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House of the Diadumeni, Pompeii

Address: Regio IX, Insula 1
Area: 957 square meters
Rooms: +20

The House of the Diadumeni, also known as the House of M. Epidius Rufus or Casa di Marco Epidio Rufo (IX.1.20), is a large and well-preserved ancient Roman domus in Pompeii, located in Regio IX, Insula 1, on the north side of Via dell'Abbondanza. Covering approximately 957 square meters with over 20 rooms, it exemplifies Samnite-era architecture from the second half of the 2nd century BC, predating full Roman control of the city. The house derives its modern name from two freedmen (liberti) named Diadumeni, who dedicated a household shrine (lararium) to their patron's genius and the Lares (household gods), as recorded in an inscription. Likely owned by Marcus Epidius Rufus or Marcus Epidius Sabinus—a prominent figure involved in local politics, based on electoral graffiti on the facade and nearby walls—the residence reflects the social dynamics of freedmen loyalty and elite Pompeian life. Buried under volcanic ash during the 79 AD eruption of Mount Vesuvius, it offers insights into domestic religion, architecture, and daily routines in a pre-Imperial context. Today, it is part of the Pompeii Archaeological Park, accessible to visitors, though some elements like wall paintings have deteriorated or been damaged over time.

House of the Diadumeni is under the letter A

Historical Context and Excavations

Constructed during the Samnite period (ca. 150-100 BC), when Pompeii was under Oscan-Samnite influence, the house represents an early phase of urban development before the Roman colony was established in 80 BC by Sulla. Its design incorporates elements like a garden rather than a full peristyle, akin to other early houses such as the House of the Surgeon, indicating a blend of local Italic traditions with emerging Hellenistic influences. The owner, Marcus Epidius Rufus (or Sabinus), is inferred from frequent electoral inscriptions (programmata) on the facade promoting candidates, suggesting the family's involvement in Pompeii's political sphere. The dedication by the Diadumeni freedmen highlights the role of manumitted slaves in household cults, a common Roman practice emphasizing patronage and piety.
Excavations occurred in two phases: initially in 1858, followed by more thorough work in 1866, uncovering the structure and its artifacts. Key finds, such as a marble statue of Venus on February 19, 1866, were documented in contemporary reports. The house suffered some degradation from natural wear and possibly World War II bombings affecting Pompeii broadly, though specific damage here is not detailed. Post-excavation studies, including photographs by Tatiana Warscher (pre-1943) and drawings by Nicola La Volpe (1866), have preserved records of now-faded frescoes. Modern documentation includes images from 1903 (Esther Boise Van Deman), December 2007, September 2019, and October 2023, aiding ongoing conservation efforts under the Pompeii Archaeological Park.

Facade of the House of the Diadumeni

Architectural Layout

The house follows the traditional Pompeian domus plan but with distinctive features reflecting its early date. The facade is set back about 1 meter from the street, creating a raised podium or terrace (1.3 meters high) accessible via narrow stairs at both ends—a rare element providing a semi-public platform, possibly for display or social interaction. This podium runs along the front, emphasizing the house's prominence on Via dell'Abbondanza.
The entrance features a triple doorway (vestibulum), with the right casement doors typically open for daily visitors and the full set for special occasions or clients, underscoring the house's role in patronage networks. Beyond lies a large rectangular Corinthian atrium (one of Pompeii's rare examples with columns surrounding the impluvium), measuring significantly in size and supported by 16 Doric columns (4.3 meters high) arranged around a central impluvium basin for rainwater collection. Unlike standard atria, the alae (side wings) are positioned at the center of the side walls rather than at the rear, each preceded by a pair of Ionic columns and corner piers with Corinthian capitals adorned with female heads (possibly maenads or divinities), though many are poorly preserved.
From the atrium, doorways lead to surrounding rooms, including cubicula (bedrooms) and service areas. At the rear, the tablinum (owner's study/reception room) opens to a garden area instead of a peristyle, extending colonnades for outdoor leisure. The layout is linked to adjacent property IX.1.30, suggesting possible expansions or family connections. Overall, the design prioritizes axial symmetry, natural light via the compluvium (roof opening), and ventilation, while accommodating both private family life and public clientela (patron-client relations).

Notable Rooms and Features

Atrium (Room 2): The central hub, with an impluvium and surrounding Doric columns. Doorways on the east side lead to Rooms 5 (with a window overlooking the atrium) and 6 (the east ala). The east side features Ionic columns and figured capitals with busts above acanthus bands, some damaged. A watercolor by Luigi Bazzani (ca. 1900) depicts it looking northeast toward the east ala.
East Ala (Room 6): This wing houses the household shrine (lararium), a podium against the east wall covered in stucco imitating red and yellow marble, topped with a red stripe and a white marble slab. The dedicatory inscription reads: "Genio M[arci] n[ostri] et Laribus duo Diadumeni liberti" (To the Genius of our Marcus and the Lares: dedicated by his two freedmen named Diadumenus). Lararium paintings on the white walls include sacrificial scenes: on the right, two toga-clad males beside an altar; on the left, three men leading a bull. The north wall retains frescoes with architectural motifs and Cupids in side panels, though the east wall paintings are lost. Stucco cornices and painted decorations adorn the south wall, with graffiti etched into the plaster.
Other Rooms: Room 3 (southeast corner doorway), Room 4 (south-facing), and Room 5 (east side with north and east walls) are cubicula or service spaces, though details are sparse. The tablinum at the atrium's rear leads to the garden, providing a private outdoor extension.

The shrine is the standout feature, illustrating domestic worship and the social bonds between patrons and freedmen.

Kitchen of the House of the Diadumeni

Decorations and Artifacts

Decorations emphasize frescoes in the Third Style or earlier, with remnants in the east ala: architectural illusions, Cupids, and sacrificial motifs around the lararium. A drawing by Nicola La Volpe (1866) records a lost painting of Hesperus and Venus with a Cupid. Graffiti in Room 6's plaster includes personal marks, while stucco imitations of marble add faux luxury. Capitals feature intricate carvings, such as acanthus bands and female busts.
Artifacts include a marble statue of a half-naked Venus leaning against an idol (Naples Archaeological Museum, inv. 109620), discovered in the lararium. Other finds, like potential household items, are not specified but align with typical Pompeian recoveries (e.g., ceramics, tools).

Significance and Conservation

The House of the Diadumeni is significant for its rare Corinthian atrium and early Samnite construction, offering a glimpse into pre-Roman Pompeii's elite residences and religious practices. The freedmen's dedication underscores themes of manumission and piety, while electoral graffiti reveals political engagement. Conservation challenges include fading frescoes and structural wear, addressed through photographic archives and park management. It remains a key site for understanding Pompeian social history, open for guided tours to preserve its fragile elements.