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VIII.7.20 Pompeii. Teatro Grande, ingresso. Passaggio graffito.

Large Theatre, entrance. Graffito passage.

Part 1                                        Part 2

 

Part 3      Part 4      Part 5      Part 6      Plan (Opens in new window)

 

This entrance also provided access to the two rear entrances to the Little Theatre or Odeon.

For more details of the Large Theatre:

See Mau, A., 1907, translated by Kelsey F. W. Pompeii: Its Life and Art. New York: Macmillan, pp. 141-152.

 

VIII.7.20 Pompeii. May 2005. Entrance to Large Theatre. The passage also has the rear entrances to the Little Theatre or Odeon.

VIII.7.20 Pompeii. May 2005. Entrance to Large Theatre.

The passage also has the rear entrances to the Little Theatre or Odeon.

 

VIII.7.20 Pompeii, 1968. Looking west to Theatre exterior wall on Via Stabiana, on south side of entrance doorway. 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.
J68f1171

VIII.7.20 Pompeii, 1968. Looking west to Theatre exterior wall on Via Stabiana, on south side of entrance doorway.

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.

J68f1171

 

VIII.7.20 Pompeii. September 2015. Looking west along entrance passage or passage with graffiti.

VIII.7.20 Pompeii. September 2015. Looking west along entrance passage or passage with graffiti.

 

VIII.7.20 Pompeii. September 2010. Entrance passage or Graffito passage.
Passage looking west towards large theatre, Little Theatre or Odeon to left of image.
Photo courtesy of Drew Baker.

According to Gell, this passage was known as “the great passage” – “This passage is full of inscriptions, scratched with nails and knives by people waiting for admittance. Amongst them is an  
These were, of course, not always regulated by the strictest rules of propriety. They are very faint, and every day become less visible.
See Gell, W. and Gandy, J., 1852.  Pompeiana: Third Edition.  London: Bohn. (p.183)

This passage is often called the "Graffito Passage" because of many graffiti found on the walls.
Fiorelli quoted 3 of the most complete as being the following -
the first was written in one single line on the south side of the corridor in the theatre complex: 
    Methe Cominiaes(!) atellana amat Chrestum corde [si]t utreisque Venus Pompeiana propitia et sem[per] concordes veivant    [CIL IV 2457]
    Varone translates this as “Methe of Atella, slave of Cominia, loves Chrestus. May Venus of Pompeii smile favourably on their hearts and let them always live in harmony”.
    See Varone, A., 2002. Erotica Pompeiana: Love Inscriptions on the Walls of Pompeii, Rome: L’erma di Bretschneider. p.164.
the second was 
    A(nte) d(iem) VI Novembres praebuit Surus Petilius ornamenta / M(arco) [Faust]o Siloni honoris causa Suri liberti     [CIL IV 2455]
the third which he says in 1875 “was recently taken to Naples Museum” was
    A(nte) d(iem) XI K(alendas) Decembr(es) a(ssibus) XV 
    Epap(h)ra Acutus Auctus 
    ad locum duxserunt(!) 
    mulierem Tychen pretium
    in singulos a(ssibus) V f(uit?)
    M(arco) Messalla L(ucio) Lentulo co(n)s(ulibus)     [CIL IV 2450]
See Pappalardo, U., 2001. La Descrizione di Pompei per Giuseppe Fiorelli (1875). Napoli: Massa Editore. p.133 [354]

Varone translated an inscription on the north wall of the corridor as:
    I’m hurrying to you! Hello, my Sava. Try and love me.
    Propero vale mea sava / fac me ames    [CIL IV 2414]
See Varone, A., 2002. Erotica Pompeiana: Love Inscriptions on the Walls of Pompeii, Rome: L’erma di Bretschneider. p. 40.

There were many more inscriptions, in all summed up by one quoted by Fiorelli:
    AD MIROR PARIIIS
    RVi NA 
    TII NON CIICIDISII

    Admiror paries / te non cecedis(s)e / ruina    [CIL IV 2461]
See Pappalardo, U., 2001. La Descrizione di Pompei per Giuseppe Fiorelli (1875). Napoli: Massa Editore. p.134 [356].

