Household
shrines in the areas around Pompeii.
These pages contain
all the references to Lararia, Aedicula, Niches, Sacrarium/Sacellum, Lararium
paintings, found inside properties.
For some of these
the actual purpose is unknown.
The individual locations
identified on each item may contain further photos and details, you can see
these by looking at the pages in question.
Back to household shrines list
Press one of these
links to go directly to the shrines for that area or scroll down the page to
see all areas.
Altars, shrines and
lararium paintings found in the street and temples are not included here as
they have separate categories on pompeiiinpictures.
They can be seen here: Altars Temples
Oplontis
Oplontis, Villa di Poppea (Villa A)
Sacrarium with aedicula, west wall in room (27)
Oplontis Villa of Poppea, January
2023. Room 27, looking towards west wall with lararium.
Photo courtesy of Miriam Colomer.
Oplontis Villa of Poppea, March 2019. Room 27, looking west towards the lararium.
Foto Annette Haug, ERC Grant 681269 DÉCOR.
See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari
in ambito domestico. Milano:
LED Edizioni, (p.225, no.10, but given as room 23).
Niche in west wall of Room 64.
Oplontis Villa of Poppea, September 2017.
Room 64, area with niche, on right, at rear of room 65.
Foto Annette Haug,
ERC Grant 681269 DÉCOR.
Oplontis Villa of Poppea, September 2017. Area 64, recess/niche built into west wall, at rear of room 65.
Foto Annette
Haug, ERC Grant 681269 DÉCOR.
Small square niche in south wall of Room 66.
Oplontis Villa of Poppea, October 2023.
Room 66, looking towards south wall with niche, and south-west corner.
On the right is corridor 77, and the
west wall. Photo courtesy of Giuseppe Ciaramella.
Two square recesses and arched niche in west wall of Area 73.
Oplontis Villa of Poppea, May 2011. Area 73 with niche/recess set into west wall, at rear of room 74.
Room 74, with window on south and north sides, into small courtyard gardens. Photo courtesy of Michael Binns.
Small square niche/window in north wall of Room 79, similar to one in Room 66.
Oplontis Villa of Poppea, October 2023.
Room 79,
looking east towards doorway to room 78, on left, and corridor to room 85,
centre right, taken from corridor 76.
Photo courtesy of Giuseppe Ciaramella.
Oplontis Villa
of Poppea, September 2015. Room 79, north wall.
Looking
towards niche or small window in north wall, looking through to rear of
niche/small window in south wall of Room 66.
Room 44, niche in east wall.
Oplontis Villa
of Poppea, September 2015. Room 44, amphorae and niche
in east wall.
Oplontis, Villa of Lucius Crassius Tertius
Painted rectangular Lararium niche.
Oplontis, Villa of Lucius Crassius Tertius. March 2005.
Rectangular lararium niche, with painting of two figures? Photo courtesy of Massimo Gravili.
Niche in room on north side.
Oplontis, Villa of Lucius Crassius Tertius. March 2005.
Room on north side with niche and what appears to be two
layers of painted decoration. Photo
courtesy of Massimo Gravili.
Castellammare di Stabia
Stabia, Villa San Marco
Large lararium niche in wall of atrium.
Villa San Marco, Stabiae, June 2019. Room 45, lararium in west wall of atrium. Photo courtesy of Buzz Ferebee.
According to
Giacobello, this large niche is on the south side of the atrium.
See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari
in ambito domestico. Milano: LED Edizioni, (p.224, no.7)
Villa San Marco, Stabiae, September 2021.
Room 45, detail of lararium. Photo courtesy of Klaus Heese.
Villa San Marco, Stabiae, June 2019. Room 45, looking towards south end of lararium. Photo courtesy of Buzz Ferebee
Lararium painting from south-east wall of kitchen (26).
Villa San Marco, Stabiae, September 2019.
Looking through doorway to room 26, the kitchen, in the south wall of corridor 32.
Photo courtesy of Klaus Heese.
Villa San Marco, Stabiae. Room 26, drawing of lararium painting originally on south-east wall of kitchen 26.
On 14th February 1752 the lararium painting was detached and taken away to the museum.
The two Lares are at the sides with an altar between them on which is an offering.
Coiled around the altar is a crested and bearded serpent in an aggressive attitude.
Now in Naples Archaeological Museum. Inventory number 733.
See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari in ambito domestico. Milano: LED Edizioni. (p. 223, no.6)
See Barbet, A, Miniero P, et al. (1999). La Villa San Marco a Stabia. L’Erma di Bretschneider, Rome. (Fig. 39).
Stabia, Villa Arianna
Possible arched niche in wall near hearth in kitchen.
Stabiae, Villa Arianna, December 2023. Room 4, looking towards large hearth in kitchen. Photo courtesy of Miriam Colomer.
Lararium with small podium/altar in ala in north-east corner of atrium.
Stabiae, Villa Arianna, September 2015. Room 24, lararium with small podium in ala in north-east corner of atrium
Stabiae, Villa Arianna, 1976. Room 24, north-east corner of atrium. 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.
J76f0525
Stabiae, Villa Arianna, September 2015. Room 24, podiums/altars in north-east corner of atrium.
Stucco and painted lararium, found in room 56, a room on lower floor.
Stabiae, Villa Arianna, room 56. Stuccoed and painted lararium with an aedicula and two small columns supporting a pediment with marble painting.
According to Sodo, in the foreground are eight fishermen drawing in their nets full of fish. Behind is a golden couch with two wading birds aside it.
To the left is a silver kantharos and to the right a tall candelabra with a golden lamp.
Room 56 is situated on a ramp. It is a large room opening on to the bay and has no decoration preserved.
It is one of six rooms on the fourth floor of the villa ground level, preceded by a corridor and most likely used as storerooms or dwellings.
Now in Stabia Antiquarium, inventory number 69167.
See Otium Ludens,
curated by Guzzo, P, Bonifacio, G, and Sodo, A.M. (2007). Castellammare di Stabia: Nicola Longobardi, p.
145.
Room 77, niche in south wall. (No Photo).
Stabiae, Villa Arianna, September 2021. Looking north towards rooms 77 and 79. Photo courtesy of Klaus Heese.
According to Giacobello –
“In a room probably intended for the non-free members of the familia, a niche was created with a cultural function in a recess in the south wall; this lararium niche interrupted the Fourth Style fresco that decorated the room, which is also present on the west wall. The other walls are devoid of decoration and simply plastered.”
See Giacobello, F.,
2008. Larari Pompeiani: Iconografia e culto dei Lari in ambito domestico.
Milano: LED Edizioni, (p.224, no.8).
Niche in laconicum, room 30.
Stabiae, Villa Arianna, May 2010. Room 30, niche in laconicum. Photo courtesy of Buzz Ferebee.
Stabiae, Villa Arianna, September 2021.
Room 30, detail of niche in laconicum. Photo courtesy of Klaus Heese.
Stabia, Villa Arianna, Secondo Complesso.
Aedicula niche in north-east corner of room behind room 13.
Stabiae, Secondo Complesso. Aedicula lararium niche in north-east corner of room at rear of room 13.
According to la Vega –
In
Stabia si è levato in frantumi il pavimento di musaico negri notato nel
rapporto de 26 agosto, per mandare dentro de’ sacchi le pietre di musaico a
Canart. Ho fatto mutare il lavoro di Stabia in altro sito, dove a Mastro
Antonio ha parso più proprio per fare de’ ritrovamenti da mandare al
Museo………………. Non molto lontano da questo fu trovata in tempi addietro una
stalla e le rote di un carro. Gli dissi nel passato rapporto che si lavorava
nel cortile della solita casa; in questo s’era scoperta una nicchia che
avendovi fatto per poco approfondare, vi si è trovato il piede d’una statua di
marmo; e pero ho stimato, prima di abbondonare questo luogo, di ordinare che vi
si faccia all’intorno qualche ricerca per ritrovare, se mai vi fosse, la
corrispondente statua; lo che credo sia di sua approvazione….. la Vega
(minuta).
Dal
18 di settembre al 31 di ottobre si scavò la sala o exedra notata col. No.19
nella Tav. V. – V. il Giornale di la Vega dal 1775 al 1778.
(Portici 23, September 1775.
In
Stabia, the black floor noted in the report of 26th August was lifted in
fragments, to send the mosaic stones in sacks to Canart. I have changed the
work at Stabia to another site, where it seemed to Mastro Antonio to make
precisely more finds to be sent to the Museum……………. Not far from this was found
in former times, a stable and the wheels of a wagon. I told him in the past
report, that we worked in the courtyard of the usual house; in this a niche had
been discovered, which having been made to deepen it for a little bit, a foot
of a marble statue was found, and therefore I have thought before abandoning
this place, to order that some search be made around it to find, if at all, the
corresponding statue; which I think will be to your approval…………… la Vega
(minuta).
From the 18th of
September to the 31st of October, the room or exedra noted as No.19 was
excavated, as in Tav. V. – See the Journal of la Vega from 1775 to 1778.)
See Ruggiero M., 1881. Degli scavi di Stabia
dal 1749 al 1782, Naples, (p.231).
Stabia, Gragnano. Villa Rustica,
Casa di Miri. Villa del Filosofo. (Villa 1).
Room 20, altar for divine rights.
Dalli 23 alli
25 Novembre [1778] si è scavato lungo il parapetto contrasegnato, e si è
scoperta una piccola ara di tufo, secondo si vede nella pianta. Il piano fra il
parapetto ed il portico n. 10 è di terra e si trova di poco sottoposto al
pavimento del nominato portico; il piano fuori del parapetto resta molto
sottoposto a quello dove resta l'ara.
From the 23rd to the 25th of November [1778], excavations were carried out along the parapet indicated and a small tufa altar was discovered, shown on the plan. The floor between the parapet and portico n. 10 is made of earth and is slightly below the floor of the aforementioned portico; the floor outside the parapet is much lower than the floor where the altar remains are.
Villa Rustica, Casa di Miri.
Villa del Filosofo. 1778 plan by La Vega.
Different from the others in Stabia the villa had a courtyard entirely open toward the street, which appeared perhaps paved at the no. 1.
In front stood the altar 20 for the divine rites.
On two sides of the courtyard was the portico, and on the third that looks south was the crypta.
In the left corner was possibly a rear door to the surrounding countryside. There was the rustic bath.
See Ruggiero M., 1881. Degli scavi di Stabia dal 1749 al 1782, Naples. p. xviii-xix, p. 265, Tav. IX.
Room 4, calidarium, stufa.
Nella nicchia
su campo turchino vi restano oltre alcuni ornati grotteschi due geni, uno che
regge un cratere ed altro in alto di versare dell'acqua da una idria; la volta
viene ornata da una conchiglia di stucco distinta da vari colori, e nella sua
sommità vi è una piccola Venere di stucco a bassissimo rilievo. Nel rincasso
contiguo all'ingresso vi è una bagnaruola, quale si conosce essere stata rivestita
di marmo; dell'intonaco ne restano piccoli pezzi, clalli quali può solo
intendersi che aveva il fondo turchino; il soffitto viene ornalo con stucchi di
varie cornicette ed altri ornati e di due Venerine, una delle quali è alquanto
patita. Dalla stanza n.3 gira un condotto attorno alla stufa e s'immetteva
nella stessa dal fondo della nicchia; tale condotto si è levato per la lunghezza
di palmi 25 al 1° ottobre. In margine è scritto di mano di la Vega. "In
dilucidazione di questa stufa si vedano i disegni posti in fine".
In the niche on a turquoise/blue background there remain, besides some grotesque ornaments, two genii, one holding a krater and the other above pouring water from a hydria; the vault is decorated with a stucco shell of various colours, and at its top there is a small stucco Venus in very low relief. In the recess next to the entrance there is a small bath, which is known to have been lined with marble; small pieces of the plaster remain, which can only be understood to have had a turquoise/blue background; the ceiling is adorned with stuccoes of various cornices and other ornaments and two Venuses, one of which is rather worn. From room no.3 a pipe runs around the stufa and enters into it from the bottom of the niche; this conduit was exposed to a length of 25 palms on 1st October. In the margin is written in the hand of la Vega. "In explanation of this stufa, see the drawings at the end".
Villa Rustica, Casa di Miri.
Villa
del Filosofo. Genii or cupids removed from the walls of the stufa 4.
Now in Naples Archaeological Museum. Inventory number 9209.
See Cosenza G., 1907. Stabia: Studii archeologici topografici e storici. Trani: Vecchi e C., pag. 255.
Stabia, Belvedere. Villa in the podere di D. Gennaro Papa. (Villa 9).
Green coloured niche in room 1.
No. 1. Dalli
16 alli 21 Agosto 1781 si è scavato il sito determinato, quale ha dovuto essere
una stufa con pavimento di lastrico formato da mattoni pesti e con intonaco
colorito rosso, fuori di quello della nicchia che è colorito verde.
No. 1. From the 16th to the 21st of August 1781 the determined site was excavated, which had to be a stove with a pavement of paving stones made of crushed bricks and with red coloured plaster, apart from that of the niche which is green coloured.
Vedi/See Ruggiero M.,
1881. Degli scavi di Stabia dal 1749 al 1782, Naples, p. 349-350.
Castellamare di Stabia, Villa
del Pastore. Proprietà Rosa Fusco. (Villa 100).
Room
53. Shrine with a niche in the middle that looks like a sacellum
Stabiae, Villa del Pastore. 1775-8 plan of western part of the villa by Francesco La Vega.
See Ruggiero M.,
1881. Degli scavi di Stabia dal 1749 al 1782, Naples, Tav. VII.
Further up, next to the plaza there are three rooms, one larger in the middle with a marble floor (no. 50), which being one third longer than its width, is found precisely with the proportions of an ephebeum; and two smaller ones on the sides, one of which (no. 53) had the floor and walls encrusted with marble, which could be said to be corycaeum and conisterium. In the right corner of the one with n. 53 is a shrine facing the opposite side with a niche in the middle that looks like a sacellum. If it can be said that the large plaza is a palaestra, I would conclude that the five rooms described so far are its usual accessories.
