by Mary Harrsch © 2024
I'm currently studying depictions of the Actaeon myth in Pompeii and have set up a spreadsheet where I list the location of each occurrence, the size and social status of the residence, where each artwork featuring Actaeon is located within the house, the quality of the artwork, and other artwork in the house featuring females as the central figures since the Actaeon myth involves the violation of female privacy and the myth seems to occur in residences with female occupants in mostly elite settings.
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| House of Venus in a Bikini (I 11,6) Pompeii March 2009 Room 7, east wall of triclinium painting of Actaeon and Artemis (Diana) |
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| House of Venus in a Bikini (I 11,6) Pompeii Marble statue of Venus in Bikini MANN INV 152798 |
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| House of Venus in a Bikini (1 11,6) 1957 photograph of the Judgement of Paris on the north wall of triclinium by Stanley Jashemski |
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| Modest floorplan of the House of Venus in a Bikini in Pompeii (1 11,6) |
Archaeologists in the past have categorized Pompeian homes usually based on size and the presence of elite architectural and decorative elements. ChatGPT explains:
"Archaeologists classify houses in Pompeii into various categories based on architectural features, size, decoration, and function. Here are the primary categories used:
1. Atrium Houses
Description: The most common type in Pompeii, these houses are centered around an atrium, an open courtyard with a roofed perimeter that allowed light and air into the home.
Key Features:
Atrium with a central impluvium (water basin) for collecting rainwater.
Often includes a tablinum (office or reception area) and cubicula (bedrooms).
Examples: The House of the Faun.
2. Peristyle Houses
Description: These houses feature a peristyle, a columned garden or courtyard, in addition to the atrium. They are considered more luxurious and often belonged to wealthy residents.
Key Features:
A combination of atrium and peristyle spaces.
Lavish decoration, including wall frescoes and mosaics.
Examples: The House of the Vettii.
3. Shop Houses (Domus et Officina)
Description: These homes included living quarters combined with commercial spaces, such as workshops or shops.
Key Features:
A shopfront opening onto the street.
Residential spaces typically located in the rear or upper levels.
Examples: The House of the Surgeon.
4. Apartments (Insulae)
Description: Multi-story buildings with smaller living units, often for the less affluent residents.
Key Features:
Shared facilities, such as staircases and courtyards.
Compact and functional layouts with minimal decoration.
5. Villas
Description: Large, luxurious residences often located on the outskirts of Pompeii or in the countryside. These homes were retreats for wealthy individuals.
Key Features:
Expansive gardens, baths, and elaborate decoration.
Separation of residential and agricultural areas in some cases.
Examples: Villa of the Mysteries.
6. Hybrid Houses
Description: Houses that combine elements of multiple categories, reflecting a blend of residential and commercial or agricultural functions.
Key Features:
Unusual layouts to accommodate specific needs.
Adapted structures or expansions based on the owner’s wealth or business.
7. Luxury Houses
Description: Distinguished by their opulent design, extensive decorative programs, and the use of expensive materials.
Key Features:
Frescoes depicting mythological or historical themes.
Exotic mosaics and imported marble.
Examples include dining areas with panoramic views.
8. Small Houses (Casae)
Description: Modest dwellings for lower-income families or individuals.
Key Features:
Minimalistic design with little or no decoration.
Limited space and simpler layouts.
9. Workshops and Taverns
Description: Residences combined with fully operational businesses such as bakeries, fulleries (laundries), or taverns.
Key Features:
Industrial equipment or large ovens in the premises.
Living quarters usually secondary in importance.
These categories help archaeologists analyze and understand the social hierarchy, urban planning, and daily life of Pompeii's inhabitants."
I asked "Is there a suggested number of rooms to categorize a house as an elite dwelling?"
ChatGPT replied:
"There is no universally fixed number of rooms to categorize a house as an elite dwelling in Pompeii, but archaeologists often consider a combination of size, architectural complexity, and decoration to identify such residences. However, larger houses with a significant number of rooms are more likely to be classified as elite. Here are some general guidelines:
1. Number of Rooms
Elite houses in Pompeii typically have 15 or more rooms, not including service areas like kitchens, storage spaces, or servant quarters.
