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Regio II is located in the eastern part of the city of Pompeii. This
part of the city was built up under Roman rule. Apparently before, there
were shacks for the poor since this corner is farthest from the forum of
Pompeii and hardly played an important role in the history of the city.
However, because low cost authorities decided to demolish the old
buildings and erect new public buildings. They ordered the construction
of several large public buildings. This is the second most visited
district in Pompeii. Firstly, one of the entrances is located here, and
secondly there are several large buildings that are perfectly preserved.
In particular, there is the Amphitheater and Palestra. The
inhabitants of Pompeii loved their Amphitheater, although it is
impossible to call them organized or peaceful. On the seats, the battles
unfolded more badly than those in the arena. Because of the boorish
behavior of gladiator-fighting fans, the authorities of the Roman Empire
even banned for the time being the bloody games of Pompeii. Palestra was
a big stadium, a kind of fitness club of the time. It also housed public
toilets for visitors of the Pompeii Amphitheater.
Pompeii Amphitheater (Insula 6)
The amphitheatre features a simple, early Roman design
compared to later, more elaborate structures like the Colosseum.
Builders excavated a large pit for the arena and used the
dug-out earth to form embankments for the tiered seating
(cavea). Supporting walls of local materials (primarily Sarno
limestone, volcanic tufa, and opus incertum masonry) held
everything in place, making it a largely free-standing
elliptical structure without relying heavily on natural
hillsides.
The cavea (seating area) divides into three
horizontal sections reflecting Roman social hierarchy:
Ima
cavea — lowest tiers, closest to the action, reserved for
dignitaries and the elite.
Media cavea — middle section for
the general populace.
Summa cavea — upper tiers for lower
classes, slaves, and women.
A low balustrade or podium
wall separated spectators from the arena. Access included
external stairways and arched entrances (vomitoria). A corridor
at the base of the cavea allowed movement around the structure
and entry to the arena floor. Unlike many later amphitheatres,
it lacked complex underground chambers (hypogeum) for animals or
scenery—animals and performers entered at ground level. It
originally featured a velarium (retractable awning) for shade,
with attachment rings still visible in places.
Insula 1
Casa degli Aemilii, Primio and Saturninus (II.1.2)
This
elegant Roman domus in Regio II was first brought to light
during excavations in 1915 and later re-examined in 1985. It
takes its name from multiple electoral inscriptions
(programmata) painted on the exterior facade, which urged
citizens to vote for candidates linked to the prominent Aemilii
family, as well as individuals named Primio and Saturninus.
These graffiti offer a fascinating glimpse into the lively
political campaigning that once animated Pompeii’s streets in
the years leading up to the 79 CE eruption of Mount Vesuvius.
Inside the house, archaeologists discovered various objects
associated with the production of cosmetics, including tools and
containers that suggest the inhabitants may have been involved
in manufacturing or selling beauty products—a common small-scale
industry in the bustling city.
Imperial House (likely
referring to a house in the area, possibly with imperial
connections)
Excavated in phases between 1953 and 1955, with
further work in 1985, this residence features an inviting
layout. Just beyond the entrance lies a compact courtyard that
opens directly onto a pleasant garden, creating a seamless flow
between indoor and outdoor spaces. A fenestrated triclinium
(dining room with windows) allowed diners to enjoy views of the
greenery while reclining. In three smaller rooms, remnants of
vibrant Pompeian red plaster still cling to the walls, evoking
the rich, warm tones that characterized many upscale interiors
of the period and highlighting the house’s refined decorative
scheme.
Complex of Magic Rites (II.1.12), also known as the
House of the Pompeian Sibyl
This intriguing structure was
explored in several campaigns between 1954 and 1985. Originally
built atop earlier terraced houses from the 3rd–2nd centuries
BCE, it was later remodeled and expanded, reaching its final
form around 62 CE. One of its most striking discoveries was a
pair of ornate bronze hands belonging to the god Sabazius (a
syncretic deity of Thracian-Phrygian origin associated with
fertility, vegetation, and protection). These “magic hands,”
often adorned with symbolic motifs and shown in a blessing
gesture, were believed to ward off the evil eye and evil
spirits—powerful apotropaic objects used in personal and ritual
protection.