See Ruggiero M., 1881. Degli
scavi di Stabia dal 1749 al 1782, Naples, TAVOLE III E VII, p. XII-XIV.
Sacrarium (28) at the head where there was a mosaic floor, the altar with a niche and the walls painted with bacchantes, cupids, goats and other figures.
In front of them is a courtyard and on the opposite side, first some rooms, then a taberna (no.20) with its masonry counter, then a sweating chamber (no.23) perhaps preceded by the apodyterium and the tepidarium (nos.22 and 22), similar to those of Casa di Diomede in Pompeii and with the low wall to sit in the tepidarium; then a large kitchen (n. 27) with the hypocausis for the adjoining stove and two cellarii on the right and left of the entrance. Further on, through a graceful half-circle vestibule with two columns in front, you pass into a tetrastyle courtyard (no. 31) next to the culina with a viridarium in the middle and a sacrarium (no. 28) at the head where there was a mosaic floor, the altar with a niche and the walls painted with bacchantes, cupids, goats and other figures. From the drawing there appears to be no triclinium or sella, nor does the courtyard have any other exit than the one leading to the plaza.
Room 52. Small semi-circular niche frescoed in blue.
Room 52 is an area in opus latericium (brickwork) with in its north wall a small semi-circular niche frescoed in blue. The floor was missing; the mosaic lining having been removed by the 18th century excavators.
Boscoreale
Villa Regina, Boscoreale.
Niche on west portico VII.
Villa Regina, Boscoreale. December 2023. Looking north along west portico VII. Photo courtesy of Miriam Colomer.
Villa Regina, Boscoreale. October 2021. Looking south along west portico VII. Photo courtesy of Johannes Eber.
Villa Regina, Boscoreale. October 2021.
Aedicula temple style niche L on west wall of portico VII. Photo courtesy of Johannes Eber.
Villa Regina, Boscoreale. December 2023.
Marble Dionysian bust found in niche L. Photo courtesy of Miriam Colomer.
Altar and painted decoration in room IX.
Villa Regina, Boscoreale. October 2021.
Looking north-west across room IX towards altar and painted decoration.
Photo courtesy of Johannes Eber.
Boscoreale, contrada Giuliana, Villa del fondo Ippolito Zurlo. (Villa 14). (Now Pompeii).
Painting and niche, east portico of peristyle
In the wall of the east portico was embedded, at the height of a man’s chest, a semi-circular niche, plastered internally. It is this niche, discovered in 1895 together with its lararium painting, now destroyed, that gave the opportunity for this present excavation. In 1895 Sig. Ippolito Zurlo had brought to light a lararium, similar to all those seen in the house kitchens in Pompeii.
It was the usual niche of the Penates with its usual lararium representation, in which pictures of the Lares, of the Genius Familiaris sacrificing on the altar, and some tibicen, with everyone in the usual costume and attitude, were painted.
Found in the niche was a bronze lamp and a fragmented marble slab (0.40m high, 0.38m wide) found being used as construction material, with an epigraph.
Villa rustica del fondo Ippolito Zurlo, Pompeii. 1895. Niche in wall of east portico.
Found in the niche was a fragmented marble slab (0.40m high, 0.38m wide), being used as construction material.
It had the following epigraph, which falls within the range of the inscriptiones ministrorum Mercurii, Maiae, postea Augusti of Pompeii:
Niger Sitti [P.
ser.]
Salvius Arri Q.
ser.
P. Sittius P. L
Suneros
Albanus Numisi L.
ser.
Merc. Maiae sacr.
ex D. D., iussu
M. Lucci
Libella[e llvir i. d.]
[re]ceptum .
According to Sogliano, it refers to the year 26 A.D. (see CIL X, p. 92 and no. 896).
It is notable for the word (re)ceptum, which has not yet appeared in other similar inscriptions, was associated with novatum of the epigraph CIL X, no.884 and 898.
See Notizie
degli Scavi di Antichità, 1895, pp. 214-215.
Found under the same east portico on 3rd March 1897, was a marble fragment with the letters SER, which was evidently connected to the same slab and epigraph.
See Notizie
degli Scavi di Antichità, 1897, p. 396-7.
A note in the
Bolletino d’Arte, Anno IV, Marzo 1910, p. 124, says.
L'avv.
Ippolito Zurlo ha donato al museo Pompeiano un frammento epigrafico rinvenuto
nel 1895 a Pompei in un suo fondo in contrada Giuliana. Tale frammento viene ad
arricchire la serie dei Ministri Mercurii Maiae postea Augusti.
[The advocate Ippolito Zurlo gave the Pompei museum an epigraphic fragment recovered in 1895 in Pompeii in one of his fondo in the district Giuliana. This fragment will enrich the series of the Ministri Mercurii Maiae postea Augusti.]
See Notizie in
Bollettino D'Arte, Marzo 1910, at beniculturali.it
According to Boyce:
In the E. wall of the peristyle-court, beneath the portico, is a semi-circular niche, its walls coated with stucco; and on the wall beside it was the lararium painting with the figures of the two Lares, the Genius sacrificing at an altar and the tibicen, all in the familiar costumes and attitudes. Within the niche was found a bronze lamp.
Not. Scavi, 1895, p. 214; 1897, p. 396.
See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14, n. 487 p. 98.
Nicchia
semicircolare decorata con stucchi: sul muro, sotto la nicchia, erano dipinti
il Genio del paterfamilias intento a sacrificare presso un altare e, accanto a
lui, un tibicine; ai lati i Lari. All'interno della nicchia si rinvenne
una lucerna in bronzo.
Semicircular niche decorated with stucco: on the wall, under the niche, there were paintings of the Genius of the paterfamilias intent on sacrificing near an altar and, next to him, the tibicen; on the sides the Lares. A bronze lamp was found inside the niche.
See Giacobello, F., 2008. Larari
Pompeiani: Iconografia e culto dei Lari in ambito domestico. Milano: LED Edizioni, (p.226, no.11)
Niche in the E. wall of Sacrarium A which opens only on the portico D.
This was entered solely from the portico "D", going up one step of lava, approximately 10 cm higher than the floor level of the room, which was at a lower level to that of room "B". To the right of the entrance doorway, embedded in the wall was a niche, 0.45m high, 0.50m wide and 0.25m deep, faced with crushed brick plaster (mattone pesto) and below it, there was a projection which was formed by the use of a roofing tile.
This eastern wall, was divided into three zones, one at the height of a man’s chest, the upper zone, and the lower zone or zoccolo. The area at the height of the man’s chest and the zoccolo were coated with brick plaster, the upper zone was of white-washed plaster. In the central zone and zoccolo, were three panels separated by reddish-brown bands: the vertical bands of the middle zone finished at the top in a small capital without shading. In the central panel of the middle zone was a gold candelabra, surmounted by a ball, illuminated with white; in the right side panel was the above mentioned niche, framed with band also of reddish-brown, and in the left side panel could be seen a flying swan, in green and deep red. In the zoccolo, the main compartment was empty; the sides were decorated with plants. In the centre of the upper area was a slit window, 0.77m high, 0.29m wide, surrounded by a reddish-brown frame, whose left side fell sheer by the pillar or vertical band of the lower panel: to the left were garlands of flowers, to the right, similar garlands in a panel the same as to the lower panel, but with a yellow dividing pillar.
The west wall was equally decorated, except for the representation of a swan on each side of the central zone and the presence of a second yellow column in the upper part, whose middle compartment had, high up, a trophy (a shield, two spears and a red mantle); at the bottom was a small zoccolo, a landscape with villa, vanished. Against this wall was a shallow structure, "e", 0.40m high, 0.39m long, and 0.36m wide, coated with brick plaster (mattone pesto).
In the northern wall, diagonally opposite the entrance doorway was a high platform "c", plastered in red. The wall was decorated at the top with ashlars made from red fillets; and, below it was divided into three panels by the usual brown bands. In front of the platform, was the circular masonry altar “d”, faced with brick-plaster and decorated with garlands, on which was embedded a large clay basin (diam. 0.52m.), containing ash. On the left of the wall, near the platform “c”, traces of an imprint of wood were seen.
The decoration of the south or entrance door wall was similar to that of the east and west walls.
It was not easy to determine the use of the described room; but how it was arranged and mainly by the presence of the altar located in front of the bench, Sogliano was inclined to recognise a domestic shrine. And although true that it lacked any trace of a sacred painting; on the other hand, one could assume that the statues of the household gods and Lares, exposed on the bench for the worship of the inhabitants, would have been taken away at the moment of the catastrophe.
Found on the 18th of March were:
Bronze: a lock.
Glass: Five perfume bottles.
Terracotta: Five small plates, a small lid and two lamps, one of which had a Cupid in relief on the disc.
See Notizie
degli Scavi di Antichità, 1897, p. 393-4.
In a square room which does not communicate with the inner part of the villa but opens only on the portico which precedes the main entrance to the villa, in the E. wall is a niche (h. 0,45, w. 0.50, d. 0.25), its inside walls coated with a rough plaster of pounded sherds, its floor a tile which projects from the surface of the wall. Along the N. wall a high masonry podium extends from the N. W. corner for half the length of the room; it is covered with red stucco and before its northern extremity stands a cylindrical masonry altar, coated with plaster like that of the walls of the niche and decorated with painted festoons. Against the W. wall stands a masonry block, likewise coated with plaster of pounded sherds. Sogliano suggests that this room was a domestic sacellum, in view of its isolation and its equipment with niche and altar.
Figures of the gods may have stood upon the masonry block against the W. wall as in the case of another villa (see below No. 5-00).
See Boyce G. K., 1937. Corpus of
the Lararia of Pompeii. Rome: MAAR 14, n. 488 p. 98.
Torcularium H - Painting of Bacchus and Silenus on the pillar to the right of the small entrance doorway.
Villa rustica del fondo Ippolito Zurlo, Pompeii. 1897, Torcularium H.
Painting of Bacchus and Silenus on the pillar to the right of the small entrance doorway.
According to Sogliano, the torcularium was used for the grapes, as demonstrated by a painting of Bacchus and Silenus.
In front of the painting was a square masonry altar covered with plaster which leaned against the same pillar.
The altar measured 0.39m high, 0.32m wide, and 0.30m deep.
The painting, which was cut out by De Prisco, is reproduced here.
See Notizie degli Scavi di Antichità, 1897,
p. 399-400, fig. 10.
Villa rustica del fondo Ippolito Zurlo, Pompeii. Torcularium H.
Painting of Bacchus and Silenus from the pillar to the right of the small entrance doorway.
Bacchus, 0.76m high, crowned with vine-leaves and naked except for a purple cloak, leans limply with left elbow on the right shoulder of Silenus, nearby.
The purple cloak, turned around the left elbow, fell down the left side and fell over the knee.
He holds the long thyrsus with the left hand, and his right hand is outstretched, pouring the wine into the mouth of the panther, who was squatting at his feet.
The god is looking upwards.
Silenus, 0.62m high crowned with a grapevine and also naked on his top, had his loins wrapped in a purple cloak which was knotted at his belly.
He was in the act of touching the lyre, which he held leaning on his left arm, and with his gaze turned to the god.
The background was white, and from the top hung a garland of vine-leaves and grapes.
Photo © Trustees of the British Museum. Inventory number 1899.215.1.
Bacchus, Silenus and panther at britishmuseum.org
According to Fröhlich:
This was found on the western entrance pillar of the torcularium H.
Dimensions: Bacchus: H 0.76 m. Silenus: H 0.62 m (after Sogliano).
The upper and side edges are missing, otherwise good.
Lit: A. Sogliano, NSc 1897, 400f. Fig. 10; Reinach, RP 108.7; R. P. Hinks,
Catalogue of the Greek, Etruscan and Roman paintings and mosaics in the British
Museum (1933) 14 No. 23 Pl. 7.
White-ground image.
Bacchus, crowned, naked except for a violet cloak that is wrapped around
his left upper arm and falls down onto his left thigh, puts weight on his right
leg and supports himself with his left elbow on a crowned Silenus playing the
lyre.
Bacchus holds the thyrsus in his left hand and a kantharos in his lowered
right hand, from which he is pouring wine to a small panther.
Grapes and vine leaves can be seen at the top of the picture.
In front of the picture was a brick plastered altar (H: 0.39 m. W: 0.32 m.
D: 0.30 m), which attests to the sacred significance of the picture.
Dating: Fourth style.
See Fröhlich, T., 1991. Lararien
und Fassadenbilder in den Vesuvstädten. Mainz: von Zabern, L127,
p. 305, Taf. 51,3.
Boscoreale, contrada Pisanella, Villa
della Pisanella, Villa rustica di Lucio Cecilio Giocondo alla Pisanella (Villa
13).
Vaulted niche with a stucco aedicula façade in kitchen.
Villa della
Pisanella, Boscoreale. 1897. Cross section of kitchen and praefurnium area
showing positions of large tank and boiler.
The praefurnium is
much smaller and the floor is much lower than the kitchen floor, from which
three steps lead down.
On the kitchen wall
is the lararium and there is an arched doorway leading in to the baths rooms.
See Pasqui A., La Villa Pompeiana
della Pisanella presso Boscoreale, in Monumenti Antichi VII 1897, Fig.43.
The kitchen consisted of two large rooms, divided between them by a low wall Q with a wooden partition. The first, with an almost square plan, had rough walls and was the actual kitchen due to the hearth which was on the ground, almost in the middle, enclosed by large basalt thresholds. The front wall had a lararium in the center, built with bricks with a protruding shelf on small blocks, with pillars and a barred arch, all covered in white stucco with no visible sign of decoration. In the surface of this lararium the holes could be seen, in which the pins of the statuettes were inserted.
