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House of Epidius Sabinus, Pompeii

The House of Epidius Sabinus, also known as the House of M. Epidi Sabini or Casa di Epidio Sabino, is a well-preserved ancient Roman domus located in Regio IX, Insula 1, Entrance 22 (IX.1.22) in Pompeii. Situated on the north side of Via dell'Abbondanza (one of Pompeii's main thoroughfares), between Via Stabiana to the west and Vicolo di Tesmo to the east, this atrium-style house exemplifies mid-Republican to early Imperial Roman domestic architecture from the 2nd century BC, with later modifications. Covering an estimated area typical of medium-large Pompeian residences (around 500-700 square meters, though exact measurements are not specified), it features a narrow entrance corridor leading to a central atrium, a peristyle garden, service quarters, and a prominent household shrine (lararium). The house is linked structurally and possibly by ownership to adjacent property IX.1.29, suggesting family or functional connections. It likely belonged to Marcus Epidius Sabinus, a politically active figure, as inferred from electoral graffiti on the facade and nearby walls promoting local candidates. Buried under volcanic ash during the 79 AD eruption of Mount Vesuvius, the site provides insights into elite Pompeian life, religious practices, and urban planning. Today, it forms part of the Pompeii Archaeological Park, open to visitors, though some frescoes have been removed to museums or lost to time and environmental damage.

Historical Context and Excavations

Constructed during the Samnite period (ca. 150-100 BC), when Pompeii was under Oscan-Samnite influence, the house reflects pre-Roman Italic traditions with Hellenistic elements, such as the peristyle garden. After Pompeii became a Roman colony in 80 BC, it saw renovations, including possible reconstructions after the AD 62/63 earthquake—evidenced by the brick east pilaster at the entrance. The Epidius family, prominent in Pompeii, is associated with the property through graffiti; Marcus Epidius Sabinus may have been related to owners of nearby houses like the House of M. Epidius Rufus (IX.1.20). Electoral inscriptions suggest the house's role in political campaigning, linking it to figures like C. Cuspius Pansa and M. Cerrinius Vatia.
Excavations occurred in 1858 and 1866, uncovering the layout and decorations. Restorations in 1985 stabilized the structure. Documentation includes 19th-century reports (e.g., CIL IV inscriptions), watercolors by Luigi Bazzani (1876), drawings by R. A. Briggs (1911), and photographs by Pierre Gusman (1899), Tatiana Warscher (pre-1943), and modern ones from 1961 onward by Stanley A. Jashemski and others. The house escaped major World War II bombing damage but has suffered from erosion; frescoes like the Hermaphrodite and Silenus scene were removed to the National Archaeological Museum in Naples for preservation.

The House of Epidius Sabinus (in) is adjacent to the House of Diadumeni (a)

Architectural Layout

The house follows a classic Pompeian domus design: a narrow facade opening into an expansive interior with axial symmetry for light and ventilation. The entrance is concealed in a narrow passage between shops, leading to a long corridor (fauces) and the atrium. A secondary entrance at the rear accesses servants' quarters. Key elements include:

Facade and Entrance: On Via dell'Abbondanza, flanked by shops; the entrance features a right pilaster with graffiti between IX.1.22 and IX.1.23. The east pilaster, rebuilt post-earthquake in brick, supports the facade.
Fauces (Entrance Corridor, Room 2): Narrow hallway with decorated walls (west and east documented in 2007 photos), leading north to the atrium.
Atrium (Room 1): Central rectangular space with an impluvium (basin) for rainwater collection via a compluvium (roof opening). It connects to surrounding rooms and features the prominent lararium in the southeast corner.
Peristyle and Garden: To the right (east) of the atrium, a colonnaded courtyard with an internal garden below ground level, containing two ponds (the western larger, with lost fish frescoes on blue backgrounds).
Servants' Quarters: Accessed via the rear entrance (IX.1.29 link), including a large kitchen (Room 18) with a bench, windows overlooking Vicolo di Tesmo, and adjacent rooms for milling (with Catillus millstone remains).
Upper Floor: Implied by stairs, likely for additional bedrooms or storage, though not detailed.

The layout emphasizes separation of public (atrium) and private (peristyle, services) spaces, with the garden providing leisure amid urban density.

Notable Rooms and Features

Atrium (Room 1): Hub of the house, with south, north, and southeast corners richly documented. Doorways lead to Room 9 (south side) and others. The impluvium collected water, and the space hosted daily activities.
Lararium (Household Shrine in Southeast Atrium Corner): A standout feature—a high masonry podium with a Doric column and two pilasters supporting a roof with double pediments. Decorated in stucco imitating red and yellow marble, with painted reliefs (red, green, yellow on white backgrounds) depicting portals, garlands, birds, candelabra, and arabesques. A low internal step held god statues; cornices feature quadruple red and blue bands. Most paintings are faded, but historical watercolors capture details.
Kitchen (Room 18): In servants' area, with a cooking bench, windows to Vicolo di Tesmo, and adjacent milling room with Catillus (upper millstone) for grain processing and bread-making.
Peristyle Garden: Below ground level for privacy, with two ponds; western pond walls once had blue-background fish frescoes (now lost).
Tablinum: Likely the rear reception room, featuring a preserved fresco of Hermaphrodite and Silenus with a Maenad (holding thyrsus and kantharos), now in Naples Museum.

Other rooms (e.g., cubicula bedrooms) surround the atrium, though specifics are sparse.

Decorations and Artifacts

Decorations blend Third Style elements (ca. 20 BC-AD 45), with frescoes on walls and shrine. Key examples:

Lararium Frescoes: Ornate panels with architectural motifs, birds, garlands; stucco relief bands in red/blue.
Tablinum Fresco: Mythological scene of Silenus & Hermaphroditus with Maenad (thyrsus, kantharos); removed to Naples (inv. not specified).
Peristyle Pond Walls: Lost fish scenes on blue backgrounds.
General Walls: Once covered in bright scenes, but most destroyed; remnants include panels in rooms like the tablinum.

Artifacts include the Catillus millstone in the servants' area and potential household items (e.g., god statues from lararium pedestal, though not recovered). Inscriptions: Electoral graffiti (CIL IV 1070-1073) like "Neptunalem aed(ilem) o(ro) v(os) f(aciatis)" and "Modestum aed(ilem) Pans[a(m)] fac(it) facias," documented by Della Corte (1965) and others.

Significance and Conservation

The house is significant for its elaborate lararium, one of Pompeii's finest temple-style shrines, illustrating domestic religion and piety toward Lares (household gods). Mythological frescoes reflect cultural influences from Greek/Roman lore, while graffiti highlights political engagement in a colony town. As part of Regio IX, Insula 1—a mixed-use block with inns, shops, and houses—it underscores Pompeii's urban diversity. Comparable to the adjacent House of M. Epidius Rufus (IX.1.20), it suggests family networks.
Conservation challenges include fresco loss from exposure; restorations in 1985 and ongoing park efforts preserve it. The site contributes to studies of Samnite-Roman transitions, with artifacts in Naples Museum aiding global research.

On the left is a corridor that leads to the atrium. Right peristyle had an internal garden

In the center of the peristyle a small garden once was located. It was located below the ground level. In the garden there were two ponds. The western pond was larger. Its walls were decorated with drawings of fishes on a blue background. Those frescoes are lost.

The House of Epidius Sabinus has a second entrance at the back. There you can find those parts of the house in which the servants lived. Here they cooked food in the large kitchen. By the way, here they grounded the grain and made bread. The remains of the Catullus (rotating upper part of the millstone) can be seen in the next room.