>> Now I also wanted to show you, that's not the only mosaic in Pompeii. It's the greatest, by far. And it's, it's without question, and I think everyone who studies this stuff would agree with me. That it's the finest surviving mosaic in the history of, of ancient Greek and Roman art. But there are plenty of other mos, mosaics preserved including at Pompeii. And I want to show you just one. It's mentioned underneath the Alexander mosaic on your monument list. Because it's so beloved. It's even more beloved by most tourists at the site than the Alexander mosaic. Which after all, you can't see on the site. You have to see it in Naples, or at least the original. But this is the so called Cave Canem Mosaic, and it belongs to the House of the Tragic Poet. A house that was put up between 62 and 79 AD. And you see what's meant to be a very ferocious dog with his teeth bared. This one is done much more simply in only three colors. Mainly black and white. Tesserae or small stones, tesserae is what these small stones are called. The tesserae. Black and white. Basically black on white. But you can see that there's one touch of red, the collar of the dog. And the dog is chained, as you can see just like that poor plaster cast of the dog that we saw last time. He's chained, but he's meant to look very ferocious. He's bearing his teeth. And the whole point, Cave Canum, beware of dog, is for you to be warned of the fact that if you dare step any further than that vestibulum and try to get into this house or try to steal anything, or whatever, this dog will attack. So it's the same kind of, it's like a security alarm system i-, actually, for Antiquity. And you can, I bet you can tell me where in the house this mosaic was located. Neil. >> fauces. >> In the, in the vestibulum or the fauces of the house. Yeah, probably the vestibulum actually. But indeed, the vestibulum of the house, so that even before you got in, as far as the fauces, you were warned, that you better beware of the dog. And this thing, I mean you will see this, any of you've been to Pompeii know this, and can attest that I'm right. Every single souvenir stand, anywhere, within any, any numbers of yards of Pompeii is selling the Cave Canum on everything you can possibly imagine. The mugs, the T-shirts, the hotplates, the whatever, the tote bags, you can get the Cave Canum in every shape, size, and possibility. And I have one of those, myself. Only one, only one hotplate, but that's it. I, I, I, I did it, [LAUGH] I did it like everybody else at one point years ago. I want to show you briefly a couple of other houses just to make some a few small points. well, important points. Important point or two about each of them. The first one is the House of Menander, in Pompeii. Which dates to the second century BC and later. You see it in plan here. The House of the Menander, like everything else we've seen in the latter part of this lecture, is a Hellenized Domus. You can tell that because of the Peristyle here. In other respects, it's very similar to everything we've seen, the usual fauces, atrium, cubiculum, tablinum system, the large peristyle up here and some dinning spaces opening off that peristyle. What makes this particular house interesting and the reason that I show it to you, is it's a good illustration of what happens when over time you remodel. And also over time when other property becomes available nearby and we can tell from this plan that what happened here Is that the core of the house was added to as property on either side. Additional property became available, and this owner purchased that property and added it. And the plan becomes much more irregular obviously because of that. An addition over here, an addition over here you know, some of that sense of axiality and symmetry is lost when you start to add to either side horizontally. But there are lots of houses like this and it's one of the things one needs to keep in mind as one as one visits the city and as one looks at each of these incredible structures. Just very quickly with regard to the house just so you have a sense of what it looks like today. It's named the House of Menander because of this painting of the Poet who sits on a chain over there on one of the walls of the house. The, part of the peristyle is actually quite well preserved, as is the atrium. We're standing in the atrium, as you can obviously see, with the impluvium looking back toward the garden. This is interesting because you can see again the, the cubicola opening off either side. But also because of the incorporation just as in the House of the Fawn, of columns elsewhere, than just in the peristyle. These in that transition place between the atrium and the the garden the so called tablinum space. These very large columns stuccoed over, fluted, and you can see in this case, not painted red at the bottom, but a kind of bright yellow to match the colors of the wall. So again, this incorporation of Greek elements into houses, like this one. This is also a good view. It's a very well preserved house, and we're back in the atrium again. You can see the way in which the cubicola, the small cubicola, open off that. You can see some of the paintings. And here's the entrance way through the fauces. And you can see in this particular case a small shrine that's located in the corner, the purpose of that for the household to display the household gods. This is another interesting house that I just wanted to treat fleetingly. It's the so-called House of Pansa in Pompeii and it dates to the second century BC. And it's a very large house as you can see, like all the other, Hellenized Domus, because we see when it has a peristyle with columns, here. it, like all the others it has everything that we've seen, the vestibulum, the fauces, the atrium, the cubicula, the wings, or alae, the tablinum, the dining room. And a, a bevy of shops down here. In fact, more shops then we have seen a be the case and most