Pompeii - Houses and Social Status - Revision history

Paulreed at 15:14, 23 October 2019

2019-10-23T15:14:26Z

← Older revision		Revision as of 09:14, 23 October 2019
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			See also [[Pompeii Residential Architecture]]


	''If buildings are planned with a view to the status of the client..we shall escape censure''		''If buildings are planned with a view to the status of the client..we shall escape censure''
	Vitruvius on Architecture V15.1-3		Vitruvius on Architecture V15.1-3

Paulreed: /* Introduction: */

2019-10-23T15:13:20Z

Introduction:

← Older revision		Revision as of 09:13, 23 October 2019
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	[[File:domas.jpg]]		[[File:domas.jpg]]
	Figure 1: Domas Italicus. (Free to Use Wikicommons ~~iamges~~)		Figure 1: Domas Italicus. (Free to Use Wikicommons images)

	The plan shows us the open style that used axiality to draw the visitor through the throat of the house ([[architecture::fauces]]), through the atrium with the dining room ([[architecture::tricinium]]) off to one side and garden (hortus [Not shown]) at the end. Eating-in could be a luxury pastime as it meant that the householder had a kitchen while the general populous ate at local taverni. Entertaining lavishly at home was a hugely important social event for the elite Pompeians and even within this relatively uniform domas layout, the wealthier built larger and more rooms especially in the public areas of the house. Overtime the domas evolved from a Hellenistic blueprint to one with more elaborate additions such a colonnaded peristyles garden with views from dining room.		The plan shows us the open style that used axiality to draw the visitor through the throat of the house ([[architecture::fauces]]), through the atrium with the dining room ([[architecture::tricinium]]) off to one side and garden (hortus [Not shown]) at the end. Eating-in could be a luxury pastime as it meant that the householder had a kitchen while the general populous ate at local taverni. Entertaining lavishly at home was a hugely important social event for the elite Pompeians and even within this relatively uniform domas layout, the wealthier built larger and more rooms especially in the public areas of the house. Overtime the domas evolved from a Hellenistic blueprint to one with more elaborate additions such a colonnaded peristyles garden with views from dining room.

Paulreed at 17:44, 8 April 2013

2013-04-08T17:44:11Z

← Older revision		Revision as of 11:44, 8 April 2013
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	Vitruvius on Architecture V15.1-3		Vitruvius on Architecture V15.1-3
	==Introduction:==		==Introduction:==
	It was important to the wealthy to design habitats that closely matched the configuration of the Domas Italica described by Vitruvius ([[roman::Vitruvius]], 15BC). By its very nature, building a house that followed these guidelines was itself a reflection of the Pompeians status, especially in the early years of colonization.		It was important to the wealthy to design habitats that closely matched the configuration of the Domas Italica described by Vitruvius ([[roman::author::Vitruvius]], 15BC). By its very nature, building a house that followed these guidelines was itself a reflection of the Pompeians status, especially in the early years of colonization.
	The domas was a house designed for business, entertainment as well as partitioned private parts for the family and servants.		The domas was a house designed for business, entertainment as well as partitioned private parts for the family and servants.

Paulreed: /* Introduction: */

2013-04-05T13:24:07Z

Introduction:

← Older revision		Revision as of 07:24, 5 April 2013
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	Figure 1: Domas Italicus. (Free to Use Wikicommons iamges)		Figure 1: Domas Italicus. (Free to Use Wikicommons iamges)

