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House of Sallust, Pompeii

Address: Insula 2
Area: 950 square meters
Rooms: 13

The House of Sallust, also known as the House of Actaeon or Casa di Sallustio (VI.2.4), is one of the oldest and most historically significant elite residences (domus) in the ancient Roman city of Pompeii, Italy. Located in Regio VI, Insula 2, along the east side of Via Consolare—a major thoroughfare leading from the Herculaneum Gate toward the Forum—this atrium-style house exemplifies early Pompeian domestic architecture from the Samnite period. Spanning approximately 500–600 square meters, it features a symmetrical layout centered around a large atrium, with expansions over centuries that transformed it into a multifunctional space, possibly serving as a hospitium (inn or hotel) by the 1st century AD. Buried under volcanic ash during the 79 AD eruption of Mount Vesuvius, the house was excavated in the late 18th and early 19th centuries, revealing well-preserved First Style wall paintings that imitate marble incrustation—a rare survival from the Republican era. Damaged by Allied bombing in 1943, it underwent restoration in 1970 and remains accessible to visitors in the Pompeii Archaeological Park as of 2025, though ongoing conservation addresses issues like structural instability and fresco deterioration. Its name derives from an electoral inscription on the facade promoting Gaius Sallustius for public office, though ownership by 79 AD is attributed to A. Cossius Libanus, possibly a freedman of Eastern origin.

Historical Background

The House of Sallust traces its origins to the 4th century BCE, during Pompeii's Oscan-Samnite phase, when it was likely a modest dwelling built with local tufa blocks. By the 2nd century BCE, following Roman influence after the Social Wars and Sulla's colonization in 80 BCE, it was expanded into a grander atrium house, reflecting the wealth of emerging elite families. Archaeological evidence suggests it remained a private residence through the Republican period, but during the late Augustan era (late 1st century BCE to early 1st century AD), modifications converted it into a hospitium for travelers and guests, aligning with Pompeii's growing role as a commercial and resort hub. This included adding shops, dining facilities, and guest suites, possibly to generate income amid the city's economic boom.
The house survived the earthquake of 62 AD with repairs, but its final phase shows incomplete renovations by 79 AD, interrupted by the Vesuvian eruption. Ownership inscriptions, including a bronze seal reading "A. Coss(ius) Liban(us)" found in 1806, indicate Libanus as the proprietor, potentially a merchant or innkeeper. Excavations began sporadically in the 1770s under Bourbon sponsorship, with Queen Maria Carolina of Naples taking interest; by 1775, parts were exposed, and full clearance occurred between 1805 and 1809 under Francesco La Vega and later Pietro La Vega. Artifacts were documented and some removed to royal collections in Palermo and Naples. The site was bombed in 1943 during World War II, destroying sections of the roof and walls, but post-war restorations in 1970–1971 rebuilt the south apartment, portico, and roof using modern materials. Recent studies, including 3D reconstructions and measurements in the 2010s, have confirmed artifact provenances and refined chronologies, with ongoing work under the Great Pompeii Project addressing erosion and visitor impact.

Architecture and Layout

The House of Sallust follows a classic Samnite atrium plan, adapted over time with Roman additions. The principal entrance (room 1) from Via Consolare leads through a vestibulum (room 2) into a large central atrium (room 6), measuring about 10 meters square, with a compluvium (roof opening) and impluvium (basin) for rainwater collection. Flanking the atrium are symmetrical cubicula (bedrooms) and alae (wing rooms) on both sides, with three rooms per side originally. The facade featured two pilasters with sculpted grey lava capitals—one depicting a Satyr teaching a young Faun to play pipes—though these were lost by the late 19th century.
At the rear, a tablinum (room 8 or 19) served as the reception area, opening to a garden (viridarium) enclosed by a porticus (colonnaded walkway, room 14) with blue-accented columns and low walls for plants. Expansions added a peristyle garden to the north, an outdoor masonry triclinium (room 25) under a pergola for al fresco dining, and a hearth nearby for food preparation. Shops (room 3) with counters and jars (likely for wine or oil) were integrated on the west side, accessible from the street and atrium, supporting its hospitium function. Suites included connected apartments (rooms 4–5), small bed chambers (room 10 or 21), and larger dining rooms (rooms 22, 30, 35) off the northeast corner.
Additional features include a back entrance (room 23), passageways (room 24) to courtyards (rooms 31, possibly the gynaeceum or women's quarters), a kitchen (room 26) with elevated hearth and latrine, and storage like a roofed cistern (room 20). A large window in the tablinum provided garden views, and stairways (in room 11) led to upper floors, now lost. The third courtyard (room 31) had a porticus with red-painted octagonal columns, later modified for the dining room. Construction used opus incertum (irregular stone) for early walls, with later additions in brick and tufa, reflecting seismic adaptations post-62 AD.

Decorations and Frescoes

The House of Sallust is renowned for its First Pompeian Style (Incrustation Style) wall paintings, dating to the 2nd century BCE and influenced by Hellenistic trends from Alexandria. These frescoes imitate expensive marble veneers through colorful patchwork rectangles in yellow, purple, and pink hues, connected by stucco moldings for a three-dimensional effect— a cost-effective alternative to real imported stone. Exemplary in the tablinum and atrium, they feature marbled slabs with veined patterns, creating an illusion of luxury. Later modifications added Third and Fourth Styles in some areas, but the First Style dominates, making it a key example alongside the House of the Faun.
Notable frescoes include the eponymous scene of Diana bathing and Actaeon transforming into a stag (room 28, in the gynaeceum altar), symbolizing mythological punishment. Other cubicula (room 29) depict Mars and Venus with Cupid, Paris and Helen, and Europa on the bull. The tablinum's garden scene extends the real view with painted garlanded columns, fountains, and birds. Floors feature opus signinum (crushed tile and mortar) mosaics with geometric patterns, while graffiti and inscriptions, like the electoral notice (CIL IV 104), adorn walls. A lararium (room 13 or 7) with niche and altar housed household gods, and the porticus had painted columns. Restorations have preserved these, though some frescoes faded or were removed early.

Artifacts and Discoveries

Excavations yielded notable artifacts, including a bronze fountain sculpture of Hercules conquering the Stag of Ceryneia (found in 1805 near the impluvium, now in Palermo's Regional Archaeological Museum, inv. 8364; a plaster copy in Naples). The bronze seal of A. Cossius Libanus (1806, CIL X 8058,27) confirmed ownership. Other finds include jars in shop counters, domestic pottery, and possible wardrobe items from room 13. No major hoards were recovered, but the frescoes and architectural elements themselves are key discoveries, with 2014 studies verifying the Hercules statue's placement via pedestal measurements. Graffiti provides social insights, though specifics are limited.
In summary, the House of Sallust offers a vivid snapshot of Pompeii's evolution from Samnite origins to Roman sophistication, highlighting elite living, mythological art, and adaptive architecture. Its preserved First Style decorations and hospitium features underscore the city's cultural and economic vibrancy, making it a must-see for understanding ancient domestic life. As of 2025, it is open to guided tours, with digital reconstructions enhancing interpretation.