WEBVTT

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Prof: Good morning.

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As you can see,
the title of today's lecture is

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"Lifestyles of the Rich and
Famous: Houses and Villas at

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Pompeii."

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We spoke last time about the
public architecture of Pompeii,

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about the forum,
about the temples,

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about the basilica,
about the baths,

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and also about shops,
and tombs as well.

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But today we're going to turn
to the residential architecture

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of Pompeii;
residential architecture that

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is extremely important,
not only for what it tells us

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about Pompeii,
but what it also tells us about

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domestic architecture in the
first centuries B.C.

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and the first century A.D.,
because there is no place where

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the houses are better preserved
than at Pompeii.

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So it tells us again,
not just about the city itself,

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but also about residential
architecture in Rome,

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where we have very few
examples, and elsewhere in the

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Roman world.

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I want to begin with the image
that you see now on the screen,

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which is a building--and we're
talking about the one at the

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left,
front left--a building that is

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on one of Pompeii's main
thoroughfares,

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the Via dell'Abbondanza,
the Via dell'Abbondanza,

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the Street of Abundance.

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And the building in question is
relatively well preserved,

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and what is significant about
it for us right now is the fact

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that it is two-storied,
as you can see here.

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What we'll see in the course of
today's presentation is that

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most of the buildings,
most of the houses,

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in early Pompeii,
are single-story dwellings,

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but here we see one that is
two-storied.

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And this two-storied dwelling
actually dates fairly late in

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the history of residential
architecture in Pompeii.

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It dates sometime between the
earthquake of 62 and the

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eruption of Vesuvius of 79;
so between 62 and 79 A.D.

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And we see that it has two
stories, in this instance.

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A story down below that may
have been--

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that says has entranceways,
might even have been opened up

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as a shop,
and then a second story that is

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very interesting indeed.

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And it has what we call
cenaculae,

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c-e-n-a-c-u-l-a-e,
cenaculae,

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which are second-story dining
rooms that have open panoramic

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windows,
these windows,

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as you can see,
through columns.

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So an interesting nod to
Hellenization once again,

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this idea of incorporating
Greek elements into Roman

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architecture --
elements that again are under-

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that come into Roman
architecture through the

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influence of earlier Greek
architecture,

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and views out through those
columns.

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So two important points:
one, that these have two

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stories,
and that adding a second story

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to a Roman building,
or a Pompeian building in this

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instance,
doesn't occur until between the

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earthquake and the eruption of
Vesuvius;

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and secondarily,
this idea of the picture

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window.

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And we've talked about the
importance for the Romans of

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vista and panorama,
and they're doing it here.

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They're opening up that second
floor so that you can sit in one

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of these dining rooms and then
have a very nice view out

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through the columns of the
street and the street life

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below.

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Now this building,
on the Via dell'Abbondanza,

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lies at the end of the
development of Pompeian domestic

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architecture.

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And so what I'm going to do is
take us back to the beginning

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and trace Pompeian domestic
architecture from the Samnite

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period up through the eruption
of Vesuvius.

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With regard to the earliest
houses at Pompeii,

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these were done during again
the Samnite period,

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the fourth and third centuries
B.C.

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Keep in mind that the Samnites
were an Italic tribe,

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that is, indigenous to Italy
from way back when--

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I had mentioned to you that
Pompeii was founded already in

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the eighth century B.C.

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And these Italic tribes built
houses,

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obviously, in which they lived
already in the fourth and third

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--
substantial houses -- in which

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they lived already in the fourth
and third centuries B.C.

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I want to begin our
conversation about domestic

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architecture in Pompeii,
and by extension in Rome

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itself, with the so-called
Domus Italica.

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What was the Domus
Italica?

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The Domus Italica was an
ideal Roman house plan,

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and we know quite a bit about
it because of the writings of

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Vitruvius.

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Vitruvius -- not to be confused
with Vesuvius --

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Vitruvius was an architectural
theoretician who was writing in

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the age of Augustus,
Augustus being Rome's first

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emperor.

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And Vitruvius left a great deal
of writings about all kinds of

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architecture,
including domestic

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architecture,
and he talks in detail about

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the Domus Italica or what
he considered the ideal Roman

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house,
and he describes all of its

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parts.

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And through his writings we can
explore together what the ideal

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Roman house was,
and what you're going to find

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very interesting,
I believe, is the fact that the

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actual houses at Pompeii
conform,

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or the earliest houses,
conform very closely to this

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ideal plan.

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Let's run through it together,
both in plan and in restored

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view.

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Again I'm going to need to go
over a lot of terminology here,

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but I guarantee you I'm going
to repeat it enough today that

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it will be indelibly marked on
your minds and you won't even

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have to--
I don't think you'll even have

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to study this,
when the time comes,

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because you're going to know
these parts of the houses so

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well after we go through them
today.

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Here you see the plan of the
typical Domus Italica.

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You can see at number 1 is the
entrance into the house.

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The entrance to the house was
called the fauces,

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f-a-u-c-e-s;
the fauces or the throat

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of the house.

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Sometimes the fauces had
before it a vestibule,

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called a vestibulum--and
all of these words are on the

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Monument List for you--
a vestibulum,

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which was a place right before
the beginning of the

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fauces,
underneath the eaves of the

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house, where you could actually
stand,

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get in from the rain in case it
was raining outside,

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while you waited for the door
to be opened.

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But in these very early
Domus Italica houses,

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we don't tend to see the
vestibulum.

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So think it away for the
moment, just the fauces

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or throat of the house.

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Then on either side of the
fauces there are two

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rooms,
which are called cells or

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cellae: cella in the singular
and cellae,

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c-e-l-l-a-e in the plural.

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These can be treated in a
number of different ways.

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They can either be closed off
from the street and used as

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interior rooms for the house,
extra bedrooms or living

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spaces, or they can be,
as you see them in this ideal

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plan,
opened up to the street.

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When they are opened up to the
street they take on the role of

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shops or tabernae,
t-a-b-e-r-n-a-e,

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shops or tabernae.

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And those shops could be either
used by those who owned the

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house, to make additional money,
or they could be leased out to

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others for their shops.

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You see the fauces leads
into the most important room of

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a Roman house,
the so-called atrium,

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the famous atrium of the Roman
house,

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a-t-r-i-u-m.

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The atrium was the audience
hall of the house.

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And it's important to mention
from the outset that Roman

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houses had a very different role
in Roman society than houses do

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for us today.

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We tend to think of our houses
today in large parts as

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retreats,
as places we can get away from

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it all --
get away from work,

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get away from schoolwork and so
on,

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and escape.

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Although we do enjoy obviously
having friends and family visit

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us there, we tend to think of it
as a place of retreat.

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This was not true in Roman
times, when the house was also a

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place to do some very serious
business.

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The man of the house,
the head of the household,

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the paterfamilias,
often greeted clients in the

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atrium of the house,
and when he was away on

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business, or away at war,
his wife, the

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materfamilias,
would stand in for him and she

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would conduct business in the
atrium.

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So considered a very public
part of the house,

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a place where you wanted it to
look its best because you were

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going to be greeting important
visitors there,

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to do business.

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So the atrium is located here.

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You can see this rectangular
pool in the center of the

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atrium.

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That is the
impluvium--and you have

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that on the Monument List--
the impluvium of the

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house, which is a pool in which
they collected rain water for

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daily use.

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How did they collect that rain
water?

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Because there was an opening in
the ceiling, also rectangular in

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shape.

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That's called a
compluvium,

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and the compluvium had
surrounding it a slanted roof to

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encourage the water obviously to
slide in through the

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compluvium and land in
the impluvium down below.

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Around the atrium and also
around the impluvium,

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at 4 here, are the bedrooms of
the house,

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the cubiculum,
in the singular,

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and cubicula,
in the plural:

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the cubicula or bedrooms
of the house.

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And you can see that each one
of them opens up off the atrium.

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They are very small in size,
smaller than any other rooms in

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the house, and they were
literally just a place to sleep.

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They were very small,
mostly very dark.

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Some of them had slit windows.

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I'll show you one of those
later.

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Many of them didn't have any
windows, they were literally

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just sleeping spaces.

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Over here, at 5,
we see the wings or the

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alae, a-l-a-e--the wings
or the alae,

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ala in the
singular--alae of the

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house.

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The wings of the house were a
very important place from the

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point of view of family
tradition and religious practice

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and so on.

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It was the place where the
Romans kept the shrines of their

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ancestors.

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They had wooden shrines--they
were usually made out of wood--

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with doors, and they kept
inside those the busts and

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portraits of their ancestors,
and they would take those out,

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they would open those shrines
up and take those out on special

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occasions,
usually anniversaries marking

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the anniversary of the death of
the deceased.

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And they had an interesting
practice in which the member of

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the family who most closely
resembled the deceased in size

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and general appearance would put
on that mask and participate in

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a kind of parade in honor of the
dead.

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So they kept those in those
shrines, in the wings or the

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alae of the house.

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Here at 6 on axis--and we know
how much the Romans liked

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axiality as well as symmetry--
we see the room over here,

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at 6, is on axis with the
fauces and the atrium.

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This room is called the
tablinum,

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t-a-b-l-i-n-u-m,
the tablinum,

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which started as the master
bedroom of the house,

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the most important bedroom,
much larger than the

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cubicula,
but over time it became a place

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where the family archives were
kept.

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And beyond that--and we'll see
it happening pretty early

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actually today--
it becomes almost a kind of

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passageway between the atrium
and the area that lay beyond

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here.

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At 7 we see also a fairly large
room,

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the dining room or
triclinium,

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and you can see in this case,
in the ideal Roman house,

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it opens off the atrium;
so easy to get to from the

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atrium.

11:45.230 --> 11:48.210
And then at the back,
number 8, for one of these

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ideal Roman houses,
the hortus,

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h-o-r-t-u-s,
or the garden of the house,

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which was obviously open to the
sky.

11:56.168 --> 12:00.348
If you look at the restored
view, you can see how these

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earliest houses really had a
very enclosed feeling.

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They were quite stark and
geometrically ordered,

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with very few openings.

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You can see,
in this case,

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this one opening as an
entranceway into the

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fauces,
as well as into two shops,

12:15.229 --> 12:16.869
as you can see here.

12:16.870 --> 12:19.010
And then, of course,
the compluvium,

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a hole in the ceiling,
and then the hortus is

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open to the sky.

12:22.620 --> 12:24.520
But, other than that,
there are no windows

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whatsoever.

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It's a very enclosed structure.

12:27.940 --> 12:30.780
And we're going to see that
although that's the case in the

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beginning that changes over
time;

12:32.490 --> 12:35.710
we'll see a very important and
interesting evolution.

12:35.710 --> 12:40.580
Now another point that I want
to make from the start is just

12:40.577 --> 12:43.957
as in temple architecture,
and we've traced the

12:43.964 --> 12:46.404
development of early Roman
temple architecture,

12:46.399 --> 12:50.239
where we saw the Romans
ultimately using--

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combining an Etruscan plan with
a Greek elevation.

12:54.710 --> 12:58.190
We're going to see something
actually quite similar happening

12:58.190 --> 13:01.960
in the development of Pompeian
and Roman domestic architecture.

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We're going to see that
Etruscan, earlier Etruscan

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monuments, had an impact.

13:06.570 --> 13:11.200
And I show you a plan of an
Etruscan tomb over here--

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we've looked at this before--an
Etruscan tomb over here,

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just to show you that the
general arrangement of that

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tomb,
with an entranceway here,

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with two rooms over here,
kind of like the

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tabernae that we looked
at,

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or the cells that we looked at
just before.

13:25.798 --> 13:28.658
A big space over here,
not unlike the atrium.

13:28.658 --> 13:31.378
The idea of axiality:
entering into it,

13:31.379 --> 13:33.609
then this large space,
then another space which

13:33.610 --> 13:36.520
mirrors the tablinum or
is like the tablinum of

13:36.520 --> 13:39.160
the Roman house,
and then other rooms on either

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side.

13:39.490 --> 13:42.550
So this whole idea of this
progression of one space,

13:42.548 --> 13:45.738
an axial progression of one
space to another space to

13:45.738 --> 13:48.618
another space that's on the same
axial focus;

13:48.620 --> 13:51.540
very important,
and I think those who were

13:51.542 --> 13:55.392
building these fairly early on,
the Samnites and so on,

13:55.390 --> 13:58.670
were clearly looking at
Etruscan examples.

13:58.668 --> 14:00.608
And it shows us,
very early on also,

14:00.610 --> 14:03.410
that in the minds of the Romans
there was a very close

14:03.413 --> 14:06.643
association between the houses
of the living and the houses of

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the dead.

14:07.330 --> 14:09.900
Because if you look at the
inside of this Etruscan

14:09.899 --> 14:12.809
tomb--and I mention it;
I'm not holding you responsible

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for it, but I mention it to you
underneath the Domus

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Italica on the Monument
List.

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This is the Tomb of the Shields
and Seats in Cerveteri of the

14:21.325 --> 14:22.615
sixth century B.C.

14:22.620 --> 14:25.630
And if you look at it,
you can see that inside the

14:25.628 --> 14:27.658
tomb--
it's all carved from the rock,

14:27.660 --> 14:30.030
from the tufa rock--
you can see that it looks very

14:30.028 --> 14:32.218
much like what you'd expect a
house to look like,

14:32.220 --> 14:33.210
with beds.

14:33.210 --> 14:34.970
And notice the detail.

14:34.970 --> 14:36.750
They've even provided--it's all
done in stone,

14:36.750 --> 14:40.110
the tufa stone -- but you see
they've even provided stone

14:40.110 --> 14:42.060
pillows here,
not very comfortable,

14:42.062 --> 14:45.042
but it gives you the sense of
what a house would've been like.

14:45.038 --> 14:48.808
And we know that beds in houses
looked very much these.

14:48.808 --> 14:51.628
Over here a throne,
with a nice footstool,

14:51.629 --> 14:52.799
as you can see.

14:52.798 --> 14:56.358
And then if you look very
carefully, also indicated in

14:56.360 --> 14:59.450
stone, the rafters,
the beams done in stone.

14:59.450 --> 15:03.040
And then the moldings around
the door and around the shields,

15:03.038 --> 15:06.328
which is the reason this is
called the shields and the seats

15:06.331 --> 15:09.571
obviously is because it has
seats and it has shields on the

15:09.567 --> 15:10.067
wall.