	The plan shows us the open style that used axiality to draw the visitor through the throat of the house ([[architecture:::fauces]]), through the atrium with the dining room ([[architecture::tricinium]]) off to one side and garden (hortus [Not shown]) at the end. Eating-in could be a luxury pastime as it meant that the householder had a kitchen while the general populous ate at local taverni. Entertaining lavishly at home was a hugely important social event for the elite Pompeians and even within this relatively uniform domas layout, the wealthier built larger and more rooms especially in the public areas of the house. Overtime the domas evolved from a Hellenistic blueprint to one with more elaborate additions such a colonnaded peristyles garden with views from dining room.		The plan shows us the open style that used axiality to draw the visitor through the throat of the house ([[architecture::fauces]]), through the atrium with the dining room ([[architecture::tricinium]]) off to one side and garden (hortus [Not shown]) at the end. Eating-in could be a luxury pastime as it meant that the householder had a kitchen while the general populous ate at local taverni. Entertaining lavishly at home was a hugely important social event for the elite Pompeians and even within this relatively uniform domas layout, the wealthier built larger and more rooms especially in the public areas of the house. Overtime the domas evolved from a Hellenistic blueprint to one with more elaborate additions such a colonnaded peristyles garden with views from dining room.

	Another feature that reflected the status of the elite was the decoration of the rooms. August Mau categorized the evolution of four styles of painting that emerged over a relatively short chronological period. These styles became ever more elaborate but also reflected changing tastes and fashions. Potentially some of the wealthy were trying to imitate the tastes of the Emperor’s family and maybe some were aware of the 2nd style paintings at the Villa of Oplontis. In addition to the illusory 3D effects, the scenes in the paintings often depicted classical Greek themes, which were considered tasteful and culturally superior (e.g Fourth Style paintings of Euripides and poet Menander and the House of the Menander).		Another feature that reflected the status of the elite was the decoration of the rooms. August Mau categorized the evolution of four styles of painting that emerged over a relatively short chronological period. These styles became ever more elaborate but also reflected changing tastes and fashions. Potentially some of the wealthy were trying to imitate the tastes of the Emperor’s family and maybe some were aware of the 2nd style paintings at the Villa of Oplontis. In addition to the illusory 3D effects, the scenes in the paintings often depicted classical Greek themes, which were considered tasteful and culturally superior (e.g Fourth Style paintings of Euripides and poet Menander and the House of the Menander).
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	''The muleteers urge the election of Gaius Julius Polybius as duovir''		''The muleteers urge the election of Gaius Julius Polybius as duovir''
	Or		Or
	''I ask you to elect Gaius Julius Polybius aedile. He gets good bread.''		''I ask you to elect Gaius Julius Polybius aedile. He gets good bread.''

	==Conclusion==		==Conclusion==

Paulreed at 13:22, 5 April 2013

2013-04-05T13:22:57Z

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2013-03-31T16:45:08Z

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Paulreed at 16:37, 31 March 2013

2013-03-31T16:37:50Z

← Older revision		Revision as of 10:37, 31 March 2013
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	Available at: http://college.cengage.com/history/west/mckay/western_society/6e/students/primary/pompeii.htm		Available at: http://college.cengage.com/history/west/mckay/western_society/6e/students/primary/pompeii.htm
	Vitruvius, 15BC. Da Architecture. s.l.:s.n.		Vitruvius, 15BC. Da Architecture. s.l.:s.n.

			[[category:Roman Cities]]

Paulreed at 16:34, 31 March 2013

2013-03-31T16:34:13Z

← Older revision		Revision as of 10:34, 31 March 2013
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	''If buildings are planned with a view to the status of the client..we shall escape censure''		''If buildings are planned with a view to the status of the client..we shall escape censure''
	Vitruvius on Architecture V15.1-3		Vitruvius on Architecture V15.1-3
	==Introduction:==		==Introduction:==
	It was important to the wealthy to design habitats that closely matched the configuration of the Domas Italica described by Vitruvius (Vitruvius, 15BC). By its very nature, building a house that followed these guidelines was itself a reflection of the Pompeians status, especially in the early years of colonization.		It was important to the wealthy to design habitats that closely matched the configuration of the Domas Italica described by Vitruvius (Vitruvius, 15BC). By its very nature, building a house that followed these guidelines was itself a reflection of the Pompeians status, especially in the early years of colonization.

