VI.17.36 Pompeii. Casa di Giulio Polibio or House of Julius Polybius, also known as Casa di Diana II. Columned entrance and vestibule.

Linked to VI.17.32.

Sporadically excavated 1760, 1764, 1769, major excavation from 1807/8. 1983.

(Another house at VI.17.23-26 was also known as Casa di Polibio, see CTP pt II, p.268)

Part 1      Part 2

VI.17.36 Pompeii. 1824. Plan of house. VI.17.38 (on left lower), 37, 36, 35, 34, 33, 32, and VI.17.31 (on right lower).

The lower doorways correspond to entrances on Via Consolare. The peristyle would have been on the west side.

See Mazois, F., 1824. Les Ruines de Pompei : Second Partie. Paris : Firmin Didot. (Tav XIII).

According to Mazois (p.53)

“This house, known as House of Polybius, must have belonged to one of the richest inhabitants of the town.

It was remarkable because of its two main entrances in the same façade and its double vestibule; but we proceed to describe the plan.

Shops (1, 2, 3, 4, 5) occupy the façade; the shop (4) was linked to the interior of the house.

The two entrance doorways (6), have no entrance corridor.

Rooms (7) and (8) larger than ordinary rooms also served as the vestibule.

Around the edge of room (7) were various rooms.

By these two waiting rooms one entered a large Corinthian atrium, whose portico (11), formed by arches and pillars was decorated with engaged columns, surrounding a courtyard (12), decorated with a fountain (13).

These arches were closed with glass frames. (See Note 1 below).

Around the portico we have different rooms numbered (14), and here we find a small fountain (15).

The stairs (16) and (17) lead by one to the kitchen areas and to the underground part, the other to a few rooms on the upper floor, but perhaps neither one nor the other could be the main staircase.

Room (18) would have been used by the “manager” of the house.

This dwelling would certainly be one of the most interesting found in Pompeii, without the ruinous state in which it was found. 

It was built, as all the houses on the edge of the sea, on the demolished ancient walls of the city, with a magnificent view and refreshing and healthy breezes in the warm country.

The portico (11) and rooms (9), (18) and (14) were all paved with mosaics. This kind of flooring is almost general at Pompeii.

(Mazois - Note 1: It is demonstrated today that the ancient knew about the use of glass.

Conserved at the Musée des Studi at Naples are several beautiful samples of glass tiles found at Pompei, and I myself own some fragments which can be compared to the most beautiful modern glass, etc).

(See Plin., lib XXXVI, cap 22)

VI.17.36 Pompeii. 1819 drawing with title “Maison de Julius Polybius”.

VI.17.36 is on the left of centre of the drawing, with the step cut in the stone block in front of the kerb.

VI.17.32 is on the right, with the indentation in the kerb, and the steps up.

See Wilkins H, 1819. Suite de Vues Pittoresques des Ruines de Pompei, Rome, pl. XII.

According to Pagano –

VI.17.32 and 36. Casa di Giulio Polibio.

“Vi si ascende per due ingressi communicanti con due sale o vestibuli, che tengono le veci dell’atrio. Tutti e due i vestiboli mettono in un gran peristilio circondato da un portico d’ordine corinzio, e avente nel mezzo una fontana; sembra che le arcate del portico potessero chiudersi con trlai di vetro.”

(translation:

"Here, one ascends to two entrances communicating with two rooms or vestibules, which take the place of the atrium.

Both vestibules lead into a great peristyle surrounded by a Corinthian portico, and having a fountain in the middle; it seems that the arches of the portico could have been closed with glass frames."

See Pagano, N. (1868).Guida di Pompei. 2nd ed. (p.58-59).

VI.17.36-35 Pompeii. September 2021.

Looking west from Via Consolare towards entrance doorway with a brick half round column on each side. Photo courtesy of Klaus Heese.

VI.17.36 Pompeii. October 2023.

Looking west past step cut in kerb to entrance doorway with a brick half round column on each side. Photo courtesy of Klaus Heese.

VI.17.36 Pompeii. April 2019.

Looking west past step cut in kerb to entrance doorway with a brick half round column on each side. Photo courtesy of Rick Bauer.

According to Breton –

“This house was built on the ancient city ramparts and had many floors on terraces leading down to the sea, it appears to have been very large but despite the excavations made in 1808 and 1817, it had never been fully excavated. Of the remains, much of it was in a large state of degradation.