15:10.070 --> 15:11.430
So I just wanted to make the
point,

15:11.428 --> 15:13.808
because it'll turn up a number
of times in the course of the

15:13.806 --> 15:16.276
semester,
the close association in the

15:16.284 --> 15:20.424
minds of the Romans between
houses of the living and houses

15:20.418 --> 15:23.558
of the dead,
and also that important point

15:23.557 --> 15:27.267
that the early Samnite builders
are looking at Etruscan

15:27.274 --> 15:28.244
prototypes.

15:28.240 --> 15:32.340
I want to show you now the way
in which actual Pompeian houses

15:32.336 --> 15:35.076
conform very closely--
the early ones at least,

15:35.082 --> 15:37.022
of the fourth and third
centuries B.C.--

15:37.019 --> 15:41.789
conform very closely to this
Domus Italica ideal plan.

15:41.788 --> 15:46.178
I want to begin with the
so-called House of the Surgeon

15:46.182 --> 15:50.332
in Pompeii, which dates to the
third century B.C.

15:50.330 --> 15:53.670
And it's called the House of
the Surgeon because of all the

15:53.673 --> 15:56.733
surgical instruments that were
found in the house,

15:56.730 --> 15:59.930
and I show you the array of
them now on the screen.

15:59.928 --> 16:03.148
This should be of considerable
interest, to especially--and I

16:03.149 --> 16:06.419
know there are a number of you
in here -- students whose major

16:06.423 --> 16:07.233
is biology.

16:07.230 --> 16:10.880
And I want to mention also that
you might be surprised to hear--

16:10.879 --> 16:12.229
but maybe not,
Yale has such amazing

16:12.230 --> 16:14.340
collections--
that the Medical School has a

16:14.337 --> 16:17.287
collection of surgical
instruments that goes way back,

16:17.288 --> 16:19.288
and it goes way back to ancient
Rome.

16:19.288 --> 16:22.618
You can actually see ancient
Roman surgical instruments in

16:22.620 --> 16:25.250
that collection that we have
here at Yale,

16:25.250 --> 16:28.800
not perhaps as many as this,
but an interesting selection,

16:28.798 --> 16:33.018
and those of you who are in
that field might at one point

16:33.024 --> 16:37.784
want to take advantage of that
and get to see them firsthand.

16:37.779 --> 16:40.379
So this house got its name from
this cache of surgical

16:40.381 --> 16:42.201
instruments that were found
inside.

16:42.200 --> 16:45.370
That probably gives us some
sense of the profession of at

16:45.366 --> 16:47.966
least one of the people who was
living here.

16:47.970 --> 16:51.570
I show you the plan of the
House of the Surgeon,

16:51.570 --> 16:55.130
and you'll see a version on
your Monument List that actually

16:55.129 --> 16:58.599
has the rooms designated there,
which I don't have here.

16:58.600 --> 17:01.690
So that will be helpful to you
as you--I wanted you to have

17:01.691 --> 17:04.141
that version so that you,
when you're studying,

17:04.144 --> 17:05.694
you have that before you.

17:05.690 --> 17:08.160
And in any exam,
by the way, even if I show

17:08.161 --> 17:11.871
something slightly different in
class, I will show you only what

17:11.866 --> 17:14.276
is on your Monument List in the
exam.

17:14.278 --> 17:16.388
So those are the ones that you
should study and remember.

17:16.390 --> 17:18.480
But you'll see the plan is
exactly the same.

17:18.480 --> 17:20.350
It just doesn't have the labels
here.

17:20.348 --> 17:23.818
So we can see that it conforms,
the House of the Surgeon,

17:23.824 --> 17:26.314
third century B.C.,
to the ideal Domus

17:26.306 --> 17:27.606
Italica plan.

17:27.609 --> 17:29.739
You enter here;
you enter into the

17:29.741 --> 17:32.091
fauces or throat of the
house.

17:32.088 --> 17:34.578
There are two cells,
one on either side.

17:34.578 --> 17:37.988
It's very clear in plan that
this cell is closed to the

17:37.989 --> 17:41.709
outside and opens only off the
atrium, so used by the family

17:41.714 --> 17:43.424
for their own purposes.

17:43.420 --> 17:46.690
This one is open to the street,
clearly used as a shop,

17:46.694 --> 17:49.674
either by this family,
or they've leased it out to

17:49.667 --> 17:50.757
somebody else.

17:50.759 --> 17:54.599
The atrium is on axis with the
fauces.

17:54.598 --> 17:58.808
We can see that the atrium has
a pool, a rectangular pool,

17:58.806 --> 18:01.716
or impluvium;
and there would've been a

18:01.721 --> 18:03.171
compluvium up above.

18:03.170 --> 18:06.300
On either side the
cubicula or bedrooms of

18:06.295 --> 18:08.635
the house, opening off the
atrium.

18:08.640 --> 18:11.720
Over here the wings or
alae of the house,

18:11.722 --> 18:13.562
for the ancestral shrines.

18:13.558 --> 18:15.798
Over here, again,
a dining room,

18:15.798 --> 18:19.338
a triclinium,
that opens off the atrium.

18:19.338 --> 18:22.688
Up here we think probably a
portico, one column or two,

18:22.692 --> 18:25.362
but that might belong to a
later renovation,

18:25.362 --> 18:27.662
and I'll explain why in a
moment.

18:27.660 --> 18:31.660
And then in the back a somewhat
irregularly shaped hortus

18:31.657 --> 18:32.417
or garden.

18:32.420 --> 18:36.900
But I think you can see from
this example how closely these

18:36.901 --> 18:41.231
actual houses track the Domus
Italica described by

18:41.228 --> 18:42.308
Vitruvius.

18:42.308 --> 18:47.078
Another example of one of these
early Roman houses that conforms

18:47.082 --> 18:51.402
to the Domus Italica type
is the so-called House of

18:51.400 --> 18:55.870
Sallust in Pompeii that dates to
the third century B.C.

18:55.868 --> 18:59.828
This is another house that has
the Domus Italica as its

18:59.826 --> 19:00.276
core.

19:00.278 --> 19:03.358
But, just like most of the
houses in Pompeii--

19:03.358 --> 19:08.198
you'll remember how when the
Romans took over Pompeii in 80,

19:08.200 --> 19:11.910
or made Pompeii a Roman colony,
they tossed the Samnites out of

19:11.911 --> 19:13.661
their homes,
they took them over,

19:13.664 --> 19:15.424
and of course once they took
them over,

19:15.420 --> 19:16.470
they renovated them.

19:16.470 --> 19:19.490
So there's quite a bit of
renovation that takes place to

19:19.489 --> 19:21.519
some of these early Samnite
houses.

19:21.519 --> 19:25.229
In this case the House of
Sallust seems to be an example

19:25.233 --> 19:25.913
of that.

19:25.910 --> 19:28.740
But we still see the original
core of the Domus

19:28.740 --> 19:29.550
Italica.

19:29.548 --> 19:33.548
The entrance over here into the
fauces of the house;

19:33.548 --> 19:36.928
I'll say something about that
in a moment.

19:36.930 --> 19:40.020
The atrium on axis with that,
with the impluvium.

19:40.019 --> 19:41.499
The cubicula over here.

19:41.500 --> 19:43.820
The alae or wings here.

19:43.818 --> 19:45.878
The tablinum of the
house over here.

19:45.880 --> 19:50.480
In this case you can see that
the triclinium opens up

19:50.479 --> 19:53.519
off toward the hortus
instead.

19:53.519 --> 19:56.949
This family wanted to provide
views of the hortus

19:56.949 --> 19:59.879
rather than the atrium,
from the dining hall.

19:59.880 --> 20:03.030
Now what's particularly
interesting, and may belong to

20:03.032 --> 20:05.712
the renovation,
are the shops that are opening

20:05.711 --> 20:07.021
up off the street.

20:07.019 --> 20:10.929
Because you can tell in plan
exactly how this shop was used.

20:10.930 --> 20:15.830
Anyone volunteer to say,
based on the plan?

20:15.829 --> 20:17.759
What kind of a shop was this?

20:17.759 --> 20:18.729
Student:  Fast-food
restaurant.

20:18.730 --> 20:19.920
Prof: A fast-food store.

20:19.920 --> 20:22.700
Yes it's a fast-food shop,
a thermopolium,

20:22.704 --> 20:26.194
because we can see the counter
and we can see the recesses in

20:26.186 --> 20:26.706
plan.

20:26.710 --> 20:30.830
So this family either had,
or let its space out,

20:30.832 --> 20:33.902
for one of these
thermopolia,

20:33.901 --> 20:38.641
for one of these fast-food
stands in the front of their

20:38.636 --> 20:39.686
house.

20:39.690 --> 20:42.250
So two examples,
the House of the Surgeon and

20:42.251 --> 20:44.841
the House of Sallust,
that conform closely,

20:44.838 --> 20:47.578
third century B.C.,
to the original Domus

20:47.577 --> 20:48.737
Italica plan.

20:48.740 --> 20:50.960
In the second century B.C.

20:50.960 --> 20:53.670
we see something happen in
house design,

20:53.670 --> 20:57.150
quite extraordinary,
and that is linked to the same

20:57.154 --> 21:00.854
kind of development we saw in
temple architecture,

21:00.848 --> 21:03.548
and that is yes,
they've been looking at the

21:03.549 --> 21:06.339
Etruscan type of plan,
they've been conforming to that

21:06.336 --> 21:07.156
to a certain extent.

21:07.160 --> 21:11.640
All of a sudden in the second
century they get the bug to make

21:11.638 --> 21:15.838
their houses look more Greek,
and they begin to incorporate

21:15.838 --> 21:19.538
elements that they take from
earlier Greek architecture,

21:19.538 --> 21:22.518
and the result is quite
extraordinary.

21:22.519 --> 21:28.769
I'm showing you here an example
of an ideal plan of what we call

21:28.769 --> 21:32.499
the Hellenized Domus,
the domus that has been

21:32.503 --> 21:35.243
Hellenized,
that has been given Greek--it

21:35.236 --> 21:37.876
has been enhanced with Greek
elements.

21:37.880 --> 21:41.610
And let's run through the plan
again, of the so-called

21:41.607 --> 21:43.787
Hellenized domus type.

21:43.788 --> 21:48.178
You can see that the core is
the same as the Domus

21:48.178 --> 21:49.358
Italica.

21:49.359 --> 21:50.519
You enter over here.

21:50.519 --> 21:53.749
Here we can see in plan the
incorporation of the

21:53.747 --> 21:58.397
vestibulum,
this vestibule that is located

21:58.400 --> 22:01.400
right in front of,
or at the beginning of the

22:01.400 --> 22:03.880
fauces,
the purpose of which--you can

22:03.883 --> 22:06.353
see it right here--
the purpose of which,

22:06.346 --> 22:08.256
you kind of entered into the
house.

22:08.259 --> 22:12.089
The roof of the house protects
you in case the weather is not

22:12.088 --> 22:14.208
good,
but you still have to stand in

22:14.211 --> 22:17.271
that vestibule until you're
allowed into the fauces

22:17.271 --> 22:18.831
and the rest of the house.

22:18.828 --> 22:20.628
So we see here the
vestibulum,

22:20.625 --> 22:22.215
the fauces,
the two cells,

22:22.220 --> 22:24.810
cellae, one on either side,
in this case they are not

22:24.813 --> 22:26.063
opened up as shops.

22:26.058 --> 22:29.458
The atrium here,
with its impluvium,

22:29.459 --> 22:31.239
to catch rain water.

22:31.240 --> 22:34.270
At 4, we have the usual
cubicula,

22:34.270 --> 22:35.360
or bedrooms.

22:35.358 --> 22:38.968
At 5, we have the usual
alae or wings.

22:38.970 --> 22:42.120
And then 6, the tablinum
on axis with 7,

22:42.115 --> 22:45.325
the triclinium opening
off the atrium.

22:45.328 --> 22:48.998
So once again the core of the
original Domus Italica,

22:48.997 --> 22:51.667
very much intact in the
Hellenized domus.

22:51.670 --> 22:53.520
But look what's happened up
here.

22:53.519 --> 22:55.789
What's happened up here is at
number 8,

22:55.788 --> 22:58.338
under the influence of Greek
architecture,

22:58.338 --> 23:00.478
under the influence of what's
happening in temple

23:00.477 --> 23:03.797
architecture,
they incorporate columns into

23:03.798 --> 23:08.418
the interior of the house,
and they place their garden

23:08.422 --> 23:08.892
here.

23:08.890 --> 23:11.940
It's a garden court,
with columns,

23:11.936 --> 23:17.566
which technically is called a
peristyle, p-e-r-i-s-t-y-l-e.

23:17.568 --> 23:21.968
And it is comparable to what we
see in temple architecture when

23:21.967 --> 23:25.657
we saw the architects giving
some of the temples--the

23:25.655 --> 23:28.595
peripteral colonnade;
do you remember the colonnade

23:28.596 --> 23:30.526
that goes all the way around and
is freestanding,

23:30.528 --> 23:32.338
under the influence of Greek
architecture?

23:32.338 --> 23:35.438
It's the same sort of thing
here, except it's on the inside

23:35.438 --> 23:36.398
of the building.

23:36.400 --> 23:40.650
So this peristyle court cum
garden, located right here.

23:40.650 --> 23:43.190
And then on either side,
additional bedrooms or

23:43.193 --> 23:45.813
cubicula;
these were probably very

23:45.814 --> 23:49.884
desirable, to have a bedroom
that opened, had a nice view out

23:49.875 --> 23:51.225
over your garden.

23:51.230 --> 23:55.330
And then back here two
additional triclinia,

23:55.328 --> 23:58.768
two additional dining rooms,
to take advantage of the

23:58.772 --> 24:01.292
beautiful views that one could
get,

24:01.288 --> 24:03.968
if one could see it -- probably
not terribly much through these

24:03.969 --> 24:07.209
narrow doorways,
but at least opening up onto

24:07.211 --> 24:09.031
the peristyle court.

24:09.028 --> 24:09.878
One second.

24:09.878 --> 24:13.738
We see up here the restored
view, showing the same,

24:13.741 --> 24:15.211
the entranceway.

