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House of P. Casca Longus, Pompeii

The House of P. Casca Longus, also known as Casa dei Quadretti Teatrali (House of the Theatrical Paintings) or Casa di Casca Longus (I.6.11), is a well-preserved ancient Roman domus in the archaeological site of Pompeii, Italy. Situated in Regio I, Insula 6, along the north side of Via dell'Abbondanza—the city's primary east-west commercial thoroughfare—this residence exemplifies a mid-sized urban home from the late Republican period, adapted for elite living amid Pompeii's bustling street life. Measuring approximately 300–400 square meters on its ground floor, it features a traditional atrium-centered layout with a secondary atrium, cubicula (bedrooms), and service spaces, reflecting a merger of two earlier structures into a cohesive unit. The house is connected internally to neighboring properties at I.6.8 and I.6.9, suggesting possible shared ownership or functional extensions. Buried under volcanic ash and pumice during the 79 AD eruption of Mount Vesuvius, it was excavated in the early 20th century, revealing high-quality Augustan-era decorations and artifacts that hint at its owner's wealth and cultural sophistication. The site's name derives from a marble table inscribed with "P. CASCA LONG," linking it to Publius Servilius Casca Longus, a historical figure infamous as one of Julius Caesar's assassins. Unlike larger estates like the House of the Faun, this domus emphasizes intimate, theatrical-themed artistry and domestic luxury. As of August 2025, it remains accessible to visitors in the Pompeii Archaeological Park, with ongoing conservation under the Great Pompeii Project addressing fresco degradation, structural vulnerabilities from ancient earthquakes, and modern environmental threats like rainfall infiltration, though no new excavations or finds have been reported this year.

Historical Background

The House of P. Casca Longus originated as two separate dwellings in the 2nd century BC during Pompeii's Samnite period, constructed with local materials like opus incertum (irregular stonework) walls. Following the Roman colonization in 80 BC under Sulla, the structures were merged and renovated in the Augustan era (late 1st century BC to early 1st century AD), incorporating refined architectural elements and decorations that aligned with imperial tastes. This period of enhancement reflects Pompeii's growing prosperity as a commercial and resort town, with the house likely serving an affluent family involved in trade or politics, given its prime location on Via dell'Abbondanza.
The residence endured the earthquake of 62 AD, with evidence of post-quake repairs including reinforced doorways and updated plasterwork, though some elements remained unfinished by 79 AD. Ownership is tentatively linked to Publius Servilius Casca Longus (84 BC–c. 42 BC), a Roman tribune and the first assassin to strike Julius Caesar during the Ides of March in 44 BC. After Caesar's death, Casca fled to the East, served as tribune, and died by suicide at the Battle of Philippi in 42 BC alongside Brutus and Cassius. His estates were confiscated by the future Emperor Augustus, and his possessions sold at public auction—explaining how the inscribed marble table ended up in this Pompeian home, acquired by a wealthy local owner. While this connection adds historical intrigue, some scholars question its direct substantiation, viewing it as a post-confiscation relic rather than proof of Casca's personal residency in Pompeii.
Excavations occurred in two phases: initially in 1912 under Vittorio Spinazzola as part of broader digs along Via dell'Abbondanza, focusing on the facade and entrance; and more comprehensively from 1926 to 1927, uncovering the interior rooms and artifacts. The site avoided major damage from World War II Allied bombings in 1943, unlike nearby structures, but post-war restorations in the 1970s involved reconstructing the compluvium (roof opening) and protecting frescoes with modern coverings. Recent analyses, including 3D modeling in the 2010s, have clarified the house's phased merger and decorative evolution, emphasizing its role in illustrating Pompeian social mobility and cultural influences from Rome.

Architecture and Layout

The house follows a classic Pompeian domus plan, adapted from two pre-existing structures into a unified space with a main atrium and a secondary one for enhanced light and ventilation. The principal entrance (fauces) from Via dell'Abbondanza leads southward into the primary atrium, a central courtyard measuring about 6–8 meters square, featuring a compluvium for natural illumination and an impluvium (rainwater basin) with a colored marble base and a terracotta puteal (wellhead) on the north side for cistern access. The impluvium's design includes rainwater spouts, emphasizing efficient water management typical of Roman urban homes.

Flanking the atrium:
East Wall: Doorways to two cubicula (bedrooms), with the north-east corner providing access to additional chambers; this wall integrates structural pilasters for support.
West and South Sides: Symmetrical rooms including alae (wing rooms) and possibly a tablinum (reception area), though specifics are limited; the secondary atrium to the rear offers extra space, potentially for service or private quarters.
Service Areas: Rustic rooms for storage, kitchen, or latrines, connected via internal passages to I.6.8–9, suggesting multifunctional use.

Upper floors, now lost, were accessed by staircases in the cubicula, likely for bedrooms or workspaces. Construction materials include opus incertum for foundations, with later brick and tuff additions for seismic resilience post-62 AD. The merged layout maximized the plot's urban constraints, creating a spacious yet intimate environment with panoramic views toward the street.

Decorations and Frescoes

The house is celebrated for its Augustan-era frescoes in the Third Pompeian Style, blending illusionistic architecture with theatrical and natural motifs that reflect the residents' cultural refinement. The fauces (entrance corridor) features geometric zoccolo (baseboard) in faded colors, a central aedicula (shrine-like panel) on a yellow background framed by red side panels, and small vignettes (landscape paintings) that have since disappeared, creating an inviting transition to the atrium.
In the atrium, the east wall—particularly the north-east corner—displays vivid theatrical paintings depicting scenes from Menander's Greek tragedies, including dramatic figures and stage-like compositions, giving the house its alternate name. These are complemented by floral motifs, birds, and illusory architectural elements like pilasters with masks or faces at their bases. Cubicula walls show remnants of similar decorations, with avian scenes and natural landscapes evoking serenity. Overall, the vivid reds, yellows, and geometric patterns emphasize opulence, though some frescoes have faded due to exposure since excavation.

Artifacts and Discoveries

Excavations revealed artifacts underscoring the household's luxury, primarily from the atrium cabinets. Key finds include a set of marble tripod table legs (inventory 3921) with lion heads and paws, inscribed "P(VBLIVS) CASCA LONG(INVS)" and variations, linking the site to Casca Longus—these were originally found in the garden of I.6.8–9 but relocated here by excavators. Other items: silverware, bronze tableware, a silver plate, and a bronze statue, all indicative of refined dining and display. A mutilated graffito near the entrance reads "Cuspium Pansam (Calavius) rog(at)" [CIL IV 7170], possibly an electoral endorsement tied to the Calavii family. No major ecofacts or additional hoards were noted, but the artifacts highlight post-Republican trade in confiscated Roman goods.
In summary, the House of P. Casca Longus provides a fascinating link between Pompeian daily life and Roman political history, blending architectural functionality with artistic grandeur. Its theatrical frescoes and Caesar-era artifact offer insights into cultural exchanges, while its preservation exemplifies Pompeii's enduring allure. Visitors can explore it via guided tours, with virtual reconstructions available for deeper immersion.