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VII.7.32 Pompeii. Tempio di Apollo or Temple of Apollo.

Excavated 1817.

 

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VII.7.32 Pompeii. May 2018. Looking north-west along west side. Photo courtesy of Buzz Ferebee.

VII.7.32 Pompeii. May 2018. Looking north-west along west side. Photo courtesy of Buzz Ferebee.

 

VII.7.32, Pompeii. February 1988. Looking towards south-west corner and west wall of portico.
Photo by Joachime Méric courtesy of Jean-Jacques Méric.

VII.7.32, Pompeii. February 1988. Looking towards south-west corner and west wall of portico.

Photo by Joachime Méric courtesy of Jean-Jacques Méric.

 

VII.7.32, Pompeii. October 2020. Looking north along west portico. Photo courtesy of Klaus Heese.

VII.7.32, Pompeii. October 2020. Looking north along west portico. Photo courtesy of Klaus Heese.

 

VII.7.32, Pompeii. c.1819 painting by W. Gell, of Agamemnon and Achilles.
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. 70.
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VII.7.32, Pompeii. c.1819 painting by W. Gell, of Agamemnon and Achilles.

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. 70.

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VII.7.32, Pompeii. c.1819 description of painting of Agamemnon and Achilles, by W. Gell.
He wrote –
“This is the picture of Achilles quarrelling with Agamemnon in the temple, once called the house of the dwarfs.
It is almost ruined but this is what can be made of it, don’t lose it, and if engraved do it smaller and rectify the feet, [& 1]? where I could not distinguish.”
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. 70 (verso du dessin).
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VII.7.32, Pompeii. c.1819 description of painting of Agamemnon and Achilles, by W. Gell.

He wrote –

“This is the picture of Achilles quarrelling with Agamemnon in the temple, once called the house of the dwarfs.

It is almost ruined but this is what can be made of it, don’t lose it, and if engraved do it smaller and rectify the feet, [& 1]? where I could not distinguish.”

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. 70 (verso du dessin).

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VII.7.32, Pompeii. Pre-1846. Painting by Raoul Rochette of a wall in the Temple of Venus.
See Raoul-Rochette M., 1846. Choix de Peintures de Pompei. Paris : L’Imprimerie Royale, pl. 8.

VII.7.32, Pompeii. Pre-1846. Painting by Raoul Rochette of a wall in the Temple of Venus.

See Raoul-Rochette M., 1846. Choix de Peintures de Pompei. Paris : L’Imprimerie Royale, pl. 8. 

 

VII.7.32 Pompeii. Paintings by Francesco Morelli, with scenes from the Iliad, seen on the walls of the portico. 
The body of Hector on the chariot is the scene on the left.
See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, (1324 and 266)
Now in Naples Archaeological Museum. Inventory number ADS 696.
Photo © ICCD. http://www.catalogo.beniculturali.it
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VII.7.32 Pompeii. Paintings by Francesco Morelli, with scenes from the Iliad, seen on the walls of the portico.

The body of Hector on the chariot is the scene on the left.

See Helbig, W., 1868. Wandgemälde der vom Vesuv verschütteten Städte Campaniens. Leipzig: Breitkopf und Härtel, (1324 and 266)

Now in Naples Archaeological Museum. Inventory number ADS 696.

Photo © ICCD. http://www.catalogo.beniculturali.it

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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from the “in the Temple of Bacchus" referred to as "Hector".
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. 63 verso.
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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from the “in the Temple of Bacchus" referred to as "Hector".

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. 63 verso.

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VII.7.32 Pompeii. Paintings by Francesco Morelli, of a frieze and panels from the portico walls, with scenes of Nile landscapes.  
Now in Naples Archaeological Museum. Inventory number ADS 697.
Photo © ICCD. http://www.catalogo.beniculturali.it
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VII.7.32 Pompeii. Paintings by Francesco Morelli, of a frieze and panels from the portico walls, with scenes of Nile landscapes. 

Now in Naples Archaeological Museum. Inventory number ADS 697.

