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House of the Wild Boar, Pompeii

Address: Regio VIII, Insula 3
Area: 454 square meters
Rooms: 17

The House of the Wild Boar, also known as Casa del Cinghiale or Casa del Cinghiale I, is an ancient Roman domus (townhouse) in Pompeii, Italy, located at VIII.3.8-9 on the south side of Via dell’Abbondanza (Strada dell’Abbondanza 8), near the intersection with Via Stabiana. This residence, covering a modest but well-appointed space typical of urban Pompeian homes, is named after a striking black-and-white mosaic in the entrance corridor (fauces) depicting a wild boar being attacked by two dogs—a vivid hunting scene that likely symbolized strength, protection, or the owner's interests in venatio (hunting). The house is linked to an adjacent property at VIII.3.9, possibly a shop or extension, and exemplifies the blend of residential and commercial life in 1st-century CE Pompeii. Buried by the 79 CE eruption of Mount Vesuvius, it provides insights into Roman domestic architecture and artistry, though note that Pompeii has another site sometimes called the House of the Wild Boar (VII.4.48, the House of the Ancient Hunt), distinguished by its hunting frescoes rather than a boar mosaic.

Historical Context and Excavation

Constructed during the Roman period, likely in the late Republic or early Empire, the House of the Wild Boar reflects the urban development of Pompeii as a prosperous commercial hub. Its decorations suggest renovations in the decades before the eruption, aligning with post-62 CE earthquake rebuilding efforts. The house's facade features political graffiti, including election slogans supporting candidates like Coelius Caldus for duumvir (CIL IV 708, 720) and Coelius Postumus (CIL IV 707), indicating the owners' involvement in local politics and community affairs.
Excavation occurred in phases: initially reported as 1809, 1819, 1826, and 1837, but records suggest possible confusion with another site (VI.5.19), where a similar boar mosaic was found. Breton's account places major work between 1838 and 1840. Key discoveries include two stamped seals found on April 18, 1819: one reading "Q(uinti) DELLI AMICI" (inventory 4737) and another "C(ai) IULI SVAVIS" (inventory 4739), possibly linked to the owners or residents, such as Quintus Dellus Amicus and Gaius Julius Suavis. The site has been documented through photographs from 1957 onward, capturing its condition post-excavation, including views from 2015, 2018, 2022, and 2023.

Architectural Layout

The House of the Wild Boar adheres to a standard Roman domus design, optimized for light, ventilation, and privacy within Pompeii's dense urban fabric. The entrance doorway, facing south on Via dell’Abbondanza, leads into a long fauces (corridor) with the eponymous boar mosaic. This opens into a central atrium, featuring an impluvium (rainwater basin) for collecting water from the compluvium (roof opening), surrounded by rooms on multiple sides.

East and west alae (side wings or alcoves) flank the atrium, providing additional space for storage or display.
The tablinum (reception room or study) is axially aligned at the south end of the atrium, open to both the atrium and a rear peristyle (colonnaded garden), allowing for visual continuity and airflow.
An oecus (dining or reception room) branches off the atrium, with a diamond-shaped limestone tile floor edged in white mosaic.
The peristyle garden at the rear offers a small outdoor retreat, typical for relaxation and horticulture.

The layout emphasizes functionality, with thresholds separating spaces and upper floors (now lost) likely accessed by stairs for servants or storage.

Notable Decorations and Features

The house is celebrated for its high-quality mosaics and frescoes, showcasing Pompeian artistry in the 1st century CE.

Mosaics: The entrance fauces features the signature black-and-white mosaic of a wild boar hunted by two dogs, framed by geometric patterns—a dynamic scene symbolizing the thrill of the chase. The atrium floor includes a border depicting a fortified city with towers and gates, evoking themes of security or urban pride. The tablinum has a black-and-white "carpet" mosaic of squares and rectangles, with an acanthus-decorated threshold. Alae mosaics display geometric designs like hexagons, octagons, and meanders, with friezes of shields.
Frescoes: Wall paintings, though faded or removed, include a Fourth Style fresco on the tablinum's east wall depicting Mars and Venus, now lost but preserved in 19th-century drawings by Nicola La Volpe and Giuseppe Abbate (inventory ADS 816-818). The tablinum's zoccolo (lower wall) was red, with a yellow middle zone featuring panel decorations. These motifs blend mythological romance with architectural illusionism.

The peristyle garden, though small, likely included plantings and possibly water features, enhancing the house's serene ambiance.

Artifacts and Discoveries

Excavations uncovered personal and decorative items, including the two bronze or lead seals from 1819, stamped with names suggesting ownership or trade connections. These artifacts, now in the National Archaeological Museum of Naples, provide epigraphic evidence of residents like Quintus Dellus Amicus and Gaius Julius Suavis. No major hoards or skeletal remains are recorded, but the site's mosaics and frescoes were documented through drawings and photographs, preserving elements removed for conservation.

Cultural and Historical Significance

The House of the Wild Boar illustrates the social and artistic life of middle-class Pompeians, with its hunting-themed mosaic reflecting Roman fascination with nature, sport, and symbolism—possibly apotropaic (warding off evil) or indicative of the owner's status as a hunter or merchant. Political graffiti highlights civic engagement in Pompeii's electoral system. As part of the UNESCO World Heritage site, it contributes to understanding domestic mosaics' evolution and the abrupt preservation of daily life by volcanic disaster. The house remains accessible to visitors, offering a glimpse into refined Roman interiors, though conservation challenges persist due to exposure.