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Regio I in Pompeii consists of several buildings and
occupies a southeastern position in the city. Most of
this quarter has been dug up and explored by
archaeologists. However, only 8 buildings on street Via
del 'Abbondanza are open to tourists.
Among the
most interesting finds here is a group of corpses, which
belong to several families in the Garden of Fugitives.
The first body belonged to a servant of a peasant
family. On his shoulders, he carried a bag of
provisions. He was followed by the peasant family
itself. The second was the family with their skinny
daughter. Judging by the state of the bones, they too
were peasants. The last group was the family of a
wealthy merchant. Their bones speak of a healthy diet
for the ancient Roman Empire. The head of the family
carried a lot of coins. Apparently the family was
prepared to leave Pompeii for good. They all died trying
to escape from the city, but did not make it on time. A
pyroclastic wave caught up with them at the very gates
of the city of Pompeii in the so-called Garden of
Fugitives.
House of Citharist - one of the most
luxurious residences in Pompeii. The quality of frescoes
and interior decoration speaks of a wealthy family. The
house was named after the statue of Apollo Citharist,
found in the lower peristyle, the inner garden. Today a
copy stand on its place, and the original is kept in the
National Archaeological Museum of Naples.
The
archaeologist Della Corte believed that the owner of
Menander’s house was Quintus Popius Sabin because of the
inscription in the hallway of the house where a certain
“Quintus” was mentioned. Other graffiti in the house
with reference to Sabina. Menander’s house may have
belonged to a local magistrate. Warm Mediterranean
climate of Pompeii attracted many Romans who invested in
country villas around the city. It is possible that the
owner during the eruption of Vesuvius in 79 AD was a
rich tourist, not a local resident. About a dozen bodies
were found in the House of Menander. Judging by the fact
that pickaxes and shovels were found in many bodies,
these citizens were not engaged in working in the
fields. Most likely these were poor citizens who tried
to find the treasures of wealthy citizens after they
left their mansions.
Garden of Fugitives
(Italian: Orto dei Fuggiaschi) is one of the most
poignant archaeological sites in Pompeii, located in
Regio I, Insula 21, near the Nocera Gate and the Large
Palaestra.
This area was originally a vineyard and
vegetable garden attached to a modest house, complete
with an outdoor triclinium (dining area) for summer
meals. During the catastrophic eruption of Mount
Vesuvius in 79 AD, a group of 13 people — including men,
women, and children, likely entire families — sought
refuge here while attempting to flee the city toward the
sea.
They were overwhelmed by the pyroclastic surges
and died in the garden. Their bodies were later encased
in volcanic ash and pumice. Excavated in the 1960s and
1970s, the voids left by the decomposed bodies were
filled with plaster using Giuseppe Fiorelli’s famous
casting technique, preserving their final, anguished
poses in haunting detail.
Insula 2
House with the Etruscan Column (Entrance 3)
This
house owes its name to the distinctive Etruscan-style
column standing in its vestibule. The column was likely
salvaged from an earlier structure and reused here.
Excavated in 1872, the building suffered severe damage
during the Allied bombing of Pompeii in 1943. The atrium
and three surrounding cubicles (small bedrooms) were
almost completely destroyed. These rooms once contained
vibrant frescoes, including scenes of Polyphemus and
Galatea, Ariadne abandoned by Theseus on the island of
Naxos, and several elegant medallions framed by garlands
of leaves and flowers.
House of the Actors
(Entrance 6)
Also known as the Casa dei Mimi (House
of the Mimes), this dwelling was explored in 1872 and
only lightly damaged by the 1943 bombings. It is
particularly renowned for its well-preserved frescoes,
many of which were carefully detached and transferred to
the National Archaeological Museum in Naples for
safekeeping. Among the most notable are theatrical
scenes, including The Rape of Palladio (or The Theft of
the Palladium). In the peristyle courtyard,
archaeologists also discovered a finely crafted bronze
sistrum (a ritual rattle instrument often associated
with the cult of Isis).
House of L. and M.
Volusii Fausti (Entrance 10)
Excavated in 1873, this
was originally a two-story residence, though only the
staircase leading to the upper floor survives today. Its
atrium features a beautiful impluvium (rainwater basin)
with a decorative half-column at its center that
functioned as a fountain. The house was richly
decorated: one striking element is a Venus figure
executed in opus sectile (inlaid marble). Numerous
artifacts were recovered here, including a marble statue
of the goddess Fortuna (Fortune) found in the triclinium
(dining room), along with an assortment of bronze vases,
jugs, and cooking pots.