Photo © ICCD. http://www.catalogo.beniculturali.it

Utilizzabili alle condizioni della licenza Attribuzione - Non commerciale - Condividi allo stesso modo 2.5 Italia (CC BY-NC-SA 2.5 IT)

 

VII.7.32 Pompeii. Between 1823 and 1828, sketches from “Temple of Venus” from walls.
See Duban F. Album de dessins d'architecture effectués par Félix Duban pendant son pensionnat à la Villa Médicis, entre 1823 et 1828: Tome 2, Pompéi, pl. 24.
INHA Identifiant numérique NUM PC 40425 (2)
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VII.7.32 Pompeii. Between 1823 and 1828, sketches from “Temple of Venus” from walls.

See Duban F. Album de dessins d'architecture effectués par Félix Duban pendant son pensionnat à la Villa Médicis, entre 1823 et 1828: Tome 2, Pompéi, pl. 24.

INHA Identifiant numérique NUM PC 40425 (2)

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

 

VII.7.32 Pompeii. c.1819 sketch by W. Gell of paintings seen in “House of the Dwarfs”.
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. 60.
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VII.7.32 Pompeii. c.1819 sketch by W. Gell of paintings seen in “House of the Dwarfs”.

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. 60.

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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from the “Temple of Bacchus”, called “of Venus”, (but from unknown location within).
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. 63.
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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from the “Temple of Bacchus”, called “of Venus”, (but from unknown location within).

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. 63.

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VII.7.32 Pompeii. c.1819 two sketches by W. Gell of paintings from west side of Temple of Bacchus.
(Note, the lower drawing continues from the right side of the upper drawing).
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. 64.
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VII.7.32 Pompeii. c.1819 two sketches by W. Gell of paintings from west side of Temple of Bacchus.

(Note, the lower drawing continues from the right side of the upper drawing).

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. 64.

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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from west side of Temple of Bacchus.
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. 64 verso.
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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from west side of Temple of Bacchus.

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. 64 verso.

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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from Temple of Venus, stating “the figures are very much defaced”, (from an unknown location within), together with sketch of a capital, and some vases from the temple.
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. 68.
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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from Temple of Venus, stating “the figures are very much defaced”, (from an unknown location within), together with sketch of a capital, and some vases from the temple.

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. 68.

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VII.7.32 Pompeii. Between 1819 and 1832, painting/drawing by W. Gell from Temple of Bacchus or Venus.
See Gell, W. Pompeii unpublished [Dessins de l'édition de 1832 donnant le résultat des fouilles post 1819 (?)] vol II, (pl.19).
Bibliothèque de l'Institut National d'Histoire de l'Art, collections Jacques Doucet, Identifiant numérique Num MS180 (2).
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VII.7.32 Pompeii. Between 1819 and 1832, painting/drawing by W. Gell from Temple of Bacchus or Venus.

See Gell, W. Pompeii unpublished [Dessins de l'édition de 1832 donnant le résultat des fouilles post 1819 (?)] vol II, (pl.19).

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

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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from wall in the Temple of Bacchus or Venus, (from an unknown location within).
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. 71.
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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from wall in the Temple of Bacchus or Venus, (from an unknown location within).

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. 71.

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VII.7.32 Pompeii. c.1821, drawings published by Gell.
According to Gell,
“Around the walls of the peribolus of the temple of Bacchus are introduced divers representations of architectural subjects and pygmies; whence it obtained the name of the House of the Dwarfs, until the year 1817, when an entire excavation having been effected in that quarter, it was found to contain a temple.

The painter in these subjects has given to the proportions of children, heads bearing the character of grown men, leaving the extremities always unfinished. Some of these are given in the Plates 55 to 62, more with a view to the architecture they represent than as works of art. The buildings in the background are always a faint blue or white, and the trees badly daubed. The figures of a dark blackish red, generally less well preserved, are difficult to make out.

Seneca moralises upon the unnatural custom of planting gardens upon the house tops, which enhanced considerably their value. It is not uncommon in Italy and Malta to the present day.
The ornament separating these two subjects is a threshold in mosaic.”
See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.231-2, plates LV and LVI)

VII.7.32 Pompeii. c.1821, drawings published by Gell.

