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The house of Aristide and the house of Argus are two large villas that were excavated in the early days of archaeological excavations. Unfortunately, both houses were badly damaged during the eruption and subsequent excavations from the time of the Bourbons, which were no less destructive. Many murals were simply knocked down from the walls.
The House of Aristide (Casa di Aristide), located at Insula II.1 in
the ancient Roman town of Herculaneum (modern Ercolano, Italy), is a
domus-style residence buried by the catastrophic eruption of Mount
Vesuvius in 79 CE. Positioned at the southwestern corner of the ancient
city, on the edge of a cliff that once directly overlooked the sea
(before the eruption dramatically altered the coastline), the house
occupies a panoramic spot near the pre-eruption beach. It was the first
structure encountered by Bourbon explorers on Cardo III and derives its
name from a marble statue discovered within, initially misidentified as
depicting the Athenian politician Aristides but later confirmed to
represent the orator Aeschines—a nod to Roman admiration for Greek
intellectual heritage. This elite residence, likely owned by a figure of
cultural or political prominence, reflects the town's adaptation to
seismic activity, with evidence of post-62 CE earthquake renovations.
Excavation history is marked by tragedy and rediscovery. Systematic
Bourbon tunnel explorations began in 1738 under King Charles VII, with
the house partially uncovered between 1750 and 1765; however, it was
ruthlessly used as a passage to access the nearby opulent Villa of the
Papyri for looting, resulting in extensive damage from tunnels that
demolished walls and rooms. Open-air excavations in the early 20th
century, led by archaeologist Amedeo Maiuri starting around 1927,
revealed more but left a significant portion unexcavated due to the
site's complexity and the solidified mudflow (a unique pyroclastic
deposit in Herculaneum that preserved wooden elements better than
Pompeii's ash). Today, as part of the Parco Archeologico di Ercolano, it
exemplifies the challenges of early archaeology, with visitor access
limited to preserved core areas; reviews praise its dramatic seaside
perch but note closures in southern sections due to instability.
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The House of Aristide spans a terraced, irregular plan adapted to
the cliffside terrain, extending the promontory seaward via a
monumental retaining wall in opus reticulatum (net-like tuff blocks
forming a diamond-pattern masonry, typical of 1st-century BCE Roman
construction). The upper residential level features opus
caementicium (concrete) substructures for support, while a lower
floor served as storage or cellars, built into the slope. The total
footprint is modest for an elite domus—approximately 300–400 square
meters—emphasizing verticality and outdoor integration over
expansive interiors.
Entry is via a threshold on the west side of
Cardo III, a major north-south artery, leading directly into the
atrium without a fauces (narrow vestibule), suggesting a semi-public
orientation. The layout revolves around a central atrium and an
adjacent peristyle, with rooms radiating outward for light and
ventilation. A key Bourbon-induced alteration is the breached
northern perimeter wall, creating a direct link to the adjacent
House of Argos (Casa d'Argo) at II.2, allowing passage through its
grander peristyle—effectively merging the houses visually and
functionally in the modern site. Drainage and water features,
including the impluvium, highlight Roman engineering for rainwater
collection amid the coastal climate. On the ancient beach below (now
300 meters inland), scattered debris like brick fragments, stucco,
and plaster attests to hurried pre-eruption repairs after seismic
damage.
The house's cliffside extension used heavy concrete
vaulting to cantilever over the sea, providing sea views from upper
rooms (possibly a terrace, though unexcavated). Brick-stuccoed
columns in the peristyle evoke luxury, but the overall modesty
contrasts with grander neighbors like the Villa of the Papyri,
positioning it as a refined urban retreat rather than a sprawling
villa suburbana.
Due to Bourbon depredations and incomplete excavations, room
identifications rely on fragmentary plans and Maiuri's notes; labels
follow standard archaeological numbering (e.g., "a" for atrium). The
house comprises about 8–10 identifiable spaces, with many reduced to
foundations.