Paulreed: Created page with " ''If buildings are planned with a view to the status of the client..we shall escape censure'' Vitruvius on Architecture V15.1-3 ==Introduction:== It was important to the w..."

2013-03-31T16:33:44Z

Created page with " ''If buildings are planned with a view to the status of the client..we shall escape censure'' Vitruvius on Architecture V15.1-3 ==Introduction:== It was important to the w..."

New page

''If buildings are planned with a view to the status of the client..we shall escape censure''
Vitruvius on Architecture V15.1-3
==Introduction:==
It was important to the wealthy to design habitats that closely matched the configuration of the Domas Italica described by Vitruvius (Vitruvius, 15BC). By its very nature, building a house that followed these guidelines was itself a reflection of the Pompeians status, especially in the early years of colonization.
The domas was a house designed for business, entertainment as well as partitioned private parts for the family and servants.

[[File:domas.jpg]]
Figure 1: Domas Italicus. (Free to Use Wikicommons iamges)

The plan shows us the open style that used axiality to draw the visitor through the throat of the house (fauces), through the atrium with the dining room (tricinium) off to one side and garden (hortus [Not shown]) at the end. Eating-in could be a luxury pastime as it meant that the householder had a kitchen while the general populous ate at local taverni. Entertaining lavishly at home was a hugely important social event for the elite Pompeians and even within this relatively uniform domas layout, the wealthier built larger and more rooms especially in the public areas of the house. Overtime the domas evolved from a Hellenistic blueprint to one with more elaborate additions such a colonnaded peristyles garden with views from dining room.

Another feature that reflected the status of the elite was the decoration of the rooms. August Mau categorized the evolution of four styles of painting that emerged over a relatively short chronological period. These styles became ever more elaborate but also reflected changing tastes and fashions. Potentially some of the wealthy were trying to imitate the tastes of the Emperor’s family and maybe some were aware of the 2nd style paintings at the Villa of Oplontis. In addition to the illusory 3D effects, the scenes in the paintings often depicted classical Greek themes, which were considered tasteful and culturally superior (e.g Fourth Style paintings of Euripides and poet Menander and the House of the Menander).

A yet more potent symbol of wealth can be seen in the mosaics that were commissioned. In many ways these are more insightful into the types of people who lived here. The famous million tesserae Alexander the Great mosaic depicts a military event at the House of the Faun. Mosaics could also be more personal and whimsical. Also at the House of the Faun a mosaic depicts ducks seated amidst a still life of fish. Could this be a sign of income derived from the fishing or associated industry? More obvious is Umbricius Scaurus, the owner of six gurum producing workshops. He created a gurum recipe in mosaic. These Pompeians obviously wished it to be known that their business endevours had brought them prosperity.

Possessions and modern conveniences were another reflection of wealth. As well as statuettes that had artistic or religious symbolism, the possession of bronze, and especially silver, was a sign of great status. Having heated piped water was an indication of great status and wealth because having access to water was reserved for only the most influential Pompeians, and the ability to heat it with a brazier by your household slaves, even more so.
However, status was not defined just by the wealthy. There were aspiring business people and politicians who sought to reflect their up and coming status. For example, the House of Julius Polybius gives us an insight of both a successful businessman and aspiring politician. Most likely, he was the son of a successful freedman who may have inherited his father’s bakery business and being born free, was able to run for political office. The house is an eclectic mix of contrasting styles. Some lavishly decorated public rooms painted in the first and second style at the front of the house, unfinished 3rd/4th style paintings, and other rooms with plain plaster contrasting awkwardly with fine furnishings. The house was becoming less of a showplace and more of a commercial/industrial building storing materials. His political aspirations are evidenced through political graffiti found near his house.

''The muleteers urge the election of Gaius Julius Polybius as duovir''
Or
''I ask you to elect Gaius Julius Polybius aedile. He gets good bread.''

