PompeiiinPictures

IX.11.7 Pompeii. Casa di Cornelius Maximus?

Only partly excavated 1912.

 

IX.11.7 Pompeii. May 2005. Entrance, looking north.

IX.11.7 Pompeii. May 2005. Entrance, looking north.

According to NdS, this doorway, by its narrowness must certainly have been the entrance corridor/fauces of a house.

On the height of the external pilaster of this doorway were two paintings, width 0.43m, height 0.35m.

These paintings were first executed on white stucco and surrounded by a yellow band.

Then the second time they were executed on a simple coat of lime whitewash superimposed onto the primitive stucco.

 

Appearing on the left pillar, separated entirely by a layer of whitewash, was a manly, naked figure, probably Hercules but three-quarters missing, stepping forward into view. 

On the facing pillar, was another painting preserved on a layer of whitewash with an older painting at its rear.

 

Pompeii. May 2006. Graffiti on front wall on west side of entrance doorway, between IX.11.6 and IX.11.7. According to Varone and Stefani, found on the west side of the entrance doorway was a painting of Hercules. Underneath the painting of Hercules, CIL IV 7884 was found. See Varone, A. and Stefani, G., 2009. Titulorum Pictorum Pompeianorum, Rome: L’erma di Bretschneider, (p.434-5)
According to Epigraphik-Datenbank Clauss/Slaby (See www.manfredclauss.de), this read –
C(aium)  C(alventium)  S(ittium)  M(agnum) 
IIv(irum)  i(ure)  d(icundo)  r(ogat?)        [CIL IV 7884]

IX.11.7 Pompeii. May 2006. Graffiti on front wall on west side (left) of entrance doorway, between IX.11.6 and IX.11.7.

According to Varone and Stefani, found on the west side of the entrance doorway was a painting of Hercules.

Underneath the painting of Hercules, CIL IV 7884 was found.

See Varone, A. and Stefani, G., 2009. Titulorum Pictorum Pompeianorum, Rome: L’erma di Bretschneider, (p.434-5)

According to Epigraphik-Datenbank Clauss/Slaby (See www.manfredclauss.de), this read –

 

C(aium)  C(alventium)  S(ittium)  M(agnum)

IIv(irum)  i(ure)  d(icundo)  r(ogat?)        [CIL IV 7884]

 

IX.11.7 Pompeii. Old excavation photo from early 1900’s.

Front wall on west side (left) of entrance doorway, between IX.11.6 and IX.11.7.

Painting of Hercules and CIL IV 7884.

 

IX.11.7 Pompeii. May 2006. Graffiti on both sides of doorway.

IX.11.7 Pompeii. May 2006. Graffiti on both sides of doorway.

 

IX.11.7 Pompeii. Old excavation photo from 1912 or 1915. Entrance doorway with paintings and graffiti.
According to Boyce, (note, he allocated the number as being IX.IX.7) –
On each pilaster was a painting subsequently covered over by a new layer of whitewash (dealbatio) upon which a new painting was then done.
Of these four paintings three are known to us –
On the left pilaster, the earlier painting represented a poorly preserved male figure probably Hercules.
On the right pilaster, the earlier painting was of Minerva pouring a libation upon a burning altar (ara pulvinata); the later painting was of Hercules leading a pig adorned with a red band.
See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14. (p.112, no.26).
According to Fröhlich,
Both pictures are on a white background and dark framed.
The left picture was covered by a younger, thin plaster, which fell off in the course of the excavation. Shown is a man seen from the front, naked except for a garment hanging from the left side of the body, which lowers the right arm in sacrifice and strains its right leg, perhaps Hercules.
In the right picture, gradually due to the progressive weathering, three successive phases came to light, whereby for some time the youngest and the middle phase, later the middle and the oldest, were to be seen together.
1. Youngest phase: 
Hercules, naked except for the lion's skin over the left forearm, stands on his left leg, lowers his right arm in sacrificial position, carries the club in his left arm and with his left hand leads a small pig, in profile, with sacrificial bandage.
2. Middle phase: 
Hercules, naked except for the lion's skin over the left shoulder, stands on his right side, lowers his right hand in sacrificial posture and holds in his left arm the club leaning against his shoulder.
3. Older phase: 
Minerva in green and white chiton and outer coat, yellow-green on the outside and red on the inside, a golden helmet on her head, a gold shield on the right, her right leg on a brown plinth, leans her left hand on the lance and sacrifices from the lowered right over a brown round altar.
Whether the pictures refer to the narrow house entrance no. 7 or belong to the shop No. 5/6, and / or to the shop No. 8, must remain open.
Dating: The Minerva of the oldest phase is of Third Style. The other phases cannot be dated any further.
See Fröhlich, T., 1991. Lararien und Fassadenbilder in den Vesuvstädten. Mainz: von Zabern. (p.337, F68)
See Notizie degli Scavi, February 1912 (p.62-64) and Notizie degli Scavi, 11th February 1915, (p.284-285)