The count includes reception rooms, bedrooms (cubicula), dining areas (triclinia), and specialized spaces like libraries, shrines, or private baths.
2. Architectural Complexity
Elite houses usually feature multiple distinct zones for public, semi-private, and private activities, which increases the overall room count. For example:
Public zones: Atrium, tablinum, and vestibule for receiving guests.
Private zones: Cubicula and private dining or bathing areas.
Leisure zones: Peristyle gardens, decorative rooms, and entertainment spaces.
3. Indicators Beyond Room Count
Even smaller houses might be considered elite if they exhibit certain features:
Elaborate decoration: Frescoes, mosaics, and use of expensive materials.
Distinctive layouts: Features like large atriums, spacious peristyles, and private bath complexes.
Proximity to prominent locations: Being near the Forum or other central public spaces.
Examples:
House of the Faun:
Over 40 rooms, covering nearly 3,000 square meters. Features two atriums, two peristyles, and the famous Alexander Mosaic.
House of the Vettii:
Around 20 rooms, notable for its intricate frescoes and peristyle garden.
Key Takeaway
While a large number of rooms (15+) often indicates an elite dwelling, the house’s design, decor, and overall architectural sophistication are more reliable indicators of elite status. Small but exquisitely decorated houses could also be considered elite if they were intended to showcase wealth and cultural sophistication."
Most of the houses featuring a scene of Actaeon I have examined so far have been obviously elite residences because of their size: House of Polybius (Casa del Leone), House of Sallust, House of Menander, House of the Golden Cupids, House of Octavius Quartiio, House of M. Fabius Rufus, House of the Ancient Hunt, and House of the Epigrams. But this morning I examined the House of Venus in a Bikini (1 11,6). Although it has a sizable atrium, its ground floor footprint is quite small with only six non-service-related rooms. There are stairs indicating another story but, of course, it has not survived so we have no way to evaluate their functions. However, the house is considered a prominent residence with frescoes categorized as fine and the discovery of a life-sized obviously expensive marble sculpture with gold accents of Venus in a Bikini. I asked ChatGPT about its consideration as an elite residence and it said:
"The House of Venus in a Bikini is considered a prominent residence in Pompeii for several reasons, despite its relatively modest number of rooms:
1. Architectural Design
The large atrium is a key feature, as it dominates the layout and serves as a central gathering space. In Roman houses, the size and decoration of the atrium often indicated the status of the owner.
The presence of an upper floor (as suggested by the staircase) adds to the house's functionality and increases the living and storage space, compensating for the limited number of ground-floor rooms.
2. Decorative Elements
The frescoes, such as the one of Venus and others like the Actaeon and Diana scene, reflect a level of artistic investment typically associated with wealthier homeowners.
Such artworks were used to demonstrate cultural refinement and social standing, even in homes that were smaller compared to the grand villas of Pompeii.
3. Proximity to Public Areas
The house's location in Region I, Insula 11, places it close to significant public areas of Pompeii, which would make it a desirable address for residents seeking prestige and accessibility.
4. Symbolic Value of Venus
The depiction of Venus, a symbol of beauty and prosperity, suggests that the house owner intended to align themselves with these attributes, reinforcing their prominence within the community.
5. Efficient Use of Space
While the ground floor has only seven main rooms, their layout reflects careful planning. The house includes private spaces, such as the rooms off the atrium (possibly bedrooms or studies), and a triclinium (Room 7), which was essential for hosting guests. This balance between private and public spaces signifies thoughtful design suited for a socially active household.
6. Context of Pompeian Housing
In Pompeii, many homes were relatively small, especially in comparison to the villas of the wealthy elite outside the city. A house like this, with notable frescoes, a spacious atrium, and potential upper floors, would still rank high in terms of status.
Conclusion: Although compact, the House of Venus in a Bikini reflects the aspirations of its owner through its central design elements, art, and advantageous location. These qualities, combined with the cultural value of its decorations, elevate its status as a prominent residence in Pompeii."
I asked how the fresco quality (not degree of preservation) is usually classified.
ChatGPT responded:
Assessing Quality
The "quality" of Pompeian frescoes often depends on:
Technique: The skill in executing details, perspective, and texture.
Composition: The balance and organization of elements, particularly in Fourth Style works.
