I.3.23 Pompeii. Casa di Anicetus or House of Anicetus

or House of the Gladiator Actius Anicetus or Casa della pittura dell’ Anfiteatro.

Excavated c.1868.

Part 2      Part 1

I.3.23 Pompeii. December 2006. Looking over wall into room to north of peristyle from I.3.22.

According to Warscher’s plan, this photo shows the triclinium “p”.

I.3.23 Pompeii. December 2006. Looking over wall into room “triclinium p”, on north side of peristyle from I.3.22.

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher. The hollow for the couch in triclinium “p”.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.51), Rome, DAIR, whose copyright it remains. 

I.3.23 Pompeii. December 2006. South-west side of peristyle from I.3.22.

I.3.23 Pompeii. December 2006. Looking south across peristyle with west wall on right side of photo.

This was the original position of the site of painting “Riot in the Amphitheatre”.

Looking south across room “k” to peristyle, on Warscher plan.

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher.

Looking north from peristyle towards room “k”, at rear of puteal.

According to Warscher:

“Peristilio: Il parapetto che unisce le colonne laterizie del peristilio è indubbiamente costruito in epoca posteriore: nel parapetto è incluso un altare formato di tre pietre di tufo poste l’una sopra l’altra.

A destra l’entrata nel triclinio “p”.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.46), Rome, DAIR, whose copyright it remains. 

(translation: “The peristyle: the parapet that united the brick columns of the peristyle was undoubtedly built in a later time: an altar formed by three stones of tufa in the parapet and placed one above the other, was included. In the photograph, on the right (in fact on the left), was the doorway to the triclinium “p”, and the altar can be seen in the wall.)

(Note: on the right was the doorway to room “i”).

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher.

Parapet of peristyle. An altar formed by three stones placed one above the other, now neglected.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.47), Rome, DAIR, whose copyright it remains. 

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher. Detail of altar stones.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.47a), Rome, DAIR, whose copyright it remains.

I.3.23 Pompeii. Pre-1937-39. The terracotta puteal in the peristyle.

Photo courtesy of American Academy in Rome, Photographic Archive. Warsher collection no. 1049.

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher. The terracotta puteal in the peristyle.

According to Warscher “Il foro sembra provare che il puteale fosse connesso con un tubo”.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.49), Rome, DAIR, whose copyright it remains. 

(translation: “The hole seemed to prove that the puteal was connected to a pipe”.)

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher. Looking west across north side of peristyle.

On the west wall, marked with a red line, was the site of the painting called “The riot in the amphitheatre”.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.44), Rome, DAIR, whose copyright it remains. 

Warscher listed other paintings that had been found in the peristyle, according to Sogliano -

(p.137, no.662 – destroyed), Rappresentanze atletiche distrutte fin dal tempo dei Pompejani, giacché nel centro di questa parete sopra nuovo strato d’intonaco venne eseguita la rappresentanza dell’Anfiteatro (no.604). Bull. Inst, 1869, p.240.

Athletic representations destroyed in the time of the Pompeians, as the representation of the Amphitheatre (no.604) was made in the centre of this wall over a new layer of plaster. Bull. Inst, 1869, p.240.

(p.138, no.665 – on a white background, nearly vanished), A couple of gladiators. Bull. Inst, 1869, p.241-2, Fiorelli. Sc. p.148, no.427: Descr. p.56

(p.138, no.666 – on a white background), a similar couple of gladiators.

See Sogliano, A., 1879. Le pitture murali campane scoverte negli anni 1867-79. Napoli: Giannini.

I.3.23 Pompeii. Photo taken May 2021, courtesy of Giuseppe Ciaramella. Rear wall of the peristyle.

Painting of “Riot in the Amphitheatre” depicting the fight between the Nucerians and the Pompeians.

Now in Naples Archaeological Museum. Inventory number 112222.

I.3.23 Pompeii. Rear wall of the peristyle. Painting of “Riot in the Amphitheatre” depicting the fight between the Nucerians and the Pompeians.