See Pasqui A., La Villa Pompeiana
della Pisanella presso Boscoreale, in Monumenti Antichi VII 1897, p. 441.
In the culina, in the centre of the N. W. wall, is a vaulted niche (w. 0.55, h. somewhat less), adorned with a stucco aedicula facade; in the floor are marks indicating that a bronze statuette was affixed there.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome: MAAR 14, 491, p. 99.
In a Roman farmhouse the kitchen was the large, central room. Vitruvius recommends that it be placed on the warmest side of the court; and in our villa rustica it lies at the north corner (B) where, in winter, it would receive the full benefit of the sunshine. The hearth (1), on which remains of fire were found, stands in the middle of the room; in the wall at the rear is a niche, ornamented to resemble the façade of a diminutive temple, in which were placed the images of the household gods.
See Mau, A., 1907, translated by Kelsey F. W. Pompeii: Its Life and Art. New York: Macmillan. p. 361-6.
Arched niche in opera laterizia, west wall in kitchen (H)
Cucina (H) parete ovest.
Nicchia arcuata in opera laterizia.
See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari
in ambito domestico. Milano:
LED Edizioni, (p.227, no.12).
In the west wall of the
culina (kitchen) was found la consueta
nicchietta, ad arco e di opera laterizia (the usual niche, arched and made
of brick work) – apparently the lararium.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome: MAAR 14, (p.98, no.486).
In the west wall was the usual niche “b”, arched and made of opus laterizia.
See Pasqui A., La Villa Pompeiana della Pisanella presso
Boscoreale, in Monumenti Antichi VII 1897, page 209-210.
Large niche with aedicula façade. N. E. wall of the peristyle-court.
Villa della Pisanella.
Large niche with aedicula façade. N. E. wall of the
peristyle-court.
Looking north across Area A, the courtyard/peristyle
and cella vinaria (Q on right) during excavations, taken from near above
entrance.
See Elisabetta Cardone. Boscoreale: tesori archeologici e villa
della Pisanella. https://www.vesuviolive.it/
In the N. E. wall of the peristyle-court, above the door which leads into the cella vinaria, is a large niche with aedicula facade (h. 1.10, w. 0,63) consisting of two half-columns and a pediment supported upon a projecting shelf.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome:
MAAR 14, 492, p. 99.
See Pasqui A., in
La Villa Pompeiana della Pisanella presso
Boscoreale, in Monumenti Antichi VII 1897, p. 464 and fig. 51.
Niche in torcularium?
Boscoreale, Villa della Pisanella. Torcularium P. Early 19th Century view of the premixing basin and the mouth of the cistern.
There appears to be a niche in the wall above the cistern.
The treasure was hidden in the cistern intended for the collection of the must during the pressing.
See Guzzo, P. (A
cura di), 2006. Argenti a Pompei.
Milano, Electa, p. 183.
Boscoreale, contrada Pisanella Villa rustica
detta di Asellius or Villa rustica
Aselli (Villa 27).
Niche, north wall in atrium (B) (No photo).
In the rustic servile
atrium, B, in addition to cellae 1-3 and the latrine, 4, on the right, between
the outer east wall of the latrine and the basin was a poorly plastered
semicircular niche, carved from the wall at 1.30m from the ground.
See Notizie degli Scavi di
Antichità, 1921, p. 428.
Exedra 8 on N. portico, on the back (N) wall of which is the painted figure of Venus Pompeiana.
Opening on the N. portico of the large peristyle-court is an open exedra, on the back (N) wall of which is a panel (h. 0.68, w. 0.65) bordered by festoons of flowers and containing the painted figure of Venus Pompeiana. The goddess is represented standing, clad in tunic and mantle of dark red, and adorned with a jewelled diadem, necklace, pearl earrings and, on her right hand, a large finger ring set with precious stones. She rests her left arm upon an inverted rudder and in the same hand holds a long golden sceptre; her r. she bolds across her breast. To the right of the goddess stands Amor, holding a mirror, and farther on is another figure which cannot be identified because of poor preservation. To the l. of the goddess is a bird with two cherries in its beak.
See Notizie degli Scavi di
Antichità, 1921, p. 429.
See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14, 496, p. 99.
Exedra 24 on E. portico, on the S wall of which is a sacred lararium painting of the serpents.
Opening on the E. portico of the peristyle-court is another exedra, and upon the S. wall of it, above a dado painted in imitation of dark-green marble to the height of 1.20, is a sacred painting of the serpents. The panel (h. 1.10) is bordered at the sides by two green trees and above by a garland of leaves, flowers and fruit suspended from three painted nails. The serpents are confronted, one on each side of a cylindrical altar, upon the top of which is a round basket of offerings - among them are two plums, a fig and a pine cone - and in the background are plants.
See Notizie degli Scavi di
Antichità, 1921, p. 435.
See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14, 497, p. 99.
Room 22 on eastern side, rectangular niche with a sacred painting of Bacchus on the back wall.
Boscoreale,
contrada Pisanella Villa rustica detta di Asellius.
Stolen fresco
recovered in 2009. Room 22 on eastern side, rectangular niche with a sacred
painting of Bacchus on the back wall.
In the second room north of that described in "B", in the S. wall is a rectangular niche at the height of about 2.0 from the floor, and upon the white ground of the back wall is a sacred painting of Bacchus. The god is standing, wearing a chlamys and high boots, and upon his head he has a wreath of vine leaves; in the l. he holds a thyrsus and with the r. pours a libation from a patera upon a square altar adorned with garlands; beside the altar stand two rams, their heads turned to the god. On the ground, to the r. of Bacchus, is a large basket of grapes. Across the top of the painting is a fruit garland suspended from painted nails. A strip of white stucco (w. 0.28) surrounds the niche on all sides and upon it, above and at the sides of the niche is painted a festoon of coloured flowers; below the niche a single crested serpent advances to the l. towards a yellow cylindrical altar furnished with offerings.
Not. Scavi, 1921, 434.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome:
MAAR 14, 498, p. 99f.
Matteo Della Corte descrive una nicchia arcuata,
’poveramente’ intonacata (h. dal suolo 130), collocata accanto al bancone della
cucina; al momento del ritrovamento il piasno del bancone era cosparso di
cenere e carboni.
Matteo Della Corte describes an arched niche, 'poorly' plastered (h. from
the ground 130), located next to the kitchen counter; at the time of the
discovery the counter surface was covered in ash and charcoal.
See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari
in ambito domestico. Milano: LED Edizioni, (p.227, no.13)
Boscoreale, contrada Pisanella. Villa rustica of Numerius Popidius Florus. (Villa 29).
Niche in the east wall of the kitchen formerly triclinium 2.
Boscoreale. Villa of Numerius Popidius Florus. Plan of villa.
See Notizie
degli Scavi di Antichità, 1921, p.443, fig. 12.
See Casale A.,
Bianco A., Primo contributo alla topografia del suburbio pompeiano: Supplemento
al n. 15 di ANTIQUA ottobre-dicembre 1979, 2, p. 30, fig. 2.
The vast room "2", originally intended for use as a triclinium, as was shown by the wall paintings, was in 79 used as a kitchen and workroom of the villa.
The wall decorations, in a very poor state of preservation, were of the IV style, with very simple layout. The middle of the wall and frieze, with a red background, were separated by a simple white band and strips, which was above the black zoccolo: using white vertical strips, the middle wall was divided into many rectangular panels, bearing in each of the centres, a little picture of 0.33m at its sides, edged with simple trim with the following surviving representations, which alternated: "a, b, c": groups of Silenic and satyr masks with the bacchic attributes; "d, e, f, g"; groups of wine amphorae and various vases, and trays filled with grapes and other fruits. On the wall to the right of the window, a wooden painting was embedded in the frescoed plaster (the clear imprint of the fibre was noted), and later the stucco was levelled to the rims, and a landscape was painted there, judging from surviving remains – the foliage of trees – which remained over the top edge of the perished panel. At 1.45 m from the floor, at the southern end of the eastern wall, a semi-circular niche, 0.52 m high, was hollowed out in the masonry, this may have been the lararium.
According to Boyce:
The large room in the N. W. corner of the villa was originally a triclinium but had been converted into a kitchen and work-room before the catastrophe; in the S. end of the E. wall is a semi-circular niche (h. 0.52, h. above the floor 1.45) which may have been a lararium.
Not. Scavi, 1921, 448.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome: MAAR 14, 502, p. 100.
Niche with a yellow background, decorated with two very slender columns supporting a sharp pediment in Torcularium 17
In the south-east corner of the portico, at 17, was the torcularium, which was also found in a perfect state of preservation, with the floor and walls, up to 1.70 m high, covered with smooth cocciopesto plaster and with the sides raised on each side to facilitate the flow of must towards the northern side, which is therefore lowered.
On the wall above the purifying dolium, “s”, which was
decorated with white ashlars, obtained by the simple meeting of yellow and red strips,
framed externally in a deep red background measuring m. 1.06 X 0.59 m., a niche
with a yellow background, 0.25 m. wide and 0.40 m. high, was built into the
masonry, decorated with two very slender columns supporting a sharp pediment, both
in white stucco: below each column, barely visible, is a small patera.
No trace of the Penates worshipped in this lararium, not even the obvious representation of Bacchus on the wall: in front of the lararium were the three clay oil-lamps reproduced in Fig. 19: a large circular oil-lamp, 0.15 m. wide, with an ornate disc. 0.15 m. wide, with the disc decorated with circles and rays framed by a circle of impressed ovoli; a very large two flame oil-lamp covered with green vitreous varnish, 0.35 m. long, with a large vine leaf on the ring-shaped handle, two equine protomes near the rostrums, and a stamp in raised letters C. I. L.; another two flame oil-lamp with two opposite rostrums, 0.13 m. long, whose vertical, ring-shaped handle rises from the centre of the disc, adorned with a ring of impressed ovoli. In addition, an anepigraphic bowl, 0.45 m. wide, an angular terracotta gutter, 0.39 m. high, decorated with a lion protome, and a bronze cauldron, in the shape of a sphere, 0.31 m. wide, with the handles, with a tapered round body, ending in griffin heads, were found near the above-described lamps. A horse harness must also have been suspended from the wall here, the ornamental remains of which can be recognised in a series of small tubes, hoops, variously carved foils, and three half-moon bronze pendants, found here.
See Notizie
degli Scavi di Antichità, 1921, p. 458.
Boscoreale. Villa of Numerius Popidius Florus. Terracotta and marble finds.
From torcularium 17: Three clay oil-lamps found in front of the lararium.
From room 11: An alabaster tray and a marble monopodium with a bearded head.
See Notizie
degli Scavi di Antichità, 1921, p. 457 fig. 19.
See Garcia y Garcia L., 2017. Scavi Privati nel Territorio di Pompei. Roma: Arbor Sapientiae, p. 395, fig. 232.
According to Boyce:
In the W. wall of the portico which precedes the torcularium, above the dolium purificatorium, is a niche (h. 0.40, w. 0.25), its inside walls painted yellow; on the wall surrounding it is an aedicula facade, consisting of two slender columns supporting a pediment - all coated with white stucco. On the floor before the niche were found three lamps.
Not. Scavi, 1921, 458.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome:
MAAR 14, 501, p. 100.
Boscoreale, Villa rustica in
proprietà del Vito Antonio Cirillo near piazza Mercato (Villa 15).
Painting and niche, north portico of the courtyard of the peristyle, between the entrances into rooms C and D.
Boscoreale. Villa 15. Villa Rustica in proprietà Cirillo. Lararium with sacrificial scene and serpent, found in the north wing of Portico B.
Now in Field Museum Chicago, inventory number 24658.
Photograph John Weinstein © Field Museum of Natural History - CC BY-NC.
According to Cou –
“In the centre of the lararium painting is an altar of dark red marble, with a moulded base and wide cornice, on the upper surface a red fire burns with a whitish smoke.
Close to the altar on either side is a small green tree.
On the right of the altar is a tall figure clad in a toga, extending his right hand over the fire. On his short dark brown hair there are traces of a green wreath.
Next to him on the right is a boy, turned slightly to the left, wearing a whitish tunic extending as far as the knees.
In his left hand, but hardly visible due to repairs, he held a dark brown platter, on which is an unrecognisable substance.
He also had short dark brown hair, with traces of a green wreath.
On the extreme right there are slight remains of a larger figure, doubtless male, walking to left.
On the left of the altar stands a figure with wide hips and of stature somewhat inferior to that of the man opposite.
It is clad in a whitish upper garment and what seems to be a yellowish under-garment or tunic. The brown feet are turned to the right, and it cannot be seen if they are shod. The left hand is extended over the altar. The head, which is partly turned to the left, is crowned with rather plentiful dark brown hair. There are very faint traces of a green wreath. The face is considerably lighter coloured than that of the man. Wide brown lines are used to indicate contours as well as the folds of the upper garment. The figure doubtless represents a woman.
Close to her on the left is a boy wearing a tunic which reaches about to the knees. The legs below the garment are sketchily drawn and poorly preserved, and the feet are scarcely distinguishable. The left arm supports a large dark brown platter on which there are some objects of uncertain character, chiefly of brownish colour.
About the boy's dark brown hair there are traces of a green wreath. His face, which is almost in profile, is similar in colour to that of the woman. Eye, nose and mouth are still visible.
On the left of this figure there follows, after a certain interspace, a youth who is playing the double flutes.
He is clad in a single whitish garment which reaches from the neck to the ankle. The pipes on which he is playing are dark brown in colour.
The musician's rather long head is covered with scanty brown hair, about which there are traces of a wide green wreath.
He has a slanting forehead, thick lips and a retreating chin. Eye, nose and mouth are preserved.