Tetrastyle Hall House
(Entrance 28)
Also called the Casa della Grata
Metallica (House of the Metal Grate), this building is
remarkable for the exceptional preservation of its
impluvium area. Its most unusual feature is the
compluvium (the opening in the roof for rainwater),
which was protected by a sturdy iron grate. This
security measure was designed to prevent thieves from
climbing down into the house from the roof. Scattered
throughout the rooms are remnants of ancient plaster and
wall decorations. One of the best-preserved frescoes
depicts Cassandra, the Trojan princess and prophetess,
foretelling the fall of Troy — a dramatic scene full of
tension and mythological significance.
Insula 3
House of Epidius Fortunatus (I.3.3)
Excavated in
1860, this modest house takes its name from an amphora
discovered inside that still contained honey and bore
the inscription naming Epidius Fortunatus as its owner
or recipient. Traces of ancient stucco decoration
survive on the walls, while the original pavement
remains particularly well preserved in the tablinum (the
main reception room), featuring elegant marble slabs.
The kitchen area stands out for its excellent state of
conservation, with a functional fireplace and stone sink
still clearly visible, offering a rare glimpse into
everyday Roman domestic life.
Unnamed House and House
of Vulcan (I.3.8)
Unearthed in 1869, this residence
features a beautifully preserved peristyle garden
surrounded by columns topped with arches, creating a
graceful colonnade. In several rooms—including the small
bedrooms (cubicula) and the dining room
(triclinium)—faint traces of red and gray plasterwork
can still be seen on the walls. Among the notable finds
were a statue of Venus placed in a niche and a small
bronze statuette of the goddess Fortuna (Fortune),
symbols of love and prosperity that once adorned the
home.
House of Anicetus (I.3.23)
Explored around
1868, the house is famous for several electoral
inscriptions (graffiti urging support for local
candidates) painted near the entrance. Its most
significant discovery was a large fresco—now housed in
the National Archaeological Museum of
Naples—vividly
depicting the violent riot between Pompeians and
citizens of Nuceria (Nocerini) that broke out inside
Pompeii’s amphitheater in 59 AD. The painting captures
the chaos of the clash, which was so severe that the
Roman Senate temporarily banned gladiatorial games in
the city.
House of Capella (I.3.24)
On either side
of the entrance, two frescoes once portrayed the gods
Mercury (messenger of the gods and patron of commerce)
and Hercules (symbol of strength), though no traces of
them remain today. Similarly lost is the lararium
(household shrine), known only from 19th-century
descriptions: it showed a Genius (protective spirit)
with a cornucopia overflowing on his shoulders, pouring
libations onto an altar; to the right stood a panther,
and below coiled a red-and-yellow snake, representing
fertility and protection in typical Roman domestic cult.
House of the Warriors (I.3.25)
Excavated in 1869,
this house reveals evidence of ongoing restoration work
on the peristyle pillars at the moment of the 79 AD
eruption. Frescoes on these pillars included images of
Isis holding a cornucopia and a naked female figure
grasping a laurel wreath. The most impressive surviving
decoration is in the oecus (main living or reception
hall), where a well-preserved wall painting illustrates
the mythological dispute over beauty between Aphrodite
(Venus) and Eosforo (the Dawn, or Phosphoros), with
Apollo acting as judge. The entire scene is elegantly
framed with molded stucco plasterwork.
House of
Innulus (I.3.29)
Also excavated in 1869, this
two-story dwelling is identifiable by the remains of a
staircase leading to the upper floor. Wall decorations
inside are sparse and heavily faded. A distinctive
feature once ran along the perimeter wall facing Via del
Citarista: a large painting of a guardian serpent with a
black crest coiled around a tree. This image represented
the tutelary deity (protective spirit) of the street or
neighborhood—a common Roman apotropaic symbol meant to
ward off evil—but it has since been completely lost.
Insula 4
The House of the Citharist (25)
It is named after a notable bronze statue of Apollo playing the
cithara (a type of lyre) found in its central peristyle. Dating
to the 1st century BC, the house was created by merging at least
two smaller residences and spans about 2,700 m². It features
three interconnected peristyles on different levels,
high-quality wall paintings, mosaics, and multiple entrances,
reflecting the wealth of its owners. The villa was buried during
the eruption of Mount Vesuvius in 79 AD.
