PompeiiinPictures

VI.17 and VII.16 Pompeii Insula Occidentalis. Miscellaneous paintings and unprovenanced items.

 

Plans      Bonucci      Excavations      Paintings found under the Cuomo property      Paintings found under the Irace property

 

Plans

 

The haphazard method of excavation and imprecise locations given mean that we do not know the exact location of the ancient houses in relation to the Cuomo and Irace properties.

VII.6 was definitely under the Irace property, as was possibly VII.16.

The Cuomo property was north of this, which would include part of VI.17.

These plans are to help you with the items on this page.

They are very large in order to show the detail, and so will take longer to load than our usual plans. They will load in a separate window.

 

Plan of the Insula Occidentalis from VI.17 to VII.16 (1.1mb)      1807 plan of land ownership above Pompei by Scognamiglio (3.8mb)

 

1807 plan redrawn with clear numbering by Kockel (2.6mb)

 

Bonucci

 

Le abitazioni, che son situate sul lato dritto della strada non presentano, che rovine.

Esse sole, come le piu prossime al passaggio, che mena a Nuceria e a Salerno, e per conseguenza le piu esposte, hanno sofferto le ricerche, le devastazioni, ed i danni di 17 secoli d’avidita e di barbarie.

 

Malgrado cio, i loro avanzi offrono un interesse tutto nuovo. Qui le case hanno tre piani, e sono costruite sull’antiche mura della citta a tal’effetto demolite.

Discendevano in anfiteatro fino alla marina, ivi allor sottoposta; e presentavano da lontano un colpo d’occhio il piu magnifico e pittoresco. I Pompeiani formandosi cosi de’domicili interamente aparti da un lato, godevano d’una vista piu estesa, d’un aria piu pura, d’una vista grande liberta, e potevano passeggiare, e trattenersi co’loro amici ne’cortili, e sulle terrazze, senz’esser veduti o ascoltati. Essi preparavano intorno a’loro giardini, sotto i portici, le lorotavole, e pranzavo respirando le fresche aure di mare, che pe’nostri climi cocentiera un vero piacere, un bisogno.

 

In una di queste abitazioni si rinvennero 10 teste di morti; quella d’un fanciullo ci avvertiva, che is suoi genitori perirono con esso.

 

(translation - The houses, which are located on the right side of the road, show only nothing but ruins.

They alone, like the ones most close to the roadway leading to Nuceria and to Salerno, and consequently which were the most exposed, have suffered the searching, the devastation, and the damage of 17 centuries of greed and barbarism.

Despite this, their remains offer a whole new interest. Here the houses have three floors and are built on the ancient wall of the city, which effectively was demolished. Descending towards to the seashore, which would have been there at the time; they would have had the most magnificent and far-reaching views. …… etc.

In one of these houses, 10 skeletons were found; that of a child telling us, that his parents perished with him.

See Bonucci, C. (1827). Pompei descritta. 3rd ed. (p.87-88)

Excavations

 

By the end of 1759, the excavations had moved over to the western edge of Pompeii, and they had begun to explore beneath the lands of the Irace and Cuomo families.

See PAH 1, 51, addendum 137 dated 21st May 1757, which says “Begun the excavations in the Masseria d’Irace.

This Masseria extended from the Doric Temple in the Triangular Forum (VIII.7) westwards towards the western gate of Pompeii, and from the Royal Road where the Taverna del Rapillo was situated to the south, until the Masseria di D. Filippo Porpora and Giosue Vajano: towards the north in a parallel line, where today the Temple of the Fortuna and the road that borders it are exposed, running towards the east.”

 

Prior to digging in this area, from 1757 they had been excavating, still under the Irace lands but more towards VIII.2, moving across VIII.2 in a north-westerly direction and by February 1759 digging in the area of VII.16.22 (Fabius Rufus) on the edge of the Irace property. This area was described as “in the same steep place in front to the royal road” and “on the hill overlooking the royal road”.

 

On 13th October 1759, a large wall painting from VI.17.41, together with other paintings from the north and east walls of the same room (nap 9847, 9258, 9291) can be identified.

 

On 9th February 1760, excavations were begun in the Masseria of Diego Cuomo, which was attached to that of Irace, on its northern side.

 

On 23rd February 1760, PAH (1,1, p.104) reported “work continues partly in the Irace property and partly in that of Cuomo”.

 

At this stage some of the excavations were being carried out from pits or holes dug down into the lapilli, once the pits were dug out, some of them were then continued by digging tunnels around the area.  These then would have been filled in again using the spoil from another hole or tunnel.

Many precious items that were found, beautiful paintings, wall plaster (even parts of complete walls) and mosaics have no exact provenance because, at this stage, there was no way of identifying exactly where they were digging in relation to anything else. There was not a lot of interest in the actual location of the finds, other than to pinpoint the area in the hope of finding more. The early excavators were only interested in finding treasures, paintings, golden, silver or bronze objects, and mosaics; all of these destined for the King’s new royal museum at Portici.

 

The King also only wanted prestigious and unique items, once too many objects or paintings of the same type had been found, many of them were destroyed on the walls, or thrown down and broken into the earth. Many of the paintings were not considered good enough, and they too were defaced. Nothing that could be stolen or used elsewhere was allowed to remain complete, thereby keeping the value and the uniqueness of the ones in the royal possession.

 

However, some of these items were given away to visiting dignitaries, and in that way were spread around the Courts of Europe, but always making sure the ones held by the King, were the best.  These now are the world-famous paintings and items held in the Naples Museum.

 

It is thought that VII.16.22 (the House of Fabius Rufus) was to be found on the Irace property, as well as the Houses at VI.17.42, VI.17.41, VI.17.32-36, up until VI.17.23-25.

 

The Cuomo property must have been to the north of this, the most notable finds from here came in April and May 1760 when a painted frieze of tondi with busts of the gods representing the days of the week, the months and the seasons were removed in several sections from a large room which was painted with a yellow background. 

 

According to Pagano –

in VI.17.9/10, (Casa della Danzatrice or Casa di Diana I) paintings and mosaics found on 12th and 26th November 1763, were from “Fondo Cuomo”, described as from Masseria de Natale Adevico.

See Pagano M., 1997. I diari di scavo di Pompei, Ercolano e Stabia di Francesco e Pietro La Vega (1764-1810). Roma, (p.17).

 

From the properties at Insula Occidentalis, the excavators moved south-east towards the area of VII.6.3. and VII.6.38, (these also being under the Irace property).

 

Paintings found under the Cuomo property

 

Pompeii Insula Occidentalis. Tondi (round medallions) found in May 1760 in the same room at Civita.
The information on the tondi given by AdE 3, p. 257-263 was quite detailed.
“A room was found in May 1760 in the excavations of the City whose walls were all painted yellow, and around these walls, at the height of about 1.58m from the ground, the tondi were painted, and other tondi: 
- Placed in order on a wall were the seven tondi of the days of the week, which luckily were found in their entirety, as here you see recorded, with all the fascia of the plaster, which also was entirely preserved in the original painting: 
- The tondi of the other walls were for the most part missing in the plaster, or totally lost their colour:
-  In order that it is worthwhile, the drawings of the broken off fragments, that are observed here, unified or divided, are precisely as are the original pieces of the plaster.” 
For more of this detail see our pictures below.
See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, pl. 50, pages 257 -263.
See PAH 1, 1,106-8, 19th April to 2nd May 1760.

Pompeii Insula Occidentalis. Tondi (round medallions) found in May 1760 in the same room at Cività.

The information on the tondi given by AdE 3, p. 257-263 was quite detailed.

“A room was found in May 1760 in the excavations of the City whose walls were all painted yellow, and around these walls, at the height of about 1.58m from the ground, the tondi were painted, and other tondi:

- Placed in order on a wall were the seven tondi of the days of the week, which luckily were found in their entirety, as here you see recorded, with all the fascia of the plaster, which also was entirely preserved in the original painting:

- The tondi of the other walls were for the most part missing in the plaster, or totally lost their colour:

-  In order that it is worthwhile, the drawings of the broken off fragments, that are observed here, unified or divided, are precisely as are the original pieces of the plaster.”

For more of this detail see our pictures below.

See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, pl. 50, pages 257 -263.

See PAH 1, 1,106-8, 19th April to 2nd May 1760.

