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House of Sulpicius Rufus, Pompeii

The House of Sulpicius Rufus, also known as the Casa del Porcellino (House of the Little Pig) or Casa di Sulpicius Rufus, is a well-preserved example of a modest yet elegantly decorated Roman domus in the ancient city of Pompeii. Dating primarily to the late Republican and early Imperial periods, it reflects the typical urban residential architecture of a mid-tier elite family, possibly involved in commerce such as wine production. The house features a compact layout centered around a peristyle garden, with rooms designed for both daily living and social display. Its decorations, including Third and Fourth Style frescoes, highlight mythological and domestic themes, while artifacts like seals and amphorae provide insights into its owners and economy. Buried under volcanic ash during the eruption of Mount Vesuvius in 79 CE, the house was excavated in the late 19th century and offers valuable evidence of Pompeian domestic life.

Location and Historical Context

Situated in Regio IX, Insula 9, at entrance IX.9.c, the House of Sulpicius Rufus lies on an unmarked vicolo (alley) branching south from the Via di Nola, one of Pompeii's major east-west thoroughfares. This location placed it in a quieter residential area away from the bustling forum and commercial districts, yet accessible to the city's main roads. The house was first excavated in 1880, with further work in 1887, as documented in contemporary archaeological reports. It derives its primary name from a bronze seal found on-site inscribed "C. Sulpicius Rufus," suggesting ownership by a member of the Sulpicius family, possibly Gaius Sulpicius Rufus. The alternative name, "House of the Little Pig," stems from a fresco in the kitchen depicting a pig's head among food items, symbolizing domestic provisioning or perhaps a nod to culinary themes.
Archaeological evidence indicates the house underwent renovations after the earthquake of 62 CE, aligning with broader rebuilding efforts in Pompeii. Seals and amphorae inscriptions link it to commercial activities, particularly wine production, with names like Caesia Helpis appearing on vessels, implying she may have been the owner or a key figure in the household's business. Another seal bears "Q. Nolanius Primus," and a graffito "Q.N." further suggests connections to local networks. The presence of a bronze statue of Hygeia (goddess of health) points to cultural or personal veneration of health and well-being. Overall, the house exemplifies the social mobility of Pompeii's merchant class, blending practicality with artistic aspiration in the shadow of Vesuvius.

Architecture and Layout

The House of Sulpicius Rufus follows a classic Pompeian domus plan, though on a smaller scale than grander villas like the House of the Faun. It spans approximately 300-400 square meters, with an emphasis on internal spaces opening onto a central peristyle rather than external windows, typical for privacy and security in Roman urban homes.

Entrance and Fauces: The main doorway features a travertine threshold with holes for a strengthening beam, leading into a narrow fauces (entrance corridor) oriented east toward the garden. The fauces walls retain traces of plastered and painted decoration, though much is poorly preserved due to post-eruption damage.
Peristyle and Garden: The heart of the house is a small peristyle (colonnaded courtyard) with a central garden enclosed by a low wall. The portico surrounds it on the north, west, south, and partial east sides, supported by four columns (one engaged) and a double pillar at the southwest corner. Brickwork columns and pillars are plastered for a refined appearance. A small plot near the north portico likely served as a flower or vegetable bed, evidenced by preserved topsoil. Drainage channels, including a covered one along the south wall, managed rainwater and waste, emptying into the street.
Upper Floor Evidence: A downpipe in the latrine and beam holes for a mezzanine above the exedra indicate an upper story, possibly for additional bedrooms or storage, common in space-efficient Pompeian homes.

The layout prioritizes flow from public (fauces) to private (peristyle rooms), with service areas like the kitchen integrated efficiently.

Rooms and Notable Features

The house comprises about 10-12 identifiable rooms, blending functional and representational spaces:

Latrine: A small facility off the north side of the fauces, with a waste pipe from the upper floor, highlighting practical sanitation.
Cubicula (Bedrooms): Several bedrooms exist, including two cubicula off the north side of the fauces (poorly preserved, with blocked access to one) and another in the northwest peristyle corner. The latter is lit by a window overlooking the peristyle and a circular high window on the east wall. A possible additional cubiculum or cupboard in the southwest has white walls and a signinum floor.
Triclinium (Dining Room): Centrally located on the west peristyle side, open to the garden for ventilation and views. Its floor is cocciopesto (crushed pottery mortar) with white tesserae forming stars, geometric patterns, and a protective phallus motif near the bed recess.
Kitchen: At the east end of the peristyle, with a hearth in the northeast corner for cooking. This functional space doubles as a religious area with a prominent lararium.
Anteroom: In the southwest corner, with yellow walls imitating marble friezes, a drain, and a rectangular recess, possibly for storage or display.
Exedra: A semi-open alcove in the southeast portico corner, with a 0.50m-deep rectangular recess in the east wall (containing stacked tiles on a podium) and a shallower south wall recess, used for seating or display.
Lararium Niche: A household shrine in a pillar separating doorways on the north peristyle side, with a rectangular niche adorned in stucco: half-columns supporting a pediment and a patera (libation bowl) on a bluish background. Another lararium in the kitchen features detailed paintings (see below).

These rooms illustrate a balance between utility (e.g., drainage, hearths) and comfort (e.g., garden views, lighting).

Decorations and Art

Decorations span Third Style (architectural illusions, c. 15 BCE-50 CE) and Fourth Style (eclectic, post-62 CE earthquake), with vivid frescoes emphasizing mythology, nature, and domesticity:

Cubiculum (NW Peristyle): Fourth Style with red panels over a black frieze. East wall: Winged Nike near a victory monument. West wall: Young man with hunting dogs. Side panels depict animals (e.g., with young) on black; upper zone white with stylized plants amid fantastic architecture. A cupid in a swan-pulled chariot (west) and a fallen cupid (east) add whimsical elements.
Triclinium: Third Style evoking a loggia with a low balustrade. Red background with large architectural scenes, figures, candelabra, and pavilions. South and west walls feature central panels with statues of divinities; north wall has a pavilion figure.
Kitchen Lararium: North wall: Two Lares flanking a round altar entwined by a serpent; additional serpents below. West wall: Genius (household spirit) beside an altar, with painted plants. These symbolize protection and prosperity.
Kitchen Wall Painting: East end of north wall shows hanging birds, ring sausages, a pig's head, and meat on a stick, a still-life trompe-l'œil emphasizing abundance.
Other Cubiculum: Red walls with black central panels. West: Naked Paris (Phrygian cap, bow, quiver, torch). East: Seated man (possibly Polyphemus) with sheep. Frieze: Bacchic masks, garlands, suspended items (e.g., pan-pipe, cup) in white, yellow, red, blue panels—superior in quality to the main walls.
General Walls: Black plinths, red middles, white tops in some areas; street frontage plastered and painted.

These artworks blend illusionism, mythology (e.g., Nike, Paris), and everyday motifs, reflecting Roman tastes for escapism and symbolism.

Artifacts and Inscriptions

Key finds include:
Seals: "C. Sulpicius Rufus" (house namesake) and "Q. Nolanius Primus," indicating owners or associates.
Amphorae: Inscribed with "Caesiae Helpidis" and variants, linking to wine trade; Caesia Helpis may have been a producer or resident.
Bronze Hygeia: Seated figure on throne with footstool, flanked by trees and coiled serpents, found in a fauces-adjacent room—symbolizing health.
Graffito: "Q.N." on a doorway, possibly Quintus Nolanius.

These items underscore the house's commercial and cultural ties.