24:15.210 --> 24:18.010
And look here,
you can even see columns added

24:18.008 --> 24:21.188
in the front to announce,
from the very start,

24:21.192 --> 24:24.842
that this is a house that is
owned by a very cultured

24:24.837 --> 24:27.027
individual,
who knows his Greek,

24:27.026 --> 24:30.776
and knows his Greek culture,
and knows to incorporate these

24:30.779 --> 24:32.899
Greek elements into his house.

24:32.900 --> 24:34.730
Then we see the
compluvium.

24:34.730 --> 24:37.150
We see the peristyle from above;
you can see,

24:37.154 --> 24:40.724
open to the sky with columns,
but still very stark,

24:40.721 --> 24:42.791
very plain on the outside.

24:42.788 --> 24:47.018
No windows to speak of,
very much an enclosed space.

24:47.019 --> 24:49.939
Student:  I was just
wondering--I always like looking

24:49.938 --> 24:52.608
around--where the food
preparation would take place?

24:52.608 --> 24:55.278
Prof: Some of these
houses did have kitchens,

24:55.284 --> 24:57.544
and I'll show you an example in
a moment.

24:57.538 --> 25:00.048
Probably more of them did than
we're sure of.

25:00.048 --> 25:02.888
It's just a question of what
remains, in terms of being able

25:02.894 --> 25:03.864
to determine that.

25:03.858 --> 25:05.048
But we certainly have examples
of that.

25:05.048 --> 25:07.638
So they did seem to have
kitchens.

25:07.640 --> 25:11.420
So now I want to show you some
examples of houses that conform

25:11.416 --> 25:15.376
to the Hellenized domus
type, this being the first one.

25:15.380 --> 25:17.890
It's one of the most famous
houses in Pompeii,

25:17.890 --> 25:20.800
and if you're going there
anytime soon and are making a

25:20.798 --> 25:23.798
list of must-sees,
this is one of those must-sees,

25:23.797 --> 25:25.787
in Pompeii,
the House of the Vettii.

25:25.788 --> 25:28.628
We think it belongs,
although we're not absolutely

25:28.625 --> 25:31.865
sure, to the Vettius brothers,
to the Vettius brothers in

25:31.865 --> 25:32.555
Pompeii.

25:32.558 --> 25:35.738
And it dates,
as the Monument List indicates,

25:35.740 --> 25:37.620
to the second century B.C.

25:37.619 --> 25:38.559
and later.

25:38.558 --> 25:42.148
Looking at this plan you can
see the way in which it conforms

25:42.146 --> 25:44.416
to the Hellenized domus
type.

25:44.420 --> 25:48.300
Once again it has the core,
it has the Domus Italica

25:48.300 --> 25:48.770
core.

25:48.769 --> 25:51.669
The entranceway over here,
with the fauces;

25:51.670 --> 25:55.580
the cells on either side,
in this case used as rooms

25:55.578 --> 25:59.638
internal to the house,
they do not open off the street

25:59.643 --> 26:01.643
as shops;
the atrium here,

26:01.640 --> 26:04.740
with the impluvium;
a smaller number of

26:04.740 --> 26:09.390
cubicula on either side;
alae over here.

26:09.390 --> 26:11.780
Look what has happened to the
tablinum.

26:11.778 --> 26:13.688
The tablinum is gone
essentially.

26:13.690 --> 26:18.720
All it consists of is a couple
of pilasters that are located

26:18.724 --> 26:21.174
right here--
and I'll show them to you in a

26:21.167 --> 26:23.287
moment because it's
well-preserved pilasters here.

26:23.288 --> 26:26.188
So the tablinum has
essentially disappeared.

26:26.190 --> 26:30.560
It's become a kind of
passageway from the core of the

26:30.555 --> 26:32.565
house into the garden.

26:32.568 --> 26:35.798
And it is a peristyle garden,
surrounded by columns,

26:35.801 --> 26:36.881
as you can see.

26:36.880 --> 26:40.700
And you can see how important
that peristyle garden has

26:40.702 --> 26:41.342
become.

26:41.338 --> 26:45.728
This family has decided to
decrease their other space in

26:45.729 --> 26:49.879
order to have this stupendously
large garden here.

26:49.880 --> 26:52.430
And they have also put a very
large dining hall,

26:52.430 --> 26:56.580
triclinium up here,
that opens off the peristyle,

26:56.578 --> 27:00.858
and it has a much bigger
opening so that they could

27:00.857 --> 27:04.707
clearly dine and get views of
this garden,

27:04.710 --> 27:08.040
this peristyle garden,
of which they were obviously

27:08.042 --> 27:09.312
incredibly proud.

27:09.309 --> 27:12.309
So some major changes there.

27:12.308 --> 27:15.168
Now this particular house--oh I
did want to say though,

27:15.170 --> 27:18.420
despite those changes,
the house is still very

27:18.415 --> 27:22.235
enclosed and very plain and
stark from the outside.

27:22.240 --> 27:25.540
This is a restored view of what
we believe the outside looked

27:25.535 --> 27:25.915
like.

27:25.920 --> 27:28.980
So geometrically ordered,
cubic, as you can see.

27:28.980 --> 27:32.530
Just one entranceway,
possibly a few small windows,

27:32.526 --> 27:33.586
possibly not.

27:33.588 --> 27:36.918
And then you can see the
compluvium and the

27:36.916 --> 27:38.136
peristyle court.

27:38.140 --> 27:41.390
But otherwise very much
enclosed, like the earlier

27:41.385 --> 27:44.775
Domus Italica;
not much change with regard to

27:44.780 --> 27:47.590
how the exterior of the building
is treated.

27:47.588 --> 27:50.278
This again is one of the
reasons everyone flocks to this

27:50.279 --> 27:52.039
house is it's very well
preserved.

27:52.038 --> 27:53.468
There's been some restoration
work,

27:53.470 --> 27:56.590
of course, but really this is
one of those must-sees,

27:56.588 --> 28:00.358
because it really gives you as
good a sense as anything of what

28:00.357 --> 28:02.787
these houses looked like in
antiquity.

28:02.788 --> 28:05.298
We have obviously entered
into--we've come through the

28:05.300 --> 28:06.060
fauces.

28:06.059 --> 28:08.369
We are standing in the atrium.

28:08.368 --> 28:11.908
We can see the pool or
impluvium here.

28:11.910 --> 28:13.810
We can see the
compluvium,

28:13.808 --> 28:15.708
very well preserved,
up above.

28:15.710 --> 28:18.620
I think it's probably the best
preserved compluvium that

28:18.618 --> 28:19.838
we have, or close to it.

28:19.838 --> 28:22.868
And you can see that there were
little antefixes added in

28:22.865 --> 28:24.755
terracotta and stuff,
as decoration,

28:24.757 --> 28:25.727
up at the top.

28:25.730 --> 28:29.460
As we're standing here we look
back through what was once the

28:29.459 --> 28:32.219
tablinum,
and now is basically a point of

28:32.224 --> 28:34.834
transition,
a passageway from the atrium to

28:34.825 --> 28:37.255
the most important part of the
house,

28:37.259 --> 28:38.729
from the point of view of these
patrons,

28:38.730 --> 28:39.670
the garden.

28:39.670 --> 28:41.230
So you're looking through.

28:41.230 --> 28:44.460
You see these great piers on
either side, that are all that's

28:44.462 --> 28:46.082
left of the tablinum.

28:46.078 --> 28:48.258
You look through that and you
see the garden.

28:48.259 --> 28:50.579
The garden has its columns
surrounding it.

28:50.578 --> 28:54.548
The walls are painted,
of that garden,

28:54.551 --> 28:59.171
all a very lively and wonderful
interior.

28:59.170 --> 29:02.020
And what also becomes very
clear in looking at this

29:02.016 --> 29:05.486
particular view is something
that we've already discussed,

29:05.490 --> 29:09.080
and that is the importance in
the minds of the Romans of vista

29:09.076 --> 29:11.846
or panorama,
of great views that you can see

29:11.854 --> 29:14.304
from one part of a building to
another.

29:14.298 --> 29:18.078
Remember the Sanctuary of
Jupiter Anxur at Terracina and

29:18.076 --> 29:22.466
all of those wonderful lateral
and axial entrances and exits,

29:22.470 --> 29:25.050
where there were all kinds of
interesting light effects.

29:25.048 --> 29:26.638
We see the same sort of thing
here.

29:26.640 --> 29:30.290
The idea is to pass from a
particularly well-lighted area

29:30.289 --> 29:33.419
outside into a darker area,
the fauces.

29:33.420 --> 29:36.210
Then a little bit more light
added to the system through the

29:36.207 --> 29:39.027
compluvium,
and then a whole host of light,

29:39.027 --> 29:41.087
that you can see in the
distance,

29:41.088 --> 29:43.848
through the open--because of
the open peristyle.

29:43.848 --> 29:46.728
So dark, light,
dark, light -- this progression

29:46.734 --> 29:50.374
of space, this progression of
light through the structure a

29:50.374 --> 29:52.574
very typical Roman thing to do.

29:52.568 --> 29:55.888
The other thing,
of course, is this emphasis on

29:55.887 --> 30:00.647
axiality, this movement through
a structure in a very axial way.

30:00.650 --> 30:04.240
The garden here,
as it looks today.

30:04.240 --> 30:06.170
It would've been,
of course, even more beautiful

30:06.165 --> 30:07.965
in antiquity,
when it would've been in better

30:07.970 --> 30:08.380
shape.

30:08.380 --> 30:10.690
But nonetheless,
this gives you--it's a bit

30:10.685 --> 30:13.255
overgrown now and so on--
but it gives you some sense of

30:13.256 --> 30:15.426
what it would've looked like,
with the greenery in the

30:15.428 --> 30:16.998
garden, surrounded by the
columns,

30:17.000 --> 30:21.260
with garden furniture,
little fountains,

30:21.259 --> 30:23.549
little marble fountains and the
like,

30:23.548 --> 30:26.708
and with the walls--the
paintings are not in very good

30:26.713 --> 30:29.293
shape today,
but imagine them more vibrant.

30:29.288 --> 30:32.368
And I'm going to show you
examples of that on Thursday and

30:32.366 --> 30:34.266
next week,
of some of the paintings that

30:34.269 --> 30:36.829
are in better condition and how
vibrant this would've been with

30:36.834 --> 30:37.624
those paintings.

30:37.618 --> 30:39.758
Look also at the columns
because you can see--

30:39.759 --> 30:43.149
we'll see that some of these
columns are made out of stone,

30:43.150 --> 30:48.090
some of them are made out of
those tiles,

30:48.088 --> 30:50.358
that look like bricks,
that I've shown you before.

30:50.358 --> 30:53.448
But in all cases they were
stuccoed over white.

30:53.450 --> 30:55.190
Why were they stuccoed over
white?

30:55.190 --> 30:57.870
To make them look like Greek
marble.

30:57.868 --> 31:00.748
So once again,
this Hellenization of Roman

31:00.746 --> 31:04.106
domestic architecture,
this attempt to make these

31:04.114 --> 31:06.714
things look as Greek as
possible.

31:06.710 --> 31:08.260
You asked about the kitchen.

31:08.259 --> 31:10.869
Well this is our best preserved
kitchen, from Pompeii.

31:10.869 --> 31:13.029
It's really quite amazing.

31:13.028 --> 31:17.958
There's a stove,
and the pots and pans that were

31:17.955 --> 31:23.195
clearly still sitting on the
stove at the time this

31:23.198 --> 31:28.228
particular family had to flee
from Vesuvius.

31:28.230 --> 31:31.360
And I neglected to show you,
but you can look at the

31:31.359 --> 31:34.919
Monument List for this plan,
where the rooms are marked.

31:34.920 --> 31:37.820
You will see the kitchen marked
on that plan.

31:37.818 --> 31:41.028
And you will also see what's
called the Women's Quarters,

31:41.029 --> 31:43.809
marked on that plan,
which was probably where some

31:43.814 --> 31:47.114
of the slaves who were owned by
this particular family,

31:47.108 --> 31:50.728
the Vettius brothers,
lived, in that area.

31:50.730 --> 31:54.790
Another example of a house that
conforms,

31:54.788 --> 31:58.088
a Pompeian house that conforms
to the Hellenized domus

31:58.086 --> 32:00.776
type is the one that you now see
on the screen.

32:00.778 --> 32:04.858
It's a plan of the House of the
Silver Wedding,

32:04.856 --> 32:06.006
in Pompeii.

32:06.009 --> 32:09.209
We believe it was remodeled in
the first century B.C.,

32:09.209 --> 32:11.019
although it's controversial.

32:11.019 --> 32:14.559
It might have been remodeled a
bit later in the first century

32:14.556 --> 32:14.906
A.D.

32:14.910 --> 32:18.950
It's an interesting structure.

32:18.950 --> 32:20.700
It got its name,
the House of the Silver

32:20.696 --> 32:22.666
Wedding,
because there was a lot of

32:22.667 --> 32:24.997
fanfare in the late nineteenth
century--

32:25.000 --> 32:28.540
I think it was precisely
1893--when the king and queen of

32:28.541 --> 32:31.391
Italy came to visit this
particular house,

32:31.390 --> 32:32.850
and it became their favorite.

32:32.848 --> 32:36.948
And so the Silver Wedding is
actually a reference to them and

32:36.951 --> 32:39.961
to their marriage,
and so on and so forth.

32:39.960 --> 32:43.880
It's a wonderful house,
and I think you can see how it

32:43.884 --> 32:44.704
conforms.

32:44.700 --> 32:47.790
Again, it has a core that is
very much the Domus

32:47.785 --> 32:51.025
Italica core,
but it is another example of

32:51.027 --> 32:55.107
one of these houses that has
been remodeled because of the

32:55.112 --> 32:58.412
owner's interest in Hellenizing
that house.

32:58.410 --> 33:00.240
We enter here through the
fauces.

33:00.240 --> 33:04.190
There are cells on either side,
opening off the fauces.

33:04.190 --> 33:05.990
It's an unusual arrangement.

33:05.990 --> 33:11.470
Then over here the atrium with
the impluvium;

33:11.470 --> 33:13.660
the cubicula on either
side;

33:13.660 --> 33:16.510
the alae or wings of the
house;

33:16.509 --> 33:19.739
a dining room over here;
two peristyle courts,

33:19.744 --> 33:21.784
one in the back,
a smaller one,

33:21.780 --> 33:26.330
and then a huge peristyle court
over here on the left-hand side.