 

Pompeii Insula Occidentalis. Medallions showing the days of the week, found beneath the Cuomo property.  
According to Grasso, this one large fragment which was found intact shows the divinities of the week. 
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.530-1)
Now in Naples Archaeological Museum. Inventory number 9519.
From the left starting with Sabbato (Saturday):
Greek:   Cronos, Helios, Selene, Ares, Hermes, Zeus, Aphrodite.
Roman: Saturno, Sole (sun), Luna (moon), Mars, Mercury, Giove, Venus.
Italian:    Sabbato, Domenica, Lunedi, Martedi, Mercoledi, Giovedi, Venerdi.
English: Saturday, Sunday, Monday, Tuesday, Wednesday, Thursday, Friday.
According to Wikipedia, the order of the days was Sun, Moon, Ares, Hermes, Zeus, Aphrodite, and Cronos, named after the heavenly bodies that presided over the first daylight hour of each day, according to Hellenistic astrology. From Greece the planetary week names passed to the Romans and from Latin to other languages of southern and western Europe, and to other languages later influenced by them. See Wikipedia - Names of the days of the week
According to Pagano and Prisciandaro, this was found 26th April - 2nd May 1760, in the same room as 9518, 9520, and 9521. (PAH,1, 106)
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi. (p.33)

Pompeii Insula Occidentalis. Medallions showing the days of the week, found beneath the Cuomo property. 

According to Grasso, this one large fragment which was found intact shows the divinities of the week.

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.530-1)

Now in Naples Archaeological Museum. Inventory number 9519.

From the left starting with Sabbato (Saturday):

Greek:   Cronos, Helios, Selene, Ares, Hermes, Zeus, Aphrodite.

Roman: Saturno, Sole (sun), Luna (moon), Mars, Mercury, Giove, Venus.

Italian:    Sabbato, Domenica, Lunedi, Martedi, Mercoledi, Giovedi, Venerdi.

English: Saturday, Sunday, Monday, Tuesday, Wednesday, Thursday, Friday.

According to Wikipedia, the order of the days was Sun, Moon, Ares, Hermes, Zeus, Aphrodite, and Cronos, named after the heavenly bodies that presided over the first daylight hour of each day, according to Hellenistic astrology. From Greece the planetary week names passed to the Romans and from Latin to other languages of southern and western Europe, and to other languages later influenced by them. See Wikipedia - Names of the days of the week

According to Pagano and Prisciandaro, this was found 26th April - 2nd May 1760, in the same room as 9518, 9520, and 9521. (PAH,1, 106)

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p.33)

 

Pompeii Insula Occidentalis. Pastiche of calendar of the months made from 4 separate fragments making 7 medallions, found beneath the Cuomo property. 
Now in Naples Archaeological Museum. Inventory number 9521.
From the left the pieces are
1: Genius Augusti, a youth in yellow cloak holding a rake, elderly person with yellow clothes and covered head.
2: Head of Diana with crescent moon.
3: Giove with long sceptre and Venere.
4: Naked youth with crown of vine leaves and swollen mantle of seasonal fruits.
According to Grasso these represent:
Agosto, Settembre, Gennaio, Febbraio, Novembre, Luglio, Aprile e Settembre.
(August, September, January or February, November, July, April and September.)
The fragments were detached from a wall in Pompeii in May 1760 and would have been part of a medallion frieze with blue backgrounds, in a room with walls painted in yellow ochre.
The picture frame contains four fragments which make up the seven medallions.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p. 530-1)
According to Pagano and Prisciandaro, this was found 26th April - 2nd May 1760, in the same room as 9518, 9519, and 9520. (PAH,1,106)
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi. (p.33)

Pompeii Insula Occidentalis.

Pastiche of calendar of the months made from 4 separate fragments making 7 medallions, found beneath the Cuomo property.

Now in Naples Archaeological Museum. Inventory number 9521.

From the left the pieces are

1: Genius Augusti, a youth in yellow cloak holding a rake, elderly person with yellow clothes and covered head.

2: Head of Diana with crescent moon.

3: Giove with long sceptre and Venere.

4: Naked youth with crown of vine leaves and swollen mantle of seasonal fruits.

According to Grasso these represent:

Agosto, Settembre, Gennaio, Febbraio, Novembre, Luglio, Aprile e Settembre.

(August, September, January or February, November, July, April and September.)

The fragments were detached from a wall in Pompeii in May 1760 and would have been part of a medallion frieze with blue backgrounds, in a room with walls painted in yellow ochre.

The picture frame contains four fragments which make up the seven medallions.

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p. 530-1)

According to Pagano and Prisciandaro, this was found 26th April - 2nd May 1760, in the same room as 9518, 9519, and 9520. (PAH,1,106)

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p.33)

 

Pompeii Insula Occidentalis. Calendar of seasons made of two medallions, found beneath the Cuomo property. 
Left shows Summer with a kalathos (vase) in the left hand. Right shows Pan or a faun representing Spring.
Now in Naples Archaeological Museum. Inventory number 9518.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p. 532)
According to Pagano and Prisciandaro, this was found 26th April - 2nd May 1760, in the same room as 9519, 9520 and 9521. (PAH, 1, 106)
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi. (p. 33)

Pompeii Insula Occidentalis. Calendar of seasons made of two medallions, found beneath the Cuomo property.

Left shows Summer with a kalathos (vase) in the left hand. Right shows Pan or a faun representing Spring.

Now in Naples Archaeological Museum. Inventory number 9518.

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p. 532)

According to Pagano and Prisciandaro, this was found 26th April - 2nd May 1760, in the same room as 9519, 9520 and 9521. (PAH, 1, 106)

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p. 33)

 

Pompeii Insula Occidentalis. Calendar of seasons made of two medallions, found beneath the Cuomo property. 
On the left, Vulcan in Phrygian cap (September) and on the right, Dionysus with crown of ivy (October).
Now in Naples Archaeological Museum. Inventory number 9520.
According to Grasso, these two separate medallions have been inserted into one picture-frame.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p. 533)
According to Pagano and Prisciandaro, this was found 26th April - 2nd May 1760, in the same room as 9518, 9519 and 9521. (PAH, 1, 106)
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi. (p. 33)

Pompeii Insula Occidentalis. Calendar of seasons made of two medallions, found beneath the Cuomo property.

On the left, Vulcan in Phrygian cap (September) and on the right, Dionysus with crown of ivy (October).

Now in Naples Archaeological Museum. Inventory number 9520.

According to Grasso, these two separate medallions have been inserted into one picture-frame.

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p. 533)

According to Pagano and Prisciandaro, this was found 26th April - 2nd May 1760, in the same room as 9518, 9519 and 9521. (PAH, 1, 106)

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p. 33)

 

From a nearby room came the painted medallions of the young man with a scroll and a young woman with a stylus, the “Sappho”.

 

Pompeii Insula Occidentalis. Architectural scene, found 17 May 1760, beneath the Cuomo property.
Now in Naples Archaeological Museum. Inventory number 9709.
According to Grasso, these two architectural painted panel-ends would have had the function of separating the central panel of the wall from the side panels, the mythological painting of Andromeda and Perseus would have been displayed in the middle of the central panel.  Found in the centre of the side panels would have been the medallions with the painting called “Sappho” and the youth with the scroll. 
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.524-5)
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 Mayo 1760.

Pompeii Insula Occidentalis.

Architectural scene, found 17 May 1760, beneath the Cuomo property.

Now in Naples Archaeological Museum. Inventory number 9709.

According to Grasso, these two architectural painted panel-ends would have had the function of separating the central panel of the wall from the side panels, the mythological painting of Andromeda and Perseus would have been displayed in the middle of the central panel.  Found in the centre of the side panels would have been the medallions with the painting called “Sappho” and the youth with the scroll.

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.524-5)

According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.

See PAH 1, 1, 109, 17 May 1760.

 

Pompeii Insula Occidentalis. Architectural scene, found 17 May 1760, beneath the Cuomo property.
Now in Naples Archaeological Museum. Inventory number 9710.
According to Grasso, these two architectural painted ends would have had the function of separating the central panel of the wall from the side panels, the mythological painting of Andromeda and Perseus would have been displayed in the middle of the central panel. Found in the centre of the side panels would have been the medallions with the painting called “Sappho” and the youth with the scroll. 
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.524-5)
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 Mayo 1760.

Pompeii Insula Occidentalis.

Architectural scene, found 17 May 1760, beneath the Cuomo property.

Now in Naples Archaeological Museum. Inventory number 9710.

According to Grasso, these two architectural painted ends would have had the function of separating the central panel of the wall from the side panels, the mythological painting of Andromeda and Perseus would have been displayed in the middle of the central panel. Found in the centre of the side panels would have been the medallions with the painting called “Sappho” and the youth with the scroll.

