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House of Holconius Rufus

Address: Regio VIII, Insula 4
Area: 706 square meters
Rooms: 16

The House of Marcus Holconius Rufus, also known as the Casa dei Postumii or Domus M. Holconi Rufi, is a significant archaeological site in Pompeii, located at Regio VIII, Insula 4, Entrance 4 (VIII.4.4). This spacious and elegant Roman domus exemplifies the architectural and decorative styles of elite residences in the ancient city during the late Republic and early Imperial periods. It belonged to Marcus Holconius Rufus, a prominent figure in Pompeian society, and reflects the wealth and status derived from his family's viticultural enterprises and his political achievements. The house features a classic Roman layout with an entrance corridor (fauces), atrium, tablinum, peristyle, and various surrounding rooms, adorned with intricate frescoes and mosaics. Its remains allow for a reconstruction of daily life, social functions, and artistic tastes in 1st-century Pompeii.

Historical Context and Owner

Marcus Holconius Rufus came from the Holconii family, an established Pompeian lineage of Etruscan origin belonging to the equestrian order. Their wealth stemmed primarily from land ownership and viticulture; the family's vineyards were so renowned that a grape variety was named after them. Rufus enjoyed a distinguished public career starting around 20 BC and extending into the Augustan era. He served as duumvir (one of Pompeii's two chief magistrates, akin to consuls) five times and was elected quinquennalis, overseeing censuses and elections. As a municipal benefactor, he funded renovations to Pompeii's large theater, earning a permanent reserved seat with a bronze-lettered inscription for optimal viewing. He also modified the Sanctuary of Apollo—Augustus's patron deity—possibly to curry imperial favor, though this drew some local complaints about obstructed light, leading to compensation payments. Rufus acted as Pompeii's patron in Rome, representing the colony's interests and likely maintaining connections to the emperor. In recognition of his contributions, the city council erected a statue of him in military attire at the bustling intersection of Via Stabiana and Via dell'Abbondanza, two major thoroughfares. The house itself, linked to adjacent properties including shops (tabernae) at VIII.4.2–3, 5–6, 49, and VII.4.50, underscores his elite status as one of Augustus's military tribunes.
The site was first explored in 1766, when initial digs uncovered nearby tabernae that were later reburied. Excavations resumed in 1855, focusing on the fauces, where painted graffiti endorsing political candidates like "Postumium" and "L(ucium) C(eium) S(ecundum)" was discovered on pilasters. By 1861, more extensive work revealed wall paintings, many of which were detached and transferred to the Naples National Archaeological Museum. References to the house appear in 19th-century sources, including drawings by artists like G. Abbate and Nicola La Volpe, documenting now-lost frescoes.

Architectural Layout

Like many Pompeian houses, this domus follows a rectangular plan typical of Roman domestic architecture, emphasizing inward-facing rooms around courtyards for privacy and light, with minimal external windows. The entrance from Strada d’Olconio leads south through the fauces into a Tuscan-style atrium, surrounded by cubicula (bedrooms) and alae (side wings). This opens to the tablinum (reception room) and a peristyle (colonnaded garden courtyard), which provided airy open spaces. The atrium features an impluvium (central basin) for collecting rainwater via a compluvium (roof opening), with a blocked cistern beneath. Floors vary: the atrium has lavapesto (a lime-based mortar with volcanic ash) punctuated by white tesserae dots, while thresholds use Vesuvian stone, and some areas employ opus signinum (crushed tile mortar) encrusted with marble pieces. The peristyle includes an open gallery and a summer triclinium (dining area) with fountains, enhancing the luxurious feel. The house's design reflects Hellenistic influences, with the peristyle evolving from a simple garden to a multifunctional space for guests and leisure. Overall, it occupies a central urban position, integrating commercial elements via linked shops, and demonstrates middle-class expansions seen in Pompeii, such as doubled spaces and refined embellishments.

Key Rooms and Their Features

Fauces (Entrance Corridor): This narrow hallway sets the tone with walls originally painted black in the upper zone and red below, divided into panels by green lines. Central panels depicted aquatic birds, while the upper black areas featured nymphs in fantastical architecture. Doorways connect to adjacent shops (e.g., VIII.4.3 and 5). Several frescoes were detached in 1861, including floating figures with attributes like ivy wreaths, Venus's scepter, calathus (baskets), and mirrors—now in the Naples Museum (inventory numbers 9149, 9300, 9144, 9148). Drawings from the era capture these lost elements.
Atrium: The central hub, with the impluvium (Room 1) and surrounding spaces. It offers views through to the tablinum and peristyle. The east side includes Room 2 (linked to a shop) and Room 3 (a cubiculum-like space). The atrium's simple floor contrasts with more ornate rooms.
Room 3 (Cubiculum on East Side): Features a lavapesto floor and remnants of a molded stucco cornice. The east wall's decoration, now faded, includes a red zoccolo (dado) with green plants, a white middle zone divided by yellow candelabra topped with ornate globes, and Dionysian motifs: a maenad and satyr, a griffin medallion, birds pecking grass, and busts of Silenus (crowned with ivy, holding a thyrsus and cup). Central elements show heads of women and youths. A large ancient hole (possibly from post-eruption burrowing) was filled during restoration, and holes for upper-floor joists are visible.
Room 4 (Ala on East Side): An open wing with a cocciopesto floor inset with colored marble squares. Walls boast mythological frescoes: the east wall depicts Apollo and Daphne with Eros; the south wall shows Hercules (in lion skin) between Alcestis and Admetus; the north wall illustrates Perseus liberating Andromeda. Remains include a female figure and a seated male with lances. These scenes (cataloged by Helbig as 209, 1149, 1192) highlight heroic and romantic themes common in Pompeian art.
Tablinum and Peristyle: The tablinum served as a reception area, leading to the peristyle's colonnaded garden. This area was particularly architecturally striking, with an airy gallery and a summer triclinium featuring fountains and a cycle of mythological paintings (now deteriorated but depicting scenes and characters). The peristyle provided space for leisure, gardens, and additional rooms.

Decorations, Frescoes, and Mosaics

The house's walls were richly adorned in the Fourth Pompeian Style, characterized by intricate panels, fantasy architecture, and vibrant colors. Dominant themes include Dionysian (Bacchic) elements like satyrs, maenads, and Silenus, alongside mythological narratives involving gods and heroes (e.g., Apollo, Hercules, Perseus). Frescoes often feature red, black, white, green, and yellow palettes, with motifs like aquatic birds, plants, griffins, and floating nymphs. Many were removed to museums, but in-situ remnants and 19th-century drawings preserve their details. Floors incorporate mosaics and patterned inserts, such as white tesserae dots in lavapesto or colored marble in cocciopesto, adding to the opulence. No major sculptures were found within the house, but graffiti (e.g., CIL IV 729, 780–781a) provides insights into contemporary politics.

Notable Features and Artifacts

Standout elements include the integration of commercial spaces (linked tabernae), evidence of post-79 AD activity (ancient burrows), and the house's role in illustrating elite Pompeian life. Artifacts primarily consist of detached frescoes in the Naples Museum, such as the floating nymph series. The site's preservation offers views across the layout, as captured in historical photos from 2009–2019. It exemplifies how Pompeian houses evolved, incorporating Hellenistic peristyli for expanded living and guest areas, while kitchens and storerooms remained at the rear.