IX.11.7 Pompeii. Old excavation photo from 1912 or 1915. Entrance doorway with paintings and graffiti.

According to Boyce, (note, he allocated the number as being IX.IX.7) –

On each pilaster was a painting subsequently covered over by a new layer of whitewash (dealbatio) upon which a new painting was then done.

Of these four paintings three are known to us –

On the left pilaster, the earlier painting represented a poorly preserved male figure probably Hercules.

On the right pilaster, the earlier painting was of Minerva pouring a libation upon a burning altar (ara pulvinata); the later painting was of Hercules leading a pig adorned with a red band.

See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14. (p. 112, no.26).

According to Fröhlich,

Both pictures are on a white background and dark framed.

The left picture was covered by a younger, thin plaster, which fell off in the course of the excavation. Shown is a man seen from the front, naked except for a garment hanging from the left side of the body, which lowers the right arm in sacrifice and strains its right leg, perhaps Hercules.
In the right picture, gradually due to the progressive weathering, three successive phases came to light, whereby for some time the youngest and the middle phase, later the middle and the oldest, were to be seen together.
1. Youngest phase:

Hercules, naked except for the lion's skin over the left forearm, stands on his left leg, lowers his right arm in sacrificial position, carries the club in his left arm and with his left hand leads a small pig, in profile, with sacrificial bandage.
2. Middle phase:

Hercules, naked except for the lion's skin over the left shoulder, stands on his right side, lowers his right hand in sacrificial posture and holds in his left arm the club leaning against his shoulder.
3. Older phase:

Minerva in green and white chiton and outer coat, yellow-green on the outside and red on the inside, a golden helmet on her head, a gold shield on the right, her right leg on a brown plinth, leans her left hand on the lance and sacrifices from the lowered right over a brown round altar.
Whether the pictures refer to the narrow house entrance no. 7 or belong to the shop No. 5/6, and / or to the shop No. 8, must remain open.
Dating: The Minerva of the oldest phase is of Third Style. The other phases cannot be dated any further.

See Fröhlich, T., 1991. Lararien und Fassadenbilder in den Vesuvstädten. Mainz: von Zabern. (p. 337, F68)

See Notizie degli Scavi di Antichità, February 1912 (p. 62-64).

See Notizie degli Scavi di Antichità, 11th February 1915, (p. 284-285).

 

IX.11.7 Pompeii. Drawing of Hercules and pig, from east (right) pilaster of entrance doorway.
According to Frohlich, this drawing is of the youngest phase of painting before the plaster fell.
See Notizie degli Scavi, February 1912, (p.63), fig. 2.

IX.11.7 Pompeii. Drawing of Hercules and pig, from east (right) pilaster of entrance doorway.

According to Frohlich, this drawing is of the youngest phase of painting before the plaster fell.

See Notizie degli Scavi di Antichità, February 1912, (p.63), fig. 2.

 

Under the described painting (on the east pilaster), hidden to the right by subsequent plaster, we read the remains of electoral programmas-

 

1,

 

 (in red)

 

And appearing, through the whitewash layer on which was painted the previous programma, the beginning of this other:

 

2.

 

 (in red)

 

 

 

Immediately to the right of the programma 1, the largely detached whitewashing makes it easy to read:

 

3.