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.524-5)

According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.

See PAH 1, 1, 109, 17 May 1760.

 

Pompeii Insula Occidentalis. Pastiche of fragments from the same room, found 17 May 1760, beneath the Cuomo property.
Now in Naples Archaeological Museum. Inventory number 9866.
According to Grasso, these fragments of painted plaster were detached from the same room as the two previous paintings, and then inserted into one frame.  
The top fragment showed three ships in a false sea-battle. Originally it would have been seen at the top of the architectural panel-ends.
The fragment underneath belonged to the lower part of one of the architectural panel-ends
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.525)
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 May 1760.

Pompeii Insula Occidentalis.

Pastiche of fragments from the same room, found 17 May 1760, beneath the Cuomo property.

Now in Naples Archaeological Museum. Inventory number 9866.

According to Grasso, these fragments of painted plaster were detached from the same room as the two previous paintings, and then inserted into one frame. 

The top fragment showed three ships in a false sea-battle. Originally it would have been seen at the top of the architectural panel-ends.

The fragment underneath belonged to the lower part of one of the architectural panel-ends

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.525)

According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.

See PAH 1, 1, 109, 17 May 1760.

 

Pompeii Insula Occidentalis. Found 17th May 1760. Sappho or young woman with tablet and stylus, found beneath the Cuomo property.
Now in Naples Archaeological Museum. Inventory number 9084.
According to Grasso, this medallion found in June 1760 is one of the most noted frescoes of the Naples Museum.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.526-7)
According to AdE, it was found with the medallion showing the youth with a scroll (9085).
See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, p. 237, Tav. 46.

Pompeii Insula Occidentalis. Found 17th May 1760.

Sappho or young woman with tablet and stylus, found beneath the Cuomo property.

Now in Naples Archaeological Museum. Inventory number 9084.

According to Grasso, this medallion found in June 1760 is one of the most noted frescoes of the Naples Museum.

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.526-7)

According to AdE, it was found with the medallion showing the youth with a scroll (9085).

See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, p. 237, Tav. 46.

 

Pompeii Insula Occidentalis. Found 17th May 1760. Youth with scroll, found beneath the Cuomo property.
According to Grasso, along with the Sappho picture, this picture decorated the middle area of a side panel with a white background, of an elegant wall painted in the IV Style. 
Now in Naples Archaeological Museum. Inventory number 9085.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.528)
According to AdE, it was found with the medallion showing the woman with tablet and stylus (9084).
See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, p. 237, Tav. 46.
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 Mayo 1760.

Pompeii Insula Occidentalis. Found 17th May 1760. Youth with scroll, found beneath the Cuomo property.

According to Grasso, along with the Sappho picture, this picture decorated the middle area of a side panel with a white background, of an elegant wall painted in the IV Style.

Now in Naples Archaeological Museum. Inventory number 9085.

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.528)

According to AdE, it was found with the medallion showing the woman with tablet and stylus (9084).

See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, p. 237, Tav. 46.

According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.

See PAH 1, 1, 109, 17 May 1760.

 

Pompeii Insula Occidentalis. Found 24th May 1760. Casa della Saffo? 
Perseus and Andromeda with the head of Medusa, (found in the ‘vicinity’ of the medallions).
Now in Naples Archaeological Museum. Inventory number 8995.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.528) 
See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, p. 63-9, pl. 7. (Found Civita 24th June 1760)
According to Pagano and Prisciandaro, this was found on the 24th May 1760.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi, p. 34-5.
See PAH, 1, 109-110, 24 Mayo 1760.

Pompeii Insula Occidentalis. Found 24th May 1760. Casa della Saffo?

Perseus and Andromeda with the head of Medusa, (found in the ‘vicinity’ of the medallions).

Now in Naples Archaeological Museum. Inventory number 8995.

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.528)

See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, p. 63-9, pl. 7. (Found Cività 24th June 1760)

According to Pagano and Prisciandaro, this was found on the 24th May 1760.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 34-5.

See PAH, 1, 109-110, 24 May 1760.

 

Pompeii Insula Occidentalis. AdE says found 24th June ( PAH says 24th May) 1760 at Civita. 
Perseus and Andromeda with the head of Medusa.
See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, p. 63-9, pl. XII.

Pompeii Insula Occidentalis. AdE says found 24th June (PAH says 24th May) 1760 at Civita.

Perseus and Andromeda with the head of Medusa.

See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, p. 63-9, pl. XII.

 

Pompeii Insula Occidentalis. Found beneath the Cuomo property 17th May 1760. Hunt scene. Predella of a side panel in the centre of which were the medallions 9084 or 9085.
Now in Naples Archaeological Museum. Inventory number 8804.
According to Grasso, this fragment showed a hunting scene with two lions attacking two goats.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.529)
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 Mayo 1760.

Pompeii Insula Occidentalis. Found beneath the Cuomo property 17th May 1760. Hunt scene.

Predella of a side panel in the centre of which were the medallions 9084 or 9085.

Now in Naples Archaeological Museum. Inventory number 8804.

According to Grasso, this fragment showed a hunting scene with two lions attacking two goats.

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.529)

According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.

See PAH 1, 1, 109, 17 May 1760.

 

Pompeii Insula Occidentalis. Found beneath the Cuomo property 17th May 1760. Hunt scene. Predella from below the central panel, found beneath the Cuomo property. 
Now in Naples Archaeological Museum. Inventory number 8805.
According to Grasso, this fragment also showed a hunting scene.
The fragment is not from the same wall from which the architectural views (9709 and 9710) were taken.
See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.529)
According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi, p. 33.
See PAH 1, 1, 109, 17 Mayo 1760.

Pompeii Insula Occidentalis.

Found beneath the Cuomo property 17th May 1760. Hunt scene. Predella from below the central panel, found beneath the Cuomo property.

Now in Naples Archaeological Museum. Inventory number 8805.

According to Grasso, this fragment also showed a hunting scene.

The fragment is not from the same wall from which the architectural views (9709 and 9710) were taken.

See Bragantini, I & Sampaolo, V (eds). 2009. La Pittura Pompeiana, (Electa), (p.529)

According to Pagano and Prisciandaro, inventory numbers 9709, 9866, 8624, 8804, 9085, 9710, 8805, 8587 were found in the same room.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 33.

See PAH 1, 1, 109, 17 May 1760.

 

By July 1760, the excavators had returned to the Irace property and by the last months of 1760, the excavators were once more in the Cuomo property, (according to PAH 1,1,115-7, 2nd August – 6th September 1760, excavations took place on the properties belonging to De Fillipis, Imperato, and Balzano (also known as the Cuomo/Balzano property – Balzano was the tenant at this time), but when the “pickings” dwindled to a stand-still, attention was once more turned southwards towards the Irace property, where they discovered the atrium of the house where the statue of Diana had been found (VII.6.3).

According to Parslow, “further tunnelling in this area over the next year led to more spectacular finds, (VII.6.38 lararium PAH 1, 1, 133 6th June 1761, and VII.6.7 large garden painting of Venus, PAH 1, 1, 140 6th March 1762) and eventually led to a shift towards open-air trenches as the preferred means of excavating this area.”

See Parslow, C.C. (1998). Rediscovering Antiquity: Karl Weber and the Excavation of Herculaneum, Pompeii and Stabiae. UK, Cambridge UP

 

In mid-December 1762 excavations resumed on the Cuomo property where an ancient paved street had been found.

In September 1763, the north side of the Herculaneum gate was found, affirming the importance of the street.

As a consequence of this, the gate’s facade and the three tombs situated immediately outside were not reburied and so became the first Pompeian monuments left permanently exposed.

 

On the 11th February 1764, at the Masseria of Natale Adevico, in the vicinity of the ancient Gate, two rooms were found together with 13 fragments of fallen plaster.

(According to a report from Weber to Alcubierre, these were from the fondo Cuomo).

See Pagano, M. (1997). I Diari di Scavo di Pompei Ercolano e Stabiae di Francesco e Pietro La Vega (1764-1810).  Rome, L’Erma di Bretschneider, (p.18)

According to Pagano and Prisciandaro, some of the fragments are shown below, and they provenance these fragments from VI.17.9-10, together with others found there in August 1778. By March 1764, the Villa of Cicero was also being excavated.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p. 45)

 

Pompeii Insula Occidentalis. Above a garland of grapes are the busts of two Bacchantes. One is dressed in white and is playing a double flute. The other is dressed in yellow and is playing the cymbals.
Now in Naples Archaeological Museum. Inventory number 9266.
See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 461.