The lower part of the painting shows a large crested serpent moving to the right.
His back is brownish-red. His underside is yellow with dark red stripes as far as the neck, which with the greater part of the head is brownish-red.
The crest, with the exception of two large white spots, is of a bright red colour.
From the mouth, which is slightly open, the bright red tongue darts obliquely downwards.
Above and below the serpent there are traces of a large green plant, in shape something like a fleur-de-lis.
Height, m. 0.65 (= 2 ft. 1.59 in.). Width, m. 1.118 (=3 ft. 8.01 in.).
Restoration of plaster in corners and on right side, especially between main scene and serpent.
There are cracks in every part, particularly around the edges.
The background is now mostly of a whitish colour, streaked and blotched in many places, especially in the upper part, to yellow and brown.
The garments are of substantially the same colour as the background but are distinguished from it by their outlines.
Nearly all the lower part and most of the right end after the camillus form a large corner of somewhat darker colour (except where restored), as though smoked.”
See Cou, H.F., 1912. Antiquities from Boscoreale in the
Field Museum of Natural History, Chicago. P. 171-3, Plate CXXIII.
According to Boyce:
On the N. side of the peristyle-court, in the pillar separating the entrances to two smaller rooms, is set a semi-circular niche and on the wall on each side of it is painted a Lar. These Lares are not dressed as usual, but wear green trousers which reach to the ankles, instead of having their legs bare, and have black shoes on their feet instead of the usual high boots. Below the niche is painted a sacrificial scene: A burning altar stands between two trees and upon it two figures pour libations: on the right the Genius, on the left a female figure, probably the Juno; both are dressed in white and have their heads covered. Behind the Genius stand a camillus with fillets in his right and a second figure damaged beyond identification; behind the Juno are a second camillus with fillets in his right and a shallow dish containing offerings in his left, and the tibicen. Below this scene is a single serpent.
See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14, p. 98, n. 489.
According to Fröhlich:
White-ground wall surface with arched
niche. Two Lars in long green trousers and black shoes flanked the niche. The painting stored in Chicago was under
the niche. The Laren did not make it to Chicago and were probably destroyed. The preserved scene has been restored in
places at the corners and between the upper and lower zones. Numerous missing parts, overall
moderately to heavily faded.
See Fröhlich, T., 1991. Lararien und Fassadenbilder in den Vesuvstädten. Mainz: von Zabern, p. 305, L128, Taf. 51.1.
According to Sogliano in NdS:
In the north wing of the portico "B", in the
dividing pilaster between the entrance doorways to the rooms "C" and
"D", and precisely at "a" [on the plan] we see the
painted lararium, which is not without importance. Unfortunately, the bad state
of preservation does not allow for a photographic reproduction. The two Lares
were seen on either side of a semicircular niche, they were greatly damaged
mainly in the upper part: one can only affirm that they were not in their usual
costume, inasmuch as, instead of bare legs, they had green breeches until the
instep of the foot, and, instead of the high boot, they had black shoes. Below
the niche, a flaming altar between two trees was pictured, on the altar were
drink offerings, the genius familiaris to the right, dressed in a white robe
and veiled head and to the left Juno (la iuno), also dressed in white and with a veiled head. Behind
the genius were a Camillus, partly damaged, with the ribbons in his right hand,
and another unrecognisable figure; and behind the Juno another Camillus with
ribbons in the right hand and a plate with offerings in his left hand, and the
tibicen in the act of playing the double flute.
Below was the serpent
agathodaemon.
See Notizie
degli Scavi di Antichità, 1898, p. 421.
See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari
in ambito domestico. Milano: LED Edizioni, (p.227, no.14)
Boscoreale, contrada Grotta
Franchini: Villa P. Fannius Synistor. (Villa 16).
Lararium in west wall of portico
B.
Boscoreale,
contrada Grotta Franchini: Villa P. Fanni Synistoris.
At the W. end of the portico which precedes the main entrance to the villa, stood un larario che si trovo spogliato - apparently a free-standing aedicula with a semi-circular niche.
BARNABEI, La
villa pompeiana di P. Fannio Sinistore, 14.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome: MAAR 14, 490, p. 99.
Villa of P. Fannius
Synistor at Boscoreale. The excavations during reburial in mid-September 1900.
Hallway or
vestibule B. Where the ladder is leaning is the west end.
The rear portico,
much wider and on a higher level than the other two, was reached by a flight of
five steps, from the peristyle courtyard A.
At the top of the 5
stairs was a row of four columns flanked by pilasters which formed a vestibule
(room B) which led to the more elegant quarters of the owner.
The four columns
and the pillar at each corner were taller than the other columns, covered with
white stucco, fluted above, and plain below.
The back of the
vestibule was painted to represent a peristyle colonnade, and between some of
the columns could be seen trees and birds in a painted garden.
The vestibule had a
white mosaic floor edged with a black band. Its walls were all painted with
architecture and landscapes.
The wall towards
the lararium (the west or left wall) had deteriorated. The lararium was found
stripped.
See Jashemski, W.
F., 1993. The Gardens of Pompeii, Volume
II: Appendices. New York: Caratzas, (p. 285-6).
Villa of P. Fannius Synistor at Boscoreale. The excavations during reburial in mid-September 1900.
Site of lararium remains in vestibule B. By the ladder are the remains of a lararium.
The west wall towards the lararium had deteriorated. The lararium was found stripped.
Boscoreale,
contrada Grotta Franchini: Villa P. Fanni Synistoris.
At the W. end of the portico which precedes the main entrance to the villa, stood un larario che si trovo spogliato - apparently a free-standing aedicula with a semi-circular niche.
BARNABEI, La
villa pompeiana di P. Fannio Sinistore, 14.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome: MAAR 14, 490, p. 99.
Lararium niche in south wall of room 7.
According to Giacobello on the south wall of room 7 was a lararium niche.
See Giacobello,
F., 2008. Larari Pompeiani: Iconografia e
culto dei Lari in ambito domestico. Milano:
LED Edizioni. p. 228.
Segnalata l’esistenza di un larario nel portico (B),
parete ovest, e di una nicchia di larario ricavata nella parete sud della stanza
(7).
The existence of a lararium in the portico (B), west wall, and of a
lararium niche created in the south wall of the room (7) is reported.
See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari
in ambito domestico. Milano: LED Edizioni, (p.228, no.15)
Boscoreale, fondo Marchese Imperiali, Villa in località Civita. (Villa 52).
Painting and pseudo-aedicula lararium, from south end of east wall of the rustic courtyard.
52. Boscoreale,
fondo Marchese Imperiali, Villa in località Civita.
Lar in red tunic and blue pallium, holding a horn and bucket, over which a garland hangs.
Now in the Minneapolis, Institute of Arts, Acc. No. 79.21.
https://collections.artsmia.org/art/2613
A. Ruesch had the fragment walled between 1910 and 1921 in a wall of
his Zurich villa. When the building was demolished in 1978, the fragment was
removed and donated to The lnstitute of Arts in Minneapolis.
As a photograph from 1906 in the Archivio fotografico della Soprintendenza
archeologica di Pompei testifies, the fragment was found in an unknown building
near Pompeii, just like the previous catalogue number. AFS C 165, our Taf. 49,
3. Anderson's supposition that it might be a question of the image of Boyce:
373 (VIII 7: 3) is refuted by the old photograph.
Condition: good.
Ref: M.W. Anderson, AJA 86, 1982, 252; V. Kockel, AA 1985, 510 note 108.
White-ground wall surface. Shown is a lar in red tunic and blue pallium, over
which a garland hangs. How the picture was fixed is unknown.
Dating: Fourth Style.
See Fröhlich, T., 1991. Lararien und Fassadenbilder in den Vesuvstädten. Mainz: von Zabern, (p.305, L126, pl. 49.3.)
See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari
in ambito domestico. Milano: LED Edizioni, (p.228, no.16)
See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14, p. 373.
52. Boscoreale,
fondo Marchese Imperiali, Villa in località Civita. Lararium painting.
According to Fröhlich –
A photograph of the present image, AFS B 3999, taken in 1905, is kept in
the Archivio fotografico della Soprintendenza archeologica di Pompei, which
bears the note "Pompei, Contrada Civita Giuliana". Our Tafel
53,2 uses this photograph. In the excavation reports on finds in the area
around Pompeii, and its neighbouring communities there is no information that
could be related to the picture.
Current state: Probably destroyed or
buried today, a well-preserved section of the picture can be seen in the
photograph from 1905.
White-ground wall surface in a
rectangular niche. A large
snake moves in many coils between individual oleander-like plants to the right
towards a round altar. Two
garlands are painted on the left at the top of the picture, with a third
hanging down between them. On
the right, the small niche extends into the upper edge. How the image continued to the right is
unknown. There is a
white-ground base with plants underneath the snake image.
Dating: Probably Third Style.
See Fröhlich, T., 1991. Lararien und Fassadenbilder in den Vesuvstädten. Mainz:
von Zabern, (p.305, L125, pl. 53.2.)
Regarding the productive sector. which was probably located on the north-eastern side of the building. We lack the information necessary to be able to locate it with certainty, but undoubtedly it consisted of a torcularium, a wine cellar and other rooms for storing foodstuffs produced in the agricultural land which surrounded the building; the position of a lararium in the south-eastern corner of the courtyard is also uncertain.
https://pompeiisites.org/en/press-kit-en/the-excavations-of-civita-giuliana/
Room “d”, the southern wall houses a quadrangular niche - a small lararium.
The southern wall houses a quadrangular niche - a small lararium, bordered by a plaster frame, within which a quadrangular marble base was discovered. Underneath was a censer cup, two pots and a lamp, resting on a wooden shelf of which it was possible to make a plaster cast.
Isiac lararium.
Silver plated
bronze panel, with embossed Isiac triad (1st century AD). (Laminetta con triade isiaca a rilievo, bronzo argentato, I sec. d.C)
On display in exhibition in Palaestra entitled –
“L’altra Pompei, vite comuni all’ombra del Vesuvio”.
2 bronze statuettes
of Isis/Fortuna, (1st century AD.) (2 statuette di
Iside/Fortuna, bronzo, (I sec. d.C).
Boscoreale. La villa del Fondo
Acunzo. Villa rustica in fondo D’Acunzo. "a
mezzogiorno del piazzale della stazione ferroviaria". (Villa 28).
Boscoreale, La villa del Fondo Acunzo. 1921 excavation plan.
Only partially
excavated, it was a small farm with refreshment place (caupona) for the sale of
wine produced.
See Notizie degli Scavi di
Antichità, 1921, p. 436, fig. 9.
Niche used as a lararium to
the left of the entrance to pressing
room 2.
In the small pressing room “2”, for the torcular or press, there was a window open towards the east in correspondence of the top of the press “L”, which was raised 0.60m above the floor level, and had its surface and the raised rim covered in polished plaster of cocciopesto:
At “m” was the usual opening in which was fixed the wooden column of the press:
At “n” to the left of the entrance was a niche used as a lararium, in which the shattered plaster statuette of an indeterminate deity was found.
According to Boyce, “in the east wall of the peristyle court, to the left of the entrance into the torcularium, is a niche which apparently served as shrine, for within were found fragments of a plaster statuette of some divinity.” (NdS 1921, p.437)
See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14. (499, p. 100).
Seven bronze statuettes found on Podium “y” in room 12.
The room “12” contained two structures, the one “y”, all in masonry, leaning against the east wall, the other “z”, in the south-west corner with its floor resting above small wooden joists.
Many finds were provenanced from here, bronze, silver coins, gold, a gemstone, ivory, porphyry, lead, iron, glass and terracotta.
See Notizie degli
Scavi di Antichità, 1921, p. 440.
But the find worthy of particular note was the group of seven bronze statuettes collected on the podium “y”.
Boscoreale, La villa del Fondo Acunzo. 1903. Room 12. Podium “y”.
Group of seven bronze statuettes found on podium built against the east wall of the room which opened off the kitchen 8:
Centre: Jupiter seated
To the left: Helios with radiant crown
Furthest left: Two figures of differing sizes representing Isis-Fortuna
To the right of Jupiter: Mercury or a young nude faun with pan pipes
Further right: Genius familiaris wearing a toga
Right hand end: Standing Jupiter or Neptune with arm raised
The central statue, (0.09 high including the square base) represented Jupiter bearded, nude except for the cloak over his left shoulder and around his legs, seated upon a throne; in his right, he held a patera, the left is raised as if resting upon a high sceptre, now missing.
The two statuettes on the extreme left, of differing sizes (0.12 and 0.09 high including the bases) represented Isis-Fortuna, fully clad and having a crescent moon and a disk surmounted by two plumes upon her forehead; in her right she held a rudder, in her left a cornucopia.
Of the two statuettes at the opposite end, the smallest represented a Genius familiaris, wearing the toga with a fold drawn up over his head (0.08 high), and holding a patera in his right, and an acerra (small box) with incense in his left. The largest depicted Neptune, bearded, nude except for a mantle over his left shoulder (0.10 high); in his right he held a dolphin (?), the left was raised like that of Jupiter, as if supported upon a sceptre or trident, now missing. Both attributes, perhaps, were made of wood.
Of the two statues flanking Jupiter, (0.13m and 0.12m high respectively), the one on the left portrayed nude, a beautiful smiling Helios, with a radiate crown upon his head; he wore a light veil falling from his shoulders and wrapping around his left forearm; of which the left hand was missing (with globe). A lorum (leather strap or thong) would have perhaps been the attribute carried downwards in the right hand. The other statuette seemed to represent a faun, (0.12 high) naked except for a goat skin between the left shoulder and corresponding elbow, and with syrinx or pan-pipes held lowered in his right hand. Upon his head were two projections on the sides of the forehead, apparently horns, but they were seriously damaged.
