THE HOUSE OF THE TRAGIC POET: UNVEILING
POMPEII’S LITERARY GEM
POMPEII’S LITERARY GEM
SECTIONAL MODEL STUDY PROJECT
Heidelberg University; Collection of Classical Antiquities
Kübranur Akyol
Pompeii, a flourishing Roman city in the Campania region, met a catastrophic end in 79 AD when Mount Vesuvius erupted, burying the town under layers of ash and pumice. This eruption preserved Pompeii's ruins in a remarkable state, offering modern archaeologists and history enthusiasts a unique opportunity to glimpse into daily life in the Roman Empire. The House of the Tragic Poet is one such
treasure that harkens back to the city's vibrant past.
treasure that harkens back to the city's vibrant past.
Nestled within the archaeological marvel of Pompeii, the House of the Tragic Poet stands as a testament to the enduring allure of ancient Roman culture and the tragedies that befell this thriving city. This unassuming residence, with its unassuming exterior, holds within its walls a wealth of historical and artistic treasures that provide an invaluable window into the lives of the people who once inhabited this ancient Roman town. In this article, we shall embark on a journey to explore the history, architecture, and remarkable mosaics that make the House of the Tragic Poet a compelling testimony to a bygone era.
Architecture and Layout: The House of the Tragic Poet is a relatively modest dwelling by Pompeian standards, but its historical significance lies in the artistic and literary treasures it houses. The structure is a classic example of a Roman atrium house, characterized by its central open-air courtyard or atrium, which served as the focal point for family life. The house is modest in size, reflecting the status of its occupants as middle-class Romans. It is believed to have belonged to a freedman or a merchant due to its unpretentious size and style.
Artistic Treasures:
Pompeii is a ruined ancient Roman city located near the city of Naples in the partially autonomous region of Campania, Italy, within the borders of the Commune of Pompeii and is still partially buried.
Pompeii, best known for its Roman ruins dating back to 79 AD, was built on top of an ancient city that dates back even further. The expansion of the city was started by the Greeks in 450 BC after the battle of Cumae. The first settlements in the region were in 8 BC, when the Oskans founded five villages in the region. it dates back to the century.
The House of the Tragic Poet is a Roman house in Pompeii. It attracts attention with frescoes and mosaics on the floor as interior design elements in the building. Traditionally, Pompeii is geographically broken up into nine regional areas, which are then further broken up into insular areas. The House of the Tragic Poet sat in Regio VI, Insula 8, and the far-western part of Pompeii. The house faced the Via di Nola, one of Pompeii's largest streets that linked the forum and the Street of the Tombs. Across the Via di Nola from the House of the Tragic Poet sat the Forum Baths of Pompeii.
1. Vestibule: The vestibule floor was decorated with a mosaic picture of a domesticated dog leashed and chained to an arbitrary point. Below the figure were the words "CAVE CANEM", meaning Beware of the dog These words, much like similar signs today, warned visitors to enter at their own risk and served as protection over the more private quarters of the home. The rest of the vestibule floor was decorated in a tesserae or checker-like pattern, in black and white tiles. This pattern was framed by a border of two black stripes that surrounded the room.
2. Atrium: The atrium was the focal point of art in the House of the Tragic Poet. Except for the House of the Vettii, it contained more large-scale, mythological frescoes than any other home in Pompeii. Each image was approximately four feet square, making figures slightly smaller than life-size. The images in the atrium frequently feature seated men and women in movement. The women are usually the focus of the images, undergoing important changes in their lives in famous Greek myths.
In the atrium a small pool, the impluvium would catch the rainwater, whereas in the peristylium, the rain would water the plants. Further to the impluvium there was an underground tank connected to it which could catch any excess rainwater.
South wall
Nuptials of Zeus and Hera
This panel depicts the gods Hypnos, Hera, and Zeus on Mt. Ida. Hypnos is presenting Hera to Zeus, who sits seated on the right side of the painting. Zeus is holding Hera by the wrist, and Hera is looking at the viewer reluctantly with her veil removed. The three young figures at the bottom right of the painting are possibly dactyli.[1] In the background, there is a pillar with three lions perched on it. This panel is part of the collection at the Archaeological Museum in Naples, Italy.
Aphrodite (This wall is not in the model but It is added to the article)
The image of Aphrodite is now almost entirely destroyed, but what remained of the painting when it was discovered was copied in tempera by the artist Francesco Morelli. The painting may have contained a seated male lover. Because Aphrodite is smaller than the figures in the other paintings, it's also possible the painting contained more figures and depicted the Judgement of Paris.
East wall
Achilles and Briseis
This dramatic scene depicts Achilles releasing Briseis to the Greek king Agamemnon. On the right side of the panel, Patroclus leads Briseis by the wrist. Achilles, seated, angrily directs them towards Agamemnon's messenger.
Helen and Paris
Helen boards ship to travel back to her homeland of Troy. Although no longer in the image, it is believed that Paris was already seated in the boat as Helen boards. Both of these images are part of the collection at the Archaeological Museum in Naples.
