I.2.17 Pompeii. House. Excavated 1869.

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I.2.17 Pompeii. March 2009. Room 7, tablinum. Looking south towards small garden at rear.

According to Peters, there were only a few insignificant remains of the Third Style decorations found here in the tablinum.

Discanno made a drawing of the central painting that was found on the right-hand wall (west side).

The drawing was of the story of Selene and Endymion and was set in a sacral-idyllic landscape.

See Peters, W.J.T. 1963. Landscape in Romano-Campanian Mural Paintings. The Netherland, Van Gorcum & Comp. (p.86, & fig.72)

I.2.17 Pompeii. September 2010. Room 7, west wall of tablinum.

Site of the story of Selene and Endymion which was set in a sacral-idyllic landscape, according to Peters. Photo courtesy of Drew Baker.

See also Sogliano, A., 1879. Le pitture murali campane scoverte negli anni 1867-79. Napoli: (p.75)

I.2.17 Pompeii. Painting of Selene and Endymion set in a sacral-idyllic landscape.

Photo included in Codex by Tatiana Warscher, described as Riproduzione dal disegno appartenente all’Istituto Archeologico Germanico.

See Warscher T., 1935. Codex Topographicus Pompeianus: Regio I.2. (no.30), Rome: DAIR, whose copyright it remains.

According to Warscher, quoting Bull. Inst. 1873, p.238/40 –

I.2.17 “Sulla parete destra del tablino della casa che sta sul cantone verso NE dell’isola 2, reg I, troviamo un paesaggio con figure mitologiche”.

(translation: I. 2.17 "on the right wall of the tablinum of the house which stands towards the north-east corner of insula 2, Reg. I, we found a landscape with mythological figures”.)

(There followed the full description of the painting).

“Tutto il resto è svanito. Ma mi disse il signore Sogliano, che fu presente quando questa pittura venne alla luce, che allora si vedevano bene i cavalli alati, e che inoltre sopra la testa della figura mentovata vi era una mezza luna. Non resta dunque il menomo dubbio che qui non si abbia a ravvisare Endimione e Selene, e che quell’uomo d’aspetto selvaggio non sia che una figura decorativa, un pastore, che con maraviglia guarda quello che succede. La pittura è grande m.1,34 + 0,85.

(translation: “Everything else has vanished. But according to Sogliano, who was present when this painting was brought to light, they clearly saw the winged horses, and also above the head of the figure mentioned there was a half-moon. There is not the least doubt, that here they had seen Endymion and Selene, and that the man of wild aspect was a decorative figure, a shepherd, who looked with wonder at what was happening. The painting was large, m. 1,34 + 0,85.”)

Nella stessa casa in una camera a destra del peristilio un piccolo quadro (m.0,64 + 0,31) rappresenta una villa con giardino e portici, situata al lido d’un lago.

Fra la villa e il lido havvi una statua ed un uomo chinato a terra.

(translation: In the same house in a room to the right of the peristyle, a small painting (m.0.64 + 0.31) showed a villa with garden and porticoes, located at the lido of a lake.  Between the villa and the lido, there was a statue and a man kneeling on the ground).

Un altro quadro in una camera a sinistra del tablino ci mostra Ercole che sta tranquillamente abbassando la destra colla clava, portando sulla spalla sinistra la pelle del leone.

A sinistra si vede una colonna sopra una base. La pittura è larga m. 0,60, Ercole alto m.0,55”.

(translation: Another picture in a room to the left of the tablinum showed Hercules quietly lowering the right arm with the club, carrying on his left shoulder the lion's skin. To the left, one saw a column above a base. The painting was large m. 0,60, Hercules was m. 0,55 tall".)

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

(Page 75, no.456, Selene and Endymion (our room 7)  

– Page 81, no.491, Hercules (see our room 10)

– Page 143, no.691, Garden painting (our room 14).

With reference to the Garden Painting from the Peristyle (page 143, no.691), Sogliano described it as –

“Veduta di un giardino in cui sono due cancelli sormontato ciascuno da un’anfora, e dietro ad essi un boschetto con uccelli. (Bull. Inst, 1874, p.265)

(translation: "View of a garden in which there were two gates surmounted each by an amphora, and behind them a wood with birds”.)

I.2.17 Pompeii. Painting of Selene and Endymion set in a sacral-idyllic landscape.

DAIR 53.494. Photo © Deutsches Archäologisches Institut, Abteilung Rom, Arkiv.

I.2.17 Pompeii. Drawing by G. Discanno of painting of Selene and Endymion set in a sacral-idyllic landscape.

Now in Naples Archaeological Museum. Inventory number ADS 5.

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)

I.2.17 Pompeii. September 2010. Room 7, east wall of tablinum. Photo courtesy of Drew Baker.

I.2.17 Pompeii. March 2009. Room 9, cubiculum. West wall, and south-west corner. (The east wall is no longer there).

On the left of the photo would have been part of the small garden, room 8.

I.2.17 Pompeii. September 2010. Room 9, south-west corner of cubiculum. Photo courtesy of Drew Baker.

I.2.17 Pompeii. September 2010. Room 9, north-west corner of cubiculum. Photo courtesy of Drew Baker.

I.2.17 Pompeii. March 2009. Room 9, north-west corner of cubiculum.

I.2.17 Pompeii. March 2009. Room 9, cubiculum. Painted plaster decoration.

I.2.17 Pompeii. March 2009. Room 9, cubiculum. Painted plaster decoration.

I.2.17 Pompeii. September 2010. Room 8, looking south across garden area. Photo courtesy of Drew Baker.

I.2.17 Pompeii. March 2009. Room 8, small garden at rear of tablinum.

South wall and site of two raised pools, according to Mau.

According to Fiorelli, the garden contained a basin or tub.

See Pappalardo, U., 2001. La Descrizione di Pompei per Giuseppe Fiorelli (1875). Napoli: Massa Editore. (p. 36)

According to Jashemski, this very small garden (excavated in 1872) was entered from the tablinum.

Much of the garden, according to Mau (she said) was occupied by two small adjacent raised pools.

Attached to the west wall was a masonry pool, the other pool was to the south.

There was a garden painting on the rear wall.

See Jashemski, W. F., 1993. The Gardens of Pompeii, Volume II: Appendices. New York: Caratzas. (p.23, & p.313, nos. 2 and 3)

She quoted the reference:  Mau. BdI (1874) pp.264-265.

BdI = Bullettino dell’Instituto di Corrispondenza Archeologica (DAIR).

I.2.17 Pompeii. 1959. Room 8, looking south across small garden at rear of tablinum. 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.

J59f0279  

I.2.17 Pompeii. March 2009. Room 8, small garden at rear of tablinum. 

This would have been the area of the south-west corner of the garden area, as the east wall of room 9 is no longer there.

I.2.17 Pompeii. September 2010.

Room 8, looking north towards doorway into tablinum, doorway into atrium, and north to entrance doorway. Photo courtesy of Drew Baker.

I.2.17 Pompeii. September 2010.

Looking east from garden room 8, through doorway in east wall to room 10. Photo courtesy of Drew Baker.

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