House of the Terracotta Pressor (Insula 22)
This
dwelling was excavated between 1858 and 1862. It
features eleven rooms arranged around a spacious atrium,
which still contains a marble puteal (wellhead) and a
marble table. The house lacks elaborate decorations or
frescoes, as archaeologists believe it was undergoing
major renovation at the time of the Vesuvius eruption in
79 AD. Unfortunately, part of its walls suffered further
damage and collapsed during the powerful Irpinia
earthquake of 1980.
House of Q. Octavius Romulus
(Insula 28)
Explored in 1853, this house stands out
for its dedicated stable area — a relatively rare
feature in Pompeian urban residences. A stone water
trough and the remains of a dormitory for servants or
stable hands can still be seen today. The rest of the
house is organized in the typical Pompeian style,
developing around a central atrium.
Insula 5
House of the Etruscan Capitals (1) - It was excavated between 1873 and 1874 and heavily damaged in the night between 14 and 15 September 1943 by a bomb that destroyed part of the entrance, then restored; inside it does not present particular elements of relief.
Insula 6
House of the
Cryptoporticus (I.6.2): A luxurious two-story
domus featuring a rare underground cryptoporticus — a
long, barrel-vaulted corridor that provided cool shade
for walks and access to private baths. The walls display
fine Second Style frescoes with mythological scenes
(including episodes from the Iliad) and stucco
decorations, while the upper level includes a masonry
summer triclinium (dining room) covered in red plaster.
Several victims of the eruption were discovered inside,
highlighting the sudden tragedy.
House of the Lararium (4): A
modest residence notable for its household shrine
(lararium), dedicated to the protective Lares and other
domestic gods.
Laundry of Stephanus
(Fullonica di Stephanus, I.6.7): One of Pompeii's
best-preserved commercial laundries, converted from a
private house after the 62 AD earthquake. Workers used
large vats for washing clothes with water and urine
(collected from public amphorae for its ammonia
content), treading fabrics with their feet. The ground
floor housed the heavy labor, while the upper level
served for living quarters and drying. An electoral
inscription identifies the owner, the freedman
Stephanus, who turned the space into a thriving
business.
House of the Ceii
(I.6.15): Also known as the House of Lucius Ceius
Secundus, this small but refined domus features a
four-column atrium with a central fountain in the
impluvium. Its walls are adorned with elegant Third
Style paintings, including a striking scene of Bacchus
offering wine to a tiger and vivid hunting friezes
depicting wild animals (wolves chasing boars, tigers
pursuing rams, and lions attacking bulls). Electoral
graffiti on the exterior walls helped identify its
owner, a local magistrate.
House of P. Casca Longus
(Casa dei Quadretti Teatrali, I.6.11): Also called the
House of Theatrical Pictures or linked to the Calavii
family, this elegant residence has a beautifully
restored atrium with a colorful marble impluvium and a
finely decorated compluvium featuring ornate rainwater
spouts. A standout feature is the marble tripod table
base, adorned with lion heads and legs, bearing an
inscription linking it to P. Servilius Casca Longus —
one of Julius Caesar's assassins. The house's frescoes
are predominantly in the Third Style, with charming
small panels in the atrium depicting theatrical scenes,
actors in masks, and dramatic moments from plays.
House of Stallius Eros (I.6.13): Excavated between 1926
and 1927, this house follows the classic Roman domus
layout: an atrium leading to a tablinum and a garden
area where the remains of a lararium (household shrine)
are still visible. The surviving wall decorations are in
the Fourth Style, characterized by intricate
architectural illusions and mythological motifs.
Artifacts found inside include limestone and basalt
weights, likely used for measuring goods in what may
have doubled as a small workshop or commercial space at
times. A seal inscribed "Stal. Ero." suggests the last
known owner was Stallius Eros.
Insula 7
House of Paquius Proculus
(I.6.1 or linked to nearby numbering; also known as
House of Cuspius Pansa or Paquinius Proculus): This
elegant Samnite-style domus, with roots dating back to
around the early 1st century AD, features a striking
entrance vestibule paved with a famous black-and-white
mosaic depicting a chained guard dog accompanied by the
warning “Cave Canem” (Beware of the Dog). The house
boasts exceptionally beautiful floors, including
intricate mosaics with animal motifs, and a garden with
a central marble pond surrounded by four columns
supporting a pergola. Wall paintings include Nilotic
(Egyptian-inspired) scenes in the triclinium. It rises
to three stories in parts and preserves fine stucco
cornices and portrait-like elements, offering insight
into the prosperous but not ultra-elite residents of
Pompeii.