Jacobelli translated this as, 
    “It is a wonder O wall that you haven’t collapsed under the weight of such nonsense”.
    See Jacobelli, L., 2003. Gladiators at Pompeii. Rome: L’Erma di Bretschneider.  p. 41.
Similar inscriptions were also found on two other walls, CIL IV 2487 from the ampitheatre, and CIL IV 1904 from the Basilica.

VIII.7.20 Pompeii. September 2010. Entrance passage or Graffito passage.

Passage looking west towards large theatre, Little Theatre or Odeon to left of image.

Photo courtesy of Drew Baker.

 

According to Gell, this passage was known as “the great passage” –

“This passage is full of inscriptions, scratched with nails and knives by people waiting for admittance.

Amongst them is an

These were, of course, not always regulated by the strictest rules of propriety.

They are very faint, and every day become less visible.

See Gell, W. and Gandy, J., 1852.  Pompeiana: Third Edition.  London: Bohn. (p.183)

 

This passage is often called the "Graffito Passage" because of many graffiti found on the walls.

Fiorelli quoted 3 of the most complete as being the following -

 

the first was written in one single line on the south side of the corridor in the theatre complex:

    Methe Cominiaes(!) atellana amat Chrestum corde [si]t utreisque Venus Pompeiana propitia et sem[per] concordes veivant    [CIL IV 2457]

    Varone translates this as “Methe of Atella, slave of Cominia, loves Chrestus. May Venus of Pompeii smile favourably on their hearts and let them always live in harmony”.

    See Varone, A., 2002. Erotica Pompeiana: Love Inscriptions on the Walls of Pompeii, Rome: L’Erma di Bretschneider. p.164.

 

the second was

    A(nte) d(iem) VI Novembres praebuit Surus Petilius ornamenta / M(arco) [Faust]o Siloni honoris causa Suri liberti     [CIL IV 2455]

 

the third which he says in 1875 “was recently taken to Naples Museum” was

    A(nte) d(iem) XI K(alendas) Decembr(es) a(ssibus) XV

    Epap(h)ra Acutus Auctus

    ad locum duxserunt(!)

    mulierem Tychen pretium

    in singulos a(ssibus) V f(uit?)

    M(arco) Messalla L(ucio) Lentulo co(n)s(ulibus)     [CIL IV 2450]

 

See Pappalardo, U., 2001. La Descrizione di Pompei per Giuseppe Fiorelli (1875). Napoli: Massa Editore. p.133 [354]

 

Varone translated an inscription on the north wall of the corridor as:

    I’m hurrying to you! Hello, my Sava. Try and love me.

    Propero vale mea sava / fac me ames    [CIL IV 2414]

See Varone, A., 2002. Erotica Pompeiana: Love Inscriptions on the Walls of Pompeii, Rome: L’Erma di Bretschneider. p. 40.

 

There were many more inscriptions, in all summed up by one quoted by Fiorelli:

    AD MIROR PARIIIS

    RVi NA

    TII NON CIICIDISII

 

    Admiror paries / te non cecedis(s)e / ruina    [CIL IV 2461]

See Pappalardo, U., 2001. La Descrizione di Pompei per Giuseppe Fiorelli (1875). Napoli: Massa Editore. p.134 [356].

 

Jacobelli translated this as,

    “It is a wonder O wall that you haven’t collapsed under the weight of such nonsense”.

    See Jacobelli, L., 2003. Gladiators at Pompeii. Rome: L’Erma di Bretschneider.  p. 41.

Similar inscriptions were also found on two other walls, CIL IV 2487 from the amphitheatre, and CIL IV 1904 from the Basilica.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall at east, Via Stabiana end of passage. Start of sequence of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall at east, Via Stabiana end of passage.

Start of sequence of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall. Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

VIII.7.20 Pompeii. September 2010. Graffito passage. South wall.

Sequence moving east - west of remaining fresco work. Photo courtesy of Drew Baker.

 

Part 2

 

Part 3      Part 4      Part 5      Part 6      Plan (Opens in new window)