Pompeii Insula Occidentalis. Above a garland of grapes are the busts of two Bacchantes.

One is dressed in white and is playing a double flute.

The other is dressed in yellow and is playing the cymbals.

Now in Naples Archaeological Museum. Inventory number 9266.

See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 461.

 

Pompeii Insula Occidentalis. Above a garland of grapes are two female musicians. 
On the left are two fragments, where amongst the vines a goat is grazing, and a panther/tiger is walking. 
See Real Museo Borbonico: vol. VII, 1831, tav. 22. 
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, p. 22.

Pompeii Insula Occidentalis. Above a garland of grapes are two female musicians.

On the left are two fragments, where amongst the vines a goat is grazing, and a panther/tiger is walking.

See Real Museo Borbonico: vol. VII, 1831, tav. 22.

See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, p. 22. 

 

Pompeii Insula Occidentalis, or Villa of Cicero ??. Fragments framed in the same frame.
Now in Naples Archaeological Museum. Inventory number 9926.
Tigre con rami e frutti in campo nero. Tiger with branches and fruits on black background.
Vaso coricato in campo nero. Vase on black background.
Due pigne, rami e fiori in campo nero. Two pine cones, branches and flowers on black background.

Pompeii Insula Occidentalis, or Villa of Cicero ??. Fragments framed in the same frame.

Now in Naples Archaeological Museum. Inventory number 9926.

Tigre con rami e frutti in campo nero. Tiger with branches and fruits on black background.

Vaso coricato in campo nero. Vase on black background.

Due pigne, rami e fiori in campo nero. Two pine cones, branches and flowers on black background.

 

Pompeii Insula Occidentalis. Fragments with black background, framed in the same frame.
Now in Naples Archaeological Museum. Inventory number 9926.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, p. 54.

Pompeii Insula Occidentalis. Fragments with black background, framed in the same frame.

Now in Naples Archaeological Museum. Inventory number 9926.

See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, p. 54.

 

Pompeii Insula Occidentalis. Found 11th February 1764. Pastiche of painted plaster fragments.
Now in Naples Archaeological Museum. Inventory number 9915.
According to Pagano and Prisciandaro, a fragment of 0.11m square, half an eagle with wings outstretched, is inventory number 9915.
They give the reference AdE VII, 24, 107.
Several other fragments are in the same frame.
A four legged animal, painted on a black background.
Basket with two tied ribbons and flowers, painted on a coloured background.
Two panthers that seem to have been gilded, on a coloured background.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi, p. 45.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, p. 107.

Pompeii Insula Occidentalis. Found 11th February 1764. Pastiche of painted plaster fragments.

Now in Naples Archaeological Museum. Inventory number 9915.

According to Pagano and Prisciandaro, a fragment of 0.11m square, half an eagle with wings outstretched, is inventory number 9915.

They give the reference AdE VII, 24, 107.

Several other fragments are in the same frame.

A four-legged animal painted on a black background.

Basket with two tied ribbons and flowers, painted on a coloured background.

Two panthers that seem to have been gilded, on a coloured background.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 45.

See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, p. 107.

 

Pompeii Insula Occidentalis. Found 11th february 1764. Pastiche of fresco fragments.
Now in Naples Archaeological Museum. Inventory number 9885.
According to Pagano and Prisciandaro, a fragment of 0.11m square, parrot on coloured background, is inventory number 9885.
They give the reference AdE VII, 19, 85.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi, p. 45.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, p. 85.

Pompeii Insula Occidentalis. Found 11th February 1764. Pastiche of fresco fragments.

Now in Naples Archaeological Museum. Inventory number 9885.

According to Pagano and Prisciandaro, a fragment of 0.11m square, parrot on coloured background, is inventory number 9885.

They give the reference AdE VII, 19, 85.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 45.

See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, p. 85.

 

According to Pagano and Prisciandaro, the paintings/drawings below were found in VI.17.9-11,

(Note: however in Helbig (numbers 1159 and 1402), he described it as from Pompeii, Farm/land di Irace, presumably from the south side of Via Consolare, the question being was VI.17.9-11 under the property of Irace, or was it under the property of Cuomo ?).

 

14th July 1764, PAH I, 1, 157:

We continue to excavate in the house mentioned in the last report, where we have found two portions of painted plaster that decorated the same wall of a room.

The first: the zoccolo that was on all of the wall had a black background, in the middle was shown a woman with mantle and crown of flowers on her head, she held a thyrsus in her left hand and a disc/circle in her right hand, below her was a painted panel of a small landscape.  Above this decoration was a painting (that had been transported from another place by the ancients, and which had only recently been stuck to the plaster) in which various figures were seen. (Helbig 1402, Ornati I, tav.21 or tav.30).

 

VI.17.9/11, or Irace at VI.17.00. Painting of family greeting a winning hero followed by several warriors.
See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1796, tav. 21. 
See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1838, tav. 30. 
Described as -
Pl.30 “Famiglia che si prostra ad un eroe vincitore seguito da diversi guerrieri: parete incisa dal Cepparoli”.
(Family greeting a winning hero followed by several warriors: wall incised by Cepparoli.)

VI.17.9/11, or Irace at VI.17.00. Painting of family greeting a winning hero followed by several warriors.

See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1796, tav. 21.

See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1838, tav. 30.

Described as -

Pl.30 “Famiglia che si prostra ad un eroe vincitore seguito da diversi guerrieri: parete incisa dal Cepparoli”.

(Family greeting a winning hero followed by several warriors: wall incised by Cepparoli.)

 

VI.17.9/11, or Irace at VI.17.00. Pre-1843. Drawing by Abbate of wall, as above.
See Raccolta de più interessante Dipinture e di più belle Musaici rinvenuti negli Scavi di Ercolano, di Pompei, e di Stabia. 1843. Napoli.

VI.17.9/11, or Irace at VI.17.00. Pre-1843. Drawing by Abbate of wall, as above.

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

 

VI.17.9/11, or Irace at VI.17.00. Pre-1838. Drawing by Abbate of detail of central painting, as above.
See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1838, pl. 30 detail.

VI.17.9/11, or Irace at VI.17.00. Pre-1838. Drawing by Abbate of detail of central painting, as above.

See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1838, pl. 30 detail.

 

The second (see, Note 226, below): also on a black zoccolo like the other painting, in the middle of which was woman with butterfly wings in the act of flying, totally clothed other than her arms, with a crown on her head and pendants in her ears, carrying in her right hand a basket of flowers and a branch in her left hand. The said woman rested inside a doorway, which was surrounded by two thyrsi and various branches. Remaining above the zoccolo, we see, as in the other on a red background, two pedestals at the extremities, both of which hold a portion of column between which, above the zoccolo, stood a vase. (NAP 8600, AdE VII, 16, 75).

(Note: 226 – Masseria Irace, 14 July 1764 – This wall with described painting was reported in a volume of Ornati delle pareti e pavimenti, published in 1808.

PAH I, addendum 149).

 

VI.17.9/11, or Irace at VI.17.00. Same as other drawings below.
See Duban F. Album de dessins d'architecture effectués par Félix Duban pendant son pensionnat à la Villa Medicis, entre 1823 et 1828: Tome 2, Pompéi, pl. 109.
INHA Identifiant numérique NUM PC 40425 (2)
https://bibliotheque-numerique.inha.fr/idurl/1/7157  « Licence Ouverte / Open Licence » Etalab

VI.17.9/11, or Irace at VI.17.00. Same as other drawings below.

See Duban F. Album de dessins d'architecture effectués par Félix Duban pendant son pensionnat à la Villa Medicis, entre 1823 et 1828: Tome 2, Pompéi, pl. 109.

INHA Identifiant numérique NUM PC 40425 (2)

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

 

VI.17.9/11, or Irace at VI.17.00. As below and above.
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, Tav. 16, p. 75.

VI.17.9/11, or Irace at VI.17.00. As below and above.

See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, Tav. 16, p. 75.

 

VI.17.9/11, or Irace at VI.17.00. Same as below by Poirot. (Candelabra added to above drawing)
See Raccolta de più interessante Dipinture e di più belle Musaici rinvenuti negli Scavi di Ercolano, di Pompei, e di Stabia. 1843. Napoli.