33:26.328 --> 33:29.618
So for this family one was not
enough, they wanted double the

33:29.623 --> 33:31.933
garden space,
and they've allotted a lot of

33:31.929 --> 33:34.179
space in this house to those
gardens.

33:34.180 --> 33:37.460
Then, most interesting of all I
think about this house,

33:37.460 --> 33:39.190
and the reason I chose it to
show to you,

33:39.190 --> 33:42.990
is that we are starting to see
the Hellenization of the atrium

33:42.987 --> 33:43.607
as well.

33:43.608 --> 33:45.138
Because look what's happened to
the atrium.

33:45.140 --> 33:49.760
They have placed four columns
around the impluvium,

33:49.761 --> 33:51.061
in the atrium.

33:51.058 --> 33:54.038
So it wasn't enough to have
these two large peristyles,

33:54.038 --> 33:57.178
they wanted columns everywhere,
and they placed these four

33:57.183 --> 33:58.953
around the impluvium.

33:58.950 --> 34:02.410
An atrium that has four columns
in it is technically called--and

34:02.413 --> 34:05.773
I put it on the Monument List
for you--a tetrastyle atrium;

34:05.769 --> 34:07.679
this is a tetrastyle atrium.

34:07.680 --> 34:09.850
Even that wasn't enough.

34:09.849 --> 34:12.259
Look at that room in the upper
left.

34:12.260 --> 34:15.900
That room in the upper left is
a banqueting hall,

34:15.900 --> 34:20.780
an additional dining space,
but a special dining space,

34:20.780 --> 34:24.830
that you can see opens up very
nicely off the smaller peristyle

34:24.829 --> 34:25.809
of the house.

34:25.809 --> 34:28.949
The opening is fairly wide,
so it probably would've had

34:28.947 --> 34:31.677
some wonderful views of the
peristyle garden.

34:31.679 --> 34:35.189
And look, there are four
columns in there as well.

34:35.190 --> 34:38.230
And this particular banqueting
hall,

34:38.230 --> 34:40.910
its technical name--it's got a
kind of a funny name that I

34:40.911 --> 34:43.361
don't think you'll forget called
an oecus,

34:43.360 --> 34:46.390
o-e-c-u-s;
and it's even more amusing in

34:46.393 --> 34:50.323
the plural, because the plural
is o-e-c-i, oeci.

34:50.320 --> 34:53.420
So this is an oecus,
among oeci,

34:53.420 --> 34:55.280
an oecus up there.

34:55.280 --> 34:57.870
And you can see that it's an
oecus that has four

34:57.871 --> 35:00.381
columns in it;
so we call it a tetrastyle

35:00.382 --> 35:01.322
oecus.

35:01.320 --> 35:04.670
All right, so now that we've
had an opportunity to look at

35:04.668 --> 35:07.428
the plan of the House of the
Silver Wedding,

35:07.429 --> 35:10.459
I want to give you a sense of
what the building looks like

35:10.463 --> 35:10.893
today.

35:10.889 --> 35:13.619
It's not as well preserved as
the House of the Vettii,

35:13.617 --> 35:16.397
but we can get a very good
sense of what it was like in

35:16.398 --> 35:17.118
antiquity.

35:17.119 --> 35:19.949
And the oecus,
which in some respects is the

35:19.945 --> 35:22.935
most important room in the
house, from our standpoint,

35:22.943 --> 35:24.473
is very well preserved.

35:24.469 --> 35:26.489
We're looking here at a view.

35:26.489 --> 35:28.519
We're standing again in the
beginning of the atrium,

35:28.523 --> 35:29.683
looking through the atrium.

35:29.679 --> 35:35.109
We see the impluvium of
the house -- a lot of moss and

35:35.112 --> 35:37.742
some--it's overgrown today.

35:37.739 --> 35:40.299
But nonetheless you can see it
there, as well as the

35:40.295 --> 35:41.595
compluvium above.

35:41.599 --> 35:45.699
What's most important to us is
you can see that this is indeed

35:45.702 --> 35:49.012
a tetrastyle atrium,
with four columns that are

35:49.005 --> 35:51.365
surrounding the
impluvium,

35:51.369 --> 35:55.199
those columns supporting the
ceiling,

35:55.199 --> 35:57.349
and of course the
compluvium above.

35:57.349 --> 36:00.609
Also interesting is the way in
which the columns are treated.

36:00.610 --> 36:04.650
You can see that they have been
fluted and then stuccoed over.

36:04.650 --> 36:06.290
Do you remember the temple at
Cori,

36:06.289 --> 36:08.719
that we looked at,
where we talked about the fact

36:08.724 --> 36:11.044
that--
the Temple of Hercules at Cori

36:11.038 --> 36:15.048
-- we talked about the fact that
the columns were fluted part of

36:15.045 --> 36:16.995
the way,
and then down below those

36:16.998 --> 36:19.568
flutes were covered over with
stucco and the stucco was

36:19.565 --> 36:20.085
painted.

36:20.090 --> 36:21.830
We see the same thing here.

36:21.829 --> 36:23.849
And if you look very,
very closely,

36:23.853 --> 36:26.533
you can even see the remains of
the red paint,

36:26.530 --> 36:30.400
the red paint that decorated
the lower part of these columns.

36:30.400 --> 36:33.390
So some interesting
correspondences there in terms

36:33.393 --> 36:34.803
of building practice.

36:34.800 --> 36:36.940
You can also see here,
as we saw in the House of the

36:36.940 --> 36:38.930
Vettii,
this wonderful vista from the

36:38.934 --> 36:41.614
atrium of the house,
through what remains of the

36:41.612 --> 36:44.812
tablinum,
into the garden of the house,

36:44.811 --> 36:47.561
the peristyle garden of the
house,

36:47.559 --> 36:50.559
which from the patron's point
of view was one of the most

36:50.561 --> 36:53.231
important,
if not the most important part,

36:53.230 --> 36:54.120
of the house.

36:54.119 --> 36:58.919
This is the oecus of the
House of the Silver Wedding,

36:58.920 --> 37:01.450
and you can see it is extremely
well preserved,

37:01.449 --> 37:03.869
and you can also see how very
interesting it is,

37:03.869 --> 37:05.159
in all kinds of ways.

37:05.159 --> 37:07.409
It is a tetrastyle
oecus--again,

37:07.409 --> 37:09.899
a banqueting hall--tetrastyle
oecus,

37:09.896 --> 37:11.196
with four columns.

37:11.199 --> 37:14.819
Those columns are stuccoed and
painted over.

37:14.820 --> 37:16.530
The paint is very well
preserved.

37:16.530 --> 37:19.220
It's a reddish,
purplish color,

37:19.215 --> 37:24.045
probably meant to conjure up
porphyry, p-o-r-p-h-y-r-y,

37:24.050 --> 37:27.810
porphyry, which comes only from
Egypt.

37:27.809 --> 37:31.299
It's only quarried in Egypt,
very expensive to bring it that

37:31.295 --> 37:33.715
great distance,
all the way to Pompeii.

37:33.719 --> 37:35.249
And, of course,
this isn't porphyry,

37:35.251 --> 37:36.521
it's just a painted column.

37:36.518 --> 37:40.388
But the whole idea of this,
from the patrons' point of

37:40.394 --> 37:43.634
view,
was to look like he and she

37:43.626 --> 37:47.586
were very well-heeled,
that they could afford to

37:47.585 --> 37:51.245
bring--they're trying to make
the illusion that they could

37:51.246 --> 37:53.876
afford to bring this expensive
stone,

37:53.880 --> 37:57.390
from very far away,
to use in their house here.

37:57.389 --> 38:02.109
Look also at the fact that
there's a barrel vault.

38:02.110 --> 38:05.570
This is actually a wooden
vault, rather than a concrete

38:05.565 --> 38:07.225
vault here in this room.

38:07.230 --> 38:11.050
But very nicely done,
and the walls are extensively

38:11.045 --> 38:11.805
painted.

38:11.809 --> 38:15.179
They are weathered today,
but they give you a very good

38:15.181 --> 38:18.931
sense of what would have been
the original appearance of this

38:18.927 --> 38:19.487
room.

38:19.489 --> 38:21.999
And, as I mentioned,
we'll talk in detail about

38:21.996 --> 38:24.116
Roman wall painting,
especially because,

38:24.123 --> 38:26.743
as you can see,
it does depict architecture.

38:26.739 --> 38:31.789
We'll begin that conversation
on Thursday and continue into

38:31.793 --> 38:32.843
next week.

38:32.840 --> 38:37.140
I want to turn now to what is
surely the most important

38:37.143 --> 38:42.013
surviving house at the city of
Pompeii, and this is the famous

38:42.005 --> 38:43.755
House of the Faun.

38:43.760 --> 38:47.070
If you're in Pompeii and you
only have time to see two

38:47.072 --> 38:50.892
houses, you go to the House of
the Vettii and the House of the

38:50.887 --> 38:51.447
Faun.

38:51.449 --> 38:53.939
The House of the Faun,
as you can see from your

38:53.938 --> 38:56.778
Monument List,
dates to the second century

38:56.784 --> 39:00.764
B.C., for the most part,
and we see a view,

39:00.764 --> 39:05.994
part of Pompeii over here,
with a series of houses marked

39:05.994 --> 39:06.704
in yellow.

39:06.699 --> 39:09.789
And the reason that I show this
to you is because the House of

39:09.788 --> 39:11.458
the Faun is particularly large.

39:11.460 --> 39:15.770
You can see from this plan that
it takes up in fact the entire

39:15.773 --> 39:19.173
block,
an entire block of the city of

39:19.170 --> 39:22.040
Pompeii,
and it is much larger than some

39:22.036 --> 39:22.976
of the others.

39:22.980 --> 39:25.330
For example,
look at the House of the Vettii

39:25.333 --> 39:25.993
over here.

39:25.989 --> 39:30.309
It's twice, if not larger,
than that: twice the size of

39:30.309 --> 39:34.629
the House of the Vettii,
if not even more than that.

39:34.630 --> 39:37.810
So it's a very large house.

39:37.809 --> 39:41.729
Clearly no expense was spared,
either in accumulating the

39:46.219 --> 39:48.889
If we look at a plan of the
House of the Faun,

39:48.889 --> 39:50.609
we will see,
without question,

39:50.608 --> 39:53.458
that it corresponds and it
follows the Hellenized

39:53.456 --> 39:54.876
domus type.

39:54.880 --> 39:57.010
We enter over here.

39:57.010 --> 39:59.170
We see it has a
vestibulum;

39:59.170 --> 40:05.060
a fauces;
two cellae, one on either side;

40:05.059 --> 40:07.219
an atrium with an
impluvium;

40:07.219 --> 40:09.749
the cubicula here on
either side;

40:09.750 --> 40:11.270
the wings or the alae.

40:11.268 --> 40:13.628
It does have a tablinum,
you see it over here,

40:13.630 --> 40:17.780
and then it has two peristyle
courts,

40:17.780 --> 40:21.980
with columns encircling them,
a smaller one and then a very

40:21.981 --> 40:23.721
large one in the back.

40:23.719 --> 40:27.379
Note also, while this is on the
screen, that there is a very

40:27.378 --> 40:30.168
interesting room that is located
over here.

40:30.170 --> 40:32.110
It's a rectangular room.

40:32.110 --> 40:36.180
It has a couple of columns on
bases and pilasters,

40:36.177 --> 40:37.917
one on either side.

40:37.920 --> 40:40.420
It opens right off the
peristyle court,

40:40.420 --> 40:45.460
and on the floor of that space,
which we call the Alexander

40:45.460 --> 40:47.350
exedra,
e-x-e-d-r-a,

40:47.349 --> 40:51.429
after Alexander the Great,
because on the floor of that

40:51.429 --> 40:54.649
was the most famous mosaic that
we have surviving from

40:54.648 --> 40:57.088
antiquity,
that represents Alexander the

40:57.090 --> 40:59.110
Great,
and I'll show you that

40:59.106 --> 41:00.036
momentarily.

41:00.039 --> 41:03.139
First let me show you what the
house looks like from the

41:03.135 --> 41:03.695
outside.

41:03.699 --> 41:04.669
It's well preserved.

41:04.670 --> 41:07.990
It doesn't have its ceiling the
way the House of the Vettii

41:07.987 --> 41:10.787
does, but otherwise it's pretty
well preserved.

41:10.789 --> 41:12.939
We're looking down the street
on which it finds itself.

41:12.940 --> 41:14.720
You see the polygonal masonry
blocks.

41:14.719 --> 41:23.759
You see the sidewalks here as
well, and how modern they look.

41:23.760 --> 41:24.910
You see the stepping stones.

41:28.768 --> 41:31.888
You can see the entranceway,
and you can see that the

41:31.889 --> 41:35.429
entranceway has on either side a
pilaster, a pilaster with a

41:35.429 --> 41:37.169
Corinthian capital above.

41:37.170 --> 41:40.010
And that's very important,
because it's announcing to us,

41:40.010 --> 41:43.970
as did that ideal Hellenized
domus that I showed you

41:43.967 --> 41:46.287
before,
it's announcing to us that this

41:46.289 --> 41:48.409
is a patron,
this is an owner of this

41:48.413 --> 41:51.643
particular house who has
leanings toward things Greek and

41:51.641 --> 41:55.001
wants us to know that,
even before we have entered

41:55.003 --> 41:56.113
into the house.

41:56.110 --> 42:00.610
You go into the house and stand
in the vestibule.

42:00.610 --> 42:03.970
You will see that there is
still quite a bit of decoration

42:03.972 --> 42:04.682
preserved.

42:04.679 --> 42:08.509
The walls are painted with
blocks, what look like blocks of

42:08.505 --> 42:09.885
stone: an illusion.

42:09.889 --> 42:12.449
This is an example of First
Style wall painting;

42:12.449 --> 42:13.979
we're going to talk about that
on Thursday.

42:13.980 --> 42:17.260
And then up here a shrine is
still preserved,

42:17.260 --> 42:20.680
a shrine that probably held
statues or statuettes of some of

42:20.675 --> 42:23.615
the household gods,
the revered gods for this

42:23.623 --> 42:24.163
family.