of the houses we've looked at a, at least 5 if not 6 shops down here, which gives us something of a clue to something that might be going on in this house. If we go back to the peristyle and we take a look at that we see that there is a pool, in between the columns. And you might speculate, oh how nice, you know a nice pleasant pool, you could sit around, you could you know dip your hands or your feet into that pool, nice, pleasurable spot, to enjoy. Well, actually, it wasn't that at all. We think now that it was probably a pool that held fish. And fish, not fish just attractive fish that one could admire but actually fish that one that were sold in one of the shops in front. One of the reasons we believe that is a scholar by the name of Wilhelmina Jashemski, who's specialty is Gardens of Pompeii. Has spent her whole scholarly career, and it was well worth it because she's come up with some extraordinary things, on studying the root marks of the gardens in Pompeii. And she's been able to demonstrate through studying those and working with experts on that sort of thing just what was grown in these gardens. And you find that some of them were pleasure gardens with beautiful flowers and some of them were produce gardens. And this one was a produce garden so that there would have been vegetables and fruits and so on, that were, that were gardened here. And then you, and then they were sold, in the shops, that were located at the front. So here, we see a wonderful example of the way in which, these houses could even be used by some owners as a means of income for them and for their families. And that was surely the case with the House of Pansa. It also has a very well preserved peristyle. We can see the columns here around that pool that was used to hold the fish that were sold in one of the shops. The columns are extremely well preserved, including some of the capitals, ionic capitals as you can see here. And the fluting and then the plain, you know, this stuccoed over at the bottom, with the paint. You can see in this case, remains of the red paint that would have decorated the bottom part of those columns. Another very interesting house well, you know, interesting house and one that's important for us because it marks a a later development in Roman house architecture in Pompeii, is the house of Marcus Loreius Tiburtinus. Remember Tiber was the ancient word for Tivoli. And so it's likely that Tiburtinas, in fact came from Tivoli, moved to Pompeii and built this large house sometime between the earthquake and the eruption of vesuvius so 62 to 79 AD. Like the House of the Fawn it took up an entire city block. And but you can see that the owner has made a different decision than the owner of the House of the Fawn, because the house itself takes up very little space and most of the space is taken up by the garden. We're less sure here whether this was a pleasurable garden. There, there's some indications that it might have been, or whether it, too, was used as a produce garden. We don't have all those shops on the front, so that seems less likely here. But you can see, it's another example of the way in which these houses are becoming not only more personalized but also with much more emphasis on the garden and on the dining rooms that are surrounding that garden. We see one of those dining rooms here. What's particularly interesting about this house and one that helps us round the circle to where I began at the beginning of the lecture when I talked about the fact that it was between 62 and 79 that the Pompeiians began to build second stories on their houses. they, they began to ex-, expand vertically, and we saw the cenaculae of the Via dell'Abbondanza building. We see the same thing happening here, that a second story has been added around the living quarters. Now here, it was obviously really needed, because they weren't giving much space to the living quarters, so they had to build up vertically for those. And if you look very carefully at the restored view, you will see that the windows of that second story open off and look out over on to the compluvium of the, of the atrium. You see that there? The compluvium of the atrium and then around it you can see the second story with the windows looking out over the compluvium of the house. Then the rest, needless to say, garden. It's actually pretty well preserved. It's fun to wander around. You see these wonderful trellises and all kinds of, of arch, interesting architectural forms that for that, that are part of this incredible garden, in the House of Tiburtinus. And you even see there this magnificent grotto, which leads me to believe that we're beginning to see something interesting here. Which is the incorporation of the sorts of things that you would tend to see In villas. Not right in the center of the city, but villas that located either outside the city or along, or along the coast, or along the coast And and the reason I say that here is because we can see this grotto like effect, where we have what looks like a pebbled effect on the back wall, painted a two columns, Corinthian columns with a, a pediment above. And then these two wonderful mythological paintings, this one you probably recognize as The Myth of Narcissus. You can see his reflection in the water, he's admiring himself and his reflection down below. And then Pyramus and Thisbe over here. What's important to us is not which myths, but just that Greek myths are incorporated into the scheme here, so this pretention toward things Greek. But most important, this sort of, this grotto-like element that you would tend to find in a villa along the Amalfi Coast or some such rather than in downtown Pompeii. So we're beginning to see this interesting merging, at least for the very well to do, the rich and famous, as we, the life styles of the rich and famous, as this, as this lecture is called. We begin to see that in some of the houses, especially in the later period.