According to Gell,

“Around the walls of the peribolus of the temple of Bacchus are introduced divers representations of architectural subjects and pygmies; whence it obtained the name of the House of the Dwarfs, until the year 1817, when an entire excavation having been effected in that quarter, it was found to contain a temple.

 

The painter in these subjects has given to the proportions of children, heads bearing the character of grown men, leaving the extremities always unfinished. Some of these are given in the Plates 55 to 62, more with a view to the architecture they represent than as works of art. The buildings in the background are always a faint blue or white, and the trees badly daubed. The figures of a dark blackish red, generally less well preserved, are difficult to make out.

 

Seneca moralises upon the unnatural custom of planting gardens upon the house tops, which enhanced considerably their value. It is not uncommon in Italy and Malta to the present day.

The ornament separating these two subjects is a threshold in mosaic.”

See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.231-2, plates LV and LVI)

 

VII.7.32 Pompeii. c.1819 sketch by W. Gell of landscape painting and painting of an eagle from "in the Temple of Bacchus", (from an unknown location within).
Gell notes the Roman Gardens on the roof. Under the griffin he says Cicero.
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. 67 verso.
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VII.7.32 Pompeii. c.1819 sketch by W. Gell of landscape painting and painting of an eagle from "in the Temple of Bacchus", (from an unknown location within).

Gell notes the Roman Gardens on the roof. Under the griffin he says Cicero.

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. 67 verso.

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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from the “in the Temple of Bacchus a pendant to *”, (but from unknown location within).
The painting on the left seems to be referred to as "Hector", but no other detail is given, so it may not be from here.
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. 63 verso.
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VII.7.32 Pompeii. c.1819 sketch by W. Gell of painting from the “in the Temple of Bacchus a pendant to *”, (but from unknown location within).

The painting on the left seems to be referred to as "Hector", but no other detail is given.

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. 63 verso.

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VII.7.32 Pompeii. c.1821, copy by Gell of two landscape paintings.
According to Gell,
“These paintings are highly curious, as exhibiting some resemblance of houses, perhaps in situations removed from the immediate protection of a town, or where it might be considered expedient in their construction to afford the means of defence. Each is separate and provided with a tower.”
See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.232-3, plates LVII and LVIII)

VII.7.32 Pompeii. c.1821, copy by Gell of two landscape paintings.

According to Gell,

“These paintings are highly curious, as exhibiting some resemblance of houses, perhaps in situations removed from the immediate protection of a town, or where it might be considered expedient in their construction to afford the means of defence. Each is separate and provided with a tower.”

See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.232-3, plates LVII and LVIII)

 

VII.7.32 Pompeii. c.1821, 
According to Gell,
“The advancing colonnade, without a roof, strikes at first as being useless; but it was probably intended for training vines, of which the inter-clustered leaves and fruit formed a much cooler and more agreeable shade than stone. In the distance appears a marine villa.”
See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.233, plate LIX)

VII.7.32 Pompeii. c.1821,

According to Gell,

“The advancing colonnade, without a roof, strikes at first as being useless; but it was probably intended for training vines, of which the inter-clustered leaves and fruit formed a much cooler and more agreeable shade than stone. In the distance appears a marine villa.”

See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.233, plate LIX)

 

VII.7. 32 Pompeii. c.1821. Copy by Gell of sacred landscape from the temple.
According to Gell –
“Many authors of antiquity mention the pygmies: three spans long, they were famous for continually warring against the cranes; but here is one sustaining a much more unequal combat, which he appears to have escaped from, only by means of the less fortunate fate of his companion.
The temple is singular, from having a curved pediment. It is guarded in the Egyptian manner by Sphynxes. In the front is an altar, with Mercury, and two other pygmy figures.”
See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.234, plate LX)

VII.7. 32 Pompeii. c.1821. Copy by Gell of sacred landscape from the temple.

According to Gell –

“Many authors of antiquity mention the pygmies: three spans long, they were famous for continually warring against the cranes; but here is one sustaining a much more unequal combat, which he appears to have escaped from, only by means of the less fortunate fate of his companion.

The temple is singular, from having a curved pediment. It is guarded in the Egyptian manner by Sphynxes. In the front is an altar, with Mercury, and two other pygmy figures.”