See Notizie degli Scavi di Antichità, 1921,
p. 440-1, fig.11.
According to Boyce:
Upon the top of a masonry base built against the E. wall of a room which opens off the kitchen, were found the following seven bronze statuettes:
1) Jupiter (h. including the square base 0.09), bearded, nude except for the robe over his l. shoulder and around his legs, seated upon a throne; in r. he holds a patera, the l. is raised as if resting upon a sceptre, now missing.
2-3) Two figures of different sizes (h. 0.12 and 0.09) represent Isis-Fortuna, fully clad and having upon her forehead a crescent moon and a disk surmounted by two plumes; in r. she holds a rudder, in l. a cornucopia.
4) Genius, wearing the toga with a fold drawn over his head (h. 0.08), and holding in r. a patera, in l. an acerra.
5) Neptune, bearded, nude except for a mantle over his l. shoulder (h. 0.10); in r. he holds a dolphin (?), the l. is raised like that of Jupiter, as if supported upon a sceptre or trident, now missing.
6) Helios (h. 0.13) with a radiate crown upon his head; he wears a mantle over l. shoulder and forearm; the attributes of both hands are missing.
7) A young faun (h. 0.12), nude except for a goat skin over his l. arm; upon his head are two projections - apparently horns; in r, he holds a syrinx(?).
Not. Scavi, 1921, 440 with a photograph of all the statuettes together, fig. 11.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome:
MAAR 14, 500, p. 100.
Boscoreale, contrada Civita-Giuliana. Villa rustica nel fondo di Raffaele Brancaccio. Now Pompeii. (Villa 26).
Lararium in the form of a semi-circular niche in courtyard B.
Boscoreale,
Villa rustica nel fondo di Raffaele Brancaccio. Plan.
See Casale A., Bianco A.,
Primo contributo alla topografia del suburbio pompeiano: Supplemento al n.
15 di ANTIQUA ottobre-dicembre 1979, 65 (Fig. 17) p. 41.
The courtyard,
"B" (in which were gathered fragments of many terra-cotta amphorae;
another dolium which was noted on the plan; an oil-jar 0.14 m high; a rustic
dish of 0.18 m in diam, and twenty-two hinges of bone) formed the entrance that
was common to all the surrounding rooms, and contained the following noteworthy
things:
in "b",
the lararium, consisting of a semicircular niche 0.53 m high, at the foot of
which were found the skeletons of two men and two dogs;
in "c", a
volcanic stone mill (mola manuaria), walled above a suitable parapet;
in "d",
just in front of the entrance, a latrine, where a third dog had taken refuge, as
per the skeleton found there.
See Notizie
degli Scavi di Antichità, 1921, p. 423.
In the narrow court reached directly from the main entrance to the villa, is the lararium in the form of a semi-circular niche (h. 0.53).
Not. Scavi, 1921, 423.
See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14, 495, p. 99.
Boscoreale. Villa in via Casone
Grotta, proprietà Luigi Risi Di Prisco.
Lararium with pediment supported by the half-pilasters in stucco and with pediment below, belong to a previous niche of more reduced dimensions.
Boscoreale, Villa
rustica in via Casone Grotta, proprietà Risi di Prisco, lararium information
card in Boscoreale Antiquarium.
Photo courtesy of Michael Binns.
Note: The photo of the "Veduta dello scavo" is reversed compared with that published in RsP II.
See Rivista di
Studi Pompeani II, 1988, fig.70, p. 216.
Boscoreale, Villa
rustica in via Casone Grotta, proprietà Risi di Prisco. 1987. Lararium.
Boscoreale, Villa rustica in via Casone Grotta, proprietà Risi di Prisco. September 2011.
Lararium as shown on lararium information card in Boscoreale Antiquarium.
Photo courtesy of Michael Binns.
La più recente
scoperta (1986) nel territorio di Boscoreale e costituta da una villa, di età
romana, rinvenimenti durante i lavori di sistemazione di un terreno per uso
agricolo. Alcune parziali campagne di scavo hanno consentito di mettere in luce
i muri perimetrali di un edificio di forma rettangolare, di limitata
estensione, del quale è stato possibile individuare l'ingresso, con piccolo
cortile scoperto. In un unico ambiente è stato effettuato uno scavo più
approfondito: si tratta di una stanza adibita a larario, posta immediatamente a
destra dell'ingresso, nella quale, in una nicchia con frontone a doppio
spiovente, fu rinvenuta una statuetta marmorea relativa ad una figura muliebre,
distesa su kline, vestita di chitone e mantello, un Genio femminile, accanto
alla quale erano alcuni monili in oro che la decoravano. Il rinvenimento di una
lamina argentea, con raffigurazione di un'altra figura femminile distesa,
nonché di un bacino in ceramica comune con tre figure femminili sdraiate,
accredita l'ipotesi che la stanza costituisse un luogo di culto privato,
destinato alle donne.
Il nucleo
principale della villa è databile ad età tardo repubblicana, dopo la metà del 1
sec. a.C.: a tale epoca risale infatti un pavimento in cocciopesto con file di
tessere bianche formanti quadrati, relativo al piano superiore. Il larario fu
invece aggiunto in una fase successiva, nel corso del 1 sec. d.C. Si presume
che anche questo insediamento avesse carattere produttivo, come tutte le ville
che occupavano in età romana l'entroterra nord pompeiano.
Il frontone
del larario e sorretto da semipilastri in stucco con capitelli a foglie con
cornice decorata a motivi vegetali. I due angoli di un altro frontone in stucco, visibili in
basso, appartengono ad una nicchia precedente, di dimensioni più ridotte.
The most recent discovery (1986) in the territory of Boscoreale is a Roman villa, found during work to refurbish a plot of land for agricultural use. Some partial excavations have revealed the perimeter walls of a building of rectangular form, of limited extent, of which it has been possible to identify the entrance with a small open courtyard. In one room a deeper excavation was made. It is a room used as a lararium, located immediately to the right of the entrance, in which, in a niche with pediment and double arch, was found a statuette of a marble figure of a woman, relaxing on a couch (kline), dressed in chiton and cloak, a female Genius, next to which were some gold jewellery that decorated it. The discovery of silver plaque, with depictions of another female figure relaxing, and a ceramic basin with three female figures lying, confirms the hypothesis that the room was a private place of worship for women.
The main nucleus of the villa can be dated to the late Republican age, after the middle of 1st century BC: at that time there was in fact a floor of cocciopesto with white tiles forming squares on the upper floor. The lararium was added at a later stage, during 1st century A.D. It is assumed that this settlement also had productive character, like all the villas occupied in Roman times in the hinterland north of Pompei.
The pediment of the lararium is supported by the half-pilasters in stucco with framed leaf capitals decorated with plant motifs. The two angles of another pediment in plaster, visible below, belong to a previous niche of more reduced dimensions.
Source: information card in Boscoreale Antiquarium.
Boscoreale, Villa rustica in via Casone Grotta, proprietà Risi di Prisco. Lararium. Restored silver plaque with relief of a female figure relaxing.
Now in Boscoreale Antiquarium. Photo courtesy of Michael Binns.
Boscoreale, December 2023. Villa rustica in via Casone Grotta, proprietà Risi di Prisco. Lararium.
Marble statuette of a female Genius, relaxing on a couch (kline), dressed in chiton and cloak.
The gold ring, necklace and diadem that decorate it were found beside it.
Now in Boscoreale Antiquarium. Photo courtesy of Miriam Colomer.
See Fergola, L., 1987. Comune di Boscoreale.
Via Casone Grotta, proprietà Risi Di Prisco, in Rivista di Studi Pompeiani,
I, p. 164.
Boscotrecase.
Boscotrecase, contrada Rota.
Villa Agrippa Postumus or Imperial Villa. (Villa 31).
Boscotrecase, Villa Agrippa Postumus. 1922 plan of the villa, showing the
area excavated.
See Notizie degli Scavi di Antichità, 1922, p 459 Fig. 1.
Niche with aedicula façade in vegetable garden “C”.
The vast rustic atrium, "A" was to the east of the owner’s quarters, “B” and entered through entrance "a".
Before passing through the doorway "a", the enclosure wall was noted to the left, discovered only for the length of 8m, the vegetable garden "C", accessible by the doorway “b"; on the left of this, then, a lararium was leaning against the wall, consisting of a niche 0.78m wide, being backed by two half columns of 0.20m diam., coated with simple white stucco like the niche.
See Notizie degli Scavi di Antichità, 1922, p. 460.
According to Boyce:
To the l. of the door which leads into the garden from the open area before the main entrance to the villa, a lararium stands against the wall; it consists of a broad niche (w. 0.78) framed by an aedicula facade with two half-columns supporting the pediment; the whole structure is uniformly coated with white stucco.
Not. Scavi, 1922, 460.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome:
MAAR 14, 503, p. 100.
Boscotrecase, Forno romano nella
proprietà del Sacerdote D. Ippolito Cirillo in contrada Carotenuto. (Villa 47).
Small semicircular niche next to
the oven.
Nota del Prof A. Sogliano.
Del forno
propriamente detto, che presenta lo stesso tipo dei forni pompeiani, avanza una
parte del suolo e della volta di mattoni; e il suo diametro interno poteva
misurare circa un metro. Della stanza che lo conteneva è rimasta in piedi la
parete settentrionale di opera incerta, alla quale era appunto addossato il
forno. Fatta di scoria e di piccole pietre di tufo con rivestimento di intonaco
rustico levigato, questa parete, all'altezza di m. 1,50 dal pavimento, ha una
feritoia del pari rivestita di intonaco. Al di sotto di questa è praticato un
incastro in senso orizzontale, lungo m. 1 ,45 e largo m. 1,15, che si estende
fin sotto ad una piccola nicchietta semicircolare, posta accanto al forno e
rivestita di rozzo intonaco. Mi si disse che in tale incastro erano murate
tegole sporgenti; e poichè a 40 cent. al di sotto, sono praticati in linea
parallela all'incastro, quattro fori poi per mutuli di sostegno a qualche
palchetto di legno; così è da credere, che anche le tegole sporgenti da
quell'incastro abbiano potuto servire di scansia. Il pavimento, del quale
rimane un avanzo, era di buon mattone pesto, e si estendeva sin sotto il suolo
del forno; al che se si aggiunge, che questo venne addossato alla parete già
rivestita di intonaco, si può conchiudere che solo in un tempo posteriore la
stanza sia stata destinata a contenere il forno. Della copertura di essa non si
ha alcuna traccia, essendo caduto il sommo della parete settentrionale, che
come si è detto, è l'unica rimasta in piedi. A sinistra, cioè ad occidente.
appare una piccolissima parte di un'altra località attigua, rivestita anche
d'intonaco, nel cui muro divisorio orientale, ora quasi tutto caduto, è
ricavato un basso muricciuolo, il quale piuttosto che un sostegno di legno,
credo sia uno dei poggiuoli che sorreggevano le tavole del panificium.
Nella nicchietta
accanto al forno si dicono rinvenuti dei frammenti di vasetti fittili e di
vetro. Certamente questo forno doveva far parte di una delle molte villae
rusticae disseminate sulle pendici del Vesuvio.
From the oven itself, which is of the same
type as the Pompeian ovens, part of the ground and the brick vault remain; and
its internal diameter could measure about a metre. Of the room that contained
it, the northern wall of opus incertum remains standing, against which the oven
was attached. Made of scoria and small tuff stones with a smooth rustic plaster
covering, this wall, at a height of m. 1.50 from the floor, has a slit also
covered in plaster. Below this there is a horizontal joint, m long. 1.45 m wide.
1.15, which extends under a small semicircular niche, located next to the oven
and covered in rough plaster. I was told that protruding tiles were walled into
this joint; and since at 40 cms. below, four holes are drilled in a line
parallel to the joint, in order to support some wooden shelves; so it is to be
believed that even the tiles protruding from that joint could have served as
shelves. The floor, of which a remnant remains, was made of good brick, and
extended right under the floor of the oven; to which, if we add that this was
placed against the wall already covered in plaster, we can conclude that only
at a later time was the room intended to contain the oven. There is no trace of
its covering, as the top of the northern wall has fallen, which, as mentioned,
is the only one left standing. To the left, that is, to the west. a very small
part of another adjacent location appears, also covered in plaster, in whose
eastern dividing wall, now almost entirely fallen, a low wall has been created,
which rather than being a wooden support, I believe is one of the balconies
that supported the tables of the bakery.
Fragments of clay and glass jars are said to
have been found in the small niche next to the oven. Certainly, this oven must
have been part of one of the many villae rusticae scattered on the slopes of
Vesuvius.
Vedi/See
Notizie degli Scavi di Antichità, 1886, pp. 131-132.
Gragnano
Gragnano, Sassole. (Villa 7).
Aedicula niche with two serpents painted on the wall (No photo).
Villa 7.
Gragnano, Sassole. The niche is in portico 8 at the letter N. La nicchia si
trova nel portico 8 alla lettera N.
Plan by Francesco La Vega showing 1762 and 1781 excavations.
Plan titled: Remains in the estate of the heirs of D. Onofrio di Fusco, territory of Gragnano, site called Sassole.
Pianta
intitolato: Restano questo nel podere degli eredi di D. Onofrio di Fusco,
territorio di Gragnano, sito detto Sassole.
See Ruggiero M., 1881. Degli scavi di Stabia dal 1749 al 1782, Naples, (p. 289, p. 343, Tav. 14).
According to Boyce:-
Beneath the portico
which runs along one long side of the large court, in the wall between the
doors to two rooms, is a niche with aedicula façade and two serpents painted on
the wall, one on each side.
Fiorelli, Villa Stabiane, 425.
See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14, (p.98, no.485).