House of the Fabius
Amandus (I.7.3 / sometimes referenced near Insula 6
area): A modest two-story dwelling typical of Pompeii’s
middle-class homes, this house includes a long balcony
overlooking the street. It features Fourth Style wall
decorations with red panels on a yellow background,
incorporating architectural illusions and delicate
motifs. The floors include lovely mosaics, and the
structure exemplifies everyday residential architecture
rebuilt or adapted after the 62 AD earthquake. It was
excavated in phases during 1911 and 1923.
House of the Priest
Amandus (Casa del Sacerdos Amandus, I.7.7): Also
known as the House of the Fresco of Spartacus in some
references, this residence stands out for its
spectacular triclinium (dining room) adorned with
floor-to-ceiling Third Style frescoes. These
masterpieces depict dramatic mythological adventures,
including the stories of Hercules, Perseus, Odysseus,
Daedalus and Icarus (with a touching detail of fishermen
recovering Icarus’s body from the sea), and other heroic
or tragic scenes. The house was excavated in 1912 and
1924 and provides some of the finest examples of refined
Pompeian painting in a relatively compact space.
House of the Ephebus (Casa
dell’Efebo, I.7.11): A larger residential complex formed
by merging several earlier buildings, this house
belonged to a prosperous merchant family (possibly
linked to P. Cornelius Tages). It centers around a
charming garden-peristyle area with a summer triclinium
overlooking a portico supported by columns. A highlight
is the unique opus sectile marble floor in the main
dining space, inlaid with floral motifs like roses and
lotuses — rare in Pompeii. The garden once held statues
(later moved indoors for protection during renovations)
and a small shrine with a painting of Mars and Venus. A
bronze statue of a young ephebe (youth) discovered here
gave the house its name. It reflects the growing wealth
of commercial families in the final decades before the
eruption.
Casa di Filippo (I.6.5): This small
structure has been investigated multiple times (notably
in 1868, 1912, and 1923), yet scholars still debate
whether it functioned primarily as a private house or a
large commercial shop/taberna. The compact layout
features an entrance that opens directly onto the
atrium, with a tablinum (main reception room) on the
left side retaining fragments of red wall decorations
and remnants of mosaic flooring. A counter-like feature
on one side supports the interpretation as a possible
workshop or retail space. Its modest scale and direct
street access highlight the blurred line between
domestic and commercial life in bustling Pompeii.
Insula 8
Thermopolium of Vetutius Placidus
(I.8.8)
This ancient Roman thermopolium, essentially
a fast-food tavern or snack bar, belonged to Lucius
Vetutius Placidus. It featured a prominent masonry
counter with built-in dolia (large terracotta jars) for
serving hot food and drinks directly to customers on the
street. A beautifully preserved lararium (household
shrine) fresco adorns one wall, depicting the genius of
the owner flanked by the protective Lares and Penates,
along with Mercury (god of commerce) and
Dionysus/Bacchus (god of wine), with guardian serpents
below. During excavations, roughly 3 kg of coins (about
680 sesterces) were found in one of the jars—likely the
day's earnings abandoned in haste as Vesuvius erupted in
79 CE. The establishment also included private living
quarters with a triclinium (dining room) accessible via
a separate entrance.
House of the Four Styles
(I.8.17)
Known as the Casa dei Quattro Stili, this
residence stands out for its rare display of all four
major Pompeian wall-painting styles within a single
house. Built in the late 2nd century BCE, it centers on
a grand Hellenistic-style atrium supported by four tall
Corinthian columns of tuff stone around the compluvium.
The surrounding rooms showcase evolving decorative
techniques: early First Style marble imitations, Second
Style architectural illusions, Third Style delicate
motifs, and Fourth Style intricate narrative scenes.
Excavated primarily in 1937–38 and again in 1951, the
house provides a valuable timeline of Roman interior
design trends.
House of Stephanus (I.8.2)
Excavated between 1912 and 1926, this relatively modest
dwelling suffered severe damage during the Allied
bombing of Pompeii in 1943, when explosions caused the
complete collapse of the peristyle columns in its
garden. The house follows a classic layout with an
atrium, a colonnaded garden (peristyle), and several
rooms. Fourth-style pictorial decorations survive in two
of the chambers, offering glimpses of elegant Roman
domestic frescoes that once adorned the walls.
