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Pompeii Street View. Via Consolare. North to South, from the Herculaneum Gate to the junction with Via delle Terme.

 

Part 4      Part 1      Part 2      Part 3

 

Via Consolare. May 2010. Looking north from Via delle Terme along the west side of Via Consolare, VI.4.

Via Consolare. May 2010. Looking north from Via delle Terme along VI.4 on the west side of Via Consolare.  

 

Via Consolare. October 2020. Looking north along west side with wheel ruts.
Photo courtesy of Klaus Heese.

Via Consolare. October 2020.

Looking north along west side with wheel ruts. Photo courtesy of Klaus Heese.            

 

Via Consolare. May 2010. Looking north-east towards the junction with Vicolo di Modesto along the west side of VI.6 from near VI.6.20.

Via Consolare. May 2010.

Looking north-east towards the junction with Vicolo di Modesto along the west side of VI.6 from near VI.6.20.

 

Via Consolare, Pompeii. April 2019. Looking towards junction with Vicolo di Modesto (on right). 
Photo courtesy of Rick Bauer.

Via Consolare, Pompeii. April 2019. Looking towards junction with Vicolo di Modesto (on right). Photo courtesy of Rick Bauer.

 

Via Consolare, on left. October 2020. Looking north to junction with Vicolo di Modesto, on right. Photo courtesy of Klaus Heese.

Via Consolare, on left. October 2020. Looking north to junction with Vicolo di Modesto, on right. Photo courtesy of Klaus Heese.

 

Via Consolare. May 2010. Looking north to junction with Vicolo di Modesto. Photo courtesy of Rick Bauer.

Via Consolare. May 2010. Looking north to junction with Vicolo di Modesto. Photo courtesy of Rick Bauer.

 

Via Consolare. May 2010. Looking north from Via delle Terme. The junction on the right side of the fountain is the south end of Vicolo di Modesto.

Via Consolare. May 2010. Looking north from Via delle Terme. The junction on the right side of the fountain is the south end of Vicolo di Modesto.

 

Via Consolare. c.1819. Drawing by W. Gell, looking north towards the fountain at the junction with Vicolo di Modesto.
See Gell W & Gandy, J.P: Pompeii published 1819 [Dessins publiés dans l'ouvrage de Sir William Gell et John P. Gandy, Pompeiana: the topography, edifices and ornaments of Pompei, 1817-1819], pl. 21.
See book in Bibliothèque de l'Institut National d'Histoire de l'Art [France], collections Jacques Doucet Gell Dessins 1817-1819
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Via Consolare. c.1819. Drawing by W. Gell, looking north towards the fountain at the junction with Vicolo di Modesto.

See Gell W & Gandy, J.P: Pompeii published 1819 [Dessins publiés dans l'ouvrage de Sir William Gell et John P. Gandy, Pompeiana: the topography, edifices and ornaments of Pompei, 1817-1819], pl. 21.

See book in Bibliothèque de l'Institut National d'Histoire de l'Art [France], collections Jacques Doucet Gell Dessins 1817-1819

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Via Consolare. May 2010. Wheel ruts in the road surface, looking north from Via delle Terme.

Via Consolare. May 2010. Wheel ruts in the road surface, looking north from Via delle Terme.

 

Via Consolare, centre left, fountain at junction with Vicolo di Modesto. 
Michel Amodio cabinet card 3013 panorama and Rue Domitienne. Looking north across north side of Reg. VII, Ins. 6.
Photo courtesy of Rick Bauer.

Via Consolare, centre left, fountain at junction with Vicolo di Modesto.

Michel Amodio cabinet card 3013 panorama and Rue Domitienne. Looking north across north side of Reg. VII, Ins. 6.

Photo courtesy of Rick Bauer.

 

Via Consolare. May 2011. Looking north from junction with Via delle Terme. Photo courtesy of Michael Binns.

Via Consolare. May 2011. Looking north from junction with Via delle Terme. Photo courtesy of Michael Binns.

 

Via delle Terme between VII.6, on left, and VI.4, on right. Looking west towards Vicolo del Farmacista from near the junction with Via Consolare. March 2009.

Via delle Terme between VII.6, on left, and VI.4, on right. March 2009.

Looking west towards Vicolo del Farmacista from near the junction with Via Consolare.

 

Via Consolare. Plan, pre c.1819, showing western side of Pompeii, as excavated. 
Via Consolare is the road running from the top left-hand corner.
According to this plan, the excavated areas included Villa of Diomedes and Cicero on Via dei Sepulcri leading to the Herculaneum Gate.
Insula Occidentalis (VI.17) properties from VI.17.1 to VI.17.36, at the junction with Vicolo dei Farmacista.
Insula VI.1, VI.2, VI.3, part of VI.5, and House of Pansa in VI.6.
See Gell, W. Pompeii unpublished [Dessins de l'édition de 1832 donnant le résultat des fouilles post 1819 (?)] vol II, pl. 43.
Bibliothèque de l'Institut National d'Histoire de l'Art, collections Jacques Doucet, Identifiant numérique Num MS180 (2).
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Via Consolare. Plan, pre c.1819, showing western side of Pompeii, as excavated.