VI.17.9/11, or Irace at VI.17.00. Same as below by Poirot. (Candelabra added to above drawing)

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

 

VI.17.9/11, or Irace at VI.17.00. 1826 drawing by P-A Poirot.
See Poirot, P. A., 1826. Carnets de dessins de Pierre-Achille Poirot. Tome 2 : Pompeia, pl. 79.
See Book on INHA  Document placé sous « Licence Ouverte / Open Licence » Etalab

VI.17.9/11, or Irace at VI.17.00. 1826 drawing by P-A Poirot.

See Poirot, P. A., 1826. Carnets de dessins de Pierre-Achille Poirot. Tome 2 : Pompeia, pl. 79.

See Book on INHA  Document placé sous « Licence OuverteOpen Licence » Etalab 

 

21st July 1764, PAH I, 1, 158:

In the same house we have found a plaster in the same disposition to the other already described in the report of 14th July, with a picture in the middle of the zoccolo, which shows a woman, crowned with flowers and holding a bucket and a basket of flowers. (NAP 8514, ADE VII, 79, 353).

Above the zoccolo, amongst columns, we see a beautiful painting that contains 9 figures, which we could see, similarly, to have been brought from another place. (Helbig 1159, Ornati I, 1796, pl. 20)

 

VI.17.9/11, or Irace at VI.17.00. 1796 painting by Vanni described as Admetus and Alcestis or Iphigenia in Tauris.
See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1796, pl. 20.
In Ornati, 1838, pl. 29, it was described as “Ifigenia in Tauride”, Quadro pregevolissimo pel soggetto eper la composizione: parete incisa dal Campana.”
See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1838, pl. 30.
According to Grimaldi – this painting was from Masseria Irace, VII.6, a painting of Admetus and Alcestis
Now in Naples Archaeological Museum, inventory number SN 16.
See Grimaldi, M. (ed): The Painters of Pompeii, MondoMostre, Rome, (p.114/115, no.24).

VI.17.9/11, or Irace at VI.17.00. 1796 painting by Vanni described as Admetus and Alcestis or Iphigenia in Tauris.

See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1796, pl. 20.

In Ornati, 1838, pl. 29, it was described as “Ifigenia in Tauride”, Quadro pregevolissimo pel soggetto eper la composizione: parete incisa dal Campana.”

See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1838, pl. 30.

According to Grimaldi – this painting was from Masseria Irace, VII.6, a painting of Admetus and Alcestis

Now in Naples Archaeological Museum, inventory number SN 16.

See Grimaldi, M. (ed): The Painters of Pompeii, MondoMostre, Rome, (p.114/115, no.24).

 

28th July 1764, PAH I, 1, 158:

In the aforementioned podere of D. Giacomo Irace, we have found two black zoccolo, in line with the past reports of the 14th of July.

One, with decoration similar to the second zoccolo mentioned in the report of 14th July. In the middle was a flying figure, who carried a stick in the left hand, and some flowers in the right hand. (NAP 8514, 8516, ADE VII, 79, 353, Ornati I, 1796, pl. 21.)

 

VI.17.9-11 Pompeii or Via Consolare. One zoccolo at the top, and the second below. ADE VII, 79, 353.

VI.17.9-11 Pompeii or Via Consolare. One zoccolo at the top, and the second below. ADE VII, 79, 353.

28th July 1764, PAH I, 1, 158 (cont’d from above):

The other, not different to the other, other than the figure in the middle which was a of a nude woman carrying flowers in her hands. (NAP 9318).

Above the first zoccolo, the plaster was very faded and we were only able to distinguish a winged celebrity on a red background. (NAP 8951).

Above the second zoccolo the plaster was also nearly all ruined, nothing remained other than the head of a man with a garland of flowers, on an equally red background.  (NAP 9846).

 

According to ADE, VII, LXXIX (79), p.351-2:

“This painting, on a black background, was of a supreme delicacy, and finish. In the upper panel the frame was white; the band under the frame was yellow; and the shield was green, from which the branches come out, which were also green with white flowers; and the birds were red.

The band, which comes next, was red with white stripes.

The niche outside, and the dolphins, and the other ornaments above, are yellow; the tholos and the dome inside were green; and green again were the garlands/festoons; the side rods were yellow, with green foliage, and with white florets; the base of the niche was red.

The Cupid had green wings, blonde hair; the cloth hanging from his arm was red; the fronds with which he was crowned seem to be of pine; and he held the pedum in one hand, and the panpipes in the other."

 

(Questa pittura, in campo nero, era di una somma delicatezza, e finitura. Nel riquadro superiore la cornice era bianca; la fascia sotto la cornice era gialla; e verde era lo scudetto, ond’escono i ramuscelli, i quali son verdi anch’essi co’fiori bianchi; e gli uccelli son rossi.

La fascia, che vien dopo, era rossa con liste bianche.

La nicchia al di fuori, e i delfini, e gli altri ornati al di sopra, son gialli; il tolo, o sia la cupoletta al di dentro era verde; e verdi ancora sono i festoncini; le bacchette laterali son gialle, con fogliamo verdi, e con fioretti bianchi; il zoccolo della nicchia era rosso.

L’Amorino ha l’ali verdine, i capelli biondi; il panno sospeso al braccio era di color rosso; le frondi di cui era coronato sembran di pino; e tiene il pedo in una mano, e la siringa nell’altro.)

 

The painting below was in all respects similar to the one above.

The Psyche in the niche, which is recognized by the usual butterfly wings, had blonde hair encircled with fronds and flowers; had green clothing; and held a garland/festoon of fronds and flowers in the right hand, and in the left hand, a thyrsus intertwined with ribbons, and flowers.”

 

(Il riquadro di sotto era in tutto simile a quel di sopra.

La Psiche nella nicchia, che si riconosce alle solite ali di farfalla, ha il capelli biondi cinti di frondi, e fiori; ha il panno di color verde; e tiene colla destra un festoncino di frondi, e fiori, e nella sinistra un tirso intrecciato con nastri, e fiori.)

 

VI.17.9-11 Pompeii or Via Consolare. Painting with tholos, dolphins and winged cupid with a pedum.
Now in Naples Archaeological Museum. Inventory number 8516.

VI.17.9-11 Pompeii or Via Consolare. Painting with tholos, dolphins and winged cupid with a pedum.

Now in Naples Archaeological Museum. Inventory number 8516.

 

VI.17.9-11 Pompeii. Pre-1843. Drawing of several wall decorations by Abbate.
These may or may not be from this house but look very similar.
See Raccolta de più interessante Dipinture e di più belle Musaici rinvenuti negli Scavi di Ercolano, di Pompei, e di Stabia. 1843. Napoli.

According to Guidobaldi and Esposito -
“The drawing of the “candelabra” on the left, is from the Villa of the Royal Stables at Portici.”
Original now in Naples Archaeological Museum, inventory number: 9762.
See Guidobaldi, M.P. and Esposito, D. (2013). Herculaneum, Art of a Buried City. Abbeville Press, New York, (p. 124).

(This has also been copied to VI.17.10, and to Via Consolare.)

VI.17.9-11 Pompeii. Pre-1843. Drawing of several wall decorations by Abbate.

These may or may not be from this house but look very similar.

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

 

According to Guidobaldi and Esposito -

“The drawing of the “candelabra” on the left, is from the Villa of the Royal Stables at Portici.”

Original now in Naples Archaeological Museum, inventory number: 9762.

See Guidobaldi, M.P. and Esposito, D. (2013). Herculaneum, Art of a Buried City. Abbeville Press, New York, (p. 124).

 

(This has also been copied to VI.17.10, and to Via Consolare.)

 

Paintings found under the Irace property

 

By July 1760, the excavators had returned to the Irace property and removed a set of three panel paintings.

One was the myth of Phryxus and Helle, another was the Hermaphrodite and Satyr, and the third was the Three Graces. 

From a nearby colonnaded garden (VII.6.3), came the marble statue of Diana on the 19th July 1760,

See PAH 1, 1, 113-4, add. 140, 19th July 1760.

 

VI.17 Ins Occ. Masseria d’Irace. Found 8th July 1760. Phryxus and Helle. 
Now in Naples Archaeological Museum. Inventory number 8889.
However, according to Helbig, this was found under the Masseria di Cuomo, south (=west) side of Strada Consolare.
See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 1251.

VI.17 Ins Occ. Masseria d’Irace. Found 8th July 1760. Phryxus and Helle.

Now in Naples Archaeological Museum. Inventory number 8889.

However, according to Helbig, this was found under the Masseria di Cuomo, south (=west) side of Strada Consolare.

See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 1251.