Alae
The alae (alae is the plural of ala, the word ala means ‘wing’) were the open rooms on each side of the atrium. Their use is largely unknown today. One knows that in the early Italian houses, which had a covered atrium, the alae had windows to allow light to enter the house. However, with the introduction of the opening in the roof above the atrium and the general abandoning of windows in the Roman house, the alae became largely obsolete. It appears more that they were incorporated into the house in accordance to tradition, rather than for any specific use.
West wall (This wall is not available in the model because the point of view of the section is the opposite direction. However, I wanted to add the other wall’s information.)
Abduction of Amphitrite
Although a large portion of this panel is destroyed, the same composition is seen in a painting from the Villa di Carmiano in Stabiae. The bottom half of the painting was found intact in the House of the Tragic Poet, and depicts Eros as he rides a dolphin and carries a trident. The missing portion, visible in Stabiae, shows that the painting originally depicted Poseidon on his sea horse as he abducted Amphitrite. Like in other panels, she looked out toward the viewer.
Wrath of Achilles
Almost none of this panel has survived, but the composition, stance of the feet, and red cloth seem to match others which depict the Wrath of Achilles. Only feet and drapery are visible in the surviving portions. The original painting likely depicted Achilles on the right side of the panel as he drew a dagger to attack Agamemnon for taking Briseis, but he is restrained by Athena, who tells him to talk to Agamemnon rather than fight him.
Tablinum: The tablinum floor was decorated with an elaborate mosaic image. Here, actors gather backstage preparing for a performance, as one character dresses and another plays a flute. Other characters surround a box of masks to be used during the performance. On the wall was a panel depicting a scene from the story of Admetus and Alcestis. A messenger reads an oracle to Admetus, seated beside Alcestis, telling him that he will die if someone else does not willingly die in his place. Due to its proximity to the mosaic of the actors, excavators believed this painting depicted a poet reciting his poetry, resulting in the name House of the Tragic Poet. However, the origin of this panel is debatable. Some sources suggest the picture shown here is from the House of the Tragic Poet, and some others argue that it was from Herculaneum instead. Richardson identified this as from the Basilica at Herculaneum. De Carolis identified this with a question mark as “Casa del Poeta Tragico”.
Peristyle: The semi-outdoor peristyle area featured an imaginary garden scene or paradeisos in the trompe-l oil style. This image, it is assumed, was intended to blend in with the actual garden that would have grown within the unroofed portion of the peristyle. To the left of the peristyle was a fresco known as the Sacrifice of Iphigenia, in which a nude Iphigenia is taken by Ulysess and Achilles to be sacrificed just before Artemis delivers a deer to be sacrificed in her place. The right side of the painting depicts Calchas the seer holding his hand to his mouth to indicate his divine revelation. Iphigenia's father Agamemnon sits on the left side of the panel facing away from the group with his face covered with a veil, similar to another painting of the scene by the artist Timanthes.
Dining room: The dining room contained three large panels and several smaller ones. The smaller panels feature depictions of soldiers and depictions of the four seasons as young women. The three larger panels depict cupids and a young couple, a scene featuring Artemis, and a scene of Theseus leaving Ariadne behind as he boards a ship.
The Literary Connection
Despite its name, there is no concrete evidence linking the house to a tragic poet. The association with a poet likely stems from a mosaic that portrays a scene from the play "The Aeneid" by the Roman poet Virgil, where the Trojan priest Laocoon is strangled by serpents. This artistic representation could have led to the house's name, but the true identity of its residents remains a mystery. Nonetheless, the house remains a living testament to the cultural and artistic appreciation of the Pompeian people
Preservation and Accessibility
The House of the Tragic Poet, like many other structures in Pompeii, has undergone extensive restoration and conservation efforts over the years to ensure its longevity. Today, it stands as one of the most well-preserved examples of a Roman atrium house in the ancient city. Visitors from all corners of the world come to marvel at the intricate mosaics and glimpse into the lives of the Pompeiians.
In conclusion, The House of the Tragic Poet is a timeless gem that allows us to walk in the footsteps of ancient Romans, experience their love for art, and get a glimpse into their daily lives. While its name may remain shrouded in mystery, its mosaics and frescoes tell stories that transcend time, reminding us of the rich tapestry of human history. This unassuming house, with its artistic treasures, continues to captivate the hearts and minds of those who venture into the captivating ruins of Pompeii, serving as a poignant reminder of the fragility of human existence and the enduring legacy of ancient civilizations.
*This project is made in Heidelberg University Collection of Classical Antiquities as an Erasmus Internship project.
*Thanks to Dr. Polly Lohmann who is curator of the Collection of Classical Antiquities is for supervising for this project.
SOURCES:
De architectura, Vitrivius,
Pompeii, Pitture E Mosaici, Fondata Da Giovanni Treccani
The house of the tragic poet / La casa del poeta tragico, Nicholas Wood
Wikipedia
pompeiiinthepictures.com