==Conclusion==
Status and prestige was sought by designing a house conforming to the Domas, which as the colony became more prosperous, evolved into bigger and more elaborate houses to live in, entertain and conduct business. Artwork was elaborate, expensive and culturally accepted. Mosaics were sometimes personal emblema to their success and acquiring modern conveniences that the average Pompeian could not have. As well as holding political office and building extravagant tombs, houses were primary vehicles to demonstrate your social position within the Pompeian community.

We have a mixture of prominent wealthy families maintaining wealth through profits of an expansionist empire and nouveau riche entrepreneurs. Finally, there are indications of wealth trickling down to freedmen and sons of freedmen who very keen to show off their hard earned new status.

==References:==
Allison, P., n.d. Pompeian Households: An On-line Companion. [Online]
Available at: http://www.stoa.org/projects/ph/home
Berry, 2007. The Complete Pompeii. In: s.l.:s.n., p. 226.
Berry, n.d. The Complete Pompeii p226. s.l.:s.n.
Mackay, B. a. B., n.d. Cencage Learning. [Online]
Available at: http://college.cengage.com/history/west/mckay/western_society/6e/students/primary/pompeii.htm
Vitruvius, 15BC. Da Architecture. s.l.:s.n.

← Older revision		Revision as of 07:22, 5 April 2013
Line 2:		Line 2:
	Vitruvius on Architecture V15.1-3		Vitruvius on Architecture V15.1-3
	==Introduction:==		==Introduction:==
	It was important to the wealthy to design habitats that closely matched the configuration of the Domas Italica described by Vitruvius (Vitruvius, 15BC). By its very nature, building a house that followed these guidelines was itself a reflection of the Pompeians status, especially in the early years of colonization.		It was important to the wealthy to design habitats that closely matched the configuration of the Domas Italica described by Vitruvius ([[roman::Vitruvius]], 15BC). By its very nature, building a house that followed these guidelines was itself a reflection of the Pompeians status, especially in the early years of colonization.
	The domas was a house designed for business, entertainment as well as partitioned private parts for the family and servants.		The domas was a house designed for business, entertainment as well as partitioned private parts for the family and servants.

Line 8:		Line 8:
	Figure 1: Domas Italicus. (Free to Use Wikicommons iamges)		Figure 1: Domas Italicus. (Free to Use Wikicommons iamges)

	The plan shows us the open style that used axiality to draw the visitor through the throat of the house (fauces), through the atrium with the dining room (tricinium) off to one side and garden (hortus [Not shown]) at the end. Eating-in could be a luxury pastime as it meant that the householder had a kitchen while the general populous ate at local taverni. Entertaining lavishly at home was a hugely important social event for the elite Pompeians and even within this relatively uniform domas layout, the wealthier built larger and more rooms especially in the public areas of the house. Overtime the domas evolved from a Hellenistic blueprint to one with more elaborate additions such a colonnaded peristyles garden with views from dining room.		The plan shows us the open style that used axiality to draw the visitor through the throat of the house ([[architecture:::fauces]]), through the atrium with the dining room ([[architecture::tricinium]]) off to one side and garden (hortus [Not shown]) at the end. Eating-in could be a luxury pastime as it meant that the householder had a kitchen while the general populous ate at local taverni. Entertaining lavishly at home was a hugely important social event for the elite Pompeians and even within this relatively uniform domas layout, the wealthier built larger and more rooms especially in the public areas of the house. Overtime the domas evolved from a Hellenistic blueprint to one with more elaborate additions such a colonnaded peristyles garden with views from dining room.