 

VI.17 Ins Occ. Masseria d’Irace. Found at Civita on the 8th July 1760
See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, tav. IV, p. 19-23.
PAH 1, 1, 113, 12 Luglio 1760, said:
4. de 25 on. por 22 on. (approx. 0.55m x 0.48m) - representa un carnero con los cuernos a la frente, y sobre el carnero un hombre a caballo desnudo, y con la mano izquierda esta abrazado al cuello del animal, y con la derecha pareze tomar una muger de un rio, y el campo es de azul claro;
Add. 140 adds:
12 Luglio - Pittura di Frisso ed Elle, un Satiro che scovre una Ninfa, le tre Grazie. Lucerna di creta con suo stoppino ancora nel buco, trovata dentro una pignatta, coverta come un incensiere.
According to Quaranta, it is a “Dipinto Ercolanese”
See Real Museo Borbonico, Vol. VI, 1830, Tav XIX.
According to Helbig, this was found under the Masseria di Cuomo, south (=west) side of Strada Consolare.
See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 1251, p. 266-7.

VI.17 Ins Occ. Masseria d’Irace. Found at Cività on the 8th July 1760

See Antichità di Ercolano: Tomo Terzo: Le Pitture 3, 1762, tav. IV, p. 19-23.

PAH 1, 1, 113, 12 Luglio 1760, said:

(Number 4.) de 25 on. por 22 on. (approx. 0.55m x 0.48m) - representa un carnero con los cuernos a la frente, y sobre el carnero un hombre a caballo desnudo, y con la mano izquierda esta abrazado al cuello del animal, y con la derecha pareze tomar una muger de un rio, y el campo es de azul claro;

Add. 140 added:

12 Luglio - Pittura di Frisso ed Elle, un Satiro che scovre una Ninfa, le tre Grazie. Lucerna di creta con suo stoppino ancora nel buco, trovata dentro una pignatta, coverta come un incensiere.

According to Quaranta, it is a “Dipinto Ercolanese”

See Real Museo Borbonico, Vol. VI, 1830, Tav XIX.

According to Helbig, this was found under the Masseria di Cuomo, south (=west) side of Strada Consolare.

See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, 1251, p. 266-7.

 

VI.17 Ins Occ. Masseria d’Irace. Found at Cività on the 8th July 1760
Satyr discovering/uncovering a nymph or Hermaphrodite and Satyr, 
Now in Naples Archaeological Museum. Inventory number 27691.

VI.17 Ins Occ. Masseria d’Irace. Found at Cività on the 8th July 1760

Satyr discovering/uncovering a nymph or Hermaphrodite and Satyr,

Now in Naples Archaeological Museum. Inventory number 27691.

 

VI.17 Ins Occ. Masseria d’Irace. Found at Civita on the 8th July 1760
Satyr discovering/uncovering a nymph or Hermaphrodite and Satyr, 
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, tav. 32, p.141-3.
PAH 1, 1, 113 said -
5. de 25 on. por 22 on. (approx. 0.55 x 0.48m) - que representa un pano extendido por tierra, y una muger echada sobre de ello con la boca debajo, y sobre esta un satiro con los cuernos a la frente, y con la mano derecha abierta esta como si fuese sorprendido, y con la izquierda tiene una punta del mismo pano, sobre que esta la muger;
This shows a cloth extended on the ground, and a woman face down on it, and above her is a satyr with horns on his forehead, and with the open right hand as if he were surprised, and in the left he has a tip of the same cloth, on which the woman rests.

VI.17 Ins Occ. Masseria d’Irace. Found at Civita on the 8th July 1760

Satyr discovering/uncovering a nymph or Hermaphrodite and Satyr,

See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, tav. 32, p.141-3.

PAH 1, 1, 113 said -

(Number 5.) de 25 on. por 22 on. (approx. 0.55 x 0.48m) - que representa un pano extendido por tierra, y una muger echada sobre de ello con la boca debajo, y sobre esta un satiro con los cuernos a la frente, y con la mano derecha abierta esta como si fuese sorprendido, y con la izquierda tiene una punta del mismo pano, sobre que esta la muger;

(Number 5.) This showed a cloth extended on the ground, and a woman face down on it, and above her is a satyr with horns on his forehead, and with the open right hand as if he were surprised, and in the left he has a tip of the same cloth, on which the woman rests.

 

VI.17.31 or 36 Pompeii? Found on 12 July 1760 below the Irace property. Painting of the three graces.
This was found in VI Ins Occ and may have been from one of VI.17.31-36.
Now in Naples Archaeological Museum. Inventory number 9231.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi, p. 35.
See Antichità di Ercolano: Tomo Terzo, 1762, p. 57-61, pl. 11. (28th July 1760)
According to Mattusch, this may be from VI.17.31.
See Mattusch C., 2008. Pompeii and the Roman Villa. Thames and Hudson, p. 243.

VI.17.31 or 36 Pompeii? Found on 12 July 1760 below the Irace property.

Painting of the three graces.

This was found in VI Ins. Occ. and may have been from one of VI.17.31-36.

Now in Naples Archaeological Museum. Inventory number 9231.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 35.

See Antichità di Ercolano: Tomo Terzo, 1762, p. 57-61, pl. 11. (28th July 1760)

According to Mattusch, this may be from VI.17.31.

See Mattusch C., 2008. Pompeii and the Roman Villa. Thames and Hudson, p. 243.

 

VI.17.31 or 36 Pompeii? Found on 12 July 1760 below the Irace property. Painting of the three graces.
See Antichità di Ercolano: Tomo Terzo, 1762, p. 57-61, pl. 11. (28th July 1760)
PAH 1, 1, 113 said -
6. de 25 on. por 22 on. - representa tres mugeres desnudas, la del medio tiene abrazadas las otras dos, y las de los lados tienen abrazado la del medio, y con la otra mano una palma, y es en campo azul claro, y todo es en campo rojo. 
approx. 0.55 x 0.48m - represents three nude women, the central woman has embraced the other two, and the two at the sides have embraced the woman in the middle, and with their other hand hold a palm, and it is in light blue, and set in a red field.

VI.17.31-36 Pompeii? Found on 12 July 1760 below the Irace property. Painting of the three graces.

See Antichità di Ercolano: Tomo Terzo, 1762, p. 57-61, pl. 11. (28th July 1760)

PAH 1, 1, 113 said -

(Number 6.) de 25 on. por 22 on. - representa tres mugeres desnudas, la del medio tiene abrazadas las otras dos, y las de los lados tienen abrazado la del medio, y con la otra mano una palma, y es en campo azul claro, y todo es en campo rojo.

(Number 6.) approx. 0.55 x 0.48m - represents three nude women, the central woman has embraced the other two, and the two at the sides have embraced the woman in the middle, and with their other hand hold a palm, and it is in light blue, and set in a red field.

 

Irace property Pompeii. Predella of Aeneas and Romulus and small figurines on a black background, found 21 June 1760.
Now in Naples Archaeological Museum. Inventory number 8588.
(Found with another 5 paintings, see report of 21st and 28th June in PAH, 1, 1, 111-112).

Irace property Pompeii. Predella of Aeneas and Romulus and small figurines on a black background, found 21 June 1760.

Now in Naples Archaeological Museum. Inventory number 8588.

(Found with another 5 paintings, see report of 21st and 28th June in PAH, 1, 1, 111-112).

 

Irace property Pompeii. Egyptian landscape.
Now in Naples Archaeological Museum. Inventory number 9503.
According to Pagano & Prisciandaro, found 12/7/1760, with other paintings. 
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi. (p.34-5)
(Probably from under the Irace property as it was listed with the others from there, but the excavations could have been carried out in more than one location under the Irace property, at the same time).

Irace property Pompeii. Egyptian landscape.

Now in Naples Archaeological Museum. Inventory number 9503.

According to Pagano & Prisciandaro, found 12/7/1760, with other paintings.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p.34-5)

(Probably from under the Irace property as it was listed with the others from there, but the excavations could have been carried out in more than one location under the Irace property, at the same time).

 

Irace property Pompeii. Landscape with man tending four animals
See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, tav. 2, p. 7.
PAH 1. 1. 113 said:
3. de 19 on y ½ pr 11 on. - che representa otro paysote y una pequena figura de hombre bestido y sentado, que pareze mirar quatro animales;
approx. 0.43 x 0.24m - which represents another landscape with the small figure of a dressed and seated man, who watches over four animals.

Irace property Pompeii. Landscape with man tending four animals

See Antichità di Ercolano: Tomo Setto: Le Pitture 5, 1779, tav. 2, p. 7.