Now in Naples Archaeological Museum. Inventory number 112222.

The famous episode narrated by Tacitus outlined what happened in Pompeii in 59 BC, when a brawl broke out in the amphitheatre during a gladiator show that led to an armed clash.

The event drew the attention of Emperor Nero, who ordered the Senate in Rome to investigate the incident.

Following an inquiry by the consuls, reports Tacitus, Pompeii residents were banned from holding gladiator shows for 10 years, illegal associations were dissolved and the organizer of the games - former senator from Rome, Livineio Regulo - and all the others who were found guilty of incitement were exiled.

In 2017 a new tomb SG6 was found at Porta Stabia with a 4 metre long inscription, which completes the information of Tacitus, it refers for the first time to the exile that would hit even the two top magistrates in office, the duoviri of the city.
Before now, the Tacitus passage, a fresco in the house of Actius Anicetus and three graffiti found on walls at Pompeii were the only explicit references to the amphitheatre riot of 59.

The funerary inscription adds a key piece of information about this event.

Thanks to the deceased’s personal relationship with Nero, he was able to persuade him to allow the two duoviri exiled as punishment for the brawl to return to Pompeii.

This is the only reference to the duoviri having been exiled as well as the only reference to the intercessionary role the tomb occupant played.

It opens up the possibility that he was involved in the softening and lifting of the 10-year ban on public events at the amphitheatre.

It’s known that some combat spectacles like animal hunts took place during the first three years of the ban, and it was lifted entirely in 62 A.D. to celebrate the restoration of the amphitheatre after the earthquake.

The inscription therefore provides unpublished data on an important moment in Pompeii's political and institutional history, confirming the scenario of a nasty intrigue only outlined by Tacitus.

It is possible this was the tomb of Cn. Alleius Nigidius Maius, one of the most prominent characters of the Nero-Flavian era who is repeatedly acclaimed in Pompeii as a prolific provider of games, indeed he can be said to have been the best-known among the gladiatorial impresarios of the city.

I.3.23 Pompeii. 1885 drawing of painting of two gladiators (now lost) on west wall to left of Riot painting.

According to Sogliano, the defeated gladiator had fallen and behind the victor a female figure in a short chiton seemed to want to hold back the winner.

See Schreiber T., 1885. Kulturhistorischer Bilderatlas: 1 Altertum. Leipzig: Selmann. pl. XXVIII fig.3.

See Clarke J. R., 2003. Art in the Lives of Ordinary Romans. University of California Press, London. p. 155, fig. 91.

See Sogliano, A., 1879. Le pitture murali campane scoverte negli anni 1867-79. Napoli: Giannini. (no. 666).

I.3.23 Pompeii. 1885 drawing of painting of two gladiators (now lost) on west wall to right of Riot painting.

According to Sogliano, the winner pursued the defeated gladiator who was on his knees waiting intrepidly for his death.

See Schreiber T., 1885. Kulturhistorischer Bilderatlas: 1 Altertum. Leipzig: Selmann. pl. XXVIII fig.4.

See Clarke J. R., 2003. Art in the Lives of Ordinary Romans. University of California Press, London. p. 155, fig. 92.

See Sogliano, A., 1879. Le pitture murali campane scoverte negli anni 1867-79. Napoli: Giannini. (no. 665).

I.3.23 Part of the model of Pompeii. Now in Naples Archaeological Museum. 

The west rear wall of the peristyle can be seen at the centre top of photograph.

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher.

Looking west along the north portico. A niche for the lararium can be seen on the right.

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.48), Rome, DAIR, whose copyright it remains. 

I.3.23 Pompeii. Rear wall of the peristyle. Fighting inside the amphitheatre and continuing outside.

Detail from painting Riot in the Amphitheatre.

Now in Naples Archaeological Museum. Inventory number 112222.

I.3.23 Pompeii. Photo taken May 2021, courtesy of Giuseppe Ciaramella. Rear wall of the peristyle.

