Pompeii Miscellaneous.

Mysteries to solve: Mystery Places Mystery Painting(s) Mystery Objects

Danish Artists The Grand Tour Bronze Foundries Hotels, Local Houses, Railways Pompeii Guides Tickets Maledizione – Curse of Pompeii

We have not yet been able to identify the original locations of these.

If you can help suggest a location, please get in touch and enable us to reunite them with their original house.

Mystery places

Photographs of places, with no precise identifiable location. If any-one can help suggest a location, please get in touch.

Can you help us to identify where these are from?

PL.1. Pompeii. Photo by Esther Boise Van Deman (c) American Academy in Rome. VD_Archive_Ph_241.

Description given as Pompeii, Oven, and photo from between 1900-1930.

It does not seem to correspond to any of the ovens in bakeries, the walls look too big to be from a house.

Perhaps the photo is from a Villa, now reburied.

Ostia has been suggested to us, but we wrote to them and they answered that it was not from there.

Espen B Andersson has suggested -

“This photo seems to show the entrance to the hypocaust in a Baths building, possibly in Rome.

So much was lost in Rome in the 19th and early 20th century, for instance when they had to have railroads into the city centre, all that is behind Stazione Termini today”.

Can anyone add anything further as to the identity of this intriguing photograph, as we would love to accurately locate it.

PL.2. Pompeii? 1972. Photo by Stanley A. Jashemski. From where ?
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.
J72f0149

PL.2. Pompeii? 1972. Photo by Stanley A. Jashemski. From where?

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.

J72f0149

PL.3. Pompeii. 1964. Lapilli layers, but where from ?. 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.
J64f0846

PL.3. Pompeii. 1964. Lapilli layers, but where from? Photo by Stanley A. Jashemski.

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PL.4. Pompeii. 1964. Photo by Stanley A. Jashemski. Lapilli layers, same location as above.
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.
J64f0847

PL.4. Pompeii. 1964. Photo by Stanley A. Jashemski. Lapilli layers, same location as above.

J64f0847

These 3 below were all in with other photos of III.7.

PL.5A. III.7 Pompeii. 1976. Photo by Stanley A. Jashemski.

J76f0484

(Are these 3 photos something to do with the Sarno Canal, or with the cistern? Can anyone shed any light?)

PL.5B. III.7 Pompeii. 1976. 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.
J76f0485

PL.5B. III.7 Pompeii. 1976. Photo by Stanley A. Jashemski.

J76f0485

PL.5C. III.7 Pompeii. 1976. 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.
J76f0486

PL.5C. III.7 Pompeii. 1976. Photo by Stanley A. Jashemski.

J76f0486

PL.6. Possibly II.8.6, I.15.1/3 or I.21.6 Pompeii. 1973. Photo by Stanley A. Jashemski.

J73f0666

(We have a photo of the well in II.8.6, but if this is it, then it has been made safe and altered.

There may be a well in I.15.1 or I.21.6 but we have not been in there.)

PL.7. Pompeii. 1961. Photo by Stanley A. Jashemski.

J61f0238

(Possibly in Reg. I, perhaps a window following I.11.5/8; the next Jashemski photograph following it was in I.11.16).

PL.8A. Pompeii. 1961. Photo by Stanley A. Jashemski.

J61f0263

(Possibly in Reg. I, perhaps I.8, I,11, I.12 or I.13; the following photo below is from the same location).

PL.8B. Pompeii. 1961. Photo by Stanley A. Jashemski.

J61f0264

(Possibly in Reg. I, perhaps I.8, I,11, I.12 or I.13; the next Jashemski photo following it was from I.13.4, and then I.13.1).

PL.9. Pompeii. 1964. Photo by Stanley A. Jashemski.

J64f1532

(The previous Jashemski photos before this were from the House of Ceii, I.6.15: as far as we can see this window is not from I.9.8, I.13.5 or I.14.4).

PL.10A. Pompeii. 1959. Photo by Stanley A. Jashemski.

J59f0088

(The following photo is from the same location as above photo; as far as we can see, not from I.9.8 or I.13.5)

PL.10B. Pompeii. 1959. 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.
J59f0089
(as far as I can see, not from I.9.8 or I.13.5)

PL.10B. Pompeii. 1959. Photo by Stanley A. Jashemski.