 (in red)

 

While below, at the top of the red zoccolo, was the following fading/vanishing programma, in black colour, recommending C. Iulium Polybium as duumvir.

 

4.

 (in black)

 

See Notizie degli Scavi di Antichità, February 1912, (p.62-64)

 

IX.11.7 Pompeii. 
1915 excavation photograph of middle and oldest phase of painting from east (right) pilaster.
Minerva, on the left, and Hercules, on the right.
According to NdS, 
IX.XI.7. Also here, the cold/frost/wet has made the whitewash layer fall in small flakes and the painting of Hercules (see NdS, 1912, p. 63) that was on the right doorpost of the indicated entrance doorway, has brought back to light a more ancient sacred painting.
In a yellow frame threaded with red, and with green garlands hung on top and falling to the sides, we see standing Minerva, the lance in the left hand held up high, helmet on head, shield resting on the right leg, the right hand lowered, in the act of pouring something from a blue jug above the altar that was on her right.  The goddess wears a tunic with alternating green and yellow bands and a mantle whose flap falls from the left elbow: she has bare arms, yellow as are the helmet and shield. Burning on the altar was a vivid red flame. 
See Notizie degli Scavi, 11th February 1915, p.284-285

IX.11.7 Pompeii.

1915 excavation photograph of middle and oldest phase of painting from east (right) pilaster.

Minerva, on the left, and Hercules, on the right.

According to NdS,

IX.XI.7. Also here, the cold/frost/wet has made the whitewash layer fall in small flakes and the painting of Hercules (see NdS, 1912, p. 63) that was on the right doorpost of the indicated entrance doorway, has brought back to light a more ancient sacred painting.

In a yellow frame threaded with red, and with green garlands hung on top and falling to the sides, we see standing Minerva, the lance in the left hand held up high, helmet on head, shield resting on the right leg, the right hand lowered, in the act of pouring something from a blue jug above the altar that was on her right.  The goddess wears a tunic with alternating green and yellow bands and a mantle whose flap falls from the left elbow: she has bare arms, yellow as are the helmet and shield. Burning on the altar was a vivid red flame.

See Notizie degli Scavi di Antichità, 11th February 1915, p.284-285

 

IX.11.7 Pompeii. Detail of 1915 excavation photograph of middle and oldest phase of painting from east (right) pilaster.
See Notizie degli Scavi, 11th February 1915, p.284-285 (Fig 2, on page 285).

IX.11.7 Pompeii. Detail of 1915 excavation photograph of middle and oldest phase of painting from east (right) pilaster.

See Notizie degli Scavi di Antichità, 11th February 1915, p.284-285 (Fig 2, on page 285).

 

IX.11.7 Pompeii. June 2012. Pilaster with graffiti between doorways to IX.11.7 and IX.11.8.
Photo courtesy of Michael Binns.

IX.11.7 Pompeii. June 2012.

Pilaster on east side (right) of doorway, with remaining painting of Hercules and graffiti between doorways to IX.11.7 and IX.11.8.

Photo courtesy of Michael Binns.

 

Pompeii. May 2010. Graffiti on front pilaster between IX.11.7 and IX.11.8. According to Varone and Stefani, under the sacred painting of Hercules and Minerva were CIL IV 7885 and 7886. On the right side (east) of the pilaster was CIL IV 7887. Only CIL IV 7887 has been conserved. See Varone, A. and Stefani, G., 2009. Titulorum Pictorum Pompeianorum, Rome: L’erma di Bretschneider, (p.435-437)
According to Epigraphik-Datenbank Clauss/Slaby (See www.manfredclauss.de), these read as –
A(ulum)  Suet[tium 3] 
aed(ilem)       [CIL IV 7885]
Mode[stum 3]       [CIL IV 7886]
Fuscum  aed(ilem)       [CIL IV 7887]

Pompeii. May 2010. Graffiti on front pilaster between IX.11.7 and IX.11.8.

According to Varone and Stefani, under the sacred painting of Hercules and Minerva were CIL IV 7885 and 7886.

On the right side (east) of the pilaster was CIL IV 7887. Only CIL IV 7887 has been conserved.