42:24.159 --> 42:27.269
This is an excellent view
because it shows us again how

42:27.271 --> 42:30.441
entering this house you would
stand in the vestibule;

42:30.440 --> 42:33.270
you'd go from there into the
fauces,

42:33.268 --> 42:36.058
then into the atrium,
then into the peristyle that

42:36.063 --> 42:38.393
lay beyond --
the first smaller one and then

42:38.393 --> 42:39.723
the larger one after that.

42:39.719 --> 42:42.969
But it shows us again the point
that I've made so many times

42:42.965 --> 42:45.325
already,
just in this first part of the

42:45.326 --> 42:47.806
semester,
and that is this Roman interest

42:47.811 --> 42:49.121
in vista or panorama.

42:49.119 --> 42:52.969
They've set up a view from the
moment in which you enter the

42:52.972 --> 42:55.372
house,
a sequence of experiences from

42:55.369 --> 42:59.109
light to dark to light to dark,
but also a sequence of visual

42:59.110 --> 43:02.730
experiences that make entering
this house and walking through

43:02.733 --> 43:05.333
this house an extraordinary
experience,

43:05.329 --> 43:07.509
one that they have helped
enhance.

43:07.510 --> 43:09.990
And you can also see again the
capitals here.

43:09.989 --> 43:12.599
Here's a view of the atrium as
it looks today.

43:12.599 --> 43:15.059
We are standing in front of the
impluvium.

43:15.059 --> 43:18.909
In that impluvium is a
statuette in bronze of the

43:18.909 --> 43:21.919
Dancing Faun,
from which this house gets its

43:21.920 --> 43:22.550
name.

43:22.550 --> 43:26.120
The one that you see there now
is a copy and the original is in

43:26.121 --> 43:28.311
the Archaeological Museum in
Naples.

43:28.309 --> 43:31.729
This view also shows you the
way in which you had the series

43:31.730 --> 43:35.640
of visual experiences,
from the fauces to the

43:35.637 --> 43:37.947
atrium,
and ultimately toward the

43:41.592 --> 43:44.732
la Grecque,
in the Greek style.

43:44.730 --> 43:46.240
Here's another interesting view.

43:46.239 --> 43:47.719
We're still in the atrium.

43:47.719 --> 43:49.569
You can see the Dancing Faun
right here.

43:49.570 --> 43:52.640
We're looking at the side wall;
if we're facing the Faun,

43:52.641 --> 43:53.881
this is the wall to the left.

43:53.880 --> 43:57.860
This is very helpful because it
shows us exactly what the

43:57.864 --> 44:02.564
cubicula that opened off
the atrium would've looked like.

44:02.559 --> 44:04.179
You can see that they were very
dark.

44:04.179 --> 44:06.389
Some of them had these tiny
slit windows,

44:06.393 --> 44:08.723
or perhaps slightly larger slit
windows.

44:08.719 --> 44:11.999
But for the most part they were
very dark -- again meant only as

44:12.003 --> 44:15.133
a place to sleep at night and to
be used for no other purpose

44:15.130 --> 44:15.860
than that.

44:15.860 --> 44:19.920
You can also see from this view
that this is a rubble wall that

44:19.918 --> 44:22.828
has been stuccoed over,
and that reliefs,

44:22.833 --> 44:26.053
painted different colors,
have been placed on that wall.

44:26.050 --> 44:29.900
This is an example of so-called
First Style Roman wall painting,

44:29.900 --> 44:32.620
and we'll go into what that
was, define what that was,

44:32.619 --> 44:35.959
and discuss it in more detail
on Thursday.

44:35.960 --> 44:39.250
This is a wonderful restored
view of what the House of the

44:39.246 --> 44:42.586
Faun would've looked like when
all of its First Style Roman

44:42.590 --> 44:46.130
wall painting was intact,
showing what it would've looked

44:46.130 --> 44:49.750
like to stand in the atrium and
look back through what survived

44:49.751 --> 44:53.031
of the tablinum,
with these very large pilasters

44:53.030 --> 44:55.290
again,
announcing the Greek leanings

44:55.291 --> 44:56.991
of this particular patron.

44:56.989 --> 45:00.419
And then the view toward the
peristyle, where you would also

45:00.418 --> 45:04.138
see the columns that looked like
they were very much in the Greek

45:04.137 --> 45:04.717
style.

45:04.719 --> 45:08.419
So here's clearly a person who
not only is building his home to

45:08.422 --> 45:11.592
correspond to the latest in
domestic architecture,

45:11.590 --> 45:13.420
namely the Hellenized
domus type,

45:13.420 --> 45:16.210
but who just wants to make that
point over and over and over

45:16.206 --> 45:19.946
again: that he's cultivated,
that he knows things Greek,

45:19.954 --> 45:25.124
and that he has the funds to be
able to incorporate those into

45:25.119 --> 45:26.219
his house.

45:26.219 --> 45:29.419
And indeed First Style wall
painting, as we'll find out when

45:29.418 --> 45:31.748
we discuss it,
is also a style that is based

45:31.748 --> 45:33.048
on Greek prototypes.

45:33.050 --> 45:37.510
So another example of the Greek
elements in this building.

45:37.510 --> 45:41.580
What room do you think this is?

45:41.579 --> 45:43.699
Oh I didn't show you this on
the plan; I neglected to.

45:43.699 --> 45:45.129
But you can look at your
Monument List.

45:45.130 --> 45:48.530
When you look at the plan,
you'll see that this house had

45:48.525 --> 45:51.315
more than one atrium;
it had two atria.

45:51.320 --> 45:53.010
And this is one of them.

45:53.010 --> 45:58.140
It's a tetrastyle atrium,
because you can see there are

45:58.141 --> 46:02.131
four columns,
one around each corner of the

46:02.134 --> 46:04.134
impluvium.

46:04.130 --> 46:06.660
So a house with two peristyles;
a house with two

46:06.659 --> 46:08.469
atriums,
and even one of the

46:08.465 --> 46:11.435
atriums has four columns,
as you can see here.

46:11.440 --> 46:14.060
And this one is also very
useful for the fact--

46:14.059 --> 46:16.269
one of you asked me a question,
when we were looking at the

46:16.271 --> 46:19.561
Basilica of Pompeii,
about why the columns looked

46:19.561 --> 46:22.651
the way they did--
I think it was you--and I

46:22.648 --> 46:25.768
mentioned that they were pieced,
and here you can see that very

46:25.771 --> 46:27.791
well,
these drums placed one on top

46:27.793 --> 46:28.523
of another.

46:28.518 --> 46:31.718
So that you can see over time
how easy it would be for some of

46:31.717 --> 46:33.917
those to fall off or become
dismantled,

46:33.920 --> 46:37.060
and for us to be left with the
sort of thing that we're left

46:37.063 --> 46:39.783
with when we look at what
remains in the Basilica of

46:39.780 --> 46:40.420
Pompeii.

46:40.420 --> 46:42.530
Here's a view obviously of one
of the peristyles.

46:42.530 --> 46:45.410
Here you also see something
interesting in terms of building

46:45.413 --> 46:46.003
technique.

46:46.000 --> 46:49.920
The columns in Pompeii tend to
be either of local stone,

46:49.920 --> 46:53.620
a local tufa,
or made of these tiles that

46:53.619 --> 46:57.069
look like bricks,
but then in either case

46:57.068 --> 46:59.098
stuccoed over,
white, fluted,

46:59.099 --> 47:01.199
to make them look,
once again,

47:01.199 --> 47:04.239
like they are marble columns:
the illusion that they are

47:04.242 --> 47:06.892
marble columns,
even though they are not,

47:06.891 --> 47:08.941
to underscore their Greekness.

47:08.940 --> 47:14.840
This is a view of that exedra,
that Alexander exedra that I

47:14.835 --> 47:18.865
mentioned to you before,
that opens off the first

47:18.865 --> 47:22.235
peristyle,
with two columns on bases here.

47:22.239 --> 47:24.879
Note the red at the bottom,
white at the top.

47:24.880 --> 47:27.920
Two pilasters painted red,
as you can see.

47:27.920 --> 47:30.140
And you can see the tourists
standing there,

47:30.144 --> 47:30.874
gazing down.

47:30.869 --> 47:32.969
They're gazing down at a copy.

47:32.969 --> 47:35.479
And this copy,
by the way, for a very long

47:35.480 --> 47:37.540
time,
for as long as I remember going

47:37.543 --> 47:38.973
there,
except for this last time I was

47:38.967 --> 47:40.627
there,
there was nothing there,

47:40.628 --> 47:44.068
and I think most people had no
realization that this amazing

47:44.065 --> 47:46.275
mosaic originally was on the
floor.

47:46.280 --> 47:49.340
But they have a put a copy--the
mosaic is now in the Naples

47:49.340 --> 47:51.770
Archaeological Museum,
long ago moved there.

47:51.768 --> 47:53.888
But they finally put a copy
down on the floor,

47:53.889 --> 47:56.849
so that--of the mosaic that was
there--

47:56.849 --> 48:00.019
so that people who visit the
House of the Faun realize,

48:00.018 --> 48:03.878
oh, this is where the Alexander
Mosaic was located,

48:03.880 --> 48:06.270
which is particularly
important, because this is a

48:06.266 --> 48:08.746
view of the mosaic,
this extraordinary mosaic of

48:08.751 --> 48:11.441
Alexander the Great,
that's now in the Naples

48:11.436 --> 48:12.946
Archaeological Museum.

48:12.949 --> 48:15.369
And, of course,
you can see that they display

48:15.369 --> 48:18.779
it there as if it were a panel
picture, hanging on the wall.

48:18.780 --> 48:21.160
But that is not how it was
displayed, or meant to be

48:21.163 --> 48:22.943
displayed, in the House of the
Faun.

48:22.940 --> 48:25.700
It was a floor pavement in the
House of the Faun.

48:25.699 --> 48:27.739
But look how nicely,
at least in the museum,

48:27.739 --> 48:30.629
they have recreated the
ambience by putting the columns

48:30.626 --> 48:33.226
and the pilasters--
they tried to recreate the

48:33.228 --> 48:36.008
sense of the exedra,
just as it is in the house.

48:36.010 --> 48:38.630
It's just that they put the
mosaic in the wrong place;

48:38.630 --> 48:40.160
it should be on the floor.

48:40.159 --> 48:41.739
Nonetheless,
you can see it's an

48:41.740 --> 48:43.170
extraordinary work of art.

48:43.170 --> 48:45.370
I'm not going to go into it in
great detail,

48:45.369 --> 48:49.079
but I did want to expose you to
it because it is so important

48:49.079 --> 48:51.769
and so magnificent,
and I also want to make

48:51.769 --> 48:53.969
absolutely sure that you don't
miss,

48:53.969 --> 48:58.059
when you go to the Pompeii
area, you do not miss going to

48:58.056 --> 49:00.826
the Archaeological Museum in
Naples.

49:00.829 --> 49:03.569
It's an amazing museum,
one of the greatest of all the

49:03.567 --> 49:06.517
museums in Italy,
and it has of course--almost

49:06.518 --> 49:10.628
all the great stuff that comes
from Pompeii is at that museum

49:10.632 --> 49:11.252
today.

49:11.250 --> 49:14.610
So it's another one of those
asterisked, must-sees.

49:14.610 --> 49:15.920
You look at it here.

49:15.920 --> 49:18.640
It represents the battle
between Alexander and the

49:18.635 --> 49:20.835
Persian King Darius,
d-a-r-i-u-s,

49:20.840 --> 49:26.020
at the famous Battle of Issus,
i-s-s-u-s, and at that battle

49:26.023 --> 49:31.163
Alexander was victorious,
and you see it here.

49:31.159 --> 49:34.409
And one of the reasons that
it's so important for our

49:34.407 --> 49:38.217
understanding of the House of
the Faun is that we believe that

49:38.217 --> 49:42.087
this mosaic was a copy of an
earlier lost Greek painting,

49:42.090 --> 49:44.190
a Greek painting of this same
scene,

49:44.190 --> 49:48.620
of Alexander and Darius,
done in around 300 B.C.

49:48.619 --> 49:52.549
by a Greek painter,
that was copied for this house

49:52.550 --> 49:56.400
in mosaic, sometime in the
second century B.C.

49:56.400 --> 49:59.440
So it's another example of this
patron,

49:59.440 --> 50:03.060
of this owner of the house,
who is so besotted with Greek

50:03.059 --> 50:06.619
art that he wants to have as
much of it around him as he

50:06.615 --> 50:10.195
possibly can,
and he clearly has the assets

50:10.195 --> 50:15.275
that enable him to commission a
mosaicist to make this amazing

50:15.277 --> 50:16.357
painting .

50:16.360 --> 50:19.700
Now there are a lot of people
who talk about this mosaic,

50:19.699 --> 50:23.249
and they say,
"Well, you know,

50:23.250 --> 50:25.660
it's such a pale reflection of
what the painting would've been,

50:25.659 --> 50:28.719
and it's a typical derivative,
Roman art.

50:28.719 --> 50:31.469
They had to look at Greek art
and derive from it.

50:31.469 --> 50:33.119
They couldn't come up with
anything on their own."

50:33.119 --> 50:36.339
But I would maintain that's
absolutely untrue,

50:36.340 --> 50:39.600
and I would also maintain that
to do this kind of work in

50:39.597 --> 50:41.697
mosaic,
rather than paint,

50:41.697 --> 50:43.717
is much more difficult.

50:43.719 --> 50:47.319
This is a true tour de force,
to be able to create this kind

50:47.322 --> 50:51.682
of active battle scene,
with collapsing horses and with

50:51.679 --> 50:56.969
spears in the sky foreshortened,
and foreshortened weapons down

50:56.969 --> 50:57.419
here.

50:57.420 --> 50:59.600
This is an amazing thing to do
in mosaic,

50:59.599 --> 51:02.429
when you think of all of these
individual tesserae,

51:02.429 --> 51:07.059
these small stones,
multicolored stones,

51:07.059 --> 51:09.179
that had to be brought
together, placed in mortar,

51:09.179 --> 51:11.679
to create this amazing tableau.

51:11.679 --> 51:15.779
To me it seems like it is a
much, much greater feat to have

51:15.775 --> 51:18.875
to achieve that,
and to achieve it so well in

51:18.884 --> 51:20.654
mosaic than in paint.

51:20.650 --> 51:22.780
Just quickly a couple of
details.

51:22.780 --> 51:25.580
Here's the one of Alexander
himself on his horse.

