Advertisement · 728 × 90
#
Hashtag
#cubiculum
Advertisement · 728 × 90
FRESCOED CEILING, BEFORE 79 CE. HERCULANEUM, HOUSE OF THE BLACK SALON, CUBICULUM

There aren't many buildings in any ancient city around Vesuvius that have surviving ceilings, though in both Pompeii and Herculaneum there were many buildings with upper levels. However, in some houses in Herculaneum enough of the decoration survived for the ceilings to be able to be reconstructed. In the gigantic domus (VI.13) called the House of the Black Salon, not only the large eponymous tablinum but the little cubiculum 17 has a rebuilt ceiling. Both are suspended ceilings, with surprisingly complex forms, some shallow barrel vaults interrupted by flat recesses and flanked by further flat sections. This house, like the more famous House of the Vettii in Pompeii, probably belonged to a freedman, in this case L. Venidius Ennychus, whose name was recovered from some wooden-framed wax tablets. He was considered eligible to be one of the Augustales, which confirms both his wealth and his freedman status. The frescoes here are predominantly red frames and garlands on a white background, and are Second Style, resembling fresco work in the Domus Aurea and hence possibly dating to the late 60s CE.

FRESCOED CEILING, BEFORE 79 CE. HERCULANEUM, HOUSE OF THE BLACK SALON, CUBICULUM There aren't many buildings in any ancient city around Vesuvius that have surviving ceilings, though in both Pompeii and Herculaneum there were many buildings with upper levels. However, in some houses in Herculaneum enough of the decoration survived for the ceilings to be able to be reconstructed. In the gigantic domus (VI.13) called the House of the Black Salon, not only the large eponymous tablinum but the little cubiculum 17 has a rebuilt ceiling. Both are suspended ceilings, with surprisingly complex forms, some shallow barrel vaults interrupted by flat recesses and flanked by further flat sections. This house, like the more famous House of the Vettii in Pompeii, probably belonged to a freedman, in this case L. Venidius Ennychus, whose name was recovered from some wooden-framed wax tablets. He was considered eligible to be one of the Augustales, which confirms both his wealth and his freedman status. The frescoes here are predominantly red frames and garlands on a white background, and are Second Style, resembling fresco work in the Domus Aurea and hence possibly dating to the late 60s CE.

A rarity for #FrescoFriday: a ceiling in #fresco reconstructed in situ in #Herculaneum, with a complex form. Through the back window of this #cubiculum we can see a little outdoor #lararium, stripped of its decoration. Here we finally get a sense of the whole room. #AncientBluesky 🏺

18 3 0 0
MOSAIC EMBLEMA, 1-50 CE. MUSEO ARCHEOLOGICO NAZIONALE DI NAPOLI

This emblema or mosaic floor centrepiece comes from a house (IX.2.27) confusingly called the House of the Wedding of Neptune and Amphitrite, the House of the Grand Duke of Tuscany, and the House of Princess Margherita. It was excavated in 1849 and 1869, and was found in a cubiculum on the east side of a peristyle, but it seems more suited to a triclinium. Against a white background surrounded by a black frame is this mosaic in opus vermiculatum. The upper half has a display of fish, a sea bass above three red mullets. A branch with leaves and berries divides the two registers and below it is a group of marsh birds bound together with a string: two mallards and an Egyptian goose. The colours and shading of the emblema are delicate, and the birds are shown in a credible depth of field.

MOSAIC EMBLEMA, 1-50 CE. MUSEO ARCHEOLOGICO NAZIONALE DI NAPOLI This emblema or mosaic floor centrepiece comes from a house (IX.2.27) confusingly called the House of the Wedding of Neptune and Amphitrite, the House of the Grand Duke of Tuscany, and the House of Princess Margherita. It was excavated in 1849 and 1869, and was found in a cubiculum on the east side of a peristyle, but it seems more suited to a triclinium. Against a white background surrounded by a black frame is this mosaic in opus vermiculatum. The upper half has a display of fish, a sea bass above three red mullets. A branch with leaves and berries divides the two registers and below it is a group of marsh birds bound together with a string: two mallards and an Egyptian goose. The colours and shading of the emblema are delicate, and the birds are shown in a credible depth of field.

There's something fishy this #MosaicMonday, in this #emblema from #Pompeii via #Naples. This food-focused #mosaic was found in a #cubiculum or bedroom, but it really seems to belong to a #triclinium or dining room. #AncientBluesky 🏺

16 3 1 1
HARPOCRATES AND AN ALTAR, 46-79 CE. MUSEO ARCHEOLOGICO NAZIONALE DI NAPOLI

This fresco from the House of the Tuscan Columns in Herculaneum was found in Bourbon tunnelling in 1748 which broke through walls and left devastation in its wake. This may have come from a little shrine area in the kitchen. At centre is a cylindrical altar with a huge snake curving up it, its frightening head devouring the eggs left for it. Beside the serpent, now no longer visible, was written "GENIVS HVIVS LOCI MONTIS", "the spirit of this place of the mountain". In fact the snake was the embodiment of the "genius" and snakes could be kept in Roman houses. Approaching the altar from the left is a little boy with his finger held to his lip. In his other hand he holds a leafy branch. This is Harpocrates, "Horus as a child", son of Isis and Serapis. His finger at his lips derives from the Egyptian hieroglyph for "child", but as Harpocrates took on a different identity to that of Horus, the powerful protector of the pharaoh, this gesture was misinterpreted as a call for silence, and Harpocrates became the god of secrecy. Here perhaps he is telling the kitchen staff not to gossip about the owners.

HARPOCRATES AND AN ALTAR, 46-79 CE. MUSEO ARCHEOLOGICO NAZIONALE DI NAPOLI This fresco from the House of the Tuscan Columns in Herculaneum was found in Bourbon tunnelling in 1748 which broke through walls and left devastation in its wake. This may have come from a little shrine area in the kitchen. At centre is a cylindrical altar with a huge snake curving up it, its frightening head devouring the eggs left for it. Beside the serpent, now no longer visible, was written "GENIVS HVIVS LOCI MONTIS", "the spirit of this place of the mountain". In fact the snake was the embodiment of the "genius" and snakes could be kept in Roman houses. Approaching the altar from the left is a little boy with his finger held to his lip. In his other hand he holds a leafy branch. This is Harpocrates, "Horus as a child", son of Isis and Serapis. His finger at his lips derives from the Egyptian hieroglyph for "child", but as Harpocrates took on a different identity to that of Horus, the powerful protector of the pharaoh, this gesture was misinterpreted as a call for silence, and Harpocrates became the god of secrecy. Here perhaps he is telling the kitchen staff not to gossip about the owners.

For #FrescoFriday we're back in #Herculaneum via #Naples, where a small cult #fresco of the house serpent eating the eggs offered to it also has an image of wee #Harpocrates, the syncretic #Roman and #Egyptian god of #silence. What happens in the #cubiculum stays in the cubiculum!

50 9 1 1
Post image

#JNA #Oplontis #Diaeta
+ Photos de #triclinium et de #cubiculum

locipompeiani.free.fr/pages/oplontis…

0 0 0 0