	Another feature that reflected the status of the elite was the decoration of the rooms. August Mau categorized the evolution of four styles of painting that emerged over a relatively short chronological period. These styles became ever more elaborate but also reflected changing tastes and fashions. Potentially some of the wealthy were trying to imitate the tastes of the Emperor’s family and maybe some were aware of the 2nd style paintings at the Villa of Oplontis. In addition to the illusory 3D effects, the scenes in the paintings often depicted classical Greek themes, which were considered tasteful and culturally superior (e.g Fourth Style paintings of Euripides and poet Menander and the House of the Menander).		Another feature that reflected the status of the elite was the decoration of the rooms. August Mau categorized the evolution of four styles of painting that emerged over a relatively short chronological period. These styles became ever more elaborate but also reflected changing tastes and fashions. Potentially some of the wealthy were trying to imitate the tastes of the Emperor’s family and maybe some were aware of the 2nd style paintings at the Villa of Oplontis. In addition to the illusory 3D effects, the scenes in the paintings often depicted classical Greek themes, which were considered tasteful and culturally superior (e.g Fourth Style paintings of Euripides and poet Menander and the House of the Menander).

	A yet more potent symbol of wealth can be seen in the mosaics that were commissioned. In many ways these are more insightful into the types of people who lived here. The famous million tesserae Alexander the Great mosaic depicts a military event at the House of the Faun. Mosaics could also be more personal and whimsical. Also at the House of the Faun a mosaic depicts ducks seated amidst a still life of fish. Could this be a sign of income derived from the fishing or associated industry? More obvious is Umbricius Scaurus, the owner of six gurum producing workshops. He created a gurum recipe in mosaic. These Pompeians obviously wished it to be known that their business endevours had brought them prosperity.		A yet more potent symbol of wealth can be seen in the mosaics that were commissioned. In many ways these are more insightful into the types of people who lived here. The famous million tesserae [[Alexander the Great]] mosaic depicts a military event at the House of the Faun. Mosaics could also be more personal and whimsical. Also at the House of the Faun a mosaic depicts ducks seated amidst a still life of fish. Could this be a sign of income derived from the fishing or associated industry? More obvious is [[roman::Umbricius Scaurus]], the owner of six gurum producing workshops. He created a gurum recipe in mosaic. These Pompeians obviously wished it to be known that their business endevours had brought them prosperity.

	Possessions and modern conveniences were another reflection of wealth. As well as statuettes that had artistic or religious symbolism, the possession of bronze, and especially silver, was a sign of great status. Having heated piped water was an indication of great status and wealth because having access to water was reserved for only the most influential Pompeians, and the ability to heat it with a brazier by your household slaves, even more so.		Possessions and modern conveniences were another reflection of wealth. As well as statuettes that had artistic or religious symbolism, the possession of bronze, and especially silver, was a sign of great status. Having heated piped water was an indication of great status and wealth because having access to water was reserved for only the most influential Pompeians, and the ability to heat it with a brazier by your household slaves, even more so.
	However, status was not defined just by the wealthy. There were aspiring business people and politicians who sought to reflect their up and coming status. For example, the House of Julius Polybius gives us an insight of both a successful businessman and aspiring politician. Most likely, he was the son of a successful freedman who may have inherited his father’s bakery business and being born free, was able to run for political office. The house is an eclectic mix of contrasting styles. Some lavishly decorated public rooms painted in the first and second style at the front of the house, unfinished 3rd/4th style paintings, and other rooms with plain plaster contrasting awkwardly with fine furnishings. The house was becoming less of a showplace and more of a commercial/industrial building storing materials. His political aspirations are evidenced through political graffiti found near his house.
			However, status was not defined just by the wealthy. There were aspiring business people and politicians who sought to reflect their up and coming status. For example, the House of [[roman::Julius Polybius]] gives us an insight of both a successful businessman and aspiring politician. Most likely, he was the son of a successful freedman who may have inherited his father’s bakery business and being born free, was able to run for political office. The house is an eclectic mix of contrasting styles. Some lavishly decorated public rooms painted in the first and second style at the front of the house, unfinished 3rd/4th style paintings, and other rooms with plain plaster contrasting awkwardly with fine furnishings. The house was becoming less of a showplace and more of a commercial/industrial building storing materials. His political aspirations are evidenced through political graffiti found near his house.

	''The muleteers urge the election of Gaius Julius Polybius as duovir''		''The muleteers urge the election of Gaius Julius Polybius as duovir''