51:25.579 --> 51:28.699
It's an incredible
characterization of the great

51:28.704 --> 51:32.694
Hellenistic general and king,
and you see him on his favorite

51:32.693 --> 51:35.883
horse, Bucephalus here;
and I think it's a wonderful

51:35.880 --> 51:37.770
characterization by this
particular,

51:37.768 --> 51:41.238
very talented mosaicist and his
workshop,

51:41.239 --> 51:45.359
to capture the relationship of
man and horse.

51:45.360 --> 51:48.380
If you look at not only the
eyes, but also at the hair,

51:48.380 --> 51:51.380
the hair of Alexander tousled,
flowing in the wind,

51:51.380 --> 51:54.290
the mane of the horse,
so closely allied with one

51:54.293 --> 51:54.903
another.

51:54.900 --> 51:58.010
The artist has really very
effectively captured that again,

51:58.005 --> 52:00.575
even just using these very
small pieces of stone,

52:00.577 --> 52:02.557
which you can see very well
here.

52:02.559 --> 52:06.249
Look at the way the shadows are
cast, even by that stone.

52:06.250 --> 52:07.640
It's incredible.

52:07.639 --> 52:11.349
Here's the other detail that
I'm going to show you of Darius,

52:11.349 --> 52:12.399
in his chariot.

52:12.400 --> 52:15.590
As you can see,
he's looking toward Alexander,

52:15.585 --> 52:18.765
he's mesmerized by the great
Hellenistic king,

52:18.769 --> 52:21.389
but he's at the same time
afraid.

52:21.389 --> 52:24.569
And he's beating a retreat,
because you can see that his

52:24.567 --> 52:26.817
driver has turned the chariot
around.

52:26.820 --> 52:29.550
He's whipping the horse and
he's heading in the other

52:29.552 --> 52:32.552
direction, away from Alexander,
as is this figure here.

52:32.550 --> 52:35.530
We see his horse from the rear,
a real tour de force,

52:35.525 --> 52:36.665
depicting a horse.

52:36.670 --> 52:39.720
But he too is looking at
Alexander, quite afraid,

52:39.717 --> 52:43.527
and his horse is also turning
to go off into the distance.

52:43.530 --> 52:46.200
So capturing this very dramatic
moment.

52:46.199 --> 52:48.909
And to me the most wonderful
detail is this one,

52:48.913 --> 52:51.913
that you see down here,
which is a view of one of the

52:51.914 --> 52:55.454
fallen Persians;
the shield is falling over on

52:55.452 --> 53:00.552
him, but the shield is polished
to such a shine that he can see

53:00.545 --> 53:03.335
the reflection of his own face.

53:03.340 --> 53:05.530
I have a detail to show you of
this.

53:05.530 --> 53:09.390
He can see the reflection--you
see it here--of his own face in

53:09.393 --> 53:10.283
that shield.

53:10.280 --> 53:12.040
And this view is particularly
good.

53:12.039 --> 53:15.529
I took this one very close up,
so that you could see the

53:15.530 --> 53:16.800
individual stones.

53:16.800 --> 53:20.030
You don't--from a distance they
blend, but when you go up close

53:20.025 --> 53:22.465
you can really see,
oh yeah, that's a mosaic.

53:22.469 --> 53:24.819
And it's really an
extraordinary work of art.

53:24.820 --> 53:28.290
A very quick question because--
Student:  How big are

53:28.286 --> 53:29.086
the stones?

53:29.090 --> 53:30.350
Prof: They're very
small, they're very small,

53:30.349 --> 53:32.439
and the reason for that is in
large part so that they will

53:32.436 --> 53:34.796
blend ultimately,
and from a distance it will

53:34.798 --> 53:36.548
have the feel of a painting.

53:36.550 --> 53:38.800
Certainly when it's on the
wall, probably less so when you

53:38.802 --> 53:41.262
stood and looked at it,
in its original location,

53:41.262 --> 53:44.702
because you'd be looking down
on it and you'd be closer to it

53:44.704 --> 53:45.454
than here.

53:45.449 --> 53:46.389
But it's an amazing work.

53:46.389 --> 53:49.359
And again remember that
although the original painting,

53:49.360 --> 53:51.270
done by the Greek painter,
was probably,

53:51.268 --> 53:54.218
did hang on a wall,
this one was meant as a floor

53:54.222 --> 53:57.622
mosaic in this house --
but again a testament to the

53:57.623 --> 54:00.423
Greek leanings of this
particular patron.

54:00.420 --> 54:03.810
Now I also wanted to show
you--that's not the only mosaic

54:03.811 --> 54:04.601
in Pompeii.

54:04.599 --> 54:07.219
It's the greatest,
by far, and it's without

54:07.221 --> 54:08.821
question--
and I think everyone who

54:08.818 --> 54:10.268
studies this stuff would agree
with me,

54:10.268 --> 54:14.258
that it's the finest surviving
mosaic in the history of ancient

54:14.255 --> 54:15.665
Greek and Roman art.

54:15.670 --> 54:18.400
But there are plenty of other
mosaics preserved,

54:18.398 --> 54:21.178
including at Pompeii,
and I want to show you just

54:21.184 --> 54:21.654
one.

54:21.650 --> 54:24.140
It's mentioned underneath the
Alexander mosaic,

54:24.143 --> 54:26.803
on your Monument List,
because it's so beloved;

54:26.800 --> 54:29.770
it's even more beloved by most
tourists to the site than the

54:29.771 --> 54:31.851
Alexander mosaic,
which after all you can't see

54:31.851 --> 54:33.711
on the site,
you have to see it in Naples,

54:33.713 --> 54:34.783
at least the original.

54:34.780 --> 54:38.080
But this is the so-called Cave
Canem Mosaic,

54:38.077 --> 54:41.607
and it belongs to the House of
the Tragic Poet,

54:41.605 --> 54:45.435
a house that was put up between
62 and 79 A.D.

54:45.440 --> 54:48.540
And you see what's meant to be
a very ferocious dog with his

54:48.543 --> 54:49.283
teeth bared.

54:49.280 --> 54:52.120
This one is done much more
simply, in only three colors;

54:52.119 --> 54:55.169
mainly black and
white--tesserae or small

54:55.166 --> 54:56.666
stones;
t-e-s-s-e-r-a-e,

54:56.666 --> 54:59.246
that's what these small stones
are called, the

54:59.246 --> 55:02.796
tesserae--black and
white, basically black on white.

55:02.800 --> 55:05.860
But you can see that there's
one touch of red,

55:05.858 --> 55:07.488
the collar of the dog.

55:07.489 --> 55:09.799
And the dog is chained,
as you can see,

55:09.797 --> 55:13.377
just like that poor plaster
cast of the dog that we saw last

55:13.382 --> 55:14.782
time, he's chained.

55:14.780 --> 55:16.760
But he's meant to look very
ferocious.

55:16.760 --> 55:17.780
He's baring his teeth.

55:17.780 --> 55:21.020
And the whole point,
Cave Canem, beware of dog,

55:21.018 --> 55:24.388
is for you to be warned of the
fact that if you dare step any

55:24.394 --> 55:26.594
further than that
vestibulum,

55:26.590 --> 55:29.460
and try to get into this house
or try to steal anything or

55:29.456 --> 55:31.516
whatever,
this dog will attack.

55:31.518 --> 55:35.238
So it's the same kind of--it's
like a security alarm system

55:35.237 --> 55:36.837
actually for antiquity.

55:36.840 --> 55:41.500
And I bet you can tell me where
in the house this mosaic was

55:41.503 --> 55:42.143
located.

55:42.135 --> 55:45.135
Student:  The
fauces.

55:45.139 --> 55:46.319
Prof: In the
vestibulum or the

55:46.315 --> 55:47.105
fauces of the house.

55:47.110 --> 55:48.670
Yes, probably the
vestibulum actually,

55:48.670 --> 55:50.500
indeed the vestibulum of
the house,

55:50.500 --> 55:53.820
so that even before you got in
as far as the fauces you

55:53.824 --> 55:56.554
were warned that you'd better
beware of the dog.

55:56.550 --> 55:58.690
And this thing,
you will see this--any of you

55:58.690 --> 56:01.900
who've been to Pompeii know this
and can attest that I'm right--

56:01.900 --> 56:06.250
every single souvenir stand,
anywhere within any numbers of

56:06.250 --> 56:09.200
yards of Pompeii,
is selling the Cave Canem on

56:09.201 --> 56:11.691
everything you can possibly
imagine: the mugs,

56:11.690 --> 56:13.800
the T-shirts,
the hotplates,

56:13.798 --> 56:15.838
the whatever,
the tote bags.

56:15.840 --> 56:19.380
You can get the Cave Canem in
every shape, size and

56:19.378 --> 56:20.368
possibility.

56:20.369 --> 56:23.839
And I have one of those myself,
only one, only a hotplate,

56:23.835 --> 56:24.805
but that's it.

56:24.809 --> 56:28.589
I did it like everybody else at
one point, years ago.

56:28.590 --> 56:32.280
I want to show you briefly a
couple of other houses,

56:32.280 --> 56:36.210
just to make a few small
points, well,

56:36.210 --> 56:38.790
important points,
an important point or two about

56:38.791 --> 56:39.601
each of them.

56:39.599 --> 56:43.369
The first one is the House of
Menander, in Pompeii,

56:43.371 --> 56:46.391
which dates to the second
century B.C.

56:46.389 --> 56:47.119
and later.

56:47.119 --> 56:49.749
You see it in plan here.

56:49.750 --> 56:52.500
The House of Menander,
like everything else we've seen

56:52.496 --> 56:55.086
in the latter part of this
lecture, is a Hellenized

56:55.088 --> 56:55.968
domus.

56:55.969 --> 56:59.049
You can tell that because of
the peristyle here.

56:59.050 --> 57:01.410
In other respects it's very
similar to everything we've

57:01.414 --> 57:04.514
seen: the usual fauces,
atrium, cubiculum,

57:04.505 --> 57:08.335
tablinum system,
the large peristyle up here,

57:08.335 --> 57:12.315
and some dining spaces opening
off that peristyle.

57:12.320 --> 57:14.500
What makes this particular
house interesting,

57:14.500 --> 57:16.060
and the reason that I show it
to you,

57:16.059 --> 57:20.379
is it's a good illustration of
what happens when over time you

57:20.380 --> 57:22.640
remodel,
and also over time,

57:22.639 --> 57:26.219
when other property becomes
available nearby.

57:26.219 --> 57:30.209
And we can tell from this plan
that what happened here is that

57:30.206 --> 57:32.686
the core of the house was added
to,

57:32.690 --> 57:35.380
as property on either side,
additional property,

57:35.380 --> 57:38.260
became available,
and this owner purchased that

57:38.257 --> 57:39.757
property and added it.

57:39.760 --> 57:42.750
And the plan becomes much more
irregular obviously,

57:42.751 --> 57:43.831
because of that.

57:43.829 --> 57:46.319
An addition over here,
an addition over here;

57:46.320 --> 57:49.970
some of that sense of axiality
and symmetry is lost when you

57:49.974 --> 57:52.644
start to add to either side
horizontally.

57:52.639 --> 57:54.689
But there are lots of houses
like this,

57:54.690 --> 57:58.830
and it's one of the things one
needs to keep in mind as one

57:58.829 --> 58:03.039
visits the city and as one looks
at each of these incredible

58:03.039 --> 58:04.109
structures.

58:04.110 --> 58:06.140
Just very quickly,
with regard to the house,

58:06.141 --> 58:08.741
just so you have a sense of
what it looks like today.

58:08.739 --> 58:11.519
It's named the House of
Menander because of this

58:11.518 --> 58:14.528
painting of the poet who sits on
a chair over there,

58:14.532 --> 58:16.722
on one of the walls of the
house.

58:16.719 --> 58:20.849
Part of the peristyle is
actually quite well preserved,

58:20.847 --> 58:22.297
as is the atrium.

58:22.300 --> 58:24.850
We're standing in the atrium,
as you can obviously see,

58:24.853 --> 58:27.693
with the impluvium,
looking back toward the garden.

58:27.690 --> 58:30.760
This is interesting because you
can see again the

58:30.764 --> 58:33.524
cubicula opening off
either side,

58:33.518 --> 58:35.448
but also because of the
incorporation,

58:35.449 --> 58:39.169
just as in the House of the
Faun, of columns elsewhere than

58:39.170 --> 58:40.710
just in the peristyle.

58:40.710 --> 58:47.150
These in that transition place
between the atrium and the

58:47.150 --> 58:50.450
garden,
the so-called tablinum

58:50.454 --> 58:52.724
space,
these very large columns,

58:52.719 --> 58:56.409
stuccoed over,
fluted, and you can see in this

58:56.407 --> 58:58.047
case,
not painted red at the bottom

58:58.052 --> 59:00.272
but a kind of bright yellow to
match the colors of the wall.

59:00.268 --> 59:04.128
So again this incorporation of
Greek elements into houses like

59:04.132 --> 59:04.832
this one.

59:04.829 --> 59:06.099
This is also a good view.

59:06.099 --> 59:07.319
It's a very well-preserved
house.

59:07.320 --> 59:09.110
We're back in the atrium again.

59:09.110 --> 59:11.340
You can see the way in which
the cubicula,

59:11.344 --> 59:13.304
the small cubicula open
off that.

59:13.300 --> 59:14.680
You can see some of the
paintings.

59:14.679 --> 59:17.079
And here's the entranceway,
through the fauces,

59:17.079 --> 59:19.899
and you can see in this
particular case a small shrine

59:19.896 --> 59:22.846
that's located in the corner --
the purpose of that,

59:22.851 --> 59:25.801
for the household to display
the household gods.

59:25.800 --> 59:29.030
This is another interesting
house that I just want to treat

59:29.025 --> 59:29.745
fleetingly.

59:29.750 --> 59:32.960
It's the so-called House of
Pansa in Pompeii,

59:32.958 --> 59:35.948
and it dates to the second
century B.C.

59:35.949 --> 59:38.939
And it's a very large house,
as you can see,

59:38.940 --> 59:43.120
like all the other Hellenized
domuses, because we see that it

59:43.115 --> 59:45.755
has a peristyle with columns
here.

59:45.760 --> 59:48.640
Like all the others it has
everything that we've seen:

59:48.637 --> 59:50.697
the vestibulum;
the fauces;

59:50.699 --> 59:52.109
the atrium;
the cubicula;

59:52.110 --> 59:54.010
the wings or alae;
the tablinum,

59:54.007 --> 59:59.057
a dining room;
and a bevy of shops down here.

