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Pompeii

05 November 2023
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On August 24th 79 CE Mt Vesuvius filled the sky with ash and rock, and the Roman colony of Pompeii became one of Italy’s lost cities. The buildings, art, artefacts, and the people were frozen in a moment described first hand by Pliny the Younger as a universe “plunged into eternal darkness for evermore”.

The city remained buried by volcanic ash for over 1600 years until odd finds in the 16th century led people to begin searching for it. It was not until 1756 that excavations revealed inscriptions recording the name Pompeii, and the rediscovery of the lost city could begin in earnest.

Some of the most precious discoveries made when excavating the volcanic rock were the houses of Pompeii, and the art, artefacts, and people preserved inside. Pompeii is the longest continuously excavated site in the world.


JLMC 187.00, Close-up of dog mosaic

Roman floor mosaic
Syria, 5th or 6th century CE
Purchased, 2000
JLMC 187.00

When excavating the houses of Pompeii, many mosaics were found that contained greetings or warnings. These mosaics were often located in entrance ways, and provided protection for the private rooms in the house.

When archaeologists discovered the House of the Tragic Poet in 1824 they found a famous warning. At the door they found a mosaic of a chained pet dog barking at passers-by, with a warning that visitors should enter at their own risk: CAVE CANEM, which means ‘Beware the Dog!’.

This section of a Roman floor mosaic from Syria is a hunting dog which might come from a larger scene, possibly of hunting fields or a scene from the amphitheatre. He is a little more playfull and currently welcomes visitors to the Teece Museum.

Choix de Peintures de Pompeii: lithographiees en couleur par M. Roux et Publies avec l’Explication Archeologique de Chaque Peiture
Desire Raoul-Rochette with illustrations by Henri Roux, Paris: Adolphe Labitte, 1867
Macmillan Brown Library Rare Books Collection, University of Canterbury
BIB# 138567


Plate4, illustration of a fresco from 'Choix de Peintures de Pompeii', 1867

The discovery of lost cities like Pompeii in the 18th century was like finding a treasure trove. Artefacts inspired people to own antiquities and recreate the classical styling of the ancient Romans.

By the 19th century interest in the sites changed from the artefacts to the people and in response to the desire for more information the sites became more accessible. As a result, books became richly illustrated accounts of the sites that more accurately documented the artefacts and their find spots.

The plates (illustrations) in these books show how people in the 19th century understood the ancient past. Artists were drawn to the richly decorated Pompeii, because it presented new sources of inspiration for art and architecture and their drawings became the stimuli for the neo-classical style.


JLMC 223.15, Statuette of a dancing faun

Victorian statuette of a dancing faun
After a bronze original in Naples, found in the House of the Faun, 2nd century BCE
Donated by W.H. Alington, 2015. From the collection of Dr H.D. Broadhead
JLMC 223.15

When archaeologists excavated the House of the Faun in 1832, they had discovered the largest (almost 3000sq/m, an entire city block!) and finest house in Pompeii. The house was decorated with mosaics inspired by the Greeks and Egyptians showing the Battle of Alexander the Great and scenes form the river Nile.

The impluvium (pool) in the center of the house was adorned with a small bronze faun dancing on the edge, which gave archaeologists inspiration for the name of the house. The small-scale statuette in the Logie Collection is a souvenir copy, probably made in the Victorian era.

Mosaic fragment and tesserae
Roman, before 79 CE
Donated by M.K. Steven, 1953
JLMC 20.53

The earliest excavators of Pompeii did not document their discoveries or excavations. The main goal was to find moveable objects, and to cut out frescoes and mosaics. These early methods of excavation exposed the site to tourists and excavators who would ‘souvenir’ some of the material remains. Small fragments of rock or mosaics could easily be picked up and taken home as a reminder of visits to the famous site.


JLMC 20.53, Mosaic fragment

In the 19th century (1800s) archaeologists created clear plans of the site. By documenting the excavated areas, objects and their find spots, they were able to prohibit the illicit removal of objects from the site.

These fragments have possibly come from the famous Villa of the Mysteries at Pompeii.


JLMC 189.01, Marble head of a statuette

Marble head of a statuette
Possibly from Pompeii, before 79 CE
Donated, 2001
JLMC 189.01

No 19th century Grand Tour was complete without visiting the ruins of ancient Rome and the newly discovered Pompeii. People visiting the sites were able to acquire antiquities that were not available at home, and statues became popular souvenirs for the Grand Tourist as a show of worldliness.

This marble head of a statuette, which is said to have been found at Pompeii, might have been obtained by such a tourist when visiting the excavations on their Grand Tour.

The marble head may have been broken from a statuette of the goddess Venus. The body to which the head belongs is now lost.

Roman floor mosaic
Syria, 5th or 6th century CE
Donated by Graham Geddes, 2000
JLMC 188.00

A Nile mosaic similar to this was discovered when excavating the House of the Faun in 1832. The scene is filled with birds and animals from Egypt’s Nile River which was popular among Romans. Villas would be decorated with these scenes to show knowledge of the outside world.


JLMC 188.00, Close-up of Nile mosaic

The best-known Nile mosaic from the Temple of Fortuna at Praeneste in Italy, was the source of inspiration for a number of mosaics, such as this one from Syria.

Like the Nile scene from the House of the Faun, this Nile mosaic might have decorated the threshold between rooms in a house, and has taken inspiration from the Egyptian wildlife. A rail, or common moorhen, on the left runs towards a fish hiding among the water lilies, as a darter, or snakebird, faces an unidentified fish.

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