Context: Frescoes in elite homes are generally more elaborate and better preserved than those in humbler dwellings.
Preservation: Frescoes exposed to modern elements may lose vibrancy or detail, affecting perceived quality.
"Frescoes considered "fine" often showcase not only advanced technique in composition and perspective but also exceptional use of color and shading to create lifelike effects and emotional resonance. This includes:
Color Use
Harmonious Palettes: A fine fresco will demonstrate a sophisticated understanding of color harmony, with tones that complement and enhance the overall scene.
Vividness: The pigments used were often costly, and their vibrancy indicates high status and careful application. For example, the use of cinnabar red or Egyptian blue was particularly prized.
Gradation: Subtle gradations in color were used to create a sense of depth or to differentiate materials like fabric, stone, or skin tones.
Shading and Modeling
Chiaroscuro: The careful use of light and shadow to model figures and objects, giving them three-dimensionality.
Highlights and Reflections: In still-life elements, fine artists often depicted light glinting off surfaces such as glassware, fruits, or metal, enhancing realism.
Depth: The ability to create convincing spatial depth, especially in architectural or landscape scenes, was a hallmark of high-quality frescoes.
These techniques were most refined in the Second and Fourth Styles, where realism and complexity reached their peak.
Mythological panels, for instance, often display these qualities to emphasize drama or divine grandeur, making them stand out as masterpieces of Roman art.
Then I asked, "Some Fourth Style frescoes I've seen in Pompeii appear almost as sketches or cartoons with minimal details. Did these decorate more modest homes or was this a style that became popular in the late 1st century CE?"
ChatGPT replied: "The sketch-like or "cartoonish" Fourth Style frescoes you describe indeed reflect an interesting trend in late Pompeian wall painting. This variation can be attributed to a combination of factors:
Modest Homes vs. Popular Late Trend
Frescos in Modest Homes:
Frescoes with minimal details and simpler execution often adorned more modest homes or secondary rooms (e.g., kitchens, storerooms, or servant quarters) even in elite houses.
These works might have been produced by less-skilled artisans or created quickly to economize on labor and materials while still adhering to fashionable styles.
Aesthetic Shift in the Late Fourth Style:
By the late 1st century CE, there was a noticeable shift toward lighter, more playful compositions, possibly reflecting broader changes in taste.
The Fourth Style often combined elaborate mythological or architectural panels with smaller, whimsical, or sketch-like scenes in peripheral areas, possibly for variety or to create a contrast.
This could also reflect a Roman appreciation for "pittura rapida" (quick painting), emphasizing spontaneity and liveliness rather than meticulous detail.
Quality Spectrum within the Fourth Style
Not all Fourth Style frescoes were grandiose masterpieces. They spanned a spectrum of quality:
High-End: Large mythological panels with complex shading, rich color, and intricate architectural framing in elite homes like the House of the Vettii.
Mid-Range: Simplified, somewhat detailed scenes in mid-level homes, combining popular motifs with modest effort.
Lower-End: Sketchy or cartoonish depictions with limited color or detail, likely reflecting either budget constraints or secondary decorative priorities.
Possible Late 1st Century Influences
By the late Fourth Style, fresco design was characterized by dynamic experimentation. The simpler, more casual approach might have been influenced by the popularity of dramatic contrasts or even cultural shifts following the trauma of the 62 CE earthquake, which disrupted many artistic and economic practices in Pompeii.
As homes were rebuilt or redecorated, speed and cost efficiency became critical, especially in less affluent households."
Although the Actaeon fresco in the triclinium of the House of Venus in a Bikini has deteriorated over time, I thought I could still see color gradations in the faint remains of skin tones indicating it was produced by relatively skilled artists. A 1957 photograph of the home's painting of the Judgement of Paris taken by Stanley Jashemski clearly shows it would be considered "fine" work.
As for the presence of other frescoes in the house with prominent female characters, I noticed the house included paintings of Hymaneus (god of weddings), the Judgement of Paris, a female figure or fountain decoration in a large garden painting, Pyramus and Thisbe and Hercules and Omphale, Finds in the house included gold jewelry and carefully crafted female bronze toiletry items.
As for category, I guess it would be a No. 7, a luxury house with elite owner(s).
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