Entrance Threshold (from Cardo III): A simple
sill in opus reticulatum leads inward, flanked by minimal
street-facing features—no grand portico, but possible upper
balconies inferred from beam holes. Immediately opens to the atrium,
emphasizing direct access.
Atrium (a): The heart of the domus, a
rectangular space (ca. 5x7 meters) with a central impluvium—a sunken
marble-lined pool (ca. 2x1 meters) for rainwater catchment,
surrounded by shallow channels. Four doorways branch off: south to
cubicula (bedrooms), east to service areas, north (breached) to the
House of Argos, and west to the peristyle. The compluvium (open
roof) above allowed light and rain; carbonized beam ends suggest a
wooden framework. Walls in opus reticulatum rise to a height of 4–5
meters, with stucco remnants indicating white plaster finishes.
Peristyle/Garden Courtyard (b): Accessed from the atrium's west
side, this semi-enclosed garden (ca. 10x8 meters) features a
colonnade on three sides (north, east, south) with eight brick
columns coated in white stucco, topped by Ionic capitals (some
reconstructed). The central greenspace, once planted with shrubs,
measures 6x4 meters and includes a low marble edging for plants.
South and east walls have niches for statues (one held the Aeschines
figure); a doorway leads to upper terraces. Visitors note the airy,
sea-breeze feel, though the colonnade may technically belong to the
adjacent Argos house due to the wall breach.
Cubicula (Bedrooms,
c–d): Two small, square rooms (ca. 3x3 meters each) off the atrium's
south side, likely for sleeping or private use. East walls feature
high windows for light; floors in cocciopesto (crushed pottery
mortar), now eroded. Minimal traces of wall paintings suggest simple
geometric borders.
Oecus/Triclinium (Reception/Dining Room, e): A
larger space (ca. 5x4 meters) east of the atrium, possibly for
entertaining, with a masonry platform for couches (klinai) along
three walls. Door to service corridor; floor in plain mortar, walls
with faded red zoccolo (lower band) frescoes.
Service
Rooms/Corridor (f–g): Narrow passages and utility spaces (ca. 2x4
meters) along the east and south, including a possible kitchen with
hearth remnants and a latrine. Lead pipes and a small cistern pit
indicate plumbing; lower floor access via stairs for storage.
Lower Cellar/Storage Level (h): Subterranean, terraced into the
cliff (ca. 100 square meters total), with vaulted ceilings in opus
caementicium. Accessed by internal stairs; used for amphorae and
goods, preserved by mudflow.
Unexcavated areas to the north
and west may include a private terrace or bath suite, hinted by
foundation traces.
Decorations are sparse due to destruction, but surviving elements
evoke Third-Style Pompeian restraint: white-ground walls with red or
black zoccolo panels, subtle candelabra motifs, and garland friezes
in stucco. No intact frescoes remain—Bourbon looters stripped
panels—but the impluvium's marble inlays (diamonds and crosses) and
column stuccoing suggest refined taste. Floors are utilitarian
cocciopesto or plain concrete, lacking the mosaics of grander
houses.
Key artifacts include the Aeschines statue (ca. 1 meter
tall, marble, now in the National Archaeological Museum of Naples),
depicting the orator in a toga-like himation, symbolizing paideia
(classical education). Beach finds—scattered bricks, stucco chunks,
and plaster—indicate 70s CE renovations, possibly after the 62 CE
quake, with tools like amphorae shards suggesting hasty evacuation.