J59f0089

(As far as we can see, not from I.9.8 or I.13.5)

PL.11A. 1.20.4/5 Pompeii, or perhaps 1.15.3, or II.8.6. 1972. 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.
J72f0199

PL.11A. 1.20.4/5 Pompeii, or perhaps 1.15.3, or II.8.6. 1972. Photo by Stanley A. Jashemski.

J72f0199

PL.11B. 1.20.4/5, or 1.15.3 or II.8.6, Pompeii. 1972. 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.
J72f0194

PL.11B. 1.20.4/5, or 1.15.3 or II.8.6, Pompeii? 1972. Photo by Stanley A. Jashemski.

J72f0194

PL.12. Pompeii. 1964. Photo by Stanley A. Jashemski.

J64f1338

(Possibly somewhere near II.1.8, the next Jashemski photo was from the Palaestra, II.7).

PL.14. Pompeii. 1959. 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.
J59f0450
(Possibly from the vicinity of Vicolo di Tesmo.)

PL.14. Pompeii. 1959. Photo by Stanley A. Jashemski.

J59f0450

(Possibly from the vicinity of Vicolo di Tesmo.)

PL.16A. Possibly VI.5.9 Pompeii, but during scanning the slide may have been reversed. 1978. 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.
J78f0332

PL.16A. Possibly VI.5.9 Pompeii, but during scanning the slide may have been reversed. 1978. Photo by Stanley A. Jashemski.

J78f0332

PL.16B (same as above, but flipped horizontally).
1978. 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.
J78f0332

PL.16B (same as above but flipped horizontally).

1978. Photo by Stanley A. Jashemski.

J78f0332

PL.17A. Pompeii, 1978. Photo by Stanley A. Jashemski.

J78f0333

(The Jashemski number on the photo follows on from the one above it but may not be from the same place. This also may also have been reversed when scanned so may need flipping horizontally).

PL.17B. (same as above, but flipped horizontally).
Pompeii, 1978. 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.
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PL.17B. (same as above but flipped horizontally).

Pompeii, 1978. Photo by Stanley A. Jashemski.

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PL.18. Pompeii. August 1965. Photo courtesy of Rick Bauer.

Perhaps this is somewhere in region VII, in the area of Porta Marina, any better ideas welcomed.

PL.22. Pavement from an unknown place, presumably now cemented over (or removed) on the grounds of safety.
Photographed 1970-79 by Günther Einhorn, picture courtesy of his son Ralf Einhorn.

PL.21. Pavement from an unknown place, possibly now covered over (or removed) on the grounds of safety.

Photographed 1970-79 by Günther Einhorn, picture courtesy of his son Ralf Einhorn.

Mystery painting(s)

Can you help us to identify the original locations where these came from?

PA.1. This mystery painting has now been identified as part of the wall frieze from the Villa della Farnesina in Rome. Now in Museo Massimo Rome.

Our thanks to Florian Schmitt for his help identifying this.

1978. Photo by Stanley A. Jashemski.

J78f0214

PA.2. Mystery black dado painting. 1957. Photo by Stanley A. Jashemski.

J57f0325

(According to the Jashemski’s this was from the House of Vettii, (VI.15.1), but only with the description of a “dado flower – daisy”.

May be from the black dado of the alae on north and south of atrium, or perhaps from the black zoccolo of the peristyle,

but cannot prove it with any of our photos.)

PA.3. Painted garden on black background. 1959. Photo by Stanley A. Jashemski.

J59f0098

(The Jashemski photo following on from the above was from the House of Sallust (VI.2.4), but was this one from there too?)

PA.4. Pompeii. From an album by Roberto Rive, dated 1868. Photo courtesy of Rick Bauer. Where from?
There is a similar painting on the east wall of a cubiculum in IX.9.c but it looks like the arms are in different positions. Do you have a close up of this wall?

PA.4. Pompeii. From an album by Roberto Rive, dated 1868. Photo courtesy of Rick Bauer. Where from?

There is a similar painting on the east wall of a cubiculum in IX.9.c but it looks like the arms are in different positions.

Do you have a close up of this wall?

PA.5. Pompeii, painted dancer.
From an album of Michele Amodio dated 1874, entitled “Pompei, destroyed on 23 November 79, discovered in 1745”.
Photo courtesy of Rick Bauer.

PA.5. Pompeii, painted dancer.

From an album of Michele Amodio dated 1874, entitled “Pompei, destroyed on 23 November 79, discovered in 1745”.

Photo courtesy of Rick Bauer.