PAH 1. 1. 113 said:

(Number 3.) de 19 on y ½ pr 11 on. - che representa otro paysote y una pequena figura de hombre bestido y sentado, que pareze mirar quatro animales;

(Number 3.) approx. 0.43 x 0.24m - which represents another landscape with the small figure of a dressed and seated man, who watches over four animals.

 

Irace property Pompeii. Architectural landscape.
Now in Naples Archaeological Museum. Inventory number 9438.
According to Pagano & Prisciandaro, found 12/7/1760, with another 3 paintings all with blue backgrounds, (9151, 9465, 9436)
(probably from under the Irace property, as were listed with the others from there).
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli.  Naples: Nicola Longobardi. (p. 34-5)
According to Spinazzola these were from IX.12.4 and found around 1912.
See Spinazzola V., 1953. Pompei alla luce degli Scavi Nuovi di Via dell’Abbondanza (anni 1910-1923). Roma: La Libreria della Stato, Vol.2, p.719, fig.690.

Irace property Pompeii. Architectural landscape.

Now in Naples Archaeological Museum. Inventory number 9438.

According to Pagano & Prisciandaro, found 12/7/1760, with another 3 paintings all with blue backgrounds, (9151, 9465, 9436)

(probably from under the Irace property, as were listed with the others from there).

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p. 34-5)

According to Spinazzola these were from IX.12.4 and found around 1912.

See Spinazzola V., 1953. Pompei alla luce degli Scavi Nuovi di Via dell’Abbondanza (anni 1910-1923). Roma: La Libreria della Stato, Vol.2, p.719, fig.690.

 

Found during excavations in 1764 “Nel podere di Irace”

(According to Pagano & Prisciandaro, these may have been from VI.17. (Ins.Occ) 25?).

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi. (p. 48-50)

 

8th September 1764 – 5 painting found.  (See PAH, 1,1,160).

·         A zoccolo/dado of a room with red background, in the middle of which was a duck, and in the side parts were two Satyrs inside two doors, on which there were two landscapes with various figures. NAP 9747, 9749, (Ade VII, 72, 323) (NR 1234, 1235).

·         A square panel which showed a mask. (NR 1240) (see Note 1)

·         A painting in which one could see a young child with a bent knee, throwing water into a basin with a jug which he held in his hand, and a deer that is in the act of drinking. NAP 9215, (AdE, VII, 60, 269), (NR 1246), (MB X, 6), (Helbig 795).

·         Another showing a “flying” figure with red mantle swirling above a turquoise/violet tunic, carrying a club with the right hand that was leaning against the shoulder, and holding a mask in the left hand. NAP 8847, (AdE VII, 20,93), (NR 1248), (Helbig 877).

·         Another square panel showing a “flying” griffin/horse. NAP 9957, (NR 1239). 

(Note 1 – NAP 9788, (NR 1242, 1241) showing Masks, could have come from the same room).

 

15th September1764 – 13 paintings found. (See PAH, 1,1, p.161-2).

·         Painting of a “flying” nude child, with a cloth around his shoulders, with a stick in his left hand and a basket on his right arm, leading a goat (NR 1244)

·         Painting of another “flying” nude child with his left hand leading a deer pulling a cart. NAP 9226

·         Painting of another “flying” nude child holding a goat with his right hand. (NR 1243, Arditi said it was very faded/perished)

·         Painting of a woman in the air, dressed in a green mantle and shoes. (NR 1249)

·         Painting of another woman in the air, with a yellow tunic, mantle and shoes of turquoise/violet. (AdE VIII, 20. 93)

·         Painting of a small landscape of the sea and other buildings. NAP 9481.

·         Painting showing a centaur in the act of a playing a lyre and a youth in front of him. (NR 1238)

·         Painting of two figures, one sitting, totally nude, with garland of flowers and fronds in his hair, in the act of talking to the other who is standing dressed in a mantle, and under the left arm carried a shepherd’s crook (pedum). The background is empty. NAP 9032 and see 1871 sketch below.

 

Podere di Irace. Painting by Gregorio Mariani, 1871. A poet giving instructions to an actor. (Helbig 1456)
DAIR: Pompeji Wandmalerei 34, p. 117. Photo © Deutsches Archäologisches Institut, Abteilung Rom, Arkiv. 
See Fiorelli G., 1860. Pompeianarum antiquitatum historia, Vol. 1: 1748 - 1818, Naples, 1, 15th September 1764, Podere di Irace, no. 8 out of 13 pictures found.
At the top is a note "Napoli Museo Nazionale – Parete XXXV"
The original wall painting is now in Naples Archaeological Museum. Inventory number 9032.
(Note: A very similar drawing by A. Aureli can be seen in IX.3.5, Helbig 1455, and MANN 9038)

Podere di Irace. Painting by Gregorio Mariani, 1871. A poet giving instructions to an actor. (Helbig 1456)

DAIR: Pompeji Wandmalerei 34, p. 117. Photo © Deutsches Archäologisches Institut, Abteilung Rom, Arkiv.

See Fiorelli G., 1860. Pompeianarum antiquitatum historia, Vol. 1: 1748 - 1818, Naples, 1, 15th September 1764, Podere di Irace, no. 8 out of 13 pictures found.

At the top is a note "Napoli Museo Nazionale – Parete XXXV"

The original wall painting is now in Naples Archaeological Museum. Inventory number 9032.

(Note: A very similar drawing by A. Aureli can be seen in IX.3.5, Helbig 1455, and MANN 9038)

 

15th September 1764 – cont’d 

·         Two masks (not identified).

·         Painting of a bird, which seems to be a swan with open wings and above this, a small arch or canopy coloured yellow, the background was red.

NAP 9649, 9642

·         Two paintings of which they show portions of zoccolo/dado which in the middle have a mask placed in a doorway above which is a landscape.

In the remains of the plaster was a pedestal and above this, some columns with cornices, on which posed a griffin, and between the columns a        

vase with handles could be seen. NAP 9936, 9940.

   

29th September 1764 – 14 paintings found. (See La Vega, 20)

·         Portion of plaster from a room, with its zoccolo/dado, in the middle of which was a painting with three figures, the main one being a man wearing a garland sitting on a bed; the second was a woman nearly all nude other than her legs and turning towards the man; the other figure was also a woman standing behind the bed; this painting was on a rough plaster, and from the side parts another two figures could be seen, with various columns and panels, in one of which was a paper and pen, and in another panel there were two open books: the zoccolo/dado was with a black background, and in the middle was a panel with some fruit, and on the sides two pedestals and various birds. NAP 9731 (NR 1311) MB XIV, 22.

·         Painting showing two figures – the first of a man lying on a bed talking to a woman. (We know the ancients had searched to take this painting, as all around it we can see the plaster had been cut). NR 1285.

·         Painting showing three figures, one of a young man on a bed and the other two were women talking amongst themselves. NR 1286

·         Painting showing a “flying” woman dressed in a turquoise/purple mantle holding a cloth in her hands, which she makes into an arch around her head, NAP 9287 (AdE VII,15,71) Helbig, 930.

·         Painting of a nude “flying” child playing two pipes; the background was yellow. (NR 1291)

·         Three, showing countryside landscapes (NAP 9463, 9415 (AdE VII,3,13, 29,91), (NR 1290, 1292)

 

VI.17.25 Pompeii?  Found on 29th September 1764 along with 14 other pictures in the Masseria di Don Giacomo Irace.
Wall painting of country scene.
Now in Naples Archaeological Museum. Inventory number 9415.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples : Nicola Longobardi.  (p. 48-9).
(Pagano & Prisciandaro list this as from VI.17.25?, but was this under the Irace property?)

VI.17.25 Pompeii?  Found on 29th September 1764 along with 14 other pictures in the Masseria di Don Giacomo Irace.

Wall painting of country scene.

Now in Naples Archaeological Museum. Inventory number 9415.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples : Nicola Longobardi.  (p. 48-9).

(Pagano & Prisciandaro list this as from VI.17.25?, but was this under the Irace property?)

 

VI.17.25? Pompeii  Found on 29th September 1764 along with 14 other pictures in the Masseria di Don Giacomo Irace.
Wall painting of boats and fishermen and buildings.
Now in Naples Archaeological Museum. Inventory number 9463.
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples : Nicola Longobardi.  (p.48-9).
(Pagano & Prisciandaro list this as from VI.17.25?, but was this under the Irace property?)

