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The House of the Citharist, Pompeii

Location: Regio I, Insula 4
Area: 2318 sq meters
Rooms: + 50

The House of the Citharist, also known as Casa del Citarista or House of Apollo the Citharist, is one of the largest and most opulent ancient Roman domus (townhouses) in Pompeii, Italy, occupying nearly an entire city block in Regio I, Insula 4, with entrances at I.4.5, I.4.25, and I.4.28 along Via Stabiana and Vicolo del Menandro. Spanning approximately 2,700 square meters, it was formed in the 1st century BCE by merging several adjacent properties, resulting in an irregular yet lavish layout that reflects the wealth and status of Pompeii's elite during the late Republican and early Imperial periods. The house derives its name from a bronze statue of Apollo Citharist—a depiction of the god as a young musician playing the cithara (lyre)—discovered during excavations and now housed in the National Archaeological Museum of Naples. This statue, along with other artifacts, underscores the house's association with artistic and mythological themes. Buried under volcanic ash and pumice during the 79 CE eruption of Mount Vesuvius, the site offers valuable insights into Roman domestic life, architecture, and social dynamics, though much of its preservation is poor due to exposure and deterioration over time.

Historical Context and Excavation

Dating primarily to the 1st century BCE, the House of the Citharist evolved through progressive expansions, incorporating neighboring structures to create a sprawling residence that exemplified the growing prosperity of Pompeii's merchant and freedman classes. It is linked to the influential Popidii family, likely former slaves who rose to prominence, as evidenced by graffiti, electoral inscriptions (programmata) on the facade supporting candidates like Lucius Popidius Secundus, and political campaign posters along nearby Via dell’Abbondanza. Portraits found within the house further suggest family ties. The structure's size and amenities indicate it served not only as a private home but also included commercial elements like a bakery, pastry shop, tavern, and private baths, blending residential and economic functions in a typical Pompeian urban setting.
Excavations occurred in multiple phases: initially from 1853 to 1861 under Bourbon rule, with further digs in 1868, 1872, 1929, and 1933. Key discoveries during the 1853-1861 period included political inscriptions near the entrances, such as CIL IV 1003 ("Caprasium II vir(um) o(ro) v(os) f(aciatis)"), CIL IV 1004, CIL IV 1005, and CIL IV 1020, which endorsed local magistrates (duumviri) and highlight Pompeii's vibrant electoral culture. Artifacts like the Apollo statue were unearthed, along with mosaics and bronze sculptures. Documentation includes references to finds in works like Pagano and Prisciandaro's 2006 study on Bourbon-era excavations and Blake's 1930 analysis of Roman pavements. The site's exposure post-excavation has led to significant deterioration of decorations, but photographic records from the 1920s onward preserve its early post-discovery state.

Architectural Layout

The House of the Citharist's irregular plan results from its amalgamated origins, featuring two main atriums (central courtyards) and three peristyles (colonnaded gardens), creating a complex, multi-level space adapted to Pompeii's urban grid. The primary entrances at I.4.5 and I.4.25 lead into distinct sections, connected internally, with I.4.28 as a secondary access.

Entrance I.4.5: This main doorway on Via Stabiana opens to a fauces (entrance corridor) leading eastward to the first atrium and tablinum (reception room). The threshold features notable pavements from the Republican and early Empire periods. The atrium serves as a central hub, providing light and rainwater collection via an impluvium (basin).
Entrance I.4.25: Located further along Via Stabiana, this entrance connects to the house's more private quarters, integrating with the overall structure.

The layout includes superimposed peristyles, with the central one being the most elaborate—a large garden courtyard surrounded by porticoes. This area features a semicircular, marble-clad swimming pool or basin, designed for both aesthetic and functional purposes, including water displays. Additional facilities like private baths, a bakery, pastry shop, and tavern suggest self-sufficiency and commercial activity. The house's scale (nearly 2,700 m²) and integration of multiple properties highlight adaptive urban planning in ancient Pompeii, with rooms arranged for privacy, entertainment, and daily operations.

Notable Decorations and Features

Despite deterioration, the House of the Citharist was renowned for its rich decorations, blending frescoes, mosaics, and sculptures that reflected Roman tastes influenced by Greek mythology and natural motifs.

Frescoes: The walls once featured splendid frescoes in the Fourth Style, depicting mythological scenes and architectural illusions. Surviving examples include a fresco of a sleeping Maenad (female follower of Dionysus), showcasing delicate Roman painting techniques with vibrant colors and narrative detail. Other frescoes illustrated mythological and architectural themes, though many have faded due to exposure.
Mosaics: Fine mosaics adorned the atrium and tablinum floors, including intricate patterns and figural scenes. A notable example is the Gorgon Medusa mosaic, featuring the mythical creature's head at the center, framed by a black-and-white scale pattern with kantharoi (drinking cups) in the corners. This protective emblem, intended to ward off evil, remained in situ through renovations and is now at the Metropolitan Museum of Art. Another mosaic depicts a wild boar assailed by dogs, evoking hunting themes and now in Naples. These works exemplify late Republican mosaic artistry, using stone tesserae for durable, symbolic flooring.
Garden and Peristyle: The central peristyle garden is a highlight, with colonnades providing shaded walkways and a serene atmosphere. The semicircular pool, clad in marble, was animated by bronze animal sculptures—a wild boar attacked by two hunting dogs, a lion, a fleeing deer, and a snake—connected to pipes that spouted water jets, creating a dynamic fountain display. This feature, popular in Vesuvian villas, blended art with hydraulics for sensory delight.

Artifacts and Discoveries

Excavations revealed a wealth of artifacts attesting to the house's luxury. The eponymous bronze statue of Apollo Citharist (1st century BCE) portrays the god in a graceful pose, symbolizing music and culture; it is now in Naples along with the wild boar mosaic. Bronze animal fountains from the pool, including the boar group, lion, deer, and snake, demonstrate advanced metallurgy and hydraulic engineering. Political inscriptions and graffiti provide epigraphic evidence of the Popidii family's influence. Other finds, such as portraits and everyday items, were documented in Bourbon-era records, with many relocated to museums for preservation.

Cultural and Historical Significance

The House of the Citharist exemplifies the social mobility of freedmen in Roman society, as seen in the Popidii family's rise, and illustrates urban expansion through property mergers. Its blend of residential grandeur, commercial spaces, and artistic elements highlights Pompeii's cosmopolitan culture, influenced by Hellenistic traditions. As part of the UNESCO World Heritage site, it contributes to understanding Roman domestic architecture, water features, and protective symbolism in art. Despite poor preservation, ongoing documentation and museum displays preserve its legacy, offering a window into the opulent life abruptly ended by the 79 CE disaster.