Pompeii (17 page)

Other house gardens were much more formal and decorative. Just a few doors away from the House of Julius Polybius, a peristyle garden has recently been uncovered, with carefully arranged geometric flowerbeds, and footpaths running between them. The beds were bordered by fences, made of reed, and were planted with a regular and colourful scheme of cypress bushes and roses, with other ornamental and flowering plants along the edges of the beds (including, to judge from the pollen remains, artemisia and pinks). The boundary wall of the garden was covered with a vine, and there were plenty of ferns along the open drains which caught the rainwater from the roof – not to mention the presence of nettles and sorrel, familiar weeds then as now. The numerous cockle shells also found in the garden have encouraged the charming idea that the occupants of the house might have wandered round the garden while eating cockles; but it might simply have been a convenient place to throw waste shells, garden perambulations or not.

Whatever the style of the garden in the House of the Tragic Poet (apart from the turtle and some fixtures on the columns, suggesting that – on one side at least – it was fenced off, we know nothing), Bulwer Lytton saw the property in terms of a nineteenth-century bachelor’s residence, and therefore suitable for the unmarried Glaucus. He had some doubts, in general, about the refinement of Pompeian wall painting: ‘The purity of the taste of the Pompeians in decoration is questionable,’ he carped. But the fine paintings in this house he reckoned ‘would scarcely disgrace a Rafaele’. Overall, he judged it as ‘a model ... for the house of “a single man in Mayfair”’: not just for its decor, but for also for its entertainment facilities. One of the first scenes of the novel, in fact, features a dinner party hosted by Glaucus, in his dining room off the peristyle: a stereotypically Roman banquet, ‘figs, fresh herbs strewed with snow, anchovies and eggs’, followed by a nice tender, roast kid, swilled down with a good vintage from Chios. The kid had not been his first choice. ‘“I had hoped,” said Glaucus, in a melancholy tone, “to have procured you some oysters from Britain; but the winds that were so cruel to Caesar have forbid us the oysters.”’

In creating this image of a sophisticated, nineteenth-century bachelor pad, Bulwer-Lytton fails to point out to his readers that the kitchen of the House of the Tragic Poet was, like that of the majority of houses, even the grandest, in Pompeii, tiny and could hardly have been adequate for the preparation of a lavish banquet. Nor does he mention that the single latrine in the house was located in – or, at best, you might say, ‘just off’ – the kitchen itself. This was again a typical arrangement, which enabled the latrine to be used for the disposal of kitchen waste, even if it upsets twenty-first-century ideas of hygiene (though perhaps not so shocking to Bulwer-Lytton, as the juxtaposition of lavatory and kitchen was not uncommon in nineteenth-century Britain). He is also silent on the fact that just over the back wall of the garden, which he imagines blooming ‘with the rarest flowers placed in vases of white marble, that were supported on pedestals’, was a cloth-processing workshop, or fullery. Fulling was a messy business, its main ingredient being human urine; hence the emperor Vespasian’s famous tax on urine, which was presumably a levy on the fulling industry. The work was noisy and smelly. In the background to Glaucus’ elegant dinner party there must have been a distinctly nasty odour.

The art of reconstruction

Houses built around an atrium, sometimes with the additional peristyle, make up almost half the housing stock surviving in Pompeii – originally (including a rough estimate about what remains unexcavated) perhaps 500 or so properties out of a total of 1200–1300 ‘habitable units’ in the town. They range from small properties with just four rooms opening onto an atrium to such overblown palaces as the House of the Faun, with its two atria and two peristyles. But their various arrangements are similar enough to be taken broadly as a single type. That is to say, for all their differences in size, wealth and detail, there is a certain predictability to their layout. This is much as we find in modern domestic properties: whatever their idiosyncrasies of design, you
expect
to walk from the street into a hallway rather than a bathroom; when a house is on two floors, you expect to find the bedrooms on the upper floor.