VI.17.25? Pompeii. Found on 29th September 1764 along with 14 other pictures in the Masseria di Don Giacomo Irace.

Wall painting of boats and fishermen and buildings.

Now in Naples Archaeological Museum. Inventory number 9463.

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples : Nicola Longobardi.  (p.48-9).

(Pagano & Prisciandaro list this as from VI.17.25?, but was this under the Irace property?)

 

29th September 1764 (cont’d)

·         Painting showing the usual countryside, NAP 9432.

·         Painting showing a countryside landscape above which was an eagle on a garland, the background was black. NAP 9712 (AdE VII, 77, 345)

·         Two, in each of which was a garland on which posed a bird and above was a canopy, with a black background. NAP 9743, 9740

·         Painting of a door, in the middle of which was a goat, the background was black. NAP 8807

·         Painting of an eagle with open wings, on a black background (NR 1260)

 

6th October 1764 – 9 paintings found in one room,  (See La Vega, 20-21)

(perhaps also provenanced from the same room might be NAP 9745 (or NR 1394) – “a frieze with a red background decorated with various compartments, arabesques and a small painting with fish" (frieze of IV style).

·          Two, both similar, in each of which were seen 5 doors, with the one in the middle containing a woman wearing a mantle and with a garland on her head and thyrsus in her hand, in the doors on either side were “flying” masks, and in each of the other two doors two children could be seen; between these doors were various decorations of flowers and panels (NAP 9872, 9873 (or NR 1393, 1391) (note 1, below).

·          Two, each showing a landscape painting, and with various decorations around, with a peacock (NAP 9639, 9766, (or NR 1261, 1263) or AdE VII,78,349) (note 2, below).

·          Painting of 3 doors, with the one in the middle showing a woman with a thyrsus in her hand, and in the two side doors were “flying” masks, the remainder was decorated with various panels and branches (NAP 9748 (or NR 1392)

(NOTE: The 5 paintings above were parts of a zoccolo/dado, and had a red background).

·          Painting of a nude man, holding a stick in his right hand, and a basket in his left hand; the background was white (NAP 9139 (or NR 1255)

·          Painting of another nude man, holding a stick in his right hand above his shoulders, from which hangs an animal (NAP 9115 (or NR 1256)

·          Two, each one showing two children, on a white background (NAP 9227 (or NR 1288) AdE VII,1,4.

According to Pagano and Prisciandaro –

(Note 1 – certainly provenanced from the same room, were NR 1389, 1390)

(Note 2 - perhaps provenanced from the same rooms, were NAP 8673, 8671, (NR 1269, 1276, 1279).

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples : Nicola Longobardi.  (p. 49)

 

27th October 1764 – 7 paintings found.  (See La Vega, 22).

·         A woman wearing a mantle on a black background (NAP 9650 or NR 1254)

·         Two, in one a goat, and on the other a sheep, both on a black background (NR 1297)

·         A seahorse, on a black background (painting not identified).

·         A rooster, on a blue background (NR 1296)

·         A siren, on a black background (NAP 9158 or NR 1295)

·         A door, in the middle of which was a mask, and under this was a landscape painting (NR 1284)

 

 

3rd November 1764 – 1 painting, (NAP 9688 and Helbig 1541) which was the zoccolo (dado) of a room, in the middle of which was a painting with some sea animals. on each side of it was a herm, and at the side of each herms was a paintings with views of the sea, and some boats …..(wrote Paderni).

(See La Vega, 23)

 

VI.17.25 Pompeii?  Zoccolo painting found on 3rd November 1764.
Now in Naples Archaeological Museum. Inventory number 9688.
(Pagano & Prisciandaro list this as from VI.17.25, but was this under the Irace property?)
See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 50. 

According to CulturaItalia, this is marine scene on a black plinth with three white bordered interior frames.
The central frame has a marine bull and a centaur with a lobster body. 
The side frames have scenes with pygmies that are barely legible. 
Between the frames there are two herms with satyrs with crowns of foliage and wearing short tunics. 
The left satyr has a cup in his left hand and a stick placed on the right shoulder. 
The right satyr has a patera in his right hand and a stick resting in his left shoulder.

See CulturaItalia - Mostri Marini

VI.17.25 Pompeii?  Zoccolo painting found on 3rd November 1764.

Now in Naples Archaeological Museum. Inventory number 9688.

(Pagano & Prisciandaro list this as from VI.17.25, but was this under the Irace property?)

See Pagano, M. and Prisciandaro, R., 2006. Studio sulle provenienze degli oggetti rinvenuti negli scavi borbonici del regno di Napoli. Naples: Nicola Longobardi, p. 50.

 

According to CulturaItalia, this is marine scene on a black plinth with three white bordered interior frames.

The central frame has a marine bull and a centaur with a lobster body.

The side frames have scenes with pygmies that are barely legible.

Between the frames there are two herms with satyrs with crowns of foliage and wearing short tunics.

The left satyr has a cup in his left hand and a stick placed on the right shoulder.

The right satyr has a patera in his right hand and a stick resting in his left shoulder.

 

See CulturaItalia - Mostri Marini

 

VI.17.25 Pompeii?  Top painting - Zoccolo painting found on 3rd November 1764. 
Painted in Naples Museum, August 1832, by Charles Auguste Questel.
See Charles-Auguste Questel (1807-1888) Voyage en Italie et Sicile. Août 1831 - novembre 1832, pl. 42/120.
INHA identifiant numérique: NUM MS 512. Document placé sous « Licence Ouverte / Open Licence » Etalab

VI.17.25 Pompeii?  Top painting - Zoccolo painting found on 3rd November 1764.

Painted in Naples Museum, August 1832, by Charles Auguste Questel.

See Charles-Auguste Questel (1807-1888) Voyage en Italie et Sicile. Août 1831 - novembre 1832, pl. 42/120.

INHA identifiant numérique : NUM MS 512. Document placé sous « Licence OuverteOpen Licence » Etalab 

 

VI.17.25 Pompeii? Detail of small pygmy figures from left end of zoccolo painting found on 3rd November 1764.

VI.17.25 Pompeii? Detail of small pygmy figures from left end of zoccolo painting found on 3rd November 1764.

 

VI.17.25 Pompeii?  Detail of left side herm like satyr holding a cup in the left hand and a stick or staff on the right shoulder. 
From zoccolo painting found on 3rd November 1764.

VI.17.25 Pompeii?  Detail of left side herm like satyr holding a cup in the left hand and a stick or staff on the right shoulder.

From zoccolo painting found on 3rd November 1764.

 

VI.17.25 Pompeii?  Detail from centre of zoccolo painting found on 3rd November 1764. 
Sea bull and centaur with the body of a lobster. 
The lobster appears to be holding a weapon and fighting but the remaining part of the painting is lost.

VI.17.25 Pompeii?  Detail from centre of zoccolo painting found on 3rd November 1764.

Sea bull and centaur with the body of a lobster.

The lobster appears to be holding a weapon and fighting but the remaining part of the painting is lost.

 

VI.17.25 Pompeii?  Detail of right side herm like satyr holding a patera in the right hand and with a stick on the left shoulder. 
From zoccolo painting found on 3rd November 1764.

VI.17.25 Pompeii?  Detail of right-side herm like satyr holding a patera in the right hand and with a stick on the left shoulder.

From zoccolo painting found on 3rd November 1764.

 

VI.17.25 Pompeii?  Detail of small pygmy figures from right end of zoccolo painting found on 3rd November 1764.

VI.17.25 Pompeii?  Detail of small pygmy figures from right end of zoccolo painting found on 3rd November 1764.

 

10th November 1764 – 6 paintings (NAP 9643, 9644, 9645, 9647, 9648, 9692) –

(all similar, which showed an ornament, and above this was a bird on a black background)

(See La Vega, 23).

 

 

Plans      Bonucci      Excavations      Paintings found under the Cuomo property      Paintings found under the Irace property

 

 

 

 

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Le immagini fotografiche a bassa risoluzione pubblicate su questo web site sono copyright © di Jackie e Bob Dunn E NON POSSONO ESSERE UTILIZZATE, IN ALCUNA CIRCOSTANZA, PER GUADAGNO O RICOMPENSA COMMERCIALMENTE. Su concessione del Ministero della Cultura - Parco Archeologico di Pompei. Si comunica che nessun riproduzione o duplicazione può considerarsi legittimo senza l'autorizzazione scritta del Parco Archeologico di Pompei.

Ultimo aggiornamento - Last updated: 11-Aug-2021 14:14