This house showed many remarkable peculiarities, having two doors onto the same street opening directly and without a prothyron onto two rooms bigger than an ordinary vestibule. The large Corinthian atrium did not have a width of less than 28.9m: its portico was formed of arches and columns.

The portico of the atrium, as well as several rooms, was paved with black and white mosaics.

A fountain that decorated this area was not placed in the axis of the atrium, but a little to the side, in order to face the door of main vestibule.

In one of the rooms that surrounded the atrium was another small fountain. Under this house was the most beautiful cellar yet found at Pompeii.

See Breton, Ernest. (1855). Pompeia, decrite et dessine : 2nd ed. Paris : Baudry, (p.219-220).

VI.17.36-35 Pompeii. May 2011. Looking west to entrance doorways on Via Consolare. Photo courtesy of Michael Binns.

VI.17.36 Pompeii. July 2010. Looking west to entrance doorway with a brick half round column on each side. Photo courtesy of Michael Binns.

According to Fiorelli –

“VI.17.32-38. L’ingresso principale del caseggiato anzidetto e dal no.36, essendo un adito minore quello che porta il no.32.

In entrambi sonovi scale per accedere ad un piano più elevato dal livello della strada, ove trovansi situati due atrii, ambo uscenti nel peristilio di uno spazioso giardino, circondata da più stanze. Vi stavano due gradinate, più cubicoli, un triclinio con apotheca a fianco, e nel mezzo del giardino una vasca con scalini per scendervi dentro.

Altre botteghe, ed una gradinata per cenacoli indipendenti, furono pure scoperte, che ora trovansi nuovamente sottera.”

See Fiorelli, G. (1875). Descrizione di Pompei, (p.434)

See Pappalardo, U., 2001. La Descrizione di Pompei per Giuseppe Fiorelli (1875). Napoli: Massa Editore. (p.159).

(translation -

“The main entrance to the aforesaid house was by entrance number 36, having a secondary doorway entrance that carried the number 32. In both of these doorways, there were stairs to access a higher level from the street, where two atriums were located, both opening into the peristyle of a spacious garden, surrounded by many rooms. There were two flights of steps, more cubicula, a triclinium with small room/apotheca alongside, and in the middle of the garden a basin/pool with steps to go down inside.”

(VI.17.37 and 28. “Other shops, and steps to an independent living area, were also discovered, which now again have been reburied under the earth.” (These have since been re-excavated).

VI.17.36/32 Pompeii. Sketches by Gell, between 1819 and 1832, described as from “House of Julius”.  

See Gell, W. Pompeii unpublished [Dessins de l'édition de 1832 donnant le résultat des fouilles post 1819 (?)] vol II, pl. 88.

Bibliothèque de l'Institut National d'Histoire de l'Art, collections Jacques Doucet, Identifiant numérique Num MS180 (2).

See book in INHA Use Etalab Licence Ouverte

VI.17.36 Pompeii. July 2010. Looking west to entrance doorways of VI.17.37, 36 and 35. Photo courtesy of Michael Binns.

VI.17.36 Pompeii. May 2005. Entrance doorway with two half round side columns, and with remains of steps to vestibule.

According to PAH, the external façade of this house was clad with white stucco, with squarings imitating large stones, and between them were seen distinct lines coloured blue.

Found painted in red in November 1807 on the left side of the doorway, was the electoral recommendation –

C(aium) Iulium Polybium II vir(um)

Vatia rog(at)    [CIL IV 132]

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p.97)  

PAH I, 2, 89.

VI.17.36 Pompeii, 21st November 1807. Red painted inscription from left side of entrance doorway.

Caium Iulium Polybium II virum

Vatia rogat    [CIL IV 132]

See Fiorelli G., 1860. Pompeianarum antiquitatum historia, Vol. 1: 1748 - 1818, Naples, 2, 89.

VI.17.36 Pompeii. December 2007. Entrance doorway with remains of steps, looking south-west at the different levels.

VI.17.36 Pompeii. September 2021.

Looking south-west from entrance doorway up steps to the atrium level, with doorways to rooms on south and west side.

On the right is a doorway in a lower level. Photo courtesy of Klaus Heese.

VI.17.36 Pompeii. December 2007. Lower and upper level, south side and doorway to underground room in west side.

VI.17.36 Pompeii. October 2023.

Looking west at the different floor levels. Photo courtesy of Klaus Heese.

VI.17.36 Pompeii. September 2021.