Bulwer-Lytton emphasised the familiar modernity of the House of the Tragic Poet. Underneath the colourful Roman idiosyncrasies of painting, design and diet, he found a society and an architecture which was not so far away from his own, elite nineteenth-century London. Most modern archaeologists would stress exactly the opposite: the huge gap not only between the appearance of the ruined Pompeian houses now and how they would have appeared to a visitor in the first century CE, but also between the ancient idea of a ‘house and home’ and ours. One of the biggest archaeological projects of recent years at Pompeii has been to try to understand what these houses once looked like and, at a very basic level, what they were
for
. Almost inevitably this work has tended to concentrate on the larger and more affluent properties, where their usually better state of preservation, as well as the greater range of finds and their more complex design, produce both bigger puzzles and better hope of an answer.

Those who walk into one of the grander Pompeian houses today would be forgiven for imagining that the wealthy inhabitants of first-century CE Pompeii espoused an austere modernist aesthetic, uncluttered, even uncomfortably empty. But, as with the streetscape, what we see (or rather don’t see) now is misleading. For a start, almost all the furniture that there once was has disappeared, much of it without a trace. A lot of the most valuable material, which might well have included precious furnishings, was removed by the Pompeians themselves, whether by those in flight in the days just before the final disaster or by salvagers and looters afterwards. Besides, unlike at the nearby town of Herculaneum, where the different composition of the volcanic material, and the pattern of its flow, preserved all kinds of charred wooden furniture, only small fragments of carbonised wood have survived at Pompeii. All the same, we can still get some idea of what went where, and what it looked like – beyond the occasional marble table that has remained in place.

This is partly from what has been found at Herculaneum, which can hardly be very different from what was once at Pompeii: ranging from tables to beds (Ill. 33), and in one case a wooden screen, which could be opened or closed, stretching right across the back of the atrium. It is partly from the paintings of furniture in the scenes on Pompeian walls. The chair on which the Greek poet Menander sits in the famous picture which gives its name to the House of the Menander cannot be much different from those once used in the house itself (Ill. 44). But it has also sometimes been possible to reconstruct wooden objects from Pompeii by the familiar technique of moulding the impressions they left in the hardened debris. This is how we know, for example, that five cupboards lined one wall of the colonnade in the House of Julius Polybius, containing all kinds of domestic articles, from food in jars (one cupboard was effectively a pantry) to the household glassware, lamps, a bronze seal, some bronze chains and a tooth.

33. This child’s wooden cradle from nearby Herculaneum gives some idea of the furniture than must once have filled the houses of Pompeii – where the volcanic material destroyed most of the wood, leaving only hinges and fittings to help us to reconstruct the cupboards, chairs, and beds, etc.

In other cases we can reconstruct the presence of furniture from yet fainter traces. You can still see, for example, the fixings for shelves on walls – as in one of the rooms off the atrium in the House of the Tragic Poet, which must have been converted into a storeroom after it had been elegantly painted for some grander use. It has also been possible to re-create chests and cupboards from the remaining tell-tale bone hinges and bronze fittings or locks. The truth is that these were often missed or ignored by early excavators; and even when they were collected, the rough-and-ready approach to archaeological record keeping that prevailed until very recently means that it can be hard now to find out exactly where they were found (the same is true for very many ‘minor’, and not so minor, objects). But we have enough evidence to be able to say that the atrium, grand and lofty as it might appear, also doubled as a major storage area.

In the atrium of the House of Venus in a Bikini, a relatively small house, named after a statuette of Venus found there, thirty-two bone hinges were discovered in one corner – all that was left of a large wooden cupboard, fronted with doors. Still surviving were its contents, a range of very ordinary, and mixed, household equipment and other bric-a-brac: bronze jugs and plates, a bronze basin and a cake mould, small glass bottles and jars, a bronze lantern, inkwell and compass, a mirror, a couple of bronze signet rings, some other assorted pieces of jewellery, a coloured marble egg, nine dice and other bits of gaming equipment, some metalwork which has been (rightly or wrongly) identified as leg irons, plus some gold, silver and bronze coins. In another corner, more bone hinges and bronze fittings indicated another cupboard, this time containing a range of rather more prized possessions: the statuette of Venus, a glass swan, a terracotta Cupid, plus some rock-crystal jewellery, a broken horse bit, a couple of strigils (used for ‘scraping down’ after exercise) and various bits and pieces of bone and bronze, including two lamp-stands. Some of this might be the result of a hasty departure by the house’s occupants, and the speedy stashing away of valuables in the hope perhaps of return. But, in general, the impression is of a pair of regular domestic store cupboards, with that mixture familiar from our own cupboards, of household essentials in everyday use, broken bits and pieces which really should have been thrown away, and a couple of valuables put out of harm’s way.

