• Home
• Europe
• Italy
• Pompeii

House of the Orchard, Pompeii

Address: Regio I, Insula 9
Area: 400 square meters
Rooms: 13

The House of the Orchard, also known as Casa del Frutteto, Casa dei Cubicoli Floreali (House of the Floral Cubicles), House of the Garden, or House of Euplia, is a modest yet artistically significant Roman domus in Pompeii, renowned for its exceptional Third Style frescoes depicting illusory gardens in small bedrooms (cubicula). Dating originally to the late 3rd century BCE, it underwent multiple restructurings, including post-62 CE earthquake adaptations that introduced commercial elements like a shop and wine storage. The house exemplifies the Roman preference for integrating nature motifs into urban living spaces, blending Greek, Egyptian, and Roman cultural influences in its decorations. Spanning about 200-300 square meters, it follows a typical atrium-peristyle layout and was undergoing renovations at the time of the 79 CE eruption of Vesuvius, as evidenced by unfinished lime heaps. Excavated in 1913 and 1951-1952, it was extensively restored and reopened to the public in December 2019-February 2020, highlighting its preserved frescoes as key attractions for understanding Pompeian domestic aesthetics and religious syncretism.

Location and Historical Context

Located in Regio I, Insula 9, entrance 5 (I.9.5), the House of the Orchard fronts onto the south side of Via dell'Abbondanza, Pompeii's main east-west thoroughfare, in a bustling commercial and residential district near other domus and shops. This positioning reflects its integration into Pompeii's urban economy, with a shop opened post-62 CE earthquake for trade, possibly linked to wine production or sales, as suggested by the discovery of around 150 amphorae. The house may have been associated with a woman named Euplia, inferred from historical naming conventions, though direct evidence is sparse. Constructed in the late Samnite period (3rd century BCE), it saw at least four major restructurings, evolving from a simple residence to one emphasizing decorative opulence under Augustan influences (early 1st century CE). The 62 CE earthquake prompted adaptive changes, including commercial repurposing, while the final renovation—evidenced by lime in the peristyle—was halted by the 79 CE eruption. Excavations in 1913 (initial uncovering) and 1951-1952 (full exposure) revealed upper-floor fragments, and recent restorations (2019-2020) focused on fresco conservation and garden replanting, making it accessible via guided tours in the UNESCO-listed site.

Architecture and Layout

The house adheres to a classic Roman domus plan on a compact scale, prioritizing internal light and privacy with minimal external windows. Entry is via a fauces (corridor) leading eastward to a Tuscan-style atrium with a central impluvium (rainwater basin) in tuff for water collection. The atrium connects to side rooms and a tablinum (reception/study) at the rear, which transitions to a small peristyle (colonnaded garden) for leisure. An upper floor, accessed by a staircase near the tablinum, provided additional living or storage space, with preserved wall and floor fragments. Construction uses opus incertum (irregular stone) walls plastered for decoration, with cocciopesto (crushed pottery mortar) floors inlaid with white tesserae forming geometric patterns. Post-earthquake modifications included opening a shop on Via dell'Abbondanza and adapting the peristyle, where vegetation has been replanted in modern times with boxwood hedges in geometric designs and a central oleander to echo the frescoes. The layout balances public (atrium/tablinum) and private (peristyle/cubicula) zones, emphasizing otium (leisure) through garden integration, typical of urban Pompeian homes seeking villa-like serenity.

Rooms and Notable Features

The house comprises about 8-10 rooms, centered on the atrium and peristyle for ventilation and social flow:

Fauces and Atrium: Narrow entrance corridor to the atrium, which serves as the main reception area with impluvium and access to side cubicula.
Tablinum: Transitional room between atrium and peristyle, with Second Style frescoes imitating polychrome marble revetment for architectural illusion.
Cubiculum 8 (Off Atrium): A small repose room with azure-blue frescoes, featuring garden motifs and cult symbols; narrow layout with doorway access.
Cubiculum 12 (Off Peristyle): Another bedroom with black-background frescoes, vault remnants, and symbolic elements like a serpent on a fig tree.
Peristyle Garden: Rear courtyard with porticoes, replanted with boxwood and oleander; site of unfinished lime heap from 79 CE renovations.
Shop (Post-62 CE): Fronting Via dell'Abbondanza, indicating commercial adaptation.
Upper Floor: Accessed via staircase; preserved fragments suggest additional cubicula or storage.

Notable features include the integration of Egyptian motifs (possibly linked to Isis cult devotion) and the house's linkage to adjacent properties (I.9.6-7), suggesting possible shared ownership or expansions.

Decorations and Art

Decorations span Second and Third Pompeian Styles, with a focus on trompe-l'œil gardens creating illusions of expansive outdoor spaces in confined rooms, reflecting Augustan-era tastes for nature and exoticism:

Cubiculum 8: Third Style on azure background: Lush gardens with palms, lemon, fig, cherry, pear, plum, and pomegranate trees; birds (e.g., doves, thrushes); Egyptian symbols (Apis bull, canopic jars, pharaonic figures with ankh); Dionysian elements (theatrical masks, musical instruments like lyres); small mythological vignettes (Dionysus and Ariadne, satyrs, maenads).
Cubiculum 12: Third Style on black background: Three trees of varying sizes (central fig with serpent symbolizing prosperity), birds, and a rose crown (Osiris triumph over Seth); vault remnants enhance spatial illusion.
Tablinum and Upper Floor: Second Style illusions of architecture and polychrome marble, with yellow/red panels, garlands, shields, columns, and architraves.
General Walls and Floors: Geometric tesserae mosaics; overall theme blends horticultural abundance with cultic symbolism (Isis, Dionysus, Osiris), showcasing cultural fusion.

These artworks use vibrant pigments to evoke serenity and prosperity, common in Pompeian homes to compensate for limited real gardens.

Artifacts and Inscriptions

Excavations yielded approximately 150 wine amphorae in the shop area, indicating post-earthquake commercial activity, possibly tied to the owner's trade. No major statues or inscriptions are noted, though the house's name "Euplia" may derive from a hypothetical resident. Upper-floor fragments include fresco pieces, but specific portable artifacts like tools or jewelry are not documented in detail.

Conclusion

The House of the Orchard stands as a testament to Pompeii's artistic ingenuity, where modest architecture is elevated by masterful garden illusions that blend mythology, nature, and exotic cults, offering insights into Roman domestic escapism and cultural eclecticism. Its restoration enhances visitor experiences, preserving a vivid snapshot of life interrupted by disaster.