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House of the Pinarius Cerialis, Pompeii

Address: Regio III, Insula 4
Area: 270 square meters
Rooms: 9

The House of Pinarius Cerialis, also known as Casa dell'Orefice (House of the Goldsmith) or Casa di Ifigenia (House of Iphigenia), is a compact Roman domus in Pompeii exemplifying the living quarters of a skilled artisan, likely a gem engraver or jeweler. Spanning about 270 square meters with nine rooms, it features an irregular layout adapted to urban constraints, centered around a small peristyle garden. Decorated predominantly in the Fourth Pompeian Style, its frescoes draw on mythological and theatrical themes, including detailed scenes from Greek tragedies like Euripides' Iphigenia in Tauris. The house's name derives from its presumed owner, Pinarius Cerialis, inferred from artifacts and context. Excavated in the early 20th century, it was partially damaged by World War II bombing in 1943, yet preserves valuable insights into Pompeian craftsmanship, domestic art, and daily life before the 79 CE eruption of Vesuvius.

Location and Historical Context

Located in Regio III, Insula 4, entrance b, the house fronts onto the Vicolo di Pinario Ceriale, a narrow alley in Pompeii's eastern district, away from the central forum but integrated into the city's residential fabric. This positioning suggests a middle-class neighborhood with artisanal activity. Excavations occurred in two phases: 1916–1917 and 1926, led by archaeologist Vittorio Spinazzola, revealing a structure dating to the late Republican or early Imperial period, with post-62 CE earthquake renovations evident in its Fourth Style decorations from the 50s CE. An electoral inscription on white plaster above a red socle near the entrance reads "(Numerium) POPIDIVM RVFVM II VIR D R P O V F (Infan)TIO AVGV," endorsing Numerius Popidius Rufus for aedile, linking the house to local politics and dated around 17 April 1961 in modern records (though originally ancient). The property's association with Pinarius Cerialis stems from the discovery of 114 gems, indicating it served as both residence and workshop for a jeweler dealing in precious stones. Bomb damage on September 19, 1943, destroyed much of the east wing, including Fourth Style decorations in rooms like the workshop and oecus, highlighting preservation challenges.

Architecture and Layout

The house's architecture reflects efficient use of limited urban space, with an irregular plan lacking a traditional atrium and instead opening directly into a north portico surrounding a small peristyle garden. The entrance doorway leads to the portico's north side, with a staircase (16 steps) to an upper floor, possibly for additional living or storage quarters. Beneath the stairs, space may have housed a kitchen and latrine, per archaeological interpretations. The peristyle features porticoes on multiple sides, with the garden providing light and ventilation. Rooms radiate from the portico, including service areas on the east side. Construction uses typical Pompeian materials like opus incertum for walls, with plastered and painted surfaces for refinement. The layout prioritizes functionality for a tradesperson, blending private living with workspace, and includes windows for natural light, such as in cubicula overlooking the garden or alley.

Rooms and Notable Features

The nine rooms are interconnected around the peristyle, serving residential, social, and professional purposes:

Room 1 (Staircase Area): Houses the staircase to the upper floor, located near the entrance in the southwest corner of the north portico.
Room 2 (Porter's Room): A small service room off the north portico, possibly for a doorkeeper, with access via a doorway.
Room 3 (Cubiculum/Oecus): A bedroom or reception room with a mosaic floor, window overlooking the garden or alley, and remains of a bed along the north wall (plaster cast preserved). Accessed from Room 4, it features rich frescoes (detailed below).
Room 4 (Anteroom/Exedra): Serves as a transitional space with doorways to Rooms 3 (west) and 5 (east). It has a doorsill and is lit naturally, functioning as an entry to more private areas.
Room 5 (Triclinium): A dining room with a vaulted ceiling and circular window to the garden for light. It includes a threshold and was used for social gatherings.
Room 6 (Workshop): An east-side workspace, likely for gem cutting, viewed eastward; heavily damaged by 1943 bombing, losing all Fourth Style decorations.
Room 7: A basic east room, with eastward views; limited details preserved.
Room 8 (Oecus, "Yellow Oecus"): A reception or sales room in the southeast corner, with small plaster remains; possibly used to display and sell jewelry. Damaged by bombing.

Notable features include the garden for relaxation, portico walls painted between rooms, and the overall integration of work (workshop) with living spaces.

Decorations and Art

Decorations are in the Fourth Style, characterized by fantastical architecture, theatrical skenographia (stage-like perspectives), and mythological narratives, creating illusions of depth and drama:

Room 3 (Cubiculum/Oecus): The highlight, with a frieze of multicolored artificial marble below complex scenes. North wall: Detailed Iphigenia in Tauris—Iphigenia (central in elevated aedicula with servants and Artemis statue), Orestes and Pylades (prisoners, hands tied), King Thoas with attendant; evokes piety, virtue, and friendship. East wall: Attis myth—river god Sangarius, nymph Sangaritide, Attis with winged cupid, figures in conversation. South wall: Hermaphrodite grooming before a mirror, Venus figure. West wall: Running man, figures carrying plates.
Room 4 (Anteroom/Exedra): Floating cupids on north wall (one with horn on west, central red panel, east yellow panel); upper north: Crowned Bacchus with thyrsus and drinking horn. East wall: Architectural scenes, winged crowned figure with spear.
Room 5 (Triclinium): Medallions with birds and faces; candelabra on north wall; painted panels on south and east.
Room 8 (Oecus): Almost naked floating Bacchus with thyrsus and chalice (rare motif).

These frescoes use stacked, illogical structures for theatrical effect, drawing viewers into myths and reflecting Hellenistic influences.

Artifacts and Inscriptions

Key artifacts include 114 gems (polished and raw) found in a box outside Room 8 in the southeast corner, likely abandoned during the eruption—confirming the owner's trade. Bed remains in Room 3, with plaster cast of sides. The electoral inscription near the entrance is the primary epigraphic find, tying the house to Pompeian civic life. No other major artifacts like statues or tools are noted, though the gems underscore commercial activity.

Conclusion

The House of Pinarius Cerialis offers a glimpse into the world of a Pompeian artisan, where modest architecture meets sophisticated art inspired by theater and myth. Its Fourth Style frescoes, gems, and layout highlight the blend of work, culture, and daily routine in ancient urban life, preserved yet scarred by natural and modern disasters.