The house also yielded colorful wall paintings
depicting gods such as Mercury (messenger and god of commerce),
Bacchus (god of wine and ecstasy), Venus (goddess of love), and
the fertility figure Priapus. An exedra (a large, semi-open
room) appears to have served dual purposes: hosting banquets for
guests and facilitating votive offerings as well as magical or
mystery rites. Some scholars interpret the complex as a space
where the public or initiates could participate in esoteric
ceremonies dedicated to Sabazius, possibly linked to a local
“Pompeian Sibyl” or female practitioner of prophetic and magical
arts. The unusual layout—with open areas connected by smaller
chambers—reinforces its specialized religious and ritual
function in the final years before the city’s destruction.
Insula 2
House of Octavius Quartio
(widely known as the House of Loreius Tiburtinus)
This
spacious and luxurious residence, located in a prime spot
along the busy commercial street of Via dell’Abbondanza, is
one of Pompeii’s most impressive urban villas. Excavations
began in 1916 under the direction of Italian archaeologists,
with significant additional work carried out between 1933
and 1935, and further restorations in later decades.
The
house stands out for its exceptionally well-preserved wall
paintings and elaborate frescoes in the Fourth Style,
featuring vivid mythological scenes such as the tragic story
of Narcissus gazing at his reflection and the punishment of
Actaeon by Diana. Its most remarkable feature is the vast
ornamental garden, designed to imitate an aristocratic
country villa within the crowded city. A long central canal
(euripus) runs through the garden like a miniature Nile
River, flanked by rows of majestic plane trees, fruit trees,
and colorful ornamental plants. The garden also includes a
graceful pergola, a fishpond stocked with fish, and shaded
summer triclinia (dining areas) where the owner could
entertain guests while enjoying the cooling sound of water
and the scent of flowers. A bronze seal discovered inside
the house identifies the owner as D. Octavius Quartio,
although older electoral graffiti (programmata) painted on
the facade once led scholars to refer to it as the House of
Loreius Tiburtinus.
Insula 3
House of Venus in the Shell
(also referred to as House III.2.3)
This elegant and
well-appointed domus was unearthed during the 1930s
excavations and later carefully restored after sustaining
damage during World War II. It is best known for its
breathtakingly large and colorful fresco located in the
peristyle garden. The painting portrays the goddess Venus
(Aphrodite) reclining seductively nude inside an enormous
seashell, richly adorned with gold jewelry. She is
surrounded by playful cupids—one of them riding a
dolphin—set against a lush, illusionistic garden backdrop
filled with exotic birds, bubbling fountains, and vibrant
flowers.
The house follows the classic Pompeian layout
with a traditional atrium leading into a peristyle courtyard
and belongs to the politically prominent family of the
Lucretii Satrii Valentes (specifically linked to D.
Lucretius Satrius Valens, a well-known local magistrate and
supporter of Nero). Its walls display fine examples of the
refined Fourth Style of Roman painting, characterized by
intricate architectural fantasies, delicate ornamentation,
and vibrant colors—typical of the final, prosperous decades
of Pompeii before the eruption of Vesuvius in 79 AD.
Insula 4
House of Julia Felix
(Regio II, 4, 3) — Officially known as the Praedia (estate)
of Julia Felix, this sprawling multifunctional complex
occupies almost an entire city block by combining two
original insulae. Following the severe earthquake that
struck Pompeii in 62 CE, Julia Felix, a shrewd businesswoman
and daughter of Spurius, shrewdly repurposed the damaged
property into a profitable rental venture. She placed
prominent advertisements on the exterior walls offering
elegant apartments for lease, shops with comfortable living
quarters on the upper floors, and access to luxurious public
baths.