According to Ruggiero: -
Pompei li 7 settembre 1780
... In Stabia mi dice M. Antonio che resta vacuando una
stanza alla quale comparisce una nicchia con due picciole colonnette di stucco
(V. Tav. XIV, let. N.); e sin ora non vi è altra novità ... Perez Conde.
See Ruggiero M., 1881. Degli scavi di Stabia dal 1749 al 1782,
Naples, p. 289 (Sep. 7, 1780), and Tav.14, p.343.
According to Cosenza: -
Sotto questo secondo peristilio si apriva l’ingresso
delle cellae, e nel sito indicato nella pianta, e stava un'edicola, cioè una
piccola nicchia con due colonne e frontone, ove era situato a tutela della casa
il domestico lare, laris familiaris. Tutto il muro
degl'ingressi era coperto di rozzo intonaco, se non che allato alla nicchia sta
vano dipinti due di quei grossi serpenti, custodi del luogo, uno da ciascun
lato.
See Cosenza G., 1890. Stabia memorie storiche ed archeologiche, Capo
VIII, Le Ville, p. 239.
Gragnano, Villa Rustica A,
località Carmiano, Castellammare di Stabia, proprietà de Luca (Villa 97).
Lararium in the eastern part of the portico.
The east side of the courtyard (6) was occupied by a lararium with Minerva seated on a throne, in the stretch of wall between the kitchen (4) and storeroom (2), as is common usage among other country houses around Vesuvius.
See Bonifacio G., 2004. In Stabiano: Exploring the Ancient Seaside Villas of the Roman Elite. Castellammare: Nicola Longobardi, p. 71.
The Lararium from the eastern part of the portico was transferred to the Stabia Antiquarium.
See Kockel V., 1985. Funde und Forschungen in den Vesuvstädten 1: Archäologischer Anzeiger, Heft 3. 1985, p. 536.
97. Gragnano, Villa rustica in Località Carmiano, Villa A. June 2017. Aedicula lararium.
From dividing pilaster between kitchen room 4 and room 2.
Stabiae Antiquarium, inventory number 63688. Photo courtesy of Michael Binns.
Lararium with niche and painting of serpent underneath.
The lararium had a triangular pediment supported by two Corinthian columns.
The painting at the rear showed an enthroned Minerva with breastplate, helmet, shield, lance in the left hand and gilded/golden plate in the right.
Underneath the lararium, a painted serpent was found, moving to the right towards an altar on which was deposited the offerings.
See Fröhlich, T.,
1991. Lararien und Fassadenbilder in den
Vesuvstädten. Mainz: von Zabern, p. 303, L122, Taf. 15,1.
97. Gragnano,
Villa rustica in Località Carmiano, Villa A.
June 2017. Front of lararium. Photo courtesy of Michael Binns.
97. Gragnano,
Villa rustica in Località Carmiano, Villa A. 1968.
From dividing pilaster between kitchen room 4 and room 2.
Lararium in stucco found inserted in a yellow painted wall. 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.
J68f1875
97. Gragnano,
Villa rustica in Località Carmiano, Villa A. Lararium niche.
From dividing pilaster between kitchen room 4 and room 2.
Lararium in stucco found inserted in a yellow painted wall.
The lararium had a triangular pediment supported by two Corinthian columns.
The painting at the rear showed an enthroned Minerva with breastplate, helmet, shield, lance in the left hand and gilded/golden plate in the right.
97. Gragnano, Villa rustica in Località Carmiano, Villa A. June 2017. Lararium niche with painting of Minerva.
From dividing pilaster between kitchen room 4 and room 2. Photo courtesy of Michael Binns.
97. Gragnano,
Villa rustica in Località Carmiano, Villa A. June 2017.
Underneath the aedicula lararium, a painted serpent is moving towards an altar on which was an egg and other offerings.
Photo courtesy of Michael Binns.
97. Gragnano, Villa rustica in Località Carmiano, Villa A. 1970. Lower part of lararium. 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.
J70f0625
97. Gragnano,
Villa rustica in Località Carmiano, Villa A. Items found in the villa.
Stabiae Antiquarium, inventory numbers
63571 round glass ointment or perfume flask, from near lararium.
63589 tapered glass ointment or perfume flask, from room 3.
63437 bronze hanging perfume holder, from room 1.
61406 glass cup is from Santa Maria La Carità, Villa Petraro.
See Bonifacio G., 2004. In
Stabiano: Exploring the Ancient Seaside Villas of the Roman Elite. Castellammare: Nicola Longobardi, p. 132,
p. 137.
Gragnano,
Capella di San Marco. Villa di Anteros ed Heracleo. Villa del Fauno. (Villa 4).
Lararium and altar in small
peristyle.
In the southwest corner of a small peristyle were the remains of a lararium, in the niche of which was of a young Julio-Claudian woman, perhaps Livia or Antonia Minor, with curly hair adorned with a brooch, now in the Naples museum (inv. 6193). Next to it an altar was found and on the wall above a plaque about 1.5m wide in red letters and from the Augustan or Tiberian era that read:
ANTEROS L HERACLEO SUMMAR MAG LARIB ET FAMIL D D
This is a sacred inscription with which the freedmen Anteros and Heracleo, summarum magistri, offer to the Lares and the family the lararium containing the bust of the so-called Livia.
It has a through hole on the right side, where a large nail was most likely inserted for fixing into the masonry.
Now in Naples
Archaeological Museum. Inventory number 6193.
See Di Massa G., Il Territorio di Gragnano
nell’antichità e l’Ager Stabianus, p. 43.
Niche in room 19.
From 10th to 15th July 1779 this site was excavated; its floor is paved with mattoni pesti; in the niche marked there is a basin for a fountain.
See Ruggiero M.,
1881. Degli scavi di Stabia dal 1749 al 1782, Naples, p. 329-331, Tav.
XI.
Pompeii.
Pompeii. Villa of T. Siminius
Stephanus, fondo Barbatelli.
Painting of Fortuna in a room on the upper floor.
Villa of T. Siminius Stephanus, fondo
Barbatelli. December 1899.
Found in a room on the upper floor, was a painting
of Fortuna, painted on a red background.
The goddess, 0.38m high, clothed in a green tunic
with purple cloak held a cornucopia in her left hand and a rudder in her right
hand, leaning on the earth.
At her feet, the globe could be seen.
The head, the arms, the cornucopia and the rudder
were a monochrome red.
See Notizie degli Scavi di Antichità, 1899, p. 494, fig. 1.
According to Boyce:
Pompeii, near the Porta, Vesuviana.
"Uno scavo
fuori la cinta settentrionale, di Pompei, nel fondo già Barbatelli ora di
proprietà demaniale."
On the wall of a room of the upper floor was found a painting of Fortuna (h. 0.38) done on a red ground; she wears a green chiton with purple mantle; in l. she holds a cornucopia, in r. a rudder; at her feet lies a globe.
Not. Scavi, 1899, 494 and fig. 1.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome:
MAAR 14, 494, p. 99.
Minori
Minori, Villa Romana
Fragment of a painting of Mercury.
From an unknown room
in the Villa Romana, Minori.
Fragment, painting moderately to severely faded.
Minori, Antiquarium della Villa Romana, without lnv. No.
Lit: P.C. Sestieri, FA 11, 1956, 4717; ibid., FA 15, 1960, 4446; L.
Fergola, AnnAStorAnt 1, 1979. 139ff. Fig. 60.4.; M. Romito, in: Le ville romane
dell'eta imperiale. Itinerari
turistico-culturali in Campania 3 (1986) 86.
White-ground wall
surface.
Mercury is standing
in the centre of the picture, weight on his right leg, dressed in a white tunic
with angusticlavi, a greenish chlamys and the petasos. Wings are visible on his
feet. The god holds the caduceus diagonally in front of his body with his
lowered left hand and carries the very large bluish marsupium in his lowered
right hand. The upright rectangular structure to the god's left is probably the
remains of a very large sacrificial altar on which a fire is burning.
On the upper edge is
painted a reddish, dark red and green bordered garland.
Dating: Fourth
Style.
The fragment is one
of a group of paintings that came to light during an excavation during the
construction of the Hotel S. Lucia. L. Fergola, AnnAStorAnt 1, 1979, 134
assumes, due to the proximity of the site to the only partially uncovered Villa
Romana, that the rooms discovered by Sestieri belong to the villa.
See Fröhlich, T., 1991. Lararien und
Fassadenbilder in den Vesuvstädten. Mainz: von Zabern, L123, p. 304, Taf. 47,3.
Scafati
Scafati, Villa N. Popidi
Narcissi Maioris, Fondo Prete. (Villa 53)
Lararium
in room 8.
53. Scafati, Villa N.
Popidi Narcissi Maioris. Arched
niche lararium on west wall in room 8.
Nella parete O lo zoccolo di intonaco raggiunge
un’altezza di m. 1,24 ed in essa si apre un larario (largh. 0,55; alt. 0,47; prof.
M. 0,33; posto a m. 1,05 dal piano pavimentale) con il piano costituito da una
tegola fratta a sua volta rivestita da intonaco. L’intonaco sottostante
presenta diciotto linee verticale incise (Alte da m. 0,04 a m. 0,055).
On the west wall the plaster base reaches a
height of m. 1.24 and in it opens a lararium (width 0.55; height 0.47; depth
0.33 m; located 1.05 m from the floor level) with the base made of a broken
tile in turn covered with plaster. The underlying plaster has eighteen engraved
vertical lines (0.04 to 0.055 m high).
See Conticello de' Spagnolis,
M., 2002. La villa "N. Popidi Narcissi Maioris": in Scafati,
suburbio orientale di Pompei, p. 73, fig. 49.
Nel vano (9) ricavato nel portico (8) fu edificata
una nicchia (h. 47; largh. 55; prof. 33; h. dal suolo 105) con piano costituito
da una tegola con, al di sotto, una cornice aggettante. La parete sottostante
presenta intonaco decorato con diciotto linee verticale incise.
In the room (9) created in the portico (8) a niche was built (h. 47; width 55; depth 33; height from the ground 105) with a surface made of a tile with, below, a protruding frame. The wall below has plaster decorated with eighteen engraved vertical lines.
See Giacobello, F.,
2008. Larari Pompeiani: Iconografia e culto dei Lari in ambito domestico.
Milano: LED Edizioni, (p.223, no.5)
Niche with basin in south-west corner of kitchen with latrine, room 15.
53. Scafati, Villa N.
Popidi Narcissi Maioris. Niche with
basin in south-west corner of kitchen with latrine, room 15.
Nella parete S del vano
(in comune con l'ambiente 13) è inserita nella muratura, che contiene in quel
punto anche una nicchia (alta m. 0,60; prof. max. m. 0,41), una vaschetta
fittile di colore scuro (largh. m. 0,42; alt. m. 0,25). (Figg.
72-73).
In the S wall of the room (shared with
room 13) inserted into the masonry, which also contains a niche at that point
(0.60 m high;
prof. max. m. 0.41), is a dark colored
clay basin (width 0.42 m; height 0.25 m).
See Conticello de'
Spagnolis, M., 2002. La villa "N. Popidi Narcissi Maioris": in
Scafati, suburbio orientale di Pompei, p. 96, fig. 73.
Nicchia arcuata (h. 60; prof. 41) collocato sopra
il focolare. Nei pressi della nicchia si rinvenne un unguentario in vetro.
Arched niche (h. 60; d. 41) placed above the
hearth. A glass ointment jar was found near the niche.
See Giacobello, F.,
2008. Larari Pompeiani: Iconografia e culto dei Lari in ambito domestico.
Milano: LED Edizioni, (p.223, no.5)
Two altars in torcularium, room 4.
53. Scafati, Villa N. Popidi Narcissi Maioris. Room 4 with two dolia and two altars.
Accanto ai dolii, appoggiati alla parete O ed
addossati al bordo dei fora sono due altarini molto semplici rivestiti di
intonaco con pulvini in muratura. Quello posto a NO (alt. m. 0,32; largh. m.
0,29; prof. m. 0,17) e quello posto a SO (alt. m. 0,40; largh. m. 0,33; prof.
m. 0,18) presentano all'incirca anologhe dimensioni e la medesima struttura.
Essi erano dedicati al dio nume tutelare della premitura con molta probabilità
Dioniso, le cui immagini sono state rinvenute nei torcularia di altre ville
portale alla luce.
Next
to the dolia, leaning against the O wall and leaning against the edge of the fora
are two very simple altars covered with plaster and with masonry capping. The
one on the NW side (h. 0.32 m; w. 0.29 m; d. 0.17 m) and the one on the SW side
(h. 0.40 m; w. 0.33 m; d. 0.18 m) are of approximately the same size and
structure. They were dedicated to the deity protecting the pressing, most
likely Dionysus, whose images have been found in the torcularia of other villas
brought to light.
See Conticello de' Spagnolis, M., 2002. La villa
"N. Popidi Narcissi Maioris": in Scafati, suburbio orientale di
Pompei, p. 45, fig. 24.
53. Scafati, Villa N. Popidi Narcissi Maioris. Room 4. North dolia and altar.
See Conticello de' Spagnolis, M., 2002. La villa
"N. Popidi Narcissi Maioris": in Scafati, suburbio orientale di
Pompei, p. 49, fig. 29.
53. Scafati, Villa N. Popidi Narcissi Maioris. Room 4. South dolia and altar.
See Conticello de' Spagnolis, M., 2002. La villa
"N. Popidi Narcissi Maioris": in Scafati, suburbio orientale di
Pompei, p. 49, fig. 30.
Niche in room 11.
53. Scafati, Villa N.
Popidi Narcissi Maioris. Room
11, storeroom. Niche on north wall.
Su tale parete compare
anche una piccola nicchietta (alt. m. 0,30; largh. m. 0,28), rivestita di
intonaco, a m. 1,20 dal piano pavimentale (Fig. 59).