The House of Argus (Casa d'Argo), located at Insula II.2 in the
ancient Roman town of Herculaneum (modern Ercolano, Italy), is a
luxurious domus-style villa buried by the eruption of Mount Vesuvius in
79 CE. Situated along the western side of Cardo III, a major north-south
street near the ancient shoreline (now inland due to volcanic deposits),
it forms part of a cluster of elite residences overlooking the Bay of
Naples. The house derives its name from a now-lost Fourth-Style fresco
depicting the mythological scene of Argus Panoptes, the hundred-eyed
giant, guarding the nymph Io (transformed into a heifer by Zeus), which
originally adorned a reception room (triclinium) off the large peristyle
garden. This structure, likely owned by a member of Herculaneum's
affluent municipal elite, exemplifies Augustan-era (late 1st century BCE
to early 1st century CE) residential architecture, blending spacious
gardens, multi-story construction, and sea-view terraces with
sophisticated decorations. Its discovery marked a milestone in
archaeology as the first Roman house excavated to reveal detailed upper
floors, including preserved wooden elements and food stores, offering
rare glimpses into daily elite life.
Excavation history is a tale
of pioneering efforts marred by destruction. The villa was first
partially uncovered via Bourbon tunnels in the late 18th century (around
1738–1765), but systematic open-air digs began in 1828 under Carlo
Bonucci, superintendent of the Bourbon excavations, who meticulously
documented the site until 1835. Bonucci's work revealed the house's
eastern quarter and upper stories, but Bourbon looters breached walls
(e.g., to access the adjacent House of Aristide at II.1), causing
irreversible damage. Further explorations in the 1830s under Francis I
of the Two Sicilies exposed ground-floor elements, but by 1838, work
halted, leaving the western half buried under modern Via Mare.
Twentieth-century efforts by Amedeo Maiuri (1927 onward) added minimal
details, and as of 2025, the site remains partially unexcavated, with
ongoing conservation by the Parco Archeologico di Ercolano focusing on
structural stability. Visitor access is via the breached wall from the
House of Aristide, with reviews (e.g., on Tripadvisor) praising the
serene peristyle but lamenting limited visibility due to overgrowth and
closures; allow 10–15 minutes in a full site tour.
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The House of Argus spans an irregular, elongated plan (approximately
500–600 square meters on the ground floor, plus upper levels),
adapted to the sloping terrain toward the ancient sea cliff, with
terraced extensions for panoramic views. Constructed primarily in
opus reticulatum (diamond-patterned tuff masonry) with opus
craticium (half-timbered) elements on upper floors, it features two
interconnected peristyles (colonnaded courtyards) and multi-story
wings, reflecting post-62 CE earthquake reinforcements. The main
entrance, unexcavated, was on Cardo II (north side), leading to a
vestibule and the larger western peristyle; the visible eastern
section entered via a secondary posticum (back door) on Cardo III,
now the site's access point.
The layout emphasizes verticality
and outdoor integration: a large eastern peristyle (ca. 15x10
meters) serves as the core, surrounded by porticoes on three sides
(north, east, south) with stuccoed brick columns (Ionic capitals,
some reconstructed). A smaller western peristyle (partially visible
via Bourbon tunnels) connected via corridors to sea-facing terraces.
Upper floors, accessed by multiple staircases (e.g., from the large
peristyle's east side), included six storerooms and dining suites,
preserved by pyroclastic mudflows that carbonized wood. Key features
include rainwater cisterns under the peristyles, lead plumbing, and
vaulted ceilings in service areas. The breached northern wall (ca. 3
meters wide) links to the House of Aristide's atrium, creating a
modern "merged" experience. Overall, the villa's design prioritizes
leisure—gardens for al fresco dining, light wells for
ventilation—contrasting urban density with suburban opulence, though
only about 40% is accessible today.
Due to partial excavation, room identifications (labeled a–o in
plans) draw from Bonucci's 1835 reports and modern reconstructions;
the eastern half is best preserved, with the west under Via Mare.
The house comprises 15–20 spaces across ground and upper levels.
Secondary Entrance/Posticum (from Cardo III, unnumbered): A
modest doorway (ca. 2 meters wide) with stuccoed pilasters and
benches outside, originally roofed; opens northeast into the square
hall. Flanked by service rooms, it bypassed the main Cardo II entry.
