a vase on his shoulder.  

Now in Naples Archaeological Museum. Inventory number ADS 522.

Photo © ICCD. http://www.catalogo.beniculturali.it

Utilizzabili alle condizioni della licenza Attribuzione - Non commerciale - Condividi allo stesso modo 2.5 Italia (CC BY-NC-SA 2.5 IT)

 

VII.1.25 Pompeii. Drawing of cupids by Nicola La Volpe. 
Cupids provenanced from a room no longer identifiable but put here as Niccolini said this room contained “flying cupids”.
Note: these same drawings have also been included into the windowed triclinium, room 32, as Fiorelli said it too showed many cupids. 
Now in Naples Archaeological Museum. Inventory number ADS 60.
Photo © ICCD. http://www.catalogo.beniculturali.it
Utilizzabili alle condizioni della licenza Attribuzione - Non commerciale - Condividi allo stesso modo 2.5 Italia (CC BY-NC-SA 2.5 IT)

VII.1.25 Pompeii. Drawing of cupids by Nicola La Volpe.

Cupids provenanced from a room no longer identifiable but put here as Niccolini said this room contained “flying cupids”.

Note: these same drawings have also been included into the windowed triclinium, room 32, as Fiorelli said it too showed many cupids.

Now in Naples Archaeological Museum. Inventory number ADS 60.

Photo © ICCD. http://www.catalogo.beniculturali.it

Utilizzabili alle condizioni della licenza Attribuzione - Non commerciale - Condividi allo stesso modo 2.5 Italia (CC BY-NC-SA 2.5 IT)

 

VII.1.25 Pompeii. Drawing of cupids by Nicola La Volpe.
Cupids provenanced from a room no longer identifiable but put here as Niccolini said this room contained “flying cupids”.
Note: these same drawings have also been included into the windowed triclinium, room 32, as Fiorelli said it also showed many cupids. 
Now in Naples Archaeological Museum. Inventory number ADS 61.
Photo © ICCD. http://www.catalogo.beniculturali.it
Utilizzabili alle condizioni della licenza Attribuzione - Non commerciale - Condividi allo stesso modo 2.5 Italia (CC BY-NC-SA 2.5 IT)

VII.1.25 Pompeii. Drawing of cupids by Nicola La Volpe.

Cupids provenanced from a room no longer identifiable but put here as Niccolini said this room contained “flying cupids”.

Note: these same drawings have also been included into the windowed triclinium, room 32, as Fiorelli said it also showed many cupids.

Now in Naples Archaeological Museum. Inventory number ADS 61.

Photo © ICCD. http://www.catalogo.beniculturali.it

Utilizzabili alle condizioni della licenza Attribuzione - Non commerciale - Condividi allo stesso modo 2.5 Italia (CC BY-NC-SA 2.5 IT)

 

 

Part 1      Part 2      Part 3      Combined plan of VII.1.25 VII.1.47 and VII.1.46      VII.1.47      VII.1.46

 

 

 

 

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Ultimo aggiornamento - Last updated: 04-Mar-2019 19:52