PA.6. Pompeii, painted dancer. Photograph by M. Amodio, from an album dated April 1878.
Photo courtesy of Rick Bauer.

PA.6. Pompeii, painted dancer. Photograph by M. Amodio, from an album dated April 1878.

Photo courtesy of Rick Bauer.

PA.7. VIII.2.1 (?) VIII.2.A (?) Pompeii. Pre-1796. Figures, masks and animals from a wall of a house in Pompeii, produced by Marcantonio Iacomino and Vincenzo Campana.

In Gli Ornati 1838 it is described as: 19. Parete di un’abitazione di Pompei con figure, maschere ed animali, incisa da Jacomino.

See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: part 1, 1796, p. 25,

See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: part 2, 1808.

See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1838, no.19.

We would like to think that this engraving was of the wall described by Breton, c.1855, see below, possibly room D of VIII.2.A, or perhaps from Room 36 (J) of VIII.2.1.

Unfortunately for our theory that this was a wall from VIII.2.1 or VIII.2.A, is the fact that this drawing first appeared in Gli Ornati, 1796 – as the house was not allegedly excavated until 1799, how could this be, unless the area of the room was already exposed to the light, and visible.

With the Bourbon spoil heaps piled at the back of this area, it was presumably quite easy to scramble up the slopes to examine the rooms at the rear. However, if the decoration on the south facing walls was exposed to the sunlight for at least 50 years, would it still be visible for Breton to see it all those years later. There were also walls with painted mask found in VIII.2.30 which is another possibility, although these do not fit the description as seen in the engraving above.

If anyone can add any information to this, we would be pleased to hear from you.

Breton wrote, pre-1855, regarding the House of Championnet –

“Continuing down the stairs, we are in the underground part of the house............. These rooms were not fully excavated until 1827, but it seems that their existence had been known for a long time and that they had served as a retreat for brigands, because there was a modern stylus found there.

Several small vaults also opened onto the crypto-portico, which probably also communicated with the summer apartment located under the terrace and under the oecus. Of the rooms that composed it, only one is visible; it was 8m. 80 x 4m. 90; its flooring was composed of charming designs in white and black mosaic; on the black panels of the wall were painted masks and fantastic animals and above reigned an elegant stucco cornice where a painted vault began, almost completely destroyed.

Found in this house were several skeletons of women, wearing rings, bracelets and gold necklaces which were sent to the Paris Museum.”

(Continuant a descendre l’escalier, on se trouve dans la partie souterraine de l’habitation…………. Ces salles ne furent entièrement déblayées qu’en 1827, mais il parait que leur existence était connue depuis longtemps et qu’elles avaient servi de retraite a des brigands, car on y trouva un stylet moderne.

Plusieurs petits caveaux ouvrent aussi sur le crypte-portique, qui sans doute communiqua également avec l'appartement d'été situé sous la terrasse et sous l'oecus. Des salles qui le composaient, une seule est visible ; elle a 8m 80 sur 4m 90 ; son pavé est composé de charmants dessins en mosaïque blanche et noire ; sur les panneaux noirs de la muraille étaient peints des masques et des animaux fantastiques et au-dessus régnait une élégante corniche de stuc où prenait naissance une voûte peinte, presque entièrement détruite.

On a trouvé dans cette habitation plusieurs squelettes de femmes portant des bagues, des bracelets et des colliers d’or qui furent envoyés a musée de Paris.)

See Breton, Ernest. 1855. Pompeia, decrite et dessine : Seconde édition. Paris, Baudry, p. 342.

See Breton, Ernest. 1855. Pompeia, decrite et dessine : Troisième édition. Paris, Guerin, p. 503.

According to PPM –

Room J (Zanella Room 36) was already visible in the last years of the 1930’s and therefore, had, unlike other rooms not yet excavated, an identification with a letter of the Latin alphabet.

It is a large triclinium placed under the terrace in a panoramic position, open towards the south and with the walls in opera incerta restored with inserts in opera laterizia, then painted in IV Style with a decorative scheme with paratactic partitions, not rebuildable for the incompleteness of the plaster: the white background was also taken up into the vault where some traces of the squares with large rectangles remain.