House
of the Indian Statuette (I.8.5)
This home earned its
name from the discovery of a remarkable ivory
statuette—often called the “Pompeii Lakshmi” or an
Indian yakshi (nature spirit)—found in a wooden box in
the garden area during 1938 explorations. The finely
carved 1st-century CE figure, now housed in the National
Archaeological Museum of Naples, depicts a female deity
or attendant surrounded by smaller figures and lotus
motifs, highlighting surprising trade links between the
Roman Empire and the Indian subcontinent via maritime
routes. The house retains its traditional Roman floor
plan, with some walls still bearing faded red plaster.
Additional finds include a pair of loaded (rigged) dice,
suggesting recreational gaming among the inhabitants.
House of Epidius Primus (I.8.14)
Explored between
1938 and 1943, this residence features multiple
electoral inscriptions (programmata) on its façade,
typical of Pompeian political campaigning. Inside, it
contains about ten rooms with varying degrees of
preserved wall decorations; one chamber stands out for
retaining nearly intact frescoes. A wooden chest yielded
an impressive collection of silverware, including pots
and double-handled cups, alongside bronze medical
instruments—possibly indicating the owner’s profession
or interests in healing.
House of the Doric Atrium
(I.8.18), also known as the House of Balbo (Casa di
Balbo)
Excavated in 1937, this domus is named for its
distinctive atrium featuring Doric-style elements and
the remains of an impluvium basin for collecting
rainwater. It includes eight rooms adorned mostly with
Third Style frescoes, though traces of the earlier First
Style appear in some areas. Remnants of a staircase
suggest an upper floor once existed. In the kitchen,
excavators uncovered an intact lararium frescoed with
deities and protective snakes, providing a vivid
snapshot of household religious practices at the moment
of the eruption.
Insula 9
House of the Beautiful Impluvium
(I.9.1)
Also known as the House of the Six
Divinities, this atrium-style home features an elegant
central impluvium (rainwater basin) that gives the house
its name. Excavated in phases between 1912 and 1952, it
preserves traces of refined decorative elements,
including frescoes and architectural features that
reflect the tastes of its affluent owners.
House of Ceres (I.9.13–14)
Dedicated to the goddess of agriculture, this dwelling
shows signs of practical Roman domestic life alongside
modest decorative schemes. It was uncovered during
mid-20th-century excavations and includes functional
spaces typical of middle-class homes in the area.
House of the
Orchard (also called House of the Floral Cubicles or Casa del
Frutteto, I.9.5)
This charming house, sometimes
referred to as the Domus of Euplia, was undergoing
renovation at the time of the eruption and likely
belonged to a vintner or someone involved in
agriculture. Its layout centers on a traditional atrium.
The decoration reveals strong Egyptian influences, with
frescoes depicting the god Apis (the sacred bull), Isiac
vases associated with the cult of Isis, and protective
snake motifs. Two small bedrooms (cubicula) stand out
for their vibrant frescoes of fruit-laden trees bursting
with lemons, oranges, and limes—hence the name “House of
the Orchard.” The triclinium (dining room) boasts three
large mythological panels: the fall of Icarus, the
tragic story of Actaeon being torn apart by his hounds
after seeing Diana bathing, and a dynamic battle scene
between warriors. These artworks create an immersive
garden-like atmosphere even indoors.
House of
Successus (I.9.3)
Named after a fresco in a room near
the entrance that portrays a young boy (possibly the god
Adonis as a child or a figure nicknamed “Successus”)
with ducks or waterfowl near his hands, accompanied by
the inscribed name “Successus.” Scattered remnants of
other paintings survive throughout the house, but the
garden is especially well preserved. During excavation,
it revealed a now-lost white panel and a decorative
niche adorned with floral elements. In the same area,
archaeologists found a touching statue of a child
holding a dove, adding a personal and intimate touch to
the domestic space.
House of Amarantus (I.9.12,
linked to I.9.11)
This property served a dual
purpose: part modest residence and part caupona (tavern
or inn). It lacks elaborate decorative schemes because
many walls were still covered only in plain white
plaster when the eruption struck—suggesting ongoing
maintenance or a more utilitarian function. In the
triclinium, however, faint traces of frescoes with
varied motifs remain visible. Excavators discovered
numerous amphorae (storage jars) in the atrium, along
with the skeletal remains of a mule and a dog, poignant
evidence of the sudden catastrophe that overwhelmed the
inhabitants and their animals.