See Varone, A. and Stefani, G., 2009. Titulorum Pictorum Pompeianorum, Rome: L’erma di Bretschneider, (p.435-437)

 

According to Epigraphik-Datenbank Clauss/Slaby (See www.manfredclauss.de), these read as –

 

A(ulum)  Suet[tium 3]

aed(ilem)       [CIL IV 7885]

 

Mode[stum 3]       [CIL IV 7886]

 

Fuscum  aed(ilem)       [CIL IV 7887]

 

Pompeii. May 2010. Painting of Hercules on front wall between IX.11.7 and IX.11.8.  See Fröhlich, T., 1991, Lararien und Fassadenbilder in den Vesuvstädten.  Mainz: von Zabern.  (F68: p.337/8).

Pompeii. May 2010. Painting of Hercules on front wall between IX.11.7 and IX.11.8. 

See Fröhlich, T., 1991, Lararien und Fassadenbilder in den Vesuvstädten. Mainz: von Zabern.  (F68: p.337/8).

 

Pompeii. December 2007. Painting of Hercules on front wall between IX.11.7 and IX.11.8.  See Fröhlich, T., 1991, Lararien und Fassadenbilder in den Vesuvstädten.  Mainz: von Zabern.  (F68: p.337/8).

Pompeii. December 2007. Painting of Hercules on front wall between IX.11.7 and IX.11.8. 

See Fröhlich, T., 1991, Lararien und Fassadenbilder in den Vesuvstädten.  Mainz: von Zabern.  (F68: p.337/8).

 

Pompeii. Graffiti and painting on front pilaster between IX.11.7 and IX.11.8, c.1974.
DAIR 74.394. Photo © Deutsches Archäologisches Institut, Abteilung Rom, Arkiv.

Pompeii. Graffiti and painting on front pilaster between IX.11.7 and IX.11.8, c.1974.

DAIR 74.394. Photo © Deutsches Archäologisches Institut, Abteilung Rom, Arkiv.

 

Pompeii. December 2007. Graffiti and painting on front wall between IX.11.7 and IX.11.8.

Pompeii. December 2007. Graffiti and painting on front wall between IX.11.7 and IX.11.8.

 

Pompeii. May 2006. Graffiti on front wall between IX.11.7 and IX.11.8.

Pompeii. May 2006. Graffiti on front wall between IX.11.7 and IX.11.8.

 

Pompeii. December 2007. Graffiti on front wall between IX.11.7 and IX.11.8. -   Fuscum  aed(ilem)       [CIL IV 7887]

Pompeii. December 2007. Graffiti on front wall between IX.11.7 and IX.11.8.

Fuscum  aed(ilem)       [CIL IV 7887]

 

IX.11.5, IX.11.6, IX.11.7 and IX.11.8 May 2006. Looking east on Via dell’ Abbondanza.

IX.11.5, IX.11.6, IX.11.7 and IX.11.8 May 2006. Looking east on Via dell’ Abbondanza.

 

IX.11.7 (rear of) May 2010.  Columns from peristyle being excavated on west side of IX.12.

IX.11.7 (rear of) Pompeii. May 2010. Columns from peristyle being excavated on west side of IX.12.

 

IX.11.7 (rear of) May 2010.  Columns from peristyle being excavated on west side of IX.12.

IX.11.7 (rear of) Pompeii. May 2010. Columns from peristyle being excavated on west side of IX.12.

 

IX.11.7 (rear of) May 2010.  Columns from peristyle being excavated on west side of IX.12.

IX.11.7 (rear of) Pompeii. May 2010. Columns from peristyle being excavated on west side of IX.12.

 

IX.11.7 (rear of) May 2010.  Columns from peristyle being excavated on west side of IX.12.

IX.11.7 (rear of) Pompeii. May 2010. Columns from peristyle being excavated on west side of IX.12.

 

IX.11.7 (rear of) May 2010.  Column from peristyle being excavated on west side of IX.12.

IX.11.7 (rear of) Pompeii. May 2010. Column from peristyle being excavated on west side of IX.12.

 

 

 

 

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Ultimo aggiornamento - Last updated: 26-Jan-2019 22:01