See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.234, plate LX)

 

VII.7.32 Pompeii. c.1819 sketch by W. Gell of "Paintings on the wall of the House of the Dwarfs, Forum, Pompeia.”
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. 62.
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VII.7.32 Pompeii. c.1819 sketch by W. Gell of "Paintings on the wall of the House of the Dwarfs, Forum, Pompeia.”

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. 62.

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VII.7.32 Pompeii. c.1821. drawing by Gell of villa in maritime setting with boats.
According to Gell –
“This is a curious architectural subject. Pliny describing his villa, says the hippodrome had cypresses planted around. A sort of figure appears running down to a boat. The painting is obliterated to the right.”
See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.234, plate LXI)

VII.7.32 Pompeii. c.1821. drawing by Gell of villa in maritime setting with boats.

According to Gell –

“This is a curious architectural subject. Pliny describing his villa, says the hippodrome had cypresses planted around. A sort of figure appears running down to a boat. The painting is obliterated to the right.”

See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.234, plate LXI)

 

VII.7.32 Pompeii.c.1819. Watercolour painting by W. Gell, seen on the wall in the “House of the Dwarfs”.
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. 52.
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VII.7.32 Pompeii.c.1819. Watercolour painting by W. Gell, seen on the wall in the “House of the Dwarfs”.

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. 52.

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VII.7.32 Pompeii. According to Gell – “This is an architectural subject, with a pyrgos [tower].”
See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.235, plate LXII)

VII.7.32 Pompeii. According to Gell – “This is an architectural subject, with a pyrgos [tower].”

See Gell, W, and Gandy J. P., 1821. Pompeiana: 2nd edition. London: Rodwell and Martin, (p.235, plate LXII)

 

VII.7.32 Pompeii. December 2005. Looking north along west side.

VII.7.32 Pompeii. December 2005. Looking north along west side.

 

VII.7.32 Pompeii. October 2001. Looking along north side from south-west corner.  
Photo courtesy of Peter Woods.

VII.7.32 Pompeii. October 2001. Looking along north side from south-west corner. Photo courtesy of Peter Woods.

 

VII.7.32 Pompeii. April 1903. Looking north from south-west corner. Photo courtesy of Rick Bauer.

VII.7.32 Pompeii. April 1903. Looking north from south-west corner. Photo courtesy of Rick Bauer.

 

VII.7.32 Pompeii. Stereoview c.1860-1870 by Jean Andrieu, no 1483. Looking north along west side.
Photo courtesy of Rick Bauer.

VII.7.32 Pompeii. Stereoview c.1860-1870 by Jean Andrieu, no 1483. Looking north along west side. Photo courtesy of Rick Bauer.

 

VII.7.32  Pompeii. December 2005.  West side. Pedestal that used to hold a statue. There were three statues on either side, grouped in pairs.
All original statues are now in the Naples Archaeological Museum.
See Mau, A., 1907, translated by Kelsey F. W. Pompeii: Its Life and Art. New York: Macmillan. (p.87)

VII.7.32 Pompeii. December 2005. West side. Pedestal that used to hold a statue.

There were three statues on either side, grouped in pairs.

All original statues are now in the Naples Archaeological Museum.

See Mau, A., 1907, translated by Kelsey F. W. Pompeii: Its Life and Art. New York: Macmillan. (p.87)

 

VII.7.32 Pompeii.  March 2009.  The statue of  Artemis is in front of the third column on the west side.

VII.7.32 Pompeii. March 2009. The statue of Artemis was in front of the third column on the west side.

 

VII.7.32 Pompeii. May 2018. Detail of statue of Artemis. Photo courtesy of Buzz Ferebee.

VII.7.32 Pompeii. May 2018. Detail of statue of Artemis. Photo courtesy of Buzz Ferebee.

 

VII.7.32 Pompeii. April 2019. 
Bronze bust of Diana/Artemis, found 1817 towards the west portico of the sanctuary of Apollo.
Now in Naples Archaeological Museum. Photo courtesy of Rick Bauer.

VII.7.32 Pompeii. April 2019.

Bronze bust of Diana/Artemis, found 1817 towards the west portico of the sanctuary of Apollo.