59:59.059 --> 1:00:02.379
In fact more shops than we have
seen be the case in most of the

1:00:02.378 --> 1:00:04.868
houses we've looked at,
at least five,

1:00:04.869 --> 1:00:08.669
if not six shops down here,
which gives us something of a

1:00:08.670 --> 1:00:11.610
clue to something that might be
going on in this house.

1:00:11.610 --> 1:00:14.870
If we go back to the peristyle
and we take a look at that,

1:00:14.873 --> 1:00:17.853
we see that there's a pool in
between the columns.

1:00:17.849 --> 1:00:19.699
And you might speculate,
"Oh how nice;

1:00:19.699 --> 1:00:21.179
a nice pleasant pool.

1:00:21.179 --> 1:00:23.369
You could sit around,
you could dip your hands or

1:00:23.367 --> 1:00:25.997
your feet into that pool;
a nice pleasurable spot to

1:00:26.000 --> 1:00:26.700
enjoy."

1:00:26.699 --> 1:00:28.549
Well actually it wasn't that at
all.

1:00:28.550 --> 1:00:32.450
We think now that it was
probably a pool that held fish,

1:00:32.449 --> 1:00:34.479
and fish--not fish,
just attractive fish that one

1:00:34.481 --> 1:00:36.851
could admire,
but actually fish that were

1:00:36.853 --> 1:00:39.053
sold in one of the shops in
front.

1:00:39.050 --> 1:00:43.000
One of the reasons we believe
that is a scholar by the name of

1:00:42.996 --> 1:00:46.296
Wilhelmina Jashemski,
whose specialty is gardens of

1:00:46.304 --> 1:00:48.604
Pompeii,
has spent her whole scholarly

1:00:48.596 --> 1:00:50.186
career--
and it was well worth it

1:00:50.188 --> 1:00:52.638
because she's come up with some
extraordinary things--

1:00:52.639 --> 1:00:56.469
on studying the root marks of
the gardens in Pompeii,

1:00:56.469 --> 1:00:58.499
and she's been able to
demonstrate,

1:00:58.500 --> 1:01:01.180
through studying those and
working with experts on that

1:01:01.184 --> 1:01:03.264
sort of thing,
just what was grown in these

1:01:03.262 --> 1:01:03.662
gardens.

1:01:03.659 --> 1:01:06.139
And you find that some of them
were pleasure gardens with

1:01:06.143 --> 1:01:08.233
beautiful flowers,
and some of them were produce

1:01:08.226 --> 1:01:08.756
gardens.

1:01:08.760 --> 1:01:11.100
And this one was a produce
garden, so that there would've

1:01:11.099 --> 1:01:12.769
been vegetables and fruits and
so on,

1:01:12.768 --> 1:01:17.358
that were gardened here and
then they were sold in the shops

1:01:17.355 --> 1:01:19.915
that were located at the front.

1:01:19.920 --> 1:01:23.770
So here we see a wonderful
example of the way in which

1:01:23.771 --> 1:01:28.061
these houses could even be used
by some owners as a means of

1:01:28.061 --> 1:01:31.261
income for them and for their
families,

1:01:31.260 --> 1:01:34.190
and that was surely the case
with the House of Pansa.

1:01:34.190 --> 1:01:36.970
It also has a very
well-preserved peristyle.

1:01:36.969 --> 1:01:40.459
We can see the columns here
around that pool that was used

1:01:40.460 --> 1:01:43.770
to hold the fish that were sold
in one of the shops.

1:01:43.768 --> 1:01:45.768
The columns are extremely well
preserved,

1:01:45.768 --> 1:01:48.428
including some of the capitals,
Ionic capitals,

1:01:48.429 --> 1:01:50.279
as you can see here,
and the fluting,

1:01:50.280 --> 1:01:52.970
and then the plain,
stuccoed over at the bottom,

1:01:52.969 --> 1:01:54.939
with the paint--you can see in
this case,

1:01:54.940 --> 1:01:58.860
remains of the red paint that
would've decorated the bottom

1:01:58.858 --> 1:02:00.478
part of those columns.

1:02:00.480 --> 1:02:06.370
Another very interesting house,
and one that's important for us

1:02:06.371 --> 1:02:11.121
because it marks a later
development in Roman house

1:02:11.123 --> 1:02:16.843
architecture in Pompeii,
is the House of Marcus Loreius

1:02:16.844 --> 1:02:18.034
Tiburtinus.

1:02:18.030 --> 1:02:21.990
Remember Tibur was the ancient
word for Tivoli,

1:02:21.989 --> 1:02:25.069
and so it's likely that
Tiburtinus in fact came from

1:02:25.065 --> 1:02:26.745
Tivoli,
moved to Pompeii,

1:02:26.750 --> 1:02:30.370
and built this large house
sometime between the earthquake

1:02:30.371 --> 1:02:35.581
and the eruption of Vesuvius,
so 62 to 79 A.D.

1:02:35.579 --> 1:02:39.649
Like the House of the Faun,
it took up an entire city

1:02:39.652 --> 1:02:40.282
block.

1:02:40.280 --> 1:02:44.350
But you can see that the owner
has made a different decision

1:02:44.351 --> 1:02:47.321
than the owner of the House of
the Faun,

1:02:47.320 --> 1:02:50.450
because the house itself takes
up very little space,

1:02:50.449 --> 1:02:53.849
and most of the space is taken
up by the garden.

1:02:53.849 --> 1:02:57.019
We're less sure here whether
this was a pleasurable garden--

1:02:57.018 --> 1:02:59.568
there are some indications that
it might have been--

1:02:59.570 --> 1:03:02.020
or whether it too was used as a
produce garden.

1:03:02.018 --> 1:03:04.248
We don't have all those shops
on the front,

1:03:04.253 --> 1:03:06.013
so that seems less likely here.

1:03:06.010 --> 1:03:09.240
But you can see it's another
example of the way in which

1:03:09.235 --> 1:03:12.515
these houses are becoming not
only more personalized,

1:03:12.518 --> 1:03:16.138
but also with much more
emphasis on the garden and on

1:03:16.135 --> 1:03:19.745
the dining rooms that are
surrounding that garden;

1:03:19.750 --> 1:03:21.490
we see one of those dining
rooms here.

1:03:21.489 --> 1:03:23.749
What's particularly interesting
about this house,

1:03:23.750 --> 1:03:27.460
and one that helps us round the
circle to where I began at the

1:03:27.456 --> 1:03:31.096
beginning of the lecture when I
talked about the fact that it

1:03:31.101 --> 1:03:34.811
was between 62 and 79 that the
Pompeians began to build second

1:03:34.806 --> 1:03:36.626
stories on their houses.

1:03:36.630 --> 1:03:40.050
They began to expand
vertically, and we saw the

1:03:40.045 --> 1:03:44.125
cenaculae of the Via
dell'Abbondanza building.

1:03:44.130 --> 1:03:47.420
We see the same thing happening
here, that a second story has

1:03:47.422 --> 1:03:49.622
been added around the living
quarters.

1:03:49.619 --> 1:03:51.429
Now here it was obviously
really needed,

1:03:51.432 --> 1:03:53.802
because they weren't giving
much space to the living

1:03:53.804 --> 1:03:56.554
quarters, so they had to build
up vertically for those.

1:03:56.550 --> 1:03:58.290
And if you look very carefully
at the restored view,

1:03:58.289 --> 1:04:04.139
you will see that the windows
of that second story open off

1:04:04.143 --> 1:04:10.303
and look out over onto the
compluvium of the atrium.

1:04:10.300 --> 1:04:11.900
You see that there,
the compluvium of the

1:04:11.898 --> 1:04:13.698
atrium,
and then around it you can see

1:04:13.702 --> 1:04:16.372
the second story,
with the windows looking out

1:04:16.373 --> 1:04:18.933
over the compluvium of
the house.

1:04:18.929 --> 1:04:20.879
Then the rest,
needless to say,

1:04:20.882 --> 1:04:21.472
garden.

1:04:21.469 --> 1:04:23.049
It's actually pretty well
preserved.

1:04:23.050 --> 1:04:24.250
It's fun to wander around.

1:04:24.250 --> 1:04:27.910
You see these wonderful
trellises and all kinds of

1:04:27.913 --> 1:04:32.623
interesting architectural forms
that are part of this incredible

1:04:32.621 --> 1:04:35.871
garden,
in the House of Tiburtinus.

1:04:35.869 --> 1:04:38.839
And you even see there this
magnificent grotto,

1:04:38.840 --> 1:04:42.280
which leads me to believe that
we're beginning to see something

1:04:42.280 --> 1:04:44.780
interesting here,
which is the incorporation of

1:04:44.777 --> 1:04:47.597
the sorts of things that you
would tend to see in villas,

1:04:47.599 --> 1:04:51.429
not right in the center of a
city, but villas that were

1:04:51.429 --> 1:04:55.189
located either outside the city
or along the coast.

1:04:55.190 --> 1:05:01.110
And the reason I say that here
is because we can see this

1:05:01.105 --> 1:05:05.285
grotto-like effect,
where we have what looks like a

1:05:05.289 --> 1:05:07.869
pebbled effect on the back wall:
painted,

1:05:07.869 --> 1:05:11.669
two columns,
Corinthian columns,

1:05:11.666 --> 1:05:16.006
with a pediment above,
and then these two wonderful

1:05:16.005 --> 1:05:17.095
mythological paintings.

1:05:17.099 --> 1:05:19.979
This one you probably recognize
as the Myth of Narcissus.

1:05:19.980 --> 1:05:22.450
You can see his reflection in
the water;

1:05:22.449 --> 1:05:25.059
he's admiring himself in his
reflection down below,

1:05:25.061 --> 1:05:27.151
and then Pyramus and Thisbe
over here.

1:05:27.150 --> 1:05:30.420
What's important to us is not
which myths, but just that Greek

1:05:30.416 --> 1:05:32.876
myths are incorporated into the
scheme here;

1:05:32.880 --> 1:05:35.240
so this pretension toward
things Greek.

1:05:35.239 --> 1:05:38.429
But most important this
grotto-like element that you

1:05:38.427 --> 1:05:42.107
would tend to find in a villa
along the Amalfi Coast or some

1:05:42.114 --> 1:05:45.374
such,
rather than in downtown Pompeii.

1:05:45.369 --> 1:05:48.129
So we're beginning to see this
interesting merging,

1:05:48.130 --> 1:05:50.590
at least for the very
well-to-do, the rich and famous

1:05:50.592 --> 1:05:52.072
as we--
the lifestyles of the rich and

1:05:52.065 --> 1:05:55.085
famous,
as this lecture is called;

1:05:55.090 --> 1:05:58.690
we begin to see that in some of
the houses, especially in the

1:05:58.690 --> 1:05:59.590
later period.

1:05:59.590 --> 1:06:05.370
The second to last building
that I want to show you is an

1:06:05.373 --> 1:06:09.353
extremely important one;
the last one we'll just look at

1:06:09.347 --> 1:06:10.177
for a minute or so.

1:06:10.179 --> 1:06:13.069
But this one is an extremely
important building.

1:06:13.070 --> 1:06:16.100
It is the Villa of the
Mysteries, in Pompeii.

1:06:16.099 --> 1:06:18.869
It is indeed a villa.

1:06:18.869 --> 1:06:22.689
So it's a nice segue from the
Loreius Tiburtinus House.

1:06:22.690 --> 1:06:25.470
What started to happen in
Pompeii,

1:06:25.469 --> 1:06:27.519
even though there was quite a
bit of space initially,

1:06:27.518 --> 1:06:29.618
as time went on things became
more crowded,

1:06:29.619 --> 1:06:33.789
and the really well-to-do began
to move outside the city,

1:06:33.789 --> 1:06:35.299
to the suburbs,
so to speak,

1:06:35.304 --> 1:06:37.874
right outside the city --
interestingly enough,

1:06:37.867 --> 1:06:40.857
right along those same streets
that formed the cemeteries,

1:06:40.860 --> 1:06:41.870
of the city.

1:06:41.869 --> 1:06:45.129
So we see the villas and the
cemeteries intermixing in a very

1:06:45.128 --> 1:06:45.888
natural way.

1:06:45.889 --> 1:06:49.849
But this very important villa
was part of that development.

1:06:49.849 --> 1:06:53.049
And I want to say--it went
through a couple of phases,

1:06:53.050 --> 1:06:55.770
and I want to show you the two
phases here.

1:06:55.768 --> 1:06:57.808
Only Phase Two is on your
Monument List,

1:06:57.806 --> 1:07:00.156
so I won't hold you responsible
for Phase One,

1:07:00.155 --> 1:07:03.335
but I think it's important for
us to look at it together.

1:07:03.340 --> 1:07:06.480
Because what we see here is
something very interesting.

1:07:06.480 --> 1:07:10.230
Looking at the top,
we see the entrance into the

1:07:10.231 --> 1:07:10.871
villa.

1:07:10.869 --> 1:07:12.989
We see the peristyle there,
the atrium there,

1:07:12.994 --> 1:07:14.544
and the tablinum there.

1:07:14.539 --> 1:07:17.479
Now what do you think about
that?

1:07:17.480 --> 1:07:18.880
It's very strange.

1:07:18.880 --> 1:07:22.260
We've never seen a house or
villa that departed from the

1:07:22.255 --> 1:07:24.585
scheme that we talked about
before,

1:07:24.590 --> 1:07:27.000
from this movement from the
entranceway,

1:07:27.000 --> 1:07:29.490
the fauces,
into the peristyle first,

1:07:29.489 --> 1:07:32.389
then into the atrium,
then into the tablinum.

1:07:32.389 --> 1:07:33.689
It's a different progression.

1:07:33.690 --> 1:07:36.640
We might think to ourselves,
well this must be the whim of

1:07:36.643 --> 1:07:38.973
this particular patron,
but Vitruvius tells us

1:07:38.974 --> 1:07:39.704
otherwise.

1:07:39.699 --> 1:07:41.889
Vitruvius tells us about villa
design,

1:07:41.889 --> 1:07:45.349
and he tells us the major
distinction between Roman villas

1:07:45.353 --> 1:07:47.983
and Roman houses,
in terms of their plan,

1:07:47.980 --> 1:07:51.660
is that in Roman villas you
enter into the peristyle first.