Looking west at the different levels. The atrium floor is no longer there but would have been above these lower rooms.

On its west side, the atrium would have had three doorways, one larger central and two side doorways leading to the peristyle area.

Photo courtesy of Klaus Heese.

VI.17.36 Pompeii. December 2007. Looking west at the different levels.

According to the plan by La Vega, excavations began on 23rd January 1764, beginning in rooms, presumably on one of the lower levels, and specifically near to the peristyle. In this sector, the statue of the boy with the goose was found. The atrium, which was found 20th March 1764, corresponded to room 28 of the Giornale, appeared to be without any plaster decoration, "much of this courtyard had been discovered. The floor was of black mosaic, scattered with white stones regularly placed, with white band around, the basin for the water in the middle had not been found, but only the area where this would have been located: and a band all around with interweaving in various colours."

VI.17.36 Pompeii ?  Pre-1796. (also entered at VI.17.00 and VI.17.25).

Fresco of a wall showing the central painting of Chiron playing his lyre to Achilles, the wall decorated with arabesques, figures and several animals.

See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1838, no. 48.

Also, in Gli Ornati, 1808, pt.2

Also, in Gli Ornati, 1796, pt.1

According to Tescione –

“In 1764, the first excavations in the House of Diana II were undertaken in the soil of the Masseria di Irace, as can be guessed from a series of structural elements recorded in the excavation reports: significant was the mention of a painting showing Diana giving a drink to a deer (NAP 9215) and of a fresco showing Achilles and Chiron (NR 1238)………

The operation to excavate in Insula Occidentalis, after a 20 year pause, started again on 31^st October 1807, in the House of Diana II, also known as House of Polybius………..”

See Tescione, T. 2020. Pompei Insula Occidentalis – Conoscenza Scavo Restauro e Valorizzazione. “L’ERMA” di BRETSCHNEIDER, Rome and Bristol, (p.589-91)

VI.17.25? Pompeii.

According to Pagano and Prisciandaro, this painting was found 15th September 1764, with 12 other paintings in “Podere di Irace”.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p.48), with reference to PAH, I, 1, 161-2.

According to PAH,

“un quadro che rappresenta un centauro in atto di suonare la lira, ed avanti a questo un fanciullo, il campo era d’aria. Si fatto dipinto era molto simile a quello pubblicato dagli Accademici Ercolanesi nel vol.1 delle pitture, rappresentante Chirone ed Achille, benché molto inferiore a quello nel merito, oltre all’essere molto patita: si riconobbe questa pittura essere stata trasportata da altro luogo, e posta sul muro dove era stata trovata, dall’unione che vi si osserva intorno.”

(Trans: "A painting representing a centaur in the act of playing the lyre, and in front of him a young person, the background was in the open air.  This painting was very similar to that published by the Herculaneum Academics in vol.1 of the paintings, representing Chiron and Achilles, although much inferior to that in merit, in addition to it having suffered: it was recognized that this painting had been transported from another place, and placed on the wall where it had been found, from the join that is observed around it."

See Fiorelli G., 1860. Pompeianarum antiquitatum historia, Vol. 1: 1748 - 1818, Naples, Pars Prima, p.161-2.

1843 drawing of a wall with a central painting of Chiron playing his lyre to Achilles.

See Raccolta de più interessante Dipinture e di più belle Musaici rinvenuti negli Scavi di Ercolano, di Pompei, e di Stabia. 1843. Napoli.

VI.17.36 or 25 Pompeii?  c.1824?  Painting by Raoul Rochette.

Another painting, very similar to the above, but might even be the one described as being found from the Temple of Isis, or a nearby room.

See Fiorelli G., 1860. Pompeianarum antiquitatum historia, Vol. 1: 1748 - 1818, Naples, Pars Prima, p. 190 dated 19th July 1766.

According to Pagano and Prisciandaro, this was found 19th July 1766 –

3.“L’intonaco più grande dell’altro stanzino era diviso egualmente da due compartimenti: nel mezzo dell’inferiore, attorniato da una leggiera architettura e da alcuni ramoscelli, vi era un quadro di circa 1 pal. e ½ con un Chirone, che insegna a suonare la lira ad Achille, il quale non differisce dal già pubblicato nel I volume delle Antichità di Ercolano.