Via Consolare is the road running from the top left-hand corner.

According to this plan, the excavated areas included Villa of Diomedes and Cicero on Via dei Sepulcri leading to the Herculaneum Gate.

Insula Occidentalis (VI.17) properties from VI.17.1 to VI.17.36, at the junction with Vicolo dei Farmacista.

Insula VI.1, VI.2, VI.3, part of VI.5, and House of Pansa in VI.6.

See Gell, W. Pompeii unpublished [Dessins de l'édition de 1832 donnant le résultat des fouilles post 1819 (?)] vol II, pl. 43.

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

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Via Consolare, Pompeii. c.1821. 
According to Gell, on this plan B, C, D, E, F, G were known as the Great Street or Corso of Pompeii.
This would appear to be the area of Via Consolare down to its junction with Vicolo di Farmacista.  
See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, pl. 1, p. 15.

Via Consolare, Pompeii. c.1821.

According to Gell, on this plan B, C, D, E, F, G were known as the Great Street or Corso of Pompeii.

This would appear to be the area of Via Consolare down to its junction with Vicolo di Farmacista. 

See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, pl. 1, p. 15.

 

Via Consolare, Pompeii. c.1831. Detail from plan by Debret. 
See Debret F. (1777-1850), Piranesi F. (1758-1810), LaBrouste H. (1801-1875). Voyage en Italie-De Naples à Paestum, pl. 80.
INHA Identifiant numérique : NUM PC 77832 (07). See book on INHA Les documents sont placés sous « Licence Ouverte / Open Licence » Etalab 
81/264

Via Consolare, Pompeii. c.1831. Detail from plan by Debret.

See Debret F. (1777-1850), Piranesi F. (1758-1810), LaBrouste H. (1801-1875). Voyage en Italie-De Naples à Paestum, pl. 80.

INHA Identifiant numérique : NUM PC 77832 (07). See book on INHA Les documents sont placés sous « Licence OuverteOpen Licence » Etalab

81/264

 

Via Consolare, Pompeii. Pre-1838. Long wall of a room of a house placed in the City of Pompeii. 
No.58 above. From a house on the right of the street of the gates of Pompeii, which has a painting of Mars and Venus in the centre of the wall.
(58. Questa parete di una casa a destra della strada delle porte di Pompei ha nel mezzo un quadro in cui era rappresentato Marte e Venere. 
Diverse decorazioni architettoniche riempiono il rimanente del dipinto. Incisione dello Estevan.)
See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1838, tav. 58, Index p. 5.

Via Consolare, Pompeii. Pre-1838. Long wall of a room of a house placed in the City of Pompeii.

No.58 above. From a house on the right of the street of the gates of Pompeii, which has a painting of Mars and Venus in the centre of the wall.

(58. Questa parete di una casa a destra della strada delle porte di Pompei ha nel mezzo un quadro in cui era rappresentato Marte e Venere.

Diverse decorazioni architettoniche riempiono il rimanente del dipinto. Incisione dello Estevan.)

See Gli ornati delle pareti ed i pavimenti delle stanze dell'antica Pompei incisi in rame: 1838, tav. 58, Index p. 5.

 

Via Consolare (?), undated painting with the words “Dans la grand rue a droite” (In the main road, on the right).
See Chenavard, Antoine-Marie (1787-1883) et al. Voyage d'Italie, croquis Tome 3, pl. 116.
INHA Identifiant numérique : NUM MS 703 (3). See Book on INHA 
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Via Consolare (?), undated painting with the words “Dans la grand rue a droite” (In the main road, on the right).

See Chenavard, Antoine-Marie (1787-1883) et al. Voyage d'Italie, croquis Tome 3, pl. 116.

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

Document placé sous « Licence OuverteOpen Licence » Etalab   

 

Via Consolare (?). Undated paintings by Chenavard.
Mixed decorations from various places, Diomedes, Grande Rue etc.  (The Grand Rue would have been Via Consolare).
On the left, painted candelabra described as being from the Grand Rue.
Next to it, painted decoration from Maison de Campagne (Diomedes).
Next to that, painted decoration from Maison de Campagne (Diomedes).
On the right, two decs from Maison de Campagne (Diomedes).
On the upper right, the painted architecture is described as being from the Grand Rue.
See Chenavard, Antoine-Marie (1787-1883) et al. Voyage d'Italie, croquis Tome 3, pl. 112.
INHA Identifiant numérique : NUM MS 703 (3). See Book on INHA 
Document placé sous « Licence Ouverte / Open Licence » Etalab

Via Consolare (?). Undated paintings by Chenavard.