We find much the same in the atria of other houses. One had a cupboard loaded with pottery and glassware, including some food in glass jars (to judge from the fishbones). Another had a couple of chests holding some candelabra, as well as more mundane domestic equipment and clothing (or so a buckle would suggest), while a tall upright cupboard had been used to store the best tableware, in bronze, silver and glass as well as pottery. But it was not just a question of storage. In any house not directly connected to the aqueduct supply, the atrium also usually contained the main well; so we could expect to see the buckets and tackle for drawing water. What is more, the loom weights (used in weaving to keep the vertical strands of thread taut) commonly found in atria or in the rooms opening off them make it almost certain that the atrium was a normal place for the household loom, or looms, to be placed. Unsurprisingly perhaps, since cloth production required a considerable amount of space, which in all but the largest houses you would find only in the atrium or peristyle.

Weaving also needed good lighting, which the atrium could also reliably provide. One of the hardest things to recapture is the combination of gaudy brightness and dingy gloom that characterised Pompeian houses of this type. The vast majority were originally painted in vivid colours, which have in many cases now faded to, literally, pale imitations of what they once were: deep reds to washed-out pinks, bright yellows to creamy pastel. And it was not just a matter of coloured walls. Though the original ceilings rarely survive, where they have been reconstructed (by piecing together the fallen plasterwork found on the floor) they also are sometimes ornately decorated and coloured in rich hues. Columns too would have been decorated. They were regularly painted plain red at least part-way up their shaft, but inside one house, just outside the Herculaneum Gate, some of the columns were completely covered in glittering mosaic – a flamboyant gesture even by Pompeian standards, and one which has given the modern name to the property, ‘The Villa of the Mosaic Columns’. Like the Pompeian street, many a Pompeian house would have been, in our terms, an assault on the visual senses.

That assault was perhaps mitigated by the general darkness. For while the sunlight would have streamed into the atrium through the open roof, and into the peristyle garden, many other rooms had little or no direct access to light – except what they could borrow from those internal sources. There were, it is true, those vast multi-storey houses on the west of the town that made the most of their sea view with huge picture windows, but mostly – as we saw from the street – external windows were few and small. Within these constraints the Pompeians went to some trouble to bring as much light as they could into dark places. Walking round the ruined houses you can still spot small light wells, or holes in walls above doors, designed to shed light inside a room even when the door was closed.

And there were literally thousands of lamps, in pottery or bronze, plain and ornate, with single or multiple flames, hanging, on tall stands, or simply made to rest on the floor or table. In general they ran on oil; though recent chemical analysis has pointed to an unexpected refinement. Oil mixed with tallow was regularly burned in bronze lamps, pure oil in the unglazed pottery. Is that because, being porous, the pottery would quickly have absorbed an unpleasant smell from the tallow? These objects were household staples, most of the pottery versions being produced by local industry (a small but thriving lamp workshop has been found not far from the Amphitheatre). There are now ranks and ranks of them of all sorts in the museum in Naples, including one in bronze in the shape of a sandalled foot (the flame coming out of the big toe), and at least one more like the African head dropped by that unsuccessful pair of refugees whose escape attempt we tracked in the Introduction. In the House of Julius Polybius alone more than seventy pottery lamps were found, and one bronze example. Even so, it is hard to imagine that the side rooms were ever well lit by modern standards, or that by night the whole house was anything other than blanketed in darkness – brightened only by moon and stars, a couple of braziers (which would give heat too), and the rather feeble twinkling of any number of little lamps.