Detail of fighting inside the amphitheatre, from painting Riot in the Amphitheatre.

Now in Naples Archaeological Museum. Inventory number 112222.

I.3.23 Pompeii. Rear wall of the peristyle. Fighting inside the amphitheatre. Detail from painting Riot in the Amphitheatre.

Now in Naples Archaeological Museum. Inventory number 112222.

I.3.23 Pompeii. Rear wall of the peristyle.

Palaestra with painted graffiti on its north facade. Detail from painting Riot in the Amphitheatre.

Now in Naples Archaeological Museum. Inventory number 112222.

I.3.23 Pompeii. Rear wall of the peristyle.

Palaestra with painted graffiti on its north facade. Detail from picture Riot in the Amphitheatre.

Now in Naples Archaeological Museum. Inventory number 112222.

I.3.23 Pompeii. Rear wall of the peristyle. Graffiti shown on the painting Riot in the Amphitheatre.

D(ECIMO) LVCRETIO FELICETER    [CIL IV 2993 x]

See Varone, A. and Stefani, G., 2009. Titulorum Pictorum Pompeianorum, Rome: L’erma di Bretschneider, (p. 21).

Now in Naples Archaeological Museum. Inventory number 112222.

I.3.23 Pompeii. Rear wall of the peristyle. Detail from painting Riot in the Amphitheatre.

Now in Naples Archaeological Museum. Inventory number 112222.

I.3.23 Pompeii. December 2006. Looking south across room (“k” according to Warscher’s plan) towards peristyle from I.3.22.

I.3.23 Pompeii. December 2006. Looking south across room (“k” according to Warscher’s plan) towards peristyle from I.3.22.

I.3.23 Pompeii. 1935 photograph taken by Tatiana Warscher.

Looking towards the south portico of the peristyle with the rooms located behind it, (according to Warscher’s plan, room “q” at the rear).

See Warscher, T, 1935: Codex Topographicus Pompejanus, Regio I, 3: (no.50), Rome, DAIR, whose copyright it remains. 

I.3.23 Pompeii. December 2006. Looking north-west across kitchen (room “q”) towards steps to upper floor, photo taken from I.3.25.

I.3.23 Pompeii. December 2006. Looking north-west across kitchen (room “q”) towards steps to upper floor, photo taken from I.3.25.

I.3.23 Pompeii. December 2006. Looking north from rear to front entrance doorway, taken from I.3.25.

In Codex Topographicus Pompeianus: Regio I.3, (the copy at DAIR), Warscher included a description of the insula.

This description is included at the end in all parts of I.3 on the website.

“L’isola 3 della Regio I apparteneva ai quartieri piuttosto poveri, ad’esenzione della casa no. 3 tutto le case sono di dimensioni non grandi.

La casa no. 3 presenta un interesse dal punto di vista della costruzione: il peristilio si trova ad un livello più alto di quello dell’atrio:

questa particolarità si riscontra solamente in questa casa.

Noi abbiamo un esempio inverso nella casa dell’Ancora nera ove l’atrio si trova ad un livello più alto di quello del peristilio.

Si sente bene nell’isola in questione la vicinanza dell’anfiteatro da una parte e delle caserme dei gladiatori dall’altra.

Non c’è dubbio che le case nos 23, 25 siano state abitato da gladiatori.

(translation: “Insula 3 of Region I belonged to a rather poor neighbourhood, with the exception of house No. 3 all the houses were not large in size.

The house at no. 3 had a special interest from the point of view of construction: the peristyle sits at a level higher than that of the atrium: this particularity was found only in this house. We have a contrary example in the House of the Black Anchor where the atrium was located at a higher level than that of the peristyle.

The nearness of the amphitheatre on one side and the gladiators' barracks on the other suited well the inhabitants of the insula in question.

There was no doubt that the houses numbered 23, 25 had been inhabited by gladiators.”).

Part 1