Square Hall/Atrium (a, ca. 5x5 meters): Entry space with gypsum wall
remnants (no surviving frescoes); doors to south (peristyle) and
east (corridors). No impluvium, suggesting a transitional vestibule;
carbonized beam holes indicate a flat roof.
Large Peristyle
Garden (b, ca. 15x10 meters): Central courtyard with a colonnade of
12–14 stuccoed columns (0.4m diameter) on north, east, and south
sides; central greenspace (ca. 8x6 meters) once planted with shrubs,
edged in low marble. North side features a wide rectangular exedra
(seating alcove, ca. 6x4 meters) for receptions; east wall has a
staircase to upper floors. Light from the compluvium (open roof)
illuminates surrounding rooms; Bourbon tunnels pierced the west
portico.
Triclinium/Exedra (c, north of peristyle):
Dining/reception room opening onto the peristyle's north portico;
originally paved in marble (now traces only), with the namesake
Argus and Io fresco on the central panel (lost, but described as
vibrant Fourth-Style with red grounds and architectural motifs).
Larger panels depicted Polyphemus and Galatea, Hercules and the
Hesperides; south wall had a protruding window to the garden.
Oecus/Reception Room (d, east of peristyle): Adjacent to the exedra,
with red-painted walls (black zoccolo base) and Fourth-Style panels
of cupids, landscapes, chimeric animals, birds, and flowers. Doorway
to corridor; floor in cocciopesto (crushed pottery mortar).
Cubicula/Bedrooms (e–f, south of peristyle): Two small rooms (ca.
4x3 meters each) for sleeping; east walls with high windows
overlooking the garden. Faded geometric fresco borders; one had a
carbonized wooden bed frame (destroyed post-excavation).
Service
Corridor and Rooms (g–h, east side): Narrow passage (ca. 2x8 meters)
linking the hall to the peristyle, with utility spaces including a
kitchen (hearth remnants) and latrine. Lead pipes fed a small
cistern; floors plain concrete.
Smaller Peristyle (i, west,
partially visible): Colonnaded courtyard (ca. 10x8 meters) via
corridor from the large peristyle; accessed main entrance from Cardo
II. Bourbon tunnel reveals columns and a basin; led to sea terraces
(unexcavated).
Upper Floor Storerooms (j–o, above east wing): Six
interconnected rooms (ca. 3x4 meters each) accessed by staircase
from large peristyle; yielded vast carbonized food remains (cereals,
fruits, nuts—over 100 amphorae equivalents) upon 1828 excavation,
indicating elite provisioning. Wooden shelves and doors preserved
initially but demolished by 1875.
Upper Floor Dining Suite (p,
above peristyle): Luxurious triclinium (ca. 6x5 meters) with mosaic
floors (black-and-white geometric patterns) and closed gallery
windows for sea views; walls in bright red with architectural
designs. Connected to a terrace; described by Bonucci as "poetic"
with porticoes evoking ancient paintings.
Unexcavated western
rooms likely included a tablinum (study) and bath suite, inferred
from foundation traces.
Decorations reflect Fourth-Style opulence (ca. 45–79 CE): walls in
red, black, and white with panels of mythological scenes (e.g.,
Perseus and Medusa, Cupid and Bacchante, Argus/Mercury/Io),
garlands, and candelabra motifs; stucco cornices and marble
revetments in public areas. Floors varied—marble in triclinia,
cocciopesto elsewhere—with no major mosaics surviving. The lost
Argus fresco, per 19th-century sketches, featured intricate figures
against a red background, symbolizing vigilance and transformation.
Artifacts were abundant but dispersed: bronze and terracotta
vessels, glassware, and a marble statue group (now in Naples'
National Archaeological Museum); food stores highlighted dietary
habits (grains, olives). Wooden elements—doors, beams,
furniture—were exceptionally preserved pre-demolition, per Bonucci's
records.