On this wall there is also a small niche
(height 0.30 m; width 0.28 m), covered with plaster, at m. 1.20 from the floor
level (Fig. 59).
See Conticello de' Spagnolis,
M., 2002. La villa "N. Popidi Narcissi Maioris": in Scafati,
suburbio orientale di Pompei, p. 82, fig. 59.
Scafati. Villa rustica in
proprietà Rosa Buccino via Tenente Jorio.
White-ground wall surface with arched niche in the middle at the bottom.
Scafati. Villa rustica in proprietà Rosa Buccino via Tenente Jorio.
Piccolo larario in forma di nicchia semicircolare.
In alto si trova una ghirlanda di nastri. Sopra la parte superiore della
nicchia si trova un serpente che si muove verso destra.
Intorno al bordo della nicchia c'è un bordo di una pianta con fiori
rossi e un fiore rosso più grande su ogni lato in alto.
L'interno della nicchia presenta un motivo rosso e verde su sfondo
bianco.
A destra si trovano quelle che potrebbero essere le gambe di una figura.
Scafati. Villa rustica in proprietà Rosa Buccino via Tenente Jorio. Small lararium in the form of a semicircular niche.
At the top is
a garland of ribbons. Above the top of the niche is a serpent moving to the
right.
Around the rim
of the niche is border of a plant with red flowers and a larger red flower is
on each side at the top.
The interior
of the niche has a red and green pattern on a white background.
To the right
are what may be the legs of a figure.
Vedi/See Conticello de' Spagnolis, M., 1994. Il Pons Sarni di Scafati e la via
Nuceria-Pompeios, Soprintendenza Archeologica di Pompei Monografie, 08, p.
31, fig. 19.
Fröhlich records this as being from an as yet [1991] unknown
building in Scafati.
White-ground wall surface with arched
niche in the middle at the bottom.
Now in Minori, Antiquarium della Villa
Romana, without Inv. No.
The interior walls of the niche are
decorated with red and green dots. The remains of a crescent moon or wreath have been preserved at
the top of the back wall. The
course of the arch is accompanied by a band of leaves. At approximately the
height of the apex of the arch, one red pomegranate with small branches is
depicted outside the niche on the right and two on the left. Above the niche, a grey snake moves in
several coils to the right. There
is another pomegranate near the snake's head. Three garlands are painted at the top of the picture. Faint traces of paint to the right of
the niche could come from a figure.
The painting described so far is covered
in places in the lower area by a younger, thick, white plaster, on which a
vertical red line and the end of a hanging garland have been preserved to the
left of the niche, as well as another red line under the niche. To the right of the niche, the younger
plaster also bears faint remains of paint from a depiction that can no longer
be reconstructed.
Dating: The 1st phase of the Middle Third
Style, Augustan-Tiberian.
See A. De Franciscis, in: Napoli e dintorni. Guida d'Italia del
Touring Club italiano (1976) p. 566.
See Fröhlich, T., 1991. Lararien und Fassadenbilder in den Vesuvstädten. Mainz: von
Zabern, L124, p. 304, Taf. 50,1.
Scafati. Villa Rustica in Fondo Matrone, Contrada Spinelli. (Villa 35).
Semi-circular niche in north portico, to the left of the triclinium
"no.4".
Scafati. Villa Rustica in
Fondo Matrone, Contrada Spinelli. Plan of villa by Della Corte.
See Notizie degli Scavi di Antichità, 1923, p. 285 fig. 5.
See Casale A., Bianco A., Primo
contributo alla topografia del suburbio pompeiano: Supplemento al n. 15 di
ANTIQUA ottobre-dicembre 1979, 39, p. 37, fig. 14.
In the north portico, in addition to the four large
terracotta dolia on the plan, in the middle of the outer wall to the left of
the triclinium "no.4", was a semi-circular niche, 0.45m high,
(lararium?), in which, against all expectations, were found not the statuettes
of the Penates, but those of two animals.
— Bronze: a lion with open mouth, in the act of
taking a leap forward: below the raised forelegs, a support palmette sprang
from the base (0.055m high); a horse of a very inferior make, of the same
height, without a base, stepping forward to trot, Together with the two
statuettes, four hinges, some bronze nails with heads, and three circular
studs, turned, of bone, 0.03m wide, remains surely of a wooden box, were found.
See Notizie degli Scavi di Antichità, 1923, p. 285.
Scafati, Villa rustica detta di Domitius Auctus, Fondo Acanfora, contrada Spinelli. (Villa 19). Now Pompeii.
Room “D”, with entrance under the northern ala of portico "B".
Three silver statuettes, probably part of the equipment of a lararium.
Scafati, Villa rustica detta di Domitius Auctus. Plan of villa after 1899 excavations.
In Scafati were found the remains of ancient villa of l’ ager pompeianus (rural surroundings of the city).
In the fondo of Matteo Acanfora in contrada Spinelli, Vincenzo de Prisco made this excavation from early March to mid-May of this year, an excavation that brought briefly to light the areas seen on the plan, which is offered here.
The existence of an ancient villa of well-known type was established in this place, or the part of it today explored, without doubt the part used for rustic business.
See Notizie degli Scavi di Antichità, 1899,
p. 392, fig. 1.
See Casale A.,
Bianco A., Primo contributo alla
topografia del suburbio pompeiano: Supplemento al n. 15 di ANTIQUA
ottobre-dicembre 1979, 69, p. 42, fig. 19.
The entrance doorway to room “D” was under the northern ala of portico "B".
It had decoration on a yellow background partitioned by white pillars, ornamented by candelabras with foliage.
In this room the most notable find of this excavation was made.
Found on the 18th of March were –
Gold: a leaflet (of Laurel) and a pair of earrings in the form of spheres a bit squashed, with six inset blue-coloured stones, possibly of blue glass-paste, but not to say that these earrings were by any means devoid of artistic merit. Silver: three statuettes, Isis-Fortuna, Venus Anadyomene, a serpent raising itself on its coils, which without a doubt formed the collection from a lararium, and a crescent moon.
See Notizie degli Scavi di Antichità, 1899,
p. 393-5.
Scafati, Villa rustica detta di Domitius Auctus. 18th March 1899. Room “D”.
A silver statuette of Isis-Fortuna, 0.13m tall with the small hexagonal pedestal also of silver.
On her head, she has a modius (cylindrical headdress), a crescent moon and a lotus flower.
With the right hand, she held up a rudder and on the left wrist was a bucket and some corn.
It was finely worked and was important for the fusion of elements, more accentuated than what is seen in the figure of Isis-Fortuna in Pompeian paintings.
See Notizie degli Scavi di Antichità, 1899,
p. 393, fig. 2.
Scafati, Villa rustica detta di Domitius Auctus. 18th March 1899. Room “D”.
A silver statue of Venus Anadyomene, 0.95 tall with the base.
She was crowned with a diadem, standing naked, and nearby was a dove.
It was very well shaped, and the dove was portrayed with ease and precision.
See Notizie degli Scavi di Antichità, 1899,
p. 393, fig. 3.
Scafati, Villa rustica detta di Domitius Auctus. 18th March 1899. Room “D”.
A silver serpent raising itself on its coils, with base.
See Notizie degli Scavi di Antichità, 1899,
p. 394, fig. 4.
The preservation of these three items was surprising, taking account the material, which was silver, usually to be found oxidized, greatest in the locality of discovery, where the earth does not exceed 6 metres in height.
Without doubt they formed the collection from a lararium.
Scafati, Villa rustica detta di Domitius Auctus. 18th March 1899. Room “D”.
Fig.5: Also found was a silver half-moon, accentuated by that which was seen in the figure of Isis-Fortuna of Pompeian paintings, but not well-preserved.
See Notizie degli Scavi di Antichità, 1899,
p. 394, fig. 5.
According to Boyce:
In a room near the cella vinaria and opening off the portico were found numerous objects of jewellery, and with them three silver statuettes:
1) Isis-Fortuna, standing upon a high hexagonal base - also of silver - wearing on her head the modius and on her forehead crescent moon and lotus flower; in r. she holds a rudder, in l. some ears of grain, and on that wrist hangs a situla (h. 0.13).
2) Venus Anadyomene, standing upon a high rectangular base; she is wholly nude, has a diadem on her head and a dove on the base beside her (h. 0.095).
3) A coiled serpent raising its head aloft above a low rectangular base.
These figures were probably part of the equipment of a lararium, as Sogliano remarks.
Not. Scavi, 1899, 393 and figs. 2-4 illustrating all three statuettes.
See Boyce G. K.,
1937. Corpus of the Lararia of Pompeii.
Rome:
MAAR 14, 493, p. 99.
Scafati. Villa in Contrada Murecine, Fondo Pasquale Malerba. (Villa 18).
Room "B". Two niches, one with a terracotta statuette of a priest of Isis.
Scafati. Contrada Murecine, Fondo Malerba. 1900. Plan of the villa excavated by Signora Maria Liguori.
See Notizie degli Scavi di Antichità, 1900,
p. 204.
6 November 1899. - At the depth of 1.40 m. from the ground level:
Travertine. A fluted monopodium.
Glass. Two unguentarium.
In room "B", in a niche hollowed out in the north wall and covered with white stucco:
Terracotta. A statuette (height with the base 195mm) representing a priest of Isis. His hair is shaven, and he is wrapped in a mantle, which leaves his straight shoulder free: his left hand rests on his chest and his lowered right arm adheres to his side. In one of the two niches in the west wall, the one to the right of the viewer:
Terracotta. A small cup in fragments,
Glass. Small, fragmented vase.
In the same room:
Terracotta. Two small pots, an urn, a pierced pot and three small vases
See Notizie degli Scavi di Antichità, 1900, p.
203-5.
Scafati,
Villa rustica in Fondo de Prisco, contrada Crapolla. (Villa 36).
Niche in room 1.
36. Scafati,
Villa rustica in Fondo de Prisco, contrada Crapolla. 1923 Della Corte Plan.
See Notizie degli Scavi di Antichità, 1923,
p.285, fig. 6.
Dalla parete a
destra entrando nell'ambiente n. 1, era ricavata una nicchia, "a",
adibita a focolare, protetta al disopra da una tegola sporgente ed inclinata in
avanti: traccie di nerofumo
Entering into room no. 1, on the right was a niche “a”, used as a hearth, protected above by a protruding tile sloping forwards: traces of carbon black all around.
See Notizie degli Scavi di Antichità, 1923,
p.285.
Scafati, Contrada Murecine, Fondo Cascone. Complesso dei triclini in località Moregine a Pompei. (Villa 50A).
Kitchen
F. West wall. Large lararium painted with scenes of
sacrifice.
50A. Complesso dei triclini in località Moregine a Pompei. Excavation photo. Kitchen F. West wall.
At the centre of the west wall is a large
lararium painted with scenes of sacrifice on a white background. In the foreground, in the centre, is an
altar to which two long snakes approach, rich in details as regards the scales. In the background, also in the centre,
there is a priest, head veiled, dressed in a white mantle with red borders. On the sides two attendants with ivy
crowned heads and short white robes act as helpers.
See Nappo, S. C., 2001. La decorazione parietale dell'hospitium dei
Sulpici in località Murecine a Pompei MEFR Antiquité, tome 113, n°2. 2001,
pp. 889-890, fig. 31.
Sant’Antonio
Abate
S. Antonio Abate, Villa Rustica
in località Casa Salese, Villa Cuomo. (Villa 95).
Lararium painting, from portico
(14).
95. Villa Cuomo, Sant’Antonio Abate. Larario
staccato dal portico 14 (inv. 64768).
According to Jacobelli, to the west, there
is a pillared ambulatory (room 14) accessible directly from the outside. Here,
on the back wall aligned with the two pillars, a very incomplete painted
lararium was found and detached, depicting a scene of sacrifice with
suovetaurilia, that is, of the three animals dearest to the Roman farmer: the
pig (sus), the sheep (ovis) and the bull (taurus) (figs. 7-8). On
the white background, on the right, the celebrant with a veiled head is visible
pouring incense onto an altar flanked by two laurel trees, a clear allusion to
the laurel trees planted in 27 BC. at the behest of the Senate in front of the house
of Augustus on the Palatine. Behind him, a boy holds a plate containing
offerings in his left hand and a long-fringed placemat in his right. On
the left is depicted the procession at the head of which is a tibicen (tibia
player), often present in depictions of sacrifices. Behind
him is another boy: in his left hand he holds a plate with offerings, in his
right an upside-down oinochoe; both objects are depicted as if they were made of
metal, bronze or silver. Follows a boy carrying a young bull. Behind
is a group of three cloaked figures who precede the last child who is probably
carrying a goat or a sheep. In the lararium of Sant'Antonio Abate, the pig
cannot be seen due to the incompleteness of the fresco. The
procession of the suovetaurilia was connected to many ritual circumstances
including the lustratio, that is, the purification and preservation of the
fields, and was a sacrifice often offered to the god Mars.
See Jacobelli, L., 2018. Il territorio e le
ville rustiche di Sant’Antonio Abate tra tecnologia e magia, p. 60-61, fig.
7.
See Stefani, G.,
(a cura di), 2005. Cibi e Sapori a Pompei e dintorni, p. 34, n. 11.
95. Villa Cuomo, Sant’Antonio Abate. 2005. Drawing of lararium with scene of sacrifice.
The lararium was found on the 14th of September 1974 in ambiente 14, in alignment with the two rectangular pillars towards the North.
At the base was found a masonry sacrificial altar in masonry on which there was a stone depicting a human profile.
See Bonifacio G.
in Stefani, G., (a cura di), 2005. Cibi e Sapori a Pompei e dintorni, p.
34, n. 11.
Rinvenuti il
14 settembre 1974, allo stato attuale lacunoso e poco leggibile.
Found on 14 September 1974, in its current state, incomplete and difficult to read.