Now in Naples Archaeological Museum. Photo courtesy of Rick Bauer.

 

VII.7.32 Pompeii. April 2019. Detail from bronze bust of Diana/Artemis. 
Now in Naples Archaeological Museum. 
Photo courtesy of Rick Bauer.

VII.7.32 Pompeii. April 2019. Detail from bronze bust of Diana/Artemis.

Now in Naples Archaeological Museum. Photo courtesy of Rick Bauer.

 

VII.7.32 Pompeii. 1968. Statue of Artemis, now in Naples Archaeological Museum. 
Photo by Stanley A. Jashemski.
Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non Commercial License v.4. See Licence and use details. J68f1398

VII.7.32 Pompeii. 1968. Statue of Artemis, now in Naples Archaeological Museum.

Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non-Commercial License v.4. See Licence and use details.

J68f1398

 

VII.7.32 Pompeii. 1939. The statue of Artemis is in front of the third column on the west side. Photo courtesy of Drew Baker.

VII.7.32 Pompeii. 1939. The statue of Artemis is in front of the third column on the west side. Photo courtesy of Drew Baker.

 

VII.7.32  Pompeii.  December 2006. Looking north along west side.

VII.7.32 Pompeii. December 2006. Looking north along west side.

 

VII.7.32 Pompeii. May 2006. Looking north along west side.

VII.7.32 Pompeii. May 2006. Looking north along west side.

 

VII.7.32 Pompeii. May 2018. Looking north-east from west side. Photo courtesy of Buzz Ferebee.

VII.7.32 Pompeii. May 2018. Looking north-east from west side. Photo courtesy of Buzz Ferebee.

 

VII.7.32 Pompeii. c.1819 sketch by W. Gell. Looking north-east across towards west side.  
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. 31.
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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VII.7.32 Pompeii. c.1819 sketch by W. Gell. Looking north-east across towards west side. 

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. 31.

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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VII.7.32 Pompeii. May 2018. Looking east from west side. Photo courtesy of Buzz Ferebee.

VII.7.32 Pompeii. May 2018. Looking east from west side. Photo courtesy of Buzz Ferebee.

 

70732 Roger B Ulrich 2005

VII.7.32 Pompeii. October 2005. A view of the west side of the altar in front of the Temple of Apollo at Pompeii.

The inscription (visible just underneath the shadow) reads:

M. PORCIVS. M. F. L. SEXTILIVS L.F. CN. CORNELIVS. CN. F

A. CORNELIVS A. F. IIII. VIR(i). D(e). D(ecurionum). S(ententia). F(aciundum). LOCAR(unt)

According to Roger Ulrich, the use of the term quattuorviri (designated by the Roman numeral IIII) appears after the (re)foundation of Pompeii as a Roman colony for the veterans of Sulla in 80 BCE.

It thus sets a date limit after which the inscription was made.

The best known of the Pompeians named was M. Porcius, who was also a patron of the Theatrum Tectum (small covered theatre or Odeon) and the Amphitheatre.

The altar has a base of travertine, more expensive marble sides (imported from Greece?) and a table top of lava stones.

Photo Courtesy of Roger B. Ulrich. See http://www.dartmouth.edu/~rogerulrich/images.html

 

VII.7.32 Pompeii. May 2006. Altar inscription, written in Latin, saying 
M(arcus) Porcius M(arci) f(ilius) L(ucius) Sextilius L(uci) f(ilius) Cn(aeus) Cornelius Cn(aei) f(ilius) A(ulus) Cornelius A(uli) f(ilius) IIIIvir(i) d(e) d(ecurionum) s(ententia) f(aciundum) locar(unt)       [CIL X 800 (p 967) = CIL I 1631 (p 1014) = D 6354 = ILLRP 644]
Mau translates this as:
“Marcus Porcius the son of Marcus, Lucius Sextilius the son of Lucius, Gnaeus Cornelius the son of Gnaeus, and Aulus Cornelius the son of Aulus, the Board of Four, in accordance with the vote of the city council let the contract (for building this altar)”. See Mau, A., 1907, translated by Kelsey F. W. Pompeii: Its Life and Art. New York: Macmillan. (p.86)

VII.7.32 Pompeii. May 2006.