4. Nel mezzo del compartimento superiore vi era un giovane, che credo un bacco, nudo dalla mezza vita in sopra, coronato di palme, che tiene con la sinistra un tirso, il destro braccio lo appoggia sopra la testa, e sta assiso in un nobile sedile o letto con spalliera. Questa figura viene compresa da un’architettura, sopra la di cui cornice vi era una maschera,

5. dai lati vi sono due donne alate, una che porta una canestra di fiore ed un festone, e l’altra, che porta una palma ed un festone

(NAP 9204, AdE VII, 17, 79); il restante del compartimento era tutto in campo bianco, viene coronato da architetture grottesche e da ramoscelli e festoni, e da alcuni piccioli riquadri con paesini, e vi sono sospesi de’ nastri, de’ corni, de’ cembali, a de’ canestri.

(trans:

3."The larger stucco of the other room was divided equally by two compartments: in the middle of the lower, surrounded by a light architecture and some leaves/twigs, there was a picture of about 1 pal. and 1/2 with Chiron teaching Achilles to play the lyre, which does not differ from that already published in the first volume of the Antiquities of Herculaneum.

4. In the middle of the upper compartment there was a young man, who I believe to be Bacchus, naked from the middle waist upwards, crowned with palms, holding a thyrsus with his left hand, his right arm resting on his head, and sitting in a noble seat or bed with a back. This figure is included in an architecture, above whose frame there was a mask,

5. at the sides there are two winged women, one carrying a basket of flowers and a garland, and the other, carrying a palm tree and a garland (NAP 9204, AdE VII, 17, 79); the rest of the compartment was all on a white background, crowned with grotesque architectures and leaves/twigs and garlands, and with some small panels of landscapes, and there are ribbons, horns, cymbals and baskets suspended.)

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p.57), with reference to PAH, I, 1, 190.

(Note: this may or may not be from this house, perhaps from VI.17.25?, perhaps from the area of the Temple of Isis or a nearby house. )

Although attributed by various sources to painting found in “Podere di Irace”, it should be pointed out that digging was taking place in various points in the city at the same time, so we have included them here and VI.17.25, and also in VI.17.00 under the Irace paintings, but with no specific provenance/location.)

VI.17.36 Pompeii. September 2021. Looking north-west across rooms on lower level. Photo courtesy of Klaus Heese.

VI.17.36 Pompeii. May 2011. Looking north-west. Photo courtesy of Michael Binns.

VI.17.36 Pompeii. December 2007. Looking west across the lower and upper level.

The upper level would have been the atrium and would have had a wide central doorway and two smaller side doorways.
These would have led into the peristyle on the west side of the atrium.

VI.17.36 Pompeii, May 2005. Looking west across lower rooms. Ahead would have been the wide doorway to the atrium, now blocked. 

VI.17.36 Pompeii. October 2023. Doorway on north side of atrium. Photo courtesy of Klaus Heese.

VI.17.36 Pompeii. May 2011. North side, with both upper and lower levels. Photo courtesy of Michael Binns.

Possibly the upper level on the right of this photo may have been the area as described in PAH, 1, 3, p.4 (below).

VI.17.36/32 or VI.17.25 Pompeii. Drawing by Franc. Morelli, of the short wall of a room. (1808).

Now in Naples Archaeological Museum. Inventory number ADS 1201.

Photo © ICCD. https://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)

According to Bragantini, the wall reproduced here cannot be accurately identified, but is probably the one containing “the figure of a seated man with cupid”.

(See Fiorelli G., 1860. Pompeianarum antiquitatum historia, Vol. 1: 1748 - 1818, Naples, 3, p.4 below).

The room was excavated 15th May 1808 in the presence of Giuseppe Bonaparte, and from 25th to the 30th November 1808, Morelli had applied himself to take the whole of the decoration.

See Bragantini, I. in Carratelli, G., 2003. Pompei: la documentazione nell’opera di disegnatori e pittori dei secoli XVIII e XIX. Roma: Treccani, (p.96-7)

VI.17.36/32 Pompeii.

Drawing of a short wall of a room belonging to a house on the right of the street near the Gate, no.55 in Gli Ornati index.

(55. Amore che attentamente si specchia in una conca di limpida acqua, ed un eroe assiso che l’osserva.

Parete di una stanza appartenente ad un’abitazione a destra della strada delle porte di Pompei. Incisione del Vocaturo.)

[55. Cupid carefully mirrored in a basin of clear water, and a seated hero observing it.

Wall of a room belonging to a dwelling to the right of the street of the gates of Pompeii. Engraving by Vocaturo.]