(Ambiente J: era già visibile negli scorsi anni ’30 e pertanto ebbe, diversamente dagli altri ambienti non ancora scavati, una identificazione con lettera dell’alfabeto latino. Si tratta di un grande triclinio posto sotto la terrazza in posizione panoramica, aperto verso S e con le pareti in opera incerta restaurate con inserti in opera laterizia, dipinto poi in IV Style con uno schema decorativo a partizioni paratattiche, non ricostruibile per la lacunosità dell’intonaco: il fondo bianco era ripreso anche nella volta dove rimane qualche traccia delle riquadrature a grandi rettangoli.)

See Carratelli, G. P., 1990-2003. Pompei: Pitture e Mosaici. Roma: Istituto della enciclopedia italiana, (p.55, no.53).

PA.7. VIII.2.A, on left of plan. Lower level 1, with rooms A to F on west side of room 36 (PPM: J) and cryptoporticus.
Plan courtesy of Sandra Zanella.

PA.7. VIII.2.A, on left of plan. Lower level 1, with rooms A to F on west side of room 36 (PPM: J) and cryptoporticus.

Plan courtesy of Sandra Zanella.

PA.9. Painting of two doves with flowers on a flattish platform. 1966. Photo by Stanley A. Jashemski.

From area Vesuviana. Where?

J66f0812

Now in Naples Archaeological Museum. Inventory number 8731.

PA.10. Fragment of a garden painting of a bird on a balustrade. "From Pompeii" the same wall as inventory number 9705. Where from?

1968. Photo by Stanley A. Jashemski.

J68f0785

Now in Naples Archaeological Museum. Inventory number 8762.

PA.11. Painting of Birds, in Naples Museum. 1968. Photo by Stanley A. Jashemski. Where from ?
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.
J68f1624

PA.11. Painting of Birds, in Naples Museum. 1968. Photo by Stanley A. Jashemski. Where from?

J68f1624

PA.12. Painting of Bird and Peacock in garden painting. 1978. Photo by Stanley A. Jashemski.

J78f0375

From Naples Museum, inventory number 9760, from unknown location.

PA.13A. Do the Roman Numerals refer to the Inventory number, in which case this is 1272.
May 2016. Photo courtesy of Buzz Ferebee. Where from originally?

Foodstuffs%20exhibit%20Ferebee%20May%202016%20DSCN8250

PA.13A. Do the Roman Numerals refer to the Inventory number, in which case this is 1272.

May 2016. Photo courtesy of Buzz Ferebee. Where from originally?

PA.13B. ?Inventory number 1272, detail of chicken, from above. May 2016. Photo courtesy of Buzz Ferebee.
Foodstuffs%20exhibit%20Ferebee%20May%202016%20DSCN8251

PA.13B. Inventory number 1272, detail of chicken, from above. May 2016. Photo courtesy of Buzz Ferebee.

PA.14. Inventory number 8743. May 2016. Photo courtesy of Buzz Ferebee. Where from originally?
Foodstuffs%20exhibit%20Ferebee%20May%202016%20DSCN8258

PA.14. Inventory number 8743. May 2016. Photo courtesy of Buzz Ferebee. Where from originally?

PA.15A. Painting photographed in May 2016. Photo courtesy of Buzz Ferebee. Where from originally?

PA.15B. Detail from above painting photographed in May 2016. Photo courtesy of Buzz Ferebee.
Foodstuffs%20exhibit%20Ferebee%20May%202016%20DSCN8293

PA.15B. Detail from above painting photographed in May 2016. Photo courtesy of Buzz Ferebee.

PA.16A. Painting photographed in May 2016. Photo courtesy of Buzz Ferebee. Where from originally ?
Foodstuffs%20exhibit%20Ferebee%20May%202016%20DSCN8296

PA.16A. Painting photographed in May 2016. Photo courtesy of Buzz Ferebee. DCCLXX. Where from originally?

See Antichità di Ercolano: Tomo Secondo: Le Pitture 2, 1760, vignette on p. 271.

PA.16B. Detail from painting DCCLXX photographed in May 2016. Photo courtesy of Buzz Ferebee.

PA.16C. Number DCCLXX or DCCLXXI, painting photographed in May 2016. Photo courtesy of Buzz Ferebee.

Foodstuffs%20exhibit%20Ferebee%20May%202016%20DSCN8300

PA.16C. Number DCCLXX, painting photographed in May 2016. Photo courtesy of Buzz Ferebee.

PA.16C. Number DCCLXX. 1760. Vignette of bread and wine bottle.
See Antichità di Ercolano: Tomo Secondo: Le Pitture 2, 1760, p. 271.