Altar inscription, written in Latin, saying

M(arcus) Porcius M(arci) f(ilius) L(ucius) Sextilius L(uci) f(ilius) Cn(aeus) Cornelius Cn(aei) f(ilius)

A(ulus) Cornelius A(uli) f(ilius) IIIIvir(i) d(e) d(ecurionum) s(ententia) f(aciundum) locar(unt)       [CIL X 800 (p 967) = CIL I 1631 (p 1014) = D 6354 = ILLRP 644]

Mau translated this as:

“Marcus Porcius the son of Marcus, Lucius Sextilius the son of Lucius, Gnaeus Cornelius the son of Gnaeus,

and Aulus Cornelius the son of Aulus, the Board of Four, in accordance with the vote of the city council let the contract (for building this altar)”.

See Mau, A., 1907, translated by Kelsey F. W. Pompeii: Its Life and Art. New York: Macmillan. (p.86)

 

VII.7.32  Pompeii. May 2006.  Altar.  West and south side.

VII.7.32 Pompeii. May 2006. West and south side of altar.

 

VII.7.32  Pompeii.  May 2006.  Sundial on west side of steps to Podium.

VII.7.32 Pompeii. May 2006. Sundial on west side of steps to podium.

 

VII.7.32 Pompeii. April 2014. Sundial on west side of steps to podium. 
Photo courtesy of Klaus Heese.

VII.7.32 Pompeii. April 2014. Sundial on west side of steps to podium. Photo courtesy of Klaus Heese.

 

VII.7.32  Pompeii. May 2006. Temple of Apollo sundial.

VII.7.32 Pompeii. May 2006. Temple of Apollo sundial.

 

VII.7.32 Pompeii. April 2014. Detail of sundial in Temple of Apollo. Photo courtesy of Klaus Heese.

VII.7.32 Pompeii. April 2014. Detail of sundial in Temple of Apollo. Photo courtesy of Klaus Heese.

 

VII.7.32 Pompeii. May 2006. Temple of Apollo sundial.

VII.7.32 Pompeii. May 2006. Temple of Apollo sundial.

 

VII.7.32 Pompeii. October 1992. Looking north to sundial.
Photo by Louis Méric courtesy of Jean-Jacques Méric.

VII.7.32 Pompeii. October 1992. Looking north to sundial.

Photo by Louis Méric courtesy of Jean-Jacques Méric.

 

VII.7.32  Pompeii. Temple of Apollo column without sundial.  Photographed 1970-79 by Günther Einhorn, picture courtesy of his son Ralf Einhorn.

VII.7.32 Pompeii. Temple of Apollo column without sundial

Photographed 1970-79 by Günther Einhorn, picture courtesy of his son Ralf Einhorn.

 

VII.7.32 Pompeii. Plaque on column of sundial.
Photographed 1970-79 by Günther Einhorn, picture courtesy of his son Ralf Einhorn.

VII.7.32 Pompeii. Plaque on column of sundial.

Photographed 1970-79 by Günther Einhorn, picture courtesy of his son Ralf Einhorn.

 

VII.7.32 Pompeii. April 2014. Plaque on sundial. Photo courtesy of Klaus Heese.

VII.7.32 Pompeii. April 2014. Plaque on sundial. Photo courtesy of Klaus Heese.

According to Cooley, this translated as –

Lucius Sepunius Sandilianus, son of Lucius, and Marcus Herennius Epidianus, son of Aulus, duumvirs with judicial power, saw to this being made at their own expense.    [CIL X 802]

See Cooley, A. and M.G.L., 2004. Pompeii: A Sourcebook. London: Routledge. (p.85)

 

According to Epigraphik-Datenbank Clauss/Slaby (See www.manfredclauss.de), it read as –

L(ucius) Sepunius L(uci) f(ilius)

Sandilianus

M(arcus) Herennius A(uli) f(ilius)

Epidianus

duovir(i) i(ure) d(icundo)

d(e) s(ua) p(ecunia) f(aciendum) c(uraverunt)    [CIL X 802]

 

 

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Ultimo aggiornamento - Last updated: 31-Aug-2021 19:07