Insula 10
House of Menander (I.10.4)
One of the largest and most luxurious residences in
ancient Pompeii, the House of Menander spans nearly
1,800–2,000 square meters and occupies much of its city
block. Likely owned by a wealthy aristocrat—possibly
linked to the influential Poppaeus family, connected to
Emperor Nero’s wife Poppaea Sabina—this grand domus
features elegant architecture, including a traditional
atrium with impluvium, a spacious peristyle garden,
private baths, and servant quarters. Its walls boast
sophisticated frescoes, notably a triptych inspired by
the Trojan War and a portrait of the Greek playwright
Menander, after whom the house is named. Excavated
primarily between 1926 and 1932, it also yielded a
remarkable silver treasure hoard, underscoring the high
social status of its inhabitants.
House of the Lovers (I.10.11)
Known as the House of the Lovers (or sometimes
associated with “chaste lovers” motifs in nearby
structures), this more modest yet architecturally
charming dwelling stands out for its intimate decorative
elements. It takes its name from a delightful fresco in
the triclinium (dining room) depicting a couple
exchanging a tender, “chaste” kiss during a banquet
scene. The house includes living areas combined with
workshop or commercial spaces and offers a glimpse into
everyday Roman domestic life mixed with small-scale
production.
House of the Cabinet Maker
/ Casa del Fabbro (I.10.7)
Also called the House of
the Smith or House of the Craftsman, this residence was
excavated in multiple campaigns between 1914 and 1933.
Upon entering past the threshold, visitors step into the
atrium, where a fine marble table survives with
elegantly carved legs shaped like animal paws or similar
decorative forms. The house contains about eight rooms;
many walls still retain traces of ancient plaster, while
the kitchen preserves a remarkably intact hearth.
Excavators also uncovered the poignant remains of two
victims of the 79 AD Vesuvius eruption, likely caught
while seeking shelter. A significant find was a large
set of carpentry tools, suggesting the home belonged to
a skilled cabinet maker or furniture craftsman (possibly
a faber arcarius).
House of Minucius (I.10.8)
Explored in 1929 and 1934, the House of Minucius (also
linked to Minucius Fuscus and Epaphra) appears to have
functioned partly as a weaving workshop (textrina),
evidenced by loom weights and related graffiti. In the
atrium, visitors can still see the remains of the
impluvium basin that once collected rainwater. Several
rooms display traces of elegant Fourth Style wall
paintings. A distinctive feature is a garden niche with
a white background featuring a painted tree, adding a
touch of natural charm to the modest interior.
House
of Aufidius Primus (I.10.18)
Excavated in 1932, the
House of Aufidius Primus (also associated with
Ampliatus) features multiple electoral inscriptions on
its main façade, reflecting active political campaigning
in the final years before the eruption—such as
recommendations for local magistrates. The upper floor
has been partially reconstructed during modern
restoration work. Notably, the atrium lacks the usual
surrounding rooms, giving it an open feel. Among the
small decorative finds, the most striking is a kitchen
fresco portraying a Genius (protective spirit), a snake
(symbol of the household guardian), various kitchen
utensils, a pig’s head, and a spit-roasted eel—vividly
illustrating Roman domestic and culinary life.
Insula 11
House of Venus in a Bikini
(I.11.6)
Also known as the House of the Bikini Venus,
this residence takes its name from a famous small marble
statuette of the goddess Venus (Aphrodite) discovered
here, depicted wearing a minimal two-piece garment
resembling a modern bikini. The house features an atrium
with table supports and pedestals, along with evidence
of daily life, including bronze rings and female toilet
items that suggest it was occupied by a woman at the
time of the 79 AD eruption.
House of the First Floor
This house is distinguished by its preserved upper-level
rooms, offering a rare glimpse into the multi-story
living arrangements common in ancient Pompeii.
House
of Lucius Habonius Primus (I.11.5)
First excavated in
1913 and further explored in 1960, the house owes its
name to a seal found in the atrium bearing the owner's
name, Lucius Habonius Primus (sometimes associated with
Lollius Synhodus in records). It follows an irregular
floor plan typical of many Pompeian homes adapted to
urban constraints. Pictorial decorations are relatively
scarce, but notable artifacts include a glass bottle
still containing oil and several elegant silver bowls,
highlighting the domestic and personal items used by its
inhabitants.
House of Euxinus (I.11.12)
Excavated
between 1953 and 1964, this house displays an irregular
layout with remnants of Fourth Style
frescoes—characterized by elaborate architectural
illusions and mythological scenes. It includes a modest
garden bordered by a wall featuring a decorative niche
that once held a marble statue of Venus. Nearby niches
contained additional marble heads or busts, suggesting a
small collection of sculptural elements that added
elegance to the outdoor space.