1:07:51.659 --> 1:07:54.959
So it shows again the growing
interest in peristyles.

1:07:54.960 --> 1:07:58.240
And yet this peristyle,
very, very early indeed,

1:07:58.239 --> 1:08:00.569
because it belongs to the first
phase,

1:08:00.570 --> 1:08:06.660
which is even before the early
second century B.C.,

1:08:06.659 --> 1:08:11.529
which is when the second phase
is dated.

1:08:11.530 --> 1:08:15.380
We can also see here a great
podium, and I'll say a bit more

1:08:15.382 --> 1:08:18.192
about the podium as we look at
Phase Two.

1:08:18.189 --> 1:08:20.879
This is Phase Two of the house,
and this is the one that you

1:08:20.881 --> 1:08:23.711
have--the villa--this is the one
that you have on your Monument

1:08:23.708 --> 1:08:24.118
List.

1:08:24.118 --> 1:08:27.428
The main spaces are labeled
here.

1:08:27.430 --> 1:08:29.400
You can see the entranceway;
the fauces;

1:08:29.399 --> 1:08:32.189
the peristyle first,
a very large peristyle;

1:08:32.189 --> 1:08:36.229
the atrium of the house here;
the tablinum over here.

1:08:36.229 --> 1:08:38.949
So this different order
described by Vitruvius.

1:08:38.948 --> 1:08:41.798
We can see also that it rests
on a tall podium.

1:08:41.800 --> 1:08:43.800
I'll show you what it looks
like in a moment.

1:08:43.800 --> 1:08:47.020
It is a podium that looks
exactly like the podia we saw

1:08:47.024 --> 1:08:50.194
for the great sanctuaries at
Tivoli and Palestrina.

1:08:50.189 --> 1:08:52.849
We see that underneath that
podium,

1:08:52.850 --> 1:08:55.140
just as at those -- or Jupiter
Anxur at Terracina,

1:08:55.140 --> 1:08:58.460
just as at Terracina -- we see
there's a cryptoporticus

1:08:58.461 --> 1:09:01.141
or underground passageway,
underneath that podium.

1:09:01.140 --> 1:09:05.460
It is barrel vaulted,
and the concrete is faced with

1:09:05.463 --> 1:09:09.703
opus incertum work,
just as we saw it in the

1:09:09.703 --> 1:09:11.063
sanctuaries.

1:09:11.060 --> 1:09:13.050
Why have this kind of podium
here?

1:09:13.050 --> 1:09:16.870
To give the villa an even
grander appearance,

1:09:16.868 --> 1:09:18.948
to put it up high on top of a
podium,

1:09:18.948 --> 1:09:24.678
and also to help to muffle the
sounds from the street--

1:09:24.680 --> 1:09:28.020
remember, this is a major
street, a thoroughfare that's

1:09:28.019 --> 1:09:31.419
just left the city and has
become an intercity road--

1:09:31.420 --> 1:09:34.630
to muffle the sounds that one
would hear from that,

1:09:34.630 --> 1:09:37.310
by raising the villa in a sense
away from them.

1:09:37.310 --> 1:09:40.480
The most important point though
that I can make about this

1:09:40.479 --> 1:09:42.159
villa,
and something that speaks to

1:09:42.161 --> 1:09:43.851
the future,
is the fact that we are

1:09:43.854 --> 1:09:46.974
beginning to see--
we've talked about how enclosed

1:09:46.972 --> 1:09:51.602
and plain and severe the earlier
exteriors of Roman houses were,

1:09:51.600 --> 1:09:53.190
even up through the Hellenized
domus,

1:09:53.189 --> 1:09:56.499
except perhaps for the addition
of a pilaster or a column here

1:09:56.498 --> 1:09:57.148
and there.

1:09:57.149 --> 1:09:59.429
Here we see something entirely
new happening.

1:09:59.430 --> 1:10:05.080
We see that the architect has
designed these elements that

1:10:05.078 --> 1:10:09.638
project out of the rectangle of
the villa plan,

1:10:09.636 --> 1:10:12.946
and are curved;
and you can see one over here,

1:10:12.951 --> 1:10:14.671
and most importantly one over
here.

1:10:14.670 --> 1:10:21.290
It's like a giant bay window,
with views that can be seen

1:10:21.287 --> 1:10:24.357
through that bay window.

1:10:24.359 --> 1:10:28.409
So this projecting out into the
viewer's space and so on,

1:10:28.408 --> 1:10:31.468
and also into the space of
those who live inside this

1:10:31.465 --> 1:10:34.065
building,
offer wonderful panoramas and

1:10:34.068 --> 1:10:35.768
vistas of the sea beyond.

1:10:35.770 --> 1:10:39.120
The sea was closer to Pompeii
at that point than it actually

1:10:39.118 --> 1:10:41.728
is today: beautiful views out
onto the sea,

1:10:41.729 --> 1:10:46.689
and in a sense the exterior of
the structure breaking out of

1:10:46.686 --> 1:10:51.306
its rectangular bonds to do
something entirely different

1:10:51.309 --> 1:10:53.829
from what has come before.

1:10:53.828 --> 1:10:56.908
This is a restored view of what
that structure would've looked

1:10:56.913 --> 1:10:59.533
like in its second phase,
and I think you can see that

1:10:59.529 --> 1:11:02.059
very well here,
resting on this tall podium.

1:11:02.060 --> 1:11:04.560
Arcades, just as at the
sanctuaries;

1:11:04.560 --> 1:11:07.430
these are blind arcades,
just as we saw there.

1:11:07.430 --> 1:11:09.920
Concrete opus
incertum facing.

1:11:09.920 --> 1:11:13.770
But look at the difference that
having this bay window has made.

1:11:13.770 --> 1:11:15.470
They've opened up the wall.

1:11:15.470 --> 1:11:16.590
The windows are very large.

1:11:16.590 --> 1:11:17.630
No more slit windows.

1:11:17.630 --> 1:11:20.370
Big panoramic windows,
projecting elements,

1:11:20.368 --> 1:11:24.148
also with very large windows,
there's hardly any wall there

1:11:24.150 --> 1:11:25.130
whatsoever.

1:11:25.130 --> 1:11:26.370
The rest is the same.

1:11:26.368 --> 1:11:28.128
The compluvium,
the peristyle,

1:11:28.130 --> 1:11:30.870
all look like they did in the
Hellenized domus.

1:11:30.868 --> 1:11:35.598
But this is a big change and
one that looks forward again to

1:11:35.597 --> 1:11:36.637
the future.

1:11:36.640 --> 1:11:39.410
This is a view of it as it
looks today: the Villa of the

1:11:39.413 --> 1:11:40.023
Mysteries.

1:11:40.020 --> 1:11:42.790
You can see the great podium
over here, with its blind

1:11:42.788 --> 1:11:44.878
arcades, as well as part of the
house.

1:11:44.880 --> 1:11:46.900
And look at how open that house
is.

1:11:46.899 --> 1:11:48.489
Now part of this is villas.

1:11:48.488 --> 1:11:51.998
There's more of a desire when
you build a villa to open it up,

1:11:51.997 --> 1:11:53.777
more so than a house in town.

1:11:53.779 --> 1:11:56.579
But it's also an important
development for architecture as

1:11:56.578 --> 1:11:57.068
a whole.

1:11:57.069 --> 1:11:59.869
This is a view of the peristyle
court.

1:11:59.868 --> 1:12:02.368
It's a little different than
any other peristyle court we've

1:12:02.369 --> 1:12:04.989
seen,
because you can see they have

1:12:04.989 --> 1:12:08.449
embedded the columns into the
wall of the--

1:12:08.449 --> 1:12:12.779
there's a wall around;
the columns are embedded into

1:12:12.775 --> 1:12:14.515
that, which is a different
motif.

1:12:14.520 --> 1:12:18.010
And I thought you'd be amused
to see that the Villa of the

1:12:18.005 --> 1:12:21.205
Mysteries is one of those --
and there are several places in

1:12:21.207 --> 1:12:22.717
Italy,
many places in Italy,

1:12:22.724 --> 1:12:25.334
where people go in particular
to take photos,

1:12:25.328 --> 1:12:28.328
after their wedding,
to take photos of themselves:

1:12:28.328 --> 1:12:29.428
photo-op places.

1:12:29.430 --> 1:12:32.130
And the Villa of the Mysteries
is one of them.

1:12:32.130 --> 1:12:34.570
So don't be at all surprised,
if you are there,

1:12:34.567 --> 1:12:37.217
especially on a weekend,
if you see a wedding party

1:12:37.216 --> 1:12:38.166
taking photos.

1:12:38.170 --> 1:12:40.500
And this was one of the more
discreet photos.

1:12:40.500 --> 1:12:43.810
You can just imagine the kinds
of poses that people take in

1:12:43.814 --> 1:12:44.904
places like this.

1:12:44.899 --> 1:12:47.549
I could've shown you all kinds
of very amusing,

1:12:47.551 --> 1:12:50.091
very loving photos of the bride
and groom.

1:12:50.090 --> 1:12:52.890
But here you just get a sense
of the photographer,

1:12:52.890 --> 1:12:54.940
and there were several
photographers the day I took

1:12:54.940 --> 1:12:57.730
this,
getting wonderful images of

1:12:57.734 --> 1:13:01.754
this bride and groom after the
happy event.

1:13:01.750 --> 1:13:04.370
I just want to close,
just very briefly,

1:13:04.371 --> 1:13:07.661
with this last house,
or this mosaic fountain from

1:13:07.664 --> 1:13:09.014
this last house.

1:13:09.010 --> 1:13:11.460
It's the so-called House of the
Large Fountain,

1:13:11.456 --> 1:13:14.426
so-called because of this
extraordinary fountain that was

1:13:14.434 --> 1:13:16.194
found there and still exists.

1:13:16.189 --> 1:13:20.519
Dates to between the earthquake
the eruption of Vesuvius,

1:13:20.520 --> 1:13:21.680
62 to 79 A.D.

1:13:21.680 --> 1:13:23.060
It's very well preserved.

1:13:23.060 --> 1:13:25.230
You see it here on the
right-hand side of the screen.

1:13:25.229 --> 1:13:28.579
It shows you that mosaics could
be applied to any kind of

1:13:28.578 --> 1:13:31.088
surface by these very talented
artists,

1:13:31.090 --> 1:13:34.700
in this case applied to a
curved surface,

1:13:34.698 --> 1:13:37.958
as you can see very well here,
once again using multi-colored

1:13:37.957 --> 1:13:41.067
tesserae,
as we saw in the Alexander

1:13:41.069 --> 1:13:41.709
mosaic.

1:13:41.710 --> 1:13:44.560
And you can only imagine how
lovely it was when there was

1:13:44.556 --> 1:13:46.486
actually a water display and so
on,

1:13:46.488 --> 1:13:50.848
in fact, so lovely that it was
imitated almost exactly for the

1:13:50.851 --> 1:13:53.721
Getty Villa in Malibu,
which I show you on the

1:13:53.720 --> 1:13:55.130
left-hand side of the screen.

1:13:55.130 --> 1:13:56.950
Many of you have probably been
there.

1:13:56.948 --> 1:13:58.998
The Getty Villa--it looks like
Disneyland I know,

1:13:59.000 --> 1:14:02.260
but it probably gives you a
better sense of what a Roman

1:14:02.259 --> 1:14:05.399
villa looked like in antiquity
than anything else,

1:14:05.399 --> 1:14:08.429
even that you can see in Rome,
because it's in such pristine

1:14:08.429 --> 1:14:08.839
shape.

1:14:08.840 --> 1:14:12.340
And it really gives you--it is
based, for any of you who don't

1:14:12.335 --> 1:14:15.885
know, it is actually based on a
villa from Herculaneum that was

1:14:15.886 --> 1:14:16.686
excavated.

1:14:16.689 --> 1:14:17.749
We know it.

1:14:17.750 --> 1:14:20.380
It's based very closely on it,
the so-called Villa of the

1:14:20.380 --> 1:14:21.820
Papyri,
at Herculaneum,

1:14:21.817 --> 1:14:24.847
and then it picks and chooses--
it looks at other things as

1:14:24.849 --> 1:14:27.189
well and incorporates them,
as it incorporated this

1:14:27.193 --> 1:14:27.763
fountain.

1:14:27.760 --> 1:14:29.830
But it probably gives you--it's
in better condition.

1:14:29.828 --> 1:14:32.698
You can see that the water
display is actually working,

1:14:32.701 --> 1:14:34.191
unlike the one in Pompeii.

1:14:34.189 --> 1:14:37.549
So it gives you a very good
sense of what this thing would

1:14:37.551 --> 1:14:39.441
have looked like in antiquity.

1:14:39.439 --> 1:14:43.039
And just as a look forward,
one of the paper topics for

1:14:43.037 --> 1:14:47.367
this course actually is to talk
about the Villa of the Papyri,

1:14:47.368 --> 1:14:49.818
in the context,
in part, and being helped by

1:14:49.815 --> 1:14:52.145
the reconstruction at the Getty
Museum.

1:14:52.149 --> 1:14:55.199
On Thursday we will move on to
Herculaneum.

1:14:55.198 --> 1:14:57.448
We will talk about the lives of
the people there,

1:14:57.448 --> 1:15:01.218
some of the houses that were
built there between the

1:15:01.216 --> 1:15:04.876
earthquake and Vesuvius,
and we will also begin our

1:15:04.878 --> 1:15:08.538
conversation about First Style
and Second Style Roman wall

1:15:08.538 --> 1:15:09.308
painting.

1:15:09.310 --> 1:15:11.870
We'll have a few lectures on
painting,

1:15:11.868 --> 1:15:15.908
because it's so important as
the interior decoration of these

1:15:15.912 --> 1:15:16.982
homes,
and because,

1:15:16.975 --> 1:15:18.495
as we'll see,
it depicts architecture--

1:15:18.500 --> 1:15:20.260
and you can get a sense of that
here--

1:15:20.260 --> 1:15:23.910
in ways that are very
intriguing and that tell us even

1:15:23.908 --> 1:15:26.938
more about buildings than we
already know.

1:15:26.939 --> 1:15:27.909
Thanks everybody.

1:15:27.909 --> 1:15:29.429
Have a good morning.

1:15:29.430 --> 1:15:35.000