Mixed decorations from various places, Diomedes, Grande Rue etc.  (The Grand Rue would have been Via Consolare).

On the left, painted candelabra described as being from the Grand Rue.

Next to it, painted decoration from Maison de Campagne (Diomedes).

Next to that, painted decoration from Maison de Campagne (Diomedes).

On the right, two decs from Maison de Campagne (Diomedes).

On the upper right, the painted architecture is described as being from the Grand Rue.

See Chenavard, Antoine-Marie (1787-1883) et al. Voyage d'Italie, croquis Tome 3, pl. 112.

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

Document placé sous « Licence OuverteOpen Licence » Etalab   

 

Via Consolare? Pre-1831. Mixed decorative elements, very similar to ones in above photo. 
See Debret F. (1777-1850), Piranesi F. (1758-1810), LaBrouste H. (1801-1875). Voyage en Italie-De Naples à Paestum, pl. 128.
INHA Identifiant numérique : NUM PC 77832 (07). See book on INHA Les documents sont placés sous « Licence Ouverte / Open Licence » Etalab

Via Consolare? Pre-1831. Mixed decorative elements, very similar to ones in above photo.

See Debret F. (1777-1850), Piranesi F. (1758-1810), LaBrouste H. (1801-1875). Voyage en Italie-De Naples à Paestum, pl. 128.

INHA Identifiant numérique : NUM PC 77832 (07). See book on INHA Les documents sont placés sous « Licence OuverteOpen Licence » Etalab

 

Via Consolare? Pre-1828 paintings by Zahn.
The lower painting described as being from a room in a house near the gate leading to Herculaneum. 
The upper painting showing a head, was then on display in Naples Museum.
See Zahn, W., 1828-29. Die schönsten Ornamente und merkwürdigsten Gemälde aus Pompeji, Herkulanum und Stabiae: I. Berlin: Reimer, taf. 71.

Via Consolare? Pre-1828 paintings by Zahn.

The lower painting described as being from a room in a house near the gate leading to Herculaneum.

The upper painting showing a head, was then on display in Naples Museum.

See Zahn, W., 1828-29. Die schönsten Ornamente und merkwürdigsten Gemälde aus Pompeji, Herkulanum und Stabiae: I. Berlin: Reimer, taf. 71.

 

Via Consolare, on left, described as from the Grande Rue. Undated paintings by Chenavard.
Other paintings described as being from Maison du Triclinium. These have been entered into VIII.3.14.
However, this location could refer to VI.1.1, as it would make sense as to why they were both painted on the same page.
See Chenavard, Antoine-Marie (1787-1883) et al. Voyage d'Italie, croquis Tome 3, pl. 120.
INHA Identifiant numérique : NUM MS 703 (3). See Book on INHA 
Document placé sous « Licence Ouverte / Open Licence » Etalab

Via Consolare, on left, described as from the Grande Rue. Undated paintings by Chenavard.

Other paintings described as being from Maison du Triclinium. These have been entered into VIII.3.14.

However, this location could refer to VI.1.1, as it would make sense as to why they were both painted on the same page.

See Chenavard, Antoine-Marie (1787-1883) et al. Voyage d'Italie, croquis Tome 3, pl. 120.

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

Document placé sous « Licence OuverteOpen Licence » Etalab   

 

Via Consolare, on right, described as from the Grande Rue. Undated paintings by Chenavard.
The floral painted decoration on the left is described as being from Maison du Triclinium and has been entered into VIII.3.14. However, this location could refer to VI.1.1, as it would make sense as to why they were both painted on the same page. 
See Chenavard, Antoine-Marie (1787-1883) et al. Voyage d'Italie, croquis Tome 3, pl. 121.
INHA Identifiant numérique : NUM MS 703 (3). See Book on INHA 
Document placé sous « Licence Ouverte / Open Licence » Etalab

Via Consolare, on right, described as from the Grande Rue. Undated paintings by Chenavard.

The floral painted decoration on the left is described as being from Maison du Triclinium and has been entered into VIII.3.14. However, this location could refer to VI.1.1, as it would make sense as to why they were both painted on the same page.

See Chenavard, Antoine-Marie (1787-1883) et al. Voyage d'Italie, croquis Tome 3, pl. 121.

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

Document placé sous « Licence OuverteOpen Licence » Etalab   

 

According to Pagano and Prisciandaro, the paintings/drawings below were found in VI.17.9-11 but have been included here as being from a house on Via Consolare.

(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)
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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.
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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.

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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. 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 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. 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.17.00, and to VI.17.10.

 

 

Part 1      Part 2      Part 3

 

 

 

 

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Ultimo aggiornamento - Last updated: 11-Sep-2021 18:04