The estate seamlessly blended private luxury with
commercial enterprise. It included Julia’s own elegant
residence featuring a traditional Tuscan atrium, vast
ornamental gardens adorned with fish ponds, cascading
waterfalls, and shaded walkways, as well as a charming
summer triclinium for outdoor dining. Most notably, part of
the complex housed sophisticated bath facilities that were
open to the public for a fee. This ambitious project
highlights the entrepreneurial spirit and economic savvy of
Pompeii’s wealthy non-aristocratic elite during the final
decades of the city.
Insula 7
Palaestra of Pompeii
(Regio II, 7, 1) — Also known as the Large or Great
Palaestra, this monumental public gymnasium was built during
the Augustan period (late 1st century BCE to early 1st
century CE). Designed as a major center for physical
education and youth training, it served the collegia iuvenum
— organized associations of young men — while subtly
promoting imperial values through athletic discipline and
communal activity.
Covering a vast rectangular area of
approximately 141 by 107 meters, the palaestra is located
near the Amphitheatre. It is enclosed by high perimeter
walls with several grand entrance gates. Three sides feature
wide colonnaded porticoes, originally shaded by two rows of
majestic plane trees. At the center lies a large rectangular
swimming pool (natatio) used for both training and
recreation. Tragically, during the catastrophic eruption of
Vesuvius in 79 CE, many residents sought shelter here;
numerous victims were later discovered huddled under the
porticoes, some still clutching personal belongings.
Insula 8
The House of the Garden Hercules
(Regio II, 8, 6) — Also referred to as the House of the
Perfumer, this relatively modest but intriguing residence
dates back to the 3rd century BCE, with significant
expansions during the 1st century CE. Its standout feature
is an unusually large garden dedicated to the cultivation of
aromatic plants, medicinal herbs, roses, violets, and other
fragrant flowers — most likely for commercial perfume
production. Archaeological evidence, including numerous
glass vials and preserved botanical remains, strongly
supports this interpretation.
In the garden’s lararium
(household shrine), near a delightful summer triclinium for
outdoor dining, excavators found a small marble statuette of
Hercules, which gave the house its modern name. Recent
restoration efforts have carefully replanted the garden
using historically accurate plant species and successfully
revived the original ancient irrigation system. Today,
visitors can experience the sights, sounds, and scents of a
working Roman perfumer’s garden, offering a rare and
immersive glimpse into the daily life and specialized crafts
of ancient Pompeii.
Insula 9
House of Quietus (I.9.1)
This residence was excavated in
several phases between 1954 and 1987 and underwent major
restoration in 1988. The main entrance door was decorated
with a painted figure of Mercury, the god of commerce and
travel, likely intended to bring prosperity to the
household. Inside, the house features a central atrium with
a well-preserved impluvium (rainwater basin) connected to an
underground cistern. Several rooms still retain significant
traces of their original frescoes. Particularly striking are
the nearly life-size paintings on the columns of the
triclinium (dining room), which depict Priapus, Bacchus
(Dionysus), and other figures including colorful birds.
House of the Jeweler (I.9.2)
So named because a large
quantity of precious and semi-precious stones (likely raw
materials or finished jewelry) were discovered inside, this
house still preserves notable traces of its ancient
plasterwork. The triclinium is especially well decorated,
with frescoes showing various human figures and lush plant
motifs. This dining room opens directly onto a pleasant
garden, which contains a sturdy stone table—probably used
for outdoor meals or as a decorative centerpiece.
House
of the Lararium Fiorito (I.9.4)
Explored during the 1950s
and restored in 1988, this house retains a remarkable amount
of its original wall decoration. The most distinctive
feature is a beautifully painted lararium (household shrine)
adorned with delicate floral motifs and playful cupids
(erotes). The other rooms are finished in warm ocher-yellow
plaster and feature small framed pictures depicting
mythological scenes and animals. During excavation, a fine
marble statue of Venus was also recovered from the property.
House of the Summer Triclinium (I.9.5)
This house is
notable for having preserved part of its upper floor,
including a reconstructed balcony overlooking the street at
the main entrance. In the garden, a small domestic sanctuary
(sacellum) was later constructed, which partially covered an
earlier wall painting of Venus. Only a fragment of this
original Venus fresco now remains visible beneath the
sanctuary structure.