See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1838, tav. 55.

Also seen in –

Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1796, tav. 34.

VI.17.36/32 or VI.17.25, Pompeii. Painting of a sitting man with a small cherub, Narcissus.

Now in Naples Archaeological Museum. Inventory number 9382.

See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 1357.

PAH, I, 3, p.4,

1-18th May 1808

Il giorno 15 del corrente venne il Re a Pompei, ed in sua presenza si scavarono due stanze e due botteghe appartenenti alla Casa di Polibio.

In una di queste stanze la fabbrica era alquanto diroccata, ed il pavimente in musaico bianco e nero, con un quadro nel mezzo di musaico colorito rappresentante la figura di Atteone: detto quadro era di circa palmi due in quadro.

Nell’altre stanze le pareti sono tutte dipinti con varii arabeschi, e vi sono due quadri, uno con figura di uomo sedente con puttino, l’altro con due figure sedenti una di uomo el’altra di donna con puttino. In questa stanza e nelle due botteghe si era trovato quanto segue.... 

(translation – "1-18th May 1808 –

On the 15th day of the current month the King came to Pompeii and in his presence they dug two rooms and two shops belonging to the House of Polybius.

In one of these rooms the structure was somewhat dilapidated, and the floor in black and white mosaic, with a picture in the middle of colourful mosaic representing the figure of Actaeon; this picture was approximately 0.53m square).  In the other rooms the walls were all painted with various arabesques, and there were two paintings, one with a figure of a sitting man with a small cherub, (NAP inv. no: 9382, Helbig 1357), the other with two sitting figures, a man and a woman, with a small cherub. These paintings are approximately 0.46m square.

In this room and in the two shops, the following were found, (see list p.4-6) –”

“28 Maggio 1808 – Nella casa detta di Polibio a Pompei si sono terminate di ricercare, la stanza che resta alla destra dell’ingresso, e le due botteghe della stessa abitazions, che s’incominciarono a frugare il di 15 di questo mese………………...

Quello che si trovo……..., e quell’altro poco che in seguito si era rinvenuto, era il seguente – Argento……(p4-6 elenco).

(translation: “28th May 1808 –

In the house called of Polybius in Pompeii, they had finished searching, the room that is to the right of the entrance, and the two shops in the same dwelling, which they had begun to search on the 15th of this month……………….

The items found, ………… and those others found later, were as follows – Silver............ (p4-6 list)”

PAH, I, 3, p.11-12, 3rd December 1808

In the last week, we have worked to make a cut in the earth, in continuation of the columns indicated during the past week, without anything remarkable.
The painter sig. Morelli came to the Scavi on the 25th of the past month (November) and there he had remained until all of the 30th.

In such days he had applied himself to take at the same time of the room belonging to the house known as Polybius, which was begun to be discovered the 15th May of this year in the presence of King Giuseppe, and to make some other sketch in the portico of the courtyard of the same house.

PAH, I, 3, p.12, 10th December 1808

In the last week, we have worked to discover the peristyle already said in my last report, of which 4 columns have been discovered for now.

It seems that said Colonnade held on the upper part a dwelling, because of the great amount of rubble that they meet, and pieces of plasters, among which were found pieces with brushstrokes of gold, which are conserved with that excavation.

PAH, I, 3, p. 34, 3^rd March 1810 -

“…….. five good paintings were cut from the walls, that is two from the tablinum, two others in the left ala of the same house (VI.3.7), and another that was discovered on 15^th May 1808, in the house called Polybius.”

And PAH, I,3, p.235 (Addenda) -

3 Marzo – “Lo scarpellino sig. Raffaele Atticciati taglia cinque buone pitture istoriate, due del tablino, e due altre dell’ala sinistra della casa detta della Musica, ed un’altra della casa detta di Polibio.”

VI.17.36 Pompeii. December 2007. North side of atrium.

VI.17.36 or VI.17.25, Pompeii. c. 1800-1824. Painting of Actaeon Mosaic by F. Morelli.

According to Niccolini, this was one of the most beautiful mosaics found at Pompeii.

Rather than worked in mosaic, this floor would be said to be exquisitely painted, so great was the symmetry and equality of its details; and although it doesn't offer more than a geometric design, still it does not have the coldness, but has all the warmth of a composition.

In the square in the middle, we see Actaeon turned into a deer, being attacked by the dogs of Diana.