See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei Lari
in ambito domestico. Milano: LED Edizioni, (p.224, no.9).
Niche in room 4, with graffito.
95. Villa Cuomo, Sant’Antonio Abate. October 2014.
Niche in Ambiente 4.
![95. Villa Cuomo, Sant’Antonio Abate. Niche in Amb.4.
L'ambiente 4 presenta, sulla parete opposta all'ingresso, un larario intonacato in bianco con intorno decorazioni a fasce rosse e nere e al di sotto graffito a carboncino: AMETTESI.
CIL IV supp. 4 now records this as being
A(ulus) Vittius. [CIL IV 12356]](Pompeii%20Household%20Shrines%20p17_files/image116.jpg)
95. Villa Cuomo,
Sant’Antonio Abate. Niche in Amb.4.
L'ambiente 4 presenta, sulla parete opposta all'ingresso,
un larario intonacato in bianco con intorno decorazioni a fasce rosse e nere e
al di sotto graffito a carboncino: AMETTESI.
CIL IV supp. 4 now records this as being
A(ulus) Vittius.
[CIL IV 12356]
Terzigno
Terzigno, Cava Ranieri, Villa 6.
Painting and niche. Kitchen (11) west wall.
Terzigno, Cava Ranieri, Villa 6. Painting and niche from kitchen (11) west wall.
Terzigno, Cava Ranieri, Villa 6. Painting and niche from west wall of kitchen (11).
Il larario e
stato rinvenuto il 6 giugno 1997; staccato dalla parete, è stato sottoposto a
restauro conservativo e restitutivo; sono stati effettuati pulitura chimica e
meccanica, e interventi di ritocco pittorico per ripristinare le immagini.
Il larario,
uno dei più significativi e meglio conservati dell’area vesuviana, si articola
su due registri; in quello superiore e raffigurato, presso un altare circolare
dipinto a finto marmo sul quale bruciano le offerte, il Genius patrisfamiliae
togato con himation bianco-giallo profilato in rosso, sollevato sopra la testa;
la mano destra, protesa verso l’altare, stringe una patera, mentre la sinistra
regge la cornucopia. Ai lati vi sono i due Lari – di quello a sinistra si
conservano la parte inferiore e la testa -, di dimensioni maggiori rispetto al
Genio.
Sotto alla
linea di terra, in un secondo registro, sono raffigurati muoversi verso un
altare, tra cespugli e fiori di iris, due serpenti dal corpo avviluppato in
numerose spire di colore bruno con dorso giallo. Sotto l'altare rotondo dipinto
e tra i serpenti si trova un altare in muratura dipinto a finto marmo. A destra
si trova una nicchia ad arco dipinta con rose rosse. Sopra la nicchia si
trovano un'anguilla su uno spiedo, una testa di maiale, pezzi di carne su uno
spiedo e un prosciutto.
The lararium was found on the 6th of June 1997, cut from the wall, and it underwent conservation and restoration; chemical and mechanical cleaning was carried out, as well as pictorial retouching to restore the images.
The lararium, one of the most significant and best-preserved in the Vesuvian area, is divided into two registers; in the upper one, near a circular altar painted in imitation marble on which offerings are burnt, is depicted the Genius patrisfamiliae togatus with a white-yellow himation outlined in red, raised above his head; his right hand, outstretched towards the altar, holds a patera, while his left holds a cornucopia. At the sides are the two Lari - of the one on the left the lower part and the head are preserved -, larger than the Genie.
Below the ground line, in a second register, are depicted moving towards an altar, amidst bushes and iris flowers, two snakes with their bodies entwined in numerous brown coils with yellow backs. A masonry altar painted in imitation marble is below the round painted altar and between the serpents. To the right is an arched niche painted with red roses. Above the niche are an eel on a skewer, a pigs head, pieces of meat on a skewer and a ham.
Vedi/See Giacobello, F., 2008. Larari Pompeiani: Iconografia e culto dei
Lari in ambito domestico. Milano: LED Edizioni, (p.221, no.4, fig. 2)
Torre
Annunziata
Villa Rustica. Torre Annunziata, Contrada Bottaro, Fondo Matrone. (Villa 45).
45.
Scavi Matrone, Torre Annunziata, Plan.
See Notizie degli Scavi di Antichità, 1901, p. 424.
Remains of a lararium. Upper layers of the earth that covered the building with the entrance from room 1.
Fra gli strati superiori delle terre che ricoprivano l'edificio con
l'ingresso dal vano n. 1 nel giorno 30 giulio 1900 apparve l’avanzo di un
larario, con la figura di un Lar nel noto costume ed atteggiamento.
In the upper layers of the earth that covered the
building with the entrance from room no. 1 on the 30th of July
1900 the remains of a lararium appeared, with the figure of a Lar in the
well-known costume and attitude.
See Notizie degli Scavi di Antichità, 1901, p. 434.
A bust
of Minerva in room "a" behind Tabernae 5 and 6.
Nell’ambiente “a” dietroposto alle Tabernae 5 e 6 si rinvenne Il giorno 30
ottobre 1900 vi si raccolse: Oro. Un anello semplice ed un aureo di Vespasiano.
— Argento. Quindici denari. — Bronzo. Un busto di Minerva con galea cristata,
capelli scendenti sulle spalle e gorgoneion sul petto: il busto poggia su
basetta, la quale presenta tre fori, pei quali il detto busto veniva adattato
al legno. Altezza totale mill. 195.
In room "a" behind Tabernae 5
and 6, the following was found on 30 October 1900:
Gold. A simple ring and a
Vespasian aureus. - Silver. Fifteen denarii. — Bronze. A bust of Minerva with crested
helmet, hair falling on the shoulders and gorgoneion on the chest: the bust
rests on a base, which has three holes, through which the said bust was attached
to the wood. Total height mill. 195.
See Notizie degli Scavi di Antichità, 1901, p. 431
A well preserved bronze statuette of Mercury in Taberna 7.
Taberna n. 7. Il 22 dicembre 1900 fu raccolta una statuetta di Mercurio ben
conservata, priva di basetta ed alta mill. 165; ha il petaso alato in testa, la
clamide, il caduceo nella sinistra e la borsa nella dritta.
Taberna n. 7. On December 22,
1900, a well-preserved statuette of Mercury was recovered, without a base and
165mm high; he has the winged
petasus on his head, the chlamys, the caduceus on the left and the purse on the
right.
See Notizie degli Scavi di Antichità, 1901, p. 428.
A bronze statuette of Mercury in Taberna 10.
Nella taberna n. 10 si raccolse il 1° settembre 1899: Bronzo. Una statuetta di Mercurio, alta mill. 120, con petaso
alato, clamide, patera umbilicata nella destra, borsa nella sinistra ed ali ai
calzari. Tre campanelle con batacchio di ferro.
In taberna n. 10 recovered on September 1, 1899: A
bronze statuette of Mercury, 120mm high with winged petasus, chlamys,
umbilicated patera in the right, purse in the left and wings on the shoes. Three bells with iron clappers.
See Notizie degli Scavi di Antichità, 1901, p. 429.
A well preserved bronze statuette of Mercury, location unknown.
Dei trovamenti seguenti non mi è riuscito di
precisare il luogo; e però li registro in ordine cronologico:
20 settembre 1899: Bronzo. Una statuetta di
Mercurio, alta mill. 140, con pileo alato, clamide scendente dall'omero
sinistro e borsa nella destra. Ben conservata.
I have not been able to
specify the location of the following finds, and therefore I record them in chronological order:
20 September 1899: A
bronze statuette of Mercury, 140mm high, with winged pileus, chlamys descending
from the left upper arm and purse in the right. Well preserved.
See Notizie degli Scavi di Antichità, 1901, p. 436.
According
to Boyce:
Two excavations in the vicinity of Pompeii uncovered the ruins of Industrial and Commercial Structures.
Near the Sarno, to the S. of the ancient city, in the contrada Bottaro, was found a series of sixteen shops preceded by a portico, evidently flanking a street which ran through the suburb that grew up along the river. See the map, Not. Scavi, p. 424.
In these shops were unearthed the following fragmentary evidences of cult practice:
1) A fragmentary lararium painting with only the figure of one Lar remaining, Not. Scavi, p. 434.
2) A bronze bust of Minerva, p. 431.
3) Three statuettes of Mercury, pp. 428, 429, 436.
Not. Scavi, 1901.
See
Boyce G. K., 1937. Corpus of the Lararia
of Pompeii. Rome: MAAR 14, 504, p. 100.
Valle di
Pompei
Valle di Pompei, Fondo de Fusco. Near the amphitheatre, south-east of Pompeii, close to Fondo Pacifico. (Villa 51).
Lararium painting with representations of Pan as Penate.
Valle di Pompei, Fondo de Fusco. 1887. Plan by Ludovico Pepe.
See Pepe L, 1887. Memorie Storiche dell’Antica Valle di Pompeii, Tav. I.
Entering the workshop, two areas are presented to the attentive observer, of which the first (p) remains disfigured for some medieval constructions (q) leaning against the ancient walls, or settled in all directions on the shattered ruins mixed with the ash and lapillus of 79, and up to two metres high above the ancient floor, so that some walls fell removing those ruins. These constructions prevent recognition of the underlying works, which are preceded by a small column that overlays the ruins below. Thus a wall arm, which went to meet the ancient wall that delimits the two areas, had hidden a valuable painting. Randomly recognized by us and freed from the wall that kept it hidden, it was possible to recognize the representation of the Genius familiare, who wrapped up to his head in a white toga, is standing to sacrifice before a round altar. He is located between two Lares, of which the one on the left is completely destroyed. To the right, after the Lar, is Pan horned and crowned who is represented in act of surprise, if not of threat. A similar figure, visible only in the lower part of the body, is also on the left. after the destroyed Lar. This representation of Pan as Penate was recognized as unusual by the illustrious Prof. Sogliano, Inspector of the Pompeii excavations (Cf. Le Pitture Murali Campane of the same Prof Sogliano); hence the painting is carefully preserved by Avv. Longo, while a copy, by the artist Di Scanno, can be found in the National Museum of Naples.
See Pepe L, 1887.
Memorie Storiche dell’Antica Valle di Pompeii, p.15.
Valle di Pompei,
Fondo de Fusco. 1887. Floor plan reduced from one of greater size by
Ing. Giovanni Rispoli.
See Notizie
degli Scavi di Antichità, 1887, p. 247.
Il compreso adiacente 8, è quasi tutto occupato da una vasca circolare di
fabbrica “m”, di m. 1,70 di diam. e di m. 1,55 di profondità, piantata sopra
terra e calcinacci, e accessibile solo dall'alto: la sua costruzione è
posteriore alla eruzione. Nel suolo è un vano quadrato (m. 0,50?), che avendo
la profondità di m. 2,30, comunica col sottosuolo. Nella parete ovest era un
dipinto larario, al quale venne addossata la fabbrica posteriore: vi si vede
nel mezzo il Genius familiaris sacrificante sull'altare, fra i due Lari col
rhyton e la patera, dei quali quello a sin. è quasi totalmente distrutto. Ciò
che però distingue questo dipinto dagli altri della stessa classe è la presenza
di Pan, che da un lato e dall'altro chiude la rappresentanza in una posa simmetrica.
The adjacent building 8 is almost entirely occupied by a circular masonry
tank "m", measuring m. 1.70 in diameter. and of m. 1.55 deep, planted on earth and rubble,
and accessible only from above: its construction dates from after the eruption. In the ground there is
a square space (0.50 m?), which, having a depth of m. 2.30, communicates with
the underground. On the west wall there was a lararium painting, to which the later building
was attached: in the middle you can see the Genius familiaris sacrificing on
the altar, between the two Lares with the rhyton and the patera, of which the
one on the left is almost totally destroyed. However, what distinguishes this painting
from others of the same class is the presence of Pan, who closes the
representation on one side and the other in a symmetrical pose.
See Notizie degli Scavi di
Antichità, 1887, p. 251.
Industrial plant of unexplained nature. Near the Amphitheatre, but outside the city walls to the S. W.
Near the Amphitheatre, but outside the city walls to the S. W., was found an industrial plant of unexplained nature, which had been rebuilt after the eruption of A. D. 79.
In a small room which is almost entirely filled with a large circular vat, on the W. wall, is an interesting lararium painting: The Genius stands beside an altar and on each side is a Lar with rhyton and patera; on each side of this group is the god Pan, his two figures being symmetrically disposed.
Not. Scavi, 1887, 251; SOGLIANO, Scavi, 306.
See the map, Not. Scavi, 1887, p. 247.
See Boyce G. K., 1937. Corpus of the Lararia of Pompeii. Rome: MAAR 14, 505, p. 100.
Valle di Pompei, Villa Rustica nella cava di lapillo di Angelantonio de Martino. (Villa 41).
Small niche lararium on the external walls of room 6, which was both a kitchen and a workroom.
See Notizie degli Scavi di Antichità, 1929, p. 191, fig. 1.
Valle di Pompei, Villa Rustica nella cava di lapillo di Angelantonio de Martino. Accounting notes transcribed in charcoal.
On the external walls of the room, 6, which was both a kitchen and a workroom, were noted, on the right, a small niche-lararium open in the masonry 1.60m above the ground in a panel of the wall that was simply whitewashed, and occupied by nothing else than a rough whitewashed tufa altar; on the left, traced with charcoal, the accounting notes transcribed here.
Sulle pareti esterne dell’ambiente, 6, che fu
insieme cucina e laboratorio, sono da notarsi, a destra, una nicchietta-larario
aperta nella muratura a 1.60m dal suolo in un riquadro della parete
semplicemente dealbato, e da null’altro occupata che da una rozza aretta di
tufo imbiancata; a sinistra, tracciati col carbone, gli appunti di contabilità
qui trascritti.
See Notizie degli Scavi di Antichità, 1929, p. 197.
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