House of Cherem
(I.11.14)
Unearthed in 1960, the house is named after
a Hebrew or Semitic inscription ("Cherem") found on a
wall near the entrance, possibly linked to Jewish
residents or visitors in Pompeii. It preserves the
remains of an impluvium (the central basin for
collecting rainwater in the atrium). A prominent oecus
(main reception room) features well-preserved Second
Style frescoes, including framed panels with theatrical
tragedy masks, fluttering birds, and festive garlands.
The garden area reveals the bases of four columns,
indicating a small peristyle, along with a staircase
that once led to the upper floor.
Upper Floor House
(I.11.15) / House of the First Floor
So named because
visitors can still access rooms on the second story via
a preserved staircase, this residence has a notably
irregular plan. It stands out for its exceptionally
well-preserved pictorial decorations, including frescoes
in a room adjacent to the garden and in a small cubicle
(bedroom). A painted lararium (household shrine) is
particularly striking, featuring two protective serpents
(agathodaimones) flanking the altar. The upper floor
contains two recovered rooms decorated in the Fourth
Style, offering insight into how Pompeians utilized
vertical space for additional living quarters.
House
of Saturninus (I.11.16)
Part of this house was
adapted for use as a hospitium (inn or guesthouse), as
evidenced by a masonry service counter in the entrance
area, likely for serving food and drink to travelers or
locals. The most impressive surviving decorations are
found in the triclinium (dining room), where Fourth
Style frescoes adorn the walls above a black plinth
reminiscent of opus reticulatum (a net-like masonry
pattern). The room also contains masonry tables in both
oval and square shapes, practical yet stylish elements
for Roman banquets.
Imperial House (I.11.17)
Excavated between 1954 and 1960, this house has an
irregular plan and an atrium lacking the usual
impluvium, suggesting possible modifications over time.
Wall decorations are limited overall, with the
best-preserved examples located in the eastern section
of the atrium and within the triclinium—one of the few
rooms that has been partially reconstructed for
visitors. These remnants provide a sense of the more
restrained yet functional aesthetic in this part of the
insula.
Insula 12
Bakery of Sotericus
(2)
This establishment, also known as the Pistrinum
of Sotericus, was one of approximately thirty bakeries
operating in ancient Pompeii. Located along the bustling
Via dell'Abbondanza, it produced the renowned bread for
which the region around Mount Vesuvius was famous. The
name derives from the owner (or possibly the adjacent
innkeeper) Sotericus, whose name appears inscribed
nearby. The bakery featured large millstones powered by
animals or slaves, a substantial oven, and storage
areas—typical of Roman commercial food production that
combined manual labor with basic mechanization to feed
the city's population of around 10,000–12,000
inhabitants.
Garum Workshop
(8)
Situated on the busy Via dell'Abbondanza (Regio
I, Insula 12.8), this small workshop specialized in the
production of garum, the ubiquitous fermented fish sauce
that served as a prized condiment across the Roman
Empire—often compared to modern Southeast Asian fish
sauces for its intense umami flavor. Excavated primarily
between 1958 and 1961, the site included a courtyard
with sealed dolia (large clay storage jars) still
containing residues of fish bones and macerating sauce,
as well as numerous empty amphorae in the back garden
ready for filling. The workshop likely belonged to or
was associated with the Umbricii family and produced
various qualities of garum, from premium "flower of
garum" (garum flos) to more everyday varieties made with
anchovies, mackerel, or other local fish. The strong
smell of the fermenting sauce would have been a familiar
(if pungent) part of daily life in this neighborhood.
House of Medusa (15)
This private residence covers an
area of roughly 350 square meters and features an
irregular floor plan typical of many Pompeian homes that
evolved over time through expansions and modifications.
It was probably excavated around 1962. The house takes
its modern name from a remarkably well-preserved
lararium (household shrine) discovered in one of the
rooms: a niche decorated with a striking central image
of the head of Medusa (the Gorgon from Greek mythology,
often used as an apotropaic symbol to ward off evil),
flanked by two deer. In the northern section, the
property opens onto a spacious garden that appears to
have served as a practical vegetable plot rather than a
purely ornamental space, providing fresh produce for the
household.
