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House of the Labyrinth, Pompeii

Address: Insula 11
Area: 1869 square meters
Rooms: 24

The House of the Labyrinth, also known as Casa del Labirinto, is one of Pompeii's most remarkable examples of ancient Roman domestic architecture. Located in Regio VI, Insula 11, entrances 9-10 (specifically at Vicolo del Labirinto), this elite residence dates back to the Samnite period, with origins in the mid-3rd century BC, making it among the oldest houses in the city. It belonged to a high-ranking family, possibly the Poppei, and underwent multiple building phases, including expansions and renovations up to the 1st century AD. The house was severely damaged by the earthquake of 62 AD but was restored before Pompeii's destruction in 79 AD. Excavations occurred in phases: initially in the 1770s (1770-1771 and 1777), with further work in the early 1830s and 1926. Its name derives from a famous mosaic depicting Theseus battling the Minotaur within a labyrinth, which is considered the earliest known representation of a labyrinth in mosaic form.
The structure exemplifies the evolution of Pompeian homes, starting as a modest dwelling in the 3rd century BC and expanding into a luxurious complex through the union of adjacent properties. It covers a large area with a rectangular plan typical of Roman houses, focusing inward on courtyards rather than external windows for privacy and light. The façade is constructed with large square blocks of limestone, while internal partition walls use chains of these blocks arranged alternately horizontally and vertically, filled with smaller stones—a technique indicative of its early Samnite origins.

Architecture and Layout

The house features a double atrium design, likely resulting from the merger of two original structures. The primary atrium is in the Tuscan style, with an impluvium (rainwater basin) made of tuff, while the secondary atrium (accessed via entrance no. 10) is tetrastyle, supported by four columns. Rooms are arranged around these atria, opening onto inner courtyards for ventilation and illumination.
Beyond the atria lies a double peristyle (colonnaded garden courtyard), enhancing the sense of space and luxury. A small viridarium (garden) at the rear connects to additional rooms with windows. The central garden includes a large blue-painted bath with a stepped fountain for water games, surrounded by luxurious rooms shaded by curtains attached to columns.
One of the standout architectural elements is the Corinthian oecus (a grand reception or dining hall, room 43), a rare "oecus corinthius" type with ten columns along the walls to amplify spatial depth through optical illusions created by architectural paintings. This is one of only two documented examples in Pompeii (the other in the House of Meleager). The oecus connects to smaller adjacent rooms (44, 45, and 46) and a north portico leading to peristyle 36.
Later renovations added practical amenities, including a private bath complex and a bakery with three grinding stones for grain processing and bread baking—indicating self-sufficiency and possibly commercial activity.

Rooms and Decorations

The house's interior decorations are among Pompeii's finest, blending Samnite-era elements with later Roman styles. The atria feature frescoes, with original paintings on the exterior and interiors redone after 50 AD following earthquake damage. The reception areas showcase Second Style wall paintings (ca. 80-20 BC), characterized by elaborate mock architecture that creates illusions of grand structures, vistas, and depth—one of the most important examples in Pompeii.

Atria and Entrance Areas: The Tuscan atrium has a central impluvium and surrounding rooms for daily life. Frescoes here include architectural motifs and cityscapes.
Corinthian Oecus (Room 43): This grand hall has painted walls with Second Style decorations, including vistas of temples, arches, urns, tholoi (circular temples), and symmetrical cityscapes. The north wall features Corinthian elements, while the east wall includes details like a painted jug, mask, and pot. Remains of columns and mosaic flooring are preserved.
Small Rooms (44, 45, 46): Room 45, adjacent to the oecus, has multi-layered painted walls and originally housed a mosaic emblema (central panel). Room 44 is a simple alcove, and room 46 connects eastward.
Other Notable Spaces: A small room contains a rare painting of a female artist's studio, now housed in the National Archaeological Museum of Naples. The peristyles and garden areas provided open-air relaxation, with the blue bath as a focal point.

Notable Artifacts and Mosaics

The house's mosaics are its crowning glory. The namesake labyrinth mosaic, located in the great western cubiculum (likely part of the oecus complex), depicts Theseus slaying the Minotaur at the center of an intricate labyrinth pattern. Created in opus vermiculatum (fine tesserae technique) around the 1st century BC, it draws from Hellenistic prototypes, possibly inspired by the Pergamon mosaic artist Sosus. This black-and-white mosaic measures about 0.26m squared and is framed by geometric borders.
Another significant find is the mosaic from room 45, discovered on September 10, 1835: a polychrome emblema showing a partridge stealing a jewel (or mirror) from an overturned chest, on a black background. Now in the Naples Archaeological Museum (inventory 9980), it exemplifies the house's artistic sophistication.

Historical and Cultural Significance

The House of the Labyrinth provides invaluable insights into Pompeian elite life, blending Samnite and Roman influences in architecture, art, and daily function. Its preservation highlights the opulence of pre-eruption Pompeii, with features like private baths and bakeries reflecting economic self-reliance. Early visitors left marks, such as the name "Tullio" painted in 1799. As a UNESCO World Heritage site component, it underscores Pompeii's role in understanding ancient Roman society, mythology (via the labyrinth motif), and decorative arts. The house's mosaics and paintings influenced later European art, serving as prototypes for Renaissance and neoclassical designs.