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House of the Ceii, Pompeii

The House of the Ceii, also referred to as the House of Lucius Ceius Secundus, is a well-preserved Roman domus in Pompeii, exemplifying residential architecture from the late Samnite period around the 2nd century BC. This era predates full Roman dominance in the region, making the house a rare surviving example of pre-colonial Italic dwellings in the city. Located in Regio I, Insula 6, Entrance 15, it sits along a side lane off Via dell'Abbondanza, opposite the larger House of the Menander and near the Temple of Jupiter Meilichios. Excavated between 1913 and 1914, the house derives its name from one of nine electoral inscriptions painted on its exterior walls, which urged support for Lucius Ceius Secundus as a magistrate. These slogans, a common feature in Pompeian politics, suggest Secundus as the likely owner, positioning the house as belonging to a mid-level elite family involved in local governance.
As a small to mid-sized domus, it reflects the social dynamics of Pompeii's merchant and magisterial class, blending functionality with aesthetic ambition. Unlike grander villas, it emphasizes practicality while incorporating decorative elements that hint at cultural influences, such as Egyptian motifs possibly tied to the owner's affiliation with the cult of Isis—a religion that gained popularity in Pompeii during its final decades before the AD 79 eruption of Vesuvius.

History

The house was constructed at the end of the 2nd century BC during the final phases of Samnite influence in Pompeii. Its early layout reflects Samnite building traditions, such as the use of specific masonry techniques and a compact urban row-house plan.
It underwent significant renovation and redecoration in the 1st century AD, likely under the ownership of Lucius Ceius Secundus, a prominent local magistrate. Electoral inscriptions (programmata) on the exterior facade promote him for the offices of aedile (around 76 AD) and duumvir (around 78 AD). These painted slogans, including support from figures like Quintus and Sextus Caecilius Iucundus (from the famous House of Caecilius Iucundus), provide direct evidence of his political activity and social standing in Pompeii’s final decades.
The renovations introduced a partial upper floor (in opus craticium timber-frame construction), updated decorations in the Third Style (elegant, delicate architectural fantasies with mythological vignettes on light backgrounds), and enhancements to the garden. Work was ongoing or incomplete at the time of the 79 AD eruption — some rooms lacked final wall paintings, and construction materials were present. Despite this, the house was actively inhabited, as shown by everyday objects left in place.
The eruption of Vesuvius buried the structure under ash and lapilli. It was likely looted shortly afterward but survived remarkably intact. Excavations occurred primarily between March 1913 and August 1914, with additional work in 1982. Recent restorations, including laser cleaning of the garden frescoes (completed around 2021), have revived their vivid colors and details.

Architecture

Surrounding rooms: Cubicula (bedrooms), a winter triclinium (dining room) to the right of the atrium, and other service or living spaces open off the atrium. A staircase led to an upper floor (under construction or partially damaged at the time of the eruption).
Peristyle/Garden area: At the rear, accessed via a corridor or tablinum-like space. The garden is enclosed by porticoes on three sides, with the back wall featuring the house’s most famous decorations. The garden included plants and possibly a small fountain or water feature.

The layout is efficient: public/reception areas at the front, more private and service spaces toward the sides and rear, with the garden providing light, air, and a pleasant view. Artifacts found include furniture casts (e.g., a wardrobe), amphorae, and household items, suggesting comfortable but not palatial living.

Wall Decorations (Third Style)
The interiors showcase refined Third Style frescoes: flat, elegant designs with slender architectural elements (candelabra, columns, foliage), monochromatic backgrounds (often black, red, yellow, with increased use of green and blue), and small central mythological or figurative panels. Motifs draw from mythology, theater (masks), and Egyptian/Nilotic themes popular after Rome’s conquest of Egypt.

Atrium and adjacent rooms: A notable fresco shows a young Bacchus (Dionysus) offering wine to a tiger — a dynamic, symbolic scene evoking fertility, wine, and wild nature. Nearby rooms feature busts of satyrs and maenads (followers of Bacchus), tying into Dionysiac themes.
Winter triclinium (right of atrium): Decorated with Third Style panels, including the Bacchus scene.
Other rooms: Architectural motifs, mythological figures, and delicate linear fantasies. Floors often had geometric mosaics with marble accents.

The Garden Frescoes — The Highlight
The three walls of the garden/peristyle area feature exceptionally vivid and large-scale paintings, recently restored to restore their intense colors.
Back wall: A large, dramatic hunting scene with wild animals in motion — wolves hunting boars, tigers chasing rams, lions attacking a bull. These are set in a landscape with architectural elements, rocks, and vegetation, creating a lively, almost theatrical panorama of nature’s ferocity.
Side walls: Pseudo-Egyptian/Nilotic landscapes with exotic animals, pygmies fighting a hippopotamus and crocodile, and garden/landscape views. These reflect Roman Egyptomania and may hint at the owner’s interest in the Isis cult or simply fashionable exoticism.
These garden frescoes transformed the modest outdoor space into an immersive, entertaining vista — ideal for dining or relaxation while evoking far-off lands and the thrill of the hunt.

Additional Features and Context
Mosaics and floors: Geometric designs and multicolored marble elements in key areas.
Upper floor: Evidence of a second story, indicating expansion or renovation.
Cultural significance: The decorations blend Greek mythological influences with Roman tastes for luxury and exoticism. The house reflects the lifestyle of a prosperous local family in the late 1st century CE, with artistic choices that were fashionable but not overwhelmingly opulent.

Restoration and Preservation

Over time, the frescoes suffered from fading, humidity, rising damp, salt efflorescence, and paint loss, exacerbated by inadequate past interventions and exposure to elements. A major restoration project, completed in February 2021 by the Archaeological Park of Pompeii using its ordinary funds, revitalized the artwork. Led by conservator Stefania Giudice, with oversight from Luana Toniolo (archaeology) and Raffaella Guarino (restoration), and executed by RWS of Padua, the process involved:

Consolidation of detached plaster and paint layers.
Chemical and mechanical cleaning, including laser technology to remove stubborn deposits without damaging the surface.
Retouching abraded areas with dotted chromatic reconstruction for seamless integration.
Grouting with natural lime-based mortar.
Protective sealing of roofs, ancient openings, and gaps to prevent rainwater infiltration and future degradation.

Earlier efforts focused on rainwater management, roofing, and flooring protection to safeguard the delicate interiors. These interventions have restored the frescoes' vividness, allowing modern visitors to experience them as "a film faded with time and then restored."

Significance

As one of Pompeii's few intact Samnite-era homes, the House of the Ceii offers invaluable insights into evolving domestic architecture, social status, and cultural syncretism in ancient Campania. Its frescoes not only beautify the space but also reveal broader Roman fascinations with nature, mythology, and exotic lands, underscoring Pompeii's role as a vibrant, multicultural hub before its tragic burial.