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House of the Painters at Work, Pompeii

The House of the Painters at Work, also known as Casa dei pittori al lavoro, is a ruined Roman domus (private residence) located in the ancient city of Pompeii at Regio IX, Insula 12, entrance 9 (IX.12.9). It forms part of a larger urban block, or insula, spanning approximately 2,600 square meters (about 70 x 37 meters), roughly half of which has been excavated. This house is integrated into the complex commonly referred to as the Insula of the Chaste Lovers (IX.12.6–9), situated along Via dell’Abbondanza in the central district of Pompeii. The name "House of the Painters at Work" derives from the fact that the residence was undergoing extensive repainting and renovations at the moment of Mount Vesuvius's catastrophic eruption in 79 CE, preserving unfinished frescoes, tools, and materials left behind by fleeing artisans. This snapshot of interrupted daily life offers a rare glimpse into Roman domestic architecture, artistic practices, and the chaos of the eruption.

History and Excavations

The house was completely destroyed by the pyroclastic flows and lapilli (volcanic pumice) from the 79 CE eruption, burying it under layers of ash and debris that preserved its contents remarkably well. Initial partial excavations occurred intermittently between 1982 and 2005, focusing on specific sections and revealing the ongoing decorative work. More comprehensive digs took place in 2023–2024 as part of the Grande Progetto Pompei, a major initiative for restoration, excavation, and improved site accessibility. These efforts involved shoring up excavation faces, re-profiling and securing walls, restoring surfaces, and installing a steel reticulated spatial structure to cover over 2,000 square meters with new roofing. A raised walkway was added to allow visitors to view the site from above without disturbing the fragile remains, and accessibility features like a lift were incorporated under the "Pompei per Tutti" project for inclusive tourism. The site officially opened to the public on May 28, 2024, with restricted access to manage preservation, and a second phase of work continues for further securing and restoring structures. These excavations not only uncovered residential spaces but also highlighted the integration of productive areas within the home, reflecting the mixed-use nature of urban Roman dwellings.

Architectural Layout and Features

The house follows a typical Roman domus design centered around an open peristyle (garden courtyard) surrounded by porticoes on three sides, forming a triporticus. The north portico (designated as 5b) features doorways leading to storage rooms, such as room 14, which contained amphorae (large ceramic jars) in its northwest corner and remnants of window gratings in the north wall. The west portico (5a) runs along the western side, with a central doorway to room 6—a space with holes in the south wall indicating supports for shelving—and includes a puteal (wellhead) for water access. The east portico (5c) connects to a monumental gateway (area 7) leading into an additional room labeled "u." The central garden area (5) has been reconstructed with flowerbeds based on imprints of ancient fences and root casts of plants, evoking its original lush appearance.
A notable feature is a fountain in the garden, originally crowned by a marble statue of a young boy holding a dolphin, dating to the 1st century CE. Traces of original colors remain on the statue, which has been displayed in exhibitions like "L’altra Pompei, vite comuni all’ombra del Vesuvio." The unexcavated southern sections were cleared in recent digs, revealing additional rooms like PAP room 18 (with a doorway into the peristyle) and PAP room 17, both visible from the garden and still containing volcanic debris. Near the tablinum (reception room), a small cubiculum (bedroom) was adapted as a study, showcasing the flexible use of spaces in Roman homes. Volcanic material fills parts of the west portico near rooms 17 and 18, underscoring the abrupt burial. Overall, the layout alternates between open communal areas and private rooms, typical of mid-1st-century CE Pompeian architecture, with evidence of ongoing modifications interrupted by the disaster.

Archaeological Findings: Tools, Pigments, and Human Remains

One of the most compelling aspects of the house is the evidence of active painting workshops. Archaeologists discovered around 50 small ceramic pots containing pigments, along with the imprint of a wicker basket used by painters to transport their materials from workshops to job sites. Other tools abandoned in the rush included paint pots, mixing bowls, compasses for precise designs, stone pestles, scales, spatulas, and a whetstone—items that highlight the practical side of Roman artistry. Recent non-invasive analysis using digital microscopes examined 26 pigments, revealing their chemical-mineral compositions and sophisticated preparation methods. Key insights include the versatile use of Egyptian blue (a synthetic pigment made from sand, copper minerals, calcium carbonate, and ash), which served as a base for grays, a brightener for yellows and greens, and was varied through firing times, particle sizes, and additions of white pigments for subtle shades. Red lead, produced by roasting lead white, enhanced red ochre, created pinks, and corrected tones for violets. A previously unknown light green pigment was identified, combining red ochre, Egyptian blue, and a volcanic-derived material containing baryte and alunite (sulfates formed under heat and pressure)—marking the earliest known use of barium sulfate as a primary coloring agent in the Mediterranean. Wall tallies in red and black ink recorded workshop activities, adding to the sense of a bustling operation.
Human tragedy is also evident: In the fauces (entrance corridor) at the main western entrance, the remains of two elderly victims—a man and a woman—were found amid the lapilli. They had sought shelter behind a closed door as ash piled up, ultimately succumbing to the eruption's later phases. These discoveries humanize the site, connecting abstract history to personal loss.

Frescoes and Decorative Elements

The house's frescoes, executed in the Fourth Style of Roman wall painting (characterized by intricate, illusionistic designs post-62 CE earthquake), were left incomplete, providing invaluable insights into artistic processes. Unfinished underdrawings and schemes include scenes of cupids (cherubic figures) engaged in a chariot race, framed by elegant columns and swags of foliage, demonstrating the layering techniques from preparatory sketches to final colors. In the small cubiculum-study, elegant walls feature an upper register on a white background adorned with mythological creatures like centaurs, sirens, and griffins, framing central images of deities: Aphrodite, Apollo, Dionysus, and a fourth (likely female) figure obscured by a wall crack. The middle register consists of red-background panels with small vignettes, such as Perseus rescuing Andromeda and a hero's purification ritual.
A standout discovery is an unusual small painting with no parallels in Vesuvian art: a young boy in a traveler's hood and cloak, seated among abundant bunches of grapes and pomegranates, accompanied by a protective puppy (or possibly a small dog or cat). This creates an optical illusion extending toward the triporticus garden, blending interior art with exterior space. Interpreted as possibly a portrait of the owners' deceased son, it adds a poignant, personal layer to the decorations.

Significance and Insights

This house stands out for illuminating the sophistication of Roman painting techniques, far beyond simple application—painters demonstrated expertise in mixing raw materials for consistent colors, enabling a broad palette that modern restorations can now replicate chemically and visually. It reveals the interplay of residential and artisanal life in Pompeii, where homes doubled as workspaces, and underscores the eruption's role in freezing moments of everyday activity. As part of ongoing research, it contributes to broader understandings of Roman society, from pigment trade networks (evidenced by imported materials like Egyptian blue) to emotional elements in art, like potential memorial portraits. The site's accessibility today allows visitors to engage directly with this preserved slice of antiquity, bridging 2,000 years of history.