See Niccolini F, 1890. Le case ed i monumenti di Pompei: Volume Terzo. Napoli, L’Arte in Pompei, tav. XIII.

VI.17.36 or VI.17.25, Pompeii. July 1826. Sketch by P.A. Poirot of part of the Acteon mosaic

See Poirot, P. A., 1826. Carnets de dessins de Pierre-Achille Poirot. Tome 2 : Pompeia, pl. 77.

See Book on INHA  Document placé sous « Licence Ouverte / Open Licence » Etalab 

VI.17.36 or VI.17.25, Pompeii. Mosaic floor as drawn by Antoine-Marie Chenavard, c.1817.

See Chenavard, Antoine-Marie (1787-1883) et al. Voyage d'Italie, croquis Tome 3, pl. 102.

INHA Identifiant numérique : NUM MS 703 (3). See Book on INHA

Document placé sous « Licence Ouverte / Open Licence » Etalab   

VI.17.36 or VI.17.25, Pompeii. Painting by Francesco Morelli, 1810, showing the long wall of a room protruding onto a peristyle.

Now in Naples Archaeological Museum. Inventory number ADS 435.

Photo © ICCD. https://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)

According to Sampaolo, this painting is identified as being from Masseria Cuomo with the painting of Phrixus and Helle in the centre.

However, she wrote that in 1810 Morelli could not have reproduced the entire wall faithfully with all its paintings, as it had already been detached.

See Sampaolo, V. In Carratelli, G., 2003. Pompei: la documentazione nell’opera di disegnatori e pittori dei secoli XVIII e XIX.  (Roma: Treccani), (p.99).

VI.17.36 or VI.17.25, Pompeii. From an album by Roberto Rive, dated 1868.

Central part of the long wall of a room with central painting of Phrixus and Helle. Photo courtesy of Rick Bauer.

VI.17.36 or VI.17.25, Pompeii. Pre-September 1859.

Painting by Zahn of wall of house with central red panel with painting of Phrixus and Helle.

Sitting at the top of the same panel Minerva can be seen sitting on a throne.

The sides panels were yellow and the zoccolo was black.

See Zahn, W., 1852-59. Die schönsten Ornamente und merkwürdigsten Gemälde aus Pompeji, Herkulanum und Stabiae: III. Berlin: Reimer, taf. 96.

Someone has written in pencil in the lower right corner, Reg. VI.1.36? Casa di Modesto. 

VI.17.36, or VI.17.25, Pompeii.

Central part of the long wall of a room with central painting of Phrixus and Helle. Photo courtesy of Rick Bauer.

(Note: on this card the painting is attributed to wall at Pompei, Maison des Vestales, which is located at VI.1.7 on the other side of the road).

VI.17.36 Pompeii. Mosaic.

According to Roux, “these two mosaics that occupy the extremity of this page, come from the building called the House of Polybius.

They do not offer any colours other than black and white.

The pattern of the first is quite pleasant; and the Greek lozenge of the second seems to be the same as the Greek square, which would have been compressed by two of its opposing corners and elongated by the other two.”

See Roux, H., 1840. Herculanem et Pompei recueil général des Peintures, Bronzes, Mosaïques : Paris: Didot, Tome 5, 6th sériés - Mosaics. (p.18), pl.13 item 1.

See Mazois, F., 1824. Les Ruines de Pompei : Second Partie. Paris : Firmin Didot, p. 52, pl. XIV.

VI.17.36 Pompeii. Mosaic.

According to Roux, “these two mosaics that occupy the extremity of this page, come from the building called the House of Polybius.

They do not offer any colours other than black and white.

The pattern of the first is quite pleasant; and the Greek lozenge of the second seems to be the same as the Greek square, which would have been compressed by two of its opposing corners and elongated by the other two.”

See Roux, H., 1840. Herculanem et Pompei recueil général des Peintures, Bronzes, Mosaïques : Paris : Didot, Tome 5, 6th sériés - Mosaics. (p.18), pl.13 item 3.

See Mazois, F., 1824. Les Ruines de Pompei : Second Partie. Paris : Firmin Didot, p. 52, pl. XIV.

VI.17.36 Pompeii. Mosaic floor, sketched by Antoine-Marie Chenavard, c.1817.

See Chenavard, Antoine-Marie (1787-1883) et al. Voyage d'Italie, croquis Tome 3, pl. 105.

INHA Identifiant numérique : NUM MS 703 (3). See Book on INHA

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