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House of the Moralist, Pompeii

Location: Regio III, Insula 4
Area: 695 square meters
Rooms: 19

The House of the Moralist, also known as Casa del Moralista or Domus M. Epidii Hymenaei (Regio III, Insula 4, Entrances 2-3; III.4.2-3), is a medium-sized Roman domus in Pompeii, formed by the merger of two smaller adjacent houses in the late Republican or early Imperial period. Located on the north side of Via dell'Abbondanza (one of Pompeii's main east-west streets), it exemplifies typical Pompeian residential architecture with a focus on social and leisure spaces, including a large garden that occupies nearly one-third of its area (estimated at 300-400 square meters based on comparable structures). The house derives its name from painted inscriptions in the summer triclinium outlining moral precepts for banquet guests, reflecting Roman social norms and etiquette. Likely owned by wine merchants—Marcus Epidius Hymenaeus, Caius Arrius Crescens, and Titus Arrius Polites—as suggested by five electoral posters on the facade, it highlights the intersection of commerce, politics, and domestic life in ancient Pompeii. Buried under volcanic ash during the 79 AD eruption of Mount Vesuvius, the house was preserved until its excavation, offering insights into middle-class Pompeian households. Today, it is part of the Pompeii Archaeological Park, accessible to visitors, though it suffered damage from World War II bombings and requires ongoing conservation.

History and Context

Pompeii was buried under volcanic ash from Mount Vesuvius's eruption in 79 AD, preserving structures like this house in remarkable detail. The House of the Moralist dates to the early Imperial period, with renovations in the first century AD, including the merger of the two properties. Tree roots and wall decorations in the Fourth Style (a late Pompeian fresco style characterized by intricate, fantastical designs) confirm this timeline. The owners' wine trade is inferred from amphorae and commercial ties, aligning with Via dell’Abbondanza's role as a bustling commercial thoroughfare.
Electoral graffiti on the façade, protected under glass today, includes endorsements like "A(ulum) Suettium Verum aed(ilem) Hymenaeus rog(at) et cupit" (Hymenaeus asks and desires Aulus Suettius Verus as aedile) and similar pleas for candidates such as Lucius Popidius Secundus and Cn. Helvius Sabinus. These highlight the house's role in local elections. A phallus plaque at the east end of the façade, a common apotropaic symbol for good luck and protection, underscores Roman superstitious practices.

Architecture and Layout

The house exemplifies typical Pompeian domus architecture: a compact urban residence with an emphasis on inward-facing spaces for privacy, light, and ventilation. It spans two merged properties, with a total area that includes an upper floor (evidenced by stair remnants and collapsed ceilings from bombing damage). The façade along Via dell’Abbondanza features a bricked-up original entrance at III.4.3, converted into a window, with access now shared via a western doorway leading to both III.4.2 and III.4.3.

Key elements of the layout include:
Entrance Corridor (Fauces or Room 1): A narrow hallway extending north from the street entrance, with a bench or counter along the west wall for waiting clients or storage. Faint painted decorations remain above the bench, though much was damaged in 1943. Doorways branch east to Room 2 and north to Room 4.
Room 2 (East Side Room): A smaller chamber off the corridor, possibly a cubiculum (bedroom) or storage space. Views of its north-east corner and walls show simple decorations, but details are sparse due to preservation issues.
Room 4 (North End Room): Accessed from the corridor's end, this may have served as a transitional space to the garden or atrium. Specific functions are not well-documented, but it connects to the house's core areas.
Garden (Hortus): Occupying nearly one-third of the property, this large open space provided light, air, and greenery. It includes a small shrine (lararium) dedicated to Diana, featuring a marble statuette of the goddess, visible from the triclinium. The garden's size and placement reflect the Roman ideal of integrating nature into urban living.
Summer Triclinium (Dining Room): The house's highlight, a 25 m² outdoor banquet space in the garden with three masonry couches arranged in a U-shape around a central marble-topped table. It lacks ceiling decorations, possibly covered by fabric awnings for shade. This setup was ideal for al fresco dining in Pompeii's Mediterranean climate.

The overall design prioritizes functionality, with the merger creating a more spacious residence while maintaining privacy from the street.

Decorations and Frescoes

Decorative elements are in the Fourth Pompeian Style, featuring intricate motifs. The triclinium walls are frescoed with vivid scenes of birds pecking at fruits and berries, evoking a naturalistic, serene atmosphere for dining. Other rooms show remnants of painted plaster, though bombing and time have faded many. The house's decorations emphasize themes of abundance and morality, aligning with its owners' status.

Inscriptions: The Moralistic Core

The triclinium's three walls each bear a painted elegiac couplet in white Rustic Capitals on black plaster, rare in Roman archaeology and influenced by poets like Ovid and Catullus. Positioned above the couches (lectus summus on north, medius on west, imus on south), they outline banquet etiquette in a sequence: preparation, conduct during, and resolution after. Translations and interpretations include:

Northern Wall (Preparation): "Abluat unda pedes puer et detergeat udos. / Mappa torum velet, lintea nostra cave." (Let the slave wash your feet with water and dry them when wet. Let the napkin cover the couch; take care of our linens.) This emphasizes cleanliness and respect for the host's property upon arrival.
Western Wall (During the Banquet): "Lascivos voltus et blandos aufer ocellos / coniuge ab alterius, sit tibi in ore pudor." (Keep away lascivious glances and alluring little eyes from another's wife; let modesty be on your face.) This warns against flirtation, promoting pudor (shame or modesty) to maintain social harmony. (Note: This inscription was destroyed in the 1943 bombing.)
Southern Wall (After the Banquet): "[- - -] litis odiosaque iurgia differ / si potes aut gressus ad tua tecta refer!" (Postpone [hateful/insane] litigations and odious quarrels if you can, or direct your steps back to your own home!) This advises deferring arguments or leaving if tempers rise, preventing escalation. A lacuna in the first line is debated, with suggestions like "insanas litis" (insane litigations) fitting the space and poetic style.

These inscriptions, analyzed in parallels with Petronius' Satyricon, reveal a humorous yet stern Roman approach to hospitality, blending moral philosophy with practical advice.

Significance

The House of the Moralist stands out for its blend of commercial, domestic, and moral elements, providing a snapshot of Roman middle-class life. Its inscriptions offer rare direct evidence of social norms, while the garden shrine to Diana highlights personal piety. As part of Pompeii's UNESCO-listed site, it attracts visitors for its authenticity, though conservation challenges persist due to weathering and past damage. The house underscores Pompeii's value as a "frozen in time" archaeological treasure, illuminating architecture, art, and ethics in the ancient world.