PA.16C. Number DCCLXX. 1760. Vignette of bread and wine bottle.

See Antichità di Ercolano: Tomo Secondo: Le Pitture 2, 1760, p. 271.

PA.16C. Number DCCLXX. "We see on a platform a loaf leaning on a glass jug which is more than half full with wine".
See Antichità di Ercolano: Tomo Secondo: Le Pitture 2, 1760, vignette on p. 271, note on p. 334.

PA.16C. Number DCCLXX. "We see on a platform a loaf leaning on a glass jug which is more than half full with wine".

See Antichità di Ercolano: Tomo Secondo: Le Pitture 2, 1760, vignette on p. 271, note on p. 334.

PA.16C. Number DCCLXX. "This was found in the excavations of Cività in the same place, from which the entire wall marked in the Catalogue with No. CMLII was removed".
See Antichità di Ercolano: Tomo Secondo: Le Pitture 2, 1760, vignette on p. 271, note 98 on p. 334.

PA.16C. Number DCCLXX.

"This was found in the excavations of Cività in the same place, from which the entire wall marked in the Catalogue with No. CMLII was removed".

See Antichità di Ercolano: Tomo Secondo: Le Pitture 2, 1760, vignette on p. 271, note 98 on p. 334.

PA.16C. Number DCCLXX. "We shall have occasion to speak of the figure of the loaves in the explanation of the aforementioned painting of no. CMLII where among many other things there is also a bread so formed, and similar to the one that is essentially preserved in the Royal Museum, the inscription of which will also be explained on this occasion".

See Antichità di Ercolano: Tomo Secondo: Le Pitture 2, 1760, vignette on p. 271, note 99 on p. 334.

PA.17. Painting. 1968. Photo by Stanley A. Jashemski. Where from ?
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.
J68f0786
Now in Naples Archaeological Museum. Inventory number 8642.

PA.17. Painting. 1968. Photo by Stanley A. Jashemski. Where from?

J68f0786

Now in Naples Archaeological Museum. Inventory number 8642.

PA.18. Remains of Garden Painting. 1957. Photo by Stanley A. Jashemski. Where from originally ?
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.
J57f0366

PA.18. Remains of Garden Painting. 1957. Photo by Stanley A. Jashemski. Where from originally?

J57f0366

PA.19. Remains of Garden Painting. Where from originally ?
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.
J84f0100

PA.19. Remains of Garden Painting. Where from originally?

J84f0100

PA.20. Painting. 1968. Photo by Stanley A. Jashemski. Where from ?
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.
J68f0796

PA.20. Painting. 1968. Photo by Stanley A. Jashemski. Where from?

J68f0796

PA.21. Wall painted by Duban between 1823 and 1828.

The central painting is only partially complete, and the location is simply stated as “A Pompeia”.

See Duban F. Album de dessins d'architecture effectués par Félix Duban pendant son pensionnat à la Villa Medicis, entre 1823 et 1828: Tome 2, Pompéi. (no.32)

INHA Identifiant numérique NUM PC 40425 (2)

https://bibliotheque-numerique.inha.fr/idurl/1/7157 « Licence Ouverte / Open Licence » Etalab

PA.21. Same wall painted by Raoul Rochette, pre 1828.

PA.21 Same wall painted by Per Axel Nyström (Sweden, 1793-1868) dated 1822.
This has the central painting shown complete.
Can you identify the location and the central painting?

PA.21 Same wall painted by Per Axel Nyström (Sweden, 1793-1868) dated 1822.

This has the central painting shown complete.

Can you identify the location and the central painting?

Miscellaneous mystery objects

Can you help us to identify where they were found?

M.1A. Pompeii. 1975. Photo by Stanley A. Jashemski. (Where from originally ? These are the same lamps as below).
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.
J75f0577

M.1A. Pompeii. 1975. Photo by Stanley A. Jashemski. (Where from originally? These are the same lamps as below).

J75f0577

M.1B. Pompeii. 1975. Photo by Stanley A. Jashemski. (Where from originally ?)
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.
J75f0578

M.1B. Pompeii. 1975. Photo by Stanley A. Jashemski. (Where from originally?)

J75f0578

M.2. Pompeii. 1975. Photo by Stanley A. Jashemski. (Where from originally?)

J75f0579

(The above 3 photos may have been taken on the same day, in the same place).

M.3. Pompeii, or Oplontis Villa of Poppea, 1977. 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.
J77f0204