House of the Painted Labrum (16)
Explored in 1952 (with further work around 1961–62),
this is a relatively modest dwelling of irregular
layout, consisting of just seven rooms. Despite its
smaller size, it retains interesting decorative
elements, including remnants of wall paintings in the
atrium and a cubicle, dominated by the vibrant classic
Pompeian red pigment. In the garden area stands a
lararium that is partially preserved with its original
decoration, while a prominent feature is the large
labrum (a basin or bowl, often used for water or
washing) vividly painted directly on the wall—giving the
house its name. These artistic details offer a glimpse
into the everyday aesthetic tastes of Pompeii's
middle-class residents in the years leading up to the
catastrophic eruption of Vesuvius in 79 AD.
Insula 13
House of the Tiberii-Crassi (1) - It was
excavated in 1914 and then from 1951 to 1953 : it
featured two lost electoral inscriptions on the facade,
while inside there is a garden with a three-column
peristyle; in the house two bronze candlesticks were
found, with the feet decorated one with a lion's foot,
the other with leaves.
House of Sutoria Primigenia
(2) -
Also called Casa del Grande Triclinio it was initially
excavated in 1914 and later in 1953: of particular
importance is the outdoor summer triclinium, with a
masonry table and a small room on the east side that
probably served as a sacellum ; characteristic of a
painting present in the kitchen, near the lararium,
which represents the matron of the house intent on
making sacrifices with her entire family.
House of
Taedia Secunda (4) - It was explored in 1915 and 1919: it
has a narrow entrance and several rooms, while the
remains of pictorial decorations are scarce.
House of
Lesbianus and Numicia Primigenia (9) - It is presented on
two levels: on the facade, several graffiti and a fresco
depicting Venus on a boat have been found; inside the
house, there are pictorial decorations with red skirting
and a median area in yellow.
House with Larario
Isiaco (12) - It has an atrium with impluvium but the
triclinium is absent: in the same environment there is a
niche lararium, painted inside in white and with a
tympanum decorated with mosaic- like paintings ; in
various cubicles there are traces of plaster in red.
Insula 14
Casa del Larario Sarno (7) - It was excavated in 1954 : passing the entrance and the small atrium, through a narrow corridor, where the kitchen with a latrine also opens, you reach the garden that preserves the main attraction of the house, that is a well preserved lararium, painted in red, with the figure of the Genius in the niche and at the base the god of the river Sarno who pours water and watches over the port.
Insula 15
House of the Ship Europa (3) (Casa della Nave Europa, Regio I.15.3) is a large ancient Roman house in Pompeii with a strong agricultural focus. It is named after a famous graffito on the north wall of the peristyle depicting a cargo ship labeled "Europa" (likely referencing the mythological figure carried off by Zeus as a bull).
Insula 16
House of Cylindrical Columns (2) - It was
explored in 1955 and in 1974 when it was also partially
restored: after the narrow entrance one enters the
garden directly where there is a psudoperistilio with
well-preserved columns; around the house there are the
rooms of the house such as kitchen and triclinium, in
which there are no traces of decorations, while one of
the main objects found inside is a bronze statue of
Bacchus.
House of Petronia (5) - It was excavated in
1958: inside there are some frescoes, partly only the
black plinth, in others the central area; in addition to
the peristyle, the house also had a large garden.
Insula 17
Casa degli Archi (4) - It was excavated in 1954 and partly rebuilt: this made it possible to make the upper floor and above all the peristyle accessible with the columns joined together by means of arches, with some of these still having pictorial decorations; other frescoes are present in different environments, but most of the peristyle where you successfully maintained lararium: among the most important archeological finds stands a pickaxe in iron.
Insula 19
House of L. Satrius Rufus (3) - It was
partially explored between 1932 and 1934 and only the
remains of the entrance are visible: inside it was found
a bronze plaque bearing the name of Lucius Satrius
Rufus, an imperial secretary.
Earinus house (4) - It was
partly excavated in 1932 and only the part of the
entrance can be seen: along the façade various electoral
inscriptions were found, including one showing that a
certain Earinus was lived there.
House of Minio Carpo
(5)
- It is only partially excavated and only the main
façade is visible: two graffiti were found near the
pillars of the entrance door, both repeating the name
Minio Carpo.
Insula 22
Stabianus House (2) - It was explored several times between 1955 and 1974 and has the peculiarity of having a large garden, probably used as an orchard with a triclinium with a table decorated with polychrome marbles: according to some scholars the garden could be cultivated with vines, while according to others planted about three hundred fruit trees, as evidenced by the discovery of some large branches.